Tools: windows-privesc-check - Standalone Executable to Check for Simple Privilege Escalation Vectors on Windows Systems         

          I am so in love with my tattoo        

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blog entry 73

blog entry 30
blog entry 70

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official mercedes f800 style
blog entry 7

          Ð’ векторе винтажные рамки с цветочным декором | Hand Drawn Vintage Frame Vector        
В векторе винтажные рамки с цветочным декором | Hand Drawn Vintage Frame Vector

В векторе винтажные рамки с цветочным декором | Hand Drawn Vintage Frame Vector


22 EPS | + Preview | 129 mb

          ÐŸÐ¾Ð´Ð°Ñ€Ð¾Ñ‡Ð½Ñ‹Ðµ карты с цветными бантиками - векторная подборка | Gift card Template - Vector        
Подарочные карты с цветными бантиками - векторная подборка | Gift card Template - Vector

Подарочные карты с цветными бантиками - векторная подборка | Gift card Template - Vector


8 EPS | + Preview | 82 mb

          Ð¡ÐºÐ¸Ð´ÐºÐ¸ - в векторе элегантные баннеры, карточки с лентами и бантами | Elegant Sale Banners And Card Vector        
Скидки - в векторе элегантные баннеры, карточки с лентами и бантами | Elegant Sale Banners And Card Vector

Скидки - в векторе элегантные баннеры, карточки с лентами и бантами | Elegant Sale Banners And Card Vector


8 EPS | + Preview | 25 mb

          Ð’ векторе летние цветочные фоны, рамки, цифры с декором из цветов | Summer vector background, floral numbers        
В векторе летние цветочные фоны, рамки, цифры с декором из цветов | Summer vector background, floral numbers

В векторе летние цветочные фоны, рамки, цифры с декором из цветов | Summer vector background, floral numbers
16 files | EPS + preview | 225 Mb

          Ð¡Ð²ÐµÐ¶Ð¸Ðµ мясные продукты - векторные фоны | Background with vector meat products        
Свежие мясные продукты - векторные фоны | Background with vector meat products

Свежие мясные продукты - векторные фоны | Background with vector meat products
14 files | EPS + preview | 140 Mb

          ÐšÐ¾Ð½Ñ‚урные иконки - векторная коллекция | Outline icons collection vector        
Контурные иконки - векторная коллекция | Outline icons collection vector


Контурные иконки - векторная коллекция | Outline icons collection vector
EPS | 6 files | 52.42 Mb

          ÐšÐ¾Ñ„ейные логотипы и эмблемы - подборка в векторе | Logos and badges vector        
Кофейные логотипы и эмблемы - подборка в векторе | Logos and badges vector

Кофейные логотипы и эмблемы - подборка в векторе | Logos and badges vector
EPS | 14 files | 64.3 Mb

          ÐšÐ¾Ð½Ñ‚урные веб иконки - векторная мега коллекция | Outline web icons collection vector        
Контурные веб иконки - векторная мега коллекция | Outline web icons collection vector


Контурные веб иконки - векторная мега коллекция | Outline web icons collection vector
EPS | 30 files | 105.37 MB

          ÐšÐ¾Ð½Ñ‚урные веб иконки - векторная мега коллекция | Outline web icons collection vector 2        
Контурные веб иконки - векторная мега коллекция | Outline web icons collection vector 2


Контурные веб иконки - векторная мега коллекция | Outline web icons collection vector 2
EPS | 19 files | 74.37 MB

          Ð¡Ñ‚ильные абстрактные бизнес флаеры, брошюры - векторные макеты | Brochure or flyer magazine cover mockup vector        
Стильные абстрактные бизнес флаеры, брошюры - векторные макеты | Brochure or flyer magazine cover mockup vector

Стильные абстрактные бизнес флаеры, брошюры - векторные макеты | Brochure or flyer magazine cover mockup vector
EPS | 25 files | 130.28 Mb

          Ð‘изнес баннеры - концептуальные шаблоны в векторе | Templates flat design concept vector set        
Бизнес баннеры - концептуальные шаблоны в векторе | Templates flat design concept vector set

Бизнес баннеры - концептуальные шаблоны в векторе | Templates flat design concept vector set
EPS | 21 files | 105.57 Mb

          ÐšÑ€Ð°ÑÐ¾Ñ‡Ð½Ñ‹Ðµ ваучеры, подарочные карты с абстрактным дизайном в векторе | Voucher and gift cards vector        
Красочные ваучеры, подарочные карты с абстрактным дизайном в векторе | Voucher and gift cards vector

Красочные ваучеры, подарочные карты с абстрактным дизайном в векторе | Voucher and gift cards vector
EPS | 25 files | 111.09 Mb

          Ð’ векторе стильные бизнес визитки | Business Cards Templates vector        
В векторе стильные бизнес визитки | Business Cards Templates vector

В векторе стильные бизнес визитки | Business Cards Templates vector
EPS | 9 files | 80.34 Mb

          Ð£ÑÑ‚ройства с навигацией для дизайна сайта - векторный клипарт | Web site design template navigation elements vector        
Устройства с навигацией для дизайна сайта - векторный клипарт | Web site design template navigation elements vector


Устройства с навигацией для дизайна сайта - векторный клипарт | Web site design template navigation elements vector
EPS | 11 files | 86.37 Mb

          Ð’ векторе пригласительные билеты на свадьбу, меню ресторана | Wedding invitation ticket and menu vector        
В векторе пригласительные билеты на свадьбу, меню ресторана | Wedding invitation ticket and menu vector

В векторе пригласительные билеты на свадьбу, меню ресторана | Wedding invitation ticket and menu vector
EPS | 11 files | 86.37 Mb

          Ð’егетарианское меню - шаблоны в векторе | Vegetarian food and Seafood menu vector        
Вегетарианское меню - шаблоны в векторе | Vegetarian food and Seafood menu vector

Вегетарианское меню - шаблоны в векторе | Vegetarian food and Seafood menu vector
EPS | 38 files | 3447.21 Mb

          Ð’ векторе красочные ваучеры, подарочные карты | Voucher and gift cards vector        
В векторе красочные ваучеры, подарочные карты | Voucher and gift cards vector

В векторе красочные ваучеры, подарочные карты | Voucher and gift cards vector
EPS | 20 files | 117.12 Mb

          Ð‘изнес визитки в стиле модерн - векторная подборка | Business Cards modern vector        
Бизнес визитки в стиле модерн - векторная подборка | Business Cards modern vector

Бизнес визитки в стиле модерн - векторная подборка | Business Cards modern vector
EPS | 5 files | 90.70 Mb

          Ð•Ð´Ð°, Рождество, спорт, бизнес - концептуальные иконки - векторная мега коллекция | Templates flat design concept set vector        
Еда, Рождество, спорт, бизнес - концептуальные иконки - векторная мега коллекция | Templates flat design concept set vector

Еда, Рождество, спорт, бизнес - концептуальные иконки - векторная мега коллекция | Templates flat design concept set vector
EPS | 32 files | 247.45 Mb

          Ð¡ÐµÑ€Ñ‚ификаты - элегантные шаблоны в векторе | Certificate elegant template vector        
Сертификаты - элегантные шаблоны в векторе | Certificate elegant template vector

Сертификаты - элегантные шаблоны в векторе | Certificate elegant template vector
EPS | 14 files | 65.19 Mb

          Ð£Ð¿Ð°ÐºÐ¾Ð²Ð¾Ñ‡Ð½Ñ‹Ðµ наклейки со знаками, символами - векторная коллекция | Packaging stickers symbols vector        
Упаковочные наклейки со знаками, символами - векторная коллекция | Packaging stickers symbols vector

Упаковочные наклейки со знаками, символами - векторная коллекция | Packaging stickers symbols vector
EPS | 21 files | 131.37 Mb

          Ð‘изнес инфографика - яркие диаграммы в векторе | Infographic and diagram business design vector        
Бизнес инфографика - яркие диаграммы в векторе | Infographic and diagram business design vector

Бизнес инфографика - яркие диаграммы в векторе | Infographic and diagram business design vector
EPS | 16 files | 81.61 Mb

          ÐÐ±ÑÑ‚рактные бизнес флаеры, обложки для книг, брошюр - векторный клипарт | Brochure or flyer magazine cover mockup vector        
Абстрактные бизнес флаеры, обложки для книг, брошюр - векторный клипарт | Brochure or flyer magazine cover mockup vector

Абстрактные бизнес флаеры, обложки для книг, брошюр - векторный клипарт | Brochure or flyer magazine cover mockup vector
EPS | 34 files | 226.45 Mb

          ÐšÑ€Ð°ÑÐ¾Ñ‡Ð½Ñ‹Ðµ мозаичные фоны - векторный клипарт | Colored mosaic vector background        
Красочные мозаичные фоны - векторный клипарт | Colored mosaic vector background

Красочные мозаичные фоны - векторный клипарт | Colored mosaic vector background
EPS | 22 files | 117.53 Mb

          Ð­Ñ„фектные абстрактные фоны - подборка в векторе | Abstract multilayer vector background        
Эффектные абстрактные фоны - подборка в векторе | Abstract multilayer vector background

Эффектные абстрактные фоны - подборка в векторе | Abstract multilayer vector background
EPS | 25 files | 118.70 Mb

          Ð¦ÐµÐ½Ñ‹ на нефть - элементы для инфографики в векторе | Oil prices infographic design vector        
Цены на нефть - элементы для инфографики в векторе | Oil prices infographic design vector

Цены на нефть - элементы для инфографики в векторе | Oil prices infographic design vector
EPS | 19 files | 83.61 Mb

          Ð¡ÐºÐ»Ð°Ð´Ð½Ñ‹Ðµ бизнес брошюры - векторные шаблоны | Brochure and flyer design template vector        
Складные бизнес брошюры - векторные шаблоны | Brochure and flyer design template vector


Складные бизнес брошюры - векторные шаблоны | Brochure and flyer design template vector
EPS | 25 files | 109.25 Mb

          Ð‘елые пушистые облака - векторный клипарт | Realistic cloud design vector        
Белые пушистые облака - векторный клипарт | Realistic cloud design vector

Белые пушистые облака - векторный клипарт | Realistic cloud design vector
EPS | 22 files | 56.38 Mb

          Ð¡Ð²ÐµÑ‚овые эффекты - коллекция в векторе | Lighting isolated effect vector        
Световые эффекты - коллекция в векторе | Lighting isolated effect vector

Световые эффекты - коллекция в векторе | Lighting isolated effect vector
EPS | 11 files | 56.38 Mb

          Ð’ векторе визитные карточки с цветочным орнаментом | Business cards with a pattern vector        
В векторе визитные карточки с цветочным орнаментом | Business cards with a pattern vector

В векторе визитные карточки с цветочным орнаментом | Business cards with a pattern vector
EPS | 25 files | 56.38 Mb

          Ð Ð¾ÑÐºÐ¾ÑˆÐ½Ñ‹Ðµ эмблемы, фирменные знаки с золотыми геральдическими элементами - подборка в векторе | Logo boutique brand vector        
Роскошные эмблемы, фирменные знаки с золотыми геральдическими элементами - подборка в векторе | Logo boutique brand vector

Роскошные эмблемы, фирменные знаки с золотыми геральдическими элементами - подборка в векторе | Logo boutique brand vector
EPS | 19 files | 94.23 Mb

          Ð›Ð¾Ð³Ð¾Ñ‚ипы, эмблемы - векторная коллекция | Logos and badges vector        
Логотипы, эмблемы - векторная коллекция | Logos and badges vector

Логотипы, эмблемы - векторная коллекция | Logos and badges vector
EPS | 7 files | 94.23 Mb

          ÐšÐ¾Ñ€Ð¿Ð¾Ñ€Ð°Ñ‚ивная идентичность - офисные принадлежности с абстрактным дизайном в векторе | Corporate identity mockup vector        
Корпоративная идентичность - офисные принадлежности с абстрактным дизайном в векторе | Corporate identity mockup vector

Корпоративная идентичность - офисные принадлежности с абстрактным дизайном в векторе | Corporate identity mockup vector
EPS | 28 files | 214.56 Mb

          Ð¦Ð²ÐµÑ‚ные бизнес иконки - векторная коллекция | Various icons vector        
Цветные бизнес иконки - векторная коллекция | Various icons vector

Цветные бизнес иконки - векторная коллекция | Various icons vector
EPS | 7 files | 59.51 Mb

          Ð›Ð¾Ð³Ð¾Ñ‚ипы, эмблемы - векторная коллекция | Logos and badges vector 2        
Логотипы, эмблемы - векторная коллекция | Logos and badges vector 2

Логотипы, эмблемы - векторная коллекция | Logos and badges vector 2
EPS | 25 files | 76.53 Mb

          Ð’ векторе красочные концептуальные бизнес фоны, баннеры, иконки | Templates flat design concept set vector        
В векторе красочные концептуальные бизнес фоны, баннеры, иконки | Templates flat design concept set vector

В векторе красочные концептуальные бизнес фоны, баннеры, иконки | Templates flat design concept set vector
EPS | 26 files | 126.1 MB

          Ð¡Ñ‚ильные бизнес флаеры, брошюры - векторные шаблоны | Brochure or flyer magazine cover mockup vector        
Стильные бизнес флаеры, брошюры - векторные шаблоны | Brochure or flyer magazine cover mockup vector

Стильные бизнес флаеры, брошюры - векторные шаблоны | Brochure or flyer magazine cover mockup vector
EPS | 22 files | 108.38 MB

          Ð Ð¾ÑÐºÐ¾ÑˆÐ½Ñ‹Ðµ розы - коллекция цветов в векторе | Vector Roses Collection        
Роскошные розы - коллекция цветов в векторе | Vector Roses Collection

Роскошные розы - коллекция цветов в векторе | Vector Roses Collection
Vector 25 | Ai Files+Jpg Preview | Архив: RAR Размер: 20.43 MB

          Ð’ векторе золотые бизнес логотипы | Gold logo business vector illustration        
В векторе золотые бизнес логотипы | Gold logo business vector illustration

В векторе золотые бизнес логотипы | Gold logo business vector illustration
125 files | EPS + preview | 163 Mb

          Ð‘изнес иконки - мега коллекция в векторе | Icons mega vector collection        
Бизнес иконки - мега коллекция в векторе | Icons mega vector collection

Бизнес иконки - мега коллекция в векторе | Icons mega vector collection
12 files | EPS + preview | 64 Mb

          Ð’ векторе золотые бизнес логотипы | Gold logo business vector illustration 2        
В векторе золотые бизнес логотипы | Gold logo business vector illustration 2

В векторе золотые бизнес логотипы | Gold logo business vector illustration 2
25 files | EPS + preview | 133 Mb

          Ð¡Ð¿Ð¾Ñ€Ñ‚, фитнес - мотивационные векторные постеры | Fitness Motivation Poster - Vector        
Спорт, фитнес - мотивационные векторные постеры | Fitness Motivation Poster - Vector

Спорт, фитнес - мотивационные векторные постеры | Fitness Motivation Poster - Vector


21 EPS | + Preview | 68 mb

          Ð¡Ð¼ÐµÑˆÐ½Ð¾Ð¹ купидон - яркие стикеры в векторе | Funny Cupid Sticker - Vector        
Смешной купидон - яркие стикеры в векторе | Funny Cupid Sticker - Vector

Смешной купидон - яркие стикеры в векторе | Funny Cupid Sticker - Vector


3 EPS | + Preview | 14 mb

          Ð¤ÐµÑ€Ð¼ÐµÑ€Ñ‹ работают на ферме - векторный клипарт | Harvesting Farm And Farmer Vector        
Фермеры работают на ферме - векторный клипарт | Harvesting Farm And Farmer Vector

Фермеры работают на ферме - векторный клипарт | Harvesting Farm And Farmer Vector


25 EPS | + Preview | 75 mb

          Ð’екторные баннеры со сладкими десертами: мороженое, кексы, торты, пончики | Ice Cream Cake Donuts Banners Vector        
Векторные баннеры со сладкими десертами: мороженое, кексы, торты, пончики | Ice Cream Cake Donuts Banners Vector

Векторные баннеры со сладкими десертами: мороженое, кексы, торты, пончики | Ice Cream Cake Donuts Banners Vector


25 EPS | + Preview | 127 mb

          ÐšÑ€ÐµÐ°Ñ‚ивные логотипы - векторная коллекция | Logo Vector        
Креативные логотипы - векторная коллекция | Logo Vector

Креативные логотипы - векторная коллекция | Logo Vector
25 EPS | + Preview | 45 mb

          Ð’ векторе светящиеся абстрактные фоны | Abstract Background Collection Vector        
В векторе светящиеся абстрактные фоны | Abstract Background Collection Vector

В векторе светящиеся абстрактные фоны | Abstract Background Collection Vector


15 EPS | + Preview | 78 mb

          Ð Ð¾Ð·Ñ‹ - цветы, цветочные рамки, уголки, композиции - клипарт без фона | Vector Roses Collection        
Розы - цветы, цветочные рамки, уголки, композиции - клипарт без фона | Vector Roses Collection

Розы - цветы, цветочные рамки, уголки, композиции - клипарт без фона | Vector Roses Collection
200 | png | 686 x 1138 ~ 1200 x 935 | Архив: RAR Размер: 100.61 MB

          ASAP expands in Virginia        
08/09/2017

Vector Security announced in early August that Newport News, Va., is now live with Automated Secure Alarm Protocol (ASAP). Newport News joins other municipalities in the state of Virginia using ASAP, such as the City of Richmond, James City County, York County, and Henrico County.

The ASAP to PSAP program, created by The Monitoring Association—formerly CSAA—and the Association of Public Safety Communications Officials automates communication between alarm monitoring central stations and 911 centers.

Transmitting alarm information digitally, results in improved accuracy and faster emergency responses by eliminating the need for communication over the phone between PSAP centers and monitoring centers.

Vector Security was the first alarm company to use ASAP in the City of Richmond, Va. in 2012. Vector Security assisted with implementation in Newport News by helping to perform extensive testing prior to the system going live.

“Alarm users in Newport News, including several hundred Vector Security customers, will benefit from faster and more accurate emergency response with the implementation of ASAP,” Anita Ostrowski, vice president of central station services at Vector Security, said in a prepared statement. “We hope the positive impact that ASAP will bring to Newport News will encourage other major 911 centers in the nation to adopt this technology as well.”

Ostrowski continued, “As a security provider, we seek ways to promote ASAP’s value to municipalities and public agencies, and help other alarm companies implement it for the greater good of the industry and the safety of our communities.”

Other municipalities that have implemented ASAP include Houston and High Point, TX; Washington D.C.; James City County, York County and Henrico County, Va.; Tempe and Chandler, Az.; Boca Raton, Fla.; Cary and Guilford County, N.C.; Kernersville and Durham County, N.C.; Johnston County, N.C.; Denton County and Grand Prairie, Texas; Morgan County, Ala.; Delaware County, Ohio; Bucks County, Pa.; and Highland Park, Texas.


          Free Hand Drawn High Street Shops Vector        
none
          Free Vector Windmill Silhouettes        
none
          Better F# data science with FsLab and Ionide        

At NDC Oslo 2016, I did a talk about some of the recent new F# projects that are making data science with F# even nicer than it used to be. The talk covered a wider range of topics, but one of the nice new thing I showed was the improved F# Interactive in the Ionide plugin for Atom and the integration with FsLab libraries that it provides.

In particular, with the latest version of Ionide for Atom and the latest version of FsLab package, you can run code in F# Interactive and you'll see resulting time series, data frames, matrices, vectors and charts as nicely pretty printed HTML objects, right in the editor. The following shows some of the features (click on it for a bigger version):

In this post, I'll write about how the new Ionide and FsLab integration works, how you can use it with your own libraries and also about some of the future plans. You can also learn more by getting the FsLab package, or watching the NDC talk..


          Ù…وقع للفوتوشب        
السلام عليكم ورحمه الله وبركاته جبتلكم معايا اليوم موقع اجنبى اتمنى انه يعجبكم جميعا محتوياته الموقع :::::>>>> brushes patterns gradients styles shapes fonts vectors icons psd ويجود بالموقع ميزه جديده لا توجد فى غيره وهى تقدر تعمل بروفيل خاص بيك وتشارك اصدقاءك وعمل مجموعات وكمان تقدر تضيف مقالات فى الاقسام وتعرض فى الصفحه الرئيسيه وفى الاقسام وعرض اعمالك الفنيه الخاصه بك وصورك ايضا الخاصه بك اسيبكم تعرفوا بقيه المميزات فى الموقع ده بنفسكم اسف على ...
          De-makeando Bioshock        
Me ha hecho gracia el término que han utilizado en GameSetWach para definir lo siguiente: un demake, o un juego actual que se pasa a la old school, algo así como el Left 4 Dead de NES. Jean-Paul LeBreton, ha adaptado ( o demakeado ) dos niveles de Bioshock, diseñados por él mismo ya que es el jefe de niveles de 2k Marin, al clásico de iD Software Doom 2. Arcadia y Farmer Market's vistos en cuatro polígonos y texturas 16 bits. La única que ha tenido pelotas de hacer algo similar es Capcom y sus Megamanes digitales y Dark Void Zero. Para jugar a estos mapas demakeados, los podéis descargar desde el blog de Jean-Paul si tenéis Doom 2 instalado.


          Chaise industriel Tolix modèle A        
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          Chaises d'Ecole Métal Mullca Déco Brocante Industriel no Tolix        
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          Anciennes chaises MULTIPL' S tolix de bistrot        
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          Chaise métal style Tolix        
49,00 EUR
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          LOT DE 6 CHAISES VINTAGE INDUSTRIEL METAL TOLIX FERMOD BRASSERIE BISTROT JARDIN        
200,00 EUR
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          chaise TOLIX décapée deco loft_style industriel        
35,00 EUR (0 Enchères)
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          Meuble Métier Vintage 7 Chaises TOLIX Bistrot Terrasse Métal Industrielle 1960        
460,00 EUR
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          2 chaises TOLIX        
49,00 EUR (0 Enchères)
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          CHAISE ANCIEN FERMOB TOLIX MéTAL T2 DESIGN INDUSTRIEL BISTROT/ loan        
250,00 EUR
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          2 chaises Tolix avec galette cuir Tolix neuves!        
300,00 EUR
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          Xavier PAUCHARD Ed Tolix - Lot de Chaises métal design chair        
320,00 EUR
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          Chaise Tolix Métal & Bois Années 50/60 - Indus,Loft, Atelier        
30,00 EUR
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          Chaise métal style Tolix        
49,00 EUR
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          TOLIX MÉTAL CHAISES BLEU ACIER ROUGE TERNIE GALVANISÉ TABLE RÉTRO FRANÇAIS        
44,50 EUR
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          Rare Ancienne Chaise Fauteuil Original TOLIX AUTUN Vintage,French Antique Chair        
390,00 EUR
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          Série de 4 Fauteuils publicitaire en tôle pliée design TOLIX PAUCHARD         
390,00 EUR
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          Fauteuils, chaises et table TOLIX des années 60        
590,00 EUR
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          Chaises d'Ecole en Métal Anciennes Déco Industrielle Loft No Tolix Mullca         
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          Meuble Métier Vintage 6 Chaises TOLIX Bistrot Terrasse Métal Industrielle 1960        
395,00 EUR
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          lot de 4 Chaises TOLIX         
219,00 EUR
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          Vends lot 4 chaises A marque Tolix coloris vert sapin        
500,00 EUR
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          TOLIX MÉTAL TABOURET DE BAR AVEC DOS ACIER BROSSÉ - RÉTRO CHAISE FRANÇAIS BISTRO        
46,95 EUR
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          lot de 2 chaises Tolix Xavier Pauchard Style - Métal doré        
170,00 EUR
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          2 Chaise René Herbst / Robert Mallet Stevens MOBILOR -no lampe gras jielde tolix        
49,90 EUR
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          PAIRE CHAISE METAL BOIS DESIGN INDUSTRIEL 30 50 DLG ARMée HERBST TOLIX        
180,00 EUR
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          4 fauteuils empilables SURPIL PORCHE années 30 MALLET STEVENS no chaise tolix        
299,00 EUR
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          CHAISES EN FER STYLE TOLIX x 4        
580,00 EUR
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          TOLIX METAL CHAIRS STEEL BLUE RED TARNISHED GALVANISED TABLE RETRO FRENCH BISTRO        
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          Tolix Stuhl A Metall Eisen Metall ORIGINAL chair Xavier Pauchard         
345,00 EUR
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          Chaise Fauteuil métal industrielle TOLIX FERMOB de stryle thonet LOT X4 /         
500,00 EUR
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          Blue Abstract Background Vector Graphic        

[Read More…]


          Triangle Abstract Background        

[Read More…]

          CHAISES EN FER STYLE TOLIX x 6        
870,00 EUR
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          Digital Mesh Network Abstract Background        

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          Abstract Tridimensional Vector Background        

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          Abstract Design Background Vector        

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          BRUSHED STEEL TOLIX METAL BAR STOOL WITH, WITHOUT BACK RETRO FRENCH BISTRO CHAIR        
33,17 EUR
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          Color Abstract Background        

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          Purple Red Shiny Wave Abstract Background        

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          Blue Shiny Wave Abstract Background        

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          TOLIX MÉTAL CHAISES ACIER TERNIE GALVANISÉ BLEU ROUGE TABLE FRANÇAIS BISTRO        
44,60 EUR
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          Green Shiny Wave Abstract Background        

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          TOLIX METAL CHAIRS STEEL TARNISHED GALVANISED BLUE RED TABLE FRENCH BISTRO RETRO        
42,03 EUR
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          Abstract Light Bokeh Background        

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          ACIER BROSSÉ TOLIX MÉTAL TABOURET DE BAR AVEC,SANS ARRIÈRE RÉTRO FRANÇAIS BISTRO        
34,85 EUR
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          NEW TOLIX TARNISHED METAL CHAIRS & TABLES WOODEN SEAT RETRO FRENCH BISTRO STEEL        
44,23 EUR
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          TOLIX TERNIE MÉTAL CHAISES & TABLES EN BOIS SIÈGE RÉTRO FRANÇAIS BISTRO ACIER        
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          SATIN BLACK TOLIX METAL BAR STOOL WITH OR WITHOUT BACK RETRO FRENCH BISTRO CHAIR        
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          Tolix Stuhl A creme ORIGINAL chair        
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          Tolix Stuhl A weiß ORIGINAL chair        
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          Tolix Stuhl A rot ORIGINAL chair        
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          NEW TOLIX METAL BAR STOOL WITH BACK BRUSHED STEEL - RETRO CHAIR FRENCH BISTRO        
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          SATIN NOIR TOLIX MÉTAL TABOURET DE BAR AVEC/SANS ARRIÈRE RÉTRO FRANÇAIS BISTRO        
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          16 chevilles bois pour patins chaise tolix neuf jamais servi        
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          tolix table et chaises.vintage industriel deco loft        
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          Tolix Stuhl A pink ORIGINAL chair        
195,00 EUR
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          Chaise ecole maternelle mullca tolix en métal décapé et patiné ---cdkreation--        
49,00 EUR
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          SET DI DUE SEDIE MODELLO "TOLIX" IN ACCIAIO ZINCATO        
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          SET DI DUE SEDIE MODELLO "TOLIX" IN ACCIAIO BIANCO        
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          Tolix Hocker 45 cm brut verni brillant tabouret Metall Eisen ORIGINAL        
155,00 EUR
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          Tolix Stuhl AC galvanise verni Zink verzinkt Metall Eisen ORIGINAL chair        
269,00 EUR
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          Table et 4 chaises TOLIX T2        
225,00 EUR
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          Chaise enfant en métal dans le style Tolix        
39,00 EUR
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          SEDIA MODELLO "TOLIX" IN ACCIAIO BIANCO        
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          SEDIA MODELLO "TOLIX" IN ACCIAIO ZINCATO        
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           3 ancienne CHAISES DE BISTROT TOLIX,bar ,loft,usine,vintage,no émaillée        
120,00 EUR
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          sedia in metallo vintage industriale TOLIX epoca , originale         
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          NEW TOLIX METAL CHAIRS BRUSHED STEEL WITH CLEAR LACQUER RETRO FRENCH BISTRO        
42,02 EUR
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          NEUF TOLIX MÉTAL CHAISES ACIER BROSSÉ AVEC VERNIS INCOLORE RÉTRO FRANÇAIS BISTRO        
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          livre RENOVER LE MOBILIER VINTAGE chaise tolix bureau industriel bienaise        
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          Chaise pour enfant entièrement en métal dans le style Tolix        
39,00 EUR
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          CATALOGUE TOLIX 2013 90 pages design meubles chaises        
10,00 EUR
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          rare catalogue de fournitures médicales des années 20 - chaise tolix - rare        
43,00 EUR
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          TOLIX MÉTAL CHAISES ANGOISSÉ ROUGE PEINTURE & EN BOIS SIÈGE RÉTRO FRANÇAIS        
49,77 EUR
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          CD-i 180 internals        
In the previous post I promised some ROM and chip finds. Well, here goes. To understand some of the details, you'll need some microprocessor and/or digital electronics knowledge, but even without that the gist of the text should be understandable.

The CDI 181 MMC unit contains the so-called Maxi-MMC board that is not used in any other CD-i player. Its closest cousin is the Mini-MMC board that is used in the CD-i 605 and CD-i 220 F1 players (a derivative of it is used in the CD-i 350/360 players).

The Mini-MMC board uses two 68HC05 slave processors for CD and pointing device control (they are usually called SERVO and SLAVE). The Maxi-MMC board does not have these chips, but it does have two PCF80C21 slave processors labeled RSX and TRANSDUCER that perform similar functions.

From their locations on the board I surmise that the RSX performs CD control functions; I know for sure that the TRANSDUCER performs only pointing device control. The latter is connected to the main 68070 processor via an I2C bus (I've actually traced the connections); I'm not completely sure yet about the RSX.

In order to emulate the pointing devices in CD-i Emulator, I had to reverse engineer the I2C protocol spoken by the TRANSDUCER chip; this was mostly a question of disassembling the "ceniic" and "periic" drivers in the ROM. The first of these is the low-level driver that serves as the common control point for the I2C bus; the second is the high-level driver that is instantiated separately for each type of pointing device. The ROMs support three such devices: /cdikeys, /ptr and /ptr2, corresponding to the player control keys and first and second pointing devices (the first pointing device is probably shared between the infrared remote sensor and the left pointing device port). Both pointing devices support absolute (e.g. touchpad) as well as relative (e.g. mouse) positioning.

Note that there is no built-in support for a CD-i keyboard or modem (you could use a serial port for this purpose).

However, knowing the I2C protocol does not tell me the exact protocol of the pointing devices, which therefore brings me no closer to constructing a "pointing device" that works with the two front panel MiniDIN-9 connectors. Note that these connectors are physically different from the MiniDIN 8 pointing device connectors used on most other CD-i players. According to the Philips flyers, these connectors have 6 (presumably digital) input signals and a "strobe" (STB) output signal. From the signal names I can make some educated guesses about the probable functions of the signals, but some quick tests with the BTN1 and BTN2 inputs did not pan out and it could be too complicated to figure out without measurement of a connected and working pointing device.

There is, however, also an infrared remote sensor that is supposed to expect the RC5 infrared signal protocol. This protocol supports only 2048 separate functions (32 groups of 64 each) so it should not be impossible to figure out, given a suitably programmable RC5 remote control or in the best case a PC RC5 adapter. I've been thinking about building one of the latter.

There is also a third possibility of getting a working pointing device. Although the case label of the front MiniDIN 8 connecter is "CONTROL", the Philips flyers label it "IIC" which is another way of writing "I2C", although they don't give a pinout of the port. It seems plausible that the connector is connected to the I2C bus of the 68070, although I haven't been able to verify that yet (the multimeter finds no direct connections except GND, so some buffering must be involved). If there is indeed a connection, I would be able to externally connect to that bus and send and receive the I2C bus commands that I've already reverse engineered.

If even this doesn't work, I can always connect directly to the internal I2C bus, but that involves running three wires from inside the player to outside and I'm not very keen on that (yet, anyway).

Now, about the (so far) missing serial port. There is a driver for the 68070 on-chip UART in the ROMs (the u68070 driver which is accessible via the /t2 device), and the boot code actually writes a boot message to it (CD-i Emulator output):
  PHILIPS CD-I 181 - ROM version 23rd January, 1992.
Using CD_RTOS kernel edition $53 revison $00
At first I thought that the UART would be connected to the "CONTROL" port on the front, but that does not appear to be the case. Tonight I verified (by tracing PCB connections with my multimeter) that the 68070 serial pins are connected to the PCB connector on the right side (they go through a pair of SN75188/SN75189 chips and some protection resistors; these chips are well-known RS232 line drivers/receivers). I even know the actual PCB pins, so if I can find a suitable 100-pins 0.01" spaced double edge print connector I can actually wire up the serial port.

Now for the bad news, however: the ROMs do not contain a serial port download routine. They contain a host of other goodies (more below) but not this particular beast. There is also no pointing device support for this port, contrary to all other players, so connecting up the serial port would not immediately gain me anything, I still need a working pointing device to actually start a CD-i disc…

There are no drivers for other serial ports in the ROMs, but the boot code does contain some support for a UART chip at address $340001 (probably a 68681 DUART included in the CDI 182 unit which I don't have). The support, however, is limited to the output of boot messages although the ROMs will actually prefer this port over the 68070 on-chip device if they find it.

As is to be expected from a development and test player, there is an elaborate set of boot options, but they can only be used if the ROMs contain the signature "IMS-TC" at byte offset $400 (the ROMs in my player contains FF bytes at these locations). And even then the options prompt will not appear unless you press the space bar on your serial terminal during player reset.

However, adding a -bootprompt option that handles both the signature and the space bar press to CD-i Emulator was not hard, and if you use that option with the 180 ROMs the following appears when resetting the player:
  PHILIPS CD-I 181 - ROM version 23rd January, 1992.

A-Z = change option : <BSP> = clear options : <RETURN> = Boot Now

Boot options:- BQRS
As specified, you can change the options by typing letters and pressing Enter will start the boot process with the specified options.

From disassembling the boot code of the ROMs I've so far found the following options:

D = Download/Debug
F = Boot from Floppy
L = Apply options and present another options prompt (Loop)
M = Set NTSC Monitor mode
P = Set PAL mode
S = Set NTSC/PAL mode from switch
T = Set NTSC mode
W = Boot from SCSI disk (Winchester)

It could be that there's also a C option, and I've as yet not found any implementations of the Q and R options that the ROMs include in the default, but they could be hidden in OS-9 drivers instead of the boot code.

Once set, the options are saved in NVRAM at address $313FE0 as default for prompts during subsequent reboots, they are not used for reboots where the option prompt is not invoked.

Options D, F and W look interesting, but further investigation leads to the conclusion that they are mostly useless without additional hardware.

Pressing lower-case D followed by Enter / Enter results in the following:
Boot options:- BQRSd
Boot options:- BDQRS
Enter size of download area in hex - just RETURN for none
called debugger

Rel: 00000000
Dn: 00000000 0000E430 0007000A 00000000 00000000 00000001 FFFFE000 00000000
An: 00180B84 00180570 00313FE0 00410000 00002500 00000500 00001500 000014B0
SR: 2704 (--S--7-----Z--) SSP: 000014B0 USP: 00000000
PC: 00180D2E - 08020016 btst #$0016,d2
debug:
One might think that entering a download size would perform some kind of download (hopefully via the serial port) but that is not the case. The "download" code just looks at location $2500 in RAM that's apparently supposed to be already filled (presumably via an In-Circuit Emulator or something like it).

However, invoking the debugger is interesting in itself. It looks like the Microware low-level RomBug debugger that is described in the Microware documentation, although I haven't found it in any other CD-i players. One could "download" data with the change command:
debug: c0
00000000 00 : 1
00000001 00 : 2
00000002 15 : 3
00000003 00 :
Not very userfriendly but it could be done. The immediate catch is that it doesn't work with unmodified ROMs because of the "IMS-TC" signature check!

Trying the F option results in the following:
Boot options:- BQRSf
Boot options:- BFQRS
Booting from Floppy (WD 179x controller) - Please wait
This, however, needs the hardware in the CDI 182 set (it lives at $330001). I could emulate that in CD-i Emulator of course, but there's no real point at this time. It is interesting to note that the floppy controller in the CD-i 605 (which I haven't emulated either at this point) is a DP8473 which is register compatible with the uPD765A used in the original IBM PC but requires a totally different driver (it also lives at a different memory address, namely $282001).

Finally, trying the W options gives this:
Boot options:- BQRSw
Boot options:- BQRSW
Booting from RODIME RO 650 disk drive (NCR 5380 SCSI) - Please wait
Exception Error, vector offset $0008 addr $00181908
Fatal System Error; rebooting system
The hardware is apparently supposed to live at $410000 and presumably emulatable; it's identical or at least similar to the DP5380 chip that is found on the CD-i 605 extension board where it lives at $AA0000).

Some other things that I've found out:

The CDI 181 unit has 8 KB of NVRAM but it does not use the M48T08 chip that's in all other Philips players, it's just a piece of RAM that lives at $310000 (even addresses only) and is supported by the "nvdrv" driver via the /nvr device.

In the CD-i 180 player the timekeeping functions are instead performed by a RICOH RP5C15 chip, the driver is appropriately called "rp5c15".

And there is a separate changeable battery inside the case; no "dead NVRAM" problems with this player! I don't know when the battery in my player was last changed but at the moment it's still functioning and had not lost the date/time when I first powered it on just over a week ago.

The IC CARD slot at the front of the player is handled like just another piece of NVRAM; it uses the same "nvdrv" driver but a different device: /icard. According to the device descriptor it can hold 32 KB of data, I would love to have one of those!
          Ø·Ø±ÙŠÙ‚Ø© شحن رصيد مجانا لجميع شبكات العالم و فوادفون و موبينيل و اتصالات         

مجانا وبكمية غير محدودة هل هذا حقيقى ؟ نعم والتجربة خير دليل , ففى الدرس السابق الذى تحدثنا فيه عن طريقة الحصول على رصيد مجانا كان الشرح حول عرض لمدة محدودة من شركة واحدة ,, ولكن فى درس اليوم سنتعرف على طريقة مضمونة 100% ولن تنتهى ابدا إن شاء الله للحصول على رصيد مجانى , فى الفيديو القادم سنتعرف على تلك الطريقة بالتفصيل بالاضافة إلى اثبات الدفع من تلك الطريقة .. ولا تنسوا مشاركة الشرح اذا اعجبكم ! .

رابط البرنامج : 














          SCHWENKLER – O MAGO DO 3D        
Nº74 MOTO REPORT Fevereiro 2008
Nº47 MAGIK TUNNING PLUS Março 2008

Na edição anterior revelámos o talento de um jovem português e a sua paixão pela criação de motos através do método da realidade virtual. Nesta edição terminamos o tema mostrando aquilo que será o expoente máximo, ao nível mundial, e aquilo que um homem e um computador, juntos, são capazes de fazer. Fomos ao encontro de quem faz das suas criações 3D um modo de vida. Na América, Russ Schwenkler (ou “Dangeruss”, que é como gosta de ser chamado no meio), fez uma pausa no seu trabalho para nos revelar alguns segredos da sua magia.

«Sempre tive um fascínio enorme por tudo o que estivesse relacionado com veículos. Em criança coleccionava miniaturas e desenhava eu próprio veículos agressivos. Agora que tenho 46 anos, tenho de admitir… faço a mesma coisa. É engraçado ter conseguido combinar o meu trabalho artístico com o entusiasmo que tenho por máquinas com motor. Profissionalmente os meus desenhos destinam-se a empresas de desenvolvimento na indústria do car tuning, fabricantes de brinquedos, fabricantes de jogos para PC e consolas, e empresas de web design.»

MOTO REPORT: É motociclista?
DANGERUSS: Sou desde 1986. Tive uma data de motos desportivas. A última foi uma Suzuki GSXR1000, com muita potência e muitas alterações personalizadas. Infelizmente os ladrões entraram na minha garagem e levaram-na. Limparam tudo desde os meus capacetes, fatos de cabedal, ferramentas, etc. Ainda não a substituí, mas a nova Ducati 848 é bastante tentadora. Fora as motos sou praticante regular de BTT.
MR: Quando se iniciou no 3D?
D: Foi em 1990. Tive de aprender modelação 3D para o meu emprego de então. Comecei com o 3D Studio® para o MS-DOS®. Na altura não havia o Google®, por isso eu não podia pesquisar pelas centenas de recursos que existem hoje em dia, à distância de um clique. Aprendi por tentativa e erro. Eu sou um admirador do estilo realista (pintura) e com o 3D conseguimos atingir um nível de realismo muito bom e com menor esforço do que se utilizássemos as técnicas de pintura. Há partes da modulação 3D que são comuns, e por isso são aproveitadas. As opções para acrescentar brilho, reflexos ou sombras, simplificam muito o trabalho. É claramente melhor para o artista.
MR: Por que precisam os seus clientes de imagens 3D dos produtos que eles próprios fabricam?
D: Eu tenho trabalhado com todos os vectores (principais, complementares e derivados) da indústria automóvel. Muitos clientes vêm ter comigo para que eu conceba algo que vai existir, mas ainda não existe. Eles esperam, ou necessitam, ver um conceito ou uma imagem antes de ela ser transposta para o mundo real. Por exemplo, a capa e o material promocional de um jogo de corridas para a X-BOX 360® necessitava de um determinado carro. O carro não existia na vida real, mas era importante que aparecesse e que mostrasse uma lista específica de patrocínios, determinadas cores, e que estivesse inserido num ambiente gráfico altamente estilizado. O carro tinha de parecer altamente real, preferencialmente tinha de aparecer numa situação de velocidade. Ora, usando técnicas de modelação 3D, foi-me possível criar este ambiente de fantasia, não sendo portanto necessário construir um carro real, pagar a um piloto e a um fotógrafo, alugar o espaço e retocar o resultado final.
MR: Quanto custa desenhar uma moto?
D: A resposta a essa pergunta não é simples. Para um projecto 3D normal, facilmente despendo quarenta horas para moldar as formas, mais doze horas para acabamentos realísticos e materiais. Como cobro aos clientes por hora, quase sempre os trabalhos ultrapassam os 2.600 euros, mas tudo depende do nível de detalhe. É como quando vamos comprar uma casa.
MR: Que software usa actualmente?
D: Desde o início da minha carreira que uso 3D Studio® e o 3D Studio MAX® da Autodesk®. Já devo ter actualizado as versões mais de uma dúzia de vezes. Para mim, são as que funcionam melhor pois, como ferramentas, são muito poderosas e a capacidade de integrar situações e contextos é literalmente infinita. Para arte digital 2D uso, maioritariamente o Adobe Photoshop CS2® e recorro ao Adobe Illustrator® para tarefas tecnicamente mais precisas como logótipos.
MR: E hardware? A renderização de imagens pode demorar horas infindáveis…
D: Com efeito é preciso alguma potência ao nível da máquina. Actualmente uso 2 processadores Intel® Core Duo® a 3.0GHZ com 4GB de RAM e uma placa gráfica aceleradora bastante dispendiosa. Trabalho em simultâneo com dois monitores Flat-Panel de 22 polegadas.
MR: Que parte do seu trabalho o entusiasma mais?
D: Eu gosto muito de dois aspectos do meu trabalho. Primeiro, é a arte realística. Entusiasma-me criar imagens que mais tarde podem passar a fotos. Adoro incluir o máximo de detalhes possível. Segundo, e em oposição, adoro desenhar motos e outros veículos fantásticos e agressivos, com aerodinâmicas exageradas e pormenores de competição acima da média. Muitas vezes esses veículos têm origens muito humildes. É engraçado pegar num Fiat e transformá-lo num carro de corridas de milhões de dólares.
MR: Já alguma vez criou uma moto para si ou alguém pegou numa das suas motos originais e a mandou construir?
D: Eu não faço muitas criações originais. A maior parte do meu trabalho assenta em desenhos já existentes, ou em modificações dos mesmos. Portanto não há nenhuma criação original minha a rodar na estrada. Mas estou a trabalhar com um australiano que quer produzir um Super Car baseado num Corvette. Tenho-me dedicado à parte da carroçaria. Se alguma vez ele conseguir realizar o projecto será espantoso!
MR: Qual a relevância actualmente do 3D?
D: Nenhuma moto é construída sem ferramentas 3D CAD (Computer Aided Design). A visualização 3D é usada em muitos sectores para produzir imagens indistinguíveis de fotografias. São usadas em anúncios de TV, outdoors, filmes de cinema etc. Os construtores de motos conseguem mostrar imagens das suas mais recentes criações antes mesmo de os protótipos estarem construídos. Com este recurso, os fabricantes conseguem determinar a dimensão ideal para os componentes das suas motos, como se interligam com outros componentes, quais as cores que jogam melhor, que tipos de jantes servem os melhores propósitos das motos, qual a suspensão mais adequada, e tudo isto sem a moto estar ainda construída. Depois de construída, em termos reais, e como disse, acaba por ser mais barato recorrer a imagens 3D do que expedir uma moto para um local exótico e preparar uma vasta equipa técnica para fotografá-la.
MR: Vê-se a si próprio mais como um artista ou como um especialista gráfico?
D: Creio que um pouco de cada. Para mim 3D e arte digital são formas de arte perfeitamente legítimas. Como para criar imagens 3D é necessária uma grande dose de técnica, acontece que a actividade não é tanto encarada do ponto de vista artístico, mas mais como uma sequência de inputs precisos. Quem manipula 3D tens de criar, literalmente, ou tem de instruir a aplicação para produzir absolutamente tudo. Todos os objectos de cena têm de ser introduzidos, os materiais aplicados, luzes, reflexos, sombras, cenários, operação de câmara, texturas, ângulos, efeito atmosférico, etc. E para tudo isto não há nos programas um botão que diga: “Fazer Arte”.
© Todos os direitos do texto estão reservados para MOTO REPORT, uma publicação da JPJ EDITORA. Contacto para adquirir edições já publicadas: +351 253 215 466.
© General Moto, by Hélder Dias da Silva 2008

          Simulate wet surface with screen space reflection        
A wet surface will reflect some of the light, but reflections are computationally expensive. Using a deferred shader, it is possible to simulate this reflection (fresnel reflection) to the second stage. The basic idea is simple: If a pixel should reflect, a ray tracing algorithm is used to compute where the reflected ray will hit the background.

We don't want to trace the ray through the real geometry, which would be expensive. Instead, it is computed what pixel it corresponds to from the G-buffer of the deferred shader. The data we need from the defered shader is: World position, normals and colors.

To do the actual ray tracing, an iterative algorithm is needed. The reflected vector is first computed, and then incrementally added to the world position of the point we start with. This is repeated as long as needed.

There are a couple of problems that limit the use of this technology:
  1. The reflected ray can point backward to the camera and hit the near cutting plane of the view frustum.
  2. The reflected ray can point sideways, and go outside of the screen.
  3. The reflected ray can hit a pixel that is hidden behind a near object.
  4. The increment used in the algorithm should be small to get a good resolution of the eventual target point, which will force the use of many iterations and high evaluation costs.
These all sound like severe limitations, but it turns out that wet surface reflection can still be done effectively:
  1. The Fresnel reflection has the effect of reflecting most for incoming light at large angles to the normal. That means that light reflecting backward toward the camera can be ignored.
  2. Wet surfaces are typically rough. This can be simulated with some random noise, which can hide the effect where some ray reflections couldn't be determined.
  3. The iteration can start out with a small delta, and increase it exponentially. That way, it can be possible to get good resolution on short distances, while still being possible to compute long distances.
The following is an example fragment shader to help calibrate the constants:

// Create a float value 0 to 1 into a color from red, through green and then blue.
vec4 rainbow(float x) {
float level = x * 2.0;
float r, g, b;
if (level <= 0) {
r = g = b = 0;
} else if (level <= 1) {
r = mix(1, 0, level);
g = mix(0, 1, level);
b = 0;
} else if (level > 1) {
r = 0;
g = mix(1, 0, level-1);
b = mix(0, 1, level-1);
}
return vec4(r, g, b, 1);
}

uniform sampler2D colTex; // Color texture sampler
uniform sampler2D posTex; // World position texture sampler
uniform sampler2D normalTex; // Normal texture sampler
in vec2 screen; // The screen position (0 to 1)

layout(location = 0) out vec4 color;

void main(void)
{
vec3 worldStartingPos = texture(posTex, screen).xyz;
vec3 normal = texture(normalTex, screen).xyz;
vec3 cameraToWorld = worldStartingPos.xyz - UBOCamera.xyz;
float cameraToWorldDist = length(cameraToWorld);
vec3 cameraToWorldNorm = normalize(cameraToWorld);
vec3 refl = normalize(reflect(cameraToWorldNorm, normal)); // This is the reflection vector

if (dot(refl, cameraToWorldNorm) < 0) {
// Ignore reflections going backwards towards the camera, indicate with white
color = vec4(1,1,1,1);
return;
}

vec3 newPos;
vec4 newScreen;
float i = 0;
vec3 rayTrace = worldStartingPos;
float currentWorldDist, rayDist;
float incr = 0.4;
do {
i += 0.05;
rayTrace += refl*incr;
incr *= 1.3;
newScreen = UBOProjectionviewMatrix * vec4(rayTrace, 1);
newScreen /= newScreen.w;
newPos = texture(posTex, newScreen.xy/2.0+0.5).xyz;
currentWorldDist = length(newPos.xyz - UBOCamera.xyz);
rayDist = length(rayTrace.xyz - UBOCamera.xyz);
if (newScreen.x > 1 || newScreen.x < -1 || newScreen.y > 1 || newScreen.y < -1 || newScreen.z > 1 || newScreen.z < -1 || i >= 1.0 || cameraToWorldDist > currentWorldDist) {
break; // This is a failure mode.
}
} while(rayDist < currentWorldDist);

if (cameraToWorldDist > currentWorldDist)
color = vec4(1,1,0,1); // Yellow indicates we found a pixel hidden behind another object
else if (newScreen.x > 1 || newScreen.x < -1 || newScreen.y > 1 || newScreen.y < -1)
color = vec4(0,0,0,1); // Black used for outside of screen
else if (newScreen.z > 1 && newScreen.z < -1)
color = vec4(1,1,1,1); // White outside of frustum
else
color = rainbow(i); // Encode number of iterations as a color. Red, then green and last blue
return;
}
The shader doesn't implement the actual reflection, but will show color coded information. White is used to indicate a reflection going back to the camera, yellow indicates a pixel hidden behind another object, black indicates we got outside of the screen. Finally, a rainbow code is used to indicate the number of iterations needed to find the target. Red is 1, then green and finally blue for maximum.

The example code will do at max 20 iterations (increment i with 0.05). Notice how the delta gradually is increased (incr is increased by 30% every iteration at line 50). Starting with a color texture as follows:
Original
And then applying the shader above, the result is:

Calibration mode
Please ignore the red and yellow sky, and look at the big block in the foreground. Much of it is white, because that reflects mostly back to the camera. The left side, however, has several colors. Black indicates a ray that goes outside of the picture, but the spectrum from red to blue indicates successful ray tracing. The bottom is red, which is logical as the reflection will immediately hit the near ground. The trees are found at median distance, indicated by green. And the sky is blue, which means a maximum number of iterations was needed to hit the sky pixel.

Notice that the single monster is reflected twice, at two different iterations. This is an effect of iterating in big steps.

Next is a picture from inside a cave, with no reflections enabled:
Caves without reflections
The same view, but with reflections enabled:
Caves with reflections
In this picture, the normals were manipulated randomly, and the original pixel color is blended with the reflected color depending on the angle. The final fragment shader source code for this is:

// Create a float value 0 to 1 into a color from red, through green and then blue.
vec4 rainbow(float x) {
float level = x * 2.0;
float r, g, b;
if (level <= 0) {
r = g = b = 0;
} else if (level <= 1) {
r = mix(1, 0, level);
g = mix(0, 1, level);
b = 0;
} else if (level > 1) {
r = 0;
g = mix(1, 0, level-1);
b = mix(0, 1, level-1);
}
return vec4(r, g, b, 1);
}

// Return a random value between -1 and +1.
float noise(vec3 v) {
return snoise((v.xy+v.z)*10);
}

uniform sampler2D colTex; // Color texture sampler
uniform sampler2D posTex; // World position texture sampler
uniform sampler2D normalTex; // Normal texture sampler
uniform usampler2D materialTex; // Material texture sampler
in vec2 screen; // The screen position (0 to 1)

layout(location = 0) out vec4 color;

// #define CALIBRATE // Define this to get a color coded representation of number of needed iterations
void main(void)
{
vec4 origColor = texture(colTex, screen);
uint effectType = texture(materialTex, screen).r & 0xf; // High nibbles are used for modulating factor
if (effectType != 1) {
color = origColor;
return;
}
vec3 worldStartingPos = texture(posTex, screen).xyz;
vec3 normal = texture(normalTex, screen).xyz;
vec3 cameraToWorld = worldStartingPos.xyz - UBOCamera.xyz;
float cameraToWorldDist = length(cameraToWorld);
float scaleNormal = max(3.0, cameraToWorldDist*1.5);
#ifndef CALIBRATE
normal.x += noise(worldStartingPos)/scaleNormal;
normal.y += noise(worldStartingPos+100)/scaleNormal;
#endif
vec3 cameraToWorldNorm = normalize(cameraToWorld);
vec3 refl = normalize(reflect(cameraToWorldNorm, normal)); // This is the reflection vector
#ifdef CALIBRATE
if (dot(refl, cameraToWorldNorm) < 0) {
// Ignore reflections going backwards towards the camera, indicate with white
color = vec4(1,1,1,1);
return;
}
#endif
float cosAngle = abs(dot(normal, cameraToWorldNorm)); // Will be a value between 0 and 1
float fact = 1 - cosAngle;
fact = min(1, 1.38 - fact*fact);
#ifndef CALIBRATE
if (fact > 0.95) {
color = origColor;
return;
}
#endif // CALIBRATE
vec3 newPos;
vec4 newScreen;
float i = 0;
vec3 rayTrace = worldStartingPos;
float currentWorldDist, rayDist;
float incr = 0.4;
do {
i += 0.05;
rayTrace += refl*incr;
incr *= 1.3;
newScreen = UBOProjectionviewMatrix * vec4(rayTrace, 1);
newScreen /= newScreen.w;
newPos = texture(posTex, newScreen.xy/2.0+0.5).xyz;
currentWorldDist = length(newPos.xyz - UBOCamera.xyz);
rayDist = length(rayTrace.xyz - UBOCamera.xyz);
if (newScreen.x > 1 || newScreen.x < -1 || newScreen.y > 1 || newScreen.y < -1 || newScreen.z > 1 || newScreen.z < -1 || i >= 1.0 || cameraToWorldDist > currentWorldDist) {
fact = 1.0; // Ignore any reflection
break; // This is a failure mode.
}
} while(rayDist < currentWorldDist);
// } while(0);
#ifdef CALIBRATE
if (cameraToWorldDist > currentWorldDist)
color = vec4(1,1,0,1); // Yellow indicates we found a pixel hidden behind another object
else if (newScreen.x > 1 || newScreen.x < -1 || newScreen.y > 1 || newScreen.y < -1)
color = vec4(0,0,0,1); // Black used for outside of screen
else if (newScreen.z > 1 && newScreen.z < -1)
color = vec4(1,1,1,1); // White outside of frustum
else
color = rainbow(i); // Encode number of iterations as a color. Red, then green, and last blue.
return;
#endif
vec4 newColor = texture(colTex, newScreen.xy/2.0 + 0.5);
if (dot(refl, cameraToWorldNorm) < 0)
fact = 1.0; // Ignore reflections going backwards towards the camera
else if (newScreen.x > 1 || newScreen.x < -1 || newScreen.y > 1 || newScreen.y < -1)
fact = 1.0; // Falling outside of screen
else if (cameraToWorldDist > currentWorldDist)
fact = 1.0;
color = origColor*fact + newColor*(1-fact);
}

The source code for this can be found at the Ephenation ScreenSpaceReflection.glsl. The snoise function is a 2D simplex noise that can be found at Ephenation common.glsl.
          Smooth world from block data        

Ephenation is a voxel based world. Everything (almost) are blocks that have a given address. Graphics based on square blocks doesn't look very good. There are ways to make it look good, e.g. the Marching Cubes algorithm.
However, this algorithm has some drawbacks. Every created triangle has a texture, and it is not trivial to decide what texture to use for triangles that span from one block type to another. Another problem is that some cubes in the world shall still be shown as cubes. This leads to difficulties in the transition between smooth terrain and cubistic blocks.

Use of a filter

In Ephenation, it was decided to use another algorithm, with similarities to a low pass filter. The basic idea is to take every coordinate and add a specific delta to each of the three dimensions. The magnitude of the delta is determined as a function of neighbor blocks. A two dimensional example of this could be:
Delta in X dimension
Next, if the same delta is applied in 'y', we get:
Delta in Y dimension
The principle is simple; the delta is computed in every dimension and can be applied independently.

Three dimensions

When computing the delta for 3 dimensions, neighbor vertices has to be take into account from 3 dimensions.

In the figure, there are 8 cubes. They are initially uniformly distributed. The content of these 8 cubes are used to determine the delta of the point P, in the middle, for each of the X, Y and Z dimensions. Only one filter is defined for one dimension, and then the transformation is rotated in three different directions. The algorithm uses a small matrix, of the size 2x2x2, that is initialized with the content of the 8 cubes. The delta computation uses that matrix to determine the delta in one dimension. And then this small matrix is filled with the same content, but rotated for the other dimensions, and the test is repeated.

Merging normals

After applying the delta, it is possible to change the appearance without changing the geometry. If the normals for all triangles that meet at the same vertex is replaced by an average, then it will further increase the smoothness look of the world. To speed up this process, the vertex data is sorted on vertex position. A std::multiset is used, with pointers to the vertex data. This set of pointers is then sorted. A question is whether normals from different materials shall also be averaged. This is not done currently.

There are some special cases that need to be taken care of. For example, it may be that the sum of the normals is a null vector. When that happens, the normals are simply left unchanged.
Non modified normals
And with normals merged, the same geometry will be:
Merged normals

Calibration

The amount of the delta has to be calibrated. See below a video clip where the delta goes from 0 to 0.17.

Over the summer of 2015 I once again collaborated with pioneering biochemist and experimental photographer Linden Gledhill, this time in the creation of a unique, ornamental type system and an accompanying set of one-of-a-kind letterpress prints.

The project is now live and available for your support through Kickstarter: https://www.kickstarter.com/projects/mrcraigward/fe2o3-glyphs-a-conceptual-ornamental-type-system

To form the glyphs, a tiny amount of ferrofluid was placed between two glass plates and subjected to a combination of spinning vertical and horizontal magnetic fields. The result is an array of complex hieroglyphics and shapes - each one as unrepeatable as a snowflake - that simultaneously call to mind ancient indigenous markings or symbols from science fiction.

These complex symbols were traced as vectors and cast as a moveable type printing system, combinations of which will be used to create a series of unique, one of a kind, letterpress prints, where no arrangement of glyphs is ever repeated. To bring the project full circle, these prints will be created using a mix of actual ferrofluid and pure Pantone Black.

The music for this video is 'Les Praries Stellaires' courtesy of Syndrôm - http://les-sombres-parfums.blogspot.com

Cast: Craig Ward and Linden Gledhill

Tags: typography, science, art, letterpress, printing, typeface, design and ferrofluid


          More Spring reading        

Hi folks, here's a nice, juicy reading list for that rainy Saturday afternoon. Well... it has stopped raining here but that should not stop you from reading!

Java

Slightly more hard core Java

Java in the future

A little bit of non-Java

Kubernetes

Systems, data stores and more

Time series

Some fun stuff

Until next time! Ashwin.

          Fall 2016 tech reading        
It's almost the end of the year, so here's another big list to go through while you wait at the airport on your way to your vacation.

Java

Streaming JSON and JAX-RS streaming

Java Strings

Data - Small and Big

Channels and Actors

Golang

Graphs

Misc Science/Tech

Misc - Fun, Tidbits

Happy holidays!

          Summer 2016 tech reading        

Hi there! Summer is here and almost gone. So here's a gigantic list of my favorite, recent articles, which I should've shared sooner.

Java

Other languages

Reactive programming

Persistent data structures

CRDT

Data

Systems and other computer science-y stuff

Fun/General

Until next time! Ashwin.

          Fall 2014 tech reading        
My posts are getting less frequent and when I do post something, I realize that they are mostly just links. Yes, work is keeping me busy.
 
Big data:
Really? Another Hadoop SQL layer? Another Storm?
For those of you who knew about the original "column oriented stores" and "in-memory stream processing" - KDB - http://queue.acm.org/detail.cfm?id=1531242

Java:
Java 8 - the good and ugly bits:
Networks and systems:
The usual Scala and Go hate:
Until next time!
          Android Market "10 Billion Promo" Final Day Ten Deals: Shine Runner, Camera Zoom FX, Puffle Launch, Heavy Gunner 3D, And More Just 10¢ Each        

image_thumb1_thumb_thumbUnfortunately, all good things must come to an end, and the awesome 10 Billion Apps promo, sadly, reached its final day. I wish it could go on forever and become a regular thing, at least with one app a day -  how about it, Google?

Today, we have 8 new apps/games and 4 repeats. Here they are:

Here are all the days so far if you want to see them again:

Source: Reddit, thanks braaaiins and everyone who helped out!

Read More

Android Market "10 Billion Promo" Final Day Ten Deals: Shine Runner, Camera Zoom FX, Puffle Launch, Heavy Gunner 3D, And More Just 10¢ Each was written by the awesome team at Android Police.


          Ð¨ÐºÐ¾Ð»ÑŒÐ½Ñ‹Ðµ предметы вектор - книги и тетради, цветные карандаши, автобус, школьный рюкзак, доска        
Школьные предметы вектор - книги и тетради, цветные карандаши, автобус, школьный рюкзак, доска

Скоро в школу, школьные предметы вектор - книги и тетради, цветные карандаши, автобус, школьный рюкзак, доска. Vector Back to School
Vector 50 | Ai Files+Jpg Preview | Архив: RAR Размер: 96.26 MB

          ÐŸÑ€Ð¸Ð³Ð»Ð°ÑˆÐµÐ½Ð¸Ñ, карточки с черными и белыми кружевными узорами и орнаментами вектор        
Приглашения, карточки с черными и белыми кружевными узорами и орнаментами вектор

Черно-белые фоны для приглашения и другого дизайна с растительными завитками, кружевными узорами и орнаментами - векторные фоны в винтажном стиле.
Приглашения, карточки с черными и белыми орнаментами вектор. Vintage vector invitation card with black and white lacy design for wedding
25 files | EPS + preview | 133 Mb

          ÐÐ°Ñ‚уральные соки, фрукты и брызги сока, этикетки с ягодами и фруктами вектор        
Натуральные соки, фрукты и брызги сока, этикетки с ягодами и фруктами вектор

Нарисованные стаканы с соками из разных фруктов и овощей: морковь, помидоры, груши, виноград, клубника, персики, ананас, кокс, слива, фрукты в брызгах сока, а также этикетки с нарисованными фруктами и ягодами.
Натуральные соки, фрукты и брызги сока, этикетки с ягодами и фруктами вектор. Set of vector fruit juice splash in a glass, pineapple, strawberry, raspberry and blackberry
7 files | EPS + preview | 98 Mb

          Ð‘умага с тенью векторные элементы. Paper shadows collection vector background        
Бумага с тенью векторные элементы. Paper shadows collection vector background

Реалистичные тени, бумага с тенью векторные элементы. Paper shadows collection vector background
10 files | EPS + preview | 21 Mb

          Ð’есенние баннеры с цветами вектор. Spring Flowers Banner - 15 Vector        
Весенние баннеры с цветами вектор. Spring Flowers Banner - 15 Vector

Весенние баннеры с цветами вектор. Spring Flowers Banner - 15 Vector
15 EPS | + Preview | 228 mb

          Ð—олотые монограммы, декоративные элементы, орнаменты в векторе        
Золотые монограммы, декоративные элементы, орнаменты в векторе

Золотые монограммы, декоративные элементы, орнаменты в векторе. Golden templates for enticing, fashion, glamorous, heavenly logos, vector monograms set
18 files | EPS + preview | 111 Mb

          Ð’изитки, двухсторонние бизнес карточки в векторе. Business card vector templates # 22        
Визитки, двухсторонние бизнес карточки в векторе. Business card vector templates # 22

Визитки, двухсторонние бизнес карточки в векторе. Business card vector templates # 22
25 files | EPS + preview | 85 Mb

          ÐŸÐ¸Ð²Ð¾, векторные эмблемы, этикетки, декоративные элементы для меню        
Пиво, векторные эмблемы, этикетки, декоративные элементы для меню

Пиво, векторные эмблемы, этикетки, декоративные элементы для меню. Beer vector label with empty tape, vintage elements of the beer menu
14 files | EPS + preview | 63 Mb

          ÐšÐ°Ñ€Ñ‚очки с нарисованными собаками вектор. Pet Shop Card - 10 Vector        
Карточки с нарисованными собаками вектор. Pet Shop Card - 10 Vector

Карточки с нарисованными собаками вектор. Pet Shop Card - 10 Vector
10 EPS | + Preview | 19 mb

          Ð—олотые векторные логотипы. Gold logo business vector illustration # 32        
Золотые векторные логотипы. Gold logo business vector illustration # 32

Золотые векторные логотипы. Gold logo business vector illustration # 32
25 files | EPS + preview | 69 Mb

          Ð”вухсторонние бизнес карточки, визитки в векторе. Business card vector templates # 23        
Двухсторонние бизнес карточки, визитки в векторе. Business card vector templates # 23

Двухсторонние бизнес карточки, визитки в векторе. Business card vector templates # 23
25 files | EPS + preview | 118 Mb

          Ð˜Ð½Ñ„ографика векторные элементы. Infographics vector template for business presentations or information banner # 6        
Инфографика векторные элементы. Infographics vector template for business presentations or information banner # 6

Инфографика векторные элементы. Infographics vector template for business presentations or information banner # 6
25 files | EPS + preview | 76 Mb

          Ð¨Ð°Ð±Ð»Ð¾Ð½Ñ‹ меню и элементы для меню вектор. Menu Design Element #5 - 14 Vector        
Шаблоны меню и элементы для меню вектор. Menu Design Element #5 - 14 Vector

Шаблоны меню и элементы для меню вектор. Menu Design Element #5 - 14 Vector
14 EPS | + Preview | 114 mb

          Ð’интажные элементы для скрапбукинга. Vintage Scrapbooking Set - 15 Vector        
Винтажные элементы для скрапбукинга. Vintage Scrapbooking Set - 15 Vector

Винтажные элементы для скрапбукинга. Vintage Scrapbooking Set - 15 Vector
15 EPS | + Preview | 120 mb

          Ð’екторные карточки. Wedding Modern Design Template - 5 Vector        
Векторные карточки. Wedding Modern Design Template - 5 Vector

Векторные карточки. Wedding Modern Design Template - 5 Vector
5 EPS | + Preview | 15 mb

          ÐÐ°Ñ€Ð¸ÑÐ¾Ð²Ð°Ð½Ð½Ñ‹Ðµ цветы вектор - розы, тюльпаны, маки. Flowers Background Vector        
Нарисованные цветы вектор - розы, тюльпаны, маки. Flowers Background Vector

Красные нарисованные цветы, романтические композиции с сердцами в векторе - подарок и роза, цветы пуансеттии, корзина с розами, тюльпаны на размытом зеленом фоне, красные маки.
Нарисованные цветы вектор - розы, тюльпаны, маки. Flowers Background Vector
10 EPS | + Preview | 62 mb

          Ð‘илеты в цирк и зоопарк, афиша циркового представления векторные рисунки        
Билеты в цирк и зоопарк, афиша циркового представления векторные рисунки

Билеты в цирк и зоопарк, афиша циркового представления векторные рисунки. Circus funfair vector background
18 files | EPS + preview | 185 Mb

          Ð›ÐµÑ‚ние морские флаеры, баннеры, рамки и морские предметы в векторе        
Летние морские флаеры, баннеры, рамки и морские предметы в векторе

Летние морские флаеры, баннеры, рамки и морские предметы в векторе. Summer vector label, banner, tag and elements background set
24 files | EPS + preview | 131 Mb

          Ð›ÐµÑ‚ние морские композиции, баннеры, рамки, шаблоны в векторе        
Летние морские композиции, баннеры, рамки, шаблоны в векторе

Шезлонг, пальма и чемодан на фоне моря, сланцы, кокосы, мяч, зонт от солнца, чемодан и круглые пустые рамки для текста - векторные шаблоны.
Летние морские композиции, баннеры, рамки, шаблоны в векторе. Summer holiday vector template banner
11 files | EPS + preview | 139 Mb

          Ð—абавные нарисованные животные вектор. Funny Animal vector illustration - 10 EPS        
Забавные нарисованные животные вектор. Funny Animal vector illustration - 10 EPS

Забавные нарисованные животные вектор. Funny Animal vector illustration
10 EPS | 6.2 MB

          Ð¡Ñ‡Ð°ÑÑ‚ливая семья - векторные пиктограммы, иконки, логотипы. Happy family vector        
Счастливая семья - векторные пиктограммы, иконки, логотипы. Happy family vector

Счастливая семья - векторные пиктограммы, иконки, логотипы. Happy family vector
9 EPS | 1.1 MB

          Ð¡ÐµÑ€Ñ‚ификаты, дипломы - вертикальные и горизонтальные шаблоны вектор. Certificate and vector diploma        
Сертификаты, дипломы - вертикальные и горизонтальные шаблоны вектор. Certificate and vector diploma

Сертификаты, дипломы - вертикальные и горизонтальные шаблоны вектор. Certificate and vector diploma design template # 34
19 files | EPS + preview | 92 Mb

          Ð’еселые нарисованные дети - фоны с разноцветными человечками, рисунками. Colorful happy children vectors        
Веселые нарисованные дети - фоны с разноцветными человечками, рисунками. Colorful happy children vectors

Веселые нарисованные дети - фоны с разноцветными человечками, рисунками. Colorful happy children vectors
8 EPS | 35.9 MB

          Ð“олубые баннеры с абстрактными фонами. Abstract Banners Collection - 20 Vectors        
Голубые баннеры с абстрактными фонами. Abstract Banners Collection - 20 Vectors

Голубые баннеры с абстрактными фонами. Abstract Banners Collection #130 - 20 Vectors
20 EPS | + Preview | 114 mb

          Ð¨Ð°Ð±Ð»Ð¾Ð½ спортивного сайта вектор. Website template vector        
Шаблон спортивного сайта вектор. Website template vector

Шаблон спортивного сайта вектор. Website template vector
11 EPS | 38.8 MB

          Ð¡ÐµÑ€Ñ‚ификаты и дипломы - готовые шаблоны для дизайна в векторе        
Сертификаты и дипломы - готовые шаблоны для дизайна в векторе

Сертификаты и дипломы - готовые шаблоны для дизайна в векторе. Certificate and vector diploma design template # 33
21 files | EPS + preview | 98 Mb

          ÐšÐ¾ÐºÑ‚ейли, коктейльные карты, меню с нарисованными коктейлями вектор        
Коктейли, коктейльные карты, меню с нарисованными коктейлями вектор

Коктейли, коктейльные карты, меню с нарисованными коктейлями вектор. Cocktail vector menu, flat cocktail design on decorative watercolor background
19 files | EPS + preview | 113 Mb

          ÐœÐ¸Ð»Ñ‹Ðµ карточки с детскими рисунками, подарками, кексами. Cute Card Template Vector        
Милые карточки с детскими рисунками, подарками, кексами. Cute Card Template Vector

Милые карточки с детскими рисунками, подарками, кексами. Cute Card Template Vector
10 EPS | + Preview | 65 mb

          Ð—олотые векторные логотипы. Gold logo business vector illustration # 31        
Золотые векторные логотипы. Gold logo business vector illustration # 31

Золотые векторные логотипы. Gold logo business vector illustration # 31
25 files | EPS + preview | 68 Mb

          ÐšÑ€Ð°ÑÐ¾Ñ‡Ð½Ñ‹Ðµ векторные визитки. Business card vector templates # 21        
Красочные векторные визитки. Business card vector templates # 21

Красочные векторные визитки. Business card vector templates # 21
25 files | EPS + preview | 72 Mb

          ÐŸÑ€ÐµÐ¼Ð¸ÑƒÐ¼ этикетки вектор. Premium Luxury Label - 9 Vector        
Премиум этикетки вектор. Premium Luxury Label - 9 Vector

Премиум этикетки вектор. Premium Luxury Label - 9 Vector
9 EPS | + Preview | 27 mb

          Ð’екторные рисунки велосипедистов, иллюстрации. Vector of BMX cyclist        
Векторные рисунки велосипедистов, иллюстрации. Vector of BMX cyclist

Векторные рисунки велосипедистов, иллюстрации. Vector of BMX cyclist
10 EPS | 17.3 MB

          The Zong that carry midday waves sweet        
[Read More…]

          Hospital Público Veterinario ha brindado más de 70 mil consultas        

Hospital Público Veterinario ha brindado más de 70 mil consultas 


Iguanas, hámster, gallinas, conejos, cabras, gatos y perros, entre los pacientes


Teotihuacán en Línea. Toluca. Isaac Moreno Alejo, jefe del Departamento de Zoonosis y Vectores del ISEM, informó que el Hospital Público Veterinario del Instituto de Salud del Estado de México (ISEM) ha proporcionado más de setenta mil consultas gratuitas.
“Ubicado en el municipio de Naucalpan, el nosocomio ofrece en promedio sesenta atenciones diarias, sumando más de diez mil en lo que va del año, atendiendo principalmente perros y gatos”, dijo.
“Iguanas, hámster, aves de ornato, gallinas, conejos, cabras, hurones, cuyos, patos, puerquitos vietnamitas e incluso tortugas y un caballo, son otras de las especies que se atienden en este nosocomio, informó Moreno Alejo.
“Hoy en día, los animales de compañía no se limitan a perros y gatos, la vacuna antirrábica gratuita se aplica estrictamente para perros y gatos, pero el hospital brinda atención a cualquier mascota”, explicó.
El Hospital Público Veterinario, inaugurado el 5 de enero de 2015, cuenta con servicios de esterilización, vacunación antirrábica, rayos X, laboratorio, ultrasonido y consulta externa.
Entre los padecimientos más frecuentes que atienden los veterinarios destacan las fracturas, enfermedades gastrointestinales, problemas respiratorios y urinarios, además de algunas complicaciones en partos.
Las urgencias médicas que atiende son envenenamiento, intoxicación y animales agredidos con armas punzo cortantes, que con la Intervención oportuna de los especialistas han logrado salvar la vida.

“El único requisito es agendar la cita, llevar al animal con un ayuno mínimo de doce horas y en buenas condiciones de salud; además de traer una frazada”, indicó Moreno Alejo

          Trustworthiness of Guitars        
I created 32 different vector illustrated guitars and put together for a Trustworthiness of Guitars poster a friend of mine to sell on his music blog. The poster is based on the Trustworthiness of Beards poster by Matt Mcinerney.
          Wall Vinyl        
A custom reusable wall vinyl set I was hired to illustrate for a little boys room. Created vector illustrations with custom packaging and label design.
          Scream Scram        
An Illustration I donated to the Scream Scram Run and Walk fundraiser in Denver. The vector images were used on marketing materials, t-shirts and a billboard.
          Masculino / Masculino. El hombre desnudo en el arte de 1800 hasta la actualidad.        

Masculino / Masculino

Jacques Louis DavidDibujo academia de hombre, llamado Patroclo© Cherbourg, musée Thomas-Henry

¿Por qué no se ha dedicado nunca ninguna exposición al desnudo masculino hasta Nackte Männer, en el Leopold Museum de Viena, el pasado año? Para responder a esta pregunta la exposición confronta obras, mediante las épocas y las técnicas, en torno a grandes temas que han forjado la representación del cuerpo masculino, durante más de dos siglos. 
Ante todo cabe distinguir la desnudez del desnudo: un simple cuerpo sin ropa, que genera la molestia, debido a la falta de pudor, difiere de la visión realizada de un cuerpo remodelado e idealizado por el artista. Aunque se pueda matizar esta distinción, pone de relieve el valor positivo y sin tapujos del desnudo, en el arte occidental, desde el periodo clásico. 

Emile-Edmond PeynotTorso del Belveder© Beaux-Arts de Paris, Dist. RMN-Grand Palais / image Beaux-arts de Paris
Para nuestra época, el desnudo evoca esencialmente un cuerpo femenino, herencia de un siglo XIX que lo erigía en absoluto y en objeto de un deseo viril asumido. Anteriormente sin embargo, el cuerpo femenino estaba menos valorizado que su homólogo masculino, más estructurado y musculoso. Al menos desde el Renacimiento, el desnudo masculino se había beneficiado de la primacía: el hombre como ser universal se confundía en el Hombre y su cuerpo se erigía en norma del género humano, como ya era el caso en el arte grecorromano. El fondo cultural judeocristiano occidental abunda en este sentido: Adán preexiste a Eva que no es más que su copia, origen del pecado. 
En su gran mayoría hombres, los artistas encuentran, en el desnudo masculino, un “yo ideal”, espejo magnificado y narcisista de ellos mismos. Hasta mitades del siglo XX, el órgano sexual es sin embargo el objeto de un cierto pudor, ya sea atrofiado o bien disimulado bajo cualquier drapeado, correa o funda de espada, sutilmente colocados. 

El Ideal clásico

Jean-Baptiste Frédéric DesmaraisEl Pastor Paris© Photo © MBAC

A partir del siglo XVII se implementan formaciones de excelencia, para los artistas más privilegiados. En el ámbito de la escultura y de la pintura de historia, la finalidad de estas enseñanzas es el dominio de la ejecución de un desnudo masculino: ocupa un lugar central en el proceso de la creación, los estudios de desnudos preparatorios teniendo por objetivo plasmar, lo mejor posible, la articulación de los cuerpos, vestidos o no, en la posición definitiva. 

En Francia, los alumnos se forman en la Academia real y posteriormente en la Academia de Bellas Artes, a partir de dibujos y de grabados, a partir del “bulto” y a partir del modelo natural vivo. Hasta una fecha bastante avanzada del siglo XX, esos modelos son solo masculinos, por motivos morales, pero también porque se considera al hombre como el arquetipo del canon humano. Para ser noble y digno de una representación artística, este cuerpo, por el que todos optan, solo puede ser el de un hombre del día a día: por lo que surge la necesidad de diluir las particularidades individuales del modelo, para elevar su sujeto. 

Más que nadie, los artistas de la Antigüedad y del Renacimiento están considerados como habiendo establecido una síntesis ideal del cuerpo humano, sin perderse en los meandros de la individualidad. Para Winckelmann, esteta alemán del siglo XVIII, la belleza ideal de las estatuas griegas solo se puede encarnar en el desnudo masculino. Aunque inspire a numerosos artistas, la “noble sencillez y calma grandeza” de los dioses winckelmannianos se pone en tela de juicio en otras lecturas del arte de la Antigüedad: el tormento del Laocoonte de la Antigüedad tardía es perceptible en el danés Abildgaard, mientras que David preconiza una virilidad más romana. 
Aunque trastornado, reinterpretado y renovado por las vanguardias del siglo XX, el desnudo masculino clásico, y su cargante herencia, sigue siendo el objeto de fascinación, hasta entre ambas guerras y la actualidad.

El Desnudo heroico

George Hoyningen-HueneHorst P. Horst, Photographie© Droits réservés

El concepto e incluso la palabra de héroe son una herencia de la Grecia antigua: medio dios o simple mortal que trasciende su condición humana para convertirse en un exemplum virtutis, encarna un ideal. La admiración por el arte y la cultura de la Antigüedad explica la omnipresencia del héroe en los círculos académicos, en particular en cuanto a los temas obligatorios para los candidatos al premio de Roma: la gran pintura de historia se nutre de las proezas de los súper hombres, con el más perfecto aspecto corpóreo. 

Vínculo de valores nobles e universales, esta correspondencia entre la anatomía y la virtud del héroe hace referencia al concepto neoplatonista que asocia la belleza y el bien. La desnudez del héroe parece tan obvia que el “desnudo heroico” es el objeto de un debate recurrente para la representación de grandes hombres, ya sea del pasado como contemporáneos, tan incongruente como pueda parecer el resultado. 
El heroísmo no es un estado. Es una forma de ser reveladora de una fuerza de carácter fuera de lo común: aunque la fuerza de Hércules sea indisociable de sus proezas, la astucia de David le permite vencer al poderoso Goliat. En ambos casos, poseen una fuerza guerrera particularmente valorizada por un siglo XIX sediento de virilidad y de afirmación patriótica: más que nunca, representa el ideal por alcanzar. 

Cabe esperar la crisis de la masculinidad en el siglo XX, para asistir a la renovación del estatuto del héroe, cada vez más contemporáneo, y a la diversificación de sus características físicas. 
Sin embargo, ya sea una estrella o un creador como Yves Saint-Laurent, o también hombres jóvenes de las calles de Harlem, pintados por el americano Kehinde Wiley, el poder evocador de la desnudez sigue presente. 

Los Dioses del estadio

Pierre y Gilles (nacidos respectivamente en 1950 y en 1953)Viva Francia© Pierre et Gilles

A lo largo del siglo XIX se inicia una nueva mirada hacia el cuerpo, más médica e higienista, cuya incidencia sobre el concepto del desnudo artístico es considerable. Se multiplican los movimientos de educación física y los gimnasios. El “deportista” fascina y, como por ejemplo del pintor Eugene Jansson, se acude para admirar y codiciar el poder viril de su cuerpo en los lugares donde se exhibe. 
Esta concepción halla su realización en el culturismo, admiración narcisista de un cuerpo convertido en objeto que se puede labrar como si se tratase de una obra. El hombre moderno de morfología atlética se convierte en un nuevo ideal potencial: encarna una belleza que da pie, sin lugar a dudas, a la comparación con el arte grecorromano. 

Vinculado con la afirmación de una identidad nacional, el atleta llega a personificar la fuerza bruta de la nación y una capacidad para defender al país, en tiempos de guerra. En Estados Unidos en la década de 1930, es el objeto de un desarrollo particular, con la valorización del hombre simple que combina fuerza física y valentía. 
Los regímenes totalitarios pervierten, por su parte, el culto del atleta al servicio de su ideología: Alemania lo asocia de forma demiúrgica a la mera invención que representa el hombre “ario”, mientras que el Gobierno de Mussolini erige los ídolos de mármol, en el Stadio dei Marmi.




Que duro es ser un héroe

Jean-Bernard DuseigneurOrlando furioso© Musée du Louvre, Dist. RMN-Grand Palais / Thierry Ollivier

Transgrediendo el orden establecido, el héroe mitológico se expone a la ira de los dioses y a la envidia de los hombres. Aunque tenga las pasiones del hombre, sus fallos morales y a veces su fragilidad, posee sin duda de los dioses su perfección plástica: el artista y el espectador encuentran en él, de este modo, la emanación de un yo sublimado. 
Los grandes destinos dramáticos proporcionan pues carácter a las composiciones y permiten traducir toda una gama de emociones, desde la resolución hasta la desesperación, de la hosquedad al reposo eterno. 

Aunque sea un tópico decir que el rostro es lo que mejor transcribe la expresión los sentimientos – teorizados e institucionalizados, desde los dibujos de Le Brun hasta el concurso de la “cabeza de expresión” de la Escuela de Bellas Artes –, no se debe infravalorar el papel ineludible del cuerpo y de la anatomía como vector emocional: algunas elecciones formales pasan a ser incluso convenciones admitidas de forma común. 
La mitología y la epopeya homérica presentan abundantes destinos fatales y las pasiones destructoras del héroe cuya desnudez se legitimiza mediante el arraigo al mundo helenístico antiguo: Corta exposición del cuerpo desmembrado del infortunado Hipólito, premonición de la transposición en el universo clásico del Caído por la patriade Lecomte du Nouÿ. 

Nuda Veritas

Auguste Rodin  (1840-1917)  L'Age d'airain [La edad de bronce]  Entre 1877 y 1880  Estatua de bronce  Alt. 178; Anch. 59; P. 61,5 cm.  París, museo de Orsay
Auguste RodinLa edad de bronce© RMN-Grand Palais (Musée d'Orsay) / Thierry Ollivier

La estética realista que se ampara del arte occidental, durante el siglo XIX, trastorna la representación de la desnudez masculina. El cuerpo, tal y como está representado en toda la veracidad de la naturaleza, ahora ya no dispone de la distanciación, acorde con la urbanidad que caracterizaba la idealización, objetivo del ejercicio del desnudo académico. 
En este contexto en el que desvelar un cuerpo vulnera el pudor – el hombre desnudo parece todavía más obsceno y chocante que la mujer, en la sociedad del siglo XIX en la que reina la dominación masculina – el desnudo masculino pasa a ser gradualmente todavía más escaso, al proliferar las figuras femeninas. 

Esta inversión de tendencia no implica, sin embargo, que desaparezcan los hombres desnudos: su estudio científico, mediante nuevas técnicas, como la descomposición del movimiento con series de fotografías tomadas en ráfaga – la cronofotografía –, hace progresar los conocimientos anatómicos y transforma la enseñanza dispensada a los artistas. 
A partir de entonces, se trata menos, para los artistas más vanguardistas, de alcanzar un canon de belleza heredado del pasado, que un cuerpo cuya armonía siga siendo fiel a las características del modelo. 

El poder evocador del desnudo inspira a artistas como el austriaco Schiele, autorretratos desnudos que revelan los tormentos existenciales del artista. Otorgándole a veces una dimensión crística, representaciones así superan el realismo, para acceder a una introspección, alcanzando una gran posteridad hasta el siglo XXI, en particular en fotografía.

Sin complacencia


La fascinación por lo real que se impone en los círculos artísticos de mitades del siglo XIX, origina una profunda renovación en la pintura religiosa. Aunque el recurso a la idealización de la Antigüedad en los cuerpos pareciese acorde con el dogma religioso, artistas como Bonnat le proporcionan un nuevo aliento, al representar personajes bíblicos en la cruel verdad de su condición física.
pintura
William BouguereauIgualdad ante la muerte© Musée d'Orsay, dist. RMN-Grand Palais / Patrice Schmidt


Este principio ya se había implementado en Igualdad ante la muerte de Bouguereau quien, en sus comienzos, adoptó, en el contexto de los últimos coletazos del romanticismo, la fuerza de la imagen de un cadáver ordinario. Lejos de embellecer al novelista que se le pide homenajear, Rodin pretende plasmar el tipo físico corpulento de Balzac, con una implacable fidelidad, sin restarle sin embargo su magnificencia. 

Se plantea entonces la cuestión de la relación del arte con la realidad, a la que Ron Mueck se dedica en su obra. Y la extrañeza generada por una modificación de escala, proporciona una intensidad al cuerpo muerto de su padre que entra en resonancia con el difunto de Bouguereau. 

Im Natur

Frédéric BazilleEl pescador y el gavilán© © Lylho / Leemage

La inscripción del cuerpo desnudo en un paisaje no es un nuevo reto, para los artistas del siglo XIX. En muchos respectos, se trata incluso de un elemento recurrente de la gran pintura de historia y de un ejercicio plásticamente exigente, prisma mediante el que se juzga el dominio técnico de los artistas.
Se trata en efecto de alcanzar la mayor precisión en las correspondencias de proporción, de profundidad y de enfoque, entre el cuerpo desnudo y su entorno. Aunque El pescador y el gavilán de Bazille sea uno de los intentos más logrados – en un contexto contemporáneo– de la inscripción de un hombre desnudo en la luz atmosférica que se convierte en aquella de los impresionistas, no olvida sin embargo los principios de la construcción académica. 

La desnudez masculina en la naturaleza toma otro significado conforme se va transformando la sociedad, con el progreso técnico y la urbanización. El hombre está entonces en busca de una comunión con la naturaleza, que le pueda reconciliar con los excesos y el desarraigo, generados por el mundo moderno, a la vez que se conforma a las teorías higienistas que recomiendan el ejercicio físico y el aire libre. 

Hippolyte FlandrinJoven sentado a orillas del mar, estudio© Musée du Louvre, Dist. RMN-Grand Palais / Angèle Dequier
Esta dimensión filosófica que inspira a pintores como Hodler y Munch, ya se hacía sentir en El joven a orillas del mar de Flandrin, cuya perfección de las formas crea una armonía entre el cuerpo y la ribera. Este sentimiento de plenitud explica, sin duda, la fama de la imagen, en particular en los círculos homosexuales clandestinos de antes de la Primera Guerra Mundial, que inspira ya a Gloeden, en fotografías en las que los cuerpos desnudos entran en fusión con la luz mediterránea de Sicilia.

En el dolor


Los desvíos que se autorizan los artistas, respecto a las normas clásicas, les abren nuevas perspectivas para una representación más expresiva del cuerpo, ya sea en el tormento o el sufrimiento. El declive del desnudo académico y de la temperancia clásica explica una predilección por los suplicios, como el de Ixión, condenado por Zeus a mantenerse atado a una rueda en llamas, en una rotación infinita.
Las contorsiones del cuerpo también pueden expresar tormentos más psicológicos. El dolor del cuerpo masculino contribuye naturalmente a los retos de poder entre el hombre y la mujer, en el periodo contemporáneo: el cuerpo desnudo puede ser envilecedor y, en determinadas condiciones, de índole a poner en tela de juicio la virilidad y la dominación masculina. No es inocente, en este particular, que Louise Bourgeois haya elegido una figura masculina para su Arch of Hysteria.
David LaChapelleWould-Be Martyr and 72 virgins© Courtesy Galerie Daniel Templon, Paris. © David LaChapelle


Sin embargo, el martirio no genera composiciones torturadas: la muerte de Abel, asesinado por su hermano Caín en el Libro del Génesis, parece al contrario nutrir una pose de última relajación, característica de un cuerpo a punto de expirar. Este abandono no deja de ser, no obstante, ambivalente, lo que los artistas destacan con determinación: el cuerpo, a menudo magnificado y en una cierta éxtasis mórbida se ofrece, en efecto, al deleite del espectador.
En estas condiciones, el sufrimiento no es más que un artificio, para justificar una nueva fetichización del cuerpo. De forma opuesta a la seducción, fotógrafos realizan experimentos, para descuartizar el cuerpo, en una perspectiva estética, o incluso lúdica.

El Cuerpo glorioso

François-Xavier FabreSan Sebastián expirando© Musée Fabre de Montpellier Agglomération - cliché Frédéric Jaulmes

La cultura judeocristiana influencia innegablemente la representación del hombre desnudo, a partir del arte del periodo moderno. Sin embargo, la concepción católica del cuerpo entra en contradicción con desvelarlo, desde la era paleocristiana: tan solo sería un mero envoltorio carnal, del que se libera el alma del cristiano al morir. 
Bajo la influencia de los teólogos que recomiendan la alianza de lo sensible y de lo espiritual, la desnudez se impone no obstante paulatinamente, para figuras de mayor relevancia como las de Cristo y de San Sebastián. Su cuerpo martirizado, trascendido por un sufrimiento, soportado gracias a la fe, permite así mismo, paradójicamente al alma humana, acercarse a Dios. 

Para la iglesia católica, la vulnerabilidad del cuerpo de Cristo sometido a los sufrimientos y portador de los estigmas proclama su humanidad, mientras que su rostro inspirado y su cuerpo obviamente idealizado, heredados de cánones clásicos subyacentes, muestran su divinidad. 

La figura de San Sebastián es particularmente compleja: este santo popular, parangón del mártir que sobrevive a su primer suplicio, encarna la victoria de la vida sobre la muerte. Este impulso vital no es sin duda ajeno a su belleza juvenil y desvelar su cuerpo, ambos aspectos adquiridos ya por el siglo XVII. 

Por consecuencia, su representación se aleja insensiblemente del dogma católico, para adquirir una autonomía propia y una libertad sin precedentes: la sensualidad del santo pretende estar cada vez más presente, mientras que su sufrimiento a veces es imperceptible. En esta búsqueda de voluptuosidad, solo sigue estando prohibido hasta el siglo XX, desvelar el sexo. 

La Tentación del macho

Paul CadmusEl Baño (The Bath)© Whitney Museum of American Art, NY - Art © Jon F. Anderson, Estate of Paul Cadmus / ADAGP, Paris 2013

A partir de mitades del siglo XX, una mirada que asume el deseo por el cuerpo del hombre y la liberación de las costumbres, dan lugar a obras atrevidas. Así mismo, Paul Cadmus no duda, en la sin embargo puritana América posterior a la Segunda Guerra Mundial, en tomar por tema una escena de ligue entre hombres, en un Finistère muy improbable. 

Aunque el atractivo físico de los cuerpos se haya mantenido durante mucho tiempo en el secreto de los interiores privados, aparece cada vez más a la luz del día, en círculos de sociabilidad exclusivamente masculinos, como la ducha colectiva, o también bajo el pretexto de la reconstitución de una Antigüedad platónica.

El erotismo pasa a ser incluso muy crudo en Cocteau, cuya influencia es segura en Warhol, en sus años de juventud. La belleza y la seducción se deshacen entonces del ideal transmitido por las referencias del pasado, para arraigarse a las peculiaridades de las prácticas y de la cultura contemporánea, que supo interpretar tan acertadamente Hockney en su pintura.

El Objeto del deseo

Anne-Louis GirodetEl sueño de Endimión© Cliché J. Faujour/musée Girodet, Montargis

Durante mucho tiempo, el cuerpo masculino en el arte ha sido el objeto de una “objetivación”: la admiración sin límites por la perfección de los desnudos grecorromanos, pura reconstrucción intelectual de un cuerpo convertido en canon, ha hecho que su lectura sea acorde con los buenos modales, incluso aquella de Winckelmann, que conlleva sin embargo una fuerte carga erótica. 
Aunque los círculos academicistas fomentasen naturalmente el desnudo en la gran pintura de historia, algunos temas no ocultaban sin embargo toda la sensualidad y ambigüedad. En el giro del siglo XIX, las reflexiones sobre los caracteres propios a cada sexo y sus fronteras nutren un interés por los amores bisexuales de Júpiter o de Apolo, y la fórmula de un joven héroe muriendo en los brazos de su amante tiene particularmente éxito. 

En Girodet, Endimión adopta los rasgos de un efebo con el cuerpo sensualmente acariciado por los rayos de la diosa luna, que ha inspirado numerosas interpretaciones homo eróticas. En los simbolistas, como en Gustave Moreau, la diferencia entre los sexos se consuma en detrimento de un hombre vulnerable, bajo el imperio de una fuerza fatal y destructora, identificada como femenina.

En el lado opuesto, sin embargo, y en base a un modo menos dramático, Hodler representa el nacimiento de un amor adolescente entre un hombre joven ensimismado y una muchacha joven dominada por su encanto.

A lo largo del siglo XIX, la sensualidad y la erotización asumida, consideradas como propias del cuerpo femenino, afectan seriamente la virilidad tradicional del desnudo masculino: este golpe sin embargo no es fatal, ya que el desnudo masculino está muy lejos de desaparecer en el siglo XX.

La liberación de las prácticas sexuales afirma alto y claro una cierta voluptuosidad y envuelve de una carga sexual el cuerpo masculino, a menudo con pocas reservas. El modelo está generalmente identificado, señal de una afirmación de la individualidad de la obra, como en Pierre y Gilles que mezclan mitología y retrato contemporáneo.


          * Stok EBM Banyak atau Sikit, Perlukah? *        
Adoiyainye, tebal betul sawang di blog pink ini...ngeee
Terima kasih kalians masih sudi jengah blog tenggelam timbul ni.
Terima kasih di atas komen2 yg aku x sempat nk reply, tapi ade plak yg sudi tolong jawabkan bg pihak daku...terima kasih sgt2 :)
Terima kasih kepada yg sudi emel, pm fb, bertanya khabar kepada tuan blog cute nih ekekek.

Alhamdulillah, nurul dhia & baby TIJU sihat semakin comel bertambah montel & gebuz!
Mana tak gebuz kalu 1 bulan bole naik 3 kg, hamik kau muahahaha.
Sekarang da masuk 18 weeks, terasa sgt berat membawa badan sendiri ke hulur ke hilir.
Pinggang pun da xde.
Perut makin ke depan, mcm org tgh pregnan 6 bulan!
Tiju sudah mula main kuis2, tarik2 tali pusat (sbb aku rase geli2 tang pusat ni huhuhu) sejak 16 weeks.

Sesi mabuk2 tahap dewa dah berlalu, maka selera makan tersgt la dasyat.
Tapi aku cuba gak control, disebabkan aku dah masuk kategori obes hahaha.
Preggy feez n zahra pun aku mmg semangat gak.
Montel, gebuz, dan sgt gumuks..ngeee
Tapi, muntah2 di pagi dinihari masih ada, wajib...sampai la aku bersalin nnt...redha je la




Sebenarnya, aku nk jawab soalan seorg bakal ibu muda tentang kemusykilan beliau membuat stok EBM.
Tapi terbabas bebel pasal benda lain plak.
Maklum la da lama x berblog....kasi can la hihihi

salam akak nurul dhia :)
im sofya . sy ade bace blog akak. entry2 tu sume sgt2 best, menarik utk dibaca, tmbh knowledge n very helpful.
now, im pregnant 5months. due date on nov. sy ade bbrpa soalan nk tnya akak pasal EBM coz sometimes ade jgk mengganggu di fikiran ni. EBM ni wajib ke x untk dilakukan oleh para2 mommies? or it's just an option kpd mommies yg bkerja? slps bsalin, bila waktu paling sesuai untk EBM n bg baby minum susu perahan ni? sy dh tgok byk gmbr2 dlm entry akak n gmbr2 dlm org lain pnye blog, makkk aiiii byk nye botol susu n cooler bags hasil dr EBM. ! seram jgk sy tgok hahahha. perlu ke sebanyak itu? xblh ke perah untk hasilkan just 3-5bottles only? :) one more thing, kalau untk mommies2 yg x bekerja, tp nk bg EBM selalu oke ke x? :D sy nk standby kan keperluan brg2 baby tmasuk la pam susu, warmer n etc. thats why, kalau ia nya satu keperluan, blh la sy cuba, memandangkan saya skrg hamil anak first. umur pun muda lg, baru 21 :) so, xbrpa tahu sgt lerrr pasal hal2 ni. mohon feedback akak yer , kalau leh, jwb semua solan2 yg mbelenggu minda ini. hehehe TQ :)

Ini adalah antara soalan femes gak aku terima, aku rasa belum pernah lg bincangkan isu ini kat blog.
Jadi aku amik soalan dr emel Sofya tuk bincang kan isu ni, supaya bole wat rujukan ibu2 yg lain.

EBM ni wajib ke x untk dilakukan oleh para2 mommies? or it's just an option kpd mommies yg bkerja? perlu ke sebanyak itu? xblh ke perah untk hasilkan just 3-5bottles only?

Setiap org ada pendapat masing2 tentang isu ni.
Tapi pada aku, jawapannya mudah ~ "SEDIAKAN PAYUNG SEBELUM HUJAN"
Kita tak tau apa yang mungkin terjadi akan datang.
Jadi, sementara tgh ada daya dan susu yang banyak tak salah utk pulun buat stok EBM.
Terutama nya pd ibu2 yg bekerja.
Sangat byk manfaat nye bila ada stok EBM yg banyak dlm freezer umah anda...hihihi.

Ini adalah antara penyebab2 utama ibu2 disarankan membuat stok EBM:

1. Untuk digunakan waktu kecemasan ~ Contohnya masa kita sakit atau kena gi kursus atau outstation berhari2 kdg2 sampai sebulan pun ade.
Jadi stok ebm yang ada bolehlah digunakan.
Si anak tetap dapat khasiat susu ibu walaupun berjauhan dgn kita.

2. Supaya tak kelam kabut bila stok ebm semakin sikit atau habis.
Mana la tau hasil perahan merudum ke.
Nak plak bile time period atau disahkan mengandung.
Memang ade setgh org bile time period production susu terjejas, termasuk aku sendiri.
Terjejas bukan takat 1 oz ciput2, agak byk ok!
Hampir separuh hasil tenusu akan berkurangan bila time period!
Bila ada stok ebm yang banyak maka dapatlah cover balik hasil perahan ngan stok EBM tu.
Kalau mengandung pun semakin lama susu semakin berkurangan.
Namun ibu tetap boleh menyusukan semasa sedang hamil sekiranya tiada risiko kehamilan, rujuk SINI.

3. Sebagai persediaan bila anak kena 'growth spurt' atau pecutan pertumbuhan iaitu keadaan di mana si anak tiba2 inginkan susu lebih banyak daripada biasa.
Bila time mcm ni, bagi direct feeding pun mmg tak cukup.
Jadi, boleh la top up ngan stok ebm yg melambak tu :)

4. Kerja & Stress ~ bila dah masuk kerja, nak taknak mesti akan rasa stress jugak tak kira sikit ke banyak.
Bila stress mungkin akan pengaruhi pengeluaran susu.
So bila ada ebm lega la sikit kan.
Sementara nak usaha tingkatkan hasil perahan ada la back up.

5. Persediaan untuk bulan Ramadhan ~ Mana la tau susu merudum.
Walaupun pada asasnya puasa tak jejaskan pengeluaran susu ibu.
Tips persediaan bulan berpuasa & menyusukan DI SINI :)


Zaman kegemilangan, stok ebm memenuhi peyut mr. reitoko, sekarang sudah kosong huhuhu


slps bsalin, bila waktu paling sesuai untk EBM n bg baby minum susu perahan ni?

Berdasarkan pengalaman bersalinkan 2 org anak ni, susu perahan akan diberi bila ibu tgh sibuk berurut, bersauna, bersiram ngan air daun yg mcm2 jenis daun, berbarut/bengkung nak plak yg jenis tradisional lilit2 dekat sejam baru siap pakai huhuhu.
Kalau bole sebelum buat semua tu, bg dulu baby breastfeed.
Tapi aktiviti2 tu mmg amik masa lama kan, jd siap sedia la susu perahan tuk baby.
Bole bagi guna syringe atau feeding cup.
Guna botol x digalakkan takut baby keliru puting, nnt baby tolak Breastfeed ngan ibu plak.
Kalau baby yg jenis xfussy, ok jek nk guna botol, tapi pastikan guna puting mesra Breastfeeding contoh brand MAM (my feveret), Avent, Medela etc.
Dan pastikan saiz puting paling kecik atau untuk newborn.
Tips mengumpul stok ketika berpantang DI SINI :)

kalau untk mommies2 yg x bekerja, tp nk bg EBM selalu oke ke x?

Terpulang, tapi biasa nya kalau ibu ade depan mata, baby automatik tolak EBM ni.
Baby lebih suka nyusu direct sambil dpt mesra2 dan dibelai2 oleh ibu nye.
Kena ingat juga risiko kemungkinan si anak menolak terus dr menyusu direct dgn si ibu akan berlaku bg sesetgh bayi.
Jgn guna stok ebm ni atas alasan MALAS NK DIRECT BREASTFEED!

Ibu2 yang menjadi surirumah sgt bertuah kerana tak perlu risau ttg stok EBM kerana lebih mudah untuk menyusukan anak secara direct feeding.
Permintaan sentiasa ada dan tidak perlu risau tentang sesi pam yang tidak cukup sebagainya.
Ini buat aku sangat jeles ngan mereka tau...hihihi.

Tapi, aku tidak menyesal menjadi work-pumping mom kerana terasa sangat indah dan dah menjadi sebahagian rutin harian untuk mengepam.
Malah mengepam adalah salah satu hobi yg paling aku suka lakukan :)

Pheeww...semoga penerangan panjang lebarku ini dpt membantu Sofya & ibu2 lain, terutamanya 1st time mommies membuat persediaan awal untuk menyusukan si kecil yg bakal lahir.
Insyallah dengan niat & tekad segala urusan penyusuan kita dipermudahkan-NYA....AMIN.

Salam cayang dr


          Interview with Hormazd Narielwalla        






q)Please tell us your name and where you practice.

a)) My name is Hormazd Narielwalla and I practice in London, UK.

q) Why do you make art?

a) I make art because it allows me to channel my energy into a physical form. I find the process of making an artwork stimulating and calming besides the most important thing is that it becomes a language for me to express my feelings at that moment of time.

q) How do you work ?

a) I am lucky to have my own studio where I practice. It is based in the London College of Fashion. My principle material is the tailoring pattern that I acquire from bespoke Savile Row tailors Dege & Skinner - these I use depending on the size of my canvas. The methodologies I use in creating an artwork depends on what the final outcome would be. So for instance when it is a collage illustration - I worked digitally or if it's a physical artwork like Dead Man's Patterns skull then it would be a more hands on method. I also use photography, screen printing, hand and Vector drawings in my work. But they all compliment and balance the tailoring pattern, which is the principle component in my artwork.

q) What´s your background?

a) I am trained as a fashion designer. But I don't make clothes. I make art!

q) What role does the artist have in society?

a) the artist is the rebel, the creator and the philosopher

q) What was a seminal experience for you ?

a) finding out that in Savile Row the tailor discards the pattern after the customer dies. My conversation with William Skinner, Managing Director of Dege & Skinner about it ignited a feeling in me that I could create a visual voice to tell their tailoring stories.

q) Has your practice changed over time ?

a)Any practice keeps evolving. I started working only with digital versions of the pattern - now I have started viewing them as physical objects in themselves and I see myself cut, copy, paste more often...

q) What art do you most identify with ?

a)Abstraction art - Matisse and Picasso specifically

q) What´s your strongest memory of your childhood ?

a)Being taken to the Zoo and hating it.

q) What themes do you pursue ?

a)The 2 strongest themes in my work are the body and clothing, I guess you could say that patterns are the link between the two.

q) Describe a real life experience that inspired you.

a) going to the Picasso retrospective at the National Gallery, London.

q) What´s your most embarrassing moment ?

a)In an art context not knowing who Gilbert & George are when discussing with my tutor. I love what they do and how they dress.

q) What jobs have you done other than being an artist ?

a)I worked as a stylist briefly, for an interior designer, and many part time jobs..

q) What responses have you had to your work ?

a)Critical but in a positive way. It took some time for people to get what I am doing.

q) What do you dislike about the artworld ?

a)At times artists are prostitutes.

q) What research do you do ?

a)My phd examines technical values of the pattern - my argument is that in dress history the pattern is a historical document - a file of knowledge and can be viewed as drawings in their own right, abstracted shapes of the human form.

q) What is your dream project?

a)To work with a Matador tailor in Madrid and create artworks inspired by the experience. To also be invited by the Royal Palace to create a portrait of Her Majesty The Queen

q) What´s the best piece of advice you have been given ?

a) Follow your instinct.

q) What couldn’t you do without?

a)My eyes

q) What makes you angry?

a) Stupidity

q) What is your worst quality?

a)I am overly critical of myself.

q) Dogs or Cats ?

a) Both, but cats at the moment.

q) Making art is a lot like being on lsd. Know what I mean ?

a) I have never had it - but my other euphoric experiences could be compared to creating an artwork where I am able to just let myself go.

q) What does “ copy” mean to you ?

a) there is nothing more amateur than being scared of being copied.

q) What´s your favorite cuss word ?

a) C"*T because it's offensive! I've used it once!


          CALINER カリネ ブラウス カットソー 七分袖 レース 綿 ベージュ        
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          Bad Language: Metric vs Metric Tensor vs Matrix Form vs Line Element        

Physicists: Stop using the word “metric” to mean so many different things. A metric tensor is NOT the same object as a metric, it is NOT the same object as its matrix representation, and it is NOT the same object as its associated line element. You should not use those words interchangeably, they are not equivalent structures.

A metric is a function defined on a set.
A metric tensor is a tensor field.

If local coordinates are known:
The matrix representation of a metric tensor is a matrix.
The line element is a function of a metric.

In mathematics, the word metric refers to a fairly general function which defines ‘distance’ between elements in a set (it takes in elements of a set, and produces a real number). Riemannian and pseudo-Riemannian metrics (there are many more kinds of classification of metric too) have different conditions on those functions, but that’s more detail than is required here.

A metric tensor is a function defined on a manifold (a vector space) that takes in two tangent vectors and produces a scalar quantity. Metric tensors are used to define the angle between and length of tangent vectors (somewhat analogous to the dot product of vectors in Euclidean space)

Defining a metric versus a metric tensor:

Consider a smooth manifold of dimension n. For every point x in our manifold, there is a vector space called a tangent space (a tangent space contains all of the tangent vectors to our manifold at the specific point x).

Now, a metric at our point x is a function gx(Xx,Yx), which takes in the two tangent vectors Xx and Yx (at x), and outputs a real number. The metric function must also be bilinear, symmetric, and nondegenerate, but we don’t need to go into further details.

Now we can define a metric tensor, g, on our manifold: The metric tensor assigns a metric, gx, to every point x in the manifold (such that it varies smoothly with x in the manifold). The metric tensor is then:

g(X,Y)(x) = gx(Xx,Yx)

For those familiar with tensors, it should be clear that the metric tensor is actually a tensor field (a tensor is assigned to each point of our mathematical space). A metric tensor is not the same as a metric (it’s more analogous to an ‘infinitesimal’ metric function), but it is usually understood in differential geometry and related areas in physics that when one says “metric”, they really mean “metric tensor”. Mathematically, they are not equivalent objects, but integration of a metric tensor does induce a metric function.

Most of the time when actually doing physics, we don’t want such a general object. If local coordinates are known, the metric tensor can be expressed in a variety of more useful forms.

If we are in a region of the manifold where we have defined a local coordinate system, ie. xμ (where μ runs from 0 to 3), we can re-write our metric tensor [field] as:

g = gμν dxμ⊗dxν

where, gμν are real-valued functions, and dxμ are one-forms.

If we have local coordinates defined, we can then represent the metric tensor in matrix form, where, for our four-dimensional spacetime, we will have a 4x4 matrix with elements gμν.

In our local coordinates, if we take dxμ to be an infinitesimal coordinate displacement, we can write out a line element: ds2 = gμν dxμdxν. The line element, we know, is incredibly useful, as it provides us with an invariant quantity and also imparts information about causal structure.

EDIT: A note from The Unapologetic Mathematician that I should add: "the metric tensor is a bilinear function of two vectors at a given point, while the line element is a quadratic function of a single vector. However, the polarization identities will allow you to recover the bilinear function from the quadratic one."

Why does this matter? Well, for starters, general relativity is really all about your frame of reference and choice of coordinates. Some structures are unchanged regardless of your choice of coordinates (ie. the metric function & metric tensor), and some structures change with change in coordinates (ie. the matrix representation of a metric and the associated line element).


Just a couple of (well cited) offenders:

C. Brans and R. H. Dicke, Mach's Principle and a Relativistic Theory of Gravitation . Phys. Rev. 124, 925 (1961), Cited 1,139 times.

“As in general relativity the metric tensor is written as

gij = ηij + hij …”

EDIT: If I included more of the quote, it would have been obvious that local coordinates had already been chosen and they weren't writing out a general metric tensor, but a coordinate specific object. The reference is cited for context. Abstract index notation for tensors uses indices to indicate the type of tensor, rather than to indicate components in a particular basis

As I said above, gij is not the metric tensor, or a tensor at all, but a set of real-valued function specified for a local coordinate system (gij are also the matrix elements in the matrix representation - in those coordinates - of the metric tensor). The same goes for ηij and hij as well.

___________________________

Tullio Regge and John A. Wheeler, Stability of a Schwarzschild Singularity . Phys. Rev. 108, 1063 (1957), Cited 476 times (two authors I respect immensely)

“Schwarzchild found long ago the solution of Einstein equations for the metric around a fixed spherically symmetrical center-of-mass:

ds2 = -(1-3m*/r)dT2 + (1 – 2m*/r)-1 dr2 + r2(dθ+sin2θdφ2) …”

This is the line element, not the metric.

___________________________

Brandon Carter, Global Structure of the Kerr Family of Gravitational Fields . Phys. Rev. 174, 1559 (1968), Cited 383 times

“The covariant form of the metric tensor is expressed in terms of three parameters, m, e, and a by

ds2 = ρ2dθ2 – 2a sin2θdrdφ + 2drdu + …”

Again, this is a line element, not a metric tensor.

___________________________

Marshall N. Rosenbluth, William M. MacDonald, and David L. Judd, Fokker-Planck Equation for an Inverse-Square Force. Phys. Rev. 107, 1 (1957), Cited 263 times.

“Let the expression for distance between two points whose coordinates differ by dq1, dq2, and dq3 be

(ds)2= aμνdqμdqν,

Where aμν is a metric tensor…”

Again, aμν is not a metric tensor, but a coefficient, when working in local coordinates from this (local coordinate specific) representation of the metric tensor: aμν dxμ⊗dxν…

___________________________

It isn’t that hard to say “line element”, or “matrix representation in local coordinates…”, or “matrix element in local coordinates…” instead of “metric tensor” or "metric" so why don't we?


-S.C. Kavassalis


          Bad Language: “Riemannian Manifold”        
Physicists: Stop saying “Riemannian” when you mean “pseudo-Riemannian”. Yes, it does matter.

Some informal background: a Riemannian manifold is a differentiable manifold (where the tangent space at each point has an inner product) with a positive-definite metric tensor, d(x,y) ≥ 0.

A familiar Riemannian manifold is a Euclidean manifold (where one has to add a smoothly varying inner product on the tangent space of the standard Euclidean space), with the familiar Euclidean (distance) metric (our 3-space, for example).

What is NOT a Riemannian manifold is the familiar Lorentzian manifold of general relativity (of which the Minkowskian manifold of special relativity is a special case). The Lorentzian manifold is a pseudo-Riemannian manifold, the generalization of the Riemannian manifold, such that the metric tensor need not be positive-definite. This apparently seems like a minor point to some, but pseudo-Riemannian and Riemannian manifolds are incredibly different because of this.

One of the underlying assumptions of general relativity is that spacetime can be represented by a Lorentzian manifold with signature (+,-,-,-) or (-,+,+,+) - where the signature of a metric tensor is just the number of positive and negative eigenvalues of the corresponding real symmetric matrix once it is diagonalised.

Unlike a Riemannian manifold, with a positive-definite metric, a Lorentzian manifold M, with non-positive-definite metric, g, allows tangent vectors, X, to be classified into timelike g(X,X) > 0, null g(X,X) = 0, or spacelike g(X,X) < 0.

The causal structure of relativity comes from this classification.

Interestingly, when you most often are reading a paper in a physics journal though, instead of seeing “pseudo-Riemannian” you will see the word “Riemannian”; doing a search in the Physical Review Letters this afternoon for “Riemannian Manifold” yields 526 results, while searching for “pseudo-Riemannian Manifold” only yields 51. While I am sure a few of those authors were actually are working with Riemannian manifolds (and the obvious overlap with the “pseudo-Riemannian” search), the vast majority are simply misusing the term.

Some sample offenders:

Stephen A. Fulling, “Nonuniqueness of Canonical Field Quantization in Riemannian Space-Time” (Phys. Rev. D 7, 2850 (1973), Cited 211 times) : Fulling technically means “pseudo-Riemannian space-time”, else he wouldn’t have any causal structure.

C. N. Yang, “Integral Formalism for Gauge Fields” (Phys. Rev. Lett. 33, 445 (1974), Cited 208 times). Yang starts a paragraph off with “Introduction of a Riemannian metric”, when he then must actually be introducting a pseudo-Riemannian metric. Later, when Yang is defining “Pure Spaces”, he says, “A Riemannian manifold for which the parallel-displacement gauge field is sourceless will be called a pure space.” He then asserts, “A four-dimensional Einstein space, ie. For which Rαβ = 0, is a pure space.” From the definition, if he really mean a Riemannian metric, he could not conclude that “a four-dimensional Einstein space” was a pure space, because an Einstein space must have a different signature to be causal (even though with Rαβ = 0 he is specifying that the metric tensor is locally isometric to a Euclidean space).

Almost anytime you see the phrase “Riemannian space-time”, they are being sloppy. There is no such thing as a Riemannian space-time.

All of these highly respected papers incorrectly refer to the spacetimes they are working in as Riemannian:

Friedrich W. Hehl, Paul von der Heyde, G. David Kerlick, and James M. Nester, “General relativity with spin and torsion: Foundations and prospects” (Rev. Mod. Phys. 48, 393 (1976), Cited 612 times)

David G. Boulware, "Quantum field theory in Schwarzschild and Rindler spaces" (Phys. Rev. D 11, 1404 (1975), Cited 117 times)

Kenneth Nordtvedt, “Equivalence Principle for Massive Bodies. II. Theory” (Phys. Rev. 169, 1017 (1968), Cited 88 times)

Leonard Parker and S. A. Fulling, “Quantized Matter Fields and the Avoidance of Singularities in General Relativity” (Phys. Rev. D 7, 2357 (1973), Cited 87 times)

M. J. Rebouças and J. Tiomno, “Homogeneity of Riemannian space-times of Gödel type” (Phys. Rev. D 28, 1251 (1983), Cited 65 times)

J. S. Dowker and Raymond Critchley, “Stress-tensor conformal anomaly for scalar, spinor, and vector fields” (Phys. Rev. D 16, 3390 (1977), Cited 59 times)

M. A. Melvin, "Dynamics of Cylindrical Electromagnetic Universes" (Phys. Rev. 139, B225 (1965), Cited 43 times)

Leonard Parker, "Conformal Energy-Momentum Tensor in Riemannian Space-Time" (Phys. Rev. D 7, 976 (1973), Cited 36 times)

A. A. Coley, N. Pelavas, and R. M. Zalaletdinov, "Cosmological Solutions in Macroscopic Gravity" (Phys. Rev. Lett. 95, 151102 (2005), Cited 32 times)

F. W. Hehl, E. A. Lord, and Y. Ne'eman, "Hypermomentum in hadron dynamics and in gravitation" (Phys. Rev. D 17, 428 (1978), Cited 20 times)

The list goes on, and on, and on…

Physicists (& Journal Editors): if you’re working in a causal spacetime (and you know you should be), don’t say “Riemannian”. Say, “Lorentzian”, or “pseudo-Riemannian”, or “non-Riemannian”, don’t be lazy.

You wouldn't say "positive" when you mean "positive, zero, or negative", so why would you say "Riemannian" when you mean "pseudo-Riemannian"?

-S.C. Kavassalis
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          A DSI exception has occured while executing the code, can anone help        
Hi All,
An memory exception occurred while executing the function memPartFree, the stack trace after the exception is as follows.

0x002918F0 in (0x0029171c) exceptionHdlr
0x000223D0 in (0x0002191c) excExcHandle
0x000EEAD0 in (0x000eeaa8) wdbDbgDataAccessStub
0x00000300 no symbol found for pc
0x00097EE4 in (0x00097e00) memPartFreeX
0x002A4AFC in (0x002a4598) memPartFree
0x002A4F08 in (0x002a4eec) free

Here the memPartFree is the function written by us and memPartFreeX is the alias to memPartFree (The standard function). we had written memPartFree a wrapper above the standard function to check some memory related errors such as
1. NULL pointer check.
2. Valid pointer within the Heap
3. Double memory check
4. Invalid memory free (Which means the pointer is within the heap but the memory is not allocated to that pointer using the malloc)
etc.

The registers content after the exception is as follows.

EXCEPTION Vector: 0x300 - DSI Exception

Stack Pointer Reg: 0x065F9130

Vector Offset: 0x00000300

errno: 0x064D0050

Data Address Reg: 0x0C7B27C8

Data Storage IS Reg: 0x42000000

FP CS Reg: 0x002A44EC

Program Counter: 0x000980C4

Condition Reg: 0x48042045

Machine State Reg: 0x0000B032

Link Reg: 0x000980AC

Count Reg: 0x00000000

Fixed Point Exc Reg: 0x00000000

R0: 0x063D93E8 R1: 0x065F9130 R2: 0x00000000 R3: 0x0710C0B8

R4: 0x063D9E28 R5: 0x00000000 R6: 0x0000B032 R7: 0x00000008

R8: 0x0018F718 R9: 0x000030DF R10: 0x00000001 R11: 0x00D4A958

R12: 0x48000045 R13: 0x00000000 R14: 0x00000000 R15: 0x00000000

R16: 0x00000000 R17: 0x00000000 R18: 0x00000000 R19: 0x00000000

R20: 0x00000000 R21: 0x00000001 R22: 0x00000001 R23: 0x063D9DD0

R24: 0x0710C0AC R25: 0x00000000 R26: 0x063D93F0 R27: 0x070B0000

R28: 0x0710C0B8 R29: 0x00000518 R30: 0x0710C0AC R31: 0x063D93E0

From the above register content we can notice that, the Program counter is pointing to address: 0x000980C4, and while trying to access the address (Data Address Reg:) 0x0C7B27C8, an DSI (0x300) exception occurred.

When i did the objdumppc for the .abs file the following was displayed. (objdumpppc xxx.abs -S -D -l --start-address=0x98060 --stop-address=0x980ec)

memPartDestroy():
98060: 38 7e 00 04 addi r3,r30,4
98064: 90 1f 00 04 stw r0,4(r31)
98068: 38 80 00 00 li r4,0
9806c: 38 bf 00 08 addi r5,r31,8
98070: 4b fd bf 65 bl 73fd4
98074: 81 3f 00 04 lwz r9,4(r31)
98078: 55 2b f8 7e rlwinm r11,r9,31,1,31
9807c: 7c 0b 5a 14 add r0,r11,r11
98080: 7c 9f 02 14 add r4,r31,r0
98084: 80 04 00 04 lwz r0,4(r4)
98088: 70 0a 00 01 andi. r10,r0,1
9808c: 41 82 00 20 beq 980ac
98090: 54 00 f8 7e rlwinm r0,r0,31,1,31
98094: 38 84 00 08 addi r4,r4,8
98098: 7c 0b 02 14 add r0,r11,r0
9809c: 38 7e 00 04 addi r3,r30,4
980a0: 50 09 08 3c rlwimi r9,r0,1,0,30
980a4: 91 3f 00 04 stw r9,4(r31)
980a8: 4b fd bf 91 bl 74038
980ac: 80 1f 00 04 lwz r0,4(r31)
980b0: 7f 83 e3 78 mr r3,r28
980b4: 81 3e 00 40 lwz r9,64(r30)
980b8: 81 7e 00 44 lwz r11,68(r30)
980bc: 54 00 00 3c rlwinm r0,r0,0,0,30
980c0: 39 29 ff ff addi r9,r9,-1
980c4: 7f ff 01 2e stwx r31,r31,r0 -> Exception occured here
980c8: 7d 7d 58 50 subf r11,r29,r11
980cc: 91 3e 00 40 stw r9,64(r30)
980d0: 91 7e 00 44 stw r11,68(r30)
980d4: 48 02 af f1 bl c30c4
980d8: 38 60 00 00 li r3,0
980dc: 80 01 00 24 lwz r0,36(r1)
980e0: 7c 08 03 a6 mtlr r0
980e4: 83 81 00 10 lwz r28,16(r1)
980e8: 83 a1 00 14 lwz r29,20(r1)

Initially i thought it was a double memory free and I tried to reproduce the issue, but this scenario did not arise because a check was put in the wrapper function that we had written. Here it is trying to access the address at 0x0C7B27C8, but my total RAM size is 128MB only.( ie the memory starts at 0x00000000 and ends at 0x08000000) but the address it is trying to access is beyond the address scope of 128MB. The function which is trying to access is a dllRemove() function which is a standard vxworks library function. I wanted to know what may be the reason for this corruption. Can anyone help me on this. Thank you in advance.

          My Calligraphic Art Work – Ahmad Ladhani        
*Image size: 1024×768 pixels. click on the image for Zoom-In view Another  tryout on Calligraphic Vector Art made by me. Its still have some errors and some finishing mistakes but as per me its best of mine . So I thought I should share … Continue reading
          My Third Calligraphic Art Work – Ahmad Ladhani        
*Image size: 700×450 pixels. click on the image for Zoom-In view This is my Third tryout on Calligraphic Vector Art made by me. It still have some errors and some finishing mistakes but as per me its best of mine . So I thought I … Continue reading
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“What is the difference between dot product and cross product?” [The question was posted by Salman) Incoming search terms:scalar products soulutionLink to this post!
          NEET BioTechnology MCQs May ’17        
1. If you want to recover many copies of the target DNA, you will choose a vector (a) which do not have ori gene (b) which have antibiotic resistance gene (c) whose ori supports high copy number (d) which have only one restriction site 2. Which of the following is the correct sequence of making […]
          Some thoughts on algorithmic complexity, part 2: Be careful if you insert into or remove from a std::vector, QVector, or QList in a loop        
This is the second part of a series of blog posts. Like in part 1, most or all of what I write here will be obvious to many readers. However, I have seen problems which are equivalent to those that I show here more than once in widely-used code, so I think it makes sense […]
          Popraw wydajność żywienia dzięki nowym raportom Lely T4C Vector        
Firma Lely ulepszyła sposób zarządzania automatycznym systemem żywienia Lely Vector. Najnowsza wersja systemu do zarządzania T4C zawiera raporty, podające bardziej dokładne informacje o kosztach żywienia w stosunku do wielkości produkcji mleka i mięsa.
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          Grande lampe industrielle d' atelier design Tous Sens (era jielde gras) loft vin        
280,00 EUR
Date de fin: lundi août-14-2017 19:54:16 CEST
Achat immédiat pour seulement: 280,00 EUR
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          atelier lampe industrielle fonctionnement et articulation comme lampe jielde        
30,00 EUR (1 Enchère)
Date de fin: vendredi août-11-2017 18:33:34 CEST
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          lampe atelier lumina no jielde        
179,00 EUR
Date de fin: jeudi sept.-7-2017 12:40:25 CEST
Achat immédiat pour seulement: 179,00 EUR
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          3 LAMPES JIELDE LE LOT ATELIER INDUS         
480,00 EUR
Date de fin: mercredi sept.-6-2017 11:40:24 CEST
Achat immédiat pour seulement: 480,00 EUR
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          lampe d'atelier accordeon globe jielde design industriel usine vintage        
59,00 EUR
Date de fin: vendredi août-18-2017 18:06:20 CEST
Achat immédiat pour seulement: 59,00 EUR
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          lot 2 platine contact pour lampe jieldé JLD        
15,00 EUR
Date de fin: dimanche août-13-2017 12:51:10 CEST
Achat immédiat pour seulement: 15,00 EUR
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          ANCIENNE LAMPE INDUSTRIELLE JIELDE 2 BRAS 1950        
250,00 EUR
Date de fin: vendredi août-18-2017 16:36:43 CEST
Achat immédiat pour seulement: 250,00 EUR
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          lampe jielde        
450,00 EUR
Date de fin: vendredi août-25-2017 17:19:57 CEST
Achat immédiat pour seulement: 450,00 EUR
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          Lampe industrielle atelier bureau 1950 (era jielde jumo)        
58,00 EUR
Date de fin: dimanche août-20-2017 21:12:10 CEST
Achat immédiat pour seulement: 58,00 EUR
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          ancienne lampe applique jielde 1950 lampe d atelier         
210,00 EUR
Date de fin: jeudi août-17-2017 12:12:28 CEST
Achat immédiat pour seulement: 210,00 EUR
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          Lampe Vintage Industrielle JIELDE applique Métal Aluminium Atelier Usine 1950         
240,00 EUR
Date de fin: mardi août-15-2017 22:55:27 CEST
Achat immédiat pour seulement: 240,00 EUR
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          Lampe Loft JieLDé Atelier-Usine 1950 restaurée coloris VEV martelé J.L. DOMECQ        
262,00 EUR
Date de fin: vendredi août-18-2017 9:26:11 CEST
Achat immédiat pour seulement: 262,00 EUR
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          Lot de 2 anciennes lampes Jielde.        
251,00 EUR (34 Enchères)
Date de fin: vendredi août-11-2017 19:55:12 CEST
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          ancienne lentille de fresnel pour lampe jielde        
15,00 EUR (0 Enchères)
Date de fin: samedi août-12-2017 19:26:58 CEST
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          etau pour lampe jielde        
35,00 EUR (0 Enchères)
Date de fin: samedi août-12-2017 18:52:19 CEST
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          lampe industrielle 2bras "style jielde" vintage en metal loft style reglable mur        
62,00 EUR
Date de fin: lundi sept.-4-2017 17:34:57 CEST
Achat immédiat pour seulement: 62,00 EUR
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          PROJECTEUR MOLE RICHARDSON LAMPE CREMER ATELIER INDUSTRIELLE NO JIELDE        
265,00 EUR
Date de fin: dimanche août-27-2017 18:08:25 CEST
Achat immédiat pour seulement: 265,00 EUR
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          LAMPE BUREAU ATELIER INDUSTRIELLE 2 BRAS FIXATION JIELDE JEAN LOUIS DOMECQ        
150,00 EUR (0 Enchères)
Date de fin: samedi août-12-2017 15:42:40 CEST
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          LAMPE ARTICULEE JIELDE fabriqué année 50 saint priest (a coté de LYON 69)        
195,00 EUR
Date de fin: jeudi sept.-7-2017 18:45:42 CEST
Achat immédiat pour seulement: 195,00 EUR
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          LAMPE JIELDE ORIGINAL ! 2 BRAS LOFT JEAN LOUIS DOMECQ FRENCH FACTORY DESIGN        
220,00 EUR
Date de fin: jeudi août-31-2017 21:32:20 CEST
Achat immédiat pour seulement: 220,00 EUR
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          LAMPE JIELDE 2 BRAS VINTAGE LOFT JEAN LOUIS DOMECQ FRENCH FACTORY DESIGN        
230,00 EUR
Date de fin: mardi août-15-2017 18:18:33 CEST
Achat immédiat pour seulement: 230,00 EUR
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          Paire applique Lampe jielde Wall lamp design Loft         
270,00 EUR
Date de fin: lundi août-28-2017 12:46:30 CEST
Achat immédiat pour seulement: 270,00 EUR
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          lampe jielde accessoire vente du lot        
35,00 EUR
Date de fin: samedi sept.-9-2017 12:56:43 CEST
Achat immédiat pour seulement: 35,00 EUR
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          Très belle et ancienne lampe d'atelier d'usine. De la marque Jielde. Patine vert        
270,00 EUR
Date de fin: samedi août-19-2017 11:09:49 CEST
Achat immédiat pour seulement: 270,00 EUR
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          ANCIENNE GRANDE LAMPE HUBLOT INDUSTRIELLE ÉMAILLÉE JIELDE , RARE .        
33,00 EUR (0 Enchères)
Date de fin: vendredi août-11-2017 20:54:46 CEST
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          Lampe JIELDE 2 bras avec étau de fixation superbe patine d origine         
260,00 EUR
Date de fin: vendredi sept.-8-2017 21:20:06 CEST
Achat immédiat pour seulement: 260,00 EUR
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          Lampe industrielle d'atelier Jieldé, 2 bras articulés        
180,00 EUR
Date de fin: dimanche août-20-2017 22:23:28 CEST
Achat immédiat pour seulement: 180,00 EUR
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          Ancien Abat Jour de Lampe d' Atelier LAK ... Jielde pour Piéces Lack Laq         
38,00 EUR
Date de fin: samedi août-12-2017 18:42:13 CEST
Achat immédiat pour seulement: 38,00 EUR
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          Superbe Lampe Industrielles JIELDE 3 BRAS , EN TRÈS BEL ETAT D'origine        
320,00 EUR
Date de fin: dimanche sept.-3-2017 14:40:06 CEST
Achat immédiat pour seulement: 320,00 EUR
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          Lampe Industrielle Applique de cour d'usine Métal Tôle émaillée No Jielde Gras        
109,00 EUR
Date de fin: mardi août-29-2017 15:57:17 CEST
Achat immédiat pour seulement: 109,00 EUR
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          PROJECTEUR ENORME ALU TREPIED LAMPE DESIGN LOFT ART DECO INDUSTRIEL JIELDE        
100,00 EUR
Date de fin: mercredi sept.-6-2017 8:46:07 CEST
Achat immédiat pour seulement: 100,00 EUR
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          Lampe de loft Jieldé 2 Bras Jean Louis Domecq Vintage à 100%-En parfait état        
275,00 EUR
Date de fin: jeudi sept.-7-2017 15:58:25 CEST
Achat immédiat pour seulement: 275,00 EUR
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          LOT DE 10 ECROUS POUR SEMELLE DE LAMPES JIELDE         
45,00 EUR
Date de fin: jeudi août-17-2017 14:38:31 CEST
Achat immédiat pour seulement: 45,00 EUR
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           lampe jielde bras         
40,00 EUR (0 Enchères)
Date de fin: dimanche août-13-2017 10:41:47 CEST
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           lampe JIELDE        
100,00 EUR
Date de fin: jeudi août-24-2017 9:46:44 CEST
Achat immédiat pour seulement: 100,00 EUR
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          lampe atelier lumina no jielde        
179,00 EUR
Date de fin: jeudi sept.-7-2017 12:46:12 CEST
Achat immédiat pour seulement: 179,00 EUR
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          lampe jielde 3 bras         
250,00 EUR
Date de fin: lundi août-14-2017 13:15:36 CEST
Achat immédiat pour seulement: 250,00 EUR
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          Lampe "CALOR"ancien chauffage,industriel.-no jieldé-        
80,00 EUR
Date de fin: samedi sept.-9-2017 18:39:41 CEST
Achat immédiat pour seulement: 80,00 EUR
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          Lampe Vintage Industrielle JIELDE Liseuse 2 bras 120 / 40 cm Atelier Usine 1950         
430,00 EUR
Date de fin: mardi août-15-2017 18:52:27 CEST
Achat immédiat pour seulement: 430,00 EUR
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          lampe circa vintage style jielde indus etc        
99,00 EUR
Date de fin: mardi août-22-2017 11:40:10 CEST
Achat immédiat pour seulement: 99,00 EUR
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          Ref 572 Lampe d'usine type JIELDE 2 bras de lumiere dans son jus        
60,00 EUR
Date de fin: lundi août-14-2017 16:29:54 CEST
Achat immédiat pour seulement: 60,00 EUR
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          LAMPE BUREAU ATELIER INDUSTRIELLE 2 BRAS JIELDE OLD SHOP LAMP LAMPE DESIGN         
230,00 EUR (0 Enchères)
Date de fin: lundi août-14-2017 20:38:35 CEST
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          COL DE CYGNE VERRE PORCELAINE APPLIQUE LAMPE JIELDE DESIGN LOFT         
30,00 EUR
Date de fin: mardi août-15-2017 12:24:09 CEST
Achat immédiat pour seulement: 30,00 EUR
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          belle lampe industrielle articulée jieldé         
150,00 EUR (0 Enchères)
Date de fin: dimanche août-13-2017 22:33:24 CEST
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          lampe d'atelier industrielle marque toussens style jieldé gras        
230,00 EUR
Date de fin: lundi août-14-2017 15:58:48 CEST
Achat immédiat pour seulement: 230,00 EUR
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          lampe d'atelier industrielle jielde , loft déco, 2 bras dans son jus        
250,00 EUR
Date de fin: mardi aoÃ