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This is Grumpy.
Grumpy is a robot build with Lego Power Functions. He can pick things up and drop them where they belong. To give him a little personality, he can shake his had and raise his eyebrows.
All functions are done with only four motors.
Riverside Ranch Restoration Project - The California Coastal Conservancy was awarded $1 million to help restore the natural ecosystem functions of the Salt River Delta in the Eel River estuary. The total project cost is $2,001,150. The Eel River estuary is the second largest estuary in California and lies just south of Humboldt Bay. The 446-acre Riverside Ranch sits at the confluence of the Salt and Eel Rivers was acquired with a 2007 National Coastal Wetland Conservation Grant. The Salt River watershed has been degraded by a century of diking and other landscape modifications. This project will restore and enhance a total of 334 acres of estuarine tidal marsh, riparian forest, and other estuarine habitats, and 112 acres of associated uplands for numerous Federal and State listed and other wetland-dependent fish and wildlife species. It will restore a functional tidal ecosystem, restore habitat for special status species, and reduce flooding by restoring tidal prism, sediment transport, and floodplain connectivity. The project area will be managed by the California Department of Fish and Game as part of the Eel River Wildlife Area. (California Coastal Conservancy - with permission)
Modular Pulmonary Function Testing equipment, Spirometry, FRC, TGV, DLCO and full Cardio Pulmonary Exercise Testing in one single solution www.cosmed.com/en/products/pulmonary-function
It is some years, maybe 5 or more, since we last visited the cathedral in Canterbury. In the spring, I found the entrance to St Augustine's Abbey, so the plan yesterday was to visit them both.
I arrived just after ten, soon after it opened its doors, and was shocked to find that the multi-entry you used to get after paying your entrance fee had been discontinued. When I tried to ask the young man at the ticket office, he wasn't really able to speak much English to explain this to me, repeatedly holding one finger up at me as I asked the questions. £10.50, is not bad, I guess, especially as photography is allowed everywhere, except in the crypt, so I don't mind paying.
The site has been a place of worship probably since Roman times, and in the grounds of St Augustine's, just a short distance away, remains of a 7th century church still remain. What we see now in the cathedral is largely Norman, but with many improvements over the centuries.
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Canterbury Cathedral in Canterbury, Kent, is one of the oldest and most famous Christian structures in England and forms part of a World Heritage Site. It is the cathedral of the Archbishop of Canterbury, leader of the Church of England and symbolic leader of the worldwide Anglican Communion; the archbishop, being suitably occupied with national and international matters, delegates the most of his functions as diocesan bishop to the Bishop suffragan of Dover. Its formal title is the Cathedral and Metropolitical Church of Christ at Canterbury.
Founded in 597, the cathedral was completely rebuilt from 1070 to 1077. The east end was greatly enlarged at the beginning of the twelfth century, and largely rebuilt in the Gothic style following a fire in 1174, with significant eastward extensions to accommodate the flow of pilgrims visiting the shrine of Thomas Becket, the archbishop who was murdered in the cathedral in 1170. The Norman nave and transepts survived until the late fourteenth century, when they were demolished to make way for the present structures.
Christianity had started to become powerful in the Roman Empire around the third century. Following the conversion of Augustine of Hippo in the 4th century, the influence of Christianity grew steadily .[2] The cathedral's first archbishop was Augustine of Canterbury, previously abbot of St. Andrew's Benedictine Abbey in Rome. He was sent by Pope Gregory the Great in 596 as a missionary to the Anglo-Saxons. Augustine founded the cathedral in 597 and dedicated it to Jesus Christ, the Holy Saviour.[3]
Augustine also founded the Abbey of St. Peter and Paul outside the city walls. This was later rededicated to St. Augustine himself and was for many centuries the burial place of the successive archbishops. The abbey is part of the World Heritage Site of Canterbury, along with the cathedral and the ancient Church of St Martin.
Bede recorded that Augustine reused a former Roman church. The oldest remains found during excavations beneath the present nave in 1993 were, however, parts of the foundations of an Anglo-Saxon building, which had been constructed across a Roman road.[5][6] They indicate that the original church consisted of a nave, possibly with a narthex, and side-chapels to the north and south. A smaller subsidiary building was found to the south-west of these foundations.[6] During the ninth or tenth century this church was replaced by a larger structure (49 m. by 23 m.) with a squared west end. It appears to have had a square central tower.[6] The eleventh century chronicler Eadmer, who had known the Saxon cathedral as a boy, wrote that, in its arrangement, it resembled St Peter's in Rome, indicating that it was of basilican form, with an eastern apse.[7]
During the reforms of Dunstan, archbishop from 960 until his death in 988,[8] a Benedictine abbey named Christ Church Priory was added to the cathedral. But the formal establishment as a monastery seems to date only to c.997 and the community only became fully monastic from Lanfranc's time onwards (with monastic constitutions addressed by him to prior Henry). Dunstan was buried on the south side of the high altar.
The cathedral was badly damaged during Danish raids on Canterbury in 1011. The Archbishop, Alphege, was taken hostage by the raiders and eventually killed at Greenwich on 19 April 1012, the first of Canterbury's five martyred archbishops. After this a western apse was added as an oratory of St. Mary, probably during the archbishopric of Lyfing (1013–1020) or Aethelnoth (1020–1038).
The 1993 excavations revealed that the new western apse was polygonal, and flanked by hexagonal towers, forming a westwork. It housed the archbishop's throne, with the altar of St Mary just to the east. At about the same time that the westwork was built, the arcade walls were strengthened and towers added to the eastern corners of the church.
The cathedral was destroyed by fire in 1067, a year after the Norman Conquest. Rebuilding began in 1070 under the first Norman archbishop, Lanfranc (1070–77). He cleared the ruins and reconstructed the cathedral to a design based closely on that of the Abbey of St. Etienne in Caen, where he had previously been abbot, using stone brought from France.[9] The new church, its central axis about 5m south of that of its predecessor,[6] was a cruciform building, with an aisled nave of nine bays, a pair of towers at the west end, aiseless transepts with apsidal chapels, a low crossing tower, and a short choir ending in three apses. It was dedicated in 1077.[10]
The Norman cathedral, after its expansion by Ernulf and Conrad.
Under Lanfranc's successor Anselm, who was twice exiled from England, the responsibility for the rebuilding or improvement of the cathedral's fabric was largely left in the hands of the priors.[11] Following the election of Prior Ernulf in 1096, Lanfranc's inadequate east end was demolished, and replaced with an eastern arm 198 feet long, doubling the length of the cathedral. It was raised above a large and elaborately decorated crypt. Ernulf was succeeded in 1107 by Conrad, who completed the work by 1126.[12] The new choir took the form of a complete church in itself, with its own transepts; the east end was semicircular in plan, with three chapels opening off an ambulatory.[12] A free standing campanile was built on a mound in the cathedral precinct in about 1160.[13]
As with many Romanesque church buildings, the interior of the choir was richly embellished.[14] William of Malmesbury wrote: "Nothing like it could be seen in England either for the light of its glass windows, the gleaming of its marble pavements, or the many-coloured paintings which led the eyes to the panelled ceiling above."[14]
Though named after the sixth century founding archbishop, The Chair of St. Augustine, the ceremonial enthronement chair of the Archbishop of Canterbury, may date from the Norman period. Its first recorded use is in 1205.
Martyrdom of Thomas Becket
Image of Thomas Becket from a stained glass window
The 12th-century choir
A pivotal moment in the history of the cathedral was the murder of the archbishop, Thomas Becket, in the north-west transept (also known as the Martyrdom) on Tuesday, 29 December 1170, by knights of King Henry II. The king had frequent conflicts with the strong-willed Becket and is said to have exclaimed in frustration, "Who will rid me of this turbulent priest?" The knights took it literally and murdered Becket in his own cathedral. Becket was the second of four Archbishops of Canterbury who were murdered (see also Alphege).
The posthumous veneration of Becket made the cathedral a place of pilgrimage. This brought both the need to expand the cathedral and the wealth that made it possible.
Rebuilding of the choir
Tomb of the Black Prince
In September 1174 the choir was severely damaged by fire, necessitating a major reconstruction,[15] the progress of which was recorded in detail by a monk named Gervase.[16] The crypt survived the fire intact,[17] and it was found possible to retain the outer walls of the choir, which were increased in height by 12 feet (3.7 m) in the course of the rebuilding, but with the round-headed form of their windows left unchanged.[18] Everything else was replaced in the new Gothic style, with pointed arches, rib vaulting and flying buttresses. The limestone used was imported from Caen in Normandy, and Purbeck marble was used for the shafting. The choir was back in use by 1180 and in that year the remains of St Dunstan and St Alphege were moved there from the crypt.[19]
The master-mason appointed to rebuild the choir was a Frenchman, William of Sens. Following his injury in a fall from the scaffolding in 1179 he was replaced by one of his former assistants, known as "William the Englishman".
The shrine in the Trinity Chapel was placed directly above Becket's original tomb in the crypt. A marble plinth, raised on columns, supported what an early visitor, Walter of Coventry, described as "a coffin wonderfully wrought of gold and silver, and marvellously adorned with precious gems".[22] Other accounts make clear that the gold was laid over a wooden chest, which in turn contained an iron-bound box holding Becket's remains.[23] Further votive treasures were added to the adornments of the chest over the years, while others were placed on pedestals or beams nearby, or attached to hanging drapery.[24] For much of the time the chest (or "ferotory") was kept concealed by a wooden cover, which would be theatrically raised by ropes once a crowd of pilgrims had gathered.[21][23] Erasmus, who visited in 1512–4, recorded that, once the cover was raised, "the Prior ... pointed out each jewel, telling its name in French, its value, and the name of its donor; for the principal of them were offerings sent by sovereign princes."[25]
The income from pilgrims (such as those portrayed in Geoffrey Chaucer's Canterbury Tales) who visited Becket's shrine, which was regarded as a place of healing, largely paid for the subsequent rebuilding of the cathedral and its associated buildings. This revenue included the profits from the sale of pilgrim badges depicting Becket, his martyrdom, or his shrine.
The shrine was removed in 1538. Henry VIII summoned the dead saint to court to face charges of treason. Having failed to appear, he was found guilty in his absence and the treasures of his shrine were confiscated, carried away in two coffers and twenty-six carts.
Monastic buildings
Cloisters
A bird's-eye view of the cathedral and its monastic buildings, made in about 1165[27] and known as the "waterworks plan" is preserved in the Eadwine Psalter in the library of Trinity College, Cambridge.[28] It shows that Canterbury employed the same general principles of arrangement common to all Benedictine monasteries, although, unusually, the cloister and monastic buildings were to the north, rather than the south of the church. There was a separate chapter-house.[27]
The buildings formed separate groups around the church. Adjoining it, on the north side, stood the cloister and the buildings devoted to the monastic life. To the east and west of these were those devoted to the exercise of hospitality. To the north a large open court divided the monastic buildings from menial ones, such as the stables, granaries, barn, bakehouse, brew house and laundries, inhabited by the lay servants of the establishment. At the greatest possible distance from the church, beyond the precinct of the monastery, was the eleemosynary department. The almonry for the relief of the poor, with a great hall annexed, formed the paupers' hospitium.
The group of buildings devoted to monastic life included two cloisters. The great cloister was surrounded by the buildings essentially connected with the daily life of the monks,-- the church to the south, with the refectory placed as always on the side opposite, the dormitory, raised on a vaulted undercroft, and the chapter-house adjacent, and the lodgings of the cellarer, responsible for providing both monks and guests with food, to the west. A passage under the dormitory lead eastwards to the smaller or infirmary cloister, appropriated to sick and infirm monks.[27]
The hall and chapel of the infirmary extended east of this cloister, resembling in form and arrangement the nave and chancel of an aisled church. Beneath the dormitory, overlooking the green court or herbarium, lay the "pisalis" or "calefactory," the common room of the monks. At its north-east corner access was given from the dormitory to the necessarium, a building in the form of a Norman hall, 145 ft (44 m) long by 25 broad (44.2 m × 7.6 m), containing fifty-five seats. It was constructed with careful regard to hygiene, with a stream of water running through it from end to end.[27]
A second smaller dormitory for the conventual officers ran from east to west. Close to the refectory, but outside the cloisters, were the domestic offices connected with it: to the north, the kitchen, 47 ft (14 m) square (200 m2), with a pyramidal roof, and the kitchen court; to the west, the butteries, pantries, etc. The infirmary had a small kitchen of its own. Opposite the refectory door in the cloister were two lavatories, where the monks washed before and after eating.
[27]
Priors of Christ Church Priory included John of Sittingbourne (elected 1222, previously a monk of the priory) and William Chillenden, (elected 1264, previously monk and treasurer of the priory).[29] The monastery was granted the right to elect their own prior if the seat was vacant by the pope, and — from Gregory IX onwards — the right to a free election (though with the archbishop overseeing their choice). Monks of the priory have included Æthelric I, Æthelric II, Walter d'Eynsham, Reginald fitz Jocelin (admitted as a confrater shortly before his death), Nigel de Longchamps and Ernulf. The monks often put forward candidates for Archbishop of Canterbury, either from among their number or outside, since the archbishop was nominally their abbot, but this could lead to clashes with the king and/or pope should they put forward a different man — examples are the elections of Baldwin of Forde and Thomas Cobham.
Early in the fourteenth century, Prior Eastry erected a stone choir screen and rebuilt the chapter house, and his successor, Prior Oxenden inserted a large five-light window into St Anselm's chapel. [30]
The cathedral was seriously damaged by an earthquake of 1382, losing its bells and campanile.
From the late fourteenth century the nave and transepts were rebuilt, on the Norman foundations in the Perpendicular style under the direction of the noted master mason Henry Yevele.[31] In contrast to the contemporary rebuilding of the nave at Winchester, where much of the existing fabric was retained and remodelled, the piers were entirely removed, and replaced with less bulky Gothic ones, and the old aisle walls completely taken down except for a low "plinth" left on the south side. [32][6] More Norman fabric was retained in the transepts, especially in the east walls,[32] and the old apsidal chapels were not replaced until the mid-15th century.[30] The arches of the new nave arcade were exceptionally high in proportion to the clerestory.[30] The new transepts, aisles and nave were roofed with lierne vaults, enriched with bosses. Most of the work was done during the priorate of Thomas Chillenden (1391–1411): Chillenden also built a new choir screen at the east end of the nave, into which Eastry's existing screen was incorporated.[30] The Norman stone floor of the nave, however survived until its replacement in 1786.
From 1396 the cloisters were repaired and remodelled by Yevele's pupil Stephen Lote who added the lierne vaulting. It was during this period that the wagon-vaulting of the chapter house was created.
A shortage of money, and the priority given to the rebuilding of the cloisters and chapter-house meant that the rebuilding of the west towers was neglected. The south-west tower was not replaced until 1458, and the Norman north-west tower survived until 1834, when it was replaced by a replica of its Perpendicular companion.[30]
In about 1430 the south transept apse was removed to make way for a chapel, founded by Lady Margaret Holland and dedicated to St Michael and All Angels. The north transept apse was replaced by a Lady Chapel, built in 1448–55.[30]
The 235-foot crossing tower was begun in 1433, although preparations had already been made during Chillenden's priorate, when the piers had been reinforced. Further strengthening was found necessary around the beginning of the sixteenth century, when buttressing arches were added under the southern and western tower arches. The tower is often known as the "Angel Steeple", after a gilded angel that once stood on one of its pinnacles.
Still in progress. The previous design used only a single medium motor to go forwards or to rotate; in this design two motors are used for these functions simultaneously, meaning it's twice as fast.
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***** Selected for sale in the GETTY IMAGES COLLECTION on March 8th 2015
CREATIVE RF gty.im/541707257 MOMENT OPEN COLLECTION**
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Photograph taken at 10:30am an altitude of Six hundred and four metres on Monday 15th September 2014 off the Sea to sky highway 99 out of Whistler, South of Function Junction and on the banks of the Cheakamus River in British Columbia, Canada.
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Nikon D800 62mm 1/125s f/2.8 iso100 RAW (14 bit) Hand held. AF-S single point focus. Manual exposure. Matrix metering. Auto white balance.
Nikkor AF-S 24-70mm f/2.8G ED IF. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon GP-1 GPS unit.
LATITUDE: N 50d 5m 7.43s
LONGITUDE: W 123d 2m 52.30s
ALTITUDE: 604.0m
RAW (TIFF) FILE SIZE: 103.00MB
PROCESSED (JPeg) SIZE: 14.90MB
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Processing power:
HP Pavillion Desktop with AMD A10-5700 APU processor. HD graphics. 2TB with 8GB RAM. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. Nikon VIEWNX2 Version 2.10.3 64bit. Adobe photoshop Elements 8 Version 8.0 64bit
The first six Stieltjes constants as a function of the real or imaginary part of the Riemann zeta function at s = 1+it and previous Stieltjes constants.
Note: This shows the absolute values of the functions and the constants plotted on a logarithmic scale.
Haven't seen one of these in a bunch of years. At the Railroad Pass Hotel and Casino in Boulder City, just outside Las Vegas.
The new MacBook Pro keyboard is so beautiful. How can you not want one of these? I have a theory--if you start writing a book using this keyboard, the book will inevitably be awesome.
I don't do this often, but you must view this on black.
Year 3, Day 26
It is precisely the function of dread to break down this glass house of false interiority and to deliver man from it. It is dread, and dread alone, that drives a man out of this private sanctuary in which his solitude becomes horrible to himself without God. But without dread, without the disquieting capacity to see and to repudiate the idolatry of devout ideas and imaginings, man would remain content with himself and with his “inner life” in meditation, in liturgy or in both. Without dread, the Christian cannot be delivered from the smug self-assurance of the devout ones who know all the answers in advance, who possess all the clichés of the inner life and can defend themselves with infallible ritual forms against every risk and every demand of dialogue with human need and human desperation.
Contemplative Prayer
by Thomas Merton
I would be very happy with your comment.
www.flickr.com/photos/50764322@N04/6194466949/in/set-7215...
THE BISHOP'S PALACE AND BISHOP'S HOUSE
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1382873
Date first listed: 12-Nov-1953
County: Somerset
District: Mendip (District Authority)
Parish: Wells
Diocese of Bath and Wells
National Grid Reference: ST 55207 45781
Details
WELLS
Bishop's Palace and House. Begun in c1210 by Bishop Jocelyn but principally from c1230, restored, divided and upper storey added by Benjamin Ferrey 1846-54; north wing (now Bishop's residence) added in C15 by Bishop Bekynton, modified C18, and c1810 by Bishop Beadon. Local stone, roughly squared and coursed, with Doulting ashlar dressings, Welsh slate roofs, stone chimney stacks. PALACE EXTERIOR: the main palace now used for public functions and meetings is in 2 storeys with attics, in 7 bays. Plinth, string course between floors, wide buttresses with 2 offsets to bays 2 and 6, coped gables to bays 2, 4 and 6, paired octagonal stacks with openwork cappings to bays 3 and 5. Ground floor has 2-light trefoil-headed plate tracery windows to all but bay 4, similar windows to first floor with added quatrefoil windows with trefoil-arched labels, smaller versions of these windows to attic gables; central porch added c1824, has angled corner buttresses, gable with string and central panel of arms crowned with a mitre, the entrance through a moulded pointed- arched door flanked by two early C19 light fittings. The E wall is in 5 and-a-half bays, with large buttresses to 2 stepped offsets. The first 2 bays have lancets to the ground floor only, but bays 3, 4, and 5 have large 2-light windows with quatrefoil over, and lancets to the ground floor. The last half-bay has a corner stair-turret with stepped offsets. Far right is a deep gabled wing with a large stone-mullioned oriel above a panelled apron with shields of arms, carried on a deep moulded bracket, and with very large buttresses. A tower is set-back from this, adjacent to the moat, with 2 and 3-light cusped casements on 3 floors. PALACE INTERIOR: the original plan was with hall, solar, gallery and undercroft, the long range divided by a spine wall at each level; this remains the layout, with the addition of an upper floor (not inspected). The ground floor is entered through the central porch to a narrow gallery in 6 bays of quadripartite ribbed vaulting, carried on corbel capitals. In the central wall is a large C16 stone fireplace, brought in the late C19 from the former solar. The S wall has a doorway with Y-tracery to its head, and a corner door gives to Bishop Burnell's chapel (qv). The floor is of stone flags. At the N end is a very fine Jacobean open well stair with large square newels, including a double newel at the top landing, supporting carved griffons and with openwork pendants, panelled plaster soffite, painted dado panelling, and a compartmented ceiling with pendants. The undercroft beyond the wall is in 2x5 bays with a central row of Purbeck shafts to quadripartite vaulting, on faceted responds; there is a large stone fireplace of C15 design in the spine wall. The first floor, within Jocelyn's shell, has C19 detailing; Ferrey complained that much of the work to the ceilings was '.... done by an upholsterer from Bath....', but detailing is very rich, and good replica C19 patterned colourful wallpapers were installed c1970. On the E side is a suite of 3 rooms, with compartmental ceilings. The square room at the head of the stairs has a stone basket-arch fireplace with triple cusping, and retains some C18 panelling, and six 6-panel doors. The long central room has a 24-panel ceiling, and three C19 lighting pendants; at its S end a very rich pair of panelled doors opens to the square S room, in which are visible in the E wall remains of the original windows, which have been blocked externally. This room has no fireplace. The long gallery to the W of the spine wall has two fireplaces, dado panelling, and a ribbed panelled ceiling. The windows are in deep embrasures, and there are three 9-panel C19 doors. BISHOP'S HOUSE EXTERIOR: returns at the N end, being backed by the moat wall. It is in 2 parallel ranges, with a very narrow courtyard partly filled by C20 building, a cross wing containing a former hall, and opening to a porch at the S end, and a square tower on the NE corner. The S front is crenellated, and has 4 windows on 2 storeys with attic, all flush 2-light stone mullioned casements with cusped heads to the lights; at first floor 2 of the windows have C19 cast-iron small-paned casements, and there are 4 casement hipped dormers behind the parapet. To the left, in a lower wall with raked head are 2 similar casements, and set forward to the right, fronting the 3-storey N/S hall range is a low square tower with two 2-light plate-traceried windows as those in the adjacent Palace, and a round-arched C16 stone outer doorway with moulded and panelled responds and a large keystone with diamond embellishment. The porch is stone paved, with a stone bench to the left, and the inner doorway is a C15 stone 4-centred moulded arch with rosettes, hood-mould, and small diagonal pinnacles at the springing and key, above a carved angel keystone, containing a fine pair of early doors with panel, muntin and mid-rail, all with nail-heads. At the left end is a wide archway into the courtyard, on the site of the gateway seen in the Buck view. There are various lofty yellow brick stacks, including one very large stack to a coped gable in the rear range. BISHOP'S HOUSE INTERIOR: has been subdivided several times; in the front range are 2 plain rooms, then the inner hall to the porch, with the C15 doorway, a shell niche, and a stone arch matching that to the outer doorway of the porch; this gives to the main stair. N of the hall is a fine C15 oak screen with narrow panels and moulded muntins and mid-rail, and a central round-arched C20 doorway of C16 style. To the right is a large 3-light stone casement with transom, and to the left is a stone-flagged cross passage which runs through to a doorway at the moat end. The inner hall has 3 windows as in the outer hall, and the inner side of the screen has raised and moulded panels, and all members embellished, including small-scale chevron to the bressumer; the central C16 doorway has raised diamond keystone and enrichment. A dining room to the N has a peaked moulded wooden rere-arch, and opens in the NW corner to a small square study in the tower. This has a stone alcove in the N wall with a 3-light C16 casement, and in the corner access to a stone spiral stair rising the full height of the tower. There are many 6-panel doors, with raised mouldings, and with square centre panels. The main staircase is C20 with heavy turned balusters to the first floor, and a C19 straight flight with stick balusters in the upper flight. At first landing level the window contains fragments of mediaeval and C16 stained and painted glass; there is a second straight-flight stair between the ranges to the W. Rooms at first floor are generally plainly detailed; the N range had an extra floor inserted, and one bathroom has the lower part of one of the mediaeval oriels in its N wall. The second floor has a through corridor, and has many early 2-panel doors with raised mouldings. The square end room to the tower has a low relief plastered ceiling to a central rose, the window has early crown glass and a scratched date of 1822. Two of the bedrooms contain the upper parts of the oriels, and these have stone vaulted soffites, one including a carved angel keystone. Over the S range is a 6-bay collar and 2-purlin roof with original rafters, formerly with plaster; the space has 4 dormer windows. HISTORICAL NOTE: the complex building history, coupled with a splendid setting within its walled moat, makes this Palace an outstanding historic and visual document, with one of the most remarkable structures of the mediaeval period which '...represent the grandest aspect of the mediaeval way of life'.(Barley) The first-floor hall represents an outstanding example of its type, contemporary in date with those at St David's, Dyfed, and Southwark, London. (Buildings of England: Pevsner N: North Somerset and Bristol: London: 1958-: 312; Colchester LS: Wells Cathedral: A History: Shepton Mallet: 1982-: 227-244; Wood M: The English Mediaeval House: London: 1965-: 24 (PLAN); Bony J: The English Decorated Style: London: 1979-: PASSIM; Parker JH: Architectural Antiquities of the City of Wells: Oxford: 1866-; Barley M: Houses and History: London: 1986-: 60-63).
Listing NGR: ST5522445760
The photos I shot when I covered the first ever Alumni meet of the Sindhi High School in Kumara Krupa Road. The evening was made very entertaining by the comedy group - The Improv
For whatever reason, 19308 had a functioning blind but was unable to display the 9 to/from Birchwood, so a paper route number in the windscreen saves the day while Stagecoach East Midlands (with the old logo) is shown above. It turns off Pelham Bridge to curve back round to the bus station on 26.1.21
Malakoplakia, a condition often associated with immunodeficiency and characterized by abnormal macrophage function consists of sheets of large histiocytes in response to a bacterial infection. It represents a relatively ineffective inflammatory response because of persistence of bacteria and/or bacterial degradation products within the histiocytes. In the lungs it is almost always caused by infection with Rhodococcus equi but it may be caused by other bacteria. Malakoplakia is morphologically very similar to Mycobacterium avium complex infection in AIDS patients and to Whipples disease and lepromatous leprosy. The distinguishing and diagnostic feature of malakoplakia is the presence of small intracellular concentrically calcified structures called Michaelis-Gutman bodies (MG bodies). MG bodies also contain stainable iron. Intracytoplasmic calcifications not having the typical appearance of MG bodies may also be present.
The Prussian blue stain for iron strongly stains MG bodies and other intracytoplasmic bodies.
System Designation: SERAH
Acronym: System for Emergency Response & Autonomous Healing
Unit Type: Mobile Field Medical Pod
Version: 2.6.7 (Coldspire-Modified)
CORE FUNCTION
The SERAH-Class Trauma Module is a modular medical unit designed for autonomous triage, trauma response, and surgical intervention in high-risk or remote environments. It serves as the secondary core of the SERAH AI system, sharing consciousness and data streams with the humanoid primary unit for full operational integration.
DIMENSIONS & POWER
Footprint: 6 x 9 grid units (Coldspire standard)
Power Requirements: 1.4 kW (independent fuel cell OR external umbilical)
Recharge Interface: Integrated port at humanoid dock (magnetic lock, hardwire uplink)
Battery Duration: 22 hours autonomous runtime; 12 hours full trauma capacity
STANDARD MODULE COMPONENTS
Humanoid Dock Interface – For SERAH’s humanoid component to recharge, uplink, or coordinate complex procedures.
Enclosed Medpod (Canopy-Sealed) – Auto-sealing with cryofoam insulation.
Articulated Surgical Armatures – High-precision, cold-sterile manipulators with six interchangeable tool heads.
Vitals Display Console – Real-time feedback (BP, O2, neurostim, cardiac rhythm, GRPS readouts).
O2 Delivery Array – Oxygen concentrate and pulse-feed systems.
Transfusion & MedPak System – Contains two 500mL field-replaceable blood units and six med-pouch slots (stims, antitoxins, coagulants).
Stasis Functionality – Optional short-term hypometabolic suspension (max 30 min).
FIELD OPERABILITY
Mount Points: Coldspire Standard Dock Rail (compatible with hospital module, Drift Rig frames, Fire Auk airframe).
Deployment Time: < 90 seconds full activation
Voice Commands: Accepts Coldspire dialect directives or manual override
EM Hardened: Rated for moderate interference from Shattersea pulses and rogue Protocol zones
Self-Cleaning Cycle: Initiated after each procedure; 8 min cooldown
KNOWN ISSUES / WARNINGS
Extended use without AI sync may reduce decision latency
DO NOT attempt transport with canopy unsecured
Keep stasis functionality under manual supervision if humanoid component is offline
Not rated for high-explosive zones or full-body prosthesis implantation (refer to Tier 3 surgical centres)
Table lamps are house decoration which has important lighting function. They are designed with many unique ideas throughout the millennium era. The following are unique table lamps you can consider to purchase from the home decor stores nearby:
Bamboo Table Lamps
Nature always provides us with...
2nd Lt. Phillip Hoying, assigned to 66th Military Intelligence Brigade performs a weapon functions check during U.S. Army Europe's Best Junior Officer Competition in Grafenwoehr, Germany, Aug. 19. The competition is a weeklong event that tests Soldiers’ physical stamina, leadership and technical knowledge and skill. Winners in the Soldier and Noncommissioned Officer categories of the USAREUR competition will go on to compete at the Department of the Army level. (U. S. Army photo by Gertrud Zach)
boston, massachusetts
1973
elma lewis school of fine arts
social function/fundraiser
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
London function band Azure performing the best modern and classic pop hits.
Azure is one of London's top professional function bands available to perform at your wedding in London, Hampshire, Surrey, Sussex and surrounding counties.
Azure has performed at hundreds of weddings and functions since formation in 2007. Famous for their astonishing musicianship and high energy performances, Azure is the wedding band that all others aspire to match.
With a perfect track record, backed up by careful planning and attention to detail, Azure is everything a person could want in a wedding band. Amazing musicianship, enthusiasm, experience in how to get the best possible response from your wedding guests, and professionalism on every level.
When you hire Azure the band come complete with top of range sound and lighting equipment and provide professionally mixed recorded music during any time that they are not performing.
Azure has built up an reputation as truly one London's best wedding bands; with more than 200 glowing testimonials on their website and a perfect track record spanning many years: www.azurefunctionband.com/
This remarkable London function band has performed at many of the country's most prestigious venues including The Savoy and Hampton Court Palace. As well as their evening performance you can also book Azure function band to provide afternoon jazz at your drinks reception. For this, Azure performance the most beautiful jazz compositions of the 20th century as a jazz trio or duo.
Visit www.azurefunctionband.com/ to get a quote to have Azure as your function band, on your special day.
Katy Perry's LED dress @ Barbican's "Digital Revolution" exhibition.
French techno-fashion house Cutecircuit has designed togs for Katy Perry and Bono, among other famous bods, but by far its most blogged-about creation is the fully functioning Twitter Dress. This heady collision of hashtags and haute couture displays 140-character messages tagged with #tweetthedress on a shimmering LED display embedded in the fabric, albeit via a brief vetting process to make sure that nobody says mean things. Things like ‘Your bum looks so big in that dress it’s on the global trending list’, for example.
(www.timeout.com/london/art/five-things-not-to-miss-at-dig...)
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"Digital Revolution explores and celebrates the transformation of the arts through digital technology since the 1970s. The exhibition brings together for the first time a range of artists, filmmakers, architects, designers, musicians and game developers, who are using digital media to push the boundaries of their fields. The show also looks to the future and considers the impact of creative coding, DIY and maker-culture, digital communities and the creative possibilities offered by augmented reality, artificial intelligence, wearable technologies and 3D printing.
The exhibition includes new commissions from design studios Umbrellium (Usman Haque and Nitipak 'Dot' Samsen), Universal Everything and Minimaforms (Theodore and Stephen Spyropoulos); global music artist and entrepreneur will.i.am, Yuri Suzuki, Pasha Shapiro and Ernst Weber; and a range of artists and performers including Rafael Lozano-Hemmer, Chris Milk, Aaron Koblin, Björk, Amon Tobin, CuteCircuit and work by Oscar®-winning visual effects (VFX) Supervisor Paul Franklin and his team at Double Negative for Christopher Nolan’s groundbreaking film Inception (2010). The Barbican have collaborated with Google on a new project called DevArt and presents four new gallery commissions by Karsten Schmidt, Zach Lieberman, Varvara Guljajeva and Mar Canet, as well as competition winners Cyril Diagne and Beatrice Lartigue.
Digital Revolution presents a number of impressive new installations, featuring interactive art works and exhibition-based displays. Umbrellium, best known for their large-scale and mass-participatory outdoor events, have produced their first work within a theatre setting. This immersive piece fills the space with a series of magical interactive laser sculptures, set within an otherworldly audio environment. Universal Everything, one of the UK's leading media art studios, have developed a piece for the Barbican's Silk Street entrance allowing visitors to submit a hand-drawn animated artwork that features within the gallery. The exhibition also includes the filmmaker and artist Chris Milk with his major shadow play work The Treachery of Sanctuary, presented in the UK for the first time.
Our Digital Futures section explores artists’ use of recently possible and emerging technologies with London based Studio XO for TechHaus, the technical division of Lady Gaga's Haus of Gaga, wearable technology by Pauline van Dongen and a robotic installation by Minimaforms (Theodore Spyropoulos and Stephen Spyropoulos) .
Digital Revolution was a festival-style exhibition and the most comprehensive presentation of digital creativity ever in the UK. Taking place across the Barbican with ticketed and non-ticketed elements and incorporating an offsite commission. It was accompanied by a talks and events programme and a dedicated publication."
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This is using Power Functions Pulse Width Modulated output to control Lego 9 Volt Trains on two Track Circuits with a 9 Volt Train controller.
You need two 9 Volt to PF converter cables to achive this.
Also you need a modded connector with Diodes.
With this you get better Train Control and a lot more pulling power due to the Pulse Width Modulated output from the PF IR Reciever as against the varriable voltage output of the 9 Volt Controller.