From Steam Machine's Etsy Store:
"Awesome choker made from a vintage watch movement, patinated wings, feather trim and satin. It measures 12 1/2" and has a 3 1/2" extender chain that allows for adjustment around the neck."
Purchase it here.
"Awesome choker made from a vintage watch movement, patinated wings, feather trim and satin. It measures 12 1/2" and has a 3 1/2" extender chain that allows for adjustment around the neck."
When the Apollo 12 astronauts visited the Moon they landed near Surveyor 3, a robot probe that had landed on the Moon several years before. They examined Surveyor to see how it had survived in the presence of vacuum, high and low temperatures, and intense radiation from both the Sun and interstellar cosmic radiation.
In order to allow experts to carry out examinations in controlled laboratory conditions, the astronauts removed the video camera from Surveyor, sealed it in a sterile bag and brought it back to Earth.
When the camera was examined it was found to be the home of a colony of bacteria, Streptococcus mitis. However these were not space monsters, but had come from Earth.
In September 1890, Le Prince boarded a train on a Friday, promising friends he would rejoin them in Paris on the following Monday for the return journey to England, to be followed by a trip to the US to promote his new camera. However, Le Prince did not arrive at the appointed time and he was never seen again by his family or friends. All that could be established about his last whereabouts was that he was seen on 16 September 1890 boarding the 2:42 train at Dijon for his return to Paris.
The French police, Scotland Yard and the family undertook exhaustive searches but never found his body or luggage. This mysterious disappearance case was never solved.
At the time that he vanished, Le Prince was about to patent his 1889 projector in England and then leave Europe for his scheduled New York official exhibition. His widow assumed foul play though no concrete evidence has ever emerged and Rawlence prefers the suicide theory. In 1898, Le Prince's elder son Adolphe, who had assisted his father in many of his experiments, was called as a witness for the American Mutoscope Company in their litigation with Edison [Equity 6928]. By citing Le Prince's achievements Mutuscope hoped to annul Edison's subsequent claims to have invented the moving picture camera. Le Prince's widow Lizzie and Adolphe hoped that this would gain recognition for Le Prince's achievement but when the case went against Mutoscope their hopes were dashed. Two years later Adolphe Le Prince was found dead while out duck shooting on Fire Island near New York. Suicide was presumed.
The War Office contacted Matthews in February 1924 to request a demonstration of his ray. Matthews did not answer to them but spoke to journalists and demonstrated the ray to a Star reporter by igniting gunpowder from a distance. He still refused to say how the ray actually worked, just insisted that it did. When the British government still refused to rush to buy his ideas, he announced that he had an offer from France.
The Air Ministry was wary, partially because of previous bad experiences with would-be inventors. Matthews was invited back to London to demonstrate his ray on April 26 to the armed forces. In Matthews's laboratory they saw how his ray switched on a light bulb and cut off a motor. He failed to convince the officials, who also suspected trickery or a confidence game. When the admiralty requested further demonstration, Matthews refused to give it.
In July 1924, Matthews left for the USA to market his invention. When he was offered $25,000 to demonstrate his beam to the Radio World Fair at Madison Square Garden, he again refused and claimed, without foundation, that he was not permitted to demonstrate it outside England. US scientists were not impressed. One Professor Woods offered to stand in front of the death ray device to demonstrate his disbelief. Regardless, when Matthews returned to Britain, he claimed that the USA had bought his ray but refused to say who had done it and for how much.
The Nixie display was developed by a small vacuum tube manufacturer called Haydu Brothers Laboratories, and introduced in 1954 by Burroughs Corporation, who purchased Haydu and owned the name Nixie as a trademark. The name Nixie was derived by Burroughs from "NIX I", an abbreviation of "Numeric Indicator eXperimental No. 1"[4]. Similar devices that functioned in the same way were patented in the 1920s, and the first mass-produced display tubes were introduced in the late 1930s by National Union Co. and Telefunken. However, their construction was cruder, and they failed to find many applications until digital electronics reached a suitable level of development in the 1950s.
Burroughs even had another Haydu tube that could operate as a digital counter and directly drive a Nixie tube for display. This was called a "Trochotron", in later form known as the "Beam-X Switch" counter tube; another name was "magnetron beam-switching tube", referring to their similarity to a cavity magnetron. Trochotrons were used in the UNIVAC 1101 computer, as well as in clocks and frequency counters...
Citing dissatisfaction with the aesthetics of modern digital displays and a nostalgic fondness for the styling of obsolete technology, significant numbers of electronics enthusiasts in recent years have shown interest in reviving nixies. Unsold tubes that have been sitting in warehouses for decades are being brought out and used, the most common application being in homemade digital clocks. This is somewhat ironic, since during their heyday, nixies were generally considered too expensive for use in mass-market consumer goods such as clocks. This recent surge in demand has caused prices to increase significantly, particularly for large tubes. The largest type known to be in the hands of collectors, the Rodan CD-47/GR-414 (220 mm [8.7 in.] tall), have been sold for hundreds of dollars apiece, but these are extremely rare and only found in a few areas of the world by persistent and fortunate seekers.
"The wild duck is a shy bird, apt to spread his wings and change his quarters when a noble sportsman is seen approaching his habitation with a fowling piece. You have heard of the ass who put on a lion's skin, and wandered out into the wilderness and brayed. I have elaborated a device of equal ingenuity and more convincing realism. It is my habit during the duck-shooting season to put on the skin of a Blondin donkey and so roam among the sedges bordering on the lakes where wild ducks most do congregate. I have cut a hole in the face to see through, and other holes in the legs to put my hands through."
None of the animals used in Sarina’s work were killed for the purpose of using them in her art. All animal components are recycled. She utilizes salvaged roadkill and discarded livestock, as well as the many animals that are donated to her. Donated animals are often casualties of the pet trade, destroyed nuisance animals and pests, or animals that died of natural causes. A very strict "waste not, want not" policy is adhered to in her studio - virtually every part of the animal is recycled in some manner.
This artist has a deep respect and appreciation for animals and the natural world. She is fascinated with the circle of life and intrigued with how different cultures honor their dead and deal with death.
Sarina is a self-proclaimed science nerd who incorporates her past formal art education with her passion for biology and the bizarre. Her childhood preoccupation with cryptozoology and anomalies of nature manifest themselves in her outlandish reveries of fur and flesh and every peculiar artifact she creates.