bicycles rule!
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The Nanyang University Memorial is a memorial tablet built and revealed on 30 March 1958 to mark the end of the first phase of construction for Nanyang University and to honor the donors who contributed to the building of the university. It was unveiled by then governor of Singapore, Sir William Goode in a grand ceremony of more than 100 guests. It was Singapore's first private university that was built using funds donated by all walks of life from wealthy merchants to odd jobs labourers.
In our technologically-obsessed society it’s hard to understand the reasons behind asceticism – why would one forgo all of one’s earthly possessions and live excluded from society? Given that the Ganga or Ganges is a holy place there were quite a few of these folks there and it was it was interesting to interact with some of them.
L00king at r0b0ts is n0t like l00king at an id0l. It's n0t a human being, s0 it's m0re like a mirr0r - the energy pe0ple send t0 the stage bounces back and everyb0dy has a g00d time t0gether rather than f0cusing 0n us."
-Guy-Manuel de Homem-Christo
Daft Punk , I just love that duo and their awesome music..
Thank you so much to my chum Lost to make the matching pair on this picture!! ^^
!!!! TECHNOLOGIC !!!!
Daft Punk - Harder Better Faster Stronger (Live concert) * Gives me the goosebumps!!!!!* : www.youtube.com/watch?v=x84m3YyO2oU
hangin out at Clouds Edge, this song on loop, may be imprinted on my brain for life, ha...
buy it, use it, break it, fix it, trash it, change it, mail, upgrade it
charge it, point it, zoom it, press it, snap it, work it, quick erase it
write it, cut it, paste it, save it, load it, check it, quick rewrite it
plug it, play it, burn it, rip it
technologic
lock it, fill it, call it, find it, view it, code it, jam, unlock it
surf it, scroll it, pause it, click it, cross it, crack it, switch, update it
name it, read it, tune it, print it, scan it, send it, fax, rename it
touch it, touch it, touch it, touch it
"A technological revolution on the farm has led to an output explosion--but we have not yet learned to harness that explosion usefully, while protecting our farmers' right to full parity income"
John F. Kennedy
This is still true today. Central Texas had a banner year for hay.
Kyiv Polytechnic's main building
National Technical University of Ukraine "Igor Sikorsky Kyiv Polytechnic Institute" (NTUU KPI), a public technological university.
The institute was founded as the Kiev Polytechnic Institute of Emperor Alexander II on 31 August 1898. However, the construction of the current building complex was finished in 1902. Until then, the institute was renting out its space at the building of Commercial School located on Vorovsky Street. At that time, it had four departments: Mechanical, Chemical, Agricultural, and Civil Engineering. The first enrolment constituted of 360 students.
At present the number of students at KPI is more than 36,000. Approximately 400 of them are international students. In this way students, especially those who live in a hostel, have a social life with their foreign fellow students and a chance to learn more about other cultures, people and ideas. Over 4,500 students graduate from KPI every year. The diploma is accepted by the European Union. KPI has a preparatory department for foreigners. There is a possibility to study in English and at the same time learn Ukrainian.
I watched this Apple center. I was struck by the intersection of reflections of natural light and technology. A confirmation that technoligia without natural light is only an option of circumstance.
Though I do have technologically advanced cameras, I tend to prefer older cameras (all these are second-hand cameras with a 16MP sensor) and use them manually. I am not rejecting technological excellence and sophisticated algorithms. All I am saying is that I have more joy when working manually and that Fuji's old 16MP sensor is really good enough for my purposes. This shot was done with my new (ten year old) Fuji X-Pro1.
Stuff I'm wearing:
Hair: Elikatira
Skin: Glam Affair w/ Amara Beauty lips
Top: Promagic
Pants: :: pm ::
Nails: 1990
Pose: La Plume (Collection Lea)
Sim: Leviathan Bay
Sovereign nations are obsolete. All forms of government are out of date. They lag behind technological development and modern ideas, such as Network states. These Network states will “transcend” nations. They will “regenerate the earth.” A variety of progressive ideas make up the concept of the Network state. These ideas form a dream of a new society. The Network state is a parallel society that will transform our world. It’s a “radical roadmap to replace democracy,” to “reshape society.” It’s a blueprint for the future. “The next Global superpower will be a Network state!” Corporations and billionaires are buying up land with the idea of forming independent countries (Network states) within sovereign countries. They want to establish their own governance. Divide and conquer! They want to operate outside the reach of government laws and oversight. They want to abolish the copyright system. They want to evade taxation. “We anticipate that the apparently solid power of nation-states currently devoted to mass democracy will splinter in tens of thousands of fragments into a system more reminiscent of the medieval period than the modern industrial age.” Like parasites, these Network states will kill the host country. Then we will enter the age of techno-feudalism, “the age of super-monopolies and super-exploitation.” The rich are playing a chess game for power. The peasants are but pawns.
They want to be kings of their Network states! Their feudal lands will be populated by peasants. People from around the world will migrate to them. Open borders! Quick, rubber-stamp all those work visas from the third world! The corporations and billionaires will have a constant flow of cheap slave labour. This system will “transition us beyond the confines of socialism and capitalism.” They don’t want socialist and capitalist governments impeding their ability to make money with roadblocks or red tape. They call their system Cosmo-localism. Woohoo! Cosmo-slavery! It’s a “post-capitalist” system. It “can be summarized with the acronym ‘DGML,’ or design globally and manufacture locally.” You got it, Network states are giant factories. Giant sweatshops! Network states will network with each other around the world. They sound a lot like the gulags. They are worldwide islands of slave labour camps. Or you could just call them 15-minute cities.
If you don’t think these things are happening, then watch Tech Billionaires’ Shocking Plot for Rural America:
www.youtube.com/watch?v=PHlcAx-I0oY
Revelation 17:12-13 “The ten horns you saw are ten kings who have not yet received a kingdom, but who for one hour will receive authority as kings along with the Beast. They have one purpose and will give their power and authority to the Beast.”
Bow to the techno-feudal king, the man of the hour, the Beast! His Cosmo-slave system will require a biometric ID-chip. The Beast, with his ten horns, will trample the whole earth. He will crush his subjects underfoot with war, famine, and plague. The gulags of hell are ever-increasing; its captives are in torment every hour.
Nanyang Technological University, Singapore. Learning Hub. Design: Thomas Heatherwick.
The building has been designed as a cluster of 12 tapered towers that surround an atrium. The approach was to combine learning spaces with social spaces, balconies and gardens to encourage informal interaction. The facade has been created by curved pre-cast concrete panels. The building is naturally ventilated. Some people have referent the pods as 'dim sum' baskets, others referred to the towers as 'turnips"
The leucistic coloration is a bit of a rarity in nature although often found in teddy bears. I found it in this mule deer about 15 minutes before sunrise as a peach/orange dawn reflected off a hotel in the Denver Technological Center. Hope you find it as pretty as I did. (Tough to get sharp at 6400 ISO.)
This technological part aims to reach a fair #BALANCE between past, present and future.
Without this #BALANCE the earth won’t move.
Für diese Aufnahme habe ich den mittleren Zwischenring aus dem Zuiko-System gewählt, um einen etwas größeren Abbildungsmaßstab als 1:2 (hier ist beim 50er F3.5 Zuiko Auto-Macro Schluss) zu erreichen. Das Objektiv habe ich auf Bl. 8 abgeblendet.
Atrium, The Learning Hub, Nanyang Technical University, Singapore. Designer: Thomas Heatherwick.
Even though naturally ventilated and exposed to natural light at a number of points, the interior spaces felt dark and bland due to the expansive use of concrete. The internal circulation didn't work as well as intended as spaces lacked definition and purpose.
The Eradicator and Cyborg Superman
—————————————————————
You’re not able to see, but I used the Rebirth Superman legs on my go-to Superman figure in the back, along with some red hips
For Lancia, the Aprilia, produced from 1937 - 1949, simultaneously marked the end of one era and the beginning of another. Technologically speaking, this was a supremely refined model, with a load-bearing body, a compact narrow V engine, independent suspension on all four wheels and extremely innovative aerodynamic lines.
During the 1920s, the invention of wind tunnels allowed industrial designers to seek new levels of performance for motor vehicles by improving their aerodynamics. In the United States, “streamline design” was all the rage, a trend for producing sinuous and aerodynamic lines, starting with airplanes, then trains and then cars, increasing their speed but also emphasizing their extravagant stylistic features.
This movement reached Italy in the 1930s when streamlining, a symbol of modernity, inspired the lines of the new Lancia Aprilia. But compared to the American style, Vincenzo Lancia’s trusted designer Battista Falchetto - who had shared the honors for the stunning design of the Lambda - created a car with fewer frills and more concrete lines, aimed at improving aerodynamics. The grille and windscreen were therefore slightly inclined, and the egg shape - considered at the time the most efficient profile from an aerodynamic point of view - gave character to the rear part. The compact and streamlined bonnet was made possible by the small size of the narrow V engine... an authentic concentrate of technology. It consisted of a light alloy monobloc with cast iron barrels, V valves controlled by rockers moved by an overhead camshaft and a hemispherical top on the combustion chamber. With only 1,352 cc it generated 48 HP which, thanks also to a total weight of only 850 kg, plus an excellent aerodynamic coefficient of just 0.47, thrust the Aprilia up to 125 km/h.
The Aprilia was a true Piedmontese aristocrat, refined and precise in every detail. Its famous four pillarless doors, a true Lancia icon, also have an extraordinary curved profile and invisible hinges. The famous click - the sound of the doors closing - underlined the scrupulous attention to the smallest details in design and assembly which typified Lancia’s outstanding modus operandi, providing an unforgettable grace note. The interiors, especially in the Luxury version, featured a classy geometric instrument panel on a grey background with black and white graphics: the square speedometer and clock perfectly matched with the rectangles chosen for the thermometer and the fuel gauge. The Lancia cloth upholstery (available on request in leather), the door panels, the roof covering and the rubber mats were the final touches of a creation which was the closest possible motorcar version of the classic Turin interiors of the period.
Its extremely low weight was mainly due to the load-bearing body: a Lancia patent - first seen in the 1920s on the Lambda - which, by overcoming the classic architecture which kept the chassis and bodywork separate, improved torsional rigidity and significantly reduced volumes. The independent suspension on all four wheels, with rear transversal leaf spring and front coil springs, enabled the Lancia Aprilia to offer road grip and passenger comfort that was much superior to most of its contemporary rivals.
The Lancia Aprilia contained all the most innovative and refined technical solutions that were so dear to Vincenzo Lancia. It constituted a pinnacle of motorcar production, carried out under the direct supervision of the founder of the Turin company. The name of the car came from that of an ancient Lazio town: a characteristic that linked it to its predecessors, the Artena and the Astura.
The Lancia Aprilia was presented to the public at the thirtieth edition of the Paris Motor Show, in October 1936. On February 15, 1937 its creator had a sudden and fatal heart attack, just before the car went into production. He was only 55 years old. Thus the Aprilia became universally seen as the spiritual testament of Vincenzo Lancia, becoming a huge commercial success, which continued even after the adversities of the second World War.
The first series of the Lancia Aprilia was produced from 1937 to 1939 in 10,354 units: a Sedan in standard and Luxury trims, to which were added 4,350 chassis for custom-made versions, on which the best Italian coachbuilders reveled in producing streamlined and elegant spiders and cabriolets. Pinin Farina's aerodynamic coupé was highly original, with its characteristic flattened muzzle, the central position of the 2 + 2 passenger compartment and an elegant tail.
Two years after the start of production, the second series was born, characterized by the increase in displacement to 1,486 cc. The power remained unchanged, but this improved the elasticity of the engine and the maximum speed. Despite a weight increase to 950 kg, it gained 1 km/h. In the decade from 1939-1949, 11,082 sedans were produced plus 2,252 chassis for coachbuilders.
The production of the Aprilia continued - with a further 703 exemplars - even after the Second World War, a period in which the model, despite being almost ten years old, could still be proud of its highly modern mechanics and settings. It held its place in the market right up to the last days of production, and in racing it remained the undisputed dominator of the Tourism class up to 1500 cc for years: it also triumphed in the Mille Miglia of 1947 thanks to its powerful acceleration and peerless road holding.
To this day, more than eighty years after its presentation, the Aprilia is considered a timeless pioneering car which, by gathering all the best of Lancia’s innovative philosophy, inaugurated a new era in motoring. Vincenzo Lancia was usually hypercritical about his cars, but after test driving the Aprilia prototype he spontaneously exclaimed: "What a magnificent car!".
Article credit: Heritage
This is the School of Art, Design & Media at Nanyang Technological University in Singapore. Staying in the country for 2 months, of course I had to visit a futuristic building like this one!
Reading up on it, I realized the President of NTU is from Sweden! Sometimes the world is very a small place.
For Lancia, the Aprilia, produced from 1937 - 1949, simultaneously marked the end of one era and the beginning of another. Technologically speaking, this was a supremely refined model, with a load-bearing body, a compact narrow V engine, independent suspension on all four wheels and extremely innovative aerodynamic lines.
During the 1920s, the invention of wind tunnels allowed industrial designers to seek new levels of performance for motor vehicles by improving their aerodynamics. In the United States, “streamline design” was all the rage, a trend for producing sinuous and aerodynamic lines, starting with airplanes, then trains and then cars, increasing their speed but also emphasizing their extravagant stylistic features.
This movement reached Italy in the 1930s when streamlining, a symbol of modernity, inspired the lines of the new Lancia Aprilia. But compared to the American style, Vincenzo Lancia’s trusted designer Battista Falchetto - who had shared the honors for the stunning design of the Lambda - created a car with fewer frills and more concrete lines, aimed at improving aerodynamics. The grille and windscreen were therefore slightly inclined, and the egg shape - considered at the time the most efficient profile from an aerodynamic point of view - gave character to the rear part. The compact and streamlined bonnet was made possible by the small size of the narrow V engine... an authentic concentrate of technology. It consisted of a light alloy monobloc with cast iron barrels, V valves controlled by rockers moved by an overhead camshaft and a hemispherical top on the combustion chamber. With only 1,352 cc it generated 48 HP which, thanks also to a total weight of only 850 kg, plus an excellent aerodynamic coefficient of just 0.47, thrust the Aprilia up to 125 km/h.
The Aprilia was a true Piedmontese aristocrat, refined and precise in every detail. Its famous four pillarless doors, a true Lancia icon, also have an extraordinary curved profile and invisible hinges. The famous click - the sound of the doors closing - underlined the scrupulous attention to the smallest details in design and assembly which typified Lancia’s outstanding modus operandi, providing an unforgettable grace note. The interiors, especially in the Luxury version, featured a classy geometric instrument panel on a grey background with black and white graphics: the square speedometer and clock perfectly matched with the rectangles chosen for the thermometer and the fuel gauge. The Lancia cloth upholstery (available on request in leather), the door panels, the roof covering and the rubber mats were the final touches of a creation which was the closest possible motorcar version of the classic Turin interiors of the period.
Its extremely low weight was mainly due to the load-bearing body: a Lancia patent - first seen in the 1920s on the Lambda - which, by overcoming the classic architecture which kept the chassis and bodywork separate, improved torsional rigidity and significantly reduced volumes. The independent suspension on all four wheels, with rear transversal leaf spring and front coil springs, enabled the Lancia Aprilia to offer road grip and passenger comfort that was much superior to most of its contemporary rivals.
The Lancia Aprilia contained all the most innovative and refined technical solutions that were so dear to Vincenzo Lancia. It constituted a pinnacle of motorcar production, carried out under the direct supervision of the founder of the Turin company. The name of the car came from that of an ancient Lazio town: a characteristic that linked it to its predecessors, the Artena and the Astura.
The Lancia Aprilia was presented to the public at the thirtieth edition of the Paris Motor Show, in October 1936. On February 15, 1937 its creator had a sudden and fatal heart attack, just before the car went into production. He was only 55 years old. Thus the Aprilia became universally seen as the spiritual testament of Vincenzo Lancia, becoming a huge commercial success, which continued even after the adversities of the second World War.
The first series of the Lancia Aprilia was produced from 1937 to 1939 in 10,354 units: a Sedan in standard and Luxury trims, to which were added 4,350 chassis for custom-made versions, on which the best Italian coachbuilders reveled in producing streamlined and elegant spiders and cabriolets. Pinin Farina's aerodynamic coupé was highly original, with its characteristic flattened muzzle, the central position of the 2 + 2 passenger compartment and an elegant tail.
Two years after the start of production, the second series was born, characterized by the increase in displacement to 1,486 cc. The power remained unchanged, but this improved the elasticity of the engine and the maximum speed. Despite a weight increase to 950 kg, it gained 1 km/h. In the decade from 1939-1949, 11,082 sedans were produced plus 2,252 chassis for coachbuilders.
The production of the Aprilia continued - with a further 703 exemplars - even after the Second World War, a period in which the model, despite being almost ten years old, could still be proud of its highly modern mechanics and settings. It held its place in the market right up to the last days of production, and in racing it remained the undisputed dominator of the Tourism class up to 1500 cc for years: it also triumphed in the Mille Miglia of 1947 thanks to its powerful acceleration and peerless road holding.
To this day, more than eighty years after its presentation, the Aprilia is considered a timeless pioneering car which, by gathering all the best of Lancia’s innovative philosophy, inaugurated a new era in motoring. Vincenzo Lancia was usually hypercritical about his cars, but after test driving the Aprilia prototype he spontaneously exclaimed: "What a magnificent car!".
Article credit: Heritage
For Lancia, the Aprilia, produced from 1937 - 1949, simultaneously marked the end of one era and the beginning of another. Technologically speaking, this was a supremely refined model, with a load-bearing body, a compact narrow V engine, independent suspension on all four wheels and extremely innovative aerodynamic lines.
During the 1920s, the invention of wind tunnels allowed industrial designers to seek new levels of performance for motor vehicles by improving their aerodynamics. In the United States, “streamline design” was all the rage, a trend for producing sinuous and aerodynamic lines, starting with airplanes, then trains and then cars, increasing their speed but also emphasizing their extravagant stylistic features.
This movement reached Italy in the 1930s when streamlining, a symbol of modernity, inspired the lines of the new Lancia Aprilia. But compared to the American style, Vincenzo Lancia’s trusted designer Battista Falchetto - who had shared the honors for the stunning design of the Lambda - created a car with fewer frills and more concrete lines, aimed at improving aerodynamics. The grille and windscreen were therefore slightly inclined, and the egg shape - considered at the time the most efficient profile from an aerodynamic point of view - gave character to the rear part. The compact and streamlined bonnet was made possible by the small size of the narrow V engine... an authentic concentrate of technology. It consisted of a light alloy monobloc with cast iron barrels, V valves controlled by rockers moved by an overhead camshaft and a hemispherical top on the combustion chamber. With only 1,352 cc it generated 48 HP which, thanks also to a total weight of only 850 kg, plus an excellent aerodynamic coefficient of just 0.47, thrust the Aprilia up to 125 km/h.
The Aprilia was a true Piedmontese aristocrat, refined and precise in every detail. Its famous four pillarless doors, a true Lancia icon, also have an extraordinary curved profile and invisible hinges. The famous click - the sound of the doors closing - underlined the scrupulous attention to the smallest details in design and assembly which typified Lancia’s outstanding modus operandi, providing an unforgettable grace note. The interiors, especially in the Luxury version, featured a classy geometric instrument panel on a grey background with black and white graphics: the square speedometer and clock perfectly matched with the rectangles chosen for the thermometer and the fuel gauge. The Lancia cloth upholstery (available on request in leather), the door panels, the roof covering and the rubber mats were the final touches of a creation which was the closest possible motorcar version of the classic Turin interiors of the period.
Its extremely low weight was mainly due to the load-bearing body: a Lancia patent - first seen in the 1920s on the Lambda - which, by overcoming the classic architecture which kept the chassis and bodywork separate, improved torsional rigidity and significantly reduced volumes. The independent suspension on all four wheels, with rear transversal leaf spring and front coil springs, enabled the Lancia Aprilia to offer road grip and passenger comfort that was much superior to most of its contemporary rivals.
The Lancia Aprilia contained all the most innovative and refined technical solutions that were so dear to Vincenzo Lancia. It constituted a pinnacle of motorcar production, carried out under the direct supervision of the founder of the Turin company. The name of the car came from that of an ancient Lazio town: a characteristic that linked it to its predecessors, the Artena and the Astura.
The Lancia Aprilia was presented to the public at the thirtieth edition of the Paris Motor Show, in October 1936. On February 15, 1937 its creator had a sudden and fatal heart attack, just before the car went into production. He was only 55 years old. Thus the Aprilia became universally seen as the spiritual testament of Vincenzo Lancia, becoming a huge commercial success, which continued even after the adversities of the second World War.
The first series of the Lancia Aprilia was produced from 1937 to 1939 in 10,354 units: a Sedan in standard and Luxury trims, to which were added 4,350 chassis for custom-made versions, on which the best Italian coachbuilders reveled in producing streamlined and elegant spiders and cabriolets. Pinin Farina's aerodynamic coupé was highly original, with its characteristic flattened muzzle, the central position of the 2 + 2 passenger compartment and an elegant tail.
Two years after the start of production, the second series was born, characterized by the increase in displacement to 1,486 cc. The power remained unchanged, but this improved the elasticity of the engine and the maximum speed. Despite a weight increase to 950 kg, it gained 1 km/h. In the decade from 1939-1949, 11,082 sedans were produced plus 2,252 chassis for coachbuilders.
The production of the Aprilia continued - with a further 703 exemplars - even after the Second World War, a period in which the model, despite being almost ten years old, could still be proud of its highly modern mechanics and settings. It held its place in the market right up to the last days of production, and in racing it remained the undisputed dominator of the Tourism class up to 1500 cc for years: it also triumphed in the Mille Miglia of 1947 thanks to its powerful acceleration and peerless road holding.
To this day, more than eighty years after its presentation, the Aprilia is considered a timeless pioneering car which, by gathering all the best of Lancia’s innovative philosophy, inaugurated a new era in motoring. Vincenzo Lancia was usually hypercritical about his cars, but after test driving the Aprilia prototype he spontaneously exclaimed: "What a magnificent car!".
Article credit: Heritage
Madrid - Cuatro Torres Business Area
♪♫♥♪ Bob Sinclar - World Hold On ♪♥♫♪
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Gràcies per les vostres visites i comentaris.
Gracias por vuestras visitas y comentarios.
Thanks for your visits and comments.
HMS Warrior, launched in 1860, was a technological marvel of her time. As the world's first iron-hulled warship, she was larger, faster, and more heavily armored than any ship before her. Her impressive size and firepower made her a symbol of British naval supremacy and a deterrent to potential adversaries.
While Warrior's active service was relatively short, her impact was significant. She not only served as a powerful warship but also as a diplomatic tool, escorting royalty and touring British ports. Today, she stands as a testament to the ingenuity and engineering prowess of the Victorian era, offering visitors a glimpse into the past and a reminder of Britain's maritime heritage.
HMS Warrior, once a symbol of British naval might, was eventually outclassed by newer, more powerful ships. By the late 19th century, she was relegated to various reserve roles, including a torpedo training ship and a refueling pontoon.
In the late 1970s, a major restoration effort began to return Warrior to her former glory. Underwritten by Sir John Smith, the goal was to return her to how she appeared between 1861 and 1864 on her first commission. £7 million and eight years later she was restored and towed from Hartlepool to her permanent home in Portsmouth Harbour.
More than 40 years later though work hasn’t stopped. The conservation team made up of riggers, shipkeepers, conservators, painters and more are constantly at work ensuring HMS Warrior is in top shape for the hundreds of thousands of visitors that see her every year. The ongoing conservation work ensures that this iconic ship will continue to inspire and educate for generations to come.
( information from the Royal Navy Museum web page )
(...)"The future, however, intrigues me it so much, especially when I think of the enormous technological advances that has been done in a century. Who knows what will happen! To imagine it really takes a lot of imagination, and sometimes even that is not enough. You have to be able to think what is not there."(...)
Margherita Hack con Marco Morelli, Siamo fatti di stelle (We are made of stars )
Margherita Hack was Italian astrophysicist and science popularizer
"All the matter we are made of us have built the stars, all the elements from hydrogen to uranium have been made in nuclear reactions in supernovae, that these stars much bigger than that of the Sun at the end of their lives explode and scatter into space the result of all nuclear reactions occurring within them. So we are truly sons of the stars.“
Margherita Hack
Thanks for your recent visit , always all much appreciated...
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