text:
I got interested in the Mimics from Edge of Tomorrow because the moved in a way unlike anything I had seen before on film and begause they had a really good design, the endlessly-screaming 'faces' burning with some strange inner fire were especially good.
They remind me a lot of the Sentinal face rom X Men comics. Probably the only time tha pink has been scary.
The first stop is this interview with Bill Desowitz asking questions of Dan Kramer.
Desowittz has his own interesting site under the link.
This is the best interview from my point of view as it talks about how the thing was actually done. I will try and quote to a minimal extent so I don't rob his pageviews.
As Sony saw concept artwork, the Mimics got darker and darker and it
occurred to Kramer that the material they were leaning toward was
"We built all these sharp, angular segments and shaded
them to look like obsidian; we also mixed in the color amber toward the
body to make it look softer and less dangerous. The ends of the limbs
were slashing weapons. There's no deforming of geometry going on in the
limbs: it's deforming spine with rigidly placed segments of obsidian
down the line, so it's almost like a rope of crystal segments bound
together. In that way, it could use them as weapons."
There is actually a minor design controversy about this interview, and by minor, I mean there is one comment by Cody Childress and it disagrees with the origin of the CAD programme used to make the mimic in an interesting way.
From there we move to Estaban Diacono.
The originating point for the Mimics seems to be when the Director Doug Liman saw this video by Esteban Diacono. As you can read in the above interview it seems to have been the effect of aggressive mathematics and lack of conservation of mass.
(Which you can't embed in blogger either because googlyoutube denies it or because Vimeo is too snotty to allow it but take a look.)
This was part of a collaberative project, you can find more details in the link.
You can tell Esteban is cool becasue there is a picture on his tumblr of him on a Y shaped electric scooter, in which he still manages to look very suave. Thereby demonstrating the contempt of the wise for the fears and troubles of lesser men.
(And who turns up in the comments? Cody Childress, my dark shadow.)
From there we go to the blog of Kev Jenkins, who talks about his involvement here.
Nick Davis was the visual effects supervisor. He mentions 'Ivan' who 'did some incredible clay sculpts'
I think Ivan is Ivan Manzella.
I have not got any closer to finding the origin of the alien face, I suspect Jenkins as he worked on Thor 2 and they remind me of the masks. Probably Codly Childress is there ahead of me like Belloq.
Wednesday 25 June 2014
Friday 20 June 2014
Paetron False Machine
I have been considering doing a Paetron for False
Machine and this is an attempt to work through in my head how I would do that
and ask what you would think.
So what would I do if people were paying me to do
it? It wouldn't be enough to just run the blog. It would have to be about something. Not exactly a Job, but
an effort directed towards some outside goal.
It would have to renew month-by-month as the
amount of effort I could put in would vary considerably if, for instance, I got
a job.
Essentially I would try to find out about form. That's what
I'm most interested in at the moment.
I would start with sculpture and mini's and work
out from there.
The more money I get the more forcefully I would pursue
it, partly because the money allows me to, but also because of the moral weight
and spurring effects of guilt. Despite the fact that I fucking hate Thomas
Hobbes with a passion my internal world is quite Hobbsian. There is only fear
and the absence of fear and if someone pays me actual money to do something
then I can't fuck about on it.
In between doing that I would probably fill up the
spaces of the blog with my usual rambling about whatever I am interested with
like I do now. If I read a book and it's any good I wold try to do a proper
review or something rather than just dropping quotes. (The problem with really
big, dense, good books is they have too much interesting stuff in them to do a
'light' review and have it be anything other than a pastiche. If you do a two
page review of 'Democracy in America' you may as well just have kept your mouth
shut and given it five stars, because you won't have anything meaningful to say
about it in that space.)
If I do a bunch of interviews I will probably put
them together in a book. (I would do this at no profit of course, it wouldn't
feel right taking money for someone elses words.)
I would be kind of like a reporter, but a reporter
dedicated towards a general theme or self-assigned subject. Like a shit version
of Bldblog.
Right now, at this moment, my interest in gaming
& D&D is at an ebb. This might
be for a number of reasons.
- Lots of already-made stuff clogged in the
out-pipe and its turning toxic.
- Summer depression coming up. (Expect this one to
be a bit worse than usual.)
- Just changing as a person maybe?
It would have to be done on no money so only with:
- Email interviews.
- Stuff I can read online.
- Stuff I can access in Liverpool.
that's limiting.
Also. What people really want from this blog is
basically funny stories and random tables, the stuff about art they don't care
about as much.
This is the main theme to which everything else
connects. Its the theme of making shapes out of things.
This is like the stuff you have already seen. Mini
sculptors and designers are prolific, accessible, inventive and use a wide
range of design processes and production
techniques. There is a dearth of interviews and analysis not of the mini's themselves,
but of the design of the mini's.
Essentially: people look at real buildings from
the bottom up. They look at model buildings from the top down. Although one is
meant to simulate the other . They are in fact utterly different things and not
many people seem to talk about this.
One part of this is wargame buildings needing bold
rooftops profiles more than useful
doorways. Another is real building being roof-dominant in real life because
everything is planned by and sold by a process in which a group of people look
down onto a tiny building. What does it matter if a building had a cool roof
that looks good? Answer: it doesn't that much. Get the doors right, get the
gutters right. That's what people will see. What does it matter what a building
looks like in the bright source-less light of a computer simulation? Answer: it
doesn't. In the UK the majority of its real existence will have the same
building in slow dawns, long dusks, grey skies, light rain, pale endlessly
modulating light. Design for that. Design for gloom.
I am not sure what I would write about this. There
is a fair amount of it about in Liverpool at least. The first thing I have
noticed is that equality seems to be quite bad for monumental sculpture. As you
go back in time the sculptures in Liverpool;
A. Get bigger.
B. Become more personal ie more related to a
particular person or action.
C. Are better.
Example- one of the oldest in Liverpool's monumental
district is the big fucking tower for Wellington. It's huge. It's about one
guy. it has a list of where he was at particular times. The most recent is a
monument to "all victims of Oppression". Its a bit of slate with the
above words cut it. That's it.
Groups of people designing things for companies.
Not much work done on the aesthetics of this. Or the theory (I am sure you will
let me know in comments if/how I am wrong about that.)
Privateer, GW and.. the others. Always more you can find out about
these guys. Especially shifts in production techniques and the use of moulds.
Design processes. A big interest I have is how shifts in materials and
production change models and alter for the structure of imaginary worlds. (ie
the 40k universe in the 90's was a more confident place because to run the
pewter through a mould it has to act like a river, its easier to cast longitudinal
sections 'across' the line of the mould instead of 'into' it so that leads to a
lot of mini's standing like disco dancers with a weapon held in each
splayed arm, weapons and arms all on the
same axis.)
The people who make aliens and masks are another
example of people who do a LOT of creative work at an intensive level but it isn't
considered 'art' because blah blah blah.
The Stan Winston Workshop. The 'mimic's from edge
of tomorrow, the masks from Thor 2 etc.
There is auteur theory which is about how one clever
bastard forces a bunch of drones to obey his vision, but there is no gestalt
theory about how someone infects a bunch of competent specialists with an idea and
then they slowly accrue details and inventions, the thing becoming a powerful
cohesive whole while being passed back and worth through the hands of many
individuals, which seems to be how good things are produced in companies. So I
suppose I would invent that theory and find out how it worked, though that
would probably be the longest and hardest of these things to actually do to a
reasonable level.
I have written a little about the use of
constraints in creation before but, if I did look carefully at processes across
a wide range of creators, I would probably/maybe be able to work out if there
are patterns shared between interesting people.
This is the hot new sauce in terms of production.
There are probably a shitload of people already writing about this all over the
internet. I don't know how many of them are looking deeply into the art aspect.
In terms of mini's 3d printing lets you do some interesting stuff that
challenges convention. You can print stuff like linked chains or forms within
forms. You can link the purchaser directly to the design process and give them exactly
what they need exactly when they want it.
Will that make Mini's better? I have a feeling de Tocqueville would say 'non'. A bunch of nerds getting what
they want will produce boring mealy shit. But maybe you are wrong Alexis!
I did have the idea that good designers could
produce 'shape libararies' so if, for instance you want something designed with
the feel of Jess Goodwin or Naum Gabo then you just go to the Gabo library and
build you thing out of the shapes and forms you see there. So you get an original
thing but it has the 'feel' of a particular creator.
And licensing pure shapes and lines is something copyright
has never had to deal with before. can I build a library of Henry Moore volumes
and lines and sell access? can I build a Barbra Hepworth tool for my CAD
program that won't let me draw a line she wouldn't draw and them build things
with it?
This comes from the Grossman interview. Right
towards the end she mentions that almost every made thing around us is the
result of the Mould. I looked into industrial production methods and she's
basically right. To make something you either get a solid thing ad cut it to
the right shape, or you make it liquid or soft and use a mould. Which means
every created thing carries inside it the logic of gravity and fluids in
certain states. Everything plastic glass or metal was once a fluid.
3d printing threatens to change that for the first
time. It builds objects with complex internal structures, not as constructions,
but as basic elements. Of all the changes printing objects will bring I think
this is the most important and also the most difficult to see and understand.
How do you even see the hidden unifying logic in everyday objects? How can you
think about what happens when that changes?
Also I had the idea you could 3D print food and
the makeup of it is usually granular like the base used for metals. Grain and
rice and sugar and flour and whatever are just particles. Not sure what you
could do with that? Pre-assembled complex foods? Foods with highly complex
internal forms?
I don't really know anything about this yet. The
reason I started thinking about it was that I had the idea that fashion and
naturalistic sculpture are kind of like strange relatives. They are both
concerned with form and with shape. Sculpture creates or builds the shape out
of space and material. Fashion starts with the assumption of form, then alters
or interprets it with a soft and flowing surface. Fashion is like liquid
Not sure what I would do here. Invent alien bodies
then try to find out how they would dress and how the imaginary movement and
shape of them would affect what they wear in the hope it would reveal unknown
What do you think? Would this be a good idea? Is it something you, or anyone, would want to see?
If anyone has used paetron, does it work? What should I ask payments for? Per post? Per week? Per month?
Is this a crazy or stupid idea?
Thursday 19 June 2014
Star Trek Nebulae Investigators.
A while ago in a conversation about somethingorother..I
think it was about Robots, giant robots, and the female form. And it's hard to
make a super-powerful heroic female form without sexualising it a bit because
female characteristics are (generally) also sexual characteristics and if you
emphasise or enhance them then you are also sexualising them, or at the very
least 'allowing' them to be sexy.
Oh yeah, can you have social novel/space opera fiction?
other things I was thinking
The Mutari Nebulae, where, as you know, shields will be
useless. And you can't see each other very well. Space ships instead of acting
like Sea Ships from the sail instead act a bit like submarines from Red
Space Captain Jenny Hammer
A Star Trek ship patrolling a gigantic Nebulae would have to
act in a very different way, and, in fact its morality would be quite different
because Starfleet morality is built around having big white ships that are hard
to kill in one go. They have shields. Like a Knights morality is different to a
peasants morality because the Knight is armoured to fuck and their life is
actually worth money.
The Nebulae would be alive and would be socially connected,
a pantheon of mutual alien minds. These connections would be changing always
and must be investigated. Worlds and systems would be hidden in the Nebulae and
be revealed for strange purposes. The 'geography' of space in this area would
be mutable, the product of a vast interstellar soap opera running parallel to
the main plot, but only occasionally glimpsed. The relationship with space
would be social as well as dynamic.
The living clouds of the Nebulae have different origins
1. Vanahan.
An intelligent sun gone supernova, its spirit inhabiting the
cloud of atomised gas it has become.
2. Tochzal.
A post-singularity star system consumed by nanotech and
reduced to intelligent dust.
3. Ercongotha.
Motes of Pure consciousness drifting through from some
higher plane* (thanks Phillip Pullman)
4. Summerdust.
Crystallised time from the edges of a disappeared black
5. Uenongo.
A colony of vaguely-psychic spores that drift through space
and start life on dead worlds when they hit one.
6. Chanognaegn.
A blizzard of apocalyptic alternate realities, each tied
into a dimensional knot inside the planck length. When an alternate universe
dies, a new mote appears.
7. Ochaar.
The still-active micro-defence systems and ashy remains of a
fleet of Rama-Sized world-ships that were annihilated in a long forgotten war.
The micro-guards heard the flecks of dead ash like sheep, protecting it still.
8. Sessurea.
A cloud of tiny micro-cameras forming a trans-galactic
telescope designed to spy in detail on the evolution of an ancient galaxy for
an unknown observer.
9. Adat.
The body of a celestially-primordial star-god, hiding and
sleeping in a dispersed stasis, waiting to be awakened and congeal once more
into its active form.
10. Cu na Cuailgne.
Heavily radioactive gold. Poisonous and transformed by some
unknown force. Impossible to recover. Holding ultradense predators from the bellies of gas giants.
Like a thick poisonous sea.
* Motes of Pure Consciousness is obviously NOTHING LIKE
having a Magic Man outside Space and Time, that would be irrational. Whereas special dust that makes you aware is completely
Sunday 15 June 2014
My Girlfriend Doesnt Know Anything About Star Trek
Girlfriend - "What if there was going to be a new Star Trek, new Capin' new girl in mini skirt, new redshirts, everything, all of them. Who would you cast.?"
Me - "I don't want to think about that."
Karen Gillan is CAPTAIN JENNY HAMMER, a fresh promotion who no-one entirely trusts but it turns out that the crucible of firey combat transforms her into a Brilliant but Dangerous radical who can Think Round Corners but everyone is afraid may Go To Far. During tevery episode it always looks like she is going to lose then at the end it turns out she was Always One Step Ahead.
Dylan McDermott is FIRST OFFICER MANU COILS, one of a series of rapidly-grown clones who are super intelligent and can solve any problem but also intevitably betray everbody. The crew decides to decant and him and the series follows him for a while as everyone wonders 'will he be evil?' it looks like he won't and maybe this one will be good, but then at the end turns out he will. But Jenny Hammer has Thought Ahead and Takes Him Out even though it Kills her To Do It becaue are they Really So Different? Then next episode something terrible Threatens The Ship and they need to decant another one.
Peter Dinklige is DOCTOR PUG TYLER, the doctor from a planet where everyone is SWAG as fuck. He is SWAG but also gets drunk on alien wine. He is a Xenoalcohilic with Sometimes Hilarious Results but also there is also Tragedy and Addiction.
Jason Momoa is QUIN 'FEAR ITSELF' BOOKS, the last member of a race plagued with DEADLY NANITES. He is safe on the ship but if he enters a planets ecosphere he turns evil and DEADLY NANITES try to take over the world. But he is a chill guy who likes art. People don't respect him becasue he is a bit of a hippy but then maybe he understands them More Than They Know so he is always there to offer Emotional Support. He has sexual tension with Captain Hammer but they can never bone becasue he is full of DEADLY NANITES. In one episode everyone is trapped on the Doom Planet and only Quin Books is left to save them, what will he do?
Duan De Haun is BOOMER DOGS, the Cryptic Helmsman who is Spiritual but also a Zen Hotshot. He sees alien ghosts but Tells No-One becasue they would Think Him Mad. At the end of the first season it turns out that the ghosts are really the ghosts of the crew from the future and they are trying to Warn Him Of Disaster. Which he Averts At The Last Moment. Next season he starts seeing even stranger things.
Natalie Dormer can be JADE CONDITION, the Sexy but Dangerous security officer with a reputation for the Preemptive Response and maybe is a Closet Facist. in the evil mirror universe she is the Captain of the evil version of the ship. Everything is painted black there and people wear a lot of PVC. She is also a Deadly Duellist with a keen sense of Personal Honour. Every season an alien would Insult Her Honour and they would have to duel and then learn a New Respect so she becomes Less Racist.
Kathy Bates is the voice of SERENITY KONG, the Ships Comupter but also the uploaded death chorous of an alien biosphere killed by the DEADLY NANITES inside Quin Books. She hates him but when Danger Threatens All Civilised Worlds they may have to Work Together to Save Everything. if the computer is ever turned off she will be Destroyed Forever and all memory of her world will Fade From History.
Kirsten Bell is LUCINDA SUCCOTASH, the Cheeky Black Marketeer with a secret Heart Of Gold. Captain Hammer wants her Off My Ship but then when the System's Down it looks like she might have Just What You Need.... For A Price.
Me - "I don't want to think about that."
Captain Jenny Hammer |
Karen Gillan is CAPTAIN JENNY HAMMER, a fresh promotion who no-one entirely trusts but it turns out that the crucible of firey combat transforms her into a Brilliant but Dangerous radical who can Think Round Corners but everyone is afraid may Go To Far. During tevery episode it always looks like she is going to lose then at the end it turns out she was Always One Step Ahead.
Commander Manu Coils |
Doctor Pug Tyler |
Peter Dinklige is DOCTOR PUG TYLER, the doctor from a planet where everyone is SWAG as fuck. He is SWAG but also gets drunk on alien wine. He is a Xenoalcohilic with Sometimes Hilarious Results but also there is also Tragedy and Addiction.
Quin Books |
Jason Momoa is QUIN 'FEAR ITSELF' BOOKS, the last member of a race plagued with DEADLY NANITES. He is safe on the ship but if he enters a planets ecosphere he turns evil and DEADLY NANITES try to take over the world. But he is a chill guy who likes art. People don't respect him becasue he is a bit of a hippy but then maybe he understands them More Than They Know so he is always there to offer Emotional Support. He has sexual tension with Captain Hammer but they can never bone becasue he is full of DEADLY NANITES. In one episode everyone is trapped on the Doom Planet and only Quin Books is left to save them, what will he do?
Ensign Boomer Dogs |
Duan De Haun is BOOMER DOGS, the Cryptic Helmsman who is Spiritual but also a Zen Hotshot. He sees alien ghosts but Tells No-One becasue they would Think Him Mad. At the end of the first season it turns out that the ghosts are really the ghosts of the crew from the future and they are trying to Warn Him Of Disaster. Which he Averts At The Last Moment. Next season he starts seeing even stranger things.
Jade Condition |
Natalie Dormer can be JADE CONDITION, the Sexy but Dangerous security officer with a reputation for the Preemptive Response and maybe is a Closet Facist. in the evil mirror universe she is the Captain of the evil version of the ship. Everything is painted black there and people wear a lot of PVC. She is also a Deadly Duellist with a keen sense of Personal Honour. Every season an alien would Insult Her Honour and they would have to duel and then learn a New Respect so she becomes Less Racist.
Serenity Kong |
Kathy Bates is the voice of SERENITY KONG, the Ships Comupter but also the uploaded death chorous of an alien biosphere killed by the DEADLY NANITES inside Quin Books. She hates him but when Danger Threatens All Civilised Worlds they may have to Work Together to Save Everything. if the computer is ever turned off she will be Destroyed Forever and all memory of her world will Fade From History.
Lucinda Succotash |
Kirsten Bell is LUCINDA SUCCOTASH, the Cheeky Black Marketeer with a secret Heart Of Gold. Captain Hammer wants her Off My Ship but then when the System's Down it looks like she might have Just What You Need.... For A Price.
Traveller Gunfight Analysis
(This is from Traveller 2nd Edition,
Book 1, Characters and Combat 1981.)
1. Determine if either party has the element of
2. Determine the initial range which separates the
3. Determine if escape or avoidance for either
party is possible or warranted.
4. Resolve actual combat using a series of combat
A. Each character indicates his or her movement
B. Each character indicates his or her attack and
Well thanks for clearing that up Traveller, seems simple but let's check later.
A Round lasts 15 seconds.
The surprise rules here specifically state that if
you get surprise then you can avoid contact. This is an old-school touch
compared to Only War and even Cyberpunk. Those games tend to assume that
Surprise is used in-combat and not to avoid combat.
Gunshots and screams end the surprise but 'laser
weapons and guns in vacumn do not make any noise when fired'.
'Surprise continues until it is lost, and may thus
continue indefinitely.' That is very old school and actually more ruthless than
any other game so far.
Ranges are Close, Short, Medium, Long and Very
Long. Encounter range is decided by a single roll with modifiers for terrain
There is a lot more stuff about the actions of the
opponent and their reaction baked into the encounter rules compared to other
games. With the rules as written, it's possible to encounter a small party that
you outnumber at long range, they get surprise, see you and roll a 9+ to
escape. So the encounter 'never happens', this is never even considered in
other games.
Before each round, state your 'movement status'
there are four of these. Evade, get closer, get further away, or don't move.
All movement is assumed to be simultaneous.
The Attack.
Combat resolution. Select a member of the opposite
team and roll an 8+ to hit. Nice and simple RIGHT???
"The basic throw of 8+ is subject to a
variety of applicable die modifiers, including armour/weapons relation, range,
strength of attack (combat or weakened blows), movement status, attacking and
defending expertise, and other aspects." So no, more calculation.
Being untrained with a weapon means a -5 when
attacking. All PC's automatically have an expertise at Zero (0) with all
weapons shown in the book. This zero value is sufficient to avoid the
non-expertise penalty but not enough to provide a positive DM. SO WHY DOES THE
In case a monkey or a cavemen picks up a gun? Or
you find a supergun you don't understand?
You hit, so.. 'Consult the Wound Column on the Range
Matrix' oh old-school games, your simplicity is but an illusion. There is an armour/weapon matrix where each type
of armour reacts differently with Each. Particular. Weapon. Want to fire your
Laser Carbine at someone wearing Reflec armour while they fire their Shotgun at
a group wearing combat armour? Have fun
with that one.
But you should have this info because you know
what weapons you have and what crap you added to them and kept a record of it.
Wounds are applied straight to Stats. On a
temporary basis. Each of the die rolled is applied to a different stat. So if
you have a 4d weapon and you hit, you apply those dice to Strength, dexterity,
endurance and maybe strength again?
The first wound is applied randomly and can daze
or even kill. This infers (it is never directly stated) that for other hits the
Defending player assigns damage die where they want them to go.
If one Stat hits zero you are unconscious, two and
you are seriously wounded, three and you are dead.
There are rules for waking up and they are the
same regardless of how you suffered the damage. Bear trap or grenade, it doesn't
matter, you are back up in three hours.
There are Morale rules for PC's so you don't get
to decide when you run away.
To Move and fire once;
- Declare your movement status. Easy.
- Pick a target.
- Work out your modifiers. You will need, on your
side; Weapons qualities, your attribute bonuses and how that combines with your
stats. From the DM; range, but that's decided at the beginning of the round.
And how the targets armour combines with your *particular* weapon.
Add and subtract a bunch of stuff.
This gives you a single mod.
- Roll 2d6 and get 8+ to hit.
You hit.
- Roll your damage die.
- Is it the first wound for that Target? If so, I
*think* you add the total of all the damage die you rolled to one random stat.
If not I *think* they apply the damage from each individual die to each stat.
Ok so traveller is some radical shit. There is NO initiative
roll mentioned that I can see. This is either next-gen genius or madness.
Everything happens at once so everyone can shoot everyone and no-one is safe.
So it doesn't matter in what order you go. If you are killed with the first
shot of a round you can still kill with the last shot of a round. I kind-of
like this. It feels like you are bi-located in time, looking down on your characters gunshot-riddled body and simultaniously preparing to fire one-last-shot at the guy you already know killed you. Of course your condition can change during a round, if you get hit and lose agility your ability to-hit can go down, do you use your old pre-gunshot agility? or the new ive-been-shot agility? probably the old one, but good luck remembering that.
Having a solid simple to-hit number sounds good,
but as usual it just leads to hidden complexities elsewhere and strange cryptic
Info design is generally better in old-school
books compared to FFG but not as much better as you might think. There is still
a lot of complexity hidden and squirreled away in odd places. RPG books are
themselves like Minotaur Mazes, you must prove you are able to find the hidden
vital information to play the game optimally.
Gunfire is an insoluble problem in RPGs and there
are only two answers.
Answer A - Be a teenager (probably male) who
doesn't mind rooting through huge books and obsessively learning complex
systems so you can chew through the conflicting rulesets at the speed of a computer
Answer B - Be in your late 20's - early 30's (or
probably female) and have enough emotional RAM that you can face the possible
loss of a PC you care about in complex and inconsistent circumstances while
negotiating rationally and not having a freakout.
Answer C - Be a hippy and blah blah bah narrative
blah blah hard to die from gunshots easy to hurt your emotions, I have tried
this and it worked ok for me, when running it at least.
Also generic systems dont focus enough psychic energy to make them good games. They can be good games but not good Games. It is like a car without fuel, or maybe just with nowhere to go.
Subscribe to:
Posts (Atom)


text:
(cls, decorator, testmatch=None)[source]¶ Apply a decorator to all methods in a class matching a regular expression.
The given decorator is applied to all public methods of cls that are matched by the regular expression testmatch (
). Methods that are private, i.e. start with an underscore, are ignored.- Parameters
- clsclass
Class whose methods to decorate.
- decoratorfunction
Decorator to apply to methods
- testmatchcompiled regexp or str, optional
The regular expression. Default value is None, in which case the nose default (
re.compile(r'(?:^|[\b_\.%s-])[Tt]est' % os.sep)
) is used. If testmatch is a string, it is compiled to a regular expression first.

subset: commoncrawl


text:
Updated at 7:10 p.m. ET Monday
A few details are becoming known about the man who allegedly shot and killed at least 26 people and wounded 20 others Sunday at a rural community church in South Texas.
Texas Department of Public Safety Director Freeman Martin says Devin Patrick Kelley, 26, was found dead in a vehicle with two firearms a few miles from where the attack took place. Kelley had crashed his car in a neighboring county after being pursued by two civilians, one of whom had fired on him as Kelley attempted to escape the church.
Authorities said Monday evening that an autopsy found Kelley had been struck by three bullets — one each in the leg and torso, which were fired by a civilian, and a third in the head, which was consistent with being self-inflicted.
As we reported earlier, at about 11:20 a.m. local time Sunday, the gunman, dressed in all-black tactical-type gear, approached the church, located about 40 miles southeast of San Antonio and opened fire with what authorities say was a Ruger AR assault-type rifle. He then entered the church and continued the attack. The victims ranged in age from 18 months to 77 years old.
At a news conference, Martin said the shooter was wearing a bulletproof vest. The San Antonio Express-News says the weapon was an AR-556, a variant of the AR-15, a popular rifle based on the military's M-16.
Kelley was a resident of New Braunfels, a suburb of San Antonio, according to public records and he had attended New Braunfels High School, a classmate confirmed to NPR member station KUT reporter Mose Buchele.
He had been enlisted in the U.S. Air Force and was based in New Mexico from 2010, where he reportedly served in logistics readiness at Holloman Air Force Base until receiving a bad conduct discharge in 2014, Air Force spokeswoman Ann Stefanek tells NPR in an email.
Retired Col. Don Christensen, the Air Force's top prosecutor during this period, tells NPR's Camila Domonoske that Kelley was court-martialed in 2012 for assaulting his then-wife and child.
"He fractured his baby stepson's skull," Christensen says.
Kelley pleaded guilty to assault on his wife and to "intentionally inflicting grievous bodily harm" on his stepson. And as Camila explains, this conviction on a crime of domestic violence punishable by a prison sentence of more than one year should have barred Kelley from possessing a firearm:
"Kelley's punitive discharge — a bad conduct discharge — did not prohibit him from owning a gun, as a dishonorable discharge would have.
"But under federal law, anyone convicted of 'a crime punishable by imprisonment for a term exceeding one year' is prohibited from possessing a firearm. The same is true for anyone convicted of 'a misdemeanor crime of domestic violence.'
"Kelley's conviction qualified under both categories, Christensen says."
Despite this prohibition — and despite the fact that he didn't have a license to carry a firearm — agents with the federal Bureau of Alcohol, Tobacco, Firearms and Explosives say Kelley purchased four guns over the span of four years after his discharge.
A Pentagon source tells NPR's Tom Bowman that the Air Force made a mistake in not entering Kelley's arrest or conviction in the federal crime database, the National Instant Criminal Background Check System.
Tom explains further:
"This was mishandled by the Air Force Office of Special Investigations at Holloman Air Force Base in New Mexico, where Kelley was serving when he was arrested for assaulting his wife and baby stepson. An investigation is now underway, and the Air Force is taking it very seriously, said the source.
"The information into the data base is supposed to go in when there's 'probable cause' and then 14 days after a court decision. Kelley was convicted in 2012 and received a year in jail."
Authorities believe Kelley's attack was not motivated by either racial or religious reasons, but rather by a "domestic situation" instead. At a news conference Monday, officials said Kelley had sent threatening text messages to his mother-in-law, a parishioner at the church.
Still, Martin has warned there was "a lot of work to be done" in the investigation going forward.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


text:
BMG Classics' High Performance series crosses the dozen mark with these three releases. The series, which is about a year old, features recordings which met high performance and recording standards from the Living Stereo era up until the dawn of the digital age. Many are new to CD. Even those that aren't new benefit from the superb frequency range, sampling rate, and CD mastering technology that has been used in bringing these discs to the market.
Eugene Ormandy recorded several of Shostakovich's symphonies for Sony (then Columbia Masterworks) and RCA Victor – all are strongly recommendable. In my opinion, the Fifteenth hasn't been surpassed. Ormandy recorded it in 1972, just a few days after he and the Philadelphians gave the symphony's American première. It's a highly atmospheric reading, dark and warm, and a very appropriate leave-taking. This was Shostakovich's last symphony, and no one has treated it as tenderly as Ormandy has. That's not to say that this recording lacks penetration – anything but. Its compassionate nature can't help but deeply touch everyone who experiences it. I disagree with Ormandy's "take" on this score, as expressed in the original program notes. Could he really have believed that the first movement "takes place in a toy shop at night," as the official Soviet explanation averred? Shostakovich kept his secrets, and this sounds like disinformation at its finest. Nevertheless, Ormandy hits the mood right on, which only supports my assertion that great music-making is frequently not an intellectual process but an instinctual one.
Emil Gilels recorded the Second Piano Sonata in 1965; the location was Carnegie Hall. This is another valuable addition to the High Performance series. Gilels creates an uncanny effect through understatement, and the clarity of his playing generates a tension that is more palpable than anything that would have resulted from the exaggeration of details. If you want the Sonata on disc, this should be your top choice. The sound quality is a bit less fine here than in the symphony; it can sound a little harsh, but it's not worrisome.
The Tomita disc really took me down Memory Lane. I owned most of the Japanese electronics wizard's LPs when I was in high school, although I began to get tired of them when I was in college. I don't think I've heard one in 15 years. It was fun to revisit Snowflakes Are Dancing, which was Tomita's first American release. Debussy wrote these ten short works for the piano. Some were meant to be played on their own, and others as part of a larger collection of music. Debussy mastered the piano and all of its colors so well that it was daring of Tomita to arrange this music for a synthesizer and other electronic gizmos. Of course it will shock purists. Debussy's music is the hanger upon which Tomita drapes a universe of sounds. Some of the sounds are silly, but most of them are delicate and beautiful. They're almost always exotic. Tomita doesn't bury his Japanese background, and Debussy's music is characterized by an Asian economy and sensitivity to nuance, so the combination of the two styles works very well. An inevitable air of "easy listening" blows in from time to time, but it is more likely to make you smile than to wrinkle your nose. Prélude to the Afternoon of a Faun has been added from another Tomita album, and it paints with an even more remarkable palette of sounds. In a sense, it is a bit odd to refer to an album of electronic music as "audiophile" because such music really wasn't intended to be performed in a concert space, and no one knows what it is "supposed" to sound like. Having said that, the clarity, dynamic range, and frequency response of this 96 kHz, 24-bit remastering are amazing. The original LPs could not begin to produce the musical information made available on this CD.
Itzhak Perlman's technically impressive 1966 debut with RCA Victor was with the Sibelius concerto; the Tchaikovsky came a year later. Although the Sibelius's finale is exciting, Perlman and Leinsdorf had a lot of competition then, and they have even more today, including the outstanding Perlman and Previn recording on EMI Classics. At this point in his career, Perlman conquered listeners with his tone and youthful passion, but he varies neither of these very much in the Sibelius concerto, and a somewhat monochromatic rendition is the result. The Tchaikovsky is better, particularly because Perlman and Leinsdorf open the traditional cuts, to the benefit of the music's structure. Nevertheless, Perlman is not imaginative, and, as I wrote in another publication, "those who associate the concerto's first movement with Russian nobility might be a little disappointed to hear more of the Israeli kibbutz instead." In contrast, the Dvořák is entirely successful – relaxed and full of song. When these recordings were made, Perlman's interpretive maturity was not as developed as his technique. That would soon change, and these recordings are full of promise, not necessarily delivery. The glassiness of earlier CD transfers has been corrected in this High Performance remastering.
Copyright © 2000, Raymond Tuttle


text:
CH Carolina Herrera
Free Samples & Miniatures
Try Me Samples
Complimentary Gift Wrapping
Free Shipping & Returns
Discover our gifts to you!
Welcome Offer
Get % off on your Birthday
Connect with the world of Carolina Herrera and be the first to discover new collections, runway shows, fragrance launches, makeup tips and much more.
Please enter a valid email address


text:
Our hospital offers highly specialized inpatient rehabilitation services. From hip fractures to joint replacements and stroke to Parkinson's disease – our hospital has the experts, technology and experience to meet your rehabilitation needs.
With innovative treatments and an interdisciplinary team approach, our hospital remains at the leading edge of rehabilitation. This includes working with highly challenging conditions, like spinal cord injuries and traumatic brain injuries.
Through intensive, custom-designed therapy programs, our hospital's goal is always to return patients to leading active and independent lives.
Click on the links listed below to learn more about the specialized rehabilitation services and programs offered at our hospital.
By demonstrating compliance with The Joint Commission's national standards for healthcare quality and safety, our hospital is accredited by The Joint Commission.
Read More »
Our hospital provides care for those who are ready to be discharged from a hospital but not ready to return home. Treatment and care is designed to bridge the gap between hospital and home. Anyone who is limited functionally from an injury or illness can benefit from rehabilitation.
Learn More »
Join us for a virtual tour of our hospital where you will see our patient rooms, exercise facilities, and more. You can also set up a personal tour by calling our hospital.
Learn more »


text:
Welcome to our store,Free Shipping for all Order!
Get an Extra 10% Discount Now!
Customer Service: firstname.lastname@example.com
Free shipping on All Orders. No Minimum Purchase
Free standard shipping
The shipping time usually takes 8-12 business days.
Guaranteed SAFE Checkout
Get the Amazing Star Wars Today!
Thanks for subscribing!
This email has been registered!
Product | SKU | Description | Collection | Availability | Product Type | Other Details |


text:
You're reading an outdated article. Please go to the recent issues to find up-to-date content.
The Houston-based trash hauler Waste Management recently announced a major initiative to tap more landfill gas for energy to produce electrical power.
The company currently owns and operates 103 landfill gas-to-energy (LFGTE) facilities and wants to build another 60 facilities over the next five years. When completed, the facilities will add another 230 megawatts (MW) of electricity generation to the grid, bringing the company's total from LFGTE generation to more than 700 MW.
Gas is produced when microorganisms break down organic material in the landfill. The gas consists of about 50–60 percent methane and 40–50 percent carbon dioxide.
LFGTE facilities developed by Waste Management will collect the methane and use it to fuel on-site engines or turbines to generate electricity for surrounding users.
Waste Management currently has 281 landfills around the country and intends to develop LGFTE projects at landfills in a number of states, including Texas, Virginia, New York, Colorado, Massachusetts, Illinois and Wisconsin. With potential turbine and transmission work becoming available, this might be a good project for electrical contractors to monitor. EC


text:
PRESS RELEASES: Taylor Guitars is inviting players to "rock it your way" with the introduction of customizable SolidBody guitars. Fans of the Classic, Standard and Custom SolidBodies can now tailor their choice of pickup configurations, colors, and have the option of a Taylor-designed tremolo, all to dial in their perfect tone and look.
"By adding a variety of pickups and configurations, players have a multitude of options available, literally, at their fingertips, to reflect their personalities and tonal preferences," shared David Hosler, vice president. "Beyond mere color choices, we wanted to offer players the opportunity to customize their SolidBody from the top down."
For the perfect tone, the company has expanded its popular, guitar player friendly, plug and play loaded pickguards across the SolidBody models. Totally solderless and easily swapped with just a screw driver, the new pickup combos come ready to rock in 11 different combinations on a choice of four different pickguard colors, including black, tortoise, and black or white pearl.
Players have the option of two mini or full-sized high gain (HG) or high definition (HD) humbuckers, two or three mini HD or HG humbuckers, three single coils, or a two single coil and one full-size HG pickup split. Offered for the first time in the SolidBody line, players will also have the option of a Vintage Alnico (VA) loaded pickguard.
The VA pickups, a familiar and welcome sound to the electric guitar enthusiast, pay homage to the tradition of classic humbuckers but impart its own unique identity in the world of electric pickups. Hosler explains: "I've always liked that big wooly tone that comes with PAF (patent applied for) humbuckers. The goal was to create a pickup that was a more modern version of that type of sound."
Custom and Standard SolidBody players will also have a choice of pickguard-free, swappable, modular pickups, including two mini or full-sized HG or HD pickups, as well as a two full-sized VAs.
Fans of the whammy bar will now have an option of adding the Taylor tremolo to their SolidBody. Sitting on top the sleek, yet comfortable Taylor-designed fulcrum vibrato bridge, the tremolo features a modern design, one that Hosler calls "inspiring". "One of the most unique things with this tremolo is that is has a very modern feel," he explains.
Traditional tremolo users will be impressed with the feel and the easy-to-engage action of the bar. Hosler shares, "On top of looking cool, this trem feels good and sounds even better."
Exclusive to the SolidBody Classic model, the company has added a variety of vibrant colors to the line including Lava Red Pearl, Jewelescent Orange, Purple Flake, Blue Metallic, Viper Blue, Magenta Pearl, Sublime, Tobacco Sunburst, Sage Green Metallic and Titanium Pearl. The Classic will continue to be offered in Black, Natural, Trans Red and Trans White.
Each SolidBody features a five-way pickup switch, comfortable tone and volume control knobs, Taylor's proprietary T-Lock single bolt neck, and comes ready to rock in a Taylor hard case. The suggested retail prices for the SolidBody Classic options start at $1,748, for the SolidBody Standard at $2,398, and for the Custom at $3,098.
The models will be available at authorized domestic and international Taylor dealers in early spring. The complete line of the company's swappable and solderless loaded pickguards and modular pickups is currently available at TaylorWare, the company's online merchandise and electronics store.
For more information, visit Taylor Guitars' official site
Information taken from official press release
Submit press releases
Email your press release to email@example.com
Sign up for our free weekly newsletter
The free MusicRadar newsletter serves up the week's biggest artist and product news stories alongside exclusive tuition and gear reviews. Sign up here!
Follow MusicRadar on Twitter
Get instant updates and bonus content plus chat with the team. Start here!


text:
Installation Guidelines
Before installing components in your server, read the installation guidelines.
- Read the safety information and guidelines to ensure your safety at work:
A complete list of safety information for all products is available at:
The following guidelines are available as well: Handling static-sensitive devices and Working inside the server with the power on.
Make sure the components you are installing are supported by your server. For a list of supported optional components for the server, see Lenovo ServerProven website.
- When you install a new server, download and apply the latest firmware. This will help ensure that any known issues are addressed, and that your server is ready to work with optimal performance. Go to ThinkSystem SR860 Drivers and Software to download firmware updates for your server.ImportantSome cluster solutions require specific code levels or coordinated code updates. If the component is part of a cluster solution, verify the latest Best Recipe code level menu for cluster supported firmware and driver before you update the code.
It is good practice to make sure that the server is working correctly before you install an optional component.
Keep the working area clean, and place removed components on a flat and smooth surface that does not shake or tilt.
- Do not attempt to lift an object that might be too heavy for you. If you have to lift a heavy object, read the following precautions carefully:
- Make sure that you can stand steadily without slipping.
- Distribute the weight of the object equally between your feet.
- Use a slow lifting force. Never move suddenly or twist when you lift a heavy object.
- To avoid straining the muscles in your back, lift by standing or by pushing up with your leg muscles.
Make sure that you have an adequate number of properly grounded electrical outlets for the server, monitor, and other devices.
Back up all important data before you make changes related to the disk drives.
Have a small flat-blade screwdriver, a small Phillips screwdriver, and a T8 torx screwdriver available.
To view the error LEDs on the system board and internal components, leave the power on.
You do not have to turn off the server to remove or install hot-swap power supplies, hot-swap fans, or hot-plug USB devices. However, you must turn off the server before you perform any steps that involve removing or installing adapter cables, and you must disconnect the power source from the server before you perform any steps that involve removing or installing a riser card.
Blue on a component indicates touch points, where you can grip to remove a component from or install it in the server, open or close a latch, and so on.
Terra-cotta on a component or a terra-cotta label on or near a component indicates that the component can be hot-swapped if the server and operating system support hot-swap capability, which means that you can remove or install the component while the server is still running. (Terra-cotta can also indicate touch points on hot-swap components.) See the instructions for removing or installing a specific hot-swap component for any additional procedures that you might have to perform before you remove or install the component.
- The Red strip on the drives, adjacent to the release latch, indicates that the drive can be hot-swapped if the server and operating system support hot-swap capability. This means that you can remove or install the drive while the server is still running.NoteSee the system specific instructions for removing or installing a hot-swap drive for any additional procedures that you might need to perform before you remove or install the drive.
After finishing working on the server, make sure you reinstall all safety shields, guards, labels, and ground wires.


text:
Half-Life: Uplink is the Half-Life title that you have likely never heard of.
Half-Life: Uplink, released February 12, 1999, is one of two demos released by Valve for the original Half-Life video game. The first was Half-Life: Day One and contained the first fifth of the full game, and was only included with certain video cards of the time. Half-Life: Uplink, on the other hand, was a standalone demo set in the Half-Life universe, and contained levels and a storyline not found in the full title.
Sadly, for whatever reason, Valve seems to have forgotten about Half-Life: Uplink. It is not mentioned anywhere on Valve's web site and is the only Valve title not offered in the "Valve Complete Pack" on Steam. One possible explanation is confusion with Uplink, an unrelated title by Introversion Software that was offered through Steam early in Steam's existence, but this is unlikely. Technical issues would not prevent it from being offered on Steam, as HL!UL!SL, a third party project, integrates Half-Life: Uplink into Steam as a Half-Life mod.
While Half-Life: Uplink is a rather short demo, it is still a unique story, and is sad to fade into obscurity. This site attempts to keep Half-Life: Uplink in public memory.
Half-Life: Uplink was originally available for download from Valve/Sierra, and was also included as part of Half-Life: Further Data V.1. This standalone disc was available for free in retail outlets, and included Half-Life: Uplink, as well as extra maps and an update patch for Half-Life itself.
Today, if you want to try Half-Life: Uplink with the least amount of hassle, try HL!UL!SL, which installs Half-Life: Uplink as a Half-Life mod in Steam. Disclaimer: HL!UL!SL is packaged/maintained by the maintainer of this web site, so there's probably some bias there.
The original Half-Life: Uplink installer is still available to download. This installer does not require Steam or a Half-Life installation, but does tend to have compatibility difficulties with modern versions of Windows.
Before the game properly starts, captions appear on-screen stating that you are playing the character of Gordon Freeman. Little other information on Gordon is alluded to, save for the fact that Gordon has a Ph.D. The captions then go on to say that he is located within the Lambda Reactor Complex, Black Mesa Facility. The time is stated as being 48 hours after the 'containment failure', and that his status is 'evaluation in progress' -- likely a reference to his recruitment by the mysterious G-Man, but can also refer to the fact that, as a player being introduced to this demonstration, you are judging its capabilities, and deciding whether you should buy the full game.
The screen fades into a corridor and suddenly, jet fighters can be heard overhead. Then, the sound of a bomb being dropped is proceeded by an explosion in the corridor, which causes some of the electronic appliances on the walls to explode, and some of the ceiling collapses. The player then proceeds forward into a large room, and comes across a scientist, and the player is then quickly joined by a security guard. The security guard asks the scientist, in an abrupt tone, if he can open the heavy metal doors which are located within the room (these doors presumably lead to an exit out of the facility). However, the scientist says that a message must be sent to the United States Nuclear Regulatory Commission (USNRC), to say that the coast is clear, and that cannot be done because a radio antenna must be aligned, manually, before the message can be sent. However, the area is "swamped with radiation", thus making it impossible for either the scientist or the security guard to do the job. However, Gordon Freeman, is wearing the Hazardous Environment Suit, and this will protect him from radiation. The scientist then goes to activate the lift which is in the room, and informs the player that he will offer directions from over the intercom. The player then enters the lift, and proceeds to a higher level.
When the player exits the lift, he comes across a corridor which has been blocked by crates and other wooden boxes on one end. In a room, nevertheless, on the other end, a crowbar has been left on the table. The player picks up the crowbar and can either use it to smash the crates apart so that he can proceed or can destroy the vending machine with the crowbar. Behind the vending machine there is a vent leading to a room with a shotgun, a pistol and two headcrabs. After that, the player reach a security booth and encounters some more headcrabs. With the assistance of an armed security guard around the corner, the headcrabs are killed. Opposite to the security guard there is a room where the player can pick up a Glock 17 pistol. The player then travels down a corridor, where he encounters more headcrabs, and also comes across some tripmines, which have been placed to prevent him from entering through one of the doors into a warehouse. Once the mines are destroyed, the player picks up an MP5 submachine gun and proceeds to fight three HECU soldiers in the warehouse, but the player can't kill one of the them before the soldier closes a barrier, which leads from the warehouse to the surface storage area outside. However, by negotiating some of the overhanging crates, Freeman is able to jump over the barrier.
The player can see that it is nighttime, and Gordon Freeman must proceed through the storage area. Freeman will come across a machine gun nest, which can then be used to eliminate several soldiers. He then comes across a scene that will be repeated several times in Half-Life; soldiers have been lining scientists along the wall and shooting them. One, in fact, will try to escape when he sees Gordon. Before proceeding through a door at the bottom of the dish tower, the player can see that soldiers have been burning the corpses of Vortigaunts, as well as radioactive sludge that has been leaking throughout in the dish tower. After entering a lift and traveling up to the antenna room, the radio antenna needs to be turned manually with a valve. The first scientist speaks on the intercom, telling the player to move it to the position marked 'USNRC'. When Gordon looks at the control panel with the valve, he sees a screen saying that the remote override has indeed been locked out. When Gordon has the antenna in position, he pushes the button, and the transmission is sent. The scientist tells him to get back, and that they'll be waiting for him.
Shortly after, the ceiling explodes and soldiers rush into the room. The player is required to get to the lift and make his way back. However, when he reaches the bottom of the dish tower, he sees that the entrance he went through has been blocked by explosives, which cannot be detonated safely. The player then has to go through a vent in the floor, and navigate his way through the complex system underneath the tower. Afterwards, Gordon finds himself back in the storage area, where he must again use the machine gun nest to destroy several Vortigaunts. Doubling back on himself into the warehouse, he encounters a battle between soldiers and Vortigaunts. The player is advised to run through, avoiding the crossfire, and to continue back towards the meeting point.
The player comes back, and can now proceed through the heavy metal doors. The player does not have to escort the security guard and the scientist, but he will find that, if he does, they will not be able to proceed past some over-turned filing cabinets (this can be avoided by killing the zombies behind them with a grenade). As the player continues to proceed down the corridor, which presumably leads to the exit, clamorous roars are heard. Continuing onward, the rumbling gradually becomes more violent, eventually causing the vent to collapse. The player finds himself in a room with two scientists, an armed security guard, and a Gargantua, with the G-Man in a room above looking through a window. The Gargantua, impossible to kill with the weapons that the player has, kills the scientists and the security guard, then turns on the helpless player. As the creature approaches, the screen begins to fade. (The Gargantua can be killed if the player has full ammo in the grenade arsenal, combining with the damage the Gargantua receives from destroying the computers, but killing him will stop the demo from ending).
"Uplink complete" appears on-screen, followed by the statement that "further data [is] required". An Internet page appears, allowing the player to order the full game.
Some of this page's text was taken from Half-Life: Uplink's Wikipedia page, before it was "merged" into a single sentence mention on the Half-Life page, and is licensed CC-SA 3.0. This site is not affiliated with Valve Software in any way.


text:
Product Quantity: GR 2571571-four
Jewelry Conclusions Variety: Clasps & Hooks
Fashion: Stainless steel Chain
Material: Stainless steel
Colour: As picture
Measurement: 20/22 inches
Custom styles(colour or measurement): Yes
Fat: fifteen-100g
MOQ: ten Pcs
Package: Opp bag
Shipping time: 7~10days, in accordance to the order quantities
Shipping: UPS DHL EMS Fedex TNT
Packaging Details: 1pc/opp bag
Merchandise Title | Stainless metal Chain |
Substance | Stainless metal Chain |
Business Variety | Manufacturing facility direct |
Emblem | Can be custom-made |
Payment expression | T/T 30% payment in advance , 70% harmony prior to delivery |
Guide time for sample/stock | 5-7 days |
Direct time for max generation | 20-25 times |
Interior Packing | OPP bag |
Outer Packing | 7 layer corrugated carton |
Payment Way | T/T,Western Uion or MoneyGram,Paypal |
Shipping and delivery Way | BY Sea,by air or by courier as DHL, FEDEX, UPS, very hot sell 220 voltage air compressor 220v 550w 25L silent air compressor oil cost-free EMS |
OEM/ODM | Recognized |
Our Companies
Company Data
Q1: Are you a factory or buying and selling firm?A1: We are a manufacturing facility.Our business is positioned in HangZhou Town, ZHangZhoug Province,
China.All our clientele, from residence or abroad, are warmly welcome to pay a visit to us.
Q2:Will sample charge be refound when order? A2:We will charge sample fee ,and the consumers require to pay out for the transport charge,we will refund
sample payment in accordance to the consumers portions.
Q3:What's your sea port and air port?A3: Shang hai& SCHNEIDER Model CONTACTOR FOR CZPT AIR COMPRESSOR LC1D18 A Ning bo&Guang zhou sea ports and ZheJiang air port.
This fall: Could you supply some samples? A4: Of course of program. We will be happy to send out you samples with appropriate sample payment,And
the convey price will be in your account.
Q5: Exactly where are your clientele arrive from?A5: Our customers mainly arrive from United states,Australia,Europe,Southeast Asia,The middle east.
Q6: How to spot an buy?A6: You can pick some items you like online, or you can publish down the item/code number, 800cc buggy 1100cc CZPT E.F.I 4×4 go kart for sale (TKG800-2)
with quantities you want, make contact with us by e mail or Alibaba Trademanager to make get.
What to look for in a roller chain
There are many different factors to consider when purchasing a roller chain. One of the most important factors is tensile strength, which represents the force required to break the chain. Roller chains are available in three different tensile strengths: minimum, average and ultimate. Each strength reflects a different limit to the load the chain can handle. However, these limits are not always equal and you should be aware of the differences between roller chains.
Canonical chain
Most roller chains have standard sizes printed on the side panels. This is usually "40" or "C2080H", but can also be the letter "B". If the chain is old, it will need to be cleaned to see its size. You can find the size on the standard roller chain size chart, but not everyone is marked. To determine the size, measure the diameter and pitch of the chain, then compare the results to the chart to see what size you need.
Heavy-duty roller chains are available with heat-treated pins, side plates, and rollers. In addition to being heat treated, they are also factory pre-stretched, which reduces wear on these parts. If properly maintained, they can last for years, reducing the risk of failure or corrosion. Depending on the application, standard roller chains are available in different sizes. It can be purchased separately. There are several options to choose from, depending on the size and strength of the application.
PEER roller chains contain solid rollers to reduce shock loads on the sprocket teeth. Heat treating and preloading all components of the PEER chain helps minimize initial elongation. Hot-dip lubrication ensures complete lubrication of all chain components, extending their life and reducing maintenance costs. For heavy-duty applications, ASME/ANSI-B29.1 chain is a good choice.
Standard roller chains are made of steel or alloy steel. However, it can be made of other materials such as stainless steel. In addition to steel, stainless steel is often used in food processing machinery where chain lubrication is an issue. Brass and nylon are also sometimes used. However, they are not that popular. Therefore, you should always check with your supplier before purchasing. By comparing the tensile strength of two different chains and making an informed decision, you can get the best price and service.
Chain without bushing
Bushless roller chains have advantages over conventional roller chains. Unlike conventional chains, bushless chains have extensive lateral flexibility, which increases the chain's lubrication flow. The inner plates of bushless chains have protruding shoulders so the oil can flow through them more easily and efficiently. This is an important characteristic of a smooth-running chain. Additionally, bushless chains may have improved shifting performance.
The strength of a bushingless roller chain is measured in terms of tensile strength and fatigue strength. The former measures the load a chain can withstand before breaking. Fatigue strength is equally important, and factors that affect fatigue strength include the steel used to make the chain components, the pitch hole fabrication, the type of shot peening on the chain, and the design and thickness of the chain. For example, if the chain is too thin, it may not be enough for heavy-duty applications.
Like traditional roller chains, bushingless roller chains have two different types of links. The inner link has two inner plates connected by pins, while the outer chain has two outer plates held together by bushings. A bushingless roller chain is similar to a traditional chain, except it eliminates a step in the assembly process by stamping the tube into the inner plate. So if you want a smoother ride, a bushingless roller chain is a better choice.
There are two different sizes of bushingless roller chains. One size is designed for use with standard single-strand chains, while the other size is designed for use with double-strand or triple-strand chains. Bushless chains are generally shorter than conventional chains, so they can fit in tighter spaces. Bushless chains are made of the highest quality materials. These chain attachments are case hardened for optimum strength and durability.
Mute chain
The silent roller chain has a smooth, low-noise drive. They are made of stacked rows of flat chainplates with a gear-like profile that meshes with the sprocket teeth. Each chainplate is attached to a corresponding sprocket, which also allows the chain to bend. While these basic components are the same for every silent roller chain, there are many variations that allow them to be used in a variety of applications.
The most popular high-speed transmission, silent chains feature gear-like sprockets. They can be made from single or multiple strands of material. Single-strand chains are less expensive than multi-strand chains, but they tend to wear out faster if not lubricated. Single-strand roller chains can be used for years without lubrication, but for your application, wide silent chains are still worth considering.
The design and construction of silent chains make them ideal for conveying a wide variety of products. They have flat, heat-resistant surfaces. They are also durable and non-slip. They are available in a variety of pitch sizes, widths, and mounting styles. Whether you need chains for general purpose conveyors or glass bottle transport applications, we have you covered. Ask about the benefits of silent roller chain conveyors.
Inverted tooth chains are another option for quieter chains. These chains are designed to reduce noise from engine-related friction. Silent chains are more common, and manufacturers have fallen in love with them. A silent chain consists of several links connected to the sprocket teeth. Teeth rotate to reduce noise, vibration, and chord action. These are the main reasons why silent chains are so popular.
ANSI chain pitch
To measure your bike's chain pitch, you can use a caliper. This measurement is taken from the center of the rolling pin to the center of the next rolling pin. Chains come in many sizes, but ANSI is the most common chain standard in the United States. A caliper is handy if you're not sure which size to buy, as it allows you to check for worn sprockets.
Chains that meet ANSI standards will be characterized by a certain pitch. This measurement is based on the width and spacing of the roll. The spacing is usually greater than the width. The standard number will be the right number for the width of the chain or the left number for the rollers. The number on the left indicates whether the chain is lightweight or heavyweight. Heavyweight chains are designated by the suffix "H".
Common chain sizes are based on ANSI chain pitch. Pitch is the minimum distance between bushing and sprocket. The smaller the chain pitch, the greater the total distance between the two points. This means the chain will last longer. However, if you are buying a chain for a specific application, you should check the pitch carefully as it can affect the performance of the chain.
Roller chain wear measurement
The purpose of roller chain wear measurement is to prevent breakage by monitoring the strain on the chain. There are several ways to measure roller chain wear. The first is to remove the chain from its working position and measure the distance from the sprocket to its measuring end. Another way is to measure the pitch of the chain or the distance between two pins. This method is superior to other methods because it is convenient and accurate.
When measuring the wear of a roller chain, it is important to note that the elements of the chain will gradually deform. About 3.75% of the total wear will be on the pins and the rest will be on the internal links. These wear measurements will vary based on the nominal pitch of the chain and the amount of friction the chain is experiencing. Proper lubrication between pins and bushings, load and frequency of articulation all affect wear rates.
It is important to measure the amount of wear on the roller chain to avoid excessive machine failures. The longer the chain runs, the more wear it will wear. Although the length of the chain should be less than the center distance, the excessive load will cause premature wear. Therefore, lubrication is essential. Additionally, the sag of the chain should not exceed 2% to 4% of its center-to-center distance. Finally, check for unusual noise or visible defects. A common cause of excessive roller chain wear is the size of the load. Every chain manufacturer sets a maximum workload for its product.
There are several ways to measure roller chain wear. If using a high-speed drive, it should have at least 11 teeth, and a medium-speed drive should have at least 25 teeth. Also, be sure to check the length of the chain, even if you should. The same goes for the pin diameter, which should be the same or different pitch as the roller chain.
editor by Cx 2023-07-04


text:
Spire Community Management provides association management services in New Germany, Minnesota. Our team of local association management experts combine for over 20 years of experience. If you're looking for a trusted partner in New Germany for association management, look no further than Spire Community Management!
Spire Community Management is a locally owned, Twin Cities based company providing association management services in New Germany, Minnesota
The team at Spire Community Management is trained for the specific association management needs of New Germany, Minnesota. Our services for association management include:- Community Management
- Financial Services
- Advisory Support
- Project Management


text:
Victory Colours Matt Emulsion, Coralina No. 65
Suitable for interior walls and ceilings throughout the home giving an excellent finish. Virtually VOC free, durable, colourfast & washable paints in a beautiful range of colours.
Colour: Coral
Key Values
Coralina No. 65 is a stunning coral paint, this bright, bold colour is totally unapologetic. Coralina is perfect for those who embrace colour, submerge yourself and use on every wall, or for the less brave, create a feature wall and use accessories to add pops of complementary colours.
Eco Paint Samples are hand painted in two coats of emulsion and cut to A5 (148mm x 210mm). We always recommend that you order a sample first, as colours on the screen may vary from the actual paint.
Order an A5 hand-painted Eco Paint Sample and we will post it to you within 1 - 2 working days.
Features & Benefits
- Highest quality & technically advanced raw materials
- Cruelty-free & Vegan blue paint
- Eco friendly paint
- Solvent-free, water-based paint, with ultra low VOC content
- Superb coverage in a luxury flat matt finish
- Exceptionally low odour blue paint
- Highly durable, low staining, with excellent washable properties
Approx. 14m2 per litre or 35m2 per 2.5 litre tin (depending on roller type used and the porosity of the wall).
For more information on this product please email email@example.com
Their Eco Paint has the following qualities and benefits:
Beautiful colours.
Exceptional quality & opacity.
Durable, colourfast & washable.
Easy application.
Virtually VOC-(Volatile Organic Compound) free.
Exceptionally low odour.
Where possible, Victory Colours works with FSC (Forest Stewardship Council) accredited suppliers who hold the same eco-friendly values as them, produce minimal waste, use sustainable packaging, and are based in the UK. All of their paper products are from sources with either FSC, PEPC (Programme for the Endorsement of Forest Certification) or Blue Angel Accreditation. This means they all hail from responsible, well-managed sources. All of the manufacturing is completed in Lancashire, and is distributed throughout the UK by courier.
Left over paints are rarely wasted. In the studio, any paints which are off-colour are retinted and then reused. They are also donated to community projects, passed on to friends and family or used for upcycling projects. At the end of its life cycle, the paint tin can also be re-used or recycled at your local recycling centre.
1. Stir all paints before use.
2. Surfaces must be clean, dry and sound. If not they should be sanded and appropriately prepared. Bare plaster and other porous surfaces should be sealed by using a paint diluted using 25% additional water.
3. Being a water-based product it is best to protect the opened wet paint from airborne and surface bacteria . To avoid spoilage it is best to decant the paint into a paint tray or paint kettle and not to place the brush or roller directly into the paint tin, unless you intend to use it all at one time. Also avoid putting unused paint back into the paint tin as this will introduce unwanted bacteria into the paint and potentially cause spoilage of the product.
4. Victory Colours paint has great opacity so often only one coat will suffice. Occasionally a second coat will be required to produce a flawless finish.
5. The paint will be touch dry in 2 hours but we recommend waiting 4 hours to re-coat, ensuring that the surface is completely dry, under normal environmental conditions.
6. Clean brushes and rollers with warm soapy water after use.
Free Delivery.


text:
These terms and conditions apply to the use of this Web Site and in accessing or using or browsing this Web Site, you agree to be bound by these terms and conditions. If you do not accept these terms and conditions, then you must refrain from using this Web Site. For the purposes of these terms and conditions, "this Web Site" shall mean www.visualimpactmagazine.com
Visual Impact Magazine published on behalf of Visual Connections Australia Ltd Any reference to "we", "our" or "us" in these terms and conditions shall mean Visual Impact Magazine.
We reserve the right to review and amend these terms and conditions and our disclaimer from time to time. Amendments will be effective immediately and Visual Impact Magazine has no obligation to notify you of such amendments. We recommend that you check this page for amendments each time you revisit this website. Your browsing of this website will represent an agreement by you to be bound by the terms and conditions as amended.
Visual Connections Australia Ltd does not accept any responsibility or liability for any direct, indirect, incidental, consequential, special, exemplary or punitive damage, or for any loss of profit, income or any intangible losses, or any claims, costs, expenses, or damage, whether in contract, tort (including negligence), equity or otherwise, arising directly or indirectly from, or connected with, your use or inability to use or access this website or any linked web site or your reliance on information contained in or accessed through this website. Visual Connections Australia Ltd reserves the right to use supplied content obtained via email, website news, suppliers agents, employees and other supplier sources deemed 'general domain' in news feeds, social media,VI eNews, VI magazines, Trade Show announcements and the like as Visual Connections Australia Ltd deems appropriate. To the extent permitted by law, any condition or warranty, whether express or otherwise implied into these terms and conditions, including fitness for purpose, accuracy, currency or completeness, is hereby excluded.
You must ensure that your access to this Web Site is not illegal or prohibited by laws which apply to you. You must take your own precautions to ensure that the process which you employ for accessing this Web Site does not expose you to the risk of viruses, malicious computer code or other forms of interference which may damage your computer system. Visual Connections Australia Ltd does not accept responsibility or liability for any interference or damage to your computer system which arises in connection with your use of this website or any linked website. All information provided by this Web Site is intended to be general in nature and you should not rely on it in connection with the making of any decision. While we have no reason to believe that any information contained on this Web Site is inaccurate, incomplete or misleading, we do not warrant the accuracy, adequacy or completeness of such information. Visual Connections Australia Ltd does not accept any responsibility or liability for any loss or damage suffered as a result of reliance by you upon the accuracy, completeness or currency of information contained on this website.
Visual Impact Magazine on behalf of Visual Connections Australia Ltd respects your privacy and is committed to protecting your personal information that you provide to us. This statement explains our policies and practices regarding the use and disclosure of your personal information by Visual Connections Australia Ltd. Please note that, Visual Connections Australia Ltd reviews and updates this Privacy Policy from time to time as needed without notice. Therefore, you should review the terms of this policy periodically to make sure that you are aware of how Visual Connections Australia Ltd collects and uses personal information. By using our web site, you consent to the collection and use of your personal information by Visual Connections Australia Ltd as explained below.
You have complete control over your personal information. In general, you can visit our web site without providing us with any personal information. However, there are instances where we must have your personal information in order for us to grant you an access to our protected and secured sites. This information may include registration data (your name, address, email address, phone number, title, etc.), information request data and response data ("User Information"). When you receive your confirmation email or when you receive any email from the list server, you will be given instructions on how to remove yourself from the list.
We intend to use such information for purposes of supporting your and your employers relationship with Visual Impact Magazine by designing a web site content that is suitable to your needs and alerting you to new material and media offerings as they become available. This User Information may be retained by Visual Connections Australia Ltd to verify compliance with the agreement between Visual Connections Australia Ltd and your employer, to keep track of the domains from which people visit us, to create a user profile to better serve you and your employer, or to simply contact you either electronically or otherwise. If you decide that we should not use your personal User Information to contact you, please let us know and we will not use that information for such purpose. However, please do not submit any User Information if you are less than 18 years of age.
Visual Impact Magazine does not sell, trade or transfer User Information to third parties. However, we may share User Information with our business partners for marketing, advertising or product/service offering purposes. For example, we provide User Information to our service providers for direct emailing of our newsletters, online surveys or notifications on Visual Impact Magazine Offerings to our viewers. We also disclose User Information if: we have your consent; we need to share it in order to provide you with the products and/or services you requested; we respond to a court order or you violate our Terms of Use. You may separately agree to provide your personal information to third parties that provide content for Visual Impact Magazine Offerings, in order to access and/or use their products and/or services. If you agree to provide such information to these third parties, then your personal information will be subject to their privacy policies.
The accuracy and security of the User Information is important to Visual Impact Magazine. Currently, you may review and request updates to your User Information retained by contacting Visual Impact Magazine. If you contact us to correct your User Information, we will attempt to correct such inaccuracies in a timely manner. Visual Impact Magazine is concerned with the security of your User Information and is committed to taking reasonable steps to protect it from unauthorized access and use of that personal information. To that end, we put in place the appropriate physical, electronic and managerial policies and procedures to secure your personal User Information. We also continue to implement procedures to maintain accurate, complete and current User Information.
Access to certain content on our web site may be allowed under a written agreement between you or your employer and Visual Impact Magazine and will require a username and/or password. In some cases, failure to provide personal information may prevent you from accessing certain Visual Impact Magazine web site(s) containing certain confidential information, products, services, or promotional offers ("Visual Industries SA Offerings"). By accessing and using our protected and secured web site(s), you agree to maintain the confidentiality of the username and password you selected to access such site(s) and consent to our Terms & Conditions.
Visual Impact Magazine uses "cookies". A cookie is a small data file that a web site can transfer to a visitor's hard drive to keep records of the visits to such site. A cookie contains information such as your username and password that helps us recognize the pages you have visited and improve future visits, but the only personal information a cookie can contain is the information that you provide yourself. A cookie cannot read data off of your hard drive or read cookie files created by other sites. Information stored in cookies may be encrypted, however, we do not store your credit card number in cookies. If you prefer not to accept a cookie, you can set your web browser (Microsoft Internet Explorer or Netscape Navigator) to warn you before accepting cookies or you can refuse all cookies by turning them off in your web browser. However, access to some of our secured web site(s) may require the use of cookies, which you must enable only cookies that get sent back to the originating server. Otherwise, you can still access most of the features on our web site even without accepting a cookie.
Visual Impact Magazine web site provides links to other third party web sites. Even if the third party is affiliated with Visual Impact Magazine through a business partnership or otherwise, Visual Impact Magazine is not responsible for the privacy policies or practices or the content of such external links. These links are provided to you for convenience purposes only and you access them at your own risk.
Please also see our Terms & Conditions, which describes the restrictions, disclaimers, indemnification and limitation of liability governing the use of the entire Visual Impact Magazine web site.
If you have questions regarding our Privacy Statement, please contact Visual Impact Magazine via our Contact page.


text:
SYSLINUX is a boot loader that is installed on a MS-DOS floppy disk. As directed by it's configuration file \SYSLINUX.CFG it will load one of the files from the floppy disk as a Linux kernel.
SYSLINUX presents a simple text interface that can be used to select between canned configurations defined in the configuration file and can be used to add parameters to the kernel.
ISOLINUX and PXELINUX are variants of SYSLINUX for CD-ROMs and Intel's Preboot Execution Environment.
SYSLINUX supports a variety of serial port speeds, but it only supports eight data bits, no parity and one stop bit. SYSLINUX supports the serial ports COM1: through to COM4:, as with most boot loaders these are written as port 0 through to port 3.
For SYSLINUX to support a serial console add a new first line to \SYSLINUX.CFG:
Figure 4-11. Syntax of SYSLINUX serial command, in EBNF
serial <space> <serial_port> [ <space> <speed> [ <space> <syslinux_flow_control> ] ]
The variables are the same as used by syntax descriptions in Figure 2-7 and Figure 4-2 plus those in Figure 4-12.
Figure 4-12. SYSLINUX serial EBNF variables
<space> ::= ' '
<syslinux_flow_control> ::= <hex_digits>
<hex_digits> ::= 0x<hex_digit><hex_digit><hex_digit>
<hex_digit> ::= 0 | 1 | … | 9 | a | b | … | f
The <syslinux_flow_control> variable controlling the RS-232 status and flow control signals is optional. If your null-modem cable does not present any status or handshaking signals then do not use it. The value of <syslinux_flow_control> is calculated by adding the hexadecimal values for the desired flow control behaviours listed in Table 4-1.
The behaviours for a correctly-wired null-modem cable or a correctly configured modem are marked "Required for full RS-232 compliance" in the table. The sum of these values is 0xab3.
Table 4-1. SYSLINUX flow control bitmap
Flow control behaviour | Hex value | Required for full RS-232 compliance? |
Assert DTR | 0x001 | Yes |
Assert RTS | 0x002 | Yes |
Wait for CTS assertion | 0x010 | Yes |
Wait for DSR assertion | 0x020 | Yes |
Wait for RI assertion | 0x040 | No |
Wait for DCD assertion | 0x080 | Yes |
Ignore input unless CTS asserted | 0x100 | No |
Ignore input unless DSR asserted | 0x200 | Yes |
Ignore input unless RI asserted | 0x400 | No |
Ignore input unless DCD asserted | 0x800 | Yes |
Our preferred configuration of 9600bps, port 0, full RS-232 status signals and CTS/RTS flow control is written as:
When using this configuration SYSLINUX will not display anything and will not accept any typed character until the RS-232 status signals show a connected modem call (or a connected terminal if you are using a null-modem cable). |
If you have a null modem cable with no RS-232 status signals and no flow control then use:
Remember that the serial command must be the first line in \SYSLINUX.CFG.
Закладки на сайте Проследить за страницей |
Created 1996-2024 by Maxim Chirkov Добавить, Поддержать, Вебмастеру |


text:
Ajax Prom Events 360 Photo booth Rental
Elevate Your Prom Night in Ajax with 360 Around U
Are you preparing for the most awaited night of your high school life, the prom night in Ajax? Allow 360 Around U to transform your prom into an extraordinary affair, etching unforgettable memories that will remain with you forever. With our spectacular 360 photo booth rentals, we present an unparalleled experience that will leave an indelible impression on you and your friends.
Our cutting-edge 360 photo booths boast state-of-the-art technology, capturing stunning 360-degree photos and videos, ensuring no magical moment of your special night goes uncaptured. Picture yourselves adorned with a wide array of fun props, and personalize the backdrop and digital overlays to seamlessly align with your prom theme and style. Whether you're grooving on the dance floor, sharing heartfelt laughter, or basking in the enchanting ambiance, our photo booths will preserve every second of joy and camaraderie.
Ajax, with its charm and vibrancy, provides the perfect backdrop for your prom event. As you commemorate this milestone in your lives, our 360 photo booth rentals add an extra layer of entertainment to your prom night, guaranteeing that everyone relishes the moment and departs with a cherished keepsake. Our devoted team takes care of seamless setup, delivery, and on-site support, ensuring you can savor the evening to the fullest.
This is more than just a photo booth; it's an opportunity to forge enduring memories that will resonate long after the final dance and last goodbye. Your prom night in Ajax deserves the very best, and 360 Around U is here to deliver an immersive experience that will transform your prom into an unforgettable occasion.
Contact 360 Around U today to discuss your upcoming prom event in Ajax and secure your 360 photo booth rental. Let us make your prom a night to remember by elevating it with captivating 360 photography. Celebrate this special night surrounded by friends and capture moments of joy, laughter, and heartfelt connections.
With 360 Around U, your prom night in Ajax will be an enchanting celebration that you and your friends will cherish throughout your lives. Embrace the magic of this milestone, and create lasting memories with our exceptional 360 photo booths. Don't miss this chance to elevate your prom and preserve memories that will last a lifetime.
From the moment you step into our 360 photo booth, you'll be immersed in an experience like no other. Our cutting-edge technology captures every angle, allowing you and your friends to pose, laugh, and create unforgettable memories from every perspective. Whether it's a group shot with all your closest friends or a candid moment with your date, our photo booth will ensure that nothing is missed.
The fun doesn't stop with the photos; our booths also come equipped with a range of exciting digital overlays and filters, allowing you to add your own unique touch to each picture. Get creative and let your personality shine through as you customize your images to match your prom theme and style.
As the night unfolds, our 360 photo booth will become the center of attention, drawing guests in with its captivating technology and endless entertainment. Watch as your friends line up to experience the thrill of 360-degree photography, creating a lively and interactive atmosphere that will keep the energy high throughout the night.
And it's not just about the photos - our 360 photo booth also acts as a social hub, bringing people together and encouraging connections. As guests pose and laugh together, barriers break down, and friendships are strengthened. Our photo booth becomes a catalyst for building lasting memories and forging new bonds.
Ajax, with its picturesque landscapes and charming ambiance, serves as the perfect canvas for your Prom Event. Our 360 photo booth rentals will elevate your prom night in Ajax, providing a touch of excitement and fun that will set your celebration apart from the rest. Let the stunning backdrop of Ajax complement the joy and laughter captured within the 360-degree frames, creating a seamless fusion of unforgettable moments and beautiful scenery.
When you choose 360 Around U for your prom in Ajax, you're not just opting for a photo booth; you're investing in an experience that will be remembered for a lifetime. Our professional team will ensure that everything runs smoothly, handling the setup and logistics so you can focus on enjoying the night to the fullest.
So, why settle for a typical prom when you can have a remarkable and immersive experience with our 360 photo booth? Step into the world of captivating 360 photography and let us help you create lasting memories that will be cherished for years to come. Your Prom Night in Ajax will be elevated to new heights with our state-of-the-art photo booth, ensuring that the magic of the evening lives on forever in the hearts of you and your friends.
Don't let this special occasion pass you by; make your prom night in Ajax an unforgettable celebration with 360 Around U. Contact us today to secure your 360 photo booth rental and prepare for a night of joy, laughter, and memories that will last a lifetime. Allow us to be a part of your prom journey, capturing moments that define the essence of youth, friendship, and the joy of living life to the fullest. Your prom night in Ajax awaits - let's create something extraordinary together!


text:
LööK set - Brassin pre-painted dashboard and STEEL seatbelts for P-51D in 1/48 scale.
Recommended kit: Eduard
The dashboard is designed for subversions P-51D-15+.
Easy to assemble, replaces plastic parts.
Set contains:
- resin: 3 parts
- decals: no
- photo-etched details: yes, pre-painted
- painting mask: no
Estimate shipping
Payment & Security
Your payment information is processed securely. We do not store credit card details nor have access to your credit card information.


text:
- 1In the absence of an adequacy decision pursuant to Article 45(3), or of appropriate safeguards pursuant to Article 46, including binding corporate rules, a transfer or a set of transfers of personal data to a third country or an international organisation shall take place only on one of the following conditions:
- the data subject has explicitly consented to the proposed transfer, after having been informed of the possible risks of such transfers for the data subject due to the absence of an adequacy decision and appropriate safeguards;
- the transfer is necessary for the performance of a contract between the data subject and the controller or the implementation of pre-contractual measures taken at the data subject's request;
- the transfer is necessary for the conclusion or performance of a contract concluded in the interest of the data subject between the controller and another natural or legal person;
- the transfer is necessary for important reasons of public interest;
- the transfer is necessary for the establishment, exercise or defence of legal claims;
- the transfer is necessary in order to protect the vital interests of the data subject or of other persons, where the data subject is physically or legally incapable of giving consent;
- the transfer is made from a register which according to Union or Member State law is intended to provide information to the public and which is open to consultation either by the public in general or by any person who can demonstrate a legitimate interest, but only to the extent that the conditions laid down by Union or Member State law for consultation are fulfilled in the particular case.
2Where a transfer could not be based on a provision in Article 45 or 46, including the provisions on binding corporate rules, and none of the derogations for a specific situation referred to in the first subparagraph of this paragraph is applicable, a transfer to a third country or an international organisation may take place only if the transfer is not repetitive, concerns only a limited number of data subjects, is necessary for the purposes of compelling legitimate interests pursued by the controller which are not overridden by the interests or rights and freedoms of the data subject, and the controller has assessed all the circumstances surrounding the data transfer and has on the basis of that assessment provided suitable safeguards with regard to the protection of personal data. 3The controller shall inform the supervisory authority of the transfer. 4The controller shall, in addition to providing the information referred to in Articles 13 and 14, inform the data subject of the transfer and on the compelling legitimate interests pursued.
- 1A transfer pursuant to point (g) of the first subparagraph of paragraph 1 shall not involve the entirety of the personal data or entire categories of the personal data contained in the register. 2Where the register is intended for consultation by persons having a legitimate interest, the transfer shall be made only at the request of those persons or if they are to be the recipients.
- Points (a), (b) and (c) of the first subparagraph of paragraph 1 and the second subparagraph thereof shall not apply to activities carried out by public authorities in the exercise of their public powers.
- The public interest referred to in point (d) of the first subparagraph of paragraph 1 shall be recognised in Union law or in the law of the Member State to which the controller is subject.
- 1In the absence of an adequacy decision, Union or Member State law may, for important reasons of public interest, expressly set limits to the transfer of specific categories of personal data to a third country or an international organisation. 2Member States shall notify such provisions to the Commission.
- The controller or processor shall document the assessment as well as the suitable safeguards referred to in the second subparagraph of paragraph 1 of this Article in the records referred to in Article 30.
Art. 49 GDPR Derogations for specific situations
Table of contents