View allAll Photos Tagged technologically
Printer fax scanner device in modern office. Blue technological mood color cast.
✎ ✎ ✎ ✎ ✎ ✎ ✎ ✎
░ENG░ Do you need this image for your project? Get it now for only 5 USD! Just follow these simple steps:
Press Additional info (show more) → Press Request to license
ifeelstock's photos via Getty Images → Press Submit Request and follow the steps of Getty Images system.
Prices start at just 5 USD — it all depends on the size* you need and how you plan to use it.
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░DE░ Brauchen Sie dieses Bild für Ihr Projekt? Lass es jetzt ab 5 USD! Befolgen Sie diese einfachen Schritte:
Drücken Sie auf den Link Weitere Informationen (Weitere anzeigen) → Drücken Sie Lizenzierungsantrag
der Fotos von ifeelstock über Getty Images → Drücken Sie Anfrage abschicken und die Schritte von Getty Images System
Lizenzierungen gibt es schon ab 5 USD– abhängig von Größe und Verwendungszweck.
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░ES░ ¿Necesita esta imagen para su proyecto? Get It Now de partida de 5 USD! Sólo tienes que seguir estos sencillos pasos:
Pulse el enlace Información adicional (ver más) → Solicitar licencia
de las fotos de ifeelstock a través de Getty Images → Presione Enviar Peticióny siga los pasos de sistema de Getty Images.
Hay imágenes a partir de 5 USD, depende del tamaño que necesites y del uso que pretendas darle a la imagen.
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░FR░ Avez-vous besoin cette image pour votre projet? Il pourrait être le vôtre pour 5 $! Il suffit de suivre ces étapes simples:
Appuyez sur le lien Informations supplémentaires (afficher plus) → Demande de licence
pour les photos de ifeelstock via Getty Images → Appuyez sur Valider la demandeet suivez les étapes de système Getty Images.
Les premiers prix débutent à seulement 5 USD. Tout dépend de la taille demandée et de l'utilisation prévue.
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░IT░ Avete bisogno di questa immagine per il vostro progetto? Scarica la guida per soli 5 dollari! Basta seguire questi semplici passi:
Premere Ulteriori informazioni (mostra di più)→ Premere Richiesta di licenza foto di Ifeelstock via Getty Images → Stampa Inoltra richiesta e seguire le fasi di Getty Images sistema.
I prezzi partono da soli 5 dollari - tutto dipende dalle dimensioni avete bisogno e come si prevede di utilizzarlo.
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░JA░ あなたのプロジェクトのためにこのイメージが必要なのでしょうか？わずか5ドルのために今すぐ入手！ちょうどこれらの簡単な手順に従います。
押しが要求を提出し、ゲッティイメージズシステムの手順に従ってください→ゲッティイメージズ経由ifeelstockの写真をライセンスするプレスリクエスト→押して追加情報（すべて表示）。
価格はわずか5ドルで開始 - それはすべてあなたが必要*サイズに依存し、どのようにあなたがそれを使用する予定。
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░CHI░你需要这个形象为您的项目？得到它现在仅售5美元！只要遵循这些简单的步骤：
按附加信息（显示更多）→按要求通过盖蒂图片许可ifeelstock的照片→点击提交申请，并按照Getty图像系统的步骤。
起价仅为5美元 - 这一切都取决于你需要的尺寸以及您打算如何使用它。
This year marks the 100th year since the commencement of World War One, these are my monument to the more than 9 million combatants that were killed on all sides; a casualty rate exacerbated by the belligerents' technological and industrial sophistication, and tactical stalemate. It was the fifth-deadliest conflict in world history.
World War I (WWI or WW1), also known as the First World War, was a global war centred in Europe that began on 28 July 1914 and lasted until 11 November 1918. From the time of its occurrence until the approach of World War II in 1939, it was called simply the World War or the Great War, and thereafter the First World War or World War I. In America it was initially called the European War. More than 9 million combatants were killed; a casualty rate exacerbated by the belligerents' technological and industrial sophistication, and tactical stalemate. It was the fifth-deadliest conflict in world history, paving the way for major political changes, including revolutions in many of the nations involved.
The war drew in all the world's economic great powers, which were assembled in two opposing alliances: the Allies (based on the Triple Entente of the United Kingdom, France and the Russian Empire) and the Central Powers of Germany and Austria-Hungary. Although Italy had also been a member of the Triple Alliance alongside Germany and Austria-Hungary, it did not join the Central Powers, as Austria-Hungary had taken the offensive against the terms of the alliance. These alliances were both reorganised and expanded as more nations entered the war: Italy, Japan and the United States joined the Allies, and the Ottoman Empire and Bulgaria the Central Powers. Ultimately, more than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history.
Although a resurgence of imperialism was an underlying cause, the immediate trigger for war was the 28 June 1914 assassination of Archduke Franz Ferdinand of Austria, heir to the throne of Austria-Hungary, by Yugoslav nationalist Gavrilo Princip in Sarajevo. This set off a diplomatic crisis when Austria-Hungary delivered an ultimatum to the Kingdom of Serbia, and international alliances formed over the previous decades were invoked. Within weeks, the major powers were at war and the conflict soon spread around the world.
On 28 July, the Austro-Hungarians fired the first shots in preparation for the invasion of Serbia. As Russia mobilised, Germany invaded neutral Belgium and Luxembourg before moving towards France, leading Britain to declare war on Germany. After the German march on Paris was brought to a halt, what became known as the Western Front settled into a battle of attrition, with a trench line that would change little until 1917. Meanwhile, on the Eastern Front, the Russian army was successful against the Austro-Hungarians, but was stopped in its invasion of East Prussia by the Germans. In November 1914, the Ottoman Empire joined the war, opening fronts in the Caucasus, Mesopotamia and the Sinai. Italy and Bulgaria went to war in 1915 and Romania in 1916.
The war approached a resolution after the Russian government collapsed in March 1917 and a subsequent revolution in November brought the Russians to terms with the Central Powers.
On 4 November 1918 the Austro-Hungarian empire agreed to an armistice. After a 1918 German offensive along the western front, the Allies drove back the Germans in a series of successful offensives and began entering the trenches. Germany, which had its own trouble with revolutionaries, agreed to an armistice on 11 November 1918, ending the war in victory for the Allies.
By the end of the war, four major imperial powers—the German, Russian, Austro-Hungarian and Ottoman empires—ceased to exist. The successor states of the former two lost substantial territory, while the latter two were dismantled. The map of Europe was redrawn, with several independent nations restored or created. The League of Nations formed with the aim of preventing any repetition of such an appalling conflict. This aim failed, with weakened states, renewed European nationalism and the German feeling of humiliation contributing to the rise of fascism and the conditions for World War II.
Rafael Mariano Grossi, IAEA Director General, met with Master Jose Mpanda Kabangu, Minister of Scientific Research and Technological Innovation of the Democratic Republic of Cango, during a bilateral meeting at the IAEA 65th General Conference. IAEA, Vienna, Austria. 22 September 2021.
Photo Credit: Dean Calma / IAEA
IAEA
Rafael Mariano Grossi, IAEA Director General
Diego Candano Laris, Senior Advisor to the Director General
On March 5, 2017, WIPO Director General Francis Gurry (second from left) on March 5, 2017 presented awards to students at the Gandhian Young Technological Innovation (GYTI) Award Ceremony 2017, alongside India's Secretary of Department of Biotechnology Krishnaswamy VijayRaghavan (left) .
The Director General presented awards ranging from frugal innovation to those with significant social impact. Awards were also given for breakthrough or significant technological advances in the fields of medicine, engineering and agriculture.
Mr. Gurry, who was on an official visit to India, was accompanied by WIPO Assistant Director General and Chief of Staff Naresh Prasad.
Copyright: WIPO. Photo: Naresh Prasad. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
This year marks the 100th year since the commencement of World War One, these are my monument to the more than 9 million combatants that were killed on all sides; a casualty rate exacerbated by the belligerents' technological and industrial sophistication, and tactical stalemate. It was the fifth-deadliest conflict in world history.
World War I (WWI or WW1), also known as the First World War, was a global war centred in Europe that began on 28 July 1914 and lasted until 11 November 1918. From the time of its occurrence until the approach of World War II in 1939, it was called simply the World War or the Great War, and thereafter the First World War or World War I. In America it was initially called the European War. More than 9 million combatants were killed; a casualty rate exacerbated by the belligerents' technological and industrial sophistication, and tactical stalemate. It was the fifth-deadliest conflict in world history, paving the way for major political changes, including revolutions in many of the nations involved.
The war drew in all the world's economic great powers, which were assembled in two opposing alliances: the Allies (based on the Triple Entente of the United Kingdom, France and the Russian Empire) and the Central Powers of Germany and Austria-Hungary. Although Italy had also been a member of the Triple Alliance alongside Germany and Austria-Hungary, it did not join the Central Powers, as Austria-Hungary had taken the offensive against the terms of the alliance. These alliances were both reorganised and expanded as more nations entered the war: Italy, Japan and the United States joined the Allies, and the Ottoman Empire and Bulgaria the Central Powers. Ultimately, more than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history.
Although a resurgence of imperialism was an underlying cause, the immediate trigger for war was the 28 June 1914 assassination of Archduke Franz Ferdinand of Austria, heir to the throne of Austria-Hungary, by Yugoslav nationalist Gavrilo Princip in Sarajevo. This set off a diplomatic crisis when Austria-Hungary delivered an ultimatum to the Kingdom of Serbia, and international alliances formed over the previous decades were invoked. Within weeks, the major powers were at war and the conflict soon spread around the world.
On 28 July, the Austro-Hungarians fired the first shots in preparation for the invasion of Serbia. As Russia mobilised, Germany invaded neutral Belgium and Luxembourg before moving towards France, leading Britain to declare war on Germany. After the German march on Paris was brought to a halt, what became known as the Western Front settled into a battle of attrition, with a trench line that would change little until 1917. Meanwhile, on the Eastern Front, the Russian army was successful against the Austro-Hungarians, but was stopped in its invasion of East Prussia by the Germans. In November 1914, the Ottoman Empire joined the war, opening fronts in the Caucasus, Mesopotamia and the Sinai. Italy and Bulgaria went to war in 1915 and Romania in 1916.
The war approached a resolution after the Russian government collapsed in March 1917 and a subsequent revolution in November brought the Russians to terms with the Central Powers.
On 4 November 1918 the Austro-Hungarian empire agreed to an armistice. After a 1918 German offensive along the western front, the Allies drove back the Germans in a series of successful offensives and began entering the trenches. Germany, which had its own trouble with revolutionaries, agreed to an armistice on 11 November 1918, ending the war in victory for the Allies.
By the end of the war, four major imperial powers—the German, Russian, Austro-Hungarian and Ottoman empires—ceased to exist. The successor states of the former two lost substantial territory, while the latter two were dismantled. The map of Europe was redrawn, with several independent nations restored or created. The League of Nations formed with the aim of preventing any repetition of such an appalling conflict. This aim failed, with weakened states, renewed European nationalism and the German feeling of humiliation contributing to the rise of fascism and the conditions for World War II.
Hall of Tumo school, a technological centre for anyone aged 12 to 18. Lessons after normal school hours. Interior design, furniture by a Lebanese architect. Free tuition. Subjects include computer programming, video-making, robotics, music.
Metalhead - Donatello's half-pint associate and technological creation. He is a feisty little Turtle-bot. He received a few upgrades since we last saw him, compelling the Turtles to test out his new moves. They all are impressed with him except for Leonardo, who is apparently still hesitant about Metalhead's dependability, was later convinced that he could indeed be trusted.
In the 1987 cartoon series, Metalhead first appeared in the episode "The Making of Metalhead" where it he imbued with thoughts and memories of the Turtles. This gave Metalhead an identity disorder until Donatello reprograms him to work for the Ninja Turtles. Metalhead replicated the voices of the Ninja Turtles, Shredder, and April O'Neil, meaning that Metalhead was voiced by Cam Clarke, Barry Gordon, Rob Paulsen, Townsend Coleman, Dorian Harewood (who was filling in for James Avery at the time), and Renae Jacobs. In this appearance, He was only seen again when Donatello tries to get him to vacuum their TV room in the episode "Big Bug Blunder".
In the 2003 series, Metal Head was part of the final attack on the Tengu Shredder. Metal Head appears in the "Fast Forward" season episode The Journal. Metal Head also appears in TMNT: Back to the Sewer. He shows up in the episodes "Super Power Struggle" and "Wedding Bells and Bytes".
In the 2012 Teenage Mutant Ninja Turtles series, Metalhead was created by Donatello from a salvaged Kraang droid as a way to upgrade "his" weapons. Donatello could control Metalhead via a NES-like controller while observing through a TV monitor since there are cameras in Metalhead's eyes. Donatello can also speak through Metalhead voice box.
While Metalhead proved to be nearly unstoppable in combat situations, he was far too clunky and heavy to properly sneak around. Later in the episode, when his brothers became overwhelmed, Donatello sent Metalhead in to take care of the krangg. He easily defeated the Kraang attacking them, knocking off the control antenna in the process. One Kraang realized that Metalhead was made from their technology and detached from its robot body where it opted to control Metalhead. The Kraang-controlled Metalhead and attacked the Ninja Turtles, nearly killing them until Donatello showed up in person. Donatello managed to defeat Metalhead by crashing a support pillar on it.
In a later episode, Metalhead was rebuilt by Donatello where it aided the Ninja Turtles in the battle against the Kraang. Apparently now programmed with some degree of independence and operating without any sign of a direct controller, Metalhead drove the Shellraiser into the TCRI building lobby and subsequently attacked the Kraang guards while the Ninja Turtles used their new gliders to infiltrate the building from the roof.
Metalhead is reconfigured by Donatello in "Metalhead Rewired", in which he exhibits a personality similar to R2-D2 . After a battle with the Kraang goes awry, Leonardo, Michelangelo and Raphael vote to terminate Metalhead, who quickly escapes before Donatello can do so. Metalhead is able to find a portal to a Kraang prison where many mutants from the series have been incarcerated. later Metalhead saves the turtles by staying behind to close the portal and later self destructs.
Weapons-
He has extending and rocket propelled punches and kick attacks, as well as a machine guns in his chest and rocket launchers. he also is programed and skilled with strong ninjutsu capabilities.
Video Games-
Metalhead appears in Teenage Mutant Ninja Turtles: Turtles in Time as the boss of the second level. Turtles in Time Re-Shelled; The instruction manual of the Super NES version of Turtles in Time erroneously refers to Metalhead as Mechaturtle.
Please like and share.
GO TMNT GO !!
Lewis McGee "VC"
This year marks the 100th year since the commencement of World War One, these are my monument to the more than 9 million combatants that were killed on all sides; a casualty rate exacerbated by the belligerents' technological and industrial sophistication, and tactical stalemate. It was the fifth-deadliest conflict in world history.
World War I (WWI or WW1), also known as the First World War, was a global war centred in Europe that began on 28 July 1914 and lasted until 11 November 1918. From the time of its occurrence until the approach of World War II in 1939, it was called simply the World War or the Great War, and thereafter the First World War or World War I. In America it was initially called the European War. More than 9 million combatants were killed; a casualty rate exacerbated by the belligerents' technological and industrial sophistication, and tactical stalemate. It was the fifth-deadliest conflict in world history, paving the way for major political changes, including revolutions in many of the nations involved.
The war drew in all the world's economic great powers, which were assembled in two opposing alliances: the Allies (based on the Triple Entente of the United Kingdom, France and the Russian Empire) and the Central Powers of Germany and Austria-Hungary. Although Italy had also been a member of the Triple Alliance alongside Germany and Austria-Hungary, it did not join the Central Powers, as Austria-Hungary had taken the offensive against the terms of the alliance. These alliances were both reorganised and expanded as more nations entered the war: Italy, Japan and the United States joined the Allies, and the Ottoman Empire and Bulgaria the Central Powers. Ultimately, more than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history.
Although a resurgence of imperialism was an underlying cause, the immediate trigger for war was the 28 June 1914 assassination of Archduke Franz Ferdinand of Austria, heir to the throne of Austria-Hungary, by Yugoslav nationalist Gavrilo Princip in Sarajevo. This set off a diplomatic crisis when Austria-Hungary delivered an ultimatum to the Kingdom of Serbia, and international alliances formed over the previous decades were invoked. Within weeks, the major powers were at war and the conflict soon spread around the world.
On 28 July, the Austro-Hungarians fired the first shots in preparation for the invasion of Serbia. As Russia mobilised, Germany invaded neutral Belgium and Luxembourg before moving towards France, leading Britain to declare war on Germany. After the German march on Paris was brought to a halt, what became known as the Western Front settled into a battle of attrition, with a trench line that would change little until 1917. Meanwhile, on the Eastern Front, the Russian army was successful against the Austro-Hungarians, but was stopped in its invasion of East Prussia by the Germans. In November 1914, the Ottoman Empire joined the war, opening fronts in the Caucasus, Mesopotamia and the Sinai. Italy and Bulgaria went to war in 1915 and Romania in 1916.
The war approached a resolution after the Russian government collapsed in March 1917 and a subsequent revolution in November brought the Russians to terms with the Central Powers.
On 4 November 1918 the Austro-Hungarian empire agreed to an armistice. After a 1918 German offensive along the western front, the Allies drove back the Germans in a series of successful offensives and began entering the trenches. Germany, which had its own trouble with revolutionaries, agreed to an armistice on 11 November 1918, ending the war in victory for the Allies.
By the end of the war, four major imperial powers—the German, Russian, Austro-Hungarian and Ottoman empires—ceased to exist. The successor states of the former two lost substantial territory, while the latter two were dismantled. The map of Europe was redrawn, with several independent nations restored or created. The League of Nations formed with the aim of preventing any repetition of such an appalling conflict. This aim failed, with weakened states, renewed European nationalism and the German feeling of humiliation contributing to the rise of fascism and the conditions for World War II.
Metalhead - Donatello's half-pint associate and technological creation. He is a feisty little Turtle-bot. He received a few upgrades since we last saw him, compelling the Turtles to test out his new moves. They all are impressed with him except for Leonardo, who is apparently still hesitant about Metalhead's dependability, was later convinced that he could indeed be trusted.
In the 1987 cartoon series, Metalhead first appeared in the episode "The Making of Metalhead" where it he imbued with thoughts and memories of the Turtles. This gave Metalhead an identity disorder until Donatello reprograms him to work for the Ninja Turtles. Metalhead replicated the voices of the Ninja Turtles, Shredder, and April O'Neil, meaning that Metalhead was voiced by Cam Clarke, Barry Gordon, Rob Paulsen, Townsend Coleman, Dorian Harewood (who was filling in for James Avery at the time), and Renae Jacobs. In this appearance, He was only seen again when Donatello tries to get him to vacuum their TV room in the episode "Big Bug Blunder".
In the 2003 series, Metal Head was part of the final attack on the Tengu Shredder. Metal Head appears in the "Fast Forward" season episode The Journal. Metal Head also appears in TMNT: Back to the Sewer. He shows up in the episodes "Super Power Struggle" and "Wedding Bells and Bytes".
In the 2012 Teenage Mutant Ninja Turtles series, Metalhead was created by Donatello from a salvaged Kraang droid as a way to upgrade "his" weapons. Donatello could control Metalhead via a NES-like controller while observing through a TV monitor since there are cameras in Metalhead's eyes. Donatello can also speak through Metalhead voice box.
While Metalhead proved to be nearly unstoppable in combat situations, he was far too clunky and heavy to properly sneak around. Later in the episode, when his brothers became overwhelmed, Donatello sent Metalhead in to take care of the krangg. He easily defeated the Kraang attacking them, knocking off the control antenna in the process. One Kraang realized that Metalhead was made from their technology and detached from its robot body where it opted to control Metalhead. The Kraang-controlled Metalhead and attacked the Ninja Turtles, nearly killing them until Donatello showed up in person. Donatello managed to defeat Metalhead by crashing a support pillar on it.
In a later episode, Metalhead was rebuilt by Donatello where it aided the Ninja Turtles in the battle against the Kraang. Apparently now programmed with some degree of independence and operating without any sign of a direct controller, Metalhead drove the Shellraiser into the TCRI building lobby and subsequently attacked the Kraang guards while the Ninja Turtles used their new gliders to infiltrate the building from the roof.
Metalhead is reconfigured by Donatello in "Metalhead Rewired", in which he exhibits a personality similar to R2-D2 . After a battle with the Kraang goes awry, Leonardo, Michelangelo and Raphael vote to terminate Metalhead, who quickly escapes before Donatello can do so. Metalhead is able to find a portal to a Kraang prison where many mutants from the series have been incarcerated. later Metalhead saves the turtles by staying behind to close the portal and later self destructs.
Weapons-
He has extending and rocket propelled punches and kick attacks, as well as a machine guns in his chest and rocket launchers. he also is programed and skilled with strong ninjutsu capabilities.
Video Games-
Metalhead appears in Teenage Mutant Ninja Turtles: Turtles in Time as the boss of the second level. Turtles in Time Re-Shelled; The instruction manual of the Super NES version of Turtles in Time erroneously refers to Metalhead as Mechaturtle.
Please like and share.
GO TMNT GO !!
Россия. Москва. 30 июня. Московский урбанистический форум. Пленарное заседание «Ответы на вызовы быстрорастущих мегаполисов. Возможности технологий». Артем Житенев/ТАСС|Russia. Moscow. June 30. Plenary session “Technological Responses to Megacity Challenges. Capacities of technologies”. Artem Zhitnev/TASS
Metalhead - Donatello's half-pint associate and technological creation. He is a feisty little Turtle-bot. He received a few upgrades since we last saw him, compelling the Turtles to test out his new moves. They all are impressed with him except for Leonardo, who is apparently still hesitant about Metalhead's dependability, was later convinced that he could indeed be trusted.
In the 1987 cartoon series, Metalhead first appeared in the episode "The Making of Metalhead" where it he imbued with thoughts and memories of the Turtles. This gave Metalhead an identity disorder until Donatello reprograms him to work for the Ninja Turtles. Metalhead replicated the voices of the Ninja Turtles, Shredder, and April O'Neil, meaning that Metalhead was voiced by Cam Clarke, Barry Gordon, Rob Paulsen, Townsend Coleman, Dorian Harewood (who was filling in for James Avery at the time), and Renae Jacobs. In this appearance, He was only seen again when Donatello tries to get him to vacuum their TV room in the episode "Big Bug Blunder".
In the 2003 series, Metal Head was part of the final attack on the Tengu Shredder. Metal Head appears in the "Fast Forward" season episode The Journal. Metal Head also appears in TMNT: Back to the Sewer. He shows up in the episodes "Super Power Struggle" and "Wedding Bells and Bytes".
In the 2012 Teenage Mutant Ninja Turtles series, Metalhead was created by Donatello from a salvaged Kraang droid as a way to upgrade "his" weapons. Donatello could control Metalhead via a NES-like controller while observing through a TV monitor since there are cameras in Metalhead's eyes. Donatello can also speak through Metalhead voice box.
While Metalhead proved to be nearly unstoppable in combat situations, he was far too clunky and heavy to properly sneak around. Later in the episode, when his brothers became overwhelmed, Donatello sent Metalhead in to take care of the krangg. He easily defeated the Kraang attacking them, knocking off the control antenna in the process. One Kraang realized that Metalhead was made from their technology and detached from its robot body where it opted to control Metalhead. The Kraang-controlled Metalhead and attacked the Ninja Turtles, nearly killing them until Donatello showed up in person. Donatello managed to defeat Metalhead by crashing a support pillar on it.
In a later episode, Metalhead was rebuilt by Donatello where it aided the Ninja Turtles in the battle against the Kraang. Apparently now programmed with some degree of independence and operating without any sign of a direct controller, Metalhead drove the Shellraiser into the TCRI building lobby and subsequently attacked the Kraang guards while the Ninja Turtles used their new gliders to infiltrate the building from the roof.
Metalhead is reconfigured by Donatello in "Metalhead Rewired", in which he exhibits a personality similar to R2-D2 . After a battle with the Kraang goes awry, Leonardo, Michelangelo and Raphael vote to terminate Metalhead, who quickly escapes before Donatello can do so. Metalhead is able to find a portal to a Kraang prison where many mutants from the series have been incarcerated. later Metalhead saves the turtles by staying behind to close the portal and later self destructs.
Weapons-
He has extending and rocket propelled punches and kick attacks, as well as a machine guns in his chest and rocket launchers. he also is programed and skilled with strong ninjutsu capabilities.
Video Games-
Metalhead appears in Teenage Mutant Ninja Turtles: Turtles in Time as the boss of the second level. Turtles in Time Re-Shelled; The instruction manual of the Super NES version of Turtles in Time erroneously refers to Metalhead as Mechaturtle.
Please like and share.
GO TMNT GO !!
Presidential Candidate 總統候選人
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TianLiang Maa
~ a Taiwanese social reformer, philosopher, photographer and film director
“Touching Fairness and Justice”
馬天亮
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《感動的公平與正義》
TianLiang Maa, alternative spelling: Tianliang Ma, also known as Theophilus Raynsford Mann; Ma, Tianliang; Chinese: 馬天亮; 马天亮.
SUMMARY
TianLiang Maa is a naturalist, occultist, Buddhist and Taoist. In 1982, Maa developed a technique for abstract photography, applied “Rayonism” into photographic works. Maa staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Maa’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Maa’s works have been quoted by the scholars many times, making Maa one of the highly cited technological, artistic, and managing public administrators in the academia. Maa was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
TianLiang Maa possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Maa about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Maa takes great pride in his roots, which go back 150 years (since 1864); Maa’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Maa obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Maa’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Maa’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Maa instituted Maa’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Maa studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Maa completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013
www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Maa immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Maa is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand TianLiang Maa. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Maa just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Maa understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As TianLiang Maa’s (馬天亮) saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Maa ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Maa will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Maa’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Maa had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Maa studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Maa would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Maa really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Maa has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Maa settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Maa was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Maa had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Maa developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Maa was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Maa staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Maa was the first exhibitor around the country. All of the invited displays were by the Chinese Government, cultural and artistic organisations, and sponsors. Maa’s earliest exhibition took place in the National Taiwan Arts Education Institute (Museum) on 19 December 1983 when Maa was 25 years old; Maa was the youngest exhibitor in the history of the Institute in any solo exhibitions. The Institute that was opened in March 1957, kept a collection of Maa’s work. It is currently updating the Institute’s internal organisation and strengthening co-operation with leading institutes and museums around the world. Meanwhile, it widened the institute’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Maa’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Maa may sprout, grow and bloom. Maa aims to provide an educational stimulus for society by introducing his works - Maa can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Maa believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Maa should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, TianLiang Maa completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Maa was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Maa’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Maa was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Maa’s writings.
Authorship
Maa’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Maa was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Maa one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Maa’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Maa is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985
新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Upright” (individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Maa’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Maa’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Maa’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Maa promoted and founded the Consortium Juridical Person Mr. TianLiang Maa Social Benefit Foundation 財團法人馬天亮先生社會公益基金會 in Taiwan. near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Maa was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和影片製作。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Maa Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director & Photographer at Photographer and Film Director (Shapely), 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
www.facebook.com/filmshapely/info
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。TianLiang Maa (Theophilus Raynsford Mann) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
www.facebook.com/hunyun22/info
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Maa was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
www.facebook.com/sonate1c/info
LINKS:
University of California, Berkeley
berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...
berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...
oskicat.berkeley.edu/record=b11283690~S1
University of Michigan
mirlyn.lib.umich.edu/Record/006237256
catalog.hathitrust.org/Record/006237256
WorldCat® Identities
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National Yang Ming University 國立陽明大學
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National Taiwan University of Science and Technology 國立臺灣科技大學
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國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
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聲音藝術的審美角度, 大學雜誌, 天然
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為文化中心把脈, 幼獅文藝
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科學家與守財奴, 中國地方自治
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Atomzone
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Rafael Mariano Grossi, IAEA Director General, met with Mr. Marcos Sampaio Olsen, Director General, Nuclear Technological Development, Fleet Admiral and Navy Commander of Brazil, during his official visit at the Agency headquarters in Vienna, Austria. 17 September 2021.
Photo Credit: Dean Calma / IAEA
Mr. Marcos Sampaio Olsen, Director General, Nuclear Technological Development, Fleet Admiral and Navy Commander of Brazil
HE Mr. Carlos Sérgio Sobral Duarte, Resident Representative of Brazil to the IAEA
Aldo Malavasi, Technical-Scientific Advisor, Brazilian Navy Technological Center in Sao Paolo
This is the library at Tennessee Technological University.
I remember going to the library often when I was in high school. You'd often need to research information there for various reports. However, when going to college there, I rarely needed to research information found on its shelves (most of the relevant information could be found on the internet). At that point I mostly used it as a refuge if I needed to work on something between classes.
Its relevance to daily academic life is likely even less now than it was a decade ago (at least to those seeking only a bachelor's degree). I know they're in the process of destroying much of their book collection because it doesn't make sense to keep them anymore.
I don't necessarily think that's a shame, either. It makes much more sense to store books in the cloud and combine them with other collections so that they are accessible by everyone, not just to those who are within a close proximity to the library.
It's just a sign of the times, I suppose...
I live a few minutes from the campus and it is about a seven minute walk to the area shown in my photographs assuming that I can pass through Kings Inns and the new pedestrian-cycle route connecting Constitution Hill to Grangegorman. Access to Kings Inns is limited at weekends and bank holidays] and the cycle-path is currently operational from 7AM to 4PM Monday-Friday and 7:30 to 14:00 on Saturdays.
Recently DIT Grangegorman College was rebranded as TU.
In 2014, the Dublin Institute of Technology (DIT), Institute of Technology, Blanchardstown (ITB) and Institute of Technology, Tallaght (ITT) jointly entered into a formal process to merge into a university. At the time, following the "Institutes of Technology Act of 2006", there were fourteen IT's in Ireland, and a political appetite emerged to amalgamate several to form a more advanced third-level institution, known as a technological university, similar to that of Delft and other technological universities in Europe.
The Dublin bid, proposed by the three institutes, eventually coalesced in 2014 to seek designation as a technological university under the project title "Technological University for Dublin Alliance" / "TU4Dublin". A final application was submitted in April 2018, following the signing into law by President Michael D. Higgins of the "Technological Universities Act 2018".
The formation of the Technological University of Dublin was approved in July 2018, and the university was formally established on 1 January 2019, on which date the preceding institutions were dissolved.
The university consists of three main campuses, located in Grangegorman ("City Campus"), Blanchardstown, and Tallaght - the campuses previously of DIT, ITB, and ITT respectively, the institutes which have amalgamated. The Grangegorman campus will complete ongoing relocation of activities at Kevin Street and Cathal Brugha Street, expanding its capacity to 10,000 students, while development is planned for the other two campuses during the formative years of the university.
According to the Taoiseach Leo Varadkar, the new university will have an "entrepreneurial ethos", and will offer degrees and programmes ranging from Level 6 to Level 10 in the National Framework of Qualifications. While having an emphasis on computer science and STEM subjects, given its status as a technological university, Minister for Education and Skills Richard Bruton stated that the university will aim to sit at "convergence of the arts, business, science and technology."
Designer: Ha Qiongwen (哈琼文), You Longgu (游龙姑)
1956, August
Raise the technological level, strive for even greater thrift!
Tigao jishu, zhengqu gengdade jieyue! (提高技术，争取更大的节约！)
Call nr.: PC-1956-010 (Private collection)
More Chinese propaganda posters? See: chineseposters.net/
Students try to stay afloat in a cardboard boat at Hancock Beach on Friday, Oct. 1. The competition is part of Homecoming activities at Michigan Technological University.
Welcome again, one and all. A bit of a shift in gears today, though nothing too crazy. Today, we look at one rare-ish Figma, SP-006 Cute from Queen's Blade Spiral Chaos.
So, once upon a time (2004 ish), Sony wanted to play ball in the portable console market to challenge the then leader, the Nintendo DS. What they came up with is the Playstation Portable, or PSP. Technologically, it could be described as a Playstation 1.5 - more powerful than the original PSX, but nowhere near PS2 levels. The system officially lasted until 2016, at which time the PS Vita (RIP) was in full swing.
As is the way with consoles, there are console exclusive games, and sometimes, these games come with exclusive goodies. Such is the case for several PSP titles, including the first Queen's Blade release - Spiral Chaos. Never played it, but I do know that the Collectors Edition Japanese releases came with an exclusive Figma.
The Figma is of a character named Cute, a Queen's Blade entry created specifically for this game. MSRP for this set was 9,800 Yen, which I believe was the game, a CD, the figure, and of course the sweet exterior box.
Well, I got bored enough and found a decently priced one on eBay - sadly it didn't come with the game or other goodies, but lets be honest I wouldn't exactly rush out to resurrect my PSP just for this one game.
The figure comes with a decent package for a pack in Figma - there's the figure, three total face plates (neutral, smiling, embarrassed), two blades, a variety of hands, a Shift Body, and the standard Figma stand.
Your first question right now.. what is a Shift Body? Well, in case you were not aware, Queen's Blade has a claim to fame - namely "battle damage" resulting in fighters becoming more and more naked. In most toys and statues, this is replicated by having a cast off feature, something that is even replicated in the Revoltech toys.
Well, Good Smile Company included a separate body to replicate this, which is nice in that it certainly doesn't compromise quality of the outfit on the Normal Body. The unfortunate thing is that the Shift Body is not fully articulated, and is meant to be displayed in one particular pose, outlined on the Instruction Sheet graphic.
The actual design of the character is quite impressive for a game specific appearance, and the Figma itself replicates game art and other such material I've seen. If you look carefully, you'll notice a bunch of yellow crosses - something that should be very familiar to you if you're a PSN gamer. The gauntlets and boots in particular are outlandish (in an good anime way) and they've been carried over to figure form nicely. I also really love the pouch Cute has on her waist. I also like the multilayering and pleats on the skirt.
Interestingly, from a size perspective, Cute is much bigger that the typical Figma 1.0 release, with proportions that are pretty consistent with more modern figures. Yukiko is pretty typical in terms of size of that era of release and Nat is a modern Figuarts (which I had handy) and is about the same size as your typical Figma release - again, all pretty impressive considering the exclusivity of the figure, the minor price increase compared to the standard game release, and the 2009 release date.
Articulation on the figure is average - she's got single jointed knees, hips, waist, shoulders with slight chest compress and bicep swivel, single jointed elbows, wrists, and head. Missing (which really hurts) is ankle articulation, which highly limits the dynamic posing potential of Cute, further made worse by the fact the skirt highly limits the range of motion of her upper legs. Couple this with the naturally stiff nature of the Figma 1.0 body, and you get a sense of Cute is probably going to spending more time on standing related poses.
From a paint perspective, this is a high quality product. Paint applications and finishes generally look sharp all over the figure, as well as the Shift Body - the weakest application that I could find would be the white on her torn undergarments. There is some paint build up in areas where you have finer details, such as bows, but its more something I noticed as opposed to being an eyesore.
In general, there's no real complaints with regards build quality. Good use of materials, joints do their job, limb length is proper. In general, QC is good, with the exception of those wrists. I have nightmares about breaking them as the pegs are attached to the hands themselves and replacing them is logistical nightmare. The good news is that the wrists are unlikely to break due because they have a hard time staying in slot, an issue further compounded by the cuffs that restrict how tightly you can press the hand in.
Overall, while a dated figure, Cute still looks pretty good and, more importantly, is very well done for a Collectors Edition add-on... of course we here in North America have been getting shafted for years for these sort of things, and everything looks good compared to us. The only real thing I'd have liked to have seen would be an additional "attacking" face plate.
Best of all, Cute isn't that expensive, and is probably the safest thing you'll ever find to display if you're a Queen's Blade/Gate collector.
Outdoor Image of MRISAR’s “Interactive; Robotics, Technology, Invention, Art & Nature Center”. At this time in our transformation, Public Admission is by Appointment Only!
Photo taken in New Leipzig, North Dakota by MRISAR Team Member Victoria Croasdell-Siegel.
In 2010 MRISAR, (a business that has Designed, Fabricated & Marketed the Earth’s Largest Selection of “Internationally Renowned & Awarded, World-Class Robotics Exhibits & Devices”; and “Hands On” Scientific, Technological & Interactive Art Exhibits), purchased a disused school on the plains of North Dakota and relocated to it. Profit from their International Exhibit Sales helps fund their Humanitarian R&D and the transformation of the 36,000 sq. ft. complex, surrounded by 10 acres in North Dakota, into a World-Class “Interactive, Robotics, Technology, Invention, Art & Nature Center”.
Description of MRISAR’s “Interactive; Robotics, Technology, Invention, Art & Nature Center”.
1- Our 7,000 sq. ft. Exhibit Hall will feature; our standard line of interactive robotic & technology exhibits that we sell to Centers world-wide and our exclusive collection of robotic exhibits & devices that we will not sell to anyone else. Our talking Rail Robot Guide will lead visitors through the exhibit hall. Interact with our innovative, lifelike, futuristic, Robotic creations. Examples; Play with & feed Artificial Life forms in a Robot Zoo! Challenge robots with your human intelligence! Interact with otherworldly artistic, interactive, robotic sculptures! It will also feature Responsible Technologies.
2- Our Art Galleries will display the hundreds of pieces of family friendly, original 2D, 3D and Interactive Art that our team has already created, plus have revolving Family Oriented Local Artists Exhibitions.
3- The surrounding 10 acres is slowly being transformed into an Outdoor Interactive Art & Nature Area that will be filled with paths, trees, gardens and kinetic & interactive, solar & wind, technological art sculptures. The emphasis is edible, medicinal & organic landscapes that promote sustainability & health. As of 2015 over 3,000 edible and medicinal trees and shrubs have been planted.
4- We will provide “Special Tours” of behind the scenes areas. Examples are; (a) our Humanitarian & Environmental Research & Development Think Tank Invention labs that feature our R & D Projects. (b) the actual workshops where the attractions are created (similar to visiting the workshops & creations of Jim Henson’s creature shop). (c) a behind the scenes view of the production studio for the web series we are creating called the “Mysterious Lab of Robotics” (our robotic version of “Bill Nye the Science Guy” or “Beakman’s World”). (d) a chance to meet MRISAR’s internationally renowned robotics R & D team. A four member family team who since 2000 has designed, fabricated & marketed the earth’s largest selection of world-class robotic exhibits. The 2 youngest members joined the team as preschoolers.
5- “Public Enrichment Events”. Examples are; (a) special overnight events called “A Night with the Robots” (available no-where else in the world). Families can make reservations to spend the night on the center floor in sleeping bags or cots and experience special robotic demonstrations in a futuristic atmosphere. In recent years “A Night at the Museum” events have become very popular and highly accepted. (b) special classes on robotics for the general public. (c) Robotics Competitions. We are already providing technical assistance to teachers and academic establishments (both in the state and outside of the country), that are trying to enter robotic competitions, but lack the knowledge to fully instruct and inspire their students. A natural progression for this, once we are open for tourism, would be to offer to hold regional, national and international competitions at our location. (d) International conferences regarding Robotics and Beneficial R & D Conferences. (e) Collaborations, enrichment classes and internships in enhanced technologies with higher academic establishments; combining elements such as Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperation.
6- Admission will be free to the underprivileged. We hope to inspire the upcoming generation to create careers in responsible technologies that improve the quality of life.
7- The proceeds from the Center will help fund our R & D and further our creation of a “Prototype Environment, low cost, low impact, self-sustaining, alternative energy powered, Humanitarian & Environmental Research & Development institute with Think Tank Invention labs”. Our purpose is to invent and present responsible, low cost and easy to implement, beneficial humanitarian and environmental based technologies and methods that assist with social, ecological, sustainable and economic solutions. Accomplishing the prototype environment alone requires research & development of new technologies & improvement of existing technologies.
We have Designed, Fabricated & Marketed the Earth’s Largest Selection of "Internationally Renowned & Awarded" World-Class Robotics Exhibits & Devices; and “Hands On” Scientific, Technological & Interactive Art Exhibits. Our innovative, interactive, inexpensive, durable & easy to maintain creations incorporate interactive technologies & designs for people with disabilities and other special needs. We also provide our own Educational Kits & Materials for K thru 12/College & University level curriculums.
Our Exhibit Sales Customers include World-Class Science Centers, Museums, Universities, NASA, Royalty, Foreign & Domestic Governments, the Film Industries for inclusion in media productions, etc. We specialize in Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperated devices.
Our Humanitarian & Environmental Research & Development has been presented before and/or published and awarded by: the United Nations, NASA-Emhart, Stanford, Cambridge, ICORR, ROMAN, IEEE, Discover Awards, International Federation of Robotics (IFR), etc. Our 1990's circa, original innovative R & D in "Facial Feature Controlled Technology" and "Artificial Sense of Touch Technology" (Adaptive Technology prototypes for the disabled), has helped pioneer those fields! We were the only company in the world to be awarded an entire chapter regarding our work in the International Federation of Robotics (IFR) “World Robotics; Service Robotics, 2011”.
This is the Pont du Gard, a famous Roman Aqueduct on the Gardon River in France.
This monumental structure spanning the Gardon River valley is 275 metres long, 49 metres high, 6 metres wide at the base, 3 metres wide at the top and has a total of fifty three arches. It is only one part of a fifty kilometre aqueduct which supplied Roman Nimes with fresh water. It is estimated to have carried twenty thousand cubic metres per day.
It was built using six-ton stone blocks, coloured a delicate shade of pink, laid dry, and is a technological and aesthetic masterpiece.
Through poor maintenance, the aqueduct gradually became unusable in the 9th Century.
But the many times restored Pont du Gard, still remains its haughty air even after nearly two thousand years.
From a tourist book on La Provence (English version)
Begun around 19 BC, this bridge is part of an aqueduct which transported water from a spring near Uzes to Roman Nimes. An underground channel, bridges and tunnels were engineered to carry the 20 million litre (4.4 million gallon) daily water supply 50 km (31 miles).
The three-tiered structure of the Pont du Gard spans the Gardon valley and was the tallest aqueduct in the Roman empire.
Its huge limestone blocks, some as heavy as 6 tonnes, were erected without mortar. The water channel covered by stone slabs, was in the top tier of the three. Skillfully designed cutwaters ensured that the bridge has resisted many violent floods.
It is not known for certain how long the aqueduct continued in use but it may still have been functioning as late as the 9th century AD.
The adjacent road bridge was erected in the 1700s.
Taken from DK Eyewitness Travel: Provence & The Cote D'Azur
Outdoor Image of MRISAR’s “Interactive; Robotics, Technology, Invention, Art & Nature Center”. At this time in our transformation, Public Admission is by Appointment Only!
Photo taken in New Leipzig, North Dakota on 7-23-13 by MRISAR Team Member Victoria Croasdell-Siegel.
In 2010 MRISAR, (a business that has Designed, Fabricated & Marketed the Earth’s Largest Selection of “Internationally Renowned & Awarded, World-Class Robotics Exhibits & Devices”; and “Hands On” Scientific, Technological & Interactive Art Exhibits), purchased a disused school on the plains of North Dakota and relocated to it. Profit from their International Exhibit Sales helps fund their Humanitarian R&D and the transformation of the 36,000 sq. ft. complex, surrounded by 10 acres in North Dakota, into a World-Class “Interactive, Robotics, Technology, Invention, Art & Nature Center”.
Description of MRISAR’s “Interactive; Robotics, Technology, Invention, Art & Nature Center”.
1- Our 7,000 sq. ft. Exhibit Hall will feature; our standard line of interactive robotic & technology exhibits that we sell to Centers world-wide and our exclusive collection of robotic exhibits & devices that we will not sell to anyone else. Our talking Rail Robot Guide will lead visitors through the exhibit hall. Interact with our innovative, lifelike, futuristic, Robotic creations. Examples; Play with & feed Artificial Life forms in a Robot Zoo! Challenge robots with your human intelligence! Interact with otherworldly artistic, interactive, robotic sculptures! It will also feature Responsible Technologies.
2- Our Art Galleries will display the hundreds of pieces of family friendly, original 2D, 3D and Interactive Art that our team has already created, plus have revolving Family Oriented Local Artists Exhibitions.
3- The surrounding 10 acres is slowly being transformed into an Outdoor Interactive Art & Nature Area that will be filled with paths, trees, gardens and kinetic & interactive, solar & wind, technological art sculptures. The emphasis is edible, medicinal & organic landscapes that promote sustainability & health. As of 2015 over 3,000 edible and medicinal trees and shrubs have been planted.
4- We will provide “Special Tours” of behind the scenes areas. Examples are; (a) our Humanitarian & Environmental Research & Development Think Tank Invention labs that feature our R & D Projects. (b) the actual workshops where the attractions are created (similar to visiting the workshops & creations of Jim Henson’s creature shop). (c) a behind the scenes view of the production studio for the web series we are creating called the “Mysterious Lab of Robotics” (our robotic version of “Bill Nye the Science Guy” or “Beakman’s World”). (d) a chance to meet MRISAR’s internationally renowned robotics R & D team. A four member family team who since 2000 has designed, fabricated & marketed the earth’s largest selection of world-class robotic exhibits. The 2 youngest members joined the team as preschoolers.
5- “Public Enrichment Events”. Examples are; (a) special overnight events called “A Night with the Robots” (available no-where else in the world). Families can make reservations to spend the night on the center floor in sleeping bags or cots and experience special robotic demonstrations in a futuristic atmosphere. In recent years “A Night at the Museum” events have become very popular and highly accepted. (b) special classes on robotics for the general public. (c) Robotics Competitions. We are already providing technical assistance to teachers and academic establishments (both in the state and outside of the country), that are trying to enter robotic competitions, but lack the knowledge to fully instruct and inspire their students. A natural progression for this, once we are open for tourism, would be to offer to hold regional, national and international competitions at our location. (d) International conferences regarding Robotics and Beneficial R & D Conferences. (e) Collaborations, enrichment classes and internships in enhanced technologies with higher academic establishments; combining elements such as Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperation.
6- Admission will be free to the underprivileged. We hope to inspire the upcoming generation to create careers in responsible technologies that improve the quality of life.
7- The proceeds from the Center will help fund our R & D and further our creation of a “Prototype Environment, low cost, low impact, self-sustaining, alternative energy powered, Humanitarian & Environmental Research & Development institute with Think Tank Invention labs”. Our purpose is to invent and present responsible, low cost and easy to implement, beneficial humanitarian and environmental based technologies and methods that assist with social, ecological, sustainable and economic solutions. Accomplishing the prototype environment alone requires research & development of new technologies & improvement of existing technologies.
We have Designed, Fabricated & Marketed the Earth’s Largest Selection of "Internationally Renowned & Awarded" World-Class Robotics Exhibits & Devices; and “Hands On” Scientific, Technological & Interactive Art Exhibits. Our innovative, interactive, inexpensive, durable & easy to maintain creations incorporate interactive technologies & designs for people with disabilities and other special needs. We also provide our own Educational Kits & Materials for K thru 12/College & University level curriculums.
Our Exhibit Sales Customers include World-Class Science Centers, Museums, Universities, NASA, Royalty, Foreign & Domestic Governments, the Film Industries for inclusion in media productions, etc. We specialize in Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperated devices.
Our Humanitarian & Environmental Research & Development has been presented before and/or published and awarded by: the United Nations, NASA-Emhart, Stanford, Cambridge, ICORR, ROMAN, IEEE, Discover Awards, International Federation of Robotics (IFR), etc. Our 1990's circa, original innovative R & D in "Facial Feature Controlled Technology" and "Artificial Sense of Touch Technology" (Adaptive Technology prototypes for the disabled), has helped pioneer those fields! We were the only company in the world to be awarded an entire chapter regarding our work in the International Federation of Robotics (IFR) “World Robotics; Service Robotics, 2011”.
Vienna Technical Museum
(centered logo TMW)
Location Vienna
Art Museum of Technology
Architect Emil von Förster (preliminary draft), Hans Schneider
Opening May 6, 1918
Operator federal museums
Direction Gabriele Zuna-Kratky
www.tmw.at site
Vienna Technical Museum
Entrance hall of the TMW
The Vienna Technical Museum (short TMW) has exhibits and models from the history of technology with particular reference to the Austrian share in technological development. The bright patios, roofed-over by glass domes, furthermore are considered as a special feature of the museum in itself. It is located in Vienna Penzing at Mariahilferstraße in Gustav Jäger Park.
History
The museum 1918
Central hall with Etrich-Rumpler Taube
Side wing with aircrafts
LD Crucible (1952)
To mark the 60th anniversary of the Accession to the throne of Emperor Franz Joseph I in 1908, it was decided to establish a Technical Museum of Industry and Trade in Vienna. The initiative essentially came from Wilhelm Exner, who envisioned the idea of such a museum since the Vienna World Exhibition in the year 1873. In the founding committee were also the industrialists Arthur Krupp and Johann Kremenezky who supported the project financially, further sponsors have included Bernhard Wetzler and the Rothschild Bank. In the same year the National Technical Museum in Prague was opened.
After the location issue was clarified, the museum should be built in the 14th district of Vienna near the imperial residence in Schönbrunn on the "Spitzacker grounds", provided free of charge by the City of Vienna, the first preliminary studies were elaborated of Emil von Förster. After his sudden death in 1909, an "ideas competition" among in Vienna operating architects was tendered, in which were involved, inter alia, Otto Wagner, Adolf Loos, Rudolf Tropsch and Max Ferstel. The participants had only two months to create their designs, nevertheless 24 projects were submitted. Into the final selection made it the plans by Max Hegele, Rudolf Krausz and Hans Schneider, whose draft the studies of Förster came close and who eventually won the bid upon intervention of the heir to the throne Franz Ferdinand. Criticism from the Viennese Artist Associations provoked most of all the rejection of Otto Wagner's project.
The museum was one of the first representative reinforced concrete building in Austria (already 1904 Otto Wagner this material in the construction of the Vienna Postal Savings Bank had used). According to the contemporary tastes, the facade was designed historicizing. The structure of the building, the bright exhibition halls and the for that time very modern electrification with a total of 46.4 kilometers of installed electric lines, not least for the demonstration apparatus and machines met the requirements of a functional museum building. The original plan of Schneider provided a subsequent extension by two side wings.
On 20 June 1909, the foundation stone was laid by the emperor. The building was completed in 1913, the for 1914 planned opening but was delayed by the First World War until May 6, 1918. In March 1919, already the 100,000th visitor could be welcomed.
The museum until 1922 was operated by an association, then for economic reasons nationalized as many former sponsors at the end of the monarchy and the turmoil of the post-war period dropped away. From 1930 to 1949 Viktor Schützenhofer was director of the museum. In the era of National Socialism also the Technical Museum came into possession of objects and materials which had been roobed from the Jews. Based on the Art Restitution Act of 1998 was finally begun with Provenance Research and the State Commission for Provenance Research so far handed over 17 dossiers. In four cases, the restitution has already been carried out, including the estate of the 1942 murdered technology historian Hugo Theodor Horwitz, which was passed to his son.
From 1992 to 1999 the building was generally refurbished. At the same time, inter alia, the glass cupolas of the over roofed patios were raised by one floor and installed surrounding galleries, by which the usable area of the museum was expanded by 3,200 m². Overall, the museum after the renovation now around 28,500 m² has at its disposal. Half submerged in front of the main entrance a glass porch as entrance area was added. In it now are dressing rooms for groups of visitors, school groups, etc., cash boxes and a museum shop. As on 1 January 2000, the museum in accordance with the Federal Museums Act of 1998 was discharged in the full legal capacity; since then Gabriele Zuna-Kratky is the director of the museum.
Exhibits
Typewriter by Peter Mitterhofer (1864)
The focus of the exhibitions lies on the transfer of technical concepts. Therefore, there is a large number of functional models that give visitors the opportunity to understand technical processes, and in accordance with the technical progress are renewed again and again.
The museum is provided with numerous, sometimes rather large historical demonstration models, such as in the field of railways, shipbuilding, aviation and industry. Outstanding there are the functional steam engines. Furthermore, one of the largest collections of historic musical instruments in Austria is housed in the Museum of Technology.
During the renovation of the building and the associated restructuring of the collection, the historic rail vehicles were largely transferred to the Railway Museum Strasshof in Lower Austria, where they were looked after by the first Austrian Tram and Railway Club. More rail vehicles were left to other clubs, collections or commercial loan-takers (Leihnehmern), including, for example, the Railway Museum Schwechat (Lower Austria) of the Association of Railway Enthusiasts. End of 2008, some of the most valuable railway vehicles again were on display in the main hall of the museum after some extensive restoration, other exhibits were farmed out as loans to regional railway museums in the provinces.
The Department for road vehicles remained in the museum. It shows milestones in Austrian automotive history of the brands Austro-Daimler, Gräf & Stift, Steyr Puch, among others. The oldest showpieces include the Benz of Eugene Zardetti (1893), the first in Austria operated gasoline automobile, and one of the oldest vehicles preserved in its original state at all, the second Marcus car (1888/89). To building this collection, the then curator Hans Seper has made outstanding contributions in the period after the Second World War. From the second Marcus car under the supervision of the museum a replica was made, which was presented to the public in the presence of Federal President Heinz Fischer on 17 May 2006. With it test runs and exits are to be performed before an audience without having to strain the valuable original.
Another part with collection pieces from the first half of the 19th century comes from the in 1807 founded kk Factory products Cabinet, whose aim it was to collect industrial products from the early industrialization period of the monarchy.
The unneeded Locomotive Hall in Marchegg station in 2012 by the Technical Museum was long-term rented, renovated and equipped with tracks of different gauge. The building is used as additional depot hall for railway locomotives and wagons. Thus, a number of until now at different locations and partially outdoor deposited objects of the railway museum's collection is united in a hall and in the history of the railroad museum's collection it is for the first time achieved that all rail vehicles have found a place in an exhibition hall or at least in a depot hall.
Organ of the Hofburg Chapel (by Carl Friedrich Ferdinand Buckow, 1862)
Second Marcus car (1888/89)
Ford Model T (1923) and VW Type 11 Luxury (1962)
Puch motorcycle (1953)
Specialties
Tourist mine under the building
High voltage laboratory
Models of bridges, iron and steel works
Original steam engines
Transport section (with the famous car of Siegfried Marcus)
Saloon car of Empress Elisabeth
Special exhibitions on current and historical issues
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
Street Talks
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
With constant technological advances and the increased need to be mobile, cell phone use while driving should be not become yet another citation. An attempt to legally prohibit this type of driver distraction infringes on the personal rights of motorists. Being on the other end of a cell phone traffic ticket may negatively reflect on your driver record and can increase your insurance premiums. This law is just not enforceable. How will officials know if the driver is texting or changing a song on an MP3 player? Holding a conversation on a cell phone while driving is no more distracting than being engaged with a passenger or rowdy kids in the back seat, eating fast food or messing around with the radio.
Motorists know that using a cell phone while driving is distracting and therefore one should not do it. Do we have to place a law on all "unacceptable" behaviors? Currently text messaging is banned for all drivers in 26 states and the District of Columbia. In addition, novice drivers are banned from texting in 8 states (Alabama, Delaware, Indiana, Maine, Mississippi, Missouri, Texas, and West Virginia) and school bus drivers are banned from text messaging in Oklahoma and Texas (Insurance Institute for Highway Safety [IIHS], 2010). California, one of the states which currently have laws in place prohibiting texting and the use of hand held devices while driving, is even debating extending the violation to people riding bicycles (Miranda, 2010). How far can we allow the government to legislate our lives?
In Wisconsin, the fine for a first time so-called “Moving violation” offense is from $20 to $400 and four points on the diving record of the offender. Second time offenders will face a fine from $200 to $800 (State of Wisconsin, 2009). A single ticket will most likely not cause your car insurance rate to go up but since it is classified as a “moving violation”, multiple violations could increase your insurance premiums. In California, this type of violation is punishable by a base fine of $20 for a first offense and $50 for each subsequent offense (State of California, 2008). Each state has its own penalty and certain restrictions.
Have these state by state laws truly helped? In some cases yes, but when reporter Nannette Miranda from ABC investigated the cell phone prohibition law implemented in the state of California back in 2008, she found that “Collision claims in California were no different than in surrounding states that don't have the hands-free mandate” (Miranda, 2010). Currently, California State senator Joe Simitian is proposing to triple the current fine in an attempt to further dissuade drivers from using their cell phones while driving. He also proposes increasing the magnitude of the offense, making it a moving violation that adds points to a person's driving record (Miranda, 2010). The law is not effective because it’s not identifying the true problem; anything that is distracting to the driver could have the same effect as using a cell phone.
The GPS that sits on my dashboard and displays beautiful 3D renderings of my virtual surroundings isn’t distracting? The state of Wisconsin says they’re okay to use (State of Wisconsin, 2009). Checking your iPhone behind the wheel can get you fined across half of the country, but many states are more than happy to tweet you with up-to-the-minute directions on how to steer clear of a traffic jam. At least 22 states that ban texting while driving offer some type of service that allows motorists to get information about traffic tie-ups, road conditions or emergencies via Twitter (DeMillo, 2009).
Technology will soon minimize distracting methods of communication while driving as they are identified. In fact, there is an iPhone application available now called “Text’n Drive” which allows you to listen to your text and email messages and reply with your voice. Technologies will yet again, make these laws obsolete and another device will then take the cell phone’s place as the main distraction while driving.
Works Cited
Insurance Institute for Highway Safety, Highway Loss Data Institute. (2010, May). Cellphone Laws. Retrieved from www.iihs.org/laws/cellphonelaws.aspx
Miranda, N. (2010, January 29). Calif cell phone law not reducing car accidents. Retrieved from ABC 7 News, Los Angeles, CA website: abclocal.go.com/kabc/story?section=news/state&id=7247321
State of Wisconsin 2009-2010 Legislature. (2009). 2009 Assembly Bill 496. (2009, October 15). State of Wisconsin: Author. Retrieved from www.legis.state.wi.us/2009/data/AB-496.pdf
State of California, Department of Motorized Vehicles. (2008). Hand-Held Wireless Telephone: Prohibited Use. (2008, July). State of California DMV: Author. Retrieved from www.dmv.ca.gov/pubs/vctop/d11/vc23123.htm
DeMillo, A. (2009, Sept 20). Mixed Messages on Texting and Driving. Retrieved from Associated Press and ABC News website: abcnews.go.com/US/wireStory?id=8614972
This is one of shots from Kasi's bridal shoot. We did the bridal shoot a week before the wedding. I like doing bridal shots before prior to the wedding because it allows me to take more time capturing the images that will likely adorn the bride's walls for years to come. Kasi was an absolute joy to shoot. We shot on the campus of Tennessee Technological University.
strobist: 1 Vivitar 285HV, camera left, 1/2 power, shot through a white umbrella. 1 Vivitar 285HV, camera right (to the side of subject), 1/16 power, bare. 1 Vivitar 285, behind subject in tree, 1/4 power, 1/4 CTO and Yellow gelled, acting as sun. Flashes triggered via Cybersyncs.
#ITSC2015 Technological relevancy between Autonomous Driving and Online Game
Chief Advanced Service Architect and Director at Intel Corporation
Visiting Associate Professor at Nagoya University, Japan
In a decade since 2000, almost all the PCs became connected to the Internet. In another decade since 2010, with the advancement of wireless communication technologies, many non-PC devices, such as Smartphones, Tablets, STBs, and even Vehicles will be connected to the Internet and many types of sensor data will be uploaded for Big Data analysis and sometimes for additional analysis using Artificial Intelligence on globally held mega-scale Data Center.
In early 2000s, at the emergence of ADSL, which provided always connected broadband network with low latency, MMORPG (Massively Multi-client On-line Role Playing Game), a category of on-line game, was made possible. Thousands of game players are connected to a cluster of game servers, on which avatars of players and computer-generated monsters backed up by Artificial Intelligence interact with others.
During 2004-2012, I applied MMORPG technologies for Telematics by replacing PCs with Vehicles and analysed the driving and traffic related environments such as traffic jam, strong rainfall and slippery spots and even used for battery management of Electric Vehicles. And, furthermore, the technologies are relevant to Autonomous Driving. One of the examples would be that the computer-generated monsters walking among human avatars in the cyber world could be analogous to computer-driven vehicle moving through people-driven vehicles in the real world. I would like to outline the relevancy between MMORPG and Autonomous Driving from various aspects.
Technological progress in the air as travelers pass by an exhibit on the history of United Airlines at San Francisco International Airport.
On the 12th of September on the occasion of the 10th anniversary of the September 11 attacks the Polish Institute of International Affairs organized a seminar under the title 9/11 TEN YEARS ON: Past Experiences and Future Challenges Different Perspectives on Countering Terrorism in the 21st Century.
The event was opened by the director of the Polish Institute of International Affairs Dr. Marcin Zaborowski who spoke about the fundamental changes in security policy following September 11 and the new types of threats that the world is facing today. In the keynote speech delivered by His Excellency Lee Feinstein, Ambassador of the United States to Poland the role of international cooperation in the fight against terrorism was addressed with a stress on the tasks and challenges of the American society in this respect.
Guest speakers Ryszard Machnikowski from the University of Łódź, Marcin Piotrowski Senior Analyst at PISM and Martina Strong Political-Economic Counselor at the United States Embassy in Poland shared their views on the achievements and failures of countering terrorism during the past ten years. Marcin Piotrowski presented the Asian perspective explaining the significant role South-Asia plays in the activity of al-Qaeda. Martina Strong outlined the three dimensions of the American war on terrorism: military, ideological and that of broad international cooperation, pointing also to the lessons of the American experience in the interventions in Iraq and Afghanistan. Presenting the European perspective on the topic Ryszard Machnikowski emphasized the significance of the global character of the fight against terrorism and the implications of technological development on it.
In the last part of the seminar the floor was opened for the audience. During the several rounds of questions addressed to the guest speakers various issues were touched, for instance the financial aspect of anti-terrorism in the shadow of the global economic crisis, the consequences of the Norwegian terrorist attack for the future of global terrorism and Poland as a potential target of terrorist activities during the 2012 UEFA European Football Championship.
Photo by Jadwiga Winiarska
Cadet Hannah Nyembwe, Tennessee Technological University, races to complete the Spartan Challenge event during the 7th Brigade Army ROTC Ranger Challenge at Fort Knox, Ky., on November 6, 2021. During this timed event, Cadet teams competed on an obstacle course. The 7th Brigade Army ROTC Ranger Challenge runs November 5-7, 2021 and the top two teams will go on to compete at the Sandhurst Military Skills Competition hosted by the U.S. Military Academy — West Point in 2022.| Photo by Sarah Windmueller, U.S. Army Cadet Command Public Affairs
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, quit - rewrite it,
plug it, play it, burn it, rip it,
drag and drop it, zip - unzip it,
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, bring it, pay it, watch it,
turn it, leave it, start - format it.
Technologic - Daft Punk watch !
Technological advance offers prospects for stronger productivity and growth, but requires change and brings risks of increased income polarization. This calls for policies tailored to country-specific circumstances, such as investment in human capital, and redistributive policies, to help with adjustment and reallocate gains. Policies are also needed to facilitate the process of adjustment.
In a distant future, a war rages between China and Japan over Hong Kong and the surrounding areas. Japan, facing a population crisis and famine, invades Hong Kong in a desperate bid for land. Among the many technological advancements employed in the war, one stands out: the "Grandmas" androids.
These androids were not specifically designed for war, but rather emerged from civilian purposes naturally. The idea behind their creation was to prolong the lives of elderly women by turning them into androids, half machine and half human. The creators of the Grandmas chose to use elderly women as the base for their androids because of the differences in neuroplasticity between young and old brains.
Neuroplasticity refers to the ability of the brain to change and adapt in response to experiences. In young brains, neuroplasticity is high, allowing for quick learning and adaptation, but also making it harder to control the behavior of the brain. In contrast, in old brains, neuroplasticity is lower, making it easier to control and direct the behavior of the brain. This is why the creators of the Grandmas decided to use elderly women as the base for their androids.
However, as time passed, the Grandmas' brain tissue began to decay and artificial intelligence started to take over more and more parts of their brain. Despite this, their behavior remains the same, as the small parts of living brain tissue that still remain continue to dominate their behavior. Their primary function is to cook and care for all those around them, even other androids, although they do not need food themselves. They often pretend to eat just to make the other grandmas happy. They also tend to wounded or damaged androids, applying dirt and old rags to the damaged components and trying to comfort the machine. These behaviors are not programmed, but have developed naturally, as the Grandmas' loving and caring nature dominates their behavior.
In addition to their caretaking duties, the Grandmas also chat constantly, providing wisdom and anecdotes, spreading gossip, and talking the entire time. They have an endless stream of stories and observations from their long lives and they share them with anyone who will listen. They are also known to be a great source of comfort and solace for the soldiers on the battlefield, providing a sense of normalcy and humanity in the midst of the chaos and destruction of war.
Grandmas do not fight in combat, but they are often seen trying to break up furious fights on the battlefield, often putting themselves in danger to do so. On rare occasions, they will fight if they witness injustice on the battlefield, using all their advanced abilities to defend the innocent.
Despite the care and compassion that the Grandmas show, many humans avoid them and children are often scared of them, while adults are often annoyed by their caring nature. But as the war rages on, the Grandmas continue to provide a beacon of hope and humanity amidst the destruction and chaos. As the war progresses, the Grandmas become more and more important to the soldiers as they provide not only food and care, but also a sense of normalcy and humanity in the midst of the chaos and destruction of war.
The Grandmas' unique blend of advanced technology and human-like behavior make them a powerful symbol of the blurred lines between human and machine in this war-torn future. They may not have been specifically designed for war, but the Grandmas' presence on the battlefield serves as a reminder that even in the darkest of times, compassion and humanity can still prevail. Even as their brains decay and artificial intelligence takes over more and more of their functions, the Grandmas' ingrained behavior and love for others continues to shine through.
A stronger than words picture of what the actual embroidery tools quality got to here in Belgium in the year 2014. You American and Australians don't really know how LUCKY you are to live where you live. Belgium is HELL...
by
Mike Fitzpatrick
Photos for the following article are all posted here: www.flickr.com/photos/piedmont_fossil/albums/721576796154...
In spite of recent technological advances in machinery, ground forces in the Great War still relied heavily on horses to transport men and material one horsepower at a time. (Figure 1.) By contrast, the gasoline engines used to power the various planes of the air war were each capable of generating hundreds of horsepower.
Aircraft design came a long way in the ten years between the Wright brothers' first flight in 1903 and the outbreak of World War One in 1914. And as a result of the increased competitive atmosphere brought on by war, even more radical changes continued to be made over the course of the next few years as well. This was especially true in the development of aircraft engines. As a consequence, horsepower to weight ratios increased dramatically. Yet engine design and performance was far from uniform. Three basic engine designs were adapted for aviation use. These were inline, radial and rotary. Each had its unique advantages and disadvantages.
By the time the United States entered the war in 1917 (Figure 2.), the European Allies had been at war for three years and had vastly surpassed the Americans in aircraft design and production. Brigadier General George O. Squires, the U.S. Army’s chief Signal Service officer, predicted, “Airplanes will put the Yankee punch in the war. The way to beat Germany is to flood the air with airplanes. Take the war out of the trenches and put it into the air.” (Figure 3.) Yet initial threats to "darken the skies over Europe" with American-designed and built aircraft were groundless boasts considering that in 1916 there was a grand total of only two outdated aircraft in United States military service. Yet by 1917 the United States was rapidly expanding its aircraft industry.
The American-made two-seat Curtis-JN biplane, which was powered by a 90-hp Curtiss OX-5 V-8 engine, was used primarily for training purposes. Known as the Jenny, it became the most famous American airplane of World War I. (Figure 4.) As it turns out, however, the only American-made planes ever to see combat over the Western Front were exact copies the British two-seat Airco DH-4, known as the DH-4A “Liberty” model (Figure 5.), and a handful of Curtiss flying boats that saw service with the Royal Navy. (Figure 6.) All other combat aircraft flown by American pilots during the Great War were of foreign manufacture, predominantly of French or British origin. Perhaps America's greatest contribution to aircraft design and production was the Liberty 12-A, a twelve-cylinder water-cooled V style inline engine installed in the American-made Airco DH-4A and the Curtiss “Large America” flying boats. With over 400 horsepower, the Liberty surpassed similar European engines at the time. (Figure 7.)
Most inline engines, with the cylinders lined up one behind the other, had to be water cooled, thus increasing their weight and reducing their power to weight ratios. In addition to the Liberty 12-A, other inline engines used by the Allies included those built by Hispano-Suiza and Rolls Royce. Inline engines could have any number of cylinders aligned along the length of the crankshaft in either a single or double row. Double rows could be aligned in either a V configuration or flat with the rows opposing each other. Each cylinder or cylinder pair was connected to a different point along the crankshaft. Air had to flow through the radiator to cool the water which circulated through the engine block, however the radiator created wind resistance, or drag. This could be compensated for somewhat by building a larger engine capable of producing more horsepower, but at the expense of adding yet more weight. Water-cooled engines, nonetheless, had one big disadvantage. They were very vulnerable to combat damage. One small leak caused by a single bullet could cause complete engine failure. Still, the engines were widely used because of their ability to produce high horsepower and fast aircraft. Captaine Georges Guynemer, one of the leading Allied fighter aces and a French national hero with 53 confirmed victories over German aircraft, accumulated most of his kills while flying a SPAD S.VII. (Figure 8.) Eddie Rickenbacker, America's top ace of WWI with 26 confirmed kills, flew most of his missions (and got 20 of his aerial victories) in a SPAD S.XIII equipped with an inline 235-hp Hispano-Suiza engine. (Figure 9.)
Radial and rotary engines had cylinders radiating out from the engine axis like spokes. With all the cylinders exposed equally to the airflow, they were efficiently air-cooled. All the cylinders were connected to a single point on the crankshaft. This meant that there had to be an odd number of cylinders in these engines. As the crank shaft made one rotation, the pistons in the even numbered cylinders would each in turn go through the power and exhaust strokes while the odd numbered cylinders would go through the intake and compression strokes. By the time the crank shaft had made one complete revolution, the even numbered cylinders would be ready for intake and compression while the odd numbered ones would be firing and expelling the exhaust. The primary difference between radial and rotary engines was that the radial engine was fixed to the airframe and the crankshaft turned the propeller, whereas the entire cylinder block of a rotary engine spun with the propeller while the crankshaft was fixed to the airframe.
Few radial engines were used during WWI. The Anzani, ABC WASP and the Salmson Z-9 (the latter unusual because it was water-cooled) were probably the three most common. (Figure 10.)
Of all the engine types, rotary engines produced the highest power to weight ratios and were widely relied upon in the race to give lightweight WWI fighter planes an advantage over their opponents. But rotary engines also had significant operational drawbacks that limited their use and their size (dictating their maximum horsepower), and eventually led to their eclipse – primarily by their cousin, the radial engine. The principal Allied rotary engines were the 130-hp Clerget (Figure 11.), several types of Gnome including the 160-hp Gnome Monosoupape (Figure 12.), and those made by Le Rhone. (Figure 13.) The German-built 110-hp Oberursel (Figure 14.) was almost an exact copy of the 110-hp Le Rhone, but frequent engine failures may have been the result of German substitution of mineral oil for the harder to obtain castor oil necessary for proper lubrication of rotary engines. (Figure 15.) As a consequence most German aircraft utilized water-cooled in-line engines. (Figure 16.)
The mass of the spinning engine was one of the factors that helped give rotary engines such a high power to weight ratio, however, because the entire engine rotated, it had to be precisely balanced. Mechanically, this also meant that rotary engines, with the cylinders spinning around the engine axis, had to feed the fuel through a port in the central crank shaft where it would get mixed with the castor oil used to lubricate the moving parts. In addition, with the engine spinning there could be no fixed exhaust manifold on a rotary engine. As a result, exhaust was discharged directly from the cylinder heads as they rotated.
Castor oil, chosen because of its specific lubricating qualities, was less ignitable than the gasoline used for fuel. As a result, unburned and partially burned castor oil spewed out of the rapidly spinning rotary engine along with the engine exhaust and was carried back over the rest of the plane in a fine mist. The need for a good pair of goggles for the pilot was not entirely due to the force of the wind coming across the cockpit. Castor oil is probably best known for its foul tasting medicinal use and the fact that it is a strong purgative. Too much exposure to it by a pilot during a long flight could have uncomfortable, if not dire, side effects. In an effort to help control the spray of exhaust, engine cowlings were installed on aircraft equipped with rotary engines. (Figure 17.) Cowling flaps were kept closed except for those on the bottom of the fuselage. This reduced the cooling effect of air flowing over the engine but it helped somewhat in deflecting the spray of castor oil away from the pilot.
In addition to the difficulty of cooling and the embarrassing laxative effect of the exhaust, rotary engines had even bigger and deadlier drawbacks to their use. The Sopwith Camel, equipped with a powerful 160 hp Gnome Monosoupape 9 Type N rotary engine and perhaps the most famous Allied fighter of WWI, needed to take off with full left rudder to counter the engine torque or else the plane would ground loop, crashing on its starboard wingtip. And once in the air, a sudden loss of power in the engine could result in subjecting the airframe and engine mounts to a sharp reverse torque. But by far the biggest problem was the gyroscopic force generated by the spinning mass of the engine. This created hellish aircraft handling characteristics that could give a pilot fits until he learned to cope with them, or cause a fatal accident if he did not. In fact the Camel, credited with shooting down 1,294 enemy aircraft (more than any other Allied fighter), killed 385 of its own pilots in non-combat accidents. (Figure 18.) This figure closely approaches the 413 Camel pilots who were killed in combat.
But if a skilled pilot learned to anticipate and work with the gyroscopic force created by the engine, he could get his flying machine to do amazing things. With the propeller spinning clock-wise when viewed from the cockpit, a plane equipped with a rotary engine could make extremely tight evasive maneuvers by turning to the right. A Camel could make a ¾ turn to the right in the same amount of time it would take to make a ¼ turn to the left. Captain Ray Collishaw said, "we all knew the importance of doing our utmost to engage German pilots in right-hand waltzing matches. On the other hand, the German...pilots...liked turning to the left because of their stationary engines. In combat I had often seen the expression of despair on the face of an adversary, as he perceived that my rotary engined aircraft was gradually drawing on to his tail!"
To some extent, the firepower of a fighter could be improved by adding a swivel mounted machine gun that could be aimed separately from the direction of flight. (Figure 19.) But the added complication of operating the gun while maneuvering the aircraft probably negated much of its effectiveness. Thus, a fixed mounted gun on a highly maneuverable airplane remained preferable.
The Sopwith Camel was probably the most maneuverable fighter of WWI. The gyroscopic effect of the rotary engine is something not normally experienced by modern pilots. After test-flying a Camel, Richard E. "Dick" Day, a latter-day test pilot, declared "Why, it puts both eyes on the same side of your nose!" Of course attempting a maneuver counter to the gyroscopic force of the engine could lead to disaster. According to veteran WWI fighter pilot Norman Macmillan of the RFC, "The Camel was a buzzing hornet, a wild thing....This fierce little beast answered readily to intelligent handling, but was utterly remorseless against brutal or ignorant treatment." Macmillan went on to say, "let the ham-fisted or inexperienced pilot pull the stick just a little too far back while turning all out, and the Camel would flick quickly into a spin, which was the pitfall of many a novice and, could be a death-trap at low heights."
The gyroscopic force generated by rotary engines was the ultimate cause of their demise. Larger and more powerful engines could not be built without either increasing the size or number of cylinders. Both approaches drastically increased engine mass and caused a corresponding increase in gyroscopic force to unacceptable levels. Thus the maximum useful size of rotary engines was self-limiting. Following the war, inline and radial engines, with their fixed engine mass, completely replaced rotaries as larger and more powerful designs were needed for larger and heavier aircraft. Converting from rotary to fixed cylinders reduced the oil and fuel consumption, allowed the engine to run faster and directed more of the horsepower to the propeller. It also allowed more precise carburetion of the fuel-air mixture delivered to the cylinders.
The unusual rotary engines of the Great War are gone now from the skies (Figure 20.), replaced by larger and more powerful and more conventional engines. Even many reproduction or restored WWI fighters being flown today use fixed radial engines in place of the original rotaries. But looking back, one can't help but wonder, what would it have been like to fly in combat sitting in a fragile fabric and wood kite fastened behind the madly whirling mass of a rotary engine?
REFERENCES CITED:
Aviation History Online Museum: “Rotary Engine Theory”, www.aviation-history.com/engines/rotary-theory.htm
Franks, Norman: “Dog Fight: Aerial Tactics of the Aces of World War I”, Greenhill Books, 2003.
Keveney, Matt: “Animated Engines”, www.animatedengines.com/index.html
Keystone View Company, Stereo Card No. 19049 (and back text), “Lieut. LeMaitre of French Aviation Forces in America, Explaining Mechanism of ‘Nieuport’ Airplane, Fortress Monroe, Va.”, [undated].
Keystone View Company, Stereo Card No. 19191 (and back text), “U.S. Observation Airplane on West Front – France”, [undated].
Munson, Kenneth: “The Pocket Encyclopedia of World Aircraft in Color: Bombers, Patrol and Reconnaissance Aircraft 1914 – 1919”, Macmillan Company, 1968.
Munson, Kenneth: “The Pocket Encyclopedia of World Aircraft in Color: Fighters, Attack and Training Aircraft 1914 – 1919”, Macmillan Company, 1968.
Wikipedia entries for:
Gnome et Rhône
Radial engine
Rotary engine
Vector illustration of a technological circuitry hand splatter with highly detailed ink explosion. Green.
Designer: Wang Zhongwei
1960, April
Under the guidance of Mao Zedong Thought we go in for a technological revolution!
Zai Mao Zedong sixiang zhidaoxia danao jishu geming! (在毛澤东思想指导下大闹技术革命!)
Call nr.: BG (IISH collection)
More? See: chineseposters.net
This isn't exactly the shot I wanted. Part of the station was closed off. But it is the processing I envisioned. So 1/2 ain't bad I guess.
Outdoor Image of MRISAR’s “Interactive; Robotics, Technology, Invention, Art & Nature Center”. At this time in our transformation, Public Admission is by Appointment Only!
Photo taken in New Leipzig, North Dakota on 10-14-15 by MRISAR Team Member Victoria Croasdell-Siegel.
In 2010 MRISAR, (a business that has Designed, Fabricated & Marketed the Earth’s Largest Selection of “Internationally Renowned & Awarded, World-Class Robotics Exhibits & Devices”; and “Hands On” Scientific, Technological & Interactive Art Exhibits), purchased a disused school on the plains of North Dakota and relocated to it. Profit from their International Exhibit Sales helps fund their Humanitarian R&D and the transformation of the 36,000 sq. ft. complex, surrounded by 10 acres in North Dakota, into a World-Class “Interactive, Robotics, Technology, Invention, Art & Nature Center”.
Description of MRISAR’s “Interactive; Robotics, Technology, Invention, Art & Nature Center”.
1- Our 7,000 sq. ft. Exhibit Hall will feature; our standard line of interactive robotic & technology exhibits that we sell to Centers world-wide and our exclusive collection of robotic exhibits & devices that we will not sell to anyone else. Our talking Rail Robot Guide will lead visitors through the exhibit hall. Interact with our innovative, lifelike, futuristic, Robotic creations. Examples; Play with & feed Artificial Life forms in a Robot Zoo! Challenge robots with your human intelligence! Interact with otherworldly artistic, interactive, robotic sculptures! It will also feature Responsible Technologies.
2- Our Art Galleries will display the hundreds of pieces of family friendly, original 2D, 3D and Interactive Art that our team has already created, plus have revolving Family Oriented Local Artists Exhibitions.
3- The surrounding 10 acres is slowly being transformed into an Outdoor Interactive Art & Nature Area that will be filled with paths, trees, gardens and kinetic & interactive, solar & wind, technological art sculptures. The emphasis is edible, medicinal & organic landscapes that promote sustainability & health. As of 2015 over 3,000 edible and medicinal trees and shrubs have been planted.
4- We will provide “Special Tours” of behind the scenes areas. Examples are; (a) our Humanitarian & Environmental Research & Development Think Tank Invention labs that feature our R & D Projects. (b) the actual workshops where the attractions are created (similar to visiting the workshops & creations of Jim Henson’s creature shop). (c) a behind the scenes view of the production studio for the web series we are creating called the “Mysterious Lab of Robotics” (our robotic version of “Bill Nye the Science Guy” or “Beakman’s World”). (d) a chance to meet MRISAR’s internationally renowned robotics R & D team. A four member family team who since 2000 has designed, fabricated & marketed the earth’s largest selection of world-class robotic exhibits. The 2 youngest members joined the team as preschoolers.
5- “Public Enrichment Events”. Examples are; (a) special overnight events called “A Night with the Robots” (available no-where else in the world). Families can make reservations to spend the night on the center floor in sleeping bags or cots and experience special robotic demonstrations in a futuristic atmosphere. In recent years “A Night at the Museum” events have become very popular and highly accepted. (b) special classes on robotics for the general public. (c) Robotics Competitions. We are already providing technical assistance to teachers and academic establishments (both in the state and outside of the country), that are trying to enter robotic competitions, but lack the knowledge to fully instruct and inspire their students. A natural progression for this, once we are open for tourism, would be to offer to hold regional, national and international competitions at our location. (d) International conferences regarding Robotics and Beneficial R & D Conferences. (e) Collaborations, enrichment classes and internships in enhanced technologies with higher academic establishments; combining elements such as Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperation.
6- Admission will be free to the underprivileged. We hope to inspire the upcoming generation to create careers in responsible technologies that improve the quality of life.
7- The proceeds from the Center will help fund our R & D and further our creation of a “Prototype Environment, low cost, low impact, self-sustaining, alternative energy powered, Humanitarian & Environmental Research & Development institute with Think Tank Invention labs”. Our purpose is to invent and present responsible, low cost and easy to implement, beneficial humanitarian and environmental based technologies and methods that assist with social, ecological, sustainable and economic solutions. Accomplishing the prototype environment alone requires research & development of new technologies & improvement of existing technologies.
We have Designed, Fabricated & Marketed the Earth’s Largest Selection of "Internationally Renowned & Awarded" World-Class Robotics Exhibits & Devices; and “Hands On” Scientific, Technological & Interactive Art Exhibits. Our innovative, interactive, inexpensive, durable & easy to maintain creations incorporate interactive technologies & designs for people with disabilities and other special needs. We also provide our own Educational Kits & Materials for K thru 12/College & University level curriculums.
Our Exhibit Sales Customers include World-Class Science Centers, Museums, Universities, NASA, Royalty, Foreign & Domestic Governments, the Film Industries for inclusion in media productions, etc. We specialize in Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperated devices.
Our Humanitarian & Environmental Research & Development has been presented before and/or published and awarded by: the United Nations, NASA-Emhart, Stanford, Cambridge, ICORR, ROMAN, IEEE, Discover Awards, International Federation of Robotics (IFR), etc. Our 1990's circa, original innovative R & D in "Facial Feature Controlled Technology" and "Artificial Sense of Touch Technology" (Adaptive Technology prototypes for the disabled), has helped pioneer those fields! We were the only company in the world to be awarded an entire chapter regarding our work in the International Federation of Robotics (IFR) “World Robotics; Service Robotics, 2011”.
Vienna Technical Museum
(centered logo TMW)
Location Vienna
Art Museum of Technology
Architect Emil von Förster (preliminary draft), Hans Schneider
Opening May 6, 1918
Operator federal museums
Direction Gabriele Zuna-Kratky
www.tmw.at site
Vienna Technical Museum
Entrance hall of the TMW
The Vienna Technical Museum (short TMW) has exhibits and models from the history of technology with particular reference to the Austrian share in technological development. The bright patios, roofed-over by glass domes, furthermore are considered as a special feature of the museum in itself. It is located in Vienna Penzing at Mariahilferstraße in Gustav Jäger Park.
History
The museum 1918
Central hall with Etrich-Rumpler Taube
Side wing with aircrafts
LD Crucible (1952)
To mark the 60th anniversary of the Accession to the throne of Emperor Franz Joseph I in 1908, it was decided to establish a Technical Museum of Industry and Trade in Vienna. The initiative essentially came from Wilhelm Exner, who envisioned the idea of such a museum since the Vienna World Exhibition in the year 1873. In the founding committee were also the industrialists Arthur Krupp and Johann Kremenezky who supported the project financially, further sponsors have included Bernhard Wetzler and the Rothschild Bank. In the same year the National Technical Museum in Prague was opened.
After the location issue was clarified, the museum should be built in the 14th district of Vienna near the imperial residence in Schönbrunn on the "Spitzacker grounds", provided free of charge by the City of Vienna, the first preliminary studies were elaborated of Emil von Förster. After his sudden death in 1909, an "ideas competition" among in Vienna operating architects was tendered, in which were involved, inter alia, Otto Wagner, Adolf Loos, Rudolf Tropsch and Max Ferstel. The participants had only two months to create their designs, nevertheless 24 projects were submitted. Into the final selection made it the plans by Max Hegele, Rudolf Krausz and Hans Schneider, whose draft the studies of Förster came close and who eventually won the bid upon intervention of the heir to the throne Franz Ferdinand. Criticism from the Viennese Artist Associations provoked most of all the rejection of Otto Wagner's project.
The museum was one of the first representative reinforced concrete building in Austria (already 1904 Otto Wagner this material in the construction of the Vienna Postal Savings Bank had used). According to the contemporary tastes, the facade was designed historicizing. The structure of the building, the bright exhibition halls and the for that time very modern electrification with a total of 46.4 kilometers of installed electric lines, not least for the demonstration apparatus and machines met the requirements of a functional museum building. The original plan of Schneider provided a subsequent extension by two side wings.
On 20 June 1909, the foundation stone was laid by the emperor. The building was completed in 1913, the for 1914 planned opening but was delayed by the First World War until May 6, 1918. In March 1919, already the 100,000th visitor could be welcomed.
The museum until 1922 was operated by an association, then for economic reasons nationalized as many former sponsors at the end of the monarchy and the turmoil of the post-war period dropped away. From 1930 to 1949 Viktor Schützenhofer was director of the museum. In the era of National Socialism also the Technical Museum came into possession of objects and materials which had been roobed from the Jews. Based on the Art Restitution Act of 1998 was finally begun with Provenance Research and the State Commission for Provenance Research so far handed over 17 dossiers. In four cases, the restitution has already been carried out, including the estate of the 1942 murdered technology historian Hugo Theodor Horwitz, which was passed to his son.
From 1992 to 1999 the building was generally refurbished. At the same time, inter alia, the glass cupolas of the over roofed patios were raised by one floor and installed surrounding galleries, by which the usable area of the museum was expanded by 3,200 m². Overall, the museum after the renovation now around 28,500 m² has at its disposal. Half submerged in front of the main entrance a glass porch as entrance area was added. In it now are dressing rooms for groups of visitors, school groups, etc., cash boxes and a museum shop. As on 1 January 2000, the museum in accordance with the Federal Museums Act of 1998 was discharged in the full legal capacity; since then Gabriele Zuna-Kratky is the director of the museum.
Exhibits
Typewriter by Peter Mitterhofer (1864)
The focus of the exhibitions lies on the transfer of technical concepts. Therefore, there is a large number of functional models that give visitors the opportunity to understand technical processes, and in accordance with the technical progress are renewed again and again.
The museum is provided with numerous, sometimes rather large historical demonstration models, such as in the field of railways, shipbuilding, aviation and industry. Outstanding there are the functional steam engines. Furthermore, one of the largest collections of historic musical instruments in Austria is housed in the Museum of Technology.
During the renovation of the building and the associated restructuring of the collection, the historic rail vehicles were largely transferred to the Railway Museum Strasshof in Lower Austria, where they were looked after by the first Austrian Tram and Railway Club. More rail vehicles were left to other clubs, collections or commercial loan-takers (Leihnehmern), including, for example, the Railway Museum Schwechat (Lower Austria) of the Association of Railway Enthusiasts. End of 2008, some of the most valuable railway vehicles again were on display in the main hall of the museum after some extensive restoration, other exhibits were farmed out as loans to regional railway museums in the provinces.
The Department for road vehicles remained in the museum. It shows milestones in Austrian automotive history of the brands Austro-Daimler, Gräf & Stift, Steyr Puch, among others. The oldest showpieces include the Benz of Eugene Zardetti (1893), the first in Austria operated gasoline automobile, and one of the oldest vehicles preserved in its original state at all, the second Marcus car (1888/89). To building this collection, the then curator Hans Seper has made outstanding contributions in the period after the Second World War. From the second Marcus car under the supervision of the museum a replica was made, which was presented to the public in the presence of Federal President Heinz Fischer on 17 May 2006. With it test runs and exits are to be performed before an audience without having to strain the valuable original.
Another part with collection pieces from the first half of the 19th century comes from the in 1807 founded kk Factory products Cabinet, whose aim it was to collect industrial products from the early industrialization period of the monarchy.
The unneeded Locomotive Hall in Marchegg station in 2012 by the Technical Museum was long-term rented, renovated and equipped with tracks of different gauge. The building is used as additional depot hall for railway locomotives and wagons. Thus, a number of until now at different locations and partially outdoor deposited objects of the railway museum's collection is united in a hall and in the history of the railroad museum's collection it is for the first time achieved that all rail vehicles have found a place in an exhibition hall or at least in a depot hall.
Organ of the Hofburg Chapel (by Carl Friedrich Ferdinand Buckow, 1862)
Second Marcus car (1888/89)
Ford Model T (1923) and VW Type 11 Luxury (1962)
Puch motorcycle (1953)
Specialties
Tourist mine under the building
High voltage laboratory
Models of bridges, iron and steel works
Original steam engines
Transport section (with the famous car of Siegfried Marcus)
Saloon car of Empress Elisabeth
Special exhibitions on current and historical issues
Lawrence Technological University poses at the 2017 Formula Hybrid awards ceremony after winning sixth place in the hybrid category.
Photo by Karen Endicott.
Lawrence Technological Universitywas founded in 1932 in Highland Park, MI by the Lawrence brothers as the Lawrence Institute of Technology; it changed its name in 1989. The institute moved to Southfield, Michigan from its site in Highland Park, Michigan in 1955. I am still researching to see who designed the engineering building and architecture building; the Michigan Modern blog has that Earl W. Pellerin "led the teams" that designed the buildings.