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Money only preferably through PayPal! Both are on 9/10 condition. Freeks are size 11.5 and Foots are size 12
Our Daily Challenge, August 22-28, 2020; HOW LOW CAN YOU GO?
Sitting on the floor looking up at the coffee bar; need my morning jolt to get going. Mamiya 645, Kodak TMAX400 developed with Ilfosol-3.
This poor little car needed $5K in parts and a paint job when I bought it, and it still needed them when I sold it. I'd also spent $5K on parts and service I didn't realize I would need. Oh dear!
The unexpected started with a broken McPherson strut... although I'd paid for a professional inspection, they hadn't spotted this problem, or a number of others. I hadn't put it into 5th gear before I owned it, that pinion bearing whine was on me. As was buying the thing at all.
The next unexpected expense was the exotic latex novelty that sealed the front windshield-to-sunroof joint, since water leaked in when it rained. That was a bunch of hundreds of dollars and a long adventure with Wurth rubber prep. The actual problem was the front track for the wind-up window, which looks like a vent wing but doesn't open. The aluminum track is curved, and holds the side window in the right place to seal with the sunroof... whomever had stolen the radio from the Dreaded Previous Owners had smashed the little triangular window for access. They'd also bent the track, so the window and roof didn't meet correctly for water-tight sealing. Hey, that's not even the expensive seal I replaced! Indeed. Turns out there's a grub screw and two lock nuts at the bottom of the door, that adjusts the front rail. So if it gets bent, you can dial it back in. I may be the only person outside the Karman factory who knowns about this thing, it isn't mentioned in the references I had. But I found it and used it as intended.
Next we needed new rear-view mirrors, outside first. The cheap, plastic, external, mirror, the Dreaded Previous Owners had installed, fell off while I was driving it home. After getting past that, the rotted out plastic front of the original inside rearview mirror disintegrated and the mirror fell off its mount. I bought used exterior mirrors and a new interior mirror. Slightly cheaper than the rubber parts.
The next water leak was the often encountered flooded back trunk, a problem some solve with a drill making a drain hole... Ouch! It turns out the real source of the leak into the back trunk is worn out foam seals on the rear light fixtures. The 914 has Hella lights, just like you'd expect, but the "bucket" that the lamps seat in is mounted from outside, trapping a foamy rubber seal between the bucket and the steel body. Until the rubber loses its resilience. Then it leaks water from outside, The leak has nothing to do with the clear/translucent cover, its happening outside the area the cover is over. Not cheap, buying a new bucket to get a new seal. But it DOES fix the problem. AND I learned about un-cured Butyl rubber to make your own trim seals...
And so on and so forth. There were replacement nylon gizmos inside the exterior door handles. There were damper valves on the warm air from the heat exchangers to the defroster/heater. There was U shaped piece of solid steel wire with cylindrical cast-on diddly bobs that the damper valve clamps to... except one was too long to fit through the steel pipe welded into the unibody. A little filing fixed that. One front marker light had rotted and neither lit nor kept out water... replacement pieces and some quality time got that one. The leather wrapped, padded, steering wheel suffered from exposure and failing stitching. I bought the hard plastic version for $25 and rather enjoyed it. Real boy-racers prefer padded, leather-wrapped steering wheels, of course. The horn didn't work, clean-up brought it back.
The front windshield was pitted and scarred, and also loose in its mount. It was not a H shaped rubber seal like the Porsche 356 or Beetles, Ghias and Busses. The rubber seal had a heating wire embedded, and the installation consisted of putting the windshield in place, connecting the embedded wire to a 12V source, leave for several hours, confirm seal.
Even after the broken strut was replaced, and some right and ready alignment performed at the shop, it still needed a real alignment on all 4 wheels. Cost about as much as the rubber parts for the roof, and the transformation was wonderful. It had "chirped" when turning in. That stopped, and steering became a wonderful experience. You could feel if the yellow or white stripes on the road were one coat or two. I could do power-induced oversteer (all of 85 hp...) wheeee!
And on and on. $600 mailed off to someone in the Porsche Owners Club produced 5 Pedrini alloy wheels, the 4 bolt alternative to steel wheels... but I like the looks of the steel wheels, to tell the truth. Never needed to buy new tires, never mounted the Pedrinis. I remember doing front wheel bearings, so probably replaced the front pads and brake rotors too.
Since it came without a radio, there didn't seem any point to keeping the Ford Mustang antenna mounted on the passenger side front fender, so that hole was professionally filled and primer and sanding coat laid over it, when I was having self-inflicted front bumper damage and a factory installed defect in the back trunk lid fixed.
Amazingly, given its a VW Porsche and built by Karman, the piece of sheet steel for the outside of the back trunk was a bit short, so when it was pressed and the back lip rolled under and the internal bracing web welded on, there was a gap in the rolled-under lip which allowed water (!) to get between the rolled halves and was slowly rusting out the back edge of the back trunk lid. Hence primer and sanding coat on the back edge of the back trunk lid.
And then, one day, the rust-prone inverted pyramid shape that supported the battery tray did fail, rusting out at the bottom, and the battery rocked back and forth and back and forth until only the ground strap was keeping it upright... at which point the ground strap parted and everything was suddenly very quiet... All of which revealed the surface rust on the passenger side stamped steel rocker tube which gives the 914 unibody its primary fore and aft and twisting strength... I was starting to get smarter, so a neighbor who enjoyed welding on cars put 2X thickness straps on the top of the sheet steel tube, installed the new pyramid and battery tray. Red, rattle-can spray paint was a surprisingly good match to the exterior paint.
Lesser problems included a leaking pushrod tube seal, fixed by removing the rocker assembly, the pushrods and the leaking tube, replacing its Viton rubber seals and reassembling.
There was also the time it was fine, then ran on 3 cylinders, then was fine, then ran on 3 cylinders. I punted and took it to a shop. Turned out one of the solid cam-follower / lifters had come apart- in Type IV VW engines, the lifter is a multi piece afair, an outer "cup" and an inner bar, welded together instead of being machined from a single bar or cast / forged and finished. If the weld between inner and outer parts fails, the inner part acts just like the moving part in a hydraulic lifter, oil pressure "pumps up" the inside bit and the valve opens deeper, and maybe doesn't close at all. Hence running on 3 cylinders.
After I'd given up and decided to sell, I went for one last drive to Santa Cruz and up highway 1 for sheer pleasure. All that desire, all that time, all that money... at least I'd enjoy a couple of hours jaunt... but it was not to be, as always. Parked by the blow-hole north of Light House Point, it wouldn't start when I came back after a ramble. The dreaded vapor lock that the stock fuel pump and filter location made possible got me! I DID swap one of the headlamp motor relays for the fuel pump relay, that didn't help, so the problem was everything being too hot and time to cool down would fix it. Probably.
I went for another walk around, and it started when I got back. I don't think I was up for tempting fate with a drive up 1, I just went home.
Bottom line: Buying a Corrado with 60 months of payments was cheaper, in cashflow terms. Less rewarding in terms of power induced oversteer. But it had powerful ABS, the leather interior was wonderful, it seated 4 in a pinch and went like hell.
But, baby, don't get it twisted
You was just another nigga on the hit list
Tryna fix your inner issues with a bad bitch
Didn't they tell you that I was a savage?
Fuck your white horse and a carriage
Bet you never could imagine
Never told you, you could have it
You needed me
Ooh, you needed me
Feel a little more and give a little less
Know you hate to confess
But, baby, who, you needed me
SB800 on an umbrella to the right of the camera, Sigma 500 for the background. The strobes are triggered with the internal flash of my camera.
I'm starting to think that, in the end, I'll need a third flash or some kind of a reflector. At least here I feel that some source of light should be placed to the down-left of the camera so as to illuminate a bit the face of the model. Or is it O.K. as it is? Any suggestions?
Just a bright splash of colour that is very much needed at the moment. We had the most dreadful rain storm yesterday evening, in which I was driving for a long time. What a nightmare it was! So, bring on the colour! This European Pasque Flower (I think I have the correct ID) was photographed at the Reader Rock Garden on May 16th.
I needed to do something personal.
Sister image to something I did about a month ago.
Instagram: lannahdelnowhere
You need the fluffiest ears imaginable, you need them for reasons.
Mesh ears in a variety of colors with a link to a PSD file for modding.
Check them out at tumblr: darkendstare.tumblr.com/post/101297285510/my-first-market...
Let me know what you think Katie! I need to even her boggle just a touch and give her charms and she'll be ready to come home if you like her! <3
OK, we made it back from Savannah and the parade was great. But I am a little green around the gills and need a shave. Time to get to your photographs after a shower and shave.
www.youtube.com/channel/UCTWHJN4C_SWS-PLPDFt9LDg/featured... ift.tt/2gHOOF4 ift.tt/2fB3QQM ift.tt/2gHI89M twitter.com/Bollywoodmoviet ift.tt/2fH2Bzv ift.tt/2gNlWeE ift.tt/2fRKfac ift.tt/2gNcYxQ ift.tt/2fGZ8B8 ift.tt/2gNlLjp ---------------------------------------------------------------------------------------------------------------- "Mahira Khan's role chopped in big Bollywood debut 'Raees'—Here's all you need to know"-"Mahira Khan's role chopped" ---------------------------------------------------------------------------------------------------------------- ❂❂❂Please Subscribe & Share And Like Comment Please❂❂❂ #Mahira Khan's role #Raees #Shahrukh khan
Need for Speed ~~
DMX Motocross Championship (Round-6), Dubai
canon 650D, F/5.6, 1/800sec, 55mm focal length, 18-55mm lens, ISO:100, Aperture Priority Mode, Metering: Evaluate, White Balance: Daylight
Went to the store today and the had Selfie Snaps Jade and Snow Kissed Cloe! I just had to have them! I think This Jade is one of my fav Bratz from this year :-3
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. "Send in the Bugs. The Michelangelos Need Cleaning" [= Laboratori Enea i batteri 'restauratori' per riparare dipinti, affreschi e statue], NYT (31 May, 2021): C1. S.v., "Roma, Casina Farnese sul Palatino," in: ADNKRONOS / ARTE (10/04/2015). wp.me/pbMWvy-1vZ
1). ITALIA - Send in the Bugs. The Michelangelos Need Cleaning. NYT (31 May 31, 2021): C1.
Last fall, with the Medici Chapel in Florence operating on reduced hours because of Covid-19, scientists and restorers completed a secret experiment: They unleashed grime-eating bacteria on the artist’s masterpiece marbles.
FLORENCE — As early as 1595, descriptions of stains and discoloration began to appear in accounts of a sarcophagus in the graceful chapel Michelangelo created as the final resting place of the Medicis. In the ensuing centuries, plasters used to incessantly copy the masterpieces he sculpted atop the tombs left discoloring residues. His ornate white walls dimmed.
Nearly a decade of restorations removed most of the blemishes, but the grime on the tomb and other stubborn stains required special, and clandestine, attention. In the months leading up to Italy’s Covid-19 epidemic and then in some of the darkest days of its second wave as the virus raged outside, restorers and scientists quietly unleashed microbes with good taste and an enormous appetite on the marbles, intentionally turning the chapel into a bacterial smorgasbord.
“It was top secret,” said Daniela Manna, one of the art restorers.
On a recent morning, she reclined — like Michelangelo’s allegorical sculptures of Dusk and Dawn above her — and reached into the shadowy nook between the chapel wall and the sarcophagus to point at a dirty black square, a remnant showing just how filthy the marble had become.
She attributed the mess to one Medici in particular, Alessandro Medici, a ruler of Florence, whose assassinated corpse had apparently been buried in the tomb without being properly eviscerated. Over the centuries, he seeped into Michelangelo’s marble, the chapel’s experts said, creating deep stains, button-shaped deformations, and, more recently, providing a feast for the chapel’s preferred cleaning product, a bacteria called Serratia ficaria SH7.
“SH7 ate Alessandro,” Monica Bietti, former director of the Medici Chapels Museum, said as she stood in front of the now gleaming tomb, surrounded by Michelangelos, dead Medicis, tourists and an all-woman team of scientists, restorers and historians. Her team used bacteria that fed on glue, oil and apparently Alessandro’s phosphates as a bioweapon against centuries of stains.
In November 2019, the museum brought in Italy’s National Research Council, which used infrared spectroscopy that revealed calcite, silicate and other, more organic, remnants on the sculptures and two tombs that face one another across the New Sacristy.
That provided a key blueprint for Anna Rosa Sprocati, a biologist at the Italian National Agency for New Technologies, to choose the most appropriate bacteria from a collection of nearly 1,000 strains, usually used to break down petroleum in oil spills or to reduce the toxicity of heavy metals. Some of the bugs in her lab ate phosphates and proteins, but also the Carrara marble preferred by Michelangelo.
“We didn’t pick those,” said Bietti.
Then the restoration team tested the most promising eight strains behind the altar, on a small rectangle palette spotted with rows of squares like a tiny marble bingo board. All of the ones selected, she said, were nonhazardous and without spores.
“It’s better for our health,” said Manna, after crawling out from under the sarcophagus. “For the environment, and the works of art.”
Sprocati said they first introduced the bacteria to Michelangelo’s tomb for Giuliano di Lorenzo, Duke of Nemours. That sarcophagus is graced with allegorical sculptures for Day, a hulking, twisted male figure, and Night, a female body Michelangelo made so smooth and polished as to seem as if she shone in moonlight. The team washed her hair with Pseudomonas stutzeri CONC11, a bacteria isolated from the waste of a tannery near Naples, and cleaned residue of casting molds, glue and oil off her ears with Rhodococcus sp. ZCONT, another strain which came from soil contaminated with diesel in Caserta.
It was a success. But Paola D’Agostino, who runs the Bargello Museums, which oversees the chapels and which will officially reveal the results of the project in June, preferred to play it safe on Night’s face. So did Bietti and Pietro Zander, a Vatican expert who joined them. They allowed the restorers to give her a facial of micro-gel packs of xanthan gum, a stabilizer often found in toothpaste and cosmetics that is derived from the Xanthomonas campestris bacteria. The head of the Duke Giuliano, hovering above his tomb, received similar treatment.
Sprocati took her bugs elsewhere. In August, her group of biologists used bacteria isolated from a Naples industrial site to clean the wax left by centuries of votive candles from Alessandro Algardi’s baroque masterpiece, a colossal marble relief in St. Peter’s Basilica in Rome of the Meeting of Attila and Pope Leo.
The bacteria strains got back to the Medici Chapel, which had reopened with reduced hours, in mid-October. Wearing white lab coats, blue gloves and anti-Covid surgical masks, Sprocati and the restorers spread gels with the SH7 bacteria — from soil contaminated by heavy metals at a mineral site in Sardinia — on the sullied sarcophagus of Lorenzo di Piero, Duke of Urbino, buried with his assassinated son Alessandro.
“It ate the whole night,” said Marina Vincenti, another of the restorers.
The Medicis were more accustomed to sitting atop Florence’s food chain.
In 1513, Giovanni di Lorenzo de Medici became Leo X — the first Medici pope. He had big plans for a new sacristy for the interment of his family, including his father, Lorenzo the Magnificent, the powerful ruler of Florence who largely bankrolled the Renaissance. Il Magnifico is now buried here too, under a modest altar adorned with Michelangelo’s Madonna and Child, flanked by saints that also had their toes nibbled by cleansing bacteria. But back then his coffin waited, probably on the Old Sacristy floor. He was soon joined by Leo X’s brother, Giuliano, and his nephew, Lorenzo, the Prince to whom Machiavelli dedicated his treatise on wielding power.
“You had coffins waiting to be buried,” said D’Agostino. “It’s kind of gloomy.”
Image
Pope Leo X hired Michelangelo to design and build the mausoleum. The pope then promptly died of pneumonia. In the ensuing years, Michelangelo carved the masterpieces and then ran afoul of his patrons.
In 1527, with the Sack of Rome, Florentines, including Michelangelo, supported a Republic and overthrew the Medicis. Among the ousted princes was Lorenzo di Piero’s sometimes volatile son, Alessandro, whom many historians consider a real piece of work. Michelangelo couldn’t stand him, and when the Medicis stormed back, it was Michelangelo’s turn to flee.
In 1531, the Medici Pope Clement VII pardoned Michelangelo, who went back to work on the family chapel. But by that time, Alessandro had become Duke of Florence. Michelangelo soon left town, and the unfinished chapel, for good.
“Alessandro was terrible,” said D’Agostino.
Alessandro’s relative, known as the “bad Lorenzo,” agreed and stabbed him to death in 1537. The duke’s body was rolled up in a carpet and plopped in the sarcophagus. It’s unclear if his father, Lorenzo, was already in there or moved in later.
“A roommate,” D’Agostino said.
In 2013, Bietti, then the museum’s director, realized how badly things had deteriorated since a 1988 restoration. The museum cleaned the walls, marred by centuries of humidity and handprints, revealed damages from the casts and iron brushes used to remove oil and wax, and reanimated the statues.
“Come and see,” Bietti said, pointing, Creation-of-Adam-style, at the toe of Night.
But the cleaner the chapel became, the more the stubbornly marred the sarcophagus of Lorenzo di Piero stood out as an eyesore.
In 2016, Vincenti, one of the restorers, attended a conference held by Sprocati and her biologists. (“An introduction to the world of microorganisms,” Sprocati called it.) They showed how bacteria had cleaned up some resin residues on Baroque masterpiece frescoes in the Carracci Gallery at Palazzo Farnese in Rome. Strains isolated from mine drainage waters in Sardinia eliminated corrosive iron stains in the gallery’s Carrara marble.
When it came time to clean the Michelangelos, Vincenti pushed for a bacterial assist.
“I said, ‘OK,” said D’Agostino. “‘But let’s do a test first.’”
The bacteria passed the exam and did the job. On Monday, tourists admired the downward pensive glance of Michelangelo’s bearded Dusk, the rising of his groggy Dawn and Lorenzo’s tomb, now rid of the remnants of Alessandro.
“It’s very strange, especially in this time of Covid,” Marika Tapuska, a Slovakian visiting Florence with her family said when she learned that bacteria had cleaned up the sarcophagus. “But if it works, why not?”
Fonte / source, foto:
--- NYT (31 May 31, 2021): C1.
www.nytimes.com/2021/05/30/arts/bacteria-cleaning-michela...
2). ROMA - S.v., 'Roma, Casina Farnese sul Palatino', in: "Arte: dai laboratori Enea i batteri 'restauratori' per riparare dipinti, affreschi e statue." ADNKRONOS / ARTE (10/04/2015).
Presto su opere custodite in Vaticano l'applicazione dell'innovativa tecnica made in Italy messa a punto dal team coordinato da Anna Rosa Sprocati che all'Adnkronos spiega: "Tecnica a basso costo e con molti vantaggi."
Batteri per restaurare statue, dipinti, affreschi, antichi manoscritti. Piccolissimi organismi che si nutrono in maniera selettiva delle scorie da rimuovere dalle opere e che agiscono come e meglio di un solvente senza però essere aggressivi né per l'oggetto da trattare, né per la salute degli addetti ai lavori.
E' il biorestauro, la tecnica tutta italiana messa a punto dai ricercatori dell'Enea che verrà a breve applicata in Vaticano per il restauro della 'Madonna della Cintola', dipinto su legno, e per riparare i danni su statue e fontane che si trovano nei giardini della Santa Sede. Si tratta di una tecnica molto promettente. Finora infatti il laboratorio Enea ha selezionato ben 500 ceppi di batteri capaci di intervenire in diverse situazioni e su molteplici materiali.
Sprocati,
"Abbiamo isolato questi microrganismi e li abbiamo classificati in base a ciò che sono in grado di fare - spiega all'Adnkronos Anna Rosa Sprocati, coordinatrice del laboratorio Enea di Microbiologia ambientale e biotecnologie microbiche - creando poi una nostra banca dati. In base agli interventi che ci vengono richiesti dagli esperti, selezioniamo quindi in laboratorio i batteri più adatti, li sperimentiamo e li applichiamo per 'aggredire' determinate sostanze senza danneggiare le opere trattate".
E la tecnica presenta diversi vantaggi: è a basso costo "perché - assicura la ricercatrice - crescere dei batteri su larga scala non implica davvero grandi spese", non pone problemi etici perché si basa su organismi naturali non modificati geneticamente, è di facile applicazione e non è dannoso per la salute dei tecnici.
"Questo tipo di approccio - sottolinea Sprocati - interviene quando le tecniche tradizionali non sono soddisfacenti o quando per esserlo necessitano di prodotti aggressivi per le opere o tossici per i restauratori". Sono proprio i restauratori infatti a beneficiare maggiormente della biotecnologia e a vedere nella sua applicazione un'alternativa promettente all'impiego dei tradizionali prodotti chimici. "L'uso dei batteri non è sostitutivo del lavoro degli esperti - tiene infatti a sottolineare la scienziata - ma ne costituisce uno strumento di lavoro. Noi - spiega - ci basiamo molto proprio sulle indicazioni che arrivano dai restauratori che ci chiedono aiuto. Senza il loro occhio del resto, spesso non ci sarebbe facile verificare l'efficacia di un trattamento".
Il tempo di un restauro fatto dai batteri varia a seconda del tipo di intervento. "Può bastare una notte - dice Sprocati - come nel caso di una crosta nera da rimuovere da una statua, o possono essere necessarie diverse applicazioni come è capitato per rimuovere i residui di smog dalla 'Lupa' di Giuseppe Graziosi custodita alla Galleria nazionale di arte moderna e rimasta all'aperto per 40 anni".
Diversi gli interventi di biorestauro richiesti agli scienziati Enea. Dalla Casina Farnese sul Palatino "dove abbiamo applicato diversi tipi di batteri in successione - spiega la ricercatrice - per rimuovere i residui dagli affreschi delle logge", alla soluzione trovata ma non ancora applicata agli affreschi del Palazzo dei Papi di Avignone, in Francia. "In questo caso il problema era rimuovere della colla vinilica che tra gli anni Venti e Settanta è stata spalmata sugli affreschi per consolidarli - spiega Sprocati - ma col passare del tempo questa colla ha creato un film opaco. Con il restauro tradizionale bisognerebbe ricorrere a solventi che rischierebbero di danneggiare i dipinti. Noi invece abbiamo individuato due ceppi di batteri in grado di mangiare il vinavil senza intaccare l'opera".
Fonte / source, foto:
--- ADNKRONOS / ARTE (10/04/2015).
www.adnkronos.com/batteri-al-posto-dei-solventi-dallenea-...