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Took this a few weeks ago but wasn't ever so sure of it..
Trying to make myself get back onto photography a bit more, so thought id stick it up..
Let's just say the motto is let go or be dragged for #2017. Procrastination, be gone. Time to finish the book, purge the excess and get creative. Let's get cracking! #projects #improvement #work #art #love #getoutside
This is a converted heavy truck used by militias across africa and the middle east. Often a large anti-air gun or some other sort of heavy weapon will be mounted on to a technical.
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-Not That Dead-
Lovebytes - Digital Spring.
Pixilation workshops in the Sheffield Children's Library, led by Melvyn Ternan and Ivana Sereno Teres.
Part of UNQUIET : Art and music events at Sheffield's Central Library
Sat 24 March 11am-4pm
Sheffield Central Library, Surrey Street, Sheffield.
Sheffield Central Library provided the venue and inspiration for a spree of artistic interventions, impromptu performances and creative workshops:
Sheffield Library's documentation from Unquiet (requires Flash):
Reactable
The Reactable is a revolutionary new electronic musical instrument, designed to create and perform the music of today and tomorrow. It combines state of the art technologies with a simple and intuitive design, which enables musicians to experiment with sound, change its structure, control its parameters and be creative in a direct and refreshing way - unlike anything you have ever known before.
Juxtavoices
Juxtavoices is a large 'antichoir' under the direction of composer Martin Archer and writer Alan Halsey. The group includes many familiar faces from Sheffield's leftfield music, poetry and visual arts scenes. Although the group performs structured scores, no fixed pitches are ever notated, and the group uses improvisation to shape the detail of the scores as the music progresses. Both trained and untrained voices are included. As well as playing "normal" concerts, the group is to be found in various unexpected public places, and at poetry / text events. For this event, Juxtavoices have created 2 special pieces for performance: one in suitably hushed tones inside the main library, and one utilising the rich acoustic of the adjacent stairwell.
20Hz by Semiconductor
05.00 minutes / HD video installation / 2011
20 Hz observes a geo-magnetic storm occurring in the Earth's upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz. Generated directly by the sound, tangible and sculptural forms emerge suggestive of scientific visualisations. As different frequencies interact both visually and aurally, complex patterns emerge to create interference phenomena that probe the limits of our perception.
20Hz is a Semiconductor work by Ruth Jarman and Joe Gerhardt.
Audio Data courtesy of CARISMA, operated by the University of Alberta, funded by the Canadian Space Agency.
Co-commissioned by Arts Santa Monica + Lighthouse for the Invisible Fields Exhibition at Arts Santa Monica, Barcelona. 2011-2012. Supported by the British Council.
Catalyst
This sound installation in the Lending Library presents a series of collaborative works by a number of Sheffield based writers and sound artists.
In 2011 composers from the University of Sheffield Sound Studios (USSS) were asked to produce a work drawing on Brian Eno's concept of 'ambient music' - music that could be subtly diffused into the atrium space at Bank Street. These compositions were played throughout the day and the writers spent an hour free-writing in response to them. These initial responses were then developed into poems by the writers and then were recorded reading their poems. These sound recordings formed the source material for a new series of compositions - in some cases settings of the poems themselves, in others more abstract manipulations of the source material.
Catalyst is a collaboration involving Bank Street Arts' Poet in Residence Angelina Ayers; writers on the MA Writing at Sheffield Hallam University; Bank Street Arts Resident sound artist Ian Baxter and fellow composers working from the USSS.
Animation/Pixilation Workshop
Children's Library session beginning 11am, 12pm, 2pm and 3pm (4 x 45min workshops)
Age 6+ Free. Book in advance / places are limited.
To book a place email - kidsandteens.library@sheffield.gov.uk
or tel. - 0114 273 4734
Come and have a go at animating...Yourself! Pixilation is an exciting form of animation where everyday objects and humans are the made to do extraordinary things such as disappear into walls, change into other people, fly, get eaten by black holes and ice skate on carpets!
In this workshop you'll learn how to make use pixillation to create animated films. You and your parents or carers will also find out how to film animation at home using your home computer, a webcam and free software. No experience or equipment necessary - just bring yourself! The workshop is led by Melvyn Turnan - you can see his films at www.melmation.com
Places are very limited, so please book in advance to avoid disappointment.
Sssh! There's going to be a FREE secret film show for kids at 1PM, somewhere in the Library...
Are spy pigeons and lost mechanical aliens your kind of thing? Do you know a cat who belongs to Simon? (or is it a Simon who belongs to a cat?)...
You can only find out the secret location for this screening when you collect a free golden ticket from our information desk in the Winter Garden. Make sure you get there early, it's first come first served and there are only a few places available for this extra special, hush hush event for those in the know. The films are suitable for any age but children must be accompanied by an adult.
These films are 100% guaranteed to totally amaze you... here's a sneak preview of what you will see...
The Lost Thing by Andrew Ruhemann & Shaun Tan (Passion Pictures, Australia 2011). This film won an Oscar for best short animated film in 2011. A boy finds a strange creature on a beach, and decides to find a home for it in a world where everyone believes there are far more important things to pay attention to.
Pigeon Impossible by Lucas Martell. This amazing bagel bite-sized adventure was 5 years in the making. It's the tale of Walter, a rookie secret agent faced with a problem seldom covered in basic training: what to do when a curious pigeon gets trapped inside your multi-million dollar, government-issued nuclear briefcase?
Love Over Goldfish by Janet Jennings and Jon Harrison. Have you ever seen a movie that is upside-down from beginning to end? Well the star of this film has, he's lived it! He's a goldfish and this is his life story. Love Over Goldfish was filmed in Sheffield, see if you can spot any familiar locations (but don't get a crick in your neck;)
Thanks to all the staff at Sheffield Libraries for hosting this event.
Special thanks to:
Emma Croft, Sarah Hogan, Martin Dutch and Andrew Milroy at Sheffield Libraries, Martin Archer and Juxtavoices, Ian Baxter (Catalyst), Sergi Jordà (reactable), Sheffield University Sound Studios, Passion Pictures, Lucas Martell, Flatpack Festival, Amber and Joab Harrison
Technical wizards: Darren Chouings (Prism), Melvyn Turnan (Melmation), Richard Bolam (RB Digimedia).
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
A Water Strider is able to run on top of water due its ability to distribute its weight over a large area and the surface tension of the water.
My Lego Technic version of this amazing creature is motorised and is able to walk on land using it's long legs, and with the assistance of some extra flotation, it is also able to swim in water.
While this model was designed a few years ago now, it still remains as one of my favourite models that I have built.
This model contains 277 pieces.
Since being helpfully updated to Yahoo! Flickr account, apparently my Flickr email does not forward anymore (I just found these messages). So if you are sending me emails, send directly to me, don't trust Flickr mail - I tried updating it but it won't let me.
After some computer issues that wouldn't release the train brakes and some brief talk of leaving the leader behind, a quick reboot had 23K moving again behind Interstate heritage unit NS 8105. Assisted by NS 2633 and 9630, the creamsicle is seen here leaning into the reverse curve at Shirley as it begins its westbound run to Chicago.
Lego Technic Merlo ROTO Telehandler in 1:11 scale.
The dimensions: 80 x 25 x 30 cm, total weight – 5,7 kg. The max height is 83 cm. The model contains approximately 5100 parts. The model has eight remote controlled functions (three S-bricks, 14 motors).
This is my version of the BR232 Ludmilla made of LEGO TECHNIC bricks in 1:16.5 scale suitable for the LEGO Technik Trucks.
The locomotive had the premiere at the Bricking Bavaria 2022 exhibition in Fürth this weekend.
With more than 1,2m length and a track of about 10m she could drive a bit back and forth.
When I designed the rails, I made sure that a rail switch could work as well. So I also built a switch.
After a few small weak points, she drove back and forth in exhibition mode.
The interior has only a fake motor so far.
Next year, all the functions will be integrated like:
- running diesel engine
- 3 controllable fan coolers
- fans of the eddy current brakes
- light on the second side
- coupling mechanism to couple and uncouple wagons
More informations on
Her Majesty’s Theatre in Ballarat’s Lydiard Street is one of the most intact, commercial nineteenth century theatres in Australia. Originally opened as the Ballarat Academy of Music in order to avoid the negative moral connotations associated with theatres at the time, Her Majesty’s was completed in 1875 to a design by architect George Browne. The Academy had a flat floored auditorium suitable for respectable dances and dinners, and a fully equipped stage. It was built to supersede Ballarat's Theatre Royal (built in 1858), which stood in Sturt Street. While very grand, the Royal had become outdated and no longer met the technical requirements of the touring companies.
The Academy was built by the wealthy Clarke family at the initiative of a group of local people who felt that Ballarat, as the premier city of the Victorian goldfields, should have a theatre worthy of its status. They guaranteed to rent it from the Clarkes at 10% of the construction cost, which was £13,000.
Built over a disused mineshaft, the original timber theatre initially comprised a theatre with rectangular auditorium, a steep lyre-shaped gallery, three entries leading to separate parts of the auditorium and two shops facing Lydiard Street.
Ballarat's handsome new theatre was ready ahead of schedule, and was opened on 7th June 1875. The first production was a comic opera by the French composer Lecocq, "La Fille de Madame Angot," presented by the Royal Opera Bouffe Company run by W. S. Lyster, Australia's first opera impresario.
Soon after the Academy opened, the large Supper Room above Lydiard Street was leased to William Bridges, a former miner, who ran it as an art gallery, displaying an excellent collection of European and Australian artworks, including his own tapestries. After Bridges moved his operations to Melbourne in 1883, the Ballarat Fine Art Gallery was formed. The Gallery Society ran the Gallery from the Academy from 1884 until 1890, when the present Art Gallery in Lydiard Street North was opened.
For the next twenty five years, the Academy of Music was unchallenged as Ballarat's main theatrical venue. It was never as popular as the old Theatre Royal, however, as the rather cavernous hall lacked the intimacy of the older playhouse. In 1898, when Sir William Clarke died, the building was bought by a local consortium and transformed into the delightful theatrical space we know today.
The new owners commissioned Australia's leading theatre architect, William Pitt (1855 – 1918), to remodel the interior and improve the stage facilities. William, who had been apprenticed to George Browne, also designed Melbourne's Princess Theatre amongst many other buildings. The present layout of the auditorium with sloping floor and double balconies, is Pitt's creation. The colour scheme is a recreation of the interior decoration undertaken at that time by Hugh Paterson, one of Melbourne's leading designers.
Paterson also decorated the dome and proscenium arch with murals. The mural in the dome depicted a carnival scene, with dancers in fanciful costumes; Comedy and Tragedy were featured on either side of the proscenium arch, with Shakespeare over the top. Unfortunately all the murals were destroyed in 1907 when Government regulations required the proscenium wall to be replaced with a solid firewall. The dome was removed at the same time for structural reasons, and was restored in 1990. The Dress Circle Lobby also dates from 1907.
The 1898 theatre was constructed in brick with timber roof construction sheeted with iron. The main body is brick with piers both inside and out. The hipped trussed roof covers both the three-level auditorium and the stage with dressing rooms below. The ground floor and foyer have been considerably altered at various times but the auditorium and stage structure are original as is much of the auditorium ceiling and pilastered walls. The roof over the stage also dates from 1875 and the later inclusion of a fly tower stage in 1898 is fitted around the original trusses. The flying system is the only manual (non counterweight) system in existence in Australia. In the auditorium roof there appears to have been two domes, a small one dating from before 1898 for which the horizontal shutters and tube structure to a former sliding ventilated roof are still in existence. When 1898 dome was removed a false octagonal ceiling was fitted in its place. Internally the circle and gallery levels are horseshoe shaped in plan and are carried on cast iron columns. The balcony balustrading is swag bellied and decorated. It is believed that the wall pilasters, panelled ceilings and proscenium are original decorations and some traces of art nouveau decorative motifs are to be seen where later alterations have been made. The two balconies were constructed in 1898, but one balcony front is the reused 1874 front while the second was made to match. The balconies and cast-iron supporting posts are typical for auditoria design in the late Nineteenth and early Twentieth Centuries. The double balcony, supported on columns, is now the last of this form of theatre in Victoria. The facade of this building is two storeyed in height with stucco ornamentation in a somewhat florid Classical style. The upper storey windows are round headed with archivolts supported by slender columns as are the two ground floor subsidiary entrances. The highly decorated curved entrance has now been lost. The ground floor facade has been much altered and a street awning has been added. The first floor facade is intact but the parapet balustrading and ornamentation has been destroyed.
From the First World War on, the Theatre was increasingly used for cinema presentations. A Bio Box (projection room) was built above the Dress Circle Lobby in 1916, and the Theatre was wired for sound in 1930. In 1928, the Hoyts cinema chain took over control over the building through its local subsidiary, Ballarat Theatres Limited, which ran Her Majesty's in tandem with the Regent Theatre (purposely built as a cinema).
In 1936, Her Majesty's was leased and operated by Ballarat Amusements, part of the Woodrow Distributing Company, presenting MGM and Paramount movies. Ballarat Amusements ran it until the early 1960s.
During the silent movie era, a theatre orchestra provided the film accompaniment. The Ballarat Theatre Organ Society installed the Theatre's Compton Theatre Organ in 1982.
Even when Her Majesty's was primarily a cinema, it was always available, to a lesser or greater degree, for live performances. It was used regularly by J. C. Williamson's and other touring companies as well as local groups. Throughout the 1940s and 1950s huge crowds came to see the annual pantomimes staged by the Wavie Williams Pantomime Company. For the last forty years, the Theatre has been used to stage locally produced musical comedies.
Television came to Ballarat in 1962, and had an immediate impact on attendances at the local cinemas. Ballarat Amusements decided to cease screenings and Hoyts put the building on the market.
In 1965, the Theatre was bought by the Royal South Street Society as the home for its Annual Competitions.The Bolte State Government gave the Society £20,000 towards the purchase price and a further grant towards the adaptation of the building for the Competitions. Further assistance towards both purposes came from local businessman, Alf Reid. It was clearly understood at the time that the Society would be managing the Theatre as a community facility.
The Society renamed Her Majesty's the Memorial Theatre, a move which made donations to its renovation appeal tax deductable.
The Society was unable to adequately maintain the upkeep of the building, however, and gifted it to the then City of Ballaarat in 1987, reserving the right to hold competitions in the Theatre every year between August and November.
The City of Ballarat undertook a major renovation, seeking funding from a wide range of businesses, individuals and organisations. The Theatre reopened as Her Majesty's on the 1st of November, 1990.
Bonnie Jeanne Dunbar (born March 3, 1949) is a former NASA astronaut. She retired from NASA in September 2005 then served as president and CEO of The Museum of Flight until April 2010. From January 2013 - December 2015, Dr. Dunbar lead the University of Houston's STEM Center (science, technology, engineering and math) and was a faculty member in the Cullen College of Engineering.[1] Currently, she is a professor of aerospace engineering at Texas A&M University and serves as Director of the Institute for Engineering Education and Innovation (IEEI), a joint entity in the Texas A&M Engineering Experiment Station (TEES) and the Dwight Look College of Engineering at Texas A&M University.
Contents
1 Early life
2 NASA career
3 Spaceflight experience
4 Education
5 Organizations
6 Awards and honors
7 References
Early life
Dunbar was born in Sunnyside, Washington. In 1967, she graduated from Sunnyside High School, Sunnyside, Washington. Following graduation in 1971 from the University of Washington, Dunbar worked for Boeing Computer Services for two years as a systems analyst. From 1973 to 1975, she conducted research for her master's thesis in the field of mechanisms and kinetics of ionic diffusion in sodium beta-alumina. She is a member of Kappa Delta sorority.
In 1975, she was invited to participate in research at the Atomic Energy Research Establishment, Harwell near Oxford, England, as a visiting scientist. Her work there involved the wetting behavior of liquids on solid substrates. Following her work in England, she accepted a senior research engineer position with Rockwell International Space Division in Downey, California. Her responsibilities there included developing equipment and processes for the manufacture of the Space Shuttle thermal protection system in Palmdale, California. She also represented Rockwell International as a member of the Dr. Kraft Ehricke evaluation committee on prospective space industrialization concepts. Dunbar completed her doctorate at the University of Houston in Houston, Texas. Her multi-disciplinary dissertation (materials science and physiology) involved evaluating the effects of simulated space flight on bone strength and fracture toughness. These results were correlated to alterations in hormonal and metabolic activity. Dr. Dunbar has served as an adjunct assistant professor in Mechanical Engineering at the University of Houston.
Dunbar is a private pilot with over 200 hours in single engine land aircraft, has logged more than 700 hours flying time in T-38 jets as a back-seater, and has over 100 hours as co-pilot in a Cessna Citation jet. She was married to fellow astronaut Ronald M. Sega.[2]
NASA career
Dunbar accepted a position as a payload officer/flight controller at the Lyndon B. Johnson Space Center in 1978. She served as a guidance and navigation officer/flight controller for the Skylab reentry mission in 1979 and was subsequently designated project officer/payload officer for the integration of several Space Shuttle payloads.[3][4]
Dunbar became a NASA astronaut in August 1981. Her technical assignments have included assisting in the verification of Shuttle flight software at the Shuttle Avionics Integration Laboratory (SAIL), serving as a member of the Flight Crew Equipment Control Board, participation as a member of the Astronaut Office Science Support Group, supporting operational development of the remote manipulator system (RMS). She has served as chief of the Mission Development Branch, as the Astronaut Office interface for "secondary" payloads, and as lead for the Science Support Group. In 1993, Dr. Dunbar served as Deputy Associate Administrator, Office of Life and Microgravity Sciences, NASA Headquarters, Washington, D.C. In February 1994, she traveled to Star City, Russia, where she spent 13-months training as a back-up crew member for a 3-month flight on the Russian Space Station, Mir. In March 1995, she was certified by the Russian Gagarin Cosmonaut Training Center as qualified to fly on long duration Mir Space Station flights. From October 1995 to November 1996, she was detailed to the NASA JSC Mission Operations Directorate as Assistant Director where she was responsible for chairing the International Space Station Training Readiness Reviews, and facilitating Russian/American operations and training strategies.
A veteran of five space flights, Dunbar has logged more than 1,208 hours (50 days) in space. She served as a mission specialist on STS-61-A in 1985, STS-32 in 1990, and STS-71 in 1995, and was the Payload Commander on STS-50 in 1992, and STS-89 in 1998.
Spaceflight experience
STS-61-A Challenger (October 30-November 6, 1985), was the West German D-1 Spacelab mission. It was the first to carry eight crew members, the largest to fly in space, and was also the first in which payload activities were controlled from outside the United States. More than 75 scientific experiments were completed in the areas of physiological sciences, materials science, biology, and navigation. During the flight, Dunbar was responsible for operating Spacelab and its subsystems and performing a variety of experiments. Her mission training included six months of experiment training in Germany, France, Switzerland, and The Netherlands. STS-61-A launched from the Kennedy Space Center, Florida, and returned to land at Edwards Air Force Base, California. Mission duration was 7 days, 44 minutes 51 seconds, traveling 2.5 million miles in 111 orbits of the Earth.
STS-32 Columbia (January 9–20, 1990), launched from the Kennedy Space Center, Florida, and returned to a night landing at Edwards Air Base in California. During the flight, the crew successfully deployed the Syncom IV-F5 satellite, and retrieved the 21,400-pound Long Duration Exposure Facility (LDEF) using the RMS. They also operated a variety of middeck experiments including the Microgravity Disturbance Experiment (MDE) using the Fluids Experiment Apparatus (FEA), Protein Crystal Growth (PCG), American Flight Echocardiograph (AFE), Latitude/Longitude Locator (L3), Mesoscale Lightning Experiment (MLE), Characterization of Neurospora Circadian Rhythms (CNCR), and the IMAX Camera. Dunbar was principal investigator for the MDE/FEA Experiment. Additionally, numerous medical test objectives, including in-flight lower body negative pressure (LBNP), in-flight aerobic exercise and muscle performance were conducted to evaluate human adaptation to extended duration missions. Mission duration was 10 days, 21 hours, 01 minute, 38 seconds, traveling 4.5 million miles in 173 orbits of the Earth.
STS-50 Columbia (June 25 to July 9, 1992). Dunbar was the Payload Commander on STS-50, the United States Microgravity Lab-1 mission which was dedicated to microgravity fluid physics and materials science. Over 30 experiments sponsored by over 100 investigators were housed in the Spacelab in the Shuttle's Payload Bay. A payload crew of four operated around-the-clock for 13 days performing experiments in scientific disciplines such as protein crystal growth, electronic and infrared detector crystal growth, surface tension physics, zeolite crystal growth, and human physiology. Mission duration was 13 days, 19 hours, 30 minutes and 4 seconds, traveling 5.7 million miles in 221 orbits of the Earth.
STS-71 Atlantis (June 27 to July 7, 1995), was the first Space Shuttle mission to dock with the Russian Space Station Mir, and involved an exchange of crews. The Atlantis was modified to carry a docking system compatible with the Russian Mir Space Station. Dunbar served as MS-3 on this flight which also carried a Spacelab module in the payload bay in which the crew performed medical evaluations on the returning Mir crew. These evaluations included ascertaining the effects of weightlessness on the cardio/vascular system, the bone/muscle system, the immune system, and the cardio/pulmonary system. Mission duration was 9 days, 19 hours, 23 minutes and 8 seconds, traveling 4.1 million miles in 153 orbits of the earth.
STS-89 Endeavour (January 22–31, 1998), was the eighth Shuttle-Mir docking mission during which the crew transferred more than 9,000 pounds of scientific equipment, logistical hardware and water from Space Shuttle Endeavour to Mir. In the fifth and last exchange of a U.S. astronaut, STS-89 delivered Andy Thomas to Mir and returned with David Wolf. Mission duration was 8 days, 19 hours and 47 seconds, traveling 3.6 million miles in 138 orbits of the Earth. Dunbar was the Payload Commander, responsible for all payload activities including the conduct of 23 technology and science experiments.
Education
1971: B.S. Ceramic Engineering, University of Washington
1975: M.S. Ceramic Engineering, University of Washington
1983: Ph.D. Mechanical/Biomedical Engineering, University of Houston
Organizations
American Society of Mechanical Engineers (ASME)
The American Ceramic Society (ACerS)
National Institute of Ceramic Engineers (NICE)
Keramos Honorary
Society of Biomedical Engineering
American Association for the Advancement of Science
Tau Beta Pi
Materials Research Society (MRS)
Board of Directors, Arnold Air Society and Angel Flight
Board of Trustees Silver Wings (service organization) (SW)
International Academy of Astronautics (IAF)
Experimental Aircraft Association (EAA)
Society of Women Engineers (SWE)
Association of Space Explorers (ASE)
Awards and honors
Honorary Doctorate from Heritage University in 2016
Kappa Delta sorority
Honorary Doctorate from Heriot-Watt University in 2000 [5]
The American Ceramic Society (ACerS) James I. Mueller Award, Cocoa Beach, Florida (2000)
Inducted into the Women in Technology International Hall of Fame (2000), one of five women in the world so honored annually
Selected as one of the top 20 women in technology in Houston, Texas (2000)
NASA Space Flight Medals (1985, 1990, 1992, 1995 and 1998)
NASA Superior Accomplishment Award (1997)
Member, National Science Foundation (NSF) Engineering Advisory Board, 1993–present
NASA Exceptional Achievement Medal (1996)
NASA Outstanding Leadership Award (1993)
Fellow of American Ceramic Society (1993)
Design News Engineering Achievement Award (1993)
IEEE Judith A. Resnik Award (1993)[6]
Society of Women Engineers Resnik Challenger Medal (1993)
Museum of Flight Pathfinder Award (1992)
AAES National Engineering Award (1992)
NASA Exceptional Service Award (1991)
University of Houston Distinguished Engineering Alumna (1991)
M.R.S. President's Award (1990)
The American Ceramic Society (ACerS) Schwaltzwalder P.A.C.E. Award (1990)
University of Washington Engineering Alumni Achievement (1989)
NASA Exceptional Service Medal (1988)
The American Ceramic Society (ACerS) Life Membership (1986)
General Jimmy Doolittle Fellow of the Aerospace Education Foundation (1986)
Evergreen Safety Council Public Service in Space Award (1986)
The American Ceramic Society (ACerS) Greaves-Walker Award (1985)
Rockwell International Engineer of the Year (1978)
Graduated Cum Laude from the University of Washington in 1975