View allAll Photos Tagged synthesizing
Dr. Fryer is synthesizing precursor solutions to be used in the sol-gel (solution-to-gel) fabrication of metal oxide thin films for high-temperature gas sensing. These liquid solutions are then conditioned into gels, which are coated onto glass substrates and then calcined (aka “baked”/”cooked”/”annealed”/etc.) at 900°C to produce solid, ceramic thin films, roughly 100-nm-thick. After optimizing the fabrication of these films, they will be incorporated into surface acoustic wave (SAW) sensor devices. Developing thin film gas sensing materials that are stable in high-temperature, corrosive atmospheres is the goal of Dr. Fryer’s work here at NETL.
The Beat Destructor 2000 is a small hand held beat maker that synthesizes industrial beats with various sounds and tempos.
The nanotechnology laboratory at PPPL. The facility will explore so-called low-temperature plasmas that are frequently used to synthesize nanomaterials.
By Sun-Ho Kang and Vilas G. Pol
Scientists are seeking new materials to improve lithium-ion battery performance, lifetime and safety. For example, these tiny structures, made of a nickel-cobalt-manganese compound, are a possible new type of cathode. These studies often reach into the nano-level as researchers try to understand activity at the atomic scale in order to custom-design new materials for batteries.
--more details--
Self-assembled nanoplates of (Ni4/9Co1/9Mn4/9)(OH)2 precursor for lithium-ion battery cathode materials synthesized by a coprecipitation method.
If you want to hear what the Beat Destructor 2000 sounds like, I have upload a small YouTube video: www.youtube.com/watch?v=egPAHm7dCLA
The Beat Destructor 2000 is a small handmade beat maker that synthesizes industrial beats with various sounds and tempos.
可選擇多張（單張影像每張50元） Lomo lc-a 照片,組合成一張影像牆輸出.可佈置書房;客廳.辦公室.. PS:單張影像每張50元.含掛號郵寄費(只限台灣區域).聯絡我:taroko@gmail.com.
You Can choose many (single sheet image each NT:50 Dollar) Lomo the LC-A Image, the group synthesizes an image wall output May arrange the studio; Living room Office.. PS: Single sheet image each NT:50 .And Free Contains registers postal Cost.(Just Taiwan Local Area)
Contacts me: Taroko@gmail.com
A mind map is a graphical way to represent information, ideas and concepts. It helps you to analyze, comprehend, synthesize, recall and generate new ideas better. Just as every great idea, its power lies in its simplicity. Mindmapping engages your brain in a much richer way, both analytical and aristic manner. Best of all, it is FUN! Let us start off by creating your very first mindmap.
Step 1: Decide A Topic
This determines the focus of your mindmap. It should be no more than a few words. By keeping your topic simple, you will be able to understand more aspects of it through mindmapping. Place that topic in the center of the page, preferably in bold or CAPITALISED letters.
Step 2: Set Your Creativity Free
Illustrate your mindmap with images and different colours to represent its content. Our brains associate pictures and colours better than plain text.
Step 3: Generating Ideas
Start writing what comes to your mind. Be very succinct in your choices of words as you mindmap. Keep it to as little words as possible.
Step 4: Continue Branching
Branch out from your main topic and extend your thoughts from one idea to the next. Draw lines between the thoughts to create lateral thinking. Form different branches for your sub-topics as necessary.
That's all you need to take notice for your mindmapping. For practical examples, give us a call.
Our SUPERTUTORs shall guide you and your child step-by-step.
Get Complimentary Diagnosis Report to analyse your child's strengths & weaknesses in school.
Visit www.TuitionSuperMart.com
Or call 6886 4987 for more info.
The Challenge:
When police officers respond to an emergency call they begin with rudimentary data – mainly address – and speed to the location to gather more data and address the emergency. Volatile situations evolve quickly and the faster that disparate pieces of information (evidence, criminal records, APBs and Amber Alerts) can be synthesized, the more effective the field officers are. These information sources are currently fed to patrol cars, requiring manual connection from a parked car, and officers must either remain in the car or return to it in order to receive constantly updated information.
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The Solution:
Rapidly evolving broadband wireless technology can now allow constant connectivity from patrol vehicles to headquarters as law enforcement officers drive across the city to investigate a situation. And once on the scene, Wi-Fi technology allows officers to leave the patrol car and remain connected with special Wi-Fi personal communication devices. With a wireless MAN in place, officers are armed with even more information – by linking directly to real-time, networked sources of information in the vicinity. For example, an officer responding to a bank robbery in progress stays connected as he drives through the city, keeping full data connectivity. He then approaches the bank and links into the bank video monitors to see the crime status indoors – and can take a handheld device with him out of the car, linking to it with his Wi-Fi network in the trunk.
Geeta Chandran (Delhi) - Bharatnatyam - 20 October 2010 (Wednesday)
Geeta Chandran has been trained by eminent Bharatanatyam gurus, including Smt Swarna Saraswathy and Guru KN Dakshinamurthi Pillai. She has ably synthesized her eclectic training to present unique dance presentations in which she skilfully weaves abstract notions of joy, beauty, values, aspiration, myth and spirituality. Celebrated for her composite understanding of Bharatanatyam, Geeta is also an accomplished Carnatic vocalist. She is known for her work in television, film and theatre as also in dance education, activism and journalism. She is the founder-president of Natya Vriksha where she teaches and promotes Bharatanatyam. She is also the artistic director of the Natya Vriksha Dance Company, which has travelled all over the world with its superb dance presentations. Geeta has received many prestigious awards and fellowships, including the Padma Shri.
Presentation
In Revision, her presentation for the evening, Geeta Chandran and her Natya Vriksha Dance Company present a selection of classical numbers from the Bharatanatyam repertoire. It is suffused with the dancer’s focus on choreographic processes of intent, content and context. The intent is to celebrate the pristine classicism of Bharatanatyam. Through her Thanjavur bani, Geeta uses the adavu as the basis of her revision. This basic unit of Bharatanatyam is cast and recast in prismatic formations. The content remains the classical. The traditional Mallari, Alarippu, Padam and Tillana form the basis of Geeta’s revision. The context is what’s been altered. Since a solo dance is transformed into a group experience, the inter-body connections create new contexts for movement. There is also the context of the space in which the pieces are being performed. The grandeur of the dance has been re-contextualized for the Purana Qila monument.
For Zahrah Alghamdi, material and memory are inextricably intertwined. Many of her works involve large accumulations of material that seemingly layer the histories and cultures of the places from which they come. When Alghamdi, who grew up in the southwestern region of Saudi Arabia, visited Palm Springs, she was struck by the connection between the desert landscapes and architectures. For Desert X, she has created a sculpture that echoes and synthesizes the traditionally built forms from her country with the architectural organization she found in the Coachella Valley. The result takes the form of a monolithic wall comprised of stacked forms impregnated with cements, soils, and dyes specific to each region. It expresses a highly individualized language corresponding to feelings, emotions, and memories associated with place and time.
Zahrah Alghamdi (Al Bahah, Saudi Arabia, 1977) explores memory and history through traditional architecture in both medium and assemblage. Her laborious and meticulous process involves assembling particles of earth, clay, rocks, leather, and water. Her medium and process draw on the notion of “embodied memory” to translate and delineate themes of cultural identity, memory, and loss. Alghamdi represented Saudi Arabia in the 2019 Venice Biennale and participated in Desert X AlUla 2020.
ESPAÑOL
Para Zahrah Alghamdi, el material y la memoria están estrechamente entrelazados. Muchas de sus obras condensan grandes cúmulos de material cual si fuesen estratos superpuestos de historias y culturas de los sitios de donde provienen. Alghamdi creció en Al Bahah, en la región suroeste de Arabia Saudita, y cuando visitó Palm Springs quedó impresionada por la conexión entre los paisajes y las arquitecturas del desierto. Para Desert X, creó una escultura que sintetiza y hace eco a las formas de construcción tradicionales de su país con la organización arquitectónica que encontró en el Valle de Coachella. El resultado toma la forma de un muro monolítico compuesto por elementos apilados, impregnados de cemento, tierra y tinturas específicas de los procesos de edificación de cada región; expresando un lenguaje sumamente personal que atañe a sentimientos, emociones y recuerdos asociados a un lugar y a un tiempo.
Zahrah Alghamdi explora memoria e historia a través de la arquitectura tradicional como medio y montaje. Su trabajo y meticulosos procesos comprenden el ensamblaje de partículas de tierra, arcilla, rocas, cuero y agua. La noción de “memoria encarnada” sirve como base de producción y prácticas para traducir y delinear temas de identidad cultural, memoria y pérdida. Alghamdi representó a Arabia Saudita en la Bienal de Venecia 2019 y participó en Desert X AlUla 2020.
What Lies Behind the Walls
33.964250, -116.484250
Pierson Boulevard between Foxdale Drive and Miracle Hill Road, Desert Hot Springs
On view from sunrise to sunset
Generous support is provided by Ba’a Foundation.
Anno 1909, one of masterpieces of architect Eižens Laube.
Elements of National Romanticism and vertical Art Nouveau style are synthesized in the building's peculiar architectural and artistic image.
Geeta Chandran (Delhi) - Bharatnatyam - 20 October 2010 (Wednesday)
Geeta Chandran has been trained by eminent Bharatanatyam gurus, including Smt Swarna Saraswathy and Guru KN Dakshinamurthi Pillai. She has ably synthesized her eclectic training to present unique dance presentations in which she skilfully weaves abstract notions of joy, beauty, values, aspiration, myth and spirituality. Celebrated for her composite understanding of Bharatanatyam, Geeta is also an accomplished Carnatic vocalist. She is known for her work in television, film and theatre as also in dance education, activism and journalism. She is the founder-president of Natya Vriksha where she teaches and promotes Bharatanatyam. She is also the artistic director of the Natya Vriksha Dance Company, which has travelled all over the world with its superb dance presentations. Geeta has received many prestigious awards and fellowships, including the Padma Shri.
Presentation
In Revision, her presentation for the evening, Geeta Chandran and her Natya Vriksha Dance Company present a selection of classical numbers from the Bharatanatyam repertoire. It is suffused with the dancer’s focus on choreographic processes of intent, content and context. The intent is to celebrate the pristine classicism of Bharatanatyam. Through her Thanjavur bani, Geeta uses the adavu as the basis of her revision. This basic unit of Bharatanatyam is cast and recast in prismatic formations. The content remains the classical. The traditional Mallari, Alarippu, Padam and Tillana form the basis of Geeta’s revision. The context is what’s been altered. Since a solo dance is transformed into a group experience, the inter-body connections create new contexts for movement. There is also the context of the space in which the pieces are being performed. The grandeur of the dance has been re-contextualized for the Purana Qila monument.
Geeta Chandran (Delhi) - Bharatnatyam - 20 October 2010 (Wednesday)
Geeta Chandran has been trained by eminent Bharatanatyam gurus, including Smt Swarna Saraswathy and Guru KN Dakshinamurthi Pillai. She has ably synthesized her eclectic training to present unique dance presentations in which she skilfully weaves abstract notions of joy, beauty, values, aspiration, myth and spirituality. Celebrated for her composite understanding of Bharatanatyam, Geeta is also an accomplished Carnatic vocalist. She is known for her work in television, film and theatre as also in dance education, activism and journalism. She is the founder-president of Natya Vriksha where she teaches and promotes Bharatanatyam. She is also the artistic director of the Natya Vriksha Dance Company, which has travelled all over the world with its superb dance presentations. Geeta has received many prestigious awards and fellowships, including the Padma Shri.
Presentation
In Revision, her presentation for the evening, Geeta Chandran and her Natya Vriksha Dance Company present a selection of classical numbers from the Bharatanatyam repertoire. It is suffused with the dancer’s focus on choreographic processes of intent, content and context. The intent is to celebrate the pristine classicism of Bharatanatyam. Through her Thanjavur bani, Geeta uses the adavu as the basis of her revision. This basic unit of Bharatanatyam is cast and recast in prismatic formations. The content remains the classical. The traditional Mallari, Alarippu, Padam and Tillana form the basis of Geeta’s revision. The context is what’s been altered. Since a solo dance is transformed into a group experience, the inter-body connections create new contexts for movement. There is also the context of the space in which the pieces are being performed. The grandeur of the dance has been re-contextualized for the Purana Qila monument.
Happy 60th Birthday*, little guy!
(Berkelium was synthesized, so it really IS more of a "birth" than a "discovery".)
Retrosynthesis: elnaggar.mariam.googlepages.com/home61
OuijaVision (Wee-Gee-V'is-Zhun) is a device which took an old Casino gaming progressive meter LED marquee sign, added the guts of an off-the-shelf WiFi router, and a Glomation GESBC-9G20 (ARM9 SBC running Linux) and synthesized something useful and fun!
The whole thing is packaged in a shadowbox frame (17"x13"x3") with a piece of one-way glass as its front cover.
With the display off, it hangs on a wall like a typical mirror. When the display is active, the magic happens.
The WiFi router was re-coded with the open source program "dd-wrt". This allowed me to add a repeater bridge function to it.
So, OuijaVision is a WiFi repeater bridge which accepts both WiFi and wired connections and bridges them to the current WiFi infrastructure by connecting as a node to an existing WiFi access point (AP).
Further, OuijaVision uses its network connection to drive the marquee with information grabbed from the internet. At the time of this writing, OuijaVision grabs the following information:
Current date and time
Local weather
Several RSS news feeds from Yahoo (tech, business, science, politics, world, health, US)
Twitter feeds (US population, World population, National debt, fortune cookie)
Current silver price from kitco.com
How this information is displayed can be customized by a text file, ouija.map. This controls probability of display for an item, font, color, and text effect.
For Zahrah Alghamdi, material and memory are inextricably intertwined. Many of her works involve large accumulations of material that seemingly layer the histories and cultures of the places from which they come. When Alghamdi, who grew up in the southwestern region of Saudi Arabia, visited Palm Springs, she was struck by the connection between the desert landscapes and architectures. For Desert X, she has created a sculpture that echoes and synthesizes the traditionally built forms from her country with the architectural organization she found in the Coachella Valley. The result takes the form of a monolithic wall comprised of stacked forms impregnated with cements, soils, and dyes specific to each region. It expresses a highly individualized language corresponding to feelings, emotions, and memories associated with place and time.
Zahrah Alghamdi (Al Bahah, Saudi Arabia, 1977) explores memory and history through traditional architecture in both medium and assemblage. Her laborious and meticulous process involves assembling particles of earth, clay, rocks, leather, and water. Her medium and process draw on the notion of “embodied memory” to translate and delineate themes of cultural identity, memory, and loss. Alghamdi represented Saudi Arabia in the 2019 Venice Biennale and participated in Desert X AlUla 2020.
ESPAÑOL
Para Zahrah Alghamdi, el material y la memoria están estrechamente entrelazados. Muchas de sus obras condensan grandes cúmulos de material cual si fuesen estratos superpuestos de historias y culturas de los sitios de donde provienen. Alghamdi creció en Al Bahah, en la región suroeste de Arabia Saudita, y cuando visitó Palm Springs quedó impresionada por la conexión entre los paisajes y las arquitecturas del desierto. Para Desert X, creó una escultura que sintetiza y hace eco a las formas de construcción tradicionales de su país con la organización arquitectónica que encontró en el Valle de Coachella. El resultado toma la forma de un muro monolítico compuesto por elementos apilados, impregnados de cemento, tierra y tinturas específicas de los procesos de edificación de cada región; expresando un lenguaje sumamente personal que atañe a sentimientos, emociones y recuerdos asociados a un lugar y a un tiempo.
Zahrah Alghamdi explora memoria e historia a través de la arquitectura tradicional como medio y montaje. Su trabajo y meticulosos procesos comprenden el ensamblaje de partículas de tierra, arcilla, rocas, cuero y agua. La noción de “memoria encarnada” sirve como base de producción y prácticas para traducir y delinear temas de identidad cultural, memoria y pérdida. Alghamdi representó a Arabia Saudita en la Bienal de Venecia 2019 y participó en Desert X AlUla 2020.
What Lies Behind the Walls
33.964250, -116.484250
Pierson Boulevard between Foxdale Drive and Miracle Hill Road, Desert Hot Springs
On view from sunrise to sunset
Generous support is provided by Ba’a Foundation.
Dr. Kevin Burgess' research lab in chemistry
Glove box
This graduate student is handling air sensitive catalysts in a glove box. The catalysts are being used to synthesize complex compounds, especially ones of medicinal interest. They are being developed in the labs of Dr. Kevin Burgess, Department of Chemistry, College of Science, Texas A&M University. Dr. Burgess is the Rachel Professor of Chemistry at Texas A&M University. His research interests focus on peptidomimetics for mimicking or disrupting protein-protein interactions, development of asymmetric organometallics catalysts for syntheses of valuable chirons, and fluorescent dyes for applications in biotechnology.
Texas A&M University may or may not have model releases for people photographed on campus, in classrooms, research laboratories, or other areas related to Texas A&M. Use of the images for non-university purposes is subject to approval. Please contact the Office of Communications and Public Relations, Division of Research for further information: vpr-communications@tamu.edu or (979) 845-8069.
For Zahrah Alghamdi, material and memory are inextricably intertwined. Many of her works involve large accumulations of material that seemingly layer the histories and cultures of the places from which they come. When Alghamdi, who grew up in the southwestern region of Saudi Arabia, visited Palm Springs, she was struck by the connection between the desert landscapes and architectures. For Desert X, she has created a sculpture that echoes and synthesizes the traditionally built forms from her country with the architectural organization she found in the Coachella Valley. The result takes the form of a monolithic wall comprised of stacked forms impregnated with cements, soils, and dyes specific to each region. It expresses a highly individualized language corresponding to feelings, emotions, and memories associated with place and time.
Zahrah Alghamdi (Al Bahah, Saudi Arabia, 1977) explores memory and history through traditional architecture in both medium and assemblage. Her laborious and meticulous process involves assembling particles of earth, clay, rocks, leather, and water. Her medium and process draw on the notion of “embodied memory” to translate and delineate themes of cultural identity, memory, and loss. Alghamdi represented Saudi Arabia in the 2019 Venice Biennale and participated in Desert X AlUla 2020.
ESPAÑOL
Para Zahrah Alghamdi, el material y la memoria están estrechamente entrelazados. Muchas de sus obras condensan grandes cúmulos de material cual si fuesen estratos superpuestos de historias y culturas de los sitios de donde provienen. Alghamdi creció en Al Bahah, en la región suroeste de Arabia Saudita, y cuando visitó Palm Springs quedó impresionada por la conexión entre los paisajes y las arquitecturas del desierto. Para Desert X, creó una escultura que sintetiza y hace eco a las formas de construcción tradicionales de su país con la organización arquitectónica que encontró en el Valle de Coachella. El resultado toma la forma de un muro monolítico compuesto por elementos apilados, impregnados de cemento, tierra y tinturas específicas de los procesos de edificación de cada región; expresando un lenguaje sumamente personal que atañe a sentimientos, emociones y recuerdos asociados a un lugar y a un tiempo.
Zahrah Alghamdi explora memoria e historia a través de la arquitectura tradicional como medio y montaje. Su trabajo y meticulosos procesos comprenden el ensamblaje de partículas de tierra, arcilla, rocas, cuero y agua. La noción de “memoria encarnada” sirve como base de producción y prácticas para traducir y delinear temas de identidad cultural, memoria y pérdida. Alghamdi representó a Arabia Saudita en la Bienal de Venecia 2019 y participó en Desert X AlUla 2020.
What Lies Behind the Walls
33.964250, -116.484250
Pierson Boulevard between Foxdale Drive and Miracle Hill Road, Desert Hot Springs
On view from sunrise to sunset
Generous support is provided by Ba’a Foundation.
FORMULA 100% ANABOLICA E A HIPERTROFIA MAXIMA: Pesquisas recentes descobriram mecanismos biomoleculares capazes de provocar hipertrofia muscular por meio da ativação enzimática de uma nova proteína - M-TOR - que evita a atrofia, impede o catabolismo num mecanismo chamado eficácia traducional protéica. E o que é mais importante: sem o uso de esteróides anabólicos.
ALTERNATIVA LEGAL AO ESTERÓIDE ANABÓLICO: O Instituto Nutré de Pesquisa buscou formular um produto que, baseado na sinalização molecular do próprio organismo do atleta, oferece um estimulo a síntese protéica tão potente quanto o esteróide anabólico porém, sem seus efeitos colaterais.
Images generated by deep generator network (DGN, Nguyen, et al) as specified here: www.evolvingai.org/synthesizing
act261. contagious orgasm. escape. cd. ant-zen
this aural voyage atmospherically varies from hypnotic echo-based beat pulses and moony synthesized melodies up to disturbing industrial soundscapes.
bandcamp:
ant-zen.bandcamp.com/album/escape
discogs:
Lake Travis High School in Austin, Texas, has offered the PLTW program for five years. The PLTW Model School set goals early on: students will synthesize information through a logical and systematic process that allows for the design of solutions; imagine potential solutions to problems utilizing accumulated knowledge; understand the ethical and social responsibilities of innovators, designers and technologists; communicate effectively verbally and in writing; and work effectively both independently and in a team environment.