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Reciprocating saws have been on the move–fast–since the last time we looked at this group. Category-wide, manufacturers have made advances with tool-free blade changes, articulating handles, and even LED work lights.
But all the features in the world don't matter unless they have a real impact on how well these workhorse tools can take out material. Since most of my projects require tearing down the entire house I'm "remodeling" and building a new one in its place, there was no shortage of demo work and framing alterations to keep these saws busy.
New blade-changing features are the best improvement to this category in years. The Makita (shown) and Bosch have tool-free mechanisms that lock open while you insert a new blade.
Credit: Photo: David Sharpe
In the group of tools I tested, about the only thing that remains the same from my old recip saws is that the blade goes back and forth. Now, each tool offers somewhat different functionality than the others, using unique combinations of design and features. I tested 10 tools over a 12-week test period: the Bosch RS20, Craftsman 26672, DeWalt 304PK, Hilti 1250-PE, Hitachi CR13VA, Makita JR3070CT, Milwaukee 6523-21, Porter-Cable 9747, Ridgid R3001, and Worx WT401K.
I first tested the tools in the shop using new, identical blades to cut 4x4s, 6x6s, and hardwood decking. Here I wanted to work each tool in relatively uniform materials and in a controlled environment to get a baseline for power, vibration, and feel while getting a close look at each tool's feature set before taking them out to my sites.
In the field, I looked to see which tools were the go-to models on everything from cutting out door plates to hacking through plaster and lath to removing nail-embedded framing or deleting old knob-and-tube wire chases and plumbing pipes. Here, I was concerned with how the combination of feel, balance, power, and features combined into a tool I'd reach for day in and day out.
How many times do you use a recip saw in hard-to-see conditions? Worx (shown) and Bosch have added LED "headlights" to their models that really help illuminate the work area.
Blade Change. All the tools in the group, thankfully, have quick-change blade mechanisms. I think this is the best single improvement to this category. Bosch and Makita were the easiest to load. I liked how the locking mechanism on both tools stays open until you insert a blade into the shaft; inserting the blade also locks it in place. I do, however, have two small complaints: the small collar is tough on your fingertips, and while you can change blades wearing light-duty gloves easily enough, the winter gloves have to come off for you to get a grip. To eject the blade, you turn the collar again, which locks it open and pops the blade out.
The Craftsman, DeWalt, and Ridgid all have a lever on the side of the body that activates the blade-locking mechanism. I liked this design best. The Worx has a lever on the blade shaft itself; you release or insert the blade by pushing the lever downward. I found it on the small side, but it worked. The Hilti, Hitachi, Milwaukee, and Porter-Cable function similar to the Bosch and Makita; however, they don't lock open when the blade is out of the tool, which adds an extra step. The blades don't pop out, either; you have to pull them out.
Adjustable Shoe. All the tools have a quick-adjust shoe except the DeWalt, which has a fixed steel cage around the shaft. I suppose a conveniently adjustable shoe is useful for getting better control of the blade depth for certain operations like cutting blindly into a wall cavity, but in 25 years of using these tools, I've never really found a need for the feature. That said, the adjustments work just fine on all the saws.
Orbital Cutting Action. An important operational difference among these tools is whether the saw blade can cut in an orbital fashion or not. Orbital action is where it's at for aggressive demolition, enabling the blade to hit the material harder and remove it faster than a straight reciprocating motion. The Makita and Worx each allow for straight action and three degrees of orbit. The Hitachi, Hilti, Milwaukee, and Porter-Cable allow for straight cutting and one orbital setting. The Bosch, Craftsman, DeWalt, and Ridgid offer only straight cutting action.
Shop Cuts. After previewing each tool, I clamped the 4-by, 6-by, and hardwood decking to the bench and set them to work cross-cutting the stock. After working in each material, I started noticing how much each tool's weight distribution and balance affected its performance. The Makita, Milwaukee, Hilti, Hitachi, and Bosch had good weight distribution along the tool body, felt very solid while cutting, and almost fell through cuts. The Craftsman, DeWalt, Porter-Cable, Ridgid, and Worx required more push.
Next, I flipped on the orbital cutting action in the tools that had the feature (Hitachi, Hilti, Makita, Milwaukee, Porter-Cable, and Worx), which immediately enabled them to pack more punch cutting through wood. And I noticed Makita's new anti-vibration feature here. The saw ran smoothly in the shop cuts.
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When I practice mindful meditation (concentrating on the breath), my thoughts wander - a lot. I try hard to bring my mind back but often I fail.
What should I do to calm myself before meditation?
When I practice mindful meditation (concentrating on the breath), my thoughts wander - a lot. I try hard to bring my mind back but often I fail.
What should I do to calm myself before meditation?
Failing is no problem. Just watch your thoughts and see them as clouds in the sky. They will go. Don't grasp them. Let them go. In some weeks you will be calm.
What you should do before meditation? Meditation.
The times you think you fail, you succeed. Just watch your breath.
Wandering thoughts are normal, it is all part of learning to meditate. Try not to follow the thoughts that pop up. Instead accept and dismiss them as just being a thought. If you find that you have become distracted, no problem, just place your focus on your breath again. Becoming angry or frustrated about it is counterproductive.
When you start with meditation many people experience that the 'noise' in their head seems to be increasing at first. This is because you are becoming aware of all the thoughts that constantly pop up. In time and with practice, your mind will become calmer.
It helps if you don't do any exciting activities right before meditation. Give yourself time to calm down before you start. Also you will be more relaxed if you don't eat or take caffeinated drinks (coffee, cola or black tea) just before meditation.
Before meditation there are several Dos and Don'ts. Do lie flat on your back (corpse pose or "constructive rest position" with knees bent. Relax every muscle. It's okay to think or even silently acknowledge each muscle. Don't eat or drink anything right before meditating. A few sips of water are okay but keep in mind in the hour or two before meditating that coffee, soda, juice, starch, sugar and fiber all have physical reactions which will likely come up during your sit.
Even if you are relaxed, calm, chillin' before meditation, you may start to get monkey mind once you start. Like others have said. That's what your mind does. That's why you're meditating; to train it to be nicer to you. Try meditating with a focus object. It can be a small buddha statue, cross, orb, candle, photo or any other static object in the room. Stare directly at it.If your mind drifts or you start to think about the email you sent to your boss before coming home, just come back to the object. say silently to yourself what the object is. "Picture...picture....picture." You can also come up with a blanking word. Soemthing that means nothing or signifies nothing. That's what we're trying to get to, riught? No attachment and no aversion. I use the word "Nothing.....nothing.....nothing...." You could make up a word in an imaginary language if you want. The idea is to detach from your worldly worries and remember that your mind is the part of you that you are exercising.
Meditation is about mastering your mind not turning it off. Don't make it too difficult on yourself.
Simple, focus on one singular thing. Simple example might be the sound of rushing water, or imagining the soft passing of an autumn wind. Try to visualize a particular kind of tree or recall the sound of a certain type of bird.
Meditation isn't complex, don't overthink it. I'm a martial artist for over 25 years, there's no science behind it. These are just generals but meditation is simply focusing on one simple thing. Conscious breath well.
I always take whatever issues or concerns are at the forefront of my thoughts and imagine that they're fading into a huge sun and actually burning. Sometimes, writing my issues down on paper and burning the paper actually calms me down. Might not work for everyone but it does for me.
Yes wandering thoughts are to be expected and are normal. So too the sudden 'shock' of newly sitting with an overly busy mind. But i know what you mean. Sometimes sitting with the breath just doesn't seem to do anything.
I've been sitting for, dunno, maybe twenty years and I get sits where the mind won't settle. That's just the way it is going to be I guess. However it can be helpful to give some reflection to what you do leading up to the sit.
For myself, I reflect on possible contributing conditions. Food that I may have eaten, or drinks consumed. Spending time looking at a computer or any flickering screen before a sit doesn't help the mind settle either. Maybe there is some pressing issue or other.
The length of the meditation period makes a difference also. I've had sits where 35 minutes into a 50 minutes sit, 'something' in me just gives up. There is a tangible relaxing and sometimes even a spontaneous deep breath, and the remainder of the sit has a lot of stillness. So longer sits can make a difference.
Sometimes the breath is too evasive. If my mind is very choppy, I will spend (a lot of) time moving awareness though my body (body awareness and grounding practice). The body is nice and chunky. Just keep bringing attention back into the 'blob of presence' that is your body.
Mantras too are nice and 'chunky' and can be easier to stay with.
Visualising a clear bright blue sky can bring about a happier interior and positive state of mind. It is easier to be mindful when in a positive state.
Experiment, especially when starting out. Mediation is not simply about doing some technique or other. Have a living relationship with your practice. Also, AND THIS IS IMPORTANT. Don't get hung up on getting into a particular calm or any other type of state. Far better to clarify committment to returning the wandering mind. That is the real practice. The committment to keep returning the mind, no matter how many times it wanders. It's the willingness to do that which bring about change (and calm). If you finish the sit and can say you did your best to stay committed to returning the wandering mind, that's the job done well.
One last quick thought (actually all of this is quick) when you notice that you have wandered into thought etc. That moment of noticing, is IT. Don't be in a hurry back to finding the breath or mantra or whatever. Stay with that moment of knowing, and say well done to yourself.
So play a bit. But you need to be careful too that you don't end up simply going along with restlessness, moving from one technique to another, and using that to distract yourself away from the sometimes discomfort and frustration of being with yourself, and things not being the way that you want them to be. You need to be honest with yourself about what you do and why.
Find a group to sit with. That helps. Go on retreats. Putting yourself in supportive conditions will help your mind settle and your practce to go deeper. This gets 'ploughed back' into your practice at home.
.... taking some slow steady deep breath at the start of the sit can be helpful. Basic stuff. Slow deep breath help calm the mind. I recall somewhere reading that ten minutes of slow deep breaths brings about deep relaxation. So, you could spend some minutes at the start of the sit taking deep abdominal breaths.
automate breathing. (I often think about breathing while meditating)
#1 establish max lung capacity, by inhaling as much as I can (into belly).
#2 establish amount of oxygen per breathe; at lung capacity I often carry at least two full breaths worth of air.
#3 know what 'empty' feels like, exhale all air from lung (do a small crunch to exhale air there as well).
then I will fill lung (to max), exhale through nose (until empty) quickly; a few times.
then I slow down, then I slow...
Until the lungs take over inhale/exhale rhythm.
By not thinking about breathing (meditation) I eliminate a huge anchor to my consciousness.
I used guided mediations to 'train' me to do this. Calm and Headspace are both excellent iOS apps to achieve this.
Similar principles used in both and cited in other answers:
Don't beat yourself for the mind wandering, that's what it does and one of the reasons you're trying to mediate. Just bring you focus back to your breath when it does
Also, try focusing on some other static body area. Where your back touches the seat or foot on the floor for example may be easier
Surprised this answer hasn't been offered yet.
Be present in the moment, here and now.
Feel your physical presence.
Right now, focus on breathing, focus on the physical sensation in your toes.
Though it may seem slightly quirky it actually is very effective because it forces your brain to sweep your body from head to toe and get you very physically present in the moment.
Most meditation rutines include a process similar to:
This will help but as other answers said distractions are part of the meditation. You are putting your mind in a gym against distration do not worry if it is hard. Strong emotions, thoughts and worries will make your meditation harder but not less usefull.
So just go back to the breath
Friends of mine have had good success with YouTube videos guiding them through their mediation.
Thank you for your interest in this question.
Because it has attracted low-quality or spam answers that had to be removed, posting an answer now requires 10 reputation on this site (the association bonus does not count).
Would you like to answer one of these unanswered questions instead?

subset: commoncrawl


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Topic: Crazy World of Arthur Brown
Supporting ROTTINGHAM HOTSPUDS since 1991.
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Holy shit, there is more...
He's just misunderstood.
Australians don't seem like serious people to me.
oooh man, the 3min mark in the first vid. sensational.
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It's day 2 and we've been trying to always have 1 of us awake at all times watching the baby so that we're never both sleeping at the same time. Does a newborn need to be watched 24/7 or am I just stressing out over nothing? The baby is sleeping in the same room as us, but I'm worried about sleeping through the crying or any problems where she doesn't cry that I need to watch out for.
Yes, it's okay for both parents to sleep at the same time, for several reasons.
The human mind is finely tuned to the sound of crying babies, you'll be surprised at what you can hear subconsciously while you sleep. Our pediatrician wisely commented that newborns have only one desire - to grow older - so you can be sure they'll tell you if something is bothering them enough.
Another reason to sleep together is that parents need to take care of each other too. If you always put the baby first, then you'll burn out. You can only care for the baby when you're
The only situation where "keeping watch" might be sensible is if you're very worried about SIDS. The problem is that "sudden" really means "science has no idea what causes this and there seem to be no symptoms", so nobody can say if this child is more/less at risk. For parents that are worried specifically about SIDS there are products like Angel Care but mostly you've just got to accept that you can't prevent some things. Also, as KennyPeanuts points out, SIDS is very rare and often misunderstood to include suffocation from objects (teddys, pillows, blankets) so be sure to have a safe crib those first few months.
If both of you sleep in close proximity to the baby, so that you can hear her cry or even mumble when she does, you'll be fine.
Your "Something Odd Detection System" will be on 11 even when you're sleeping, in the first months.
You'll be surprised how alert you can be in an instant. It is almost as if you are sleeping, but you are not. We have a new born (our 3rd) and you get used to what sounds are ordinary and which aren't. She's 4 weeks old and actually did a proper cry, for the first time, a few nights ago and we both jumped out of bed.
Just take time to get to know their noises, to know their snuffles, their sqeaks, everything they do, and you'll become very aware, very quickly about who they are. All of mine were different. This one actually sounds a bit like a baby animal in the room.
During the day, we move her around in a moses basket and leave her by the dishwasher, washing machine (they seem to love noise near them, that's fairly consistent) and we'll both catch a bit of shut eye. Trust me, you'll hear her. As Roy said, your senses are around about 11 at the moment, especially if it is your first.
But most of all, your child will benefit the most from having alert parents around and for that, you both need a good amount of sleep and I'd advise you get it when you can. Lie in the same room as him/her and you'll love listening to him/her and will doze off as content as you'll ever have been. Enjoy it!
When we had our first, we would check on her many times throughout the night. Everyone told us that we were being silly but we'd still check every time she made a noise (or worse, didn't). After a while, we bought an Anglecare baby monitor that included a motion detector - if the child stops breathing, then an alarm sounds. It is probably overkill, but it allowed us to get a decent night's sleep, a rare commodity with a young baby.
My wife has the primary responsibility of getting up in the middle of the night and dealing with kids. We have three children, we both sleep at the same time and she still get's plenty of sleep.
Make sure your kids eat a good dinner and go to bed at the same time every night. This will help you get your sleep.
To answer your question, it is perfectly fine for both parents to be sleeping at the same time. My wife is very alert. When my wife was in the hospital having another baby, I was responsible for the kids, I normally sleep very hard and it's impossible to wake me, but when it was my turn I was very alert knowing that I needed to monitor them at night.
It's completely safe for both parents to sleep at the same time.


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Got the NN5 Monday afternoon. I was extremely happy with how easy it was to setup. Following the instructions I put everything together and found it nice that a different plate was included that fit my d2x perfectly having a high notch across the rear so it always goes on the camera the exact same way. I only had an 18-200 VR nikon lens to play with today, but I have to try this out. Here are my very first results-
Note, the first to I captured in RAW, but sent to ptgui as jpg from Aperture. The 3rd all processing was done in RAW files right in ptgui. (kind of testing out the HDR features.)
If I can pull these results right out of the gate, I can't wait to see what I can get as I learn this. All stitches had ZERO issues.


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Spider-Man: Turn Off The Dark Fri, August 2, 2013 - 7:30 PM Lyric Theatre NY in New York, NY
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Since the developers deliberately broke the very useful emblems feature that I've relied on for years and years with Ubuntu ( How do I tag files with custom icons in Nautilus? ), while offering no replacement whatsoever, I guess I need to revert to the older version of Nautilus. How can I do this?
Nautilus in oneiric requires the GTK+3 libraries whereas Nautilus in Natty requires the GTK+2 libraries - quite different.
I'm afraid this will not be easily possible - you will need to recompile and probably have to do major code surgery... it's far easier just to stay with 11.04 if this emblem function is a major capability you require until a Gnome 3 alternative is developed.
Please see this Q&A for a scripted workaround:
This feature is not useful to the majority of people, but it does add UI elements that clutters the experience. That's why it should be implemented as a plugin so that the relatively few people who wants it, can have it without bothering the majority. The freedom to tailor your software to suit your specific needs, is what makes open source a very friendly way of satisfying all needs. You really wouldn't want to have hundreds of dialogs installed by default in order to suit all potential use cases.
And before you start complaining that nobody has written that plugin for you yet, please keep in mind that Ubuntu 11.10 has not been released. Ubuntu 10.04 is supported until April 2013. 11.04 is supported until October next year. There is plenty of time to fix this before you need to upgrade.
The new Nautilus is part of the gnome 3 software bundle, while the old nautilus was part of gnome 2. So I guess it is not the fault of the ubuntu developers. Some changes from gnome 2 to gnome 3 cannot easily be understood and complicate the workflow imho. Maybe there is an extension for nautilus somewhere to attach the icons.
EDIT: Ok I found an explanation here on askubuntu: How do I tag files with custom icons in Nautilus?
The Gnome developers simply removed this feature and here is an explanation by the gnome developer team. http://mail.gnome.org/archives/nautilus-list/2010-July/msg00023.html
Sorry that there is nothing more to do right now, but I guess someone will design a nautilus-extension for customizing icons with emblems.


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Home › Scene › Exhibitionism! ›
Creativity in all forms provided tantalizing eye candy to the enthusiasts who attended Laguna Art Museum's opening night reception for its trio of exhibits. The town's own KX 93.5 radio station played the beats; 24 Carrots served the bites; and guests nibbled as they explored the venue and chatted with talents like Tanya Aguiñiga, the artist behind the Sea Change interactive installation. Also on view were ex.pose: beatriz da costa, a project that explores the trials of cancer; and Faux Real, an exhibit offering a whimsical take on reality that left guests laughing—and looking closer at life. Photography by Eric Stoner


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It's all in the title basically. There's an interesting topic called systolic geometry that has grown a lot in the past 30 years, with a (first?) textbook on the subject by M.Katz (AMS 2007).
So I was wondering what would a semester-long graduate course typically cover, assuming knowledge of basic Riemannian geometry.
I haven't been able to find much information online: Katz has a second semester graduate course which doesn't quite cover the same ground as the book. Has there been other courses on the topic elsewhere?


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Going Back to Work After Cancer [1]
Key Messages:
- When and how you return to work after cancer treatment depends on a number of factors, including the type of work you do and the nature of your recovery.
- Talk with a social worker and a member of your employer's human resources department about your legal rights, as well as any accommodations you may need.
- It is your decision when and how to tell coworkers about your cancer experience, if you even decide to talk about it at all.
After finishing cancer treatment, many people look forward to returning to work. Working can provide opportunities to reconnect with colleagues and friends, focus on something other than cancer, get involved in interesting and challenging projects, and start settling back into a regular routine and lifestyle. However, every person's situation is different.
Decisions about going back to work will likely depend on your financial resources, health insurance, the type of work you do, and the nature of your recovery. Many people with cancer who took time off for treatment return to work full-time, while others may have to decrease their hours. Still others may not be able to return to work because of long-term side effects [3]. No matter what your situation, there are a number of things you can do to make this transition a little easier.
Planning for your return
For survivors who cut back on their hours or stopped working during treatment, the first step is to talk with your doctor about when you will be ready to return to work. The timing will depend on the type of cancer and treatment you had and the type of job you perform. If your job is stressful or physically demanding, you may need to wait longer before returning to work. Ongoing treatment or side effects, such as fatigue, may also cause delays. Talk with your doctor, nurse, or social worker about any ongoing physical, emotional, or mental limitations you may have, as well as how your follow-up care may affect your work schedule.
Once you know it is okay to return to work, a good next step is to set up a telephone or in-person meeting with your human resources department to discuss your plans. Ask whether your company offers resources, such as a formal "return-to-work" or disability management program, to help you make the transition. In addition, you may have access to a free consultation with a qualified mental health professional through an Employee Assistance Program (EAP) with whom you can confidentially discuss your adjustment back to the workplace.
During this meeting, you may also want to discuss the possibility of flexible work arrangements, such as part-time hours, partial or full-time telecommuting, job sharing, reassignment to another position, leave time for doctor visits, or periodic work breaks to take medications and contact members of your health care team. These are all considered reasonable accommodations under the Americans with Disabilities Act (ADA) [4].
Before granting a reasonable accommodation, your employer may request documentation that verifies your limitations, such as fatigue [5], chronic pain [6], and cognitive difficulties [7], which are classified as disabilities under the ADA. However, employers are not allowed to ask for your medical records. An employer may deny a request if the accommodation would cause an "undue hardship," such as being too difficult or expensive to implement. However, an employer is required to determine if there is an easier or less costly accommodation that can be made to meet your needs.
Legal rights under the Family Medical Leave Act
You may have used the Family Medical Leave Act [8] (FMLA) to cover your time away from work during treatment. Under the FMLA, an employee may take up to 12 weeks of unpaid leave per 12-month time period. To be eligible for FMLA benefits, an employee must work for an employer that has at least 50 employees within 75 miles. In addition, the employee must have worked for the employer for a total of 12 months and at least 1,250 hours over the previous 12 months.
Family medical leave does not have to be taken as 12 weeks in a row. It can be used intermittently and be used after you've returned to the workplace. For example, some people use the FMLA to go back to work part time while they are regaining strength and transitioning back to their responsibilities. Some employers will require that their employees use available sick or vacation time for part or all of the 12 weeks, so check with your human resources department for information about your workplace's policies.
Other key points in the FMLA include:
- Employers are required to continue your group health insurance coverage while you are on family medical leave on the same terms as if you were still working.
- You are entitled to return to your original job or to an equivalent job with equivalent pay and benefits.
Ask your nurse, social worker, or another member of your health care team for resources and information about other federal and state laws that protect workers' rights.
Talking with coworkers
You do not have to tell your employer or coworkers that you had cancer, unless you are requesting a workplace accommodation or are unable to perform the usual responsibilities of your job. However, many people decide to give coworkers or managers at least some information about their diagnosis and treatment, especially if they have been absent for a while or their physical appearance has changed.
It is important to decide what you want to tell people in advance and how you plan to do it. You may want to have private conversations with a few close coworkers. Or you may find it easier to send an e-mail or make an announcement at a staff meeting. Consider your work culture, what feels right to you, and your need for privacy versus your need for accommodations and support. You can also ask your manager, a close coworker, or a human resources professional to help you decide if, when, and how to tell others about your cancer.
When talking to coworkers, it helps to keep your explanation simple and let people know how your return to work will affect them. For example, you might consider saying: "I've completed treatment for cancer, and I'm currently doing well. It's good to be back at work. Just so you know, I will be here 20 hours per week for the next four weeks, and I will return full time after that. In the meantime, Joe Smith will be covering Projects A and B."
Some employers and coworkers may not respond well. Their reactions usually have to do with past experiences or a lack of familiarity with cancer. However, you may find that being open will help you reconnect with coworkers and offer the opportunity to address misconceptions or rumors that may have circulated in your absence. People often take your lead; if you are comfortable talking about your experience with cancer, they will usually feel the same.
Additional tips for transitioning back to work
Consider using the following strategies to make the transition smoother once you've returned to the workplace:
- Plan to take small breaks during the day to help you maintain your energy level.
- If you find that you're having difficulty concentrating, use lists and reminders or set meeting and task alarms on your office e-mail system.
- Set up frequent meetings with your manager to evaluate the transition and make any necessary accommodations, such as a temporary change in responsibilities if your job is physically demanding. You are entitled to reasonable accommodations as long as you are able to do your job, so don't hide your condition at the risk of your physical or emotional health.
Remember, as a cancer survivor, your most important job is a healthy recovery. With the right information and support, returning to the workplace can be an important and positive step for that recovery.
More Information
Cancer and Workplace Discrimination [9]
For Young Adults: Returning to Work After Cancer [10]
Sharing Your Story [11]
Survivorship [12]
ASCO Answers: Cancer Survivorship (PDF) [13]
Additional Resources
U.S. Equal Employment Opportunity Commission: Questions and Answers About Cancer in the Workplace and the Americans with Disabilities Act [14]


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I am working with Esri flex 2.3 API, I am also using Abode BlazeDS for server side binding. I am sending a geometry as WKT from server into my flex client and I am looking for a way to convert the string into a flex geometry so that i can make a Graphic object and add to Feature Layer! or do I have to write a parser myself to accomplish this?
On the server side, why not just format to ESRI's JSON format - which is very similar to GeoJSON? So, the workflow would look something like:
Neither ActionScript3 nor the Flex framework offer "raw" geometry objects beyond the basic
With that said, I believe the bottom line is this: You will still have to adapt your inputs --be they WKT from your database, or conversions out of a 3rd-party libary --into the required ESRI proprietary geometry objects before you can expect to push them into an ESRI Feature Layer object.
On the bright side, it's not difficult to get your head around the Well Known Text geometry formats. As such, I encourage you to perceive the task of writing a class to perform your WKT to ESRI geom conversions as a "fun escape" from your normal day-to-day tasks. :)
Here's a thought: Could you start such a project and release it on code.google as a 3rd-party lib so other ActionScripters could quickly and painlessly add such support to their ESRI Flex viewers?? Be warned that I have given the legality of this zero-consideration. :p
[Edit] If you are looking for some related open source code to retool, I would recommend perusing the OpenScales codebase for useful bits. OpenScales has some WKT support, plus it's already in AS3/Flex; so you could expect to reuse some of their code as a convenient springboard.
Afaik, ESRI does not provide a WKT conversion method, so you would have to write your own or try to find a 3rd party ActionScript library to do it (though it would still require modifications). SharpMap has a WKT parser that you could use to speed up the process of rolling your own parser: GeometryFromWKT.cs
As a side note, ArcObjects exposes methods to convert ArcObject geometries to WKB.


text:
What are the best practices to document interviews with users - do you just document the conclusions and take aways or do you do a full transcript or both?
I would guess that anyone actually working in UX would not have the time to do a full transcript for each interview.
I typically get permission to record the interview with my phone and make a few short notes from time to time as i go. I will listen to the full recording later in case I missed something important. I find a simple spreadsheet document with a sheet for each interviewee each containing a column for the questions, another for the corresponding responses works well.
In the rare event that I can't get them to let me record, then I simply need to work harder on live note-taking and lose a lot of the 'conversation' element of the interview.
When presenting findings to others, I naturally I summarize the important points with some visual data like pie charts etc. alongside some key quotes from the interviews - I sometimes tie them to personas.
Hope this helps.
There is no best practice :-)
You're doing a user interview for a purpose. The output from that interview needs to be something that's fit for that purpose.
For example, currently we're doing some user interviews to validate some assumptions we've made about how a particular product idea will be used. All we're doing there is taking some notes during the interview on post-it notes, heaving them up on the wall back at the office, and affinity diagraming the heck out of 'em. Because doing any more than that would be a pointless waste for our context.
Always approach deliverables like any other UX problem. What's your working context? What does the end-user of the output from your user interviews need? That'll give you the clues you need to figure out the best deliverable (if any - a conversation might be best - depends on your context).
A full transcript isn't necessary if the session is recorded - instead, I've always delivered user testing results in the following broad format:
If you feel that isn't quite enough for your stakeholders, something else you can do is invite them to observe a session remotely with the observer. This is a good opportunity for them to converse with the observer and for the observer to hopefully make the case for UX's claims.


text:
Enough of the Mudslinging by Senate candidate McMahon
Jim Conway, Woodbury
As the U.S. Senate campaign of Republican Linda McMahon continues its mudslinging, we have learned McMahon's personal bankruptcy cost more than two dozen creditors nearly $1 million. The creditors who got stiffed include two Connecticut banks, with the dollar amount of $474,067, or nearly half of McMahon's total bankruptcy.
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kitty wrote on Sep 30, 2012 11:49 AM:
" Well said.......also I might like to point out i researched the interest rates at the time of his equity line and he received the going rate for july 2008 "
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- Americans may be too ill-informed to vote intelligently
- U.S. Supreme Court nominating power a significant issue
- Too many freeloaders inhabit U.S. Capitol
- No lawmaker with record like Murphy's should be elected
- Enough of the Mudslinging by Senate candidate McMahon
- Before blaming Bush, recall who held Congress in 2007-08
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- Incident of abuse of animals is deeply disturbing
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text:
Instant coffee samples from NESCAFÉ® Taster's Choice® for $0 + free shipping
Free sample of Minty Mocha Magic. You have to sign up for a Nestle account to claim this one :-)
9 Comments add a comment
Requires your email, but I gave a fake one. Don't feel like getting spammed.
@kjlane: i have an email address just for commercial contact
So how do you get the freebie? I aint seeing it.
This ended about an hour ago.
That's ok it's ended. You can get a similar flavor by boiling your dishwashing sponge for a couple minutes & drink the water from the boil.
I'm gonna go ahead and disagree with ya there. This stuff is the best instant coffe I've had. I drank every one of the free samples I got last time they did this over the past couple days when I was out of power.


text:
Event date
Full Address
420 West Walker Avenue Asheboro NC 27203-6722
First Presbyterian Church
$139 per person or $219 per couple (Discount for early registration)
Contact Phone Number
Join former Olympic Strength & Conditioning Coach, Sam Varner, for a 10-week wellness workshop based on biblical & scientific principles. To register or for more information, go to www.samvarner.com. Discount for early registration.


text:
My website is ImASpy.com. If you click on the link, Findings, this takes you to my first Wordpress page. It appears to work fine until you click on comments, or you try to go to the about page, which is another Wordpress page. it stops working and usually gives a database error. Even worse, I cannot get into my Wordpress administration. Any idea what's going on? If you need details please let me know what you need. I can give you the entire Sql file or the wp-config.php if you need it. Thanks!
migrated from stackoverflow.com Nov 29 '11 at 1:56
This question came from our site for professional and enthusiast programmers.
You probably messed up with the config on the DB
I would like the dump of the config table please, that way i can see the paths to your wp install (i had a similar problem which i solved by manually correcting the fields in DB)
Run this sql query and let me know :
First decide which url you are going to use. The actual files are on http://www.imaspy.com/wordpress/ url. So you have to use that inorder use your wordpress. If you want to use the main domain url then you have to transfer all the files from the wordpress folder to the main root folder. Also change the following values to the database.
Table name: wp_options
Fileds: siteurl and home
The value should not be imaspy/wordpress
It should be http://www.imaspy.com/wordpress or the main domain name (You have to choose which location you are going to use.
I hope this helps.


text:
I'm looking for an iPhone app that features exposure compensation, any suggestions?
Camera+ claims to let you adjust the exposure (which is what exposure compensation does)!
Technically the answer is "there isn't one." The SDK does not allow much control over the camera so any apps claiming to do exposure compensation are just "faking it" by post-processing the image.
With the built-in photo app, you can adjust the exposure by pointing at the part of the scene that it should take the exposure from (it also focuses on the same point). This works on the 3GS and above. This trick should work in any app that can take pictures, too.
I know this is no quite about EC, but I thought this might be useful...
I don't have an iPhone myself (more of an Android person...), but I have a friend with an iPhone and he has the Pro HDR app. I must say I was quite impressed when I saw it work; you just click two positions on the preview of the image and it takes two photos, one after the other and then aligns and merges them. I wish someone would create such an app for Android :-)
It costs, ($1.99) so I would say that it's probably only worth it if you have a 3GS, because the cameras on the 3G and below are notoriously bad. And the iPhone 4 has HDR built in!
For some examples look here: http://www.flickr.com/groups/prohdr/
I've used Camera+; Touch Exposure & Focus feature
From site:
Set exposure separately from focus for the ultimate control of your shots… simply touch with a 2nd finger while focusing to adjust exposure until your shot is perfect. iPhone 4 and 3GS running iOS 4 only
It works as explained, but it's almost impossible to hold the phone, touch two spots on the screen and then touch the shutter icon. It's much more trouble than it's worth.
I think the original Camera+ used the volume buttons as a shutter, and was pulled from the app store for failure to follow Apple guidelines.
KitCamera seems to be able to do what you're asking for. It's now free, and has an actual exposure compensation slider. Which is a bit odd, as that's not supposed to be possible. Perhaps it's a hack or a kludge; I don't know. Regardless, iOS 8 allows apps to do this natively, so we'll likely be seeing this feature added to many camera apps.
Camera Awesome
Camera awesome will allow you to change the exposure of a photo before and after you take it. Hey but with iOS 8 coming out soon there are advanced editing features :)
The iPhone camera doesnt suck, it's more often the operator who has not taken the time to learn how to use it correctly. I've got many images that are as good or better than my D700. They were often times simpler to get and didnt require me to carry 8Lbs of camera around. I did a show where I mixed iPhone 4S and 5S images with DSLR images and challenged anyone in the audience to tell which was which. Nobody could. The whole "the Iphone (or any other smartphone) is a not a real camera" thing is an urban myth.
After purchasing a couple different "camera apps" for iPhone, I've discovered that none of them make the iphone's camera suck less. Save your money.


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North Oldham rolled into the Trimble County High School gymnasium for the Kentucky High School Athletic Association's 29th District Volleyball Tournament Monday and closed the door on another marvelous season by the Trimble County Lady Raiders.
The Lady Mustangs squelched Trimble's hopes for advancement by handing the Lady Raiders three straight setbacks: 15-25, 11-25 and 14-25 on Monday.
By JAMES LINE
Special to The Trimble Banner
Eminence High School scored a victory over the Trimble County High School football team Friday, September 28, with a score 40-6. The first quarter began with repeated missed opportunities by the Raiders to take control of the ball.
The post-game coaches' comments told the story in a nutshell following last Wednesday's high school volleyball matchup between visiting Carroll County and Trimble County:
"We played terrible!"
"We came out ready to play!"
A quick look at the final scores is an indication of which comment belongs to which coach. Trimble dismantled the Lady Panthers quickly by scores of 25-8 and 25-17.
The Christian Academy of Carrollton junior varsity volleyball team, coached by Laura Nelson, is off to a good start on their 2012 season.
On Friday, Sept. 14, CAC played Portland Christian Academy in Louisville. CAC beat PCS in the first set, 25–16. The second set went into overtime with PCS winning 27-25. The third set was the tie-breaker with CAC pulling out with the win 15-9.
The Trimble County High School football team struggled to recuperate this week after a severe loss to the Gallatin County Wildcats on Friday, September 21. The score was 48 - 0.
The Trimble County Lady Raiders took their "A Game" to Carrollton Saturday and obliterated the competition to win the Carroll County River Classic volleyball tournament. It was an exhausting day for Trimble's girls in the eight-team, double-elimination marathon.
Trimble picked up four wins during a busy day, defeated Grant County—25-17, 25-20; Ludlow—14-25, 26-24, 25-12; Meade County—25-14, 25-20; and Carroll County—25-14, 25-21 in the championship.
Individual stats were as follows:
Copyright © 2016
The Trimble Banner is your source for local news, sports, events, and information in Trimble County, KY and the surrounding area.


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Essential Rules of Parenting: How to Stay Sane
6 of 7
Don't Ignore Your Relationship with Your Partner
This Rule is pretty obvious. The tough bit is actually doing it. Lots of parents pay it lip-service, but far fewer make sure it happens. But you and I know that it really is one of the most vital Rules of them all, if you don't want to end up doing this whole parenting thing on your own.
You loved this person enough to have babies with him. That's serious stuff. He should still be the most important person in your life. He may take up less time and possibly demand less attention than your children, but he should still be the object of your love. Having children changes your relationship more than you might have thought possible, but 20 years on it'll be you and your partner again just like it was at the start. And if he's not the most important thing in your life, you're going to be screwed when the kids leave home. And so are the kids -- leaving home is tough enough without feeling you're tearing your parents' world apart in the process. They need to know that you love each other best of all. That frees them up to get on with their lives and, eventually, find a partner they can love even more than they love you.
Part of the solution is logistical. Aim to go out on your own together once a week. If you can't afford a babysitter, find some other parents and take it in turns to mind each other's kids. Then just go for a walk or have a picnic in the park. Something. Anything. Just make sure you perpetuate that "just the two of us" life you had before.
Next: More popular galleries
More on: Mom's Life
From The Rules of Parenting Copyright © 2008, FT Press. Used by permission of FT Press, and Pearson Education. All rights reserved.
To order this book go to Amazon.


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I just added the following to my Apache config file:
AddOutputFilterByType DEFLATE text/html text/plain text/xml
How do I check if it is actually working? Nothing on the browser tells me if the page contains gzipped content.
I just added the following to my Apache config file:
How do I check if it is actually working? Nothing on the browser tells me if the page contains gzipped content.
migrated from superuser.com Nov 5 '09 at 8:09
This question came from our site for computer enthusiasts and power users.
An alternative way to quickly check the headers of the HTTP response would be to use curl.
For instance, if the Content-Encoding header is present in the response, then *mod_deflate* works:
If you run the above command without the -H 'Accept-Encoding: gzip,deflate' part, which implies that your HTTP client does not support reading compressed content, then Content-Encoding header will not be present in the response.
Hope this helps.
for simple way, you can use google chrome, open menu Tools > Developer Tools then look at this image
if you DISABLE the compression, you won't see that gzip text
hope it helps
Fiddler2 can help with this. Fire it up and look at the Inspector. It can also tell you what file sizes you're looking at. Additionally, you can set it to decode automatically if you are running into compression-related problems with your browser.
Note: this answer is now CW--please update with more info if you wish (I don't have time right now!)
I use the HTTP Compression tool at whatsmyip.org regularly.
Another solution is to use Lynx. Easy to install on Linux from repos and I think you can get Windows versions too. Just run the command:
Then check if there is a line saying
There's a web service I created specifically for this purpose. I wanted an easy way to check for gzip (on all of a site's resources) without having to dig into inspector or using browser plugins.
The LiveHTTPHeaders Firefox extension is your friend. You can examine the "Content-Encoding" header and look for "gzip".
If you use Safari with the develop menu enabled you can use the web inspector
The web inspector graphically shows page load times and file sizes so you can test before you enable compression, record the sizes and then test after and compare.
Screeshot via the webkit.org blog.
I recommend the Web Developer add-on for firefox. It can show you the response headers, which is very helpful in debugging other problems too.
For example:
.. which clearly tells that response was gzipped. The headers are also very useful in debugging problems with other header-related things, such as eTags and expires.
Thank you for your interest in this question.
Because it has attracted low-quality or spam answers that had to be removed, posting an answer now requires 10 reputation on this site (the association bonus does not count).
Would you like to answer one of these unanswered questions instead?


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H&N Baracuda Hunter Extreme Pellets
Posted 25 June 2012 - 04:22 PM
HNBHE.jpg 7.38KB 1 downloads
The pellet has was looks like an "X" or philips screw pattern on the head of the pellet. The pellet weighs 28.4 grains and is supposed to "mushroom" upon impact for a greater damage path. I ordered (4) tins of them to try them out. At Pyramyd Air they run $11.45 per tin with a 200 count per tin. Pyramyd Air just got them in so I ordered them in .25 caliber to try in my .25 M-Rod and my .25 EunJin Sumatra 2500 Carbine. I'm hoping they are accurate so that I'll have another good hunting pellet.
Anyone else going to try these out?
Posted 25 June 2012 - 04:37 PM
Posted 25 June 2012 - 05:08 PM
For the 10 air guns I own I have maybe 5,000 pellets and out of those there are only a few main types I use.
.25 Marauder - JSB 25.4 Exact King
.25 EunJin Sumatra 2500 Carbine - EunJin 35.8 grain
.22 Marauder Rifle - JSB 18.1 Exact Jumbo Heavy
.22 Discovery - JSB 15.9 Exact Jumbo
.22 P-Rod - H&N FTT 14.66.
2240 Modified Carbine - H&N FTT 14.66
1322 Carbine - Discovery Hollow Points 14.3
1322 Modified Carbine (daughter's) - CPHP 14.3
1322 Pistol - CPHP 14.3
.177 Ruger AirHawk - CPHP 7.9
I just received my order of 2,000 of the JSB Exact 15.9 pellets, so before I got those I had about 1,500 pellets that I normally use.
About 1,500 to 2,000 of the 5,000 pellets are pellets I may never use. They were pellets than came with used air rifles I purchased (.25 H&N Crow Magnum (500 pellets), .25 H&N Field Target Trophy (300 pellets), .25 Gamo Rocket (150 pellets), .25 Benjamin (500 pellets), .25 Skenko Ultramags (50 pellets) and some miscellaneous others). One of these days when I take out the EunJin Sumatra I may try some of these pellets in it to see how they shoot out of it.
I also have about 300 pellets of the H&N Baracudas in .25 and around 300 pellets of the Predator Polymags in .25 that I could and will probably use one of these days, but the JSB's are just so accurate in my .25 M-Rod that I'm reluctant to switch. However, if these H&N pellets are accurate, I may have to switch over for the sheer devastation and take down power.
Posted 25 June 2012 - 05:26 PM
VarmintAir has the most I have ever seen outside of a store like Pyramyd and tops my collection by quite a leap.
Posted 25 June 2012 - 09:51 PM
Posted 26 June 2012 - 07:05 AM
Posted 26 June 2012 - 08:01 AM
What will they come up with next. Pellets with a Phillips screwdriver head. I guess whatever you hit with them would be screwed.
Posted 26 June 2012 - 01:12 PM
Posted 26 June 2012 - 01:45 PM
I'll let you know what kind of accuracy I get with them out of my .25 Marauder when the pellets arrive next week.
Posted 06 August 2012 - 03:45 PM
Any word of the Baracuda Hunter Extreme pellets yet, how do they shoot and at what distance do they start to lose accuracy?
Thx, Randy
Posted 06 August 2012 - 04:01 PM
Posted 06 August 2012 - 06:18 PM
Any word of the Baracuda Hunter Extreme pellets yet, how do they shoot and at what distance do they start to lose accuracy?
Thx, Randy
Hi Screwwork,
I haven't tested them out just yet. I was hoping that Chairgun would update and have them in the catalog of pellets, or somewhere someone would have the Ballistic Coeficient so that I could plug it into the application and get some zeroing results without waisting a ton of pellets.
Maybe the next time I'm at the relative place I'll bring some and do some initial testing.
Geez - I just got 8 tins of JSB 18.1s b4 they went out of stock from PA and forgot all about ordering one of these new BHEs.
So you are one of the guys who ordered them all up before I got a chance to order any . I went to order some the other day and they were out again, so all I got to order were (3) tins of H&N FTT 5.53 diameter pellets for the P-Rods and (1) tin of JSB Kings for the .25 M-Rod (I still have two full tins of Kings and I usually only use them when hunting or to re-zero the scope, so they last me a while). Thankfully I have (2) full tins of the 18.1 JSB's to last me a little while for the .22 M-Rod and (4) tins of 15.9 JSB's for my .22 Discovery. I usually only use the .22 M-Rod for exterminating ground squirrels or hunting rabbits, quail and Eurasian Doves and I use the .22 Discovery for hunting rabbits, jack rabbits and quail when loudness is not an issue.
Posted 07 August 2012 - 05:40 AM
Posted 07 August 2012 - 09:02 AM
It sounds like you shoot allot of pellets. I, for the most part, only shoot when I'm out hunting now unless I'm re-zeroing or sighting in a scope so most of my pellets last a bit longer than they used to. Of course, when I'm helping my daughter to learn to shoot we do use quite a few pellets.
Posted 07 August 2012 - 09:26 AM
Posted 08 August 2012 - 02:40 PM
Posted 08 August 2012 - 06:20 PM
What do you think of the Shoebox compressors I'm toying with the thought of a 25 cal I think you call them PCP?
The search feature is your friend. http://www.californi...31
Posted 08 August 2012 - 09:14 PM
Posted 09 August 2012 - 08:16 AM
What do you think of the Shoebox compressors I'm toying with the thought of a 25 cal I think you call them PCP?
I know that all of the guys that have the Shoebox Compressors really like the convenience of filling their own tanks and it allows them to use tanks that may still be safe to use, but can't be hydro'ed anymore. I want to get one eventually too. The newest models have belt drives instead of chain drives, so they are quieter than the original Shoebox compressors were. I think they run right around $550 or somewhere in that range.
The .25 caliber PCP is a great caliber of airgun to start with. Plenty of knock down power for small to medium (the smaller of the medium sized) game animals. If you are thinking of a .25 Benjamin Marauder, that is probably the best of the three calibers that the Marauder comes in. The barrels are less finicky when it comes to pellet types and they are very accurate (as long as you do your part to keep the rifle still when shooting). Let us know what you end up with.
Posted 09 August 2012 - 09:16 AM
It takes about 3 hours to top off one of my 44 cu ft SCBA carbon fiber 4500 psi tanks to 4500 from 3000 psi. For a Marauder pistol that is 125 fills or about 3000 shots. Even if you figure 100 fills with some line loss, etc. it is a lot of shots. For a .25 Marauder rifle I figure about 38 fills or 600 shots but it doesn't really matter since you can top it right back off.
I bought my two 44 CF SCBA tanks used with 11 years left for $200 each. As AGH says the Shoebox is about $600 depending on options. Small used commerical paintball compressors start around $1500 and are over $3k new for the cheap ones putting the Shoebox in a different niche.
Posted 14 August 2012 - 12:16 PM
Posted 14 August 2012 - 12:46 PM
Posted 14 August 2012 - 12:52 PM
http://www.network54... for the Masses
Posted 14 August 2012 - 01:21 PM
25.4 King:
125 yd. 585 fps (BC 0.033)
100 yd. 644 fps (BC 0.039)
75 yd. 698 fps (BC 0.034)
50 yd. 766 fps (BC 0.030)
25 yd. 851 fps (BC 0.024)
15.9 gr. Exact:
611 fps : BC 0.030
749 fps : BC 0.038
862 fps : BC 0.030
955 fps : BC 0.024
1024 fps : BC 0.018
18.1 gr. Heavy:
566 fps : BC 0.030
710 fps : BC 0.036
819 fps : BC 0.039
899 fps : BC 0.032
967 fps : BC 0.027
1014 fps : BC 0.020
A 13.4 gr. Exact RS driven at 1101 fps had a BC of only 0.010 (11.3% energy loss).... A 11.9 gr RWS Hobby at 1131 fps had a BC of just 0.007 (16.3% energy loss).... both over just 5 yards....
Posted 14 August 2012 - 02:52 PM
Couldn't find anything on this particular pellet. You might ask H&N and see if they can give you an answer?
Thanks for this suggestion. I have actually already sent H&N Sport a message first thing this morning concerning this to see if I get a response from them. If I do I'll post any information I get here for others to find.
Posted 15 August 2012 - 04:18 PM
Posted 18 August 2012 - 05:15 PM
I found this on the GTA forum.
Quoting (rsterne)
(I did one extra data point for the H&N Baracudas with the gun set for maximum power, with the data collected over just 10 yards, to see if the BC rolled over at about 900 fps, and in fact it did, dropping from 0.039 down to 0.033.... Here is a plot of that data, including that additional data point...)
Posted 19 August 2012 - 06:31 AM
Posted 20 August 2012 - 03:16 PM
Posted 21 August 2012 - 09:16 AM
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text:
In the futuristic action thriller Looper, time travel will be invented - but it will be illegal and only available on the black market. When the mob wants to get rid of someone, they will send their target 30 years into the past, where a "looper" - a hired gun, like Joe - is waiting to mop up. Joe is getting rich and life is good... until the day the mob decides to "close the loop," sending back Joe's future self for assassination.
Rated: R
Starring: Joseph Gordon-Levitt, Emily Blunt
Directed by: Rian Johnson
Run Time: 1 hr. 58 mins.
Released by: Sony Pictures
Official Site
Corporate Office
About Cinemagic


text:
What is the meaning of 'nicht sehr gut'? I've heard it variously translated as 'not so good', 'not 100%', 'not very good', and 'not very well'. Does its meaning change when describing a person as opposed to an object?
Sign up
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Generally, this is a euphemism meaning that it is bad.
I don't think that the usage differs a lot from English:
And in both languages you can change the meaning by stressing "very" or "sehr".
The meaning of the phrase depends on the context, for example:
These examples can be translated as "not so good".
The following sentence
could be translated to
Its meaning can be translated with not so good. As in
You could find other translations, but it basically means that something or someone could be or do better.
In the context of school it could mean getting a "2" (good) instead of a "1" (very good). Generally it implicates that one could have done better.


text:
Please enter a maximum of 5 recipients. Use ; to separate more than one email address.
| Al-Meshari, A., Saudi Basic Industriese Corp., Jubail, Saudi Arabia; Al-Enazi, S. , SABIC Technology Centre, Jubail Industrial City, Saudi Arabia; Diab, M. , SABIC Technology Centre, Jubail Industrial City, Saudi Arabia
Advanced analytic methods determine contributing factors in heat exchanger corrosion problem
[heat exchanger]
This case history focuses on the investigation of localized
thinning of titanium (Ti) tubes in a surface condenser in an
ammonia unit. Several characterization techniques were applied,
including stereomicroscopy, optical microscopy and other
methods. Detailed analyses showed that the tube thinning is
attributed to iron-induced crevice corrosion. Possible root
causes for failure involved the presence of high concentrations
of iron (Fe) particles and chloride (Cl) ions in the steam
condensate, which can accelerate the corrosion process. Another
factor was tube flow-induced vibration that may have occurred
at high processing flowrates, leading to a
localized Fe deposition on the tube surface. This
case history outlines the sources for the failures as well as
the recommendation to prevent future events.
Localized thinning was observed on Ti tubes of a surface
condenser for an ammonia unit. The condenser is a horizontal
exchanger using straight tubes with two passes. The tube
thinning was detected by eddy current testing performed on 34%
of the exchanger tubes. External wall loss was located in the
middle of the top two rows of tubes, i.e., between baffles 5
and 7 (Fig. 1). The surface condenser had been in service for
about 16.5 years.
In the condenser, steam condensate flows into the shell
side, whereas seawater is introduced in the tube side. The
materials of tubes, tube sheets, and shell are B338 Gr.2 welded
(Ti), SB265 Gr.2 Ti clad on SA516-70 carbon steel, and A516-70 carbon steel, respectively. The
tubes are 7-m long, 0.7-mm thick and have 19-mm outer diameter.
Table 1 lists the steam condenser design and operating
Visual examination. One tube sample,
approximately 75-cm long, was submitted for analysis (see Fig.
2a). The sample was deformed by the tube pulling process.
Rounded, button-like, dark spots were observed at the 12
oclock position on the tube (Fig. 2b2c). The spots
were perfectly rounded and equally spaced, having a diameter of
about 8 mm. The distance between the centers of adjacent
spots is approximately 13 mm. Fig. 3 is a close up photo of the
spots. Stereomicroscopic examination of the spot surfaces
revealed significant thinning that produced smooth grooves
covered with blackish layers.
In general, Ti alloys exhibit excellent corrosion resistance
in many environments. They have always been
one of the best choices for such applications as
surface-condenser tubes. Titanium owes its corrosion resistance
to the formation of a protective, passive titanium oxide (TiO)
scale. Nevertheless, Ti is not completely immune to corrosion.
Indeed, Ti may readily corrode in certain conditions. For
instance, the thinning observed on the subject
surface-condenser tube appears to have been caused by a special
type of crevice corrosion, often referred to as iron-induced
crevice corrosion. As its name implies, iron-induced crevice
corrosion occurs when Fe particles deposit on or are smeared
into the Ti surface forming crevices, thus leading to
disruption of the protective TiO scale.2,3 As a consequence, a
galvanic cell is established between Ti (cathodic) and Fe
(anodic), where Fe particles corrode preferentially. The anodic
dissolution of the Fe generates Fe ions that combine with Cl
ions in the condensate to form iron chloride that in turn
reacts with water to produce hydrochloric acid (HCl) and metal
hydroxide (MOH):4
MCl + H2O r HCl + MOH
Obviously, the formation of HCl results in a significant
reduction in the solution pH at the crevice and that prevents
the reformation of the passive TiO film. Inevitably, the
reaction will proceed until the tube is perforated. The attack
caused by Fe-induced crevice corrosion manifests itself by a
very characteristic circular pit morphology. Iron-induced
crevice corrosion is known to be catalyzed by temperature rise
and/or high Cl concentration in the condensate. Therefore, the
increase in the surface-condenser shell-side-inlet temperature
would have aggravated the attack. Iron carried over in the
steam may have originated from corrosion and/or erosion of
steel pipes and other components (e.g., impingement plate).
Further, the surface-condenser tubes at the steam-condensate
inlet were probably subject to some vibration induced by the
above-design flowrates in both tubes and shell sides. It is
suggested that the Fe particles carried over in the steam hit,
deposited and accumulated on the tube surface. The tube
vibration led to redistribution of the Fe particles on the tube
surface, such that Fe accumulation occurred at equally spaced
areas, inducing the localized thinning.
However, it cannot be ruled out that the Fe particles could
have been smeared over the tube surface during fabrication and
installation processes. Localized corrosion of Ti tubing has
been attributed to scratches in which traces of Fe were
detected.4 It is interesting to note that the
surface condenser had been in service for about 16.5 years
without any failures (or thinning), implying that the Fe
particles were most likely carried over in the steam
condensate, than rather being smeared onto the tube surface
during fabrication. This may be supported as the external
tube-wall loss was located in the middle of the top two rows of
The steam condenser tube thinning is attributed to
Fe-induced crevice corrosion. Presence of high concentrations
of Fe particles and Cl ions in the condensate accelerates the
Fe-induced crevice corrosion. Tube flow-induced vibration may
have occurred due to the above-design flowrates.
The study generated several recommendations for the
Surface condenser operating conditions should be
kept within the design conditions.
Concentrations of Fe and Cl in the condensate must
be monitored and controlled.
Source of Fe particles should be identified and
eliminated to avoid formation of crevices.
Standard Specifications for Seamless and Welded Titanium
and Titanium Alloy Tubes for Condensers and Heat
2 ASM Handbook, Vol. 13, Corrosion, ASM
International, 1993.
3 http://www.azom.com/, May 16, 2010.
4 Donachie, Jr., M. J., Titanium: A Technical
Guide, ASM International, 2000.
Al Aluminum
C Carbon
Ca Calcium
Cl Chloride
Cu Copper
Cr Chromium
Fe Iron
K Potassium
Mn Magnesium
Ni Nickel
N Nitrogen
O Oxygen
P Phosphorus
Si Silicon
Na Sodium
Ti Titanium
Saad Al-Enazi is a failure analyst
at SABIC Technology Centre-Jubail,
Saudi Arabia. He has a MS degree in manufacturing
management and BS degree in mechanical engineering from
the University of Toledo.
All comments are subject to editorial review.
All fields are compulsory.
S. K.Mandal
Sir,We are facing iron carry over from air cooled condenser of our 2x150MW power plant due to which we are maintaining high pH and blow down is more. DM water is reached more than 3%. Pleaas advice for solution.Regards,(S.K.Mandal)
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FILE - In a Tuesday, Oct 7, 2008 file photo, men fish from the exposed shore at Lake Lanier in Buford, Ga. Lake Lanier is the main source of water for Atlanta. A Friday, July 17, 2009 ruling by U.S. District Court Judge Paul Magnuson found that nearly all of Georgia's withdrawals from Lake Lanier, a massive federal reservoir north of Atlanta, are illegal because the lake wasn't built for water supply. The ruling has left Peach State leaders racing against the clock to avoid a potentially dire water shortage in the South's largest urban area. (AP Photo/Greg Bluestein, File)
TOPEKA, Kan. (AP) _ A Native American tribe wants Gov. Sam Brownback to intervene in the tribe's decades-long fight to build a reservoir on the northeast Kansas reservation.
The Kickapoo have been trying since the late 1970s to build the 1,200-acre Plum Creek Reservoir because of recurring water shortages and other problems.
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Kickapoo Chairman Steve Cadue wants Brownback to direct the watershed board to use its power of eminent domain to take the land.
But Brownback's office says it has no authority over the issue. The governor's office also says he's tried to facilitate mediation, but that's been unsuccessful.


text:
Alicia Markova
Posted 05 December 2004 - 11:07 AM
Posted 05 December 2004 - 11:36 AM
atm's blog, "Ruminations" is a treasure. Take a look.
Posted 05 December 2004 - 05:41 PM
Ari gathered together a wonderful collection of obits and appreciations for Dame Alicia on Links, December 3, and I thought they should also be on this thread:
Dame Alicia Markova died yesterday at the age of 94.
Dame Alicia Markova, prima ballerina assoluta and one of the most influential figures in British dance, has died in hospital in Bath on the night after her 94th birthday. A friend said she had been "gradually fading away this year".
As one of the greatest ballerinas of the 20th century, Dame Alicia's contribution to British cultural life was profound. Born plain Lilian Alicia Marks in Finsbury Park, London, she was renamed "Markova", by the Russian impresario Sergei Diaghilev, her early champion, when she was plucked from her Chelsea ballet class to join his famous Ballets Russes in 1925, aged 14.
Diaghilev called her his "English daughter"; she called him "Sergypop".
She was crucial to the invention of British ballet, dancing for Marie Rambert and with the Vic-Wells (now Royal) Ballet from the early 1930s.
Alicia Markova, who has died at the age of 94, epitomised all the qualities of a great ballerina: a total dedication to the art of classical dancing together with an imaginative understanding and insight into establishing a character through mime.
She will for ever be associated with Giselle — her 1960 autobiography is called Giselle And I — but her range was far, far wider than that. She created roles for all the great choreographers of the 20th century and, during her performing career, she was an ambassador for ballet comparable only to Anna Pavlova, dancing in places where classical dancing of her quality had never been seen before.
Audiences never tired of watching Dame Alicia in "Giselle"; she, in turn, never seemed to tire of dancing it. Reviewing a 1958 performance by Ballet Theater in which Miss Markova appeared as guest artist, John Martin, then the dance critic of The New York Times, remarked: "Markova has danced the role so many times that she could undoubtedly do it in her sleep; what is so notable is that she never does. She is as fresh, as sensitive, as creatively alert as if she had never done it before; but what a wealth of background she has accumulated for it!"
Alicia Markova was Britain's first ballerina and became a living legend. She seemed to be made of superior, more durable material than other mortals: she concealed muscles of steel under the frailest possible exterior; at 92, she was still skimming across a studio floor demonstrating nuances of phrasing to dancers a quarter her age, her exquisitely narrow, unblemished feet still supple. . . .
Unlike Pavlova, though, Markova always welcomed the new. Giselle was the ballet most closely associated with her, but she combined a love for the classics with an appetite for modernity. She was the clay for some of the 20th century's greatest choreographers when they too were just starting out — George Balanchine, Frederick Ashton, Antony Tudor. She starred in some of Leonid Massine's biggest, most important ballets.
Markova had a unique relationship with the impresario. Her father had recently died and she called Diaghilev her second father. He developed a paternal attitude towards her.
Her undeveloped androgynous body and fearless male-type technique contrasted with the sophisticated femininity of Diaghilev's famed ballerinas, and was a valuable spark to the modern revolution.
Henri Matisse designed daring all-over leotards for her (now standard ballet kit), Igor Stravinsky found her able to absorb new musical ideas readily, and — because of her emotional immaturity — the choreographer George Balanchine began to conceive a more abstract kind of female dancing, driven by music rather than drama.
Alicia Markova learned from her fellow ballerinas how to be glamorous, and she assuaged her dissatisfaction with her looks with a life-long love of haute couture. A tiny woman, she had minute feet, and once she could afford it she would wear only handmade shoes by Salvatore Ferragamo, with very high heels. She was even known to rehearse Swan Lake in full-length mink and heels.
Minute they may have been, but those feet had arefined strength. Her technique, according to the choreographer Agnes de Mille, was "prodigious". Yet she exhibited none of the muscularity of today's dancers, who have a lighter workload than she ever had. As Markova once said: "The great dancers were all great athletes — if you analyse Pavlova, for instance. But they didn't look it. That was what fascinated the audience."
With the beginnings of regular ballet seasons by British dancers later that year, Markova was immediately in heavy demand, and she became Ashtons first muse. At the Ballet Club and for the Camargo Society he made a great many highly contrasted roles for her: among them the title part in his languorously poetic La Pen, the witty polka in Façade (ending with a double tour en lair in pointe shoes which nobody attempts nowadays), a sexy Creole girl in Rio Grande, the insolently proud ballerina in Foyer de Danse, the immensely chic and naughty lady friend in Les Masques, and the tragic Marguerite in Mephisto Valse. Many roles she took brought out a gift for shrewd comic characterisation far removed from the pure classic perfection for which she was widely celebrated.
But the tiny fee which was all Rambert could afford was only enough to keep Markova in ballet shoes; to support herself she also had to dance three times a day between films in a cinema at Marble Arch, the choreography again by Ashton.
One of the histories of the Royal Ballet states that "the dancer who did most to launch the company was Alicia Markova". Over the years, as great names have emerged, Markovas role has been too easily forgotten. Her influence on generations of dancers was immense. Her teaching was incisive and authoritative and brought fresh insights to an interpretation.
Markova was one of the greatest ballerinas of the 20th century. She had a delicate physique, a tungsten technique masked by a gentle appearance, and a flawless musical understanding. Everything she did had to appear effortless, which she achieved by an implacable will and total concentration. I adored her, and her knowledge and her prodigious memory for dances and dancers taught me infinitely much ("Alicia, tell me about . . . ." "Well, dear, I remember Mr Diaghilev saying . . ."). Uniquely, she had ballets created for her by Fokine, Massine, Nijinska, Balanchine, Ashton and Tudor. A fascinating portrait of her, still working at the age of 90, appears in Dominique Delouche's film Markova, La Légende (2001). Until the end of her life she remained a marvel of grace and dance intelligence.
Posted 05 December 2004 - 07:38 PM
Posted 05 December 2004 - 09:38 PM
It's been so long since I read her biography, I'm afraid my memory isn't holding up... but weren't there attempts to sabotage her Giselle in New York? Something about the costume going missing and turning up soiled ...and ... was it.. a note with a death threat? I can't remember why anyone would want to threaten her. ...
Alexandra, I think it's part of her mystique that someone threatened her life over her dancing... and went to lengths to try to stop her... Markova put it in her own biography, I don't think she felt embarrassed by it...I think it's history not gossip.
Funny thing about history is that it is sometimes gossip repeated so many times that it becomes "true." Markova, in her book "Markova Remembers", does not mention sabotage and the whole incident appears to be a mistake:
Although I was scheduled and announced for the first performance, the wardrobe had -- curiously -- make costumes only for Toumanova, who was to dance Giselle later in the week. I was thus presented with costumes which fitted only where they touched. I took a firm stand, saying to Massine that he must announce to the public that I was ready to dance, warmed up -- indeed spiritually I was very warmed up -- but my costumes were not available. As the minutes passed, I suddenly remembered that I had my Bakst costumes from the Markova-Dolin company production, which could be quickly brought to the theatre. Despite Lifar's protestations that he could not have his production "ruined" by my wearing anything but the Benois designs, Sol Hurok announced that of course I should dance in my own costumes....
Markova had one of the most remarkable careers, hitting every major point in 20th century dance: Diaghlev, Fokine, Balanchine, Massine, famed Ballet Russe spinoffs, Ashton, Sadler Wells, Tudor, ABT, Robbins, a great partnership with Dolin, starting the London Festival Ballet, bringing ballet to the regions...
Of course, I never saw her dance live, but her taped solo in the opening act of Giselle is the best I've ever seen and I subconciously judge all dancers by it.
Posted 05 December 2004 - 10:55 PM
Posted 06 December 2004 - 10:01 AM
Thank you, Dale. There was nothing about a note? I wonder if I'm mixing up someone else's NY Giselle debut with Markova's. (who? Danilova?? Fonteyn? I could have sworn it was Markova). I believe I read "Giselle and I" rather than the "Markova Remembers".
The incident you refer to is in Maurice Leonard's book "Markova The Legend". It is very lively reading (all you need is to put Serge Lifar in the mix). Leonard fully covers the 'costume' scandale and then goes on to her debut in New York (with Lifar, who was still smarting over the 'costume' incident). Someone thrust a note into Markova's hands---"Don't dance Giselle tomorrow night or....." Danilova and Hurok warned her not to be alone for the evening---and along with Danilova, Franklin and Youskevitch went to a Rodeo (not the ballet, but a genuine event at Madison Square Garden). Nothing sinister happened but she spent the night with Danilova....Next day she told Hurok to let Toumanova dance...he refused but implemented a full-scale security alert and omitted the trapdoor.
It gets better---Lifar used real lillies in Act II which could be slippery....and on the se cond performance in Act I, as she sat on Lifar's knee, he slipped and Lifar rolled on top of her and crushed her foot....without telling the audience, Slavenska showed up in Act II---a brilliant redhead. (I saw Slevenska in later performances of Giselle and I can attest to the brilliance of her hair; a sexy terre-a-terre dancer)
Do we have any performers today who could compare to this skulduggery?
Posted 06 December 2004 - 10:02 AM
Excerpts of Dame Alicia's fabulous Giselle may be seen in the commercially-released (ca 1980) VHS tape, 'A Portrait of Giselle.' She also appeared in various long-ago-telecast documentaries, such as 'Tales of Helpman,' 'Central Ballet of China On the Go,' and Makarova's 'Ballerina' series.
Posted 06 December 2004 - 07:25 PM
I think Markova also made a pilgrimage to visit Spessitseva, but, typically, I can't remember much of that either. Perhaps Spessitseva was already in an asylum. (talk about drama... there's Hollywood material in Spessitseva's life... but perhaps the outcome is too sad... I suppose it would have to be about another ballerina's obsession with Spessitseva, just to have some plot outlet from the impending doom).
Back on topic, however, here's a link to and excerpt from Jane Pritchard's "Appreciation of Dame Alicia Markova, DBE" on ENB's site. Jane Pritchard is the archivist for the English National Ballet. Dame Alicia Markova, Prima Ballerina Assoluta, Founder and President of English National Ballet: "The People's Ballerina"
-By Jane Pritchard, Archivist, English National Ballet.
Diaghilev had hoped that little Alicia would dance in his famous production of The Sleeping Princess (1921) as the smallest of the fairies at Aurora's Christening but she was prevented by catching diphtheria. He took her to watch performances when she recovered and Diaghilev became a father figure in her life guiding his English daughter' in all aspects of life when she joined his company in Monte Carlo in 1925. As a member of the Ballets Russes she studied under the great ballet teacher Enrico Cecchetti and her later teachers included Nicholas Legat and Vincenzo Celli. Having created special roles for the Ballets Russes as she grew she combined working in the corps de ballet with featured parts. In 1927 she took over the role of the Cat in La Chatte , brightly realising that she would benefit from attaching rubber tips to her shoes so that unlike her predecessors in the part she did not slip on the special shiny floor the ballet used. When she first danced Princess Florine in the Bluebird pas de deux Diaghilev suggested that feathers for her head-dress should be made of bird of paradise feathers and diamonds as he felt the traditional ostrich feathers and pearls were too heavy' and vulgar for her delicate features. He gave Alicia's Mother £10 with which to find the feathers on a Monday morning in Manchester (where his company was performing) and she continued to use the resulting head-dress throughout her career. At the time of Diaghilev's death in 1929 he was planning to revive Giselle for the great ballerina Olga Spessitseva and wanted Markova to learn the role for which she later became famous.
I didn't realize La Chatte had a special floor. I wonder what it was made of?
Posted 06 December 2004 - 11:27 PM
This is off the top of my head, but I think some of the settings were made of mica. I don't know about the floor.
Posted 07 December 2004 - 04:31 AM
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In the movie the Big Lebowski Walter explains that he is shomer shabbos and that he can't "roll" (meaning bowl) on shabbos. My question is, if he were able to get to the alley without violating shabbos and if he were allowed to bowl for free, other than possibly uv'din d'chol, is there any reason he can't bowl on shabbos?
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The rolling ball is the "koach" of the original person, analogous to a thrown rock. When the ball then hits the pins/sensors/etc that action is "koach kocho" of the original person, meaning it is twice removed from the person himself (for the definition see the Rambam Hilchos Rotzeach 6:15).
Now see the Avnei Nezer OH 230:2 who argues that "koach kocho" is potur on Shabbos, meaning that the act of the pin is only d'rabanan anyway. And the response from the sensor is psik reisha, as noted in the other answers. And the overall action of the machine is just an issur d'rabanan, since it is just electrical/mechanical activity that is not in the form of lighting/burning (as is clear from the tshuvos of R. Henkin and discussed elsewhere on this forum), no different from an electric fan.
This could perhaps be coupled with the view of the Rashba quoted in Shulchan Aruch OH 316 (Magen Avraham there) that allows psik reisha if the intention is a permissible act as well as an impermissible one (i.e. one wants to close the door, which is totally permissible, and in the process a deer is trapped inside).
So adding all this together, it seems clear there is sufficient room to be lenient about bowling on Shabbos, aside from issues of "uvda d'chol" which were excluded by the original questioner.
(As an aside, we often rely on this koach kocho argument for opening refrigerators on Shabbos, when the action of opening the fridge will let warm air in and surely turn on the cooling unit, a psik reisha that is nicha leih, but people are meikal; also perhaps because of the Rashba.)
In every bowling alley I've been to, the operation of the lanes depends on electro-mechanical devices that reset the pins and return the ball. As these actions are triggered by the bowler's bowling and are helpful to the bowler, they'd constitute a "pesik reisha denicha leih" - an expected consequence that's desirable - and would therefore be forbidden as use of electricity on Shabbat.
Wikipedia addresses the question of permissability if only gutterballs are thrown thus voiding the questions of binyan and soser. I quote:


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What is the difference between a legend and a key? Is a legend still a legend if it is at the top of a page? Where is the optimal placement of a legend or key for a page that scrolls?
A legend describes a particular object on a page, e.g. if it's a map, a legend will describe a particular area as "Averill Park".
A key applies to the entire map, e.g. a "1:100" scale.
For a page that scrolls, I think that much depends on how many legends you have:
As for keys, I suggest either the top or bottom, or both; but not the left or right.
They're the same thing.
The legend or key describes types of symbols/lines and can also describe specific locations. Types of roads, the symbol for locations such as camping grounds, hospitals, cities vs towns and what not.
There is no standard placement as it usually relies on fitting into the content in the map. If your map has featureless land or ocean, that's usually a good place to put it.


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Thanks to everyone who submitted a video for the first-ever Show Off event at PDC05. We had 25 submissions in the space of just a few weeks. To view all of the submissions, look for videos tagged with showoff.
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This is a partial port/rewrite of NASAs WorldWind to the Pocket PC. It provides a 3D Virtual Earth on a mobile device.
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