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Description
STIHL Akku-Strauchschere HSA 26, 20 cm, ohne Akku und LadegerätLeichte und kompakte Akku Strauchschere mit Strauchmesser zum Krzen und Pflegen von kleineren, immergrnen Hecken und kleinblttrigen Ziergehlzen. Strauchmesser mit optimierter STIHL Messergeometrie fr optimales Schnittergebnis. Mit Grasmesser auch zum Schneiden von Rasenkanten. Rutschfester Bediengriff fr perfekte Ergonomie, schneller, werkzeugloser Messerwechsel, mit Ladezustandsanzeige um die Restkapazitt des Akkus jederzeit im Blick zu haben. Der
Leichte und kompakte Akku-Strauchschere mit Strauchmesser zum Kürzen und Pflegen von kleineren, immergrünen Hecken und kleinblättrigen Ziergehölzen. Strauchmesser mit optimierter STIHL Messergeometrie für optimales Schnittergebnis. Mit Grasmesser auch zum Schneiden von Rasenkanten. Rutschfester Bediengriff für perfekte Ergonomie, schneller, werkzeugloser Messerwechsel, mit Ladezustandsanzeige um die Restkapazität des Akkus jederzeit im Blick zu haben. Der Akku AS 2 passt ausschließlich zu den Produkten des AS Systems und ist nicht kompatibel mit der HSA 25.
Technische Daten
| Hubzahl | 2200 min-1 |
| Schnittlänge | 20 cm |
| Nennspannung | 11 V |
| Akku-Technologie | Lithium-Ion AS-System |
| Gewicht | 1 kg |
| Leistung | 0.10 KWT |
| Leistungsaufnahme | 160 WTT |
| Vibrationswert rechts | 1 m/s² |
| Vibrationswert | 1 m/s² |
| Schalldruckpegel | 67 dB(A) |
| Schallleistungspegel | 80 dB(A) |
| Zahnabstand | 16 mm |
| Gesamtlänge | 50 cm |
| Schalldruckpegel (Norm 2022) | 72 dB(A) |
| K-Wert (Schalldruckpegel) | 2.0 2N |
| K-Wert (Schallleistungspegel) | 2.0 2N |
| Akku-System | AS |
| Max. Spannung | 12 VLT |
| Empfohlener Akku | AS 2 |
| Gerätegewicht | 0.8 KGM |
| Gerätegewicht ohne Akku | 0.8 KGM |
| Max. Akkulaufzeit AS 2 | 110 MIN |
| Gerätelänge mit Messer | 50 CMT |
| IP Schutzgrad | IPX1 |
| Artikel-Nr.: | HA030113500 |
| EAN: | 0886661869909 |
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Ergonomisch optimierter Bediengriff Die ergonomisch optimierte Strauch-Schere ist perfekt ausbalanciert. Der rutschfeste Bediengriff ermöglicht eine einfache und sichere Führung des Gerätes. |
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LED-Ladezustandsanzeige Dank der gut ablesbaren LED-Ladezustandsanzeige ist der Anwender jederzeit per Knopfdruck über die Restkapazität des Akkus informiert.
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Werkzeugloser Messerwechsel Die Schneidwerkzeuge können schnell und werkzeuglos gewechselt werden. |
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Grasmesser Das Grasmesser mit 120 mm Schnittbreite ist perfekt für das Schneiden und Trimmen von Gräsern und Rasenkanten. Die Schneidwerkzeuge können schnell und werkzeuglos gewechselt werden. |
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Strauchmesser in Tropfenform Das beidseitig schneidende Strauchmesser mit Zähnen in bewährter STIHL Tropfenform ermöglichen eine hohe Schnittleistung. Die Tropfenform hält Zweige für ein optimales Schnittergebnis zuverlässig im Messer. Das Strauchmesser mit 200 mm Schnittläng... |
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Messerschutz Eine passgenaue Abdeckung der Klinge von Strauch- und Grasmesser sorgt für sicheren Schutz während des Transports und der Lagerung.
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Praktische Transporttasche Für ein einfaches Tragen und eine sichere Aufbewahrung wird eine, an die Wand montierbare, Transporttasche mitgeliefert. |
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4.1 ★★★★★
Based on 9 reviews
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Product Reviews
★★★★★ 5
interesting analysis of what 'being creative' really means
This easy-to-read absorbing book is based on lengthy interviews with 91 creative individuals ranging from Nobel prize winners to artists to CEOs. Csikszentmihalyi starts by debunking the myth of 'the lone genius having a brilliant idea as if by magic' and defines three necessary ingredients for creativity ('with a capital "C"') - domain, field, and individual. Creativity must take place within a recognised domain (such as physics, painting and so forth); be recognised by experts in that domain (the field, although this may not happen in the individual's lifetime, eg, Van Gogh); and of course come from an individual, although he also adds the painstaking work that precedes and insight, the reality that all creativity builds on what has gone before, and the social elements of the creative process.
The book also offers supporting evidence from the lives of the 91 interviewed, which also provides interesting insights into their lives. In many ways, this book is a biography of the creative individual.
Also contains a chapter with quite practical guidance on how to live more creatively. Prescient advice for a book published in 1996 given the increasing profile creativity is getting in business and public life.
HIghly recommended, one of the most interesting learning experiences i have had in a long while!
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Reviewed in the United States on February 5, 2013
★★★★★ 5
Very enlightening for those who truly appreciate creativity more than cleverness!
Format: Paperback
I love how the author almost redefines creativity .and sheds new light (for me, at least!)on what what real-for-true creativity is and how it benefits individuals and society. It's far more than simply brightening up a room with new wallpaper and curtains -- it describes how genuine creativity requires a thorough working knowledge of the fundamentals of any given field before one can truly create something new or better, and it reveals how those of us who aren't capable of creating something ourselves can yet be part of the process by demonstrating appreciation and support for those who create, whether as sponsors, patrons, or even just ardent fans!
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Reviewed in the United States on July 4, 2023
★★★★★ 3
instructive but limited
The testimonies of creative people that give this book its flesh and blood provide fascinating examples of creative people at work. That said, if a journalist had written the book, it would be more readable, and I don't think any less of an intellectual contribution. Moreover, the definition of creativity is elitist and stunts the topic (as observed by other reviewers): "Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one. And the definition of a creative person is: someone whose thoughts or actions change a domain, or establish a new domain. It is important to remember, however, that a domain cannot be changed without the explicit or implicit consent of a field responsible for it." Given the people interviewed, much more needs to be said about the function of social institutions in promoting creativity. Many of the accomplishments lauded in this book would never have happened without grant-making agencies (e.g., NSF, NIH, HHMI) or non-profit employers like research universities and hospitals. To offer just one obvious example of the difference made by one's institutional context, the author had advanced students to help him do his research for this book. The elitism of the definition is even clearer in the role that marketplace plays as a judge of creativity. None of us buys books from amazon.com because some official group validated amazon.com as a good idea. We didn't wait for computer programers to affirm and certify it. Amazon.com is not deemed successful because it impressed its peers. It is successful because millions of us purchase goods through it. Similarly, auto-executives did not make the minivan a successful idea, millions of shoppers did. (Obviously I don't think the marketplace fits into the author's definition of creativity. If 300 million American consumers comprise a domain with 300 million judges, then the word no longer has any useful meaning.) The definition also precludes that countless ephemeral acts of creativity that take place daily. I think instantly of two women I have worked with who were great at holidays. Their clever costumes or decorations brightened my day, adding a little element of surprise and delight. Their acts of creativity don't meet the definitions of this book. The way that creativity is defined in this book is simply a filtering mechanism by which the author selected the people he would interview. It is not a definition of creativity. It is only a description of a subsection of creativity, the kind where institutions provide paychecks to highly practiced individuals to work hard at what they love. I also found little new to take away and apply to my own social existence inside the organization where I work. Perhaps I can summarize my dissatisfaction by observing that the subtitle sets out an agenda for the psychology of creativity, but the definitional filter is intrinsically social. This disconnection sets the book up to fail. So, count this as a negative review, yes, but I did enjoy reading the testimonies of the people interviewed, and the author adds some value in the generalizations he draws. Still, much, much more could have been said.
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Reviewed in the United States on April 30, 2012
★★★★★ 5
Wise and Complete
Format: Paperback
I've read a lot of books, too many, on creativity, and this is by far the best, the most complete, the most interesting. The idea that creativity comes out of immersion in a domain or field seems absolutely right and the idea missed by so many other writers. I'm a writer and a painter and I've learned that I'm not going to be any better than the work I've come to know and love, that I have to live in that work. If you want to be a better string player, play with a better ensemble. In many ways a creative person is someone who is in a conversation with what has come before, with work that excites her, teaches her, challenges her. This book makes that plain. But he has other insights as well, especially about the creative personality, the interesting dichotomies. Just read the book.
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Reviewed in the United States on February 22, 2015
★★★★★ 4
Creativity which has the power to change the world
A few caveats to those who are generally interested in creativity studies: Csikszentmihalyi's analysis and discussion of creativity does not directly relate to those who are personally creative. People who enjoy engaging in creative activities are not demoted, in his terms, but are simply not a part of the study. It is unfortunate that his language makes it seem this way; he distinguishes between the two by saying that Creativity has the power to shape a domain or the world, while creativity applies to those who enjoy coming up with new recipes, who are engaged in research that may not change a domain, but may "tweak" it, etc.
What he is trying to discover are the underlying principles and traits of creativity in those whose work has made a significant change. Think Albert Einstein, Eleanor Roosevelt, Mark Strand: people who are either widely known for their influence, or who have been influential within their area or domain.
This book provides an interesting view into the minds and work habits of Creative individuals, and concludes by offering general advice to those who wish to make their own lives and work more creative. It is a useful book, but one which requires a great deal of supplemental reading, in order to truly engage in creativity studies.
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Reviewed in the United States on January 29, 2003
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