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The recombination mechanism is not important for our calculations. Recombination probabilities γ used for determination of radicals are therefore averaged probabilities for both mechanisms.
Because the probe is exposed to fluxes of both O atoms and carbon monoxide (CO) molecules, the released power on the surface of the probe can be simply and roughly described by the following Equation:
The fluxes jO and jCO are defined as follows:
The probe heating can be calculated as follows:
Recombination probability γO2 is well known and for nickel surfaces it is 0.27, while the recombination probability for γCO2 is not known. Most studies take into account the average heterogeneous surface recombination probability or assume γO2 = γCO2. We made the same assumption in the present paper.
The results as calculated from Equation (8) are summarized in Figure 5, where the density of O atoms is plotted against the pressure at different distances along the narrow tube. The corresponding graph of nO against the distance is presented in Figure 6.
Finally, the dissociation fraction of CO2 molecules can be calculated from the following equation:
The results reveal some interesting behaviors that can be summarized as follows:
the order of magnitude for the dissociation fraction is about 1%;
the dissociation fraction exhibits a rather broad maximum at 60 Pa;
the O atom density also exhibits a maximum but it is slightly shifted to higher pressure compared to the dissociation fraction;
there is a sharp drop in both the dissociation fraction and atom density in the first few centimeters along the narrow tube exhaust.
The dissociation fraction of CO2 molecules in the early afterglow is rather low, especially when compared with experiments performed in pure O2 or hydrogen (H2) under very similar discharge conditions [21,22]. The value obtained in the present study was at least an order of magnitude lower than those obtained in the earlier studies. For example, in pure O2 the neutral O atom density exceeded 5 × 1021 m−3. The differences between our results and those in the earlier studies can be explained either by different production or loss rates of radicals. Because the plasma density is practically the same as those in experiments with O2, the only explanation for the reduced O atom production is a lower dissociation rate. The dissociation energies of O2, H2, and CO2 molecules are 5.2, 4.5 and 5.5 eV, respectively. Because the dissociation energy of carbon molecules is not much larger, it cannot be the reason for poor production. CO2 dissociation can occur by electron impact dissociation, dissociative recombination of positive ions, and dissociation stimulated by vibrational excitation of molecules as follows:
Reaction (11) can be ignored in the present study because of a very low ionization fraction in the plasma, where the estimated value according to measurements by the double probe is approximately 10−6. Two other mechanisms definitely contribute to the dissociation phenomenon. According to classical work, the mechanism in Reaction (12) is often the most effective channel for CO2 dissociation in a non-equilibrium plasma. Namely, the rate coefficient of CO2 vibrational excitation by electron impact reaches a maximum value of >10−8 cm3 s−1. At the same time, the loss of vibrational energy by superelastic collisions, or V-T relaxation, is relatively slow. As a result, rather high vibrational temperatures are achieved in CO2 plasmas. The cross-section for direct dissociation of the CO2 molecule in the ground state Reaction (10) is very low at the electron temperature of a few electron volts so it could probably be ignored. Another mechanism worth mentioning is dissociation of CO2 molecules found in metastable electronic states, such as CO2 (1B2) and CO2 (3B2). The densities of such states are unknown in our case, so it is difficult to discuss the contribution of this channel to dissociation of CO2 molecules. In any case, there are quite a few possible mechanisms of dissociation by collision with an energetic electron, and the rate of CO and O production in CO2 plasma is thought to be similar to the rate of O production in O2 plasma. The production mechanisms are therefore not responsible for the rather low dissociation fraction as determined in our experiments for the early afterglow.
Another reason for a rather poor dissociation fraction could be loss rates. An important mechanism for the loss of radicals in the gas phase is recombination by three body collisions. Such a collision is required because the energy and momentum have to be preserved. At around 60 Pa, where the experiments were performed, the probability for three body collisions is low, and gas phase reactions are easily neglected. Radical loss mechanisms that are more important occur on the surfaces. Many authors have shown that the probability for heterogeneous surface recombination of O atoms on glass surfaces is around 10−4[12,20]. Less work has been performed on recombination of CO on glass surfaces. Most studies have investigated the average recombination probability for the reactions O + O → O2 and CO + O → CO2[18,21]. Sepka et al. managed to separate the reactions and found out that the dominant surface reaction on a quartz surface in an O2-CO mixture was O + O → O2. Kolesnikov et al. proposed the average catalytic efficiency for both reactions was about 2.5 × 10−5 at 300 K for silica-based surfaces. Bykova et al. obtained much higher values for quartz surfaces of about 2 × 10−3. The difference between the results obtained by Kolesnikov and Bykova is two orders of magnitude. There could be several reasons for this difference, in addition to the simple explanation that the coefficients are not determined precisely. Another, more probable explanation for this difference is the diverse surface properties of the materials investigated by these two groups.
The dissociation fraction is defined as the ratio between the density of a particular radical (e.g., CO) and the density of the stable parent molecules (e.g., CO2). The density of the parent molecules is determined from the pressure in the afterglow chamber using Equation (9). The dissociation fraction should therefore decrease with increasing pressure. This has been observed in many afterglow experiments, but was not the case in the present study and Figure 7 shows a well-defined maximum on the curve. Some mechanism must prevent a high dissociation fraction at low pressure. This mechanism should exclude any gas phase reactions, because their probability usually increases with increasing pressure. Therefore, the reasons for the rather poor dissociation rate at lower pressure could be explained by surface loss mechanisms. Again, there are several mechanisms for this, including Reactions (1) and (2), but because the coefficients for Reaction (2) are not known, a quantitative calculation could not be performed. However, it is possible to discuss the relatively low dissociation fraction qualitatively in view of the high probabilities for heterogeneous surface oxidation of CO (by Reaction (2)). As mentioned in earlier studies, much higher dissociation fractions were found in detailed characterizations of pure O2 afterglows. The anomalous behavior of the CO2 afterglow must therefore occur because of the presence of particles other than O or O2. In the afterglow of CO2 weakly ionized plasma, the only candidate is CO. The recombination coefficient of the CO molecules on borosilicate glass should obviously be higher than the coefficient for recombination of neutral O atoms.
From this point of view, we can also discuss the results presented in Figures 5 and 6. Because the probability for heterogeneous surface recombination of CO molecules in the presence of neutral O atoms is unknown, the results presented in Figures 5 and 6 cannot be very accurate. In fact, the results in these figures were obtained by assuming the probability for recombination of CO molecules on the probe tip was the same as the probability for recombination of neutral O atoms Reaction (1). To estimate the error made by this assumption, we have to reconsider Equation (8) and take into account the extreme cases. The recombination coefficient is by definition somewhere between 0 and 1. The O atom density as calculated from Equation (8) obviously depends on the recombination coefficient for Reaction (1) and on the recombination coefficient for Reaction (2). Figure 8 represents the possible range of O atom densities taking into account any value of the recombination coefficient for Reaction (2). The lower limit of the atom density is represented by the highest possible recombination coefficient (i.e., γCO2 = 1). The upper limit is set by taking into account the lowest recombination coefficient (i.e., γCO2= 0). As can be seen from Figure 8, the differences between the lowest and the highest O atom densities were not small. Somewhere in between we can observe the values of the O atom density by taking into account the most probable value of the recombination coefficient (i.e., γCO2= 0.27). Although there is a difference of almost one order of magnitude between the extremes presented in Figure 8, the accuracy of the O atom density determined from the catalytic probe measurements should be good. As stated by Kolesnikov et al., the typical recombination coefficient for metals like nickel is between 0.1 and 1. From this point of view, the approximation usually used by all authors, which is that the recombination coefficient for Reaction (2) is equal to the recombination coefficient for Reaction (1), is not only convenient but also justified. The limits of the shaded area in Figure 8 should therefore be taken only as theoretical limits for the worst-case conditions.
The results summarized in Figures


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How to Enhance the Audio Experience When Working From Home
The increase in remote working has created a necessity for clear and effective audio when joining video conferences from a home office. Investing in products that provide a high-quality audio experience is essential to your productivity and the ability to collaborate effectively with clients and colleagues.
Audio for a high-tech home office
Working from home brings its own set of disruptions and challenges. It can be very distracting when you struggle to hear, or the other meeting participants cannot clearly understand you during a video conference. For these reasons great audio is more important than ever before.
According to a recent survey by Illuminas, commissioned by Shure Incorporated, poor audio impacts a third of all virtual meetings. Four out of five video conferencing frustrations stem from poor audio quality - background noise, echo, audio cutting out and being unable to hear other meeting participants are all factors.
Choosing the right computer microphone or ear/headphones with a microphone is a critical factor to ensuring that you sound professional and can hear every detail during your home video conferences.
Use this step-by-step process to choose the best audio equipment for your home office upgrade:
Step 1: Upgrading your microphone – your laptop mic isn't good enough!
Start by upgrading your computer or laptop with an external microphone. The microphone provided by these devices is omnidirectional, which means that it picks up all the noise in the room, including echo and reverb. It can also make you sound far away or "tinny" compared to high-quality headphones or earphones with an integrated microphone. The microphones on ear/headphones are designed to be directional so that they pick up your voice and the nuances of your conversation more effectively. They can also be placed much closer to your mouth so that your voice will be heard louder.
You can also choose an external USB microphone that sits on your desktop. This will significantly enhance the audio quality of your voice that is being sent to the people on the other end of a video conference. Shure's MV5C Home Office Microphone is a directional microphone, which will naturally be more sensitive to what is directly in front of it. That means your voice will be prioritized over off-axis sounds, like noise from your environment, and with Speech Enhancement mode, automatic equalization will further boost vocal frequencies for clear, consistent speech.
Step 2: Flexibility – Mobile, desktop, or both
Many of us have created make-shift offices in our apartments or homes. This can cause problems if you have limited space and will influence the type of audio equipment you require. If you are making audio or video calls from a mobile phone you will need to choose a Bluetooth pair of headphones like the AONIC 50 Wireless Noise Cancelling Headphones or wired earphones like AONIC 215 Sound Isolating™ Earphones for use with your device.
If you are working with a laptop or computer you can choose ear/headphones with a mic or a desktop USB microphone for video conferences. Desktop USB microphones like the MV5C are compatible with software video conferencing applications like MS Teams and Zoom, but they do not work with Android or iOS devices for video conferencing.
Step 3: Keep it simple with direct connections
Whether you are using ear/headphones or an external USB microphone, you may not want a lot of equipment cluttering your desk. Wired earphones with a microphone can be connected directly to your computer's headphone input. Bluetooth equipped headphones help you join video conferences without the constraint of cables and up to 30 feet of range.
A USB microphone offers simple set up that only requires one cable to plug directly into a port on your computer, helping you to join meetings instantly. Position the mic on your desk to fit your work style and sound great from any seating position.
Step 4: Tuning out background noise
Home offices can be noisy at times, so it's well worth investing in ear/headphones that offer sound isolation or noise cancelling technology that will help you enjoy clear and intelligible audio without being distracted by disruptions from your domestic environment.
Step 5: Make yourself comfortable
If you're spending a large amount of your working day on video calls you need to make sure your ear/headphones are comfortable, easy to use and provide great audio quality. Make sure any model that you choose is suitable for use over long periods with high-quality audio that does not force you to strain to hear your meeting participants.
A USB microphone often provides the best remote working audio solution in a quieter environment. It also allows you to take a break from your headphones and listen through your computer's internal speaker or an external speaker of your choice.
With so much great technology available to enhance your home office audio, connecting from wherever you are is easier than ever.
Find out more at _URL_

source: m-a-p/FineFineWeb


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Our Shoes Neckerchief is designed with colorful renderings of shoes in the Museumís Costume Institute collection. Featuring an array of styled pumps and heels, our neckerchief is fit to satisfy the true shoes enthusiast. From earliest times, footwear has served as a reflection of current fashion trends and designersí visions. The more than two thousand shoes in the Metropolitan Museumís Costume Institute are cherished both as artifacts of social history and as inspirations for future styles. They allow a fascinating glimpse into the lives and times of those who made and wore them. Balancing function and fantasy, the great designers of the twentieth century created some of the most beautiful shoes ever made, often adapting styles from the past with a contemporary sensibility.
Silk twill. Imported. 22'' x 22''.
- Silk twill
- 22'' x 22''
Art HistoryThe Metropolitan Museumís Costume Institute houses over 5,000 examples of shoes throughout history and across cultures. The collection includes shoes dating back to the fourteenth century, in which materials used to make them included thick woven cloth, wool felt, and various grades of leather. Shoes became more functional and affordable to the middle class as more technology and industrialization advanced around the late eighteenth century. It was not until the twentieth century that designers took creative reign on shoes, experimenting with materials, styles, and construction. Shoes by designers and manufacturers such as Roger Vivier, Salvatore Ferragamo, Vivienne Westwood, Herbert Levine, Manolo Blahnik, and Charles Jourdan can be found in The Costume Institute collection.

source: HuggingFaceFW/fineweb-edu


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5 Accounting Controls for QuickBooks
Here's a quick summary of five powerful techniques for minimizing the problems that crop up when you've got people with varying levels of skill and trustworthiness working with your QuickBooks data:
Regularly compare physical inventory counts with inventory accounting records. One thing you can do, both to minimize your inventory losses and to maintain accurate accounting records, is regularly compare physical counts of your inventory with what your accounting records show. Frequently counting the most valuable and easiest-to-steal items accomplishes two things:
Inventory shrinkage is quickly identified.
The business owner can minimize inventory shrinkage by identifying the type of inventory that's most often stolen or even when inventory is most often stolen.
Reconcile bank accounts. Another thing business owners should do, in my opinion, is reconcile their own bank accounts. Often, employee theft by accounting personnel occurs as employees figure out how to write checks on the company's bank account that the owner doesn't see. One sure way to find a fictitious and fraudulent transaction is to have the owner reconcile the bank statement. Additionally, any flaky, suspicious transactions tend to become obvious when the business owner looks closely at checks.
Segregate accounting from physical custody where possible. In a small business, it's not always easy to separate the accounting for some activity from the physical custody or physical responsibility for that activity. For example, it's tough to segregate the inventory accounting from physical custody or access to that inventory. A store clerk, for example, may be able to steal cigarettes easily and also adjust inventory records through cash-register sales for cigarettes. Nevertheless, wherever you can segregate physical custody from accounting, built-in error checking occurs. The person doing the accounting indirectly checks on the physical custodians' caretaking of the asset.
Train employees in the use of QuickBooks. You should train employees to use QuickBooks if you have a business of any size, for two basic reasons: Someone who knows how to use QuickBooks is less likely to make inadvertent errors, and messy accounting records camouflage employee theft.
Close your QuickBooks file. Here's a final technique worth considering. Though you aren't required to close the fiscal year in QuickBooks, you may still want to do this in order to maintain the integrity of your data. Here's how: Choose the Edit→Preferences command, select Accounting, select the Company Preferences tab, and then click the Closing Date Set Date/Password button. When QuickBooks prompts you, specify a closing date and password. After you provide this information, QuickBooks prohibits or limits users from changing or entering transactions dated before the closing date.

source: openbmb/Ultra-FineWeb


going on with a ref, but contains a good explanation -
All changes made to Refs during a transaction (via ref-set, alter or commute) will appear to occur at a single point in the 'Ref world' timeline (its 'write point').
The above quote is actually only 1 item in a 10 point list that discusses what's actually going on. It's worth reviewing the list a few times until you feel comfortable with everything that's going on. But, you don't need to completely understand everything to get started. You can begin to experiment with refs anytime you know you need coordinated changes to more than one piece of state.
When you first begin to look at refs you may wonder if you should use commute or alter. For most cases commute will provide more concurrency and is preferred; however, you may need to guarantee that the ref has not been updated during the life of the current transaction. This is generally the case where alter comes into play. The following example shows using commute to update two values. The example demonstrates that the pairs are always updated only once; however, it also shows that the function is simply applied to the current value, so the incrementing is not sequential and _USER_ can be dereferenced to the same value multiple times.
user=> (def uid (ref 0))
user=> (def used-id (ref []))
user=> (defn use-id []
(commute uid inc)
(commute used-id conj _USER_)))
user=> (dothreads use-id :threads 10 :times 10)
user=> _USER_-id
[1 2 3 4 5 6 7 8 9 10... 89 92 92 94 93 94 97 97 99 100]
The above example shows that commute simply applies regardless of the underlying value. As a result, you may see duplicate values and gaps in your sequence (shown in the 90s in our output). If you wanted to ensure that the value didn't change during your transaction you could switch to alter. The following example shows the behavior of changing from commute to alter.
user=> (def uid (ref 0))
user=> (defn use-id []
(alter uid inc)
(alter used-id conj _USER_)))
user=> _USER_-id
[1 2 3 4 5 6 7 8 9 10... 91 92 93 94 95 96 97 98 99 100]
There are more advanced examples using refs in The Joy of Clojure for those of you looking to discuss corner case conditions.
Last, but not least, agents are also available. From -
While I understand agents conceptually, I haven't used them much in practice. Some people love them, and the last team I was on switched to using agents heavily in one of our applications shortly after I left. But, I personally don't have enough experience to say exactly where I think they fit in. I'm sure that will be a topic for a future blog post.
Between Rich's essay and the examples above I hope a few things have become clear:
 - Clojure has plenty of support for managing state
 - Rich's distinction between identity and value allows Clojure to benefit from immutable structures while also allowing identity reassignment.
 - Clojure, it's about state.
 1. Nice article - thanks Jay.
 We are just looking at using Clojure for the next version of our software and blogs like this really help make it more accessible.
 Keep up the good work!
 2. It's a nice introduction for state management.
 Two things IMHO are missing:
 1. Idiomatic way of having functions with side effects (like those modifying state) is to end them with bang (!), so it is easy for reader to spot those,
 2. transients is another form that can be modified before you freeze them
 3. Jay. I appreciate your writing on Clojure. Please keep at it.
 Although I "get" Clojure's state management constructs, it's still been an adjustment for me. I, perhaps needlessly, worry about the right level of granularity for mutable state. For example, say my app's state is a tree structure represented with a map. Should it be a single ref pointing at a big map, or maybe a map of finer-grained refs and atoms? Or something completely different?
 Oh well, practice, practice, practice :)
 4. _USER_, I tend to use a single ref pointing at a big map, unless that causes issues while updating. I've worked on an app where several threads were attempting to update a large map at the same time and an unacceptable amount of retries were happening. We resolved the issue by using a large map in a ref and some of the values were also refs that held maps.
 It was a bit complicated for my taste and the team eventually moved to managing the entire map in an agent, but I left the team and I'm not sure how it worked out.
 As you say practice. But, I wouldn't worry about it unless you are seeing issues with too many retries.
 5. 1Nice article! It really helped me to understands refs and atoms
 6. Thank you, Jay, for a great article. It is very helpful for me, as I just begin to tip my toes into Clojure waters.)


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Definitions for key money
This page provides all possible meanings and translations of the word key money
Random House Webster's College Dictionary
advance rent or security required of a new tenant in exchange for the key to an apartment or house.
money paid, usu. secretly, to a landlord, superintendent, or current tenant by a person desiring future occupancy.
Origin of key money:
Key money is one of several forms of payment made to a landlord. The term has various meanings in different parts of the world. It sometimes means money paid to an existing tenant who assigns a lease to a new tenant where the rent is below market. It sometimes means a bribe to a landlord. In other parts of the world, it is used synonymously with normal security deposits, which are used to cover nonpayment of rent and excessive damage to a rental unit.
Find a translation for the key money definition in other languages:
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Crystal growth of novel lanthanide-containing platinates K 4[Ln 6Pt 2O 15] (Ln = La, Pr, Nd, Sm) with a unique framework structure
Hans Conrad Zur Loye, Tara J. Hansen, Qingbiao Zhao, Samuel J. Mugavero, Ray L. Withers, Mark D. Smith
 Research output: Contribution to journalArticlepeer-review
 4 Citations (Scopus)
 Abstract
 Crystals of a new family of lanthanide-containing platinum oxides with a unique framework structure were grown out of molten hydroxide fluxes. The structure consists of a crystallographically well-behaved [Ln 6Pt 2O 15] 4- framework permeated by channels filled with disordered atoms along the [100] and equivalent directions. Open-channel structures are rare in oxides and apparently unknown in platinate chemistry.
 Original languageEnglish
 Pages (from-to)414-416
 Number of pages3
 JournalInorganic Chemistry
 Volume48
 Issue number2
 DOIs
 Publication statusPublished - 19 Jan 2009
 Fingerprint
 Dive into the research topics of 'Crystal growth of novel lanthanide-containing platinates K 4[Ln 6Pt 2O 15] (Ln = La, Pr, Nd, Sm) with a unique framework structure'. Together they form a unique fingerprint.
 Cite this


text:
Q and A
Can you use a magnifying glass to focus sunlight on a module?
Yes. There are newer technologies coming out that do just that. They are called Concentrating Photovoltaic (CPV) systems. The system uses lenses or mirrors and a tracking system to focus the sunlight into a concentrated beam of light. This beam of light is focused on a very small, highly efficient solar cell. It's just like the cell on regular crystalline modules, but much smaller and more powerful.


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Understanding the Light Field viewing volume, it's practical applications in VR and how viewers interact with it are core challenges at Lytro. It forced us to think in new ways and find solutions that work in conjunction with the broader ecosystem of post-production tools and storytelling conventions.
In a previous blog post we talked about the concept of the Light Field volume.
We often refered to this Light Field volume as a sphere that surrounds the viewer's head. In this blog post we'll explore the various considerations that come into play when shaping the view volume and how it affects the resulting user experience.
First, let's understand what is the "natural" shape of the view volume. The view volume's shape depends on the shape of the device that captured the footage/rays of light. For example, if you have a perfect dense sphere of cameras, the view volume would also look like a smaller sphere in the center of the capture sphere. How much smaller? That depends on the field of view of the lenses involved. For example, with 90 degrees lenses, the view volume of a capture sphere would look like this:
Cross section of a capture sphere (in gray) surrounded by cameras with 90 degrees lenses,
forming a smaller view volume (in orange) in the same shape as the capture sphere.
If you have a planar capture configuration, the view volume shape starts being less well defined. The resulting view volume shape is a collection of overlapping triangles that form some sort of a star configuration (exact shape is determined by the rotation steps and field of view of the lenses).
Why does the shape matter?
The shape of the viewing volume matters due to several important considerations:
- It defines the range of motion (space) the viewer would eventually have
- It defines the continuity of motion inside of the view volume
- It affects the production cost
- It affects the creative choices and data size of the final output
1. Range of Motion
Range of motion is simply the volume of space that is available for the viewer to move in. The larger the volume, the more the viewer's head can travel within the Light Field, the more parallax is available, the more details that can be discovered (revealing occluded information). All things being equal, most content creators would always prefer to have as large of a volume as possible – bigger is better!
The balance to volume size is data size. As described in the "Outward vs. Inward Capture" blog post, the data size in a volume grows to the power of 3 and that quickly gets very large. Depending on the use-case, and method of delivery, this can become unwieldy and defeats the purpose of a great viewer experience.
2. Continuity of Motion
The continuity of motion consideration within a viewing volume has to do with the geometrical shape of that volume and how the player application handles "Out of Bound" (OOB) scenario. When the viewer find him/herself in a partially samples point of the Light Field, unpredictable results might occur. The required rays of light might be available or not. The resulting distortions or artifacts might be noticeable, or not. The player might be able to reproject other rays of light into the missing pieces, or not – it's simply not predictable and therefore we always try to avoid it.
As an example of discontinuity within a Light Field, let's imagine shape with a missing triangle (represented by red lines below). Since the viewer can freely move their head in real-world coordinates, they can easily find themselves in a zone of discontinuity where the Light Field is not fully sampled.
Viewer moving their head from point A to point B in a curve find themselves
inadvertently outside (highlighted in red) of the viewing volume (orange).
3. Production Cost
As stated before, the larger the volume, the more data you need to manage from capture to post-production all the way to final delivery. Due to current technological/IT constraints (storage, data throughout, backups, etc.), cost is often influenced by data size and content producers have to ask themselves – is that enough volume or possibly too much?
For post-production, the more data you manage, the more touchups and cleanups you have to evaluate and that can quickly add-up. When performing post-production operations on a volume of space, you have to constantly deal with visual information that not only changes over time (temporally) but also based on spatial point of view (result of parallax). An actor's feet that seem invisible from one angle can suddenly pop into frame from another angle and require some adjustment. An actor's face that is perfectly lit from the front might be underexposed from the side or might reveal the cable of the spot-mic.
Storage and rendering costs can also grow in the same direction. There are many techniques and best practices for mitigating cost increases but the general rule is: more volume = more cost. The Light Field volume captured by Lytro Immerge is carefully selected to strike a balance between view volume and overall production cost.
4. Final Output
Most importantly, the shape of the viewing volume has a direct impact on artistic choices and storytelling. Assuming that content creators are trying to balance all of these considerations and produce the best VR experience for their project, shaping this viewing volume becomes a critical creative choice. For example, imagine a performer in a corner of a room. The room is providing critical atmosphere for the performance but the viewer is expected to spend 90% of their time looking at the performer. Investing production cost and data size in enabling range of motion for viewing the room might be a misguided choice vs. enabling greater range of motion near the performer – getting closer, looking from the sides or from above…
Another example is practical set. A director might choose to give a nice range of motion for the audience in front of a stage but trim that motion on the edges, just before the set ends and the back-stage starts becoming visible. Or the opposite, expose a surprise if the viewer is looking at the back-stage.
Content creators have to balance many considerations and find the right solution for each situation/need. It is recommended to think about the most demanding situation that you have (the largest viewing volume that you think you need) make that into your "master volume" and customize multiple viewing volumes as a subsets, each addressing a different need. The largest viewing volume could be for an in-venue experience (where file size is not an issue). A slightly trimmed down version for a large download and a small viewing volume for a smaller download version.
To address all of the considerations and challenges mentioned above, Lytro has been developing a wide range of solutions, including:
- Plugins that extend the capabilities of existing post-production tools to accommodate Light Field and three dimensional points of view
- Cloud processing infrastructure that can help optimize time and cost
- Quality control tools for tracking every ray of light, where it originated from and how it affects the viewer's experience
- Tools for tracking the range of motion viewers require while viewing different VR pieces so the viewing volume can be optimized
As it pertains to tracking viewers motion in headset, we are also interested in different viewing experiences from seated positions to standing in place or walking around a large, room-scale, Light Field. The goal is to develop tools and best practices that help guide content creators in the pursuit of the optimal Light Field viewing volume for each piece of content and use.
Viewer being tracked for range of motion while viewing Lytro's "Moon" VR piece in a seated position.
Data is represented as a heat map where red = frequent and green = less frequent visit
For live action Light Field content, we think of a sphere as that natural shape that we need to capture. Once obtained, we treat this large sphere-shaped view volume as the ultimate "master" and all optimizations are a subset of that master, chosen based on creative choices, production cost and delivery needs.
Various shapes of viewing volume around a viewer's head. The larger gray sphere represents the "master" view volume and the orange shape is the optimized view volume. Each piece of content might benefit from multiple different shapes to meet different objectives.
In developing Light Field solutions, we often find ourselves looking to solve challenges in an uncharted territory. We are constantly iterating and experimenting with different view volume shapes, sizes and characteristics. In our persistence, we strive to give content creators the widest set of creative tools and choices with which to tell their stories, and look forward to seeing how they will put it all to great use.


Last posting: 2020-11-27
The Gun Facts project maintains a database of U.S. mass public shootings (MPSs). This database uses the original criminology definition of MPS: four or more people are killed in a single location, not including attackers.
The Gun Facts MPS database has two elements that were first found in this database (though other researchers have replicated our efforts). This includes:
 1. Determining if any of the weapons used conformed to the 1994 Federal Assault Weapons Ban criteria.
 2. If the event was a "cattle pen scenario", which is a unique Gun facts observation about what makes MPSs more deadly.
We have also incorporated data from The Violence Project database (e.g. if events were planned).
Open (and optionally download) the database


text:
Filter modules serve marine applications
WAGO 750-624/020-002 and 750-626/020-002 filter modules have been upgraded to include built-in ground fault diagnostics. Modules are able to monitor both the +24Vdc and 0Vdc supply connections for impedance to ground. Suitable for marine applications, engineers can design in a ground fault test device to detect error resistance to Earth. The built-in ground fault detection means there is no need for an external device for ground fault detection after a 24Vdc power supply. Multi-purpose modules help reduce system costs and commissioning time.


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A developed spectrometer based on optical-feedback cavity ring-down spectroscopy (OF-CRDS) has been demonstrated with a distributed feedback laser diode and a V-shaped glass ceramic cavity. The laser is coupled to the V-shaped cavity, which creates an absorption path length greater
than 2.8 km, and resonance between the laser frequency and the cavity modes is realized by modulating the cavity length instead of tuning the laser wavelength to obtain a higher resolution. A noise-equivalent absorption coefficient of ∼2.6 × 10−8 cm−1Hz−1/2
(1σ) is determined with spectral resolution of ∼0.003 cm−1 and spectral range of 1.2 cm−1. As an application example, the absorption spectrum measurement of water vapor in the spectral range of 6590.3∼6591.5 cm−1 is demonstrated
with this spectrometer.
College of Opto-electric Science and Engineering, National University of Defense Technology, Changsha, Hunan 410073 China
Publication date: May 1, 2012
More about this publication?
The Society publishes the internationally recognized, peer reviewed journal, Applied Spectroscopy, which is available both in print and online. Subscriptions are included with membership or can be purchased by institutional or corporate organizations. Abstracts may be viewed free of charge. Previously published as Bulletin (Society for Applied Spectroscopy)


text:
Theory bites is a collection of basic hydraulic theory and will touch upon pump design and other areas of pump industry knowledge.
In fluid dynamics, a secondary flow is a relatively minor flow superimposed on the primary flow, where the primary flow usually matches very closely the flow pattern predicted using simple analytical techniques that assume the fluid is inviscid.
The primary flow of a fluid, particularly in the majority of the flow field remote from solid surfaces immersed in the fluid, is usually very similar to what would be predicted using the basic principles of physics, and assuming the fluid is inviscid. However, in real flow situations, there are regions in the flow field where the flow is significantly different in both speed and direction to what is predicted for an inviscid fluid using simple analytical techniques. The flow in these regions is the secondary flow. These regions are usually in the vicinity of the boundary of the fluid adjacent to solid surfaces where viscous forces are at work, such as in the boundary layer.
Read more Theory Bites!


text:
M. A. Peshkin, A. C. Sanderson
The physics of motion of a sliding object can be used to plan sensorless robot manipulation strategies. Prediction of a sliding object's motion is difficult because the object's distribution of support on the surface, and the resulting frictional forces, are in general unknown. This paper describes a new approach to the analysis of sliding motion, which finds the set of object motions for all distributions of support. The analysis results in the definition of discrete regions of guaranteed sticking and slipping behavior which lend themselves to use in planning. Unlike previous work our approach produces quantitative bounds on the rate at which predicted motions can occur. To illustrate a manipulation plan which requires quantitative information for its construction, we consider a strategy based on "herding" a sliding disk toward a central goal by moving a robot finger in a decreasing spiral about the goal. The optimal spiral is constructed, and its performance discussed.


text:
By Damon Crain
The National American Glass Club Bulletin
Spring 2007, Issue 207
As the most dominant and enduring aesthetic influence in American art glass up until the Second World War, to whom did Tiffany pass the torch? An oft cited candidate is the Studio Glass movement, but history did not jump 60 years to the next major innovation. The pivotal mid-point in American glass, the link that binds these two enormous moments is the Blenko Glass Company of West Virginia.
Blenko's cultural impact is far greater than most realize; the company created a huge market for affordable and modern art glass for the middle class. Blenko's important, but largely unknown design innovations include introducing dramatically enlarged scale (1), and bold solid colors with sculptural shapes.
Blenko was to Modernism what Tiffany was to Art Nouveau; the pre-eminent innovator, design leader and market force in the field of American art glass. Of course, the comparison is not entirely symmetrical; Whereas Tiffany can appropriately be called the American Gallé, Blenko owes no such debt of gratitude to another influence. Both men, however, owed much to the great tradition of stained glass windows.
William J. Blenko was born in 1854 in London ; by the age of 13 he began working in a glass factory where he learned glassblowing. He made three unsuccessful attempts at starting a glass company in America ; in 1893, 1909 and 1911. While working in an Ohio glass factory in 1919 he received a job offer from Tiffany (2), however, intent on pursuing his own vision, in 1921 he established the Eureka Art Glass Company (later renamed Blenko) in Milton WV.
Two important innovations set the company on a solid footing early on. The first was Blenko's invention of a new process for producing larger sheets of "antique" glass more quickly. The second was the perfection, in June 1924, of a formula for a Ruby glass whose color would not be affected by re-heating. At this point Blenko had developed nearly 300 color formulas. By 1927, the company was doing well thanks to the combination of a good product and Mr. Blenko's son, Bill's sales expertise.
Signaling the company's success, prestigious projects using Blenko sheet glass around this time included St. Patrick's Cathedral in New York City and the Anglican Cathedral in Liverpool. In 1929 the Depression destroyed the market for stained glass. Bill Blenko's improvised solution was to offer to manufacture tableware for Carbone & Sons, a Boston retailer and importer of fine Italian and Swedish glass. This was a brash move as Blenko had never before made tableware.
Carbone's finest glassware was produced by Giulio Radi of Arte Vetrario Muranese (A.VE.M) with whom Carbone had contracted to reproduce the famous designs of Italian masters like Barovier and MVM Capellin. This was to be a steep learning curve indeed for Blenko.
Trained at the Kosta factory in Sweden where their father was a Master Glassblower, the brothers Louis Miller and Axel Muller were swiftly hired by Blenko from the nearby Huntington Tumbler Co. Without a doubt the two most enduringly important regions of glass production in the 20 th century were Italy and Scandinavia, both noted for their groundbreaking design sensibility and incomparably skilled craftsmanship; and here, in America they converged at Blenko.
Blenko 3625 "web" line vase in Turquoise, designed about
H. 6.5inches; D. 6 inches.
Collection of Nancy Delman Portnoy
Blenko glassware was hot-worked in the traditional off-hand manner, and has remained that way for the company's entire history. With a need to train most workers from scratch, rather than compete with the Italians on technical perfection, Blenko emphasized the importance of their exceptional variety of colors and classical shapes while proudly pointing to minor flaws as evidence of traditional hand-made craftsmanship in an age of mechanization.
Blenko's tableware line of simple classical shapes quickly saved the company from financial ruin, and became their primary product. In 1936, Blenko secured a prestigious contract to become the exclusive manufacturer for Colonial Williamsburg's glass reproductions. For this Blenko had to master more advanced techniques, such as air twist, and perfect and standardize the quality of their product to meet the exacting standards of John Rockefeller Jr., the money behind Williamsburg.
By the mid 1930's Blenko had already earned an enviable reputation and could be found for sale at such leading stores as Macy's in New York, Lazarus in Ohio and Neiman Marcus in Texas, among many others. The company's hard earned self-confidence clearly shows in designs from this period, particularly the "web" line, which demonstrates an early willingness to produce more distinctive wares (Figure 1).
A new Scandinavian influence came to Blenko in 1937, in the form of the Swede Carl Erickson, hired as foreman. Erickson's father and grandfather were both master glassblowers at the Reijmyre factory in Sweden. Beginning at age 14 he worked at the Pairpoint factory for 20 years, then spent 4 years at Libbey. After adding some noteworthy designs to the line marketed as "Swedish Type" and elevating workmanship, Erickson left Blenko in 1942 to start his own company, the highly regarded Erickson Glassworks. His absence was sorely felt, but the war years would put a hold on any new developments.
There is an essential element of timeliness to every great success. In 1947, just after the greatest war the world has known, America was freshly at the zenith of her power and creativity. The middle class was the new dominant market force. Modernism was in glorious full bloom. America was rapt with plastic and free-form aesthetics and bright, bold and unusual colors abound. Enter Blenko, the ideal expression of this new sensibility.
The many new modern homes of the growing middle class needed to be properly appointed and the modern and sculptural work of Blenko fit the bill due to its affordable price and contemporary aesthetic. By now, Blenko had frequent appearances in many prominent national publications like House & Garden and the New York Times, a strong presence in the best stores and trade shows, at the World's Fairs (3) and at museums. Whereas in 1900 the very wealthy were the tastemakers and the driving market force in the arena of decorative objects, in 1950 the pop culture of the middle class dominated. Much as Tiffany had done 50 years earlier, Blenko glass dominated the most important market segment of the time with a new and unique aesthetic.
It is in this context that Blenko transformed from a company that simply made popular tableware to a company at the forefront of design. With its formative years behind it, and recognizing the need to produce new shapes as paramount, Blenko made a pivotal decision and hired its first design director, Winslow Anderson, in 1947. To have a full time design director positioned Blenko at the vanguard in a time when the profession of "designer" was still relatively new.
Though an accomplished ceramicist, prior to coming to Blenko, Anderson's glass experiences was limited to winning a student design competition at Alfred University put on by Steuben Glass. He was heavily influenced by the philosophies of Hans Hoffman, the Bauhaus and Scandinavian design and had the distinct advantage of being steeped in the New York art scene while stationed in Queens during the war. His artwork was exhibited at the Metropolitan Museum of Art and the Guggenheim (then the Museum of Non-Objective Art ) alongside the likes of Harry Bertoia and Moholy-Nagy.
Group of Winslow Anderson designs made for Blenko from 1948 to 1953.
(Left to right): Design #910-4 in Chartreuse, 1948, H. 7.5 inches;
design #532 in Sea Green and Chartreuse, 1953, H. 9.75inches;
design #974 in Sea green, 1952, H. 12 inches;
and design #998H in Chartreuse, 1953, H. 9.25inches.
Collection of the author
At Blenko, Anderson was given free reign to develop an entirely new line. The result was a new look defined by minimal, organic and gracefully refined shapes. Anderson also took the important step of introducing a daring new color called "Chartreuse." Despite the disapproval of Blenko's primary sales representative, the color was an unqualified success and so the introduction of dramatic and unusual new colors became a new cornerstone of Blenko's identity (Figure 2).
Mermaid decanter, Blenko design #5732, in Charcoal and Crystal, designed by Wayne Husted, 1957. H 15 inches. Collection of the author.
Anderson's most subtle but important contribution was to gently challenge the requirement that designs be primarily functional. Towards the end of his tenure he created a handful of shapes that clearly were primarily sculptural rather than functional in nature. After aggressive but failed attempts by both Steuben Glass and Raymond Lowey (4), Anderson left for Lenox China in 1952.
Not coincidentally, this period also marked the beginning of Blenko's inclusion into major museum shows, notably the Museum of Modern Art's popular "Good Design" shows. Blenko began frequently appearing in many nationwide museum exhibitions promoting good design.
In 1953, Wayne Husted, Blenko's bold new designer, arrived with a single-minded ferv


Cell cycle notes fill in the blank.docx
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Cell cycle notes fill in the blank.docx Powered By Docstoc
 Vocab and Notes
____________the regular sequence of growth and development that cells undergo
 -Cell cycle is broken into 3 stages
 Stage 1_______________ (the period before cell division)
 -the cell grows to full size and produces structures it needs
 -____________________________________________ (replication)
 -Prepares to divide into two _______________________
 Stage 2_______________the cell's nucleus divides into two new nuclei
 - _______________threadlike chromatin in the nucleus condenses to form doublerod structures called _________________. Cell's DNA has replicated and each rod
 is an exact copy of the other. Each identical rod in a chromosome is called a
 ______________________. Each chromatid is held together by a structure called
 a centromere.
 - ________________– the chromosomes line up across the center of the cell. Each
 chromosome attaches to a spindle fiber at its centromere.
 - _______________ Centromeres split. The two chromatids separate and each
 chromatid becomes a new chromosome. The new chromosomes move to
 opposite ends of the cell.
 - _________________Chromosomes begin to stretch out and lose their rodlike
 appearance. A new nuclear envelope forms around each region of
 Stage 3:
 -_________________the cytoplasm divides. The cell splits in two. Each
 __________________ ends up with an identical set of chromosomes and about half
 the organelles.
 _____________ cells: The cell membrane pinches in around the middle of the cell.
 ____________cells: a cell plate forms across the middle of the cell.
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Blog Interior Scholarship
Homo sapiens are no longer proletarian but cognitarians – Eff Libilbéhéty, Interior Scholarship 2020/2021
Blog Interior Scholarship
Mai 2021
Blog: Eff Libilbéhéty
Homo sapiens are no longer proletarian but cognitarians.
To dive into the conscious and unconscious means to fit in society uncovers the fragile balance between the banal and the public. Social appendages, like phones or strategies, are here to lubricate the human's collision with the external. This liminal space questions the authenticity of each individual and reveals a constraint belonging to the collective. Calling attention to cognitive bias here also relates to how ideology works on a mass of people – because of those human brain's glitches.
 Almost scientifically, these appendages are dissected and archived to offer an object-oriented horizon arising from a different cognitive and perceptual standpoint. Critical moments of resistance are highlighted through domestic rituals. From each of our pre-saved behaviours only remain chairs of wood and bioplastic, as a prosthesis of bipeds' rooted rituals. As a dialectic between constraint and freedom, the mind and the human-built, each element is a cross-dressing on how expands the Homo sapiens' body sensoriality.
the subjective identity ot the universal human
The excrescences of the social game are a liminal space between every day and the public, the intimate and the chaos. By excrescences I mean all the means homo sapiens use to interact with the external (others, situations, nature, culture, society). As individuals, we try to exist as one but also to fit in the collective. That's called belonging. But this balance between identity and objectivity, or subjectivity and public isn't that clear. Humans are wired with the same materials: thoughts, actions, emotions. What creates a melody of these 3 modules (regulating their interactions) are cognitive bias and constant learning.
Such prosthetics are there to help us make a sense of reality and the world around us, to navigate as sure as we can. They can be tools but also immaterial props, like above-mentioned biases. Their physicality doesn't matter: they are an extension of ourselves, not necessarily practical, neither functional. Just a banal add-on, lubricating our collision with what is outside of the limit, outside our selves.
Bias, for instance, are 'bugs' of the human mind and sociability. They are unconscious distortion in how one receives information, potentially leading to irrational decisions or paradoxes. Individuals create their own „subjective reality". Advertising or propaganda, for instance, make great use of our biases because we are often unaware of them and because they are universal (let's see it as a button that provokes similar reactions even though the individuals have very different identities).
They can be explained logically: robotic shortcuts (or mechanical simplification methods) because our brains are unable to comprehend the richness of the whole visual stimuli and chaotic amount of information that the world holds. So, through these means (rationalisation and abstractions), it creates an affordable world and allows itself to navigate through it. Therefore, it is the same on a biological level: the brain doesn't digest the whole surplus of information happening daily. To find a rhythm in the chaos, it works with pre-established models (based on previous experiences). Basically, a simulation of what is reality screens in our heads, and the only things the brain analyses are the information that doesn't match with this simulation. These errors are analyzed and used to create a more performant simulation, next time.
These social toolings are intangible phenomenons shaping the way we behave. Let's think of religion as an example. For the core of guidance, we created a system of beliefs and rules. Then, finally, things/reality/world had a reason, made sense again. No need to doubt, as there is a precise way to think. We built temples for the core of making sense – temples made of blood and need.
Brain's models, religion, cellphones. These are excrescences of the human that intend and define how one human relates to another and expands in the world.
prosthetics to (dis)prove the body
20 biases are selected to present all the fragility of the universal human. For instance, the 'Rhyme as reason' effect (rhyming statements are perceived as more truthful) or the 'Law of the instrument' (an over-reliance on a familiar tool or methods, ignoring or under-valuing alternative approaches. „If all you have is a hammer, everything looks like a nail."). The 20 biases are investigated through experiences to prove or disprove them, and will be selected to have 10 final ones. Each experience investigates the environment with a new body. As a dialectic between constraint and freedom, an object (chair) is made for each experience. Cross-dressing, transgressive and transcendent, these objects expand the Homo sapiens' body sensoriality. Finally, each experience makes a human feel a sense of liberation. Limiting the objects to a chair also question the form/functions, norms and standards, present in architecture. To which extent is it still a chair if you can't sit on it?
Indeed, the chair is a stable element on which humans rely on. It's also a conversational object, one that we all have in our homes. Not only at our homes actually, as there is a sit for each of our banal rituals. Eating, toilet, public transport, work. The 2021's humans and their rooted daily lives. A chair for my ass and my thoughts, perfect prosthesis of our daily millimetric ballets. For the 14 biases, there will be a chair. They are drawn on the papers too. Each chair is as a dialectic between constraint and freedom, cross-dressing on how expands the Homo sapiens' body sensoriality. My chairs are united by their functions, to simulate the sensorium of a single person but also by two materials.
Each experience is carefully archived (audio, video, notes and conclusion). Indeed, being filmed creates another context, it's bizarre and performative and emphasizes each of my humans as authentic. Finally, I challenge the person in front of me as a guinea pig and it becomes a number in a research, depersonalized in my archive of human minds.
The diner experience
Sitting all around a table, everyone is well dressed. Everyone has a role to play. It is no matter which one is the most valuable, but a transient discussion on what it is to be a self and how we do when it encounters other-selves. We are offering our more banal performance, seated and eating. The more we go, the more it appears that all the answers we bring just recall more questions. There is no end, no conclusion, only transitory moments of truth. Rationalisation couldn't help. From the corn during the Inca civilization to the epigenetic, all is discussed. They think I care about what they are saying, or that it matters. They are eating and I observe them coping with the foam forks. Here to play roles, they got an excuse to be themselves. Unscared of the social game because it is a scenery, they appear. My friends were here, in all their vulnerabilities. Behind performative roles, nothing makes sense. It is all scenery.
Weitere Blog-Einträge von Eff Libilbéhéty
How do we sink? – Eff Libilbéhéty, Interior Scholarship 2020/2021
Blog Interior Scholarship
April 2021
Blogger Eff Libilbéhéty
What is the place of humans in futures societies? How does the dynamics between individual and collective will balance? Western populations face difficulties to maintain current humans' lifestyle. Let's talk, or dream, about the decline of European capitalists societies. This sensible experience is irremediable: we are all going to face it, whether you like it or not.


text:
Design Research, Storytelling, and Entrepreneur Women in Rural Costa Rica: a case study
Maria Gabriela Hernandez
University of Houston
Keywords: visual storytelling; rural ecotourism; design research; empathic design
This paper describes a project exploring design research practices and empathic design to produce context-specific knowledge to inform and facilitate visual storytelling, in collaboration with the Women's Association of Chira Island, a rural ecotourism association from the Pacific of Costa Rica. While their pioneering ecotourism projects have gained national recognition, its members have faced multiple challenges, including reassessing gender and social roles and furthering their capacity to support development in the community. Their experiences and stories became their most valuable asset, triggering the need to communicate them to benefit similar populations. The contents of this project were developed during three field research visits and two years of collaborative design work, employing " time," "space," and "voice" to contextualize the stories. This investigation resulted in printed materials and videos designed for mobility and easy reproduction to be used by the association as tools to inspire women in similar rural areas.
This paper is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence.
Cite this paper: Hernandez, M.G. (2016). Design Research, Storytelling, and Entrepreneur Women in Rural Costa Rica: a case study. Proceedings of DRS 2016, Design Research Society 50th Anniversary Conference. Brighton, UK, 27–30 June 2016.
This paper will be presented at DRS2016, find it in the conference programme


text:
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The Nun Quiz
Quiz yourself on the many roles nuns have played in U.S. society from Hollywood to the Civil War.
Catholic Channel - SilasPartners.com -
Catholic nuns have served in an almost infinite variety of waysand have had an undeniable impact on the formation of worldwide, and U.S. culture. Take this light-hearted quiz, and find out just how much you know about these "sisters," who have been "serving Christ by serving others" for some 1,500 years.
Women Religious have played a key role in the Church and in society for centuries. How much do you know about the nuns of history and of Hollywood? Begin with No. 1, and then just follow the directions.
1. Its easy to understand why women Religious are called sisters, but whats the origin of nun?
a) It comes from the 14th letter of the Hebrew alphabet. (Go to 27.)
b) It was a way of greeting an old woman. (Head for 40.)
2. The traditional progression in an order was postulancy, novitiate, simple (or temporary) vows, and solemn (or permanent) vows. A postulant or novice has not made vows, and may easily leave at any time. Now move to 17.
3. Lets make the last questions another first. In 17th-century France, St. Vincent de Paul and St. Louise de Marillac began the first society of sisters to live outside a convent or cloister. What group did they found?
a) The Visitation Sisters. (Go to 41.)
b) The Daughters of Charity. (Move to 11.)
4. Both! It was Lincoln who called them veritable angels of mercy. Now head for 36.
5. St. Benedict (c.480-547) is called the founder of monasticism in Western Europe. His sister is regarded as the first nun of the Benedictine Order. Whats this saints name?
a) Monica. (Go to 35.)
b) Scholastica. (Move to 37.)
6. About how many sisters were there in the United States in 1997?
a) Around 112,000. (Head for 16.)
b) Around 87,000. (Go to 26.)
7. No, although it was reported that Andrews really wanted another role awarded to Hepburn: Eliza Doolittle in the film My Fair Lady. Return to 34.
8. What was the first American order?
a) The Sisters of Charity of St. Joseph, begun by St. Elizabeth Ann Seton. (Head for 15.)
b) The Missionary Sisters of the Sacred Heart, founded by St. Frances Xavier Cabrini. (Go to 33.)
9. As the number of women Religious in the United States continued to decline and their average age continued to grow, the American bishops began a nationwide collection for aging Religious sisters, priests, and brothers. When did they do that?
a) In 1988. (Head for 14.)
b) In 1996. (Go to 32.)
10. And the critics werent kind. Now head for 31.
11. Yes. The Sisters of Charity were not under the then standard requirement of enclosure. Now head for 43.
12. During the Civil War, nursing sisters became known for their care of wounded and dying soldiers. What prominent leader praised their selfless compassion?
a) Jefferson Davis. (Go to 4.)
b) Abraham Lincoln. (Move to 21.)
13. Yes, although the figures come from different years. Statistical Yearbook of the Church, 1995, the latest edition, says there were some 834,000 sisters. Europe had the most (almost half), followed by North America, Asia, South America, Africa, and Oceania. Now head for 24.
14. Yes. (In a recent collection, Catholics donated more than $26 million.) Now move to 12.
15. Thats right. Mother Seton began the order in 1808 in Emmitsburg, Maryland. Now move to your last question, 3.
16. Not in recent years. Return to 6.
17. Feeling pretty confident that you know all the nun movies? Lets try one that wasnt such a commercial success. Change of Habit released in 1970, paired what duo?
a) Elvis Presley and Mary Tyler Moore. (Go to 10.)
b) Clint Eastwood and Shirley McLaine. (Move to 39.)
18. The percentage isnt that small. Return to 24.
19. No. Return to 30.
20. No, Debbie Reynolds starred in the 1966 movie The Singing Nun. It was loosely based on the true story of a French sister who startled the public by strumming a guitar while crooning her hit song Dominique. Return to 31.
21. Both! It was Lincoln who called them veritable angels of mercy. Now head for 36.
22. Yes. The film was released in 1959. Now go to 30.
23. Right. And thats enough questions about pretend sisters. Now go to 6.
24. At one time, a large percentage of sisters in the United States taught in Catholic schools. About how many do now?
a) One in 50 sisters. (Move to 18.)
b) One in eight sisters. (Head for 29.)
25. Ursuline Sisters began serving in Louisiana in 1727, but its not a contemplative order. (They had founded a house in Quebec in 1634!) Return to 36.
26. Yes. The higher figure was the number 10 years earlier. Now move to 38.
27. You know your Hebrew! Nunpronounced noonis a Hebrew letter. But that isnt where we get the term for sisters. Return to 1.
28. Yes, in 1790 at Fort Tobacco, Maryland. There were three American-born Carmelites who had been trained in an English convent in Belgium. Now go to 8.
29. Correct. About 11,000 are teachers. (Of the 161,000 teachers in Catholic schools in the United States, 147,000 are laypersons.) Now, go to 9.
30. Well stay in Tinsel Town a little longer. In the 1965 blockbuster The Sound of Music, Julie Andrews played a character who leaves the convent, becomes a governess, and gets married. How was that done so easily if nuns are under vows of poverty, chastity, and obedience?
a) She never took those vows. (Head for 2.)
b) She was released from her vows. (Go to 19.)
31. Just one more entertainment question: Actress Sally Field played a sister in a television series known as:
a) The Singing Nun. (Move to 20.)
b) The Flying Nun. (Head for 23.)
32. Sorry. Return to 9.
33. No. Mother Cabrini, who became a U.S. citizen, began the Missionary Sisters of the Sacred Heart in 1877 in her native Italy. Return to 8.
34. Lets jump from the sixth century to the 20th, and move from history to Hollywood. Who starred in the movie The Nun Story?
a) Julie Andrews. (Move to 7.)
b) Audrey Hepburn (Head for 22.)
35. No. St. Monica (332-387) was the mother of St. Augustine. Return to 5.
36. Lets go back even further. What was the first contemplative order of sisters to establish a convent in what was to become the United States?
a) The Ursulines. (Move to 25.)
b) The Carmelites. (Head for 28.)
37. Thats right. Now head for 34.
38. Worldwide, how many sisters are there?
a) About 10 times as many as in the United States. (Go to 13.)
b) About three times as many as in the United States. (Move to 42.)
39. Right year, wrong movie. That was Two Mules for Sister Sarah. Shirley McLaines character only pretended to be a nun. Return to 17.
40. Nonna was a respectful greeting in medieval Latin. It was the feminine form of a nonnusold man. Now head for 5.
41. Right era, right country, but no, that would be St. Jane de Chantal under the guidance of St. Francis de Sales. Return to 3.
42. No, there are more than three times as many in Europe alone. Return to 38.
43. Lets end with a quote from St. Vincent de Paul, describing the life these sisters were to lead. Your convent will be the house of the sick; your cell, a rented room; your chapel, the parish church; your cloister, the streets of the city or the wards of the hospital; your enclosure, obedience; your grille, the fear of God; your veil, holy modesty.
While each religious order has its own particular charism, and each sister finds her own particular ministry within it, in many ways the life of a nun has remained unchanged in some 1,500 years: Grounded in prayer, it is serving Christ by serving others.
Copyright © 2000 Bill Dodds


text:
You write the scale as "1:22,000.000" with a comma and a period. Do you mean "1:22,000,000" or "1:22,000"?
The scale in a map is 1:22,000.000. Two cities are distant from New York 4 and 6cm, respectively. If a road was built connecting the three cities, what would the minimum extention of this road?
In my opinion, the minimun extension would be 6cm x 22million, which out result in 132,000.000 centimeters or 1320 kilometers. But the book says the correct answer would be 220km. Could anyone explain to me what did I do wrong? Cheers
You seem to be right in saying that the shortest possible road to build between the cities, going from the information provided, is 1320 kilometres. I assume you're thinking along these lines:
The book authors seem to think that this is the shortest road to build, given the information:
If you haven't omitted any crucial information regarding the problem, I can only say that you're right and that the authors of the book are totally wrong. They have simply forgotten that city A can lie inbetween New York and city B. Also they seem to have problems converting between centimetres and kilometres.


text:
EDIT June 2015 – I am receiving an increased number of requests for information on particular chairs and appraisals. While I love to see original chairs, I am not in a position to give advice on the value or restoration of chairs. I simply find patent furniture to be a fascinating research subject.
A while back I was asked to look into the seats for chairs, especially folding chairs. It has been quite some time and technically I just have a bunch of notes. Over the next several posts, I'll be sharing some of these notes in a roughly organized format. We will look at the original seats on chairs, illustrations for homemade seats and cushions.
Let's start by looking at the seats and backs on some original folding chairs. Each of these chairs are appear to have their original seats and backs. The chairs date from the 1860s through the end of the century.
This faded and worn seat comes from my later century chair. Notice the wreath central design and floral corner motifs. The use of a central motif surrounded by corner or border motifs seem to be fairly common for these chairs. The seats and backs seem to mostly be either tapestry twill woven similar to an ingrain carpet or done in needlepoint.
This chair, circa 1870-90s, has a duo of lilies as the central motif. The borders are a combination of geometrics and florals.
This chair, the one of this set closest to the CW era, has a central design with a floral-esque border. You will notice that the red color can be found in each of the chair seats and backs here. I do not know if this was because this was a common color or if this color just lasted well.
These scenic designs are found on an Eastlake style chair. I wish I could get a closer look at this one to determine the construction method. The lines in the edge of the red appear to be carpet-like.


wiki:RestApi
Version 20 (modified by dgf, 6 years ago) (diff)
update child fetching param
DeepaMehta REST API
The DeepaMehta application service is accessible via a REST API. You can browse through the API documentation at _URL_
About the REST API:
All requests return application/json data.
For requests that take data in the request body: The data is expected to be of type application/json as well. So, don't forget to set the request's Content-Type header accordingly. Otherwise an error is returned (as application/x-www-form-urlencoded is used as the default).
About the curl examples:
The curl examples are ready for being pasted into a terminal. However, the IDs must be adjusted to your actual DB content. Hint: to determine a topic's or association's ID click it in the webclient and read the console log.
In order to make the responses more readable the curl examples make use of the jsonpretty tool. Jsonpretty is installable as a Ruby gem. See _URL_
Topics
Get topic by ID
GET /core/topic/<topic ID>[?include_childs=true/false]
The default for include_childs is true.
Example 1: Getting a topic with its composite value
curl localhost:8080/core/topic/2676 | jsonpretty
Response:
HTTP/1.1 200 OK
Content-Type: application/json
{
 "id": 2676,
 "uri": "",
 "type_uri": "dm4.notes.note",
 "value": "What is DeepaMehta?",
 "composite": {
 "dm4.notes.title": "What is DeepaMehta?",
 "dm4.notes.text": "
DeepaMehta is a think tool.
"
 }
}
For details about the topic format see DataFormat#Topic.
Example 2: Getting a topic without its composite value
curl localhost:8080/core/topic/55?include_childs=false | jsonpretty
Response:
HTTP/1.1 200 OK
Content-Type: application/json
{
 "id": 2676,
 "uri": "",
 "type_uri": "dm4.notes.note",
 "value": "What is DeepaMehta?",
 "composite": {
 }
}
If the topic doesn't exist an error 500 Retrieving topic xy failed is returned. (The error response might become more HTTP/REST conform in the furure.)
Get topics by type
GET /core/topic/by_type/<Type URI>[?include_childs=true/false]
The default for include_childs is false.
Example: Getting all "Web Resource" topics without their composites
curl localhost:8080/core/topic/by_type/dm4.webbrowser.web_resource | jsonpretty
Response:
HTTP/1.1 200 OK
Content-Type: application/json
{
 "total_count": 2,
 "items": [
 {
 "id": 2436,
 "uri": "",
 "type_uri": "dm4.webbrowser.web_resource",
 "value": "JSON Format - your online JSON Formatter",
 "composite": {
 }
 },
 {
 "id": 2259,
 "uri": "",
 "type_uri": "dm4.webbrowser.web_resource",
 "value": "DeepaMehta 4.0.5",
 "composite": {
 }
 }
 ]
}
Create topic
POST /core/topic
<the topic to create>
For details about the topic format see DataFormat#Topic.
For a create operation not all of the topic's properties are involved:
Property Mandatory / Optional
uri Optional. Default URI is an empty string.
type_uri Mandatory.
value For a simple topic: Optional. Default value is an empty string. You can change the value later on through an update operation.
For a complex topic: Do not specify a value. The value will be system-generated.
composite For a complex topic: Optional. Default composite is an empty object. You can change the composite later on through an update operation.
For a simple topic: Do not specify a composite.
Example 1: Creating a simple topic
curl localhost:8080/core/topic -i \
-X POST \
-H Content-Type:application/json \
-d '{type_uri: "dm4.contacts.city",
 value: "Port-au-Prince"}' \
| jsonpretty
Response:
HTTP/1.1 200 OK
Content-Type: application/json
{
 "id": 3448,
 "uri": "",
 "type_uri": "dm4.contacts.city",
 "value": "Port-au-Prince",
 "composite": {
 }
}
Example 2: Creating a complex topic
curl localhost:8080/core/topic -i \
-X POST \
-H Content-Type:application/json \
-d '{type_uri: "dm4.notes.note",
 composite: {
 dm4.notes.title: "My title",
 dm4.notes.text: "
My test text here
"}}' \
| jsonpretty
Response:
HTTP/1.1 200 OK
Content-Type: application/json
{
 "id": 3298,
 "uri": "",
 "type_uri": "dm4.notes.note",
 "value": "My title",
 "composite": {
 "dm4.notes.title": "My title",
 "dm4.notes.text":"
My test text here
"
 }
}
Associations
Topic Types
Get all topic type URIs
GET /core/topictype
Example
curl localhost:8080/core/topictype -i | jsonpretty
Response:
HTTP/1.1 200 OK
Content-Type: application/json
[
 "dm4.contacts.address",
 "dm4.contacts.address_entry",
 "dm4.contacts.address_label",
 "dm4.contacts.city",
 "dm4.contacts.country",
 "dm4.contacts.email_address",
 "dm4.contacts.first_name",
 "dm4.contacts.institution",
 "dm4.contacts.institution_name",
 "dm4.contacts.last_name",
 "dm4.contacts.person",
 "dm4.contacts.person_name",
 "dm4.contacts.phone_entry",
 "dm4.contacts.phone_label",
 "dm4.contacts.phone_number",
 "dm4.contacts.postal_code",
 "dm4.contacts.street",
 "dm4.core.assoc_type",
 "dm4.core.cardinality",
 "dm4.core.data_type",
 "dm4.core.index_mode",
 "dm4.core.meta_meta_type",
 "dm4.core.meta_type",
 "dm4.core.plugin",
 "dm4.core.plugin_migration_nr",
 "dm4.core.plugin_name",
 "dm4.core.plugin_symbolic_name",
 "dm4.core.role_type",
 "dm4.core.topic_type",
 "dm4.files.content",
 "dm4.files.file",
 "dm4.files.file_name",
 "dm4.files.folder",
 "dm4.files.folder_name",
 "dm4.files.media_type",
 "dm4.files.path",
 "dm4.files.size",
 "dm4.notes.note",
 "dm4.notes.text",
 "dm4.notes.title",
 "dm4.topicmaps.description",
 "dm4.topicmaps.name",
 "dm4.topicmaps.topicmap",
 "dm4.topicmaps.visibility",
 "dm4.topicmaps.x",
 "dm4.topicmaps.y",
 "dm4.webbrowser.url",
 "dm4.webbrowser.web_resource",
 "dm4.webbrowser.web_resource_description",
 "dm4.webbrowser.webpage",
 "dm4.webclient.add_to_create_menu",
 "dm4.webclient.color",
 "dm4.webclient.editable",
 "dm4.webclient.


Today I Learned
hashrocket A Hashrocket project
Do not prefix TypeScript interface names
> TLDR: If you're writing TypeScript, you're using intellisense, and it will yell at you if you try to use an interface as a variable. So there is no need anymore for naming conventions like IMyInterface or AMyAbstractClass.
When I first started using TypeScript in 2018 I saw a lot of people's code prefixing interfaces with "I":
interface ICar {
 color: string
 horsepower: number
}
function drive(car: ICar) { /*...*/ }
However, that is a convention borrowed from the past (other languages). It used to be mentioned in the TypeScript handbook to not prefix, but that generated more argument than resolution. The handbook code examples, however, do not use prefixes.
I believe modern dev environments have relieved us from the need to include type and contextual information into the names of many code things, not just interfaces.
Now we get proper type and context from things like intellisense and language servers, whether it's inferred or strictly typed. This frees us to have names for things that can be more descriptive of the processes and data in question.
See More #javascript TILs
Looking for help? At Hashrocket, our JavaScript experts launch scalable, performant apps on the Web, Android and iOS. Contact us and find out how we can help you.


text:
Embroider highly conductive thread to make a fabric speaker coil. Then run an amplified sound source through it and hold a magnet close to hear it play. Sewing the coil takes longer than you might think!
- Conductive thread
- 2 Neodymium magnets
- Fusible interfacing
You will need
- Sewing needle
- Regular thread
UNDERSTANDING HOW A SPEAKER WORKS
A speaker makes sound because an electromagnet (the embroidered coil) is mounted to a membrane (the fabric) with a permanent magnet close by. When an audio signal is connected to either end of the electromagnet (coil) a fluctuating magnetic field forms around the coil, repelling and attracting the membrane from the permanent magnet. These vibrations happen so fast that we can barely see them, but the membrane moves the air around it, translating electrical frequencies into audible waves that we can hear.
Take a good look at the diagram and stencil on the other side of this sheet so that you understand what variables will influence the efficiency (volume) of your speaker coil before designing your own.
TRACE AND FUSE
Iron a square of fusible interfacing to the back of the piece of fabric that you plan to embroider your speaker coil on. Peel the paper backing from fusible interfacing and trace the outline and mark the center point of your coil on the front of the fabric.
Fusible interfacing is a heat glue that bonds two pieces of fabric together, adding stiffness to the material. The reason it makes sense to stitch your speaker coil onto stiffer fabric is because it will help keep the fabric taut as you sew so that the coil will not start to collapse the fabric back on itself.
Either before or after sewing your speaker coil, use an iron to fuse your membrane to another piece of fabric, or an item of clothing, or your project – wherever you want the fabric speaker to go. Having multiple layers of fabric fused together does make it harder to sew, but it also makes for a stiffer membrane that is better at moving air.
With a sewing needle pull the end of your conductive thread through the center of your coil so that the needle ends up on the back side (with the fusible interfacing). Pull as much thread through as you will need to connect the center of your coil to your circuit. Generally 10-20 cm is good. Then remove the thread from the needle.
Thread the needle with regular thread and tie a knot in one end. Insert from the reverse side through the center point of your coil design. Stitch over the conductive thread and back into the fabric, then come back through the fabric a few mm further along your coil path. This embroidery technique is called "couching".
As you are sewing your coil from center to edge, you want the conductive thread to come as close as possible to the previous turn without touching it. If one turn of the conductive thread touches another then the electricity will not be forced to flow around in circles, which is what increases the strength of the magnetic field.
For a quick first test of your speaker simply clip on two magnets one on either side of your coil, so that they hold each other in place. If you have a smaller magnet, then place this one on the front side, since the magnet is conductive it will otherwise short out your speaker's coils. You can also put a piece of fabric in between the magnet and the coil to isolate it. For your final design you will want to mount your magnet(s) in the center of the coil without having them directly connected to the membrane.
HOOK UP YOUR SPEAKER
Connect both ends of your speaker coil to your amplified audio signal. If you can not hear your speaker, try holding it very close to your ear. If it is very quiet then it is working, but you might need to increase your power source or reconsider your coil design to make it more efficient at moving air, which is what makes it louder.
Some simple ways for amplifying various audio signals >> _URL_
Another version of the speaker playing:


text:
1. Introduction to Energy-Efficient Buildings
Welcome to the world of energy-efficient buildings! As concerns about climate change and rising energy costs continue to grow, the need for buildings that minimize energy consumption has become increasingly important. Energy-efficient buildings not only help reduce carbon emissions but also save on electricity bills. In this article, we will explore the concept of optimizing electric generator capacity in energy-efficient buildings and how it can contribute to a greener and more cost-effective future.
2. Understanding Electric Generator Capacity and its Importance
2.1 What is Electric Generator Capacity?
Let's start with the basics. Electric generator capacity refers to the maximum amount of power that a generator can produce. It is typically measured in kilowatts (kW). When it comes to energy-efficient buildings, understanding the capacity of electric generators is crucial for ensuring optimal performance and avoiding any potential issues.
2.2 The Significance of Optimizing Electric Generator Capacity
Why bother optimizing electric generator capacity, you may ask? Well, the answer lies in efficiency. By optimizing the capacity, we can ensure that the generator is operating at its highest level of efficiency. This means that it is producing the right amount of power needed by the building without wasting energy. Optimizing the capacity can also prevent the generator from being overloaded, which can lead to breakdowns and increased maintenance costs.
3. Key Factors in Optimizing Electric Generator Capacity
3.1 Building Load Analysis
One of the key factors in optimizing electric generator capacity is conducting a thorough building load analysis. This involves evaluating the electrical requirements of the building and identifying the peak and average demands. By understanding the load profile, we can determine the appropriate generator capacity to meet the building's power needs without exceeding it unnecessarily.
3.2 Assessing Energy Consumption Patterns
Another important factor in optimizing electric generator capacity is assessing the energy consumption patterns of the building. By analyzing historical data and trends, we can identify periods of high and low energy usage. This information helps in determining the optimal capacity required to handle peak demand periods while avoiding overcapacity during periods of low consumption.
3.3 Determining Peak Demand
Peak demand refers to the maximum amount of electricity a building requires during a specific period, typically a day or a season. By accurately determining the peak demand, we can ensure that the generator capacity is appropriately sized to meet the highest power requirements. This avoids any potential power shortages during peak periods and prevents the need for additional backup generators.
4. The Role of Building Design in Maximizing Energy Efficiency
4.1 Integrating Energy-Efficient Design Principles
Building design plays a crucial role in maximizing energy efficiency. By incorporating energy-efficient design principles from the beginning, such as proper orientation, natural lighting, and shading, we can reduce the overall energy demand of the building. This, in turn, allows for a smaller generator capacity requirement, leading to cost savings and improved sustainability.
4.2 Importance of Insulation and Air Sealing
Insulation and air sealing are essential elements in energy-efficient building design. Good insulation helps maintain a stable indoor temperature, reducing the need for excessive heating or cooling. By minimizing air leaks through proper sealing, we can prevent energy loss, ensuring that the generator only needs to provide power for the actual required demand.
4.3 Efficient Lighting and HVAC Systems
Lastly, utilizing energy-efficient lighting and HVAC (Heating, Ventilation, and Air Conditioning) systems significantly impacts energy consumption. By opting for LED lights and implementing smart lighting controls, we can reduce electricity usage. Similarly, using energy-efficient HVAC systems and improving their maintenance contribute to lowering the building's overall energy demand, resulting in a more optimized electric generator capacity.
In conclusion, optimizing electric generator capacity in energy-efficient buildings is a key component of reducing energy consumption and costs. By understanding the building's load requirements, assessing energy consumption patterns, and incorporating energy-efficient design principles, we can ensure that the generator operates at its highest efficiency and contributes to a greener future. So, let's embrace energy efficiency and make our buildings smarter, more efficient, and, dare we say, cooler!
5. Implementing Advanced Technologies for Optimum Electric Generator Capacity
5.1 Smart Building Automation Systems
When it comes to optimizing electric generator capacity in energy-efficient buildings, smart building automation systems are a game-changer. These intelligent systems utilize sensors, controls, and algorithms to monitor and optimize energy usage in real-time. They can adjust lighting, heating, cooling, and other building functions based on occupancy and environmental conditions, ensuring that energy is only consumed when needed. By integrating smart building automation systems, building owners can optimize electric generator capacity by reducing energy waste and achieving maximum efficiency.
5.2 Energy Management Systems
Energy management systems go hand in hand with smart building automation systems. These systems collect, analyze, and visualize real-time energy data, providing insights into energy consumption patterns and identifying areas for improvement. With energy management systems, building owners can gain a better understanding of their energy usage and make informed decisions to optimize electric generator capacity. By identifying energy-intensive equipment, detecting anomalies, and implementing energy-saving strategies, energy management systems contribute to efficient energy utilization and cost savings.
5.3 Microgrid Integration
Microgrid integration offers another opportunity for optimizing electric generator capacity in energy-efficient buildings. A microgrid is a localized power grid that can operate independently or in conjunction with the main electrical grid. By incorporating renewable energy sources like solar panels or wind turbines into the microgrid, building owners can reduce their reliance on the main grid and efficiently manage electric generator capacity. Microgrid integration enables buildings to generate their own electricity and store excess energy, reducing peak demand and optimizing generator capacity during high usage periods.
6. Strategies for Load Management and Demand Response
6.1 Load Shifting Techniques
Load shifting techniques involve adjusting the timing of energy-intensive activities to reduce peak demand and optimize electric generator capacity. For example, shifting the operation of equipment or appliances to off-peak hours when electricity demand is lower can help balance the load and avoid overburdening the electric generator. By implementing load shifting techniques, energy-efficient buildings can optimize their generator capacity and potentially reduce energy costs through time-of-use pricing.
6.2 Demand Response Programs
Demand response programs provide incentives for energy-efficient buildings to reduce their electricity consumption during periods of high demand. When the grid is stressed, these programs allow building owners to voluntarily curtail their electricity usage or switch to an alternative power source, such as their electric generator. By participating in demand response programs, buildings can help stabilize the grid, relieve strain on the electric generator, and potentially earn financial rewards for their contribution to the overall energy system.
6.3 Energy Storage Solutions
Energy storage solutions, such as batteries or flywheels, play a crucial role in load management and optimizing electric generator capacity. They allow excess energy to be stored during off-peak hours and discharged during periods of high demand, reducing the load on the electric generator. Energy storage solutions provide a reliable and efficient way to balance supply and demand, ensuring that electric generator capacity is utilized optimally and efficiently.
7. Case Studies and Success Stories in Energy-Efficient Buildings
In this section, we will explore real-world examples of energy-efficient buildings that have successfully implemented strategies to optimize electric generator capacity. From commercial buildings to residential complexes, these case studies will showcase the tangible benefits of embracing energy-efficient practices and technologies.
8. Conclusion and Future Outlook for Electric Generator Capacity Optimization
In conclusion, optimizing electric generator capacity in energy-efficient buildings requires a combination of advanced technologies, load management strategies, and the integration of renewable energy sources. By implementing smart building automation systems, energy management systems, and microgrid integration, building owners can make significant strides towards achieving maximum efficiency and reducing energy waste. Additionally, strategies such as load shifting, demand response programs, and energy storage solutions contribute to optimizing electric generator capacity and ensuring a sustainable energy future. As we continue to innovate and explore new possibilities in energy efficiency, the future looks bright for electric generator capacity optimization in energy-efficient buildings.
8. Conclusion and Future Outlook for Electric Generator Capacity Optimization
In conclusion, optimizing electric generator capacity is essential for energy-efficient buildings. By considering factors such as building load analysis, energy consumption patterns, and advanced technologies, building owners and operators can maximize the efficiency of their electric generator systems. Implementing strategies for load management and demand response further enhances energy efficiency. Moving forward, it is crucial to continue exploring innovative solutions and staying updated with emerging technologies to further improve electric generator capacity optimization in buildings. By doing so, we can contribute to a sustainable future while enjoying the benefits of reduced energy consumption and cost savings.
1. Why is optimizing electric generator capacity important for energy-efficient buildings?
Optimizing electric generator capacity ensures that the building's power supply meets the demand efficiently, avoiding unnecessary energy waste. By properly managing generator capacity, buildings can reduce their carbon footprint, lower energy costs, and enhance overall energy efficiency.
2. What factors should be considered in optimizing electric generator capacity?
Several factors play a role in optimizing electric generator capacity, including building load analysis, energy consumption patterns, and determining peak demand. Understanding these factors helps building owners and operators tailor their generator systems to meet the specific needs of the facility, minimizing energy waste and maximizing efficiency.
3. How can advanced technologies contribute to electric generator capacity optimization?
Advanced technologies, such as smart building automation systems, energy management systems, and microgrid integration, offer valuable tools for optimizing electric generator capacity. These technologies enable real-time monitoring, control, and automation, allowing for more precise management of energy consumption and load balancing, ultimately enhancing the efficiency of the electric generator system.
4. Are there any successful examples of energy-efficient buildings with optimized electric generator capacity?
Yes, there are numerous success stories of energy-efficient buildings that have effectively optimized their electric generator capacity. Case studies highlight the implementation of energy-efficient design principles, integration of advanced technologies, and the adoption of load management strategies, resulting in significant energy savings, reduced carbon emissions,


text:
Some users are experiencing problems pairing Plantronics Backbeat Fid and MacBook Pro. They are reporting that the MacBook doesn't discover the headset even if the Bluetooth on both devices is on. Updating the headset firmware doesn't help. If you have this pairing problem here is how can you fix it.
Step #1: How to Pair Plantronics Backbeat Fit with Macbook
First, you need to pop the headset in pairing mode, and then discover it from your Macbook. Here is how to do that.
- Make sure your Plantronics Backbeat Fit is turned off. (Turn it off it isn't).
- Open Bluetooth settings on your Mac (System Preferences > Bluetooth).
- Click on the + button in the bottom left corner of the Bluetooth window.
- Now, Press and hold the power button of the Plantronics Breakbeat Pro headset (Do not release it). Keep it pressed (5 – 10 seconds) until the LED indicator on the headset starts blinking red and blue, or you hear it says "Pairing." Once it starts flashing, release the button.
- Now, the headset should appear in the list of Bluetooth devices on your Mac. (You will see something like this 00-0b-01-00-22. That is your headset's Bluetooth address.)
- Once the headset appears on your Mac, click on Continue.
- Next, you will see a Conclusion window telling you that your computer is now set up to use your headset. That means your headset is connected.
If you turned the headset on and it didn't enter the pairing mode, turn it off and start the pairing procedure from the beginning.
Note: The only way to enter the paring mode is to press and hold the power button while the headset is turned off.
Step #2: Try Pairing Plantronics Backbeat Fit with Another Device
If the previous step didn't help in connecting the headset to your Macbook, make sure you have a working headset, by pairing it with your smartphone, or tablet.
If you have successfully paired Plantronics Backbeat Fit with any other device, it means that the headset is working fine. Now, make sure you have a working Bluetooth on your Mac.
If you cannot connect Plantronics Backbeat Fit to any other device, make sure you check its warranty and contact the seller.


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';
How Does a Diverter Valve Work with a Turbo System?
How Does a Diverter Valve Work with a Turbo System?
How It Works 101
Driving a turbo car is a fun experience. The acceleration boost from the turbo is quite thrilling. Anyone who's driven or owns a turbo car will understand. But, did you ever wonder why a turbo makes an air release sound when releasing the gas? That sound is usually a blow-off or diverter valve. Per this article, the focus will be solely on the diverter valve concept. So, how does a diverter valve work with a turbo?
Breakdown of Diverter Valve Functionality
A diverter valve is a manifold vacuum-actuated valve that releases pressure into the intake system on turbo engines. This valve is also known as a compressor bypass valve (CBV) or a pressure relief valve. Furthermore, the valve release occurs during the lifting or closing of the throttle. Hence, while accelerating and then releasing the throttle, the car makes an air sound. This sound is the air pressure releasing into the intake. Many turbo enthusiasts love this sound, just as a supercharger fans enjoys the high-rev whining. By sending the air back into the intake, it overall benefits the performance of the vehicle. Even if it is only a slight boost in power, every bit counts.
Vroom! Hiss! Vroom! Hiss!
Euro Diverter Valves and DV+ Explained [GO FAST BRETT] – MCM TV2 – YouTube
Well, hopefully this article helps the reader understand the purpose of a diverter valve. Any vehicle with a turbo has some form of a blow-off valve. And, each one functions differently. Manufacturers such as Audi and VW use diverter valves in their vehicles. Furthermore, Aftermarket diverter valves are a great addition to a turbo vehicle. But, first, always ensure the valve fits the specific model. Buying the wrong valve may lead to lost time and longer wait periods. In conclusion, the diverter valve is a piece of technology that offers a way to be energy efficient.
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