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37901 "Mirrlees Pioneer" with 93001 and a couple of barrier wagons passing Fine Lane crossing, Fradley on 6Q26 Crewe South Yard to Worksop Down Yard.
The original image is considered public use under US law.
This is a blueprint of Chartres Cathedral. I plan to build a cathedral, and I'm considering using Chartres as inspiration. First, however, I must tear Ulmaris Castle apart.
That's right... I'm looking at building a Castle MOC. GASP!
The red and yellow squares represent baseplates. The question I have before me is whether they are 32x32, or 48x48.
If they're 32x32 it certainly would be an easier build as far as parts are concerned, and I'd be able to expand the overall baseplates used to add steps and other buildings on the grounds. However, I'd have to change the design significantly, since things like the front doors would be too small.
If they're 48x48 i could follow Chartres' design more carefully (though, again, this will only be inspired by, not a model of), but it would be incredibly parts intensive. I also wouldn't really be able to add any sort of grounds to the Cathedral, mainly because I'm unwilling to make something bigger than 2x4 48x48 baseplates.
This is where my pumpkin patch will be.There's bramble, dock, bind weed, unruly raspberries and 3ft high grass to clear first!
The media consumption experience is poised to transform, and fast. Technologies that have been tinkered with for years, ranging from virtual and augmented reality to sensors and robotics, are finally on the tipping point of mass commercialization. As the physical and digital worlds converge, how will these technologies shape how people interact with digital media?
On November 18, 2014, NYC Media Lab and Razorfish hosted the second occasion of Future Interfaces, an evening "science fair" on the future of human-computer interaction and digital media. More than 300 guests came to go hands-on with 30 demos from startups and universities to see what's on the verge of commercialization, what’s still in the lab, and what advances will change the nature of media and communications in the future.
To learn more about the event and to see a full list of participating demos, visit www.nycmedialab.org/events/future-interfaces/
The future used to be such an abstract idea: the dream was enough. And yet here we are, in our own past futures, searching for what we once yearned and envisioned.
The media consumption experience is poised to transform, and fast. Technologies that have been tinkered with for years, ranging from virtual and augmented reality to sensors and robotics, are finally on the tipping point of mass commercialization. As the physical and digital worlds converge, how will these technologies shape how people interact with digital media?
On November 18, 2014, NYC Media Lab and Razorfish hosted the second occasion of Future Interfaces, an evening "science fair" on the future of human-computer interaction and digital media. More than 300 guests came to go hands-on with 30 demos from startups and universities to see what's on the verge of commercialization, what’s still in the lab, and what advances will change the nature of media and communications in the future.
To learn more about the event and to see a full list of participating demos, visit www.nycmedialab.org/events/future-interfaces/
Don't they always look like they're gazing far into the distance, just wondering what is life going to throw in their faces next...
Is an oil free future possible? That was the question that brought together leading MEPs, businessmen and Nobel Prize winners on Tuesday 7 December for the STOA science lecture. The Parliament's "Science and Technology Options Assessment" panel consider ways in which Europe could wean itself off oil and whether it would indeed be possible to have a future without it. Climate engineering, electric cars, particles of sulphur and methanol were all mentioned as ways of tackling climate change.
The keynote speakers were Shai Agassi, CEO of the company Better Place and two Nobel Prize laureates in chemistry: Dr Paul Crutzen from Max-Planck-Institute and Prof George Oláh from the University of Southern California. Participants discussed keynote speakers' presentations in a panel discussion and a workshop. The lecture have been moderated by BBC journalist Shirin Wheeler.
Before the event, Vice-President responsible for STOA Silvana Koch-Mehrin (ALDE, DE), STOA Chairman Paul Rübig (EPP, AT), and STOA Vice-chairman Malcolm Harbour (ECR, UK), holded a press conference with invited guests. Press conference and the lecture will be web-streamed.
Throughout the day, a demonstration of electric and hybrid cars, with the possibility of test drives, took place in the Esplanade area in front of Parliament's Altiero Spinelli building (entrance from Place du Luxembourg).
www.europarl.europa.eu/news/public/story_page/051-106208-...
©European Parliament/Pietro Naj-Oleari
The Moscow Metro was one of the USSR’s most extravagant architectural projects. Stalin ordered the metro’s artists and architects to design a structure that embodied svet (radiance or brilliance) and svetloe budushchee (a radiant future). With their reflective marble walls, high ceilings and grandiose chandeliers, many Moscow Metro stations have been likened to an “artificial underground sun”. This underground communist paradise reminded its riders that Stalin and his party had delivered something substantial to the people in return for their sacrifices. Most importantly, proletarian labor produced this svetloe budushchee.
The metro design’s emphasis on verticality was a reinforcement of Stalin's deification[citation needed]. He directed his architects to design structures which would encourage citizens to look up, admiring the station’s art (as if they were looking up to admire the sun and—by extension—him as a god. Another aspect of the apotheosis propaganda was the metro’s electrification; the Moscow Metro's chandeliers are one of the most beautiful and technologically advanced aspects of the project.
The chief lighting engineer was Abram Damsky, a graduate of the Higher State Art-Technical Institute in Moscow. By 1930 he was a chief designer in Moscow’s Elektrosvet Factory, and during World War II was sent to the Metrostroi (Metro Construction) Factory as head of the lighting shop. Damsky recognized the importance of efficiency, as well as the potential for light as an expressive form. His team experimented with different materials (most often cast bronze, aluminum, sheet brass, steel, and milk glass) and methods to optimize the technology.
Day 329 of 365 - January 28th, 2013
View on Black - Press "L"
Sigma 30mm f1.4 EX DC HSM / Olympus FL-50R
Future Playground is a showcase of notable new developments by the Ars Electronica Futurelab and Ars Electronica Solutions. Visitors are invited use this perusal of what’s happening at the nexus of art, technology and society as an opportunity to give some thought to this year’s festival theme, change, at an interesting array of interactive exhibits, live performances, speeches and round-table discussions. The substantive spectrum includes research on human-robot relations, participative stage-based works, innovative interfaces, unconventional methods of conveying content, and presentations in the area of digital entertainment technologies.
credit: Johanna Mathauer
Police Future Car - Dart Eagle - real build
Virtual: www.flickr.com/photos/pigletciamek/albums/72177720304767281
Instructions: rebrickable.com/mocs/MOC-133572/pigletciamek/dart-eagle-p...
Lego Mini CLAAS XERION 42102 Alternative Build - MOC - Future Racer
Building Instructions:
play.google.com/store/apps/details?id=max.set42102.altern...
www.amazon.com/Max-Sanna-42102-Alternative-Models/dp/B0CF...
global.app.mi.com/details?id=max.set42102.alternative.models