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Corsair Carbide 500R Case
Acer 23in HD monitor
Nexus 7 Tablet
Cheap Samsung Prevail phone
Razor Vespula mousepad
Logitech G502 Mouse
Logitech G510 Keyboard
Altec Lansing BX2 Speakers
Saitec X52 Flight Stick
Those drink bottle holders under the desk are for the foot controls to keep my Saitek Pro Flight Rudder Pedals and Logitech G27 Racing Wheel Pedals in place
Computer specs are:
Intel I7 4770k
Coolermaster Hyper 212+ cpu cooler
Asrock mobo
8gb G Skill Ripjaw X memory
MSI GTX 660ti
Corsair TX650 psu
Elisian Park, "Frogtown"
Featuring
The Bowtie Project, curated by the ClockShop, including the work of Michael Parker and Rosten Woo
Interpretive walk: bowtiewalk.org
The studios of artists
Pearl C. Hsiung and Lara Schnitger
Rosten Woo: is a designer, writer, and educator living in Los Angeles. He produces civic-scale artworks and works as a collaborator and consultant to a variety of grassroots and non-profit organizations. including the Advancement Project, the American Human Development Project, the Black Workers Center, Los Angeles Alliance for a New Economy, and Esperanza Community Housing Corporation, as well as the city of Los Angeles and Los Angeles County. His work has been exhibited at the Cooper-Hewitt Design Triennial, the Venice Architecture Biennale, Netherlands Architectural Institute, Storefront for Art and Architecture, Lower East Side Tenement Museum, and various piers, public housing developments, tugboats, shopping malls, and parks in New York and Los Angeles. His work has been supported by grants from the National Endowment for the Arts, The Los Angeles Department of Cultural Affairs, and the Los Angeles County Arts Commission. He is co-founder and former executive director of the Center for Urban Pedagogy (CUP), a New York Based non-profit organization dedicated to using art and design to foster civic participation, winner of the 2016 National Design Award for institutional achievement. His book, "Street Value," about race and retail urban development, was published by Princeton Architectural Press in 2010.
He teaches art and design at the California Institute of the Arts, Pomona College, and Art Center College of Design and has lectured internationally at such institutions as the Netherlands Architectural Institute, Brown University, the University of Chicago, MIT, Princeton, the Maryland Institute College of Art, the California College of the Arts, and the Chicago Art Institute. He has served on the boards of the Los Angeles Forum, Place in History and Groundswell Community Mural Project.
Michael Parker: (b. 1978, New York City; lives and works in LA) received a BA from Pomona College and an MFA from USC. He currently teaches sculpture at California State University, Long Beach. Recent exhibitions include Steam Work at Southern Exposure, San Francisco; Attractions at High Desert Test Sites (HDTS), Utah; R.S.V.P. Los Angeles at the Pomona College Museum of Art; Remembering Victor Papanek at the Armory Center for the Arts, Pasadena; Shitwork with Machine Project at HDTS, California; Juicework at Human Resources, Los Angeles; and The Unfinished at the Bowtie Project, Los Angeles. He is a recipient of the California Community Foundationâs Emerging Artists Fellowship, a Center for Cultural Innovation Artistsâ Resource for Completion grant, and a Printed Matter Award for Artists.
Pearl C. Hsiung : born in 1973 in Taiwan, explores the space that lies between representation and abstraction. Hsiung creates a surreal realm of absurd anthropomorphism and metaphor--where humanity may be absent, yet symbolic traces still linger. Her intensely colorful large-scale canvases, small studies, and performance videos challenge the banality of the pristine images that dominate post-minimalist contemporary art. Even so, her compositions draw on the histories of painting, alluding to European fauvism and surrealism, Chinese landscape painting, American abstraction, and pop aesthetics. Pearl C. Hsiung received her BA at the University of California, Los Angeles (1997) and her MFA at Goldsmiths College, London (2004). Hsiung's work has been featured in the 2006 California Biennial and Disorderly Conduct: Art in Tumultuous Times (2008), both at the Orange County Museum of Art; and the 2006 Busan Biennale in South Korea. Hsiung lives and works in Los Angeles.
Lara Schnitge: (born 1969 in Haarlem, Netherlands) is a Dutch-American sculptor and painter, living and working in Los Angeles and Amsterdam. Schnitger studied at the Royal Academy of Art (The Hague) from 1987 to 1991 and spent a year on a residency at the Kitakyushu Centre for Contemporary Art in southern Japan.
Schnitger works in knitted and sewn textile sculptures, videos and photographs, and has produced a book about art created from mundane materials such as fabric, titled Lara Schnitger: Fragile Kingdom.
Schnitgerâs work has been shown internationally at galleries and museums such as Magasin 3 in Stockholm, the Chinese European Art Center in Xiamen, the Santa Monica Museum of Art, Kunstwerke in Berlin, the UCLA Hammer Museum in Los Angeles, P.S. 1 Contemporary Art Center in New York, The Power Plant in Toronto, and the Royal Academy in London. She participated in the Liverpool Biennial in 1999 and the Shanghai Biennial in 2002. She is represented by Stuart Shave/Modern Art in London, Anton Kern Gallery in New York as well as by Galerie Gebr. Lehmann in Dresden and Berlin.
The Bowtie Project is a partnership between Clockshop and California State Parks to activate an 18-acre post-industrial lot along the LA River. Since 2014, Clockshop has executed over 35 artist projects, performances, and events at the Bowtie.
Bowtie Project
2780 W. Casitas Ave.
Los Angeles, CA 90039
MAP
Formerly a massive rail yard and switching station, the Bowtie was purchased by CA State Parks in 2003 to be developed as a public park and greenway. The Bowtie Project is curated by Clockshop, in close collaboration with CA State Parks. Invited artists are commissioned to create temporary artworks or performances that consider the unique physical properties of the site and engage in timely conversations about the future of the LA River.
Public Programs including the LA River Campouts and Reading By Moonrise provide opportunities for Angelenos of all ages to gather under the stars for traditional campfire programs and readings of new work from contemporary writers.
The Bowtie was formerly the site of a Southern Pacific Railroad train yard and maintenance facility. The railroad closed the facility in 1985, and the structures were razed shortly after, although some concrete foundational relics remain on site. The Bowtie is located along the 7.5-mile Glendale Narrows stretch of the LA River, which connects Los Feliz Boulevard with Figueroa Street. The Glendale Narrows portion of the river is âsoft-bottom,â meaning that it features a naturalized rather than a concrete bed. The site has been identified as a key location for river revitalization.
Through an exclusive partnership formalized in 2015, Clockshop and CA State Parks will continue producing cultural programs at the Bowtie Project for the next several years.
The CCF Fellowship for Visual Artists is celebrating 28 years of playing an active role in supporting local visual artists in Los Angeles.
Los Angeles County is rich with creativity. We are a community where cultures converge to create a beautiful mélange of originality, diversity, synchronicity and dissonance. This energy has helped establish L.A. as a world-class art capital and a place where we proudly practice, support and value a wide array of artistic endeavors.
The CCF Fellowship for Visual Artists is just one of many ways that the California Community Foundation supports the arts by supporting those responsible for its very creation â artists.
The Fellowship brings together artists, arts patrons, and the community, creating a mutually beneficial program that has supported 274 artists over the last 28 years. We invite you to get involved and celebrate an artist today.
Together, we help L.A. artists thrive.
Featuring Michelle Pfeiffer as Catwoman. Stick-up street art seen at night.
More Liz Art, Berlin: www.instagram.com/liz_art_berlin/
More Lembo: www.instagram.com/lemboart/
Featuring graffiti from Korea! Another excellent zine by OC. Edition of 150 available at ratmilkzine.bigcartel.com
The new Elsa 16'' Deluxe Feature Singing Doll has been fully deboxed. She is posed standing, holding the snowflake scepter in her right hand. She is supported by a Kaiser stand (not included).
I've finally gotten around to deboxing the Elsa Deluxe Feature Doll. I am way more impressed with her than I thought I would be. As with the Rapunzel Feature doll, the Try Me button on Elsa makes her sing about 10 seconds of Let It Go, and the lights in her forearms and cape turn on. The ten lights on the cape alternately light up on one side then the other as she sings. Once the Try Me button is detached from the front window, we can slide the doll out from the bottom of the box. The Try Me button is attached to her back, along with the lights on her cape. After the Try Me button is unplugged from her back, Elsa's sound and lights are triggered by sliding her ice swirl accessory a little way along her right hand. It is a bit hard to do the first time you try it, as the fit is very snug on her hand, and you have to push the bottom of the accessory very hard to get it to switch on her special effects. She sings about 30 seconds of Let It Go, the same segment as the older 16 inch singing Elsa doll. The singing is very clear, and just the right volume. I haven't compared the old doll with the new yet, as I need to replace the batteries on the old doll. The most outstanding feature of the doll is her cape, which has a glittery pattern of snowflakes and icicles completely covers the cape, and is even more detailed than the Classic Elsa's cape. It is slightly longer than floor length, so can hold its position. It is fully lined, to enclose the lights inside the cape. The other awesome feature of the doll are her semi transparent blue ice heels, which also have some glitter embedded.
Elsa Deluxe Feature Doll - 16'' H
now $29.95
reg $49.95, you save: 40%
Item No. 6002040901302P
Frozen delight
Empower any Frozen collection when unboxing this stunning Deluxe Doll to surprise all with her beautiful sculpturing, glittering costume, and special play features. Elsa's snowflake scepter lights up as she sings!
Magic in the details...
• Place snowflake scepter on Elsa's hand to see it light-up while she sings
• Detailed costume
• Glitter accents
• Braided, rooted hair
• Includes snowflake power accessory
• Comes in collector's display box with satin carry strap
• Part of the Disney Deluxe Feature Doll Collection
The bare necessities
• Ages 3+
• Requires 6 x LR44/AG13 button cell batteries, included
• Plastic / polyester
• Doll: 16'' H
• Imported
Safety
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.
This photo was taken from a sequence of images used to create a time-lapse of the sunset. The time-lapse is viewable online here: www.youtube.com/watch?v=G6pbSU9eZQE
Those of us fortunate enough to live and work at Hume Lake have the opportunity to simply walk outside each day at sunset and see this amazing display of God's creation. The crazy this is that we don't always take advantage of that opportunity. You may not live near our nation's deepest canyon or largest tree like we do, but you're still surrounded by God's creation. Take a few moments today to walk outside and take note of the beauty of God's creation and give Him the praise He deserves!
Tim Holdsclaw, a Pittsburg State University senior, lines up his shot at the Phi Sigma Kappa recruitment event on Wednesday, January 16, 2013. Every semester, all of the Greek organizations on campus organize events to try and recruit more members. (Photo by Kelsey Kirkpatrick)
An invaluable mobile app helping Kenyan pastoralists beat the drought
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©ITU/Trans.Lieu
Stylish Ladies leather Blazer Coat Single
Featured:
Cape collar | Long sleeves with band cuffs | Single breasted ruffled closure — 100% Genuine Leather (shell) | 100% Polyester (body & sleeve lining) | Available color(s): Black, Dark Brown, Tan Brown, Navy Blue or Red (can be customized upon request)
Design, Color & Size customization possible on all our Leather Jackets for Women (Regular, Slim Fit, Petite, Short, Big & Tall, Plus sizes, Kids, Girls, Teens, Unisex sizes available) – Select Custom – Made to Measure in size to opt for this option — Perfect for Valentine day, Halloween, Dating, nightclub, carnival, cosplay, bar, masquerade costumes, dancing, music festival clothing, rave outfits, concert clothes, party attire, club party, self-pleasure, role play & other events
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ICT Discovery
ITU photos are subject to copyright by ITU (and the photographer, if indicated). ITU photos are shared for information purposes and may be re-used under the Creative Commons license CC BY-NC-ND: This license allows reusers to copy and distribute the material in any medium or format in unadapted form only, for noncommercial purposes only, and only so long as attribution is given to the creator/s. More details on Creative Commons licenses are available at www.creativecommons.org.
©ITU/Rowan Farrell
The mills are an important feature of Maynard's development. The earliest saw and grist mills were built in the early 18th century. Two of the earliest mills were the Puffer Mill and the Asa Smith's Mill, which were located on Taylor Brook and Mill Street, respectively. These were the first mills to use the Assabet River for power; therefore, they were very slow and sluggish. The grist and saw mill were then followed by paper mills, which were built starting in 1820.
The Mill is easily Maynard's most prominent feature. The complex takes up 11 acres in the middleof what we call downtown. The Mill complex began in 1847 as set of wooden buildings used to manufacture carpets and carpet yarn. Amory Maynard helped construct this mill. His partner, William H. Knight, helped him build a dam across the Assabet and dug a canal channeling a portion of the river into what is called Mill Pond. The Mill changed hands a few times but it would eventually become the largest woolen factory in the world till the 1930s.
The 1950's ushered in a change from textiles to businesses like computer manufacturing. With the start of the final decade of the century the Mill is on the cusp of being transformed again.
It is said that "as the Mill goes, so goes Maynard". While the town isn't as dependent on the Mill as it was in 19th century it continues to play an important role in shaping the character of the town.
We hope you enjoy this historical perspective of the Mill. It has been pieced together from a variety of sources and continues to be enriched as we discover new materials to include, increase the number of hyperlinks and add pictures, diagrams, and sound..
The Mill from 1847 to 1977
The site of the mill was once part of the town of Sudbury, while the opposite bank of the Assabet River belonged to Stow. The present town, formed in 1871, was named for the man most responsible for its development, Amory Maynard.
Born in 1804, Maynard was running his own sawmill business at the age of sixteen. In the 1840's, he went into partnership with a carpet manufacturer for whom he'd done contracting. They dammed up the Assabet and diverted water into a millpond to provide power for a new mill, which opened in 1847, producing carpet yarn and carpets. Only one of the original mill buildings survives: it was moved across Main Street and now is an apartment house.
Amory Maynard's carpet firm failed in the business panic of 1857. But the Civil War allowed the Assabet Manufacturing Company, organized in 1862 with Maynard as the managing "agent", to prosper by producing woolens, flannels and blankets for the army. This work was carried on in new brick mill buildings.
Expansion of the mill over many years is evidenced by the variations in the architecture of the structures still standing.
The oldest portion of Building 3 dates from 1859, making it the oldest part of the mill in existence today, but several additions were made afterwards. Buildings constructed in the late 1800's frequently featured brick arches over the windows, and at times new additions were made to match neighboring structures.
The best-known feature is the clock donated in memory of Amory Maynard by his son Lorenzo in 1892. Its four faces, each nine feet in diameter, are mechanically controlled by a small timer inside the tower. Neither the timer nor the bell mechanism has ever been electrified; custodians still climb 120 steps to wind the clock every week- 90 turns for the timer and 330 turns for the striker.
Amory Maynard died in 1890, but his son and grandson still held high positions in the mill's management. The family's local popularity plummeted, however, when the Assabet Manufacturing Company failed late in 1898. Workers lost nearly half of their savings which they had deposited with the company, since there were no banks in town. Their disillusionment nearly resulted in changing the town's name from Maynard to Assabet.
Prosperity returned in 1899 when the American Woolen Company, an industrial giant, bought the Assabet Mills and began to expand them, adding most of the structures now standing. The biggest new unit was Building 5, 610 feet long which contained more looms than any other woolen mill in the world. Building 1, completed in 1918, is the newest; the mill pond had been drained to permit construction of its foundation. These buildings have little decoration, but their massiveness is emphasized by the buttress-like brick columns between their windows.
The turn of the century saw a changeover from gas to electric lights at the mill. Until the 1930's the mill generated not only its own power but also electricity for Maynard and several other towns. For years the mill used 40-cycle current. Into the late 1960's power produced by a water wheel was used for outdoor lighting, including the Christmas tree near Main Street. The complex system of shafts and belts once used to distribute power from a central source was rendered obsolete by more efficient small electric motors, just as inexpensive minicomputers have often replaced terminals tied to one large processor.
As the mill grew, so did the town. Even in 1871, the nearly 2,000 people who became Maynard's first citizens outnumbered the people left in either Sudbury or Stow. Maynard's first population almost doubled in the decade between 1895 and 1905, when reached nearly 7,000 people. Most of the workers lived in houses owned by the company, many of which have been refurbished and are used today. The trains that served th town and the mill, however, are long gone - the depot site is now occupied by a gas station.
Most of the original mill workers had been local Yankees and Irish immigrants. But by the early 1900's, the Assabet Mills were employing large numbers of newcomers from Finland, Poland, Russia and Italy. The latest arrivals were often escorted to their relatives or friends by obliging post office workers. The immigrants made Maynard a bustling, multi-ethnic community while Stow, Sudbury and Acton remained small, rural villages. Farmers and their families rode the trolley to Maynard to shop and to visit urban attractions then unknown in their own towns, including barrooms and movie houses.
Wages were low and the hours were long. Early payrolls show wages of four cents an hour for a sixty hour week. Ralph Sheridan of the Maynard Historical Society confirmed that in 1889 his eldest brother was making 5 1/2 cents an hour in the mill's rag shop at the age of fourteen, while their father was earning 16 1/2 cents per hour in the boiler room. (As of 1891 one-eighth of the workers were less than 16 years old, and one-quarter were women.)
Sheridan's own first job at the mill, in the summer of 1915, paid $6.35 for a work week limited to 48 hours by child labor laws. The indestructible "bullseye" safe still remains in the old Office Building.
Sheridan remembers the bell that was perched on top of Building 3:
"...the whistle on the engine room gave one blast at quarter of the hour, and then at about five minutes of the hour the gave one blast again. And everyone was supposed to be inside the gate when that second whistle blew. And then at one minute of the hour this bell rang just once, a quick ring- and we referred to it as "The Tick" because of that..... everybody was supposed to start work at that time, at that moment."
A worker was sent home if he'd forgotten to wear his employee's button, marked "A.W.Co.,Assabet".
The millhands really had to work, too. Sheridan recalls one winter evening when there was such a rush to get out an order of cloth for Henry Ford that the men were ordered to invoice it from the warehouse, now Building 21, instead of from the usual shipping room:
"There was no heat in the building, never had been. And it was so cold that I remember that I had to cut the forefinger and the thumb from the glove that I was wearing in order to handle the pencil to do the invoicing....the yard superintendant at the time brought in some kerosene lanterns and put 'em under our chairs to keep our feet warm."
Building 21, built out over the pond, remained unheated until DIGITAL took it over.
As in most Northern mill towns, labor relations were often troubled. In 1911 the company used Poles to break the strike of Finnish workers. When no longer able to play off one nationality against another, management for years took advantage of rivalries between different unions. The Great Depression hit the company hard, however. In 1934 it sold all the houses it owned, mostly to the employees who lived in them; and New Deal labor laws encouraged the workers to form a single industrial union, which joined the C.I.O.
World War II brought a final few years of good times to the woolens industry. The mill in Maynard operated around the clock with over two thousand employees producing such items as blankets and cloth for overcoats for the armed forces. But when peace returned, the long-term trends resumed their downward drift, and in 1950 the American Woolen Company shut down its Assabet Mills entirely. Like many New England mills, Maynard's had succumbed to a combination of Southern and foreign competition, relatively high costs and low productivity, and the growing use of synthetic fibers.
'Til then a one-industry town, Maynard was in trouble. In 1953, however, ten Worcester businessmen bought the mill and began leasing space to tenants, some of which were established firms, while others were just getting started. One of the new companies which found the low cost of Maynard Industries' space appealing was Digital Equipment Corporation, which started operations in 8,680 square feet in the mill in 1957.
A Mill Chronology
1846 Amory Maynard and William Knight form Assabet Mills.
1847 Maynard and Knight install a water wheel and build a new factory on the banks of the Assabet River.
1848 The Assabet Mills business is valued at $150,000.
The Lowell and Framingham Railroad carries passengers over branch road.
1855 The Mill now has three buildings on the site. Massachusetts is producing one-third of the textiles in the United States.
1857 Assabet Mills collapses after a business panic. The Mill complex is sold at an auction.
1862 The Mills are reorganized as Assabet Manufacturing Company. This involve replacing wooden buildings with brick, and the installation of new machinery. To fulfill contracts to the government during the Civil War production is switched from carpets to woolen cloth, blankets, and flannel.
The first tenement for employees are also constructed.
1869 Millhands peition President Ulysses S. Grant for a shorter work week ... 55 hours.
1871 The Town of Maynard incorporates. The population stands at 2,000
1888 A reservoir is installed for $70,000 to supply a growing population.
1890 The Assabet Manufacturing Company is valued at $1,500,000.
1892 Lorenzo Maynard donates clock in his father's name.
The Mill Complex contains seven buildings.
1898 Assabet Manufacturing Company declares bankruptcy. Many people in town lose much of their savings as banks have not yet been established.
1899 American Woolen Company purchases the Mill complex for $400,000. This company would eventually control 20% of the woolen textile market in the U.S. Wool was shipped all over the country to keep up with demand.
1901 160 additional tenements are constructed with their own sewage system. The streets are named after U.S. presidents.
The first electric trolley in Maynard begins service.
Building Number 5, the Mill complex's largest, is built in nine months. Electric power is introduced with the addition of dynamos on site.
1906 The Mill complex now has 13 buildings.
1910 The Mill complex grows to 25 buildings. Floor space is at 421,711 square feet. The property takes up 75 acres.
1918 With the addition of three new buildings the American Wollen Company and the Mill are in their heyday. The fortunes of the industry begin to decline over the next 30 years.
1947 After a brief spell of prosperity during World War II, the Mill phases out production as demand for woolen goods declines.
1950 Mill closes. 1,200 employees lose their jobs.
1953 Maynard Industries, Inc. purchases the Mill for $200,000. Space is rented to business and industrial tenants.
1957 Three engineers set up shop on the second floor of Building 12. With $70,000 and 8,600 square feet of rented space Digital Equipment Corporation is formed.
1960 Over thirty firms are located within the Mill complex.
1974 Digital Equipment Corporation purchases the entire Mill complex for $2.2 million. The Mill has over 1 million square feet in 19 buildings residing on 11 acres.
1992 The 100th anniversary of the Mill Clock is celebrated.
1993 Digital Equipment Corporation announces that it plans to leave the Mill complex. A search for a new tenant is started.
1995 Franklin Life Care purchases the Mill. Digital continues to rent space in Building 5.
1998 Mill purchased by Clock Tower Place.
Sources
* "Digital's Mill 1847-1977", a brochure published by Digital Equipment Corporation in 1977.
* "A Walk Through the Mill...", published by Digital Equipment Corporation for the Mill Clock Centennial.
Sculpture To celebrate
Jeremiah Horrocks
Born: 1619
Birthplace: Toxteth Park, Merseyside, England
Died: 3-Jan-1641
Location of death: Toxteth Park, Merseyside, England
Cause of death: unspecified
Gender: Male
Religion: Anglican/Episcopalian
Race or Ethnicity: White
Occupation: Astronomer
Nationality: England
Executive summary: Observed transit of Venus
Sunday night of Miami Fashion Week featured collections by Miguel Angel Leal for Cristian Lay and Agatha Ruiz de la Prada.
Blackpool illuminated feature tram 732 'The Rocket', Talbot Square, Blackpool. Saturday 07 October 1972
Photograph copyright: Ian 10B. Slide No. 643
Deboxing the Rapunzel Feature Doll. Rapunzel's inner box slides out from the bottom, not the top of the box. First you have to detach the 'try me' switch from the front window by undoing two layers of tape. Once freed from the tape, it can be pushed back through a hole in the box to fall inside the box. The other end of the switch plugs into a socket in the back of the doll, and is detachable once the doll is deboxed. Then the doll is removed from the box, still attached to the inner backing. The backing can free stand, and now the doll is in the clear.
The recently released Disney Store Deluxe Feature Rapunzel Doll. She is part of the line of new 16 inch singing Princess dolls for 2015. They not only sing, but each also comes with an accessory and have other special features. They also come in a sturdy reusable box with a satin carrying handle. They are available online and in stores in North America, and cost $49.95 each. Rapunzel I think is the most impressive doll in the line, and the most different from previous singing dolls of the same character.
Once the 'try me' switch is detached, you trigger the sound and lights by sliding the lantern back and forth a little way along her hand. There is a LED light in the palm of her hand that flickers while she is singing, and lights up the lantern. She sings about 35 seconds of the 'Healing Incantation' song very clearly and just the right volume. The sound is better than any previous DS singing doll that I have heard. The gentleness of the song, with accompanying lights, and the beauty of the doll, makes for a very moving experience. I don't think I will get tired of hearing the song and seeing the lights on this doll.
Featuring a silk tie I made today… pink bodysuit from Where It’s At Poppy and Shorts from Pop of Color Annik 💜💗💜
UK Chocolate Nation at Notting Hill Carnival, Sunday 26th August 2012.
Here are some videos I took of this Mas :)
www.youtube.com/watch?v=HPz0ImZRVyc&feature=plcp
www.youtube.com/watch?v=W-GfkdBFHa8&feature=plcp
www.youtube.com/watch?v=a_fezlnu9TI&feature=plcp
www.youtube.com/watch?v=vLIprp2yA00&feature=plcp
ReadyPay, Uganda solar energy mobile app
ITU photos are subject to copyright by ITU (and the photographer, if indicated). ITU photos are shared for information purposes and may be re-used under the Creative Commons license CC BY-NC-ND: This license allows reusers to copy and distribute the material in any medium or format in unadapted form only, for noncommercial purposes only, and only so long as attribution is given to the creator/s. More details on Creative Commons licenses are available at www.creativecommons.org.
©ITU/Trans.Lieu