text:
<!DOCTYPE html>

        <meta charset="utf-8">
        <title>WebAudio guitar amp sim</title>

        <link rel="import" href="./bower_componentsv2/polymer/polymer.html">
        <link rel="import" href="./webaudio-controls.html">

        <link  rel="stylesheet" charset="UTF-8" href="css/translateelement.css">
        <link  rel="stylesheet" charset="UTF-8" href="css/amp.css">

Clean Machine with midi learn support

        Expérimental (not working yet...):

            Audio input source: <select id="audioSource"></select>

            Audio output destination: <select id="audioOutput"></select>

Guitar amp emulation made with the Web Audio API:  : TRY NEW VERSION HERE!

Author: Michel Buffa (@micbuffa), GUI with the help of Mahdi Wartani.

You may visit the GitHub repo.

You need Google Chrome (the app should support soon other browsers) + don't forget to set the default input in your OS preferences. If you plugged a guitar in, then press the pulsing button in the middle of the Amp to activate it. Otherwise you can try the amp with the audio player on the left, press play and use the preset menu or the buttons/sliders.

Signal goes first throught hicut and low cut filters, then through 4 filters (F and Q), then to a distorsion stage (Ks), then to a tonestack (B/M/T/P) then to a master volume. It is then post processed by the EQ and a reverb, for fine tuning the tone, set the EQ after the rest. Finally there is a cabinet simulator (bottom of advanced settings).

            Check this to understand how filters work.

Advanced settings

Press play to preview presets

                    <audio id="player" controls  loop>
                        <source src="assets/audio/BasketCase Greenday riff DI.mp3">
                        <source src="assets/audio/BasketCase Greenday riff DI.ogg">
                        Your browser does not support the audio tag.
                    </audio>

Choose a demo sample:
                        <select id="demoSampleMenu" onchange="changeDemoSample(this.value);">
                          <option value="0">Metal riff 1</option>
                          <option value="1">Metal riff 2</option>

                          <option value="3">Cool rythm</option>
                          <option value="4">Trash metal</option>
                          <option value="5">Black Sabbath Rythm</option>
                          <option value="6">Black Sabbath Solo</option>
                          <option value="7">Basketcase Riff</option>
                          <option value="8">In Bloom riff</option>
                          <option value="9">Muse solo</option>
                          <option value="10">Muse rythm</option>

                        </select>

Low and high cut frequencies

                        Low
                        <input id="lowCutFreqSlider" type="range" value="20" step="1" min="10" max="350" oninput="amp.changeLowCutFreqValue(this.value, 0);"></input>
                        <output id="lowCutFreq">20 Hz</output>

                        High
                        <input id="hiCutFreqSlider" type="range" value="10000" step="1" min="7000" max="20000" oninput="amp.changeHicutFreqValue(this.value, 0);"></input>
                        <output id="hiCutFreq">10000 Hz</output>

Cut off frequencies (low, mid1, mid2, high)

                        F1
                        <input id="F1slider" type="range" value="147" step="1" min="70" max="300" oninput="amp.changeFreqValues(this.value, 0);"></input>
                        <output id="freq0">147 Hz</output>

                        F2
                        <input id="F2slider" type="range" value="569" step="1" min="300" max="1200" oninput="amp.changeFreqValues(this.value, 1);"></input>
                        <output id="freq1">569 Hz</output>

                        F3
                        <input id="F3slider"  type="range" value="1200" step="1" min="1200" max="3500" oninput="amp.changeFreqValues(this.value, 2);"></input>
                        <output id="freq2">1200 Hz</output>

                        F4
                        <input id="F4slider"  type="range" value="3500" step="1" min="3500" max="7000" oninput="amp.changeFreqValues(this.value, 3);"></input>
                        <output id="freq3">3500 Hz</output>

Presence (Q3, Q4), resonnance (Q1, Q2) associated to filters above...

                        Q1
                        <input id="Q1slider" type="range" value="1" step="0.1" min="0" max="5" oninput="amp.changeQValues(this.value, 0);"></input>
                        <output id="q0">1</output>

                        Q2
                        <input id="Q2slider" type="range" value="10" step="0.1" min="0" max="30" oninput="amp.changeQValues(this.value, 1);"></input>
                        <output id="q1">10</output>

                        Q3
                        <input id="Q3slider" type="range" value="10" step="0.1" min="0" max="30" oninput="amp.changeQValues(this.value, 2);"></input>
                        <output id="q2">10</output>

                        Q4
                        <input id="Q4slider" type="range" value="5" step="0.1" min="0" max="17" oninput="amp.changeQValues(this.value, 3);"></input>
                        <output id="q3">5</output>

DRIVE : distorsion levels (per band, low, mid1, mid2, high)

                        K1
                        <input id="K1slider" type="range" value="0" step="0.1" min="0" max="10" oninput="amp.changeDistorsionValues(this.value, 0);"></input>
                        <output id="k0">0</output>

                        K2
                        <input id="K2slider" type="range" value="0" step="0.1" min="0" max="10" oninput="amp.changeDistorsionValues(this.value, 1);"></input>
                        <output id="k1">10</output>

                        K3
                        <input id="K3slider" type="range" value="0" step="0.1" min="0" max="10" oninput="amp.changeDistorsionValues(this.value, 2);"></input>
                        <output id="k2">15</output>

                        K4
                        <input id="K4slider" type="range" value="0" step="0.1" min="0" max="10" oninput="amp.changeDistorsionValues(this.value, 3);"></input>
                        <output id="k3">15</output>

                        <input type="checkbox" name="onoffswitch" class="onoffswitch-checkbox" id="myonoffswitch"  onclick="amp.changeOversampling(this);">

                        Cabinet Simulator (Dry/Wet)
                        <input type="range" min="0" max="10" step="0.1" value="2" id="convolverCabinetSlider" oninput="amp.changeRoom(this.value);"/>
                        <output id="cabinetGainOutput">2</output>

                        Cabinet impulse:
                        <select id="cabinetImpulses">
                        </select>

                        <webaudio-knob midilearn=true id="Knob1"   step="0.1"  style="position:absolute;left:66px;top:90px" src="img/Prophet.png" value="0"  min="0" max="10" diameter="69" sprites="99" tooltip="Volume" ></webaudio-knob>
                        <webaudio-knob midilearn=true id="Knob2"  step="0.1" style="position:absolute;left:136px;top:90px" src="img/Prophet.png" value="5" min="0" max="10" diameter="69" sprites="99" tooltip="Treble"></webaudio-knob>

                        Clean / Disto :

                       <webaudio-switch midilearn=true style="color:white; position:absolute;left:170px;top:58px" id="toggleBoost" value="0" src="img/boostSwitch.png" tooltip="Toggle clean/disto channel"></webaudio-switch>

                        <webaudio-knob midilearn=true id="Knob3"   style="position:absolute;left:207px;top:90px" src="img/Prophet.png" value="0" step="0.1" min="0" max="10" diameter="69" sprites="99" tooltip="Bass"></webaudio-knob>
                        <select style="position:absolute;left:190px;top:190px"  id="distorsionMenu">
                        </select>
                        <webaudio-knob midilearn=true id="Knob4"   style="position:absolute;left:275px;top:90px" src="img/Prophet.png" value="0" min="0" max="10" step="0.1" diameter="69" sprites="99" tooltip="Master"></webaudio-knob>
                        <webaudio-knob midilearn=true id="Knob5"   style="position:absolute;left:345px;top:90px" src="img/Prophet.png" value="0" min="0" max="10" step="0.1" diameter="69" sprites="99" tooltip="Midlle"></webaudio-knob>
                        <webaudio-knob midilearn=true id="Knob6"   style="position:absolute;left:415px;top:90px" src="img/Prophet.png" value="0" min="0" max="10" step="0.1" diameter="69" sprites="99" tooltip="Lead Master"></webaudio-knob>
                        <webaudio-knob midilearn=true id="Knob7"   style="position:absolute;left:486px;top:90px" src="img/Prophet.png" value="0" min="0" max="10" step="0.1" diameter="69" sprites="99" tooltip="Reverb"></webaudio-knob>
                        <select style="position:absolute;left:455px;top:190px" id="reverbImpulses">
                        </select>
                        <webaudio-knob midilearn=true id="Knob8"   style="position:absolute;left:557px;top:90px" src="img/Prophet.png" value="0" min="0" max="10" step="0.1" diameter="69" sprites="99" tooltip="Presence"></webaudio-knob>

                    <webaudio-slider midilearn=true id="slider1" style="position:absolute;left:731px;top:64px" src="img/vsliderbody.png" knobsrc="img/vsliderknob.png" value="-30" min="-30" max="30" step="1" basewidth="24" baseheight="128" knobwidth="24" knobheight="24" ditchLength="100" tooltip="Slider1"></webaudio-slider>
                    <webaudio-slider midilearn=true id="slider2" Units="Db" style="position:absolute;left:774px;top:64px" src="img/vsliderbody.png" knobsrc="img/vsliderknob.png" value="-30" min="-30" max="30" step="1" basewidth="24" baseheight="128" knobwidth="24" knobheight="24" ditchLength="100"  tooltip="Slider2"></webaudio-slider>
                    <webaudio-slider midilearn=true id="slider3" Units="Db" style="position:absolute;left:819px;top:64px" src="img/vsliderbody.png" knobsrc="img/vsliderknob.png" value="-30" min="-30" max="30" step="1" basewidth="24" baseheight="128" knobwidth="24" knobheight="24" ditchLength="100" tooltip="Slider3"></webaudio-slider>
                    <webaudio-slider midilearn=true id="slider4" Units="Db" style="position:absolute;left:865px;top:64px" src="img/vsliderbody.png" knobsrc="img/vsliderknob.png" value="-30" min="-30" max="30" step="1" basewidth="24" baseheight="128" knobwidth="24" knobheight="24" ditchLength="100" units="%" tooltip="Slider4"></webaudio-slider>
                    <webaudio-slider midilearn=true id="slider5" Units="Db" style="position:absolute;left:908px;top:64px" src="img/vsliderbody.png" knobsrc="img/vsliderknob.png" value="-30" min="-30" max="30" step="1" basewidth="24" baseheight="128" knobwidth="24" knobheight="24" ditchLength="100" tooltip="Slider5"></webaudio-slider>
                    <webaudio-slider midilearn=true id="slider6" Units="Db" style="position:absolute;left:951px;top:64px" src="img/vsliderbody.png" knobsrc="img/vsliderknob.png" value="-30" min="-30" max="30" step="1" basewidth="24" baseheight="128" knobwidth="24" knobheight="24" ditchLength="100" units="%" tooltip="Slider6"></webaudio-slider>
                    <webaudio-switch midilearn=true id="switch1"  style="position:absolute;left:1033px;top:72px" src="img/switch_toggle.png" value="0" height="45" width="45" tooltip="Switch-A Tooltip text test"></webaudio-switch>
                    <webaudio-switch midilearn=true id="led" style="position:absolute;left:1043px;top:125px" src="img/led_23_red.png" value="1" height="23" width="23" tooltip="Switch-B"></webaudio-switch>
                    <webaudio-switch midilearn=true id="switch2" style="position:absolute;left:1033px;top:140px" src="img/switch_toggle.png" value="0" height="45" width="45" tooltip="Switch-B"></webaudio-switch>
                    <button  style="position:absolute;left:570px;top:270px" type="button" onclick="amp.printCurrentAmpValues();">Show current settings in console</button>
                    <button  id="toggleGuitarIn" style="position:absolute;left:570px;top:300px" class="pulse"  type="button" onclick="toggleGuitarInput(event)">Guitar input: NOT ACTIVATED, click to toggle on/off!</button>
                    <webaudio-knob midilearn=true id="Knob9"   style="position:absolute;left:570px;top:350px" src="img/Prophet.png" value="1" default="1" min="0" max="10" step="0.1" diameter="49" sprites="99" tooltip="InputGain"></webaudio-knob>

                    <canvas id="inputSignalCanvas" style="position:absolute;left:630px;top:350px" width=150 height=50></canvas>

Input Gain

                    <webaudio-knob midilearn=true id="Knob10"   style="position:absolute;left:780px;top:350px" src="img/Prophet.png" value="5" default="5" min="0" max="10" step="0.1" diameter="49" sprites="99" tooltip="OutputGain"></webaudio-knob>
                    <canvas id="outputSignalCanvas" style="position:absolute;left:830px;top:350px" width=150 height=50></canvas>

Output Gain

                    Presets :
                    <select id="QFPresetMenu2" style="position:absolute;left:850px;top:270px"></select>

                        <canvas id="distoDrawerCanvas" style="margin-right:20px;left-margin:20px;" width="100" height="100"></canvas>
                        <canvas id="signalDrawerCanvas" width="100" height="100"></canvas>

Transfer function and distorded signal example...

Operation	Component	Description

Click	Switch/Param	toggle / activate the switch or focus the param

Drag	Knob/Slider	up/right to increase value / down/left to decrease value

Shift+Drag	Knob/Slider	fine control

Ctrl+Click/Command+Click	Knob/Slider/Switch	set to default value

Edit with Keyboard	Param	edit the value directly

MouseWheel	Knob/Slider	rotate upward to increase value / downward to decrease value

Shift+MouseWheel	Knob/Slider	fine control

redpajama_set_name: RedPajamaGithub


By accessing "Bobz Entertainment" (hereinafter "we", "us", "our", "Bobz Entertainment", "http://bobzent.info/forum"), you agree to be legally bound by the following terms. If you do not agree to be legally bound by all of the following terms then please do not access and/or use "Bobz Entertainment". We may change these at any time and we'll do our utmost in informing you, though it would be prudent to review this regularly yourself as your continued usage of "Bobz Entertainment" after changes mean you agree to be legally bound by these terms as they are updated and/or amended.


text:
Charles Hayes was a Negro league infielder between 1938 and 1940.

Hayes made his Negro leagues debut in 1938 with the Indianapolis ABCs. He was on the club again in 1940 when it played as the "St. Louis–New Orleans Stars". Hayes also played for the Philadelphia Stars in 1940, his final professional season.

References

External links
 and Seamheads

Place of birth missing
Place of death missing
Year of birth missing
Year of death missing
St. Louis–New Orleans Stars players
Philadelphia Stars players
Baseball infielders

redpajama_set_name: RedPajamaWikipedia


text:
Q: Dynamic grid row count and column count with XAML I'm using this blog post to implement a dynamic grid.
However, I can't seem to get it working when I change the row count and column count on my global class variables.
I'm using the GridHelpers.cs class from the above link and my UserControl xaml looks like this
<UserControl x:Class="WPFPurpleButtonTest.InstrumentUserControl"
             xmlns="http://schemas.microsoft.com/winfx/2006/xaml/presentation"
             xmlns:x="http://schemas.microsoft.com/winfx/2006/xaml"
             xmlns:mc="http://schemas.openxmlformats.org/markup-compatibility/2006"
             xmlns:d="http://schemas.microsoft.com/expression/blend/2008"
             xmlns:local="clr-namespace:WPFPurpleButtonTest"
             mc:Ignorable="d"
             d:DesignHeight="450" d:DesignWidth="800">
    <Grid>
        <Label x:Name="colourName" Content="PURPLE" HorizontalAlignment="Left" Height="93" Margin="284,88,0,0" VerticalAlignment="Top" Width="243" FontWeight="Bold" HorizontalContentAlignment="Center" VerticalContentAlignment="Center" FontSize="50" Foreground="#FFDC00FF"/>
        <Button x:Name="testButton" Content="Button" HorizontalAlignment="Left" Margin="354,234,0,0" VerticalAlignment="Top" Width="75" Click="TestButton_Click"/>
        <Label x:Name="label" Content="Row Size" HorizontalAlignment="Left" Margin="222,296,0,0" VerticalAlignment="Top" Foreground="#FFDC00FF"/>
        <Label x:Name="label_Copy" Content="Column Size" HorizontalAlignment="Left" Margin="438,296,0,0" VerticalAlignment="Top" Foreground="#FFDC00FF"/>
        <Button x:Name="createGrid" Content="Create Grid" HorizontalAlignment="Left" Margin="357,348,0,0" VerticalAlignment="Top" Width="75" Click="CreateGrid_Click"/>
        <TextBox x:Name="rowSizeText" HorizontalAlignment="Left" Height="23" Margin="296,299,0,0" TextWrapping="Wrap" Text="" VerticalAlignment="Top" Width="62"/>
        <TextBox x:Name="columnSizeText" HorizontalAlignment="Left" Height="23" Margin="528,300,0,0" TextWrapping="Wrap" Text="" VerticalAlignment="Top" Width="62"/>
        <Grid local:GridHelpers.RowCount="{Binding RowCount}"
      local:GridHelpers.ColumnCount="{Binding ColumnCount}" ></Grid>
    </Grid>
</UserControl>

My CS code looks like this:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Threading.Tasks;
using System.Windows;
using System.Windows.Controls;
using System.Windows.Data;
using System.Windows.Documents;
using System.Windows.Input;
using System.Windows.Media;
using System.Windows.Media.Imaging;
using System.Windows.Navigation;
using System.Windows.Shapes;

namespace WPFPurpleButtonTest
{
    /// <summary>
    /// Interaction logic for InstrumentUserControl.xaml
    /// </summary>
    public partial class InstrumentUserControl : UserControl
    {
        // We should put this in a separate user control, but for now for testing
        // let's put the grid configuration in here
        public int RowCount { get; set; }
        public int ColumnCount { get; set; }

        public InstrumentUserControl()
        {
            InitializeComponent();
            DataContext = this;
        }

        private void TestButton_Click(object sender, RoutedEventArgs e)
        {
            MessageBox.Show("HELLO!", "Greetings", MessageBoxButton.OK, MessageBoxImage.Information);
        }

        private void CreateGrid_Click(object sender, RoutedEventArgs e)
        {
            if (int.TryParse(rowSizeText.Text, out int rowResult))
            {
                RowCount = rowResult;
            }

            if (int.TryParse(columnSizeText.Text, out int columnResult))
            {
                ColumnCount = rowResult;
            }
        }
    }
}

Any help would be appreciated where I'm going wrong as I type the row count and column count into the text boxes and press my button, but the GridHelpers row count and column count changed event don't get called.
Also I changed my properties to this, but in the GridHelpers class in the change event, the obj comes up as InstrumentUserControl rather than Grid so it just returns.
public int RowCount
{
    get { return (int)GetValue(GridHelpers.RowCountProperty); }
    set { SetValue(GridHelpers.RowCountProperty, value); }
}
public int ColumnCount
{
    get { return (int) GetValue(GridHelpers.ColumnCountProperty); }
    set { SetValue(GridHelpers.ColumnCountProperty, value); }
}

A: You have to implement INotifyPropertyChanged on the ViewModel class. In your case you have set "DataContext = this", so you have to implement INotifyPropertyChanged on the UserControl class.
I have defined more or less the minimum possible implementation ...
using System.Windows;
using System.ComponentModel;

namespace GridHelperTest
{
  /// <summary>
  /// Interaction logic for MainWindow.xaml
  /// </summary>
  public partial class MainWindow : Window, INotifyPropertyChanged
  {
    public int RowCount { get; set; }
    public int ColumnCount { get; set; }

    public MainWindow ( )
    {
      InitializeComponent ();
      DataContext = this ;
    }

    public event PropertyChangedEventHandler PropertyChanged;

    private void TestButton_Click (object sender, RoutedEventArgs e)
    {
      MessageBox.Show ( "HELLO!", "Greetings", MessageBoxButton.OK, MessageBoxImage.Information );
    }

    private void CreateGrid_Click (object sender, RoutedEventArgs e)
    {
      if (int.TryParse ( rowSizeText.Text, out int rowResult ))
      {
        RowCount = rowResult;
        OnPropertyChanged("RowCount");
      }

      if (int.TryParse ( columnSizeText.Text, out int columnResult ))
      {
        ColumnCount = rowResult;
        OnPropertyChanged("ColumnCount");
      }
    }
    protected virtual void OnPropertyChanged(string propertyName = null)
    {
      PropertyChanged?.Invoke(this, new PropertyChangedEventArgs(propertyName));
    }
  }
}

calling OnPropertyChanged after setting the properties. Normally you would want to do this in a property setter method.
To test it, I defined some colored rectangles in the grid. These are initially on top of one another, but after setting the number of rows and columns they are positioned in separate cells.
<Window x:Class="GridHelperTest.MainWindow"
        xmlns="http://schemas.microsoft.com/winfx/2006/xaml/presentation"
        xmlns:x="http://schemas.microsoft.com/winfx/2006/xaml"
        xmlns:d="http://schemas.microsoft.com/expression/blend/2008"
        xmlns:mc="http://schemas.openxmlformats.org/markup-compatibility/2006"
        xmlns:local="clr-namespace:GridHelperTest"
        mc:Ignorable="d"
        Title="MainWindow" Height="900" Width="800">

  <Grid>
    <Grid.RowDefinitions>
      <RowDefinition Height="*"/>
      <RowDefinition Height="*"/>
    </Grid.RowDefinitions>

    <Grid Grid.Row="0">
      <Label x:Name="colourName" Content="PURPLE" HorizontalAlignment="Left" Height="93" Margin="284,88,0,0" VerticalAlignment="Top" Width="243" FontWeight="Bold" HorizontalContentAlignment="Center" VerticalContentAlignment="Center" FontSize="50" Foreground="#FFDC00FF"/>
      <Button x:Name="testButton" Content="Button" HorizontalAlignment="Left" Margin="354,234,0,0" VerticalAlignment="Top" Width="75" Click="TestButton_Click"/>
      <Label x:Name="label" Content="Row Size" HorizontalAlignment="Left" Margin="222,296,0,0" VerticalAlignment="Top" Foreground="#FFDC00FF"/>
      <Label x:Name="label_Copy" Content="Column Size" HorizontalAlignment="Left" Margin="438,296,0,0" VerticalAlignment="Top" Foreground="#FFDC00FF"/>
      <Button x:Name="createGrid" Content="Create Grid" HorizontalAlignment="Left" Margin="357,348,0,0" VerticalAlignment="Top" Width="75" Click="CreateGrid_Click"/>
      <TextBox x:Name="rowSizeText" HorizontalAlignment="Left" Height="23" Margin="296,299,0,0" TextWrapping="Wrap" Text="" VerticalAlignment="Top" Width="62"/>
      <TextBox x:Name="columnSizeText" HorizontalAlignment="Left" Height="23" Margin="528,300,0,0" TextWrapping="Wrap" Text="" VerticalAlignment="Top" Width="62"/>

    </Grid>
    <Grid Grid.Row="1"
          local:GridHelpers.RowCount="{Binding RowCount}"
          local:GridHelpers.ColumnCount="{Binding ColumnCount}">
      <Rectangle Grid.Row="0" Grid.Column="0" Fill="Red" Width="100" Height="100"/>
      <Rectangle Grid.Row="0" Grid.Column="1" Fill="Green" Width="100" Height="100"/>
      <Rectangle Grid.Row="1" Grid.Column="0" Fill="Blue" Width="100" Height="100"/>
      <Rectangle Grid.Row="1" Grid.Column="1" Fill="Yellow" Width="100" Height="100"/>

    </Grid>
  </Grid>
</Window>

That is not exactly identical to your XAML, because I defined it in a Window not a UserControl.

redpajama_set_name: RedPajamaStackExchange


text:
Connectivity IoT
Vodafone to launch 5G network in UK on 3 July
Written by James Orme	Tue 14 May 2019
Vodafone has set its live date for the next-generation mobile network and said it will cost the same as 4G tariffs
Vodafone has become the first UK operator to announce the official switch-on date for its 5G network, revealing it will go live for consumers and businesses in seven cities on 3 July.
Birmingham, Bristol, Cardiff, Glasgow, Manchester, Liverpool and London will be the first to receive coverage, with Birkenhead, Blackpool, Bournemouth, Guildford, Newbury, Portsmouth, Plymouth, Reading, Southampton, Stoke-on-Trent, Warrington and Wolverhampton following later in the year.
The operator said it will also offer 5G roaming in the UK, Germany, Italy and Spain this summer.
The network will be priced the same as 4G for consumers and businesses. Vodafone's first 5G smartphone goes on sale next week and a 5G home and office router will also be available in time for launch, to give customers without a fixed line connection high-speed internet access.
"We can today announce the largest launch of 5G in the UK and be the first to announce 5G roaming," said Vodafone UK CEO Nick Jeffery. "It means that UK businesses can lead the world in adopting 5G to boost productivity and attract investment. It means consumers can get the fastest mobile speeds ever, and it means that our public sector will be able to adopt new services to improve healthcare, social services and housing."
Other UK operators have promised limited 5G rollouts this year, but have not revealed specific release dates. EE said it has imminent plans to release 5G and that it will roll it out to 16 cities by the end of the year, beginning with the UK's capital cities as well as Birmingham and Manchester. O2 is beginning its deployment in Belfast, Cardiff, Edinburgh and London this year but is delaying wider rollout until 2020, when it expects 5G handsets to be more widely available.
A report released in March revealed business leaders are largely cynical about the impact of 5G, with 53 percent seeing no near-term business case for the technology.
George Nazi, global lead at consultancy Accenture's network practice, said that while the impact of 5G is hard to gauge at this stage, companies will be left behind if they do not shed their cynicism.
"The reality is that 5G will bring a major wave of connectivity that opens new dimensions for innovation and commercial and economic development," he said.
"Breakthroughs in three-dimensional video, immersive television, autonomous cars and smart-city infrastructure will unleash opportunities that are difficult to imagine today but will soon be transformative. Telecommunications companies will play a pivotal role in bringing these prospects to light."
Written by James Orme Tue 14 May 2019
5g IoT UK vodafone
Send us a correction Send us a news tip
IoT Tue 14 May 2019
Less than half of UK businesses know how to capitalize ...
Cloud Tue 14 May 2019
MWC Day Two: Smart city set-top boxes, 5G ambulances, A...
Connectivity Tue 14 May 2019
Minister denies UK has given Huawei green light to supp...
Security Tue 14 May 2019
UK softens Huawei stance as NCSC claims it can control ...
Donald Trump to warn UK against 'discriminatory' tax on online tech giants
IBM Q4 financials buoyed by Red Hat wins
TSB signs hybrid cloud strategy partnership with IBM Services
NTT Ltd. consolidates data centre firms into global unit

redpajama_set_name: RedPajamaCommonCrawl


Discussion in 'iMac' started by shenandoah, Oct 7, 2012.
2005 iMac, runs great, but like alot of people, I've got tons of music, photo's, documents and home business STUFF on my 2005 iMac. Which by the way, I LOVE, won't give up until it's Stone Cold DEAD. But, I need more storage space.
How about a Hard Drive Dock? Recommended ones?
And how about external hard drives?
I keep reading different things about external hd's, you move it, it goes bad. I like the prices on Amazon for the Western Digital and Seagate 3tb usb 2.0. Right around $150 for a 3tb external.
vs an Internal HD in dock or storage enclosure or whatever you call it? I kinda like the WD Caviar 2tb 7200 SATA 3.5".
And Please go easy on the computer language, I'm not that much of a computer geek.
You guys helped me out with my questions on an internal, but now hubby is talking about a dock with external. btw: he also has an identical 2005 iMac, which I'm using now. He doesn't have half the 'stuff' that I have on mine, but he only uses his for web surfing and bill paying. Mine is the work horse.
Having an external dock (only) makes sense if you have more than one hard drive you want to use at times. And then you still have to handle bare drives without housing, which are sensitive to shock and static electricity. Besides - I found that build quality more often than not is mediocre at best. Eventually on the cheap ones they are using the standard connectors for internal hard drives, which are specified for not so many (50-100 or something in that range) plug/unplug cycles before they start to wear.
Replacing the internal drive could make sense if you we're experienced. Otherwise I'd recommend you having this done by a technician (or a skilled kid from the neighborhood). However - depending on your exact model there may be technical restrictions.
Going for an external drive is probably the easiest way. Don't worry - usually they are more robust than you think. And they are designd to be plugged and unplugged more often compared to that dock solution mentioned above.
If you don't like having the external box sitting on your desk with additional cables, you may take a look at network attached storage (NAS). This is similar to an external box you plug directly into your computer - only that you can put it to a place (closet, attic or similar) where it does not disturb you. And you access it via network - either cabled network (Ethernet) or cable free network (WLan).
An example for that would be Apples own TimeCapsule, but other companies have interesting products available as well.
Since your computer is 2005 I'll assume its a G5 and I'll take the liberty of saying its a 20" screen. Apple has document on replacing the hard drive. You should always have an external drive for backup, either in a caddy that allows you to remove the drive and store it for security after the backup or one that is permanently attached. External drives that work on your iMac are very slow compared to internal so I would only use it for smaller items or emergencies (like backup). Also note that 7 years is a long time for a hard drive so I would think about internal replacement or at the very least external backup.


I have nothing remotely adequate to say about Newtown. I couldn't bring myself to post yesterday, and I've sat in front of the computer for an hour now, so I'm giving up.
Last night the girls were in Yuletide Revels and they did a beautiful job. Before the show began, the director spoke a bit about how the whole celebration of Winter Solstice is about welcoming light in times of darkness. Then the show began as they'd rehearsed it, with a group of children, including J, walking in with lanterns in the darkness, saying, "We still have each other/Through morning and night/Through thick and thin/Through darkness to light." J had been home all day, so I'd held it together up until then, when I pretty much lost it altogether.
Praying for more kindness and less cruelty, more light and less darkness, for everyone.
nicely put. I join you in that prayer.


Author(s): Klockars, Konrad W. ; Yau, Noora E. ; Tardy, Blaise L. ; Majoinen, Johanna ; Kämäräinen, Tero ; Miettunen, Kati ; Boutonnet, Elisa ; Borghei, Maryam ; Beidler, Jaana ; Rojas, Orlando J.
The iridescence displayed by films made from cellulose nanocrystals (CNCs) has long been the subject of fundamental research. This has expanded our understanding of colloidal self-assembly towards the development of advanced materials. However, the application of such findings is less reported for visual designs that exploit structural color. Aesthetic outputs are already in reach, but requires input from trend setters in the design and art industries. In this realm, the CNC-based iridescence uniquely offers broadband, multi-colored reflections through the "coffee ring" effect, which arises upon evaporation-induced self-assembly (EISA). Although this effect has been thoroughly studied in the context of axisymmetric patterns, complex geometries remain to be evaluated for large-scale implementation. This is central to the present efforts, where EISA of CNC suspensions occurred onto non-circular surfaces. We used orientation-dependent contact angle measurements, profilometry and fixed-light source photography tounveil the effect of asymmetric drying fluxes at sharp angles, between 30° and 90°, on CNC particle deposition and resulting color patterns. We also demonstrate the causality between increased capillary fluxes and deposition with the help of modelling via energy minimization of the suspension volume onto a given surface and using the diffusion equation to obtain the local concentration of water vapor during EISA. Lastly, we study the effect of background reflections as well as light and temperature resistance of CNC-based reflectors, both important for any deployment. The results from this multidisciplinary effort, involving applied design, art and colloid chemistry, point to the excellent prospects of CNC films for the development of structured and chromatic patterns. Graphical abstract: [Figure not available: see fulltext.].


Wang, X., Liu, Z., Wang, S., Kong, F., Yang, G., Fatehi, P., and Lucia, L. A. (2017). "Enhancing the alkaline peroxide mechanical pulp strength by cationization with 3-chloro-2-hydroxypropyl trimethyl ammonium chloride," BioRes. 12(4), 6956-6970.
Alkaline peroxide mechanical pulp (APMP) is a newly emerging high yield pulp (HYP) with numerous advantages. However, the drawback of the alkaline peroxide mechanical pulp from untreated plant biomass is its poor network strength. In this work, 3-chloro-2-hydroxypropyl trimethyl ammonium chloride (CHPTAC) modification was proposed to enhance pulp network strength by fiber surface modification that could enhance fiber bonding. Three factors were analyzed by response surface methodology (RSM) to optimize treatment conditions based on factorial designs. The results showed that the optimal conditions were CHPTAC dosage of 0.8% (oven-dry pulp), NaOH dosage of 0.1% (oven-dry pulp), and pulp concentration of 8%. The modified pulp fibers were characterized by elemental analysis, charge density analysis, Fourier transform infrared spectroscopy (FTIR), thermal gravity analysis (TGA), and internal bond strength analysis, as well as zero span tensile analysis. The physical strength of the modified APMP pulp was increased in terms of tensile index, tear index, and burst index. After modification, the tensile index, tear index, and burst index increased by 35.3%, 29.2%, and 16.7% respectively. The internal bonding strength increased by 144.4%; however, the increase of zero span tensile index of modified pulp fibers was insignificant.
Faced with shortages of raw materials in the pulp and paper industry, high yield pulping (HYP), a primary method using mechanical procedures including refining and grinding, provides an alternative technology (Ni 2005). Traditionally, the production yield of HYP is 60% to 80%, which is much higher than that of chemical pulp (30% to 40%) (Chen et al. 2013; Li et al. 2015). Presently, alkaline peroxide mechanical pulp (APMP) is the most popular HYP production process, particularly in China (Li et al. 2014). This is largely due to its effective use of hardwood resources and its low-environmental impact (Liu et al.2016). The addition of alkaline and peroxide in the pretreatment stage of APMP process shortens the production line and lowers the refining energy consumption (Wei and Zhang 2011). Compared with chemical pulps, APMP has some advantages, such as high yield, high bulk, and good printability (Tian et al. 2014). Thus, this pulp has been successfully applied in producing some high grade papers and multi-ply coated packaging board. However, during the refining stage of APMP pulping process, hydrophobic materials, such as lignin, are precipitated onto the surface of APMP fibers (Hu et al. 2015), which negatively affect the bonding strength between fibers as stated in previous studies (Koljones et al. 2003). The inter-fiber bonding depends mainly on the intermolecular hydrogen bonding and van der Waals forces between adjacent fibers surfaces (Mader et al. 2016). Consequently, fiber modifications including chemical, biological, and mechanical modification have been taken to minimize these problems.
Chemical modification is an effective way to improve pulp strength and to tailor properties for specific end uses through attachment of new functional groups on fiber surfaces. Native lignocellulosic fibers, such as pulp fibers, mainly consists of cellulose, hemicellulose, and lignin (Hill et al. 1988). The anionic groups existed in these components, such as carboxyl groups, afford the pulp fibers with negative charge on the fiber surface which hinders the inter-fiber bonding formation, resulting low pulp strength (Liu et al. 2011b). To improve the pulp strength through chemical modification, various treatments have been reported including acetylation, alkylation, and cationization (Hashem et al. 2005; Enomoto-Rogers et al.2013; Thankur et al. 2014). Modification of considerable natural fibers, such as ramie fiber, cotton fiber, jute fiber, eucalyptus pulp fiber, etc., were also employed in the past studies (Kaewkuk et al. 2013; Acharya et al. 2014; Saenghirunwattana et al. 2014; Mendes et al. 2015).
A cationic hydroxylethyl cellulose-based flocculant for clay suspension was prepared by copolymerizing cellulose with N,N-dimethylacrylamide and acrylamide (Kaewkuk et al. 2013). Quaternized celluloses were homogeneously synthesized by reacting cellulose with 3-chloro-2-hydroxypropyltrimethylammonium chloride in NaOH/urea aqueous solutions (Song et al.2008). Fibers of aspen chemi-thermomechanical pulp (CTMP), spruce CTMP, bleached kraft pulp (BKP), and kraft pulp were reported to be treated by low-temperature plasma (air) aiming at the detection of the relationship between chemical components on the surface and the properties of paper sheets. It was found that plasma treatment did not remove lignin on fiber surface in large amounts but improved the final strength properties of paper sheets (Xiao et al. 2015). However, chemical modification of APMP pulp fibers has not yet been investigated.
To increase the affinity between fibers of APMP, a cationic modified agent is required. 3-chloro-2-hydroxypropyltrimethyl ammonium chloride (CHPTAC) was reported to be a good cationic agent (Fang et al. 2013). In this work, CHPTAC was chosen as a cationic agent to modify APMP fibers and enhance the APMP pulp physical strength. The effects of modification parameters including CHPTAC dosage, NaOH dosage, and pulp concentration on pulp strength properties were investigated using response surface methodology (RSM). At the same time, elementary analysis, charge density analysis, Fourier transform infrared spectroscopy (FTIR), thermal gravity analysis (TGA), and internal bond strength, as well as zero span tensile analysis were employed to characterize the properties of the modified APMP fibers.
The poplar APMP pulp was kindly supplied by a pulping plant located in Shandong, China. The pulp was produced using one-stage pretreatment APMP process. The conditions for pretreatment at the mill were 6.0% NaOH (based on oven-dry material, the same as below), 6.0% H2O2, 75 oC, 1.5 h, 10% pulp consistency. Chemicals including CHPTAC (69%) were purchased from the Shanxi Dasheng Chemical Tech Co. Ltd., Xian, China. Polydiallyldimethyl-ammonium chloride (PDADMAC, 100-200 kg/mol), 20 wt.% in water and sodium hydroxide (reagent grade) were obtained from Sigma-Aldrich company. Potassium polyvinyl sulfate (PVSK, 100-200 kg/mol, 97.7 wt.% esterified) was provided by Wako Pure Chem. Ltd., Osaka, Japan. All chemicals were applied without further purification. The APMP pulp properties including chemical components were analyzed according to TAPPI standards (TAPPI 1996) and listed in Table 1.
Notes: Each content is based on the oven-dry material.
The pulp modification was performed in a plastic bag (10 cm × 10 cm) at 50 °C (Wang and Song 2013) with 1 g of oven-dry pulp. A certain amount of NaOH (0.8%, 1.0% and 1.2%, based on oven-dry pulp) and CHPTAC (0.6%, 0.8% and 1.0%, based on oven-dry pulp) which contains quaternary ammonium group were added to the pulp slurry, and mixed well. After that, the bag was moved into a water bath for 60 min (Liu et al. 2007). Finally, the pulp was washed thoroughly with deionized water and filtered to make paper sheets.
These experiments were carried out based on a 33 full factorial design using RSM and conducted using Design Expert 7.1 software (Stat-Ease, Minneapolis, MN, USA), which was adopted and reported in previous study (Liu et al. 2011a). The three factors were CHPTAC dosage (X1, %, oven-dry pulp), NaOH dosage (X2, %, oven-dry pulp), and pulp concentration (X3, %). The levels and codes of the response surface methodology are listed in Table 2.
In this set of experiments, handsheets (60 g/m2) were prepared using a TAPPI standard handsheet machine (PTI, Germany) with unmodified and modified APMP pulp. Prior to the sheet preparation, the 1.0% pulp slurry was prepared and stirred for 5 min at 500 rpm. Afterwards, the 1.0% pulp slurry was placed in the handsheet former in order to prepare handsheets according to the TAPPI T205 om-88 (1995) (TAPPI 1996). After drying, the tensile, burst, and tear strengths (Lorentzen & Wettre, Sweden), brightness, as well as the internal bonding strength (IBS, Scott type, TMI, 80-01, N.Y., USA) of the handsheets, were measured according to the TAPPI T494 om-87 (1988), T403 om-91 (1991), T414om-82 (1988), T452om-92 (1992), and T569 om-14 standards, respectively (Tappi, 1996). The dry zero span tensile index (DZSTI) and wet zero span tensile index (WZSTI) were estimated using a Pulmac tester (FQT-E2, USA) according to TAPPI T494 and T456, respectively.
The elemental analysis of unmodified pulp and modified pulp were determined using an elemental analyzer (Vario EL III, Elementar Analyze System, Germany) via the combustion method (Jahan et al. 2011). In preparation, the samples were first dried in an oven at 105 °C overnight to remove any moisture. Then, approximately 2.0 mg of each sample was analyzed for carbon, hydrogen, and nitrogen content. The grafting ratio of modified APMP was calculated based on Eq. 1. The charge density of each sample was measured using a Mutek PCD-03 particle charge detector (Arzbergerstraße, Herrsching, Germany) based on a back titration method (Liu et al. 2010; Zhang et al. 2007). A certain amount of oven-dry pulp fibers were added to 20 mL of 0.050 mol/L PVSK solution. The suspensions were then immersed in the water bath shaker (Innova 3100, Brunswick Scientific, Edison, NJ, USA) and shaken at 150 rpm at 30 °C for 2 h. The suspensions were filtered and 1 ml of the filtrate was titrated against PDADMAC solution (0.0050 mol/L) in order to calculate the charge density of sample according to Eq. 2. A separate 20 mL of 0.050 mol/L PVSK solution without adding pulp sample was used as control and titrated against PDADMAC solution (0.0050 mol/L) in order to determine the charge density of pulp according to Eq. 2. Thermogravimetric (TGA) analyses were conducted on a TGA Q50 (TA Instruments, New Castle, DE, USA) at a heating rate of 20 °C/ min and under a nitrogen atmosphere (Yang et al. 2013). The infrared spectra were recorded in the wavenumber range of 400 to 4000 cm-1 on a Fourier transform infrared (FTIR) spectrophotometer (IRPrestige-21, Shimadzu Co., Tokyo, Japan) using a potassium bromide (KBr) pellet containing about 1.0% sample (Wang et al. 2014).
In Eq. 1, N is nitrogen content as determined by the elemental analysis (wt.%), and 188 is the molecular weight of CHPTAC.
In Eq. 2, V0 is the volume of PDADMAC used for titrating the control of 0.050 mol/L PVSK solution (mL); Vsample is the volume of PDADMAC used for titrating the filtrate of PVSK solution after treating with pulp (mL); and Wsample is the weight of pulp sample added into 20 mL of 0.050 mol/L PVSK solution (g). The data presented here are the averages of three repetitions.
The APMP modification using CHTPAC followed the general procedure that has been used for the preparation of other cationic polysaccharides (Ebringerova et al. 1994; Liu et al. 2011; Ren et al. 2006). The reaction scheme of the poplar APMP fibers with CHTPAC is shown in Fig. 1. Sodium hydroxide was used here to 1) make APMP fibers swell in order to increase the accessibility of reaction sites as well as the reaction efficiency, as reported in the cationization of celulose, hemicellulose, kraft lignin, and starch with glycidyl-trimethylammonium chloride (GTMAC) in the literatures (Ebringerova et al. 1994; Kong et al. 2015; Liu et al. 2011; Wei et al. 2008), 2) function as a catalyst in this reaction to produce 2,3-epoxypropyltrimethylammonium chloride in situ from CHPTAC (Fig.1a), and 3) generate nucleophilic intermediate from hydroxyl groups of cellulose, hemicellulose, and lignin in APMP fibers. This nucleophilic intermediate attacks the highly reactive epoxy group on 2,3-epoxypropyltrimethylammonium chloride through an oxirane ring-opening reaction to produce CHTPAC-grafted APMP fibers (Fig.1b). Under alkaline conditions, the CHTPAC can also hydrolyze into a diol structure (Cho et al. 2006), which is an undesirable side reaction, limiting the overall reaction efficiency (Fig.1c). In addition, the hydrolysis of CHTPAC-grafted APMP fibers produced in the process may happen in this system under alkaline conditions (Fig.1d), as observed and reported in the cationization of hemicellulose using GTMAC by Liu et al. (2011) and the cationization of lignin using GTMAC by Kong et al.(2015). The grafting of CHTPAC onto APMP fiber surface renders the pulp cationic charge from the quaternary ammonium group of CHTPAC, which would increase the pulp strength properties. In order to maximize the reaction efficiency and minimize these side reactions, the reaction conditions were optimized based on the tensile index of the resultant pulp using RSM method.
The experimental matrix and RSM results for each sample are shown in Table 3. The central points were triplicates at a CHPTAC dosage of 0.8%, NaOH dosage of 1.0%, and pulp concentration of 8%.
RSM was used to determine the optimal response conditions to obtain the highest tensile index (Fig. 2). As shown in Figs. 2a and 2b, the dosage of CHPTAC had a major effect on the paper sheets tensile strength. With increasing CHPTAC dosage from 0.6% to 1.0%, the tensile index of the resultant paper sheets was improved significantly at NaOH dosages of 0.8% to 1.2%. This is because of a higher grafting ratio at higher CHPTAC dosage, grafting ratio of 24.6% and 14.6% respectively for CHPTAC dosage of 0.8% and 1.2% at 0.8% NaOH dosage. The quaternary ammonium group in CHPTAC-grafted APMP fibers increased the fiber bonding strength through electrostatic attraction, i.e., between the cationic groups of CHPTAC-grafted fibers and the negative charge on the neighboring fiber surface (Gärdlund et al. 2003), which will be demonstrated in the following section. Another work reported a loss of pulp strength at an excessive dosage of a cationic emulsion copolymer (Yuan and Hauser 2014), which was not observed in the present study.
The results in Fig.2 also indicated that the NaOH was able to be used to control the reaction efficiency, treatment effectiveness. As shown in Fig. 2a and 2c, increasing the dosage of NaOH at range of 0.8% to 1.0% promoted the effectiveness of the modification. The pulp tensile index was increased significantly, which is due to the higher fiber swelling extent (Pönni et al 2013) and higher grafting ratio at higher NaOH dosage (grafting ratio of 26.6% and 14.6% respectively for NaOH dosage of 1.0% and 0.8% at 1.0% CHPTAC dosage). At a further increase of NaOH dosage to 1.2%, the tensile index of paper sheets decreased. This was caused by the decomposition of both CHPTAC and CHPTAC-grafted APMP fibers in this process at high NaOH dosage (Chen et al. 2015), as shown in Fig.1(scheme c and d), resulting a lower grafting ratio. Compared with the grafting ratio, 26.6%, at 1.0% NaOH dosage, the grafting ratio at 1.2% NaOH dosage with 1.0% CHPTAC dosage was only 19.6%, meaning that it was decreased by 5%. This phenomenon were also reported in the preparation of cationic polysaccharides (Ebringerova et al. 1994; Liu et al. 2011; Ren et al. 2006).
Pulp concentration was also an important parameter. As shown in Figs. 1b and 1c, with an increasing pulp concentration, the tensile strength of paper sheets increased and then decreased gradually. It should be pointed out that the high pulp concentration hindered the accessibility of reaction chemicals with reaction sites in pulp fibers, which decreased the reaction efficiency of grafting CHPTAC onto APMP fibers. The similar phenomena was reported by Fatehi et al. (2008) in investigating the influence of cationic poly(vinyl alcohol) on paper properties.
where Y predicts the highest tensile index, X1 is the CHPTAC dosage (%), X2 is the NaoH dosage (%), and X3 is the pulp concentration (%).
These results along with Eq. 2 can be used to predict the tensile index of modified APMP, which are crucial for determining the modification effectiveness and design of process used for APMP modification at large scales. Considering Eq. 3, the optimal conditions were determined at CHPTAC dosage of 0.8%, NaOH dosage of 1.0%, and pulp concentration of 8%. At these conditions, the highest tensile index of paper sheets made of modified fibers would be 10.69 N.m/g. To verify these conditions, test were carried out to see what happen to the tear index, burst index as well as the brightness of modified pulp. The properties of paper sheets made of modified pulp fibers at optimal conditions are listed in Table 4. As shown, the brightness of modified pulp decreased by 2.35%, from original 72.3 %ISO to 70.6 %ISO. The strength properties of modified pulp including tensile, tear and burst index increased at different extent. The tensile index, tear index and burst index of pulp were increased by 35.3%, 29.2%, and 16.7%, respectively. One can conclude from these results that the CHTPAC modification can significantly increase the APMP strength properties with a minimal loss of pulp brightness.
The TGA analyses of the two different APMP samples are shown in Fig. 3. In the case of the unmodified APMP, after initial loss of moisture at about 100 to 312 °C, major decomposition proceeded from 312 °C to 578 °C. For the modified APMP, the starting decomposition temperature significantly decreased to 214 °C, and the main decomposition proceeded from 214 °C to 482 °C, about 100 °C lower than that of unmodified pulp, which is due to the easy degradation nature of the CHPTAC cationic segment in modified fibers. Furthermore, in comparison with the unmodified APMP, the modified APMP produced a higher amount of residual material after decomposition at 578 °C, which can be reasonably ascribed to the introduction of chloride (Liu et al. 2007). Other studies also reported a reduction in decomposition temperature for CHPTAC-modified hemicelluloses from sugarcane bagasse (Ren et al. 2007) and CHPTAC modified cellulose (Song et al. 2008). Despite the decomposition temperature of these cationized products decreased, their most potential applications were not influenced (Ren et al. 2007; Song et al. 2008). The TGA analysis demonstrated that the cationic CHPTAC agent was successfully grafted onto the surface of APMP fibers.
Figure 4 shows the FTIR spectra of the APMP fibers and the modified APMP fibers. As the modification in this study is a cationization of APMP fibers with CHTPAC, which is grafted onto pulp fibers through etherification reaction between –OH group on fibers and epoxy group on 2,3-epoxypropyltrimethylammonium chloride, it should be pointed out here that the OH group on fibers includes OH group of cellulose, hemicellulose, and lignin of pulp fibers, as the cationization of these components using CHTPAC agent has been reported to be feasible at similar conditions in previous studies (Kong et al. 2015; Peng et al. 2012; Yan et al. 2009). As illustrated in Fig. 4, the IR spectra of the APMP fibers and the modified fibers show a broad O-H stretching band at 3429 cm-1 due to hydrogen-bonded hydroxyls. The bands at 2909 cm-1 are assigned to the symmetric C-H vibration band of CH3 group, and the bands at 2837 cm−1 are assigned to the stretching vibration of –CH2– groups. Compared with the spectrum of unmodified APMP fibers, the spectrum of modified APMP fibers provides the evidence of modification. Clearly, the modification reactions were monitored by being observed an enhancement in the intensity of the ether bond absorbance at 1043 cm-1. A change appeared in an increase in intensity of the band at 1411cm-1 assigned to the C-N stretching vibration (Pal et al. 2005; Peng et al. 2012). These changes represented a clear proof of incorporation of cationic agent onto the APMP fibers. In addition, a decrease in the absorption band for hydroxyl groups (OH) at 3429 cm-1 in modified APMP fibers as compared to the spectrum of unmodified APMP indicated a partial etherification. These findings are consistent with those reported for the reactions of cellulose (Yan et al. 2009; Hebeish et al. 2010), carboxymethyl cellulose (Kolya et al. 2013), hemicellulose (Peng et al. 2012) and kraft lignin (Kong et al. 2015) with the similar cationic agent.
The modified APMP obtained at conditions of 0.8% cationic agent concentration, 1% alkali concentration, 50°C, 1 h reaction time, and 8% pulp concentration was used to analyze the charge density. The results showed that the charge density of modified APMP fibers had positive charge density, 1.53 mmol/g, which is due to the cationic group (ammonium group) of the CHPTAC grafted onto fibers. This high positive charge density would strengthen the bridges among neighboring fibers to increase the pulp strength properties (Fatehi et al. 2008).
The strength properties, internal bond strength and zero span tensile of modified APMP obtained at different modification conditions were listed in Table 5. As shown in Table 5, both CHPTAC treatment (Table 5, run 3) and NaOH treatment (Table 5, run 2) significantly increased the pulp physical strength properties including tensile, tear and burst index, and internal bond strength. The treatment with NaOH alone was much more effective than the treatment with just CHPTAC. The combination of NaOH and CHPTAC treatment (Table 5, run 4) increased the strength properties as well as internal bond strength more pronouncedly. The internal bond strength was increased by 144.4%, and the tensile index, tear index, and burst index were increased by 35.3%, 29.2% and 16.7% respectively. A similar phenomenon was obtained by Liu et al. (2012) when studying the pulp properties and fiber characteristics of xylanase-treated aspen APMP. However, the zero span tensile index, no matter dry or wet, did not change too much, indicating that the influence of this modification (treatment) of APMP on fiber wall strength is insignificant. One can conclude that the pulp strength improvement of this modification for APMP is partially attributable to fiber swelling under alkaline conditions and partially from the cationic groups grafted onto the fiber surfaces that strengthens the bridges among neighboring fibers. In addition, the cationic pulp fibers would be expected to increase the efficiency of retention of polymeric and colloidal materials, including cellulosic fines and hemicellulose, which would contribute to inter-fiber bonding of paper sheets (Hubbe and Rojas 2008).
Note: other modification conditions were: 50 °C, 1 h reaction time and 8% pulp concentration.
Based on the RSM-designed experiment, the optimal modification conditions of APMP were a CHPTAC dosage of 0.8% (oven-dry pulp), NaOH dosage of 1.0% (oven-dry pulp), and pulp concentration of 8% (oven-dry pulp). Through this modification, the CHPTAC containing cationic group was successfully grafted onto APMP fibers through etherification reaction.
The strength of the modified pulp was increased in terms of tensile index, tear index and burst index. After modification, the tensile index, tear index and burst index increased by 35.3%, 29.2% and 16.7% respectively. The internal bond strength was increased by 144.4%, and this modification gave an insignificant influence on zero span tensile index of APMP fibers.
The pulp strength increased after cationic modification of APMP for two reasons. First, the fibers became swollen at alkali condition, and second, the positive charges of CHPTAC grafted onto APMP fibers were favorable for electrostatic attraction with negative charges of the neighboring fibers.
The authors are grateful for the National Natural Science Foundation of China (Grant Nos. 31570566, 31500489, and 31170547), the Key Laboratory of Pulp & Paper Engineering of Jiangsu Province, China (No. 201030), the Taishan Scholars Project Special Funds, and the Natural Science Foundation of Shandong (ZR2011CM011 and ZR2013CQ020) for their financial support of this project.
Fatehi, P., and Xiao, H. (2008). "The influence of charge density and molecular weight of cationic poly (vinyl alcohol) on paper properties," Nordic Pulp & Paper Research Journal 23(3), 285-291.
TAPPI. (1996). TAPPI Test Methods 1996–1997, Atlanta, GA, USA: TAPPI Press.
Article submitted: July 19, 2016; Peer review completed: August 28, 2016; Revised version received: July 31, 2017; Accepted: August 1, 2017; Published: August 3, 2017.


We are Good Luck Have Fun and we're all about telling South African esports stories.
Good Luck Have Fun (GLHF) was started in 2016 as a space for South African esports stories to be told. The three founders are all writers by profession and our expertise covers a range of fields including journalism, marketing, content creation and advertising. Everything GLHF does aims to explore ways to grow the local esports scene and create awareness around local gamers and competitions.
We publish an article every Wednesday discussing a relevant topic in the South African esports scene and our articles always feature the thoughts and opinions of esports industry leaders. We focus on the stories of the players, teams and local esports personalities, helping build their reputations and turn them into icons. We're also very active on social media, engaging with gamers and esports fans, constantly creating awareness of what's going on in South African esports.
When we started this site, we thought it would lead to us being able to play games and call it work. It didn't. Now when we would be playing games, we're writing about other people playing games. But we're okay with that.
Feel free to get in touch with us if you want to talk us about anything SA esports related.


text:
Velenka är en ort i Tjeckien.   Den ligger i regionen Mellersta Böhmen, i den centrala delen av landet,  km öster om huvudstaden Prag. Velenka ligger  meter över havet och antalet invånare är .

Terrängen runt Velenka är platt. Den högsta punkten i närheten är  meter över havet,  km sydväst om Velenka. Runt Velenka är det ganska glesbefolkat, med  invånare per kvadratkilometer. Närmaste större samhälle är Brandýs nad Labem-Stará Boleslav,  km väster om Velenka. Trakten runt Velenka består till största delen av jordbruksmark.

Trakten ingår i den hemiboreala klimatzonen. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är juli, då medeltemperaturen är  °C, och den kallaste är januari, med  °C.

Kommentarer

Källor

Externa länkar

Orter i Mellersta Böhmen
Kontrollbehov inkommande wikilänkar


Why is the Android emulator so slow?
Where buy Platinum RGB C14 Ram??!!
CMK4GX4M1D2400C16 Is This RAM Original Or Not??
How to match (2 x 8GB) DDR3 DRAM 2133MHz?
when were those RAM Vengeance sticks made?
What is the difference between these 2 part numbers?
What memory should i use for the hosting of my server?


text:
var CURRENT_USER_EMAIL = 'sample_email@domain.com';
var CURRENT_USER_ADMIN = false;
var DEFAULT_QUERY_PROJECT_ID = 'SAMPLE_PROJECT';

google.load('visualization', '1.1', {packages: [
    'corechart', 'charteditor', 'geochart', 'sankey']});

var INITIAL_CONFIG = {
  'default_project': '',
  'default_dataset': '',
  'default_table': '',
  'analytics_key': '',
  'cache_duration': 0,
  'max_parallel_queries': 5,
  'grant_view_to_public': false,
  'grant_save_to_public': false,
  'grant_query_to_public': false
};


Good morning peeps! (Or afternoon or evening, depending on where you are around the globe.) How is everyone doing in the blogging world?
Our prompt for today is "travel". Going anywhere? Been anywhere? Let us share vicariously in your journeys, trips, expeditions, pilgrimages, or even anything in your town or city you'd like the world to know about.
What comes to your mind when you hear the word "travel" and the ways it can be used? Share an experience, narrate an incident, or make up a story. Compose some poetry or a song. Click pictures or post memorable photographs.
To those participating in the daily prompt, use "ragtag daily prompt", "RDP", and "travel" as tags so your posts are easily accessible to fellow bloggers. If you are taking us around the world through pictures, use "photo challenge" in addition to the other three prompts, so fellow photography enthusiasts can find your posts.
Pingback: Traveling Style – Oh, border!


text:
Le Zoo de Colchester est un parc zoologique anglais situé dans le comté d'Essex, à Colchester. Le zoo a ouvert en 1963 sous le nom de Stanway Hall Park Zoo. Fondé par Frank et Helena Farrar, il est depuis 1983 la propriété de la famille Tropeano. Il couvre aujourd'hui une superficie de 24 hectares.

Le zoo, membre permanent de l'Association européenne des zoos et aquariums (EAZA), s'engage dans la conservation ex situ en participant à des programmes européens pour les espèces menacées (EEP). Il est également membre de l'Association mondiale des zoos et aquariums (WAZA). Le Zoo de Colchester s'engage aussi pour la conservation in situ à travers son association dédiée, Action for the Wild.

Il a reçu 801 643 visites en 2011 et 964 050 en 2015.

Installations et animaux présentés
Les habitats des animaux du Zoo de Colchester sont présentés dans différentes zones à thème.

Clairière des papillons
Ouvert au printemps 2015, la Clairière des papillons est une promenade à travers une installation située près de la zone des Ours du Soleil levant. Il présente de nombreuses espèces de papillons et de plantes. Il a été ouvert à la mémoire d'Isobel Rose Parmenter, une petite fille décédée en octobre 2014 à 22 mois d'une maladie rare, l'histiocytose langerhansienne, et dont les parents aimaient faire visiter le zoo à leur fille.

Arcs-en-ciel australiens
Ouverte durant l'été 2014, la zone Arcs-en-ciel australiens est une installation qui abritait auparavant le Théâtre Wild about Animals. À l'intérieur du bâtiment se trouve une chute d'eau, un grand étang et des jardins colorés. Les visiteurs passent à travers une volière de loriquets, avec la possibilité de les nourrir avec du nectar.

Koi Niwa
Dans cette installation se trouvent deux grands bassins présentant une variété de carpe koï. Il y a aussi deux systèmes de filtration visibles pour les visiteurs. L'installation est conçue dans le style typique d'un jardin japonais avec des statues, des ornements et des cascades.

Marche des géants
La Marche des géants, ouvert à l'été 2012, est un petit complexe, divisé en deux sections. Il présente trois des quatre espèces de tortues terrestres les plus grandes : des tortues géantes des Seychelles, des tortues brunes et des tortues sillonnées.

Madagascar perdu
Ouvert à Pâques 2012, Madagascar perdu est un enclos à travers lequel les visiteurs peuvent passer et qui présente un groupe de lémurs cattas et un groupe de lémurs à ventre roux. L'installation se visite en montant à bord d'un petit train, le Madagascar perdu Express.

Le Ruisseau des loutres
Le Ruisseau des loutres est un espace ouvert en  et présentant un groupe de loutres à pelage lisses (aussi appelées loutres d'Asie).

Wilds of Asia
Wilds of Asia est un groupe d'enclos abritant des espèces asiatiques, et notamment : gibbons à bonnet, des pandas roux, des calaos rhinocéros, des binturongs, des pythons birmans et des macaques à queue de lion.

Edge of Africa - Royaume de la nature
Edge of Africa est une zone divisée en trois sections. La première section est le Royaume de la nature, un complexe multi-espèces. La deuxième section est le Royaume des éléphants, et la troisième section présente des groupes de guépards, de phacochères et de potamochères, ainsi qu'un couple de hyènes tachetées et un groupe de mandrills.
Le principal enclos de la section Royaume de la nature présente des girafes réticulées, des rhinocéros blanc du Sud, des autruches, des zèbres et des grands koudous, tandis que des installations intérieures présentent des oryctéropes, des hippopotames nains, des singes patas et diverses espèces de reptiles (notamment, des tortues léopards), d'invertébrés et de poissons. Il y a aussi une volière, la Vallée des Vautours, qui présente des vautours africains et des vautours de Rüppell.

Edge of Africa - Royaume des éléphants

Le Royaume des éléphants est la deuxième section de la zone Edge of Africa, et présente la harde d'éléphants d'Afrique du zoo, un mâle nommé Tembo et trois femelles nommées Opal, Zola et Tanya.

Out of Africa
Ce petit espace présente des lémurs aux yeux turquoise et des colobes guereza.

Playa Patagonia
Ouverte en 2003, Playa Patagonia est une zone dédiée à un groupe d'otaries à crinière femelles nommées Atlanta, Milan, Winnipeg, Paris et Sydney. L'enclos comporte aussi un grand tunnel de vision sous-marine.

La Forêt des orangs-outans
La Forêt des orangs-outans présente deux mâles orangs-outans. Le plus jeune des deux, nommé Tiga, est un orang-outan de Bornéo, tandis que le plus vieux, nommé Rajang, est un hybride d'orangs-outans de Sumatra et de Bornéo.

Dragons de Komodo
Il s'agit d'une grande installation intérieure dédiée à un couple reproducteur de dragons de Komodo, un mâle nommé Telu et une femelle nommée Mutu. L'installation est conçue de manière à reproduire leur habitat naturel et comprend un grand bassin et un toit en verre permettant de laisser rentrer la lumière solaire.

Tiger Taïga

Tiger Taïga est un grand complexe présentant un couple de tigres de Sibérie, un mâle nommé Igor et une femme nommée Anoushka. Le tunnel de vision qui traverse l'enclos mène les visiteurs jusqu'au Nature Trail.

Le Rocher du Lion

Ouvert en , le Rocher du Lion comprend un enclos présentant trois lions d'Afrique, un mâle nommé Bailey et deux femelles nommé Malika et Naja. La partie intérieur de la zone présente des fennecs et des souris épineuses d'Asie mineure.

Ours du Soleil levant
Ce enclos présente un couple d'ours malais, un mâle nommé Jo-Jo et une femme nommée Srey-Ya. Ils ont été donnés au zoo par le Rare Species Conservation Centre en 2010, après avoir été saisis par des patrouilles anti-braconnage gouvernementales au Cambodge.

Léopards aux chutes de l'Oussouri
Ouverte en , cette enclos abrite une couple de léopards de l'Amour, un mâle nommé Sayan et une femme nommée Milena.

Penguin Shores
Penguin Shores abrite une grande colonie de manchots de Humboldt, ainsi qu'un aquarium contenant différents types d'eaux douces et des poissons de corail.

Suricata Sands
Ouvert en , Suricata Sands présente un groupe de treize suricates, dont un couple reproducteur : Robin et Pippa.

Historique

Conservation

Références

Parc zoologique en Angleterre


I've tried several times to set up Nomorobo. I had it set up at one time but I don't know if it blocked any calls.
However, what happened was that my voicemail no longer worked. Instead of going to voicemail the call was directed somewhere to a fax machine.
Today, after having reduced the number of signals to 3 before redirecting the incoming calls to my voice mail, I tried setting it up again. When calling my number, it sounds like the call is going to my voice mail after three rings, but after that, I just get a short ring and no voice mail message, i.e. my voice mail is still hampered by Nomorobo.
Hi Becky, Thanks for your response. The set-up is working as you say and I get a message saying that nomorobo is set up and working properly. However, with nomorobo on - voice mail is not working! When I call my house phone (with nomorobo on) I get one ring signal and then a tone from a fax machine - no voice mail!
Hi Becky, The only number shown for simultaneous ring is the nomorobo number. When trying to add my number it says: Home phone will ring for incoming calls by default, only additional numbers can be set up for Simultaneous Ring. BUT - my number is now shown as protected by nomorobo and it seems to work. I think I may have received the one signal and then the fax tone only after doing my first test call to my home number from my cell phone after having made the nomorobo set up test call. Maybe it needed some time to take affect. I'll leave nomorobo on and monitor my voice mail for a while. I'll get back to you if voice mail gives up on me again. Thanks for your support!


This past summer I discovered RumbaTime, a brand of fun, affordable watches and accessories. One of my favourites, is their Orchard Gem Collection of watches, which retail for around $45.00 US each, and can be purchased online or at Indigo in Canada. These watches are perfect for wearing alone, or layering with other bracelets (hello, arm party!). The band is silicon and is adjustable (one-size-fits-all), and the rose gold face is 35mm wide, and is water resistant up to 99 feet. These watches are the perfect combination of functionality and fashion.
I actually first discovered RumbaTime watches at American Eagle Outfitters (RumbaTime did a line of watches exclusively for AE). Love at first sight, I purchased three of them in the Orchard Gem style: 2 for me, and 1 to give away. So, as a thank-you to all of you who have taken the time to read my Gift Guide entries over the last 30 days, I'm giving away the limited edition RumbaTime for American Eagle Outfitters watch shown above (on the left).
To enter, all you need to do is follow this blog: WhatDidSheFind (you can find the "subscribe" button on the right-hand side of the page on a desktop computer, or at the bottom on a mobile device), and comment below letting me know what day of the gift guide was your favourite. The giveaway will close on Monday, December 22nd at 8:00pm, and is open to residents of Canada and the United States.
I hope you enjoyed this year's gift guide, and maybe even used some of ideas for your friends and loved ones. Wishing you a very happy holiday!
Can I choose two days? haha. to be honest days 2 and 15. I literally bought so many people the Starbucks "dot" collection mug for their Christmas gift..they are super cute and convenient! for myself, I am hoping for a kate spade planner. I'm in love with anything kate spade so why not add some of that fun while at work? 🙂 thanks for this opportunity – have loved following all of these days and this watch is beautiful – may have to pick myself up one even if I don't win!
It's hard to pick just one day, but my favorite was day eighteen!


text:
'More cash or fewer police'
COUNCIL taxpayers in North Wales face paying an extra 20pc on the police precept next year.
Chief Constable Richard Brunstrom warned yesterday the public faced a blunt choice of paying more or reducing the number of police officers.
Mr Brunstrom is in the process of appointing 50 extra officers paid for by this year's 31pc police precept rise.
Mr Brunstrom said increased Government funding of £2.4m would be wiped out by £3.8m in pay and £2m for pensions.
He told Conwy councillors that since 1997 the force had exceeded a target of making 2pc cuts annually, saving £18m. Next year the total budget will be £110m.
Police authority chairman Malcolm King said: "No one wants to pay a lot more for just the same, this is a very difficult position for us."
The Wrexham councillor pointed out that a poll last year revealed 75pc of taxpayers would be prepared to pay extra for local policing. His guess was that they would still think it was worth paying more to maintain a good service.
But he said a pattern had emerged of central government paying less and local authorities more. Figures showed North Wales was "miles short" of what was needed for a standstill budget.
Mr Brunstrom said it was hoped that eventually there would be a community beat manager for every one of the 300 council wards in North Wales. By March there would be 158 such officers, and part of their remit was to draw up a database of "movers and shakers".
"The clear message from the public is for more officers on the beat, not for better police stations," he said. "That's where all our effort is going, on front-line service."


Sunday, April 21, 2013, from 6-7:00 PM, Pastor Chris Brauns will lead an FCA Coaches Huddle at the Red Brick Church administrative building* in Stillman Valley.
We will "huddle up" to encourage coaches about being positive influences for Christ in the the lives of young people. Refreshments will be served (though we won't feed you dinner) and there will be some free give-aways to coaches in attendance.
*The Administrative Building is the house immediately west of the church. There are signs in both front of and behind the church.


text:
One Tribe, one family — and now, one visual identity
University logo The new university logo will be the primary identifying mark of the university. It contains the cypher, a word mark and the College's year of charter. Image courtesy of creative services
A long history An early version of the cypher may be seen on this W&M boundary stone, created in 1694. The boundary stone is now in the Special Collections Research Center at Swem Library. Photo courtesy of the Special Collections Research Center
W&M Experts
W&M Editorial Style
W&M Weekly Newsletter
News about:
Swem Library
Reves Center for International Studies
Richard Bland College
by Erin Zagursky | November 19, 2014
After several years of research, design work and community feedback, William & Mary has unveiled new visual identity guidelines meant to bring consistency to the use of logos and graphics across the university.
The guidelines include a new logo, designed at William & Mary, that will be the primary identifying mark of the university. The logo contains the cypher, a word mark and the College's year of charter.
"The new primary logo will look familiar to the William & Mary family," said Tina Coleman, director of creative services and chair of the visual identity committee. "It's a beautiful design that incorporates the history and elegance of the university, but we're not introducing anything new. It's a refinement of what we've been using so that we can bring more consistency to how we visually represent William & Mary."
The guidelines are available in an online style guide that contains information on usage of the new design, sub-brands, alternative marks and official school colors. Anyone may view the guide, and people with W&M usernames and passwords can log in to download image files as well as templates for such things as presentation slides, business cards and letterhead.
A rallying point
The work of the visual identity committee began four years ago when President Taylor Reveley charged it with formalizing a primary logo for the university and also establishing guidelines for use of all visual marks associated with William & Mary. Previously, there was no formal guidance on visual identity, and there were many logos and disparate marks being used across campus.
"When you have a bunch of different marks, there is no central identifying mark, and you don't provide the people who are excited about William & Mary some kind of visual to rally behind," said Justin Schoonmaker, associate director of design for creative services. "The current guide is something people on campus have been asking for. It's been wonderful to see the positive reaction as we have been sharing the work of the committee and the purpose of the guide with our colleagues."
The committee members researched the marks used by more than two dozen universities and conducted several focus groups with faculty, staff, students and alumni. From that work, the committee found that people in the William & Mary community had a greater emotional connection to two historical marks – the cypher and the seal – than any "W&M" graphics. Both of the historical marks trace their roots back to the 1690s, with the cypher appearing on a campus boundary stone and the seal containing the College's royal coat of arms.
Although initial feedback from W&M community members showed a preference for the cypher, the committee wanted to test both historical marks. Its design subcommittee, led by Schoonmaker, created four possible presentations of the cypher and two of the seal. The six designs were included in a brand survey sent to more than 80,000 faculty, staff, students and alumni by university advancement in January 2014. The results were clear: 70 percent of respondents preferred the cypher over the seal as the university's primary logo. With the direction for the university logo decided, Schoonmaker met with top administrators from the graduate and professional schools to talk about creating sub-brand designs based on their specific needs.
"We wanted to provide the schools some flexibility in sub-brand design so that they could maintain their own identity while making it clear they are within the same William & Mary logo family," said Schoonmaker. "So a couple of them look slightly different from the rest, but, taken together as a whole, they provide the university with a much more consistent visual identity."
A guide to the guide
The style guide contains six sections, the first of which focuses on the new university logo – how to use it, how not to use it, what colors may be used for different applications and what variations are accepted.
The second section provides details on the university's four official colors: William & Mary Green, William & Mary Gold, Spirit Gold and William & Mary Silver. Spirit Gold is a brighter color that is intended for use by athletics or in more casual applications. Silver, a lesser-known W&M color, is intended to be used as an accent color. Each color's Pantone, RGB, CMYK and hexadecimal numbers are provided in the guide so that the exact hue may be selected for use in various applications, from clothing and merchandise to computer displays and print publications.
The next section of the guide provides information on additional branding marks that may be used, including the seal, "W&M," the Tribe script and the Griffin. Although none of those marks are going away, the guide provides information on how each should be used. For instance, the seal will now be used primarily for ceremonial occasions on items such as diplomas or academic regalia. The Tribe script and Griffin will continue to be used by athletics without alteration.
"It's important to understand that the historic seal, Tribe and the Griffin marks are not going away," Schoonmaker said. "The style guide reserves the seal for more formal uses. The Tribe and Griffin marks are very popular with our athletics teams and will continue to be used as they are today. The committee is not recommending any changes to the use of those marks."
The use of decorative graphics -- including the 1693 weathervane, Crim Dell bridge and stand-alone cypher -- is detailed in the fourth section of the guide. For instance, the weathervane may be used as a watermark or clothing graphic.
Graduate schools, student organizations, and departments, offices and programs are included in the following section on sub-brands. Departments, offices and programs are discouraged from developing their own logos and are, instead, asked to either develop a text-based treatment for their names or develop a "signature lockup" – a variation of the new university logo that includes the name of the office under the William & Mary word mark.
Recognized student organizations may continue to use their logos and will have the same rights to marks as any office or program, said Coleman. The final section of the guide contains the downloadable university templates for university communicators.
Creating a unified visual identity is important for several reasons, Coleman and Schoonmaker said, including gaining recognition for William & Mary outside of the Mid-Atlantic region.
Becoming globally recognized is difficult for any brand, especially without millions of dollars to pump into TV ads and billboards, said Schoonmaker.
"It's all-the-more difficult when there is no central, unifying mark because the mark you introduce to, say, one segment of the population in Oklahoma may not be introduced to a population in Florida," he said. "But when you have one unifying mark, you're able to tie in all of those advertising efforts. Your audiences everywhere are introduced to the same William & Mary."
Creating a unified visual identity also helps people who receive communications about the university determine what is officially from William & Mary and what is not, he added. Likewise, it helps shoppers identify official university merchandise.
"A prospective student who is looking at William & Mary and loves the idea of coming here doesn't know what the official, legitimate William & Mary merchandise is," said Schoonmaker. "But when you have a primary logo, your recognizability creates new potential for people to be excited about your visuals and can bring in new revenue streams because people can identify the true William & Mary products.
"You don't want the Nike knockoff; you want the true Nike product."
A licensed merchandise working group -- led by Andrea Sardone, chief marketing officer for the Raymond A. Mason School of Business, and including representation from athletics, auxiliary services, creative services, and university advancement -- is looking into how the university can capitalize on that desire by making W&M-branded merchandise easier to buy both on campus and during signature events such as Charter Day. The group, which was spurred by the university's business innovation effort, is also seeking ways to keep merchandise consistent with the university's visual identity.
"Our working group very quickly identified the unmet need and demand for branded merchandise, and the visual identity work has definitely opened the door to the possibilities and opportunities," said Sardone. "We have both short-term and long-term goals to get William & Mary branded merchandise into the market for alumni, prospective students and friends of the university."
Various offices on campus have already started to implement use of the new logo in their communications, and the W&M community will soon see it across campus as signage gets replaced and new merchandise is introduced to the bookstore.
Coleman and Schoonmaker have been presenting the style guide to departments and groups across campus. Response has been overwhelmingly positive, they said.
"The first reaction has been people asking how soon can they start using these marks," Schoonmaker said. "Many of the schools have already adapted their communication materials and websites to reflect the new design. My email inbox is full of requests from others on campus who want assistance or guidance on a planned communication piece such as a brochure or banner. That kind of enthusiasm and momentum is what we want, so it has been great to see."
William & Mary business innovation effort progresses
Creative Services awarded for design projects
William & Mary recognized for excellence in educational advertising
Wondering what marks and colors to use for your project? More...


Download Good Faith Collaboration ebook PDF or Read Online books in PDF, EPUB, and Mobi Format. Click Download or Read Online button to GOOD FAITH COLLABORATION book pdf for free now.
Wikipedia, the online encyclopedia, is built by a community -- a community of Wikipedians who are expected to "assume good faith" when interacting with one another. In Good Faith Collaboration, Joseph Reagle examines this unique collaborative culture. Wikipedia, says Reagle, is not the first effort to create a freely shared, universal encyclopedia; its early twentieth-century ancestors include Paul Otlet's Universal Repository and H. G. Wells's proposal for a World Brain. Both these projects, like Wikipedia, were fuelled by new technology -- which at the time included index cards and microfilm. What distinguishes Wikipedia from these and other more recent ventures is Wikipedia's good-faith collaborative culture, as seen not only in the writing and editing of articles but also in their discussion pages and edit histories. Keeping an open perspective on both knowledge claims and other contributors, Reagle argues, creates an extraordinary collaborative potential. Wikipedia's style of collaborative production has been imitated, analyzed, and satirized. Despite the social unease over its implications for individual autonomy, institutional authority, and the character (and quality) of cultural products, Wikipedia's good-faith collaborative culture has brought us closer than ever to a realization of the century-old pursuit of a universal encyclopedia.
For some Western European legal systems the principle of good faith has proved central to the development of their law of contracts, while in others it has been marginalised or even rejected. This book surveys the use or neglect of good faith.
This book is a compilation of the papers that were delivered at the conference by keynote speakers Lord Justice Rupert Jackson of the Court of Appeal of England and Wales, and Justice V K Rajah, Judge of Appeal of the Singapore Supreme Court, as well as plenary speakers Senior Master Steven Whitaker, Cavinder Bull, Senior Counsel and Stephen Mason. Additionally, the ideas thrown up during panel discussions have been crystallised in the other academic articles. Like the conference, significant topics such as electronic discovery, electronic hearings, the preservation of electronic evidence, computer forensics and the impact of social media on civil litigation are critically evaluated and discussed.
Author : Thomas J. Kelleher, Jr.
The high price of food and the current economic uncertainty around the world are changing the way we view our food distribution system. Food security activists and environmental justice organizations are making unlikely alliances with former opponents. "The enemy of my enemies is my friend" perspective points to a new paradigm in social activism.
The growth of faith-based schools, particularly within Muslim communities, has signalled a clear change in direction as a number of religious groups have begun to question the efficacy of 'secular' schooling for all. But why is it that some faith-based schools are regarded as different from others? What makes Muslim and Sikh schools, for example, different from those classified as Anglican, Catholic or Jewish? At the heart of the debate is the question of segregation in terms of race and ethnicity.This unique book draws on first-hand research to explore these issues and the concerns that the expansion of new faith-based schools will prove to be socially divisive, encourage 'fundamentalism', and incite religious and ethnic tensions. Lord Dearing contributes the Foreword.
This publication focuses on the conditions for promising collaboration. Collaboration is becoming a dominant instrument in today's economy and society and manifests itself in many shapes and forms. It is a challenging instrument which still isn't very well understood and poses the business community in front of a number of challenging dilemma's. We position collaboration as a multidisciplinary phenomenon and - based on years of research and as reflective practitioners - offer a comprehensive model for analyzing and designing collaborative processes that is both scientifically rooted and applicable in practice. A better understanding of collaborative processes will enhance the success of alliances, networks, chains and strategic partnerships. In addition to this we look to the future of organizing from a collaborative perspective and address the challenges ahead.


This Emergency Room Appeal Letter Template Can Be Tailored to Fit Your Denial.
This emergency room appeal letter template can be tailored to fit your denial. For assistance with a completely researched, focused and custom letter, call the helpline @ 920.664.9407.
I am writing to you in regards to a claim submitted by [Medical Provider] for [patient]. The charges were rendered on [Date] and totaled [Claim dollar total]. [Health Plan] has denied payment stating that the Emergency Admission was not covered.
[Patient] was treated in the emergency room of [Facility/Hospital Name] on [Date of Service] as a result of [list condition(s)]. This required for the [Patient] to be taken to the nearest emergency room facility for treatment.
Option 1: There was not an opportunity for [Facility/Hospital Name] or the patient to obtain prior authorization from the health plan prior to receiving emergency treatment. Once [Patient] was stabilized on [Date] we did speak with a health plan representative to request an authorization on the emergency room treatment. We have since been told that the [Patient] had to be seen at a designated hospital, but due to the emergency situation we had to choose the nearest emergency room facility.
Option 2: We did speak with a health plan representative to request an authorization on the emergency room treatment, but the health plan indicated that pre-certification of the emergency room visit was not required and therefore one was not obtained. Consequently, we should not be penalized from receiving inaccurate information from the health plan.
Option 3: [Facility/Hospital Name] or [Primary Care Physician Name] is contracted with my health plan and as they are participating providers they should be aware that an authorization for my Emergency Visit should have been authorized. I did provide my health insurance information to the Emergency Room Admitting Office and they should have initiated the authorization. As such, I should not be penalized for their error.
As this visit was medically necessary, I am requesting the health plan override its denial of this claim. Additionally, I have included a statement of medical necessity from the emergency physician who is also prepared to provide a rebuttal to your decision.


text:
Guni (, , Güna)  is a rural locality (a selo) in Vedensky District, Chechnya.

Administrative and municipal status
Municipally, Guni is incorporated into Guninskoye rural settlement. It is the administrative center of the municipality and one of the four settlements included in it.

Geography

Guni is located between two of the left tributaries of the Gums River. It is located  north-east of Vedeno.

The nearest settlements to Guni are Serzhen-Yurt in the north-west, Marzoy-Mokhk in the north, Achereshki and Enikali in the north-east, Gezinchu in the east, Agishbatoy and Mesedoy in the south-east, and Khadzhi-Yurt in the south-west.

History
In 1944, after the genocide and deportation of the Chechen and Ingush people and the Chechen-Ingush ASSR was abolished, the village of Guni was renamed to Tashi, and settled by people from the neighboring republic of Dagestan. From 1944 to 1957, it was a part of the Vedensky District of the Dagestan ASSR.

In 1958, after the Vaynakh people returned and the Chechen-Ingush ASSR was restored, the village regained its old Chechen name, Guna.

Population
 1990 Census: 1000
 2002 Census: 647
 2010 Census: 849
 2019 estimate: ?

According to the 2010 Census, the majority of residents of Guni were ethnic Chechens.

References

Rural localities in Vedensky District


We choose to carefully research, short-list and then work with recognised leaders in our industry, because the best service components help us to deliver the most satisfying and successful customer experiences.
Trusted by over 250,000 customers worldwide — including 100 percent of the prestigious Fortune 100 and Fortune Global 100 companies — VMware are the established global leaders in virtualisation and cloud computing technology. That's why we chose to partner with VMware technology and expertise for the basis of our own Cloud² platform.
The RIPE NCC is an independent, not-for-profit membership organisation that supports the infrastructure of the Internet through technical co-ordination in its service region. The most prominent activity of the RIPE NCC is to act as the Regional Internet Registry (RIR) providing global Internet resources and related services (IPv4, IPv6 and AS Number resources) to members in the RIPE NCC service region.
AppRiver is a Software-as-a-Service (SaaS) provider offering award-winning e-mail and Web security solutions to businesses of all sizes. Since its inception, AppRiver has sustained an impressive 95% customer retention rate while growing its customer base to more than 40,000 companies and over 6 million mailboxes worldwide.
Thawte is a leading global Certification Authority. Thawte SSL and code signing digital certificates are used globally to secure servers, provide data encryption, authenticate users, protect privacy and assure online identifies through stringent authentication and verification processes.
Nominet is the Internet registry for .uk domain names. They operate at the heart of e-commerce in the UK, running one of the world's largest Internet registries and managing over six million domain names.


text:
Home » Research » Museums » Dr. Bernard Heller Museum in New York » Exhibition Archive » Ora Lerman: I Gave You My Song
On View: September 13, 2001-December 16, 2001
A memorial retrospective
Ora Lerman: I Gave You My Song, a memorial retrospective exhibition presenting the life's work of the celebrated artist Ora Lerman, will be on view at the Hebrew Union College-Jewish Institute of Religion Museum from September 13-December 16, 2001. The daughter of Eastern European Jews who settled in Campbellsville, Kentucky, Lerman's radiant paintings, sculpture, and works on paper combine childhood fantasies with adult musings on life. Employing an allegorical, narrative style, Lerman connects family stories, textual inscriptions, and a vivid imagination to express a powerful celebration of life.
Ora Lerman lived and traveled throughout the world and incorporated these experiences into her art. She grew up in Kentucky and later lived in New York. With an abstract expressionist background and formalist training, she went to Japan on a Fulbright Scholarship where she studied calligraphy and sumi-ye (another ink tradition). Japanese art influenced her to create "layers of narrative symbolism" in her work. Consequently, she returned to New York where she worked in an realistic mode and began to integrate sentences into the borders of her paintings adding these Japanese-influenced layers of meaning to her work.
Lerman painted from figures that she collected from around the world, and from objects she created out of Fome-Cor. She traveled to Mexico, the former Soviet Union, and received a Reader's Digest six-month grant to work at Monet's garden in Giverny, France. She "found this to be a good context to develop images of Eden..." and developed symbols of an exiled Eve and the land of exile. Later she went to India to further her work on Eve and the Garden of Eden. She designated the Indian Tree Goddess figure "Yakshi" as "another face of Eve." She then came full circle by bringing the Tree Goddess to New York, which she viewed as a colorless land. Her Tree Goddess brought color and was a "greening influence" on New York, and ultimately became "the synthesizer of [her] rural-urban, East-West dual history."
Lerman received her B.A. in Fine Arts from Antioch College and an M.F.A. in Painting from the Pratt Institute Graduate School in Fine Arts. Her work has been exhibited in numerous solo and group exhibitions, which include solo shows at the Museum of Contemporary Art in Sao Paulo,
Brazil, the Poulain Museum in Vernon, France, and Bernice Steinbaum in New York City, as well as group exhibitions at the Museum of Modern Art and the Jewish Museum in New York. Her work is included in many permanent collections, including the Museum of Modern Art, the Whitney Museum, the Guggenheim Museum, the Brooklyn Museum, and the Jewish Museum in New York. The recipient of many awards including the National Endowment for the Arts Mid Atlantic Art Foundation Regional Fellowship, she was a Full Professor of Art at the State University of New York in Suffolk, and also taught and lectured at many other universities.
Laura Kruger, Curator of the HUC-JIR Museum, noted: "Ora Lerman uses narrative visual effects and text to capture her childhood memories and to interpret the deeper meanings inherent in these rememberances. The authenticity of her work is based on her family life in rural Kentucky during the early 1940's. She created a personal visual language to evoke the unknown parts of her heritage. Celebration of life is the hallmark of Lerman's work and we are pleased to continue the tradition of her memory."
Catalog with color illustrations and essays by Margaret Mathews Berenson, Ann Sutherland Harris, Joan Marter, and Sabra Moore is available.
Organized in conjunction with the exhibition:
Women and Narrative Art: Expressions of the Self
Moderator: Joan Marter, art critic, Professor of Art History, Rutgers University
Panel: Corinne Robins, art critic, poet; Julie Hefferman, artist; Dotty Attie, artist; Selina Trieff, artist
Free photo ID required
Monday-Thursday, 9 am - 6 pm; Friday, 9 am - 3 pm; Selected Sundays, 10 am - 2 pm: September 16; October 14, 28; November 11; December 2, 16.
For information/group tours: 212-824-2205.


Timeline of the Human Genome Study-From Gregor Mendel's research on experiments in Plant Hybridization in 1865 to the completion of Human Genome Study in 2003.
– The Human Genome Project was one of mankind's greatest triumphs. But the official gene map that resulted in 2003, known as the "reference genome," is no longer up to the job.
– The Human Genome Project, which began officially in 1990, was the largest international collaboration ever undertaken in biology and involved thousands of scientists.
-The Universal Declaration on the Human Genome and Human Rights was adopted unanimously and by acclamation at UNESCO's 29th General Conference on 11 November 1997. The following year, the United Nations General Assembly endorsed the Declaration.