View allAll Photos Tagged technologist
Draw By Night #42 (Oct '15) - The Skookums
What happens when you mix a roomful of artists, giant pieces of paper, and a crazy theme? If you’re Interactive Technologist and Instructor Christopher Quine, you turn those ingredients into Vancouver’s only bi-monthly drawing party. At Draw By Night, artists can work collaboratively on pieces, or by themselves on their own section. The only emphasis is on getting everyone drawing. Participants are encouraged to use Twitter or other social media to discuss the event and post pictures, allowing real-time engagement with the drawing community. They can also post ideas and comments that are often integrated into the next event.
Find out more about VFS's one-year Digital Design program at vfs.edu/programs/digital-design
Photos by Danny Chan
We had a blast at the first meetup for Tam Makers, our new makerspace in Mill Valley. We hosted this free event at the wood shop at Tamalpais High School in Mill Valley on June 8, 2016.
A diverse group of people came to the visit the shop, learn about our classes and discuss how to grow our maker community. Participants ranged from experienced artists, technologists, makers and woodworkers, to people interested in learning new skills, as well as high school and middle school students and their parents.
We opened the shop at 6pm and folks started to connect right away, checking out some of our demos, showing off recent projects and touring the space. At 7pm, we gave a presentation on Tam Makers, and talked about our first courses, meetups and tools for adults and youth. We then discussed these programs as a group and received some really helpful feedback.
Most people were very interested in participating in Tam Makers and using the makerspace regularly. They also liked the mix of classes, ranging from maker art to technology and woodworking. Some people signed up for classes on the spot and most wanted to join more meetups. Many offered to volunteer as well. One person said this event had a great community feeling, unlike more commercially motivated makerspaces.
We’re really happy that this first meetup went so well and that so many folks want to participate actively. We look forward to collaborating with our new maker friends very soon!
Learn more about Tam Makers:
Learn more about this Welcome Meetup:
Draw By Night #42 (Oct '15) - The Skookums
What happens when you mix a roomful of artists, giant pieces of paper, and a crazy theme? If you’re Interactive Technologist and Instructor Christopher Quine, you turn those ingredients into Vancouver’s only bi-monthly drawing party. At Draw By Night, artists can work collaboratively on pieces, or by themselves on their own section. The only emphasis is on getting everyone drawing. Participants are encouraged to use Twitter or other social media to discuss the event and post pictures, allowing real-time engagement with the drawing community. They can also post ideas and comments that are often integrated into the next event.
Find out more about VFS's one-year Digital Design program at vfs.edu/programs/digital-design
Photos by Danny Chan
The interesting thing about the pillar is its not rusted for so many year .
The Delhi iron pillar is testimony to the high level of skill achieved by ancient Indian iron smiths in the extraction and processing of iron. The iron pillar at Delhi has attracted the attention of archaeologists and corrosion technologists as it has withstood corrosion for the last 1600 years. The several theories which have been proposed to explain its superior corrosion resistance can be broadly classified into two categories: the environmental and the material theories. Proponents of the environmental theories state that the mild climate of Delhi is responsible for the corrosion resistance of the Delhi iron pillar. It is known that the relative humidity at Delhi does not exceed 70% for significant periods of time in the year, which therefore results in very mild corrosion of the pillar.
On the other hand, several investigators have stressed the importance of the material of construction as the primary cause for the pillar's corrosion resistance. The ideas proposed in this regard are the relatively pure composition of the iron used, presence of Phosphorus (P) and absence of Sulphur/Magnesium in the iron, its slag-enveloped metal grain structure, and passivity enhancement in the presence of slag particles.
Other theories to explain the corrosion resistance are also to be found in the literature like the mass metal effect, initial exposure to an alkaline and ammoniacal environment, residual stresses resulting from the surface finishing operation, freedom from sulphur contamination both in the metal and in the air, and surface coatings provided to the pillar after manufacture (barffing and slag coating) and during use (coating with clarified butter).
That the material of construction may be the important factor in determining the corrosion resistance of ancient Indian iron is attested by the presence of ancient massive iron objects located in areas where the relative humidity is high for significant periods in the year (for example, the iron beams in the Surya temple at Konarak in coastal Orissa and the iron pillar at Mookambika temple at Kollur situated in the Kodachadri Hills on the western coast). It is, therefore, obvious that the ancient Indians, especially from the time of the Guptas (300-500 AD), produced iron that was capable of withstanding corrosion. This is primarily due to the high P content of the iron produced during these times. The addition of P was intentional as iron produced during earlier times does not show the presence of P.
To understand the precise reason for the corrosion resistance of the Delhi iron pillar, we analysed the composition of the rust on a Gupta period corrosion resistant iron clamp and also the rust on the Delhi iron pillar. Archaeometallurgical studies form a small component of our research activities. It is clear that referring to the Delhi iron pillar as rust-less is misleading as the iron pillar derives its corrosion resistance from the passive surface film (i.e. rust) that forms on the surface. We undertook a detailed rust analysis using modern sophisticated characterization techniques like Mössbauer spectroscopy and Fourier transform infrared spectroscopy (FTIR). We summarize below some of the exciting results of our study. The present study also provides valuable insight into the corrosion resistance of steels.
More details www.iitk.ac.in/infocell/Archive/dirnov1/iron_pillar.html
FORTUNE Global Forum
NOVEMBER 2-4, 2015: SAN FRANCISCO, CALIFORNIA
Winning in the Disruptive Century
Since 1995, the FORTUNE Global Forum has convened the CEOs of the world’s biggest companies on the emerging frontiers of global business. The 2015 program will help CEOs navigate their organizations through an era of accelerated change amid trends that are altering the fundamental structure and relationships of large global companies.
The 2015 FORTUNE Global Forum will draw upon the entrepreneurial spirit of Silicon Valley to explore the implications of disruptive technology trends for the 21st century corporation. The participation of Global 500 CEOs and innovators, builders, and technologists from some of the most dynamic, emerging companies from all over the world facilitates relationship building at the highest levels.
Photograph by Stuart Isett/Fortune Global Forum
David Miller, NASA Chief Technologist, answers an audience members question during a panel discussion about NASA's journey to Mars and the film "The Martian," Sunday, Sept. 27, 2015, at Columbia University in New York City. NASA scientists and engineers served as technical consultants on the film. The movie portrays a realistic view of the climate and topography of Mars, based on NASA data, and some of the challenges NASA faces as we prepare for human exploration of the Red Planet in the 2030s. Photo Credit: (NASA/Joel Kowsky)
Draw By Night #42 (Oct '15) - The Skookums
What happens when you mix a roomful of artists, giant pieces of paper, and a crazy theme? If you’re Interactive Technologist and Instructor Christopher Quine, you turn those ingredients into Vancouver’s only bi-monthly drawing party. At Draw By Night, artists can work collaboratively on pieces, or by themselves on their own section. The only emphasis is on getting everyone drawing. Participants are encouraged to use Twitter or other social media to discuss the event and post pictures, allowing real-time engagement with the drawing community. They can also post ideas and comments that are often integrated into the next event.
Find out more about VFS's one-year Digital Design program at vfs.edu/programs/digital-design
Photos by Danny Chan
About Me:
I am Pranav Bhasin, a technologist by education, photographer by passion, cyclist and runner by desire, entrepreneur by choice and an ardent traveler.
My photography is an attempt to mirror the soul of places I have been to, people I have met and things I have experienced during my travels. Please visit Pranav Bhasin's Photo Gallery and Photo Blog for a collection of my best photos.
You can also connect with me at: My Product Management and Social Media Blog, Facebook, Twitter, LinkedIn, Pinterest, Foursquare.
In case you are interested in using my photos, please write to me and I would be happy to offer them for a price. Please do not use my photos without prior authorization from me. Thanks!
Draw By Night #42 (Oct '15) - DOMINIONS
What happens when you mix a roomful of artists, giant pieces of paper, and a crazy theme? If you’re Interactive Technologist and Instructor Christopher Quine, you turn those ingredients into Vancouver’s only bi-monthly drawing party. At Draw By Night, artists can work collaboratively on pieces, or by themselves on their own section. The only emphasis is on getting everyone drawing. Participants are encouraged to use Twitter or other social media to discuss the event and post pictures, allowing real-time engagement with the drawing community. They can also post ideas and comments that are often integrated into the next event.
Find out more about VFS's one-year Digital Design program at vfs.edu/programs/digital-design
Photos by Danny Chan
About Me:
I am Pranav Bhasin, a technologist by education, photographer by passion, cyclist and runner by desire, entrepreneur by choice and an ardent traveler.
My photography is an attempt to mirror the soul of places I have been to, people I have met and things I have experienced during my travels. Please visit Pranav Bhasin's Photo Gallery and Photo Blog for a collection of my best photos.
You can also connect with me at: My Product Management and Social Media Blog, Facebook, Twitter, LinkedIn, Pinterest, Foursquare.
In case you are interested in using my photos, please write to me and I would be happy to offer them for a price. Please do not use my photos without prior authorization from me. Thanks!
About Me:
I am Pranav Bhasin, a technologist by education, photographer by passion, cyclist and runner by desire, entrepreneur by choice and an ardent traveler.
My photography is an attempt to mirror the soul of places I have been to, people I have met and things I have experienced during my travels. Please visit Pranav Bhasin's Photo Gallery and Photo Blog for a collection of my best photos.
You can also connect with me at: My Product Management and Social Media Blog, Facebook, Twitter, LinkedIn, Pinterest, Foursquare.
In case you are interested in using my photos, please write to me and I would be happy to offer them for a price. Please do not use my photos without prior authorization from me. Thanks!
In March 2025, I photographed Dr. Catie Cuan, a rare kind of technologist—one who does not merely study movement but inhabits it, shaping our understanding of both human and robotic motion in ways that feel at once inevitable and revolutionary. To witness her at work is to see someone in deep conversation with machines, coaxing out a language of movement that is not just efficient but expressive, not just technical but emotional.
A trained dancer and mechanical engineer, Cuan is a pioneer in ‘choreorobotics,’ a field that merges artificial intelligence, human-robot interaction, and art. Her career has been a dance in itself, moving fluidly between performance, research, and entrepreneurship, all in pursuit of a singular question: how can robots move in a way that feels alive?
Cuan holds a PhD and a Master’s of Science in robotics and AI from Stanford, where she is also a postdoctoral researcher leading the art and robotics efforts at the new Stanford Robotics Center. Her dissertation, “Compelling Robot Behaviors through Supervised Learning and Choreorobotics,” explores how machine learning can teach robots to move in ways that evoke presence—where motion itself carries meaning. During her doctoral research, funded by the National Institutes of Health, Google, and Stanford University, she led the first multi-robot machine learning project at Everyday Robots (Google X) and Robotics at Google, now part of Google DeepMind.
But Cuan is not content to leave her work in the realm of academia. She has spent years choreographing robots, treating them not as rigid automatons but as performers capable of communicating through motion. She has held residencies at the Smithsonian, the Exploratorium, Jacob’s Pillow Dance Festival, TED, Everyday Robots (Google X), the RAD Lab, and ThoughtWorks Arts, working with nearly a dozen different robotic platforms—from the industrial ABB IRB 6700 to small, interactive tabletop machines. Her performances reimagine robots not as servants or tools, but as collaborators, capable of moving with grace, intention, and even artistry.
Cuan’s vision is as much about rethinking robotics as it is about rethinking humanity’s relationship to machines. Her work suggests that the way a robot moves can influence the way we feel about it—that movement is not just a function of engineering but of psychology, of storytelling, of something deeply embedded in how we perceive life itself. In healthcare, she envisions robots that move with a bedside manner, adjusting their motion to put patients at ease. In entertainment, she imagines robots that can dance, that can anticipate and respond to human motion as a partner rather than an operator. Her work, at its core, is about breaking down the binary between the organic and the artificial.
Photographing Cuan, I saw someone who carries these ideas not just in her mind but in her body. Her own movements are precise yet fluid, deliberate yet spontaneous, as though she is always attuned to the forces of motion around her. In that moment, it was clear: she is not just designing how robots move—she is teaching them how to be seen, how to be understood, how to exist in a world that has, until now, only made space for the living.
About Me:
I am Pranav Bhasin, a technologist by education, photographer by passion, cyclist and runner by desire, entrepreneur by choice and an ardent traveler.
My photography is an attempt to mirror the soul of places I have been to, people I have met and things I have experienced during my travels. Please visit Pranav Bhasin's Photo Gallery and Photo Blog for a collection of my best photos.
You can also connect with me at: My Product Management and Social Media Blog, Facebook, Twitter, LinkedIn, Pinterest, Foursquare.
In case you are interested in using my photos, please write to me and I would be happy to offer them for a price. Please do not use my photos without prior authorization from me. Thanks!
About Me:
I am Pranav Bhasin, a technologist by education, photographer by passion, cyclist and runner by desire, entrepreneur by choice and an ardent traveler.
My photography is an attempt to mirror the soul of places I have been to, people I have met and things I have experienced during my travels. Please visit Pranav Bhasin's Photo Gallery and Photo Blog for a collection of my best photos.
You can also connect with me at: My Product Management and Social Media Blog, Facebook, Twitter, LinkedIn, Pinterest, Foursquare.
In case you are interested in using my photos, please write to me and I would be happy to offer them for a price. Please do not use my photos without prior authorization from me. Thanks!
About Me:
I am Pranav Bhasin, a technologist by education, photographer by passion, cyclist and runner by desire, entrepreneur by choice and an ardent traveler.
My photography is an attempt to mirror the soul of places I have been to, people I have met and things I have experienced during my travels. Please visit Pranav Bhasin's Photo Gallery and Photo Blog for a collection of my best photos.
You can also connect with me at: My Product Management and Social Media Blog, Facebook, Twitter, LinkedIn, Pinterest, Foursquare.
In case you are interested in using my photos, please write to me and I would be happy to offer them for a price. Please do not use my photos without prior authorization from me. Thanks!
NASA Acting Chief Technologist Douglas Terrier gives a talk to teachers attending a professional development workshop held in tandem with the Intrepid Space & Science Festival, Saturday, Aug. 5, 2017 at the Intrepid Sea, Air & Space Museum in New York City. The week-long festival featured talks, films and cutting-edge displays showcasing NASA technology. Photo Credit: (NASA/Bill Ingalls)
Draw By Night #42 (Oct '15) - The Skookums
What happens when you mix a roomful of artists, giant pieces of paper, and a crazy theme? If you’re Interactive Technologist and Instructor Christopher Quine, you turn those ingredients into Vancouver’s only bi-monthly drawing party. At Draw By Night, artists can work collaboratively on pieces, or by themselves on their own section. The only emphasis is on getting everyone drawing. Participants are encouraged to use Twitter or other social media to discuss the event and post pictures, allowing real-time engagement with the drawing community. They can also post ideas and comments that are often integrated into the next event.
Find out more about VFS's one-year Digital Design program at vfs.edu/programs/digital-design
Photos by Danny Chan
Myn Bee Farnazo, a Medical Technologist at the Provincial Hospital of South Cotabato, is being assisted by the isolation room in charge in correctly wearing her PPE before entering the isolation room where she has to attend to a PUI . Louie Pacardo / UN Women
From the Queensland Heritage Register.
The Mackay Sugar Research Institute was constructed in 1953 by builder Don Johnstone to a design by prominent architect Karl Langer. Initially, only one section, the eastern wing, was constructed, with the second or western wing opened in August 1966. Mackay architect HVM Brown prepared plans for the second stage of the building in 1963 based on Langer's original design.
Following the exploration and mapping of pastoral runs in the Mackay district in the early 1860s, the fertile land was soon reduced to smaller selections. It was found that the region was particularly suited to the growing of sugar cane and by 1870 the production of sugar was the region's principal industry. The development of the industry was assisted by the opening of a State Nursery in 1889. Originally built to explore the suitability of diverse forms of agriculture, the 'Lagoons' site became the centre for research into cane varieties and more efficient methods of production. Renamed the Mackay Sugar Experiment Station and including laboratories and residences, it was transferred to the Te Kowai mill site in 1935.
The Bureau of Sugar Experiment Stations had been formed in 1900 as part of the Department of Agriculture and Stock with its work financed by levies on sugar growers and millers, matched by government funding. It co-ordinated the research carried out in the three sugar-growing regions of Mackay, Cairns and Bundaberg comparing cane varieties, sampling soils and fostering better farming and irrigation methods. Millers, represented by the Australian Sugar Producers' Association, became increasingly dissatisfied with their lack of control over the direction and activities of the Bureau. This was somewhat deferred by the formation of the technology branch of the Bureau.
Established in 1929, the Queensland Society of Sugar Cane Technologists held its first conference at Cairns in 1930, convened by Norman Bennett of the Bureau of Sugar Experiment Stations. This was after preliminary meetings of the representatives of 16 sugar mills, six engineering firms and the Central Cane Prices Board. Other absentee mill owners were reputedly uncertain about disclosing trade secrets that such an alliance might bring but the formation of the group was in the face of 'stark ruin, with overseas prices on which cheap labour countries could not exist. To some it appeared that the expansion of the previous period had been a mistake...' a situation which was to repeat in years to come. By 1948 both the Queensland Cane Growers' Council and the Australian Sugar Producers' Association were again concerned and angry because the Bureau had lost a string of highly skilled personnel [including two directors], to more highly paid jobs.
In 1949, the Australian sugar industry comprised mainly small cane farms located along the continent's tropical and sub-tropical Queensland and New South Wales coastline. The 5.5 million tonne cane crop, almost entirely grown in Queensland, was crushed by 34 raw sugar mills, most of which were owned co-operatively by growers. The highly regulated sugar industry was still recovering from material and labour shortages caused by World War II and was endeavouring to reassert its position in the world marketplace as a steady, consistent supplier of raw sugar. To achieve this goal, the industry's leaders determined they would have to expand cane production and the factories would have to improve sugar recovery and increase processing rates. The key was a speedy improvement in technological standards. As the government refused to entertain a proposal to place the Bureau of Experiment Stations outside the public service the Sugar Producers' Association formed a committee to draft the constitution for a new sugar industry funded and controlled research institute.
Sugar Research Limited was incorporated on 22 February 1949 with 22 companies representing 24 mills as original subscribers, although some smaller mills joined soon thereafter and the Colonial Sugar Refinery provided an annual payment. The inaugural board of Sugar Research Ltd first met in March 1949 with its most pressing tasks being the appointment of a director and establishing a centre for research.
Dr HW [Bill] Kerr, who had joined the Bureau of Sugar Experiment Stations in 1928, progressing to be the director from 1933 to 1943, was appointed the first Director of the Sugar Research Institute [1949-61]. Kerr was the driving force behind the establishment of the institute and well known in the Australian sugar industry for his important achievements. He developed and implemented soil analytical procedures for the assessment of available phosphorus, potassium and total replaceable bases. He introduced to sugar agriculture a system of replicated experiments, with statistical analysis and interpretation of results. Kerr was a member of the Queensland Society of Sugar Cane Technologists (from 1979 the Australian Society of Sugar Cane Technologists) from its establishment in 1929 until his death in 1992.
The board decided to establish the Sugar Research Institute's central laboratories in Mackay, as an acknowledgement that Mackay in 1949 was both the largest sugar growing district [out of the three main sugar growing areas - Bundaberg, Cairns and Mackay] as well as being the geographical centre of the Australian sugar industry. The board invited Dr Karl Langer to discuss building plans.
Karl Langer was born in Vienna in 1903 where he lived until migrating to Australia in 1939 with his wife Gertrude. Langer studied architecture in Vienna graduating in 1926. During this time he had worked in the office of Josef Frank, who was to be come well known in Swedish modernism. In 1933 Langer was awarded a Doctor of Philosophy for his thesis entitled 'Origins and Development of Concrete Construction'.
At the outbreak of World War II, Langer and Gertrude arrived in Sydney in May of 1939 proceeding to Brisbane in July. Langer left employment with Queensland Railways in 1946 to establish his own architectural practice. He worked throughout Australia and was the initiator of many influential urban design ideas such as the site for the Sydney Opera House and the pedestrianisation of Queen Street. He was the designer of buildings such as Main Roads Building, Spring Hill; St Peters Chapel, Indooroopilly; Lennon's Broadbeach Hotel on the Gold Coast, and worked in the regional centres of Queensland as an architect, town planner and landscape architect.
The name Karl Langer is now synonymous with modernist architecture in Queensland and his connection with Mackay predates the building. Langer had been offered the position of assistant town planner in the Brisbane City Council in 1944 but the controversy and publicity surrounding this appointment brought him to the attention of the Mackay council which commissioned him to revise that city's town plan.
Langer was also an acquaintance of the secretary of the Sugar Research Institute and was engaged to design the building with offices, boardroom, drawing office and a library and lecture room on the ground floor. The first floor was to house research laboratories. The design provided a single storey utility building, an annexe to the main structure, containing workshops, stores and a machinery room. Later, a second wing could be added to the main building providing additional workshops and laboratory space to cater for expansion of the research institute.
A residence for the director was planned next to the laboratories. According to the original plans for the main building and utilities building the tender for the director's house was described as being 'under a separate tender.' However this may refer to the construction of the building being under a separate tender rather than its design which is also attributed to Langer. Mrs Betty Kerr, HW Kerr's wife, discussed with Langer the need for some alterations to the design of the residence. One particular change related to the need to block the view to the kitchen from the front door. Prior to Mrs Kerr requesting this change a person at the front door was able to see through to the kitchen.
Langer's plans also provided for the landscaping of the site as well as the provision of a caretaker's cottage. Whilst Langer's plans provided for a caretaker's cottage it is unclear if the existing building which was used as a caretaker's cottage was purpose-built or if the building was already existing when the land was purchased by the institute. The stylistic indicators of the building including its hipped roof, lack of sunhoods due to wide eaves and its corner casement windows suggest a date of mid to late 1930s.
Langer's pioneering use of climatic design in Queensland can be seen in the main institute building in the decorative restraint evident in the facade detailing and composition, the efficient but spacious planning of the building and the consideration given to a northern orientation. The northern orientation allowed for improved shading in summer and better light in winter. With the laboratories located on the southern side of the building this orientation allowed for a more even distribution of light to these areas.
Post-war shortages of both skilled labour and materials caused costs to escalate. The new director insisted that the director's residence both accommodate his wife and family of five children plus their maid and 'be of a type appropriate to the status of director' and suitable for entertaining guests from overseas. Escalating costs meant that Kerr was asked to modify his expectations and the institute building was completed in stages.
The sugar industry, in 1949, was on the threshold of the buoyant sugar markets of the 1950s and in 1950 Justice Mansfield was appointed to head a Royal Commission for the orderly expansion of the industry. Most mills prepared ambitious plans.
The Sugar Research Institute - 'a monument to the Australian sugar industry' - was opened on Saturday, 22 August 1953 by then Federal Treasurer, Sir Arthur Fadden. More than 100 official guests attended the opening during which Fadden stated that 'there was no industry in Australia better organised than sugar production' and that 'sugar is not only a Queensland industry, not only a national industry, but an international industry of great importance'.
The building provided an environment for chemists and engineers to scientifically study the milling process in co-operation with its practical application. The Institute's focus from its establishment was to find solutions to industry problems via a program of short-term research and strategic design and construction projects. As a non-government funded research institute, the Sugar Research Institute is comparably rare. CSR was involved in experimental research, so whilst the Sugar Research Institute is not the only example of a private research institution, it is still unusual.
The landscaping of the Institute was part of Langer's design, which included the planting of royal palms [Roystonea regia] along the roadside perimeter. The palms were planted in 1954 [a total of 58 at the time] to represent each of the Institute's member mills. The second half of the building, the mirror image of the first side, was completed to Langer's original design and opened in August 1966. Mackay architect Harold Vivian Marsh [HVM] Brown prepared plans for the second stage of the building in 1963.
Twenty-five years after being established, Institute-researched improvements in mill technology had tripled sugar production. By 1972 the Institute had developed improvements in cane transportation by improving scheduling, and reducing operating costs and capital expenditure; milling research that improved extraction through improved performance and reductions in capital expenditure; clarification studies that reduced losses and lime consumption; sugar quality; effluent treatment; elongated grain and filterability penalties and air pollution by developing suitable equipment to meet the standards set.
The institute's annual general meetings and technical conferences were always well attended providing opportunities for mill personnel to discuss any issues with factories and to liaise with colleagues. The meetings and conferences were held in the main building in the library/lecture hall on the ground floor, the ETS Pearce Library, until the Charles Young Conference Hall was opened. Eddie Pearce was the General Secretary of the Australian Sugar Producers' Association and was a major contributor in the establishment of the Sugar Research Institute.
On 31 August 1973 the Charles Young Conference Hall and laboratories were opened by Rex A Patterson then Minister for Northern Development. The hall and laboratories is located to west of the main building and is connected via a covered walkway. The building was named in honour of Charles Young in recognition of his services as founding Chairman from January 1949 to August 1973.
The 1990s were a time of economic stringency and an uncertain future. Destabilisation in world markets and changes in US sugar import quotas led to industry restructuring and streamlining in areas such as sugar industry research funding. The Sugar Research Institute, whilst reduced in staff numbers and outsourcing some contracts continued its research and development.
As reported by the Environmental Protection Agency's Sustainable Industries Unit in October 2004, the Institute developed more efficient condensers for sugar mills. Researchers at the Institute had observed that some vapour condensers operated more efficiently than others, requiring less cooling water flow and subsequently less electrical power for the cooling water circuit. The Institute obtained funding through the Sustainable Energy Innovation Fund to analyse the operation of several existing vapour condensers at sugar factories, to develop an improved condenser design to increase efficiency and to monitor the performance of two new condensers built with the new design.
Two prototype condensers were constructed and installed. Compared with conventional designs, the units achieved reductions in cooling water flow rates. By adopting design modifications, the Institute estimated the cooling water flow would be reduced by up to 12%, yielding a proportional reduction in energy consumption for water pumping and cooling tower fans leading to annual energy savings. Besides the two prototype condensers three other condensers at Millaquin and Tully Sugar Mills were subsequently constructed and installed for the 2004 crushing season.
Individual researchers from the Sugar Research Institute have also received peer recognition, including the prestigious Sugar Industry Technologists Crystal Award presented to Dr Peter Wright in 2003. The Crystal Award is presented to individuals who have contributed notably to the technological advancement of the sugar refining industry.
Dr Wright began his career as a sugar technologist with the Sugar Research Institute in 1957. He is the first Queenslander, and the fourth Australian to receive the Crystal Award. Sugar Industry Technologists Inc was founded in the United States in 1941 by several North American sugar refineries. It has since grown to become an international association with a combined membership of approximately 100 corporate sugar refining companies and corporate allied companies with over 500 individual members worldwide.
On 1 July 2005, Sugar Research Limited, trading as Sugar Research Institute, entered into an exclusive affiliation with Queensland University of Technology, providing stakeholders with access to research and consulting facilities. By June 2006 the sale of the property was finalised with the research work of the Institute being transferred to Brisbane.
Queensland State Archives Item ID436320, Photographic material
Draw By Night #42 (Oct '15) - The Skookums
What happens when you mix a roomful of artists, giant pieces of paper, and a crazy theme? If you’re Interactive Technologist and Instructor Christopher Quine, you turn those ingredients into Vancouver’s only bi-monthly drawing party. At Draw By Night, artists can work collaboratively on pieces, or by themselves on their own section. The only emphasis is on getting everyone drawing. Participants are encouraged to use Twitter or other social media to discuss the event and post pictures, allowing real-time engagement with the drawing community. They can also post ideas and comments that are often integrated into the next event.
Find out more about VFS's one-year Digital Design program at vfs.edu/programs/digital-design
Photos by Danny Chan
Senior Airman James Lord starts a CT scan Aug. 27, 2013, at Misawa Air Base, Japan. With this monitor, technologists can start and control a scan without being in the same room as the patient or machine. Lord is a 35th Surgical Operations Squadron diagnostic imaging technologist. (U.S. Air Force photo by Airman 1st Class Zachary Kee/Released)
About Me:
I am Pranav Bhasin, a technologist by education, photographer by passion, cyclist and runner by desire, entrepreneur by choice and an ardent traveler.
My photography is an attempt to mirror the soul of places I have been to, people I have met and things I have experienced during my travels. Please visit Pranav Bhasin's Photo Gallery and Photo Blog for a collection of my best photos.
You can also connect with me at: My Product Management and Social Media Blog, Facebook, Twitter, LinkedIn, Pinterest, Foursquare.
In case you are interested in using my photos, please write to me and I would be happy to offer them for a price. Please do not use my photos without prior authorization from me. Thanks!
Today November 8th 1895 (119 years ago) Wilhelm Rontgen discovered X-Rays. This is also Radiologic Technologist week. (The people who take diagnostic X-rays of you) So this lightpainting photo is in celebration of this important discovery and as a salute to all the X-Ray Technologists out there. This happens to be my profession an Emergency X-ray technologist at a Level 1 trauma hospital. Its a great job, crazy, challenging, insane at times, and quite interesting. The photo is comprised of a hand lit fake skull, custom made radiation symbol light stencil painfully aligned to be in the eye sockets, and star filter on the front of the lens for the miniature stars. Im pretty psyched how this came out. Lots of work but worth it. Buy your local Xray Tech a drink , they deserve it…ha….
About Me:
I am Pranav Bhasin, a technologist by education, photographer by passion, cyclist and runner by desire, entrepreneur by choice and an ardent traveler.
My photography is an attempt to mirror the soul of places I have been to, people I have met and things I have experienced during my travels. Please visit Pranav Bhasin's Photo Gallery and Photo Blog for a collection of my best photos.
You can also connect with me at: My Product Management and Social Media Blog, Facebook, Twitter, LinkedIn, Pinterest, Foursquare.
In case you are interested in using my photos, please write to me and I would be happy to offer them for a price. Please do not use my photos without prior authorization from me. Thanks!
Draw By Night #42 (Oct '15) - The Skookums
What happens when you mix a roomful of artists, giant pieces of paper, and a crazy theme? If you’re Interactive Technologist and Instructor Christopher Quine, you turn those ingredients into Vancouver’s only bi-monthly drawing party. At Draw By Night, artists can work collaboratively on pieces, or by themselves on their own section. The only emphasis is on getting everyone drawing. Participants are encouraged to use Twitter or other social media to discuss the event and post pictures, allowing real-time engagement with the drawing community. They can also post ideas and comments that are often integrated into the next event.
Find out more about VFS's one-year Digital Design program at vfs.edu/programs/digital-design
Photos by Danny Chan
The company was started by George D. Munsing, who came to Minnesota from New York in 1886 to set up a textile factory. The mention of underwear was taboo in American society at the time. The Company's ad for its products in the September, 1897 issue of Ladies' Home Journal was the first to display underwear on a live model.
Munsing was a technologist and the company received several patents, including those for a crocheting machine in 1891 and a union suit in the early 1890s. The union suit was the company's flagship product until the 1920s, when central heating made it less useful. It continued until 1969. The cream-colored garment became iconic and was featured in the company's advertising with children and adults outfitted in them.
In 1923 the company went public and changed its name to Munsingwear, Inc. At the time it was the largest manufacturer of underwear in the world. Its slogan was "Don't say underwear, say Munsingwear". At its peak it was producing 30,000 garments per day. Its knitting mill was the largest west of the Alleghany Mountains. The company expanded into women's underwear in the 1920s, and starting in 1931 offered Founders, which used an elasticized yarn to produce a combination foundation garment that combined a brassiere and a girdle.
Munsingwear was the largest employer of females in the state of Minnesota; at one point 85% of its 3,000 employees were ladies. By the 1920s, in part trying to avoid unionization, Munsingwear offered many benefits, some quite progressive for the time. It had a health clinic staffed by a full-time nurse, with regular visits from general practitioners, otolaryngologists (because of air quality problems), dental assistants, and dentists. All of this care was free. Mungsingwear also offered access to health insurance, a branch of the Minneapolis Public Library which circulated 7,500 books a year, a large, fully staffed kitchen which provided lunches to the entire work force (in shifts), an orchestra which performed during Thursday lunch breaks, an on-site gymnasium, sports teams, and other benefits.
Its flagship product of recent years, patented in 1943, was the "Kangaroo brief", featuring a horizontal fly and a contoured pouch.
In 1951 the company merged with the Vassar Swiss Underwear Company, which became the Vassar division of Munsingwear.
In 1955 the company began producing its Grand Slam gold shirt, with a Penguin logo. In the 1960s and 1970s these were the best-selling golf shirts in the world. Munsingwear also added a line of women's golf, bowling, and fashion shirts.
Declining business in the 1970s led to the Minneapolis plant's closure in 1981.
In 1991 the company filed for Chapter 11 reorganization. In 1996 it changed its name to PremiumWear, and focused on specialty markets. Premiumwear was in turn bought by the Canadian clothesmaker John Forsythe, which sought bankruptcy protection in 2013. The Munsingwear and Original Penguin brands are currently owned by Perry Ellis.
The vacant Munsingwear factory on Minneapolis's North Side was listed on the National Register of Historic Places in 1983. It reopened in 1985 as the International Market Square. In 2002, the Original Penguin brand was re-released. It featured the original Munsingwear penguin logo on a line of vintage style sportswear. Both the building and the Penguin brand stand as reminders of nearly a century of Munsingwear innovation in Minnesota.
Draw By Night #42 (Oct '15) - The Skookums
What happens when you mix a roomful of artists, giant pieces of paper, and a crazy theme? If you’re Interactive Technologist and Instructor Christopher Quine, you turn those ingredients into Vancouver’s only bi-monthly drawing party. At Draw By Night, artists can work collaboratively on pieces, or by themselves on their own section. The only emphasis is on getting everyone drawing. Participants are encouraged to use Twitter or other social media to discuss the event and post pictures, allowing real-time engagement with the drawing community. They can also post ideas and comments that are often integrated into the next event.
Find out more about VFS's one-year Digital Design program at vfs.edu/programs/digital-design
Photos by Danny Chan