關於 sticks meaning ，我們在網路上蒐集到這些相關的討論、資訊與評價

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為山林植一株流蘇樹

Translation: @benkongenglish
Photo: @e.chang0316
Host: @wind0411
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三月七號的活動拖到四月才貼
史上最會拖是我XD
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活動名為「一樹一山」
想是以一棵樹為起始 開遍滿山的白花吧～
很開心能有這個特別的體驗
否則城裡的我 哪有機會在花盆以外的土壤植樹？
此行也學到植樹的重點步驟
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在適當的地點挖夠深的土坑(比想像的困難許多 很扎實也很多石塊)
栽下樹苗 回填土壤(保持樹幹在相對低處 才容易匯集雨水)
以三根竹竿協助穩定樹苗(要用工具或石塊敲入土中 再用布繩綑緊)
在離開前送上最後的禮物 一桶甘甜的清水 緩緩澆灌根部
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很佩服活動的主導人 @wind0411
有理想 有執行力 號召力
而我就是抱著和朋友出遊 體驗的心態去拍幾張照片罷了
在我思考活動的意義時
不免懷疑我們種這幾棵樹有什麼助益
為山？為氣候？為生態？
還是要種更多才能有意義呢？
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男孩和海星的故事給了我答案
也許拯救不了所有沙灘上海星
不過 對於被拯救到的每一隻海星
是滋潤的海水 是充滿希望的生命
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也許三年後
「小花一號」「小花二號」等八位孩子
他們開枝散葉 根深柢固 不再需要竹竿時
會享受這片天和微風
小學的學童們會在樹下嬉鬧遮陽
蜜蜂蝴蝶會在花穗旁飛舞
鳥兒會在枝葉間休憩輕唱
這些足以作為這次揮汗如雨的意義吧？
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Call me King of staling
This was an event on 7 March but it’s not posted until April lol
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The name of this event is “One tree, One mountain”
It should be more or less about something starting from a single tree towards flowers all over the mountain?
I’m thrilled to be able to experience this for where in this city can I get the chance to plant a tree except the potted plants I keep?
I also got some insight to the key steps of planting a tree.
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Dig deep enough at the right location (it’s much harder than it sounds as the ground is very solid and full or rocks)
Plant the sapling and cover it with soil (it has to be kept relatively low so that it can be moisturised by the rain
Stabilise the sapling with three bamboo sticks (secure them in the soil by knocking them into the ground with rocks or other tools, and then tie them with ropes)
Give your parting gift (the source of life - water) at its root
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I admire the organiser @wind0411 for his ideals, execution and charisma while I was just hoping to hang out with my friends, gain some experience and take some photos
I couldn’t help but think about what good is it to simply plant a few trees?
For the mountains? For the climate? For the eco system?
How many more have to be planted to be relevant?
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The story of a boy and starfish enlightened me.
Saving all the starfishes on the beach is impossible but every starfish represents a hope of life longing for the healing ocean
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“Little tree 1” “little tree 2” and the other six may not need the bamboo sticks anymore when they are fully grown and their root fully crawl into the ground
They may enjoy the sky and the breeze;
Shelter the students and kids playing underneath them from the sun;
Watch the bees and butterflies dance at nearby flower fields;
Be the base for the birds resting and singing on their branches
These may be the real meaning for this sweaty event I guess?

Alumine Five of Stenheim

Stenheim is a relatively late entrant to the high-end speaker field. It was founded in 2010 by a collective of mainly ex-Goldmund engineers, and its products have inherited an unmistakable aesthetic and, to a lesser extent, sonic DNA, although it was a significantly evolved character that was to emerge in the shape of the debut model, the compact, two-way Alumine Two. It’s a developmental divergence that has continued and, if anything, accelerated with the emergence of each subsequent product. The latest Stenheim speakers, developed under the auspices of new owner Jean-Pascal Panchard, definitely have their own, unambiguous identity, both visually and musically.

I’ve been seriously looking forward to the arrival of the Alumine Five. Previous experience with the brand has included impressive exposure to the various versions of the enormous and enormously impressive Ultime Reference models, as well as a brief but highly rewarding flirtation with the stand-mounted Alumine Two in my own system. The possibility of combining the sense of musical articulation, enthusiasm and communication I experienced from the Alumine Two, with more than a hint of the clarity, scale and authority so effortlessly delivered by the Reference models, all in a package that, if not exactly affordable, at least isn’t completely out of the question, makes the Alumine Five a distinctly interesting proposition.

Yet, confronted with the Alumine Five in the flesh, there’s little to hint at the extraordinary promise lurking within. Resolutely rectangular in true Stenheim style, the Five’s aluminum cabinet, with its plate-to-plate construction, stands just 48" tall, 15" deep and presents a broad 11" face to the world, dimensions based on golden-ratio numbers. The front baffle is split by a physical break between the upper midrange-treble enclosure and the lower bass cabinet, independently ported by the laminated full-width slots above and below, a physical separation that is mirrored by the contrasting inlaid strips that help visually break up the one-piece side panels. The regular lines, smooth surfaces, flawless matte finish and lack of visible fixings could easily result in a bland, almost featureless appearance. But those trim strips and the offset midrange and treble drivers do just enough to give the Five a subtle hint of individual style without resorting to the sort of gauche and ostentatious flourishes that so often pass as design.

The result is a refreshingly clean, classical appearance that will blend seamlessly with a range of different decors. Despite the lack of grilles (although they are available as an option, does anybody really spend this kind of money on a speaker and then compromise the performance by fitting covers?), the beautifully profiled baffle and absence of visible fixings makes for a genuinely neat, finished appearance that matches the superb surface finish on the cabinet. The end result just looks right, in a way that makes you wonder why you’d want grilles anyway.

The first hint of its potent sonic capabilities comes when you try to pick it up. Each comparatively compact cabinet tips the scales at 220 pounds. That’s a grunt-inducing, two-man lift. Now, take a look at the figures for bandwidth and sensitivity, and an in-room response that digs down as far as 28Hz combined with 94dB efficiency should raise your eyebrows, especially given the compact cabinet dimensions. Which brings us to the first experiential disconnect: boxes this size shouldn’t produce this much bass or do it so easily. Nor should they weigh so much -- although therein lies the clue to this particular conundrum. When it comes to bass extension, it’s not the external dimensions of the box that matter, but its internal volume. Just like the Crystal Cable Minissimo, a thin-wall cabinet makes for a much larger internal volume than the external dimensions might suggest -- especially if we apply the expectations of more conventional wood-based construction. Throw in the sheer weight of the aluminum panels and the combination of mass and physical dimensions would subconsciously suggest massively thick walls -- and a correspondingly limited internal volume. Instead, what we have here is a deceptively large volume, which, combined with the inertia of the heavy cabinet and the mechanical stability provided by the material, makes for an effective mechanical reference for driver movement, meaning that more of the energy your amplifier sticks into the speaker comes out as sound and (at least in theory) it will be more precisely rendered.

So far, not very much that’s new. It’s not like Stenheim (or Magico, or YG Acoustics) has exclusivity when it comes to aluminum cabinets. But what does make Stenheim different is the unique material they use in damping their cabinet panels. Of course, the separate enclosures and the internal baffles they demand make for an inherently heavily braced structure, but look inside a dismantled Alumine Five and you’ll find strategically placed pads stuck to the cabinet walls. These three-layer, self-adhesive pads combine a heavy damping layer (adjacent to the cabinet wall itself) with added foam and impervious layers, allowing the low-volume pads to influence both the mechanical behavior of the cabinet itself and the enclosed volume. It’s an interesting solution because it manages to overcome the weakness so often audible in simple, braced aluminum cabinets (the all-too-recognizable resonant signature of the material itself) while maximizing the benefits (large volume and rigidity) by obviating the need to stuff the internal space full of wadding or long-haired wool. In fact, if the Stenheims were stood behind a sonically transparent curtain, you’d be hard-pressed to recognize the music as emanating from an aluminum cabinet at all. The absence of the bleached, grainy or lean colorations, the lack of sterile, mechanistic reproduction, is one big half of the Stenheim story, living, breathing proof that it’s not what you use but how you use it that counts.

The other half is down to the drive units, and after the cabinets, those come as quite a surprise, both the lineup and the chosen materials. In stark contrast to the use of the latest, precision CNC techniques, complex damping pads and finishing options, the Alumine Five's drivers are as traditional as they come, with a coated silk-dome tweeter and pulp or laminated paper midrange and bass drivers. The cone drivers use textile double-roll surrounds and massive magnets more normally found in pro-audio applications, and while Stenheim doesn’t build its own drivers, the company works closely with its chosen supplier (PHL, definitely not one of the usual suspects) to specify the electrical parameters, mechanical characteristics and precise details of the surface coating.

The use of such lightweight cone materials and large motors aids the system efficiency, while a hybrid second-order/Linkwitz-Riley crossover, the result of extended listening and evolution, ensures phase coherence and excellent out-of-band attenuation and makes for easy non-reactive load characteristics, despite the three-way topology. The other aspect of the driver lineup that might be considered slightly unusual is the use of a large-diameter (6 1/2") midrange unit -- although less so since Vandersteen’s patent on the approach lapsed some years ago, resulting in a rash of companies suddenly exploring the possibilities of the topology.

Perhaps more important, in the case of the Alumine Five, it means that you are getting the tweeter and midrange drivers from the Ultime Reference series speakers, teamed here with a pair of 10" woofers but without the benefit of a super tweeter. Even so, Stenheim quotes bandwidth out to 35kHz, which should suffice for most purposes. The review speakers arrived with the optional second set of terminals installed, allowing for biwiring or, more significantly, biamping, an upgrade opportunity that makes this an option you should take. If, in the meantime, you are single-wiring the speakers, make sure you factor in a set of jumpers that match your speaker cables: the Alumine Five's overall sense of musical coherence makes the benefits especially obvious. Likewise, good wiring practice is essential, both in terms of cable dressing and diagonal connection (red to midrange/treble, black to bass, with jumpers arranged accordingly).

Aside from the speaker's substantial weight, the parallel sides and flat surfaces of the four-square cabinet make setting up the Fives an absolute joy. Precise, repeatable, angular adjustments are easily achieved, while changes in attitude are just as straightforward, helped by the beautifully profiled stainless-steel spiked feet and deeply cupped footers. Both the cones and their locking rings have nice, large ports to take the supplied pry bars, but it’s worth greasing the threads before installation. One other thing to watch out for: the spikes are seriously (refreshingly) sharp -- sharp enough to penetrate a thick rug and score the floor below, so be careful where you stand the speakers once the feet are installed. Final positioning disposed the speakers on a broad front with minimal toe-in. When it came to dialing in their considerable musical energy, the most critical factor proved to be height off the ground, with tiny adjustments of the spikes making profound differences to the weight and pace of the presentation. Likewise, equal weighting of the four spikes was crucial to a proper sense of grounded weight and dynamic authority.
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Price: $60,000 per pair.
Warranty: Five years parts and labor.

(Source: The Audio Beat)

This is love. It really is. Things like this make me want to cry. Because you can see and feel the passion of the chef who carved this. It took me 3 sec to wallop it but hey you still do it because it's called having a sense of ownership and pride in what you do, which really is the key to finding meaning and happiness. Otherwise, it's really just cucumber sticks with miso dip.

Rentak Selangor 2019 aims to educating, promoting & sharing the "Dendang Hati ?, Lagu Jiwa?, Irama Kita ?" to the public

Beats of Selangor ? ~ Chinese
A great ?? efforts of Catholic High School (CHS) to preserve the Chinese heritage, art & cultures to ? generation ?????????? of all Malaysians ????? Sharing some of the details which all credited to her media friend, Ms Lily ??‍♀️;

Chinese Orchestra
It's based on the structure & principles of a Western symphony orchestra using Chinese instruments. The orchestra is divided into 4️⃣ sections ~ wind, plucked strings, bow strings & percussion. It's usually performs modernized traditional music. Some of the instruments used are;

1️⃣ Erhu 二胡
✅ It's 1 of the most important Chinese instruments, with a
history of over 4K years
✅ It's a 2️⃣-stringed bowed Chinese musical instrument,
AKA the Chinese violin / Chinese 2️⃣-stringed fiddle
✅ It can be used in both traditional & contemporary music
arrangements; pop, rock & jazz
✅ It's played vertically, resting on the musician's lap. It has ❌
fingerboard, hence the player's fingers must hold & vibrate the
strings by pressing only against the strings themselves

2️⃣ Pipa 琵琶
✅ It's a 4️⃣-stringed Chinese musical instrument, AKA Chinese lute
✅ It has been played for almost 2K years in China & existed
as early as the Han dynasty
✅ It was once reigned as the “king” of Chinese folk instruments
✅ The instrument has a pear-shaped wooden body & the string
was once made of silk, however today, it is made of nylon-wrapped
steel. Silk strings were played either with a plectrum / with bare
fingers, but steel strings are played with finger picks

3️⃣ Dulcimer 扬琴
✅ AKA yangqin (扬琴) is believed to have originated in Central
Asia & was brought to China by sea-faring European traders at the end of the Ming Dynasty (around AD 1600).
✅ Classified as a plucked string instrument, the Chinese yangqin is also a
hammered dulcimer that is played with rubber-tipped sticks.
✅ The modern dulcimer has been rationalized & has become an essential
instrument in the Chinese orchestra
✅ It's used both as a solo instrument & in ensembles

4️⃣ Bamboo flute 笛子
✅ It's a Chinese transverse flute / Chinese bamboo flute
✅ Traditionally & most of the dizi is made by using (a single piece of) bamboo
✅ It's played using circular breathing "advanced" techniques
✅ It's a key Chinese musical instrument & is used in Chinese folk
music, opera & modern Chinese orchestra

Wushu (武术)
It was developed in 1949 in an effort to standardize the practice of traditional Chinese martial arts. The modern concepts of wushu were fully developed by the Ming & Qing dynasties

Type of performances are Wushu Weapons, Doubles Weapons, Flag, Doubles Taiji Sword, Trio Taiji Broadsword & Trio Taijiquan

The basic wushu movements are;
✅ Ma bu : 马步 - Horse stance
✅ Gong Bu : 弓步 - Bow stance
✅ Pu bu : 仆步 - Flat Stance or Crouch stance
✅ Chong Quan : 冲拳- Fist Punching
✅ Teng Kong Fei Jiao : 腾空飞脚 - Jumping front kick
✅ Bai Lian : 摆莲 - Lotus kick
✅ Xuan Zi : 旋子 - Butterfly kick

Basic wushu sword & boardsword movements are;
✅ Chan tou : 缠头 - Twining around the head with broadsword
✅ Guo nao : 裹脑 - Wrapping around the head with broadsword
✅ Wan Hua : 腕花 - Rotate the wrist, move the sword in forward-downward vertical circles on both sides close to your body, force reaching tip of the sword
✅ Guajian : 挂剑 - Hold the sword straight & move it in upward-backward / downward-backward vertical circles close to your body, with force reaching the front part of the blade
✅ Liao jian : 撩剑 - Move the sword in a forward-upward vertical circle, force reaching the foible

Diabolo 扯铃/ 抖空竹
It's a juggling / circus prop consists of an axle & 2 cups AKA Chinese yo-yo. It's spun using a string attached to 2️⃣ hand sticks. Multiple cups can be spun on a same string too. A large variety of tricks are possible with the diabolo, including tosses & various types of interaction with the sticks, string & various parts of the user's body

24 Season Drum (Ershisi Jieling Gu : 节令鼓)
It's a Malaysian art that was invented in 1988 by a music teacher, Tan Hooi Song & a poet Tan Chai Puan, at Foon Yew High School in Johor. It consists of 24 large drum is called Shigu (獅鼓) that represents the agricultural seasons in the Chinese calendar. The original performance styles depict movements of farmers & activities on a farm. The name of each season is usually written in
Chinese calligraphy on the drum.
The drum is played using 2️⃣ wooden sticks, striking its surface, sides or hitting the 2️⃣ sticks together

Each colour on the drum has a special meaning;
❤️ red symbolizes auspiciousness & passion
? black represents perseverance
? yellow signifies the Chinese culture & tradition

More details soon via ? siennylovesdrawing.wordpress.com

#RS4 #RentakSelangor #DiscoverSelangor #VM2020 #VisitMalaysia2020 #TakeMeAnywhere #GayaTravel #Malaysia

Welcome back to another episode of Tina Tries It! Today I’ll be testing out Kaja’s new paint roller highlighter, stamp on blush and their new heart lip gloss sticks.
Are they a hit or a miss? Watch to find out

Products Used:
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Kaja Heart Melter Lip Gloss Stick https://shopstyle.it/l/Zzx4
Kaja Cheeky Stamp https://shopstyle.it/l/Zzx5


Link to my earrings http://shrsl.com/1gnx8
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? EQUIPMENT I USE ?
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Music by Heartheat - Elsa - https://thmatc.co/?l=20ADCBC0

#PaintRollerHighlighter #Kbeauty #Kaja

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#chamomile #lollipop #snack

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肥丁第二本料理書
《100%幸福無添加！肥丁手作點心：9大基本點心×63種網友最想學的獨家配方 超人氣零食輕鬆在家做》 (繁體)
✅ 　博客來　https://goo.gl/58VK1y
✅ 　誠品 https://goo.gl/VkVGxh
✅ 　金石堂 https://goo.gl/izsFbq
✅ 　商務印書館 http://bit.ly/2IJqq6i
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(簡體)
✅ 　當當 http://bit.ly/32bJx0v

用攝影寫的廚房日記 ﹗ 溫暖幸福家常菜，心靈治癒甜品，麵包烘培DIY。廚房味覺實驗室，餐桌迷你攝影棚，味蕾和視覺的雙重盛宴