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Handmade for my GH1 :]
Soldering the 2,5mm plug was quite hard, took me 2 hours and quite some patience ... If one is building one I suggest you use a 2,5mm plug to RCA cable ... might be a bit more expensive, but you can reuse the cable to connect to other stuff ...
Half and full presses and bulb mode :]
The inside of the box it's a mess of solders xD
A remote swimming hole in Highland County, Virginia. (photo copyright Pat Jarrett, all rights reserved)
As technology advances, so does the opportunity for increased mobility. Every form of communication will be available for mobile or remote use. (Bucy, 2005)
Remote -controlled & Electric Skateboard
New Stock - comes with high sliding let you enjoy "the land Windsurfing" feeling
BRAND NEW - high-performance remote control & electric scooters.
I wish I'd composed this better, the fronds should be on one side really. I went for a nice walk at lunchtime and this is where I ended up. Not that remote, but looks it.
Part of getting my KAP gear ready for Nikumaroro is getting this R/C unit working again. I'm planning to take it apart and repackage it to sit on my belt. The controls will be manipulated from a small circuit board I'm going to build and mount on the eyepiece.
Other mods I need to make: fix the antenna, replace the NiCd batteries with NiMH AA's, add a 3.3V regulator and disable the auto-on feature when the trainer cable is inserted.
12/365
The remote for the new digital TV recorder which I finally managed to set up with the new TV that we bought before Christmas.
i can imagine hell being like this place. a loud bar with video cameras at every table, pointed at your girlfriend.
Kontseptsioon, käsikiri ja lavastus Stefan Kaegi
Kaaslavastaja Jörg Karrenbauer
Dramaturg Juliane Männel, Aljoscha Begrich
Muusikaline kujundus Nikolas Neecke
Lavastaja assistent Ilona Marti
Produktsioon Caroline Gentz
Teatrifestival Talveöö Unenägu 2014
Foto - Siim Vahur
All Rights Reserved. © Scott Disnard 2009 sdizzy777.wordpress.com
Until your back's up against the wall
You never know yourself that much at all
So you've got to share your love with a friend
That's all that you've got left in the end
Living in this city of pure confusion
People misled by their own illusion
All this action, no satisfaction
We're all linked together like a chain reaction
Play or fold, love is bold
What is the future that will unfold?
Some like it hot, others like it cold
But we all want to hold the remote control
-Beastie Boys
110620-O-ZZ999-013 DILI, Timor-Leste (June 20, 2011) -- Lt. Cmdr. Traci Hindman prepares medication at Ainaro, a remote medical civil action project site for Pacific Partnership 2011. Pacific Partnership 2011 is a five-month humanitarian assistance initiative that will make port visits to Tonga, Vanuatu, Papua New Guinea, Timor-Leste, and the Federated States of Micronesia. (Photo By Kristopher Radder)
I gave up on trying to include a fig, too difficult with the traversing mechanism I was using to include him and not have the back all bulbous. So, I present my remotely operated light tank. The fender thing on the front is based on Tayasunne's bumper thing on his APC's. Probably more use on an urban thing, but then there isn't much use for a tank at all in a jungle.... Darn... Oh who cares, this is the future baby!
All Saints, Earsham, Norfolk
Like neighbouring Ditchingham, Earsham is saved from being mere suburbia by the way the lazy Waveney sprawls, forcing water meadows between the Suffolk town of Bungay and its Norfolk adherents. Unlike Ditchingham, Earsham has a feel of remoteness; it is neatly bypassed by the road from Diss, and you wouldn't even know that Bungay was there, the illusion is so complete. Mind you, there are far worse towns than pretty Bungay of which to find yourself a suburb.
While Earsham successfully retains the feel of a small village, there can be no doubt that All Saints presents itself as a big church. This again is something of an illusion, sleight of hand if you like; the nave is quite long, but there are no aisles, no clerestory.
The chunky 14th century tower is surmounted by a rather squat spire, one of few in East Anglia. It is this, coupled with the substantial chancel, that creates the feel of a sprawling building. Stepping inside there is no doubt that length is the over-riding feature of the structure, the almost tunnel-like nave leading the eye into the bright, majestic high Tractarianism of the chancel.
But before that, the font. Earsham has one of East Anglia's thirty-odd seven sacrament fonts, but is rather different from others I have seen in that it is slim, with portrait-shaped reliefs. This require some simplification in the iconography, the Last Rites and Mass panels in particular being awkwardly squeezed into their spaces, but there is no doubt that this font is a most elegant example. The eighth 'odd panel out' is the Crucifixion. The whole thing is in excellent condition, and really deserves to be better known.
The collection of foreign glass in the east window is interesting. It was brought together here in 1810 by Samuel Yarrington from the import warehouse of JC Hampp, as at a number of churches on this side of Norfolk. The most striking panels are the death bed scene on the north side, which I take to be the Last Rites from the seven sacraments rather than the Dormition, and a very strange panel on the south that appears, at first, to show the Annunciation - but the woman at the prayer desk with her back to the angel is clearly not Mary, but probably a donor.
The four roundels of the Evangelists are probably by Yarrington himself. They're a bit mawkish. Their symbols, obviously tame, look on adoringly like pets at their masters as the four men sit there writing; but the whole thing holds well together.
William Windham, the recipient of the grand memorial on the nave wall, died in 1730 having lost a limb in the defence of his country, which obviously leaves us wanting to know more.
All this apart, you come to Earsham for the glory of the late 19th century Anglo-catholic revival. Reginald Hallward's reredos features the Adoration of the Magi as well as groups of plump-cheeked, kitschy angels. Mortlock thought well enough of it in the 1980s, seeing it anticipate the work of Ninian Comper (who was busy near to here at Eye, Lound and Barsham) but today, in the early years of the 21st century, it is just about in the very peak of modern Christmas card fashion. It would be interesting to know if Hallward used children from the village as his models.
I don't use most of these buttons any more.
So I'm taking a cue from this article:
www.designinginteractions.com/chapters/4
[via Gizmodo