The Last Knight: The Art, Armor, and Ambition of Maximilian I examines the profound significance of European armor at the dawn of the Renaissance, through the lens of Emperor Maximilian I’s (1459–1519) remarkable life. On view only at The Met, The Last Knight coincides with the five-hundredth anniversary of Maximilian’s death, and is the most ambitious North American loan exhibition of European arms and armor in decades. Including 180 objects selected from some thirty public and private collections in Europe, the Middle East, and the United States, The Last Knight will explore how Maximilian’s unparalleled passion for the trappings and ideals of knighthood served his boundless worldly ambitions, imaginative stratagems, and resolute efforts to forge a lasting personal and family legacy.
This exhibition features many works of art on view outside Europe for the first time, including Maximilian’s own sumptuous armors that highlight his patronage of the greatest European armorers of his age, as well as related manuscripts, paintings, sculpture, glass, tapestry, and toys, all of which emphasize the emperor’s dynastic ambitions and the centrality of chivalry at the imperial court and beyond.
The RV industry has been slow to adopt electric technology, and the innovations that have occurred are stemming from Europe. In recent years we’ve seen a few eco-friendly concept RVs, like an RV covered in solar panels or a travel trailer that can be towed by an electric car. Most recently, a German company debuted the world’s first manufactured electric camper with a decent range of 249 miles. In the U.S., however, the closest thing to an electric camper is the yet to be produced Rivian truck that features a kitchen and tent for overland camping.
Although years behind the auto industry, the RV industry is finally making making strides in efficiency and green technology. In the latest eco-friendly news, Winnebago Industries has announced that they will help fund the expansion of Motiv Power Systems, a provider of all electric commercial chassis.
The ultra-compact, two-seater BEV is specifically designed to meet the daily mobility needs of customers who make regular, short-distance trips such as the elderly, newly licensed drivers, or business-people visiting local customers. It can be driven a range of approximately 100 km on a single charge, reach a maximum speed of 60 km/h, and features an extremely short turning radius.
Toyota Motor Corporation (Toyota) today announced that it will display its new, production-ready Ultra-compact BEV (battery electric vehicle) at the FUTURE EXPO special exhibition of the 2019 Tokyo Motor Show ahead of the vehicle’s planned commercial launch in Japan in 2020. The next-generation mobility solution is designed to provide short-distance mobility while limiting impact on the environment.
“We want to create a mobility solution that can support Japan’s ageing society and provide freedom of movement to people at all stages of life,” said Akihiro Yanaka, Head of Development. “With the Ultra-compact BEV, we are proud to offer customers a vehicle that not only allows for greater autonomy, but also requires less space, creates less noise and limits environmental impact.”
The awesome sight of the expansive Reno river greets you as you enter Casalecchio di Reno. A fairly non-descript satellite town, Casalecchio’s best asset is Parco Della Chiusa (also known as Parco Talon), a vast forest and nature reserve full of crumbling old mansions, hiking trails and great views of the river and undulating hills. The park is a popular spot for picnics and makes a worthwhile destination on its own.
In this half-day cycle starting from central Bologna and ending at the small town of Sasso Marconi, you can take in hilly scenery of Bologna’s back country, see where history was made at the villa of radio pioneer Guglielmo Marconi and sample some local delicacies in one of the province’s best osterias. The route is entirely flat, mostly along cycle paths and can be done by even the most beginner cyclist. With no tourists around, it offers a chance to see Italian life in all of its ordinariness, away from the sometimes twee environs of the centro storico.
In total, the ride from Bologna to Sasso Marconi should take you one hour at a leisurely pace, not counting stops along the way. Rent a bicycle from Dynamo, a bike co-op on Via dell’Indipendenza near the bus station – a half day rental will cost you 13 euros.
Our 3D deep-learning system performed well in both primary and external validations, suggesting that it could potentially be used for automated detection of glaucomatous optic neuropathy based on SDOCT volumes. Screening with the deep-learning system is much faster than conventional glaucoma screening methods (ie, by experienced specialists), can be done automatically, and does not require a large number of trained personnel on site. Further prospective studies are warranted to estimate the incremental cost-effectiveness of incorporating this artificial intelligence-based model for screening for glaucoma, both in the general population and among at-risk people.
I became engrossed in Mitchell’s drawings while browsing the book—they’re vivid, intimate—but her handwritten lyrics and poems are just as revelatory. It’s hard not to think about art-making of any kind as an alchemical process, in which feelings and experiences go in and something else comes out. Whatever happens in between is mysterious, if not sublime: suddenly, an ordinary sensation is made beautiful. Our most profound writers do this work with ease, or at least appear to. Mitchell’s lyrics are never overworked or self-conscious, and she manages to be precise in her descriptions while remaining ambiguous about what’s right and what’s wrong; in her songs, the cures and the diseases are sometimes indistinguishable.
Joni Mitchell, in the foreword to “Morning Glory on the Vine,” her new book of lyrics and illustrations, explains that, in the early nineteen-seventies, just as her fervent and cavernous folk songs were finding a wide audience, she was growing less interested in making music than in drawing. “Once when I was sketching my audience in Central Park, they had to drag me onto the stage,” she writes. Though Mitchell is deeply beloved for her music—her album “Blue” is widely considered one of the greatest LPs of the album era and is still discussed, nearly fifty years later, in reverent, almost disbelieving whispers—she has consistently defined herself as a visual artist. “I have always thought of myself as a painter derailed by circumstance,” she told the Globe and Mail, in 2000. At the very least, painting was where she directed feelings of wonderment and relish. “I sing my sorrow and I paint my joy,” is how she put it.
Not until July 16 did Edison feel that he had a device worth patenting. The application he signed that day specified multiple timpani that “reproduced” vocal inflections and a sibilant-sensitive diaphragm. But a laboratory visitor (spying for Bell) found the instrument more powerful than clear, with the word schism sounding more like kim.
“We have had terrible hard work on the Speaking telegraph,” Batchelor complained to his fellow inventor Ezra Gilliland. For the past five to six weeks, he added, Edison’s team had been “frequently working 2 nights together until we all had to knock off from want of sleep.”
Thomas Alva Edison’s self-proclaimed greatest invention, the phonograph, won him overnight fame. Journalists would marvel that such an acoustic revolution, adding a whole new dimension to human memory, could have been accomplished by a man half deaf in one ear and wholly deaf in the other.
In February 1877, the same month that saw Edison turn 30 and show his first streaks of silver hair, he and his fellow inventor Charles Batchelor began a new series of experiments on what they called, variously, the “telephonic telegraph,” the “speaking telegraph” and the “talking telephone.”