View allAll Photos Tagged tablets
www.amazon.com/10X6-25-inches-Graphic-Drawing-TABLET/dp/B...
OMG OMG OMG! I ordered it tonite..OMG OGM OGM! GET HERE ALREADYYYY!!!! DX I wanna try it out soooo friggan badly! DX
edit: I find it hilarious that when i post something like this i like an going to get, that people jus want to rip on me bout it, and say they know me, when they CLEARLY DONT! Dont open your mouth about me, unless we talk everyday and you know the facts. if you dont, dont open your damn mouth moron's!
The train-tablet system is operated to implement a train-spacing system designed to prevent more than one train occupying a single line section between any two tablet-stations at one and the same time. When the line is not occupied ( "Line Closed" ) their operation may permit the admittance of a train from one or other end of the tablet section. This is accomplished by requiring the driver of each train to carry an appropriate tablet, a hard-wood disc familiarly know as the biscuit. The biscuits not in active use are naturally locked up within the tablet instruments. The Tablets are severely rationed, not more than one can be extracted from the relevant cupboard at any one time. Control of the cupboards is remote.
The unlocking of the instrument at the approach end of the section involves complementary action by the tablet porter at the terminal end, the one to which the given train is travelling, the withdrawal of the tablet leaves locked the instrument from which it is taken. It cannot be unlocked again for the obtaining of a successive tablet until the operator at the far station inserts into his own machine the tablet that has been carried along the entire section. It is however possible for a tablet to be replaced into either machine.
La compre, y realmente la he usado la nada misma. Esta impecable, si ni un detalle ni rayadura. Viene con su caja, manual, cable y cargador.
Características técnicas:
Procesador ARM de 1 GHz.
Pantalla de 7 pulgadas, resolución de 1.024 x 600 pixels.
Doble cámara, frontal y trasera de 3 megapixels.
Memoria interna 8, 16 y 32 Gb
Android Gingerbread 2.3.
Conexión Wi-Fi, GPS, microSD y microUSB
Lo vendo porque necesito urgente urgente el dinero. #70m
“Missus kicked you out again?” asked Cloud.
“Yeah,” said Pterodactyl. “I asked to borrow the newspaper from her. ‘Don’t bother with a paper’ she said, ‘I have a new 12-inch tablet!'”
“Oh, they are good!” said Cloud.
“Yep,” replied Pterodactyl. “Feckin’ fly didn’t know what hit it.”
~
LittleFears.co.uk
Brussels-born French artist Philippe de Champaigne (1602 - 1674) enjoyed a 40-year career painting for aristocracy that included Louis XIII and Cardinal Richelieu. His attraction to the strict Jansenist Catholic reform movement may have underlain the rigorous truthfulness and careful skill that he brought to his intelligent interpretation of portraits and religious themes. Champaigne’s asceticism and sincerity are evident in this portrayal of a courtly but exotic Moses presenting the Ten Commandments. With characteristic concern for accuracy, Champaigne arranged the commandments in the order recommended by contemporary theologians and on tablets whose rectangular shape was considered authentic. His powerful naturalism, depicting each wrinkle and dirty fingernail as faithfully as the texture of the velvet, eloquently conveys the humble fervor of the prophet.
[Oil on canvas, 99.06 x 76.2 cm]
gandalfsgarden.blogspot.com/2011/12/moses-presenting-tabl...
Students in Kakuma refugee camp, Kenya using tablets from Instant Classroom, the Vodafone Foundation’s ‘digital school in a box’.
Two Instant Classroom units were delivered to Kakuma in July 2015 to connect Greenlight Secondary School and the community library to the internet giving students access to free digital educational resources. The Instant Classroom is shipped in a secure and robust 52kg case which is equipped with a laptop, 25 tablets pre-loaded with educational software, a projector, a speaker and a hotspot modem with 3G connectivity. The tablets can connect to the laptop locally, enabling teachers to deliver content and applications to students without the need to access the internet. All the components can be charged simultaneously from a single power source while the case is locked. After 6-8 hours of charging time, the Instant Classroom can be used for a full day in a classroom without access to electricity.
The portable nature of the equipment has allowed for Instant Classroom to be moved between schools, enabling more students to benefit from tablet based learning.
Please credit David Muya, UNHCR
This image is made available by Vodafone Group for media / editorial use only.
For further information or enquiries, please contact Vodafone Group media relations: www.vodafone.com/media/contact.
wacom tablet and stylus; the modern day version of the paper and pencil!
scavenge challenge-
14) "Cup and saucer," "shoes and socks," "peaches and cream" - they go together!
UK Midlands interactive- bokeh
Title: #1A - ''Temple of the Tablets'' Relief Carving
Creator: Medellin, Octavio
Date: 1938
Place: Yucatan, Mexico
Physical Description: 1 slide: color
File: medellin_8a_tablets_001a_opt.jpg
Rights: Please cite Bywaters Special Collections, Southern Methodist University when using this file. For more information contact bywatersspecialcollections@smu.edu.
For more information, see: digitalcollections.smu.edu/cdm/ref/collection/med/id/3103
View Octavio Medellin: Works of Art and Artistic Processes digitalcollections.smu.edu/all/cul/med/
Tablet is a traditional scottish confectionary famous for inducing tooth decay and heart attacks in young and old alike. My grandad taught me to make it when I was nine, and yesterday I made a batch for Christmas - the first time I've done so for a few years.
Sweeter and crumblier than fudge, it is incredibly unhealthy, consisting basically of milk, sugar and butter only. Unless you live in Scotland, any tablet you come across for sale is likely to be disappointing due to the use of inferior ingredients and preservatives. This is a shame, because the glory of tablet remains known only to a few.
The most authentic recipe I can find online is here: www.scottishrecipes.co.uk/tablet.htm. There are many others, and many variations, but you won't go wrong if you stick to this one.
Anyway - far too busy for photos today, but then I saw Brian's shot of tablet and thought I'd copy his idea, so here's some of the batch I made yesterday, properly exalted by the addition of Christmas tree lights for Cliché Saturday and to fit into ODC's Apotheosis theme.
Happy Cliché Saturday and Merry Christmas everyone!
So ye, you can see my crappy handwriting here lol. But I am looking for general tablet help/brushes/whatever else I should try out! I've never used one of these things before, so it's new to me and any and all help would be greatly appreciated
RadioShack's final store in the region is now closing!
Murrieta and Menifee lost their RadioShacks at the same time, then Temecula South at Vail Ranch (Walmart Supercenter) closed and now Palm Plaza is shutting down leaving according to the sales clerk only Fallbrook, Lake Elsinore and Hemet open...
A rainbow of colourful tablet covers now on sale!
yeah. just checking out my appointments for today on my tablet:D
Visit this location at CALAS CHRISTMAS PAVILION 2017 in Second Life
Download ShotGun Bullets HD Wallpaper HD Wide Military Wallpapers In high Quality Photos Images for Computer Desktops, Mobiles, Apple Iphone, Android, Tablets, Widescreen, 3D Posters. Find the Best Resolutions Like (1080p, 720p, 1366×768, 1920×1080) for above Wallpaper OR Simply Click on the Ima...
Students in Kakuma refugee camp, Kenya using tablets from Instant Classroom, the Vodafone Foundation’s ‘digital school in a box’.
Two Instant Classroom units were delivered to Kakuma in July 2015 to connect Greenlight Secondary School and the community library to the internet giving students access to free digital educational resources. The Instant Classroom is shipped in a secure and robust 52kg case which is equipped with a laptop, 25 tablets pre-loaded with educational software, a projector, a speaker and a hotspot modem with 3G connectivity. The tablets can connect to the laptop locally, enabling teachers to deliver content and applications to students without the need to access the internet. All the components can be charged simultaneously from a single power source while the case is locked. After 6-8 hours of charging time, the Instant Classroom can be used for a full day in a classroom without access to electricity.
The portable nature of the equipment has allowed for Instant Classroom to be moved between schools, enabling more students to benefit from tablet based learning.
Please credit David Muya, UNHCR
This image is made available by Vodafone Group for media / editorial use only.
For further information or enquiries, please contact Vodafone Group media relations: www.vodafone.com/media/contact.
Students in Kakuma refugee camp, Kenya using tablets from Instant Classroom, the Vodafone Foundation’s ‘digital school in a box’.
Two Instant Classroom units were delivered to Kakuma in July 2015 to connect Greenlight Secondary School and the community library to the internet giving students access to free digital educational resources. The Instant Classroom is shipped in a secure and robust 52kg case which is equipped with a laptop, 25 tablets pre-loaded with educational software, a projector, a speaker and a hotspot modem with 3G connectivity. The tablets can connect to the laptop locally, enabling teachers to deliver content and applications to students without the need to access the internet. All the components can be charged simultaneously from a single power source while the case is locked. After 6-8 hours of charging time, the Instant Classroom can be used for a full day in a classroom without access to electricity.
The portable nature of the equipment has allowed for Instant Classroom to be moved between schools, enabling more students to benefit from tablet based learning.
Please credit David Muya, UNHCR
This image is made available by Vodafone Group for media / editorial use only.
For further information or enquiries, please contact Vodafone Group media relations: www.vodafone.com/media/contact.
I'm abusing the nubs on my Wacom pen today. I already write hard, my tablet is still good to me though. How in the world did I get anything done before without a tablet? The Patch Tool and Wacom Tablet were made for each other! #PhotoshopFlow
#Fofurice de hoje, inspirada no modelo de Michelle Patterns
Case tablet 10"
Prêmio para a ganhadora do sorteio realizado no blog!
Tablilla rectangular de madera estucada y policromada, que representa una escena de adoración ante Osiris.
Resulta difícil saber a qué objeto corresponde. Posiblemente se trata de parte de una caja o cofre perteneciente al ajuar funerario de la difunta. Aunque la pieza, por sus características, parece elaborada en un taller local, puede ser fechada con relativa seguridad en Época Ramésida, por el estilo del vestido y por la tipología de peluca que porta la difunta.
Toda la escena está dibujada sobre una capa de estuco blanco que recubre la tabla de madera y está enmarcada con líneas negras y verdes.
1. La composición está presidida por Osiris, sentado y orientado hacia la derecha. Osiris es probablemente, el dios más conocido del panteón egipcio. A pesar de que es una divinidad fundamentalmente funeraria, en los documentos más antiguos lo encontramos asociado a la fertilidad. Osiris es el dios de la agricultura, de la resurrección, simbolizada por la regeneración del Nilo, que da la vida. Es por esto que en su representación simbólica aparece pintado de negro (el limo del Nilo que da vida) o de verde (regeneración, resurrección) como es el caso de esta pieza.
Lleva en la cabeza la corona atef, que es una modificación de la corona del Alto Egipto con dos plumas de avestruz a los lados simbolizando la justicia (Maat).
Observamos también que en sus manos lleva los atributos del poder real: el heqat y el nekhakha, que son el cetro en forma de báculo y el flagelo respectivamente.
Luce la barba funeraria postiza, trenzada y curvada hacia adelante, propia del dios.
Viste una túnica azul y un collar usej de varias hileras de perlas en torno al cuello, con un gran contrapeso que le cae por la espalda.
En la parte superior, dos columnas jeroglíficas identifican al personaje: “Osiris señor de la eternidad, señor de la tierra”.
2. Detrás de Osiris aparece representada la diosa Neftis, la cual reconocemos gracias a los jeroglíficos que inscriben su nombre y por su corona identificativa que es un ideograma de su nombre, compuesto de una cesta con forma semicircular (neb) y una casa de forma rectangular (hut).
3. Delante de las divinidades y en actitud de adoración, aparece una figura femenina, arrodillada y con las manos levantadas. La inscripción jeroglífica que se encuentra encima de la figura y entre sus manos, precisa el cargo y el nombre de la difunta: “La Cantora de Amón, Tamiu, justificada”.
La imagen egipcia antigua no tuvo una función estrictamente estética o decorativa. Aunque el artesano egipcio persiguió casi siempre la calidad, se interesó más por lograr que las imágenes fueran vehículo para expresar ideas y convertirlas en realidad, es decir, concibió las imágenes como entes y cosas reales, que vivían por sí mismos y hacían real el mensaje que vehiculaban.
Esta concepción de las imágenes se potenciaba en los espacios, de los que formaban parte en los templos y las tumbas. En ellos se podía contactar con realidades que estaban más allá de la naturaleza humana, como los difuntos o los dioses. Se trataba de lugares donde el espacio y el tiempo son distintos y donde la atmósfera se llenaba de magia.
Ésa era, para el egipcio antiguo, un instrumento que permitía trascender lo cotidiano, y materializar y dotar de realidad lo que no existe o carece de vida. Así, todo aquello que se realizaba o formaba parte de esos lugares sagrados no podía ser dejado al azar, pues allí cobraba vida, era real.
Por esta razón, el egipcio puso especial cuidado en qué representaban las imágenes y en cómo se realizaban. En definitiva, el egipcio buscaba representar seres y objetos tal y como eran, su esencia misma, y es precisamente esa esencia la que conforma la apariencia, lo que se ve. Dado que la percepción de la realidad puede verse distorsionada según el punto de vista, la luz, la distancia, etc., el egipcio, buscando las esencias del mundo, concibió un sistema de representación que careciera de esos condicionantes y creó imágenes inequívocas, libres de ambigüedad, que aunaran armónicamente varios puntos de vista simultáneos.
Son, pues, imágenes mentales, compuestas por elementos con un significado preciso. Al tratarse, por tanto, de conceptos expresados plásticamente, las imágenes obedecían en el Egipto antiguo al mismo principio que regía el enunciado de ideas mediante los signos jeroglíficos, puesto que imágenes y textos formaban parte de una sola realidad.
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Rectangular tablet of stucco and polychrome wood, which represents a scene of adoration before Osiris. It is difficult to know which object it corresponds to. It is possible that it is part of a box or coffer belonging to the funerary trousseau of the deceased. Although the piece, due to its characteristics, seems to have been made in a local workshop, it can be dated with relative certainty to the Ramsesida period, due to the style of the dress and the type of wig worn by the deceased.
The whole scene is drawn on a layer of white stucco that covers the wooden board and is framed with black and green lines.
1. The composition is presided over by Osiris, sitting and facing right. Osiris is probably the best known god of the Egyptian pantheon. Despite the fact that he is a fundamentally funerary deity, in the most ancient documents we find him associated with fertility. Osiris is the god of agriculture, of resurrection, symbolized by the regeneration of the Nile, which gives life. That is why in his symbolic representation he appears painted in black (the slime of the Nile that gives life) or in green (regeneration, resurrection) as is the case of this piece.
He wears on his head the atef crown, which is a modification of the crown of Upper Egypt with two ostrich feathers on the sides symbolizing justice (Maat).
We also observe that in his hands he carries the attributes of royal power: the heqat and the nekhakha, which are the scepter in the form of a staff and the scourge respectively.
He wears a false funeral beard, braided and curved forward, which is characteristic of the god.
He wears a blue tunic and a usej necklace with several rows of pearls around his neck, with a large counterweight that falls on his back.
At the top, two hieroglyphic columns identify the character: "Osiris lord of eternity, lord of the earth".
2. Behind Osiris appears represented the goddess Nephthys, which we recognize thanks to the hieroglyphs that inscribe her name and by her identifying crown that is an ideogram of her name, composed of a basket with a semicircular shape (neb) and a house with a rectangular shape (hut).
3. In front of the divinities and in an attitude of worship, a female figure appears, kneeling and with her hands raised. The hieroglyphic inscription above the figure and between her hands specifies the position and name of the deceased: "The Song of Amon, Tamiu, justified".
The ancient Egyptian image did not have a strictly aesthetic or decorative function. Although the Egyptian craftsman almost always pursued quality, he was more interested in making the images a vehicle for expressing ideas and turning them into reality, that is, he conceived the images as real entities and things, which lived by themselves and made the message they conveyed real.
This conception of images was enhanced in the spaces, of which they were a part in the temples and tombs. In them one could contact with realities that were beyond human nature, such as the dead or the gods. These were places where space and time are different and where the atmosphere was filled with magic.
That was, for the ancient Egyptian, an instrument that allowed to transcend the everyday, and materialize and provide reality to what does not exist or lacks life. Thus, everything that was done or was part of these sacred places could not be left to chance, because there came to life, was real.
For this reason, the Egyptian took special care in what the images represented and how they were made. In short, the Egyptian sought to represent beings and objects as they were, their very essence, and it is precisely that essence that makes up the appearance, what you see. Given that the perception of reality can be distorted according to the point of view, light, distance, etc., the Egyptian, looking for the essences of the world, conceived a system of representation that lacked these conditioning factors and created unequivocal images, free of ambiguity, that harmoniously united various simultaneous points of view.
They are, therefore, mental images, composed of elements with a precise meaning. As they are, therefore, concepts expressed in plastic form, images obeyed in ancient Egypt the same principle that governed the enunciation of ideas through hieroglyphic signs, since images and texts were part of a single reality.
A Pablo le ha gustado el iPad que le prestaba un amigo mío, y lo maneja con total soltura... no, si al final será ésa la excusa perfecta.
Tablet depicting Agathodaemon
In Greek mythology, Agathodaemon or Agathos Daimon was the spirit of vineyards and fields, providing luck, health and wisdom. He was one of the daemons in the classical sense of the term, which should not be confused with the modern-day use of the word. In classical mythology, daemons were benevolent nature spirits similar to ghosts that also served as guardian spirits. Although Agathodaemon did not have any significant part in Greek mythology, he was quite popular in Greek folk religion, honouring him in feasts and symposia.
Source: www.greekmythology.com/Other_Gods/Minor_Gods/Agathodaemon...
Limestone
Graeco-Roman Period, Roman Period
Provenance: Unknown
BAAM T0017
Greco-Roman Antiquities
Bibliotheca Alexandrina