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The shower cloud farther offshore to the southeast. A rainbow arc of about 30 degrees was briefly vivid. 4/23/09 from down the causeway Marblehead Neck
WTDC-17 Plenary - High Level Segment Mr Philipp Metzger
Director General
Federal Office of Communications
Switzerland
© ITU/E. DOMINGUEZ
We came across an interesting oddity from the realm of consumer electronics: a fake seven-segment LED display. Just for fun, we made our own version too.
Read more about this project here.
This was my first use of Ponoko to laser cut the parts. I wrote several hundred lines of Python running as an Extension in Inkscape to produce templates in Acrylic, Styrene and Card.
© International Centre for Eye Health www.iceh.org.uk, London School of Hygiene & Tropical Medicine.
Art fractal, segment de l'animation long métrage: "TRANSITIONS". Segment de l'animation "TRANSITIONS": Une animation long métrage d’art et d’essai de une heure et trente minutes, intitulée “TRANSITIONS”, avec un pont entre deux histoires, entrelacées de passages allant de l’une à l’autre: l’une,
- notre présent actuel allant vers 2045, fin probable que nous réserve l’évolution climatique avec tout ce que cela comporte socialement pour l’ environnement dans les urbanismes et la nature toute entière,
l’autre,
- de notre présent actuel vers 2045, avec une évolution telle que nous pourrions la connaître si l’évolution climatique n’était pas si définitivement condamnée,
dans le cadre serein des moyens technologiques et d’une sociologie “évoluée”,
non destructrice, tels que nous pourrions nous les promettre si nous avions fait un choix d’intelligence hors de toutes les conséquences des profits déviants et massifs, excluant finalement toute existence possible sur notre planète, arrivés à l’horizon 2060 comme le prévoient nombres de climatologues et certains économistes d’aujourd’hui.
le thème principal de cette animation est:
“comment annoncer aux génération présentes et prochaines, qu’en 2060 seulement 5% des climats actuels et restants, ne permettront aucune forme de vies connues à ce jour sur Terre? ”
“TRANSITIONS” ne prétend pas donner de solution à notre problème actuel et futur proche, hors mis celui de servir de déclencheur pour une volonté de continuer et de vivre malgré l’anti volonté de masse actuelle qui annonce la fin inéluctable que nous nous donnons d’ignorer, tant qu’il nous sera possible de l’ignorer...
“TRANSITIONS” par la vision intriquée de ses deux futurs possibles et impossibles, pourrait contribuer à susciter un rejet de la fin que nous nous projetons de réaliser,
“TRANSITIONS”n’a pas de prétention politique ou commerciale. Seul l’autogestion du projet, qui est donc la question posée par son thème principal, suppose une contribution publique à travers les reversements récupérables dans les festivals audiovisuels et les salles de cinéma d’arts et d’essais.
“TRANSITIONS”, propose une vision de deux futurs avec les mêmes acteurs non étrangers à eux mêmes, mais possiblement conscients du grand écart qui se creuse entre eux et eux mêmes durant trente années. Entre deux cadres d’existences infiniment opposés.
L’un avec l’effondrement rapide et radical des ressources et des moyens, dans un environnement exponentiellement dégénérescent.
L’autre, dans une autogestion libre et progressivement intelligente des ressources bio diverses jusque dans l’urbanisme intra et extra planétaire, avec une humanité progressivement libérée de ses aliénations profondes.
“TRANSITIONS” est aussi une sorte de jeu de mot, qui, delà des langages, nous concerne tous.
>> quelques liens vers quelques séquences et visions de “TRANSITIONS”, en cours de réalisation:
www.flickr.com/photos/rivrain/8576033950/ ; Voyage micro spatial
Final positioning for the massive concrete segments of the future Evergreen transportation line in Coquitlam.
Dec. 18-2014. grantmatticephoto
Segmental Retaining Walls - Commercial Winner
Contractor - Aspen Earthworks
Producer - Basalite Concrete Products
Authors: Lina Espinha and Paula Fernandes
Date: April 2009
Description: Segmented model of the cervical spine extracted from CT images. Segmentation is the partitioning of an image volume into non-overlapping voxelized regions. Each region defines the geometric locus of an anatomical structure. As part of the geometric modeling process, segmentation is the turning point in anatomical representation: it establishes the transition from the supportive bi-dimensional image realm (image data) to a fully tri-dimensional domain (mesh data).
Source: Master thesis
Image and caption provided by: Paula Fernandes, IDMEC/IST-TU Lisbon
The Kot Diji Fort, formally known as Fort Ahmadabad, dominates the town of Kot Diji in Khairpur District, Pakistan about 25 miles east of theIndus River at the edge of the Nara-Rajisthan Desert. The fort was built between 1785 to 1795 by Mir Sohrab Khan Talpur, founder of the Kingdom of Upper Sindh in 1783. In addition to the fort, a 5 kilometer, 12 feet wide mud wall was built around the city. This defensive wall hadbastions throughout its length and a huge iron gate served as the city's only entrance.
The fort was considered invincible and served as the residence of the Ameers of Khairpur in times of peace. It is, therefore, the ancestral home of royal house. During war time the zenana (female members of the royal family), would be shifted to Shahgarh Fort, formerly within the realm but since 1843, after the conquest of the rest of Sindh, it is in the Jaisalmer desert, now in India. When the Zenana moved into the comfort of palaces, it stood mainly as a decorated reminder of more violent times. Throughout its whole history, however, Fort Kot Diji was never attacked.
Kot Diji is a very practical fort constructed on a limestonehill with kiln-baked bricks. Bricks were used because the locally available limestone rock was very brittle and would have shattered easily on impact with a cannonball. The hill is about 110 feet high, above which the walls of the fort rise another 30 feet. It has three strategically placed towers about 50 feet tall.
The fort is over half a kilometer long. Its walls are segmented by about 50 bastions, and its 1.8 km outer perimeter wall identically follows the double crescent-shaped contours of the hill it stands on. This allows the fort to surround the attacking enemy on three sides on the west front. On the east, where the entrance lies, the fort is divided by three elephant-proof gates into three overlapping levels, so that the first two levels can be attacked by the next level above them in the event of the lower level being overrun by the enemy. The first gate is not a prominent portal but rather an indirect entry so that the gate cannot be rammed on a charge. The walls and bastions have arrow slits in them, allowing defenders to attack their enemy from two levels: from the battlement on top and from within the wall.
The fort was built at a time when cannons had become common and its design and position reveals that. It includes a multitude of stations for cannons and, because it is positioned high on a narrow ridge, enemy cannons would have had to fire at a great distance, permitting little accuracy. Cannonballs could either hit the hill or perimeter or would simply fly over the fort and fall on the enemies' own forces on the other side.
Kot Diji was located at the edge of the desert; this provided an advantage over enemies marching from the east, because an exhausted army could be met before it could take supplies and water from the irrigated lands. In fact, the Mirwah canal was built in 1790 specifically to irrigate the lands west of the fort and bring water to the military base.
Segmental Retaining Wall – SRW ~ VERSA-LOK Wall Systems ~ Weathered Chestnut Blend Standard Block
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~~ Patios - Pergolas - Outdoor Living ~~
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The Art of Landscape Design - Providing Exceptional Quality & Uniquely Creative Design/Build Landscapes. From Contemporary to Classic… Transforming functional spaces to evoke the feeling of living in fine art.
Please visit our website @ www.SwitzersNursery.com
Find us on...FaceBook
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Our Wordpress Blog Site... Switzer's Nursery & Landscaping
Visit our Profile on Houzz
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Une nouvelle fonctionnalité vient d'apparaitre dans Google Analytics : les segments avancés et les rapports personnalisés ou Advanced Segments et Custom Reportings
© International Centre for Eye Health www.iceh.org.uk, London School of Hygiene & Tropical Medicine.
Return visit to Hanbury Hall after 3 years.
This time on the Late May Bank Holiday Weekend. Was warm and sunny with a blue sky.
Didn't go in the house this time, having been into it on the last visit.
Hanbury Hall is a Grade I Listed Building.
Listing Text
HANBURY CP SCHOOL ROAD (north side)
SO 96 SW
3/120 (11/2) Hanbury Hall
29.12.52
GV I
Country house in landscaped park. Dated 1701 with early and mid-C19 alterations.
Built by William Rudhall for Thomas Vernon. Red brick in Flemish bond with
ashlar dressings; plain tiled hipped roof with broad eaves and large brick stacks.
Central block with wings to front and rear returning to project on side elevations
as independent pavilions. Two storeys and attic with dormers and central cupola;
moulded plinth, band between storeys and wood modillion eaves cornice; Queen
Anne style. South-east entrance elevation: 3:1:3:1:3 bays; outer three bays
wings; central three bays break forward, are pedimented and are flanked by
engaged Corinthian columns on high pedestals. Windows are mainly 18-pane sashes,
most retaining their thick glazing bars, and have moulded architraves, sills
and keyblocks; central first-floor window has an elaborately carved surround
with large scrolls and an apron carved with the Vernon coat of arms flanked by
the date "1701". The dormers are pedimented, the pediments of the central five
bays being alternately segmental, and have 12-pane sash windows; contained within
the central entrance pediment is an oeil-de-boeuf window. The entrance porch
with its two Corinthian columns and entablature is an early C19 addition; the
front and sides have glazed infill and, within, are the half-glazed double
entrance doors. The central octagonal timber cupola was rebuilt in 1809 and
has glazed semi-circular headed sides, a clockface to front and rear, a moulded
cornice and an ogee dome with ball finial and weathervane. The south-west side
elevation is articulated by a regular 2:7:2 arrangement; the north-east side
elevation is of 3:4:2 composition, the left bay of the recessed centre having
a blocked doorway with pedimented surround. The rear elevation has two small
square mid-C19 additions in the angles with the wings. The lead rainwater
goods throughout are decorated with lions' heads and rosettes. Interior:
Hall occupies five central front bays and is panelled and has painted ceiling
with trompe l'oeil saucer domes; wall facing the entrance has an original
bolection-moulded chimney-piece above which is niche containing white marble
bust of Thomas Vernon, possibly by Francis Bird; against right wall are set
three Corinthian half-columns and to left side of hall is the staircase.
Staircase: large open-well type with turned and fluted balusters, some
original parquet on landings; former dado removed to make way for wall paint-
ings by Sir James Thornhill, c1710. These are set within architectural
surrounds and depict scenes from the Life of Achilles; the ceiling above shows
an assembly of the classical deities. There are also two panels by Thornhill
on the ceiling of the Long Room of Apollo and Leukothea and the Rape of
Orithyia; in the same room is an ornate Rococo chimney-piece of c1750. During
the late C18 Emma Vernon undertook some internal alterations including the
redecoration of the Library and Drawing Room in the front wings in a Neo-
Classical style. In the Parlour to the rear of the Hall is further panelling
and another bolection-moulded chimney-piece. Upstairs a similar chimney-
piece survives in a complete three-room apartment (known as the Hercules apart-
ment), to the rear of the south-west wing which is panelled throughout, and
has an additional small corner fireplace with pilastered surround and ogee
canopy.
The actual authorship of Hanbury Hall is uncertain. It incorporates elements
of William Talman's designs, notably the centre-piece of Thoresby, Nottingham-
shire of the 1680's, the garden front at Swallowfed Park, Berkshire of 1689-91
and the interior layout of Fetcham Park, Surrey of 1705. It also bears strong
similarities to the nearby Ragley Hall, Warwickshire of 1679-83 by Robert Hooke
with its old-fashioned hipped roof, central pediment and "pavilion" wings. The
surviving drawing by the builder William Rudhall is not unlike Thoresby and, as
it is quite possible Rudhall may have worked at Ragley, the consequent design
of Hanbury could be his amalgamation of these two influences. Hanbury Hall was
the seat of the Vernon family until 1953 when it was given to the National Trust.
(Country Life, xxxix, p 502; CXLiii, p 18 and 66; Gardens X, - 368; VCH 3 (ii),
p 372-3; BoE, p 184-6; Hanbury Hall, The National Trust Guide, 1981).
Listing NGR: SO9441863741
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The Grade II Listed 225-231 The Homend, Ledbury, Herefordshire.
225 & 227 were built in the early 18th Century. Roughcast. Two storeys. Three doors with small simple pediment hoods and iron handrails to steps. Casement windows with glazing bars, ground floor window openings with segmental heads. Slate roof with gable ends.
231 & 229 were built in the 18th Century. Roughcast. Slate roof with gable ends. Two storeys. Two windows. 16-pane sashes with moulded cases. Two glazed and panelled doors. Central brick chimney stack.