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WeChat Shake function for finding new friends. Image from North China taken as part of UCL Social Networking Sites & Social Science Research Project.
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Dual SIM card, dual standby
Bluetooth function
2G TF card for free
General
Network compatibility: GSM 900/1800MHz
Language: Chinese, English, French, Spanish, German, Indonesian, Malay, Vietnamese, Turkish, Russian, Arabic, Persian etc.
Color: sliver
Shape: bar phone
Size & Weight
Dimensions: 108 * 53 * 13mm
Weight: 115g
Display
Screen: 3.0 inch 26K color QVGA screen 240 * 320 pixels
Entertainment
Video: 3GP, MP4, 3GP/MP4 full screen play, support the fast forward / pause
Audio: MP3 and background play, support equalizer, good bass effect
Radio: FM
Ringtone: 64 chords; MP3, MIDI , MP4 supported
Built-in game: NES game
Digital Camera
Camera pixels: 640 * 480
Support audio MP4 video filming
Image format: jpg, gif
Memory
Phonebook: capacity 500
Expandable memory capacity: supports 493K TF card format for additional storage up to 2GB
Features
Bluetooth function
Data transfer: U disk / data line direct-reading, Bluetooth file transfer
WAP function
GPRS download
200 SMS, MMS
Power on / off
Handwriting + keyboard input
Support the telephone recording
Calculator
Memos
Calendar
IP dial
Stopwatch
Exchange rate
World time
Health management
Battery
Battery type: 13800mAh, and free offer another battery with capacity of 8800mAh
Talk time: 200-320 minutes
Standby time: 150-200 hours
Package Included
2 * batteries (13800mAh, and 8800mAh)
1 * battery charger
1 * earphone
1 * USB cable
1 * 2G TF card
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Sophie von Hellerman & Josh Smith at Museum Dhondt-Dhaenens, Deurle, Belgium.
This duo exhibition functions as an intense dialogue between the works of two very different artists. While Sophie von Hellermann (1975, Germany) makes large-scale compositions in which she develops a visual language that is both fairy tale-like and imaginative, Josh Smith (1978, USA) creates paintings in which his personal approach is always the underlying base of the work. The exhibition is an investigation into both identity and uniqueness, and fundamental approaches in painting. This project is curated by Anne Pontégnie and realised in collaboration with Le Consortium from Dijon.
www.vilmagold.com/newpages/artists/sophie1a.htm
www.leconsortium.com/?Expositions:Expositions_pass&ea...
"L'exposition associe et confronte les œuvres de deux peintres de la même génération : Sophie von Hellermann (Munich, 1975, vit et travaille à Londres) et Josh Smith (1976, Tennessee, vit et travaille à NY).
Tous deux partagent une approche de la peinture comme processus de création continue, un flux dont la quantité remet en cause la notion même de chef d'œuvre et ouvre des pistes pour ouvrir un espace pictural renouvelé. Pourtant, leur énergie et liberté communes s'expriment dans des projets radicalement différents.
Comme d'autres artistes de sa génération, von Hellerman s'autorise à puiser dans l'histoire de la peinture et des libertés progressivement acquises pour creuser sa voie singulière. A partir cet espace, l'artiste utilise la peinture comme un instrument qui lui permet tout à la fois de s'approprier et de s'absenter de la réalité. Les tableaux de Sophie von Hellermann condensent chacun une histoire, parfaitement contenue dans les limites du cadre, mais trouée de l'intérieur. Ces espaces vides donnent leur pouvoir d'évocation à ses œuvres, une capacité à absorber d'abord le regard avant d'ouvrir l'imaginaire et la mémoire de la sensation. Les sujets de sa peinture, essentiellement narrative, sont à l'intersection d'une histoire personnelle et d'une histoire collective qui nourrit son imaginaire, sans qu'une frontière bien définie existe entre les deux. Une exécution rapide et une production abondante, un style désinvolte, des narrations qui confondent son expérience quotidienne et des situations rencontrées dans la fiction ou dans l'histoire, un amalgame permanent entre le trivial et le grandiose sont autant d'instruments qu'elle utilise pour transgresser toutes les règles de la bienséance picturale.
Smith se réfère plus explicitement à une histoire de la peinture qui, dans son épuisement, pesait comme une menace castratrice sur ses aînés et qu'il transforme en un répertoire de formes, libre de droits. Avec ses références explicites à l'histoire de la peinture, son style « expressif », ses effets de signature et son absence de sujet, l'œuvre de Josh Smith pourrait paraître inactuelle. C'est que Smith refuse d'utiliser signes et sujets pour affirmer sa contemporanéité. Comme tous ceux auxquels il se réfère - Kirchner, Picasso, Haring ou Wool - Smith n'utilise pas la peinture pour illustrer un projet, mais choisit de penser « en peinture ». La quantité d'œuvres qu'il produit - un phénomène qu'il choisit de mettre en scène dans ses installations - témoigne de cette pensée en marche. Le tableau n'est pas envisagé comme le lieu clos d'un achèvement, mais comme une étape dans un processus continu de création. L'étanchéité de la frontière qui sépare l'original et de sa reproduction - déjà compromise depuis les années 60 par l'utilisation de la sérigraphie - est minée de l'intérieur par la prolifération des originaux. Cette stratégie permet à Smith de s'émanciper d'un système hiérarchique qui fait le tri entre œuvres majeures et œuvres mineures pour mettre en évidence le mouvement même de la création. Dans un monde de flux incessants, de marchandises et d'images, Smith parvient à proposer un flux alternatif, qui vient rompre la répétition du même. L'authenticité n'est pas à chercher du côté d'une subjectivité triomphante dont la signature et l'expressivité marqueraient le retour, mais d'une recherche frénétique où sujet et œuvre se coproduisent et se modifient sans cesse." (extrait)
Anne Pontégnie.
Clock towers were first built in Ottoman territories in the 16th century and would often also function as barometers, windmills, compasses, fire watchtowers or meeting points. After the decleration of the Republic of Turkey, cities were built around clock towers, especially in Anatolia. Only 52 of 144 clock towers built during the Ottoman period still exist today.
#SALTResearch, Ali Saim Ülgen Archive
Saat kuleleri Osmanlı topraklarında 16. yüzyılda görülmeye başlandı; saatçiliğe meraklı olan II. Abdülhamid’in tahta çıkışının 25. yıl dönümünde (1901) valilere gönderdiği “irade” (ferman) ile vilayet ve sancaklara yayıldı. Halkın görebileceği yüksek bir tepeye, şehrin en kalabalık meydanına ya da kale, cami gibi tarihî yapıların üstüne inşa edilen saat kuleleri, aynı zamanda barometre, rüzgâr gülü, pusula, yangın gözetleme yeri ve buluşma noktası işlevi görürdü. Cumhuriyet’le birlikte özellikle Anadolu’daki kentler, kuleler çevresinde meydan oluşturulacak şekilde kurulmuştur. Osmanlı döneminde yapılan 144 saat kulesinden 52’si günümüze ulaşmıştır.
#SALTAraştırma, Ali Saim Ülgen Arşivi
Repository: SALT Research
Rights Info: This material can be used under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license.
The clubhouse at Rakehill Road, home to Scarcroft Cricket Club. Captured during the final of the Leeds & Wetherby Cricket League's Senior Evening 100 Ball Cup Final. Leeds Caribbean pipped First Division championship rivals Scarcroft by eight runs.
Scholes's original clubhouse was destroyed in August 2016 by teenage arsonists. Its replacement, paid for partly by fundraising activities in the village, was unveiled in September 2017.
Captain Mubtada Akhtar led by example for Leeds Caribbean. He struck 60 in a fine fourth wicket partnership with wicketkeeper Haseen Bashir (47). It transformed the Potternewton men's innings, advancing them to 123-4 from 29-3. Akhtar then took 2-17 from his 20 balls.
Leeds Caribbean reached 94-3 at halfway. Over the second 50 balls, Scarcroft did well to apply the brakes, restricting the opposition to 147-8. Sebastian Joseph (2-28), Dilip Sarathy (2-34) and South African James Van Der Merwe (2-40) shared the bulk of the wickets.
Scarcroft's reply had a sound start. They were 52-0 after 25 balls. Van Der Merwe (51), dropped during the early stages, and Chris Page (35) put on 81 for the first wicket. Scarcroft then slumped to 104-4 after 75 balls. They required 39 off 20 and 32 from 10. Despite some big hitting (including two sixes) from Dhilin Goven (26 not out), Scarcroft fell agonisingly short, at 139-6. Bashir took 2-28.
Match statistics
Leeds Caribbean versus Scarcroft
Leeds & Wetherby Cricket League, 100 Ball Senior Evening Cup, final tie @ Scholes Cricket Club (3pm start)
Admission: Free. Programme: none. Attendance: 48. Leeds Caribbean won the toss and elected to bat. Leeds Caribbean 147-8 off 100 balls (Mubtada Akhtar 60, Haseen Bashir 47, Sebastian Joseph 2-28) beat by eight runs Scarcroft 139-6 off 100 balls (James Van Der Merwe 51, Chris Page 35, Haseen Basher 2-28).
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Christmas card ideas.
Quick run through of the camera functions, just to make sure I didn't miss anything. LIke the frame counter..d'oh! Later on, I did test the flash circuits, but didn't video them.
This is my first diy tube audio amplifier.
I used premium version, russian military tubes(6п14п-ев and 6н1p-ев) and resistors. It works in single ended class A and delivers up to 5W of worm sound.
The high-end flash (HVL-56AM) has a strobe function meaning it can fire multiple flashes during one exposure.
I set it up to flash with a frequence of 30 hertz, so 30 flashes per second and to stop after 10 flashes.
This makes the total flash period 10/30 = 1/3 second. I set the shutterspeed of the camera to the same value.
I made several objects fall from a hight of about 2,5 meters.
Shots are best taken in a darkish environment so the flash is the only light source on the falling object.
Because the flash fires 10 times in theory you can get the object 10 times in the same frame. But then you have to get everything right:
1. Precise release moment.
2. Allowing time for the object to drop into the frame.
3. Have the object drop more or less straight down.
4. Finish the exposure before the object hits the ground or falls out of the frame.
I managed about 5 exposures.
In order to drop the object synched with the start of the exposure I used a remote control (wired) in combination with a timer delayed exposure. My timer delay (2 secs) gives 6 beeps before the exposure starts. Depending on the air-resistance of the object I let go on the 5th or 6th beep. It takes some practising but you´ll get the hang of it soon.
Camera settings full manual ofcourse.
Manual focus your camera first by holding the object still in the falling trajectory. AF is fast these days, but not that fast.
Exposure should be fully manual to. Shutterspeed is calculated from the flash frequency and number of flashes, it must not be shorter.
The amount of light is determined by the flash. I set mine to flash at 1/32 of maximum power. Times ten for a single exposure makes 10/32 = 1/3 of maximum output.
With this being predetermined you only have your aperature to control the exposure (ISO fixed at 100). Set it by trial and error.
Not perfect yet but it's fun trying.
The cognitive function of older adults with profound hearing loss significantly improved after undergoing cochlear implantation, according to a new study.
healthnews.juicyworldnews.com/uncategorized/medical-news-...
function, implantation, loss, patients, symptoms
Sculpture in front of the Massachusetts Institute of Technology (MIT), Cambridge, MA, USA.
Title in the context of longing4humanity: "Functioning"
This fountain is about five ft wide by three ft high, with three granite slabs and brass fittings at the top and bottom. It's made, I think, by Water Wonders. Probably retails around a couple-three Gs. Of the dozen or so I've seen of various sizes in my day-to-day travails, only about two have been working.