11 pages, 6 articles pour «sli»

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11 pages

  • P-code
    https://www.gaudry.be > Programmation > Compilateur
    [1] 31/07/2010 - Dernière modification le 21/03/2020 Pcode généré par le compilateur pour le langage LSD, et la GPMachine
    Mot clé = sli | Niveau = 2

  • Slides boxes - samples
    https://www.gaudry.be > Photo > Galerie
    [2] 11/05/2020 - Dernière modification le 23/05/2020
    Mot clé = sli (titre ou description) | Niveau = 11

  • Slides boxes - samples - Histochimie
    https://www.gaudry.be > Photo > Galerie
    [3] 27/04/2020 - Dernière modification le 16/05/2020
    Mot clé = sli (titre ou description) | Niveau = 12

  • Charm on Speed
    https://www.gaudry.be > Photo > Galerie
    [4] 09/11/2011 - Dernière modification le 27/05/2020 Charm on Speed ( PROJEKTIL) GLOW - International Forum of Light in Art and Architecture Eindhoven 2011 - 6th Edition - 'Illusion and reality' Due to the dedication of CityDynamiek Eindhoven, from November, 5th to 12th, 2011, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Location: Catharina Church About the project: The four members of the Swiss Projektil focus on projections of huge dimensions in the public space. Using light, shape and color they tell stories and offer people a fascinating experience. For GLOW Projektil uses both old and new projection techniques. Until recently, large-scale projections usually apply analog projectors, that only show static or scrolling images. These in fact function as large slide projectors. A relatively young technique that has developed rapidly is video mapping. With this technique video images can be projected very accurate and with high light intensity which creates a powerful illusion. In Charm on Speed both projection techniques are used. The characteristics of both methods are combined and playfully confront each other. The result is a feast for the eyes and brings the facade of the Catharina Church to life. From Glow 2011 website.
    Mot clé = sli (titre ou description) | Niveau = 13

  • L'enfer du paradis artificiel
    https://www.gaudry.be > Photo > Galerie
    [5] 04/05/2020 - Dernière modification le 20/05/2020 "Johanna: What's it feel like when you dive? Jacques: It's a feeling of slipping without falling. The hardest thing is when you're at the bottom. Johanna: Why? Jacques: 'Cause you have to find a good reason to come back up... and I have a hard time finding one. " The big blue
    Mot clé = sli (titre ou description) | Niveau = 14

  • Istanbul, Topkapi palace - Imperial Council (Defterhāne)
    https://www.gaudry.be > Photo > Galerie
    [6] 22/02/2012 - Dernière modification le 06/05/2020 Defterhāne This picture shows the third chamber called Defterhāne. Imperial Council The Imperial Council (Dîvân-ı Hümâyûn) building is the chamber in which the ministers of state, council ministers (Dîvân Heyeti), the Imperial Council, consisting of the Grand Vizier (Paşa Kapısı), viziers, and other leading officials of the Ottoman state, held meetings. It is also called Kubbealtı, which means "under the dome", in reference to the dome in the council main hall. It is situated in the northwestern corner of the courtyard next to the Gate of Felicity. The first Council chambers in the palace were built during the reign of Mehmed II, and the present building dates from the period of Süleyman the Magnificent by the chief architect Alseddin. It has since undergone several changes, was much damaged and restored after the Harem fire of 1665, and according to the entrance inscription it was also restored during the periods of Selim III and Mahmud II. From the 18th century onwards, the place began to lose its original importance, as state administration was gradually transferred to the Sublime Porte (Bâb-ı Âli) of the Grand Viziers. The last meeting of the Council in the palace chambers was held on Wednesday, August 30, 1876, when the cabinet (Vükela Heyeti) met to discuss the state of Murat V, who had been indisposed for some time. The council hall has multiple entrances both from inside the palace and from the courtyard. The porch consists of multiple marble and porphyry pillars, with an ornate green and white-coloured wooden ceiling decorated with gold. The floor is covered in marble. The entrances into the hall from outside are in the rococo style, with gilded grills to admit natural light. While the pillars are earlier Ottoman style, the wall paintings and decorations are from the later rococo period. Inside, the Imperial Council building consists of three adjoining main rooms. Two of the three domed chambers of this building open into the porch and the courtyard. The Divanhane, built with a wooden portico at the corner of the Divan Court (Divan Meydani) in the 15th century, was later used as the mosque of the council but was removed in 1916. There are three domed chambers: - The first chamber where the Imperial Council held its deliberations is the Kubbealtı. - The second chamber was occupied by the secretarial staff of the Imperial Divan. - In the adjacent third chamber called Defterhāne (this view) , records were kept by the head clerks. The last room also served as a document archive. On its facade are verse inscriptions, which mention the restoration work carried out in 1792 and 1819, namely under Sultan Selim III and Mahmud II. The rococo decorations on the façade and inside the Imperial Council date from this period. The main chamber Kubbealtı is, however, decorated with Ottoman Kütahya tiles. Three long sofas along the sides were the seats for the officials, with a small hearth in the middle. The small gilded ball that hangs from the ceiling represents the earth. It is placed in front of the sultan's window and symbolizes him dispensing justice to the world, as well as keeping the powers of his viziers in check. In the Imperial Council meetings, the political, administrative and religious affairs of the state and important concerns of the citizens were discussed. The Imperial Council normally met four times a week (Saturday, Sunday, Monday and Tuesday) after prayer at dawn. The meetings of the Imperial Council were run according to an elaborate and strict protocol. Council members such as the Grand Vizier, viziers, chief military officials of the Muslim Judiciary (Kazaskers) of Rumelia and Anatolia, the Minister of Finance or heads of the Treasury (defterdar), the Minister of Foreign Affairs (Reis-ül-Küttab) and sometimes the Grand Müfti (Sheikh ül-İslam) met here to discuss and decide the affairs of state. Other officials who were allowed were the Nişancilar secretaries of the Imperial Council and keepers of the royal monogram (tuğra) and the officials charged with the duty of writing official memoranda (Tezkereciler), and the clerks recording the resolutions. From the window with the golden grill, the Sultan or the Valide Sultan was able to follow deliberations of the council without being noticed. The window could be reached from the imperial quarters in the adjacent Tower of Justice (Adalet Kulesi). When the sultan rapped on the grill or drew the red curtain, the Council session was terminated, and the viziers were summoned one by one to the Audience Hall (Arz Odası) to present their reports to the sultan. All the statesmen, apart from the Grand Vizier, performed their dawn prayers in the Hagia Sophia and entered the Imperial Gate according to their rank, passing through the Gate of Salutation and into the divan chamber, where they would wait for the arrival of the Grand Vizier. The Grand Vizier performed his prayers at home, and was accompanied to the palace by his own attendants. On his arrival there, he was given a ceremonial welcome, and before proceeding to the imperial divan, he would approach the Gate of Felicity and salute it as if paying his respects to the gate of the sultan's house. He entered the chamber and took his seat directly under the sultan's window and council commenced. Affairs of the state were generally discussed until noon, when the members of the Council dined in the chambers and after which petitions were heard here. All the members of Ottoman society, men and women of all creeds, were granted a hearing. An important ceremony was held to mark the first Imperial Council of each new Grand Vizier, and also to mark his presentation with the Imperial Seal (Mühr-ü Hümayûn). The most important ceremony took place every three months during the handing out of salaries (ulûfe) to the Janissaries. The reception of foreign dignitaries was normally arranged for the same day, creating an occasion to reflect the wealth and might of the state. Ambassadors were then received by the Grand Vizier in the Council chambers, where a banquet was held in their honour. Source: Wikipedia, the free encyclopedia - version 10Mar2012
    Mot clé = sli (titre ou description) | Niveau = 15

  • Istanbul, Topkapı Palace - Cour des concubines et des épouses
    https://www.gaudry.be > Photo > Galerie
    [7] 22/02/2012 - Dernière modification le 03/05/2020 La « grande cour des concubines et des épouses » (Kadın Efendiler Taşlığı / Cariye Taşlığı) a été construite à la même époque que la cour des eunuques, au milieu du xvie siècle. Restaurée après l'incendie de 1665, elle est la plus petite cour du harem. Entourée d'arcades, elle comporte un hammam (Cariye Hamamı), une fontaine de lavage, une blanchisserie, des dortoirs, l'appartement du chef de la famille et les appartements des hôtesses (Kalfalar Dairesi). Les trois appartements indépendants, qui ont vue sur la Corne d'Or, décorés de tuiles et avec cheminée, étaient les logements de la famille du sultan. Ces constructions couvraient le site de la cour à la fin du xvie siècle. À l'entrée du quartier de la sultane validé, des fresques murales de la fin du xviiie siècle, d'influence européenne, représentent des paysages. L'escalier dit des « quarante marches » (Kirkmerdiven) permet d'accéder à l'hôpital du harem (Harem Hastanesi), aux dortoirs des concubines, à la terrasse du harem et à ses jardins. Source: Wikipedia, the free encyclopedia - version 26Feb2012
    Mot clé = sli (titre ou description) | Niveau = 16

  • Des hommes comme vous et moi
    https://www.gaudry.be > Photo > Galerie
    [8] 30/04/2012 - Dernière modification le 20/05/2020 The museum Ramioul: The museum is designed to encourage visitors not to look at prehistory from the outside but rather to make him live it by experiencing the sensations of prehistoric man. The exhibition collections refuses to privilege the public scholar, it aims instead to familiarize the visitor with prehistoric life itself rather than with the representation given by the Archaeology. The chronology is not the main theme of the course. The museum is structured according to themes of prehistoric life in order to create a genuine relationship between the daily life of the visitor and that of prehistoric man. For this purpose, the concept expographique refers to his daily life, in a participatory approach and a variety of scenic resources: interactive terminals, multimedia projections, reconstructions, facsimiles to handle, ... The cave Ramioul: The cave Ramioul is a treasure of natural heritage and archaeological Walloon. It is a listed site of the Walloon Region. Discoveries that were made and the beauty of its concretions make it unavoidable. Cave Ramioul extends to within one kilometer of the cave Engis which were discovered in 1829, the first Neanderthal fossils in the world. "Chercheurs de la Wallonie" fought for many years to preserve it, and it narrowly escaped the shots backhoe. Since its inception, Prehistoric - Museum of Prehistory in Wallonia, has made every effort to conserve, preserve and enhance this jewel stone and its biodiversity. The upper level of the cave has archaeological interest. The terrace was cleared in progressively different excavations. In October 1908, A. Vandebosch and her team of "Chercheurs de la Wallonie" discover the Neolithic ossuary of "triangular cave" that overlooks the terrace of the cave when masked by sediments. Shards of pottery, faunal remains, some stone tools and numerous body parts belonging to seven children and dated + / -2750 years BC have been unearthed. Continued excavations beneath the ossuary and the release of the entry in 1911, leading the researchers to explore the cave itself. It delivers the tools belonging to Palaeolithic industries as well as faunal remains of now extinct species (bear, lion, cave hyaena, wolf, woolly rhinoceros, mammoth). On the terrace, two archaeological layers were identified. The first was attributed to the Upper Palaeolithic to Aurigacien (+ / - 30000ans BC) and contains various tools slide and faunal remains consumed. The second oldest (+ / - 70000ans BC), contains tools and Middle Paleolithic characteristics attributed to Keilmessergruppen (Neanderthal). Cave Ramioul contributes to the dialogue between past and present. She is behind the Museum of Prehistory in Wallonia and participates in the ongoing dialogue established between the prehistoric sites of excavation, the archaeological material and the public. Source: www.ramioul.org
    Mot clé = sli (titre ou description) | Niveau = 17

  • John Cockerill's tribute
    https://www.gaudry.be > Photo > Galerie
    [9] 09/05/2020 - Dernière modification le 22/05/2020 John Cockerill (3 August 1790 – 9 June 1840) was a British born entrepreneur. He was born at Haslingden, Lancashire, England, and was brought by his father William Cockerill to Belgium where he continued the family tradition of building wool processing machinery, and founded an ironworks, and mechanical engineering company John Cockerill & Cie. (English: John Cockerill & Company) Biography John Cockerill was born in Haslingden, Lancashire. At the age of twelve he was brought to Verviers, Belgium by his father William Cockerill who had made a success as a machine builder there; in 1807, aged 17, he and his brother Charles James took the management of a factory in Liege. His father William retired in 1813 leaving the management of his business to his sons. In September 1813 he married Jeanne Frédérique Pastor, the same day her sister Caroline married Charles James Cockerill. After the victory over Napoleon at the Battle of Waterloo in 1815, the Prussian Minister of Finance, Peter Beuth invited the Cockerill brothers to set up a woollens factory in Berlin. In 1814 the brothers bought the former palace of the Prince Bishops of Liege at Seraing, the chateaux became the headquarters, and the ground behind the factory site (founded 1817); it was to become a vertically integrated iron foundry and machine manufacturing factory. William I of the Netherlands was joint owner of the plant. The machine manufacturing plant was added in 1819, and in 1826 (begun 1823) a coke fired blast furnace. By 1840 the plant had sixteen steam engines of total power 900 hp (670 kW) in continual work, and employed 3000 persons. In 1823 his brother Charles James retired,[9] having been bought out by John in 1822. After the Belgian Revolution of 1830 the new Kingdom of Belgium claimed the property of William I, and in 1835 John Cockerill made himself the sole owner of the works. He also was a founder of the Bank de Belgique, in 1835. During John Cockerill's lifetime, the factories produced not only spinning engines and steel, but steam engines (including air-blowers, traction engines, and engines for ships); in 1835 Belgiums first steam locomotive Le Belge was made. He also had interests in collierys and mines, as well as factories producing cloth, linen and paper. In 1838/9 military tensions between Belgium and the Netherlands caused a rush on the banks for hard currency; as a result of the crisis John Cockerill's company became bankrupt. With debts of 26 million francs on assets of 15 million, he travelled to St. Petersburg to make arrangements with Nicholas I of Russia with the hope of raising funds. On his return he contracted typhoid and died in Warsaw on 19 June 1840, leaving no heirs. From Wikipedia, the free encyclopedia
    Mot clé = sli (titre ou description) | Niveau = 18

  • I remember the future - may 5, 2051 ->15
    https://www.gaudry.be > Photo > Galerie
    [10] 23/04/2020 - Dernière modification le 14/05/2020 Tell me, muse, of the storyteller who has been thrust to the edge of the world, both an infant and an ancient, and through him reveal everyman. With time, those who listened to me became my readers. They no longer sit in a circle, but rather sit apart. And one doesn't know anything about the other. I'm an old man with a broken voice, but the tale still rises from the depths, and the mouth, slightly opened, repeats it as clearly, as powerfully. A liturgy for which no one needs to be initiated to the meaning of words and sentences. Der Himmel über Berlin
    Mot clé = sli (titre ou description) | Niveau = 19

  • Tambour programmable du carillon de Saint-Barthélemy
    https://www.gaudry.be > Photo > Galerie
    [11] 18/04/2015 - Dernière modification le 08/05/2020 Tambour programmable Comme pour les boîtes à musique, un tambour était programmé à l'aide d'ergots qui relevaient le peigne qui commandait les cloches. Ce peigne se décalait selon que la mélodie à jouer sur le carillon était celle des heures, ou la programmation 1/4, 1/2, 3/4. Collégiale Saint-Barthélemy Inscription sur le tambour programmable du carillon: "Cet ouvrage a été monter l'an 1816 par M.A. Lovinfosse et réparer l'an 1868 par M.A. Lovinfosse et fils" Lors de son déménagement vers Saint Barthélemy, des problèmes sont apparus et M.A. Lovinfosse effectua de nombreuses modifications sur l’œuvre de l'horloger Ghislin Lion.
    Mot clé = sli (titre ou description) | Niveau = 20

6 articles

Document créé le 13/03/2010, dernière modification le 26/09/2019
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