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Idea machine used to collect people's view on the local area development (Franche Comte - Fr) . This machine is put on display in markets and and city centers.
The car that soldiered on through all manner of hell, and came out king of the hill in the end, whilst by extension keeping the company afloat.
During the early 1970's the craze was the supercar, the Lamborghini Countach had shown the world the 'Wedge' and given us a new idea of speed with its 200mph cruising velocity. Across the world, everyone wanted a piece of the new supercar action, with the result of many weird and wonderful retreads. In Britain, it was a mixed bag. At British Leyland, they gave us the Triumph TR7, which leaked, broke and generally failed to deliver in spades, whilst at Lotus, they gave us the Esprit, and that was the exact opposite.
Originally, the concept dated back to 1972 when a concept car by Lotus was unveiled, being designed by the world famous ItalDesign, built onto the platform of the previous Lotus Europa. In the following years the design was tinkered and altered by renowned stylish Giorgetto Giugiaro in one of his memorable 'Folded Paper' designs, a nickname for his more angular models such as the DeLorean and the Maserati Merak. At the time the name was initially intended to be named the Lotus Kiwi, but instead chose Esprit to keep with the long running Lotus tradition of naming cars with the letter 'E'.
However, unlike the massively powerful supercars that the Esprit was meant to be competing with, the car was designed to embody both power and incredible handling. The engine was a lightweight 2.0L Type-907 4-Cylinder engine, a comparatively small powerplant that produced 160hp. But even so, the car had a top speed of 138mph and a 0-60 of 6.8 seconds, which even today isn't bad and could easily combat the likes of the modern Hot Hatchbacks. This is due largely to the fact that the original Esprit was built out of Fibreglass on a steel backbone chassis.
The original car was launched in 1975 at the Paris Motor Show, and at the start was a little lukewarm in its reception. Although it was lauded for its incredible handling and ability to grip just about any surface, the low power engine meant that it didn't take-off as much as it had intended, especially in the desired American market.
Fame thankfully was not that far away. At the time of production the James Bond films were looking for a new Bond Car, as it had been nearly 10 years since 007 had been paired with a single iconic motor. Seeing the opportunity for some product placement, Lotus' head of public relations, Don McLaughlin, decided to take matters into his own hands and drive a prototype Lotus with all the Lotus badges taped over to Pinewood Studios near London and park it outside the main office before going across the way to meet a friend. Within a matter of minutes a sizeable crowd had gathered to ogle the sublime mystery car. Eventually he came back, made his way through the crowds, climbed in and drove away without a word being said. It was ambitious, but it worked, and the film crew went out of their way to find out about this car.
In the end a Lotus Esprit was featured in the 1977 film 'The Spy Who Loved Me', where it was shipped to Corsica and became the epic motor in the fantastic escape scene between Bond, several henchmen in cars and a pursuing helicopter. During filming however, the chase was originally quite uninteresting as the Lotus' famous grip meant that performing powerslides and drifts were impossible. This led to the Lotus test driver, who had accompanied the car to the film site, taking over from the stunt driver and literally flailing the car and pushing it to its very limits to try and make the chase look more exciting. From that moment on, he took over as stunt driver and can be owed for making the spectacular chase even more spectacular, finishing off with one of the more iconic parts of the movie where the Lotus flew off the end of a jetty and splashed into the sea, turning into a submarine to investigate Karl Stromberg's underwater rig. Although the Esprit's featured in the underwater sequences were a mixture of models and miniatures with alkasalsa tables causing bubbles, Top Gear's Richard Hammond was able to prove that a submarine car could be made out of a technically similar Lotus Excel, although it did require the doors being welded, the tyres being filled with cement, the windows being replaced with perspex and the fitting of external propellers.
When the Spy Who Loved Me premièred in 1977, the Lotus Esprit was rocketed to fame for it's intense scenes, and what would have been an unremarkable 70's sports car became one of the most iconic motors of the decade. But sadly the end of the 1970's brought trouble to the Lotus company. An Oil Crisis sent fuel costs rocketing, and the idea of owning gas guzzling supercars became highly undesirable. This was compounded by a global recession which saw the promising American market collapse. Lotus' production fell from 1,200 cars per year to just under 400, and the company was unable to pay for the development of new models, which meant that the 10 year old Elite and Eclat couldn't be replaced. In 1982 the company's founder and famed Racing Driver Colin Chapman died suddenly of a Heart Attack, and his later involvement in the DeLorean scandal, which would have seen him imprisoned for at least 10 years for fraud if he had lived to see the trial, damaged the company's reputation. In 1994 the Lotus F1 team folded and at one point the company was so strapped for cash that they couldn't even fill the invoices. The company was bounced between ownership by General Motors, and then Luxembourg based A.C.B.N Holdings, and finally to Proton of Malaysia. But despite everything, the Lotus Esprit just kept on going, and kept the company alive, thanks largely to constant development.
Unlike many car companies struggling in the recession which maintained the continuous model and made only a few cheap alterations such as facelifts, the Esprit was developed time and time again to make a more innovative machine, but maintaining that winning style that had made it so popular in the first place. Changes to the drivetrain, updates in the engine, slight alterations to the styling and a continued competitive price tag made it cheaper than a Ferrari but just as desirable, often being quoted as 'Britain's Ferrari'. Another part of its success was down to its designers too, the fourth generation car being designed by Peter Stevens, who would later coin the McLaren F1, the world's fastest production car until the Bugatti Veyron of 2005. The fifth and final generation car of 1993 however has often been described as the best, combining the continued obsession with unbelievable amounts of grip, steering and handling with a 3.5L Lotus Type 918 Turbo V8, giving the car a top speed of 178mph at a rate of 0-60 in 4.4 seconds, which even today is fantastic and would easily put it in line with modern supercars. In straight lines the Esprit would struggle to keep up in a race, but on the corners, whilst other cars would slide and flail, the Esprit would be glued to the line and easily outdo the likes of the Ferrari 458.
Sadly, this performance couldn't bring the Esprit back to its bloom of youth, and the 28 year old design was eventually killed off in 2004 after 10,000 examples were built, being replaced by the Exige. However, plans were considered for a new Esprit to be launched in 2013 after unveiling a concept at the 2010 Paris Motor Show, but this was unfortunately not pursued and development was instead put into the Evora. Today Esprits are quite rare like many sports cars of the time, with later versions from the 1990's and early 2000's being more common than the early S1 and S2 models of the 70's and 80's.
But either way, the Esprit proved to the world that Britain could make a competitive, and powerful sports car. Although it wasn't exactly built for straight lines, Britain isn't a country that consists of straight roads, if you're off the motorway you'd be pressed to find a route that didn't wind and curve in every given direction. This is where the Esprit could win and indeed went on to do, often being considered the best handling sports car of all time, and one that defied the financial struggle, the recession, the fuel crisis, the scandal, the multiple ownerships and the failure of the company F1 team!
"With the improvement of the internal combustion engine a vast new source of power was opened up..."
-Lewis Mumford
My Grandmother's sewing machine which very is still useable if I was so inclined. When I was younger I did actually use it to make a few items that is why she gave it to me. I was very lucky that it survived my parent's house fire before I had chance to move it to my own home. The cabinet was badly smoke damaged so my father refinished it for me, but the machine itself still shows some damage. Added to the May Monthly Scavenger hunt as this was the only thing she used to make her clothes.
My sis tomu has a sewing machine *_* that my sis pody bought for her on her birthday! (funny thing is no one really does sewing stuff only me yet they get sewing maching stuff :P LOL) <-- jealousey
anyways!
no one knows how to use a sewing machine LOL not even tomdead her self!
I went to her an im like " i wanna use ur sewing machine " shes like " go ahead" i opened it an looked at it an went blank XOX LOL no one knows how too..
So i opened this instructions guide and it says stuff that i cant seem to understand! so im like whatever tomorrow morning i;ll try an understand everything!
I am sewing bunny heads cellphone Straps! XD im hand sewing them but the ears r different fabric so it needs a sewing machine! if it dosent work out for me in teh morning i;ll just sew the ears by hand X_X its gonna be so much torrturee
There are approximately 1,300 slot machines at McCarran, in baggage claim, the shopping areas, in terminals near gates—even in the car rental center. ~ www.vegassolo.com/playing-the-slots-at-the-airport-yay-or...
LUMIX G Vario 14-42mm f/3.5-5.6 on a Panasonic G2
Settings: 1/160 | ƒ/4.5 | ISO 160 | 19 mm
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St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
Machine Gun Kelly performs at the Vans Warped Tour in Atlanta, GA on July 26, 2012. Copyright © 2012 by HIGH ISO Music, LLC.
Japanese WW2 era Tankette
Manufacturer:- Hiro Motor Co
Built:- 1934 to 1937
Total Production:- 596
Main Armament:- 6.5mm Type 91 machine gun
In service from 1934 until August 1945 when Soviet forces invaded Manchukuo. This example is one recovered from that last action and is now on display in Hall 12 of the Patriot Museum Complex.
Park Patriot, Kubinka, Moscow Oblast, Russia.
25th August 2017
Roadhouse dedicated for the petrolhead, whether you be on 2 wheels or 4, old or new, cheap or expensive.
The food and drink is top notch as well.
Royal Marines of Whiskey Company, 45 Cdo deploy from a
Viking armoured personnel vehicle armed with a .50 cal machine gun, during a live firing exercise in Norway, as part of their Winter Deployment.
Photographer: LA(Phot) Nick Tryon
Urban Voodoo Machine play The Crossing at South Birmingham College, 4 June 2010.
www.myspace.com/thecrossingdigbeth
Photos for Gig Junkies with review by Sara.
© 2010 www.flickr.com/wayne_john_fox, please email me for the original images.
wayne [UNDERSCORE] john [UNDERSCORE] fox [AT] hotmail [DOT] com
Downloading, reproducing, blogging, copying or using my images in any way without my prior permission is illegal.
Thank you.
Close-up of the Wilesco D-5 steam engine.
Stobist info: Lit with a large homemade softbox containing an Sb-28 on 1/16 power to the left.
A.T.C.system 加工中心机刀库
Aluminum continuous melting & holding furnaces 连续溶解保温炉
Balancing equipment 平衡设备
Bayonet 卡口
Bearing fittings 轴承配件
Bearing processing equipment 轴承加工机
Bearings 轴承
Belt drive 带传动
Bending machines 弯曲机
Blades 刀片
Blades,saw 锯片
Bolts,screws & nuts 螺栓,螺帽及螺丝
Boring heads 搪孔头
Boring machines 镗床
Cable making tools 造线机
Casting,aluminium 铸铝
Casting,copper 铸铜
Casting,gray iron 铸灰口铁
Casting,malleable iron 可锻铸铁
Casting,other 其他铸造
Casting,steel 铸钢
Chain drive 链传动
Chain making tools 造链机
Chamfer machines 倒角机
Chucks 夹盘
Clamping/holding systems 夹具/支持系统
CNC bending presses 电脑数控弯折机
CNC boring machines 电脑数控镗床
CNC drilling machines 电脑数控钻床
CNC EDM wire-cutting machines 电脑数控电火花线切削机
CNC electric discharge machines 电脑数控电火花机
CNC engraving machines 电脑数控雕刻机
CNC grinding machines 电脑数控磨床
CNC lathes 电脑数控车床
CNC machine tool fittings 电脑数控机床配件
CNC milling machines 电脑数控铣床
CNC shearing machines 电脑数控剪切机
CNC toolings CNC刀杆
CNC wire-cutting machines 电脑数控线切削机
Conveying chains 输送链
Coolers 冷却机
Coupling 联轴器
Crimping tools 卷边工具
Cutters 刀具
Cutting-off machines 切断机
Diamond cutters 钻石刀具
Dicing saws 晶圆切割机
Die casting dies 压铸冲模
Die casting machines 压铸机
Dies-progressive 连续冲模
Disposable toolholder bits 舍弃式刀头
Drawing machines 拔丝机
Drilling machines 钻床
Drilling machines bench 钻床工作台
Drilling machines,high-speed 高速钻床
Drilling machines,multi-spindle 多轴钻床
Drilling machines,radial 摇臂钻床
Drilling machines,vertical 立式钻床
drills 钻头
Electric discharge machines(EDM) 电火花机
Electric power tools 电动刀具
Engraving machines 雕刻机
Engraving machines,laser 激光雕刻机
Etching machines 蚀刻机
Finishing machines 修整机
Fixture 夹具
Forging dies 锻模
Forging,aluminium 锻铝
Forging,cold 冷锻
Forging,copper 铜锻
Forging,other 其他锻造
Forging,steel 钢锻
Foundry equipment 铸造设备
Gear cutting machines 齿轮切削机
Gears 齿轮
Gravity casting machines 重力铸造机
Grinder bench 磨床工作台
Grinders,thread 螺纹磨床
Grinders,tools & cutters 工具磨床
Grinders,ultrasonic 超声波打磨机
Grinding machines 磨床
Grinding machines,centerless 无心磨床
Grinding machines,cylindrical 外圆磨床
Grinding machines,universal 万能磨床
Grinding tools 磨削工具
Grinding wheels 磨轮
Hand tools 手工具
Hard/soft and free expansion sheet making plant
硬(软)板(片)材及自由发泡板机组
Heat preserving furnaces 保温炉
Heating treatment funaces 熔热处理炉
Honing machines 搪磨机
Hydraulic components 液压元件
Hydraulic power tools 液压工具
Hydraulic power units 液压动力元件
Hydraulic rotary cylinders 液压回转缸
Jigs 钻模
Lapping machines 精研机
Lapping machines,centerless 无心精研机
Laser cutting 激光切割
Laser cutting for SMT stensil 激光钢板切割机
Lathe bench 车床工作台
Lathes,automatic 自动车床
Lathes,heavy-duty 重型车床
Lathes,high-speed 高速车床
Lathes,turret 六角车床
Lathes,vertical 立式车床
Lubricants 润滑液
Lubrication Systems 润滑系统
Lubricators 注油机
Machining centers,general 通用加工中心
Machining centers,horizontal 卧式加工中心
Machining centers,horizontal & vertical 卧式及立式加工中心
Machining centers,vertical 立式加工中心
Machining centers,vertical double-column type 立式双柱加工中心
Magnetic tools 磁性工具
Manifolds 集合管
Milling heads 铣头
Milling machines 铣床
Milling machines,bed type 床身式铣床
Milling machines,duplicating 仿形铣床
Milling machines,horizontal 卧式铣床
Milling machines,turret vertical 六角立式铣床
Milling machines,universal 万能铣床
Milling machines,vertical 立式铣床
Milling machines,vertical & horizontal 立式及卧式铣床
Mold & die components 模具单元
Mold changing systems 换模系统
Mold core 模芯
Mold heaters/chillers 模具加热器/冷却器
Mold polishing/texturing 模具打磨/磨纹
Mold repair 模具维修
Molds 模具
Nail making machines 造钉机
Oil coolers 油冷却器
Overflow cutting machines for aluminium wheels 铝轮冒口切断机
P type PVC waterproof rolled sheet making plant P型PVC高分子防水
PCB fine piecing systems 印刷电器板油压冲孔脱料系统
Pipe & tube making machines 管筒制造机
Planing machines 刨床
Planing machines vertical 立式刨床
Pneumatic hydraulic clamps 气油压虎钳
Pneumatic power tools 气动工具
Powder metallurgic forming machines 粉末冶金成型机
Presses,cold forging 冷锻冲压机
presses,crank 曲柄压力机
Presses,eccentric 离心压力机
Presses,forging 锻压机
Presses,hydraulic 液压冲床
Presses,knuckle joint 肘杆式压力机
Presses,pneumatic 气动冲床
Presses,servo 伺服冲床
Presses,transfer 自动压力机
Pressing dies 压模
Punch formers 冲子研磨器
Quick die change systems 速换模系统
Quick mold change systems 快速换模系统
Reverberatory furnaces 反射炉
Rollers 滚筒
Rolling machines 辗压机
Rotary tables 转台
Sawing machines 锯床
Sawing machines,band 带锯床
Saws,band 带锯
Saws,hack 弓锯
Saws,horizontal band 卧式带锯
Saws,vertical band 立式带锯
shafts 轴
Shapers 牛头刨床
Shearing machines 剪切机
Sheet metal forming machines 金属板成型机
Sheet metal working machines 金属板加工机
Slotting machines 插床
spindles 主轴
Stamping parts 冲压机
Straightening machines 矫直机
Switches & buttons 开关及按钮
Tapping machines 攻螺丝机
Transmitted chains 传动链
Tube bending machines 弯管机
Vertical hydraulic broaching machine 立式油压拉床
Vises 虎钳
Vises,tool-maker 精密平口钳
Wheel dressers 砂轮修整器
Woven-Cutting machines 织麦激光切割机
Wrenches 扳手
3-Jaws indexing spacers 三爪、分割工具头
Close up of the machine quilting on Verna's quilt. Machine quilting by Natalia Bonner of Piece N Quilt. www.piecenquilt.com
This week’s guest is Rick Wartzman. Rick is the director of the Drucker Institute at Claremont Graduate University. Before taking this post, he worked for two decades as a newspaper reporter, editor and business columnist. He began his career in 1987 at The Wall Street Journal, where he served in a variety of positions, including White House correspondent, Houston bureau chief, and founding editor of the paper’s weekly California section.
He joined the Los Angeles Times in 2002 as business editor, and in that role helped shape “The Wal-Mart Effect,” a three-part series that won the 2004 Pulitzer Prize for National Reporting. He then became editor of the newspaper’s Sunday magazine, West, which under his leadership was named by the Missouri School of Journalism as the best regularly scheduled feature supplement in America. He is the co-author, with Mark Arax, of the best-seller The King of California: J.G. Boswell and the Making of a Secret American Empire, which was selected as one of the ten best books of 2003 by the San Francisco Chronicle and one of the ten best nonfiction books of the year by the Los Angeles Times. It also won, among other honors, a California Book Award and the William Saroyan International Prize for Writing. His most recent book, Obscene in the Extreme: The Burning and Banning of John Steinbeck’s The Grapes of Wrath, was published by PublicAffairs in September 2008.
You can read some of Rick’s recent columns for Business Week here.
For additional reference we’ve included links to some of the people, places and things discussed in this episode:
Jackson, Michigan
Obscene in the Extreme by Rick Wartzman
Dust Bowl
Detroit Unemployment Rate
Detroit Electricians Rewire Flooded Iowa City
Harley Shaiken
Bruce Springsteen - Ghost of Tom Joad
Rage Against the Machine - Ghost of Tom Joad
So What’s a Toxic Asset?
Credit Default Swaps
Mortgage Backed Securities
AIG Bonus Outrage
Peter Drucker
Drucker Institute
Claremont Graduate University
Drucker Archives
Rick Wartzman Named Director of the Drucker Institute
Los Angeles Times To Launch West Magazine
The New America Foundation
AIG and Drucker’s Glimpse At A Very Dark Place
What Would Peter Drucker Say?
Put A Cap on High CEO Pay
Invisible Hand
Free Market
Letting US Automakers Fail
The Dillema For US Car Workers
Employee Free Choice Act
Great Depression
New Deal
The First 100 Days
FDR Court Packing Fiasco
Is Obama Doing Too Much?
Six Rules for Presidents
What Obama Shouldn’t Do
The Effective Executive by Peter F. Drucker
Multitasking Is Counterproductive
Obama on 60 Minutes
London Business School
Above All Do No Harm
Managing Organizations
Organized Abandonment
Los Angeles Times
Spanish Language Newspapers Still Growing in US
Rocky Mountain News To Close
Seattle Post-Intelligencer Prints Final Edition
Out With The Dead Wood For Newspapers
San Diego Paper Lands Fire Sale Buyer
Google Dubbed Internet Parasite
Pasadena Paper May Outsource “Local” Coverage
Steering Clear of A Downward Jobs Spiral
Big Sunday
Randye Hoder
Gordon Gekko
Greed Is Good
Merle Haggard
Johnny Cash
Steve Earle
Elvis Costello
The King of California by Mark Arax and Rick Wartzman
Rick Wartzman on The Patt Morrison Show (requires Real Audio)
Rick Wartzman on Airtalk with Larry Mantle
Riverbig by Aris Janigian
David Levinson - Big Sunday
Drucker Apps
Drucker Institute on Twitter
View of six installed HEPA-filtration machines in operation being used for asbestos abatement work; shows "reverse-side" of the air machine devices with exhaust discharge ducts.
These particular machines are currently designed to function at a rate of 2,000 cubic feet per minute and remove a basic HEPA standard of at least 99.97% of airborne particles 0.3 micrometers (µm) in diameter.
When an asbestos abatement project requires construction of a containment or enclosed work area, these devices are used create a negative air pressure inside the sealed enclosure, which alludes to the equipment oftentimes being refered to as "negative air machines" (NAM) or "negative pressure unit" (NPU) in some parts of the asbestos abatement and contaminant remediation industries.
This type of air filtration equipment is also sometimes referred to as an "air filtration device" or "absolute filtering device" (AFD), air machine, HEPA-machine, air scrubber, or even "affectionately" called "hog" by certain U.S. abatement personnel.
Day Fifty-Eight ~ Claw Machine
Saturday afternoon, the family went out for a late lunch. Dominic was feeling a little better, but still didn’t eat. I’m 100% certain he was not contagious, so I let him play the claw machine at our favorite Mexican food restaurant, Herbert’s. As always, he did not win anything there. Bummer. But he so much enjoys playing, it’s worth the loss for the fun.
Avanti Engineering Inc. specializes in high precision machining, and cnc turning and milling products. www.avantiengineering.com
My Lego model of a Vertical Milling Machine. Lego seems to lend itself well to these small size machine tool models
Contacts: Lydia Lin
msn:sellmachine01@hotmail.com
skype:hcsales03
tel:86-595-82050111
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