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When evaluating China's cheap Cast Iron Block Bearings, it is essential to consider key features and specifications to ensure optimal performance and value for money. Understanding these factors will help you make an informed decision and select the right Cast Iron Block Bearings that meet your specific requirements. In this article, we will explore the key features and specifications to consider when evaluating China's cheap Cast Iron Block Bearings.
Bearing type and design
The first factor to consider is the bearing type and design. Cast Iron Block Bearings come in various types, such as ball bearings, roller bearings, and spherical bearings. Each type has its own advantages and is suitable for different applications. Additionally, the bearing design, such as single-row or double-row, influences factors like load capacity and radial or axial loads. When evaluating cheap Cast Iron Block Bearings from China, it is crucial to consider the bearing type and design that best suits your application needs.
Load capacity and performance
Load capacity is a critical specification to assess when evaluating Cast Iron Block Bearings. It refers to the maximum load that a bearing can withstand without failure. Understanding the expected load conditions in your application will help determine the required load capacity. Additionally, factors such as speed, vibration, and temperature can impact the bearing's performance. Cheap Cast Iron Block Bearings from China should be evaluated based on their load capacity and ability to perform well under specific operating conditions.
Material quality and durability
Material quality plays a vital role in the durability and performance of Cast Iron Block Bearings. Common materials used in Cast Iron Block Bearings include cast iron, steel, and bronze. High-quality materials ensure the bearings can withstand heavy loads, resist wear and tear, and have a longer lifespan. When evaluating cheap Cast Iron Block Bearings from China, consider the materials used and ensure they meet the required quality standards for durability and performance.
Lubrication and maintenance
Proper lubrication is crucial for the smooth operation and longevity of Cast Iron Block Bearings. Lubrication reduces friction and prevents excessive heat generation, which can lead to premature bearing failure. When evaluating cheap Cast Iron Block Bearings from China, consider the lubrication requirements and compatibility with various operating conditions. Assess whether the bearings require periodic lubrication or if they come with built-in lubrication mechanisms for hassle-free maintenance.
Precision and tolerance
Precision and tolerance are crucial factors in bearing manufacturing. Precision refers to the tightness of manufacturing tolerances, ensuring accurate dimensions and smooth operation. Tolerance refers to the allowable deviation from the specified dimensions. Bearings with higher precision and tighter tolerances generally offer better performance and reliability. When evaluating cheap Cast Iron Block Bearings from China, consider the level of precision and tolerance to ensure they meet the required standards for your application.
Certification and quality control
Certification and quality control are essential considerations when evaluating cheap Cast Iron Block Bearings from China. Reputable manufacturers adhere to industry standards and have appropriate certifications, such as ISO 9001, to ensure consistent quality and reliability. Look for manufacturers that have robust quality control processes in place to ensure that their bearings meet the required specifications and perform reliably in real-world applications.
Cost-effectiveness and value for money
While considering the features and specifications, it is important to evaluate the overall cost-effectiveness and value for money of the Cast Iron Block Bearings. Assess the price of the bearings in relation to their quality, performance, and durability. It is essential to strike a balance between affordability and the desired features, ensuring that the chosen bearings provide value and meet your application requirements within your budget.
Comparison and evaluation
After considering the above factors, it is important to compare and evaluate different cheap Cast Iron Block Bearings from China. Analyze each bearing based on the outlined features and specifications, giving weight to the factors that are most relevant to your application. Consider the overall performance, durability, and compatibility with your specific requirements. By comparing and evaluating the options, you can make an informed decision and select the cheap Cast Iron Block Bearings from China that best suit your needs.
When evaluating China's cheap Cast Iron Block Bearings, considering key features and specifications is crucial. Assessing the bearing type and design, load capacity and performance, material quality and durability, lubrication and maintenance requirements, precision and tolerance, certification and quality control, and cost-effectiveness allows for an informed decision-making process. By understanding these factors and conducting thorough research, you can select the cheap Cast Iron Block Bearings from China that provide optimal performance and value for your specific application needs. Remember to prioritize quality, reliability, and compatibility to ensure the long-term success of your bearing selection.


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copyright Katherine Tyrrell
I've been doing a lot of thinking lately - especially as I drew my very handsome male shoveler duck in pen and ink - about needing to practice line drawing in a two value Notan sense if I'm going to have a go at lino-cutting.
I've decided to practice by reviewing how to convert photos into just two tones using the PS Elements Cut Out Tool so that I can see if I can develop a better "eye" for doing two tone work
First a quick reminder about what Notan is - plus some links to previous posts on this blog for readers not familiar with the concept.
Notan is a Japanese concept involving the placement of lights and darks next to the other to read as flat shapes on the two-dimensional surface. This use of lights and darks differs dramatically from the means by which artists had traditionally manipulated these elements to create seemingly three-dimensional forms on the picture plane.Some readers will recall I've written about this previously
Line melts into tone through the cluster of many lines. Direct study of tone-intervals begins with composition in two values - the simplest form of Notan.
Arthur Wesley Dow
- Georgia O'Keeffe Month: Learning about Notan #1 - which explains what Notan is
- Georgia O'Keeffe Month: Learning about Notan #2 - particularly instructive about processes for two value Notan and composing using Notan
- A little notan in the morning - an example in coloured pencils using (nearly!) two colours
- Georgia O'Keeffe Month: Learning about Notan #3 - which highlights the problems experienced when introducing colour into the design
So this post remedies that omission!
How to reduce a photo to a two value image
I'm also going to drop in one or two of the Arthur Wesley Dow's recommendations for how to make Notan work
focus first on ensuring that the line design works before beginning to darken certain shapes within the overall design with black
- Locate the cut out tool in PS Elements. This is one of the artistic filters. So the menu selection in PS Elements goes Filter/Artistic/Cutout.
- Note how many ways you can vary the cutout. There are three controls Number of Levels, Edge Simplicity and Edge Fidelity. I'll describe each in terms of what happens at the extremes.
- Numbers of Levels: There are eight levels. 1= one value/colour. 8 = 8 values and values/shades of grey between black and white
- Edge Simplicity: There are ten levels 1= picks up all the tiny marks; 10= extreme simplicity/very abstract/subject is unrecognisable
- Edge Fidelity: There are three options. 1 = simplest; 3 = most accurate. 2 looks like it might be a good level for lino-cuts
- Select a photo to adapt and create a two value image (for a linocut). (Squint!) Check whether it has interesting lines and whether the big value shapes are distinctive. Basically any mental screening you do is trying to identify pattern and balance and to imagine what it would look like with no colour.
- Save the photo with a new file name
- Select Image/Mode/Greyscale and convert to greyscale
- Start to play around with the three controls. While keeping the other two at mid points, check what happens when you take any of the to the two extremes. Make a note of what you find out and note what each does to value, shape and line.
- Repeat for each of the three controls
- Now select two levels to produce a two value image. Do a basic check on whether it looks like it still has the potential to be interesting.
- Then vary the simplicity of the edge. Find a level which looks like it could be feasible to draw and cut on lino!
- Then vary the difference of the fidelity and see what happens.
- Try varying fidelity first. Hold simplicity at 5 and then vary fidelity.
The realistic standard always tends to the decay of artI've got an example from a photo of my Shoveler. I liked the patterns in the water and thought the duck shape was also quite distinctive - but I wasn't sure how it would work when reduced down to two values and some fiddling with edges!
Arthur Wesley Dow, Composition
Here are the results.
- Numbers of Levels: 2
- Edge Simplicity: 5
- Edge Fidelity: 5
In version 2 I increased the simplicity (i.e. made it more faithful to reality) and then reduced the fidelity! It produces more slight lines which are areas of no line on the other two.
- Numbers of Levels: 2
- Edge Simplicity: 6
- Edge Fidelity: 1
In version 3 I reduced the simplicity and increased the fidelity
- Numbers of Levels: 2
- Edge Simplicity: 4
- Edge Fidelity: 3
Now can I do this by eye alone - or do linocutters also look to PS for help?
If you want to take a look at somebody who regularly does linocuts - take a look at Sherrie York's linocut gallery on her website and her blog Brush and Baren. I also recommend taking a look at her Great Crested Grebe Linocut and reading an excellent interview with her on Printsy - which I think one or two other lino cutting students have already spotted - hi Robyn!! ;)
Lino Cutting Note: My information site to store all my bookmarks for lino cutting is already in draft. Inevitable really - as soon as I started to look at equipment and materials! Any recommendations for links to useful sites will be much appreciated. I'll let you know when I start to cut!
Please leave a comment below (and a link to your example) if you have a go at using this technique.

source: HuggingFaceFW/fineweb-edu


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Sechelt Peninsula Wikipedia
The Sechelt Peninsula is located on the Sunshine Coast of British Columbia, just northwest of Vancouver. It is bounded to the west by Malaspina Strait (separating it from Texada Island), to the north by Agamemnon Channel (separating it from Nelson Island) and Jervis Inlet, to the east by Sechelt Inlet (separating it from mainland British Columbia), and to the south by the Strait of Georgia (separating it from Vancouver Island. Its approximately 350 km² is a mixture of drier and wetter temperate rain forest. The Caren Range extends north-south along the shore of Sechelt Inlet. The peninsula is a popular outdoor recreation destination, containing many lakes and opportunities for shoreline and woodland hiking, including to the renowned Skookumchuk Rapids. There are several parks, the largest of which is Spipiyus Provincial Park in the interior of the peninsula.
The population of approximately 28,000 is strung out along Highway 101, which generally traces the southern and western coastline. The major economic activities are tourism and logging.
There is just one incorporated district on the peninsula - Sechelt, located at the isthmus between Sechelt Inlet and the Georgia Strait. Other communities include:Earls Cove: Site of the ferry terminal to the upper Sunshine Coast communities of Powell River and Lund.

source: m-a-p/FineFineWeb


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Extending jQuery UI Widgets Revisited
This page is obsolete (it uses jQuery UI 1.5). Please see the updated page.
This is an updated version of a tutorial I wrote a bit back, improved thanks to conversations with Scott Gonzalez of the jQuery UI team. Thanks!
Avoiding Bloat in Widgets
A while back, Justin Palmer wrote an excellent article on "Avoiding Bloat in Widgets." The basic premise (no suprise to anyone whose ever dealt with object-oriented programming) is that your widgets should not do everything possible; they should do one thing well but be flexible enough to allow others to modify them.
He describes two ways of extending objects: subclassing and aspect-oriented programming (AOP). Subclassing creates new classes, while AOP modfies the methods of a single object. Both can be useful.
So let's make Palmer's Superbox widget (it just moves randomly about the screen with mouse clicks):
$.yi = {}; // create our namespace
var Superbox = {
 init: function(){
 var self = this;
 this.element.click(function(){
 self.move();
 });
 },
 move: function(){
 this.element.css (this.newPoint());
 },
 newPoint: function(){
 return {top: this.distance(), left: this.distance()};
 },
 distance: function(){
 return Math.round (Math.random()*this.getData('distance'));
 }
};
$.widget ('yi.superbox', Superbox);
$.yi.superbox.defaults = { distance: 200 };
I've factored apart a lot of the code, so we have plenty of "hooks" to use to extend the method without copying code. Note that none of the code refers to "superbox" directly, so we can create subclasses that don't know the superclass's name.
Experiment 1 (Click Me)
Subclassing Widgets
Now let's make a new class, supererbox, that moves rather than jumps to its new location. I'll use Douglas Crockford's prototypal inheritance pattern to simplify subclassing (you could use a fancier one like Dean Edward's Base, or manipulate prototypes yourself).
function object(o){
 function F(){};
 F.prototype = o;
 return new F;
}
$.widget.subclass = function (name, superclass){
 $.widget(name); // Slightly inefficient to create a widget only to discard its prototype, but it's not too bad
 name = name.split('.');
 var widget = $[name[0]][name[1]]; // $.widget should return the object itself!

 widget.prototype = object(superclass.prototype);
 var args = Array.prototype.slice.call(arguments,1); // get all the add-in methods
 args[0] = widget.prototype;
 $.extend.apply(null, args); // and add them to the prototype
 widget.defaults = object(superclass.defaults);

 // Subtle point: we want to call superclass init and destroy if they exist
 // (otherwise the user of this function would have to keep track of all that)
 if (widget.prototype.hasOwnProperty('init')){;
 var init = widget.prototype.init;
 widget.prototype.init = function(){
 superclass.prototype.init.apply(this);
 init.apply(this);
 }
 };
 if (widget.prototype.hasOwnProperty('destroy')){
 var destroy = widget.prototype.destroy;
 widget.prototype.destroy = function(){
 destroy.apply(this);
 superclass.prototype.destroy.apply(this);
 }
 }
 return widget; // address my complaint above
};
// allow for subclasses to call superclass methods
$.widget.prototype.callSuper = function(superclass, method){
 superclass = superclass.split('.'); // separate namespace and name
 return $[superclass[0]][superclass[1]].prototype[method].apply(this, Array.prototype.slice.call(arguments, 2)); // corrected from (arguments, 3)
};
// For the purposes of this demo, the above function was defined after we created superbox,
// so superbox does not include it. We'll include it manually
$.yi.superbox.prototype.callSuper = $.widget.prototype.callSuper;
And use it like this:
$.widget.subclass ('yi.supererbox', $.yi.superbox, {
 // overriding and new methods
 move: function(){
 this.element.animate(this.newPoint(), this.getData('speed'));
 },
 home: function(){
 this.element.animate({top:0, left:0}, this.getData('speed'));
 }
});
$.yi.supererbox.defaults.speed = 'normal';
The function signature is $.widget.subclass(name <String>, superclass <Object>, [newMethods <Object>]*), where you can use as many newMethod objects as you want. This lets you use mixin objects, like $.ui.mouse, that add a specific set of methods.
We now have a new widget called supererbox that is just like superbox but moves smoothly.
Experiment 2 (Click Me)
Calling Superclass Methods
If we want to use the superclass methods in our method, we use callSuper:
$.widget.subclass('yi.superboxwithtext', $.yi.supererbox, {
 move: function(){
 var count = this.getData('count') || 0;
 ++count;
 this.setData('count', count);
 this.element.text('Move number '+count);
 this.callSuper('yi.supererbox', 'move'); // note that we could just as well use 'yi.superbox' for the original, "jumpy" move
 }
});
Experiment 3 (Click Me)
Aspect Oriented Programming
Aspect oriented programming addresses some of these problems, by keeping a reference to the superclass method. New methods don't so much override the old ones as supplement them, adding code before or after (or both) the original code, without hacking at the original class definition.
We'll create a mixin object for widgets that's stolen straight from Justin Palmer's article:
$.widget.aspect = {
 yield: null,
 returnValues: { },
 before: function(method, f) {
 var original = this[method];
 this[method] = function() {
 f.apply(this, arguments);
 return original.apply(this, arguments);
 };
 },
 after: function(method, f) {
 var original = this[method];
 this[method] = function() {
 this.returnValues[method] = original.apply(this, arguments);
 return f.apply(this, arguments);
 }
 },
 around: function(method, f) {
 var original = this[method];
 this[method] = function() {
 this.yield = original;
 return f.apply(this, arguments);
 }
 }
};
And we use it just like we might use $.ui.mouse: $.widget('ns.foo', $.extend({}, {...methods for foo...}, $.widget.aspect) or, with our subclassing, $.widget.subclass('ns.foo-with-aspects', $.ns.foo, $.widget.aspect).
For example, let's say we have a cool plugin to make an element pulsate (I know, UI has a pulsate method that does this):
$.fn.pulse = function (opts){
 opts = $.extend ({}, $.fn.pulse.defaults, opts);
 for (i = 0; i < opts.times; ++i){
 this.animate({opacity: 0.1}, opts.speed).animate({opacity: 1}, opts.speed);
 }
 return this;
};
$.fn.pulse.defaults = {
 speed: 'fast',
 times: 2
};
And we'll create a version of supererbox that allows for AOP:
$.widget.subclass ('yi.supererbox2', $.yi.supererbox, $.widget.aspect);
And we'll create a superer


exact center of the top of the barrel.
 4. Take the engine block and hot glue it to the front of the barrel (over the words).
 5. Take red spray paint (a redish-maroon would work best) and spray the barrel and engine block.
 6. While waiting for that paint to dry, take the angled two PVC pieces and the two plastic covers.
 7. Cut holes in the centers of the plastic covers so that the PVC pieces will fit in snugly.
 8. Take the PVC pieces out and cut the outer edge of the plastic covers so that they can fit flat against the inside of the flashlight covers.
 9. Glue one plastic cover to each flashlight cover.
 10. Spray-paint both of them white.
 11. If your doll hands aren't white, spray paint them white too.
 12. While you wait for that paint to dry, take the Slinkys and PVC pieces.
 13. Attach each Slinky to a PVC piece. You can either risk using hot glue (this might gum-up the Slinky) or put sticky foil (as used for stained glass) on the end of the PVC and solder the Slinky to the PVC pipe. (I chose solder.) It's helpful to have someone assist with this step.)
 14. Take 1" pieces of wire and solder or glue them in a small loop to the top of each place where the Slinkys are connected to the PVC pieces.
 15. Drill a small hole in the upper wrist of each of the hands.
 16. Hot glue the hands to the Slinkys.
 17. In order to keep the Slinky from stretching all over the place during assembly, take some Scotch tape and tape it closed.
 18. Place the ends of each PVC arms into the hole in the shoulder assembly.
 19. Push the shoulder pieces down the arms to the curve in the PVC.
 20. Hot glue the PVC pieces to the barrel over the arm holes.
 21. Push the shoulder piece back up into place so it's as close as you can get it against the body.
 22. Hot glue the shoulder to the body.
 23. Touch up each point of exposed hot glue with white (or red) paint to keep it from showing.
 24. Paint the center part of the engine block silver. (The little knobs)
 25. Paint the tips of the engine block black.
 26. Drill three holes into the bowl that's used for his butt. The holes should be at 120 degrees to each other on the edge of the hole.
 27. With the barrel upside-down and the bowl on top, drill holes in the exact same positions on the bottom of the barrel.
 28. Using nuts and bolts, screw the bowl to the barrel.
 29. Stand back and admire Tom Servo's body!!! (Put his head on top for the complete effect...)
Step 4: Tom's Inner Secrets
 The Arms:
 1. Take two long sections of strong fishing line and tie each piece to the small holes you drilled in the upper wrist of each hand.
 2. Thread the fishing lines through the center of the Slinkys and through the wire loops which are attached to the PVC pipes.
 3. Thread both of the fishing line sections into the arm holes in the barrel.
 4. Tie both lines onto the plastic loop.
 This loop is what you can pull to make his arms flap. Releasing the loop will make his arms loose and floppy. Pulling it tight will make the arms stay tight. It's best to get the lines the correct length so that you can just put the loop over one of the screws in the inside of the bowl. When the loop is being held by one of the screws, his arms should be held tight in "display position".
 The Head:
 5. Take the 1.5 foot PVC pipe (as shown in the picture above with my hand) and place it inside the barrel with the female screw end at the top.
 6. Take the PVC connector (as shown in the picture with the thumb) and screw it through the neck hole and into the pipe in the barrel.
 You should now be able to use the pipe inside to turn the connector on the top. Servo's head will go on top of the connector.
 7. Fit the head on the connector piece.
 (WARNING! This is NOT as easy as it seems!) You'll still want the mouth to open and close. The connector piece will have to be melted and cut down on one side to allow the head to fit on straight AND to allow the mouth to move. There are no real exact measurements. You'll just have to cut away the connector piece so that the head fits.
 8. Attach Velcro to the inside of the head and the edges of the connector. This will allow you to easily remove the head if you want...but yet keep the head attached when it should be.
 9. In the inside of the far up as you can go, glue a small screw eye.
 10. Leaving the spring on the mouth, tie fishing line from the mouth, through the screw eye, and down the tube in the body.
 11. Place the head on the body.
 12. Tie the end of the fishing line which comes out the bottom to another plastic loop.
 This will control Servo's mouth. Pulling the loop will open his mouth. Releasing pressure will close it. All this can even happen while his head turns around 360 degrees!
PS: My Tom Servo is not for sale.
You can ask questions...but since this site has been unsupported for over two years, you will most likely be ignored. (Nothing personal, but I mean MST3K has been cancelled and we've moved on with our lives.)
Please don't ask where I found the parts. If they're easy to find, I already said so above. If they're hard to find, then I don't know where you can get them. (No...I don't know where you can get a barrel! Stop asking! ARRRGH!)
Copyright © _PHONE_,


text:
Modius Research Highlight: The Science of Measurement
Modius Solution Supports Data Center Management Best Practice as Highlighted in New Research Paper "The Science of Measurement"
"The Science of Measurement" explains some of the key considerations surrounding performance monitoring and measurements in data centers. The goal of the report is "to help data center managers (both IT and facilities managers) better understand the business value of measuring data center performance characteristics and the considerations that are important to developing a measurement scheme."
You can download a white paper (8 pages) summarizing the major findings of the report by clicking here.
According to the authors, the key lessons for data center managers are:
- Measurement is conducted to inform decisions on actions that can enhance a data center's business value by better accommodating growth, reducing costs, or increasing uptime.
- There are significant opportunities to improve efficiency through a continuous process of incremental changes, as well as through the more traditional "one shot" project-based approach.
- The business or strategic objectives of the measurement effort should drive measurement decisions, and having "the right data" is more important than simply having "more data."
- Data center managers should think carefully before beginning a monitoring program, so that the data collected will be maximally useful for judging operational performance and making decisions.
- After collecting data, managers should take action based on what they have learned. Managers should then continue collecting data to get feedback on the effectiveness of their actions.
- When evaluating potential monitoring systems, managers should examine multiple factors, including:
- Ability to collect data from all desired devices
- Granularity of data collection
- User friendliness and ease of integrating data across devices and time scales
- Scalability for mass deployment and multi-site capability
- Adaptability to new measurement needs
- Trending and analysis of data
- Integration with control systems
- Ability to detect problems and notify data center operators
Learn more in the 8-page white paper.

source: openbmb/Ultra-FineWeb


text:
Vertical cutting dryer is an important equipment in the oil drilling industry, used to process the large amount of drilling cuttings generated in the drilling process. The vertical cutting dryer can efficiently separate the drilling waste from the drilling fluid and dry it for recycling, thereby improving the processing efficiency and cost-effectiveness of the drilling fluid. In addition, the drilling waste dryer can also reduce the pollution of the drilling fluid to the underground environment and protect the environment.
GN Vertical Cuttings Dryer Specifications
||OOC ≤ 5%
|Screen Max Diameter
|Oil Tank Capacity
|Air Knife Input Pressure
|Air Knife Input Capacity
|Back Drive Motor
|Flushing Pump Power
||ExdIIBt4 / IEC EX/ ATEX
||2685 X 1290 X 1723mm
|The above specification and parameters for reference only.
GN Vertical Cuttings Dryer Features:
- Efficient processing: GN Vertical cutting dryer uses high-speed rotation and centrifugal separation technology to quickly and effectively process solid waste and liquid from drilling fluids, reducing waste generation and lowering processing costs.
- Environmentally friendly and energy-efficient: GN Vertical cutting dryer can recycle and reuse drilling fluids, reducing environmental pollution and resource waste, while also reducing energy consumption for waste treatment.
- Strong adaptability: The rotation speed and filter screen size of the GN Vertical cutting dryer can be adjusted according to the characteristics and processing needs of the drilling fluid, making it adaptable and able to handle different types of drilling fluid and waste.
- Easy operation: GN Vertical cutting dryer adopts an automated control system, which is easy to operate and can achieve remote monitoring and operation, improving work efficiency and safety.
- High G-Force: The drum of the cutting dryer is equipped with a high-speed centrifuge mechanism that generates a significant centrifugal force. This high G-force helps to accelerate the separation of solids from the drilling fluid.
- Adjustable Speed option: The cutting dryer typically has an adjustable rotational speed for the drum. This feature allows operators to optimize the separation efficiency based on the specific drilling conditions and the characteristics of the cuttings. helps to maintain the quality and performance of the drilling fluid, leading to improved drilling efficiency.


text:
Phase equilibria in the La - Mo - Se system at in the vicinity of and
Abstract:Phase relations prevalent in the La - Mo - Se system at in the vicinity of the ternary (Chevrel) phase and of the binary phase, have been established. Characteristic features of this system are as follows:
(i) Two isostructural, but mutually immiscible, solid solutions covering considerable compositional intervals exist. One of them, defined as La-intercalated, spreads over a triangular surface, with its origin at the binary and developing into the ternary system, as far as La. One edge of this triangle points towards the isostructural ternary phase. The second three-component solid solution is based on the Chevrel-type phase and takes the shape of a rectangular surface about 2 at% La wide, with 6.67 at% La as the mean value. The domain runs along the line, from x = 0 (40 at% Mo), characteristic of the exact stoichiometry 1:6:8, to x = 0.75 (45 at% Mo).
(ii) The continuous solid solution of the type, expected to occur between the binary and the ternary, is absent.
The domains of both solid solutions have been established using x-ray powder diffractometry and the evolution of the critical temperatures characteristic for each of the phases.
Document Type: Miscellaneous
Affiliations: 1: Institute for Low Temperature and Structure Research, Polish Academy of Sciences, PO Box 937, 50950 Wroclaw, Poland 2: Chimie du Solide et Inorganique Moléculaire, Université de Rennes 1, URA CNRS 1495, 35042 Rennes Cédex, France
Publication date: December 1, 1996


Miguel Bruns Alonso, a student from the Netherlands' Delft University of Technology, has conceived a prototype pen that can measure and reduce the level of the user's stress.
The anti-stress pen features motion sensors and built-in electromagnets that react to the person's nervous system and detect stress. The pen was able to reduce the rate of heart fall by an average of five percent in an experiment performed on various persons.
Miguel Bruns Alonso's anti-stress pen is truly an important accessory in the busy modern world.


text:
Who made this product: Basha
The founder of Basha knew she had to do something when she met women living on train stations in Bangladesh, selling their bodies to survive. Today, Basha is part of a long-term programme whereby women can leave the sex industry and access education, medical support, counselling, and finally employment making beautiful jewellery which is sold all over the world. Each purchase of Basha jewellery means you're supporting a woman in Bangladesh who now has an alternative source of income to the trauma and degradation of working in the sex industry. In the Bengali language, 'basha' means house and 'asha' means hope. Committed to Fair Trade principles, they are truly building a 'house of hope' for women – many of them mothers - escaping trafficking and sex work.


L5r: Legend of the Five Rings
Kakita Isako
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Kakita Isako was a renowned bladesmith of the Crane Clan. Alongside with Asahina Yuri, a crafter of nemuranai, the two woman sought the unique weapon known as Dragon's Claw Katana, which was in the hands of Daidoji Kedamono's descendant. After several months of careful observation, they fashioned eight copies of the original sword, two for each of the families of the Crane. They took three years to complete the weapons, and the toll was so grat that both were found unconscious the morning after their work was finished. The "patronesses of the blade" had aged 50 years overnight. Those whose actions would dishonor the Crane caused the weapons to bend and warp into useless pieces of metal. [1]
 1. Prayers and Treasures, pp. 123-124
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text:
| Volunteer Fire Assistance
Congress has determined that the protection of rural areas and rural communities from fire is of national interest therefore, there is a Federal role.
The purpose of the Volunteer Fire Assistance (VFA)
Program, formerly known as the Rural Community Fire Protection (RCFP)
Program, is to provide Federal financial, technical, and other assistance
to State Foresters and other appropriate officials to organize, train
and equip fire departments in rural areas and rural communities to prevent
and suppress fires. A rural community is defined as having 10,000 or less
population. This 10,000 population limit for participation in the VFA
Program facilitates distribution of available VFA funding to the most
needy fire departments.
In spite of the abundance of nearby water, Missouri homes on the Lake of the Ozarks could be threatened if wildland fire strikes. Local, volunteer fire departments are the first line of defense for these houses nestled among the trees.


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The CIOB Code of Practice Programme Management for Construction & Development is intended to complement the popular CIOB Code of Practice for Project Management for Construction and Development, providing practical coverage of general processes and procedures to be followed when managing a construction programme or portfolio of projects. It sets out the necessary requirements for effective and efficient programme management, but is not intended to be a manual of operating procedures for the manager of such programmes.
Solar Power Generation Problems, Solutions, and Monitoring is a valuable resource for researchers, professionals and graduate students interested in solar power system design. Written to serve as a pragmatic resource for solar photovoltaic power systems financing, it outlines real-life, straightforward design methodology. Using numerous examples, illustrations and an easy to follow design methodology, Peter Gevorkian discusses some of the most significant issues that concern solar power generation including: power output; energy monitoring and energy output enhancement; fault detection; fire and life safety hazard mitigation; and detailed hardware, firmware and software analytic solutions required to resolve solar power technology shortcomings. This essential reference also highlights the significant issues associated with large scale solar photovoltaic and solar power generation technology covering design, construction, deployment and fault detection monitoring as well as life safety hazards.
A new edition of Francis D.K. Ching's illustrated guide to structural design Structures are an essential element of the building process, yet one of the most difficult concepts for architects to grasp. While structural engineers do the detailed consulting work for a project, architects should have enough knowledge of structural theory and analysis to design a building. Building Structures Illustrated takes a new approach to structural design, showing how structural systems of a building such as an integrated assembly of elements with pattern, proportions, and scale are related to the fundamental aspects of architectural design. The book features a one-stop guide to structural design in practice, a thorough treatment of structural design as part of the entire building process, and an overview of the historical development of architectural materails and structure. Illustrated throughout with Ching's signature line drawings, this new Second Edition is an ideal guide to structures for designers, builders, and students. * Updated to include new information on building code compliance, additional learning resources, and a new glossary of terms * Offers thorough coverage of formal and spatial composition, program fit, coordination with other building systems, code compliance, and much more * Beautifully illustrated by the renowned Francis D.K. Ching Building Structures Illustrated, Second Edition is the ideal resource for students and professionals who want to make informed decisions on architectural design.
This up-to-the-minute reference comprehensively covers the behavior and design of cold-formed steel structures, connections, and systems-describing the latest edition of, and amendment to, the American Iron and Steel Institute (AISI) Specification for the Design of Cold-Formed Steel Structural Members published in July 2000, which governs the design of all cold-formed steel structures, including roof, wall, and rack systems, and cold-formed steel residential construction in the USA. Offers worked examples which can be programmed using MATHCADTM or EXCELTM as well as useful references in every chapter Cold-Formed Steel Structures to the AISI Specification details contemporary applications for steel storage racks and metal construction of roof and wall systems buckling modes of thin-walled members effective width equations for stiffened or unstiffened flanges, partially stiffened elements, and webs with holes state-of-the-art methods for bracing channel and zee sections against torsional and lateral deformations and more With over 700 references, equations, tables, drawings, and illustrations, Cold-Formed Steel Structures to the AISI Specification is an authoritative reference for civil, structural, project, design, materials, and industrial engineers; and upper-level undergraduate and graduate students in these disciplines.
The contents of the book will highlight the differences between the design and engineering disciplines - strengths and flaws. It will also illustrate examples of interdisciplinary interactions. Any false dichotomies will be revealed and the many non-linear processes borne out of challenging conventions between traditional and new modes of practice will be revealed. Projects based on a body of experience spanning many years will be selected to support experimentation that goes beyond an undisciplined search for originality, innovation and creativity. In addition to writings from Hanif Kara and Daniel Bosia contributions will be sought from specialists in the field who have played a role in the operations of P.art(R) at AKT II - past and present - qualifying them to disseminate and distribute a particular form of 'knowledge'. Features work of architectural practices: Adjaye Associates, Foster + Partners, Heatherwick Studio, HOK, Serie Architects, Wilkinson Eyre Architects and Zaha Hadid Architects. In addition to AKT II, it will encompass the work of engineers and engineering consultants such as: Arup, Cecil Balmond, Buckminster Fuller, Buro Happold, Pier Luigi Nervi and Peter Rice.
As with all previous editions of Project Management in Construction, this sixth edition focuses on systems theory as the approach suitable for organizing and managing people skilled in the design and completion of construction projects. It discusses the many competing paradigms and alternative perspectives available, for example in relation to differentiation and integration, as well as the emerging study of temporary organizations and its relevance to construction project management. Whilst encompassing the need to develop further theoretical aspects of construction project organization theory, this edition has also enhanced the application of organization studies to practical issues of construction project management. More emphasis has been placed on the added complexity of construction project management by issues surrounding clients and stakeholders, and the control and empowerment of project participants. Additional focus has been placed on sustainability issues as they impinge on construction project management, on reworked views on supply chain management and on developments in partnering, together with clarification of the shifting terms and definitions relating to construction organization structures and their uses.
Concrete? That characterless stuff of parking lots or Communist tower blocks, right? Well, yes. And no. Concrete is actually a name applied to a remarkably wide range of building substances, and, when properly handled, is one of the noble materials of contemporary architecture. A kind of "liquid stone" at the outset, it is malleable, durable, and capable of prodigious feats of engineering. This Bibliotheca Universalis edition highlights the best work done in concrete of recent years. It includes such stars as Zaha Hadid, Herzog & de Meuron, and Steven Holl, but also surprising new architects like the Russians SPEECH and artists such as James Turrell, who turned the famous concrete spiral of Frank Lloyd Wright's Guggenheim in New York into the setting of one of his most remarkable pieces.
This volume elucidates the design rules for connections in steel and composite structures which are set out in Eurocode3 and 4. Numerous examples illustrate the application of the respective design rule.
Modernisation, Mechanisation and Industrialisation of Concrete Structures discusses the manufacture of high quality prefabricated concrete construction components, and how that can be achieved through the application of developments in concrete technology, information modelling and best practice in design and manufacturing techniques.
This book describes principles, industry practices and evolutionary methodologies for advanced safety studies, which are helpful in effectively managing volatile, uncertain, complex, and ambiguous (VUCA) environments within the framework of quantitative risk assessment and management and associated with the safety and resilience of structures and infrastructures with tolerance against various types of extreme conditions and accidents such as fires, explosions, collisions and grounding. It presents advanced computational models for characterizing structural actions and their effects in extreme and accidental conditions, which are highly nonlinear and non-Gaussian in association with multiple physical processes, multiple scales, and multiple criteria. Probabilistic scenario selection practices and applications are presented. Engineering practices for structural crashworthiness analysis in extreme conditions and accidents are described. Multidisciplinary approaches involving advanced computational models and large-scale physical model testing are emphasized. The book will be useful to students at a post-graduate level as well as researchers and practicing engineers.
This reference/text offers a systematic and unified approach to the classical theories and recent techniques of multilayered aquifer systems-clarifying governing principles and facilitating industrial problem solving. Uses the automated numerical Laplace inversion procedure to simplify mathematical material Multilayered Aquifer Systems progresses from the non-leaky and leaky aquifers of Theis, Cooper-Jacob, Jacob-Lohman, Papadopulos-Cooper, Hantush-Jacob, and Hantush-Neuman to the multilayer aquifer theory of Neuman-Witherspoon-Herrera treats sensitivity and stochastic analyses utilizes the latest computer methods for parameter determination examines groundwater with fractured aquifers encourages application of theories by supplying specialized tools based on Fortran programs and macro packages for MathematicaT and much more Referenced and illustrated with over 860 literature citations, drawings, and tables, Multilayered Aquifer Systems is an excellent reference and self-study companion for civil, environmental, groundwater, water supply and resource, and agricultural engineers; hydrogeologists and geologists; and an invaluable text for graduate and continuing-education students in these disciplines.
The leading wood design reference-thoroughly revised with the latest codes and data Fully updated to cover the latest techniques and standards, the eighth edition of this comprehensive resource leads you through the complete design of a wood structure following the same sequence used in the actual design/construction process. Detailed equations, clear illustrations, and practical design examples are featured throughout the text. This up-to-date edition conforms to both the 2018 International Building Code (IBC) and the 2018 National Design Specification for Wood Construction (NDS). Design of Wood Structures-ASD/LRF


Bunyan and Banjoes (with CD)
Bunyan and Banjoes is an enchanting potpourri of folklore, songs, Indian legends, recipes, history, and other Michigan-based activities. This volume includes stories about how maple sugar is made; the history of the early fur trade, mining, logging, and automobile industries; the building of the Mackinac Bridge and the Soo Locks; the sad loss of the steamer Chicora; as well as several songs adapted to sign language. CD of songs included.


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Definition of Aminomethylphosphonic acid (AMPA):
Aminomethylphosphonic acid is mainly produced by environmental biodegradation reactions of the herbicide glyphosate[1].
This is the common definition for Aminomethylphosphonic acid (AMPA), other definitions can be discussed in the article
Notes
Category:Stub
AMPA
AMPA
Formula
CH6NO3P
Currently very little is known about AMPA. It is formed by biodegradation of the herbicide glyohosate. Compared to glyohosate; present at lower concentrations in the environment, although it's more stable, it adsorbs more strongly to soils and might have a higher tendency towards bioaccumulation. Glysphosate itself however is not expected to bioaccumulate much because of its higher water solubility[2].
Measured concentrations of AMPA in surface waters range between 6 and 35 µg/l [3].
Environmental standards and legislation
Included in the water framework list of priority substances
References
 1. Canadian Department of Pesticide Regulation 1998 ENVIRONMENTAL FATE OF GLYPHOSATE
 2. _URL_ August 20 2009
 3. _URL_ August 25 2009.
The main author of this article is Daphnis De Pooter
Please note that others may also have edited the contents of this article.


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1. An overwhelming feeling of fear and anxiety
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The air quality has been fair to poor this week, according to the monitoring carried out by the General Directorate of the Environment in Torreón.
Sampling is carried out per week and on an average of 24 hours. In the measurement of particles smaller than 10 microns (PM10), the R. Mijares station yielded a result of 154 micrograms per cubic meter, which based on the Official Mexican Standard 025-SSA1-2021, on the air and health index, equates to poor quality.
The station close to the DIF system gave a measurement of 67, which is almost on the border between Fair and Bad, while the one located in Hecat gave 83 micrograms per cubic meter, also Bad.
The NOM indicates that the air quality is Good if the PM10 are located in a range of 0 to 50; Regular if they are between 51 and 70; Bad if they are from 71 to 155; Very Bad if they are between 156 and 235; and Extremely poor when they exceed 236 micrograms per cubic meter.
During the first week of June, the air quality in Torreón had been in the range of Good to Bad.


Light-Camera-Glitter Simulation
In one of my last blog posts, I discussed the preliminary results of trying to optimize for both the camera & light locations simultaneously. I have been working on a simulation of our geometry to try and understand this better. To recap, it seems that there is a slight ambiguity in the position of the light and camera, in that they can move slightly along two rays and still give a lower error. One thought is that it is an error in how we are modeling the light and the gaussian receptive field of the glitter. Another thought is that it may have to do with the fact that our light is not a point light source, but rather a small square; so we don't quite know what part of the light a glitter piece sees. More likely is that it some combination of these two issues.
In this blog post I want to highlight where I am in the simulation, and what it shows so far. I simulate 10,000 pieces of glitter that lay on a place, each with a surface normal corresponding to some random screen location. 500 of them (chosen at random), however, have surface normals that allow the glitter to see the simulated point light and the simulated camera. For those that 'see' the light, I give them intensity values of 1, and give intensity values of 0 for all of the rest.
I then compute the predicted intensities for each glitter pieces using a few different gaussian values for the light and the glitter receptive field. Below, the non-yellow rays are the pieces of glitter that have actual intensity values of 0, but predicted intensity values between 0.1 and 1.
The above images are made using a light gaussian size of 5 and a glitter receptive field of 40. As the predicted intensity gets higher, the rays getting lighter (and farther away from the camera), which is exactly what we would expect to happen in this system.
Next, I am adding in the actual 'optimization' part of the simulation. As a first pass, I will just optimize for everything (including light and camera) and see what happens. In doing that, I hope to understand what parameters to tune, and I can start fiddling with the way in which I am predicting intensities and how I am modeling receptive fields.
Exploring 3D Light Location as an Optimization Parameter
The second thing I am spending time this week working through is adding the light location as a parameter that can be optimized over in the calibration. This involved adding a new flag indicating if we treat the light location as known or not, and if we treat it as unknown, then we optimize for the light location in steps 1 & 3 of the 3-step optimization.
In order to make this task as 'easy' as possible, I am only optimizing for translation, rotation, focal, gaussian and light location (everything I did for WACV + light location), and I have not changed the RANSAC protocol to include the fact that the light is unknown. I also initialized the light location to be the correct light location. This blog post will focus on the results of this calibration run.
The main thing I notice is that the camera and light seem to be able to both move slightly, as if they were each attached to a string, one on each end, that was on a pulley in the middle.
The upper image shows a birds-eye view of the setup, with the monitor on the left and the glitter on the right. The bottom image shows the view of the setup looking at it from the side of the table (looking towards the drones). The dotted-line frustum is the GT camera location and zoom, while the red-outlined frustum is the optimized camera location and zoom. The blue circle is the GT location of the center of the square of light displayed on the monitor, and the magenta circle is the optimized location of the center of the light.
The main thing I notice here is that the optimized camera is millimeters closer to the glitter, along the axis in line with the lens. Meanwhile, the optimized light is millimeters farther from the glitter, almost straight back (and slightly lower).
Here we can maybe see why this is the case (again from a birds-eye view of the setup). We are treating the light location as a point light source with some gaussian (which may not be the most accurate representation of our light). So, while all of the rays may fall within some small 'square of light' on the monitor, they actually more-or-less intersect close to a point a little further behind, and in this case even below, the point on the monitor where the light actually was.
This leads me to believe that I need to take a look at the method by which I am using the gaussian representation of our light, and think about how we can represent our light more accurately. Or maybe we need an even smaller light source (more like an actual point light). Something to think about for the re-implementation of the setup!
Correcting for Checkerboard Thickness
One of the potential (definite) sources of error that we found in our exploration of camera calibration over the last several months is the thickness of the checkerboard – the checkerboard does not lie in the same plane as the glitter sheet, even when we place the checkerboard directly on the glitter. This is a factor that I had not considered at all, and it was brought to my attention recently. This is something that we will address in the next iteration of the calibration setup, but for now I want to try to correct for this in the measurements I have. In order to compute the camera location in 3D world coordinates, we implement the following process…
 1. Take ~25 pictures of the checkerboard in various/random orientations, 1 of which is a picture of the checkerboard sitting straight and flush against the glitter:
2. Find 3 orthogonal points on the checkerboard in order to establish a coordinate system for the checkerboard, shown in green/red (red just to help me know which is the upper left):
3. Map these 3 points into our glitter coordinate system using a homography:
4. Compute the 3D world coordinates of these 3 points – now these 3D coordinates are in the plane of the glitter, which is ~3mm behind the plane of the checkerboard. Herein lies the problem.
Gut Check: We know the squares are 24.5mmx24.5mm. When I compute the 3D locations of the 3 points shown above, I get the x-distance from upper left to upper right to be 98.8 (that actual distance on the checkerboard is 98). I get the y distance from upper left to lower left to be 74.0653 (that actual distance on the checkerboard is 73.5). I also compute the dot product between the two 'axis' vectors formed by the 3 points, and get -0.0021 (so they are almost orthogonal).
The MATLAB Camera Calibration Toolbox gives me a location of the camera relative to the checkerboard. I then do a change of coordinate system in order to get this camera location in world coordinates. So, if the checkerboard is being treated as being in the plane of the glitter sheet (which it is), then my relative location of the camera will be computed to be ~3mm closer to the glitter sheet than it actually is.
I think I can just subtract ~3mm from the x coordinate of the 3D location of the checkerboard points, and then compute the camera location in 3D world coordinates as I was before. The y-coordinate and the z-coordinate don't change since the checkerboard is flush with the glitter sheet (and the glitter sheet lies flat in the y-z plane). So then this effectively gives a camera location that is ~3mm behind where the checkerboard gives as the location.
My understanding then is that I will need to re-run characterization using this new camera location, and then use this new characterized data to run calibration. This seems too simple — I'll end my post here and leave it open to comments about my reasoning.
Full Camera Calibration
 - Translation: Ray intersection of consistent glitter
 - Rotation: Looking along the world coordinate system x-axis ([\frac{\pi}{2}, \frac{-\pi}{2}, \frac{\pi}{2}])
 - Focals: [10000, 10000] — this is the middle of the range of the lens we are using
 - Image Center: The actual center of the calibration test image
 - Distortion: [0, 0] — different idea is to do a quick & dirty grid search over possible distortion values and choose the best as the intialization
 - Skew: Trying various fixed values…the next portion of this post focuses on this
Below is a table with results for the calibration run using a different fixed values for the skew. All other initializations are as described above.
As you can see, the values for translation, rotation, focal and gaussian (all of the parameters from the original calibration) are relatively consistent for each experiment. However, there is quite a bit of variation in the skew and the distortion parameters.
During the second and last steps of the optimization, I am computing the 'CALTag Error' in which I compute the reprojected image coordinates of the caltags and the consistent glitter, undistort them, and then compare these to their actual image coordinates. This is where the distortion parameter gets used. During this same 'CALTag Error' process, I am using the calibration matrix, K=\begin{bmatrix}f1 & s & cx\\0 & f2 & cy\\0 & 0 & 1\end


What is DeMolay?
Is DeMolay a religious organization?
No. Among the requirements for membership in DeMolay is the belief in a Supreme Being, but not one of any particular doctrine, sect, or denomination. A young man's religious convictions are his own. DeMolay's members include Christians, Jews, Hindus, Buddhists, and members of many other religious groups. DeMolay does not involve itself in religious discussions. It merely recognizes the importance of faith in the lives of young men. The virtue of Reverence for Sacred Things seeks to remind our members to rely upon, and use, faith in their own personal lives.


Transformer Example Index: | 1 | 2 | 3 | 4 |
02: Tran_Differential
Tran_Differential Definition download .ghx
In this sample, a vertical axes is linked to multiple axes at 90 degrees to the vertical axis. The horizontal rotations are a function of the vertical rotation. The modeling process is straightforward. To clarify the geometric structure, each successive coordinate system is displaced by a small amount. Reducing this amount to zero brings all objects to a central point.
The Z-axis of the differentialCS coordinate system defines the vertical axis. ... more on Design Patterns CA
Tran_Differential Manipulations
Tran_Differential Manipulations


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Let $A$ be a non-empty set and consider $S(A)$ the set of all bijective functions from $A$ to itself, with composition as group operation. Fix $a_0 \in A$. Define $H = \{f \in S(A): f(a_0) = a_0\}$. Prove that $H$ is a subgroup of $S(A)$.
does this tell me $a_0$ is an identity or that $f(a_0)$ is an identity? I am assuming I need to use something to do with subgroup theorems but I am having trouble understanding how to use these.
Ok that makes more sense since $f(a_0)$ = $a_0$ and $g(a_0)$ = $a_0$ we can conclude that $f^{-1}$ $f(a_0)$ = $f^{-1}$ $a_0$ so we know $f^{-1}$ is in the set? So $f^{-1}$ $g(a_0) $= $a_0$ and the by the theorem we may conclude $H$ is a subgroup of G?
As a side note would love to know WHERE you guys find the element signs and how to put subscripts on things if you could link me to a list of stuff you can put into here with some instructions.
Someone has pointed me a direction a few times but i have never found something I understood. I am not a programer but if I can find a lost of things I am sure I can figure it out usually I just search until I find a post with what I want click edit and take the symbols I want but if theirs instructions somewhere I would very much appreciate that.
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1 – Jim Feb 3 '13 at 20:07
3 Answers 3
up vote 2 down vote accepted
$H = \{f \in S(A): f(a_0) = a_0\}$ is the set of bijective functions in $S(A)$ such that $f$ maps $a_0$ to $a_0$.
Here, $a_0$ is a fixed element which every bijective function in $S(A)$ that maps $a_0$ to itself is a member. $H$ includes the identity map/function, but not all $f \in H$ are the identity function.
To prove $H$ is a subgroup of $S(A)$:
 - Clearly, $H$ includes as its identity $f_I$, the identity map of $S(A)$, since $f_I(a_0)$ is clearly $a_0$.
 - Now show that for any $f, g \in H$, $f\circ g \in H$: i.e., show that $H$ is closed under the function composition.
 - Show that for any $f \in H, f^{-1} \in H$. Hint: This must be the case, as every $f \in H$ is bijective, and if $f \in H$, then $f^{-1}$ exists, and since $f\in H$, $f(a_0) = a_0$ and $f^{-1}(f(a_0)) = f^{-1}(a_0) = f_I(a_0) = a_0$, since by definition, $f^{-1}\circ f = f_I$, so $f^{-1} \in H$
Then you will have shown $\,H\,$ is a subgroup of $\,S(A)$.
As for your second question (or aside), you might want to visit MathJax/LaTeX: a tutorial and "bookmark" it as a favorite!
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Hint: To check something is a subgroup, it suffices to show that $H$ is nonempty (this clear since the identity function is an element [why?]), the composition of two functions is an element of the group (also easy to argue since every function fixes $a_0$), and that the inverse of a function is an element of the group (which follows because each element is a bijection).
I leave the details to you, but hopefully with what is given above, you can work through this mostly on your own.
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The standard way to show that something is a subgroup is to show:
 1. It is nonempty
 2. If $f, g \in H$ then $fg^{-1} \in H$
I'll leave (1) to you and give you a hint for (2). If $f, g \in H$ then you know $f(a_0) = a_0$ and $g(a_0) = a_0$. Apply the function $fg^{-1}$ to $a_0$. The result should be $a_0$ and once you've shown this you can conclude that $fg^{-1} \in H$.
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text:
How to Get the TM Symbol to Show Up in a Google Search
The TM symbol stands for "trademark," which is a symbol, word or phrase that legally represents a company or product. When creating a website for a company owned by yourself or a client that possesses a legal trademark, you can opt to use the TM symbol in your page title, meta description or both. Google uses both the page title and meta description to display your website in its search results, so using the symbol in those places will cause it to show up in a Google search. However, you must use the HTML special entity code for the TM symbol.
Open your Web page in Notepad or a code editor. Find the "
You should find these tags close to the top of your HTML code, between the "" tags.
Add the "™" HTML entity code where you want the trademark symbol to appear in the title:
Find your "" tags, also located between the "" tags toward the top of your HTML code. If you want to insert the trademark symbol in the description text that appears on Google, add it inside the text of the "" tag with the name "description":
- Brand X Pictures/Brand X Pictures/Getty Images


text:
You're Not Nuts, Squirrels Are Extra Fat This Year
If squirrels have seemed a bit chunkier this winter, it's probably because they actually are.
The reason for the recent thickening is simple. According to experts in North Americaand Britain, unseasonably warm weather has given squirrels in both regions more time to find food, leading to localized populations of double-wide nut hunters in cities like Toronto and Cardiff.
"We have had a really warm November," David Sugarman of the Ontario Science Centre told Metro Toronto. "Naturally, if you're an animal that's got to make it through the winter with little or no food, you want to pack in as much as fat as possible."
In the United Kingdom, last month wasn't just the warmest December on record but also the wettest, resulting in increased production of squirrel favorites like acorns.
"It's been a very odd, unusual year," naturalist Iolo Williams told the BBC. "Squirrels will eat anything, they are omnivores, so I would imagine [non-native] grey squirrels unfortunately will do very well this winter."
Luckily, squirrels self-regulate their body weight and this year's extra ounces are unlikely to have any lasting health effects.
"If the squirrel were able to stay chubby all year round, it might decrease its longevity," said Sugarman. "But eventually the snow is going to come, the cold weather will increase and they're going to burn off some of that extra fat."
In the Southern United States, however, this winter has actually been colder than usual due to El Niño. So if southern squirrel watchers spot an impressively pudgy specimen, it's probably just because everything's bigger in Texas.


text:
SC State Capital Grounds-African American Monument. (re-blogged from afroeticcreations.wordpress.com)
A South Carolina African American History Monument chronicling the experiences of African Americans in South Carolina now stands on the grounds of the State House in Columbia. The bronze and granite sculpture was dedicated in March 2001 and includes 12 panels that depict milestones in South Carolina African American history. The monument tells a story from the beginning of enslavement to the Middle Passage to Emancipation Proclamation to the Civil Rights era to the great achievements of South Carolina's African Americans in various professions including jazz musician Dizzy Gillespie, tennis player Althea Gibson and former South Carolina Supreme Court Justice Ernest Finney.
- SC State Capital Grounds-African American Monument (afroeticcreations.wordpress.com)


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The Laboratory for Digital Interaction reunites some of the top lines of current motion capture techniques. It is the first laboratory in Romania dedicated to studying interaction between physical and virtual bodies and thus between the human body and the computer.
The mission of the Laboratory for Digital Interaction is to integrate under this concept the activity of all CINETic laboratories, by developing complex innovative creative projects in research and development.
Combining digital art and live performance, such as acting and dance, is currently considered cutting edge in entertainment, but it will become the common form of art in the future. The fundamental concept of the Laboratory for Digital Interaction is the digital immersive experience.
UNATC has developed an MA in New Media Design which is focused on training professionals and researchers in this field.
- generating and interacting with virtual immersive environments
- motion capture;
- interaction between physical and virtual bodies;
- interaction between human beings and computers through
- computer interfaces;
- augmented reality systems;
- video games and gamified experience.
- My Life Rehearsed in One Leg, directed by Bogdan Mustață
- Me Shakespeare, coordinated by Liviu Lucaci
- Touch-VR, documentary project, directed by Alexandru Berceanu
FACILITIES & EQUIPMENT
- CAVE‑CIN interactive immersive stereoscopic projection system on four screens
- Multifunctional hall (140 sqm), with a holding capacity of 90 seats
- Modula Mr. Mocco—motion control system capable of 6 axis movement as well as learning movements and replicating them
- 1 Red Dragon 5K with Leica Summicron optics
- 2 ALEXA SXT cameras
- Mid‑size Stereotec RIG
- Anamorphic lenses (a set of ARRI anamorphic fixed lenses and a set of anamorphic lenses with Angeniuex zoom lens)
- VICON motion capture system with 8 cameras and a facial motion capture system


text:
31st March 2016, New Delhi
Dr. Trilochan Mohapatra, Secretary (DARE) & Director General (ICAR) visited ICAR- National Bureau of Plant Genetic Resources, New Delhi today. In his address, he opined Bureau should redesign the exploration activities based on geo-referencing and gap analyses and stressed on the need for evaluation to identify trait-specific germplasm. Plant Quarantine may be given new dimensions to work on diagnostics for identification of new pest intercepts, to monitor dynamics of pest variants in plant populations and management of exotic pests, he added. Dr. Mohapatra stressed on the need to follow established, scientifically and legally valid practices in DNA fingerprinting and cultivar identification.
Dr. Mohapatra also released a publication "Utilization of ex situ collections and climate analogues for enhancing adaptive capacity to climate change", which was the outcome of a CCAFS funded project which geo-referenced more than 60, 000 accessions belonging to ten crop species.
Dr. KC Bansal, Director, ICAR-NBPGR made a brief presentation on the Institute's activities and achievements.
(Source: ICAR- National Bureau of Plant Genetic Resources, New Delhi)


Help! My Cat Gets Carsick!
It's not for the reason you'd think 🤢
cat gets carsick
Being carsick is no fun for you, and it's especially not fun for your cat.
It's heartbreaking to see your cat get queasy in the car (especially if you've been there too and can feel his pain).
The Dodo spoke with Dr. Tom Elston, cat specialist and owner of T.H.E. Cat Hospital in California, who explained why cats get carsick and how you can help.
Cats and carsickness
"Like people, cats can get carsick too," Dr. Elston told The Dodo. "Carsickness is a form of motion sickness, much like we experience when in a car, on a boat, or up in a plane."
But rather than getting nauseous from the speed of the car or bumps in the road like people do, a cat's motion sickness is actually a result of stress or anxiety.
This is because cats don't usually ride around in the car very often, so probably they aren't used to it the way dogs are.
Not to mention, cats often associate car rides with going to the vet, which can be a source of anxiety for them.
Signs of carsickness
"The most common symptom of motion sickness in cats is vomiting, but it may be combined with peeing or pooping in their carrier if they're particularly anxious," Dr. Elston explained.
Other signs include:
 - Vocalization
 - Restlessness
 - Drooling
 - Licking lips
 - Lethargy
What to do
Since travel sickness in cats is rooted in anxiety, the first thing you should do is contact your vet.
"Depending on your cat's needs, your vet may be able to prescribe medications to help with anxiety or nausea, and can provide more specific recommendations based on your cat's age, health, and temperament," Dr. Elston said.
There are also some over-the-counter items you can try to supplement your vet's treatment plan.
Like this Feliway calming travel spray from Chewy for $13.99
In addition to treatment recommended by your vet, you should also try to get your cat more comfortable with his carrier.
If he thinks of it as a safe space, traveling inside it could help ease his anxiety.
You can do this by leaving it out at home so he gets used to hanging out in it, or even filling it with some of his favorite treats so he knows it's a place where good things happen.
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Communication and Perception
There is considerable evidence that gobies use visual, tactile, chemical, auditory, or olfactory cues in reproduction and territorial behavior (see Reproduction and Behavior). It is quite likely that investigators will find more evidence of different types of communication as research progresses.
Communication Channels: visual ; tactile ; chemical
Other Communication Modes: pheromones
Perception Channels: visual
No one has provided updates yet.


text:
Oprah's Definition of Luck: Where opportunity and preparation meet.
Every year the Emperor Penguin goes through an incredible ordeal in preparing for the season of mating opportunity in Antarctica. With no certainty that their attempt will produce offspring, the male and female emperor penguins travel between 31 and 75 miles inland at −40 °F to conduct courtship and mate. The female then lays the egg and carefully transfers it to the underbelly of the male before returning to the sea to feed for two months. The male penguin stays behind with the egg for two months without ever allowing the egg to touch the ice below, keeping both him and the egg warm by huddling against all of the other male penguins. The male endures about 115 days of fasting and the loss of roughly 40 pounds of body weight with no guarantee that the egg will actually hatch. Around the time that the egg is supposed to hatch, the mother returns and takes over care and feeding of the hatchling while the father walks back to the ocean and feeds himself back to health. If the egg does not hatch, the couple dissipates and each returns back to the ocean in preparation for the next mating season.
Let's take a moment to really think about this awe-inspiring act: two penguins spending roughly four months in the below-freezing Antarctic winter and losing up to 45% of their body weight in order to breed and hatch an egg. The journey is so perilous that many attempts at breeding are not successful, and yet they continue to put themselves through this journey year after year. Would you be willing to do so?
Oprah's Definition of Luck
Preparing for something that is guaranteed in the near future is not difficult because you know that your energy and time spent in preparation will not be wasted. But focusing time and energy on something that may or may not happen is a much more difficult feat. After all, no one wants to waste their limited resources.
Oprah's definition entails preparing for an opportunity that may or may not come. Yet preparation for the unknown in our lives is so important. Think about all of the ways that we prepare for the future: we educate ourselves for that future career, we save money for our future lives, and we invest in a retirement fund that will not occur for another 20, 30, even 40 years from now. We do all of this because, as Oprah points out, without proper preparation we may not be able to take advantage of the opportunities that do come our way. But in order to continue to prepare for the opportunities that will come our way—thus making us "lucky"—we need something more. We need a motivating force.
The Missing Element
While we cannot necessarily control opportunity, we can control the amount of preparation that we do in our lives. Yet, who would be willing to do the same thing day in, day out, year after year, without some sort of motivation other than preparing for future opportunities that may never come? The penguins may be driven in their preparation out of a primal instinct, but where is the drive to make people endure seemingly aimless preparation when an outcome is not guaranteed? The missing element to Oprah's definition of Luck is truly the human element to all of this. It is hope. Hope is an integral part to this equation as it is the motivating factor for us to do our part to ensure that 'Luck' finds us. Without hope, we lose sight of everything that we want, everything that we are willing to sacrifice, and we stop doing the work. Opportunity may finally come one day, but the preparation will not be there and so once again we will label ourselves as "unlucky". Without it, we may not even be able to recognize the opportunities that do come our way, much less feel that we can take advantage of them. Hope is what keeps our engines running.
There are beautiful examples of this motivating force everywhere, both among people and in nature. Hope is what kept the trees in our front yard—slowly dying from the exceptional drought last year—poised towards the sky with several buds that were ready to burst open and germinate should the rains come (and they eventually did). It's what keeps working parents driving their children to music lessons or soccer games or spelling bees after working full-time and surviving their commutes. Hope is setting up social media buttons on blogs that only our mother and father currently read in preparation that when we write something one day that is so unique and wonderful, the tools are there to make our work go viral. Hope is getting ourselves out of debt so that we can open ourselves to the opportunity of helping others in the future, or to the many other opportunities that will surely come our way.
Hope will lead us towards our luck.
Do you have hope for your future? What kind of preparation are you doing in your financial life to be able to take advantage of future opportunities when they come your way?


Blossom Project
I'm working on the blossom project under computer science, I noticed that under the LinkedList class which has a iter method that uses the (get_value()) method created in the Node class.
However when instantiating a LinkedList, there's no such variable that is created using the Node class. Like at all.
So how can Node.get_value() be used to iterate the LinkedList instances?
class Node:
 def __init__(self, value):
 self.value = value
 self.next_node = None
 def get_value(self):
 return self.value
 def get_next_node(self):
 return self.next_node
 def set_next_node(self, next_node):
 self.next_node = next_node
class LinkedList:
 def __init__(self, head_node=None):
 self.head_node = head_node
 def insert(self, new_node):
 current_node = self.head_node
 if not current_node:
 self.head_node = new_node
 next_node = current_node.get_next_node()
 if not next_node:
 current_node = next_node
 def __iter__(self):
 current_node = self.head_node
 yield current_node.get_value()
 current_node = current_node.get_next_node()
Also, why does the iter method not have next method to go with it too?
When you instantiate a LinkedList here, you can specify its head_node or leave it to its default of None. When you specify its head_node, that will be of class Node, so it already has all the methods of the Node class.
The dunder method __iter__ just serves to explicitly deal with how the iteration should work out when a LinkedList object is iterated.
For reference, here's a video on iterators:
1 Like
Thanks for the reply
Yeah I see where you're coming from with the head_node, but nowhere in the constructor does it make the head_node an instance of a Node.
And I've seen that video, it's got a next dunder too, so why doesn't this one have it also?
The constructor doesn't have to make it an instance of Node. That's up to the user.
Example from the terminal:
>>> new_node = Node(5)
>>> new_node
<__main__.Node object at 0x7fca61327350>
>>> new_node.value
>>> new_linked_list = LinkedList(new_node)
>>> new_linked_list.head_node.value
>>> type(new_linked.head_node)
As to why they omit or include something in a video, I can't speak to the video and its reasons. For basic functionality though, the code you quoted should do the job.
1 Like
I see my issue now.
Instantiating key-value of the flowers was done in the HashMap class instead of LinkedList class, thanks!
1 Like


text:
Pumice is a light siliceous vesicular volcanic rock that is suitable for use in horticulture and hydroponics. Its porosity provides air spaces that maintain aerobic conditions around the roots while water is contained within the pores. Surface tension around the outside of theparticles increases water-holding capacity of the growing medium.
Ouris mined from a land based resource, within 50kms of Lake Taupo in the North Island of New Zealand, and it is characterized by its relative hardness and lightweight in comparison to competing aggregates. The washing and screening of our particularly for horticultural applications means that no 'fine' particles are included. Unwashed can cause 'concreting' and higher water holding capacity than required, consequently effecting root development.
This hardness and porosity allows free drainage lowering the risk of root-rot diseases.
Pumice grades supplied for horticultural uses include:


text:
The painterly effects of Three Pears and an Apple, a selection from Edward Steichen's The Early Years Portfolio, 1901–1927, are reflected in this memorable image's soft focus and elegant composition. Steichen achieved the soft outlines of the fruit with a 36-hour exposure under indirect illumination. During this time, the film's emulsion expanded and contracted in the changing temperatures, creating the subtle, dreamlike qualities of the image. Steichen's dedication to achieving an initially conceived image and his expressive use of shape and imagery are testament to why he is credited with the transformation of photography into an art form.
Edward Steichen is an immortal among photographers. His richest, most profound photographs were made between 1900 and 1927. It is from this period that Steichen selected his masterpieces and asked Aperture to publish his prints.


text:
Financial and Organizational Structures
Users should familiarize themselves with the financial and organizational structures used in Oracle Cloud, particularly if they will create and/or submit expense reports, make purchases, manage grants and/or analyze financial data.
- The Chart of Accounts (COA), which is used in all areas to track financial activity in our general ledger and subledgers;
- Our Organizational Structure, which is used to identify our work areas; and
Project information (i.e., POET), which is used to gather data and report specifically on financial activity for the following project types:
- Grants and Contracts;
- Faculty Funds and Student Organizations;
- Gifts and Endowments;
- Cores; and
- Capital Projects.
Click here to open and complete the Oracle Cloud: Introduction to our Financial and Organizational Structures training course in Oracle Learning.
Transaction Review and Approval
Transactions are generally reviewed first within the area that created the transaction and then routed to central Finance or Human Resources. For example, transactions such as the following are typically reviewed by the following roles within the business unit:
- Time and absence transactions are reviewed by the employee's Line Manager;
- Purchasing and expense transactions are reviewed by the Financial Unit Manager(s) of the related financial unit(s) and, if greater than $10,000, by the Business Unit/Entity Approver(s); and
- Human Resources transactions are reviewed by the Business Unit/Entity Approver of the related business unit.
Instructions for identifying your local resources are available here.
Additional information about the COA, including the current list of segment values, is available on the Financial Accounting page of the Finance website, and reference materials are also available within Oracle Cloud in the Help Center.


BSC Maturity Model
In stock
The Balanced Scorecard Maturity Model is a valuable tool used to gather information about the current state of the BSC management systemm (organization, division, department or team). The survey assesses the usage of objectives, their alignment to strategy, the BSC implementation process and decision making process. The statements used are meant to assess each building block of the BSC Framework:
1. BSC Architecture
2. Objectives and KPIs alingment
3. BSC implementation process
4. Data gathering
5. Decision Making
Each statement must be rated on a scale from 1 to 5 depending on its relevancy to actual practice, and based on the rating provided, the entity can fall into one of the following maturity levels:
1 - Initial
2 - Emergent
3 - Structured
4 - Integrated
5 - Optimized
1. Express interest
2. Receive the Maturity Model Guide and online questionnaire
3. Complete the online questionnaire
4. Receive the maturity level overall score
This service provides the following deliverables:
1. Balanced Scorecard Maturity Guide - brief handbook on how to effectively deploy the maturity model questionnaire.
2. Score Analysis Report - the responses of the questionnaire are processed by The KPI Institute's team and the BSC maturity level is communicated in the form of a score from a 1 to 5 and a short interpretation of results. The scores are provided also granular, for each building block.
Contact us if you would like to benefit from this opportunity:
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solid angle
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References in periodicals archive ?
The BUG rating system was proposed due to its ability to evaluate luminaire distributions in the context of the impact of light emitted in the various solid angles of the LCS as they apply to light trespass, skyglow, and glare, and was intended to replace the IES vertical cutoff classification system (for example, full cutoff, noncutoff).
The preliminary BUG rating system proposed by the committee included four of the LCS solid angles that contribute to sky-glow: Front Very High (FVH) which captures light emitted in front of the luminaire between 80[degrees] and 90[degrees] above nadir, Back Very High (BVH) which captures light emitted behind the luminaire between 80[degrees] and 90[degrees], Uplight Low (UL) which captures light emitted across all horizontal angles between 90[degrees] and 100[degrees] above nadir, and Uplight High (UH) which captures the light emitted from 100[degrees] above nadir to zenith.
Per TM-15-07, "[LCS] does not provide quantitative lumen limits within each solid angle.
The book starts by articulating the bold proposal that picturing is a matter of sameness of subtended solid angles and proceeds to modify that proposal as necessary to deal with the full range of pictorial subject matters and styles by appealing to the conceptual resources of perceptual experience.
Hopkins claims that we do by proposing that outline shapes and subtended solid angles are nonconceptual contents of experience (contents posited as presenting properties that a perceiver cannot identify by means of concepts or any related--for example, geometric--capacities but that are part of her experience nonetheless).


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Offensive vs Loathsome vs Repulsive vs Repugnant vs Revolting
Offensiveloathsomerepulsiverepugnantrevolting are comparable when they mean utterly distasteful or repellent.
Something offensive subjects one to painful or highly disagreeable sensations. Sometimes the term implies injured feelings as a result of an affront or insult and frequently it suggests the evocation of such aversion that endurance involves mental strain or moral distaste or it may imply a vileness (as of appearance or odor) that excites nausea or extreme disgust.
Something loathsome is so foul or obscene that one cannot look upon it, hear it, feel it, or have to do with it without a sense of deep disgust and abhorrence. Often the term is not clearly distinguishable from offensive in the sense of disgustingly nauseating but is applied more often to things which are generally or universally distasteful; thus, some people find the heavy fragrance of tuberoses offensive, but nearly everyone finds the sight and odor of meat rotting and crawling with maggots loathsome.
Something repulsive is so ugly in its appearance or so completely lacking in all that attracts or allures or charms or even challenges interest that it either drives one away or makes one unwilling to dwell on it.
Something repugnant (see also REPUGNANT 1 ) is highly offensive or loathsome because in direct conflict with one's nature, one's principles, and one's tastes and irreconcilable with them.
Something revolting is so extremely offensive, loathsome, repulsive, or repugnant to a person of delicate sensibilities that the sight or thought of it arouses in him a desire or determination to resist or rebel.


text:
Be an Ethical Angler
An ethical angler does more than just follow fishing regulations
Photo credit: Texas Parks and Wildlife
Do the right thing. When making a choice, ask yourself the following questions:
- Is it legal?
- Would it be good if everyone did it?
- Would it make you proud?
Ethical anglers respect the rights of others who are fishing or using the water. Ethical behavior includes picking up your trash, collecting and properly disposing of any fishing line you find, and never dumping any pollutants, such as gasoline or oil, into the water. The ethical angler values and respects the aquatic environment and all living things in it. Never release live bait fish into the water because this can put unwanted, potentially harmful, species into the water. Carefully handle and release alive all fish you catch but do not intend to keep.


text:
The Australia Wine Research Institute was wanting to migrate its existing Excel based ferment simulator to the cloud. The ferment simulator uses a powerful swarm analysis algorithm to predict the result of a fermentation.
Offered as an additional module to their WineCloud software users can easily get access to this powerful and intelligent software allowing them to monitor and analyse ferments by running additional what now and what if analysis to create an optimal result for their wines.
Using a particle swarm analysis an algorithm is able to match the ferment curve of data collected to predict the result of the ferment.
Ferments can be setup and monitored within the software to keep a record of previous ferments and their result.
Users accessing the system are able to login via another software portal without needing to re-login by using a single sign on (SSO) authentication protocol.
While a ferment is running you can perform adjustments to the tank to run a further simulation to modify the potential outcome of the ferment.
After a ferment has been completed, by adjusting the data and actions it is possible to analyse how a ferment could have performed.


text:
The BRC awards three novel cross theme projects
The BRC awards three novel cross theme projects to catalyse collaboration and support the development of its leadership pipeline.
The BRC is dedicated to supporting career development and increasing opportunities for new and emergent research leaders. The development of a cohort of BRC Emerging Leaders is a key part of these plans.
The cohort brings together future research leaders from across the BRC themes with the aim of driving delivery of the BRC vision of improving lives through world-class translational research in ageing and multiple long-term conditions.
The initiative will develop the leadership pipeline within individual themes and broaden leadership capacity across the BRC, including though Emerging Leaders acting as role models and mentors for BRC trainees and postdocs, To accelerate this work targeted investment will stimulate cross-theme working between disease areas, digital health and informatics and support the development of innovative approaches to patient and public involvement. Importantly the cohort will be visible champions for a positive research culture across the BRC and beyond.
Three new research projects have been awarded:
- Remote monitoring of disease and physical activity in patients with rheumatoid arthritis: a pilot study. Dr Kenneth Baker, Dr Silvia Del Din, Dr Alison Yarnall and Dr Gary Reynolds
- Exploring conserved gene expression programmes across tissues in ageing. Dr Gary Reynolds, Dr Neil Rajan and Dr Richard Dodds
- Comparative analysis of microsatellite instability and somatic mismatch repair gene status in Lynch related skin and upper gastrointestinal cancers. Dr Neil Rajan and Dr Christopher Lamb
The projects will support the BRC vision to transform lives through world-leading research in ageing and multiple long-term conditions by producing preliminary data to support future funding applications and speed the progression to patient benefit. They will also be exemplars of cross BRC research theme working, building further synergy and collaboration across the centre.
To find out more about these projects follow the links above


text:
What is a Finish Thickness Scale?
The Elcometer range of devastating finish thickness assesses consists of the Elcometer 121/4 Paint Inspection Scale. The paint inspection gauge, frequently called the P.I.G, is a prominent technique for determining completely dry movie densities on non-metallic substrates. Non-destructive Coating Density MeasurementThe non-destructive finishing thickness measurements can be handled either magnetic steel surface areas or non-magnetic steel surface areas such as stainless-steel or aluminium. Digital layer thickness determines are suitable to gauge finish thickness on metallic substratums.
How is coating thickness measured?
What is a Finishing Density Scale?
The PCE-CT 5000 Layer Thickness Scale is an instrument for a nondestructive density dimension of coverings, such as varnishes, paints, etc. on steel/ iron and non-ferrous metals. The extremely broad determining series of the Finish Thickness Scale increases to 5000 µm or 200 mils.
Gumming or plastic layers for shock as well as impact security can be managed equally as the slim paint coatings. PCE-CT 27FN is a Finish Thickness Gauge coating thickness tester that takes non-destructive dimensions of nonmagnetic finishing, insulating layer and completely dry film density (DFT) on steel substratums such as steel as well as light weight aluminum.
- PCE-CT 27FN is a Finishing Density Scale that takes non-destructive measurements of nonmagnetic layer, protecting layer and completely dry film density (DFT) on steel substrates such as steel as well as light weight aluminum.
- Perfect for surface testing, vehicle paint inspection, material testing and producing quality assurance applications.
- Gumming or plastic coatings for shock as well as impact security can be regulated just as the thin paint finishes.
- PCE-CT 65 is a layer density scale that uses magnetic induction (ferrous) or eddy present (non-ferrous) to take non-destructive measurements of layer and completely dry movie thickness (DFT) on steel substratums such as steel and also light weight aluminum.
- The incredibly large determining series of the Finishing Density Gauge goes up to 5000 µm or 200 mils.
- The PCE-CT 5000 Layer Density Gauge is an instrument for a nondestructive density dimension of layers, such as varnishes, paints, etc. on steel/ iron and also non-ferrous steels.
Perfect for surface area testing, vehicle paint examination, product screening as well as making quality assurance applications. PCE-CT 65 is a covering thickness scale that makes use of magnetic induction (ferrous) or eddy current (non-ferrous) to take non-destructive dimensions of layer and also dry movie density (DFT) on steel substrates such as steel as well as light weight aluminum. This density gauge is optimal for repainted and powder-coated surface testing, automotive paint examination, layered product testing, as well as manufacturing quality assurance applications. PCE Instruments' accurate, affordable finish density gauge, density meter, surface screening and movie gauge tools are made use of for product screening, producing quality assurance and automobile paint assessment applications.
Electromagnetic induction is utilized for non-magnetic layers on ferrous substrates such as steel, whilst the eddy current principle is made use of for non-conductive layers on non-ferrous steel substratums. A finishing thickness scale is a necessary quality assurance tool when anodizing, using and galvanizing zinc finishing to metallic surface areas. A finishing thickness scale likewise is used to determine body paint density and harmony on used cars, exposing repainted areas, determining concealed problems and also subjecting undisclosed mishaps. When figuring out the actual value of a made use of car, this details is crucial. On top of that, specific types of thickness gauges can measure wall density and establish the hardness of metals, plastics and glass.


text:
Pub. date: 2009 | Online Pub. Date: December 16, 2009 | DOI: 10.4135/9781412972048 | Print ISBN: 9780761929574 | Online ISBN: 9781412972048| Publisher:SAGE Publications, Inc.About this encyclopedia
Richard K. Popp
Press clipping services monitor media for content of interest to their clients. They scan through newspapers, magazines, and electronic media, select pertinent items, and then package ("clip") them for easy perusal. The industry's name derives from the traditional practice of clipping items with a pair of scissors from the newspaper for safekeeping. Modern-day services track not only newspapers but nearly every print, broadcast, cable, and web-based information outlet, running the spectrum from network news broadcasts to teenagers' blogs. Clipping services have their origins in the expanding media environments of late-nineteenth-century cities. As the number of newspaper titles grew, editions multiplied, and issues expanded in length, a handful of entrepreneurs independently hit on the idea of a press monitoring service. Henry Romeike started the earliest clipping (or cutting) service in London in 1881 and quickly expanded its operations to New York, Paris, and Berlin. Romeike relocated to the United States in...


text:
Dynatrace Configuration as Code
Dynatrace Configuration as Code provides Observability as Code and Security as Code to fully automate configuration of the Dynatrace platform at any scale, from automating the standard configuration of all your Dynatrace environments to meeting specific demands for individual environments.
Why Configuration as Code?
A Configuration as Code self-service model enables development teams to set up monitoring, observability, and security policies quickly and efficiently, even for large-scale applications. It eliminates the need for building custom solutions and reduces the manual work for observability teams.
The Dynatrace Configuration as Code approach enables you to manage your Dynatrace environment observability tasks through configuration files instead of a graphical user interface.
Configuration files allow you to create, update, and manage your observability configurations safely, consistently, and repetitively. They can be reused, versioned, and shared within your team.
How it works
Developers define a configuration file and check it into version control alongside the application's source code. The code is built and deployed with the next commit or pull request, automatically creating an observability configuration such as dashboards, synthetic monitors, and alerting.
Configuration as Code can do the following:
Create configuration templates that can be reused in multiple environments.
Manage interdependencies between configurations without the need to retain unique identifiers.
Apply the same configuration to hundreds of Dynatrace environments and be able to update all of them at the same time.
Promote application-specific configurations across environments after deployments at each stage.
Support all mechanisms and best practices of git-based workflows such as pull requests, merging, and approvals.
Commit your configuration to version control and collaborate on changes.
Monaco or Terraform?
You have two primary options when it comes to selecting the tool for Dynatrace Configuration as Code:
Monaco—This is the native Dynatrace Configuration as Code tool. Monaco is also the recommended tool for migrating from Dynatrace Managed to Dynatrace SaaS.
Terraform—Dynatrace also supports Configuration as Code via a dedicated Terraform provider. Consider choosing this option if you're already using Terraform in your environment.