Subject: Re: union fs changes
To: der Mouse
From: Bakul Shah <>
List: tech-kern
Date: 12/30/1994 13:20:15
Der Mouse writes:
% You certainly could. It might even happen relatively often. As
% someone else already noted, if you modify a file, you then have the RO
% copy in the lower layer and the new copy in the upper layer. If you
% then rm it, the upper-layer copy is blown away and a whiteout created.
% Then when you unwhiteout() it, the lower-layer file reappears. I would
% expect undelete() to resurrect the upper-layer copy - ie, what was
% there before the unlink().
One more problem: having to use two steps to make the lower
layer file reappear seems counterintuitive. I'd expect
unlink() to just remove the upper layer file so that the
lower layer file instantly reappears. This is clean and
simple. Why not use whiteout() if you want whiteout?
There'd even be a symmetry between whiteout() and
Jan-Simon Pendry writes:
 operation remove create remove create
 name name whiteout whiteout
 unlink yes - - possibly
 rmdir yes - - possibly
 open(CREATE) - yes possibly -
 "undelete" - - yes -
 mknod(WHT) - - - yes
 rename yes possibly possibly possibly
I really really wish that unlink, rmdir, rename do not
automagically create whiteout. What happens if you have
*no* write access in the upper layer but *do have* write
access on the lower layer? (Assuming you can have more
layers), what happens if you have write access on one of
the intermediate layers? How does one remove a file from
a lower layer?
> suppose we have a filesystem which supports "unremove" - ie the total
> inverse to "remove". the real problem to be solved is how to name
> the file and how to get from the name to the flat-store representation.
More problems: what happens when you remove a file, then
create another file of the same name in the same directory
and now want to ''unremove'' the old file? What happens
when you create a new file of the same name and remove it?
Do you get back only one old copy back? Ideally you want
all old versions so that you can examine them and restore
the right one. But unlike under VMS, I don't normally want
to see all the old versions of a file.
Actually, instead of unremove I'd prefer transaction support
from the kernel (sort of like the way Tolerant Systems
implemented it). This would solve so many problems... (but
at some cost).
> go for approach #2. any file remove converts the file to
> "removed" status. some cleaner process would need to garbage
> collect whenever free disk space gets low.
I'd just leave the file in the same dir. and add a normally
illegal char in its name. A cleaner can periodically
remove or backup old versions. I'd also add an 'archive'
attribute that is ON by default but gets turned off for
files that you don't want to save.
This is useful but will open up a security hole.
Der Mouse writes:
> I've wished for flink multiple times already. (Another call that would
> into a fantasia on everything I've ever wanted in a filesystem :-)
This too is a security hole in that it defeats the purpose of
controlled access through path names.
There was some discussion of next generation filesystems on
one of the freebsd groups. May be we should setup a
separate mailing list for FS:NG that is not biased towards
any particular Unix-like system. Either that or
Bakul Shah


text:
In the recent past, the role of the interim pastor was simple and straightforward: Find someone who can preach for six to nine months until the new pastor comes on board.
Today, the role of interim pastor is changing, becoming more complex, and carrying higher expectations. Why is this dramatic change taking place? Here are six major reasons:
- Churches want and need more help than preaching in an interim period. Depending on how you define revitalization, somewhere between 65% and 90% of all North American congregations need some type of revitalization efforts and strategy. More churches want and expect that of their interim pastors.
- Churches want to know if an interim pastor has specific qualifications for the job. Related to the first reason, this new reality is growing. More and more churches want to know if the prospective interim is truly trained and qualified for the role. That is one of the major reasons we created Interim Pastor University: to train and provide high-level certification for this unique ministry.
- Interim periods are growing in length. There are a number of reasons for this phenomenon we have addressed elsewhere. But we know the time between pastors is growing. Churches, therefore, want more than the traditional pastor during this period.
- Churches need interim pastors to make tough decisions. Many churches now look for interim pastors who can lead major changes and clean the slate for the next pastor. This type of leadership requires both experience and specific training.
- The role of interim pastor is becoming a retirement vocation for many Boomer church leaders. A number of these leaders may do 20 or more interim pastorates as a retirement ministry. Boomer church leaders will not fade gently into the sunset. This reality is a new phenomenon that is changing the way people look at interim pastors.
- Church life in general is more complex. The consequence is the need for an interim pastor who can adjust to these complexities. That interim pastor is different than those of the recent past.
As church practices change and church challenges grow, the role of interim pastor will grow with it. If you are interested in receiving additional training and certification as an interim pastor, join as at Interim Pastor University during our open enrollment period.
Keep your eye on these dynamics. The interim pastor of 2019 and beyond will look dramatically different than the interim pastor of 2015.
Posted on November 5, 2018
With nearly 40 years of ministry experience, Thom Rainer has spent a lifetime committed to the growth and health of local churches across North America.
More from Thom

source: m-a-p/FineFineWeb


text: In biology, gonochorism (Greek seed + disperse) or unisexualism describes sexually reproducing species in which there are at least two distinct sexes. The sex of an individual is genetically determined and does not change throughout its lifetime. Good examples of this type of pollination are hollies, and kiwifruit. In these plants the male plant which supplies the pollen is referred to as the pollenizer. The vast majority of mammals, for example, are gonochorists.

source: openbmb/Ultra-FineWeb


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The phone lock code protects the contents of your phone from unauthorised use. When the phone lock code is turned on, it needs to be keyed in every time you turn on your phone and when it has been in sleep mode.
Step 1 of 13
Find "Screen lock"
Slide two fingers down the display starting from the top edge of your phone.
Press SETTINGS.
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Press Security.
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Find "Screen lock"
Press Screen lock.
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Select option
You can create several types of phone lock codes. The following steps show two examples:
Create phone lock code using a pattern, go to 2a.
Create phone lock code using a PIN, go to 2b.
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Press Pattern.
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Repeat the selected phone lock code to confirm.
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Key in the required phone lock code and press Continue.
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2b - Create phone lock code using a PIN
Key in the phone lock code again and press OK.
Step 12 of 13
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Press None.
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Return to the home screen
Press the Home key to return to the home screen.
1. Find "Screen lock"
Slide two fingers down the display starting from the top edge of your phone.
Press SETTINGS.
Press Security.
Press Screen lock.
2. Select option
You can create several types of phone lock codes. The following steps show two examples:
Create phone lock code using a pattern, go to 2a.
Create phone lock code using a PIN, go to 2b.
3. 2a - Create phone lock code using a pattern
Press Pattern.
Press and drag a point to connect at least four points.
Press Continue.
Repeat the selected phone lock code to confirm.
Press Confirm.
4. 2b - Create phone lock code using a PIN
Press PIN.
Key in the required phone lock code and press Continue.
Key in the phone lock code again and press OK.
5. Turn off use of phone lock code
Press None.
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Press the Home key to return to the home screen.
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Xiucai Hiking Trail (秀才登山步道)
Traveler rating:5 5 Reviews
Popularity: 1623
Thursday: Open 24 hours a day
Go all the way to the Yangmei summit: easy even for first-time hikers
Cherry blossoms, silvergrass, and bald cypress: feel the seasonal changes in nature
Great social media photo opportunity with Xiucai dolls.
For those who seldomly hike, the flat and non-challenging Xiucai Trail is easy to conquer and should be included in their trips. At the altitude of less than 400m, the scenery along the way is dynamic, including tea fields, bald cypresses, farms, and more than 50 species of birds. You might even run into protected species such as the crested serpent eagles and sparrow hawks. The rich ecology adds a lot of fun to the hike.
From Xiucai Road in Yangmei take a left at the front gate of China Motor Corporation and continue towards Tiandetang. You will be able to find Jueying Trail, also known as the "sky ladder of Yangmei," from the wooden arch. Take the 495 stairs up to "Green Energy Lookout" at the top of Taiping (Daping) Mountain. In the mountain breeze, you can look over to the entire downtown Yangmei, Xinpu, and National Highway 1. On a good day, you can even see Guanyin coastal area afar. It will be so relaxing you can immediately recover from the tiredness of climbing stair. From here, hike towards west to Xiucai Pavilion and read about the origin of "Xiucaiwo (Home of Xiucais)" on the bulletin boards along the way. The "story corridor" where stories about Xiucais are displayed add some cultural learning to the hike. The two-floor high Xiucai Pavilion is another popular spot. When the hills are covered by silvergrass, it would feel like a wonderland. After passing by the Forest Lookout, Forest Station, and Shaded Lookout, you will return to Xiucai Road.
The path extending from Green Energy Lookout is comprised of the tea field section, farm section and waterfront section, each of which has its own entrance and symbols of teapot, Zhuangyuanbing (scholar cake), and Xiucai dolls. Be sure to take photos here. The lush green tea trees, bald cypresses turning red in winters, and teals going around the pond are all part of the wonderful scenery. In spring, the cherry blossoms near Zhaomendao Road in Yangmei is a beautiful addition to the hike.
Opening Hours Sunday: Open 24 hours a day
Monday: Open 24 hours a day
Tuesday: Open 24 hours a day
Wednesday: Open 24 hours a day
Thursday: Open 24 hours a day
Friday: Open 24 hours a day
Saturday: Open 24 hours a day
Charge Free
 - Hiking Trail
■ The trail is rarely shaded by trees. You are recommended to have proper protection against the sun and mosquitos.
■ The stone stairs are steep and can be slippery. You are recommended to wear anti-slippery shoes.
■ Silvergrass season is September to November.
■ Bald cypress season is mid-December to end of January.
Choose a transportation method based on your departure location.
Street parkin
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 - chinghsuan
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 - chinghsuan
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 - chinghsuan
 Traveler rating:5 2018-11
 沒想到楊梅有這麼漂亮的芒草山！！！望過去全是一片芒草好漂亮（再也不用跑台北） 很適合家庭、好友踏青郊遊。
 - Dino H
 Traveler type:
 Traveler rating:5 2017-09
 對於剛接觸登山步道的旅客， 這邊是很基礎的開頭， 夏天可以清楚看見市景， 很適合全家大小一起共同健行， 期待秋天的芒草景象。
 - williamwang0765
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Severance Pay & Connecticut Unemployment Benefits
When you receive severance pay as your employer terminates you, the Connecticut Department of Labor (CTDOL) doesn't automatically disqualify you from unemployment benefits. Instead, the agency treats that pay as income and uses the state's formula to calculate how much, if any, unemployment payments you're still entitled to. After your severance pay runs out, you begin collecting normal payments. As long as you report your severance pay during the unemployment claims process, you'll receive the correct amount. However, if you conceal your severance pay so you can collect more unemployment, you'll face stiff penalties from the Connecticut government.
Severance Pay
When your employer offers you severance pay, it's to offset the fact that you're losing your job. By offering you a few extra weeks of salary payments, your employer hopes to soften the blow of termination. When you get your last paycheck from the employer, it will have additional weeks of income on it above what you earned through work.
Reporting Severance Pay
When you make your claim to the CTDOL, you must report your severance pay. The reason is that severance pay is still considered income. Although collecting income doesn't disqualify you from Connecticut unemployment benefits, it may change your eligibility. During your initial application process, you must answer the question about severance pay truthfully and explain how much money you receive from. Afterward, when you file your weekly claim, you must note any weeks you've earned severance pay. The CTDOL will calculate your eligibility depending on your answers.
Calculating Partial Payments
If you earn severance pay a week in which you're also eligible for Connecticut unemployment benefits, you can still collect partial benefits. To determine how much your unemployment payment should be, the CTDOL takes two-thirds of your severance pay before any deductions such as taxes. They then subtract the result from your normal weekly payment. You receive the rest, if any, as a payment. When your severance pay runs out, your unemployment benefits stop being partial payments.
Failure to Report
If you don't report your severance pay, you are committing insurance fraud. The CTDOL verifies with your employer at the beginning of your claim and does random audits of files through your benefit year. If you are ever found withholding, concealing or misrepresenting information about your income, you can face severe penalties. Connecticut punishes this crime by forcing you to repay your benefits back and penalizing you up to an 39 additional benefit weeks. This means that the next time you qualify for unemployment, you have to serve these weeks with no payment. In some cases, you can receive fines of up to $5,000 and between one and five years of jail time.


text:
also had entrepreneurial success with artificially created ground vibrations
Ludger Mintrop was born near Essen, studied mine surveying in Aachen and subsequently went to Göttingen to work with Emil Wiechert, where he obtained his doctorate in 1911 with a dissertation on "Artificially generated ground vibrations".
He then became a lecturer at the Bochum School of Mining and developed a portable seismograph, which he used to render the seismic methods usable for geology and mining.
In 1921, he established "Seismos GmbH", a company specialising in geophysical mineral deposit research. This marked the beginning of the triumph of applied seismology in locating crude oil deposits. In 1928, Mintrop became Professor of Mine Surveying and Geophysics in Wroclaw. Between 1945 and 1948, he held the corresponding chair in Aachen. He is considered one of the pioneers of applied geophysics.
Adapted from: Walter Kertz


text:
Refer to the following information when configuring profiles.
- Number: The ID number automatically assigned to the profile. Leave this number as assigned unless you plan on using custom profile number configurations. Manually changing this number can cause conflicts when managing multiple systems in Admin. Range is 1 – 99.
- Rearm Delay: When the user disarms an area outside of a schedule, delay automatic rearming by the number of minutes entered. To disable this feature, enter 0. Range is 0 – 720 minutes.
- Output Group: Assign outputs groups to a profile, allowing an entire group of outputs to turn on or off as required like when door access is granted. Enter the number of the output group that you want to assign to the profile. To disable this feature, enter 0. Range is 0 – 10.
The Arm/Disarm setting supersedes Arm and Disarm in Profile Options.
The Access setting supersedes Door Access in Profile Options.
- Arm/Disarm: Allow users with this profile to arm and disarm an area.
- Access: Allow users with this profile to access an area.
This setting supersedes Schedules in Profile Options.
- On: Allow profile members to access and edit a schedule.
- Off: Do not allow profile members to access and edit a schedule.
When enabled, these permissions allow profile members to access up to 4 private doors. Only doors that have been configured as private doors by your security provider are displayed in Profiles.
- On: Allow profile members to access selected private doors.
- Off: Do not allow profile members to access private doors.
When enabled in a profile, these permissions allow profile members to perform the following actions:
- Arm: Arm the system according to the options configured in Areas.
- Disarm: Disarm the system according to the options configured in Areas.
- Alarm Silence: Silence a system alarm.
- Sensor Reset: Reset all system sensors. A sensor reset is required for all smoke detectors, flood sensors, and temperature sensors that have triggered an alarm, as well as system restoral after a lockdown is ended. A sensor reset is also required to clear a low battery (LOBAT) message after changing a wireless device's batteries.
- Lockdown: Initiate a lockdown.
- Lockdown Override: End a lockdown and restore the system.
- Door Lock/Unlock: Lock and unlock doors.
- Door Access: Grant temporary door access.
- Armed Areas: View armed areas at a keypad.
- Outputs On/Off: Turn outputs on or off from a keypad's User Menu.
- Zone Status: View the status of zones.
- Bypass Zones: Bypass zones when arming the system.
- Zone Monitor: Enable the chime function.
- System Status: View the system's status.
- System Test: Initiate a system test from a keypad's User Menu.
- Profiles: Add, change, or delete profiles.
- User Codes: Add, change, or delete user codes.
- Extend: Extend a schedule for 2, 4, 6, or 8 hours.
- Schedules: Add, edit, or delete schedules.
- Set Time: Change the system date and time from a keypad's User Menu.
- Display Events: View system events.
- Service Request: Request a service call from your alarm provider.
- Fire Drill: Initiate a fire drill.
- Anti-Passback: Use anti-passback. Profile members are required to properly exit (egress) an area that they previously accessed. They cannot access the first area again until they properly exit through the second area.
- Easy Arm/Disarm: Arm or disarm all areas that are assigned to a code automatically.
- Use Secondary Language: Display a secondary language.
- Card Plus Pin: Use two access methods to operate the system from a keypad. The first method must be a credential such as a proximity patch, card, or key fob. The second method must be a PIN number entered at the keypad. Both the credential and PIN are configured in Users.
- Wi-Fi Setup: View the system's Wi-Fi settings, connect to available Wi-Fi networks, and use WPS association.


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I'm developing a simple particle system that should be able to perform on mobile devices (iOS, Andorid). My plan was to use GL_POINT_SPRITE/GL_PROGRAM_POINT_SIZE method because of it's efficiency (GL_POINTS are enough), but after some experimenting, I found myself in a trouble. Sprite size is limited (to usually 64 pixels). I'm calculating size using this formula
gl_PointSize = in_point_size * some_factor / distance_to_camera
to make particle sizes proportional to distance to camera. But at some point, when camera is close enough, problem with size limitation emerges and whole system starts looking unrealistic. Is there a way to avoid this problem?
If no, what's alternative? I was thinking of manually generating billboard quad for each particle. Now, I have some questions about that approach.
I guess minimum geometry data would be four vertices per particle and index array to make quads from these vertices (with GL_TRIANGLE_STRIP). Additionally, for each vertex I need a color and texture coordinate. I would put all that in an interleaved vertex array. But as you can see, there is much redundancy. All vertices of same particle share same color value, and four texture coordinates are same for all particles. Because of how glDrawArrays/Elements works, I see no way to optimise this. Do you know of a better approach on how to organise per-particle data?
Should I use buffers or vertex arrays, or there is no difference because each time I have to update all particles' data.
About particles simulation... Where to do it? On CPU or on a vertex processors? Something tells me that mobile's CPU would do it faster than it's vertex unit (at least today in 2012 :).
So, any advice on how to make a simple and efficient particle system without particle size limitation, for mobile device, would be appreciated.
(animation of camera passing through particles should be realistic)
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Instancing isn't available in ES2 but ultimately it would provide the best approach.
In the absence of instancing there are a few other ways you can optimize the data. You know that the index array data is not going to change even if the vertex array data does, so the index array can become a static array. The same can apply to texture coords (assuming that you don't have an atlas of particle textures) so they can be also shifted into a static VBO, which would - of course - need to be non-interleaved. That effectively leaves position and colour as being the only dynamic per-vertex data that needs updating, with colour being the only attribute that is duplicated (and if you're using 4 unsigned bytes for colour then the duplication isn't so onerous).
None of this is perfect and you've correctly identified reasons to be unsure of it. However, before you go ripping things apart it would pay to benchmark and see if using duplicate data actually is a problem. This can fly in the face of instinct, but it's often the case that pulling tricks to reduce memory usage ends up having overall negative consequences for performance. Accepting extra memory usage and accepting some duplication of data - even if it does seem instinctively "wrong" - can frequently turn out to be the most optimal approach.
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In this case using index buffers is just additional overhead. Each of the 4 vertices is only visited exactly once in drawing the quad. The post I linked does describe how to do hardware instancing on an ES 2 GPU – bobobobo Sep 30 '12 at 0:00
Thank you for suggestions. I've implemented particle system this way and it looks it could be good enough for now. Unfortunately I am unable to test it on device for a few days, but I'll be back with results when I get them. – Srđan Oct 2 '12 at 11:10
That hardware instancing implementation passes a modelview matrix per-vertex - an index buffer is utterly trivial overhead by comparison. Using an index buffer will also let you join multiple sprites together in a single draw call, which you can't do without one. Proper instancing - using glVertexAttribDivisor - is the kind of instancing I refer to, and that will give the best combination of low overhead and high performance. – Jimmy Shelter Oct 2 '12 at 15:10
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Yeah, I would say go with a 4-vertex triangle stripped quad.
If you are drawing large numbers of these triangle strips using the same color, and the same set of texture coordinates, you could do 1 of 2 things:
1) Send the 4 vertices for each object and store the color and texcoords in uniforms
2) "Hardware instancing"
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+1. OP should also be aware that point sprites have another problem -- each sprite clips out when its centre reaches the edge of the viewport, i.e. too soon. So useless for most applications. – Nick Wiggill Sep 29 '12 at 21:51
Thank you very much for this. That's what I actually needed in first place, but didn't know it is possible. For now I have system as described by mh01 bellow, but this is probably going to be an update. Thanks. – Srđan Oct 2 '12 at 11:14
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text:
Written by Gil Fronsdal and adapted by Evan Kavanagh
- Can include music, flower bearers and flower scattering
- Are there important friends or family members who enter before or with the couple?
- The altar can represent the couple's spiritual values (Buddha, Dharma, Nature, God, Creation, etc.)
- Officiant welcomes everyone and talks about why everyone is gathered. This might be the time for a talk on marriage/commitment and the role of the community in supporting their partnership
Short meditation or period of silence
- Perhaps having people reflect on their wishes and feelings for the couple being joined. Or perhaps doing loving-kindness/metta meditation
Refuges and Precepts
- These are usually done in a Buddhist ceremonyrepeated after the officiant. Some couples will re-write the refuges and precepts in their own language. When something close to the traditional refuges and precepts are used, this is the heart of what makes the ceremony Buddhist
- In a wider sense, this part of the ceremony can be a statement of how the couple intends to live their lives spirituallyby what values
Poetry and song
- Offered by one or both people being married, and/or by friends and family
- This is one way to involve loved ones in the ceremony
Exchange of vows and rings
- Alternatives or additions to exchanging rings could be exchanging malas (Buddhist prayer beads) or Tibetan blessing scarves.
- There are many different opportunities here to make commitments or undertake the Buddhist Precepts together
- Could include statement of undertaking to use relationship as practice to reveal the underlying spiritual qualities of life together
Pronouncement of union
- Officiant pronounces partnership
- Blessings or well wishes from family and friends
- Another opportunity to include community and family
- Might include asking people who have something in their relationship you admire to offer that quality to you as a blessing
Blessing from officiant
- This may include short metta meditation, sprinkling with holy water, blessing cord, etc.
- Other possible elements: chanting, ringing of bells, noisemakers, prayer flags for everyone, etc.
- Provides a concrete ending to the ceremony – especially important if reception is being held in same location
- It is often a good idea to have the couple exit before the guests and, if it is going to be a legal wedding, to immediately go to a private location with witnesses to sign the marriage license (which the couple provides). It could be hard to gather people together and the signing is more anti-climatic later.


text:
This projectwas completed as a intern opportunity with HPCC Systems in 2019. Curious about projects we are offering for future internships? Take a look at our Ideas List.
Find out about the HPCC Systems Summer Internship Program.
Create a Hyper-V virtual machine image to include HPCC Platform, Plugins, Ganglia-monitoring and Nagios-monitoring. The virtual machine will be Ubuntu 18.04 amd64. Prefer using Hyper-V Builder tool of HashiCorp Packer to create the image.
Completion of this project involves:
- A Hyper-V virtual machine image which include HPCC Platform, Plugins, Ganglia-monitoring and Nagios-monitoring.
- Make sure virtual machine image can be successfully imported and HPCC processes can be started.
- Successfully test following on Windows 10: 1) ECL sample through ECL Playground. 2) Ganglia-monitoring graph in ECLWatch. 3) Nagios web page with HPCC processes listed.
- Document the usage.
By the mid term review we would expect you to have:
- Get familiar with HPCC Packages such as HPCC Platform, HPCC Plugins, HPCC Ganglia-monitoring and HPCC Nagios-monitoring
- Get familiar with HashiCorp Packer tool, particular how to use HypterV Builder to create virtual machine image.
- Write initial build script for creating HPCC Platform and Plugin.
- Test deployment of above on Windows 10.
Backup Mentor: Godson Fortil
- Ability to code in Python.
- Knowledge of Juju charm and git would be helpful. Student can learn Juju Charm from Juju charm docs
- Python 3.0 and Linux bash scripts knowledge.
- It would be an advantage to be familiar with one the Cloud Environment, such as AWS, Azure, Google, etc. Basic HPCC Systems knowledge is needed but student can learn this during the process.
- A Hyper-V virtual machine image to include HPCC Platform and Plugins
End of project
A Hyper-V virtual machine image to include HPCC Platform, Plugins, Ganglia-monitoring and Nagios-monitoring
A github project for build scripts and instruction
A documentation for usage


This time, the save() method performs an UPDATE SQL statement.
The changes you make to the object are not persisted to the database until you call the save() method.
Retrieving objects
You already know how to retrieve a single object from the database using the get() method. You accessed this method using Post.objects.get(). Each Django model has at least one manager, and the default manager is called objects. You get a QuerySet object using your model manager. To retrieve all objects from a table, you just use the all() method on the default objects manager, like this:
>>> all_posts = Post.objects.all()
This is how you create a QuerySet that returns all objects in the database. Note that this QuerySet has not been executed yet. Django QuerySets are lazy, which means they are only evaluated when they are forced to be. This behavior makes QuerySets very efficient. If you don't set the QuerySet to a variable, but instead write it directly on the Python shell, the SQL statement of the QuerySet is executed because you force it to output results:
>>> all_posts
Using the filter() method
To filter a QuerySet, you can use the filter() method of the manager. For example, you can retrieve all posts published in the year 2020 using the following QuerySet:
>>> Post.objects.filter(publish__year=2020)
You can also filter by multiple fields. For example, you can retrieve all posts published in 2020 by the author with the username admin:
>>> Post.objects.filter(publish__year=2020, author__username='admin')
This equates to building the same QuerySet chaining multiple filters:
>>> Post.objects.filter(publish__year=2020) \
>>> .filter(author__username='admin')
Queries with field lookup methods are built using two underscores, for example, publish__year, but the same notation is also used for accessing fields of related models, such as author__username.
Using exclude()
You can exclude certain results from your QuerySet using the exclude() method of the manager. For example, you can retrieve all posts published in 2020 whose titles don't start with Why:
>>> Post.objects.filter(publish__year=2020) \
>>> .exclude(title__startswith='Why')
Using order_by()
You can order results by different fields using the order_by() method of the manager. For example, you can retrieve all objects ordered by their title, as follows:
>>> Post.objects.order_by('title')
Ascending order is implied. You can indicate descending order with a negative sign prefix, like this:
>>> Post.objects.order_by('-title')
Deleting objects
If you want to delete an object, you can do it from the object instance using the delete() method:
>>> post = Post.objects.get(id=1)
>>> post.delete()
Note that deleting objects will also delete any dependent relationships for ForeignKey objects defined with on_delete set to CASCADE.
When QuerySets are evaluated
Creating a QuerySet doesn't involve any database activity until it is evaluated. QuerySets usually return another unevaluated QuerySet. You can concatenate as many filters as you like to a QuerySet, and you will not hit the database until the QuerySet is evaluated. When a QuerySet is evaluated, it translates into an SQL query to the database.
QuerySets are only evaluated in the following cases:
 - The first time you iterate over them
 - When you slice them, for instance, Post.objects.all()[:3]
 - When you pickle or cache them
 - When you call repr() or len() on them
 - When you explicitly call list() on them
 - When you test them in a statement, such as bool(), or, and, or if
Creating model managers
As I previously mentioned, objects is the default manager of every model that retrieves all objects in the database. However, you can also define custom managers for your models. You will create a custom manager to retrieve all posts with the published status.
There are two ways to add or customize managers for your models: you can add extra manager methods to an existing manager, or create a new manager by modifying the initial QuerySet that the manager returns. The first method provides you with a QuerySet API such as Post.objects.my_manager(), and the latter provides you with Post.my_manager.all(). The manager will allow you to retrieve posts using Post.published.all().
Edit the models.py file of your blog application to add the custom manager:
class PublishedManager(models.Manager):
 def get_queryset(self):
 return super(PublishedManager,
 self).get_queryset()\
 .filter(status='published')
class Post(models.Model):
 # ...
 objects = models.Manager() # The default manager.
 published = PublishedManager() # Our custom manager.
The first manager declared in a model becomes the default manager. You can use the Meta attribute default_manager_name to specify a different default manager. If no manager is defined in the model, Django automatically creates the objects default manager for it. If you declare any managers for your model but you want to keep the objects manager as well, you have to add it explicitly to your model. In the preceding code, you add the default objects manager and the published custom manager to the Post model.
The get_queryset() method of a manager returns the QuerySet that will be executed. You override this method to include your custom filter in the final QuerySet.
You have now defined your custom manager and added it to the Post model; you can use it to perform queries. Let's test it.
Start the development server again with the following command:
python manage.py shell
Now, you can import the Post model and retrieve all published posts whose title starts with Who, executing the following QuerySet:
>>> from blog.models import Post
>>> Post.published.filter(title__startswith='Who')
To obtain results for this QuerySet, make sure that you set the published field to True in the Post object whose title starts with Who.

Building list and detail views
Now that you have knowledge of how to use the ORM, you are ready to build the views of the blog application. A Django view is just a Python function that receives a web request and returns a web response. All the logic to return the desired response goes inside the view.
First, you will create your application views, then you will define a URL pattern for each view, and finally, you will create HTML templates to render the data generated by the views. Each view will render a template, passing variables to it, and will return an HTTP response with the rendered output.
Creating list and detail views
Let's start by creating a view to display the list of posts. Edit the views.py file of your blog application and make it look like this:
from django.shortcuts import render, get_object_or_404
from .models import Post
def post_list(request):
 posts = Post.published.all()
 return render(request,
 'blog/post/list.html',
 {'posts': posts})
You just created your first Django view. The post_list view takes the request object as the only parameter. This parameter is required by all views. In this view, you retrieve all the posts with the published status using the published manager that you created previously.
Finally, you use the render() shortcut provided by Django to render the list of posts with the given template. This function takes the request object, the template path, and the context variables to render the given template. It returns an HttpResponse object with the rendered text (normally HTML code). The render() shortcut takes the request context into account, so any variable set by the template context processors is accessible by the given template. Template context processors are just callables that set variables into the context. You will learn how to use them in Chapter 3, Extending Your Blog Application.
Let's create a second view to display a single post. Add the following function to the views.py file:
def post_detail(request, year, month, day, post):
 post = get_object_or_404(Post, slug=post,
 status='published',
 publish__year=year,
 publish__month=month,
 publish__day=day)
 return render(request,
 'blog/post/detail.html',
 {'post': post})
This is the post detail view. This view takes the year, month, day, and post arguments to retrieve a published post with the given slug and date. Note that when you created the Post model, you added the unique_for_date parameter to the slug field. This ensures that there will be only one post with a slug for a given date, and thus, you can retrieve single posts using the date and slug. In the detail view, you use the get_object_or_404() shortcut to retrieve


text: Animals have genetic mishaps just like people, and one such case has been discovered in the Mombo area of Botswana's Okavango Delta. Maned lionesses have been regularly spotted there since 2002. These maned lionesses look exactly like males therefore making them safer, since other animals are more scared to steal food or attack the pride. This phenomena most likely occurs because the fetus is exposed to higher than normal androgen levels ( male hormones such as testosterone ) during gestation period. The president of the big-cat conservation group Panthera, Luke Hunter believes that there's a possibility of the lion population in that area being genetically predisposed to this phenomena.


text:
Lima City Hall is located at 50 Town Square, Lima, OH 45801; phone: _PHONE_.
Lima was founded at the southern-end of the Great Black Swamp, an area inhabited by the Shawnee Indians until their removal to Kansas in the 1830's. Located on the banks of the Ottawa River (Hog Creek) it developed into the largest landlocked city in northwest Ohio with a population of 55,000. Historic resources most prominent are fine commercial and financial buildings erected following Lima's early industrial growth, particularly related to railroads and the oil industry.
Lima's periods of significance relate to commercial and industrial development:
_PHONE_'s: Lima became an agricultural center followed by the coming of the first railroad in 1858.
1870's: The first large industrial concerns including foundries and iron works countered commercial development of the Public Square.
_PHONE_: The discovery of oil in 1885 led to Lima's population tripling by the turn of the century with much new construction, including South Lima.
Early 20th century: Completion of the Texas oil pipeline, Standard Oil, banking and entertainment created new buildings up to the eve of the Depression.
Post-Depression: New building styles the end of the era of grand buildings.


Abstract
TeleHead I is an acoustical telepresence robot that we built on the basis of the concept that remote sound localization could be best achieved by using a user-like dummy head whose movement synchronizes with the user's head movement in real time. We clarified the characteristics of the latest version of TeleHead I, TeleHead II, and verified the validity of this concept by sound localization experiments. TeleHead II can synchronize stably with the user's head movement with a 120-ms delay. The driving noise level measured through headphones is below 24 dB SPL from 1 to 4 kHz. The shape difference between the dummy head and the user is about 3% in head width and 5% in head length. An overall measurement metric indicated that the difference between the head-related transfer functions (HRTFs) of the dummy head and the modeled listener is about 5 dB. The results of the sound localization experiments using TeleHead II clarified that head movement improves horizontal-plane sound localization performance even when the dummy head shape differs from the user's head shape. In contrast, the results for head movement when the dummy head shape and user head shape are different were inconsistent in the median plane. The accuracy of sound localization when using the same-shape dummy head with movement tethered to the user's head movement was always good. These results show that the TeleHead concept is acceptable for building an acoustical telepresence robot. They also show that the physical characteristics of TeleHead II are sufficient for conducting sound localization experiments.
This content is only available as a PDF.


Custom error trace listener: Create the configurator class
After you create the trace listener class, you create the configurator class. The configurator class implements the ISitefinityLogCategoryConfigurator interface. The purpose of this class is to configure the types of errors that the custom trace listener handles. Situations that are not handled by your custom configurator are delegated to the default one to form a chain of responsibility. To create the configurator class:
 1. In Visual Studio, open the context menu of the ExternalLogging project and click Add » Class
 2. Name the class file RaygunConfigurator.cs and click Add.
 3. Make the RaygunConfigurator class implement the ISitefinityLogCategoryConfigurator class.
 4. Define the constructors and the fields.
 In this section of the code, the RaygunConfigurator constructor sets the default configurator and the configuration policy.
 5. Implement the ISitefinityLogCategoryConfigurator methods.
 In the Configure method, the name of the category is checked and, if it matches the configuration policy, the RaygunTraceListener is called. Otherwise, the default configurator is called to resolve the current category.
GITHUB EXAMPLE: For more information about the content of the file, see the RaygunConfigurator.cs file of the downloaded sample project.
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text:
1,650 (2004). Ethnic population: 1,800–2,000 (2012 SIL).
Eastern jungle between Napo and Curaray rivers.
The language is considered to be endangered due to emerging Huaorani-Quichua bilingualism brought about by mixed marriages and bilingual education programs taught by Quichua teachers who do not speak Huaorani (2007). All ages. A few also speak Quichua; mostly those who are married to Quichua and their children. (2007 C. Peeke).
"Auca", non-Quichua, in Quichua. Traditional religion, Christian.

source: HuggingFaceFW/fineweb-edu


School Employees May Give Insulin Shots to Children With Type 1 Diabetes, California Courts Rules
The California Supreme Court ruled that public school employees may administer insulin shots to diabetic students.
The court found that California law permits trained but unlicensed school employees to administer the shots when a school nurse is unavailable, which is increasingly common in public schools across the state.
The decision settles a legal battle between the parents of diabetic students, backed by the ADA, and the California Nurses Association, which maintains only licensed nurses should be allowed to handle the task in public schools.
The decision reversed an appeals court ruling that found state law does not permit unlicensed school personnel, such as teachers or administrators, to give insulin shots to diabetic public school students.
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Can anyone tell me why do I have attribute table text on my layers in ArcMap 10 and how I can get rid of those texts? I have no idea when the texts appeared into my workspace. I have been digitizing and copying and pasting polygons from layer to another. However, the texts seems not to be part of any layer because they stay on the screen even I chance the visibility of all my layers.
Printscreen-picture of my view
share|improve this question
Open a new mxd to where you drag your layers one by one. Then you can narrow down which layer the text is associated to, if any. You don't seem to have overly many layers, so shouldn't be too time consuming. – Martin Feb 12 '14 at 8:47
Thanks for the tip! That solved it! The text was not part of any layer (like I assumed) and didn't appear in the new mxd. – Blueridge Feb 12 '14 at 8:59
2 Answers 2
The text you see is the result of Paste operation. The most likely reason for that is that you had either created a report in ArcMap or copied rows from Attribute table by using Copy (or just Ctrl-C shortcut). This piece of data was stored in your operation system clipboard and when you were trying to copy/paste a layer in the table of contents or a feature, you have pasted what you had latest in the clipboard which were those rows.
You will likely be able to select this object by using the Select Elements tool on the Standard toolbar and then delete it.
share|improve this answer
+1 I think you've nailed the steps that would have led to the symptom seen. – PolyGeo Feb 12 '14 at 9:55
Not knowing the history of this map it is not possible to be certain, but from the description of what solved it, I would say that you were seeing Graphic Text that was created in your map at some point in time.
There is an Online Hep Page entitled Essential annotation and graphic text concepts that may be worth reviewing if you want to know more about Graphic Text (and Annotation).
If they are Graphic Text then they should be selectable for deletion (with the Delete key) by using Edit | Select All Elements.
share|improve this answer
Thank you all! The texts were indeed Graphic Text. I pasted some texts again for testing and I was able to delete the texts by Edit | Select All Elements (and Delete key). Much easier than dragging all layers to new mxd! – Blueridge Feb 13 '14 at 13:46
Your Answer


text:
The Wabasha Street Caves is an event hall built into the sandstone caves located on the south shore of the Mississippi River in downtown Saint Paul, Minnesota. The caves have been home to mobsters, speakeasies, and in more recent years have begun hosting a "Swing Night" on Thursday nights with live big-band music. The Wabasha Street Caves also provide historical tours of the sandstone caves in Saint Paul, Minnesota.Plan to see Wabasha Street Caves and other attractions that appeal to you using our Saint Paul travel app .
The caves, which technically are mines because they are manmade, are carved out of sandstone and date back to the 1840s. Throughout history the caves have been used for a number of different activities, including growing mushrooms, storage of food and belongings, music, and dancing.
In the 1920s, the caves were used as a restaurant and nightclub venue known as the Wabasha Street Speakeasy. The speakeasy was said to have been frequented by gangsters such as John Dillinger and Ma Barker, however there is no evidence that these visits occurred; thus, these stories are considered legend.
On October 26, 1933, Josie & William Lehmann opened the Castle Royal, which was built into the side of the caves. Castle Royal was closed in the late 1930s due to the start of World War II and went back to primarily being a place to grow mushrooms. Some time in the 1970s, Castle Royal 2 was opened as a venue for Disco music. The caves have also been used as a place of storage for debris and belongings that were washed up from flooding. Some of these things can still be found in the caves today.
Wabasha Street Caves Reviews
The D W and I both agree that to make this experience worthwhile that you need to take the 2 hour $30 gangster tour . The crowd was close to 100 on the cave tour but only 12 on the bus.Tons of cool tr... more »
The history in St. Paul is really quite unique and unmatched elsewhere! If you take a tour here, they will typically fill you in on some of it!! more »
We really enjoyed this! The tour was wonderful and very interesting! We plan to go back and try another one of their tours! You do need cash since they can't get wifi for credit cards. The location is close to other fun things and places to eat also.
Good tour, great staff. Lots of history there. Well worth the time an money.
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17 days in Saint Paul, Duluth & Minneapolis BY A USER FROM UNITED STATES August, teens, kids, culture, historic sites, museums, wildlife, popular sights PREFERENCES: August, teens, kids, culture, historic sites, museums, wildlife ATTRACTION STYLE: Popular sights PACE: Medium 1 day in Saint Paul BY A USER FROM UNITED STATES July, popular sights PREFERENCES: July ATTRACTION STYLE: Popular sights PACE: Medium 14 days in Saint Paul & Minneapolis BY A USER FROM UNITED STATES June, kids, popular sights PREFERENCES: June, kids ATTRACTION STYLE: Popular sights PACE: Medium 1 day in Saint Paul BY A USER FROM UNITED STATES April, popular sights PREFERENCES: April ATTRACTION STYLE: Popular sights PACE: Medium 8 days in The Minneapolis-Saunt Paul Area BY A USER FROM UNITED STATES September, culture, romantic, museums, fast-paced, popular & hidden gems PREFERENCES: September, culture, romantic, museums ATTRACTION STYLE: Popular & hidden gems PACE: Fast-paced 3 days in Saint Paul BY A USER FROM UNITED STATES November, popular sights PREFERENCES: November ATTRACTION STYLE: Popular sights PACE: Medium


text:
Research on Thermal Comfort of Crystal Sandstone Light Ceramics
The thermal properties of the crystal sandstone light ceramic products, nature sandstones, tiles and composite floorboards were analyzed and compared in detail by scanning electron microscope (SEM) and thermal simulation method. The results show that the different thermal properties are the main factors which lead to the different thermal comfort to these materials. It is analyzed in theory that the good thermal comforts of the crystal sandstone light ceramics are come from the low thermal conductivity and low density mainly. And the thermal simulation is a reference method on the thermal comfort research of architectural ceramics.
Dongye Sun, Wen-Pei Sung and Ran Chen
S. L. Zheng et al., "Research on Thermal Comfort of Crystal Sandstone Light Ceramics", Applied Mechanics and Materials, Vols. 71-78, pp. _PHONE_, 2011


What Is a Dripping Pan? + How to Clean It!
If you're a cook who likes a clean stove, grill, and oven, then you'll certainly love dripping pans.
As suggested by the name, a dripping pan is any container that catches the grease drippings of meat and poultry while it cooks.
Read on to find out everything you need to know about dripping pans.
What Is a Dripping Pan?
A dripping can refer to different kinds of pans. The first one is a metal pan that is typically fixed under the burner found in a gas or electric stovetop.
Another type of dripping pan is a large metal pan that you can place underneath a baking sheet when baking something in the oven.
This is the pan that will prevent the food from bubbling over and sticking to the sides and bottom of your oven.
It will also prevent the food from catching fire. Finally, grills also come with dripping pans that can catch grease drippings so that they don't affect your floor or coals.
Broiling pans also have a dripping pan that collects the fat and juices that drip off the meat and poultry.
Let's learn a bit about each type of dripping pan:
Stove Dripping Pan
Each burner on an electric stove has a dripping pan. Typically, your stove will come with attached dripping pans.
However, you need to replace these pans after every 6 months or one year. This is because food tends to burn and stick to these dripping pans, making cleaning difficult.
You can easily find them in most kitchen stores and are fairly affordable. You can also replace them quite easily.
These dripping pans are most commonly available in silver and black hues since these colors are better at hiding grease. You must also wash these dripping pans regularly to prevent food particles from accumulating on them.
Dripping Pans for Ovens
These types of drip pans are used in ovens to prevent food from overflowing onto the walls of your oven. These pans are specifically useful when baking dishes such as casseroles.
This is because they can bubble over and cause a sticky mess that will be difficult to clean up.
Food that you put under the broiler or in a roasting pan will also drip over in your oven if you don't use a dripping pan.
These dripping pans are commonly made of aluminum and are disposable.
You can also place a larger baking sheet under your casserole dish to catch the drips. Shallow and light cookie sheets also act as great dripping pans.
Using a dripping pan helps you decrease your post-cooking cleanup time. You can simply throw away the disposable pan.
Even if your pan is not disposable, you can wash it instead of scrubbing the inside of your oven.
Dripping Pans for Grills
Charcoal and gas grills also feature dripping pans. As mentioned earlier, these pans catch grease drippings that can potentially damage your patio or deck if they fall to the ground.
They are typically used when roasting or grilling food, such as ribs and roast.
These pans are typically larger than the ones available for ovens. They are made of aluminum and are quite easy to adjust inside the grill. You must remove and clean these dripping pans regularly.
This will help prevent any grease buildup. If you need to replace your pan, opt for a metal one instead of plastic. This is because plastic will easily melt if it comes into contact with hot grease.
What Is the Purpose of a Dripping Pan?
Dripping pans have many purposes. The first and most obvious one is to collect the drippings from ducks, ribs, and other fatty foods.
You can also use dripping pans for indirect grilling. Simply put the aluminum pan between the mounds of hot coal under your grate.
Then, fill it with water, herbs, wine, beer, marinades, and other flavorful liquids. Put your roast or ribs on the grill.
The liquids in the dripping pan will evaporate into palatable steam. This hot steam will slow-cook the meat and add mouthwatering flavors to it.
It will also ensure that the meat or poultry remains succulent during prolonged cooking.
You can also add all sorts of veggies, such as onions, potatoes, and celery into the mix as well.
The grease drippings from the poultry or meat will create a delectable mix of flavors that you can use with your food. When using a dripping pan for indirect cooking, just make sure that it doesn't dry out.
This will burn all your precious gravy. Simply add more hot water to the pan so that the liquid is at least an inch or two deep.
This will keep the food succulent as well. Furthermore, make sure to keep checking the pan during the slow-cooking process.
You can also use a dripping pan to collect the flavorful juices and fats from meat and poultry. You can then use these juices to make delicious stocks and sauces.
These pans are also used to prevent oil from coating coals and water during indirect cooking with water pans.
How to Clean a Dripping Pan with Stubborn Grease Buildup
When grease starts to accumulate on the dripping pan, it becomes a fire hazard. This is why you must clean your dripping pans regularly.
Here are the steps that you can follow to clean a dripping pan with stubborn grease buildup:
 1. Let the dripping pan cool completely and then remove it from the grill, stove, or oven.
 2. Submerge the dirty pan in your sink in hot water and let it soak completely for about 10 minutes.
 3. Drain the dirty water from your sink and pour some distilled white vinegar over the pan. This will help get rid of the baked-on food particles and stubborn grease.
 4. Let the pan sit in the vinegar for about 30 minutes.
 5. Sprinkle some baking soda on top of the vinegar.
 6. Let it sit for a minute or two and then use your fingers to rub it into the burnt-on crust.
 7. Allow the baking soda and vinegar blend to sit on the surface of the pans for at least 15 minutes. During this time, the burn residue will start to flake away from your dripping pan.
 8. After the designated time, drain the vinegar and baking soda mixture and use hot water to rinse your pan.
 9. Apply some more baking soda on the surface of the pan and rub it into the remaining stains as thoroughly as possible.
 10. Rinse the pan with hot water once again and use a towel to dry it thoroughly.
When Should You Change Your Dripping Pan?
You must change your dripping pan at least once a year. This is because when a drip pan is dirty with stubborn grease buildup, it becomes a safety hazard.
The biggest risk comes from the toxic fumes that can accumulate on the pan if you don't clean it regularly.
Burned meat juices and fat can be harmful to your health as well.
This is why you must remove your pan from the oven or grill when it's cool enough and clean it thoroughly. You can use hot soapy water to clean the fat drippings.
If the pan is too dirty, then you need to replace it. However, just be careful to find the perfect sized pan for your oven and grill. This is because an ill-fitted pan is also a fire hazard.
Difference between a Dripping Pan and a Water Pan
Many people confuse dripping pans with water pans. Dripping pans are typically placed right under your food to catch any grease or fat run-off.
This prevents the fat from hitting the flames and coals and reduces the risk of flareups.
Meanwhile, water pans sit directly on top of your heat source. Their primary function is to generate moisture and steam to prevent your meat from drying out.
You can also place a dripping pan above your water pan to prevent grease from hitting the water. This will ensure that the water continues to evaporate and keeps the meat succulent.
As mentioned earlier, you can also use a dripping pan for this purpose.
However, a water pan typically contains only water, while a dripping pan can contain a delicious concoction of liquids, which are used to add flavor to the food.
The Bottom Line
A dripping pan is a large pan that is typically made of metal and is used to prevent food drippings from bubbling over.
These pans are usually used to cook messy foods such as meats that have a lot of fat in them. You can also use them when baking dishes that bubble over and create a mess in your oven.
Typically, these pans are a part of electric stoves, gas and electric ovens, and gas grills. However, you can also use disposable dripping pans in your oven and grill.
You can easily find metal and plastic pans that will catch all the food drippings and prevent a mess.
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text:
Yesterday's post on the fears associated with Canada's anti-spam legislation focused on emails between extended family members. This post will examine personal relationships and the absurd claims that the current rules will stop everything from emailing a teacher to promoting a lemonade stand. Barry Sookman writes that the following would all likely be illegal under CASL:
- E-mailing or sending a BBM message to your child's teacher to ask him/her to tutor your child. A child emailing his/her teacher for the same purpose would also be illegal.
- A student e-mailing a student a year ahead to buy a textbook or a student trying to sell used textbooks to students in another grade.
- A mother sending out an e-mail to her daughter's friend to ask her to baby sit.
- A child soliciting a parent of a friend to shovel snow or mow a lawn for some extra cash.
- A child sending out emails to invite neighbors to buy a glass of lemonade at his/her lemonade stand.
- A person e-mailing neighbors on the street asking for a donation to fight a planned development or environmental threat.
- A parent teachers group e-mailing a school principal encouraging him or her to purchase new equipment or learning materials or to do a renovation that would enhance their children's learning or learning environment.
- A child e-mailing her parents friends to buy Girl Guide cookies or to sponsor her in a school event.
- Neighbors or acquaintances e-mailing each other to set up a carpool and to share the costs.
- E-mails sent out to acquaintances, colleagues, and business contacts asking them for sponsorship in a charitable event such as to raise money for cancer research or many other worthy causes.
- E-mailing an old friend who moved away and asking him/her to buy you hockey tickets so that both of you could see your home team when your visit.
- E-mailing an old friend you haven't spoken to in a while to help find a job or to ask for a referral or to tell the friend about your new job (and the products and services it sells).
- E-mailing an old classmate to ask if he/she would be interested in investing in a new venture you are starting.
The reality is that some of these examples are not even covered by the law without the need to delve into the regulatory exceptions. For example, the law only covers commercial electronic messages, which would likely exclude activities such as arranging a carpool. Commercial electronic messages require the encouragement of commercial activity, which the law defines as transactions, act or conduct that is of a "commercial character". As anyone who has arranged a carpool for their kids can tell you, a reasonable interpretation of non-commercial carpooling would find that it does not meet that standard (even with "shared costs").
The email from the mother to a daughter's friend to ask her to babysit is actually an inquiry as to whether the daughter is available to babysit (the daughter's friend is the service provider, not the parent) and subject to the inquiry exception. The law exempts commercial emails that are "sent to a person who is engaged in a commercial activity and consists solely of an inquiry or application related to that activity." In the event that the email is confirming a prior arrangement, there is likely consent for the message or coverage under an exception for information directly related to an employment relationship.
There are other examples that likely involve prior consent, such as emailing a child's teacher or school principal. Most of the remaining examples would be exempted by the personal relationships exception such as students emailing each other, old friends or classmates emailing one another, or neighbours exchanging emails.
The repeated reference to neighbours emailing each other is particularly odd. I know the email addresses of a few of my neighbours, but only the ones with whom I have a personal relationship. I am not aware of many neighbourhoods where everyone's email address is widely known such that emails go out promoting lemonade stands or local advocacy. Rather, most of that information is disseminated in physical form, specifically because the email addresses of all your neighbours isn't typically available. While there may be exceptions, those are likely instances where the community has actively requested the email addresses for use by the community (often going door-to-door), so those on the list have provided consent (or else it involves marketing companies linking various databases to map contact information on a geographic basis, which is precisely the kind of activity the law seeks to stop if there is no consent).
Applied to Sookman's example, the lemonade stand concern makes little sense. Emails sent to people in the neighbourhood will invariably meet the personal relationship requirement (or have consent) since there is no other obvious way to obtain those email addresses. Without such a relationship or consent, the sender simply doesn't have the necessary email addresses to send throughout the neighbourhood. So lemonade stands may be safe, but what of many other small and medium sized businesses? More on why the law does not represent a dire threat to those businesses tomorrow.


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Worth 1000: Is your photography supporting your firm's voice?
Worth 1000: Is your photography supporting your firm's voice?
If your law firm's name was not mentioned somewhere in your articles, on your website or on your advertisements, could people identify the material as coming from you? If a potential client came across one of your Facebook posts and one of your SlideShare presentations, would he or she recognize that each was produced by the same entity? If you met in person, would that encounter reflect the experiences that individual has already had with your firm online?
Hopefully, the answer to these questions is yes. Or, at least the answer is, "Yes, that is what our firm is trying to accomplish."
Producing content that is immediately recognizable is a tall order for law firms. Many attorneys will inevitably cover similar law-related subjects, and you will have to discuss many of the same topics as your competition. However, the way by which you present the material can vary greatly. Just because you have to talk about the same thing does not mean you must do it with the same voice. Marketers spend a lot of time talking about how your content should sound human. And it should. But equally important is giving that human personality and a voice.
What is a brand voice?
A brand voice is a consistent style that is created through the deliberate use of words, sentences and visual cues. Your firm's voice should reflect its unique personality. Your voice should help establish your firm as an identifiable and authoritative resource for your readers and ultimately for your clients.
Defining your voice
Think of your firm's personality as you would if you were considering a real person. Pick three to five words that describe this personality. For example: warm, outgoing and energetic. Or, aggressive, passionate and independent. Maybe, idealistic, creative and daring. Each of these combinations describes a very different person.
Next, think about how those characteristics can be represented through writing and symbolism. For example, if you have chosen "passionate," a guideline could be to always write in active voice. If you have described yourself as intellectual, set a standard of avoiding colloquialisms. If you are optimistic, pick images that use warm colors. Outline the do's and don'ts for each of your personality characteristics so that everyone at the firm understands how you are presenting your voice — and why.
In written content, brand voice is determined by a number of factors, including (but not limited to) sentence length, word length, word complexity, the use of first, second or third person, the use of contractions, tempo and level of formality. If one attorney at your firm always uses third person and another first or second, they will inevitably sound like two different authors. Your goal should be to eliminate that distinction.
Defining brand voice through visual cues
Your brand voice is not only defined by the words you write. It is also exemplified in the pictures and other visual elements you use.
Photography is an underutilized marketing resource for many firms. Choosing a picture to go with a blog post easily becomes an afterthought. Scheduling photo sessions, especially at larger firms, is challenging. Instagram and Pinterest were not created for law firms.
But humans are visual creatures. Pictures, colors and forms evoke emotions and solidify memories. Because of this, no brand voice guidelines are complete if they do not consider visuals.
Creating photo brand guidelines
Pictures that are associated with your firm should also adhere to guidelines. Write these guidelines down to make sure everyone responsible for picking and publishing images understands what they are looking for — including anyone who may be writing about your firm. Many large brands will publish a collection of acceptable images that may be used in stories about the company. This makes reporters' jobs easier and ensures the brand is accurately represented.
Here are some items to consider when creating photo guidelines:
1. Subject: You must first decide whether you would like to use pictures that predominantly show people, or whether you would rather use environments, or even objects. Within this specification, outline how these subjects should be shown. For example, if you are using people, will you show the whole person in context or use closely cropped images? Presenting a subject close-up gives a very different feeling than presenting a subject with a lot of breathing room. If you are using environments, should the pictures contain a lot of sky? Water? Neither? Will your pictures be posed, or will they show the subject in a natural environment?
2. Colors: Good pictures will have a distinct color palette. They may have one dominant color that is supported by similar secondary colors, or they may contain several complementary but contrasting colors. Either way, you should be able to pick two to four colors from the image that hold it together.
Photo guidelines can specify what types of palettes are acceptable. Should the colors in your pictures be complementary or contrasting. Should pictures contain a consistent, dominant color, and if so, what is that color?
3. Saturation and use of light: Light is everything in photography. Light will determine whether pictures are warm or cold, saturated or washed out, natural or artificial. Consider the type of light you want in your pictures. Do you want pictures to be intentionally oversaturated and full of light? Or, should the light be more balanced? Will you use photo manipulation tools to over or under-emphasize light? Should the light source be natural or artificial? Is it ever acceptable to use flash?
4. Feeling: Define the emotions you would like to produce with your pictures. (Hint: these emotions should match your personality.) For example, the University of California's guidelines say that photography should "reveal the excitement and energy of discovery and transformation." UCLA specifically states that pictures should convey "a sense of optimism and confidence." Pictures can reveal a broad range of emotions from energy to calmness, anticipation to security, friendliness to formality. Choosing pictures that evoke emotions that clash with your brand's personality and writing style is unsettling — even if readers or visitors cannot directly describe why. This is not the feeling you want them to leave with.
5. Depth of field: Depth of field is the range of distance between objects that are in focus and those that are blurry. If the subject is sharply in focus in the foreground and most of the background is blurry, the image has a shallow depth of field. If most of what is contained in the image is sharp, that image has a deeper depth of field.
6. Themes: UCLA's photography guidelines provide an excellent example of how to define a theme. They specify not only that pictures should contain a lot of natural light, but that pictures should have washouts and sun flares. They define how to show buildings (never close up) and tell people to use pictures that contain as much sky as possible, which reflects their brand's promise of "limitless opportunity." The sky and sunshine are clear themes that the university wants used in its pictures.
Make consistency easy
Consistency is the key to any brand-building activities, from writing to advertising to choosing and producing photography. To help everyone involved with the firm stay consistent, put guidelines in writing. As a resource, keep a database of high-quality images that can be used online and in print. If you use different service providers to produce written content and print or video advertising, make sure they communicate with each other. Give them the same tools. Ensure that everyone who speaks for your firm is using the same resources. Only then can you know you are speaking with a unified voice and building the authority your firm deserves.
Kristen Friend


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Through EMDS, decision makers can apply logical models of ideal ecosystem conditions against spatially referenced information and then prioritize the results for a maximum net benefit to the environment based on management constraints and opportunities.
EMDS integrates the logic engine of NetWeaver from Rules of Thumb, Inc. to perform create a logical model and perform various evaluations against it, and the decision modeling engine of Criterium DecisionPlus from InfoHarvest, Inc. for evaluating management priorities to create an application framework for knowledge-based decision support of ecological assessments. Logic processing in EMDS is performed by the NetWeaver engine. Data input to the engine is mediated by the EMDS Project Environment and ArcMap.
Logic models (knowledge bases) that describe logical relations among ecosystem states and processes are created in NetWeaver Developer. NetWeaver readily supports design of knowledge bases for the types of large, complex, and abstract problems typically posed by ecosystem management. Priority Analyst is a dynamic MCDA tool that extends the functionality of EMDS to include integrated planning. The Priority Analyst can be used for priority setting, resource allocation, and trade-off analysis once a particular analysis has been completed in EMDS. The process of MCDA involves ranking alternative actions based on how well each rates against a set of decision criteria. Priority Analyst includes a variety of diagnostic tools that help developers, users, and the general public, understand the basis for planning priorities.


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Research materials, photos, and other historical ephemera, specifically surrounding Marian Anderson's first performances at New York's Town Hall, was shared with Emmy and Peabody Award-winning director Rita Coburn, and producer Lynneisha Ray for the upcoming PBS American Masters documentary, "Marian Anderson: The Whole World in Her Hands," premiering in February of 2022. This new film explores the life, career, art and legacy of the African American contralto and civil rights pioneer in her own words using archival interview recordings. Marian Anderson's singing and speaking voice are heard throughout the documentary, providing new understanding of the woman behind the music.
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2nd International Conference on Strategies and Implication for Education and Technological Advancement
Road construction materials and vehicular emissions have been found to constitute the major sources of soil and air pollution. This study attempts to investigate the influence of road furniture and vehicular emissions on the accumulation of heavy metal in some of the roadside soil of Benin City, Edo State. The objective of this study was to determine the concentration of heavy metals such as Zn, Pb, Mn, Cr, Cd, Cu, and Ni from roadside soil around some selected roads in Benin City. Three locations were selected on the basis of their high concentration of vehicular traffic. A control site with no form of vehicular emission or road construction material pollution was selected outside these three locations. Samples were collected from April to June 2013. The concentrations of seven heavy metals in the samples were determined with an atomic absorption spectrometer, of which the result obtained indicates that the metals from the three sampled sites were higher than that in the control site, whereas the mean concentration of each of the heavy metal in the three locations except for Zinc and Nickel was below the European Union Regulatory Standard (EURS). Although these concentrations were below the European Union Regulatory Standard, these metals, which over time are washed by erosion into the local areas used for farming, may pose health hazards. The enhancement of fuel quality and the adoption of emission standards to mitigate the impact of vehicular emissions on human health should be made mandatory.
Key words: Heavy metals, soil, pollution.
Copyright © 2023 Author(s) retain the copyright of this article.
This article is published under the terms of the Creative Commons Attribution License 4.0


Sculpture Surface Gloss Requirements and Measurement
From:Linshang Time:2020/03/24 10:30:00 Browse:143
The gloss and color of the sculpture surface are two important appearance characteristics. If the sculpture surface lacks gloss, it will appear dull and old. In order to control the appearance quality of the sculpture, its glossiness needs to be measured with gloss tester.
1. What does the surface gloss of a sculpture mean?
It is often said that the surface gloss of a sculpture is the reflection under the condition that its surface is rough. The reflected light has a clear directionality, which is generally called specular reflection. Use this property in optical materials to achieve a variety of applications. However, the surface of most materials is not completely smooth, so when the light hits the rough sculpture surface, a considerable diffuse reflection occurs.
2. Sculpture surface gloss requirements
Different sculpture products have different requirements for their surface gloss. Manufacturers need to strictly control the gloss quality of products according to customer requirements.
 For urban sculpture, it is an art exhibition that records the history and culture of the city. In order to obtain a better appearance, strict requirements are required for its surface gloss and color. Whether the gloss is too high or too low, it will affect the overall display effect. To accurately evaluate the surface gloss of a sculpture, a special instrument is needed for measurement.
3. Gloss tester measures the surface gloss of sculptures
To measure the surface gloss of a sculpture, a gloss tester is used. Most gloss testers measure the specular reflectance of the object surface, that is, the specular gloss.
 Linshang LS192 gloss tester has real-time temperature compensation function. No matter what temperature environment, it can ensure the stability of the instrument, making the measurement results stable and reliable.
gloss tester
When using a gloss tester to control the surface gloss quality of a sculpture, users need to specify the measurement angle used by the instrument. Customers use the same instrument to measure and then compare the measurement results. The general angle on the market is a 60-degree angle. Like the general-purpose 60-degree gloss tester LS192 from Linshang Technology, the measurement range reaches 1000GU. High-gloss and low-gloss materials can be tested because gloss is a relative value. When there is no uniform standard in the industry, the LS192 gloss tester can be used for testing. If the industry has a uniform standard, it is best to use the same angle gloss tester for testing. Therefore, when selecting the measurement angle, you should choose differently according to different situations.
Tags: Gloss meter
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What is the mainstream ( if there is one ) interpretation of the Wheeler - Dewitt equation $\hat{H}\Psi =0$?
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It very important in theoretical physics, especially in quantum gravity. The Hamiltonian is a constraint in quantized general relativity. Unlike ordinary quantum field theory or quantum mechanics, the Hamiltonian is a first class constraint on physical states. We also have an independent constraint for each point in space.
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Definition from Wiktionary, the free dictionary
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aftertaste (plural aftertastes)
- A taste of something that persists when it is no longer present.
- The persistence of the taste of something no longer present.
- Many people think certain artificial sweeteners have an unpleasant aftertaste.
- Of wine, finish.
The persistence of the taste of something no longer present
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Artist gives brutalist architecture a singing voice
Brutalist architecture has gotten a bad rap over the years—so much so that Goldfinger, the villain of James Bond fame, was named after Ernő Goldfinger, an architect inspired by brutalism. Mo H. Zareei (aka mHz) is trying to fight back against this societal repulsion with his evocative sound sculptures. He's an Iranian electronic musician, sound artist, and music technology researcher, who is actively finding ways to use his interests in both brutalist architecture and noise to show how nuanced and poetic these two concepts can really be.
In his series machine brut(e), Zareei makes use of three sound sculptures rasper, Mutor and rippler, to make unusual audiovisual combinations. Each piece is a marriage between sound art and sculptural composition, accompanied by a concrete block to visually highlight the 'raw concrete' material and its links to brutalism. Zareei breaks down the different elements of brualist aesthetics which are compelling to him, as he says, "The monolithic appearance, visibility of material, valuation of crude concrete, strict geometries, repetitive modules, lack of nonfunctional ornamentation, these were all fundamental principles by which I have constructed my sound-sculptures."
Each piece is a marriage between sound art and sculptural composition
Zareei describes his childhood in Ekbatan, Tehran to Streaming Museum as growing up among "gray Lego-like giants," and speaks of the town and "the poetry of its parallel lines and right angles, its strict geometries, homogeneous grayness, and the perfection of its zigzag… a gracious haven of order and coherence in an enormous city of haphazardness." This background giving brutalist architecture an almost romantic sense undoubtedly affects Zareei's work, and allows him to express a perspective deeply contrasted to Ian Fleming's villainous portrayal, or the perceived mundanity and ugliness of the style.
Although the sound sculptures of this project may initially seem dull and monotonous, or even ugly and abrasive, if experienced in an open-minded and curious way, they can be incredibly and unexpectedly satisfying and poetic. Listening and watching Composition 0001 reminded me of tile floors and concrete, a turnstile moving with perfect flow. It also reminded me of oddly satisfying industrial processes (try to watch this muted, with Zareei's work below, playing in the background to get a sense of what I mean). As highlighted by The Creators Project, "Zareei's goal with the constant repetition is to create a "temporal monolithism" that matches brutalism's block-like aesthetics. The repetition is also designed to produce an 'instant audible structure'."
Zareei, speaking about the types of works that inspire him says: "it seems clear to me that the works of sound art and music that I am influenced by… can be summed up as the sensory experience of the conventionally non-interesting on a highly ordered and sensually accessible structure." This idea of the conventionally 'non-interesting' being sensually accessible, strongly comes through in his work, which will likely evoke a sensory reaction in all its viewers, in one way or another.
Mo H. Zareei is currently living in New Zealand, where he is pursuing his PhD research on noise music and mechatronics at Victoria University of Wellington. You can keep track of his work through his website and Facebook page


Problem 26
Let \(\phi\) be a \(3 \mathrm{cnf}\)-formula. An \(\neq\)-assignment to the variables of \(\phi\) is one where each clause contains two literals with unequal truth values. In other words, an \(\neq\)-assignment satisfies \(\phi\) without assigning three true literals in any clause. a. Show that the negation of any \(\neq\)-assignment to \(\phi\) is also an \(\neq\)-assignment. b. Let \(\neq S A T\) be the collection of \(3 \mathrm{cnf}\)-formulas that have an \(\neq\)-assignment. Show that we obtain a polynomial time reduction from \(3 S A T\) to \(\neq S A T\) by replacing each clause \(c_{i}\) $$ \left(y_{1} \vee y_{2} \vee y_{3}\right) $$ with the two clauses $$ \left(y_{1} \vee y_{2} \vee z_{i}\right) \quad \text { and } \quad\left(\overline{z_{i}} \vee y_{3} \vee b\right), $$ where \(z_{i}\) is a new variable for each clause \(c_{i}\), and \(b\) is a single additional new variable. c. Conclude that \(\neq S A T\) is \(\mathrm{NP}\)-complete.
Problem 27
A cut in an undirected graph is a separation of the vertices \(V\) into two disjoint subsets \(S\) and \(T\). The size of a cut is the number of edges that have one endpoint in \(S\) and the other in \(T\). Let \(M A X-C U T=\\{\langle G, k\rangle \mid G\) has a cut of size \(k\) or more \(\\}\) Show that \(M A X-C U T\) is NP-complete. You may assume the result of Problem 7.26. (Hint: Show that \(\neq S A T \leq_{\mathrm{P}} M A X-C U T\). The variable gadget for variable \(x\) is a collection of \(3 c\) nodes labeled with \(x\) and another \(3 c\) nodes labeled with \(\bar{x}\), where \(c\) is the number of clauses. All nodes labeled \(x\) are connected with all nodes labeled \(\bar{x}\). The clause gadget is a triangle of three edges connecting three nodes labeled with the literals appearing in the clause. Do not use the same node in more than one clause gadget. Prove that this reduction works.)
Problem 31
Consider the following scheduling problem. You are given a list of final exams \(F_{1}, \ldots, F_{k}\) to be scheduled, and a list of students \(S_{1}, \ldots, S_{l} .\) Each student is taking some specified subset of these exams. You must schedule these exams into slots so that no student is required to take two exams in the same slot. The problem is to determine if such a schedule exists that uses only \(h\) slots. Formulate this problem as a language and show that this language is NP-complete.
Problem 35
A subset of the nodes of a graph \(G\) is a dominating set if every other node of \(G\) is adjacent to some node in the subset. Let DOMINATING-SET \(=\\{\langle G, k\rangle \mid G\) has a dominating set with \(k\) nodes \(\\} .\) Show that it is NP-complete by giving a reduction from VERTEX-COVER.
Problem 38
Show that if \(\mathrm{P}=\mathrm{NP}\), a polynomial time algorithm exists that produces a satisfying assignment when given a satisfiable Boolean formula. (Note: The algorithm you are asked to provide computes a function; but NP contains languages, not functions. The \(\mathrm{P}=\mathrm{NP}\) assumption implies that \(S A T\) is in \(\mathrm{P}\), so testing satisfiability is solvable in polynomial time. But the assumption doesn't say how this test is done, and the test may not reveal satisfying assignments. You must show that you can find them anyway. Hint: Use the satisfiability tester repeatedly to find the assignment bit-by-bit.)
Problem 42
Consider the algorithm MINIMIZE, which takes a DFA \(M\) as input and outputs \(\mathrm{DFA} M^{\prime} .\) MINIMIZE \(=\) "On input \(\langle M\rangle\), where \(M=\left(Q, \Sigma, \delta, q_{0}, A\right)\) is a DFA: 1\. Remove all states of \(M\) that are unreachable from the start state. 2\. Construct the following undirected graph \(G\) whose nodes are the states of \(M\). 3\. Place an edge in \(G\) connecting every accept state with every nonaccept state. Add additional edges as follows. 4\. Repeat until no new edges are added to \(G\) : 5\. For every pair of distinct states \(q\) and \(r\) of \(M\) and every \(a \in \Sigma\) : 6\. Add the edge \((q, r)\) to \(G\) if \((\delta(q, a), \delta(r, a))\) is an edge of \(G\). 7\. For each state \(q\), let \([q]\) be the collection of states \([q]=\\{r \in Q \mid\) no edge joins \(q\) and \(r\) in \(G\\} .\) 8\. Form a new DFA \(M^{\prime}=\left(Q^{\prime}, \Sigma, \delta^{\prime}, q_{0}^{\prime}, A^{\prime}\right)\) where \(Q^{\prime}=\\{[q] \mid q \in Q\\}\) (if \([q]=[r]\), only one of them is in \(Q^{\prime}\) ), \(\delta^{\prime}([q], a)=[\delta(q, a)]\) for every \(q \in Q\) and \(a \in \Sigma\), \(q_{0}^{\prime}=\left[q_{0}\right]\), and \(A^{\prime}=\\{[q] \mid q \in A\\} .\) 9\. Output \(\left\langle M^{\prime}\right\rangle . "\) a. Show that \(M\) and \(M^{\prime}\) are equivalent. b. Show that \(M^{\prime}\) is minimal-that is, no DFA with fewer states recognizes the same language. You may use the result of Problem \(1.52\) without proof. c. Show that MINIMIZE operates in polynomial time.
Problem 43
For a cnf-formula \(\phi\) with \(m\) variables and \(c\) clauses, show that you can construct in polynomial time an NFA with \(O(\mathrm{~cm})\) states that accepts all nonsatisfying assignments, represented as Boolean strings of length \(m\). Conclude that \(\mathrm{P} \neq \mathrm{NP}\) implies that NFAs cannot be minimized in polynomial time.
Problem 44
A \(2 c n f-\) formula is an AND of clauses, where each clause is an OR of at most two literals. Let \(2 S A T=\\{\langle\phi\rangle \mid \phi\) is a satisfiable \(2 \mathrm{cnf}\)-formula \(\\} .\) Show that \(2 S A T \in \mathrm{P} .


Slurry Flow Rate Through a Mill
Slurry Flow Rate Through a Mill
The factors upon which the rate of flow of the pulp through a mill depends appear not to have received extensive investigation. In an article by Anselm translated by Pearson a method for the calculation of the time of passage of cement through a ball mill was given. The basis of the method is that the volume rate of throughput is known and it is assumed that the surface of the powder is coincident with the surface of the ball charge. It follows that the average throughput velocity is the quantity of flow divided by the area open to flow. From this average velocity the time for a particle to traverse the mill may be computed. This treatment does not, however, indicate whether, for a given rate of flow, the surfaces of the powder mil the ball charge will coincide or not. For example, with discharge by peripheral ports, it would be expected that the surface of the powder charge would slope quite sharply from the entrance to the exit end. With a trunnion overflow mill, however, by the nature of the design, a steep slope is precluded and there would be but a small "head" to maintain flow.
The small amount of evidence relating to the rate of flow through a rod mill which is available can again best be studied by the use of dimensional analysis. It would appear to be reasonable to expect that the mass rate of throughput Q tons per hour would depend upon the diameters of the mill, of the ball and the particle, D, d and b respectively, upon the length of the mill, L, and the speed of rotation, N. It would also be expected that the throughput would depend upon the kinematic viscosity of the pulp v, the density of the pulp σ, upon the exit diameter of the mill u and upon the mill filling J.
When the method of dimensional analysis is applied to these variables it is found that
ball-tube-and-rod-mills-dimensional
The kinematic viscosity of the pulp would doubtless depend upon the consistency of the pulp, the size of the particles in the pulp and on the cohesive properties of the solid materials when immersed in the liquid phase. Unfortunately there is not nearly sufficient published data to allow a complete study of this equation, but the data of Coghill and Devaney plotted in Fig. 6.9, indicate that the throughput varies directly as the mill filling, J, at least for values of filling up to 50%. Similarly, from Fig. 6.10, it would appear that the throughput varies directly with the speed of rotation, for speeds up to about 70% of the critical. At some point above this speed the curve would be expected to become horizontal, since at the critical speed the charge would be spread around the mill and horizontal flow would then be unlikely. Finally, it would be expected that the ratio of the average size of the passages between the grinding media to the particle size would be a controlling factor in the flow of the pulp; since if the particles are larger than the passage dimensions there is mechanical sieving, whilst, if the particles are relatively small, the flow would be limited only by the effective viscosity of the pulp.
Now, from the geometry of a bed of granular materials, the mean pore size is directly proportional to the particle size. Thus, the ratio (d/b) would be a controlling variable. This group is not inconsistent with equation (6.6) since (d/b) = (d/D) ÷ (b/D).
ball-tube-and-rod-mills-filling ball-tube-and-rod-mill-discharge
ball-tube-and-rod-mill-rod-diameter
It is improbable, however, that, in practice, the ratio (d/b) would exceed about 40-50, since this would give rods of excessively large size in relation to the particle. Thus, it is probable that the lower values of (d/b) on the curves of Fig. 6.11 would be relevant and, for this case, Q ∝ d/b.In Fig. 6.11 are plotted the quantities of flow through a rod mill, in terms of the diameter of the rods. A subsidiary scale also gives the corresponding values of (d/b) and it is seen that the rate of flow is substantially independent of the ratio of (d/b) when the ratio is greater than about 50. This result is in accord with a finding by one of the present authors, Rose and Barnacle, working on the flow of suspensions of solid materials through pipes, that the hydraulic resistance is independent of the particle size provided the ratio of (D/d), where D is the pipe diameter and d, the particle diameter, is greater than about 30 to 40.
Thus, insofar as there are the data available for the analysis, it appears that equation (6.7) can be reduced to
ball-tube-and-rod-mill-reduced
From equation (6.7) it is seen that, all other things being equal, the throughput should vary as D2.5. Unfortunately data for the verification of this equation are practically non-existent, but those given in Table 6.2 suggest that the observed throughput is roughly in accord with this expression.


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 MNL3-6TH
 Chapter 4 Analysis of Viscous Oils
 Published: Jun 1998
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 PDF (520K) 6 $25 ADD TO CART
 Abstract
 VISCOUS OILS are those petroleum fractions and derived products that have higher boiling points than distillate fuels and are liquid at, or slightly above, room temperature. They contain 20 to 50+ carbon atoms and distill at temperatures above 260°C (500°F). Examples include refinery streams such as gas oils and residuum, heavier fractions obtained from refining processes such as catalytic cracking, reforming, polymerization, solvent extraction, and hydro- and thermal cracking. Viscous oils include finished products such as lubricants, process oils, and insulating oils. Asphalt and coke are discussed only incidentally.
 Author Information:
 Warne, TM
 Committee/Subcommittee: D02.04
 DOI: 10.1520/MNL10825M