#Smith Structure

[smithstructure]

Smith Structure Certifications & Awards Recognition

Explore Smith Structure's certifications, industry awards, and professional recognitions showcasing achievements and honors in structural engineering.

[silkensimblr]

Strangetown(ies)

[sysig]

Do not separate them /threatening (Patreon)

[foxyou-too]

Nathan Smith

[nafohcnis]

Here’s some old jedtavius from early february. all lazily done during class when im not sposed to b drawing :3 expect more ! or dont.. who knows….

[spork-supremacy]

seabound thoughts

was watching one of the episodes the other day, five thousand fathoms down, I think. There were like two seperate things in that episode tho that either confused me or kinda got me mad at the writing. also I don't remember much lore from this season and watched the episode in isolation so please feel free to correct me if I'm wrong.

The confusing thing was when Zane mentioned the merlopian language to be older that the First Spinjitzu master. You know. God.

This of course implies that there was a realm before the FSM was there. Yes this makes sense in hindsight because all the realms probably needed to preexist before him, but the fact that there is a 'first'realm is making me question how the others came into creation because I just thought the dude created the other 15? maybe 14 (because the sister realm rule implies there was a realm connected to the first one)? realms himself. Or maybe he just created Ninjago himself and some other being created the other 14.

I digress, but this does seem to mean that the FSM came to what may have just been a pre-existing sea realm and used the power of earth to create NInjago and raised the land. Therefore when we say "He created Ninjago" we just mean the continent itself, not the realm.

Therefore without his intervention the realm we know as Ninjago was originally the realm of merlopia. Just needed to write that down because man, it was confusing me.

Another small thing I got a little peeved about was Maya's whole "You've never made a tough sacrifice in your life thing" to Nya.

I understand as a character Maya may not know about Skybound and the whole sacrifice Nya made during the last resort, which I must say would have been a hard choice, the options being "I go and we save the wish." or "He goes and since Nadakhan is so focused on marrying me he won't bother with anyone else to get infinite wishes."

(Side track for a second to say how I actually really like the scene because you could complain that Nya was falling into a mysoginistic damsel in distress role, but I like to see it as her making a selfless choice and completing that arc she has about trusting Jay. This arc is present mainly because he lies or hides the truth a lot this season. And she shows her trust by trusting him to save her.)

I look at this scene and think about how from a writing perspective it is trying to tell the audience two things. one the obvious forshadowing of the ending, and two, Nya has never made a sacrifice as bad as what Ray and Maya went through.

It feels like that second thing is so wrong tho, like we don't give the ninja enough credit for the shit they face, y'know.

like feel free to also share thoughts on these things too.

[bubblegumr1ck]

morty from this angle btw

[bodyalive]

Fascia Dance : Tobias Gremmler

* * * * *

Rolfers make a life study of relating bodies and their fields to the earth and its gravity field, and we so organize the body that the gravity field can reinforce the body's energy field. This is our primary concept. Ida P. Rolf, Ph.D.

+

Eva Norlyk Smith: When you say the body is more like a plant, what do you mean?

Tom Myers: Like a plant, the body is grown from a seed. The body is grown from a single fertilized ovum. Somebody didn’t take a nervous system and put it together with the vascular system and put it together with the muscles, and so on, to come up with the body. The muscles and the vascular system and the nervous system all grew together from one single cell. So everything has a common origin and everything grew up together. It never grew up separately.Our books have to separate things out so that we can study and understand them. But we’ve forgotten that separating things out was just something that we did for academic convenience. But this approach doesn’t actually represent the truth of the body.

Eva Norlyk Smith: If I understand you correctly, the myofascial meridians, laid out in Anatomy Trains, are also the patterns through which musculo-skeletal strain is communicated?

Tom Myers: Yes. Whatever happens — in the feet, or anywhere in the body — also happens in the neck and the shoulders. And it also goes the other way. What happens in the neck can have ramifications down to the feet as well. Fascial restrictions can cause pain patterns that are quite far removed from the site of the initial fascial compensation.

Eva Norlyk Smith: You have referred to this approach as a “third kind of medicine” or spatial medicine. What do you mean by that?

Tom Myers: Spatial medicine deals with identifying and treating fascial compensations to help realign the body closer to its ideal. Bodyworkers, such as Rolfers, do this through the manipulation of fascia. You do it through yoga as well. Yoga works directly with the plasticity of fascia. One of the great things about yoga is that it works both with the strength and flexibility of the muscles to get things balanced on the muscular side. But it also elongates the fascial fabric. When you are doing Uttanasana, standing forward bend, for example, the whole back line of your body, not just the muscles, is being tugged into a stretch.Spatial medicine is a term for any technique that focuses on altering both the structure and functioning of the body by releasing holding patterns in the soft tissues. Anything that impacts the alignment of all the body’s structures in a holistic way to create space and more mobility is really practicing spatial medicine. [From Seed to Plant: Yoga and the New Anatomy of Interconnectedness Eva Norlyk Smith, Ph.D. Mg. Editor, YogaUOnline.com]

[lizard-speed]

Back to the Old House is such a Havers song it's literally insane.

Like if you read the lyrics from the perspective of Havers it quite literally makes perfect sense.

I would rather not go Back to the old house

Havers left Button House because he wanted to go fight (or also presumably because he thought the Captain was being too obvious in his attraction to him and wanted to protect the both of them- a theory I saw that truthfully makes so much sense)

There's too many bad memories

Does he have good memories of Button House, yeah probably but it's also likely that it has some sort of connotation of fear to it with the idea of being so loved by someone that it could destroy both of them (jeez what a thought)

And you never knew How much I really liked you Because I never even told you Oh, and I meant to

This one is pretty explanatory. It isn't explicitly said if Havers loves the Captain in return but I'd say it's pretty damn obvious. Yet he did never get the chance to tell him right out. Did the Captain know Havers loved him? He may never find out.

Are you still there or have you moved away?

Havers clearly did not know what happened to the Captain after he left for North Africa (I mean, it probably was hard to keep tabs on someone). He probably did think about Button House and if the Captain was still there. Did he ever want to go back, just to see the Captain?

I would love to go Back to the old house

He's had a change of heart. He genuinely would love to go back to Button House, a place where there's someone that means the world to him, but he can't and it probably eats away at him

But I never will

He can't go back and he probably won't. Especially if you read this line as him after the events of Carpe Diem it would make sense he wouldn't want to go back. Why would you want to go back to the place where the man you loved died? He has mostly positive memories of the place with Captain he wouldn't want to stain that with new memories of a desolate home.

[jhsharman]

"Campus Cut Up"

Interestingly, the conman in this story – faking his own university inspection failure – does get away with it in the end. Or, pivots to a recouping con.

Typing “soph hop” into a search engine and I see one reason for an excising, even though it probably isn't it. Interesting enough dance move, I suppose, for you excitable gay men out there -- on that, never to get as dead center mainstream as twerking. But for all I know urban dictionary may be screwing with me.

[smithstructure]

Smith Structure Certifications & Awards | Recognitions

Explore Smith Structure's certifications, industry awards, and professional recognitions showcasing our achievements and honors in the engineering sector.

[mothbrainrot]

will smith hockey and will graham are fighting for priority in my recommended tags on tumblr rn when i type in will and i think that's beautiful

[serenhob]

Idk exactly when it happened but this past week I've been getting really obsessed with Mormonism/Lds church for no apparent reason

And I've been yapping about it to everyone I know and they are done with me. I like learning about religion and different cultures but this snuck up on me.

I spent the first 20 minutes of my therapy session just telling my therapist about Mormonism and the mormon church (Its free were I live (Uk) so don't worry I wasn't wasting money) and she's a student so our sessions are recorded so idk what her teacher is gonna think of that, I mean they might learn something I guess.

Btw when I say obsession with mormonism I don't mean I want to convert, there is a lot of stuff in their doctrines I am adamantly against but they are such a...fantastical denomination of Christianity so it's really interesting (don't think theres anything wrong with Lds members just parts of the doctrine and how that may influence bigoted beliefs)

I learned there are a surprising amount of Mormons where I live, (converts) and I can remember when I would go walking with my friends seeing men who were, most likely on recollection, mormon missionaries in McDonald's. There was also this diagram of the mormon life cycle I guess (before birth, mortal life and after life) drawn in chalk on a path by the river and bible verses written on other paths and I can remember seeing it and thinking it was just some rando. It's kinda funny tho to imagine the missionaries with their crispy white shirts and slacks writing in chalk on the floor.

Also somehow this has morphed into me watching documentaries about the Flds denomination

I know way more about Warren Jeffs than I need to and my friends are going to hear about this.

[optikes]

an Australian painter in the streets of New York...

John Firth-Smith (born 1943) Australia

1 White Street # 3 (1982) acrylic on stretched 300gsm rag paper, 104cm x 104cm

2 Black Street # 27 (1982) pulp paper and mixed media, 35cm x 35cm

3 Place, Orientation and Navigation (1983) oil on linen 305.0 x 335.5 cm

4 Winter Rounds (1982)

5-7 the artist connecting dots & lines in New York

8 the artist’s photo-documentation of line and shape on New York streets

9 Marshall Islands stick chart

A   Professor Peter James Smith   from  menziesartbrands.com

In 1981 John Firth-Smith travelled to New York to experience the city, to paint there as a local and allow the powerful New York art scene to wash over him. It was a time in the city (that the writer experienced first-hand) when graffiti clogged West Broadway and adorned the walls of the cross-town subway platforms. The locals were producing abstract paintings that had active, brushy surfaces. The curator Barbara Rose, in 1979, produced a show of such work called American Painting: The Eighties that looked like Abstract Expressionism with a college education, and heralded the rise of art stars Susan Rothenberg (1945- ) and Elizabeth Murray (1940-2007). It was the perfect time and place for Firth-Smith’s painterly surfaces to evolve.

From his studio on 20th Street, Firth-Smith could look down on the first winter snows in the city. In the early morning the snow appeared as a soft white blanket, a shroud that covered everything, but later in the day it was stained and marked by the black tracks of car tyres and the footfalls of passers-by. He became fascinated by the ethereal gothic nature of what he saw: steaming ventilators were often to be found in the middle of busy streets, their smoke stacks rising through the traffic, their warmth contradicting the presence of winter snow and sludge. Such is the sensibility that is vividly painted in Winter Rounds 1982, an attractively-proportioned canvas that effortlessly supports the New York dynamic.

Winter Rounds 1982, is ingrained with the gritty, wintry ambience of the city. Like schematised patterns taken from a subway map, or a diagram drawn in an attempt at directing a stranger, there is a frenetic congested intensity in the work that is broken by dots and splashes of colour.’

This painting shows Firth-Smith’s familiar arabesque line, sweeping through the rising red veils of smoke and graffiti, to challenge the gridded infrastructure of the city. Notions of infrastructure usually revolve around trains, bridges, roads and buildings; however with a different kind of infrastructure in mind, the artist deploys a series of connected straight lines and dots to the heart of his picture. In his monograph on Firth-Smith, writer Gavin Wilson describes how the artist had become fascinated with the Victorian cast iron manhole covers found at street level. They often had elaborate decorative surfaces and had holes drilled through them. Firth-Smith tied small weights to the ends of strings, and dropped the weights down the holes making the strings pull tight between the holes; so the sequences of dots and connected lines were born. He later photographed these microcosms, and like an industrial espionage operative, these found their way into his painting process. Ironically, these patterns are reminiscent of stick charts from the Marshall Islands – structures formed by tying small sticks in a gridded pattern to represent the sea, with shells knotted at the intersections to represent the locations of islands. The sea is never far away from the artist’s concerns.

Only in New York could Firth-Smith have had such fertile exposure to the early stages of neo-expressionism. He embraced many deterministic methods of applying paint with drawn lines and dots, then overpainting, then re-positioning more gridded lines and dots; but these methods always relied on chance and randomness. He painted and repainted layer upon layer. ‘The effaced surfaces of the completed work were like a palimpsest, leaving only the faintest trace of his earlier marks.’  It is the beauty of those effaced surfaces that captures the imagination with their daring trails of snow-lines, and the monochrome expanse of restless white.

search @ www.khanacademy.org    www.smithsonianmag.com

[dweemeister]

August 7, 2023

By Rory Smith

BONDI BEACH, Australia (The New York Times) — Even in the highest-resolution image, examined up close, there was not so much as a discernible sliver of daylight. The margin by which the United States was eliminated from the Women’s World Cup was so microscopic that it cannot be expressed in a unit of measurement the country fully recognizes.

A millimeter, a single millimeter, is no more than 0.04 inches, yet even that most slender gap can serve as the gossamer border between two realities. Such is the unspoken truth of sports, of course: The difference between triumph and disaster, delight and dismay, can be far thinner than we choose to pretend.

For the United States, there is some comfort in that. “It is tough to have your World Cup end by a millimeter,” Alyssa Naeher, the U.S. goalkeeper, said after her team’s loss to Sweden in a penalty shootout Sunday. It does not take an especially vivid imagination to envision how the outcome might have been different.

Had Naeher intercepted Lina Hurtig’s shot at a slightly different angle, maybe the spin would have carried the ball to safety. Had Hurtig struck her penalty more softly, or more firmly, maybe Naeher would have saved it more decisively. Granted a reprieve, maybe the United States would have gone on to win that game in the round of 16, the tournament, the crown. Maybe, maybe, maybe.

That solace, though, is an illusion, and so too is the idea that the United States was eliminated by a millimeter. It was not one penalty that ended its hopes of a third straight title and, in the process, drew the veil over a whole golden, glorious generation, no matter how tempting it might be to believe. This is another unspoken truth of sports: Moments do not exist in isolation.

There is a certain irony in the fact that it was against Sweden that the United States, so limp and insipid earlier in the tournament, started to show signs of life. Naomi Girma was imperious. Lindsey Horan was dynamic. Sophia Smith, Trinity Rodman and Lynn Williams were all, at various points, electric. There were glimpses, in Melbourne, Australia, of what this team might one day be...

... It is not enough... to point the finger of blame at the coach, Vlatko Andonovski. He will, most likely, be removed from his position before his contract expires at the end of the year, and it is hard to make a case for his retention. This is the worst performance an American team has mustered at a World Cup. A price has to be paid.

But Andonovski is not the cause of the malaise. There are structural, systemic issues that have to be addressed, too. There are issues with the way the United States produces players, a fragmented system is reliant on pay-to-play youth teams in disparate leagues, unattached to elite adult teams, feeding into the college system.

Don't read the comments section in the article (from NYT readers for chrissakes). Some make good points; most don't (and lambast the team for its equal pay and racial equality activism). So don't.

[mythvoiced]

-. not to post about fking sh.erl.ock in the year of our Lord & Saviour ND Stevenson 2023 but exclusive english speakers will never understand the linguistics based gasp-gutpunch-tearsinmyeyes of the scene where john asks homebaby to be his best man because if you watch the show in German when Sherlock asks 'i'm your best friend?' the 'you' John uses in his answer ('you are') is informal as the first time in the whole show they switched to 'du' rather than continuing to use the formal 'Sie' and it's such a beautiful dialogue choice i think about it every time i mourn the lack of differentiation between a formal and an informal 'you' in English