text:
17 Tone Just Intonation Guitar
Posted 27 August 2013 - 08:49 PM
I designed an 18 tone just intonation guitar and had it fretted (split frets), a cheap classical. I have a new design, 17 tone, and it's SO much less cluttered (I could post the fretfind2d fretboard if anyone is interested. So I want to make this in electric. but the 18 tone was a good stepping stone.
My friend suggested using a fretless and just putting marks where the tones would be. Is that realistic, is my question? Could I play chords easily looking at the fingerboard and using marks?
Whether I go fretless or fretted, I plan on using an 8 string fretboard and only using 6 strings. Also maybe a baritone length, if they make 8 strings that way? Why? Because my hands don't fit "standard sized" guitars, even with straight frets.
I have a lot more to say about my tuning, if there's any interest. I believe I have recovered how ancient 19 tone harpsichords were originally tuned, and also how 12 tone pianos were originally tuned, and double keyboard harpsichords, organs, etc (hint: they did NOT play the same 12 tones on each keyboard).
Some people say they don't really play guitar, feigning modesty. I, on the other hand, really don't, I can barely play, because my fingers don't fit. Call it what you will, but, they say the show must go on, so I've gone ahead and made 6 youtube videos (so far) of my 18 tone guitar, (in slow motion), so people can hear the ancient tuning, and maybe it will inspire some. Here's one I just made ( I look a little frazzled because trying to play these simple chords I kept muting strings...), but you can get an idea of the tones.
I would love to talk about this just intonation tuning if anyone's interested, I think a whole Universe of new/ancient music is waiting to be written, and if you are unfretted already, all you'd need to do is hear the notes...
Posted 27 August 2013 - 09:52 PM
Posted 28 August 2013 - 01:34 PM
Have you ever wondered why an A sharp today, and a B flat, are called the same note? Answer: because originally they were two separate notes, and this has been lost. You can find images online of very old harpsichords, that played 19 tones per octave. The black keys were doubles, so that would allow one to be called a sharp, and one a flat. There were also 2 additional keys where the black keys are missing today, giving a total of 19 notes.
I once tried to calculate what the pitch ratio fractions are for the seven basic musical tones in pure intonation, guessing, and found the same fractions online, attributed to Galileo, as the perfect notes. If you put these to a common denominator, you can then put this all to whole number pitch ratios: 24 27 30 32 36 40 45 and 48 would be the octave. So if 24 beats per second (hertz)is your first note (your 1/1), then your second note would be 27 beats per second and third would be 30 ..., giving the ratios of 8 to 9 to 10, or 1 to 9/8 to 10/8 (5/4)...
When I looked at this and looked at those ancient harpsichords, the light bulb went on, there is room for two whole numbers between 24 and 27, like those two black keys, ... and I am very confident the ancient tuning was based on this pattern. So if you tune your 1/1 note to 24 hertz, or octave of, the rest of the white keys would be tuned to: 27 30 32 36 40 and 45 hertz, and if we include the black keys, the sequence goes: 24 25 26 27 28 29 30 ... hertz, where 25 and 26 are the first set of double black keys, etc. This pattern holds up till note 32, the fourth, and it is a perfect fourth, 32 to 24, or 4 to 3 pitch ratio to the first note. If you play with this simple math, you will see that after 32hertz, the following notes are open to discussion, what would they be? I believe I have it figured out, what the standard tuning was for the rest in 19 tone. My new guitar will play these same 19 notes, except for the two notes where there are not black keys today (between B and C, and between E and F). I think you can get those by bending strings of needed...
Just to give you the whole tuning here, it will be, in hertz: 24 25 26 27 28 29 30 32 33 1/3 34 2/3 36 37 1/3 38 2/3 40 42 45 and 48 hertz is the octave. This tuning is based on hertz, clocks, because, for one thing, I believe the Ancients synchronized music with clocks and the Earth's spin, but I won't go into that here.
Playing with these numbers, I realized that 12 tone pianos were really meant to be tuned, originally based on this "harmonic series" principle, but, having just 12 tones, they lend themselves to a different portion of the harmonic series. I am very confident they were originally tuned with the first C note at 32 hertz. Because this fits with the one black key pattern. The octave before 32, not played on a piano, but it would be 16 hertz, and so the first three notes, would be, on the white keys, 16 18 and 20. This leaves room for black keys in between, tuned to 17 and 19, that would cover the first five notes, if you follow what I'm saying. 16 17 18 19 20
Not coincidentally, the first C note on today's pianos is the closest note to 32 hertz in "standard tuning". Btw I think "equal temperament" tuning is a mathematical hoax. where all the music is blurred, all the nuances and crispness of sound has been ironed out. Which gets to another riddle. Playing in a different key today has no real meaning, except for a different starting point. Each "key" has the same flavor. But it used to be, each key had its own flavor, some were happy, some eerie, some sad... and all harmonically related.
Here is the original tuning, I believe, for 12 tone pianos: 32 34 36 38 40 42 45 48 51 54 57 60 and the octave is 64 hertz. So the white keys would be, the C major scale, 32 36 40 42 48 54 60 hertz. This gives the pitch ratios of 1/1 9/8 5/4 21/16 3/2 27/16 15/8 and 2/1.
The G major scale gives Galileo's tuning of 1/1 9/8 5/4 4/3 3/2 5/3 15/8.
And you have all these other beautiful scales, each with their own flavor, and based on the harmonics of the Universe. So when you hear "just intonation" only gives you one playable scale, that is not true, they are just using the wrong numbers. Here's what the D major scale in this 12 tone tuning would be: 36 40 45 48 54 60 68, which gives the pitch ratios: 1/1 10/9 5/4 4/3 3/2 5/3 17/9.
One last point here. You'll notice modern pianos look terrible, the key layout. At the left end, there is a lone black key, the rest of the keyboard has pairs or triplets of black keys. It looks off. This ugly set up allows for the first note on pianos to be the A key.
How did this come about? I believe what they have done is removed two bass keys from the left end. If you added back these two keys, one white, one black, then the first black keys would be a pair, and this fits pleasingly with the rest of the keyboard layout. And this makes the very first note the G note, which just so happens to be the closest note in standard tuning to that magical number 24 hertz. Online you can find a picture of this beautiful 1877 piano in France, that has the two extra keys, a 90 key piano instead of today's 88 keys. It looks great. Check it out, I think it's called the Frederick collection or something like that. So it looks like the note names were moved over one character from what hey originally were, so G used to be called A, and started the piano. Does this explain the song Doe a deer, fitting the D sound with what is now called C but used to be the D note?
Lastly, harpsichords with double keyboards, and organs... I believe they were originally tuned with one keyboard with the 12 tone tuning described above for pianos, and the second keyboard would be tuned offset, so 32 34 36 38 40 is do re mi on one, with black keys, and 33 35 37 39 41 hertz is do re mi on the other, allowing for, I would assume, some pretty interesting and amazing music.
hope I got the numbers right here
Posted 28 August 2013 - 06:56 PM
I know most people are used to working with fractions or cents, but using these whole numbers greatly simplifies things. Think of note G as 24, A is 27, B is 30, C is 32, D is 36, E is 40. (F is 42 on a piano, but a 19 tone harpsichord would have had the white keys set up with the first note as G, not C like pianos, so it raises a question of how they notated the 7th tone... also keep in mind flats and sharps were different keys, and also remember the note names have been moved over a character... is this getting confusing? Hopefully not.)
The guitar is oriented around the G string, the 1/1, which is tuned open to 192 hertz (an octave of 24 hertz). I plan on using a drpp D tuning, so the deepest string will be tuned to D instead of E, and will be 72 hertz (octave of 36 hertz). (This allows a perfect just interval of 2/3 with the next deepest string, the A, tuned to 108 hertz (octave of 27 hertz). E would have been 80 hertz (octave of 40 hertz), so the open strings from E to A wouldn't be a pure interval. Also the frets work out better with the deepest string tuned to D, not E. The E string, highest string, is tuned to 320 hertz (an octave of 40 hertz.) The B string is tuned to 240 hertz.)
So all open string intervals are just from one string to the next, going from deepest to highest, a perfect fifth (3/2), 3 perfect fourths (4/3), a perfect third (5/4), and a perfect fourth (4/3).
high E = 320 hertz B = 240 G = 192 D = 144 A = 108 low D = 72 hertz
So it's standard strings, but the low E is tuned to D at 72 hertz.
The 18 tone tuning on my classical has this same basic tuning, but I had tried to keep all the notes in whole hertz numbers, so I ended up adding a note. I now realize, having worked with these numbers for a while, the music will be more flowing tuned as outlined here in 17 tone.
I'm sure some will disagree but I think ancient 17 tone music was originally based on this tuning. And as I say, 19 tone was the same tuning with two passing tones added, 31 hertz and 46 1/2 hertz probably (put to appropriate octaves).
So I've outlined four ancient tunings here, 12 tone, 17 tone, 19 tone, and 24 tone (double keyboards). They are all anchored with a perfect doe ray mi 8 9 10 ratio, and all contain Galileo's 7 notes. 17/19 tone is oriented around a 1/1 of 24 hertz, and 12/24 tone are oriented around a 1/1 of 32 hertz.
Surely you can see this!
think I'm done talking
Posted 28 August 2013 - 07:19 PM
Posted 29 August 2013 - 04:04 PM
Recall, the 12 notes, starting with today's C, in beats per second, are: 32 34 36 38 40 42 45 48 51 54 57 60
So let's look at the C sharp scale, I'll list all the relationships using C sharp (34 hertz) as the 1/1, the reference pitch, and you can see all these beautiful just intervals emerge. Btw we can call C sharp the 17 scale, because it's based on the prime number, 17 (34/2):
34 36 38 40 42 45 48 51 54 57 60 64 beats per second
17/17 18/17 19/17 20/17 21/17 45/34 24/17 3/2 27/17 57/34 30/17 32/17 and the octave is 34/17
the standard 7 note major scale,from these numbers, would be:
17/17 19/17 21/17 45/34 3/2 57/34 32/17
Note how the second note approximates 18/16 (9/8), the third approximates 20/16 (5/4), the fourth approximates 44/33 (4/3), the fifth is 51/34 which is a perfect 3/2 ratio (who knew 51 is not a prime number, but 17 times 3?), the sixth approximates 55/33 (5/3) and the seventh is near 30/16 (15/8).
Or you could say the second approximates 20/18 (10/9), etc. But 19/17 is not 10/9 nor 9/8, it's its own number, and C sharp is its own scale. Based on the numbers of the Universe. Not some weird numbers with 25 decimal places... like "equal temperament" cents...
Let's look at another scale, the F sharp scale. This is based on the number 45. If we make 45 our reference note, the 1/1, then the 12 notes line up in hertz as follows: 45 48 51 54 57 60 64 68 72 76 80 84, and we get these pitch ratios:
15/15 16/15 17/15 18/15(6/5) 19/15 20/15(4/3) 64/45 68/45 24/15(8/5) 76/45 16/9 28/15
Looks like a beautiful minor scale sitting in there...
If anyone wants to do the math for the rest of the scales, I think you will be amazed at all the just intervals you will find.
The proof is in the listening. Go check it out and see what you think. I had a piano tuner come out to retune my parents' old piano a while back, to this tuning but he never showed up... and I talked to a few more, they seem perplexed...
How can this be? I posted the basics here in another forum once and the mathematician/musicians seemed unfamiliar with this tuning. There's that free scala program online that lets you tune things as you wish... which is nice, but you have to click the mouse to play notes, not the same as having a real keyboard or guitar in hand.
If you check this stuff out and agree this it the original tuning for pianos, and it's beautiful, all these amazing just scales..., then you will have to ask why no one knows about this. At least I don't seem to find anyone. Questions have answers. Good luck.
Posted 30 August 2013 - 05:13 PM
C (32 htz) 16/16 17/16 18/16 (9/8) 19/16 20/16 (5/4) 21/16 22.5/16 24/16 (3/2) 51/32 27/16 57/?32 30/16 (15/8)
Csharp (34) 17/17 18/17 19/17 20/17 21/17 22.5/17 24/17 51/34 (3/2) 27/17 59/34 30/17 32/17
Dsharp (38) 19/19 20/19 21/19 22.5/19 24/19 51/38 27/19 57/38 (3/2) 30/19 32/19 34/19 36/19
Fsharp (45) 15/15 16/15 17/15 18/15 (6/5) 19/15 20/15 (4/3) 64/45 68/45 24/15 (8/5) 76/45 80/45 (16/9) 84/45 (28/15)
G (48 aka 24) 48/48 51/48 (17/16) 54/48 (9/8) 57/48 (19//16) 60/48 (5/4) 64/48 (4/3) 68/48 (17/12) 72/48 (3/2) 76/48 (19/12)_80/48 (5/3) 84/48 (7/4) 90/48 (15/8)
Gsharp (51) 17/17 18/17 19/17 20/17 64/51 68/51 (4/3) 24/17 76/51 80/51 28/17 30/17 32/17
A (54 aka 27) 18/18 19/18 20/18 (10/9) 64/27 34/27 24/18 (4/3) 38/27 40/27 42/27 (14/9) 45/27 (5/3) 48/27 (16/9) 51/27 (17/9)
A sharp (57) 19/19 20/19 64/57 68/57 24/19 76/57 (4/3) 80/57 28/19 30/19 32/19 102/57 108/57
B (60 aka 30) 15/15 16/15 17/15 18/15 (6/5) 19/15 20/15 (4/3) 21/15 3/2 24/15 (8/5) 17/10 9/5 19/10
If there's not a typo in there it's a miracle. My eyes are blurry. Ok don't say I never have humanity a gift. If you fell out of your chair seeing all those just intervals, you are getting it.
The original tunings were as shown in hertz. I wrote a rather long thread last year in a guitar forum, called "17 Tone Music Attuned to the Earth's Spin", arguing that 24.00 hertz is exactly an octave of one beat per 24 hours, because there is a slight shift in pitch over the 21 octaves between. See if you take the daily spin of the Earth as a deep bass note, and keep increasing it by octaves, the first audible tone is 24 beats per second and change. That should be pretty interesting right there, that that number 24 comes up again. You can look at the math I posted if you want to, but I believe whoever designed clocks had an extremely advanced understanding of harmonics, and so hertz are based on seconds, and seconds are precisely in synch with the Earth rhythm.
And no I'm not going to do the scales for 19 tone music. Ok, so anyone that gets it, check this stuff out, and retune, and share share share, so we can get the Earth back in synch. Hopefully I'm done typing here.
Posted 30 August 2013 - 05:18 PM
#9 Guest_Mat Cooper_*
Posted 05 September 2013 - 03:05 AM
The video sounded okay for a non-guitarist />/>
Playing your 17 tone system on fretless is of course possible just more difficult, especially larger chords, but the instrument is more flexible and simple.
Concerning instrument size, i play like a guitarist but i prefer the size of a bass, so i string up basses with higher strings to create baritone guitars, but there are also advantages to using a bass as a microtonal guitar: the longer scale opens up the gaps between the micro frets and enables closer pitched frets to be playable, also since fret installing error is constant a longer scale makes fret pitch accuracy better.
On fretless a longer scale improves sustain and pitch accuracy, fretless basses are cheaply available but fretless guitars are rare.
You can find affordable 6 string fretted basses in short scale, i think Rondo music do one, cheap but okay. There are also a few affordable 6 string fretless basses for micro-fretting.
However defretting is easy i've just done my 2nd defret today.
I recommend using fretfind2D to see your tone system in an open tuning with intervals low to high 5th 4th 5th 4th 5th. A good one on guitar is CGCGCG. With this open tuning more frets will line up with the possibility of using full-width frets instead, being much cheaper and easier to do DIY. For your baritone or bass length instrument GDGDGD would be ideal.
Brice short scale bass
Posted 05 September 2013 - 02:05 PM
It looks very playable to me (especially after using my current 18 tone setup)
Hey Mat I hope you check out those 12 tone just scales I listed just above your post. I'm 99% certain that is the original 12 tone tuning for 12 tone harpsichords and therefore what follows, pianos... I've been playing it on that free scala program, and it is really beautiful, all the scales. Just pick what flavor you want your song in, what key?
The fretfind2d fretboard for that 12 tone with drop d tuning is very nice looking btw.
Posted 05 September 2013 - 02:15 PM
17 tone just scale
And set the frets for 17 frets, and the string tunings are:
I know you are familiar with that program because I figured it out reading your posts once
Posted 17 July 2018 - 06:22 PM
Greetings all. I first created this thread 5 years ago.
I have a youtube channel, Tom M Culhane. I have 15 short vids posted at the moment, to let people hear how the ancient musical tunings I've recovered sound.
I've learned some key things the last 5 years. Let me clarify and correct previous things I've said here.
First, the 12 tone just intonation tuning I describe above, I am very confident, was the original tuning used in Europe in antiquity for 12 tone instruments. It was "lost" during the centuries before the Renaissance, when the establishment destroyed most all written documents. There were 3 other ancient just intonation tunings that were also "lost" at this time: 17 tone, 19 tone and 24 tone.
The ancients had an advanced understanding of harmonic laws. The music was synchronized with The Clock, which is oriented to the Earth's spin. Musical notes were set to hertz or fractions of hertz.
If you want to hear how a piano sounds tuned to the ancient 12 tone tuning, listen to my vid, Sarabande. My elderly mom is playing in slow motion. A piano tuner had just tuned the old piano here a week earlier. I helped her tune it with my digital piano. I bought special software (full of bugs unfortunately). The tuning can all be done by ear though, once you have an initial reference pitch, if you know the numbers. It's all "beatless" as piano tuners would say.
Other piano tuners had told me you can't tune a piano to pure just intonation because while you will have one or two keys that sound beautiful, the rest of the keys will be unplayable. I proved them wrong. They just don't know the correct numbers. All the keys of the ancient 12 tone tuning are beautiful, and in tune with the laws of harmonics. The 12 numbers again, in hertz, are:
32 34 36 38 40 42 45 48 51 54 57 60 (and 64 would be the octave...).
32 36 40 42 48 54 60 are the 7 white keys. 34 38 45 51 57 are the 5 black keys.
The piano tuning should be started in the center octave of the piano, using the appropriate octave numbers. You can use a meter for the center octave but the rest should be tuned by ear to give the best sound. (the notes will "spread" slightly over the register due to the stiffness of piano strings, which cause overtones to vibrate a bit sharp- that's per a man who fixes pianos I talked to).
Some ancient harpsichords and organs had a second keyboard. These were intended to be tuned each to different notes (why would you make two keyboards to play the same exact sound??). So these instruments played a total of 24 tones per octave. The tuning: one keyboard would use the numbers I've just written here and the second keyboard would be tuned to the notes between the notes:
33 35 37 39 41 43.5 46.5 49.5 52.5 55.5 58.5 62
Ancient composers must have written masterpieces in this tuning. I can barely play keyboard like I can barely play guitar but check out my vid, Mountains, to hear a minute of 24 tone music I play on my digital piano using special software.
19 tone music was another of the 4 main tunings systems used in antiquity. Search "19 tone Roman harpsichord" and you will find an image of a 19 tone reconstructed Roman harpsichord. It looks like a modern piano layout except the black keys are double keys (making sharps and flats two separate notes) and there are single black keys between B and C and between E and F (which are empty spaces on the modern piano), giving 19 notes total per octave. Here are the numbers for the ancient 19 tone tuning:
24 25 26 27 28 29 30 31 32 33 1/3 34 2/3 36 37 1/3 38 2/3 40 42 43 1/2 45 46 1/2 (octave at 48...)
Ok so the 7 white keys would be 24 27 30 32 36 40 45 and the black keys are the rest.
I have three vids posted in ancient 19 tone on the digital piano: Flow, Lonely and Plantation Earth.
The last of the 4 major ancient tunings was 17 tone. The keyboard would look like a modern piano layout except the black keys would be doubles. The tuning is as follows:
48 50 52 54 56 58 60 63 66 69 72 75 78 81 84 87 91 (and the octave begins at 96 hertz).
The white keys there would be 48 54 60 63 72 81 91.
An alternative tuning for 17 tone is to use 88 hertz instead of 87.
My vid "Yule Party" is in ancient 17 tone.
Ok, I began this thread 5 years ago talking about making a 17 tone just intonation guitar. It was a bad idea I've concluded, the way I was thinking. A good way to do it is make a 19 tone guitar using the 19 tone tuning I've described here. Then the frets will be fairly straight. You could use fretlets and paint lines connecting them so visually it would look like 19 frets per octave, and the chords shapes would be familiar to you.
But I never did try to make a fretted guitar in this way. I took Mat's advice above and bought a fretless 6 string bass and put thinner strings on it to play in the baritone range. I like it. I use it to find different sounds and play slow motion sonic massages for myself. I don't even try to play chords fretless at this point. Being fretless is very educational for me, letting me hear the notes and harmonics. I normally tune the open strings thickest to thinnest in hertz to: 54 72 96 128 160 216.
Those are all notes found in the ancient 12 tone and 19 tone tunings: 27 36 24 32 40 27. I consider this baritone fretless guitar to be like an electric viola da gamba. Search images for viola da gamba and marin marais composer and look at the one where he's seated playing. Legend has it he's a distant relative of Robert Plant. That viola da gamba is one of the most awesome instruments ever btw. Played with a bow or pick, it is obviously the true precursor of the modern electric guitar. You can play chords up to 5 strings at a time. And the frets are movable, and I believe they used triangular beads with a bit of wax (my own theory) to let you in effect create fretlets for fine tuning notes. Anyway I have 3 vids posted with my baritone fretless guitar: Dr Seuss, Sonic Massage and Sonic Massage 2, just me hitting a few notes. The rest of my vids are in ancient 12 tone.
Ok that should conclude this 5 year update of my guitar project and my recovery of what I believe were the original musical tunings used in Europe in antiquity.
Posted 18 July 2018 - 09:53 AM
WoW Tom, you are pretty prolific!
I've tried marking dots for 19TeT on a fretless but the problem is if you don't know how 19 sounds you are going to be a little off in intonation.
Way back the tuning for middle C was always 256 Hz it was called scientific scale or drawing room scale. You can still get tuning forks at antique places with the C at 256 as they were widely used in schools and teaching establishments.
My Uncle discussed piano tuning with me in the 60s, Showing me how the key of C played then the key of F which sounded better but F# was very different. Back then piano tuners started from C=256 and worked by ear through the various notes, I guess it was close to JI - there were no electronic tuners back then. As pianos got older they would be tuned to themselves, gradually going flat from 256. Sounds like the skill was lost as modern pianos play the same in all keys.
PS on my PC it says the videos are not available.
Author of the book "Fretless Guitar The Definitive Guide" fretlessguitar.co.uk
Posted 18 July 2018 - 01:39 PM
Hi Jahloon,
The vids should all be there, if you search Tom M Culhane on youtube and go to my page. Hopefully. 15 vids at the moment.
Very interesting what you say about antique tuning forks set to middle C at 256 hertz. That's exactly the right number (reduces by octaves to 256>128>64>32 hertz for the first C note). And the ancient 12 tone tuning I've described here can all be done easily by ear if you have that middle C note to start with.
I tried to show an "authority" on ancient tunings the 12 tone tuning here, and that the piano keyboard pattern (which comes from earlier instruments such as harpsichords) is clearly intended to be tuned to this just intonation whole hertz number tuning. But he didn't have time to listen, insisting "this is not a historical tuning". It is in fact THE historical tuning.
If you look at the left end of the standard 88 key piano today, the left end looks terrible, with that lone black key. I claim the design has been altered to hide the tuning intended for these types of instruments. If you were to add two extra bass keys, one white one black, to the design, you will have a beautiful looking keyboard with 90 keys. Search 1877 Paris Frederick Collection and you should find a beautiful old piano made this way, with 90 keys. Now if you look up the modern equal temperament tuning in hertz for the beginning white keys, it would be:
Those numbers wouldn't mean anything to someone today, but if you take Galileo's 7 pure tones for just intonation: 1/1 9/8 5/4 4/3 3/2 5/3 15/8, you'll notice the smallest common denominator is 24, and these 7 tones can be put to whole number proportions as:
24 27 30 32 36 40 45
So you see how the modern tuning is a blurry version of these numbers in hertz? The tuning originally was intended to be set to just intonation, but has been made blurry. Two keys were chopped off to hide this and the note names were moved over a character. So G really should be called A, the first note of music. 24
Note: I didn't list the equal temperament tuning number for the seventh key because the piano white keys do not stay on the G scale, the 7th note in G is a black key. This raises the question, why is the piano keyboard oriented to the C scale? The answer further supports my claims.
If the piano were a double black key instrument instead of a single black key instrument, then the keyboard white keys would stay in G (which should be called A as I say). That's because if you want to tune to whole number just intonation, this is the perfect key of music to orient things to because whole numbers easily drop right in for the black keys to start the tuning. In other words if you begin the first three white keys as 24 27 30 in hertz, then the double black keys can be tuned the first pair to 25 and 26 and the second pair to 28 and 29 hertz, and then the rest of the tuning goes from there. Hope that's clear.
So the 19 tone reconstructed Roman harpsichord I mentioned in the previous post, that you can look at online, which has double black keys, it would begin the white keys on 24 hertz or an octave of that, and the white keys would stay in that key: 24 27 30 32 36 40 45
But the modern piano is a single black key instrument so there's a better key of music to use to orient the tuning. Note the 7 pure tones, the second group of three numbers has the same proportions as the first three numbers. 32 36 40. The key of music that begins at 32 hertz is the perfect key to use to tune a 12 tone instrument because single whole numbers drop right in for the black keys: 34 and 38 hertz. This is easy to see if we move things over one octave to the left. The tuning would begin: 16 17 18 19 20 hertz where 17 and 19 are black keys.
The idea is very simple. The tunings were based on the simplest whole numbers because that is how things vibrate in the real world. The Ancients knew the math.
Posted 19 July 2018 - 01:54 PM
Here is a bit more info on these whole number just intonation tunings:
Apparently music teachers today teach that the basic just intonation scale (1/1 9/8 5/4 4/3 3/2 5/3 15/8) sounds terrible because there is a "wolf fifth" in it, and so we must alter the notes to fix things.
I claim there is nothing wrong with the laws of harmonics and if you try to change these notes, in 12 tone tuning, you will lose all the keys to music. I recommend people just play these notes and decide if they sound terrible, or, as I claim, beautiful. Most people (outside of forums like this) have never even listened to them.
Interestingly, on my baritone guitar, the "wolf fifth" sounds nothing like a wolf but distinctly like another animal: the lamb. How did the lamb get turned into a wolf? Is someone messing with your head?
When I tune my baritone fretless guitar, as mentioned earlier, I generally tune the 6 strings to 54 72 96 128 160 216 hertz. That's the pattern on a modern guitar of a fourth a fourth a fourth a third and a fourth. Except this is just intonation. So the first four intervals sound very smooth as they are the proportions 4 to 3 for the fourths, and 5 to 4 for the third. But the last fourth interval is a "wolf note". It creates a vibrato sound. And like I say it sounds like a lamb, very cool. Now why is it when singers and string players use vibrato, people love it, but if my guitar plays vibrato we're supposed to think this sounds terrible?
Now the people that are trying to fix the laws of harmonics (which have nothing wrong with them as I say) speak in terms of "the fifth", "the fourth", "the third", "the whole tone", etc., as if these are singular things. But in reality there are various types of fifths, fourths, thirds, whole tones... For example one whole tone is the pitch ratio 9 to 8. Another is 10 to 9. Another is 8 to 7. (All these btw are found in the 12 tone whole number just tuning I've outlined here). Now these obviously have different sounds. Some notes played together give smooth sounds, some give vibrato sounds. Indeed it is this irregularity that gives us the keys to music. And as I claim the keys have been lost for centuries.
These vibrato sounds tie in with the idea of "difference tones". There is a youtube vid of microtonal guitarist Jon Catler playing a fretless guitar where he's playing two high pitched notes and it generates bass notes you can hear. Why is that? As you may know, when two notes are played together they generate additional notes, the sum and also the difference between the frequencies. So if you play a 100 hertz note with a 140 hertz note, this will generate a 40 hertz difference tone, for example. Notice that with the whole number tunings I have given here, the differences between the notes are also in whole numbers. So this creates harmonies on different levels, some audible as tones, some as vibrato beats, etc. Other tuning systems would not have these harmonies.
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users


text:
Photo: YouTube
Well this seems sure to be the buzzy Wall Street story of the day.It's also sure to be another PR nightmare for Goldman Sachs.
Greg Smith, a Goldman Sachs executive director and head of the firm's United States equity derivatives business in Europe, the Middle East and Africa, has announced he's quitting the firm in a most public manner: He did so by writing a long NYT op-ed denouncing what the firm has become.
After nearly 12 years, he says, the place is as "toxic and destructive" as he's ever seen it.
He slams the culture under Lloyd Blankfein, saying that the firm puts making money over clients, and that he can no longer in good conscience stay there and recruit people.
To put the problem in the simplest terms, the interests of the client continue to be sidelined in the way the firm operates and thinks about making money. Goldman Sachs is one of the world's largest and most important investment banks and it is too integral to global finance to continue to act this way. The firm has veered so far from the place I joined right out of college that I can no longer in good conscience say that I identify with what it stands for.
He says he was once proud of working for Goldman, but not now…
I knew it was time to leave when I realised I could no longer look students in the eye and tell them what a great place this was to work.
What really galls him is the extent to which the sole focus is making money off clients, rather than servicing them:
These days, the most common question I get from junior analysts about derivatives is, "How much money did we make off the client?" It bothers me every time I hear it, because it is a clear reflection of what they are observing from their leaders about the way they should behave. Now project 10 years into the future: You don't have to be a rocket scientist to figure out that the junior analyst sitting quietly in the corner of the room hearing about "Muppets," "ripping eyeballs out" and "getting paid" doesn't exactly turn into a model citizen.
He concludes:
I hope this can be a wake-up call to the board of directors. Make the client the focal point of your business again. Without clients you will not make money. In fact, you will not exist. Weed out the morally bankrupt people, no matter how much money they make for the firm. And get the culture right again, so people want to work here for the right reasons. People who care only about making money will not sustain this firm — or the trust of its clients — for very much longer.
Meanwhile, as evidence that this is going to be yet another major public relations headache for the firm, the term "Goldman Sachs" is already trending on Twitter.
UPDATE: A former Goldman intern reveals what it was like working for Greg Smith >
UPDATE II: Goldman fights back >
Business Insider Emails & Alerts
Site highlights each day to your inbox.
Follow Business Insider Australia on Facebook, Twitter, LinkedIn, and Instagram.

subset: commoncrawl


text:
Chris McCahill, PhD, is a researcher, policy analyst, and educator working to promote safe, equitable, and sustainable transportation options. He is currently an associate researcher at the State Smart Transportation Initiative, jointly operated by the University of Wisconsin and Smart Growth America. SSTI works primarily with reform-oriented State Departments of Transportation through knowledge-sharing, technical assistance, and outreach.
Chris studied civil engineering at the University of Connecticut where he managed a team of student researchers, collaborated on several interdisciplinary research projects, developed curriculum materials for the Department of Civil and Environmental Engineering, and lectured in transportation engineering courses. He was president of the Institute of Transportation Engineers student chapter from 2006 to 2007, a member of the University's Climate Action Task Force Transportation Workgroup in 2009, part of the UConn bike share launch team in 2010, and he mentored several undergraduate research fellows from 2011 to 2012.
Prior to joining SSTI in 2013, Chris worked on the Project for Transportation Reform with the Congress for the New Urbanism in Chicago. As a project manager, he worked with the Chicago Metropolitan Agency for Planning to coordinate a series of urban street design workshops for local public officials and transportation professionals, including staff from the Illinois DOT, by bringing together experts in transportation and urban design from around the U.S.
Chris has published peer-reviewed journal articles, a book chapter for Emerald's Transport and Sustainability series, plus numerous papers and reports. He has also spoken at conferences and professional meetings throughout the U.S. and in Europe.
Chris was a 2012 Eno Fellow with the Eno Center for Transportation in Washington, DC.


text:
Late nights in the hammock, under the stars and twinkle lights.
Radishes, lettuce & strawberries from the garden.
Russian sage, lavender, peonies, and yucca around the yard.
colorful pots...
...tiny ants on my sunflowers,
and cannas outside my kitchen window.
My hens&chicks from last Summer. I brought my pot inside during the cold months and ended up with a new school of plants.
Some of my wildflowers, in the flower garden.
Watering the garden, a little spider and it's web that I didn't see until they got wet.
Two leaves of catnip - one for each cat, Fig & Olive. I bring them inside for them at night, and I like to tell myself that they know I planted that catnip, just for them.
A drowning in the backyard.
Inside a rain-filled hole dug for hammock posts, this little mouse was no more.
A baby so precious, to erase mental images of drowned mice.
I dream about these evenings, all day long.
An old photo.
Uncle Zabi, Grandma, and the cousins. The little peanut with the cinnamon roll bellybutton is me. My sister is standing next to us with her wild hair in her face.
A gift for a friend.
and Grandma & Grandpa's house. Clothes lines, tiny hand-made greenhouses over the garden...
...Grandma feeding the birds bits of bread tucked into her shirt, a kitchen window mango, and Grandpa....being Grandpa.
How was your weekend, friends? Anything exciting happen?
Mine is just beginning, and today is day one of three to relax, clean, work in the yard, and warm up that hammock.
Last week Leigh from Marvelous Kiddo announced our round one assignments for the styleathon. How becoming a Mother has affected our style.
I was just going to scrap the 350 word requirement and post a picture of me in sweat pants with no make up and dried breast milk in my hair, but I figured that wasn't exactly what they were looking for :) The truth is, I don't feel nearly as fancy as I used to, and time spent getting ready doesn't feel quite the same since E came around. In the mornings, I love to pick out her outfits, fix her hair, and make her laugh. Those sweet moments take up a lot of the time I used to spend getting myself ready - but there are still little bits of me lost somewhere in here. Last week I wrote my 350 words about how becoming a Mother has changed my style, so look for that post later on this week.
I feel so grateful and newly inspired to be part of this styleathon. I am taken back to the creative writing class I took 4 times in high school when I was first learning how much I loved to piece together words and sentences to form something powerful. Writing from my heart has always been something I come back to, beginning with the days of my childhood where I wrote my very first book....about puppies and kittens :) My Mom still has it, almost 25 years later. To this day I still dream of writing my book, but for now, this space is my absolute outlet of that dream.
I know the styleathon is a competition, but I am not in the least bit competitive by nature and I am just excited to be along for this ride with the handful of other talented Mama's involved - Elizabeth, Joanna, Danielle, Natalie, James, Jen, Sharmadean, and Melisa.
Leigh is also hosting a giveaway (ending tonight) for a Sakura Bloom Sling and $250 Lilla P gift card.
I hope you all enjoy your sleepy Sunday, and the start to this (already) hot Summer.


text:
Well thank your landscaper very much for the recommendation. Wild Birds Unlimited No-Mess Blend bird seed is our #1 selling blend.
Our unique No-Mess Blend features seeds that have had their shells removed so only the meat of the seed is left. No hulls on the seeds make for a tidier feeding area, since there's no debris on the ground to clean up. Pound for pound, our No-Mess Blend offers the best value because you do not pay for the shells. The birds eat everything.
For the
Thank you for your prompt answer. We're getting some major landscaping done right now. As soon as the yard is cleaned up I'll stop by. I love the birds and this seed blend sounds ideal!
There is also an earlier post you might also find helpful: Time to Try Tidy Dining http://lansingwbu.blogspot.com/2010/09/time-to-try-tidy-dining.html


text:
Invite: Sḵwx̱wú7mesh Líl̓wat Stl'atl ́imc Business Pitch
Sylvia Dan 2018-09-17T18:18:31+00:00 September 17th, 2018|Uncategorized|
Community members who are Scotiabank customers can make payments on-line. Click here for instructions.
This message is only visible to admins.
Problem displaying Facebook posts.
Click to show error
Look after yourself Thank you Kík7ak Councillor Helena Edmonds pic.twitter.com/oXCzKqX0oV3 months ago
Come on out to listen to the All Nominated Candidates Speech Night, for information click on the link:… twitter.com/i/web/status/1…1 year ago
The after-school club Supervisor ensures the well-being of all children and manages the educational program deliver… twitter.com/i/web/status/1…1 year ago
The Úll̓us Child Care Center Supervisor in the Programs ensures the well-being of all children and provides support… twitter.com/i/web/status/1…1 year ago
Starting on September 16, 2019, there will be changes with FNHA Benefit Plans for full detail:… twitter.com/i/web/status/1…1 year ago


text:
One For The Road
The band's initials, a new morning, an analogue radio frequency and an existential statement - the title of Arctic Monkeys' fifth album AM suggests all of those things and more. And the record itself lives up to this pithily resonant billing by being, in drummer Matt Helders' typically forthright estimation, "the album we've always been waiting to make".
It starts with a sumptuously squelchy synthetic-sounding beat. This turns out to have been built out of all too human body parts, as all four Arctic Monkeys got together to contribute foot-stamps and knee-slaps - "which might make people think of Lederhosen," admits frontman Alex Turner, "but really it's the antithesis of that... and there was no bunting either."
So AM''s opening moments eschew the queasy camaraderie of the ersatz hoedown in favour of a tautly compressed human pulse? "We wanted to come up with a different sort of clap", Turner explains, "and the way Tchad Blake mixed it makes it sound like someone banging their head against a sci-fi force-field".
"I like the way it feels dead wooden", chimes in Matt Helders, in the unabashedly earth-bound spirit of drummers from time immemorial. And this exuberant collective attention to aural detail carries through each of AM's 12 songs. Whether it's the En Vogue-worthy backing vocals of "One For The Road", the crunching Black Sabbath drum-lurch of "Arabella" or the maudlin pedal-steel of "No 1 Party Anthem", ear-catching particulars never stand out for their own sake but constantly add to the greater glory of the whole.
And since meticulous sonics are no use without tunes, AM has those in clubs. From the lilting space age come-on of "Do I Wanna Know?" to the heady swoon of "Mad Sounds" to "Snap Out Of It"'s blatantly irresistible chorus, this is an album to sing along with even as you're wondering if the lyrics can really be as good as they sound, before finding out on next hearing that they're actually even better than your first thought.
Alex Turner's reputation as a phrase-maker has been assured since the headlong rush of Arctic Monkeys' early singles drove them to the fastest selling debut album of any British band in history. Still very much present and correct five albums in are the chewy verbal gobbets - "summat in your teeth", "simmer down and pucker up" - which continue to release their flavour through multiple mastications. Ditto Turner's way with a killer two-liner ( "Been wondering if your heart's still open/And if so I wanna know what time it shuts" and "That place on memory lane you liked looks the same/But something about it's changed" being two especially fine examples).
But what marks AM out as a real step forward in Alex Turner's songwriting is the languid elegance with which these lyrics unfurl - easing seamlessly from verse into chorus and back again with the insidious logic of Jay-Z's finest flows. Internal rhymes and alliteration abound, their effect intensified by Turner's insinuating crooner's delivery. He lingers tenderly over lines like "RU Mine?"'s "She's a silver lining lone ranger riding through an open space in my mind" as if making them scan was the easiest and most natural thing in the world.
"There was a lot of sitting up on my own all night long battling with the puzzle this time - probably more than before", Turner admits. "I had a dartboard in the back garden and I'd throw arrows as I'd sit there trying to write. There was definitely some symmetry in how the words were going and where the darts would land - a fair amount of missing the board altogether brought me the occasional treble twenty".
Recorded in a small East Hollywood studio with long term collaborator James Ford riding the faders, the third album Arctic Monkeys have made in their adopted home of LA takes the best elements of its two predecessors and gives them an entirely fresh twist. In terms of AM's overall sound, it would be stretching a point a little to call it Arctic Monkeys' G-Funk album, but there's definitely the odd echo of Warren G's "Regulate" in the air.
"If someone asks 'Is this the West Coast record?' the question would normally have a different connotation, but that's what it means to us," Turner agrees. But anyone hoping to see Matt Helders throwing gang signs from behind his kit is going to be disappointed. The malt liquor of Death Row records is chased down by at the very least a Bacardi Breezer of what the drummer calls "Girlfriend music - the music our girlfriends were listening to at school when we were into Dr Dre".
"With people like Aaliyah," Turner explains, "what's sometimes seen as being cheesy is actually a real coolness about the melodies, and we wanted to get a bit of the way that music moves into what we were doing. That also went hand in hand - in our minds at least - with Seventies rock 'n' roll: all those bands like Black Sabbath and the Groundhogs that we listen to very loud in the dressing room when we're on tour... We call them 'thin drum-stand bands', because whatever the drums are standing on sounds like it's a bit wobbly, but that's part of what's so great about them".
Arctic Monkeys were fully aware of the dangers inherent in putting these ingredients together - "It's total chemical reaction time", Turner admits. "You take too much from one world and you don't get the right colour smoke". But from the minute "R U Mine" started to define itself as the signpost for the new direction, they knew they were on the right track.
"When we got to the breakdown and it dropped to them two [Helders and bassist Nick O'Malley] doing the backing vocals together, we all liked it so much, we just thought 'Let's make a record that surrounds that'", Turner explains. "From then on I'd sing the part and they'd kind of wrap their voices around it".
Were they doing that thing with their hands when they went for the high notes? "It's all in the hands, but it helps if you wiggle your head around a bit too".
Technology also played its part, but not the state-of-the-art kind. "Even before the band I used to mess around on an old four-track cassette recorder that belonged to my dad", Turner remembers. "Then I got given one for my birthday last year, and we really liked the way it sounded. So we worked on it for three weeks straight till we wore out the mechanism. I definitely believe in songs existing inside bits of equipment and you just have to let them out - there's a few riffs we owe that machine. There weren't that much head room in it, and if we cranked up the gain and got Matt to play really soft, it sounded just like a sample. The snare we got that way became the DNA of the whole record".
One of the main themes of AM seems to be going back to things that have fallen into disuse and finding how fresh they can be, whether that be an antique tape-recorder, or "I Wanna Be Yours", the vintage John Cooper-Clarke poem they turn into a lights-down school disco slow jam on the album's closing number. Those who've seen Arctic Monkeys play live over the past year - from the opening ceremony of the 2012 Olympics to the main stage at Glastonbury on a Friday - have already seen (and heard) the benefits of this newly open-minded approach.
"There was a time I couldn't bring myself to play 'Fake Tales of San Francisco'", Turner admits, "but we can strike up a pretty good cover of it now. There's an excitement about this new album that makes it much easier for us to do the old ones justice. You get to a point where you've been round the block enough times to know that it's kind of alright, and it's not all meant to be about you anyway".
Arctic Monkeys might be the first band in rock history to go to LA and find out that it's not all about them. Anyone who thinks that sounds a bit grown-up will probably be reassured by the last thing they really liked about the AM soundwave which adorns the cover of the album. Alex Turner laughs: "It kind of looks like a bra".
Ben Thompson, July 2013
- Arctic Monkeys 'Tranquility Base Hotel & Casino'
- Arctic Monkeys Announce Additional US Tour Dates
- Arctic Monkeys share new video for new single "Snap Out of It"
- Arctic Monkeys Live iHeart Radio Stream Tonight
- Arctic Monkeys Announce West Coast Tour Dates
- Arctic Monkeys Announce 2014 US Tour Dates
- Arctic Monkeys - One For The Road
- Arctic Monkeys new album 'AM'
- Arctic Monkeys - Do I Wanna Know?
- New Arctic Monkeys single and video for 'R U MINE?' available today
This artist shares a member with The Last Shadow Puppets.


text:
Los Angeles, USA, 27 October 2011 – His Highness the Aga Khan, Chairman of the Aga Khan Development Network (AKDN), today received the 2011 Urban Land Institute's (ULI) J.C. Nichols Prize for Visionaries in Urban Development at the ULI's Annual Fall Meeting and Urban Land Expo in Los Angeles.
The ULI J.C. Nichols Prize recognizes an individual, or a person representing an institution, whose career demonstrates a commitment to the highest standards of responsible development. The $100,000 prize honours the legacy of legendary Kansas City, Missouri, developer Jesse Clyde Nichols (1880-1950), a founding ULI member who is widely regarded as one of America's most influential entrepreneurs in land use during the first half of the 20th century.
"Through the Aga Khan Development Network, progress and improvements to communities have been undertaken in over 30 countries," said James DeFrancia, chair of the 2011 Nichols Prize jury and principal of Lowe Enterprises in Aspen, Colorado. "The Aga Khan has further been an advocate of standards of excellence through his Award for Architecture. His Planning and Building Services agency has also improved design, construction, sanitation and environmental sustainability. The efforts of the Aga Khan have strengthened both communities and society at large."
Luis Monreal, General Manager of the Aga Khan Trust for Culture, accepted the prize on behalf of the Aga Khan. "Fully a third of World Heritage sites are in the Muslim world, but they are inhabited by some of the poorest people," Monreal said. "Traditional approaches to urban regeneration – which are often designed to create museums of these neighbourhoods – fail to address social and economic dimensions. They become unproductive burdens on poor municipalities. The central objective of our work, therefore, is to leverage culture in pursuit of poverty alleviation. We do this by bringing a critical mass of programs to bear – the creation of parks and gardens, heritage conservation, water and sanitation, microfinance, open space and infrastructure improvements, and education and health initiatives. We have found that poor people can benefit from these efforts and can become custodians of their heritage."
The Aga Khan was selected for the award on the 75th anniversary of the ULI. "We are recognizing the anniversary as much by looking ahead as by celebrating our past, and this involves expanding ULI's reach to new audiences around the globe," said ULI Chief Executive Officer Patrick Phillips. "The knowledge we gain from the outstanding example set by the Aga Khan's work will greatly help ULI broaden its approach to community building," he said.
The ULI jury cited a number of AKDN projects as exemplars of the Aga Khan's work, including the restoration of a 900-year-old Altit Fort in Hunza, Pakistan, which received an Award of Distinction at the 2011 UNESCO Asian-Pacific Awards for Cultural Heritage Conservation, and the triennial Aga Khan Award for Architecture.
For more information:
Sam Pickens
Aga Khan Development Network
1-3 ave de la paix
1201 Geneve
Tel. +41 22 909 7200
Email: firstname.lastname@example.com
Website: www.akdn.org
About the Aga Khan Development Network
The agencies of the AKDN are private, international, non-denominational development organisations. They work to improve the welfare and prospects of people in the developing world, particularly in Asia and Africa. Some programmes, such as specific research, education and cultural programmes, span both the developed and developing worlds. While each agency pursues its own mandate, all of them work together within the overarching framework of the Network so that their different pursuits interact and reinforce one another. The AKDN works in 30 countries around the world. It employs approximately 80,000 people, the majority of whom are based in developing countries. The AKDN's annual budget for non-profit development activities in 2010 was approximately US$ 625 million. The project companies of the Aga Khan Fund for Economic Development (AKFED) generated revenues of US$ 2.3 billion in 2010 (all surpluses are reinvested in further development activities).
About the Urban Land Institute
The Urban Land Institute (www.uli.org) is a global nonprofit education and research institute supported by its members. Its mission is to provide leadership in the responsible use of land and in sustaining and creating thriving communities worldwide. Established in 1936, the Institute has nearly 30,000 members representing all aspects of land use and development disciplines. For more information, please see: http://nicholsprize.org/


text:
This site may use Cookies that gather information about navigation preferences of the user. Cookies don't store User`s name or any type of personal data. If you do not wish to store Cookies on your machine please select "No". This message may continue to be prompted if Cookies are not stored.
For a simple and easy way to email us, click here to use the online form
At International, we recognize the importance of providing high quality technical support and advice to all our customers. Whether you're a novice or a more experienced DIY'er, if you have a question for us we'd love to help. Contact the Technical Helpdesk either by phone or email.


text:
Results 1-1 of 1 (Search time: 0.001 seconds).
Ahn, YJ[Ahn, Yong-Joo]; Kim, H[Kim, Hwewon]; Lim, H[Lim, Heejin]; Lee, M[Lee, Max]; Kang, Y[Kang, Yuhyun]; Moon, S[Moon, SangJun]; Kim, HS[Kim, Hyeon Soo]; Kim, HH[Kim, Hyung-Hwan]
BMB Reports, 45(9), 489-495
Copyrights ⓒ 2016. Daegu Gyeongbuk Institute of Science & Technology All right reserved.
DGIST Scholar was built with support from the OAK distribution project by the National Library of Korea.
Library Services Team, DGIST 333. Techno Jungang-daero, Hyeonpung-myeon, Dalseong-gun, Daegu, 42988, Republic of Korea.


text:
Conference Tools for 2018 TMS Annual Meeting & Exhibition
Register as a New User
Submit An Abstract
Propose A Symposium
Presenter/Author Tools
Organizer/Editor Tools
About this Abstract
2018 TMS Annual Meeting & Exhibition
Materials and Fuels for the Current and Advanced Nuclear Reactors VII
Presentation Title
F-18: Experimentally Determined Properties of U-Pu-Zr Alloys: What Do We Know and How Well?
Dawn Janney, Cynthia Adkins
On-Site Speaker (Planned)
Dawn Janney
Abstract Scope
Metal fuels based on alloys of uranium, plutonium, and zirconium are being investigated for transmutation of minor actinides to reduce long-term hazards from nuclear waste. Much of the currently used experimental data was measured before ~1970 and is only available in obscure publications and government reports. Differences between values for the same composition and property are commonly far larger than the errors reported for individual measurements. Understanding the sources of these differences is important for recognizing the "best" values and distinguishing materials-dependent variations from those that result from experimental differences. This presentation reports results of recent efforts to synthesize and evaluate experimentally determined data on properties of U-Pu-Zr alloys at Idaho National Laboratory.
Proceedings Inclusion?
Planned: Supplemental Proceedings volume
3D Characterization of High Fluence Irradiated UZr and UMo Fuels
A New Physically Based, Quantitatively Predictive Low Flux-high Fluence Model of RPV Embrittlement
A Study on the High Energy Ball Milling and Spark Plasma Sintering of Fe-Cr Based Alloys
A Unified Model for Irradiation Creep and Stress-free Growth in Zirconium Alloys
Additive Stainless Steel for Nuclear: From Material Aspects to Quality Part
Advanced Characterization of Irradiated UO2 Fuel
Advanced Manufacturing of HT9 Steel for Extreme Environments
Atom Probe Examinations of Zircaloy Irradiated at 358-410C
Atom Probe Tomography Study of Microstructural Evolution of Cast Duplex Stainless Steels after 10,000 Hour Thermal Aging
Characterization of Intragranular Creep Deformation in Uranium Dioxide Using Electron Backscatter Diffraction and Electron Channeling Contrast Imaging
Characterization of the Microstructure and Grain Boundary Character of 14-YWT Nanostructured Ferritic Alloys Following Different Deformation Processing Paths
Characterization of U-Zr-RE Metallic Fuel Fabricated by Injection Casting
Characterizing and Modelling Precipitation in Zirconium Alloys
Chemical and Microstructural Analysis of Irradiated Mixed Oxide Fuels
Chemical Compatibility of Refractory Carbides with Hydrogen at Very High Temperatures Relevant for Nuclear Thermal Propulsion Applications
Comprehensive Characterization of Irradiation Defects in Ferric Nuclear Alloy via STEM-based Microscopy
Corrosion Assessment of an Alloy/Oxide Composite Using Electrochemical Techniques
Corrosion of SiC with Cr, CrN, and TiN Coatings in High Temperature Water
Creep Related Microstructural Evolution of Alloy 617-based ODS Alloy
Development of an Alternative Manufacturing Process for U3Si2 Fuel by a Novel Additive Manufacturing Process
Development of Laves and B2 Manipulated Advanced Ferritic Alloys
Dual Ion Beam Irradiation of Commercial-grade Austenitic Alloys Relevant to LWR Core Components at High Dose
Effect of C and Si Impurities in U10Mo Alloy: Discovery of New Quaternary Si-rich Phase and its Influence on Transformation Kinetics
Effect of Cold Working on the Corrosion and Carburization Behavior of Alloy 800HT in High Temperature CO
Effect of Grain Elastic Anisotropy on Stress Intensification at Intergranular Stress Corrosion Cracking Iinitiation Sites in Austenitic Stainless Steels and Nickel-based Alloys in Light Water Reactor Environment
Effect of Neutron Irradiation on the Mechanical Properties and Microstructure of Friction Stir Processed ODS Alloys
Effects of Proton Irradiation on Microstructure in Additively Manufactured 316L Stainless Steel Made by Laser Powder Bed Fusion
Electron Microscopy Analysis of TRISO Fuel Particles with Failed SiC Layers from the AGR-2 Irradiation
Examining the Effects of Neutron Irradiation on Zirconium-alloy Oxide Film Microstructure Using Focused Ion Beam Techniques
Experimental Studies on Microstructure and Mechanical Properties of High Burnup Urania
F-14: Asymptotic Expansion Homogenization of the Stiffness Tensor and Thermal Conductivity of a 2D Exemplar-guided Digital Reconstruction of an Al3Hf-Al Microstructure with Comparison to Experiment
F-15: Characterization of Stress and Microstructure of Zr-4 alloy Processed by Pulsed Laser
F-18: Experimentally Determined Properties of U-Pu-Zr Alloys: What Do We Know and How Well?
Fabrication of Lumped Gd2O3 Inserted Oxide Pellets for Burnable Absorber Fuel
Fabrication of ODS FeCrAl Tube for Accident Tolerant Fuel Cladding Applications
Fabrication of PyC/SiC Diffusion Couples Using Fluidized Bed CVD Techniques for Radiation Enhanced Diffusion Testing
Grain Boundary Engineering for Improved Resistance to Corrosion and Stress Corrosion Cracking Resistance of Nuclear Alloys
High-temperature Mechanical Properties of Zirconium Hydrides Studied with Nanoindentation
High Temperature Strength Characterization of Alloy 709
Impact of Low Dose Ion Irradiation on Raman Spectra and Thermal Conductivity in 3C-SiC
Implementation and Validation of a Physically-based Fuel Cladding Oxidation Model in BISON Nuclear Fuel Performance Code
Improvements and Applications of the FAST Fuel Model to Thorium-based and Mixed Oxide Fuels
In-situ Characterization of Dispersoid Evolution during Annealing of ODS FeCrAl Mechanical Alloyed Powders
In-situ Elevated Temperature Micro-cantilever Testing of UO2
In-situ TEM Observation and MD Simulation of the Radiation Defects near Carbon Nanotube in Aluminum
In-situ Testing of Fouling-resistant Coatings for PWR Fuel Cladding
In Situ EBSD Analysis of Deformation Mechanisms in Highly Irradiated Austenitic Steels
Investigation of the Role of Cr and Cr Carbides at Grain Boundaries in Alloy 600 for Stress Corrosion Cracking
Investigation of Tin as a Fuel Additive to Control FCCI
Investigation on the Damage Mechanism of Plasma-materials Interface by Multi-scale Electron Microscopy Methods
Irradiation Effects on Fe-9%Cr Grain Boundary Strength Measured via In-situ TEM Testing
Irradiation of Additively Manufactured Grade 91 Ferritic/Martensitic Steel
Isothermal Transformation Kinetics of�γ phase from�α+γ'�Phase Mixture in U-10wt.%Mo Alloys
Kinetic Evolution of Transmutation Helium Accumulation at Y-Ti-O Oxides in Nanostructured Ferritic Alloys under Irradiation
Low Cycle Fatigue Resistance of Zircaloy-4 under Uniaxial and Torsion Loading
Mechanical Property Measurements of Zicaloy Hydride Structure by Using Nanoindentation and Nano Mechanical Raman Spectroscopy
Metallurgical Analysis of Ti Addition with Ta in Reduced Activation Ferritic-martensitic Steel
Microstructural and Mechanical Integrity of Laser Weldment of Neutron Irradiated AISI 304 SS
Microstructural Characterization of Plutonium Based Fuels
Microstructural Characterization of U-Mo Fuel Plates Irradiated in the Advanced Test Reactor: Recent Observations
Microstructure Based Hardening Models for Alloys Irradiated with Charged Particles an in the ATR and BOR60 Reactors
Microstructure Evolution in Neutron Irradiated and Ion Irradiated Alloy T91
Multiscale Irradiation Effects of Tungsten Based Materials for Nuclear Power
Neutron irradiation Induced Microstructures in Ferritic/Martensitic Steel HT9
New Insights on Denuded Zone Formation in Polycrystalline Materials
Non-destructive 3D Neutron Imaging of Composition in Nuclear Fuels
Phase Transformation Kinetics in Rolled U-10 wt. % Mo Foil: Effect of Post-rolling Heat Treatment and Prior γ-UMo Grain Size
Phase Verification and Thermophysical Properties of Pu-Zr Alloys
Post-irradiation Examination (PIE) of Irradiated Hafnium
Probing Local Disorder in Ln-UO2 (Ln = Y, Nd, La) and UO2+x Systems
Progress in Developing High Dose Radiation Tolerant Ferritic Steels for Nuclear Applications
Radiation Effect on Nanomaterials at High Temperature -New Type of Radiation Detector for TREAT Nuclear Reactor-
Radiation Effects on HT9 Tempered Martensitic Steels as a Function of Initial Dislocation Density
Radiation Response of Nanoporous Metals
Radiation Tolerance of Equiatomic Multicomponent Single Phase Alloys Subjected to Ion Irradiation at 16 K
Recrystallization of a Nanostructured Ferritic Alloy after Cold Work
Shear Punch Measurement of the Mechanical Properties of Irradiated Cladding Material from ATR Irradiations
The ATR-2 RPV Steel Irradiation Hardening Data Base: An Overview and Some Major Findings
The Effect of Dpa and Dpa Rate on the Strength and Precipitates Stability in Ion-irradiated Inconel 718
The Elastic Constants of γ-phase U – 8 wt% Mo between 25-650�C via Resonant Ultrasound Spectroscopy
Understanding Micromechanical Deformation in Hard-facing Alloys for Improving Galling Resistance
Using Synchrotron X-ray Diffraction and Transmission Electron Microscopy to Study the Dislocation Structures Found in Proton Irradiated Zr-Nb Alloys
Very High Temperature Steam Oxidation of LWR FeCrAl Fuel Cladding
Void Swelling Reduction through Deformation Twinning in Austenitic Stainless Steels
Questions about ProgramMaster? Contact


text:
WordPress is open source software you can use to create a beautiful website, blog, or app.
Beautiful designs, powerful features, and the freedom to build anything you want. WordPress is both free and priceless at the same time.
35% of the web uses WordPress, from hobby blogs to the biggest news sites online.
Discover more sites built with WordPress.
Limitless possibilities. What will you create?
Extend WordPress with over 54,000 plugins to help your website meet your needs. Add an online store, galleries, mailing lists, forums, analytics, and much more.
Hundreds of thousands of developers, content creators, and site owners gather at monthly meetups in 817 cities worldwide.Find a local WordPress community
Over 60 million people have chosen WordPress to power the place on the web they call "home" — join the family.
WordPress 5.4 Beta 2 is now available! This software is still in development, so we don't recommend running it on a production site. Consider setting up a test site to play with the new version. You can test WordPress 5.4 beta 2 in two ways: Try the WordPress Beta Tester plugin (choose the "bleeding edge nightlies" option) Or download […]
… and hundreds more


text: Edit this page Backlinks ODT export Sitemap This is a sitemap over all available pages ordered by namespaces. analysis articles ausip cases commons cyberlaw 2015 Lessig's Modalities of Regulation: Law, Architecture, Norms and the Market Content Regulation and Online Classification Credits Computer Access and Computer Crimes Chapter Overview Regulating the Domain Name System Children's E-Safety Commissioner ISP Filtering 'Follow the Money' Graduated Response Governing the internet: a collaborative, open course and textbook Intermediary Liability for Copyright Intermediary Liability for Defamation The Liability of Intermediaries Copyright Safe Harbours Intermediary Liability for Trade Mark Infringement, passing off, and misleading and deceptive conduct Jurisdiction The Dawn of the Internet: A Declaration of the Independence of Cyberspace About This Textbook: Four Main Themes and How You Can Help Privacy and Surveillance Regulating Private Intermediaries How is the Internet Regulated? sidebar toc playground policywatch redirect tag wiki home navigation oldindex sidebar cyberlaw/code.txt Last modified: 10 months agoby nic


text:
(Reuters) - Activist investor Carl Icahn on Tuesday abandoned his effort to acquire control of U.S. truck and military vehicle maker Oshkosh Corp (OSK.N) after shareholders tendered fewer shares than he had hoped for.
Only 22 percent of shares were tendered in his $32.50 per share offer, less than the 25 percent threshold Icahn had sought. Icahn, who remains Oshkosh's largest shareholder with a 9.5 percent stake, had said that many shares would have improved his chances of overhauling the board of the Oshkosh, Wisconsin-based company.
Oshkosh shares were down 4.3 percent at $28.80 early Tuesday morning on the New York Stock Exchange.
"We are returning all tendered shares and we will not extend the offer," said Icahn, whose offer valued Oshkosh at $2.98 billion and represented a 21 percent premium on the share price prior to his October bid.
Oshkosh had previously dismissed Icahn's offer as inadequate and in November the company's board authorized management to buy back up to 11 million shares, which would represent 12 percent of the company's outstanding stock, up from a prior authorization to buy back 7.2 million shares.
Company representatives on Tuesday declined to comment on Icahn's latest move.
Icahn had argued that Oshkosh should spin off its JLG aerial lift unit, which the company acquired in 2006 for $3 billion, as a standalone company.
This was Icahn's second run at Oshkosh; a year earlier he waged an unsuccessful proxy battle, with shareholders rejecting his slate of directors.
Reporting by Scott Malone in Boston; editing by Gerald E. McCormick and Matthew Lewis


text:
What exactly is historic preservation? Here are some frequently asked questions.
Where can I find out about the history of my building?
The Utah State Historic Preservation Office (SHPO) maintains files on thousands of historic buildings throughout the state. They are located in the Rio Grande Depot at 300 S. Rio Grande Street (450 West), Salt Lake City.
Local historic preservation commissions also keep files on building in your community. Contact your city or county to see if they have more information.
If your building has not been researched, the SHPO has instructions that lead you through the process. These instructions are also available on the SHPO website.
What is the National Register?
The National Register of Historic Places is the official federal list of properties that are significant in American history, architecture, archaeology, and engineering. Preservation Utah does not manage the National Register program. For more information, please contact the State Historic Preservation Office at (801) 533-3559 or visit their website.
Doesn't listing my building on the National Register restrict what I can do to it?
In general, no. There is a common misperception that historical designation will keep you from making changes to your historic building. Restrictions are only imposed if (1) the building is listed on a local register (as opposed to the National Register) and (2) your city has a strict preservation ordinance, or (3) a preservation or conservation easement has been placed on your property. Most cities in Utah do not impose restrictions on historic building owners. Those that do usually limit their control to the exterior. Listing on the National Register imposes no restrictions whatsoever. Its purpose is to provide recognition and to encourage preservation. Restrictions on historic buildings can be imposed by local government, not by the state or federal government.
Are there grants or other funds available to help me restore my historic building?
Financial assistance is currently limited to low-interest loans and state and federal income tax credits. Matching grants from the State Historic Preservation Office have been awarded in the past to National Register-listed buildings, but are not currently available due to lack of funds. Small-dollar grants may be available through your local historic preservation committee as part of the Certified Local Government program.
There is a compiled list available from Preservation Utah here.
Must buildings be kept in pristine original condition in order to remain "historic?"
The most visible "character defining" features of a building should be preserved, but other elements - such as electrical systems, plumbing, kitchens, and bathrooms – must often be changed to accommodate new uses or improved standards of living. Even these changes can be done sympathetically so they complement the original character of the building.
What are some common do's and don'ts when it comes to rehabilitating a building?
Roofs: Though some wood shingles are the most common historic roofing material, less expensive asphalt shingles are an acceptable replacement. If you choose to invest in wood shingles, use the more historically accurate, thinner sawn shingles rather than the heavy, split shake shingles.
Avoid clay tile, aluminum shingles, and other metal roofing materials that are not compatible with the architectural style or age of your building.
Avoid adding dormer windows to the front of your house; they are much less intrusive on the rear roof slope and even on the sides.
Exterior Walls: Never sandblast to clean or remove paint from brick walls; use appropriate chemical cleaners and low pressure (400 psi) wash instead. Sandblasting and high-pressure washes permanently damage the protective outer layer of the brick. Always clean small test patches first in order to determine the gentlest effective method.
Repoint deteriorated mortar joints with a softer, high-lime content mortar rather than modern mortar that is made up mostly of Portland cement. Modern mortar is stronger than the old brick, so as the building expands and contracts through the seasons the brick will be the first to crack. A basic historic mortar mix contains one part lime to three parts sand.
Avoid aluminum or vinyl siding, even on soffit and eaves. They often obscure architectural details, can trap moisture inside the wall, and are not as maintenance-free as their manufacturers would lead us to believe (dents and scratches can't be fixed, colors fade over time, etc.).
Exterior woodwork can be protected from the elements with a good paint job. This includes proper preparation of the surface and the right kind of paint (oil base paints hold up better than acrylic).
Windows: Avoid enlarging window openings or closing them off. Whenever possible, repair rather than replace historic window frames. Old frames can be made weather-tight and can often be adapted to accommodate double-pane glass. If windows must be replaced, select windows that match the original as closely as possible.
Additions: Keep new additions to the rear where they are less visible and make them narrower and shorter than the original building. If an addition on the side cannot be avoided, set it back as far as possible so the shape of the original house is still discernable. Try to match the original roof pitch, window shapes, eave width, etc.
Avoid attaching garages to historic houses whenever possible. A freestanding garage or one attached with an inconspicuous connector or breezeway is preferred.
What contractors know how to do the work correctly?
Preservation Utah compiles and updates a list of contractors with experience working on older buildings. See our Preservation Directory. Preservation Utah staff, as well as SHPO staff, is also willing to advise contractors and building owners on appropriate techniques and materials, drawing from our experience, associated building experts, and other articles and product information.


text:
1st stroke is free
2nd stroke requires a donation!
Last chance for Movember donations!
Thanks to all of you, including WoWInsider, for your support and kind wishes for Movember.
Don't stop sharing just because the Mo's are going away for another year
Mo'mer and Out!
My MoGnovemberaggedon…
Just in case you thought I wasn't serious
Depression in the family: Movember
Married with child and depressed: Movember
Depression in the workplace: Movember
Talking about it saves lives: Movember
Aware People are Supportive People: Movember
This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License.


text:
A changing climate is increasing the accessibility of U.S. Arctic waters to commercial activities such as shipping, oil and gas development, and tourism, raising concern about the risk of oil spills. A new report from the National Research Council says that a full suite of proven oil response tools is needed to address potential oil spills in U.S. Arctic waters, but not all of them are readily available. While much is known about both oil behavior and response technologies in ice-covered environments, there are areas where additional research would enable more informed decisions about the most effective response strategies for different Arctic spill situations, the report adds.
The Arctic poses several challenges to oil spill
response, including extreme weather and environmental settings, limited operations and communications infrastructure, a vast geographic area, and vulnerable species, ecosystems, and cultures. The report finds that there is a need to validate current and emerging oil spill response technologies under these real-world conditions, and recommends that carefully controlled field experiments that release oil in the U.S. Arctic be conducted as part of a long-term, collaborative Arctic oil spill research and development program that spans local, state, and federal levels.
Increased Infrastructure Required for Effective Oil Spill Response in U.S. Arctic - National Academy of Sciences


text:
If you're using Firefox 4, you now gain the additional protection afforded by CSP (Content Security Policy) on LastPass.com.
This has been eye-opening as we've implemented it. It has a reporting infrastructure built in so you can see exactly what requests are being blocked. We've already seen over a dozen unique bookmarklets caught in our CSP blocking net.
Does this mean the end of bookmarklets? Any site with sensitive data will ultimately implement CSP, making even our own bookmarlet for logging in obsolete. Now is the time to start requesting browsers support overrides to the CSP to keep your favorite bookmarklets working everywhere.
Today, CSP is only deployed on Firefox 4, but the LastPass extension should support it on a number of other browsers in our next release.
We haven't fully locked down our CSP yet; today we're allowing every page from LastPass.com to talk to LastPass.com, but soon we'll lock this down further so that https://LastPass.com/?securitychallenge=1 can ONLY talk to https://LastPass.com/?securitychallenge=1, which will be another big step forward.


text:
I Love New York (2002) comic books 2002-2004
Published Feb 2002 by Linsner.com.$2.00
View scan
- Signed by cover artist Joseph Michael Linsner with Lone Star Comics certificate of authenticity.
by Joseph Michael Linsner. Joseph Linsner was raised in Queens, New York, and from his apartment he could see the Twin Towers. On September 11th, 2001, New York City was attacked, and those buildings he had always thought of as 'eternal' were destroyed. The unthinkable had happened and he knew that his country would never be the same. How does one react to such an overwhelming crime against humanity? Writer/artist JML gives his personal viewpoint on a tragedy that has affected a nation, a world, and a boy who grew up in New York. Fully painted color covers. A portion of the profits from this book will go to the American Red Cross. b&w, 24pg $2.95 Cover price $2.95.


text:
|[Close Window]
Genealogy Drop-in
Wednesday, March 6, 2019 10:00 am EST
|Description: Genealogy Drop-In sponsored by Leeds & Grenville Branch of the Ontario Genealogical Society at our Archives/Library at 5 Henry Street, Brockville (in the basement at the Brockville Museum). Drop in any time from 10:00 am until noon on Wednesday Mar 6th and 20th. Members of the local Branch will be on hand to answer questions to help you in your genealogy research. Come build your family tree. This is a free event. All welcome!
You may not be getting all you can out of your browsing experience
and may be open to security risks!
Consider upgrading to the latest version of your browser or choose on below:


text:
Recent Posts
Mobile Tweets
- Nintendo to allegedly end Wii U production this week: According to a report by Eurogamer, Nintendo will be en... bit.ly/2eTOWnc... 3 years ago
- Dell's VR-capable Alienware 13 laptop goes on sale, starts at $1,200: The VR-ready Dell Alienware 13, which w... bit.ly/2emAuTS... 3 years ago
- Meizu M5 sees over 4 million registrations in first 24 hours: Unveiled a couple of days ago, the Meizu M5 is ... bit.ly/2eTGh4j... 3 years ago
- Sony Xperia XA Dual gets security update: Sony has started pushing out a new update to its Xperia XA Dual sma... bit.ly/2eTmSjM... 3 years ago
- Samsung Gear S3 is now available to pre-order in US: If you are in the US and are waiting for Samsung to laun... bit.ly/2ecwYse... 3 years ago
Other Links
Tag Archives: Inersoll Rand
Smart Tech Now Lets Phones Unlock Doors
What's new is that tech is right on the devices that more people are using Front pockets and purses are slowly being emptied of one of civilisation's most basic and enduring tools: the key. It's being swallowed by the cellphone. … Continue reading
Posted in Apps, Mobile Industry, SmartPhones Tagged Airconditioning, Carmakers, Cellphone, Daimler-Benz, Deadbolt, door knob, games, General Motors, GPS, Home Heating, Inersoll Rand, Internet, Lock Companies, Map, Mercedex, Mobil Phone App, OnStar System, Open Garages, Schlage, security cameras, Smartphones, Swiss Army Knife, Technology, Unlock Doors, Zipcar 2 Comments


text:
Less Than Three Dynasty
I wrote a post last night about how much I was enjoying the ECW program on SciFi recently, but by the end of the night it was no longer relevant in any way. So, I've distilled it down to what I was really focused on and present it here as a replacement.
I'm not going to lie to you, if you have no interest in professional wrestling this post will not be for you. Indulge me for a moment as I talk about it though. There's a lot of this stuff on TV (7-10 hours any given week), and most of it is not very good. However, I've spent a lot of my life as a fan, and I'm very excited about a new group of characters that have come on the scene in World Wrestling Entertainment.
The Hart Dynasty are a new incarnation of some WWF classics that I couldn't get enough of as a kid: The British Bulldogs and The Hart Foundation. This new Hart Dynasty is comprised of David Hart Smith, Natalia Neidhart, and Tyson Kidd. So, it's the son of British Bulldogs' Davey Boy Smith, the daughter of The Hart Foundation's Jim "The Anvil" Neidhart, and the last student of the Hart Dungeon wrestling school in Calgary. Basically, it's the fusion of my favorite wrestlers from when I was 11.


text:
Concentrations of the greenhouse gas carbon dioxide in air sampled at Mauna Loa Observatory in Hawaii will likely peak above 400 ppm this month, scientists said.
Any day now, the concentration of the greenhouse gas carbon dioxide sampled from the air wafting above a barren lava field in Hawaii could be above 400 parts per million (ppm), a level not seen since the Pliocene, between 3.2 and 5 million years ago.
Carbon dioxide levels were around 280 ppm when the Industrial Revolution got under way in the 18th century and humans started pumping greenhouse gases into the atmosphere from burning fossil fuels. Levels have continued to accelerate higher since then.
Hitting the 400 ppm milestone is symbolic to science and policy discussions about efforts to control global climate change, according Ralph Keeling, a geochemist at the Scripps Institution of Oceanography in La Jolla, Calif.
Human-forced global climate change is primarily driven by rising concentrations of carbon dioxide. Round numbers such as 350 ppm, 400 ppm and 450 ppm are discussed as targets for "safe" levels of the greenhouse gas - a level that will prevent the climate from spinning out of control, he explained.
"So crossing 400 represents, if you will, a lost opportunity," Keeling said.
His late father, Charles David Keeling, a climate science pioneer at Scripps, began tracking levels of carbon dioxide in 1958 at the Mauna Loa Observatory. Concentrations then were 316 ppm.
Since then, levels have continued to step higher in a saw-tooth pattern, peaking each May before drifting lower as plants in the Northern Hemisphere absorb carbon dioxide to grow, then rising in the fall and winter.
Keeling Curve
The readings plotted on a graph show carbon dioxide concentrations curving sharply higher over time as humans burn more and more fossil fuels. The graph is known as the Keeling Curve.
Details from the curve, in fact, show the rate of increase continuing to accelerate, noted Pieter Tans, the senior scientist at the National Oceanic and Atmospheric Administration's Climate Monitoring and Diagnostic Lab, which oversees the Mauna Loa Observatory.
Scripps Institution of Oceanography
The saw-tooth graph, known as the Keeling Curve, shows rising concentrations of the greenhouse gas carbon dioxide in the atmosphere since record keeping began in 1958.
When David Keeling first started keeping records, the five-year average rate of change was 0.7 ppm. Today, it is 2 ppm, more than three times faster, he said.
"That is significant," Tans told NBC News. "We are just mostly talking about decreasing emissions. In practice, at least globally average, emissions are still accelerating and so is the rate of CO2 increase in the atmosphere."
But crossing 400 ppm in and of itself "doesn't mean anything in particular," Daniel Sarewitz, a sustainability scientist at Arizona State University, noted in an email to NBC News. "It's just another indicator of what we know full well already — that modern society is enormously dependent on fossil fuels for its well-being."
And that dependence on fossil fuels means concentrations of carbon dioxide will continue to climb for the foreseeable future, he added.
Watching for 400
To mark the crossing of 400 ppm, Scripps Institution of Oceanography launched a website and Twitter feed to provide daily readings from Mauna Loa. As of this writing, it stands at 399.29.
The hourly number fluctuates up and down depending on the atmospheric winds and, to a lesser extent, pockets air that upwell from lower on the island. Scientists calculate a daily average from hourly readings (when there's too much noise, a reading isn't produced). The daily numbers are then averaged to establish weekly, monthly and yearly numbers to be plotted on the graph.
From a scientific point of view, the monthly number matters the most, said Ralph Keeling, who took over the record keeping from his father. It is unlikely that this May will actually have an average above 400 ppm. The month is already a few days old and the threshold hasn't been crossed yet. The peak is typically the middle of the month.
There is, however, a better-than 50-50 chance that at least one daily reading above 400 will be recorded in the next few weeks, he said.
"Of course, we might go the whole month without it, but I'd be very surprised if we don't creep up over 400 next May and in a matter of a couple years, even the trough in the cycle will climb over 400, so it will be very hard to find any air that is below 400," he added.
How high concentrations will eventually go, he added, largely depends how willing humans are to forgo burning available reserves of fossil fuels and how many of those fuels actually exist.
"We are starting to move toward alternate fossil energy — non-conventional fossil fuels like tar sands and so forth," Keeling said. "And that's a little troubling because it reflects our willingness to expand and use reserves of fossil fuels that probably ought to stay in the ground if we take this problem seriously."
John Roach is a contributing writer for NBC News. To learn more about him, visit his website.


text:
Our Berners Roding Fencing and Gates are available in the highest quality wood or iron. We build them on deep foundations to protect your property from unwelcome guests and ensure they protect you from adverse weather conditions.
Gate Installations Berners Roding
Our Berners Roding Gates are available in the highest quality wood or iron. We build them on deep foundations to protect your property from unwelcome guests.
Brick Walls Berners Roding
Our brick walls in Berners Roding are always built on the best foundations. We can build your brick walls in a range of brick styles, colours and shapes to either compliment, or add an attractive new feel to your property.
Brickwork Berners Roding
Berners Roding Brick Walls add a lovely new attractive feel to your property. We can build your walls in a range of brick styles, colours and shapes so contact us today for a free quote.
Footings Berners Roding
We can put footings in for an extension, a new home or even an industrial unit. We will complete this adhering to all necessary building regulations.
Drainage Berners Roding
Our experts can help you with your Berners Roding drainage needs whether you are building a new home, or have a drainage emergency in your property or business.
Building Materials Berners Roding
We can supply materials at wholesale prices which means our customers also benefit form an extremely cost effctive solution.
Demolition Services Berners Roding
We also specialise in demolition. We can take care of any demolition requirements, from a shed right up to a house or large building or warehouse.
Further to NB Contracts work at our property We would like to say how pleased we are with the finished result, our tarmac drive is looking better than ever!Mrs Bawden
We would like to thank the NB Contracts Team for a magnificent job in preparing, laying and finishing the block paving laid to the front, side and rear of our property. Despite some awful weather conditions they were clean and tidy, where possible, and always left the site usable each evening. I would not hesitate to use them for any future work required. The price quoted was the price charged, even with some minor alterations that we requested. Many ThanksPeter & Alison Nellies
The NB Contracts team did an excellent job of installing our new driveway and patio. They were very courteous and professional and they left the place clean and tidy. You would never know they had been here if it weren't for the beautiful improvements they made to our home.Robert Johnson
We love the way our fencing and gates look, and the block paving driveway looks superb. NB Contracts worked very quickly and did a wonderful job. Now we know exactly who to call for any future projects!Mr Green
If you do not see the prices you require listed on our website contact us today. For bespoke pricing and an accurate cost click here for a quotation.
We were Established as NB Contracts in 1998
and have had the same name ever since – We trade on our Reputation.Click Here For a Free Estimate