text:
Moscow University Soil Science Bulletin
December 2019 , Volume 74, Issue 5, pp 193–198 | Cite as
Estimating the Toxicity and Biological Availability for Interaction Products of Metallic Iron and Humic Substances
M. M. Anuchina
D. A. Pankratov
D. P. Abroskin
N. A. Kulikova
D. T. Gabbasova
D. N. Matorin
D. S. Volkov
I. V. Perminova
ECOLOGICAL SAFETY
This article considers the influence that suspensions of nanoparticles (sized from 10 to 60 nm) of iron oxo-compounds in different oxidation states have on biological objects. The suspension is formed by the interaction of metallic iron with aqueous solutions of humic substances. Based on the example of green microalgae Scenedesmus quadricauda (Turp.) Breb., it is shown that suspensions that contain iron oxo-compound nanoparticles stabilized with humic substances at an iron concentration from 0.14 to 2036 µM do not have a toxic effect on microalgae. The availability of iron contained in the suspensions was evaluated in the experiment on sprouts of wheat Triticum aestivum L., which had been grown under iron-deficient conditions. The root uptake of the ionic form of iron contained in the suspension was confirmed. It is shown that the studied suspensions of iron nanoparticles stabilized by humic substances accumulate on the surface of plant roots. These suspensions are supposed to be a source of iron with prolonged action for plants.
humic substances iron-containing nanoparticles iron oxo-compounds iron containing preparations corrosion evaluation of biological availability toxicological evaluation
We are grateful to T.B. Egorova for analysis of the preparations by transmission electron microscopy.
This study was supported by the Russian Scientific Foundation, project no. 16-14-00167.
Conflict of interests. The authors declare that they have no conflicts of interest.
Statement on the welfare of animals. This article does not contain any studies involving animals performed by any of the authors.
Translated by D. Zabolotny
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© Allerton Press, Inc. 2019
1. Department of Chemistry, Moscow State UniversityMoscowRussia
2.Department of Soil Science, Moscow State UniversityMoscowRussia
3.Department of Biology, Moscow State UniversityMoscowRussia
Anuchina, M., Pankratov, D., Abroskin, D. et al. Moscow Univ. Soil Sci. Bull. (2019) 74: 193. https://doi.org/10.3103/S0147687419050028
Received 23 August 2018
Revised 20 December 2018
Accepted 08 April 2019
DOI https://doi.org/10.3103/S0147687419050028
Publisher Name Pleiades Publishing
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So far this year, retail chains have announced some heavy cuts. J.C. Penney said it would close 33 stores. Macy's said it would lay off 2,500 workers. Sears will close its flagship Chicago store in April.
That's creating a glut of excess space. But that's just one of several forces changing the face of retail.


Interesting… Google Maps has open sourced their Selenium Test Suite and less than humbly asks you to add to it!
Not only do we test Google's Beta applications…NOW, we can help them automate their applications!
BRILLIANT. Damn these guys are good.


John Moscati Joins GTA as an Associate | Geo-Technology Associates, Inc.
We are pleased to announce the addition of John P. Moscati as Associate of GTA Associates, Inc.'s (GTA) Charlotte, North Carolina office. With over 14 years of experience in the engineering and construction industry, John is responsible for managing construction observation and material testing services, as well as developing new clients and project opportunities in the Carolinas.
John's role includes overseeing the quality assurance and quality control on a variety of commercial, residential, and institutional projects; on-site project management and representation; providing training and supervision of field and lab technicians; reports and special inspection letter preparation; and preparing proposals and budgets for a variety of construction projects and work scopes.
John received a Bachelor of Science degree in Geology – Earth Sciences from State University of New York College at Buffalo. He is Board Member of the Cystic Fibrosis Foundation in Charlotte and is a passionate volunteer year-round with the foundation.
GTA Associates, Inc. (GTA), a subsidiary of Geo-Technology Associates, Inc. (GTA), performs environmental consulting, geotechnical engineering, and construction observation and materials testing services throughout North and South Carolina.


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Il Cantone di Nogent-le-Rotrou è una divisione amministrativa dell'Arrondissement di Nogent-le-Rotrou.

A seguito della riforma approvata con decreto del 24 febbraio 2014, che ha avuto attuazione dopo le elezioni dipartimentali del 2015, è passato da 10 a 33 comuni.

Composizione
I 10 comuni facenti parte prima della riforma del 2014 erano:
 Argenvilliers
 Brunelles
 Champrond-en-Perchet
 La Gaudaine
 Margon
 Nogent-le-Rotrou
 Saint-Jean-Pierre-Fixte
 Souancé-au-Perche
 Trizay-Coutretot-Saint-Serge
 Vichères

Dal 2015 i comuni appartenenti al cantone sono i seguenti 33:
 Argenvilliers
 Belhomert-Guéhouville
 Brunelles
 Champrond-en-Gâtine
 Champrond-en-Perchet
 Chassant
 Combres
 Les Corvées-les-Yys
 Coudreceau
 La Croix-du-Perche
 Fontaine-Simon
 Frétigny
 Happonvilliers
 La Gaudaine
 La Loupe
 Manou
 Margon
 Marolles-les-Buis
 Meaucé
 Montireau
 Montlandon
 Nogent-le-Rotrou
 Nonvilliers-Grandhoux
 Saint-Denis-d'Authou
 Saint-Éliph
 Saint-Jean-Pierre-Fixte
 Saint-Maurice-Saint-Germain
 Saint-Victor-de-Buthon
 Souancé-au-Perche
 Thiron-Gardais
 Trizay-Coutretot-Saint-Serge
 Vaupillon
 Vichères

Note

Collegamenti esterni
 Statistiche sul sito dell'INSEE

Nogent-le-Rotrou

redpajama_set_name: RedPajamaWikipedia


Ok, I have to admit, not all of the food we eat for Passover is bad. There are plenty of yummy dishes to eat at the seder – tsimmis, matzoh ball soup, flour-less chocolate cake, and of course macaroons. Shockingly enough, I am actually very excited to celebrate Passover in Israel this year. More specifically, I'm excited to celebrate the holiday Sephardic style and eat plenty of rice and legumes, which are not considered kosher for Passover in the Ashkenazi culture. After all, when in Israel, do as the Israelis do, right?
In researching traditional Sephardic seders, one of the foods that caught my eye was the charoset. Symbolizing the mortar used by enslaved Jews to build Pharaoh's pyramids, charoset is made with apples, chopped nuts and spices in the Ashkenazi culture. Sephardic and Israeli charoset is made with dates, giving it a thicker, more pasty consistency than the chunky Ashkenazi version. Sweeter, denser and definitely more filling than the charoset I'm used to, it was easy to make and authentically Middle Eastern in flavor. Passover this year is already shaping up to be an interesting – and dare I say tasty? – experience!
Adapted from Ruth Hegies' recipe, with extra input from my Israeli roommate, Ruthy!
Note: I used walnuts to make my charoset, but almonds are also recommended for Sephardic charoset – a combination of the two would also be good!
Make sure the dates and nuts are finely chopped; combine in a medium sized bowl. Add enough wine to make a thick paste – you probably won't need a whole 1/4 cup, so add the wine in small increments until you get a thick enough consistency that is to your liking. Add the cinnamon and mix well. Serve alone, or more traditionally, with matzoh.
I'm jealous – enjoy your Israeli/Sephardic Passover. I'm with you on the annoyance at Ashkenazic restrictions, but solve it by "adopting" the Sephardic traditions. Why not? After all, it's OK to have flourless chocolate cake that spends an hour rising in the oven, so a few legumes seem perfectly reasonable. BTW – try these Passover rolls that my grandmother, mother and I have made for decades. http://motherwouldknow.com/journal/passover-miraculous-unleavened-rolls.html They use matzah meal so they are OK, tho (like all cakes & macaroons) they bake for far longer than 17 minutes.
I couldn't agree with you more, Laura! My rabbi actually just recently told my mother that most Jews magically become Sephardic for the week of Passover, and that it's perfectly fine! I don't need any more convincing to go Sephardic this year, and who knows, maybe I'll start incorporating some Sephardic traditions into my future Passovers. I will definitely have to try out your family's Passover rolls – thank you for sharing! Pesach sameach!


text:
School moves into mask market by designing, printing, and donating 'ear savers' to health workers
ABC Central Victoria
By Natalie Kerr
Posted SatSaturday 8 AugAugust 2020 at 10:20pmSatSaturday 8 AugAugust 2020 at 10:20pm , updated SatSaturday 8 AugAugust 2020 at 10:47pmSatSaturday 8 AugAugust 2020 at 10:47pm
These plastic clips hold the mask across the back of the head, removing the need to loop around the ears. (Supplied: Girton Grammar School)
A Bendigo secondary school is using 3D printing technology to make more than 300 'ear savers' for frontline healthcare workers.
The ear savers are plastic clips stopping elastic face mask straps from rubbing behind the ears
They have been snapped up by workers in the Bendigo Health ICU
More than 300 ear savers will be donated to frontline health workers
A group of students at Girton Grammar School, who have parents that work in healthcare, came up with the idea during a class on empathy and emotional intelligence.
The school's head of technology and academic services, Rod Smith, said the project began during the first stage 3 lockdown while students were learning from home.
"We asked students to put themselves in someone else's shoes, thinking about our frontline workers and the issues they're facing at the moment," Mr Smith said.
"It was a common thread that the issues associated with having to wear a face mask all day, every day, meant that parents were coming home with discomfort around the back of the ears.
The ear savers are made from recyclable ABS plastic, and can be sterilised and reused. (Supplied: Girton Grammar School)
"We've got over a dozen 3D printers sitting at the school and it was a fairly simple leap to say 'well, let's actually put these printers to good use and do something that directly benefit the people in the community'.
"Who better than our frontline health workers?"
The small plastic clips hold the mask on from the back of the head, removing the need to loop the elastic around the ears.
Made from recyclable ABS plastic, they can be sterilised and reused.
Find more local news
Tell us your location and find more local ABC News and information
Just like 'squeezing out toothpaste'
Sadly, the students could not get involved in the printing process as they were all learning from home during lockdown.
That was where a laboratory technician at Girton Grammar School, Peter Martin, joined the project.
"I just adapted the design to fit in our printers and away we went," Mr Martin said.
The project will not only help save health workers from discomfort, it effectively saved Peter Martin's job. (Supplied: Girton Grammar School)
"It's like toothpaste squeezing out and builds up layer by layer."
Mr Smith commended Mr Martin for his work on the project, and says it effectively saved his job.
"He really made the process a lot more efficient with less material use," Mr Smith said.
"Instead of being stood down [while the school was closed], it gave him something to do.
The school's head of technology, Rod Smith, says the ear savers have been extremely popular. (Supplied: Girton Grammar School)
"In the first round he managed to get 150 strips done.
"We donated those to the parent of one of the students at Bendigo Health who works in the ICU and apparently they were snapped up in 10 minutes."
The school's technology department is now rushing to keep up with demand.
"We have the printers running as we speak and we're quickly producing as many of them as we can," Mr Smith said.
"It takes about 10 minutes to print one, but we have over a dozen 3D printers here at the school so we can produce quite a few."
The school is expecting to 3D print at least another 150, but Mr Smith said they would be keen to print more.
Posted 8 AugAugust 2020SatSaturday 8 AugAugust 2020 at 10:20pm , updated 8 AugAugust 2020SatSaturday 8 AugAugust 2020 at 10:47pm
How do I make a face mask?
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Swiss court finds judge in Sun Yang doping trial could not be impartial due to hostile tweets about dog slaughter in China
Posted 20mminutes agoFriFriday 15 JanJanuary 2021 at 2:46pm

redpajama_set_name: RedPajamaCommonCrawl


text:
HomeEventsRamsgate to host finals of 2018 National Freestyle Kitesurfing Championships
Ramsgate to host finals of 2018 National Freestyle Kitesurfing Championships
March 22, 2018 Kathy Bailes Events, Sport 0
Kitesurfing championships are coming to Ramsgate Photo Malcolm Kirkaldie
Ramsgate will host the final leg of the 2018 National Freestyle Kitesurfing Championships.
The event follows endorsement from record breaking kitesurfing champion Lewis Crathern.
Lewis headed to Ramsgate in November 2016 and jumped a whopping 22.3 metres high, smashing his own British record in the process.
Representatives from Active Ramsgate then successfully concluded talks with the British Kitesports Association (BKA) to become one of just four destinations to host this year's championship.
Kite Pirates Kite School, based in Ramsgate, was also instrumental in sealing the deal.
Active Ramsgate, an initiative of Ramsgate Town Council, is designed to support economic development in the town by promoting the area to visitors and residents through an inspiring range of outdoor activities. The team at Active Ramsgate are not only hosting the thrilling final leg of the championships, but are a headline sponsor of the whole event across all four championship destinations – Skegness, Hayling Island, Westward Ho!, and Ramsgate.
The final leg of the championships will take place on August 18-19 off Ramsgate Main Sands and around 70 competitors from all over the UK will be competing for the title of National Freestyle Kitesurfing Champion.
Any kitesurfer of competition standard can enter. For more information, visit www.britishkitesports.org
Photo Malcolm Kirkaldie
Councillor Peter Campbell said: "This event is a major coup for Ramsgate, and we are delighted to be welcoming kitesurfers from all over the UK later this year. We know that Ramsgate is a fantastic destination for kitesurfers, and its popularity has grown rapidly in recent years.
"Holding an event such as this will only heighten Ramsgate's profile as an active destination, and it will bring lots of visitors to the area who will all see what a wonderful place this is, and we've no doubt they will return time and again!
"We also want to encourage residents to engage with Active Ramsgate, so there are plenty of outdoor activities for everyone to get involved with throughout the year. We hope local businesses will also engage with the openings these championships will present. Check out the Active Ramsgate website, 2018 is going to be the year of kitesurfing for Ramsgate!"
Taster sessions
Active Ramsgate is offering free onr hour kitesurfing taster sessions for adults and children 11years and over on the weekend of August 18-29 to coincide with the event.
The taster sessions will be run by qualified instructors from Ramsgate's local kite school Kite Pirates and the British Kitesports Association (BKSA).
The sessions are land-based (not in the water) and you will learn how to rig a kite, get it into the air and manoeuvre it. Pre-book your time slot online and arrive 10 minutes before the start time of your session on Ramsgate Main Sands, just along the beach from Wetherspoon's Royal Victoria Pavillion. Look out for the Kite Pirates flag.
Children under 18 must be accompanied by a parent or guardian.
More details of the National Freestyle Kitesurfing Championships can be found at
www.britishkitesports.org, www.ramsgatetown.org/activeramsgate and www.visitramsgate.co.uk
Find out about kitesurfing lessons in Ramsgate at Kite Pirates Kite School here
Margate High Street cordoned off following assault
No arrests in Ramsgate immigration raids


And so. Just like that. Another year of weddings comes to a close. I swear it was only two minutes ago that I was sitting down to write my 'best of 2016' blog post and here we are again. Another 45 beautiful weddings!
2017 really has been an amazing year for me personally and as a wedding photographer. I've shot at some incredible venues across the North West, worked with super talented wedding suppliers, met loads of new photographer friends, held my first workshops and most importantly had the chance to get to know 45 amazing couples on their wedding journeys and spend the best days with them.
So I won't blabber on much longer! Here's my little rundown on some of my faves from 2017. Huge thank you to each and everyone of these couples for choosing me to be a part of their big day.
2018 is shaping up to be another absolute cracker – I'll be travelling across Lancashire, Manchester, Cheshire, the Lake District, Wales and Liverpool for weddings next year. I'm really excited to visit loads of new venues and work with lots of talented wedding suppliers. I'm going to be working on my own photography skills by attending some workshops with some of my photography idols as well as delivering my own workshops on marketing for photographers.
My diary is now open for 2019 weddings and there's a few spots left for 2018 too. So if you're planning your big day please take a look around my website and get in touch. I'd love to hear from you.
All my love and best wishes for Christmas!


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Friday, 1. November 2013 Thursday, 17. October 2013 kalafudra
The Hole (2009)
Director: Joe Dante
Writer: Mark L. Smith
Cast: Chris Massoglia, Nathan Gamble, Haley Bennett, Teri Polo,
Bruce Dern, Dick Miller
Part of: /slash Filmfestival
Dane (Chris Massoglia) and Lucas (Nathan Gamble) just moved with their mother (Teri Polo) into a new house. Again. But there's something different about that house – and that's not the neighbors' daughter Julie (Haley Bennett). Dane and Lucas stumble upon a seemingly bottomless hole in the basement. And when they open it, something escapes.
The Hole feels like one of those classic adventure films of the 80s where kids are curious explorers in a world where adults are barely anything more than an afterthought. It's a rather nostalgic film in the way it's made. It's not without its faults but that works very well.
If you grew up with Joe Dante movies (like I did), the general atmosphere of these film is bound to jolt you back into your childhood. This movie is obviously made by Dante, and not just because Dick Miller has a cameo in it, yet it's not just a re-hashing of things we've seen before.
The idea with the hole was pretty nice, though the concept behind it was clear a little too soon as they're later treated as a bit of a revelation. But I didn't mind that it didn't surprise me because I was caught up in the story and I did like the kids.
Visually the film is really nice, too, especially towards the end when we get to see the inside of the hole. Though I thought that expressly pointing out why things looked the way they looked was unnecessary and it was honestly a little insulting that they thought it was. [Keeping this vague to remain spoilerfree.]
Bruce Dern's character didn't make much sense (and in the end the thing that made the least sense about him wasn't even necessary for the story, so it would have been better to do without that part. But that little blunder is more than made up for by the rest of the film and especially Nathan Gamble's performance. I'd be suprised if we didn't hear more from him in the future.
Summarizing: Very enjoyable.
Bruce Dern
Chris Massoglia
Dick Miller
Mark L. Smith
SLASH Filmfestival
Teri Polo
Previous Rabitto horâ 3D [Rabbit Horror aka Tormented] (2011)
Next Explorers (1985)


KANSAS CITY, Mo. – Jacob Massey, Petersburg, Tenn., was named Champion at the 2018 World Livestock Auctioneer Championship (WLAC) Midwest Regional Qualifying Event. The auctioneering contest was hosted by Paris Livestock Auction, Paris, Texas, and was the second of three regional qualifiers. A total of 21 contestants competed for a top 10 placing, granting them a spot in the 2018 WLAC at Bloomington Livestock Exchange in Bloomington, Wis., hosted by the Livestock Marketing Association (LMA) in conjunction with LMA's Annual Convention.
A two-time qualifying event champion, Massey started selling cattle at a young age and said that he picked up his chant from being around livestock sales. Massey's father was also an auctioneer, and Massey said, "auctioneering came natural from being around Dad."
Massey has been competing in the WLAC qualifying events off and on since 2010. He was named the 2017 Eastern Regional Qualifying Event Champion in Dickson, Tenn., as well as earned a place in the Top 10 of the WLAC finals in both 2016 and 2017.
Massey says that he enjoys competing in the WLAC contest because of comradery and learning what other auctioneers from across the nation do in order to improve his chant.
Winning his second qualifying event, Massey said,"All the stars lined up, I will be taking the momentum of this win with me for the contest next June."
Massey was sponsored by Mid-South Livestock Center, LLC, Lebanon, Tenn.; Tennessee Livestock Producers, Fayetteville, Tenn.; and Tennessee Livestock Producers, Columbia, Tenn.
Also making a great showing was Reserve Champion, Philip Gilstrap of Pendleton, S.C., and Runner-up Champion, Russele Sleep, Bedford, Iowa. The Top Rookie award is given to the high-scoring first-time contestant, and Ed Leist, Boyne City, Mich., won the award. The following contestants completed the Top 10, and qualified for the 2018 WLAC: Colton Brantley, Modesto, Calif., Neil Bouray, Webber, Kan., Steve Goedert, Dillon, Mont., Brandon McLagan, Milan, Mo., Ethan Schuette, Washington, Kan., Justin Steward, Wyoming, Iowa, and Tim Yoder, Montezuma, Ga.
Each qualifying event is a live sale where the contestants auction cattle to actual bidders in the seats. Contestants are judged on the clarity of their auction chant; vocal quality; and their ability to catch bids and conduct the sale. Judges are livestock market owners and managers from across the United States. The 2018 WLAC Midwest Regional Qualifier judges were Stephen Bradley, Groesbeck Auction & Livestock Co., Groesbeck, Texas; Mike Cantrell, Holdenville Livestock Market, HLM, LLC, Holdenville, Okla.; John Cline, Manhattan Commission Co., Inc., Manhattan, Kan.; Cole Erb, Blackfoot Livestock Auction, Blackfoot, Idaho; and Danny Reynolds, Wythe County Livestock Exchange, Inc., Wytheville, Va.
Other contestants were: Jared Anstine, Holden, Mo., Leon Caselman, Long Lane, Mo., Brent Croom, Dyer, Tenn., Robert Crozier, Stillwell, Okla., Cody Hanold, Brighton, Ill., Bradley Jemelka, Yoakum, Texas, Ed Leist, Boyne City, Mich., Justin Mebane, Bakersfield, Calif., Patrick Prather, Richmond, Ky., Chas Tillman, Swink, Okla., and Marshal Tingle, Nicolasville, Ky.


Building Materials in Youngstown, OH - Interior Supply Inc.
Our Youngstown office is well positioned to serve Youngstown and the surrounding areas of northeastern Ohio. From this location, we can help contractors, architects, dealers and designers meet their interior building product needs. We have a team of experienced sales and delivery professionals who are trained to answer your questions and guide you through any decisions. It's part of our commitment to a service-first philosophy, and we believe it sets us apart from the competition.
We are proud to be the Armstrong acoustical ceiling and suspension system distributor for the Youngstown area, but we hope you won't overlook the fact that we also deliver metal framing and gypsum products, formaldehyde-free insulation, fire-treated plywood and lumber and Dryvit EIFS exterior finishes, to name a few. Truth is, we offer products from a list of leading manufacturers, such as Owens Corning, Dow Building Solutions and many more.
When it comes to delivery, you can rest assured that we have the delivery fleet and materials handling equipment to make on-site delivery a reality. In fact, we go beyond expectations to deliver right where the installation is taking place. It's all part of our service-first policy, and one more way we demonstrate our commitment to bringing you quality building products.
Check out these photos from our Youngstown location!


text:
The Value of Creative Writing Workshops – Nessa O'Mahony
Writing.ie | Resources | Developing Your Craft
Nessa O'Mahony
As a poet, I have always had a particular interest in story-telling as a way of interpreting my world. As with many writers, the narrative instinct was formed in childhood. The stories I told myself, the plots I lived through in my imagination, were more vivid and meaningful than my actual reality as a shy, bookish, youngest child. I read a lot of novels. My exposure to poetry was limited to what the school curriculum had to offer (Yeats, Kavanagh, Kinsella, Wordsworth) and what I was capable of memorising ("Surprised by joy — impatient as the Wind / I turned to share the transport …).
When I went to university, the study of literature continued, but the gap widened between the reader of literature, learning new skills to critically appreciate the text, and the aspirant writer; put frankly, the writers we read were usually male and generally dead – there was no sense that any of us in that lecture theatre might ourselves one day join that elite group of literary lions. As I matured, I transferred that narrative instinct to more practical uses, starting to work as a journalist and learning how to use language to tell other people's stories in as concise and accurate a manner as possible.
I only turned to creative writing at the age of thirty. I re-discovered my imagination courtesy of a creative writing course which I had taken as a way of branching out from journalism. The course, tutored by Roger Gregg at the Gaiety School of Acting, covered the full range of genres, from poetry to scripts. My first efforts were short stories, all of which I realise now were heavily autobiographical. Nor were they particularly good, the characters being little more than ciphers for the emotions that I hadn't yet learned to understand or, indeed, channel.
Furthermore, these stories simply weren't satisfying to write. The short story form reminded me too much of the journalistic pieces that I had been writing for my living over the past few years in that they needed structure, plot development and exposition. I had no sense of discovering through them a voice or a style that was uniquely mine.
Then came the moment when I was asked to produce a poem for the creative writing class. I expressed reservations, reminding Roger Gregg that I wanted to be a fiction writer, not a poet. He countered that I might want to create a poet as a fictional character some day and this would be a good exercise, so I persevered. I was not prepared for the experience of actually writing the poem, however. I had chosen as my subject a favourite spinster aunt who had died some time before; the poem attempts to evoke her personality through a description of items in her bedroom.
I remember the extreme mix of emotions I experienced in writing the piece; the tears were coursing down my face and yet another part of my brain was sharply focussed on finding the right words and shaping the poem in the way I wanted it. Suddenly I had found a way of expressing my own concerns and insights that was profoundly different from my normal discourse of journalism and press releases, and this was deeply satisfying to me. From that moment on, poetry got my full attention.
So too did the idea that creative writing courses might help to broaden my range and take me further out of my comfort zone. During the following decade, I attended as many of them as I could, from residential courses in various beauty spots (the weather always seemed to be glorious then, for some reason) to evening courses in places like University College Dublin and the Irish Writers Centre. I made some incredible friends, learned an enormous amount about the skills needed to read critically as a practitioner, rather than as a literary critic, and was introduced to writers and texts that I might never have come across otherwise; for example, it was at a workshop with American poet Dana Gioia at the Poets' House in Co. Antrim that I first learned about the poet Richard Hugo, and his incredibly important book on writing, The Triggering Town. These courses gave me confidence when I needed it; I doubt very much that I would have been brave enough to start sending out manuscripts and getting my work published had I stayed in my own little garret.
For the past decade, I've been mostly facilitating workshops, rather than attending them, although now and again I get away for a week somewhere and find that, in the company of fellow poets and encouraging tutors, I can knock down even the most formidable writer's block. And in the classes that I facilitate, there'll always be a moment when another student's breakthrough finds an echo somewhere in my own creative core; an image or an idea gets planted that might just result in something new later on. Creative writing workshops are a place of symbiosis; in the best ones, students and teachers get equal rewards. I'd recommend them whole-heartedly.
(c) Nessa O'Mahony August 2011
Nessa O'Mahony was born and lives in Dublin. Her poetry has appeared in a number of Irish, UK, and North American periodicals, has been translated into several European languages. She won the National Women's Poetry Competition in 1997 and was shortlisted for the Patrick Kavanagh Prize and Hennessy Literature Awards. Her second poetry collection, Trapping a Ghost, was published by bluechrome publishing in 2005. A verse novel, In Sight of Home, will be published by Salmon Poetry in May 2009 and a third poetry collection, The Side Road to Star, will be published by bluechrome in 2009. She was awarded an Irish Arts Council literature bursary in 2004. She completed a PhD in Creative and Critical Writing at the University of Wales, Bangor, in 2007. She is currently artist in residence at the John Hume Institute for Global Irish Studies at University College Dublin. She is Assistant Editor of UK literary journal Orbis.
Nessa blogs at http://nessaomahony.wordpress.com/about/ and runs the Scealta Workshops with Peter Salisbury.
For anyone starting on their writing career, Inkwell run their annual Start Writing Workshop on 17th September with best selling authors Sarah Webb and Julie Parsons. Giving you all the essential techniques to get you writing fiction, this workshop will is aimed at new writers, but also at any writers who have started their first book but who are finding they lack direction…get on track with this one day intensive workshop.


A substantial revision of the1998 book, compiled by Jane Bartlett & Clare McCann. As the title implies, this book takes the reader on a tour of the local pubs in the villages of Send and Ripley. Besides a brief history of brewing and brewers, there is lots of information and new photographs on local inns and public houses, past and present. If the reader is seeking history with refreshment this book should not fail to satisfy on both counts.


text:
using namespace Animation;

void SkeletonBone::Save(std::ofstream* file) {
    file->write(reinterpret_cast<char*>(&localTx), sizeof(float) * 16);
    file->write(reinterpret_cast<char*>(&globalTx), sizeof(float) * 16);
    file->write(reinterpret_cast<char*>(&inversed), sizeof(float) * 16);
    file->write(reinterpret_cast<char*>(&parentId), sizeof(uint32_t));
}

void SkeletonBone::Load(std::ifstream* file) {
    file->read(reinterpret_cast<char*>(&localTx), sizeof(float) * 16);
    file->read(reinterpret_cast<char*>(&globalTx), sizeof(float) * 16);
    file->read(reinterpret_cast<char*>(&inversed), sizeof(float) * 16);
    file->read(reinterpret_cast<char*>(&parentId), sizeof(uint32_t));
}

redpajama_set_name: RedPajamaGithub


text:
by Robert M. Sapolsky
"It's no exaggeration to say that Behave is one of the best nonfiction books I've ever read." --David P. Barash, The Wall Street Journal
It has my vote for science book of the year." --Parul Sehgal, The New York Times
Hands-down one of the best books I've read in years. I loved it. --Dina Temple-Raston, The Washington Post
Named a Best Book of the Year by The Washington Post and The Wall Street Journal
From the celebrated neurobiologist and primatologist, a landmark, genre-defining examination of human behavior, both good and bad, and an answer to the question: Why do we do the things we do?
Sapolsky's storytelling concept is delightful but it also has a powerful intrinsic logic: he starts by looking at the factors that bear on a person's reaction in the precise moment a behavior occurs, and then hops back in time from there, in stages, ultimately ending up at the deep history of our species and its evolutionary legacy.
And so the first category of explanation is the neurobiological one. A behavior occurs--whether an example of humans at our best, worst, or somewhere in between. What went on in a person's brain a second before the behavior happened? Then Sapolsky pulls out to a slightly larger field of vision, a little earlier in time: What sight, sound, or smell caused the nervous system to produce that behavior? And then, what hormones acted hours to days earlier to change how responsive that individual is to the stimuli that triggered the nervous system? By now he has increased our field of vision so that we are thinking about neurobiology and the sensory world of our environment and endocrinology in trying to explain what happened.
Sapolsky keeps going: How was that behavior influenced by structural changes in the nervous system over the preceding months, by that person's adolescence, childhood, fetal life, and then back to his or her genetic makeup? Finally, he expands the view to encompass factors larger than one individual. How did culture shape that individual's group, what ecological factors millennia old formed that culture? And on and on, back to evolutionary factors millions of years old.
The result is one of the most dazzling tours d'horizon of the science of human behavior ever attempted, a majestic synthesis that harvests cutting-edge research across a range of disciplines to provide a subtle and nuanced perspective on why we ultimately do the things we do...for good and for ill. Sapolsky builds on this understanding to wrestle with some of our deepest and thorniest questions relating to tribalism and xenophobia, hierarchy and competition, morality and free will, and war and peace. Wise, humane, often very funny, Behave is a towering achievement, powerfully humanizing, and downright heroic in its own right.
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Our selection of bargain books changes hourly, and quantities are limited, so shop now and shop often. Due to unpredictable demand, it is possible for us to oversell the available quantity of a bargain item. In such cases, we will promptly cancel your order and your credit card will not be charged.
Behave (Paperback)
Publisher: Penguin Books $20.00 31 copies from $7.89
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More About Behave by Robert M. Sapolsky
Publisher: Penguin Press
Publish Date: May 2017


text:
package com.facebook.react.uimanager;

import android.view.View;
import androidx.annotation.Nullable;
import com.facebook.react.bridge.ColorPropConverter;
import com.facebook.react.bridge.ReadableArray;
import com.facebook.react.bridge.ReadableMap;
import com.facebook.yoga.YogaConstants;

/**
 * This is a base implementation of {@link ViewManagerDelegate} which supports setting properties
 * that every view should support, such as rotation, background color, etc.
 */
public abstract class BaseViewManagerDelegate<T extends View, U extends BaseViewManagerInterface<T>>
    implements ViewManagerDelegate<T> {
  protected final U mViewManager;

  public BaseViewManagerDelegate(U viewManager) {
    mViewManager = viewManager;
  }

  @Override
  public void setProperty(T view, String propName, @Nullable Object value) {
    switch (propName) {
      case ViewProps.ACCESSIBILITY_ACTIONS:
        mViewManager.setAccessibilityActions(view, (ReadableArray) value);
        break;
      case ViewProps.ACCESSIBILITY_HINT:
        mViewManager.setAccessibilityHint(view, (String) value);
        break;
      case ViewProps.ACCESSIBILITY_LABEL:
        mViewManager.setAccessibilityLabel(view, (String) value);
        break;
      case ViewProps.ACCESSIBILITY_LIVE_REGION:
        mViewManager.setAccessibilityLiveRegion(view, (String) value);
        break;
      case ViewProps.ACCESSIBILITY_ROLE:
        mViewManager.setAccessibilityRole(view, (String) value);
        break;
      case ViewProps.ACCESSIBILITY_STATE:
        mViewManager.setViewState(view, (ReadableMap) value);
        break;
      case ViewProps.BACKGROUND_COLOR:
        mViewManager.setBackgroundColor(
            view, value == null ? 0 : ColorPropConverter.getColor(value, view.getContext()));
        break;
      case ViewProps.BORDER_RADIUS:
        mViewManager.setBorderRadius(
            view, value == null ? YogaConstants.UNDEFINED : ((Double) value).floatValue());
        break;
      case ViewProps.BORDER_BOTTOM_LEFT_RADIUS:
        mViewManager.setBorderBottomLeftRadius(
            view, value == null ? YogaConstants.UNDEFINED : ((Double) value).floatValue());
        break;
      case ViewProps.BORDER_BOTTOM_RIGHT_RADIUS:
        mViewManager.setBorderBottomRightRadius(
            view, value == null ? YogaConstants.UNDEFINED : ((Double) value).floatValue());
        break;
      case ViewProps.BORDER_TOP_LEFT_RADIUS:
        mViewManager.setBorderTopLeftRadius(
            view, value == null ? YogaConstants.UNDEFINED : ((Double) value).floatValue());
        break;
      case ViewProps.BORDER_TOP_RIGHT_RADIUS:
        mViewManager.setBorderTopRightRadius(
            view, value == null ? YogaConstants.UNDEFINED : ((Double) value).floatValue());
        break;
      case ViewProps.ELEVATION:
        mViewManager.setElevation(view, value == null ? 0.0f : ((Double) value).floatValue());
        break;
      case ViewProps.IMPORTANT_FOR_ACCESSIBILITY:
        mViewManager.setImportantForAccessibility(view, (String) value);
        break;
      case ViewProps.NATIVE_ID:
        mViewManager.setNativeId(view, (String) value);
        break;
      case ViewProps.OPACITY:
        mViewManager.setOpacity(view, value == null ? 1.0f : ((Double) value).floatValue());
        break;
      case ViewProps.RENDER_TO_HARDWARE_TEXTURE:
        //noinspection SimplifiableConditionalExpression
        mViewManager.setRenderToHardwareTexture(view, value == null ? false : (boolean) value);
        break;
      case ViewProps.ROTATION:
        mViewManager.setRotation(view, value == null ? 0.0f : ((Double) value).floatValue());
        break;
      case ViewProps.SCALE_X:
        mViewManager.setScaleX(view, value == null ? 1.0f : ((Double) value).floatValue());
        break;
      case ViewProps.SCALE_Y:
        mViewManager.setScaleY(view, value == null ? 1.0f : ((Double) value).floatValue());
        break;
      case ViewProps.TEST_ID:
        mViewManager.setTestId(view, (String) value);
        break;
      case ViewProps.TRANSFORM:
        mViewManager.setTransform(view, (ReadableArray) value);
        break;
      case ViewProps.TRANSLATE_X:
        mViewManager.setTranslateX(view, value == null ? 0.0f : ((Double) value).floatValue());
        break;
      case ViewProps.TRANSLATE_Y:
        mViewManager.setTranslateY(view, value == null ? 0.0f : ((Double) value).floatValue());
        break;
      case ViewProps.Z_INDEX:
        mViewManager.setZIndex(view, value == null ? 0.0f : ((Double) value).floatValue());
        break;
    }
  }
}


24 Mar - 2 min - Uploaded by Imagestore With hoods over their heads, nine handcuffed strangers are about to learn their kidnapper's. 9 Mar A masked maniac locks nine strangers in a room together and reveals that he will kill one of Mar 9, Audience Reviews for Nine Dead. 26 May Chris Shadley's Nine Dead is a bloody revenge flick, which keeps the viewer on the edge of their seat wondering the connections between the.
Nine Dead (). MARCH 9, been asking for one that was cribbing from the story more than its death scenes, and Nine Dead is just that film. In fact, if. out of 5 starsSaw rethought as a Christian film!- spoilers! November 3, Format: DVD|Verified Purchase. First off, this film is another one of those how do . Verenigde Staten Mystery / Thriller 98 minuten. geregisseerd door Chris Shadley met Melissa Joan Hart, William Lee Scott en John Terry. Negen mensen. Communication is the key to the survival for nine strangers who have been kidnapped by a masked gunman and told that one of them will die every ten minutes. Nine Dead is a straight-to-video thriller directed by Chris Shadley and starring Melissa Joan Hart. Nine seemingly strangers are brought together by a.
Nine Dead () Movie Script. Read the Nine Dead full movie script online. SS is dedicated to The Simpsons and host to thousands of free TV show episode. Nine Dead is a film directed by Chris Shadley with Melissa Joan Hart, John Terry, William Lee Scott, Lawrence Turner, . Year: Original title: Nine Dead. Nine Dead (). AddThis Sharing Buttons. Share to Facebook TITLE: Nine Dead. RELEASE DATE: RATING: R. What did you think of this film?. Communication is the key to the survival for nine strangers who have been kidnapped by a masked gunman See full summary» Director: Chris.


Hundreds of free craft projects for Christmas decor or homemade Christmas gifts. Decorate your home for less with Christmas craft projects, ornament projects, holiday wreaths and more. Give festive Christmas gifts with these craft projects.
Elf with Mushrooms Woodland Decor!


text:
A large pottery kiln in the center of the room cools after a recent firing as students trickle into the art room at Magnolia Specialized Services. Art supplies and finished projects crowd the shelves and line the walls.
The goal of the day is to continue work on the students' most recent pottery project, a butter dish. Class Instructor Lisa Van Donsel tells the group of seven to paint two layers of glaze on their butter dish lids. After she finishes with a few instructions, the students immediately get up to find their paint.
Priscilla takes her seat at the T-shaped table and begins bantering with a few other students working nearby. She likes to kid around and keep people on their toes. The young men around her know her well and respond playfully to her. She laughs, becoming louder and more animated as the conversation continues.
When Priscilla announces that her favorite animal is an octopus, a young man dashes off and then returns with a piece of pottery he has made for her - a large, yellow octopus with a red heart on its head. Priscilla eyes it closely and smiles at her friend.
Priscilla finishes painting the two heavy coats of glaze on her butter dish lid. Then while the other students continue to paint, she finds a sheet of paper and begins to draw.
"I like math. I like to read. I like pottery. And I like to help other folks that can't do stuff for themselves. It makes me feel good," says Priscilla when asked about her favorite things to do. She adds that if she could have any job, she would want to be a nurse because she likes babies.
Priscilla and Instructor Van Donsel have formed a special bond over the past seven years that she has taught Priscilla's class at Magnolia Specialized Services. Their years together allow Van Donsel to give a deeper viewpoint of her student.
She describes Priscilla as a passionate and social person with an artistic flair and adds that having a student with so much energy and interest in turn energizes her as a teacher.
"Priscilla works hard and uses all of her art time. She's interested in every medium and is always eager to find out what we'll be working on in class," Van Donsel says. "She often has ideas of her own and takes the initiative to make them happen."
At The Blue Umbrella, Priscilla's talent, initiative, and love of art now earn her a paycheck. Her paintings, drawings, and pottery are sold in the gift shop. She says it makes her happy that people buy what she makes.
Stop by our shop to check out the pottery from Magnolia Specialized Services. Watch for Priscilla's butter dish for sale.


Stories from his personal experiences to comprise the 11 songs on his U.S. debut.
Morgan Evans was already a star in his native Australia when he crossed two oceans to bring his talents to America. He begins a new life chapter by taking his life experience and turning it into 11 personal songs on his new album, Things That We Drink To.
There's a youthful, vibrant spirit that runs throughout album in a way that feels celebratory. You feel this on the opening track "American," a song that turns his coast-to-coast exploration of the place he calls his new home into lyrics, from the red sunset in California to the streets of New Orleans, all expressed over a sunny pop-country melody. This same energy is present on "We Dream" where Evans calls on a chorus of singers to help him share the message that no matter what corner of the world you live in, we all use our dreams to break out of the constrictions placed upon us. "When we look at the world and we don't like what we see, we close our eyes and we dream," he chants.
On the title track, "Things That We Drink To," Evans digs deeper, co-penning a reflective track that was inspired in part by the sudden death of his friend and manager Rob Potts, who was killed in a motorcycle accident in 2017. Evans uses the song as a way to raise a tall glass to his friend, the memories he's looking back on and all the life he's lived in between, offering enough conviction to drive home the emotion. Another pristine track comes in the form of "Dance With Me," which features gentle background vocals from his wife, Kelsea Ballerini and feels like the most personal moment on the album. Evans doesn't add any flash to the sweet song, letting the honesty in their voices tell the story. "Feel my heart beat through your body to your feet, if you dance with me, hold me in the dark now until both your eyes can see," they sing beautifully in harmony.
Though Evans constructs Things That We Drink To with common topics frequently used in country songs, he does a sound job of taking these notions and making them feel like his own. From the earnest title track to the thoughtfulness of "Dance With Me," Evans uses the project as a way to show his growing fanbase what he's capable of achieving – and they're bound to want to continue growing alongside him.


Excerpts from the keynote address Sri Mata Amritanandamayi Devi (Amma) gave at the United Nations Academic Impact – START/Amrita University Conference on Technology for Sustainable Development. The full speech on "Reconciling Ancient Spiritual Wisdom And Modern Technology For Societal Transformation" is available at amritapuri.org.
Just as our right hand rushes to comfort our left hand if it is in pain, may we love and serve others as we would our self.
I often reflect deeply on the future of the Earth, the preservation of nature, and the disappearing harmony between humanity and nature. This contemplation has led me to the conviction that science, technology, and spirituality must unite in order to ensure a sustainable and balanced existence of our world. The present age and the world around us demand this transformation.
People ask, "What is the significance of spirituality?" Spirituality helps us to develop the discernment to differentiate between what is essential and what is excessive. For example, we need a watch to tell time. Both a $100 and a $50,000 watch will do that. If we buy the $100 dollar watch and use the remaining money to help the poor, it would be a great service to society.


Summer and fall mark two of the most beautiful, warm, and welcoming seasons here in Estes Park. Hummingbirds flitter by while the wind rustles aspen leaves and water cascades over boulders in the Big Thompson River. It's prime time for a stay here at Rams Horn Village Resort! Let's talk about some of the best that Estes has to offer here in the warmest months of the year.
From marmots to moose, you can catch a glimpse of some of the most majestic creatures that reside on these Rocky Mountain hillsides. Take a quick trip to Rocky Mountain National Park (only a minute away from the Resort), and you're sure to see wildlife—that is, if you haven't already seen some creatures on your way into town. Deer, elk, and bighorn sheep are common throughout the valley and the Park. You'll also see smaller critters, including marmots as we mentioned, as well as pica, fox, a vast variety of birds, and of course, squirrels. If you're lucky, you might also catch a glimpse of a black bear, a coyote, or even a mountain lion or a bobcat. Just be certain to stay safe and keep your distance! You can learn more about the wildlife you can expect to see on the Rocky Mountain National Park Wildlife and Parks page.
From hiking to miniature golf, you're sure to entertain the whole family here in Estes Park. Go geocaching with the kids. Get a couple of rounds of putt putt in at Fun City or Ride-A-Kart. Head to Gem Lake for a hike (there's a beautiful surprise at the end of this 3.2 mile roundtrip hike!). Then cool down with a scoop of ice cream from any of the local shops, including Hayley's Ice Cream, the Munchin' House, and the Danish Cone Factory. There's certainly no shortage of things to do, so be sure to book a long stay here at the Resort! If you're looking for more things to do, take a look at the Estes Park Kids & Family Activities page.
Downtown has more than just ice cream for the kiddos. If you're in the mood to shop, downtown Estes Park has a slew of quaint stores and Mom and Pop shops. Find a new favorite shawl, or pick up a book at historic McDonald's Bookstore to read while you're out on your Rams Horn Village porch. And don't forget to buy a few souvenirs for the fam while you're in town!
If you're looking for a drink or great meal, try The Rock Inn Mountain Tavern (it's a short walk away from the resort)—it features real Rocky Mountain food, several local brews, and that authentic, log-cabin feel. You can even catch a live band! There's a wonderful variety of great restaurants within a short drive from Rams Horn Village. Or, if you're downtown, check out one of the several award-winning Estes Park craft breweries, wineries, and distilleries.
Estes Park is a true escape from your day-to-day responsibilities, and it's the perfect place to unwind, and replenish your soul. In the mornings, enjoy your morning cup of coffee with unbeatable views of Longs Peak, Rocky Mountain National Park, and Estes Valley.
Claim a hammock outside your Rams Horn Village cabin and catch a good snooze. Plus, Estes offers a full variety of spa and wellness centers. Or visit any of the many spas throughout downtown. Also, take some time to check out the galleries and museums that abound around town.
Now, you can get a spa treatment anytime, so maybe you'd prefer to make the most of your stay by making the most of the outdoors while you're here in Estes. If so, you can take a brief jaunt over to the Big Thompson River to catch some fish (or head to any of the local streams, ponds, lakes, and creeks).
Not a fisherman? Well take a hike. Rocky Mountain National Park is full of endless miles of trails, including easy hikes like Bear Lake and Bierstadt Lake (they're just a walk in the Park!), as well as difficult hikes like Longs Peak Trail (it takes bravery and strength to reach the summit of Colorado's most difficult 14ers!).
If you like to bike, there are plenty of biking trails, and if you prefer to see the Rockies via horseback, you can borrow a pony for the day at one of the many stables scattered throughout the valley.
If you're feeling bold, try your hand at whitewater rafting, just be sure to book your rafting excursion in advance! Trips fill up quick!
Not an adrenaline junky? If you're looking for a more casual way to enjoy the outdoors, get a round of golf in at the Estes Park Golf Course and Pro Shop (an 18-hole course) or the Lake Estes Executive 9-Hole Golf Course.
There are so many ways to make the most of the warmest months here in Estes Park; we're certain that you'll find the best way.
If you're ready for an unforgettable experience here in Estes Park, schedule a stay here at Rams Horn Village Resort. We're located a few minutes from downtown Estes as well as Rocky Mountain National Park. Enjoy all the amenities of our real Rocky Mountain town, as well as the grandeur of Rocky Mountain National Park. All the while, enjoy your stay in one of our top-rated luxury cabins in the Rockies. Join us in Estes Park, and discover the friendly character of our resort, our town, and the glory of our mountains!


text:
During World War II, the German Army relied on an diverse array of communications to maintain contact with its mobile forces and in particular with its armoured forces. Most of this equipment received the generic prefix FuG for Funkgerät, meaning "radio device". Occasionally the shorted Fu designation were used and there were exceptions to both these systems. Number ranges were not unique across the services so sometimes different equipment used by different services had the same FuG prefix. This article is a list and a description of the radio equipment.

Armoured force communications
 Fug 1: Also known as Torn.E.b And Pack Receiver b. A Medium-wave receiver it operated in the 0,1 to 7,095 kHz frequency range. Repackaged for use in several other receivers and transceivers.

FuG 2: A high-band HF/low-band VHF receiver. Also known a USW receiver c1. It operated in the 27,000 to 33,300 kHz (27-33.3 MHz) range. The FuG 2 was never used on its own but as an additional receiver in command tanks and relay devices. It was usually installed in section leader and company commanders' vehicles, to allow them to listen on one frequency while transmitting and receiving on another. As it operated on the same band as the FuG 5 it allowed them, for example, to listen to the regimental command net while talking to the subordinate units at the same time. Matching the transmitters that operated in this frequency range, this receiver provided for 50 kHz channel steps in the 27.0 to 33.3 MHz range for a total of 125 available channels.

FuG 3: A low-band VHF receiver. It operated in the 42–47.8 MHz range. Repackaged as FuG 3 neu for use with motorcycle troops.

FuG 4: A medium-wave receiver used in command tanks. It operated in the 1,130 to 3,000 kHz frequency range. It was used with the same antenna as the Fug 8. It was usually used for communication with a Fug 8 in the same installation. (Fug 8 + Fug 4)

FuG 5: A high-band HF/low-band VHF transceiver. It operated in the 27,000 to 33,300 kHz (27-33.3 MHz) frequency range with a transmission power of 10 Watts. This equipment provided for 125 radio channels at 50 kHz channel spacing. It was usually used with a two-metre antenna. Was present in almost all German tanks and some other vehicles. Was the standard kit for tank-to-tank communication within platoons and companies. Range was approx 2–3 km when using AM voice and 3–4 km when using CW. Reworked to produce the FuG 5 (Luft) variant which was used for air-to-ground communication until replaced with the FuG 7.

FuG 6: A high-band HF/low-band VHF transceiver. It operated in the 27,000 to 33,300 kHz (27-33.3 MHz) frequency range with a transmission power of 20 Watts. It was usually used with a two-metre antenna. It was used by armoured observation posts. These were usually early-model tanks with some of their armament removed and replaced by equipment for artillery observers. It was used by the observers to communicate with the armoured unit leaders via their Fug 5 radios. Main advantage over the FuG 5 was greater range. Range was approx 4–6 km when using AM voice and 6–8 km when using CW. Comparable to the American SCR-508 tank radio, which covered a similar frequency range (20-27.9 MHz) at 25 watts. The major difference between German Army tank sets and US Army tank sets was the American use of FM for the high-HF/low-VHF bands.

FuG 7: A VHF transceiver (receiver/transmitter) used in command tanks. It operated in the 42,000 to 48,300 kHz (42-48.3 MHz) frequency range with a transmission power of 20 Watts. It was usually used with a 1.4 metre antenna. It was matched with  the Luftwaffe transceiver Fug 17 in ground support operations. It was used for CAS operations, though these became rare after late 1944 with the result that many command tanks with this equipment fitted were converted to other roles. Ground-to-air range 60 km AM voice to 80 km CW.

FuG 8: A medium-wave transceiver (receiver/transmitter) used in command tanks. It operated in the 1,130 to 3,000 kHz frequency range with a transmission power of 30 Watts. It was used with various antenna ranging from  1.8 to 9-metre antenna. It was used for communication back to the regimental command post. Range 25 km AM voice to 140 km CW using the nine-metre antenna, the station had to be stopped to use this antenna.

FuG 9: A transceiver, operated in the 0.1 - 7.1 MHz (100 kHz - 7100 kHz) range.

FuG 10: A medium-wave transceiver (receiver/transmitter) used in command tanks. It operated in the 1,130 to 3,000 kHz frequency range with a transmission power of 30 Watts. It was used with a frame antenna on various reconnaissance units. Range 10 km AM voice to 40 km CW.

FuG 11: A medium-wave transceiver (receiver/transmitter) used in command tanks. It operated in the 1,130 to 3,000 kHz frequency range with a transmission power of 100 Watts. Used at the regimental command post. Range 70 km AM voice to 200 km CW.

FuG 12: A medium-wave transceiver (receiver/transmitter) used in command tanks. It operated in the 1,130 to 3,000 kHz frequency range with a transmission power of 80 Watts. It was used with a two-metre antenna. Reconnaissance units later in the war.

FuG 13: A Fug 6 with two receivers rather than one.

FuG 14: Multi-radio setup consisting of several separate radios.

FuG 15: A HF receiver. It operated in the 23,000 to 24,950 kHz (23-24.95 MHz) frequency range. It was matched with transceiver Fug 16 for use with Sturmartillerie (self-propelled artillery).

FuG 16: A HF transceiver (receiver/transmitter) used in the command vehicles of Sturmartillerie units. It operated in the 23,000 to 24,950 kHz (23-24.95 MHz) frequency range with a transmission power of 10 Watts. It was usually used with a two-metre antenna. Range 2 km AM voice to 4 km CW.

FuG 17: Designation for a Torn Fu H transceiver.

Fug 18: Group of radios covering 25 - 77.1 Mhz

Fug 19: A transceiver operating in the range 3 - 7.5 Mhz. In some command units.

Fug 20: A 0.1 - 7.1 MHz receiver paired with a 1.1 - 3 MHz transmitter.

Fug 21: A 0.1 - 10 MHz receiver paired with a 2.5 - 7.5 MHz transmitter.

Fug 24: A 0.1 - 7.1 MHz receiver paired with a 3 - 7.5 MHz transmitter.

Fug 25: A 2.5 - 27.5 MHz receiver paired with a 3 - 16.6 MHz transmitter.

FuSpr.a: A mid-band HF transceiver. It operated in the 24.1 to 25 MHz (24100 to 25000 kHz) frequency range with a transmission power of 5 Watts. It was used with antenna of either 1.4 to 2.0 metres antenna. It was used for by reconnaissance elements for intercommunication. Range 5 km AM voice.

FuSpr.d: A mid-band HF transceiver. It operated in the 23.11 to 24.01  MHz (24100 to 25000 kHz) frequency range with a transmission power of 5 Watts. It was used with antenna of either 1.4 to 2.0 metres antenna. Used by anti-tank units.

FuSpr.f: A mid-band HF transceiver. It operated in the 19,990 to 21,470 kHz (19.99-21.47 MHz) frequency range with a transmission power of 5 Watts. It was used with antenna of either 1.4 to 2.0 metres antenna. It was used for by observation teams of the Sturmartillerie to communicate with artillery units. Range 5 km AM voice.

Infantry Equipment
The German-army-issued infantry radios in two main series. The "Backpack" or Torn series and the field or Feld series.

Torn.Fu Series

Torn.Fu.a: A HF transceiver. It operated in the 3–6.67 MHz frequency range. 2 Watt output AM voice and CW

Torn.Fu.b: A HF transceiver. It operated in the 3-5 MHz frequency range. 0.7 Watt output AM voice and CW. Formed the base design of other units. Used by the infantry at the regimental and battalion level. Not intended to be used on the move.

Torn.Fu.c: A HF transceiver. It operated in the 1.5-2.6 MHz frequency range. Otherwise identical to Torn.Fu.b. Used by artillery observers.

Torn.Fu.d2: A VHF transceiver. It operated in the 33.8-38 MHz frequency range. 1.5 Watt output AM voice and CW. Range approximately 10 km with Cw and 3 km with voice. Used by the infantry. A common infantry set. Could be used on the move with one man carrying the transmitter/receiver and the other the battery/power supply and handset. A cable linked the two men together.

Torn.Fu.f: A HF transceiver. It operated in the 4.5-6.67 MHz frequency range. 0.7 Watt output AM voice and CW. Panzergrenadier units. Identical to Torn.Fu.b with exception of frequency range.

Torn.Fu.g: A HF transceiver. It operated in the 2.5-3.5 MHz frequency range. .5 Watt output AM voice and CW. Used at the battalion to company level of the Panzergrenadier. Some command and reconnaissance units had this infantry transceiver to allow then to talk to Panzergrenadier units.

Torn.Fu.h: A HF transceiver. It operated in the 23-28 MHz frequency range. 0.6 Watt output AM voice. Sturmartillerie units.

Torn.Fu.i: A HF transceiver. It operated in the 1.87 - 3 MHz frequency range. Replacement for Torn.Fu.f.

Torn.Fu.k: A HF transceiver. It operated in the 4.5-6.67 MHz frequency range. 1 Watt output AM voice and CW. Replacement for Torn.Fu.g.

Feld.Fu Series

Feldfu.a1: 120-156 MHz infantry, a VHF transceiver. .15 Watt output AM voice and CW. Range 1.5 km.

Feldfu b: 90-110 MHz Used by the infantry used in two versions. .15 Watt-output AM voice and CW. The b version was used by the infantry until they changed to the 'c' model radio in another band. This unit was also used by motorcycle troops in the first half of the war. Thereafter version b1 was used by the Pioneers. Later a simplified version (b2), of lower power (.12w), was used by the Panzergrenadiers.

Feldfu b1: Pioniere 90-110Mhz range 1.5 km.

Feldfu b2: Panzergrenadier only two tubes, no AF tube Rv2,4P700

Feldfu c:	130 - 160 MHz infantry. .15 Watt output AM voice and CW. Infantry. Range 1.5 km.

Feldfu d:	32  - 38 MHz Artillery Observers. .15 Watt output AM voice and CW. Infantry. Range 1.5 km.

Feldfu f:	28.0 - 33.0 MHz Panzergrenadier. Could interwork with the Fug 5 of the armour.

Feldfu h: 23.1 - 28.0 MHz Assault Guns and Sturmartillerie

Other
KL.Fuspr.d: A VHF transceiver. It operated in the 32-38 MHz frequency range. Single-unit "walkie-talkie" system. Used by artillery forward observers.

UHF Communication Link Equipment

From 1936 the German forces started deploying a range of communication links using UHF frequencies to form a point-to-point mesh communication network.
During the war this was extended to cover the majority of the occupied areas or Europe and North Africa. Both the army and the air force made use of the same equipment. The units of the T series were "backpack"-style mobile equipment. The K series were truck mobile units using a range of masts up to approximately 11 m tall. The G series were still mobile but were intended to form more of a backbone for communications and were intended to remain in place for longer periods than the K. They again used a series of masts up to 50 m high. Depending on the set a range of communication facilities were available consisting of voice and/or teletype and Hellscriber. Range was line-or-sight so the ranges reported here were assuming the antenna could "see" one another.

DMG 2 T: Pack unit, operating on the 475 - 525 MHz band, single channel voice or 800 character-per-second teletype. Range up to 50 km. Tripod mast or 11 m mast. Transmission power 0.15 watt. Power battery.

DMG 3 K: Truck-mounted. Operating on the 475 - 525 MHz band, two channels. Channel 1, one voice channel or one 800 CPS teletype. Channel 2 6000 CPS teletype. Range up to 50 km. Mast or tower. Power 220 V AC 50 Hz.

Michael 2 B - DMG 4a K: Truck-mounted. Operating on the 500 - 560 MHz band, two channels. Channel 1, voice or 2400 CPS teletype. Channel 2 8000 CPS teletype. Range up to 100 km. Tower up to 50 m. Transmission power 0.4 Watts. Power 220 V AC 50 Hz 250 VA.

Michael 2 R - DMG 5 K: Truck-mounted. Operating on the 502 - 555 MHz band, two channels. Channel 1 Voice or 5500 CPS teletype or three channels teletype. Channel 2 8000 CPS teletype. Transmitter power 1 watt. Range up to 50 km. Mast or tower. Power 22 V AC 50 Hz 300 VA.

Rudolf - DMG 3 G: 'Heavy' link. Operating on the 600 - 650 MHz band, two channels. Channel 1 control channel voice, Channel 2 nine voice channels or p x 3 Teletype. Range up to 100 km. Tower up to 50 m. Transmission power 3.5 watts. Power 220 V AC 50 Hz 680 VA.

Stuttgart - FuG D 3: Development item, possible none deployed. Operating on the 1250 - 1390 MHz band, two channels. Range up to 100 km. Tower up to 50 m.

DM 43: Development item, possible none deployed. Operating on the 2000 - 2100 MHz band. No other details available

Notes

Bibliography
 Rottman, Gordon. WW2 Battlefield Communications. Osprey Publishing Ltd 2010.
 Niccoli, Riccardo. Befehlspanzer. RN Publishing 2014.
 Hart, Stephen. Panther Medium Tank. Osprey Publishing Ltd 2003.
 Chamberlain, Peter. Encyclopedia German Tanks of World War Two". Arms & Armour 1999.
 Metsu, Pierre.  German Radio Sets''. Heimdal 2004.

External links
 Walt Gromov's Radio Museum

World War II German electronics
Military radio systems
Military terminology
Communication circuits
Radio electronics


For high quality, hypothesis driven diabetes research projects, lasting up to five years and costing less than £500,000.
Diabetes UK welcomes applications for qualitative or mixed methods research which seeks to clarify the issues experienced by women with Type 1 and Type 2 diabetes during menopause (to include the period(s) leading up to/ surrounding and affected by it). This highlight notice builds on the high priority areas identified by the Diabetes UK Clinical Studies Groups.
Please refer to the highlight notice for full details including deadlines, processes and how to apply.
The Principle Investigator will usually have a tenured post or be able to demonstrate that they will have a salary for the lifetime of the grant.
Staff salaries. For example: technician, research assistant, postdoctoral researcher. This excludes support for PhD students, who are not eligible to work on a project grant.
Research consumables directly attributable to the project.
Research equipment essential for the project. While there is no upper limit on this amount, host institutions are encouraged to contribute towards the cost of requested equipment. A contribution will be expected when applicants plan to use the equipment across multiple projects and departments at their institute, rather than solely on this project. We would expect the contribution to be proportionate to the total amount requested.
Clinical and secretarial assistance may be provided in some cases, if essential, but this must be fully justified within the application.
Applicants applying for £500,000 or more must contact Diabetes UK in the first instance and should already hold substantial funding from Diabetes UK or another funding body. Please contact us at research@diabetes.org.uk to discuss further.
Early-career basic scientists and clinical lecturers should consider applying for an Early-Career Small Grant. Please check your eligibility for either scheme before applying.
Read the general guidelines for grant applicants and tips for writing a grant application.
Log on to the Diabetes UK online grants management system.
Complete all sections of the online application form, using the grants management system user guide.
All applications will be sent out for external peer review.
Due to the high number of applications received by Diabetes UK, it is not possible to take forward all applications to the Research Committee for discussion. Therefore, following external peer review and rebuttal, applications undergo a pre-selection process, ratified by the Chair of the Research Committee and Committee members designated to speak to that application.
Applications that have not progressed through the pre-selection stage will be informed of the outcome before the Research Committee Meeting. Individual feedback is not provided for these applications.
Prior to the Research Committee meeting, the Diabetes UK Grants Advisory Panel (GAP) will discuss all grant applications. GAP is comprised of people living with and affected by diabetes, who use the lay summary of each grant application to establish how relevant the research is to people living with diabetes. Several GAP members attend Research Committee to provide feedback.
The GAP perspective can directly influence the funding decision made. We recommend applicants take this into consideration, making sure that the summary for people living with diabetes is written in plain English.
Our Research Funding Process and Review Panels page provides more insight into the Research Committee and lay review process.
Potential difference the research will make to the lives of people with diabetes.
Track record of the applicants.
Feedback letters will be sent to all lead applicants within one month of the Research Committee meeting.
Funded applicants will have two weeks to respond to comments raised by the Committee.
Funded applicants should expect to receive an award letter within two months of the Research Committee meeting.


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INICIO > PRODUCTOS > how is gold mined in ghana
how is gold mined in ghana
Mining Of Gold In Ghana Overview - Mining - Ghana
2019-6-26 Gold is a major export commodity for Ghana and contributes significantly to Ghana's revenue. This precious metal contributes nearly 48% of the country's revenue. RELEVANT LEGISLATIONS The exploration of gold reserves in Ghana is governed by a number of laws within her jurisdiction which includes the following;
Detecting Gold Mining in Ghana - NASA
2020-4-30 Large commercial companies mine the majority of it using heavy machinery. But about 35 percent is extracted through small-scale mines, many of which operate informally or without a valid license. This unregulated small-scale and artisanal gold mining is known locally as galamsey, a slang word derived from the Ghanaian words "gather" and "sell."
Ghana Gold Mining and Exploration INN
2019-8-30 Major miner Kinross Gold holds a 90-percent interest in the Chirano gold mine in Ghana, while the government of Ghana owns the remaining 10 percent.The minecommenced open pit mining in late Q1 2019...
Mining in Ghana - Legalstone Solicitors LLP
2019-6-18 It sets out the licensing regime for gold mining in Ghana, the rights of a mining leaseholder, as well as the objects and powers of regulatory institutions in the industry, including the Ministry of Mines and Natural Resources and the Minerals Commission, among others. Principal Institutions Regulating the Industry
how is gold mined in ghana - Exomos
Apr 24, 2019 Ghana is Africa's second-largest gold producer. Miners near Doropo, Ivory Coast sluice for gold by pouring water through gravel on a surface tilted at an angle. The lighter stone and sand particles... Mining What IsGold Mining How Is Gold Mined Geology
Across the ,Ghana is Africa's largest gold producer, producing 805 t in 2008 Ghana is also a major producer of bauxite, manganese and diamonds Where minerals are mined in Ghana? The key minerals which are mined in Ghana include gold, diamonds, bauxite and manganese Mining activity is typically based in the Ashanti Region, the Western Region, the
Top Gold Mining Companies in Ghana List 2022 Updated
2022-6-2 ANGLOGOLD ASHANTI (IDUAPRIEM) LIMITED is located in Accra, Ghana and is part of the Gold Silver Mining Industry. ANGLOGOLD ASHANTI (IDUAPRIEM) LIMITED has 1,445 employees at this location and generates $187.51 million in sales (USD). (Employees figure is estimated, Sales figure is modelled). SERVICE:- Gold Silver Mining Mining Gold ores
How Gold Is Mined Gold Mining Process World Gold
2022-8-24 Gold mine development is the next stage of the gold mining process. It involves the planning and construction of the mine and associated infrastructure. Mining companies must obtain appropriate permits and licenses before they can begin construction. This will generally take several years, although this varies greatly depending on location.
Ghana: Exporting Gold From Ghana; The Need For Due
2020-6-19 Ghana has a long history of mining, especially for gold. Gold is a precious metal of high monetary value, sought after for the production of coins, jewellery, and other artefacts. It is a fact, evidence by records over the years, that gold is a major foreign exchange earner for Ghana's socio-economic development.
Global mine production by country World Gold Council
2022-6-9 Demand and supply Gold mining is a global business with operations on every continent, except Antarctica, and gold is extracted from mines of widely varying types and scale. At a country level, China was the largest producer in the world in 2021 and accounted for around 9 per cent of total global production.
Largest Gold Mines in West Africa Q1 2020 Overview. Ghana is already the largest gold producer on the continent and West Africa is quickly becoming the world-class gold mining hub The following is the brief overview of the local gold industry and review of the top 10 largest gold mines in West Africa in Q1 2020 prepared by Mines and Metals on the basis of publicly released
Gold companies in Ghana A list of top gold mining. May 21, 2019 Ghana's mining sector contributes to Ghana's GDP a lot. It is estimated that about 37% of Ghana's export comes from the mining sector. This means that the mining sector in Ghana is a lucrative business, which has attracted companies from across the world. There are more than 23 ...
How Is Gold Mined In Ghana - kijkduinmedia
2021-7-9 May 21 2021 RADP Pulse Ghana Video video How gold is mined from electronic waste using microbes May 21 2021 119 AM Electronics are chock-full of gold. Galamsey in Ghana and Chinas illegal gold rush. Sep 30 2019 Of particular interest was - and is - the gold mining sector in Ghana with its uneven legal enforcement and ample gold reserves. ...
Top five gold mining countries of Africa from
2020-8-28 The minerals mined in Ghana account for 37% of the country's total exports, with gold comprising 90% of total mineral exports. Miningglobal estimates Ghana's gold reserves to be 1,000 metric tonnes. 2. South Africa –
2022-6-2 ANGLOGOLD ASHANTI (IDUAPRIEM) LIMITED is located in Accra, Ghana and is part of the Gold Silver Mining Industry. ANGLOGOLD ASHANTI (IDUAPRIEM) LIMITED has 1,445 employees at this location and generates $187.51 million in sales (USD). (Employees figure is estimated, Sales figure is modelled).
Top 10 mineral resources in Ghana - jostylin
Gold mines excavate about 101.7 tonnes of gold yearly, accounting for 20% of the nation's total exports. Some gold mining companies in Ghana include AngloGold Ashanti Limited, Perseus Mining Limited, Newmont Ghana Ltd,
2020-6-19 License to Buy and Export Gold. It is imperative to note that, in Ghana, an individual need a license to buy and deal with minerals. Therefore, the export of gold out of the jurisdiction of Ghana can only be done under a license by an entity. This is regulated under the Minerals and Mining Act, 2006 (Act 703).
Where To Sell Gold In Ghana - GoldTalkClub
2021-10-17 Galiano Reports Gold Production At Asanko In Q3 In Line With Guidance. Kitco News. – Yesterday, Galiano Gold reported that in Q3 2021, gold production at the Asanko gold mine in Ghana was 49,543 ounces, virtually unchanged from 48,974 ounces produced in Q3 2020 and in line with 2021 production guidance.
What Is Gold Mining? How Is Gold Mined? - Geology Page
2019-4-16 Panning. Gold panning is mainly a manual gold separation technique from other materials. Large, shallow pans are filled with gold-containing sand and gravel. The pan is submerged and shaken in water, sorting the gravel gold and other material. It quickly settles down to the bottom of the pan as gold is much denser than rock.
Gold Price Today in Ghana Gold Gram 24K, 22K, 18K in
2015-7-8 271.75. Gold Tola 9K. 2,431.56. 244.38. Gold Tola 8K. 2,159.23. 217.01. Gold prices per ounce are converted from USD to Ghana cedi according to the latest exchange rates where 1 USD = 9.95 Ghana cedi. Gold prices are calculated both per ounce, gram, kilogram and tola and for the most common karats.
2019-6-18 Ghana Geological Survey Authority Act, 2016 (Act 928) These laws listed constitute the principal and subordinate legislation regulating the mining of industrial minerals, including gold in Ghana. It sets out the licensing regime for gold mining in Ghana, the rights of a mining leaseholder, as well as the objects and powers of regulatory ...
how is gold mined in ghana - meblenaczas
Top Ten Gold Mines in Ghana -2017 - Jungleminer. Global gold production in 2017 was about 105 million troy ounces. Production was up by 525 tonnes or nearly 17 million ounces since the start of the decade. According to the world gold council, the 2017 gold production made a giant record after nine years of growth in Read More
Map of Ghana showing the Location of the
Gbireh et al., (2007) posit that small scale gold mining has been operational in Ghana since gold was first discovered and mined. SSM continue to be a popular form of gold mining across developing ...
Ghana now Africa's largest gold producer, but
2019-10-8 It's too soon for Ghana to pat itself on the back as it overtakes South Africa as the continent's largest gold producer. Ghana's gold output of 4.8 million ounces in 2018 surpassed South Africa's 4.2 million ounce total for the first
Gold Mining Process
2021-11-1 The gold mining process is complex and lengthy — Gold exploration companies perform numerous tests to identify the size and quality of the ore body and a plan on how to extract the ore as safely, sustainably, and economically as possible before they can start mining gold. ... Gold Mining Process — How is Gold Mined? November 1, 2021.
2022-6-9 9 June, 2022. Demand and supply. Gold mining is a global business with operations on every continent, except Antarctica, and gold is extracted from mines of widely varying types and scale. At a country level, China was the largest producer in the world in 2021 and accounted for around 9 per cent of total global production.
Ancient Gold Mines in Africa Study
In West Africa, an ancient people called the Akan populated the location that we now call Ghana around the 11th-century CE. Among the many tribes of this ancient civilization, could be found, the ...
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Among those of us who have the privilege of eating affordably and often, there should be no reason at all for us not to eat well, too. Least of all should we eat mediocre meals for lack of time. Today's solution: a main dish precooked and finished at top speed at the very last minute, accompanied by super-quick fixes as side dishes. No reason to make it more complicated than it is on its own merits.
Precooked pork tenderloin was in this instance a dainty piece of meat seasoned with salt, pepper and butter, sealed in a vacuum pack and simmered gently in the sous-vide to a tender pink overnight–easy-peasy. If one has the luxury of a sous vide cooker. If not, I think I'd try to do the same in a slow cooker, because that's the way this chica operates, though there's no reason I couldn't also steam it low-and-slow, covered, in the oven.
At suppertime, easiest of all. The tenderloin, removed from its vacuum pack and cut into pieces about 1-1/2 inches in length, is tossed into hot bacon fat along with a handful of sliced almonds and caramelized until lightly crisp on the outside, getting a nice deglazing bath of very dry sherry to moisten at the last and loosen up all of that lovely fond. While the meat is browning and falling into delicate pulled shreds, it's a moment's work to fix the side dishes.
It all goes down a treat with a glass of very cold Viognier jazzed up with a dash of Limoncello. Salut!
Green beans slicked with a little clarified browned butter, and my standby creamy ginger coleslaw, go pretty well with sherried pork tenderloin and almonds, as it turns out. Once it came to the end of the meal, I wasn't exactly dessert-starved, but given this time of the season it would almost be a crime not to have a prime piece of fruit. A pear, silky and sweet as syrup but a whole lot juicier and more fulfilling, is dessert in the loveliest of ways. Hope I have another pear handy for breakfast, though . . . another good meal should always lie ahead . . .


I enjoyed many fine New England brews during my recent trip to Massachusetts, and most of them were supplied by Colonial Spirits.
We arrived in Carlisle, MA outside of Boston after a 7-hour drive from Kensington, MD. As soon as we unpacked the van at my in-laws for our President's Day weekend visit, I was back out the door on the way to the beer store.
I liked the mix of brews in this 12-pack, and it left me wanting more Opa Opa. I really want to visit the Opa Opa Steakhouse and Brewery in Southampton, MA. It sounds like my kind of place – a family friendly restaurant with a long menu of pub grub and steaks. And did I mention that they brew their own beer on-site?
sounds like fun we will have to try it next time.


Open concept kitchen- living room is perfect for small apartments but it also looks gorgeous in big spaces when the kitchen is connected with the dining room and the living room. It gives to the space more elegant and sophisticated look. Visit... I have a separate room for the playroom/TV room/family time room, a lounge/diner (adult space only) and a kitchen, which although it doesn�t have a utility room, means that every room looks spotless when visitors pop round (except the playroom, but I close the door on that).
We have a cozy open space combining the kitchen, dining area, and living room. However, we can�t seem to find a good place for the TV without placing a sofa in the middle of the living room: However, we can�t seem to find a good place for the TV without placing a sofa in the middle of the living room: how to clear space on iphone 6s Welcome to our open concept kitchens design gallery. An open style kitchen is ideal for those who desire a fluid living space between the kitchen and living room or dining areas.
An area rug defines an intimate living space within the open room. Practical, pretty furnishings are used to ensure a smooth transition from the kitchen to the living room . Fun accents in bright colors relax the space and bring in a welcoming, casual vibe.


The silver white pear is a beautiful shrub or small tree ideal for the wooded or semi-shaded areas of your garden.
This plant can be classified as a shrub or small tree of up to 5 m in height depending on the area it occurs in. It is multistemmed and the slender branches are smooth, wrinkled and often covered with glandular hairs.
The velvety leaves vary in size from 40 to 200 mm in diameter, are roundish to roughly triangular with the upper half sometimes lobed. The tips are pointed, the bases deeply indented and the margins roundly toothed with 5-7 prominent veins that arise from the base on the lower surface. The upper surface of the leaves is green and covered with short, dense hairs, whereas the undersurface is covered in silvery or greyish white, velvety hairs.
The velvety buds open into white flowers that often display a deep pink centre. They turn brown later. The flowers are borne on hairy stalks in bunches in the axils of the upper leaves. Flowering time: December to May. The fruit is a capsule and is covered with dense, yellowish hairs. The seeds are small, brown and pitted and are ripe between March and June.
The silver white pear occurs mainly on the northeastern Drakensberg from Swaziland, through Mphumalanga to the lower parts of Limpopo Province. It has a somewhat restricted distribution, as it grows on rocky hillsides or mountains at high altitudes, in wooded kloofs or in wooded areas along stream banks.
The generic name Dombeya, is in honour of Joseph Dombey, a French botanist and traveller in Peru and Chile (1742-1793). The specific name pulchra comes from the Latin word for beautiful.
This species is very similar to Dombeya burgessiae that has white or pink flowers with a distribution that overlaps in some areas.
It is used as an ornamental plant by the nursery trade. Other species often grown in gardens include Dombeya rotundifolia and Dombeya autumnalis.
It is easily raised from seed, which can be sown in early September. It is fast growing under garden conditions. This plant can be grown in the more woody or semi-shaded areas of your garden.
Jackson, W.P.U. 1990. Origins and meanings of names of South African plant genera. University of Cape Town Ecolab, Rondebosch, Cape Town.
Palmer, E. & Pitman, N. 1972. Trees of southern Africa covering all known indigenous species in the Republic of South Africa, South-West Africa, Botswana, Lesotho & Swaziland, vol. 2. Balkema, Cape Town.