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Rear Shock Removal - KTM Super Twins Forum
See the service manual for a little tool you have to make out of a length of threaded rod or a long bolt and two flange nuts. It is used to press the bushings to the side so you can fit the shock back in there. This is the one I made and used:
ktm  diy  repair  rear.shock  shock 
2 days ago by seralat
Renewing Swingarm Bearings (with DIY tools) on KTM 950 | Adventure Rider
This was done on a 2007 KTM 950 SMR, but it probably works the same for all the other 950 (and 990) KTMs.

I just finished renewing my swingarm...
ktm  swingarm  diy  repair 
2 days ago by seralat
Sole Heeled
Convenient and affordable shoe and handbag repairs by Australia's best craftsmen. Get an instant quote. Order online with free shipping both ways.
repair  shoe 
3 days ago by aaronmaras
Bricolage… or the Impossibility of Pollution - e-flux Architecture - e-flux
In the early 1980s, architect Yona Friedman and artist Jean-Pierre Giovanelli undertook a project titled une intervention sur le déchet (“an intervention on the scrap”).1 The project entailed a four-phase process: First, during the “Phase of Accumulation,” Friedman and Giovanelli amassed what they described as scrap parts from “our sophisticated technologies.” During the subsequent “Phase of Transformation,” these scraps were distributed among “artisanal populations” in non-specified areas of Africa and there subject to a process of “free transformation.” For the next “Phase of Recuperation,” the altered detritus was shipped back to Europe. And finally, during the “Phase of Reinjection,” the resulting art objects were exhibited and sold at a Parisian gallery, with the financial proceeds remitted to Africa....

the devaluation significant here is not that of individual creativity but rather of societal modes of transmitting knowledge. We can only guess the likelihood that the “phase of transformation” had been undertaken in a former French colony, perhaps in one of the many West African cities where ironwork or bronze-work had long been domains of technical expertise. To present this labor as spontaneous bricolage, it was necessary to erase local knowledges and histories by omitting any indication (save the signifier “Africa”) of where the objects were produced. Although Friedman and Giovanelli at least reminded their audience that these African bricoleurs had come from “artisanal populations” (hence, not lacking in trained skill), the non-specificity of the artisanal expertise in question, along with the vague designation of “Africa,” helped set the stage for a growing neoliberal conception of the haphazard creativity of the Third-World informal economic sector—creativity that had to become unbound from its own structured systems and then re-channeled into a global market....

Once inserted within the ambit of modernity, the figure of the bricoleur in urban and economic discourses serves to justify the redistribution of financial risk, in the move from the planned urbanization and state-led industrialization of the postcolony to a neo-liberal model of economic austerity, privatization, and individual entrepreneurship. The bricoleur justifies this model because they can cobble together shelter and commodities from the material detritus generated by north-south inequalities. They can turn the effects of austerity measures to good because the nature of bricolage is not to turn something into something else, but to make something out of nothing. This nothing was to come not only in the form of austerity but also, as Friedman and Giovanelli had divined, in the form of industrial and electronic pollution—the principal ingredients for Third-World bricolage....

Once inserted within the ambit of modernity, the figure of the bricoleur in urban and economic discourses serves to justify the redistribution of financial risk, in the move from the planned urbanization and state-led industrialization of the postcolony to a neo-liberal model of economic austerity, privatization, and individual entrepreneurship. The bricoleur justifies this model because they can cobble together shelter and commodities from the material detritus generated by north-south inequalities. They can turn the effects of austerity measures to good because the nature of bricolage is not to turn something into something else, but to make something out of nothing. This nothing was to come not only in the form of austerity but also, as Friedman and Giovanelli had divined, in the form of industrial and electronic pollution—the principal ingredients for Third-World bricolage....

Once inserted within the ambit of modernity, the figure of the bricoleur in urban and economic discourses serves to justify the redistribution of financial risk, in the move from the planned urbanization and state-led industrialization of the postcolony to a neo-liberal model of economic austerity, privatization, and individual entrepreneurship. The bricoleur justifies this model because they can cobble together shelter and commodities from the material detritus generated by north-south inequalities. They can turn the effects of austerity measures to good because the nature of bricolage is not to turn something into something else, but to make something out of nothing. This nothing was to come not only in the form of austerity but also, as Friedman and Giovanelli had divined, in the form of industrial and electronic pollution—the principal ingredients for Third-World bricolage....

The recent Maker Culture movement offers a particularly legible demonstration of how pollution becomes recast as non-pollution—an operation which is aesthetic, ideological, and economic. ...

In the case of Agbogbloshie Makerspace Platform (AMP), founded by two Boston-trained architects, the relationship between Maker Culture and pollution is made explicit, as their operation is sited at Accra’s notorious international e-waste dump, Agbogbloshie. AMP’s co-founders see design as a way of restoring dignity to a part of the city that has been the target of much negative attention, due to extensive press coverage and blogging related to the issue of international e-waste. AMP draws on the existing practices of e-recycling that have long formed the basis of Agbobbloshie’s economy and hones these practices through the inculcation of new skills and knowledge in design, material science, and construction. In this sense, the endeavor is a laudable one. Nonetheless, processes of e-recycling at Agbogbloshie involve burning off plastic encasements and circuit boards, which emits highly toxic fumes, then sorting through the remaining metals and components for resale. Despite the persistent toxicity of the processes involved, AMP’s stated ambition is to “move beyond the notion of ‘e-waste.’” The virtuosity of design and aesthetic representation (as showcased on AMP’s website) make the claim that the highly toxic effects of e-waste dumping and the still-more toxic processes involved in e-recycling are to be overcome through aesthetic bricolage as a technique of onto-semiotic transformation....

In the case of Agbogbloshie Makerspace Platform (AMP), founded by two Boston-trained architects, the relationship between Maker Culture and pollution is made explicit, as their operation is sited at Accra’s notorious international e-waste dump, Agbogbloshie. AMP’s co-founders see design as a way of restoring dignity to a part of the city that has been the target of much negative attention, due to extensive press coverage and blogging related to the issue of international e-waste. AMP draws on the existing practices of e-recycling that have long formed the basis of Agbobbloshie’s economy and hones these practices through the inculcation of new skills and knowledge in design, material science, and construction. In this sense, the endeavor is a laudable one. Nonetheless, processes of e-recycling at Agbogbloshie involve burning off plastic encasements and circuit boards, which emits highly toxic fumes, then sorting through the remaining metals and components for resale. Despite the persistent toxicity of the processes involved, AMP’s stated ambition is to “move beyond the notion of ‘e-waste.’” The virtuosity of design and aesthetic representation (as showcased on AMP’s website) make the claim that the highly toxic effects of e-waste dumping and the still-more toxic processes involved in e-recycling are to be overcome through aesthetic bricolage as a technique of onto-semiotic transformation.
bricolage  making  repair  e-waste  Global_South  labor 
5 days ago by shannon_mattern

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