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EAW SYSTEM FOR SALE CONTENTS:
SPEAKERS:
(2) EAW FR122HR
(4) EAW FR152Hi
(6) EAW KF650Ix
(2) EAW SB250
(1) EAW JF200i
POWER AMPS:
(3) CROWN MICROTECH 1200
(2) CROWN MICROTECH 2400
(3) CROWN MICROTECH 3600VZ
PROCESSORS:
(2) EAW MX800i
CABLE:
(2) 50’ SPEAKER CABLE (BANANA – ¼” TS)
(5) 50’ SPEAKER CABLE (BANANA – BANANA)
(5) 100’ SPEAKER CABLE (BANANA – BANANA)
MISCELLANEOUS:
(1)PANEL (2 MALE XLR JACKS WITH CABLES ATTACHED BUT NO CONNECTORS/ 4 FEMALE SPEAKON JACKS WITH CABLES AND BANANA PLUGS ON 2 OF THEM. AND 4 EMPTY SPACES ON XLR SIDE.)
(1)PANEL (6 FEMALE SPEAKON JACKS WITH CABLES AND BANANA PLUGS ATTACHED TO EACH. 6 EMPTY SLOTS.)
(1) EFFECT SELECTOR PANEL (WITH ATTACHED CABLE AND CONNECTOR)
Working in a neo noir style.
Technically I've found that moving Zone 6 as Sony sensors record it and creating an input correction curve post-demosaic that lowers it to Zone 5 sets the kind of deep tones I'm looking for.
As a side note: Sony sensors are very very quiet in the shadow regions. There is so much usable information deep into the -EV range.
When "testers" and commenters across the internet make claims about dynamic range I see what they report to be 1 to 2 stops narrower dynamic range than what I see. The difference is that I rise the mid-tones in my Digital Zone System luminosity curves to match 0EV to Zone 5, which, it turns out, usefully raises the shadows down to 020202hex - where I take things to be pure black (I can't see any difference between 000000hex and 0202020hex on my displays).
My Sony A7 can record 14.5EV to 15EV of usable f-stop range. Yes. It's true. Same with an A6300 that I have. The A6000, NEX-7, NEX-5T, and A5000 all record just about 14EV dynamic range.
The A7RII I recently picked up looks like it's good for between 14EV and 14.5EV. This surprised me as I thought backside illumination might set a more solid base noise level. Perhaps it's all those pixels or the way they set the analog to digital converters?
In any event, I would really like to try a Sony A7S (original model) to see how it does. Anyone have one and have a few minutes to record some RAW data for me? Or loan me for 10 minutes so I could run my input correction curve calculations? These cameras are getting cheap enough that I might even be able to buy a used copy myself. I'll be keeping my eyes peeled for one.
The Calyx CTI Integrated Amplifier has been eagerly awaited around here, primarily because the Calyx DAC is so spectacular, expectations for this amplifier were very high. Could it deliver high-end performance at this price?
The features list is not a long one if I'm honest, three analogue line level inputs, and a single USB input with support for 24bit/96kHz data rates, all on high-quality gold plated RCA sockets. Stereo pre-amp output on the same high quality gold plated RCA sockets and a single set of high quality binding posts for speaker outputs.
The front panel which is milled from a solid billet of aluminium, is a very simple affair: input selection via the left rotary dial, and volume on the right. Mute is by pushing either dial. The front panel display shows the selected input on the left, and the output volume on the right.
The top panel, like the front panel, is also milled from a solid billet of aluminium around 10mm thick, and features routing to tune out any resonances. Overall build quality is exceptionally high, and compares favourably with exotic high-end brand names.
I have to say it has been many years since I have seen an audio product with so much inside of it. I can recall many $3000 CD players and amplifiers with very little inside of them, which makes you wonder what exactly you are paying for! The CTI has a single circuit board that covers the entire base, measuring around 380mm x 200mm in size. Mounted to the top of that are the two IcePower power amplifier modules.
The CTI uses a custom power supply to feed the two IcePower modules, in a similar fashion to the Bel Canto Reference Power Amplifiers. Finally, the remote control that comes with the CTI, is again milled from a solid billet of aluminium, and feels superbly solid and functional.
When it arrived I connected it up in our main demo room system, being fed by the Calyx DAC, and using the Xavian Giullia speakers. Upon first listen one thing above all else stood out: a truly holographic soundstage. Height in particular was noticeable, as was breadth and depth.
Bass control from the massive damping factor of 4000, is excellent, even when I moved to the little Xavian XN250 stand mount speakers (Speaker of the Year 2010 in Poland) the bass was taut and controlled, never bloated and always dynamic. Detail is simply extraordinary.
As time has gone by and with more hours on it, the Calyx CTI is starting show the same sonic signature of the Calyx DAC, a subtle warmth, with all the detail and dynamics you could ask for.
Calyx are to be commended for producing what can only be described as a superb high-end amplifier, at an affordable price point. If you are looking at integrated amplifiers at this price point, you simply have to audition this amplifier before making your decision because if you hear one after you have bought something else, you will be very disappointed!
So what about the inbuilt USB port?
Simple connection and simple to use as no drivers are required. Sound quality is very good, but it is not as good as the Calyx DAC. To be expected I guess, but if you truly want the best out of computer audio with this amplifier, add the Calyx DAC, the combination is still an audio bargain.
Comments (2)
Calyx CTI 'The Integrated' Integrated Amplifier
Beauty and truth, that is how this stunning amplifier is described, and it is exactly how it sounds, beautiful and truthful to the source.
$2,599.00
Incl. 10 % TAX plus Free Shipping
Reviewed by: Wicked @ Digital
www.wickeddigital.com.au/index.php/2011-09-04-22-32-08/au...
$2,599.00
Incl. 10 % TAX plus Free Shipping
Here's the VCF/VCA input jacks (left) and the signal output jacks (right). Also, you can see the multiple trimmers for each of the NJM2069 Korg VCF chips.
The adaptation of the DW-6000 board to the Six-Trak required more work than I anticipated. I had to remove quite a bit of the interface circuitry that the DW-6000 used. Also, the periodic self-calibration that the Six-Trak uses doesn't JUST tune it's VCO's, it also tunes the VCFs! For some reason, the microcode in the Six-Trak would end up leaving a big DC offset in the final CV when it tried to calibrate the NJM2069, so I had "remove" it by putting an LED in series with the cutoff frequency CV, then adjusting the trimpot to scale the CV appropriately.
Workshop was held to gain public input on how and where to spend cap and trade auction proceeds. Twenty-five percent of funds will go to improve disadvantaged communities.
Simple 6-wire stepper motor driver circuit using 7476 TTL dual JK flip-flop. The motor coils are connected to the outputs of the flip-flop in series with the LEDs and to the +5V supply. The alligator clips provide the 5V DC supply. A TTL compatible clock signal is applied to the CLK inputs through the test clips. All LEDs are lit up because the exposure time is longer than a complete step sequence.
A Pikachu:
Pikachu[a] is a fictional species of the Pokémon media franchise. Designed by Atsuko Nishida and Ken Sugimori, Pikachu first appeared in the 1996 Japanese video games Pokémon Red and Pokémon Green created by Game Freak and Nintendo, which were released outside of Japan in 1998 as Pokémon Red and Pokémon Blue. Pikachu is a yellow, mouse-like creature with electrical abilities. It is a major character in the Pokémon franchise, serving as its mascot.
Pikachu is widely considered to be the most popular and well-known Pokémon species, largely due to its appearance in the Pokémon anime television series as the companion of protagonist Ash Ketchum. In most vocalized appearances Pikachu is voiced by Ikue Ōtani, though it has been portrayed by other actors, notably Ryan Reynolds in the live-action animated film Pokémon Detective Pikachu. Pikachu has been well-received by critics, with particular praise given for to its cute design, and it has been regarded as an icon of both regarded as an icon of both the Pokémon franchise and Japanese pop culture as a whole.
Concept and design
Pikachu is a fictional species of Pokémon created for the Pokémon franchise. Developed by Game Freak and published by Nintendo, the series began in Japan in 1996 with the release of the video games Pokémon Red and Blue for the Game Boy.[6] In these games, the player assumes the role of a Pokémon Trainer whose goal is to capture and train creatures called Pokémon. Players use the creatures' special abilities to combat other Pokémon, and some can transform into stronger species through a process called evolution.[7]
During Red and Blue's development, lead designer Ken Sugimori felt that the game needed more "cute" designs and sought the input of female Game Freak staff such as Atsuko Nishida to join the development team. Nishida was tasked with developing the Pikachu species and its evolutionary line with specific gameplay guidelines in mind: its role as an Electric-type, that it evolved twice, and that the final form "look strong". Nishida stated that the initial concept, done in sprite form resembled a "daifuku with ears sticking out of it." Its yellow coloring was also selected in order to emphasize the electricity motif in its design.[8] Originally Pikachu was intended to evolve into Raichu, and then Raichu into a Pokémon called "Gorochu."[9][10] However, Gorochu was cut due to cartridge space concerns, leaving Raichu to be Pikachu's sole evolution through use of the game's "Thunder Stone" item.[11]
Pikachu as depicted in promotional artwork for Pokémon Red and Blue, its first appearance. It had a notably pudgier build, which would later evolve into a thinner design.
Nishida additionally stated that she was fond of squirrels at the time, and so designed several elements of Pikachu to resemble squirrels. She stated that its tail was chosen because she liked squirrel tails, with the tail being shaped like a lightning bolt due to wanting a lightning motif. Pikachu's cheek pouches were added to reference how squirrels stored food in their cheeks, making Pikachu do the same with electricity. Satoshi Tajiri named the creature, giving it its mouse-like qualities.[12] According to him, the name is derived from a combination of two Japanese onomatopoeia: ピカピカ (pikapika), a sparkling sound, and チューチュー (chūchū), a sound a mouse makes.[13] Developer Junichi Masuda noted Pikachu's name as one of the most difficult to create, due to an effort of wanting to make it appealing to both Japanese and American audiences.[14] Koji Nishino worked with Nishida in the development process, and grew fond of Pikachu as a result. He thus made it more difficult to find in-game. However, its rarity only made it more popular with players.[8]
Pikachu was designed around the concept of electricity.[15] They attack primarily by projecting electricity from their bodies at their targets.[16] Within the context of the franchise, Pikachu can transform, or "evolve," into a Raichu when exposed to a "Thunder Stone."[17] In Pokémon Gold and Silver, "Pichu" was introduced as an evolutionary predecessor to Pikachu.[18] In Pokémon Diamond and Pearl, gender differences were introduced; since those games, female Pikachu have an indent at the end of their tails, giving the tail a heart-shaped appearance.[19] Pikachu's design was initially pudgier in build, but changed overtime to have a slimmer waist, straighter spine, and more defined face and neck; Sugimori has stated these design changes originated in the anime, making Pikachu easier to animate, and were adopted to the games for consistency.[20] The design, nicknamed "Fat Pikachu," was revisited in Pokémon Sword and Shield, where Pikachu received a Gigantamax Form resembling its original design.[21][22][23]
Initially considered alongside Clefairy as lead characters for franchise merchandising, Pikachu emerged as the mascot of the animated series due to its popularity amongst schoolchildren and appeal to both boys and girls.[24][13] It was also selected for the role due to the fact that picking one of Pokémon Red and Blue's three starter Pokémon- Bulbasaur, Charmander, and Squirtle- would've created a "gap" with children who did not select the one used in the anime.[8]
Detective Pikachu's design in the film involved finding a fine line between its normal depiction and a more realistic appearance. A skeletal and muscular system were fully modeled in order for the visual effects team to be able to articulate realistic movement.
For the 2019 live action film Detective Pikachu, the titular character was portrayed by Ryan Reynolds. Reynolds performed the character's voice work, and also did motion capture for the character's face and movements. Due to not being on set, co-star Justice Smith would often act his scenes out to an eyeline representing Pikachu, such as a puppet or a tennis ball.[25] Pikachu's visual appearance in the film was built as if the character was an actual animal, with the visual effects team creating detailed skeletal and muscular systems for the Pokémon. They visited zoos and consulted animal experts to make the movements accurate. Pikachu initially started with rabbit-like movement, but eventually evolved movement-wise to have characteristics of multiple species, namely those of marsupials and marmosets. Its eyes were inspired by those of the sugar glider. In order to ensure the design maintained a line between realism and uncanniness, Pikachu's fur frequently changed design. The team would often bring patches of fur to filming locations to see how the colors would respond to the area's lighting.[26] Hidetoshi Nishijima portrays Detective Pikachu's voice in the Japanese dub of the film.[27] Pierre Tessier voices the character in the French dub of the film.[28]
Ikue Ōtani has voiced the character since it first appeared in the Pokémon anime. In the anime series, Pikachu only speaks using its name. Ōtani records new lines for many of Pikachu's reappearances, and stated that despite the similar dialogue “If you don’t have a clear understanding of what you want to say in the scene and come up with a plan for your performance, you won’t convey anything... Because, if there’s the same nuance, then it would just be OK to use [previously] recorded material.”[29] Initially, it was planned for Pikachu to slowly become more adept at human speech as the series progressed, but these plans were scrapped after the producers heard the high quality of Ōtani's performance.[30] Ōtani voiced the character in the main series video games starting in Pokémon X and Y, though her voice was replaced by Pikachu's original digitized "cry" in the main series since Pokémon Legends: Arceus. This cry had previously been used to represent Pikachu audibly in the main series games prior to X and Y. [31] For Detective Pikachu, Ōtani voiced the character in a brief cameo appearance.[25] This appearance was retained in all language versions barring the German dub, which used a slightly deeper and more out of breath version of the dialogue.[32] In the Super Smash Bros. series, Ōtani voices the role in all languages, as the Smash Bros. series uses the anime's voice actors to voice the characters. This is unlike other Pokémon voice actors, where the actor is different in each country's anime dub. According to Junichi Masuda, Pikachu's voice was kept consistent across languages so Pikachu's name would be universal across the world.[33]
Pikachu has been voiced by several other voice actors since its debut. Kaiji Tang portrays Detective Pikachu in English in the video games Detective Pikachu and Detective Pikachu Returns. Tōru Ōkawa portrays the character in Detective Pikachu in Japanese, while Koichi Yamadera portrays the character in Japanese in Detective Pikachu Returns.[34] Kate Bristol briefly portrayed the character in Pokémon the Movie: I Choose You!, in a scene where Pikachu speaks to Ash. Bristol stated that she did her best to mimic Ōtani's performance for the line.[35] Abby Espiritu additionally voiced Pikachu in the short web series Pokémon: Path to the Peak.[36]
en.wikipedia.org/wiki/Pok%C3%A9mon:_The_Electric_Tale_of_...
The Pokémon Graphic Novel, more commonly known as Pokémon: The Electric Tale of Pikachu (電撃！ピカチュウ, Dengeki! Pikachū, "Electric Shock! Pikachu"), is a Japanese manga series created by Toshihiro Ono. It was serialized in the children's manga magazine Bessatsu CoroCoro Comic Special and CoroCoro Comic from April 1997 to December 1999. Individual chapters were collected into four tankōbon volumes by Shogakukan, who released the first volume on October 28, 1997 and the fourth volume on January 28, 2000. The characters and storylines are all drawn from the Pokémon anime series, although some events and depictions of characters diverge slightly from the anime, and the world itself has a visibly higher level of technology.
The manga was published in English in North America by Viz Communications in a "flipped", left-to-right format.[citation needed] In 1998 the company released the series as individual single comic book issues; the collected volumes came afterwards. At the time of its release Issue #1 was the best-selling manga issue, and best-selling comic book of any type, in the United States.[1] The issue sold 1.001 million copies, the highest for a single comic book since 1993.[2] The first volume, The Electric Tale of Pikachu!, was released on September 5, 1999. The third volume, Electric Pikachu Boogaloo, was released on April 5, 2000.
In Singapore, the manga is published in English by Chuang Yi and translated as Pokémon: The Electric Tale of Pikachu! for all four volumes.[3] The Traditional Chinese edition in Taiwan of the manga is published by Da Ran Culture Enterprise and Chingwin Publishing.
Development
Toshihiro Ono, the author of the series, said that he began drawing the series after Mr. Saito, Ono's editor, asked Ono to draw a manga to go along with the anime. During the production of the manga, Ono received scripts of the anime series. The author then altered the stories to fit the desired amount of pages used per storyline.[4]
Ono said that his favorite manga chapter was "Clefairy Tale" from the first volume and that he was "embarrassed that I can't say why." According to Ono he did not find any particular chapter to be more difficult than any other chapter. He said that when the episode "Clefairy in Space" ("Subway no Pipi") was going in manga form, Ono had to redraw many of the pages, a time-consuming process. Ono encountered difficulty in drawing Dragonite in the final chapter, as he struggled to "get a face that cute to look powerful." His favorite human characters to work with were Ash Ketchum and Jessie and James. In particular he liked Jessie and James because they are minor characters and "have much more freedom" than main characters. Therefore, minor characters are "more fun to draw." Ono's favorite characters to draw were Ash Ketchum, Ditto, Nurse Joy, and Oddish.[4]
Characters
Japanese names in Western order (given name before family name) are given first, followed by the English name. For simplicity, English language names will be used in this and other articles in Wikipedia about Pokémon, unless explicitly referring to the Japanese version.
Satoshi / Ash Ketchum - The main character, whose name in the Japanese version (Satoshi) is named after Satoshi Tajiri, the creator of the Pokémon games. Ash aspires to be a Pokémon Master, and together with the various friends and Pokémon that travel with him, embark on many adventures. In a similar fashion to the game, Ash does this by entering various Pokémon League competitions.
Kasumi / Misty - A Water-Type Pokémon trainer and the Gym Leader of Cerulean City. She is the youngest of four sisters. Like her anime counterpart, she joins Ash on his journey after he "borrows" her bike and Pikachu destroys it. Although critical towards Ash, she develops feelings towards him, who appears to reciprocate.
Takeshi / Brock - A Rock-Type Pokémon breeder and the Gym Leader of Flint City. Unlike his anime counterpart, he never joins Ash on his journey and the only time they meet is during Ash's battle with him for his second badge.
Pikachu, a little, yellow, mouse-like creature with a lightning bolt tail and the ability to create electrical jolts from its cheeks. Unlike the games or anime, Ash finds this Pikachu chewing on the electrical wiring in his house, and keeps it as his first Pokémon when he qualifies to be a trainer.
Shigeru / Gary Oak - His name in the Japanese version (Shigeru) is named after famed video game designer Shigeru Miyamoto. Unlike his anime counterpart, this version of Ash's rival does not hang out with a pack of cheerleaders, nor does he travel by car. In fact, about the only thing this Gary has in common with the anime Gary is his antagonistic attitude towards Ash. In the manga's epilogue he travels with Ash.
Team Rocket- A chaos causing 'gang' that has many goals, mainly conquering the Pokémon world.
Musashi / Jessica "Jessie" - The female half of Team Rocket. In the manga's epilogue, she marries James and are expecting their first child.
Kojiro / James - The male half of Team Rocket. In the epilogue, he quits the gang, marries Jessie, and are expecting their first child.
Nyarth (ニャース Nyāsu) / Meowth - The talking cat of Team Rocket. One of very few Pokémon that can speak a human language.
Sakaki / Giovanni - The seldom-seen boss/leader of Team Rocket
1. Dimension: Φ180mm (7inch)
2. Power Consumption: 8W
3. Input Voltage: AC100~240V
4. Output Voltage: DC24V
5. Frequency: 50~60Hz
6. Luminous Flux: 550lm
7. LED Quantity: 90pcs super bright 3528 SMD
8. Material: Aluminum + PMMA
9. Weight: 1.2kg
10. Package: 240*320*30mm
11. Ultra-slim design
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October 11, 2017
Market Hotel, Brooklyn NY
The City of New York is getting a Nightlife Mayor. Pack MARKET HOTEL with creative heroes from across the city to tell the Commissioners who decide: #SaveNYCSpaces.
This artist-led event is the only chance for public input before the Night Mayor is chosen. Cultures that inspire the world are born and grow here in NYC's diverse grassroots spaces. They should be preserved, not targeted nor forced out of existence by the affordability crisis.
The Night Mayor's job should be to #SaveNYCSpaces not amplify gentrification. Help those who need it. #LetNYCDance #ImproveDontEvict #NightlifeHelpDesk #Nightlife4All
◯ Host ◯
Anya Sapozhnikova | House of YES
◯ Speakers ◯
Kurtis Blow | Hip Hop's First Superstar
Charlie Ahearn | Director of "Wild Style"
DeeArah Wright & Brian Polite | JACK Performance Space
Nikki Brown | Dance Liberation Network
Rachel Nelson | Secret Project Robot
Ali Rosa-Salas | Abrons Arts Center
Dr. Pooyan Aslani | Sunnyvale
Molly Cox | The City Reliquary
Joe Ahearn | Artist Run Spaces
Jeannie Hopper | WBAI 99.5fm
Christopher Carroll | Associated Musicians of Greater New York, Local 802 AFM
◯ City Officials ◯
Rafael L Espinal | New York City Council Member
Antonio Reynoso | New York City Council Member
Tom Finkelpearl | Commissioner of New York City Department of Cultural Affairs
Julie Menin | Commissioner of Mayor's Office of Media and Entertainment (Made in NY, NYC Office of Nightlife)
Stephen Levin | New York City Council Member
◯ DJ ◯
Ali Coleman | House Coalition
Q&A
+ TBA
FREE
RSVP Eventbrite to Reserve a Space
www.eventbrite.com/e/tell-nycs-night-mayor-save-nyc-space...
◯◯◯◯◯
TELL THE NIGHT MAYOR: #SAVENYCSPACES
Prevent Criminalization
- Repeal NYC's 1926 'No Dancing' Discriminatory Cabaret Law #LetNYCDance
- Transparency on M.A.R.C.H. raids that shut down community spaces (Multi-Agency Response to Community Hotspots) #ImproveDontEvict
Access to Support
- Confidential Cultural Caseworkers #NightlifeHelpDesk
- No Registry of Spaces. Opt-in for Help. Step One Is Trust.
- Path to Being a Legal Community Space
- Publish Easy to Read Flow Chart of Legal Requirements for Cultural Spaces
- Streamline Requirements
- Assist Spaces in Navigating Requirements
Promote Affordability
- The Night Mayor should NOT be in the pocket of real estate developers, which would cause further displacement in our neighborhoods.
- Be in touch regularly with community groups, well-versed in anti-displacement/gentrification methods.
◯◯◯◯◯
club2.cat898.com/newbbs/dispbbs.asp?boardid=1&id=2788180
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Alarm Event: Motion Detect
Alarm Input Channel: 1
Alarm Start Time(D/M/Y H:M:S): 28/01/2019 10:19:06
Alarm Device Name: AMC046CC_31B4BF
Alarm Name:
IP Address: 192.168.1.251
Voltage measurement circuit for panel meter. Input AC (from the tank) is rectified by two UF4004 diodes in series and smoothed with a 47nF 1kV cap. This is divided down with resistors to run the panel meter. Calibration involves applying say 282V dc direct to the smoothing cap, and adjusting the trimpot until the meter reads 200V (rms), since the voltage on the smoothing cap will be the peak voltage of the AC input waveform, less a few diode drops which are negligible.
MEPs gave their input to the upcoming EU summit in a debate on the future Energy Union with Commission President Jean-Claude Juncker, First Vice-President Frans Timmermans and Latvian Secretary of State for European Affairs Kalniņa-Lukaševica. At the 19-20 March summit in Brussels, EU heads of state or government are likely to discuss the future energy union with a focus on its security dimension.
For more:
www.europarl.europa.eu/news/en/news-room/content/20150306...
This photo is free to use under Creative Commons licenses and must be credited: "© European Union 2015 - European Parliament".
(Attribution-NonCommercial-NoDerivatives CreativeCommons licenses creativecommons.org/licenses/by-nc-nd/4.0/).
For bigger HR files please contact: webcom-flickr(AT)europarl.europa.eu
Two illustrations, both alluding to the human input to electronic media which in turn affects other people and the original creator.
With all models you have to "follow the money' from where it starts. In this case we see all inputs to an offering with several revenue components that are divided into "one-time" and "recurring" revenue streams.
This model has 1 one-time sources and 1 ongoing stream.
But what is interesting is what drives the different sources, be it subscribers, or devices and how these interrelate.
Input RFI filter and a Block Öko transformer 2x12V. The PCB with the regulators (100mA) are pre-made. LM317 so for the application you can choose: 2x9V-2x12V-2x15V. Precise regulation with two multi-turn potentiometers.
Subject: Keith Packard playing a pipe organ.
Photo credit: Andrew McMillan gallery.mcmillan.net.nz/v/Travels/Scotland07/Debconf7/Nig...
FAO colleagues distributing kits to the beneficiaries.
Read more about FAO and the crisis in the Central African Republic.
Photo credit must be given: ©FAO/J. Swolfs. Editorial use only. Copyright FAO
After a decade of study, independent review, public input and full regulatory approval, contractors for the U.S. Army Corps of Engineers today began the Jacksonville Harbor Deepening project to take the federal shipping channel to a depth of 47 feet. The Dutra Group was recently awarded the contract to construct the project’s first three mile segment. Once completed, the additional 7 feet of water depth will allow the largest container cargo ships to call on JAXPORT more fully loaded.
Construction of the first segment of the project is expected to take approximately two years.
More than 1.3 million containers move through the Port of Jacksonville last year, making it Florida’s largest container port complex. The Asian container trade, with cargo moving aboard the largest ships calling the U.S. East Coast, continues to be the fastest growing segment of JAXPORT’s container cargo business.
Newly completed CCU/V.C. racks for an "Advantage Medium" System. Shown with Sony HDCU-1500 Fiber Optic High-Definition camera base stations.
Students, teachers, staff and parents had the opportunity to vote for their favorite natural play features in preparation for the design work ahead. Students could vote with 3 stickers each-- on three different elements, or all three on the same element. There was also room to write or draw what you liked about the different features. TUNNELS were the clear winner!
The display hung in a main hallway of the school for a month, and was a great way to raise awareness and enthusiasm for the project.
Lyseth School
Portland, Maine
Photo: Sheila Sullivan
This is a photograph from the 5th annual running the East of Ireland Marathons Staplestown Marathon and Half Marathon road races which were held in the village of Staplestown, Donadea, Naas, Co. Kildare, Ireland on Saturday 21st January 2017 at 09:00. The event is organised by East of Ireland Marathons with local support and input. The races all started and ended in the village of Staplestown which is about 2 miles from the entrance to Donadea Forest Park. All races were held on the same loop of approximately 10KM in distance where the marathon runners covered 4 loops plus a short out and back sections. The half marathoners covered 2 loops and some out and back. The loop is well known to local runners as it connects the village of Staplestown with the larger village of Properous, Co. Kildare. Weather conditions were very cold as a night frost brought ground temperatures down to well below zero degrees celsius.
A set of photographs is available here [https://www.flickr.com/photos/peterm7/albums/72157677913591700]
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Instagram, Snapchat, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Christine Chemnitz (Referentin fuÌr internationale Agrarpolitik, Heinrich-BoÌll-Stiftung), Foto: Stephan Röhl
Fakirs of Bengal
Ever since Islam came to Bengal in the 13th century it participated, via a merging of Sufi inputs with vernacular strands of Vaisnavism (Vishnuism), tantrism and local folk cults, in a very rich blend of religious beliefs and practices in the lower strata of the society. The Fakir (Sufi ascetic), as a sub-section of the Bengali Bául with a more or less defined Muslim identity, are at present the largest group in Bengal perpetuating this form of 'Islamic syncretistic tradition'.
Lalan Shah or Lalan Fakir (?1774-?1890) is a product and proponent of purely Bengali syncretism. His writings and his teachings tell a story of merging Hinduism and Islam into a universalistic religion transcending the boundaries of any single religion.
The Hindu Baul and the Muslim Fakir share the same tenets of an mystic quest based on the intimate human-divine connection within every human being, cultivated through a philosophy and practices that emphasize the human body as locus and means for finding the essence of God. The path is taught in the traditional guru-disciple relationship where the guru is like the figure of the Sufi saint, in whom the divine is accomplished, merged with the human.
More: openaccess.leidenuniv.nl/bitstream/handle/1887/17365/ISIM...
Poush Mela 2011, Santiniketan
Images of Bengal, India
© 2012 Pallab Seth
Although Jimi & I had our artistic differences, I'm forever grateful to him for asking me to join him in the 1970s Portland punk community. During this period, we opened for (or shared cards with) The Wipers (Greg Sage), Black Flag, Henry Rollins, the Dead Kennedy's (Jello Biafra), Napalm Beach, The Rats (Fred Cole), The Malchicks (Billy Rancher), The Cleavers (Chris Warner) & others. When the Dill's came to Portland, they requested The Inputs open for them.
Photo by Billy's sister Ellen. From l-r: Lloyd Phillips (keysboards); Paul (aka Mr. Galaxy), vocals; Karl Gressel, hidden on drums; Jimi Haskett (also of Theatre of Sheep) on guitar.
The Samsung NP305 laptop had a very poorly designed DC power input jack - just look at all the replacement parts for sale on eBay! After one repair under warranty where they replace the entire motherboard (part #BA92-09477A, costs AU$150 new), the unit owned by my sister failed for a second time, so I came to the rescue and repaired it myself with a AU$2 replacement part.
Here are a couple wired input transformers. Note that a ground wire remains connected between the input and output wires on the underside of the transformer PCB.
Organized by Productores de Hortalizas, a Meister Media Worldwide publication, the International Tomato Congress took place this past july in Mazatlan, Sinaloa.
Distribution of FAO seeds.
Read more about FAO and the crisis in the Central African Republic.
Photo credit must be given: ©FAO/CAR. Editorial use only. Copyright FAO
EAW SYSTEM FOR SALE CONTENTS:
SPEAKERS:
(2) EAW FR122HR
(4) EAW FR152Hi
(6) EAW KF650Ix
(2) EAW SB250
(1) EAW JF200i
POWER AMPS:
(3) CROWN MICROTECH 1200
(2) CROWN MICROTECH 2400
(3) CROWN MICROTECH 3600VZ
PROCESSORS:
(2) EAW MX800i
CABLE:
(2) 50’ SPEAKER CABLE (BANANA – ¼” TS)
(5) 50’ SPEAKER CABLE (BANANA – BANANA)
(5) 100’ SPEAKER CABLE (BANANA – BANANA)
MISCELLANEOUS:
(1)PANEL (2 MALE XLR JACKS WITH CABLES ATTACHED BUT NO CONNECTORS/ 4 FEMALE SPEAKON JACKS WITH CABLES AND BANANA PLUGS ON 2 OF THEM. AND 4 EMPTY SPACES ON XLR SIDE.)
(1)PANEL (6 FEMALE SPEAKON JACKS WITH CABLES AND BANANA PLUGS ATTACHED TO EACH. 6 EMPTY SLOTS.)
(1) EFFECT SELECTOR PANEL (WITH ATTACHED CABLE AND CONNECTOR)