View allAll Photos Tagged homogenizer
Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.
Fundamentals consists of three interlocking exhibitions:
1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.
2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.
3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.
The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative
Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.
Elements of Architecture / Central Pavilions
This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.
LA recette de
PAILLES AU FROMAGE
LES INGREDIENTS :
(désolé mais ma vieille tante Catherine ne cuisinait pas métrique)
2 tasses de farine
2 c. à thé de poudre à pâte
1 c. à thé de sel (je ne la met plus)
2 c. à table de beurre
2 c. à table de Crisco (Saindoux) (ne pas confondre avec l'huile de la même marque…)
1 tasse d'eau froide (on n'utilise pas toute cette quantité)
1 lb de fromage râpé (utiliser de préférence du fromage cheddar extra vieux, disponible dans certains commerces spécialisés.).
LES ÉTAPES
•Préchauffer le four à 350° F (mettre deux grilles, une au tiers inférieur et l'autre au tiers supérieur).
•Râper finement le fromage et l’étendre sur un papier ciré pour qu’il perde un peu de son humidité.
•Mélanger la farine, le sel et la poudre à pâte.
•Ajouter le Crisco et le beurre et couper avec deux couteaux.
(Les modernes pourront faire cette étape au mélangeur à pâtisserie et zut pour la poésie... mais il n'est pas nécessaire de trop homogénéiser à cette étape).
•Ajouter progressivement juste assez d'eau pour obtenir une pâte peu collante en pétrissant avec les mains
(on n'utilise donc pas toute l'eau).
•Incorporer progressivement le fromage râpé. Pétrir modérément à chaque ajout jusqu'à ce que le fromage soit incorporé complètement.
•Séparer la pâte en quatre boules égales.
•À l’aide d’un rouleau légèrement enfariné, étendre une boule de pâte en une couche d'environ 1/4"-1/8" d'épais.
•À l’aide d’une roulette dentelée, couper en bâtons (pailles) de 1/4" de large.
•Étendre les pailles sur une tôle protégée par un papier parchemin à cuisson. (Il est plus facile de couper et de mettre sur la tôle, les pailles une à une)
•Cuire 6 minutes sur la grille du haut, ensuite TOURNEZ la tôle ET mettre 6 minutes sur la grille du bas.
•Considérer la cuisson terminée lorsque les bouts des pailles brunissent. Les pailles devraient être légèrement jaunâtres.
(Selon toute vraisemblance, votre four se comporte légèrement différemment du mien. Surveillez votre première fournée et ajustez le temps de cuisson en conséquence).
•Laisser glisser les pailles hors du papier parchemin sur une grille à l'air libre pour les laisser refroidir.
•Entreposer les pailles dans une boîte métallique hermétique.
LES TRUCS:
Cette recette est plus facile à réussir avec du fromage extra vieux car il est plus sec et nettement plus « goûteux ».
Il est plus difficile de réussir cette recette l'été, car l'humidité ambiante tend à rend les pailles un peu molles. Mais cet inconvénient pour certains est apprécié par d'autres (les goûts et les couleurs...)
Pour éviter d'avoir des pailles trop humides, on peut étendre sur un papier ciré le fromage fraîchement râpé pour le laisser sécher quelque peu.
Pour incorporer le fromage, aplatir la pâte dans un bol. Ajouter une bonne couche de fromage. Plier la pâte en deux. Aplatir le tout avec votre poing. Rajouter du fromage. Répéter jusqu’à ce que tout le fromage ait été utilisé. Pétrir en utilisant vos pouces pour incorporer le fromage à la pâte.
Une des étapes les plus difficiles est d’étendre la pâte au rouleau. Pour éviter que la pâte ne se brise, rouler par petits coups de rouleau. Faites pivoter la pâte fréquemment. Vous pourrez ainsi aplatir la pâte progressivement tout en contrôlant sa cohésion. (La forte quantité de fromage rend celle-ci un peu friable).
Couper les pailles légèrement plus large qu'elles ne sont épaisses. Sinon, elles ont tendance à s'affaisser après avoir monté à la cuisson. Ces pailles sont relativement fragiles donc une longueur de huit pouces environ vous évitera bien des bris et ennuis.
Pour couper les pailles, on peut utiliser une roulette dentelée, pour l'esthétique...
Rédaction: Jean-Pierre Bonin.
Mes remerciements à Catherine Morrissette.
Texte modifié en décembre 2019
Ze Cheese Straws recipe
ZE INGREDIENTS :
(sorry but my old aunt Catherine didn’t cook metric)
2 cups flour
2 tea spoons baking soda
1 tea spoons salt (I don't add salt anymore)
2 table spoons butter
2 table spoons Crisco (Shortening)
1 cup cold water (we do NOT use all this quantity)
1 pound grated (shredded) cheese cheddar (preferably extra-old cheddar, available in specialized stores.).
Ze steps
•Preheat oven to 350° F (use two grills, one at the bottom third, the other one on the top third).
•Finely shred the cheese and spread it on wax paper so it can loose some humidity.
•Mix the flour, salt and baking soda.
•Add the Crisco and butter and cut with two knives.
(If you prefer a more modern approach, you could do this step with a pastry blender and forget being poetic... but it really isn’t necessary to homogenize too much at this moment).
•Progressively add just enough water to get a non sticky dough while kneading with your hands
(thus we do NOT use all the water).
•Progressively incorporate the grated cheddar. Moderately knead each time you add cheddar until all the cheese is incorporated.
•Separate the dough into four « equal » balls.
•Use a rolling pin (slightly coated with flour), to spread the dough down to approximatively 1/4"-1/8" thin.
•Use a pastry wheel crimper to cut the dough in straws (sticks) about ¼ inch wide.
•Deposit the straws one by one on a flat pastry baking tray protected by parchment paper.
•Bake 6 minutes on the upper grill, then TURN the tray AND bake 6 minutes on the bottom grill.
•When the tips of the straws turn brownish, baking is done. Straws should be slightly yellowish.
(In all likelyhood, your oven will will react slightly differently from mine. Consequently do keep an eye on your first batch and reajust cooking time accordingly).
•Slide straws from the parchment paper then place them on a grill to let them cool down.
•Keep the straws in an hermetic metal box
ZE TRICKS:
This recipe will be at its best with extra-old cheddar as it is dryer and more flavourful.
It is harder to make this recipe in summer as the ambiant humidity tends to make the straws somewhat less crunchy. But what is an inconvenience for some is appreciated by others (colors and taste…)
To avoid having humid straws, you can spread the grated cheese on a wax paper sheet and let it dry for some time prior to incorporating it to the dough.
To incorporate the chesse, flaten the dough in a bowl. Add a « good » layer of grated cheese. Fold the dough over in two. Again flaten the dough with your fist. Add some cheese. Repeat until all the cheese has been used. Knead using your thumbs to mix the cheese with the dough.
One of the most difficult step is to spread the dough with the rolling pin. To prevent the dough from « breaking » At the edges, roll with small moves. Rotate the dough frequently. You will thus be able to control the dough and avoid large cracks. (The large amount of cheddar makes the dough crumbly).
Cut the straws slightly larger than their thickness. Otherwise they will tend to collapse on the side while baking. The straws are fragile and you should cut them at a maximum length of 8 inches (before baking of course…).
Use a pastry wheel crimper is for aesthetics...
Redaction: Jean-Pierre Bonin.
My thanks to Catherine Morrissette.
Modified on December 20th 2019
LA recette de
PAILLES AU FROMAGE
LES INGREDIENTS :
(désolé mais ma vieille tante Catherine ne cuisinait pas métrique)
2 tasses de farine
2 c. à thé de poudre à pâte
1 c. à thé de sel (je ne la met plus)
2 c. à table de beurre
2 c. à table de Crisco (Saindoux) (ne pas confondre avec l'huile de la même marque…)
1 tasse d'eau froide (on n'utilise pas toute cette quantité)
1 lb de fromage râpé (utiliser de préférence du fromage cheddar extra vieux, disponible dans certains commerces spécialisés.).
LES ÉTAPES
•Préchauffer le four à 350° F (mettre deux grilles, une au tiers inférieur et l'autre au tiers supérieur).
•Râper finement le fromage et l’étendre sur un papier ciré pour qu’il perde un peu de son humidité.
•Mélanger la farine, le sel et la poudre à pâte.
•Ajouter le Crisco et le beurre et couper avec deux couteaux.
(Les modernes pourront faire cette étape au mélangeur à pâtisserie et zut pour la poésie... mais il n'est pas nécessaire de trop homogénéiser à cette étape).
•Ajouter progressivement juste assez d'eau pour obtenir une pâte peu collante en pétrissant avec les mains
(on n'utilise donc pas toute l'eau).
•Incorporer progressivement le fromage râpé. Pétrir modérément à chaque ajout jusqu'à ce que le fromage soit incorporé complètement.
•Séparer la pâte en quatre boules égales.
•À l’aide d’un rouleau légèrement enfariné, étendre une boule de pâte en une couche d'environ 1/4"-1/8" d'épais.
•À l’aide d’une roulette dentelée, couper en bâtons (pailles) de 1/4" de large.
•Étendre les pailles sur une tôle protégée par un papier parchemin à cuisson. (Il est plus facile de couper et de mettre sur la tôle, les pailles une à une)
•Cuire 6 minutes sur la grille du haut, ensuite TOURNEZ la tôle ET mettre 6 minutes sur la grille du bas.
•Considérer la cuisson terminée lorsque les bouts des pailles brunissent. Les pailles devraient être légèrement jaunâtres.
(Selon toute vraisemblance, votre four se comporte légèrement différemment du mien. Surveillez votre première fournée et ajustez le temps de cuisson en conséquence).
•Laisser glisser les pailles hors du papier parchemin sur une grille à l'air libre pour les laisser refroidir.
•Entreposer les pailles dans une boîte métallique hermétique.
LES TRUCS:
Cette recette est plus facile à réussir avec du fromage extra vieux car il est plus sec et nettement plus « goûteux ».
Il est plus difficile de réussir cette recette l'été, car l'humidité ambiante tend à rend les pailles un peu molles. Mais cet inconvénient pour certains est apprécié par d'autres (les goûts et les couleurs...)
Pour éviter d'avoir des pailles trop humides, on peut étendre sur un papier ciré le fromage fraîchement râpé pour le laisser sécher quelque peu.
Pour incorporer le fromage, aplatir la pâte dans un bol. Ajouter une bonne couche de fromage. Plier la pâte en deux. Aplatir le tout avec votre poing. Rajouter du fromage. Répéter jusqu’à ce que tout le fromage ait été utilisé. Pétrir en utilisant vos pouces pour incorporer le fromage à la pâte.
Une des étapes les plus difficiles est d’étendre la pâte au rouleau. Pour éviter que la pâte ne se brise, rouler par petits coups de rouleau. Faites pivoter la pâte fréquemment. Vous pourrez ainsi aplatir la pâte progressivement tout en contrôlant sa cohésion. (La forte quantité de fromage rend celle-ci un peu friable).
Couper les pailles légèrement plus large qu'elles ne sont épaisses. Sinon, elles ont tendance à s'affaisser après avoir monté à la cuisson. Ces pailles sont relativement fragiles donc une longueur de huit pouces environ vous évitera bien des bris et ennuis.
Pour couper les pailles, on peut utiliser une roulette dentelée, pour l'esthétique...
Rédaction: Jean-Pierre Bonin.
Mes remerciements à Catherine Morrissette.
Texte modifié en décembre 2019
Ze Cheese Straws recipe
ZE INGREDIENTS :
(sorry but my old aunt Catherine didn’t cook metric)
2 cups flour
2 tea spoons baking soda
1 tea spoons salt (I don't add salt anymore)
2 table spoons butter
2 table spoons Crisco (Shortening)
1 cup cold water (we do NOT use all this quantity)
1 pound grated (shredded) cheese cheddar (preferably extra-old cheddar, available in specialized stores.).
Ze steps
•Preheat oven to 350° F (use two grills, one at the bottom third, the other one on the top third).
•Finely shred the cheese and spread it on wax paper so it can loose some humidity.
•Mix the flour, salt and baking soda.
•Add the Crisco and butter and cut with two knives.
(If you prefer a more modern approach, you could do this step with a pastry blender and forget being poetic... but it really isn’t necessary to homogenize too much at this moment).
•Progressively add just enough water to get a non sticky dough while kneading with your hands
(thus we do NOT use all the water).
•Progressively incorporate the grated cheddar. Moderately knead each time you add cheddar until all the cheese is incorporated.
•Separate the dough into four « equal » balls.
•Use a rolling pin (slightly coated with flour), to spread the dough down to approximatively 1/4"-1/8" thin.
•Use a pastry wheel crimper to cut the dough in straws (sticks) about ¼ inch wide.
•Deposit the straws one by one on a flat pastry baking tray protected by parchment paper.
•Bake 6 minutes on the upper grill, then TURN the tray AND bake 6 minutes on the bottom grill.
•When the tips of the straws turn brownish, baking is done. Straws should be slightly yellowish.
(In all likelyhood, your oven will will react slightly differently from mine. Consequently do keep an eye on your first batch and reajust cooking time accordingly).
•Slide straws from the parchment paper then place them on a grill to let them cool down.
•Keep the straws in an hermetic metal box
ZE TRICKS:
This recipe will be at its best with extra-old cheddar as it is dryer and more flavourful.
It is harder to make this recipe in summer as the ambiant humidity tends to make the straws somewhat less crunchy. But what is an inconvenience for some is appreciated by others (colors and taste…)
To avoid having humid straws, you can spread the grated cheese on a wax paper sheet and let it dry for some time prior to incorporating it to the dough.
To incorporate the chesse, flaten the dough in a bowl. Add a « good » layer of grated cheese. Fold the dough over in two. Again flaten the dough with your fist. Add some cheese. Repeat until all the cheese has been used. Knead using your thumbs to mix the cheese with the dough.
One of the most difficult step is to spread the dough with the rolling pin. To prevent the dough from « breaking » At the edges, roll with small moves. Rotate the dough frequently. You will thus be able to control the dough and avoid large cracks. (The large amount of cheddar makes the dough crumbly).
Cut the straws slightly larger than their thickness. Otherwise they will tend to collapse on the side while baking. The straws are fragile and you should cut them at a maximum length of 8 inches (before baking of course…).
Use a pastry wheel crimper is for aesthetics...
Redaction: Jean-Pierre Bonin.
My thanks to Catherine Morrissette.
Modified on December 20th 2019
A willing Bystander, "The morning after a damn cold night!", Digital photograph, 2007, The Bryan Everett collection, Dahlonega GA.
The Grand Canyon is huge! And there's really no way of describing it that can do justice to what it's like to behold in person. Its one of our nation's most distinctive landmarks, and also one of our oldest national parks. Covering over 1900 square miles, it is hard to imagine that a park of that size could ever be threatened by overcrowding or development. Yet the Grand Canyon and the area surrounding it have a long history of mistreatment; dating all the way back to the late 1800's. "In 1893, Harrison, then as president of the United States, proclaimed the Grand Canyon area a national forest. Inasmuch as mining and other claims within national forests were permissible by law, the establishment of the area into a national forest did not prevent private exploitation.
In 1898 depredations and unlawful seizures of land were reported in the forest." This would go on for years, until finally in 1919; "the Grand Canyon National Park became an established national park, thus finally overcoming all the frustrations of hunters, trappers, miners, grazing interests, water power companies, concessioners, and political sabotage and the like. It is recorded that the obstacles to the creation of Grand Canyon National Park were more numerous than those encountered in any other national park."
Yet even today the Grand Canyon National Park and the ecosystem associated with it continues to be threatened as the tourism industry continues to grow and more and more Americans are free to travel. On average, an estimated 5 million tourists flock to the northern Arizona desert each year to stand on the rim of one of the seven natural wonders of the world every year; a worthy trip. However, that is simply a tidal-wave of humanity that the Canyon's remote desert ecosystem is not meant to deal with. In fact, Human intervention is necessary to protect wildlife from Human intervention; for several years Park officials have struggled to shuffle wildlife around to avoid and accomodate tourists. "An interesting experiment at the Grand Canyon has been the transportation of deer from the North Rim across to the South Rim. ...Of recent years it has become evident that ranger protection and restocking are not sufficient for the complete preservation of the wild animals. While in the parks it is true that the animals live as nearly as possible under primitive conditions, civilization comes close to the park boundaries, modifying the wilderness conditions." But these 5 million people don't just travel alone; with them comes their trash, their air pollution, their noise, and their wallets; the latter of which are eagerly greeted by throngs of cheaply developed commercial enterprises. Somehow, one of America's great natural landscapes has become less natural and taken on the look of a more common landscape: "Grand Canyon National Park suffers from congestion as well. The huge volume of traffic is more than just an inconvenience; there are physical impacts, such as air pollution from exhaust, and there are social impacts that also degrade the overall experience, such as honking horns and blaring radios. The superintendent of Grand Canyon National Park has commented that “we’ve taken this special place that is different from everything in your life and we’ve homogenized it so it’s just like your life. It’s full of cars, you’re constantly looking for parking spaces, you’re standing around in lines.”'
Sources:
-Walter H. Schoewe, "Conservation of Our Natural Areas", Transactions of the Kansas Academy of Science, Vol. 42. (Mar. 30 - Apr. 1, 1939), pp. 59-79.
-Horace M. Albright, "Research in the National Parks", The Scientific Monthly, Vol. 36, No. 6. (Jun., 1933), pp. 483-501.
-"A Cramped Grand Canyon: Plan Aims to Ease Tourist Congestion", The Washington Post, (September 3, 1999), p. A3.
For more info on the Grand Canyon visit: en.wikipedia.org/wiki/Grand_Canyon_National_Park
Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.
Fundamentals consists of three interlocking exhibitions:
1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.
2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.
3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.
The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative
Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.
Elements of Architecture / Central Pavilions
This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.
Piccadilly in Hanley, the city centre of Stoke-on-Trent (no it isn't Stoke that is the centre) has been designated the Cultural Quarter of the area. Unfortunately the local retail shops don't seem to appreciate the fabric of the buildings in which they are housed, surely the old architecture and people of the area say more about our culture than anything that the homogenized national shop chains can! This property was once the site of Boyce Adams grocery store which was built in 1877. See link for an old image courtesy of the Sentinel: legacymedia.localworld.co.uk/275796/Article/images/173622... The building to the right (signed Addison) was formerly a fishmonger and game supplier belonging to G Bradbury.
Cellular vesicles in homogenate of spruce needles. With permission of co-authors: Jeran M, Hočevar M, Novak U, Božič D, Romolo A, Iglič A, Kralj-Iglič V; European spruce (Picea abies) as a possible sustainable source of extracellular vesicles and biologically active compounds, in preparation.
Plants have an incredible power and ability to synthesize many of the active ingredients on which today’s medicines and therapies are based. Large scale production of vesicles requires simple, robust and low cost procedures. Here we report on preliminary results on vesicles from spruce needles. By homogenization of fresh spruce needles (A) we produced amorphous material and sub-micron sized particles that are likely to be colloidal cellular vesicles (yellow arrows). The isolates were obtained by centrifugation and post-treated by ultrasound (B, C). Addition of lecithin in the process increased the amount of colloidal material (D, E).
We just happened to stumble upon Village Milk in Oxford and bought a bottle from the vending machine. Un-pasteurised & un-homogenized.
These cupcakes are goooood.
I used this cake recipe for 24 cupcakes, baked for 25 min. at 350F. Start checking them at 20 min. When the shine went out of the cracks, mine were done. Some were done a few minutes earlier than others. (Crummy oven.)
I used the peanut butter frosting found here, which covered all the cupcakes easily. I use organic smooth (not homogenized) Teddie peanut butter, for the locals. Works great.
You need to be sure to have a drink handy. Between the chocolate and the peanut butter, they sure do stick in your craw!
Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.
Fundamentals consists of three interlocking exhibitions:
1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.
2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.
3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.
The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative
Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.
Elements of Architecture / Central Pavilions
This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.
A very contemplative night. We have a contract on the house and plan to close on the 10th of August. Not only that, new owners will allow us to rent our house back from them until we close on the new one. You can’t hope for more than that. And I am genuinely grateful. But that is not what is on my mind tonight. I probably should have said what Ann Coulter said, "Adios America". I promise no more of these after tonight. But I am really worried about our country.
We just celebrated the Fourth of July, Independence day, and I am amazed at the number of people who don’t know what that means. Especially our young people that have no clue what Independence Day means. They understand the 4th of July. They think it means, watermelon, fireworks, the beach, bar-b-que and beer. They have no idea about the number of people, from out founding fathers until now, that have sacrificed their lives so that they could be free to be the ignorant and unappreciative rabble that they have become. I wanted to say idiots, but that’s not true. They are not stupid. They are not dumb. They are simply ignorant, complacent and apathetic. I could blame our education system but they are just a part of it. When life is good, why worry about it. Because history repeats itself over and over again and mankind never learns. That is why.
I could go on, but I think I will let some people smarter than me say what I think.
"We cannot become Americans if we think of ourselves in groups. America does not consist of groups. A man who thinks of himself as belonging to a particular group in America has not yet become an American, and the man who goes among you to trade upon your cultural origin, race, or language is not worthy to live under the stars and stripes." – Woodrow Wilson
"There is no room in this country for hyphenated Americans. The one absolutely certain way of bringing this nation to ruin, of preventing all possibility of its continuing to be a nation of all, would be to permit it to become a tangle of squabbling nationalities." --- Theodore Rosevelt.
"Has it occurred to you that the “multicultural society” is a contradiction in terms? A society is defined by it’s culture. Two cultures may live side by side in peace (though historical examples are difficult to uncover), but they cannot constitute one society. The “Melting Pot” was intended to homogenize our people. To the extent that they polarize, they deny and destroy the American dream." --- Jeff Cooper
I think the next quote sums this up nicely. Hain’t we got all the fools in our town on our side? And hain’t that a big enough majority in any town. --- Huckleberry Finn (Mark Twain)
Ok, so I’m an old man and why should I care. Because I have children and grandchildren and though I may not live to see it, I will have great grandchildren and … well, you get the idea. I care about the world we will leave them. I would like for it to be a better place but I fear it won’t.
Here is the original. It's quite ugly. The original front facade on top had character. It's chains like these and the condo developments that are destroying the uniqueness that is Brooklyn. There are 3 Walgreens that have opened within a 30 block radius that all look the same. Is the facing made of plastic?
This is the original Morris Discount Store. They were a frequent source of real discounts. Now Walgreens may be better than Duane Reade (Duane Greed) but still much pricier than a real discount drug store.
I used to live in Pottstown, PA and when passing the one on Coney Island Avenue I got a flashback of that suburban town. It's scary how America is becoming more and more homogenized.
Sometimes I feel like I don't stand out from the IGNORANT FUCKS at my school.
So when I got off my bus [to FRIGID air, don't let the sunlight fool you!] and saw our tree had bloomed into beautiful red leaves, I figured I'd try and blend in.
Today was long. Not too horrible, and I think my chair test went pretty damn good [ no results until tomorrow ], but still long.
Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.
Fundamentals consists of three interlocking exhibitions:
1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.
2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.
3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.
The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative
Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.
Elements of Architecture / Central Pavilions
This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.
Portfolio || Flickr Archive || Instagram
This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.
1.) How long have you been actively writing for?
I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.
2.) How has your work changed or evolved since you started, and what made it change?
My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.
3.) Tell me about your approach to street art?
My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.
4.) Any other interests you have apart from painting/art?
Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009
5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.
My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.
You can see more of Case's art here: casemackeen.com
He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.
Rinsing of the homogenization container.
IAEA experts visited Japan from 8 to 14 September 2014 and collected water samples from the sea at five locations near TEPCO's Fukushima Daiichi Nuclear Power Station, together with staff from NRA and the Ministry of Foreign Affairs. The water samples were shared both between the IAEA Environmental Laboratories and the Japanese Laboratories.
Photo Credit: NRA
Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.
Fundamentals consists of three interlocking exhibitions:
1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.
2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.
3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.
The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative
Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.
Elements of Architecture / Central Pavilions
This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.
Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.
Fundamentals consists of three interlocking exhibitions:
1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.
2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.
3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.
The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative
Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.
Elements of Architecture / Central Pavilions
This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.
We’ve been getting raw milk (also called Real Milk) from a local farm for a few years. Actually I should say that we’ve been getting raw milk from our cow for a few years. The sale of raw milk is illegal in Ohio, so we participate in what’s called a “Herd Share” program. We bought a cow and we pay the farmer’s to take care of it for us. It’s legal to drink raw milk if it comes from your own cow. This milk is as fresh as you can get, we pick it up the day after it’s milked, it’s unpasteurized and unhomogenized. Since it’s not homogenized the cream rises to the top, it’s also called cream line milk. We make butter every week from our raw milk. It's a fun process and it saves me lots of money. I get about a pound and a half of butter each week.
for directions and more info: chiotsrun.com/2010/01/06/make-your-own-butter/
2008-02-13
Morning coffee.
This is one of the many superhero-themed murals and display cases in the midst of this Harrisburg, PA McDonald's. As far as I can tell, this is the regular decor and not a promotion.
I'm not sure who the untagged/un-noted heroes are. Any help would be great.
Project 365 Day 44: Seriously--I didn't get close to photographing it all. It defeated the "homogenized" McDonald's in my eyes.
Loading shaker to homogenize spiked samples used for proficiency testing. (IAEA Chemistry Unit, Seibersdorf, Austria, 2 July 2007)
Photo Credit: Dean Calma / IAEA
Somewhere in the Financial District of Los Angeles.
Architect unknown.
John C. Portman, Jr.
en.wikipedia.org/wiki/Westin_Bonaventure_Hotel
The hotel and its architects have been the subject of several documentaries.
In his book Postmodern Geographies: the reassertion of space in critical social theory (1989), Edward W. Soja describes the hotel as "a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles" (p. 243-44).
LA recette de
PAILLES AU FROMAGE
LES INGREDIENTS :
(désolé mais ma vieille tante Catherine ne cuisinait pas métrique)
2 tasses de farine
2 c. à thé de poudre à pâte
1 c. à thé de sel (je ne la met plus)
2 c. à table de beurre
2 c. à table de Crisco (Saindoux) (ne pas confondre avec l'huile de la même marque…)
1 tasse d'eau froide (on n'utilise pas toute cette quantité)
1 lb de fromage râpé (utiliser de préférence du fromage cheddar extra vieux, disponible dans certains commerces spécialisés.).
LES ÉTAPES
•Préchauffer le four à 350° F (mettre deux grilles, une au tiers inférieur et l'autre au tiers supérieur).
•Râper finement le fromage et l’étendre sur un papier ciré pour qu’il perde un peu de son humidité.
•Mélanger la farine, le sel et la poudre à pâte.
•Ajouter le Crisco et le beurre et couper avec deux couteaux.
(Les modernes pourront faire cette étape au mélangeur à pâtisserie et zut pour la poésie... mais il n'est pas nécessaire de trop homogénéiser à cette étape).
•Ajouter progressivement juste assez d'eau pour obtenir une pâte peu collante en pétrissant avec les mains
(on n'utilise donc pas toute l'eau).
•Incorporer progressivement le fromage râpé. Pétrir modérément à chaque ajout jusqu'à ce que le fromage soit incorporé complètement.
•Séparer la pâte en quatre boules égales.
•À l’aide d’un rouleau légèrement enfariné, étendre une boule de pâte en une couche d'environ 1/4"-1/8" d'épais.
•À l’aide d’une roulette dentelée, couper en bâtons (pailles) de 1/4" de large.
•Étendre les pailles sur une tôle protégée par un papier parchemin à cuisson. (Il est plus facile de couper et de mettre sur la tôle, les pailles une à une)
•Cuire 6 minutes sur la grille du haut, ensuite TOURNEZ la tôle ET mettre 6 minutes sur la grille du bas.
•Considérer la cuisson terminée lorsque les bouts des pailles brunissent. Les pailles devraient être légèrement jaunâtres.
(Selon toute vraisemblance, votre four se comporte légèrement différemment du mien. Surveillez votre première fournée et ajustez le temps de cuisson en conséquence).
•Laisser glisser les pailles hors du papier parchemin sur une grille à l'air libre pour les laisser refroidir.
•Entreposer les pailles dans une boîte métallique hermétique.
LES TRUCS:
Cette recette est plus facile à réussir avec du fromage extra vieux car il est plus sec et nettement plus « goûteux ».
Il est plus difficile de réussir cette recette l'été, car l'humidité ambiante tend à rend les pailles un peu molles. Mais cet inconvénient pour certains est apprécié par d'autres (les goûts et les couleurs...)
Pour éviter d'avoir des pailles trop humides, on peut étendre sur un papier ciré le fromage fraîchement râpé pour le laisser sécher quelque peu.
Pour incorporer le fromage, aplatir la pâte dans un bol. Ajouter une bonne couche de fromage. Plier la pâte en deux. Aplatir le tout avec votre poing. Rajouter du fromage. Répéter jusqu’à ce que tout le fromage ait été utilisé. Pétrir en utilisant vos pouces pour incorporer le fromage à la pâte.
Une des étapes les plus difficiles est d’étendre la pâte au rouleau. Pour éviter que la pâte ne se brise, rouler par petits coups de rouleau. Faites pivoter la pâte fréquemment. Vous pourrez ainsi aplatir la pâte progressivement tout en contrôlant sa cohésion. (La forte quantité de fromage rend celle-ci un peu friable).
Couper les pailles légèrement plus large qu'elles ne sont épaisses. Sinon, elles ont tendance à s'affaisser après avoir monté à la cuisson. Ces pailles sont relativement fragiles donc une longueur de huit pouces environ vous évitera bien des bris et ennuis.
Pour couper les pailles, on peut utiliser une roulette dentelée, pour l'esthétique...
Rédaction: Jean-Pierre Bonin.
Mes remerciements à Catherine Morrissette.
Texte modifié en décembre 2019
Ze Cheese Straws recipe
ZE INGREDIENTS :
(sorry but my old aunt Catherine didn’t cook metric)
2 cups flour
2 tea spoons baking soda
1 tea spoons salt (I don't add salt anymore)
2 table spoons butter
2 table spoons Crisco (Shortening)
1 cup cold water (we do NOT use all this quantity)
1 pound grated (shredded) cheese cheddar (preferably extra-old cheddar, available in specialized stores.).
Ze steps
•Preheat oven to 350° F (use two grills, one at the bottom third, the other one on the top third).
•Finely shred the cheese and spread it on wax paper so it can loose some humidity.
•Mix the flour, salt and baking soda.
•Add the Crisco and butter and cut with two knives.
(If you prefer a more modern approach, you could do this step with a pastry blender and forget being poetic... but it really isn’t necessary to homogenize too much at this moment).
•Progressively add just enough water to get a non sticky dough while kneading with your hands
(thus we do NOT use all the water).
•Progressively incorporate the grated cheddar. Moderately knead each time you add cheddar until all the cheese is incorporated.
•Separate the dough into four « equal » balls.
•Use a rolling pin (slightly coated with flour), to spread the dough down to approximatively 1/4"-1/8" thin.
•Use a pastry wheel crimper to cut the dough in straws (sticks) about ¼ inch wide.
•Deposit the straws one by one on a flat pastry baking tray protected by parchment paper.
•Bake 6 minutes on the upper grill, then TURN the tray AND bake 6 minutes on the bottom grill.
•When the tips of the straws turn brownish, baking is done. Straws should be slightly yellowish.
(In all likelyhood, your oven will will react slightly differently from mine. Consequently do keep an eye on your first batch and reajust cooking time accordingly).
•Slide straws from the parchment paper then place them on a grill to let them cool down.
•Keep the straws in an hermetic metal box
ZE TRICKS:
This recipe will be at its best with extra-old cheddar as it is dryer and more flavourful.
It is harder to make this recipe in summer as the ambiant humidity tends to make the straws somewhat less crunchy. But what is an inconvenience for some is appreciated by others (colors and taste…)
To avoid having humid straws, you can spread the grated cheese on a wax paper sheet and let it dry for some time prior to incorporating it to the dough.
To incorporate the chesse, flaten the dough in a bowl. Add a « good » layer of grated cheese. Fold the dough over in two. Again flaten the dough with your fist. Add some cheese. Repeat until all the cheese has been used. Knead using your thumbs to mix the cheese with the dough.
One of the most difficult step is to spread the dough with the rolling pin. To prevent the dough from « breaking » At the edges, roll with small moves. Rotate the dough frequently. You will thus be able to control the dough and avoid large cracks. (The large amount of cheddar makes the dough crumbly).
Cut the straws slightly larger than their thickness. Otherwise they will tend to collapse on the side while baking. The straws are fragile and you should cut them at a maximum length of 8 inches (before baking of course…).
Use a pastry wheel crimper is for aesthetics...
Redaction: Jean-Pierre Bonin.
My thanks to Catherine Morrissette.
Modified on December 20th 2019
via WordPress bit.ly/2LgkS72
Home–Áp Suất–Đồng hồ áp suất Anhui TianKang
Mục lục nội dung:
1.ĐỒNG HỒ ĐO ÁP YBF/YBFN (STAINLESS STEEL PRESSURE GAUGE). 1
2.ĐỒNG HỒ ĐO ÁP Y-M SERIES (DIAPHRAGM PRESSURE GAUGES). 2
3.ĐỒNG HỒ ĐO ÁP Y-M SERIES (HYGIENIC DIAPHRAGM PRESSURE GAUGES). 3
4.ĐỒNG HỒ ĐO ÁP YPF SERIES (SPACER TYPE PRESSURE GAUGE). 3
5.ĐỒNG HỒ ĐO ÁP YXC SERIES (MAGNETIC ELECTRIC CONTACT PRESSURE GAUGE). 4
6.ĐỒNG HỒ ĐO ÁP YXC SERIES (SPECIAL MAGNETIC ELECTRIC-CONTACT PRESSURE GAUGE). 5
7.ĐỒNG HỒ ĐO ÁP YTZ-150 SERIES (RESISTIVE REMOTE TRANSMITTING PRESSURE GAUGE). 6
8.ĐỒNG HỒ ĐO ÁP YN/YN-B SERIES (SHOCK-PROOF PRESSURE GAUGE). 6
9.ĐỒNG HỒ ĐO ÁP YE-100B SERIES (STAINLESS DIAPHRAGM PRESSURE GAUGE). 7
10.ĐỒNG HỒ ĐO ÁP YE-100,YE-150 SERIES (DIAPHRAGM PRESSURE GAUGE). 8
11.ĐỒNG HỒ ĐO ÁP YT SERIES (SPECIAL PRESSURE GAUGE). 9
12.ĐỒNG HỒ ĐO ÁP YA SERIES (SPECIAL PRESSURE GAUGE). 9
13.ĐỒNG HỒ ĐO ÁP Y SERIES (GENERAL PRESSURE GAUGE). 10
1.ĐỒNG HỒ ĐO ÁP YBF/YBFN (STAINLESS STEEL PRESSURE GAUGE)
Đồng hồ đo áp suất YB series
Mô tả:
Vật liệu: Thép không gỉ và hợp kim chống ăn mòn cho vỏ đồng hồ và các phụ tùng bên trong.
Ứng dụng: đồng hồ đo áp được sử dụng rộng rãi trong các ngành công nghiệp dầu khí, hóa chất, luyện kim, khai thác mỏ, máy móc, điện và thực phẩm.
Lưu chất : khí ga, hóa chất lỏng có tính ăn mòn cao
Oder code:
Mã đồng hồ áp suất + Đường kính mặt đồng hồ
Mã đồng hồ áp suất
–
Đường kính mặt đồng hồ
YBF: Stainless steel pressure
60: φ60
YBFN: Stainless steel Shock-proof pressure
100: φ100
150: φ`150
Thông số kỹ thật:
Nominal Diameter: φ100
Structure: direct radial mounting
Connection Thread: M20 X 1.5
Accuracy: 1.5; 2.5
Measuring Range: -0.1~0MPa; -0.1~0.15 to -0.1~2.4MPa;0~0.1 to 0~60MPa
Environment Condition: Temperature -40~70; Relative
Humidity ≤85%
Shock-proof Class：· H· 3for YBF type V H 4for YBFN type
Material: 0Cr18Ni9Ti 1Cr18Ni9Ti 316L, etc.
2.ĐỒNG HỒ ĐO ÁP Y-M SERIES (DIAPHRAGM PRESSURE GAUGES)
Đồng hồ đo áp suất YML series Anhui TianKang
Mô tả:
Vật liệu: thép không gỉ, hợp kim chống ăn mòn.
Ứng dụng: đồng hồ đo áp suất dạng màng được sử dụng rộng rãi trong các ngành công nghiệp dàu mỏ, hóa chất, y học, thực phẩm, sản xuất giấy.
Lưu chất: chất lỏng có độ ăn mòn mạnh, độ nhớt cao, dễ kết tinh hoặc dạng rắn.
Oder code:
Mã đồng hồ áp suất + Kiểu kết nối + Đường kính mặt đồng hồ
Mã đồng hồ áp suất
–
Kiểu kết nối
–
Đường kính mặt đồng hồ
YM: Spacer type pressure gauge
L: thread connection
100: φ100
YMN: Shock-proof Spacer type
pressure gauge
F: Flange connection
150: φ150
Thông số kỹ thuật:
Type
YML-100/
YML-150
YMNL-100/
YMNL-150
YMF-100/
YMF-150
YMNF-100/
YMNF-150
Connection Way
Thread Connection
M20 X 1.5
Flange Connection
(as GB9113-88)
Accuracy
1.5 ; 2.5
Measuring Range (MPa)
0~0.1; 0~0.16; 0~0.25; 0~0.4; 0~0.6;
0~1; 0~1.6; 0~2.5; 0~4; 0~6;
Environment Condition Temperature
Temperature -40~70 ; Relative Humidity 85%
Shock-Proof Class
V .H. 3
V. H.4
V.H.3
V. H.4
Gauge Head
Nominal Diameter (mm)
φ100; φ150
Type
General
Shock-proof
General
Shock-proof
Accuracy
1.5;2.5
Diaphragm
Separation Device
Flange Material
1Cr18Ni9Ti
Spacer Material
Stainless Steel, H Alloy, M Alloy, etc.
Filling Liquid
Methyl Silica Oil, Glycerin, etc.
3.ĐỒNG HỒ ĐO ÁP Y-M SERIES (HYGIENIC DIAPHRAGM PRESSURE GAUGES)
Đồng hồ đo áp suất Y-M series
Mô tả:
Vật liệu đồng hô đo: thép không gỉ.
Vật liệu màng ngăn: 316, 316L
Vật liệu sealing ring (vòng đệm): silicon rubber, Teflon
Ứng dụng: đo áp suất cho công nghiệp sản xuất thuốc, thực phẩm, nước giải khát, xử lý nước…
Lưu chất: Glycerol, Propylene glycol, Vegetable oil .
Thông số kỹ thuật
Model
Form
Top limit of the measurement (MPa)
Mix Shock-proof pressure gauge
Mix Stainless Steel Pressure Gauge
0.6~2.5 ( flange 1 1/2 ” )
YN-60/MC
Y-60B/Z/MC
MC
Clamp-on
0.4~2.5
( flange 2 ” )
YN-100/MC
Y-100B/Z/MC
YN-100/MN
Y-100B/Z/MN
MN
nut
0.4~2.5
YN-100/MH
Y-100B/Z/MH
MC
Rectangular Flange
( homogenizer use )
10~60
Sealing liquid
Temperature Range of the compression zone℃
Specific gravity
Volume expansion
Glycerol Aqueous Solution
– 5~100
1-27
0.61×10 -3
Propylene glycol
-30~160
1.04
0.70×10 -3
Vegetable oil
-5~100
0.93
1.03×10 -3
4.ĐỒNG HỒ ĐO ÁP YPF SERIES (SPACER TYPE PRESSURE GAUGE)
Đồng hồ đo áp suất YPF series
Mô tả:
Vật liệu: thép không gỉ
Lưu chất: chất lỏng ăn mòn và chất kết dính mà không bị kết tinh và hóa rắn
Thông số kỹ thuật:
Model
Measuring Range
Size of Pressure Equipment D1
YPF-100A
0.~0.06 , 0~0.1 ,0~0.16 ,0~0.25 ,0~0.4 ,0~0.6 ,0~1 ,0~1.6 ,0~2.5 ,-0.1~0 ,-0.1~0.06 , -0.1~0.15 ,-0.1~0.3 ,-0.1~0.5 ,-0.1~0.9 ,0.1~1.5 ,-0.1~2.4MPa
φ 85
YPF-100B
φ 115
YPF-100B-F
YPF-150A
φ 85
YPF-150B
φ 115
YPF-150B-F
YPF-100B
0~1.6 , 0~2.5 ,0~4 ,0~6 ,0~10 、 0~16 ,0~25 ,0~40* -1.6~0 ,-2.5~0 ,-4~0 ,-6~0 ,-10~0 ,-16~0 ,-25~0, -40~0*-0.8~0.8 ,-1.2~1.2 ,-2~2 ,-3~3 ,-5~5 ,-8~8 -12~12 ,20~20*kPa
φ 160
YPF-100B-F
YPF-150B
φ 160
YPF-150B-F
5.ĐỒNG HỒ ĐO ÁP YXC SERIES (MAGNETIC ELECTRIC CONTACT PRESSURE GAUGE)
Đồng hồ đo áp suất điện từ YXC series
Mô tả
Ứng dụng: thiết bị được sử dụng rộng rãi trong các nhà máy dầu khí, hóa chất, điện, luyện kim và các ngành công nghiệp khác
Ưu điểm:
-Đo áp suất của chất lỏng mà không gây nguy hiểm cháy nổ, kết tinh hoặc ăn mòn trên hợp kim
-Có hệ thống tự động cảnh báo theo mức áp suất được cài đặt trước.
-Thiết bị có thể tùy ý đặt áp suất điều khiển mức max và min.
-Loại bỏ được các vấn đề gây hại cho cơ cấu đo như: hồ quang, rung động, sự thay đổi đột ngột của áp suất đo.
Thông số kỹ thuật:
Model
Measuring Range
(Mpa)
Accuracy
Temperature of Environment Condition
Relative Humidity
Shock-proof Class:
YXC-00(1)
0~0.1;0.16;0.25;0.4;0.6;1
1.6;2.5;4;6;10;16;25;40; 60 ,
-0.1~0,0.1~0.06;0.15; 0.3;0.5; 0.9;1.5;2.4
indicate
set value
-40~70 ℃
≤
85%
V · H · 3
YXC-100(2)
on
off
YXC-100(1)ZT
1.5
1.5
4
YXC-100(2)ZT
YXC-150(1)
YXC-150(2)
YXC-150(1)ZT
YXC-150(2)ZT
6.ĐỒNG HỒ ĐO ÁP YXC SERIES (SPECIAL MAGNETIC ELECTRIC-CONTACT PRESSURE GAUGE)
Đồng hồ đo áp suất dạng màng YXC series
Mô tả:
Ứng dụng: được sử dụng rộng rãi trong các ngành công nghiệp như dầu khí, công nghiệp hóa chất, nhà máy điện và luyện kim…
Ưu điểm:
-Kiểm tra áp suất của môi trường chất lỏng mà không gây nguy hiểm trong trường hợp xấu và yêu cầu chống ăn mòn.
-Đồng hồ đo có tích hợp hệ thống báo động theo mức đã được cài đặt trước.
Thông số kỹ thuật:
Type
Model
Product Name
Scale Range
(Mpa)
Accuracy Class
Indicate
Set Value
Connect
Cut
Special
YXCA
Magnetic Electric contact Ammonia Pressure Gauge
0~0.16 to 60
-0.1~0.06 to 2.4
2.5
2.5
4
Shock Proof
YXC-Z
Shock Proof Electric contact Pressure Gaug
0~0.6 to 60
-0.1-0.5 to 2.4
1.5
1.5
5
Corrosion Resistant
YXC-B-F
Corrosion Resistant Electric contact Pressure Gauge
0~0.6 to 60
-0.1~0.06 to 2.4
1.5
1.5
4
Corrosion and shock Resistant
YXC-B-FZ
Corrosion and shock Resistant Electric contact Pressure Gauge
0~0.6 to 60
-0.1~0.5 to 2.4
1.5
1.5
5
Diaphragm Common
YXC-/M
Diaphragm Corrosion and shock Resistant
0~0.1 6 to 60
-0.1~0.06 to 2.4
1.5
1.5
4
Diaphragm and Corrosion Resistant
YXC-B-F/M
Diaphragm and Shock Proof
YXC-Z/M
0~0.6 to 60
-0.1~0.5 to 2.4
1.5
1.5
5
Diaphragm,Corrosion Resistant and Shock Proof
YXC-FZ/M
7.ĐỒNG HỒ ĐO ÁP YTZ-150 SERIES (RESISTIVE REMOTE TRANSMITTING PRESSURE GAUGE)
Đồng hồ đo áp suất YTZ-150
Resistive remote transmitting pressure gauge is suitable for measuring the pressure of liquid,steam and gas medium which donot have corrosive impact on copper or copper alloy. Meanwhile, it can transmit the electric quantity data to the secondary meter over long distance for achieving the result of centralized test and control over long distance. It can also indicate on the spot which will facilitate technical check.
Structure Principle
The gauge is made of a common bourdon spring pressure gauge and a set of sliding resistance-type transmitter. When the pressure of the medium changes, the end of bourdon spring will be in displacement. Such displacement will push the indicator to indicate the relative pressure date on the plate through the transmission gear. As the sliding resistance-type transmitter is setted on the fan-shaped gear of the transmission gear, it will bring slide arm brush to slide when the transmission gear deviates. The changes of pressure data will be transformed to resistance changes and transmit to the secondary meter to display.
Using Condition:-40~70℃, relative humidity less than 85% and the shock and strong pulse vibration have no obvious impact on the normal work of the meter.
Temperature Impact: When using temperature deviates 20±5℃, the additional temperature error is less than 0.4%/10℃。
Measuring Range
Measuring Range MPa
0~0.1;0~0.16;0~0.25;0~0.4;0~0.6;0~1;0~1.6;
0~2.5;0~4;0~6;0~1 0;0~1 6;0~25;0~40;0~60
-0.1~0;-0.1~0.06;-0.1~0.15;-0.1~0.3;
-0.1~0.5;-0.1-0.9;-0.1~1.5;-0.1~2.4
8.ĐỒNG HỒ ĐO ÁP YN/YN-B SERIES (SHOCK-PROOF PRESSURE GAUGE)
Đồng hồ đo áp suất YN series
The shock-proof gauge is mainly used in the pressure measuring in the industrial sector of metallurgy, electricity, chemical industry, light industry, machinery etc. The pressure gauge has excellent shock-proof function by the measures of interior filling of damping oil and assorted shock mitigation device. It is suitable for the occasions where the pressure of medium has strong pulse changes or pressure shock or pressure unload suddenly in the production process and environment shock is strongly. The gauge can measure the average data of the fluctuating pressure of gas and liquid for overcoming the damage to the gauge by the strong medium pulse and environment shock and ensuring the accuracy of the indication.
The case of shock-proof pressure gauge is made of stainless material (semisteel) which can be worked in bad circumstances such as corrosion or strong vibration. The observation window is made of high intensity engineer plastics. The gauge indicates clearly and works safely and reliably.
Type
Structure
Scale Range Mpa
Accuracy Class
YN-60
Radial
0~0.1;0~0.16;0~0.25;0~0.4 0~0.6;0~1;0~1 6;0~2.5;0~4
0~6;0~10~;0~16;0~25
1.5
YN-60ZT
Axial with edge
YN-60B
Radial
YN-63B
Axial with edge
YN-100
Radial
0~0.1;0~0.16;0~0.25;0~0.4;
0~0.6;0-1;0~1.6;0~2.5;0~4;
0~6;0~1 0;0~1 6;0~25;0~40;
0~60
2.5
YN-100ZT
Axial with edge
YN-100B
Radial
YN-103B
Axial with edge
YN-150
Radial
0~0.1;0~0 1 6;0~0.25;0~0.4;
0~0.6;0~1;0~1.6;0~2.5;0~4;
0~6;0~10;0~16;0~25;0~40;
0~60;0~100
YN-150ZT
Axial with edge
YN-150B
Radial
YN-153B
Axial with edge
9.ĐỒNG HỒ ĐO ÁP YE-100B SERIES (STAINLESS DIAPHRAGM PRESSURE GAUGE)
Đồng hồ đo áp suất YE-100B
Stainless Diaphragm Pressure Gauge is a measuring meter for testing tiny pressure which is designed according to common diaphragm pressure gauge with corrosion resistant. The pressure transmitting system and outer casing are made of stainless material which is applied in the technical process with high requirement of corrosion resistant. It can measure the tiny and negative pressure of all kinds of gas which is widely used in stove ventilation, gas pipes, burning equipment and other similar devices. It is ideal subordinate product amond the similar products which adopts abroad advanced technics and equipments which can be produced domestically.
Structure Principle
The gauge is consisted of measuring system(including connector and diaphragm etc.), transmission gear, indicator device and outer casing.The pressure transmitting system and outer casing are made of stainless material with closed structure for protecting the incursion of dirty things. When the pressure of media effects on the diaphragm, the free end will emerge elastic deformation—displacement. After the driving of driving rod and the amplifying of transmission gear, the measured pressure will be indicated on the plate of the meter by the indicator device.
Main Technical Specification
Scale Range and Accuracy Class
Type
Scale Range kPa
Accuracy Class
Positive
Negative
Positive and Negative
YE-100B
0~4
-4~0
-2~+2
2.5
0~6
-6~0
-3~+3
0~10
-10~0
-5~+5
0~16
-16~0
-8~+8
0~25
-25~0
-12~+12
0~40
-40~0
-20~+20
0~60
10.ĐỒNG HỒ ĐO ÁP YE-100,YE-150 SERIES (DIAPHRAGM PRESSURE GAUGE)
Đồng hồ đo áp suất YE-100 và YE-150
Diaphragm Pressure Gauge adopts diaphragm as the sensitive component for testing tiny pressure. It can measure the tiny and negative pressure of gas with no corrosion to copper alloy and no explosion danger which is widely used in stove ventilation, gas pipes, burning equipment and other similar devices.
Structure Principle
The gauge is consisted of measuring system(including connector and diaphragm etc.), transmission gear, indicator device and outer casing. When the pressure of media effects on the diaphragm, the free end will emerge elastic deformation—displacement. After the driving of driving rod and the amplifying of transmission gear, the measured pressure will be indicated on the plate of the meter by the indicator device.
Main Technical Specification
Scale Range and Accuracy Class
Type
Scale Range kPa
Accuracy Class
Weight
kg
Positive
Negative
Positive and Negative
YE-100
YE-150
0~1.6
-1.6~0
-0.8~+0.8
2.5
0.5
0~2.5
-2.5~0
-2.4
0~4
-4~0
-4
0~6
-6~0
-3~+3
0~10
-10~0
-5~+5
0~16
-16~0
-8~+8
0~25
-25~0
-12~+12
0~40
-40~0
-20~+20
11.ĐỒNG HỒ ĐO ÁP YT SERIES (SPECIAL PRESSURE GAUGE)
Đồng hồ đo áp suất YT series
YTS-100, YTS-150 Acid Resistant Pressure Gauge
Y-100FR, Y-150FR Corrosion Resistant and High Temperature Resistant Gauge
YTU-100S, YTU-150S Sulfur Resistant Gauge
Special Pressure Gauge is suitable for the situation which has special requirement on the pressure meters during the production process of industrial sector. The whole parts of the Acid Resistant pressure gauge adopts stainless materials. It has strong corrosion resistant performance and is suitable for testing the pressure of corrosion medium in the abominable external corrosive circumstance. They are used widely in the industrial enterprises of oil, chemistry and agricultural chemicals,etc.
The whole parts of corrosion resistant and high temperature resistant gauge adopts stainless materials and the system of pressure transmitting adopts special welding technology. It has excellent corrosion resistant function and is suitable for testing the pressure of corrosion medium or mediums which cannot use tin brazing technology or in the high temperature circumstance. They are used widely in the industrial enterprises of oil, chemistry, agricultural chemicals and rubber,etc.
The testing system of sulfur resisting gauge adopts special stainless materials with sulfur resistant performance. It is suitable for testing the pressure of sulfureted hydrogen and natural gas medium. They are used widely in the industrial enterprises of oil, natural gas, chemical industry and chemical fiber,etc.
Main Technical Specification
Scale Range and Accuracy Class
Type
MPa
Accuracy Class
YTS-100
YTS-150
0~0.1;0~0.1 6;0~0.25;0~0.
0~6;0~1;0~1 6;0~2 5;0~4;0~6;
0~10;0~16;0~25;0~40;0~60; -0.1~0;-0.1~0.06;-0.1~0.15;
-0.1~0.3;-0.1~0.5;-0.1~0.9;
-0.1~1.5;-0.1~2.4
1.5
YTU-100S
YTU-150S
Y-100FR
Y-150FR
12.ĐỒNG HỒ ĐO ÁP YA SERIES (SPECIAL PRESSURE GAUGE)
Đồng hồ đo áp suất YA series
Ammonia pressure gauge is used for measuring the non-crystalline and concretionary media, which have no corroding effect on tin lead alloy brazing solder and the stainless steel, such as, plain carbon steel, alloy construction steel and austenite stainless steel.
Configuration Principle
The instrument is composed of pressure leading system (including joint, spring tubes, etc.), driving mechanism, indicating device and the shell.
When the measured medium acts on the spring tube, the corresponding elastic deformation – displacement, occurs on the tube end. And the measured pressure will be indicated on the dial of the indicating device after the amplification of driving mechanism.
Technical Specifications
Scale Range
MODEL
MPa
YA-100
YA-150
0~0.16;0~0.25;0~0.4;0~0.6;0-1;
0~1.6;0~2.5;0~4;0~6;
-0.1~0.06;-0.1~0.15;-0.1~0.3;
+0.1~0 ;-0.1~0.9 ：
-0.1~1.5;-0.1~2.4
YA-150
0~10;0~16;0~25;0~40;0~60
Accuracy class：2.5;1.5
Working temperature: -40~70℃; relative humidity less than 90%
Temperature Effect：less than 0.4%/1 0℃(Working temperature deviating from 20±5℃)
Weight：0.6kg(YA-100) 0.9kg(YA-100)
13.ĐỒNG HỒ ĐO ÁP Y SERIES (GENERAL PRESSURE GAUGE)
Đồng hồ đo áp suất Y series
Description:
The series of pressure gauges are widely used to measure the pressure of liquid, gas and vapor without explosion danger, crystallization, solidification, or corrosion on alloy in container and pipe transporting gas, liquid. The gauges have many advantages such as small volume, high reliability and safety, explicit display, etc
Main Technical Parameters:
Measuring Range & Accuracy
Type
Y-40
Y-60
Y-100 Y-150
Y-200
Y-60Z
Y-100T Y-150T
Y-250
Y-60T
Y-100ZT Y-150ZT
Y-40Z
Y-60ZT
Accuracy
2.5
1.5
MPa
0~0.1,0 16,0.25,0.4,0.6,1,1.6,2.5,4,6
0~0.6,1 ，
0~10,16,25,40
0~10,1 6,25,40,60,100
1.6,2.5,4,6
-0.1~0.06,0.15,0.3,0.5,0.9,1.5,2.4
Type
Y-40
Y-60
Y-100 Y-150
Y-200
Y-60Z
Y-100T Y-150T
Y-250
Y-60T
Y-100ZT Y-150ZT
Y-40Z
Y-60ZT
Accuracy
2.5
1.5
MPa
0~0.1,0 16,0.25,0.4,0.6,1,1.6,2.5,4,6
0~0.6,1 ，
0~10,16,25,40
0~10,1 6,25,40,60,100
1.6,2.5,4,6
-0.1~0.06,0.15,0.3,0.5,0.9,1.5,2.4
Environment Condition：-40~70℃，Relative Humidity ≤85%
Temperature：-40~70℃
This is a cholesterol bomb! Eggs yolks, homogenized milk, whipping cream... Much more complicated than your average ice cream: www.suziethefoodie.com/bobby-flays-cinnamon-crunch-ice-cr...
Ildiko Juhasz
Bachelor of Visual Arts
Jewellery & Metalsmithing
Constructed Nature (2016) is a body of work which explores the creative process of material experimentation and pattern making. The project has become an exercise in conscious thinking and decision making which develops from the way the materials perform.
At the core of project is ‘nature’ and what it means to be a part of — or apart from — nature. I am interested in the relationship we as human beings form with the natural world. This has led me to explore how this relationship has been changed by urbanism and how these changes have manifested into different city patterns from medieval times to present day.
The grid as modernity’s sign is symptomatic of a modern rationalist desire to objectify and control nature. With the use of this pattern I am making reference to our shared experiences of alienation, isolation and homogenization, and also to the feelingof being trapped or suffocated as urbanites.
Constructed Nature, 2016, concrete, leather, and silver
Transfer of seawater from a Niskin bottle into homogenization container.
IAEA experts visited Japan from 8 to 14 September 2014 and -- together with staff from NRA and the Ministry of Foreign Affairs -- collected water samples from the sea at five locations near TEPCO's Fukushima Daiichi Nuclear Power Station,
The water samples were shared both between the IAEA Environmental Laboratories and the Japanese Laboratories to e=be analyzed independently.
Photo Credit: NRA
Weathered black shales disconformably overlying limestones in the Devonian of Kentucky, USA.
The rocks in the upper right part of the photo are weathered black shales of the New Albany Shale, a Devonian-aged formation in Kentucky, Indiana, Illinois, and eastern Missouri. The unit is dominated by dark-colored marine mudshales of Late Devonian age. These black shales were deposited in a moderately deep, anoxic seafloor environment. This was a widespread lithofacies during the Late Devonian's Global Anoxia Event. The New Albany Shale is equivalent to the Ohio Shale, the Antrim Shale, and the Chattanooga Shale in surrounding states.
The basal New Albany here is the Blocher Member - it consists of dolomitic black shales (dolosiltites, actually). The fissile nature of Blocher rocks is due to post-depositional compaction. Blocher beds are rich in organic carbon and have been homogenized by bioturbation.
The rocks in the lower left part of the picture are the Middle Devonian North Vernon Limestone, which is part of a widespread sheet of Devonian carbonates that extends from New York State to the Midwest. The North Vernon Limestone represents deposition in a subtropical, shallow-water, carbonate platform environment. The limestone here is fossiliferous, with decent-sized camerate crinoid columnals. An encrinite bed is present in the top-preserved North Vernon.
Just above the top of the North Vernon Limestone is a thin, lensoidal lag unit with phosphatic nodules, glauconitic pellets, and conodonts.
The New Albany-North Vernon contact represents missing time - such stratigraphic boundaries are called unconformities, which are surfaces of erosion and/or non-deposition of sediments. This is a disconformity, with horizontal sedimentary rocks above and below the contact, which here has noticeable paleotopography. A paleosinkhole was visible here when the cut was fresh.
Oxidative weathering of pyrite (FeS2 - iron sulfide; "fool's gold") at the New Albany-North Vernon boundary has produced iron oxide minerals such as reddish-brown hematite and yellowish-brown limonite. The iron oxides have stained the underlying rocks via descending meteoric waters (rain and runoff). The end result is a "bleeding unconformity".
Stratigraphy: lowermost-preserved New Albany Shale (uppermost Givetian Stage to lower Frasnian Stage, uppermost Middle Devonian to lower Upper Devonian) disconformably over the Beechwood Member of the North Vernon Limestone (Givetian Stage, upper Middle Devonian)
Locality: roadcut along the western side of the south-bound entrance ramp to Interstate 65 at the Route 245-Interstate 65 interchange, north-northeast of Belmont & south of Sherpherdsville, south-central Bullitt County, north-central Kentucky, USA (37° 55' 24.45" North latitude, 85° 41' 18.33" West longitude)
----------------------------------
Info. at:
Schieber, J. & R. Lazar (eds.). 2004. Devonian black shales of the eastern U.S. New insights into sedimentology and stratigraphy from the subsurface and outcrops in the Illinois and Appalachian Basins. Field Guide for the 2004 Annual Field Conference of the Great Lakes Section of SEPM. Indiana Geological Survey Open-File Study 04-05. 90 pp.
We’ve been getting raw milk (also called Real Milk) from a local farm for a few years. Actually I should say that we’ve been getting raw milk from our cow for a few years. The sale of raw milk is illegal in Ohio, so we participate in what’s called a “Herd Share” program. We bought a cow and we pay the farmer’s to take care of it for us. It’s legal to drink raw milk if it comes from your own cow. This milk is as fresh as you can get, we pick it up the day after it’s milked, it’s unpasteurized and unhomogenized. Since it’s not homogenized the cream rises to the top, it’s also called cream line milk. We make butter every week from our raw milk. It's a fun process and it saves me lots of money. I get about a pound and a half of butter each week.
for directions and more info: chiotsrun.com/2010/01/06/make-your-own-butter/
All rights reserved
Photomontage by DeLares (Eliud Martinez)
Introduction:
The attached photomontage jpg, “Homogenizing Torch of Liberty For ALL” ("Antorcha homogenizante de la estatua de la libertad") is the basis for an idea for a costume design. It's a bit “heavy” but full of meaning for me.
If ethnic parades represent an aspect of culture as “performance”, one would think the Puerto Rican Day Parade (PRDP) should be an ideal vehicle for articulating its cultural symbols and icons while celebrating the political, emotional and spiritual meaning that these symbols bring forth in us.
Given that the PRDP is arguably the most widely seen medium for representing our ethnic pride (our Puertoriqueñidad) and nationalism, its current state of corporate co-option through sponsorship seriously compromises the very ideals and concerns of community empowerment which it should stand for. At this point, it costs somewhere in the order of $250,000.00 to participate with ONE float in this parade!!!
The corporat-ization process that pays for this spectacle is one that sanitizes racially charged images of Puerto Ricans. It obscures and dismisses our need to be independent, creative and innovative. This placates us into believing that “we have finally arrived and now belong” while molding us along the path of least resistance as passive consumers of ideas, media and products. We are being homogenized into a mass culture that more often than not only pays lip service to diversity.
The Anglo-European focus of American mainstream culture belies the fact that it actually owes much of its extraordinary global appeal to a distinctive vibrancy and flair derived from Native-American, Afro-American AND Latin American influences.
The following ideas attempt to incorporate the language of social criticism while engaging our middle-class, poor and working class community members in a discourse of alternative possibilities through art.
Proposal:
I propose community-artist multimedia collaborations that help young people to rediscover and celebrate our Spanish, African and indigenous folkloric roots and traditions. As an alternative to flashy expensive corporate floats and that have come to dominate the PRDP, I would propose:
(1) Putting together a series of community artist creations that deconstruct our culturally homogenizing corporat-ization by
(a )creating “little floats” (using baby carriages, shopping carts, bicycles, wheelchairs, etc.) that,
(b) for example, rather than relying on entertainment and political celebrities, showcasing local heroes and models of individual/community success.
(c) “Speaking to power” on 5th Avenue by underlining the plight of impoverished senior citizens, inadequate healthcare, homeland security from police terror and brutality, lack of jobs and adequate education and housing.
(2) Performance art productions (using actors/mimes) that deconstruct so-called American “freedom of choice” and make explicit how we allow ourselves to be “branded” by commercial interests in order to feel “good-enough” about ourselves by consuming expensive brands and labels that diminish our uniqueness and our PR cultural identity.
(3) Where an actual “alternative PRDP Remix” to develop from collaborations based on the content and ideas of this exhibit, I would look forward to documenting it in writing and photography.
Stumbled upon this in the Lakeview area over the weekend, on Paulina between Diversey and Wrightwood. This is either: a) an artistic statement on the homogenization of new construction in gentrified neighborhoods, b) a home for Smurfs, c) a yuppie birthday present (all it needs is a giant bow!), or d) the result of a 2 for 1 sale on tarp at Menards.
© Andy Marfia 2006
Portfolio || Flickr Archive || Instagram
This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.
1.) How long have you been actively writing for?
I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.
2.) How has your work changed or evolved since you started, and what made it change?
My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.
3.) Tell me about your approach to street art?
My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.
4.) Any other interests you have apart from painting/art?
Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009
5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.
My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.
You can see more of Case's art here: casemackeen.com
He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.
Real scale model of the Maison Domino of Le Corbusier at the Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.
Fundamentals consists of three interlocking exhibitions:
1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.
2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.
3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.
The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative
Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.
Elements of Architecture / Central Pavilions
This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation
Produced for an art challenge on "dystopias."
I don't even know how to describe how I got to this final product... I think this all came to be after a disorganized brainstorming session during which I thought of each terrible thing that would be represented in a dying culture. So I depicted a cruel and unusual death penalty, destruction of the female form and the objectification of a woman before an audience, book burning, a grey landscape, and a homogenized general populous. The onlookers are some sort of amalgamation of gas masks, the dress of fundamentalist religions*, and the (random) mental image of the Death Eaters from Harry Potter.
The books in the background symbolize the practice of shelving "banned" books and remind the viewer of all the famous possible dystopian universes. Titles included are The Handmaid's Tale by Margaret Atwood, V for Vendetta by Alan Moore & David Lloyd (title hidden), Atlas Shrugged by Ayn Rand, Children of Men by P.D. James, 1984 by George Orwell, The Road by Cormac McCarthy, Fahrenheit 451 by Ray Bradbury, A Clockwork Orange by Anthony Burgess, The Trial by Franz Kafka, Do Androids Dream of Electric Sheep? by Philip K. Dick, and A Brave New World by Aldous Huxley.
*N.B. Though I was inspired by the hijab, a garment traditionally worn by Muslim women, I do not intend to give any particular commentary on whether or not I find the hijab to be a symbol of the oppression of women. I do not have a specific belief regarding the continued practice of Muslim women covering their heads in public. I thought of the garment because it has been so controversially thought of as a symbol of oppression and fundamentalism.
PrismaColor pencils, Sharpie, mechanical pencil.
Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.
Fundamentals consists of three interlocking exhibitions:
1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.
2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.
3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.
The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative
Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.
Elements of Architecture / Central Pavilions
This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation
"Wang Wenlan" At the launch of his wonderful book "Facing the Cold", Philip McMaster congratulated China Daily, Wang Wenlan, all the people involved in the production of the book, the Chinese Military for thier rapid and compassionate help in the crisis, and the Chinese People for their courage and cooperation in the face of disaster.
Philip McMaster is from Montreal Canada, (the same city where Dr. Norman Bethune was educated and developed many innovations in Medicine) where he particpated as Director of Volunteer Coordination with "Cool to be Canadian" during two major disasters caused by Global Warming in 1997 and 1998. (see links below for details)
Presented with complimentary copies of the "Face the Cold" book, in gratitude Mr. McMaster shared the new Chinese Sustainability Symbol (3 fingers) with many of the key dignitaries, noting that he had developed the symbol in China, when teaching MBA students at the Chinese University of Hong Kong. This "made in China" symbol, researched and developed by the McMaster Institute for Sustainable Development of Commerce, is designed to become an ATTITUDE that the Chinese people will practice first for the Olympics, (balancing Society, Environment and Economy) and then export as China's gift of sustainability to the world.
Today Philip McMaster is Principal Researcher with the McMaster Institute for Sustainable Development of Commerce www.SustainabilitySymbol.com and Eco-Entrepreneurship Coach with www.Dragonpreneur.com , www.Dragonpreneur.com/blog
a description of the research and development of the Sustainability Symbol and programs for Chinese students of business and entrepreneurs can be found at the following websites: www.Dragonpreneur.com, www.DragonThink.com,
************************************
National Emergencies where Philip McMaster has assisted citizens:
Flooding
In 1997, Philip McMaster was leader of "Cool to be Canadian" ( www.CooltobeCanadian.ca )crews helping the military build dams to protect the city from floods - www.cool.ca/cool_en/fld_action.htm
Ice Storm
In 1998, Philip McMaster was leader of "Cool to be Canadian" crews protecting Canadians from the ICE STORM covering Eastern Canada www.cool.ca/cool_en/icestorm_album.htm
Jan 13, 2000 - Philip McMaster cooperates with China Daily on Environment Book
Stop homogenization to protect tourism
By: Philip McMaster in Beijing
www.ecotaskforce.com/chinadaily/protect/
04/17/99 Philip McMaster - Sustainable Adventure in Hong Kong
www.ecotaskforce.com/chinadaily/HKnature/
******************************************************
Photos of the "Facing the Cold" event can be found on Flickr at the following address: www.flickr.com/photos/dragonpreneur/sets/72157604040544560/
We’ve been getting raw milk (also called Real Milk) from a local farm for a few years. Actually I should say that we’ve been getting raw milk from our cow for a few years. The sale of raw milk is illegal in Ohio, so we participate in what’s called a “Herd Share” program. We bought a cow and we pay the farmer’s to take care of it for us. It’s legal to drink raw milk if it comes from your own cow. This milk is as fresh as you can get, we pick it up the day after it’s milked, it’s unpasteurized and unhomogenized. Since it’s not homogenized the cream rises to the top, it’s also called cream line milk. We make butter every week from our raw milk. It's a fun process and it saves me lots of money. I get about a pound and a half of butter each week.
for directions and more info: chiotsrun.com/2010/01/06/make-your-own-butter/
ZNC electrical discharge machining machine is the traditional type with X and Y axis manual control, usually operator needs to manually move the working table to the location of where to do spark eroding on the workpiece. Z axis is automatically controlled by servo motor, operation of ZNC EDM machine is simple compared to CNC die sinking EDM. Due to the limitation of no control of X and Y axis, ZNC EDM machine can't do simultaneous orbital machining, even use an orbital cutting head, the result of accuracy and surface is not as good as what can achieve on CNC EDM machines. But thinking about the cost of ZNC EDM, it's ideal for the start or jobs without a strict requirement of accuracy and surface finish.
ZNC350 ZNC Spark Erosion Machine
ZNC430 ZNC Electrical Discharge Machine
ZNC450 Electrical Discharge Machining Machine
ZNC540 Electric Discharge Machining
ZNC600 ZNC EDM Sparking Machine
ZNC860 ZNC Die Sinking EDM With Heavy Load Capacity
ZNC Die Sinking EDM Machine Highlights
Original Taiwan C-Tek controller, LCD monitor, Industrial Computer Controller.
High accuracy X, Y, Z three axes C3 grade Taiwan made ball screw.
Z axis imported Japanese Sanyo servo motor control.
Three axes DROs of 0.005mm resolution.
Resin sand casting as machine body and inner stress removed to make sure long-time rigidity and stability.
Z axis is equipped with a high precision roller guideway with a Japanese SANYO DC servo motor, to make the movement of Z axis more sensitive and smoother.
The machine has a wide machine base to make sure the machine is strong enough for heavy loading, X. and Y axis have V shape and flat guideway with FEFLON wear-resisting sticker, movement of heavy load is smooth and light, with no crawling phenomenon.
Working lamp, fire extinguisher and lubrication unit, and patented electrode holder are all Taiwan made.
ZNC Die Sinking EDM Machine Function Characteristic Introduction of Control System
More than 20,000 units of programming storage capacity. Normally, more than 20,000 different programmings of mold or customer numbering can be stored
With a mirror surface processing circuit, a true mirror effect can be performed. Furthermore, it is even better to use orbital processing and powder mixing processing.
10 segments auto-editing function. ① Manual edit: edit machining condition by experience. ②AUTO Z auto edit: Max. Depths, initial current and finished process, machining area selection are provided, and then machining condition edit can be finished automatically. ③ Intelligent condition edit electrode shape, electrode and workpiece material, workpiece section area and finished precision selection, depth setting area are provided, and then machining condition can be complete at a time by the way of a rough→moderate→fine.
X, Y, Z-axis coordinate are switch with Metric and English system
If machining is unstable, the discharging condition is auto-adjusted by modifying discharging efficiency and working time. After that, the condition will restore automatically. And it is also adjustable at any time.
Auto arcing detecting function, if unsteady caused by arcing occurs, the computer will adjust machining parameters and rise to jump up height, then the normal condition would return.
If could set that after 2~10 times discharging (jumping up control), the electrode will be raised (safe height Z) to the set arbitrary position and continue machining. This could achieve good slagging off performance for deep hole machining.
The function of avoiding second discharging and carbon deposition rapid raising or discharging boundary searching rapid rising.
Power control (equal energy) function for homogenizing machining effect. And this function could be switched off to accelerating graphite electrode machining.
Generator new design conforms to a power supply box and 15-inch LCD display criterion of European CE safety regulation, which is dustproof, waterproof, electric noise-proof and circuit board life could also be raised.
Industrial class PC-based controller is applied, and the traditional hard disk is substituted by new DOM type memory, which enables faster and more steadily speeds of file reading and it is more suitable for industry application.
Up discharging (reverse machining) function makes special machining easier.
Two independent machining coordinates. The male die and female die could be parted or machined in different coordinates.
After power off, system restarts and automatically reloads previous machining condition and coordinate of last time, so discharging could be finished by pushing remote control box without panel operation
Two jumps up to speed type, which serve speed could be raised when no electrode deformation and big area machining efficiency could also be raised.
Separately storage of coordinate and machining data and same machining condition could be rapidly added in different part machining.
Two high voltage circuits could be set in partial voltage or partial current according to the customer's need
Arcing detection setting function could start the carbon deposition hardware detecting circuit, and every charging pulse could be detected and the current will be cut off when an abnormal pulse occurs. So no short circuit is caused by a short circuit
Discharging high voltage pulse control, which enables the settings of different high voltage pulse types and it could go with machining speed and electrode wear.
Function Pic ZNC Die Sinking EDM Machine
Consumable Parts ZNC Die Sinking EDM Machine
Orbital Cutting Head
100A Generator
Products
Die Sinker EDM Machine
Windows Platform CNC EDM Machine
Automation CNC EDM Machine
CNC EDM Sinker Machine C Structure A30, A45
Ram Type CNC EDM Machine with Fixed Table
Double Heads Large CNC EDM Machine
General Purpose CNC EDM Machine P40
ZNC Die Sinking EDM Machine
CNC EDM Wire Cut Machine
Small Hole EDM Drilling Machine
High Speed CNC Milling Machine G-600
EDM Parts
Blog
Read More +
Die Sinking EDM Die Sinking EDM
Sep 21 2020
Small Hole Drilling EDM Small Hole Drilling EDM
Sep 21 2020
Wire Cut EDM Wire Cut EDM
Sep 21 2020
DIE SINKER EDM MACHINE FAQS
The Mostly Asked Questions about Die Sinker EDM Machines
What's EDM die sinking machining (EDM forming machining)?
The EDM die sinker machine is able to cope machining by prepared electrodes, the cavity that created is the same as the profile of the electrode. EDM spark erosion machining can process punches, drawing dies, and extension dies of various types of holes; process various forging dies, extrusion dies, plastic injection molds and extrusion dies; and also process various small holes, deep holes, heterosexual holes, and curved holes, and special materials with complex-shaped parts, etc.
Uses of EDM machining technology
(1) Processing various technologies and their alloy materials, conductive super-hard materials (such as polycrystalline diamond, cubic boron nitride, cermets, etc.), special heat-sensitive materials, semiconductor, and non-semiconductor materials.
(2) Processing various kinds of complex-shaped hole and cavity workpieces, including processing round hole, square hole, polygon hole, special-shaped hole, curved hole, threaded hole, micro hole, deep hole and other type hole workpieces, as well as various types Face cavity workpiece. For example, processing exceptionally large molds and parts ranging from a few micrometers of holes and grooves to several meters.
(3) Cutting of various workpieces and materials, including cutting of materials, cutting of parts with special structure, cutting of fine narrow slits and parts composed of fine narrow slits (such as metal grid, slow wave structure, heterogeneous orifice spinneret, laser Pieces, etc.).
(4) Processing all kinds of forming parts such as forming knives, samples, tools, measuring tools, threads and so on.
(5) Grinding of workpieces, including small holes, deep holes, inner circles, outer circles, flat surfaces, etc. and profile grinding.
(6) Engrave and print nameplates and marks.
(7) Surface strengthening and modification, such as high-speed quenching of metal surfaces, nitriding, carburizing, coating of special materials and alloying, etc.
(8) Auxiliary uses, such as removing taps and drill bits from parts in this segment, repairing worn parts, etc.
What is the EDM machine meaning in the metal working industry
Electrical spark erosion, also known as electrical discharge machining and electrical corrosion machining, called electrical discharge machining in Japan and electrical corrosion machining in the former Soviet Union. It is a method of processing the metal workpiece by utilizing the phenomenon of electric corrosion generated during the pulse discharge between the two poles (electrode and workpiece, should be conductive). Academically it belongs to the category of electrophysical processing. EDM technology is one of the most important parts of special machining technology.
What is the advantage of electrical discharging machining against traditional metal working method?
Answer: With the development of industrial production and the advancement of science and technology, more and more new materials with a high melting point, high hardness, high strength, high brittleness, high viscosity, high toughness, high purity and other properties continue to appear, and also some with various complex structures that can’t be machined by traditional metal working method, sometimes difficult or impossible to process. With traditional metal working technology.
Therefore, in addition to further development and improvement of traditional mechanical metal working methods, people also strive to find new processing methods. The electrical discharging machining (EDM) method can meet the needs of development, and shows many excellent performances in the application, so it has been rapidly developed and increasingly widely used.
Characteristics of EDM die sinking machining
(1). During machining, the tool electrode and the workpiece material are not actually touching and there is basically no macro-mechanical force between the two. Therefore, the "soft" tool electrode can be used to process the "hard" workpiece. For example, graphite and copper electrodes can process hardened steel, cemented carbide, and even diamond.
(2). Because the spark energy density of the high-frequency power discharging can be accurately controlled, and there is no macro mechanical force between the two poles (electrode and workpiece), so the precise and fine machining can be achieved. Such as the processing of narrow slits, narrow grooves, micro-small holes of molds and parts, the processing accuracy can reach micron level, even sub-micron level.
(3) "Copying". With direct use of electrical power for processing, it is easy to realize the automation, intelligence, and application of modern computer control technology to precisely control the machining process, which makes the machining of workpieces more realistic.
(4) Direct use of electrical energy for processing, which is convenient for automation of the machining process, and can reduce mechanical processing procedures, shorten processing steps, low labor intensity, and easy to use and maintain
Portfolio || Flickr Archive || Instagram
This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.
1.) How long have you been actively writing for?
I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.
2.) How has your work changed or evolved since you started, and what made it change?
My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.
3.) Tell me about your approach to street art?
My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.
4.) Any other interests you have apart from painting/art?
Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009
5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.
My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.
You can see more of Case's art here: casemackeen.com
He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.
via WordPress bit.ly/2vyXSFO
ĐỒNG HỒ ĐO ÁP SUẤT ANHUI TIANKANG-ANHUI TIANKANG VIỆT NAM
Home–Áp Suất–Đồng hồ áp suất Anhui TianKang
Mục lục
Contents
ĐỒNG HỒ ĐO ÁP SUẤT ANHUI TIANKANG-ANHUI TIANKANG VIỆT NAM… 1
Mục lục. 1
1.ĐỒNG HỒ ĐO ÁP YBF/YBFN (STAINLESS STEEL PRESSURE GAUGE). 1
2.ĐỒNG HỒ ĐO ÁP Y-M SERIES (DIAPHRAGM PRESSURE GAUGES). 2
3.ĐỒNG HỒ ĐO ÁP Y-M SERIES (HYGIENIC DIAPHRAGM PRESSURE GAUGES). 3
4.ĐỒNG HỒ ĐO ÁP YPF SERIES (SPACER TYPE PRESSURE GAUGE). 3
5.ĐỒNG HỒ ĐO ÁP YXC SERIES (MAGNETIC ELECTRIC CONTACT PRESSURE GAUGE). 4
6.ĐỒNG HỒ ĐO ÁP YXC SERIES (SPECIAL MAGNETIC ELECTRIC-CONTACT PRESSURE GAUGE). 5
7.ĐỒNG HỒ ĐO ÁP YTZ-150 SERIES (RESISTIVE REMOTE TRANSMITTING PRESSURE GAUGE). 6
8.ĐỒNG HỒ ĐO ÁP YN/YN-B SERIES (SHOCK-PROOF PRESSURE GAUGE). 6
9.ĐỒNG HỒ ĐO ÁP YE-100B SERIES (STAINLESS DIAPHRAGM PRESSURE GAUGE). 7
10.ĐỒNG HỒ ĐO ÁP YE-100,YE-150 SERIES (DIAPHRAGM PRESSURE GAUGE). 7
11.ĐỒNG HỒ ĐO ÁP YT SERIES (SPECIAL PRESSURE GAUGE). 8
12.ĐỒNG HỒ ĐO ÁP YA SERIES (SPECIAL PRESSURE GAUGE). 9
13.ĐỒNG HỒ ĐO ÁP Y SERIES (GENERAL PRESSURE GAUGE). 10
1.ĐỒNG HỒ ĐO ÁP YBF/YBFN (STAINLESS STEEL PRESSURE GAUGE)
Đồng hồ đo áp suất YB series
Mô tả:
Vật liệu: Thép không gỉ và hợp kim chống ăn mòn cho vỏ đồng hồ và các phụ tùng bên trong.
Ứng dụng: đồng hồ đo áp được sử dụng rộng rãi trong các ngành công nghiệp dầu khí, hóa chất, luyện kim, khai thác mỏ, máy móc, điện và thực phẩm.
Lưu chất : khí ga, hóa chất lỏng có tính ăn mòn cao
Oder code:
Mã đồng hồ áp suất + Đường kính mặt đồng hồ
Mã đồng hồ áp suất
–
Đường kính mặt đồng hồ
YBF: Stainless steel pressure
60: φ60
YBFN: Stainless steel Shock-proof pressure
100: φ100
150: φ`150
Thông số kỹ thật:
Nominal Diameter: φ100
Structure: direct radial mounting
Connection Thread: M20 X 1.5
Accuracy: 1.5; 2.5
Measuring Range: -0.1~0MPa; -0.1~0.15 to -0.1~2.4MPa;0~0.1 to 0~60MPa
Environment Condition: Temperature -40~70; Relative
Humidity ≤85%
Shock-proof Class：· H· 3for YBF type V H 4for YBFN type
Material: 0Cr18Ni9Ti 1Cr18Ni9Ti 316L, etc.
2.ĐỒNG HỒ ĐO ÁP Y-M SERIES (DIAPHRAGM PRESSURE GAUGES)
Đồng hồ đo áp suất YML series Anhui TianKang
Mô tả:
Vật liệu: thép không gỉ, hợp kim chống ăn mòn.
Ứng dụng: đồng hồ đo áp suất dạng màng được sử dụng rộng rãi trong các ngành công nghiệp dàu mỏ, hóa chất, y học, thực phẩm, sản xuất giấy.
Lưu chất: chất lỏng có độ ăn mòn mạnh, độ nhớt cao, dễ kết tinh hoặc dạng rắn.
Oder code:
Mã đồng hồ áp suất + Kiểu kết nối + Đường kính mặt đồng hồ
Mã đồng hồ áp suất
–
Kiểu kết nối
–
Đường kính mặt đồng hồ
YM: Spacer type pressure gauge
L: thread connection
100: φ100
YMN: Shock-proof Spacer type
pressure gauge
F: Flange connection
150: φ150
Thông số kỹ thuật:
Type
YML-100/
YML-150
YMNL-100/
YMNL-150
YMF-100/
YMF-150
YMNF-100/
YMNF-150
Connection Way
Thread Connection
M20 X 1.5
Flange Connection
(as GB9113-88)
Accuracy
1.5 ; 2.5
Measuring Range (MPa)
0~0.1; 0~0.16; 0~0.25; 0~0.4; 0~0.6;
0~1; 0~1.6; 0~2.5; 0~4; 0~6;
Environment Condition Temperature
Temperature -40~70 ; Relative Humidity 85%
Shock-Proof Class
V .H. 3
V. H.4
V.H.3
V. H.4
Gauge Head
Nominal Diameter (mm)
φ100; φ150
Type
General
Shock-proof
General
Shock-proof
Accuracy
1.5;2.5
Diaphragm
Separation Device
Flange Material
1Cr18Ni9Ti
Spacer Material
Stainless Steel, H Alloy, M Alloy, etc.
Filling Liquid
Methyl Silica Oil, Glycerin, etc.
3.ĐỒNG HỒ ĐO ÁP Y-M SERIES (HYGIENIC DIAPHRAGM PRESSURE GAUGES)
Đồng hồ đo áp suất Y-M series
Mô tả:
Vật liệu đồng hô đo: thép không gỉ.
Vật liệu màng ngăn: 316, 316L
Vật liệu sealing ring (vòng đệm): silicon rubber, Teflon
Ứng dụng: đo áp suất cho công nghiệp sản xuất thuốc, thực phẩm, nước giải khát, xử lý nước…
Lưu chất: Glycerol, Propylene glycol, Vegetable oil .
Thông số kỹ thuật
Model
Form
Top limit of the measurement (MPa)
Mix Shock-proof pressure gauge
Mix Stainless Steel Pressure Gauge
0.6~2.5 ( flange 1 1/2 ” )
YN-60/MC
Y-60B/Z/MC
MC
Clamp-on
0.4~2.5
( flange 2 ” )
YN-100/MC
Y-100B/Z/MC
YN-100/MN
Y-100B/Z/MN
MN
nut
0.4~2.5
YN-100/MH
Y-100B/Z/MH
MC
Rectangular Flange
( homogenizer use )
10~60
Sealing liquid
Temperature Range of the compression zone℃
Specific gravity
Volume expansion
Glycerol Aqueous Solution
– 5~100
1-27
0.61×10 -3
Propylene glycol
-30~160
1.04
0.70×10 -3
Vegetable oil
-5~100
0.93
1.03×10 -3
4.ĐỒNG HỒ ĐO ÁP YPF SERIES (SPACER TYPE PRESSURE GAUGE)
Đồng hồ đo áp suất YPF series
Mô tả:
Vật liệu: thép không gỉ
Lưu chất: chất lỏng ăn mòn và chất kết dính mà không bị kết tinh và hóa rắn
Thông số kỹ thuật:
Model
Measuring Range
Size of Pressure Equipment D1
YPF-100A
0.~0.06 , 0~0.1 ,0~0.16 ,0~0.25 ,0~0.4 ,0~0.6 ,0~1 ,0~1.6 ,0~2.5 ,-0.1~0 ,-0.1~0.06 , -0.1~0.15 ,-0.1~0.3 ,-0.1~0.5 ,-0.1~0.9 ,0.1~1.5 ,-0.1~2.4MPa
φ 85
YPF-100B
φ 115
YPF-100B-F
YPF-150A
φ 85
YPF-150B
φ 115
YPF-150B-F
YPF-100B
0~1.6 , 0~2.5 ,0~4 ,0~6 ,0~10 、 0~16 ,0~25 ,0~40* -1.6~0 ,-2.5~0 ,-4~0 ,-6~0 ,-10~0 ,-16~0 ,-25~0, -40~0*-0.8~0.8 ,-1.2~1.2 ,-2~2 ,-3~3 ,-5~5 ,-8~8 -12~12 ,20~20*kPa
φ 160
YPF-100B-F
YPF-150B
φ 160
YPF-150B-F
5.ĐỒNG HỒ ĐO ÁP YXC SERIES (MAGNETIC ELECTRIC CONTACT PRESSURE GAUGE)
Đồng hồ đo áp suất điện từ YXC series
Mô tả
Ứng dụng: thiết bị được sử dụng rộng rãi trong các nhà máy dầu khí, hóa chất, điện, luyện kim và các ngành công nghiệp khác
Ưu điểm:
-Đo áp suất của chất lỏng mà không gây nguy hiểm cháy nổ, kết tinh hoặc ăn mòn trên hợp kim
-Có hệ thống tự động cảnh báo theo mức áp suất được cài đặt trước.
-Thiết bị có thể tùy ý đặt áp suất điều khiển mức max và min.
-Loại bỏ được các vấn đề gây hại cho cơ cấu đo như: hồ quang, rung động, sự thay đổi đột ngột của áp suất đo.
Thông số kỹ thuật:
Model
Measuring Range
(Mpa)
Accuracy
Temperature of Environment Condition
Relative Humidity
Shock-proof Class:
YXC-00(1)
0~0.1;0.16;0.25;0.4;0.6;1
1.6;2.5;4;6;10;16;25;40; 60 ,
-0.1~0,0.1~0.06;0.15; 0.3;0.5; 0.9;1.5;2.4
indicate
set value
-40~70 ℃
≤
85%
V · H · 3
YXC-100(2)
on
off
YXC-100(1)ZT
1.5
1.5
4
YXC-100(2)ZT
YXC-150(1)
YXC-150(2)
YXC-150(1)ZT
YXC-150(2)ZT
6.ĐỒNG HỒ ĐO ÁP YXC SERIES (SPECIAL MAGNETIC ELECTRIC-CONTACT PRESSURE GAUGE)
Đồng hồ đo áp suất dạng màng YXC series
Mô tả:
Ứng dụng: được sử dụng rộng rãi trong các ngành công nghiệp như dầu khí, công nghiệp hóa chất, nhà máy điện và luyện kim…
Ưu điểm:
-Kiểm tra áp suất của môi trường chất lỏng mà không gây nguy hiểm trong trường hợp xấu và yêu cầu chống ăn mòn.
-Đồng hồ đo có tích hợp hệ thống báo động theo mức đã được cài đặt trước.
Thông số kỹ thuật:
Type
Model
Product Name
Scale Range
(Mpa)
Accuracy Class
Indicate
Set Value
Connect
Cut
Special
YXCA
Magnetic Electric contact Ammonia Pressure Gauge
0~0.16 to 60
-0.1~0.06 to 2.4
2.5
2.5
4
Shock Proof
YXC-Z
Shock Proof Electric contact Pressure Gaug
0~0.6 to 60
-0.1-0.5 to 2.4
1.5
1.5
5
Corrosion Resistant
YXC-B-F
Corrosion Resistant Electric contact Pressure Gauge
0~0.6 to 60
-0.1~0.06 to 2.4
1.5
1.5
4
Corrosion and shock Resistant
YXC-B-FZ
Corrosion and shock Resistant Electric contact Pressure Gauge
0~0.6 to 60
-0.1~0.5 to 2.4
1.5
1.5
5
Diaphragm Common
YXC-/M
Diaphragm Corrosion and shock Resistant
0~0.1 6 to 60
-0.1~0.06 to 2.4
1.5
1.5
4
Diaphragm and Corrosion Resistant
YXC-B-F/M
Diaphragm and Shock Proof
YXC-Z/M
0~0.6 to 60
-0.1~0.5 to 2.4
1.5
1.5
5
Diaphragm,Corrosion Resistant and Shock Proof
YXC-FZ/M
7.ĐỒNG HỒ ĐO ÁP YTZ-150 SERIES (RESISTIVE REMOTE TRANSMITTING PRESSURE GAUGE)
Đồng hồ đo áp suất YTZ-150
Resistive remote transmitting pressure gauge is suitable for measuring the pressure of liquid,steam and gas medium which donot have corrosive impact on copper or copper alloy. Meanwhile, it can transmit the electric quantity data to the secondary meter over long distance for achieving the result of centralized test and control over long distance. It can also indicate on the spot which will facilitate technical check.
Structure Principle
The gauge is made of a common bourdon spring pressure gauge and a set of sliding resistance-type transmitter. When the pressure of the medium changes, the end of bourdon spring will be in displacement. Such displacement will push the indicator to indicate the relative pressure date on the plate through the transmission gear. As the sliding resistance-type transmitter is setted on the fan-shaped gear of the transmission gear, it will bring slide arm brush to slide when the transmission gear deviates. The changes of pressure data will be transformed to resistance changes and transmit to the secondary meter to display.
Using Condition:-40~70℃, relative humidity less than 85% and the shock and strong pulse vibration have no obvious impact on the normal work of the meter.
Temperature Impact: When using temperature deviates 20±5℃, the additional temperature error is less than 0.4%/10℃。
Measuring Range
Measuring Range MPa
0~0.1;0~0.16;0~0.25;0~0.4;0~0.6;0~1;0~1.6;
0~2.5;0~4;0~6;0~1 0;0~1 6;0~25;0~40;0~60
-0.1~0;-0.1~0.06;-0.1~0.15;-0.1~0.3;
-0.1~0.5;-0.1-0.9;-0.1~1.5;-0.1~2.4
8.ĐỒNG HỒ ĐO ÁP YN/YN-B SERIES (SHOCK-PROOF PRESSURE GAUGE)
Đồng hồ đo áp suất YN series
The shock-proof gauge is mainly used in the pressure measuring in the industrial sector of metallurgy, electricity, chemical industry, light industry, machinery etc. The pressure gauge has excellent shock-proof function by the measures of interior filling of damping oil and assorted shock mitigation device. It is suitable for the occasions where the pressure of medium has strong pulse changes or pressure shock or pressure unload suddenly in the production process and environment shock is strongly. The gauge can measure the average data of the fluctuating pressure of gas and liquid for overcoming the damage to the gauge by the strong medium pulse and environment shock and ensuring the accuracy of the indication.
The case of shock-proof pressure gauge is made of stainless material (semisteel) which can be worked in bad circumstances such as corrosion or strong vibration. The observation window is made of high intensity engineer plastics. The gauge indicates clearly and works safely and reliably.
Type
Structure
Scale Range Mpa
Accuracy Class
YN-60
Radial
0~0.1;0~0.16;0~0.25;0~0.4 0~0.6;0~1;0~1 6;0~2.5;0~4
0~6;0~10~;0~16;0~25
1.5
YN-60ZT
Axial with edge
YN-60B
Radial
YN-63B
Axial with edge
YN-100
Radial
0~0.1;0~0.16;0~0.25;0~0.4;
0~0.6;0-1;0~1.6;0~2.5;0~4;
0~6;0~1 0;0~1 6;0~25;0~40;
0~60
2.5
YN-100ZT
Axial with edge
YN-100B
Radial
YN-103B
Axial with edge
YN-150
Radial
0~0.1;0~0 1 6;0~0.25;0~0.4;
0~0.6;0~1;0~1.6;0~2.5;0~4;
0~6;0~10;0~16;0~25;0~40;
0~60;0~100
YN-150ZT
Axial with edge
YN-150B
Radial
YN-153B
Axial with edge
9.ĐỒNG HỒ ĐO ÁP YE-100B SERIES (STAINLESS DIAPHRAGM PRESSURE GAUGE)
Đồng hồ đo áp suất YE-100B
Stainless Diaphragm Pressure Gauge is a measuring meter for testing tiny pressure which is designed according to common diaphragm pressure gauge with corrosion resistant. The pressure transmitting system and outer casing are made of stainless material which is applied in the technical process with high requirement of corrosion resistant. It can measure the tiny and negative pressure of all kinds of gas which is widely used in stove ventilation, gas pipes, burning equipment and other similar devices. It is ideal subordinate product amond the similar products which adopts abroad advanced technics and equipments which can be produced domestically.
Structure Principle
The gauge is consisted of measuring system(including connector and diaphragm etc.), transmission gear, indicator device and outer casing.The pressure transmitting system and outer casing are made of stainless material with closed structure for protecting the incursion of dirty things. When the pressure of media effects on the diaphragm, the free end will emerge elastic deformation—displacement. After the driving of driving rod and the amplifying of transmission gear, the measured pressure will be indicated on the plate of the meter by the indicator device.
Main Technical Specification
Scale Range and Accuracy Class
Type
Scale Range kPa
Accuracy Class
Positive
Negative
Positive and Negative
YE-100B
0~4
-4~0
-2~+2
2.5
0~6
-6~0
-3~+3
0~10
-10~0
-5~+5
0~16
-16~0
-8~+8
0~25
-25~0
-12~+12
0~40
-40~0
-20~+20
0~60
10.ĐỒNG HỒ ĐO ÁP YE-100,YE-150 SERIES (DIAPHRAGM PRESSURE GAUGE)
Đồng hồ đo áp suất YE-100 và YE-150
Diaphragm Pressure Gauge adopts diaphragm as the sensitive component for testing tiny pressure. It can measure the tiny and negative pressure of gas with no corrosion to copper alloy and no explosion danger which is widely used in stove ventilation, gas pipes, burning equipment and other similar devices.
Structure Principle
The gauge is consisted of measuring system(including connector and diaphragm etc.), transmission gear, indicator device and outer casing. When the pressure of media effects on the diaphragm, the free end will emerge elastic deformation—displacement. After the driving of driving rod and the amplifying of transmission gear, the measured pressure will be indicated on the plate of the meter by the indicator device.
Main Technical Specification
Scale Range and Accuracy Class
Type
Scale Range kPa
Accuracy Class
Weight
kg
Positive
Negative
Positive and Negative
YE-100
YE-150
0~1.6
-1.6~0
-0.8~+0.8
2.5
0.5
0~2.5
-2.5~0
-2.4
0~4
-4~0
-4
0~6
-6~0
-3~+3
0~10
-10~0
-5~+5
0~16
-16~0
-8~+8
0~25
-25~0
-12~+12
0~40
-40~0
-20~+20
11.ĐỒNG HỒ ĐO ÁP YT SERIES (SPECIAL PRESSURE GAUGE)
Đồng hồ đo áp suất YT series
YTS-100, YTS-150 Acid Resistant Pressure Gauge
Y-100FR, Y-150FR Corrosion Resistant and High Temperature Resistant Gauge
YTU-100S, YTU-150S Sulfur Resistant Gauge
Special Pressure Gauge is suitable for the situation which has special requirement on the pressure meters during the production process of industrial sector. The whole parts of the Acid Resistant pressure gauge adopts stainless materials. It has strong corrosion resistant performance and is suitable for testing the pressure of corrosion medium in the abominable external corrosive circumstance. They are used widely in the industrial enterprises of oil, chemistry and agricultural chemicals,etc.
The whole parts of corrosion resistant and high temperature resistant gauge adopts stainless materials and the system of pressure transmitting adopts special welding technology. It has excellent corrosion resistant function and is suitable for testing the pressure of corrosion medium or mediums which cannot use tin brazing technology or in the high temperature circumstance. They are used widely in the industrial enterprises of oil, chemistry, agricultural chemicals and rubber,etc.
The testing system of sulfur resisting gauge adopts special stainless materials with sulfur resistant performance. It is suitable for testing the pressure of sulfureted hydrogen and natural gas medium. They are used widely in the industrial enterprises of oil, natural gas, chemical industry and chemical fiber,etc.
Main Technical Specification
Scale Range and Accuracy Class
Type
MPa
Accuracy Class
YTS-100
YTS-150
0~0.1;0~0.1 6;0~0.25;0~0.
0~6;0~1;0~1 6;0~2 5;0~4;0~6;
0~10;0~16;0~25;0~40;0~60; -0.1~0;-0.1~0.06;-0.1~0.15;
-0.1~0.3;-0.1~0.5;-0.1~0.9;
-0.1~1.5;-0.1~2.4
1.5
YTU-100S
YTU-150S
Y-100FR
Y-150FR
12.ĐỒNG HỒ ĐO ÁP YA SERIES (SPECIAL PRESSURE GAUGE)
Đồng hồ đo áp suất YA series
Ammonia pressure gauge is used for measuring the non-crystalline and concretionary media, which have no corroding effect on tin lead alloy brazing solder and the stainless steel, such as, plain carbon steel, alloy construction steel and austenite stainless steel.
Configuration Principle
The instrument is composed of pressure leading system (including joint, spring tubes, etc.), driving mechanism, indicating device and the shell.
When the measured medium acts on the spring tube, the corresponding elastic deformation – displacement, occurs on the tube end. And the measured pressure will be indicated on the dial of the indicating device after the amplification of driving mechanism.
Technical Specifications
Scale Range
MODEL
MPa
YA-100
YA-150
0~0.16;0~0.25;0~0.4;0~0.6;0-1;
0~1.6;0~2.5;0~4;0~6;
-0.1~0.06;-0.1~0.15;-0.1~0.3;
+0.1~0 ;-0.1~0.9 ：
-0.1~1.5;-0.1~2.4
YA-150
0~10;0~16;0~25;0~40;0~60
Accuracy class：2.5;1.5
Working temperature: -40~70℃; relative humidity less than 90%
Temperature Effect：less than 0.4%/1 0℃(Working temperature deviating from 20±5℃)
Weight：0.6kg(YA-100) 0.9kg(YA-100)
13.ĐỒNG HỒ ĐO ÁP Y SERIES (GENERAL PRESSURE GAUGE)
Đồng hồ đo áp suất Y series
Description:
The series of pressure gauges are widely used to measure the pressure of liquid, gas and vapor without explosion danger, crystallization, solidification, or corrosion on alloy in container and pipe transporting gas, liquid. The gauges have many advantages such as small volume, high reliability and safety, explicit display, etc
Main Technical Parameters:
Measuring Range & Accuracy
Type
Y-40
Y-60
Y-100 Y-150
Y-200
Y-60Z
Y-100T Y-150T
Y-250
Y-60T
Y-100ZT Y-150ZT
Y-40Z
Y-60ZT
Accuracy
2.5
1.5
MPa
0~0.1,0 16,0.25,0.4,0.6,1,1.6,2.5,4,6
0~0.6,1 ，
0~10,16,25,40
0~10,1 6,25,40,60,100
1.6,2.5,4,6
-0.1~0.06,0.15,0.3,0.5,0.9,1.5,2.4
Type
Y-40
Y-60
Y-100 Y-150
Y-200
Y-60Z
Y-100T Y-150T
Y-250
Y-60T
Y-100ZT Y-150ZT
Y-40Z
Y-60ZT
Accuracy
2.5
1.5
MPa
0~0.1,0 16,0.25,0.4,0.6,1,1.6,2.5,4,6
0~0.6,1 ，
0~10,16,25,40
0~10,1 6,25,40,60,100
1.6,2.5,4,6
-0.1~0.06,0.15,0.3,0.5,0.9,1.5,2.4
Environment Condition：-40~70℃，Relative Humidity ≤85%
Temperature：-40~70℃
(illustration from a structured discussion on reclaiming the commons) Meeting participant Maymay talked about patterns he has found in researching how oppression is carried out. Examining many different revolutionary and cultural struggles has shown a tactical pattern used over and over again by repressive governments and other dominant groups. The dominant group is not a majority but they work to keep the rest of society from uniting against them. The tactics they use, time and again, are :
Divide & Conquer – Infiltrators often provoke infighting, divisiveness, and discord within communities as part of their efforts to derail the momentum of revolutionary movements.
Obscure & Homogenize – The state uses and encourages artificial categorization to obscure the diverse and infinitely subtle possibilities of human existence. The media divides the organic spectrum of the population into segments, and within each segment creates an archetype or sketched-in models of how we are all supposed to be. These manufactured ideal images create hurdles within communities for members who do not fit the idealized definition.
(Further Reading - www.ribbonfarm.com/2010/07/26/a-big-little-idea-called-le...)
Proven resistance strategy starts with identifying the specific tactics an opponent or organization uses, and encourages loose networks of allied groups to unify around countering a specific tactic. The tactics used by the state to repress us are the pillars of support for the system itself. When we are choosing actions, we can use this to help us decide how to focus our energies.
What strategies can we make to counteract these acts of repression against us?
-Four counter strategies are suggested: Transparency, Access, Equality, Diversity
-These boil down to a fundamental strategic and philosophical statement: unity through diversity. This is how we can reclaim the commons.
Unity through Diversity!
Portfolio || Flickr Archive || Instagram
This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.
1.) How long have you been actively writing for?
I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.
2.) How has your work changed or evolved since you started, and what made it change?
My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.
3.) Tell me about your approach to street art?
My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.
4.) Any other interests you have apart from painting/art?
Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009
5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.
My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.
You can see more of Case's art here: casemackeen.com
He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.
America has been historically called melting pot of different nationalities, ethnicity and culture, where the blending of heterogeneous influences have in effect produced a new race of mankind. Nineteenth century writers hailed this homogenization as a wondrous work of God, and a marvelous new creation. While many cultural entities try to maintain their separate but equal status in America, the reality is, our culture encourages people to marry for love, which in itself facilitates the breakdown of cultural barriers.
While I personally like brown beans, white beans, green beans, black eyed peas, and probably any other kind of bean that doesn't produce and explosion of intestinal fuel, my favorite bean soup is a mixture of 15 varieties of beans, combined with an elaborate mix of spices, vegetables, some ham, and cooked for hours. Mmmm...
Portfolio || Flickr Archive || Instagram
This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.
1.) How long have you been actively writing for?
I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.
2.) How has your work changed or evolved since you started, and what made it change?
My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.
3.) Tell me about your approach to street art?
My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.
4.) Any other interests you have apart from painting/art?
Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009
5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.
My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.
You can see more of Case's art here: casemackeen.com
He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.
Portfolio || Flickr Archive || Instagram
This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.
1.) How long have you been actively writing for?
I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.
2.) How has your work changed or evolved since you started, and what made it change?
My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.
3.) Tell me about your approach to street art?
My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.
4.) Any other interests you have apart from painting/art?
Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009
5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.
My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.
You can see more of Case's art here: casemackeen.com
He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.
“I suspect we are all recipients of cosmic love notes. Messages, omens, voices, cries, revelations, and appeals are homogenized into each day’s events. If only we knew how to listen, to read the signs.”—Sam Kenn, “The Passionate Life”, quoted in “100 Ways to Keep Your Soul Alive”, edited by “Frederic & Mary Ann Brussat”
U.S. Senator Martin Heinrich (D-N.M.) continued his Local Food Tour at De Smet Dairy in Bosque Farms, New Mexico’s only Grade A dairy farm and bottling facility for raw milk and pasteurized, non-homogenized milk and yogurt. Heinrich explored the family history behind the dairy and how their dairy cows are free grazing and grass-fed year-round, in addition to being free of hormones, antibiotics, and GMOs.