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Holy Trinity church Barsham Suffolk
Image by Brokentaco
HDR. AEB +/-3 total of 7 exposures processed with Photomatix.
There was a church in Barsham, at the time of the Domesday Survey, to which belonged twenty acres of glebe, valued at 3s. The patronage was appended to the manor at the above period, and has never been disunited.
The church is dedicated to the Holy Trinity, and comprises a nave and chancel of the same width: the latter is covered with red tiles, but the former, which is somewhat loftier than the chancel, is thatched with reeds, and there is a south porch covered with lead. A small north aisle or chapel was taken down about sixty years since, the removal of which has materially injured the stability of the fabric. At the west end of the nave stands a round tower, in which hangs a small solitary bell, though there were three at no very distant period.
The edifice is probably raised upon the site of that mentioned in the Domesday Book, but has no claims to Norman antiquity. The oldest feature discernible in it is a lancet window in the south wall of the chancel, near its junction with the nave, at the lower part of which is a lychnoscope, now plastered over, though the original and massive hinges are visible. The other windows, except that at the east end, are in the style which marks the reign of Edward II., and contain each a single shaft, with here and there a fragment of ancient painted glass. A screen of oak divides the body of the church from the chancel, which must have been erected about the time of James I., if we may judge of its age by the fashion of its design—a bold step at a period so shortly subsequent to the Reformation, and one which must have subjected the Rector to the charge of abetting popery. This incumbent was Joseph Fleming, who held the rectory from 1617 to 1636, and who, as appears by his arms, carved on a corbel, raised the present substantial but inelegant roof of the chancel in 1633. To him, also, I attribute the construction of the eastern window—the most remarkable feature in the edifice. This is formed by stone ribs or mullions, which cross each other diagonally; producing a series of lozenge-shaped lights. On the exterior face of the wall, the diagonal ribs are extended throughout; the interstices, beyond the limits of the glass, being filled with squared flints. The effect is very singular, and in design has, most probably, no parallel. The font, which is coeval with the church, stands in an open space at the west end of the nave.
The Font at Barsham Church.
On the floor of the chancel lies the brass effigy of a warrior, in the military costume of the latter part of the fourteenth century. There are no armorial bearings attached to this monument, and the circumscription is lost, but it must, without doubt, have been placed to the memory of Sir Robert Atte Tye, who was buried here, soon after the year 1380; and whose widow, by will, proved in 1385, desires to be buried in Barsham church, by the side of her late husband. The costume strictly agrees with this appropriation. The present parish clerk, a very aged man, relates a tradition connected with this monument. He says, when this warrior died, four dozens of wine were drank, according to his last directions, over his grave, before the coffin was covered with earth. Strange as such a relation may sound to our ears, it is, in all probability, true. For in the will of James Cooke, of Sporle, in Norfolk, made in 1506, it is ordered, "I will that myn executors, as sone as it may come to ther knouleg that I am dede, that they make a drynkyng for my soul to the value of vis, viiid, in the church of Sporle." The drynkyng was accordingly held in the middle aisle.
An altar-tomb of richly moulded brick stands against the north wall of the chancel. It bears no inscription, but most likely covers the remains of Thomas Blennerhasset, Esq., who was buried in May, 1599.
There are likewise several floor-stones commemorative of former Rectors, and one which especially attracts attention by the variously coloured marbles of which it is composed. It is placed to the memory of the Rev. Thomas Missenden, who died in 1774, after an incumbency of thirty years.
Dr. Maurice Suckling, Prebendary of Westminster Abbey, and Rector of Barsham, was buried here in 1730.
Benjamin Solley, Rector, died Dec. 6, 1714.
Horace Suckling, Clerk, Rector, died April 12, 1828, æt. 57.
There are also monuments to the following persons:
Horace Suckling, youngest son of Robert Suckling, of Woodton, Esq., died August 15, 1751.
William Suckling, Esq., died Dec. 15, 1798, aged 68.
Elizabeth Flavell, eldest daughter of the Rev. Horace Suckling, died July 30, 1833.
Samuel Lillistone, Esq., of Beccles, died June 26, 1829, aged 72.
Eliza Lane, died June 10, 1831.
John Eachard, three times Bailiff of Great Yarmouth, died June 24, 1657. His wife died in the same year.
The Lady Dionesia Atte Tye was buried in the church porch, according to the directions given in her will, in 1375, where a very ancient gravestone, robbed of its brass effigy and armorial bearings, covers her remains.
The register books of Barsham commence in 1558, and down to 1615 were kept in English, and are badly written. After this period another hand occurs, by which the entries are very neatly made, and in Latin. There are a few breaks in the succeeding books, which seem to have been much neglected. In "1559, Thomas, son of Edwarde Tye, was baptized, on the 22nd of Marche." In all probability this was a descendant of the ancient race, formerly Lords of Barsham.
"Anno D’ni 1584. The olde ladie Itchingham was buried the 30th of Julie." The age of this lady is not recorded, but it must have been very advanced, as her youngest daughter, Mary, married John Blennerhasset, Esq., in 1523; and supposing her to have been only forty years old when her youngest daughter was married, she must even so have reached her hundred and first year: but the probability is she was ten or fifteen years older. She was, therefore, with justice called the "olde ladie" Echingham. A good proof this of the salubrity of Barsham Hall, notwithstanding the lowness of its site.
The tithes of the parish have been commuted for £463, and the glebes set at the same time at £160 per annum. These amount to rather more than eighty acres, the land tax on which is redeemed. The churchwarden holds a piece of land producing about 30s. per annum, given for the benefit of the poor, by a benefactor whose name is not recorded.
www.british-history.ac.uk/no-series/suffolk-history-antiq…
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more ‘traditional’ methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or ‘one stop’, represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera’s raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full ‘set’ of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon’s approach is called ‘Active D-Lighting’ which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don’t use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don’t use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff’s detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera’s image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA’s Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann’s method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann’s process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
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Bazile (33)
Image by Douglas R Witt
Now that Bazile is back in one piece, it’s time to do a little extra work in the back of the mask. The photos in this collection have taken place over the last three day… this is a time of waiting and working sections… it takes time for the mask to settle and dry, this work needs to be done somewhat slowly if you are to get a mask that isn’t warped out of shape. There are a few things that I do to keep it from deforming.
I use the original armature in this case it’s a plaster life cast of my teacher/actor friend Sean Daly. I put the mask back over the plaster armature to make sure it will not warp out of face shape.
I have found that Papier-mâching the inside of a mask must be done in stages… start with the middle features like the eyes nose and mouth… than Papier-mâché outward. Leave the rim of the mask as the last thing to mâché … this can be fast or slow… depending how large the mask is and how much interior work needs to be done… Bazile mask is still drying 72 hours later. It’s just starting to harden…
The reason it’s taken this long is because of two factors. It’s been raining a lot here and it’s made the apartment more humid than normal, the other and the main reason is because I used a TP Paste (the white stuff) to fill some of the large negative spaces like the nose, around the eyes, ears and bottom lip. The white stuff that you’re looking at is a mixture of all-purpose white glue and shredded bathroom tissue.
I use this TP Paste to fill in a few areas of the mask that I feel need some protection from wear and tear just in case it gets bumped while being used on stage. Once I have used the TP Paste to fill in the areas of the mask I want to straighten I will leave it to dry for 6 hours or more.
Warning: this mixture should be used sparingly because it takes a long while to dry, also if you use a ton of it will make the mask heavier hard to wear.
Even though I didn’t use very much of this Paste it will take three days plus to fully dry. I don’t use it very often, but it’s really a good thing to us to fill gaps. It’s like a mask maker’s auto body filler to smooth some uneven exterior lumps and it strengthens the mask, I felt this mask need it and what a great chance to show you 🙂 super mask making secretes
I do another six layers of Papier-mâché in the back of the masks. This will bulk up the mask a bit and give it some extra stability for frequent use on stage or using as a teaching mask. In these photos the first thing I did was use the TP fill and then let it sit to settle and dry in front of a fan for 16 hours. Then I cut out the ear holes, nostrils and trimmed the rim of the mask. Once I am happy with the timing I Papier-mâché six layers on the interior of the mask starting with the middle features in the mask and worked my way outward. I did the eye, ears, nose, chin and cheek area. Then I let it settles in front of the fan for another 8 hours. Once it was dry I finished the brows and forehead and Papier-mâché the rim of the mas with smaller ribbons of paper, this will seal the mask completely and keep it from possibly chipping for flaking apart from you’re face sweat and warm breath from regular use… it also makes it look nice.
Once all six layers of mâché are finish… put in front of the fan again and let it sit and dry again for at least 8 hours… there has been a lot of new work done on the mask and you will notice that it will be heavier… there is due to a lot of water added to the mask and it needs to dry out and settle… put it on the armature base you sculpted the mask on and leave it sit for a day or overnight.
Now that the mask is dry… it’s time to add the fabric elastic head band, you can us any kind of head band suits your fancy or whatever turns you on… String, Ribbon, leather, Fabric elastic, etc… the way to attach them is basically the same although my method is not the only way… and you’re welcome to explore others.
For Bazile mask I am using a half inch black fabric elastic, you can pick it up at any place that sells fabric. I use black because it disappears on stage and it never looks dirty. I start off by measuring a length of fabric elastic from temple to temple. Coming around the crown of the back of the head and sitting behind the ears like a pair of sunglasses. I pull the elastic just a little snug (NOT TIGHT) you want the mask to fit a snuggly on your face… in the next set of photos I will be showing how to add foam rubber to the interior of the mask so it will sit comfortable on the face.
Once I have measured out my length of elastic set it aside and get a marker, put the mask on your face and find your temples on the inside of the mask. Once you have marked where the elastic is going to go, use a little dab of hot glue and glue the elastic in… and try the mask on. This may take a few tries so use a little hot glue until you find a comfortable fit. The mask may sit on your face a bit uncomfortable… it may be pressing into the corners of your eyes of sitting very snuggly to your face… that’s ok because that’s what the foam rubber is for.
The pain will show you where to put the foam… ha ha ha!
Once the mask fits snuggly it’s time to use a little more hot glue to anchor the fabric elastic into the mask, try to make the glue as flat as possible using the tip of the hot gun so that you’re not getting poked in the temples by hot glue lumps. Then Papier-mâché three more layers of paper over and around the fabric elastic and set the mask in front of a fan to dry for another 6 hours or so… it’s important to give the mask lots of drying time. The next steps are the sealing and painting and you want a nice dry mask to work on.
Person artist note to beginner mask makers:
The back of the mask is just as important as the front of the mask. Most people think it ends with taking the mask off the mold. But if you spend a few extra hours detailing and finishing the back of the mask you’re going to have a mask that will last longer and take a beating or hang on a wall without deforming over time.
It’s important to also reinforce the back and fill in some of the negative spaces… and add ventilation holes like nostrils and sometimes a small mouth slit. This will help the actor from overheating and cut down on sweating behind the mask. Some masks will fit very close to the face and subsequently create a vacuum effect that is like putting a plastic bag over your face. The ability to breath easily out of the mask is important it will help the actor forget there wearing a mask, also if all you have are eyeholes as venation entrance and exit the flow of air will dry out the performer’s eyes.
Please listen to this music while viewing this set of photos
youtu.be/9HtHEgINHO0
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Steven F. Udvar-Hazy Center: South hangar panorama, including Vought OS2U-3 Kingfisher seaplane, B-29 Enola Gay
Image by Chris Devers
Quoting Smithsonian National Air and Space Museum | Vought OS2U-3 Kingfisher:
The Kingfisher was the U.S. Navy’s primary ship-based, scout and observation aircraft during World War II. Revolutionary spot welding techniques gave it a smooth, non-buckling fuselage structure. Deflector plate flaps that hung from the wing’s trailing edge and spoiler-augmented ailerons functioned like extra flaps to allow slower landing speeds. Most OS2Us operated in the Pacific, where they rescued many downed airmen, including World War I ace Eddie Rickenbacker and the crew of his B-17 Flying Fortress.
In March 1942, this airplane was assigned to the battleship USS Indiana. It later underwent a six-month overhaul in California, returned to Pearl Harbor, and rejoined the Indiana in March 1944. Lt. j.g. Rollin M. Batten Jr. was awarded the Navy Cross for making a daring rescue in this airplane under heavy enemy fire on July 4, 1944.
Transferred from the United States Navy.
Manufacturer:
Vought-Sikorsky Aircraft Division
Date:
1937
Country of Origin:
United States of America
Dimensions:
Overall: 15ft 1 1/8in. x 33ft 9 1/2in., 4122.6lb., 36ft 1 1/16in. (460 x 1030cm, 1870kg, 1100cm)
Materials:
Wings covered with fabric aft of the main spar
Physical Description:
Two-seat monoplane, deflector plate flaps hung from the trailing edge of the wing, ailerons drooped at low airspeeds to function like extra flaps, spoilers.
• • • • •
Quoting Smithsonian National Air and Space Museum | Boeing B-29 Superfortress "Enola Gay":
Boeing’s B-29 Superfortress was the most sophisticated propeller-driven bomber of World War II and the first bomber to house its crew in pressurized compartments. Although designed to fight in the European theater, the B-29 found its niche on the other side of the globe. In the Pacific, B-29s delivered a variety of aerial weapons: conventional bombs, incendiary bombs, mines, and two nuclear weapons.
On August 6, 1945, this Martin-built B-29-45-MO dropped the first atomic weapon used in combat on Hiroshima, Japan. Three days later, Bockscar (on display at the U.S. Air Force Museum near Dayton, Ohio) dropped a second atomic bomb on Nagasaki, Japan. Enola Gay flew as the advance weather reconnaissance aircraft that day. A third B-29, The Great Artiste, flew as an observation aircraft on both missions.
Transferred from the United States Air Force.
Manufacturer:
Boeing Aircraft Co.
Martin Co., Omaha, Nebr.
Date:
1945
Country of Origin:
United States of America
Dimensions:
Overall: 900 x 3020cm, 32580kg, 4300cm (29ft 6 5/16in. x 99ft 1in., 71825.9lb., 141ft 15/16in.)
Materials:
Polished overall aluminum finish
Physical Description:
Four-engine heavy bomber with semi-monoqoque fuselage and high-aspect ratio wings. Polished aluminum finish overall, standard late-World War II Army Air Forces insignia on wings and aft fuselage and serial number on vertical fin; 509th Composite Group markings painted in black; "Enola Gay" in black, block letters on lower left nose.
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Churchill Club Top 10 Tech Trends Debate
Image by jurvetson
I just got back from the Churchill Club’s 13th Annual Top 10 Tech Trends Debate (site).
Curt Carlson, CEO of SRI, presented their trends from the podium, which are meant to be “provocative, plausible, debatable, and that it will be clear within the next 1-3 years whether or not they will actually become trends.”
Then the panelists debated them. Speaking is Aneesh Chopra, CTO of the U.S., and smirking to his left is Paul Saffo, and then Ajay Senkut from Clarium, then me.
Here are SRI’s 2011 Top 10 Tech Trends [and my votes]:
Trend 1. Age Before Beauty. Technology is designed for—and disproportionately used by—the young. But the young are getting fewer. The big market will be older people. The aging generation has grown up with, and is comfortable with, most technology—but not with today’s latest technology products. Technology product designers will discover the Baby Boomer’s technology comfort zone and will leverage it in the design of new devices. One example today is the Jitterbug cell phone with a large keypad for easy dialing and powerful speakers for clear sound. The trend is for Baby Boomers to dictate the technology products of the future.
[I voted YES, it’s an important and underserved market, but for tech products, they are not the early adopters. The key issue is age-inspired entrepreneurship. How can we get the entrepreneurial mind focused on this important market?]
Trend 2. The Doctor Is In. Some of our political leaders say that we have "the best medical care system in the world". Think what it must be like in the rest of the world! There are many problems, but one is the high cost of delivering expert advice. With the development of practical virtual personal assistants, powered by artificial intelligence and pervasive low-cost sensors, “the doctor will be in”—online—for people around the world. Instead of the current Web paradigm: “fill out this form, and we’ll show you information about what might be ailing you”, this will be true diagnosis—supporting, and in some cases replacing—human medical practitioners. We were sending X-rays to India to be read; now India is connecting to doctors here for diagnosis in India. We see the idea in websites that now offer online videoconference interaction with a doctor. The next step is automation. The trend is toward complete automation: a combination of artificial intelligence, the Internet, and very low-cost medical instrumentation to provide high-quality diagnostics and advice—including answering patient questions—online to a worldwide audience.
[NO. Most doctor check-ups and diagnoses will still need to be conducted in-person (blood tests, physical exams, etc). Sensor technology can’t completely replace human medical practitioners in the near future. Once we have the physical interface (people for now), then the networking and AI capabilities can engage, bringing specialist reactions to locally collected data. The real near-term trend in point-of-care is the adoption of iPads/phones connected to cloud services like ePocrates and Athenahealth and soon EMRs.]
Trend 3. Made for Me. Manufacturing is undergoing a revolution. It is becoming technically and economically possible to create products that are unique to the specific needs of individuals. For example, a cell phone that has only the hardware you need to support the features you want—making it lighter, thinner, more efficient, much cheaper, and easier to use. This level of customization is being made possible by converging technical advances: new 3D printing technology is well documented, and networked micro-robotics is following. 3D printing now includes applications in jewelry, industrial design, and dentistry. While all of us may not be good product designers, we have different needs, and we know what we want. The trend is toward practical, one-off production of physical goods in widely distributed micro-factories: the ultimate customization of products. The trend is toward practical, one-off production of physical goods in widely distributed micro-factories: the ultimate customization of products.
[NO. Personalization is happening just fine at the software level. The UI skins and app code is changeable at zero incremental cost. Code permeates outward into the various vessels we build for it. The iPhone. Soon, the car (e.g. Tesla Sedan). Even the electrical circuits (when using an FPGA). This will extend naturally to biological code, with DNA synthesis costs plummeting (but that will likely stay centralized in BioFabs for the next 3 years. When it comes to building custom physical things, the cost and design challenges relegate it to prototyping, tinkering and hacks. Too many people have a difficult time in 3D content creation. The problem is the 2D interfaces of mouse and screen. Perhaps a multitouch interface to digital clay could help, where the polygons snap to fit after the form is molded by hand.]
Trend 4. Pay Me Now. Information about our personal behavior and characteristics is exploited regularly for commercial purposes, often returning little or no value to us, and sometimes without our knowledge. This knowledge is becoming a key asset and a major competitive advantage for the companies that gather it. Think of your supermarket club card. These knowledge-gatherers will need to get smarter and more aggressive in convincing us to share our information with them and not with their competitors. If TV advertisers could know who the viewers are, the value of the commercials would go up enormously. The trend is technology and business models based on attracting consumers to share large amounts of information exclusively with service providers.
[YES, but it’s nothing new. Amazon makes more on merchandising than product sales margin. And, certain companies are getting better and better at acquiring customer information and personalizing offerings specifically to these customers. RichRelevance provides this for ecommerce (driving 25% of all e-commerce on Black Friday). Across all those vendors, the average lift from personalizing the shopping experience: 15% increase in overall sales and 8% increase in long-term profitability. But, simply being explicit and transparent to the consumer about the source of the data can increase the effectiveness of targeted programs by up to 100% (e.g., saying “Because you bought this product and other consumers who bought it also bought this other product" yielded a 100% increase in product recommendation effectiveness in numerous A/B tests). Social graph is incredibly valuable as a marketing tool.]
Trend 5. Rosie, At Last. We’ve been waiting a long time for robots to live in and run our homes, like Rosie in the Jetsons’ household. It’s happening a little now: robots are finally starting to leave the manufacturing floor and enter people’s homes, offices, and highways. Robots can climb walls, fly, and run. We all know the Roomba for cleaning floors—and now there’s the Verro for your pool. Real-time vision and other sensors, and affordable precise manipulation, are enabling robots to assist in our care, drive our cars, and protect our homes and property. We need to broaden our view of robots and the forms they will take—think of a self-loading robot-compliant dishwasher or a self-protecting house. The trend is robots becoming embedded in our environments, and taking advantage of the cloud, to understand and fulfill our needs.
[NO. Not in 3 years. Wanting it badly does not make it so. But I just love that Google RoboCar. Robots are not leaving the factory floor – that’s where the opportunity for newer robots and even humanoid robots will begin. There is plenty of factory work still to be automated. Rodney Brooks of MIT thinks they can be cheaper than the cheapest outsourced labor. So the robots are coming, to the factory and the roads to start, and then the home.]
Trend 6. Social, Really. The rise of social networks is well documented, but they’re not really social networks. They’re a mix of friends, strangers, organizations, hucksters—it’s more like walking through a rowdy crowd in Times Square at night with a group of friends. There is a growing need for social networks that reflect the fundamental nature of human relationships: known identities, mutual trust, controlled levels of intimacy, and boundaries of shared information. The trend is the rise of true social networks, designed to maintain real, respectful relationships online.
[YES. The ambient intimacy of Facebook is leading to some startling statistics on fB evidence reuse by divorce lawyers (80%) and employment rejections (70%). There are differing approaches to solve this problem: Altly’s alternative networks with partioning and control, Jildy’s better filtering and auto-segmentation, and Path’s 50 friend limit.]
Trend 7. In-Your-Face Augmented Reality. With ever-cheaper computation and advances in computer vision technology, augmented reality is becoming practical, even in mobile devices. We will move beyond expensive telepresence environments and virtual reality games to fully immersive environments—in the office, on the factory floor, in medical care facilities, and in new entertainment venues. I once did an experiment where a person came into a room and sat down at a desk against a large, 3D, high-definition TV display. The projected image showed a room with a similar desk up against the screen. The person would put on 3D glasses, and then a projected person would enter and sit down at the other table. After talking for 5 to 10 minutes, the projected person would stand up and put their hand out. Most of the time, the first person would also stand up and put their hand into the screen—they had quickly adapted and forgotten that the other person was not in the room. Augmented reality will become indistinguishable from reality. The trend is an enchanted world— The trend is hyper-resolution augmented reality and hyper-accurate artificial people and objects that fundamentally enhance people’s experience of the world.
[NO, lenticular screens are too expensive and 3D glasses are a pain in the cortex. Augmented reality with iPhones is great, and pragmatic, but not a top 10 trend IMHO]
Trend 8. Engineering by Biologists.
Biologists and engineers are different kinds of people—unless they are working on synthetic biology. We know about genetically engineered foods and creatures, such as gold fish in multiple other colors. Next we’ll have biologically engineered circuits and devices. Evolution has created adaptive processing and system resiliency that is much more advanced than anything we’ve been able to design. We are learning how to tap into that natural expertise, designing devices using the mechanisms of biology. We have already seen simple biological circuits in the laboratory. The trend is practical, engineered artifacts, devices, and computers based on biology rather than just on silicon.
[YES, and NO because it was so badly mangled as a trend. For the next few years, these approaches will be used for fuels and chemicals and materials processing because they lend themselves to a 3D fluid medium. Then 2D self-assembling monolayers. And eventually chips , starting with memory and sensor arrays long before heterogeneous logic. And processes of biology will be an inspiration throughout (evolution, self-assembly, etc.). Having made predictions along these themes for about a decade now, the wording of this one frustrated me]
Trend 9. ‘Tis a Gift to be Simple. Cyber attacks are ever more frequent and effective. Most attacks exploit holes that are inevitable given the complexity of the software products we use every day. Cyber researchers really understand this. To avoid these vulnerabilities, some cyber researchers are beginning to use only simple infrastructure and applications that are throwbacks to the computing world of two decades ago. As simplicity is shown to be an effective approach for avoiding attack, it will become the guiding principle of software design. The trend is cyber defense through widespread adoption of simple, low-feature software for consumers and businesses.
[No. I understand the advantages of being open, and of heterogencity of code (to avoid monoculture collapse), but we have long ago left the domain of simple. Yes, Internet transport protocols won via simplicity. The presentation layer, not so much. If you want dumb pipes, you need smart edges, and smart edges can be hacked. Graham Spencer gave a great talk at SFI: the trend towards transport simplicity (e.g. dumb pipes) and "intelligence in the edges" led to mixing code and data, which in turn led to all kinds of XSS-like attacks. Drive-by downloading (enabled by XSS) is the most popular vehicle for delivering malware these days.]
Trend 10. Reverse Innovation. Mobile communication is proliferating at an astonishing rate in developing countries as price-points drop and wireless infrastructure improves. As developing countries leapfrog the need for physical infrastructure and brokers, using mobile apps to conduct micro-scale business and to improve quality of life, they are innovating new applications. The developing world is quickly becoming the largest market we’ve ever seen—for mobile computing and much more. The trend is for developing countries to turn around the flow of innovation: Silicon Valley will begin to learn more from them about innovative applications than they need to learn from us about the underlying technology.
[YES, globalization is a megatrend still in the making. The mobile markets are clearly China, India and Korea, with app layer innovation increasingly originating there. Not completely of course, but we have a lot to learn from the early-adopter economies.]
Beijing Auto Show 2014
The automotive industry of china is recognized as the largest all over the world. According to statistics, since 2009 annual manufacturing of automobiles in China beats that of the European Union or that of the United States and Japan combined. The Chinese auto industry witnessed unit sales growth rise 13.9% last year, with automakers selling 21.98 million units per year. Undoubtedly, the automobile products of China have successfully made their way into the global markets and achieved great victory.
Every year, in china a large number of auto shows and exhibitions are held that contribute a significant and remarkable role in the development of Chinese auto industry.
Beijing International Automotive Exhibition which is also known as Auto China is a leading and dominant auto show in china which plays a vital role in strengthening the interactions and cooperation between Chinese and foreign automotive circles and increases the expansion and growth of the automotive industry of China. It is organized after every two years.
Beijing Auto Show 2014 has been internationally renowned as the one of the biggest and influential auto shows in the world. It is also considered as the Asia’s largest Auto Show.
The 13th Beijing International Automotive Exhibition (Beijing Auto Show 2014) is held from 21st to 29th April 2014 at Beijing China International Exhibition Center Exhibition Hall. The event is organized by the China Council for Promotion of International Trade (CCPIT). The sponsors of the show include China Machinery Industry Federation, China International Trade Promotion Committee and other leading auto industrial organizations of china.
Beijing Auto Show 2014 is being visited by leading global and domestic automakers that include Vehicle Manufacturers, Auto Parts & Accessories Manufacturers; Auto parts traders, Machinery / Equipment Manufacturers and Car Care Product Providers. Besides that, national and international photographers, journalists, female models and general public are also paying visits to the Beijing Auto Show 2014.indian video songs
The Beijing Auto Show 2014 is exhibiting new technologies, new products and new trends of both domestic and international automobile industry. According to the sources of Auto china 2014, Exhibitors of the show include:
* Auto manufactures of passenger cars and commercial vehicles
* Auto components & parts manufacturers and related business
* Designing institutions of automobiles and related products
* Suppliers of auto decorative products and consumables
* Financial service institutions
* Trading companies of automotive and related products
* Media in auto and related industries
Beijing Auto Show 2014 is themed with “Driving to a Better Future”. The show is undoubtedly providing a forceful platform for Automobile products display and technical exchange of global automobile industries. The show is also providing an opportunity to automakers to release their new vehicles and promote their brands. Beijing Auto Show is strongly committed to contribute in a better future of automobile industry.punjabi stage drama
Beijing Auto Show 2014 is big-stage event covering 230,000 square meters. The event has attracted more than 2000 exhibitors from 14 countries and regions. A wide range of 1134 vehicles are getting display at Beijing Auto Show, that include 118 world premiere vehicles, 45 multinational Asian premiere vehicles, 71 concept vehicles and 79 new-energy vehicles. The vehicles consist of SUVs, sedans, sporty cars, energy-efficient cars, and other models.
Various high-class technical symposiums and relevant activities are also a part of the show where national and international automakers will exchange their ideas and be a part of valuable discussions and forums. Beijing Auto Show 2014 is covered by various national and international news media. In fact, one whole day of the show was only opened to the media in the auto industry. Indian full movies
We hope that, the Beijing Auto Show 2014 will gain huge success and achieve all its objectives and goals.