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Rollers for heidelberg SM-102 printing presses. Our heidelberg printing press rollers are manufactured in the UK to the highest quality standards. All our Heidelberg rollers are covered under our money back guarantee. If you have any questions please contact us.
Heidelberg Printing Machine Serial Number
Heidelberg thinks that there may be even older presses bearing its brand still hard at it out there, and the search continues for the oldest working example in the U.S. Printers in the 50 states who believe they have Heidelberg press equipment that predates No. 35345E are invited to send the serial numbers to [email protected].
Here is one of the most requested presses for the U.S. market. This used Heidelberg CD74-6+LX is in full production in the U.S. now. The machine features AxisControl for closed-loop scanning, Alcolor Vario dampeners for hickey-free printing and non-stop options on both feeder and delivery. Call or email us for more information!
I was looking for some info about my folding Erika typewriter, when I found this blog. Reading the typewriter serial database, folding Erika had a nice success in Europe, they made it from 1910 to 1928, so none stopped production soon. Plus, this machine was made BEFORE the Corona but AFTER the Standard Folding.I am trying to understand if S&N paid some rights to the Standard Folding Typewriter co. or if they won some legal issue...I mean, measures and materials are really different, but folding system and general look are really identical, so there must be something behind this.
Abstract:We investigated a machine-learning-based fast banknote serial number recognition method. Unlike existing methods, the proposed method not only recognizes multi-digit serial numbers simultaneously but also detects the region of interest for the serial number automatically from the input image. Furthermore, the proposed method uses knowledge distillation to compress a cumbersome deep-learning model into a simple model to achieve faster computation. To automatically decide hyperparameters for knowledge distillation, we applied the Bayesian optimization method. In experiments using Japanese Yen, Korean Won, and Euro banknotes, the proposed method showed significant improvement in computation time while maintaining a performance comparable to a sequential region of interest (ROI) detection and classification method.Keywords: banknote serial number recognition; deep learning; knowledge distillation
This paper explores the processes of serial narration in view ofthe serial enactment of Fu Manchu. Its contention is that seriality is aprinciple rather than a technique and that this principle cannot be deducedto one author, author collective, or instigator. It gains a'machinic' momentum of its own in the course of its unfolding. Itis no mere circumstance that the most successful serial narratives--like theFu Manchu narratives--were initiated in the 'long' 19th centurywith its expansionist ambitions regarding the spread of global capitalism andthe modern nation state, and then were propelled by the engines of20th-century media modernity. The Fu Manchu narratives lend themselves to aninvestigation of the principle of seriality because they vent the seriallogic of expansion, excrescence, and spread both on a thematical and a formallevel and tightly interweave structural and ideological functions. Inconsequence, the narratives have to be seen as serial performances orenactments, rather than representations, of the yellow peril theme. They donot so much express politico-social fears and cultural anxieties from thevantage point of an author or individual text, but work as engines in theserial machinery which generates and spreads ideological certainties.
Popular seriality invites us to reflect upon the workings ofnarration without "the traditional recourse to digression, indirection,or the overtly self-referential," as Michael Chabon (49) wrote about thepopular appeal of Sherlock Holmes narratives (which had a trigger effect onthe Fu Manchu series): "Conan Doyle found a way to fold several stories,and the proper means of telling them, over and over into a tightly compactedframe, with a proportionate gain in narrative power. 'The SpeckledBand' and 'The Adventure of the Dancing Men' are storytellingengines, steam-driven, brass-fitted, but among them the most efficientnarrative apparatuses the world has ever seen" (47). Storytellingengines: what a felicitous formulation! This paper will try to probe deeperinto the narrative arrangements constituted by seriality, examining how theserial figure of Fu Manchu is driven by the same motor which propelled theSherlock Holmes stories and other machines of popular seriality.
Serial fiction relies upon its readers' recollection, but italso profits from the familiarity that derives from prior readingexperiences. One of the two narrators of The Shanghai Gesture registers atthe end of the story that "when you've seen the same movie acertain number of times, you stop paying much attention to what's goingon in the narration. You see the furniture, the ornamentation of the sets.[...]" (200). This also captures well the workings of serial reading:recurring figures, character constellations, and themes invariably allow fora focus on the 'ornamentation of the sets.'
In the 1930s, there is no longer even a pretense to regard theopen-endedness of the serial narration as a deficit. The open ending has beenaccepted as the central drive of the narrative progression. This insight maybe predicated on the fact that 1932 was the date in which Metro-GoldwynMayer's The Mask of Fu Manchu appeared. Boris Karloff's enactmentof Fu Manchu as calm, cruel, and controlled madman, together with histrademark makeup and styling rendered the figure iconic. The pre-code filmrelied upon elaborate sets and ornate costumes between art-deco and futurism,and it became widely known for its state-of-the-art special effects,spectacularly displaying Fu Manchu's sophisticated machineries oftorture, indoctrination, experimentation, and infiltration (cf. Doherty267-74; Goldman 53-60; Mayer, "Image Power"). In the early FuManchu novels, such effects and machineries are ascribed with a certainfunction, but they never take center stage. In the novels appearing after thefilm, spectacular effects and the machinic arrangements gain an unprecedentedimportance, they become pivotal elements--or engines--of the narration,easily competing with the lead figures in terms of significance and plotrelevance.
The hypnotic eyes epitomize Fu Manchu's uncanny expansive andintrusive force, his capacity to infiltrate other people's minds andtake over their willpower. He transgresses (physical, geographical andmedial) boundaries not so much by force but by means of a probing insistence--the power of his glance, rather than the impact of a weapon. The fact thathis eyes are not racially marked ultimately tinges the very ideology of theyellow peril with a sense of intangibility and recyclability (Wingfield9293). This vagueness becomes more notable as Fu Manchu goes televisual. Inconsequence, the yellow peril is effectively totalized in this narrativeuniverse--neither geographically nor historically nor even racially fixed.The threat is everywhere and nowhere in particular--ghostly in itsdiffuseness and evanescence. Forging an interface of his roboticallybrilliant brain and cutting edge technology, Fu Manchu becomes machinic--aman machine, indubitably modeled on the spectacular man-machine mergingsshowcased by Boris Karloff earlier in the decade in his impersonation of thefigure on screen. And more than ever before in a literary enactment Fu Manchuis presented as a serial phenomenon--an iconic image that can be inserted andactualized in ever new settings and scenarios, blending with the tools of itsimplementation into a hybrid figuration. 2ff7e9595c
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