text:
Beauvale is, or was, the largest parish in England. It is thinly populated, only just netting the stragglers from shoals of houses in three large mining villages. For the rest, it holds a great tract of woodland, fragment of old Sherwood, a few hills of pasture and arable land, three collieries, and, finally, the ruins of a Cistercian abbey. These ruins lie in a still rich meadow at the foot of the last fall of woodland, through whose oaks shines a blue of hyacinths, like water, in May-time. Of the abbey, there remains only the east wall of the chancel standing, a wild thick mass of ivy weighting one shoulder, while pigeons perch in the tracery of the lofty window. This is the window in question.
The vicar of Beauvale is a bachelor of forty-two years. Quite early in life some illness caused a slight paralysis of his right side, so that he drags a little, and so that the right corner of his mouth is twisted up into his cheek with a constant grimace, unhidden by a heavy moustache. There is something pathetic about this twist on the vicar's countenance: his eyes are so shrewd and sad. It would be hard to get near to Mr Colbran. Indeed, now, his soul had some of the twist of his face, so that, when he is not ironical, he is satiric. Yet a man of more complete tolerance and generosity scarcely exists. Let the boors mock him, he merely smiles on the other side, and there is no malice in his eyes, only a quiet expression of waiting till they have finished. His people do not like him, yet none could bring forth an accusation against him, save, that "You never can tell when he's having you."
I dined the other evening with the vicar in his study. The room scandalizes the neighbourhood because of the statuary which adorns it: a Laocoon and other classic copies, with bronze and silver Italian Renaissance work. For the rest, it is all dark and tawny.
Mr Colbran is an archaeologist. He does not take himself seriously, however, in his hobby, so that nobody knows the worth of his opinions on the subject.
"Here you are," he said to me after dinner, "I've found another paragraph for my great work."
"What's that?" I asked.
"Haven't I told you I was compiling a Bible of the English people--the Bible of their hearts--their exclamations in presence of the unknown? I've found a fragment at home, a jump at God from Beauvale."
"Where?" I asked, startled.
The vicar closed his eyes whilst looking at me.
"Only on parchment," he said.
Then, slowly, he reached for a yellow book, and read, translating as he went:
"Then, while we chanted, came a crackling at the window, at the great east window, where hung our Lord on the Cross. It was a malicious covetous Devil wrathed by us, rended the lovely image of the glass. We saw the iron clutches of the fiend pick the window, and a face flaming red like fire in a basket did glower down on us. Our hearts melted away, our legs broke, we thought to die. The breath of the wretch filled the chapel.
"But our dear Saint, etc., etc., came hastening down heaven to defend us. The fiend began to groan and bray--he was daunted and beat off.
"When the sun uprose, and it was morning, some went out in dread upon the thin snow. There the figure of our Saint was broken and thrown down, whilst in the window was a wicked hole as from the Holy Wounds the Blessed Blood was run out at the touch of the Fiend, and on the snow was the Blood, sparkling like gold. Some gathered it up for the joy of this House. . . ."
"Interesting," I said. "Where's it from?"
"Beauvale records--fifteenth century."
"Beauvale Abbey," I said; "they were only very few, the monks. What frightened them, I wonder."
"I wonder," he repeated.
"Somebody climbed up," I supposed, "and attempted to get in."
"What?" he exclaimed, smiling.
"Well, what do you think?"
"Pretty much the same," he replied. "I glossed it out for my book."
"Your great work? Tell me."
He put a shade over the lamp so that the room was almost in darkness.
"Am I more than a voice?" he asked.
"I can see your hand," I replied. He moved entirely from the circle of light. Then his voice began, sing-song, sardonic:
"I was a serf in Rollestoun's Newthorpe Manor, master of the stables I was. One day a horse bit me as I was grooming him. He was an old enemy of mine. I fetched him a blow across the nose. Then, when he got a chance, he lashed out at me and caught me a gash over the mouth. I snatched at a hatchet and cut his head. He yelled, fiend as he was, and strained for me with all his teeth bare. I brought him down.
"For killing him they flogged me till they thought I was dead. I was sturdy, because we horse-serfs got plenty to eat. I was sturdy, but they flogged me till I did not move. The next night I set fire to the stables, and the stables set fire to the house. I watched and saw the red flame rise and look out of the window, I saw the folk running, each for himself, master no more than one of a frightened party. It was freezing, but the heat made me sweat. I saw them all turn again to watch, all rimmed with red. They cried, all of them when the roof went in, when the sparks splashed up at rebound. They cried then like dogs at the bagpipes howling. Master cursed me, till I laughed as I lay under a bush quite near.
"As the fire went down I got frightened. I ran for the woods, with fire blazing in my eyes and crackling in my ears. For hours I was all fire. Then I went to sleep under the bracken. When I woke it was evening. I had no mantle, was frozen stiff. I was afraid to move, lest all the sores of my back should be broken like thin ice. I lay still until I could bear my hunger no longer. I moved then to get used to the pain of movement, when I began to hunt for food. There was nothing to be found but hips.
"After wandering about till I was faint I dropped again in the bracken. The boughs above me creaked with frost. I started and looked round. The branches were like hair among the starlight. My heart stood still. Again there was a creak, creak, and suddenly a whoop, that whistled in fading. I fell down in the bracken like dead wood. Yet, by the peculiar whistling sound at the end, I knew it was only the ice bending or tightening in the frost. I was in the woods above the lake, only two miles from the Manor. And yet, when the lake whooped hollowly again, I clutched the frozen soil, every one of my muscles as stiff as the stiff earth. So all the night long I dare not move my face, but pressed it flat down, and taut I lay as if pegged down and braced.
"When morning came still I did not move, I lay still in a dream. By afternoon my ache was such it enlivened me. I cried, rocking my breath in the ache of moving. Then again I became fierce. I beat my hands on the rough bark to hurt them, so that I should not ache so much. In such a rage I was I swung my limbs to torture till I fell sick with pain. Yet I fought the hurt, fought it and fought by twisting and flinging myself, until it was overcome. Then the evening began to draw on. All day the sun had not loosened the frost. I felt the sky chill again towards afternoon. Then I knew the night was coming, and, remembering the great space I had just come through, horrible so that it seemed to have made me another man, I fled across the wood.
"But in my running I came upon the oak where hanged five bodies. There they must hang, bar-stiff, night after night. It was a terror worse than any. Turning, blundering through the forest, I came out where the trees thinned, where only hawthorns, ragged and shaggy, went down to the lake's edge.
"The sky across was red, the ice on the water glistened as if it were warm. A few wild geese sat out like stones on the sheet of ice. I thought of Martha. She was the daughter of the miller at the upper end of the lake. Her hair was red like beech leaves in a wind. When I had gone often to the mill with the horses she had brought me food.
"'I thought,' said I to her, ''twas a squirrel sat on your shoulder. 'Tis your hair fallen loose.'
"'They call me the fox,' she said.
"'Would I were your dog,' said I. She would bring me bacon and good bread, when I called at the mill with the horses. The thought of cakes of bread and of bacon made me reel as if drunk. I had torn at the rabbit holes, I had chewed wood all day. In such a dimness was my head that I felt neither the soreness of my wounds nor the cuts of thorns on my knees, but stumbled towards the mill, almost past fear of man and death, panting with fear of the darkness that crept behind me from trunk to trunk.
"Coming to the gap in the wood, below which lay the pond, I heard no sound. Always I knew the place filled with the buzz of water, but now it was silent. In fear of this stillness I ran forward, forgetting myself, forgetting the frost. The wood seemed to pursue me. I fell, just in time, down by a shed wherein were housed the few wintry pigs. The miller came riding in on his horse, and the barking of dogs was for him. I heard him curse the day, curse his servant, curse me, whom he had been out to hunt, in his rage of wasted labour, curse all. As I lay I heard inside the shed a sucking. Then I knew that the sow was there, and that the most of her sucking pigs would be already killed for tomorrow's Christmas. The miller, from forethought to have young at that time, made profit by his sucking pigs that were sold for the mid-winter feast.
"When in a moment all was silent in the dusk, I broke the bar and came into the shed. The sow grunted, but did not come forth to discover me. By and by I crept in towards her warmth. She had but three young left, which now angered her, she being too full of milk. Every now and again she slashed at them and they squealed. Busy as she was with them, I in the darkness advanced towards her. I trembled so that scarce dared I trust myself near her, for long dared not put my naked face towards her. Shuddering with hunger and fear, I at last fed of her, guarding my face with my arm. Her own full young tumbled squealing against me, but she, feeling her ease, lay grunting. At last I, too, lay drunk, swooning.
"I was roused by the shouting of the miller. He, angered by his daughter who wept, abused her, driving her from the house to feed the swine. She came, bowing under a yoke, to the door of the shed. Finding the pin broken she stood afraid, then, as the sow grunted, she came cautiously in. I took her with my arm, my hand over her mouth. As she struggled against my breast my heart began to beat loudly. At last she knew it was I. I clasped her. She hung in my arms, turning away her face, so that I kissed her throat. The tears blinded my eyes, I know not why, unless it were the hurt of my mouth, wounded by the horse, was keen.
"'They will kill you,' she whispered.
"'No,' I answered.
"And she wept softly. She took my head in her arms and kissed me, wetting me with her tears, brushing me with her keen hair, warming me through.
"'I will not go away from here,' I said. 'Bring me a knife, and I will defend myself.'
"'No,' she wept. 'Ah, no!'
"When she went I lay down, pressing my chest where she had rested on the earth, lest being alone were worse emptiness than hunger.
"Later she came again. I saw her bend in the doorway, a lanthorn hanging in front. As she peered under the redness of her falling hair, I was afraid of her. But she came with food. We sat together in the dull light. Sometimes still I shivered and my throat would not swallow.
"'If,' said I, 'I eat all this you have brought me, I shall sleep till somebody finds me.'
"Then she took away the rest of the meat.
"'Why,' said I, 'should I not eat?' She looked at me in tears of fear.
"'What?' I said, but still she had no answer. I kissed her, and the hurt of my wounded mouth angered me.
"'Now there is my blood,' said I, 'on your mouth.' Wiping her smooth hand over her lips, she looked thereat, then at me.
"'Leave me,' I said, 'I am tired.' She rose to leave me.
"'But bring a knife,' I said. Then she held the lanthorn near my face, looking as at a picture.
"'You look to me,' she said, 'like a stirk that is roped for the axe. Your eyes are dark, but they are wide open.'
"'Then I will sleep,' said I, 'but will not wake too late.'
"'Do not stay here,' she said.
"'I will not sleep in the wood,' I answered, and it was my heart that spoke, 'for I am afraid. I had better be afraid of the voice of man and dogs, than the sounds in the woods. Bring me a knife, and in the morning I will go. Alone will I not go now.'
"'The searchers will take you,' she said.
"'Bring me a knife,' I answered.
"'Ah, go,' she wept.
"'Not now--I will not--'
"With that she lifted the lanthorn, lit up her own face and mine. Her blue eyes dried of tears. Then I took her to myself, knowing she was mine.
"'I will come again,' she said.
"She went, and I folded my arms, lay down and slept.
"When I woke, she was rocking me wildly to rouse me.
"'I dreamed,' said I, 'that a great heap, as if it were a hill, lay on me and above me.'
"She put a cloak over me, gave me a hunting-knife and a wallet of food, and other things I did not note. Then under her own cloak she hid the lanthorn.
"'Let us go,' she said, and blindly I followed her.
"When I came out into the cold someone touched my face and my hair.
"'Ha!' I cried, 'who now--?' Then she swiftly clung to me, hushed me.
"'Someone has touched me,' I said aloud, still dazed with sleep.
"'Oh hush!' she wept. ''Tis snowing.' The dogs within the house began to bark. She fled forward, I after her. Coming to the ford of the stream she ran swiftly over, but I broke through the ice. Then I knew where I was. Snowflakes, fine and rapid, were biting at my face. In the wood there was no wind nor snow.
"'Listen,' said I to her, 'listen, for I am locked up with sleep.'
"'I hear roaring overhead,' she answered. 'I hear in the trees like great bats squeaking.'
"'Give me your hand,' said I.
"We heard many noises as we passed. Once as there uprose a whiteness before us, she cried aloud.
"'Nay,' said I, 'do not untie thy hand from mine,' and soon we were crossing fallen snow. But ever and again she started back from fear.
"'When you draw back my arm,' I said, angry, 'you loosed a weal on my shoulder.'
"Thereafter she ran by my side, like a fawn beside its mother.
"'We will cross the valley and gain the stream,' I said. 'That will lead us on its ice as on a path deep into the forest. There we can join the outlaws. The wolves are driven from this part. They have followed the driven deer.'
"We came directly on a large gleam that shaped itself up among flying grains of snow.
"'Ah!' she cried, and she stood amazed.
"Then I thought we had gone through the bounds into faery realm, and I was no more a man. How did I know what eyes were gleaming at me between the snow, what cunning spirits in the draughts of air? So I waited for what would happen, and I forgot her, that she was there. Only I could feel the spirits whirling and blowing about me.
"Whereupon she clung upon me, kissing me lavishly, and, were dogs or men or demons come upon us at that moment, she had let us be stricken down, nor heeded not. So we moved forward to the shadow that shone in colours upon the passing snow. We found ourselves under a door of light which shed its colours mixed with snow. This Martha had never seen, nor I, this door open for a red and brave issuing like fires. We wondered.
"'It is faery,' she said, and after a while, 'Could one catch such--Ah, no!'
"Through the snow shone bunches of red and blue.
"'Could one have such a little light like a red flower--only a little, like a rose-berry scarlet on one's breast!--then one were singled out as Our Lady.'
"I flung off my cloak and my burden to climb up the face of the shadow. Standing on rims of stone, then in pockets of snow, I reached upward. My hand was red and blue, but I could not take the stuff. Like colour of a moth's wing it was on my hand, it flew on the increasing snow. I stood higher on the head of a frozen man, reached higher my hand. Then I felt the bright stuff cold. I could not pluck it off. Down below she cried to me to come again to her. I felt a rib that yielded, I struck at it with my knife. There came a gap in the redness. Looking through I saw below as it were white stunted angels, with sad faces lifted in fear. Two faces they had each, and round rings of hair. I was afraid. I grasped the shining red, I pulled. Then the cold man under me sank, so I fell as if broken on to the snow.
"Soon I was risen again, and we were running downwards towards the stream. We felt ourselves eased when the smooth road of ice was beneath us. For a while it was resting, to travel thus evenly. But the wind blew round us, the snow hung upon us, we leaned us this way and that, towards the storm. I drew her along, for she came as a bird that stems lifting and swaying against the wind. By and by the snow came smaller, there was not wind in the wood. Then I felt nor labour, nor cold. Only I knew the darkness drifted by on either side, that overhead was a lane of paleness where a moon fled us before. Still, I can feel the moon fleeing from me, can feel the trees passing round me in slow dizzy reel, can feel the hurt of my shoulder and my straight arm torn with holding her. I was following the moon and the stream, for I knew where the water peeped from its burrow in the ground there were shelters of the outlaw. But she fell, without sound or sign.
"I gathered her up and climbed the bank. There all round me hissed the larchwood, dry beneath, and laced with its dry-fretted cords. For a little way I carried her into the trees. Then I laid her down till I cut flat hairy boughs. I put her in my bosom on this dry bed, so we swooned together through the night. I laced her round and covered her with myself, so she lay like a nut within its shell.
"Again, when morning came, it was pain of cold that woke me. I groaned, but my heart was warm as I saw the heap of red hair in my arms. As I looked at her, her eyes opened into mine. She smiled--from out of her smile came fear. As if in a trap she pressed back her head.
"'We have no flint,' said I.
"'Yes--in the wallet, flint and steel and tinder box,' she answered.
"'God yield you blessing,' I said.
"In a place a little open I kindled a fire of larch boughs. She was afraid of me, hovering near, yet never crossing a space.
"'Come,' said I, 'let us eat this food.'
"'Your face,' she said, 'is smeared with blood.'
"I opened out my cloak.
"'But come,' said I, 'you are frosted with cold.'
"I took a handful of snow in my hand, wiping my face with it, which then I dried on my cloak.
"'My face is no longer painted with blood, you are no longer afraid of me. Come here then, sit by me while we eat.'
"But as I cut the cold bread for her, she clasped me suddenly, kissing me. She fell before me, clasped my knees to her breast, weeping. She laid her face down to my feet, so that her hair spread like a fire before me. I wondered at the woman. 'Nay,' I cried. At that she lifted her face to me from below. 'Nay,' I cried, feeling my tears fall. With her head on my breast, my own tears rose from their source, wetting my cheek and her hair, which was wet with the rain of my eyes.
"Then I remembered and took from my bosom the coloured light of that night before. I saw it was black and rough.
"'Ah,' said I, 'this is magic.'
"'The black stone!' she wondered.
"'It is the red light of the night before,' I said.
"'It is magic,' she answered.
"'Shall I throw it?' said I, lifting the stone, 'shall I throw it away, for fear?'
"'It shines!' she cried, looking up. 'It shines like the eye of a creature at night, the eye of a wolf in the doorway.'
"''Tis magic,' I said, 'let me throw it from us.' But nay, she held my arm.
"'It is red and shining,' she cried.
"'It is a bloodstone,' I answered. 'It will hurt us, we shall die in blood.'
"'But give it to me,' she answered.
"'It is red of blood,' I said.
"'Ah, give it to me,' she called.
"'It is my blood,' I said.
"'Give it,' she commanded, low.
"'It is my life-stone,' I said.
"'Give it me,' she pleaded.
"'I gave it her. She held it up, she smiled, she smiled in my face, lifting her arms to me. I took her with my mouth, her mouth, her white throat. Nor she ever shrank, but trembled with happiness.
"What woke us, when the woods were filling again with shadow, when the fire was out, when we opened our eyes and looked up as if drowned, into the light which stood bright and thick on the tree-tops, what woke us was the sound of wolves. . . ."
"Nay," said the vicar, suddenly rising, "they lived happily ever after."
"No," I said.
Return to the D. H. Lawrence library , or . . . Read the next short story; A Sick Collier


text:
What Controls the Climate?
Some of the factors that have an affect on climate, like volcanic eruptions and changes in the amount of solar energy, are natural. Others, like the addition of greenhouse gases to the atmosphere, are caused by humans. Some of the main ones are listed below.
The Sun Affects Climate
Climate can change if there is a change in the amount of solar energy that gets to Earth. Changes to the cycle of solar activity, called the 11-year solar cycle, can cause a small impact on climate, too small to be the cause of recent climate change. Over thousands of years, changes in the way Earth orbits the Sun can cause large changes in climate.
Volcanic Eruptions Affect Climate
When volcanoes erupt they spew more than hot red lava and ash. They release tiny particles made of sulfur dioxide into the atmosphere too. These particles get into the stratosphere and reflect solar radiation back out to space. This causes cooling. The cooling is temporary, lasting usually a year or two.
Greenhouse Gases Affect Climate
Greenhouse gases have a strong affect on climate. These gases trap heat through a process called the greenhouse effect. While greenhouse gases are a natural part of the atmosphere, the amount has increased over the past 150 years as fossil fuels have been burned and the amount of forests, which naturally take up the greenhouse gas carbon dioxide during photosynthesis, has shrunk.
Snow and Ice Affect Climate
Because the snow and ice of the cryosphere are light in color, they have a large albedo the ability to reflect most solar radiation back out to space. When snow and ice melt as Earths climate warms, less energy is reflected and this causes even more warming.
There are also other aspects of our planet that have an impact on climate too. Scientists are studying the impact of clouds and the impact of aerosols on climate. Scientist are studying the oceans too because melting Arctic sea ice could change ocean circulation, causing regional climate to change.

subset: commoncrawl


text:
Home > Circuits > Other > Simple Two Speed Contactor DC Motor Controller |
Author | Views | Views Today | Rank | Comments |
206,828 | 3 | 21 |
The simplest of all motor controllers (besides a straight on/off switch) is the contactor controller. I designed this contactor controller for use in my electric scooter project. It is based around three 12V relays, two 12V batteries, two switches and of course a motor. Having no silicon to "fry", it is quite reliable and robust. A contactor controller works by rearranging the two (or more) supply batteries between series and parallel. This gives the motor a slow speed (batteries in parallel, current adds) and a fast speed (batteries in series, voltage adds). This assures that both batteries are discharged equally. When the circuit is "at rest", the batteries are connected in parallel, which allows easy recharging. |
Schematic |
Parts |
Notes |
K1 is simply another of the same relay as used in the controller. S1 is another switch. R1 needs to be chosen based on your motor, but it will be of low value (under 10 Ohm) and high wattage (normally at least 100W). It must be capable of handling the full current drawn by the motor. This is not exactly an efficient way to limit current to the motor as excess current is dissipated as heat by the resistor, so it is normally only used for a "starter" speed.
Related Circuits |
Comments |
Add A Comment |
I want to use this to replace a fried 100 amp Curtis controller on a mobility cart that belongs to a relative. I know I'll have to use larger relays or parallel enough smaller one to handle the load. I've already ordered enough 60s to do that. I expect to fry the speed pot when I turn it on so: where would be the best place in the ckt to install the new one and what values should be used. Also: By adding the additional relay, will that increase or decrease the speed? | ||
what happens when both switches are on? | ||
My daughter had a 'new' but defective scooter given to her. The motor and batteries were fine, but the controller was shot. So I tried to make a simple go/no go controller for it. I had a LOT of relays salvaged from appliances, so getting enough of them was no problem. However, we soon learned that, while it DID work, sooner or later, usually sooner, the relay(s) would short closed. Even paralleling them, usually one or another would short closed, and we were right back to square one. This made the scooter want to run on despite the brake. (I kept that for obvious reasons, but it's rather wimpy) I knew that the relays I were using were rated for AC volts and amps, which I figured would be OK for DC as well, and, like you, I used one battery to run the relays, knowing that the drain was minimal. What I could not determine, at first, was the DC ratings for AC rated relays. I later learned that going from about 120 VAC to 12 VDC equaled about the same AMP rating as printed on the relay. Turns out this isn't enough, hence the fried relays, with stuck contacts. (Most of the relays I had on hand were in the range of 10 to 20 amps at best) The motor is already the right type, and the batteries were the ones that came with it, 12 V @ 7 AH or maybe it was 9 AH, I forget now. What I wanted to do, besides have BOTH 12 volt slow and 24 volt high speed, (I was having to change it manually) was to use regenerative braking, as the brakes on the thing were, as I said, wimpy at best, and we have hills which could be coasted down, extending the range. However, I am not an engineer, nor much of an electronics expert. This part, regenerative braking, was beyond me. I could not, and still do not, know of any simple way to accomplish this. I do know that the motor will act as a DC generator if turned, but how do I 'steer' the current the way I want, while NOT having the batteries trying to turn the motor themselves? This is the part that stumps me. I thought that, if the relays are closed, and the motor was turning fast enough to make MORE volts than the batteries were then at, it would automatically send the voltage the direction I wanted. Everything I have learned tells me that this should be so... Higher voltage to lower voltage, like hot to cold. (Higher energy to lower energy, in any form) Am I missing something simple here? I also plan to include a 'fail safe' in case of stuck relays in the future. We have had some close calls with a kid on a run-away scooter. I would like to use something that absolutely can not fail to disconnect the battery(s) from the motor in a hurry should that ever happen again. I plan to rebuild the relays and all using the plans you provided, using proper rated automotive relays this time, even though I still have dozens and dozens of appliance relays on hand. Any ideas on a truly fail safe way? I'm thinking of a gadget like they use on treadmills, so if you fall off, you pull out a tab that stops it, but it can't be a relay type like treadmills use. Maybe a heavy duty wire disconnect of some sort? Two copper contacts with a copper 'tab' that slides in between, making the motor wire whole, which would be attached to kid via string, and clipped to shirt. Pull out copper 'tab' and wire is 'broken' I can make that, although I know it will cause some loss and heating, I prefer that to a hurt kid. Any and all suggestions will be greatly appreciated, as are your two speed controller. And may I offer this: Treadmills have a tremendous motor in them! I have found them to be PM DC motors, and easily made into generators, (Exercise bike and gas engine driven) step-less speed controlled lathe motors, and more. The electronics in them for speed control is easily adapted. If only it was all designed for 12/24 volts I'd be all set. But it's designed for 120 VAC, and this is converted to 90 VDC and on down, using a pot. Using the motor without the control electronics, as a generator, I have found that, with a good quality (gym type) exercise bike, I can easily make 12/14 volts at 10 amps and more, and with a small gas engine, I could make about 100 volts DC, (That engine wasn't running too good at the time, and gearing wasn't perfect) at amperage of I don't know! I don't know because I couldn't load it down enough to make a good guess. A 100 watt incandescent light bulb plugged in made the engine slow down not at all. I had expected it to stall the little snowblower engine, which, as I say, wasn't running up to snuff, but it (the load) made NO difference at all. I suspect I could have plugged in about 500 watts of resistive load before it would have bogged down the poorly running engine. (A two stroke of aprox. 5 HP if running right) my calculations tell me that 5 HP ought to be able to make a whole lot more that that, but I don;t think the DC motor could. It is rated at 90 Volts DC at something like 10 amps? I do not remember right off the top of my head now. Might have been more. Anyways, I can see several possibilities with such motors. With the exercise bike, using a dryer drum belt on the bikes own wheel, (making the wheel not only a flywheel, as it was intended, but a pulley too) and a small pulley on the DC motor, I was easily able to light up a car sealed beam headlight, although I can't keep up that pace for very long. (I have a progressive form of MS. = Multiple Sclerosis) I calculated that when I had the car headlamp going good, I was only making about 55 watts. (I had meters inline for amps and voltage too) Now, If I could only find a way to use several of these treadmill motors together with a single 6.5 HP 4 cycle, OHV engine, which I happen to have on hand, so that I can make the most of the horsepower of that engine even at just a fast idle, I should be able to make some real back-up power. I should be able to recharge our backup batteries, all at once, and in that way, survive the next big storm. (I'm in the Midwest, Tornado alley) It happens that we end up without power for as much a a couple of weeks at a time, when it happens. I can't take that heat and humidity, it's real bad for people with MS. But with a couple or several deep cycle batteries, an old UPS as inverter, as well as a 'portable' inverter, and a efficient way to recharge, we would be able to make it OK next time. I nearly died last time it happened. I think I read that you work in the UPS business? What is your take on using them as inverters this way? I know I can't get more than about 700 watts out of mine, but I believe it's a much 'cleaner' sine wave form than the other inverter, which claims a "Modified Sine waveform" aka, a stepped square wave. I find that induction motors are picky about that. (Like fans, refrigerators, etc) Am I right, that a good, name brand UPS, which has 'cold start up' is the better for the job? (mine is an APC 700 'Smart UPS 700' which is good for about 700 watts, right?) We have used this setup for short outages, and it works, but we've never had to rely on it for more than a few hours so far. Using the car, or worse, my truck, to recharge batteries in an extended power outage is wasteful in the extreme. And you can't go get more gas... The gas station needs juice to run the pumps! (Plus the kids are too dumb to figure out how to make change without the cash register to tell them) I'd really like to have a decent system on hand, with out breaking my piggy bank. (Being 100% disabled, I'm on Social INsecurity, which doesn't pay real well, especially raising three daughters!) That's one reason I like to build and recycle as much (many) of the things I need as possible. (I also happen to just like tinkering around to stay busy, and doing for myself) Your thoughts? Comments? Was this way too long? (I know, Yes it was. I used to be a freelance reporter, paid by the column inch, so, knowing I'd be heavily edited, I just wrote more, and more! A habit I still can't break) Sincerely: Chris Mills aka The Junkman | ||
what was used before a simple two speed contactor dc cvontroller was implemented or made.I need this for a presentation of this circuit | ||
Links above DO NOT WORK! ASP error when code entered. site not user friendly. spam code overkill.
(Editor's notes: Thousands of comments are posted per day without issues. What was the ASP error? If you had mentioned the error, I would be able to troubleshoot and fix the issue...) |
Thank you for your time in this presentation of a simple controller, greatly appriciated, will gather thses parts and test out. | ||
hi , dear, i need solution for make out put watts low, can it posible in my recent controller of my electric bike ? my cotroller right now is 250w for use of 48 v battery. right now i need solution of want low output watts from controller with loading one person. i hope reply me promptly. | ||
I've been trying for the past couples of days now to build a simple 12V DC motor using FDN and PFN circuit but is not working out because anytime i apply the power; it just scooting on without any control and if their is any barrier on the way it will be put to stop instead of getting power from the feedback circuit.Is their anything i could do to make it work properly. | ||
the cost of this circuit ?.. | ||
hi, i need the details of the dc series motor used in motor bike (for electric bike). |
The last 10 comments are currently shown. Show All Comments. | Add A Comment |


text:
Love Your Library Day - Tote Bag
Inspired by the Calgary Public Library's #LoveYourLibrary Day (LYLD), show your love for your community library with this great tote bag! Perfect for carrying all of your great reads!
Tote specifications:
- 14" W x 16" H
- 12 ounce Cotton Canvas
- Cross-stitched cotton webbed handles
- 100% Natural cotton processed AZO-Free, with no hazardous chemicals
100% of proceeds from this purchase support the Calgary Public Library.
About The Artist:
Chloe Purcell is a Visual Communications Designer. Chloe graduated from the Alberta College of Art & Design with a BDes. She loves experimenting with styles and mediums, and developing strong concepts behind her work. simplycmp.com


text:
Motorola Edge 30 Fusion Android update status
Currently: Android 13
When Motorola Edge 30 Fusion launched, it shipped with Android 12, but has since been updated to Android 13 (17 May 2023). This phone was originally released on 9 / 2022.
Upcoming updates?
Expected: Android 14 (last version ever)
Motorola has promised that Motorola Edge 30 Fusion will get Android 14. However, this is only the manufacturer's promise, as far as we know - Motorola might release even further updates to the phone later or might end support earlier on.
Based on what we currently know, the expected Android 14 will be the last Android update for Motorola Edge 30 Fusion. After this update, the device might get security patches, but wont get any new major Android versions to it.
Motorola Edge 30 Fusion update history
Motorola has promised the phone will eventually get Android 14. This will be the phone's last and final Android update.
Official, stable version of Android 13 released for Motorola Edge 30 Fusion.
2023-05-17 -
Motorola Edge 30 Fusion gets released, ships with Android 12.
Guide: This is how you update your Motorola Android
Motorola Edge 30 Fusion tech specs
Latest phones and their specs
Why my phone still has the older Android version...?
We have crafted a guide where we try to explain in detail why your phone hasn't received the latest Android update yet - and what can you do about it.
If you think we have wrong information on this page, please contact us and we will fix the issue immediately.


text:
There's been a lot of controversy over the health care overhaul's requirement that most health plans this month to start covering contraceptive services for women as a free preventive benefit.
But that requirement may prevent some young women from falling into a coverage gap of a different kind: no maternity coverage.
Individual health insurance policies have long been criticized by women's health advocates for their frequent failure to cover maternity benefits for women. According to a recent report by the National Women's Law Center, only 12 percent of plans in the individual market provide maternity coverage.
But group plans aren't necessarily any better. Although the Pregnancy Discrimination Act of 1978 requires health plans to provide maternity coverage to employees and their spouses at companies with 15 or more workers, it doesn't require such coverage for other dependents such as adult children.
Under the health care overhaul, children can stay on their parents' plans until they reach age 26 under many circumstances, including if they're married, living on their own and financially independent. The expanded coverage window means that more of them will likely become pregnant while on mom and dad's plan, say women's health experts.
Starting in 2014, the law will require coverage of 10 "essential health benefits" in individual and small group plans. Maternity and newborn care is one of them.
But in a surprising twist, since health benefits at large companies are typically more comprehensive than those at small companies or individual plans, large group plans don't have to provide the essential health benefits.
Women's health advocates hope that the law's coverage requirements will encourage those companies to step up to the plate and provide dependent maternity benefits anyway.
"We would expect fewer employers to not cover maternity coverage for dependents," says Dania Palanker, senior health policy adviser at the National Women's Law Center. "They wouldn't want to offer less than the essential health benefits."
Copyright 2023 Kaiser Health News. To see more, visit Kaiser Health News.


text:
Coast Salish Collection
Visit our main Gallery Shop or our Online Store to find an array of traditional and contemporary artwork and accessories including hand-painted sculptures, finely-crafted jewellery, framed and unframed prints, and more.
A one stop shop for Corporate Gifts—show appreciation for your employees and colleagues during the holidays or on any special special occasion, such as birthdays, work anniversaries, maternity leave, employee recognition, achievement awards, and retirement. For gifting ideas and inquiries about our 10% discount on corporate orders for small businesses, contact firstname.lastname@example.com
The Bill Reid Gallery of Northwest Coast Art is a registered charitable organization | Charity No. 867858755 RR0001. Proceeds from all purchases support local Indigenous artists and the Gallery's artistic and educational programs.
Gallery Shop
639 Hornby Street, Vancouver, BC V6C 2G3
Online Store
For online order inquiries and status, please email firstname.lastname@example.com or check our FAQ page
Here you will find a small curated collection of pieces from local Coast Salish Artists.


text:
Recruitment of Staff through Employment Exchanges - DOPT
Recruitment of Staff through Employment Exchanges, regarding
Government of India
Ministry of Personnel, Public Grievances and Pensions
(Department of Personnel and Training)
North Block, New Delhi – 110001
Dated the 13th June, 2016
Subject:- Recruitment of Staff through Employment Exchanges, regarding.
In continuation of this Department's Office Memorandum No. 14024/2/96-Estt. (D) dated 18th May, 1998 and further amended vide OM of even number dated 09th November, 2005 on the above noted subject wherein it has been prescribed that all vacancies to be filled on regular basis, except those which fall within the purview of UPSC/Staff Selection Commission, are to be notified in the local Employment Exchange/Central Employment Exchange as per the provisions of the Employment Exchange (Compulsory Notification of Vacancies) Act, 1959.
In addition to the reporting of the vacancies to the local Employment Exchange/Central Employment Exchange, it has been stipulated that the vacancies should be given wide publicity on an all India basis. In this regard, it was advised that the advertisement should be placed in the Employment News/Rozgar Samachar published by the Publication division of Ministry of Information & Broadcasting. Such recruitment notices are also to be displayed on the Office Notice Board.
2. It has been decided that in addition to the above procedure, advertisement of vacancies may also be placed at the National Career Service (NCS) Portal of Ministry of Labour & Employment, which has been developed primarily to connect the opportunities with the aspiration of youth.
3. These instructions shall be applicable to all services/posts. All Ministries/Departments are requested to bring these instructions to the notice of all concerned including attached and subordinate offices.
(Rajesh Sharma)
Under Secretary to the Govt. of India
Authority: www.persmin.gov.in


text:
Heber City Utah Health Insurance
Your Local Health Insurance Advisors
Welcome to Skyline Insurance Agency
of Heber City
Heber City is beautiful growing community where locals enjoy lots of conveniences of modern living. Access to quality health insurance is essential for many households. For those who aren't provided medical insurance through their employer, there are many great choices to get quality medical insurance coverage at an inexpensive rate. Let the well-informed health insurance consultants at Skyline Insurance Agency help take the headache out of your health insurance.
Health insurance is one of the most important parts of our lives. Why? Because it protects us from incurring huge medical bills when we get sick. Not everyone can afford to pay for health insurance on their own and everyone needs health insurance. Even if you feel young and healthy, you never know when an accident or illness might strike. Protect yourself and your family with a qualified health insurance plan.
Providing health insurance for your employees and team is essential in today's work environment. Why? It can help you attract and keep top talent. It can help lower turnover and keep staff who are healthy (and insured) at peace. Our team will work with you to establish a plan to provide your team the coverage options to meet your needs. We're here to help you with every step of the way.
Medicare Supplement Insurance, often known as Medigap is extra insurance you can buy from a private company that helps pay your share of your healthcare costs. Designed to work with original Medicare, it typically covers some or all of the out-of-pocket expenses not covered by Original Medicare. This can pay for things like copayments and coinsurance at hospitals, nursing homes, doctors' offices and other long term care facilities; plus prescription drugs while in the hospital.
Dental insurance is an affordable way to reduce your dental costs. If you're concerned about the cost of routine cleanings and help when there's an unexpected filling, crown, or bridge, dental insurance is a great deal! You can pay as little as $15/month for major services like fillings and comprehensive plans for the whole family. Get details about dental insurance today!
Vision insurance is an excellent option for you and your family if you are looking for an affordable way to reduce the cost of your eye care. Vision insurance can cover items such as routine eye examinations, eyewear, and contact lenses. Plans start for as little as $10/month* for individuals. It's a great time to take advantage of this discount opportunity. Get details about vision insurance today!
The affordable care act is a comprehensive law aimed to reform health care for everyone. This law was enacted in March 2010 and is sometimes known as ACA, PPACA, or Obamacare.
The ACA makes affordable health insurance available to more people. The law provides premium tax credits to offset the cost of health insurance. As well as cost-sharing benefits to help reduce the out-of-pocket expenses for individuals and families. These included lower deductibles, lower co-pays, and lower expenses for services.
Health insurance is a complicated topic. The average American spends nearly $4,000 per year on healthcare.
Healthcare costs are rising every year and the future of healthcare is uncertain. What will happen to our coverage if we lose our jobs? How can we afford to pay for treatment when it's needed most? We need health insurance that works with us – not against us!
Health insurance plans available through Skyline Insurance Agency offer lower monthly premiums and can cover you in case of unexpected illness or injury without having to worry about pre-existing conditions or lifetime limits. You'll save money on medical bills while still being able to see your favorite doctors and specialists!
Health insurance is a necessity, but not everyone can afford it.
The Affordable Care Act (ACA) was designed to help people get affordable health insurance coverage regardless of their medical history or pre-existing conditions.
ACA provides tax credits and subsidies for many individuals and families who purchase plans through the marketplace. In addition, there are no lifetime limits on how much money an insurer will pay out in benefits during the course of your plan year, which means that you won't have to worry about hitting a cap on your care if you need expensive treatments or medications over several months. And if you find yourself needing more care than expected due to a serious illness or injury, ACA has protections in place so that insurers cannot drop you when premiums become too high as long as you maintain continuous coverage with them.
Speak with one of our licensed health insurance advisors today to see what savings you qualify for.
We work with all health insurance companies that offer Individual and Family Health Insurance in Utah. We also work with all carriers who offer Group Health Insurance for small, mid-sized, and large companies.
We offer plans to serve all members of our community, from individuals and families to employers. And everything we do is aimed at helping you manage your healthcare. SelectHealth offers Select Med insurance and Select Value insurance. You can view the SelectMed network and SelectValue network to see which network works best for you. For most of Utah, you will have the option to choose select med health insurance or select value health insurance.
SelectHelath Office
5381 S Green St
Murray, UT 84123
Coverage Questions: 800-538-538
SelectHealth Billing Department: 801-442-4350
University of Utah Health
We understand that choosing health insurance is a critical decision. U of U Health Plans is committed to enhancing the member experience, improving the quality of care, strengthening the health of populations, and reducing the cost of care.
U of U Health
6053 Fashion Square Drive, Suite 110
Murray, UT 84107
Coverage Questions: 801-213-4111
Billing Department: 801-587-6480
Molina Healthcare of Utah
Regence BlueCross BlueShield of Utah
BridgeSpan Health Company
We are proud to serve the City of Heber City, Utah. We can provide references and testimonials from your neighbors, and many of the happy clients we've worked with over the years. We welcome the opportunity to meet with you to discuss your individual and family health insurance needs.
Skyline Insurance Agency
Phone: 801-396-8200


text:
P. Annius Florus
Publius Annius Florus (c.70? - c.140?): Roman author, published a brief work on the history of the Roman empire during the reign of the emperor Hadrian (r.117-138).
Publius Annius Florus is known under several names: his first name is rendered as Publius and Lucius; his family name as Annius and Anneus; only the element "Florus" is always the same. Although we cannot exclude that there were several authors with almost identical names, most scholars agree that there was only one, Publius Annius Florus. He is credited with four works:
- A short, witty poem dedicated to the emperor Hadrian, who replied with a parody. Both poems are quoted in the Historia Augusta. The author is called Florus.
- Letters and poems by Annius Florus.
- The preface of a dialogue on the question whether Virgil was an orator or a poet, written by Publius Annius Florus.
- An Epitome of the Histories of Titus Livy, by Lucius Anneus Florus.
According to a source from late Antiquity, the grammarian Virgilius Maro, Florus was born in Africa and came to Rome during the reign of Domitian. When this emperor organized a poetical contest (the Ludi Capitolini, held in 86, 90 and 94), the young man took part and although his entry was acclaimed by the audience, he failed to win a prize. Florus now embarked upon a career as a traveling sophist or "show speaker". During the days of the Second Sophistic, a literary movement founded by Nicetes of Smyrna in the second half of the first century, people came to the theater or odeon to listen to the performances of virtuoso orators, who delivered improvised declamations on subjects suggested by the audience. Florus is said to have made a tour through the Greek-speaking part of the Roman world and visiteded Sicily, Crete, the Cyclades, Rhodes, and Egypt.
He returned to Rome and continued across the Alps to Gaul, which means that he had been unable to find a patron at the imperial court of the new emperor Nerva. For some time, Florus settled in Tarraco, the capital of Hispania Tarraconensis, where he founded a school and taught literature. He liked the town, where people were honest and the climate was nice. When he wrote his Dialogue on Virgil, he had been a teacher for four years. During the first years of the emperor Trajan, he returned to Rome, where everybody knew his poetry.
Florus was still staying in Rome during the second half of the reign of Hadrian. He was befriended with the emperor, and it is interesting that during his reign, the Annius Verus family played an important role in the Roman government. Perhaps as an Annius, the teacher gained access to the emperor. In Rome, he wrote the following short poem, in which he expressed his admiration for Hadrian's traveling habits, which had brought him to the unpleasant countries on the edges of the earth:
I don't want to be Caesar, please,
to tramp round the Britons, weak at the knees,
[one line lost]
in the Scythian frosts to freeze.note
Hadrian replied to his friend:
I don't want to be Florus, please,
to tramp round pubs, into bars to squeeze,
to lurk about eating pies and peas,
to get myself infested with fleas.note
Florus is best known for the Epitome of the Histories of Titus Livy, a brief and laudatory history of Rome in two books, strongly focused on warfare. It presents the history of the Roman empire as a growing organism: the reign of the kings is Rome's infancy, the conquest of Italy its youth, and as a Mediterranean power, Rome is grown-up. The inevitable conclusion that Rome as a monarchy is growing old and weak did occur to Florus. He speaks about the inertia Caesarum, meaning that the expansion of the empire had come to a standstill.
Perhaps, he wrote the two books in two installments. He first wrote the part on the Roman wars in Latium, Italy, and the Mediterranean, which were based on Livy's History of Rome from its foundation; later, he decided to continue his tale to his own day. This last part was not based on Livy but on other sources, and the title Epitome of the Histories of Titus Livy is simply incorrect for these chapters. We do not know which sources were used, but one of them must have been a history of (among others?) the Germanic Wars, which was completed during the reign of Tiberius or Caligula, because Florus states that of the three military standards lost in the battle in the Teutoburg Forest, one was still missing. It was, however, recovered in 41 by Aulus Gabinius Secundus Chaucius, the governor of Germania Inferior.
The Epitome is not the greatest achievement by a Roman historian. Yet, it is a useful text, because it gives us an idea of the lost portions of Livy's History of Rome from its foundation. For similar reasons, Florus' Epitome became very popular in Late Antiquity and the Middle Ages: it offered a useful compendium of Roman history for those who were unable to read the collected works of Livy. It was still used as a schoolbook in the nineteenth century, which is a tribute to Florus' qualities as a narrator.


text:
Mastering the sitting trot or jog
This is an excerpt from Gentle Art of Horseback Riding, The by Gincy Self Bucklin.
The Gentle Art of Horseback Riding.
The Sitting Trot or Jog
Up to now, if you have been following the program, you have always had someone nearby who was guiding and controlling the horse so that you could focus on developing balance and grounding. The next step is to ride by yourself in a confined space large enough for the horse to move around in comfortably but not so large that he is able to do anything that you aren't ready to deal with.
You still won't be using the reins, but you will use your gentle aids to help to guide him and keep him going. You can use your emergency dismount in case something comes up that makes you uncomfortable. But you still need one more skill: to be comfortable at a slow trot. To practice your skills, you have to keep the horse moving. If you get a little too enthusiastic with your stick, he will probably break into a trot, so you should be prepared.
In English riding the gait you will work at is called a slow trot, and you will learn to sit to it. In Western riding the same gait is called a jog, and sitting it is the way it is usually done. There are several ways to ride the trot, all of which you will be learning later on in the book, but I have found that this is the easiest way to start.
Notice that in English riding it is called sitting trot, not bouncing trot. This is an important difference because if your seat leaves the horse's back and then comes down again, it can be quite painful for him, especially if prolonged. Try this little exercise to give you an idea of how sitting feels to the horse compared to bouncing.
Sitting Versus Bouncing Exercise
Hold your forearm out and pretend it's the horse's back, moving up and down. Make a fist with your other hand and place it on the middle of your forearm. Just let it lie there of its own weight while you move your arm up and down. You can move your arm faster or up and down more, but as long as your hand lies steady on your arm so it follows the movement, there is no discomfort.
Now continue the movement of your forearm, but hold your fist still so it doesn't follow the movement. Instead, it will bang against your arm, which is annoying and eventually uncomfortable. You can imagine what the weight of a full-grown adult bouncing on the horse's back would feel like!
Preparatory Ground Work
If you have access to a small trampoline, you can get a really good feeling for riding the trot. Keep in mind that the gaits are already programmed in your body. The bounce of the trampoline, while not essential, gives excellent feedback, similar to what you will get from the horse. You will need something to hold on to while you're on the trampoline to help you ground. A piece of rope tied to a heavy chair leg will work.
Whether you are on the ground or the trampoline, begin with the seven steps. Then start walking in place, feeling the rhythm and how your body moves and interacts with the floor or the trampoline. Try to put your feet down very softly, which means keeping all your joints, starting with your spine, very loose.
After a few minutes, begin to jog slowly in place, trying to keep the same soft, flexible feeling throughout your body, and hitting the ground as softly as you can. Notice that even though you aren't going high or fast, the jog is still much bouncier than the walk. This is true of the horse's gait as well. Jog for a while, then walk a few steps, then jog again. Think about how your body moves differently at the different gaits.
Riding at the Slow Trot (Jog)
You are still using your leader and will need her for this task so that she can control the horse's speed and gait while you are learning to sit. Begin the exercise after you are well settled on the horse. You might find it helpful if an experienced rider demonstrates sitting the trot first so you get an idea of how it should look. Notice how she uses the grounding strap and how her seat doesn't leave the horse's back at all.
Prepare for the trot by using the seven steps and the grounding strap to get relaxed and grounded. Growing and shaking out are particularly important steps as you prepare for the trot. The additional bounce must be absorbed by your inner thighs and buttocks, which must be very soft and relaxed, and by your lumbar spine, the flexible part of your back at your waist, between your rib cage and your pelvis (figure 11.10). The shake-out will help to loosen up the muscles, and growing will stretch and loosen the spine. You will also need a slightly stronger feel on the grounding strap to counteract the bigger movement, so practice taking that stronger feel without creating any tension in the areas of your body that contact the horse.
Having the horse walk over rails on the ground, if available, or down a slight grade will make his walk a bit springier and prepare you for the new movement.
When you're ready, the leader can ask the horse to trot. If she starts jogging slowly herself, keeping her body grounded and landing softly, the horse will tend to copy her, making the gait smoother for you. As the horse starts to trot, allow your body to sway back a little (figure 11.11); leaning very slightly back during the trot makes it easier to sit. Then think about breathing, maintaining soft eyes, and your following seat. Use your grounding strap to keep you down on the horse's back, but don't pull on it so hard that you make yourself tense, which would defeat the purpose.
The first time you attempt this, the leader should trot the horse for only a few steps, just to give you the feeling. After that, if things go well, the trots can get longer but should be confined to straight lines at first so you don't have to deal with lateral centering. You can continue to trot each time as long as you are sitting comfortably, but if you start to lose the feeling and can't regain it right away, have the leader bring the horse back to the walk, reground, and start again.
Once you are comfortable on the straightaway, try some gentle turns. Even though the horse is going only a little faster, the livelier movement tends to make staying in the center more difficult. Practice at the walk, making a tight turn and using a strong lift and weight shift to keep you centered. This will be less effort at the trot because the horse will lift you up. Keep the turns fairly brief at first, beginning with left turns as you did at the walk. Once you have the knack, try some longer turns. Also work on sharper turns, since you will be riding by yourself in a fairly small space.
Finally, try an emergency dismount from the trot. The leader should start you at a slow jog that you can sit to easily, then speed up the trot just enough so that sitting becomes more difficult, at which point you should dismount. By now you should be well versed in turning, facing forward, and landing softly and safely with toes relaxed and knees and ankles bent. You will find it much easier to get your right leg over because the motion of the trot will be lifting you up. The leader should stay well in front of the horse so you don't bump into her.
What might surprise you is how quickly the horse stops as he feels your center coming forward in front of him. I used to bet my students that they couldn't get to the ground before the horse had stopped. I usually won.
Read more from The Gentle Art of Horseback Riding by Gincy Self Bucklin.
More Excerpts From Gentle Art of Horseback RidingSHOP
Get the latest insights with regular newsletters, plus periodic product information and special insider offers.


text:
My Soul Is Too Lit To Give A Shit T-Shirt Extended Sizes
My Soul Is Too Lit To Give A Shit T-Shirt
You know you have that special something inside you! Let everyone know with this cute tee!
White Design on Black Tee.
Short Sleeve Unisex T-shirt
Sizes 3X or 4X
**PLEASE See Photos For Sizing and Material Info.**
NO RETURNS or EXCHANGES - All Sales Are Final. Our products are handmade, one at a time, to order. We do not accept returns unless the item is defective. Please see listing photos for t-shirt sizing and material information before placing your order.
This listing is for ONE T-SHIRT ONLY. Other items shown are for suggested use and not included.
Please note that these are handmade items and graphic placement may vary.
Colors on computer monitors can vary greatly. We cannot guarantee that the colors you see on your monitor accurately reflect the exact colors in the print.
Legal disclaimer: All artwork/images are copyright protected by The Spirit Den & Cutting Edge Design Company.


text:
When you've inherited real estate in Norfolk, it doesn't necessarily mean congratulations are in order. Instead, it's the beginning of a long road of decisions and details to handle at an emotionally difficult time. However, as the clock keeps ticking, holding costs will begin to add up, and you'll need to take quick action to manage the property, or the outcome could be costly in many ways.
Minor repairs that go unchecked can quickly become significant damage. In addition, you may face fines if an HOA is involved, violate zoning codes by allowing overgrowth of your landscaping, and it becomes apparent when a home has been abandoned for an extended period, tempting criminal elements. Sticking your head in the sand is a decision that could lead to costly consequences, including increased stress. So read on as we explore these five tips for people who have inherited real estate in Norfolk
Property Transfer
Our first tip for people who have inherited real estate in Norfolk is to give it to a family member. However, you should be aware of the tax implications of this option, which could be more costly than leaving it as an inheritance. Therefore, you should consult an experienced real estate tax adviser whose recommendations you should consider before transferring the property.
Take Up Residence
Our next tip for people who have inherited real estate in Norfolk is to consider taking up residence. While well-meaning loved ones or close friends may have left you a piece of real estate as a token of their affection, life is not often like fairy tales. Their property may not be the type of home you've always dreamed of owning, or you may already live in the home of your dreams. Or perhaps it's located in another state or across the country. Or perhaps you've inherited a home in a state of physical or financial distress, draining your wallet instead of magically producing the windfall of cash everyone imagines an inheritance of real estate brings.
Rental Property
Another tip for people who have inherited real estate in Norfolk is to rent it out as an income-producing property; however, this option can have hidden expenses. Nevertheless, you should understand the time commitment to managing a rental property. You'll need the funds to afford periods of vacancy, handle repairs for your tenants promptly and deal with turnovers, which typically include replacements and upgrades to meet more current tenant demands and bring the highest return on the property. You'll also need to deal with tenants, from the screening process to collecting back rent. You'll also need to market to get tenants in place and possibly deal with evictions, which can be pretty intimidating, and missteps can be costly. Finally, you need well-honed people skills and must follow all laws governing landlords with any HOA, local ordinances, or state or federal laws, including in your advertising.
Vacation Home
An excellent tip for people who have inherited real estate in Norfolk is to turn it into your second home if you can afford to. It's nice to have somewhere to get away that is yours; however, the responsibilities come with the benefits of a vacation home. Depending on the amount left on the mortgage, you may have house payments in addition to the insurance, taxes, and monthly utilities that continue to add up while you're also paying for your primary residence. When you add it all up, you may be better off renting a luxury property for your vacations, leaving the headaches and expenses to the landlord.
Sell Directly
The best tip for people who have inherited real estate in Norfolk is to take the quick and easy option, sell directly and walk away with cash in hand without paying high commissions and leave the work, worry, and financial risks associated with the property behind you. Working with a professional home buyer from Uhlman Buys Homes will connect you with our network of the most highly regarded providers in the industry to help guide you with your property, including professional tax advisors. In addition, a local investor turned professional home buyer at Uhlman Buys Homes can guide you through your selling options step-by-step with no obligation. At Uhlman Buys Homes, we provide you with the information to make an educated decision about what will earn you the most profit and what is best for you when considering both your current personal and financial circumstances. When you receive an offer from a direct buyer at Uhlman Buys Homes, we want you to agree it is fair; that is why our process is entirely transparent. Our contracts are simple, there are no hidden fees, and we even provide you with a guaranteed closing date. We want you, our neighbors, to feel good about the deal you make with Uhlman Buys Homes long after closing. Call Uhlman Buys Homes at (757) 918-9189.


text: Michael Mosley has set himself a truly ambitious goal: he wants to live longer, stay younger and lose weight in the bargain. And he wants to make as few changes to his life as possible along the way. He discovers the powerful new science behind the ancient idea of fasting, and he thinks he's found a way of doing it that still allows him to enjoy his food. Michael tests out the science of fasting on himself – with life-changing results.


text:
Award-winning PDF software
Online alternatives assist you to organize your doc management and boost the productiveness of one's workflow. Go along with the quick handbook for you to complete What Is Public Trust Security Clearance? - PocketSense, keep away from problems and furnish it inside of a well timed manner:
How to finish a What Is Public Trust Security Clearance? - PocketSense over the internet:
- On the web site with all the type, click on Begin Now and move into the editor.
- Use the clues to complete the relevant fields.
- Include your personal information and get in touch with details.
- Make convinced that you enter correct material and figures in suitable fields.
- Carefully test the information belonging to the type in the process as grammar and spelling.
- Refer that can help part when you have any thoughts or handle our Aid crew.
- Put an electronic signature on your own What Is Public Trust Security Clearance? - PocketSense along with the aid of Indication Resource.
- Once the shape is completed, push Done.
- Distribute the all set variety by means of e-mail or fax, print it out or help you save with your product.
PDF editor helps you to make alterations towards your What Is Public Trust Security Clearance? - PocketSense from any web connected gadget, personalize it in keeping with your preferences, indicator it electronically and distribute in different strategies.


text:
A$AP Rocky pleads not guilty to firearm assault charges
Aug 17, 2022, 12:26 AM | Updated: 12:38 pm
(Irfan Khan/Los Angeles Times via AP, Pool)
LOS ANGELES (AP) — Rapper A$AP Rocky has pleaded not guilty to felony assault with a firearm charges stemming from a 2021 confrontation in Hollywood.
He is accused of drawing a gun and firing it twice in the direction of a former friend during an argument in Hollywood in November 2021. He pleaded not guilty Wednesday to two counts of assault with a semiautomatic firearm and ordered to return to court on Nov. 2.
Los Angeles Superior Court Victoria B. Wilson ordered the rapper, whose legal name is Rakim Athelaston Mayers, to stay away from the former friend.
Mayers and two other men fled after he fired the gun, police said. He was first arrested in the incident at Los Angeles International Airport on April 20, and was released on bail the same day.
A member of the Harlem hip hop collective A$AP Mob, A$AP Rocky first made his mark in music with the single "Peso" in 2011. His 2013 debut album, "Long. Live. A$AP," went to No. 1 on the Billboard 200, as did its 2015 follow-up, "At. Long. Last. A$AP." He has been nominated for two Grammy Awards.
He is in a relationship with Rihanna, and the two had a son in May. Both have become as known for fashion trendsetting as for their music.
Copyright © The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


text:
Let their special memories live on forever while expressing your deepest sympathy. This striking, heart-shaped tribute is crafted by our expert florists from fresh, beautiful blue and white blooms to help you offer your comfort and support during a difficult time.
Heart-shaped arrangement of fresh blue and white flowers such as roses, delphinium, carnations and more


text:
SpareParts Deuce Male Harness - Regular, Size B
Deuce from SpareParts is the first harness designed especially for men! Deuce is a brilliant solution that allows you to continue love making in between erections, not to mention an excellent tool for double penetration. Two separate holes allow for the penis to extend through one and a toy to extend through the other, so there is no need to skip a beat when pleasuring your partner. An internal pocket holds a vibrator for extra stimulation, and a unique pouch comfortably cradles "the boys". Leg straps lightly cross over the perineum for added pleasure. Comfortable and completely adjustable, it can be worn for extended periods and makes is a great solution for men with erectile dysfunction.


text:
Fourteen images of Wolfgang Amadeus Mozart made during his lifetime are known to exist, and the International Mozarteum Foundation in Salzburg, Austria, is showing 12 of them in an exhibit aimed at dispelling the myth of the composer as a romanticized figure—and to show what the man might have actually looked like.
This portrait, painted by his friend, the actor Joseph Lange, is perhaps the one likeness that best combines fame and authenticity. But the biggest criticism against it was that it was long thought to be unfinished. Researchers now say that this was not an incomplete work after all, but a finished portrait only of the composer's head which was later grafted onto a larger canvas.
"Only a very few images of Mozart are universally agreed to be authentic. Yet the acceptance of these portraits—as well as more recently discovered portraits purporting to be Mozart—is less the result of provenance or connoisseurship than the fact that they are shrines at which Mozart scholars and Mozart lovers uncritically worship. They are representations of how we would like Mozart to look—in short they satisfy our visual biographical fancy. This is true, above all, of the unfinished portrait by Joseph Lange. The musicologist H.C. Robbins Landon described it as 'the most intimate, most profound, of all the mature Mozart portraits—the only one, really, to catch the ambivalent nature of Mozart's mercurial mind and to show the profoundly pessimistic side of his many-sided genius.'"—Cliff Eisen, "A New Portrait of Mozart?"
The young Mozart, by Pietro Antonio Lorenzoni. "For many people, Mozart has been and still remains the true musical representative of the Rococo, of the Anacreontic grace of the ancient regime—presumably because as a child he wore pig-tails and the jeweled dagger that was the emblem of gallantry. But this conception fits neither Mozart's nature nor his external appearance, as may be seen merely by looking at the four portraits that are relatively the most faithful: the one in the Salzburg family picture, the Bologna portrait, Lange's sketch in oils, and the penciled profile by Doris Stock. Mozart's charm and grace are not Anacreontic, and they are not merely representative of the eighteenth century."—Alfred Einstein, Mozart, His Character, His Work
A silverpoint drawing by Doris Stock, made in 1789. "Wolfgang Amadè Mozart, as he usually spelled his name, was a small man with a plain, pockmarked face, whose most striking feature was a pair of intense blue-gray eyes. When he was in a convivial mood, his gaze was said to be warm, even seductive."—Alex Ross, "The Storm of Style," in Listen to This
A miniature on ivory of the 17-year-old Mozart. "But he often gave the impression of being not entirely present, as if his mind were caught up in an invisible event. Portraits suggest a man aware of his separation from the world. In one, he wears a hard, distant look; in another, his face glows with sadness. In several pictures, his left eye droops a little, perhaps from fatigue. 'As touchy as gunpowder,' one friend called him. Nonetheless, he was generally well liked." —Alex Ross, "The Storm of Style," in Listen to This
A family portrait with Mozart in the center, his sister Maria Anna, a painting on the wall of their mother, Anna Maria, who died in 1778, and his father Leopold. It was made by Johann Nepomuk della Croce in 1780 or 1781. "If he did occasionally brag in his letters of his exceptional fluency in composition, simply to have written down all his works was a Herculean labor, without having also conceived them. Mozart occasionally boasted about his fluency in performance too, reporting to his father, for instance, that when he played for one Georg Friedrich Richter, Richter exclaimed, 'Good God! How hard I work and sweat—and yet win no applause, and to you, my friend, it is all child's play.' To which Mozart replied, 'Yes, I too had to work hard, so as not to have to work hard any longer.'"—Neal Zaslaw's influential paper "Mozart as a Working Stiff"
A relief by Leonhard Posch, 1789. "Today, the most recent generation of music historians has attempted to dismantle the view of Mozart as a radical visionary and reduce him to an ordinary artisan, better at his job than anyone else, of course, but just trying to make a living."—Charles Rosen, "Mozart at 250," in Freedom and the Arts
Mozart 8Credit: Mozarteum Foundation
A silhouette by Heinrich Philipp Carl Bossler, 1784. "The basically lower middle-class composer lacked the talent to be an alcoholic, just as he lacked the talent to be a rake like Don Giovanni. Convivial by nature, he not doubt joined in when others were celebrating, allowing his boisterous high spirits free rein. Indeed, he may even have got carried away, as sometimes happened in his binges with Schikaneder. But he himself proved again and again that he needed no stimulants in order to compose, and the very appearance of his scores suggest quite the opposite of a composer destroyed by drink."—Hermann Abert, W.A. Mozart, edited by Cliff Eisen and translated by Stewart Spencer
An engraving of Leopold on the violin, Mozart seated, and Maria Anna singing, by Jean-Baptiste Delafosse and based on a watercolor by Louis Carrogis de Carmontelle, 1764. "It was during his Dresden years that he gave a brief description of Mozart: 'Mr. Mozart was an extremely eccentric and absent-minded young man, but not without a certain spirit of pride. He was very popular with the ladies, in spite of his small size; but he had a most unusual face, and he could cast a spell on any woman with his eyes.'"—the Italian baritone Luigi Bassi's description, from The Cambridge Mozart Encyclopedia, edited by Cliff Eisen and Simon P. Keefe
An image attached to a snuffbox belonging to Mozart, by Joseph Maria Grassi, 1783. "The standard coupling of Mozart with another artist was to be Raphael, possibly initiated by the painter Ingres, who idolized both, and Mozart was transformed into an icon of classicism, an emblem of grace and purity. As the century proceeded, both Mozart and Raphael suffered, not from a loss of prestige—that was only too firmly in place—but from a growing disdain among the avant-garde of practicing artists and composers for the established classicism in favor with the academies of art and music. Bernard Shaw protested acutely that people did not realize how powerful Mozart was because his music was so beautiful. Brahms's appreciation of Mozart was equally passionate and nostalgic: how wonderful it must have been to be a composer at the time of Mozart, he thought, "when it was easy to write music," as if Mozart was the great representative of a prelapsarian age, before the exile from paradise."—Charles Rosen, "Mozart at 250," in Freedom and the Arts
A painting by Giuseppe Cignaroli, also known as Fra Felice. "Yet he was certainly fond of good company. At home, parties were limited to small musical gatherings that Constanze occasionally organized for a few friends, when he particularly enjoyed listening to Haydn's music … But he was also a passionate dancer … Indeed, he sometimes even claimed that he had made more progress as a dancer than as a musician."—Hermann Abert, W.A. Mozart, edited by Cliff Eisen and translated by Stewart Spencer
Mozart in Verona painted by Saverio Dalla Rosa in 1770. "He liked to be well dressed and was fond of lace, watch chains and so on, hence Clementi's initial impression that he was one of the emperor's chamberlains … As for food and drink, we may accept his father's verdict without further ado, a verdict in any case confirmed by his sister-in-law Sophie Haibel, who insisted that he ate only the simplest fare."—Hermann Abert, W.A. Mozart, edited by Cliff Eisen and translated by Stewart Spencer
A painting by Johann Georg Edlinger, sometimes considered to show the composer not long before his death in 1790, but hardly anyone believes is an authentic portrait of Mozart any longer. "All in all, the final decade of Mozart's life was shrouded in a dark mist from which death alone was to release him. The brighter his artistry shone, the more somber his surroundings became."—Hermann Abert, W.A. Mozart, edited by Cliff Eisen and translated by Stewart Spencer
Posthumous portrait of Mozart by Barbara Krafft, 1819. "To be sure, the mention of a red coat—possibly including even the buttons described by Mozart (although this is far from clear) - in two letters hardly proves that the sitter is Mozart. Not only were red coats not uncommon in Vienna at the time, but on at least three other occasions, both earlier and later, Mozart was himself depicted in a red coat, in the portrait by Saverio dalla Rosa executed at Verona in 1770, the family portrait of 1780-1 traditionally attributed to Johann Nepomuk della Croce, and in the posthumous Barbara Krafft portrait of 1819 (itself based on models sent to her by Nannerl). Nevertheless, there is no question that Mozart actually owned a red coat, as his estate documents show, and as independent testimony to a family recollection, the conjunction of letters and documents."—Cliff Eisen, "Mozart in Italy and the Enigma of a Collection: Newly-Discovered Portraits and Artifacts"
An 18th-century portrait that researchers now say does not depict Mozart. "We cannot be sure if 'composing freely' is a concept that Mozart would have understood or desired: all the evidence is that he yearned to be needed and appreciated—to be asked to write music because people wanted it, to show off the skills of his singers and players as well as possible, to make the most of whatever practical performing circumstances he was faced with. Yes, he wanted his audiences to enjoy his music, and to show by their attention that they were enjoying it. Yes, he wanted his music to be better, cleverer, more passionate, and more memorable than everyone else's, and probably believed it to be so, but there is not a shred of support for the idea that he ever consciously wrote for some far-distant future."—Nicholas Kenyon, Faber Pocket Guide to Mozart


text:
Three weeks ago (Naturalist's Corner 3/11) I wrote about a mysterious malady dubbed White Nose Syndrome (WNS) that has been decimating bat populations at various hibernacula across the Northeast and spreading south. Last week (3/26) the U.S, Fish & Wildlife Service called for a voluntary moratorium on caving in states with documented incidents of WNS and in adjacent states.
The fact that WNS has been reported from sites considerable distances from known WNS-hibernacula has U.S. Fish & Wildlife concerned that humans may be aiding the spread of the disease. "We suspect that white-nose syndrome may be transmitted by humans inadvertently carrying WNS from cave to cave where bats hibernate," said Fish & Wildlife northeast regional director, Marvin Moriarty.
Fish & Wildlife is asking spelunkers to suspend all caving activities in WNS-affected states and adjacent states. The Service also asks that cavers not use clothing and/or gear that have been used in WNS-affected states in any caves even if the equipment and clothing have been disinfected using Fish & Wildlife's protocols. The advisory states, "Although we have confidence in the current protocols for decontamination, there is no way to guarantee efficacy for all equipment in all circumstances, and they may not adequately address needs for technical or vertical gear."
Fish & Wildlife and other agencies will also re-evaluate all scientific activities taking place in hibernacula to try and insure they are not possibly aiding the spread of WNS.
The nine states where WNS has been documented to date are New York, Pennsylvania, Connecticut, Massachusetts, New Hampshire, New Jersey, Vermont, Virginia and West Virginia. At least 60 hibernacula are known to be infected and the service estimates that more than 400,000 bats, including 25,000 endangered Indiana bats have succumbed to WNS. Some hibernacula have experienced mortality rates as high as 97 percent.
The Service has closed four caves at Wheeler National Wildlife Refuge, near Decatur Ala. And may close more on Service property in accordance with advisory guidelines. Fish & Wildlife only has authority to close caves on property it owns but noted in its advisory, "We expect other government agencies, organizations or private landowners will close caves to help prevent or slow down the spread of WNS."
Northeast Fish & Wildlife director, Moriarty noted, "We understand that following these recommendations will inconvenience recreational cavers, but we believe this is the most responsible course of action as we face this unknown threat to bats, which play an important role in our world."
Fish & Wildlife is hoping for the same kind of cooperation and understanding from cavers that rock climbers have shown regarding Peregrine Falcon closures.
The four recommendations the Service has issued are:
1. A voluntary moratorium on caving in states with confirmed WNS and all adjoining states;
2. Nationally, in states not WNS-affected or adjoining states, use clothing and gear that has never been in caves in WNS-affected or adjoining states;
3. State and federal conservation agencies should evaluate scientific activities for their potential to spread WNS; and
4. Nationally, researchers should use clothing and gear that has never been in caves in a WNS-affected or adjoining state.
We intend to review the cave advisory frequently – at least quarterly.


text:
Tracking groundwater pollution to its source
Computer algorithms might be useful in identifying sources of groundwater pollution, according to researchers in Australia and India. Writing in the International Journal of Environment and Waste Management they explain how notoriously difficult it is to trace such pollution.
Groundwater is a major and economical source of drinking water for both urban and rural areas. Although groundwater represents a small percentage of the total water distribution across the globe, it is the largest available reservoir of freshwater. Available fresh water amounts to less than one half of 1% of all the water on earth. However, the subsurface is also the principal receptacle for increasing volumes of human and industrial waste. As global consumption of water is doubling every 20 years, more than twice the rate of human population growth, the issue of pollution of groundwater is a growing problem.
Groundwater pollution occurs from different anthropogenic sources such as leakage from underground storage tanks and chemical and waste depositories, leakage from hazardous waste dump sites, sewers, liquid effluent and process lagoons, soak pits and accidental discharge, explain Ravi Naidu of the Centre for Environmental Risk Assessment and Remediation, at the University of South Australia and colleagues. "Remediation of these contaminated sites requires the optimal decision-making system so that the remediation is done in a cost-effective and efficient manner," the researchers say. "Identification of unknown pollution sources plays an important role in remediation and containment of contaminant plume in a hazardous site."
They point out that reliable and accurate estimation of unknown groundwater pollution sources remains a challenge because of the uncertainties involved and the lack of adequate observation data in most cases. The non-unique nature of the identification results is also an issue in finding the original source of a pollutant. They have tested the validity of different optimization algorithms including a genetic algorithm, an artificial neural network and simulated annealing and hybrid methods. All of these methods essentially process available data including pollutant concentrations and how these change over time and any monitoring data to home in on a potential source. The benefit of using such algorithms is that as more information becomes available another iteration will take investigators closer to the source.