There is no doubt that sustainable energy sources are the energy sources of the future. To encourage more people to embrace non-conventional energy sources such as wind, solar, etc, several government initiatives have been put into place. Being clean and renewable sources of power, subsidies and tax breaks aim to take more homes off the central electrical grid and to encourage use of solar and other clean energy sources.
Driving along national highways and state highways in India, particularly through states such as Tamil Nadu, Maharashtra and Gujarat, tall, elegant windmills gently rotating on the horizon have become a common sight. By the end of 2015, India had become the fourth largest in the world in terms of installed wind power capacity. Solar panels perched atop homes, factories, hotels, schools and other buildings are also common to see in our towns and villages.
India's largely sunny climate with rains being restricted largely to the monsoon and vast expanse of plain terrain makes it particularly suitable for the development of solar and wind power. Because these are non polluting and renewable (they do not deplete like fossil fuels), the government encourages their use via various schemes.
15% subsidy on solar power systems of up to 500 kW.
Soft loans on remaining cost of acquisition. Find out more about Capital Subsidy Scheme for Solar Lighting and Small Capacity PV Systems and learn about unit costs, implementation period, insurance, eligibility and so on.
Renewable Energy Certificates (RECs) – these are tradable instruments that can be availed for every generated unit of non-polluting, renewable power.
Depreciation of 40% of total investment for enterprises that have installed rooftop solar systems.
Discounts on total electricity bills of Bengaluru households with solar panels installed.
30% to 40% subsidy on the cost of lanterns, home lights and small systems (up to 210 Wp).
There could be possible further reduction in solar power tariffs following the US exit from the Paris Climate agreement.
Read more about central and state policies on solar power.
The sort of area required for installation of wind turbines makes it difficult to set up in urban areas and so specific incentives from the government here are not very clear. However, there are incentives for small- and large-scale industry as well as individuals in the rural areas. Since rural India has always been very innovative when it comes to cheap indigenous renewable power sources such as cattle dung and other waste, there are other sources of off-grid power that can be considered: Bio-mass cogeneration, biomass gassifiers, incentives for waste to energy, water mills and/or micro hydel power generation, hybrid systems, aero generators and so on.
With the help of community-level programs and government incentives, there are close to five million family type biogas plants in the country today. Incentives include central subsidy ranging from Rs4000 to 14,700 per plant, free maintenance warranty extending to five years, financial support up to 50%, training of users, entrepreneurs and workers, and training centers and more. Frequently asked questions about biogas are answered on the MNRE site.
As responsible citizens it is up to us to think beyond the electrical grid and to make a conscious effort to reduce our dependence upon it. It is tragic that thousands of Indian villages are still not connected to the electrical grid (are not electrified). However, with the help of government and nongovernmental initiatives it may be possible to bypass the grid altogether. Do you recall programs such as the 2014 initiative that distributed 1.2 million home lighting solar systems to rural households without electricity? It was the biggest initiative of its kind involving solar energy. You and I together can do a whole lot more…if we set our minds to it!


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text:
Una escombra, agraner o granera és una eina de neteja que consisteix en un feix de branquillons flexibles, de palmes, de bruc, de plàstic, etc. (dit palmes d'una granera), lligat generalment al cap d'un bastó o canya (dit mànec), que s'utilitza per a arreplegar i llevar la brossa, la pols o la brutícia d'una superfície. En el català occidental i balear hom diu agranar (tanmateix, s'hi escombren els forns).

Menes d'escombres
 Escampa: escombra de palma, i mànec curt que serveix per a collir la farina de la pastera, del taulell, etc.
 Escombra de jardí: escombra consistent en un feix de brins o pues, de material metàl·lic o plàstic, lligat en forma de ventall, que serveix especialment per a llevar la brossa del jardí.
 Escombreta: escombra petita que no té mànec o amb mànec (molt) curt, manejables amb una sola mà, destinada a netejar recipients, objectes, espais petits, llocs amb raconades, emblanquinar, escurar la pastera, espolsar els fogons, etc.
 Ramàs, raspall, escampa, escampall, escampill, escombrall o escobàs: escombra rudimentària amb mànec llarg o sense, feta de branquillons o branques d'arbust com ara el bedoll, el bàlec, el bruc (amb els brins), etc. (o un drap o feix de draps) que serveix per a escombrar superfícies planes, com l'era o el forn per a llevar-ne la cendra abans d'enfornar. S'ha confeccionat tradicionalment els raspalls o ramassos emprant les tiges de la planta dita herba escombrera o herba granera (Mantisalca salmantica) o la cornera.
 Baleja o baleig: escombra feta de branques de corner o d'altra planta verda, que s'empra per a balejar, ço és llevar amb els baleigs del munt de blat ventat o ererat, agranant per damunt.

 Escombra en l'edat mitjana
Les escombres eren fetes amb un feix de branques, de palma o margalló. Quan es feia inventaris de les cases no se citaven les escombres, devien ser objectes de poc valor que ni s'esmenten; probablement es confeccionaven a la llar mateixa amb branques de boix, de bruc, amb fulles de palma o altres vegetals. Un inventari d'una botiga de Barcelona ens il·lustra sobre la venda de materials que es podien utilitzar per fabricar a casa escombres i altres estris de neteja: hi havia manolls de bruc i de farigola, tupelles, és a dir flocs, d'espart, manades de cèrcols d'espart, cordes de cànem, de palma, de pell.

La iconografia antiga presenta alguna escombra formada per unes branquetes lligades al capdamunt amb un cordill, així veiem una dona que escombra al Livre des propriétés des choses del XV i també a les Lleis Palatines'' del rei de Mallorca veiem els escombradors reials amb dues escombres molt flexibles que semblen fetes de palma. Cap d'aquestes escombres no té mànec de fusta o de canya, sinó que el mànec està format pel lligat del feix de branques del cap d'amunt.

L'escombra a la cultura
De temps antics, és tradició associar les bruixes amb l'escombra, ja que es pensava que, untada amb segons quins ungüents, les bruixes l'encavalcaven com a mitjà de transport per a enlairar-se i volar. Aquesta associació es manté en obres modernes de fantasia, com per exemple en el joc del Quidditch de la sèrie de Harry Potter.

Les escombres fan un paper clau en els embolics de Mickey a Fantasia (pel·lícula) i també en ridiculitzar els romans a la historieta Astèrix als Jocs Olímpics.

Les escombres són un estri bàsic del treball domèstic, per això apareixen associades a santes presentades com a mestresses de casa, com Marta de Betània. Igualment tenen aquesta connotació en històries com el conte popular La rateta que escombrava l'escaleta.

Al jainisme sovint són un símbol de respecte, els monjos les porten per escombrar el terra abans de terra per no aixafar plantes o petits animalons i així demostrar actitud de valoració de qualsevol forma de vida i una aposta per la no-violència.

L'escombra al folklore
El ball de l'escombra és un ball de parelles en què un ballador sense balladora agafa una escombra i simula que neteja fins que en un moment donat es dirigeix a un ballador i li lliura l'escombra; el que la rep ha de cedir-li la balladora i simular que neteja i així successivament.

Es diu fer escombra d'esclafar la part inferior del palmó picant-hi a terra després de beneït, el Diumenge de Rams.

L'escombra a l'esport
En futbol, en sistemes defensius de marcatge individual, és el defensa escombra és jugador que no marca cap contrari i que té per missió treure de l'àrea pròpia qualsevol pilota que sobrepassi els seus companys de defensa.

El cotxe escombra és un vehicle que, en una cursa ciclista o atlètica, se situa al final de la caravana per recollir els corredors que abandonen la competició.

Escombres tradicionals a Catalunya
Els principals centres productors eren Ginestar, Pinell de Brai, Rasquera i Miravet.

Vegeu també
 Escombreta de vàter
 Eixugador
 Recollidor

Referències

Bibliografia

 Gabriel Dumont Institute. (2001). Broom Dance, Metisfest 2001.The Virtual Museum of Metis History and Culture. Gabriel Dumont Institute of Native Studies and Applied Research. Es pot consultar en línia: http://www.metismuseum.ca

Enllaços externs

 Història de l'ús de la granera com a instrument de bruixeria.
 Paraules nostres: Escombrall, Joan Albert Ribas

Estris de neteja

redpajama_set_name: RedPajamaWikipedia


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Home2009December19
Steamboat Springs: Public Works director pitches $34 million for proposed water infrastructure
December 19, 2009 December 19, 2009 Coyote Gulch Colorado Water, Infrastructure, Yampa River Basin
From the Steamboat Pilot & Today (Mike Lawrence):
Philo Shelton said Thursday that he is confident in the city's updated plan for $34 million worth of potential water infrastructure that would service future development west of Steamboat Springs. Shelton is director of Steam boat Springs' public works department. On Tuesday, he presented a study by McLaughlin Water Engineers, of Denver, "Water and Wastewater Master Plan Updates," to the Steamboat Springs City Council. The study includes projected water and wastewater demands and details the infrastructure needed to service those demands should potential development — including the proposed Steamboat 700 and 360 Village annexations — occur west of current city limits. "It does not raise concerns for me," Shelton said about the city's ability to meet future water capacity demands, costs and infrastructure plans. "This plan is a good plan to allow for treated water, as well as nonpotable irrigation water. … The other piece is that it allows for a new source of water and provides needed redundancy in our region."[…]
The McLaughlin study projects a maximum water demand of 7.34 million gallons per day, or mgd, after build-out within city limits and in the west of Steamboat area, including potential annexations and other development. The city's current water treatment capacity is 4.55 mgd, and the current city demand is 3.3 mgd, according to the study. Those figures do not include demands serviced by the Mount Werner Water and Sanitation District. Expanding existing city facilities — including additional filtration at the Fish Creek water treatment plant, which the city shares with the Mount Werner district — could boost the city's treatment capacity to 7.65 mgd, just more than the 7.34 mgd future demand…
The $34 million cost of developing that service includes $5 million to buy the 1,000-acre site for a reservoir; $7.5 million to build the reservoir; $4.75 million to build a water treatment plant that initially would provide 2.5 mgd, and ultimately could provide 5 mgd; and other land, construction, legal and administrative costs…
The McLaughlin study said water infrastructure on the west side of the city is needed regardless of future development, to provide redundancy for what it called a "dead-end" city water treatment system that comes only from one side of the city. McLaughlin said building a 1-million-gallon storage tank near Steamboat Springs Airport is a high priority for the city and that a booster pump station will be needed if the Elk River supply is not developed.
More infrastructure coverage here.
Republican River Water Conservation Board of Directors meeting recap
December 19, 2009 Coyote Gulch Climate Change, Colorado Water, Infrastructure, Instream flow, Republican River Basin
From The Yuma Pioneer (Tony Rayl):
The day included presentations on the Colorado Ground Water Management Act, the history and development of Colorado Ground Water Commission rules, distinct rules by ground water management districts, and the new mandatory water metering. And that was just in the morning. Then came the afternoon, featuring a compact accounting update by RRWCD engineer Jim Slattery, State Engineer Dick Wolfe and Assistant State Engineer Mike Sullivan giving an update on getting approval for the proposed pipeline by the Republican River Compact Administration, and RRWCD leaders explaining the district's current stance in continuing with the pipeline, and why they have done what they have to date.
Colorado invoked fast-track arbitration with fellow compact states Kansas and Nebraska after the RRCA rejected the pipeline on a 1-2 vote last August. It was the second time the RRCA, which consists of the state engineer from each state, rejected Colorado's proposed pipeline, the first vote coming last April. Wolfe reported Monday that the state still had not selected an arbitrator, which was supposed to have been done two months ago. He later explained Kansas did not want to keep the arbitrator that decided another fast-track arbitration case earlier this year between Kansas and Nebraska. Wolfe said the new finalists all were expensive, particularly with all the states going through budget crunches, and Nebraska wanted to interview all of the finalists in person. He said he had hoped to announce the arbitrator Monday because Nebraska was done with the interviews. However, he had not heard on a final selection before coming to Yuma. When asked about sticking to the fast-track arbitration deadline, Wolfe said Colorado could force the other states to stick to the timeline with the hearings in February, and a final decision in March. However, he left the door open for Colorado allowing a slight extension…
Wolfe revisited the many concerns held by either Kansas or Nebraska in regards to the pipeline. Those include worries Colorado would pump too much one year and then not pump any water into the North Fork in following years, groundwater depletions by the use of the pipeline, the impact depletions could have on the Haigler Ditch in Nebraska, and Kansas' continued assertion that Colorado must satisfy the South Fork obligations by pumping water into the South Fork, rather than satisfying that by pumping all of the water into the North Fork. Kansas has expressed its wishes that Colorado would extend the pipeline about 15 miles further south to pump water into a South Fork tributary. David Barfield from Kansas has told Colorado his state in theory supports the pipeline, but issues need to be resolved. There is a concern from Colorado's end about the compact model dictating that groundwater depletions by the pipeline could result in Colorado receiving up to 20 percent less credit. Wolfe said the situation comes down to Kansas and Nebraska being worried they would lose all leverage in future negotiations if they approved the pipeline — even though Colorado has added provisions stating the other two can still seek compensation for past damages, as well as Colorado being obligated to any potential ruling on the sub-basin test…
David Robbins, legal counsel for the RRWCD, said Monday that when the district was formed earlier this decade, the understanding that removing about 30,000 acres from production would about do it in regards to Colorado coming into compliance, with Mother Nature taking care of the rest. With that in mind, the district immediately began working toward CREP and EQIP programs, which pay producers to turn off their wells — CREP for permanent retirement and EQIP temporary turnoffs of a certain amount of years. Robbins said all along Colorado knew it would eventually have to build a pipeline at some time in the future. However, he said that by 2007 it was clear the well retirements alone would not be enough, and the pipeline needed to be done sooner rather than later. Robbins explained why the RRWCD went ahead with purchasing the water rights earlier this year from the Cure family. The water rights are to 62 wells north of Laird, where a pipeline will be built to discharge the water into the North Fork within a half-mile of the Colorado-Nebraska state line…
He said there are a lot of problems with Kansas' proposal of extending the pipeline to the South Fork. It would entail putting water into a dry creek bed, where it would then have to travel more than 40 miles getting to the gage in Benkleman…
Slattery, during his presentation, explained the importance of draining Bonny Reservoir to help Colorado come into compliance. It would be eliminate 3,300 acre feet per year currently counted against Colorado due to evaporation and seepage from the reservoir's water. The figure used to be higher, but the reservoir is now being kept around 10,000 acre feet. In fact, Wolfe said he ordered the release of water from the reservoir again earlier this month, sending water down the South Fork, while also keeping Bonny's level down. The state engineer said there are a lot of issues surrounding the Bonny situation that have to be worked out with a variety of agencies before it could ever be drained. He said he feels is getting close in coming months to getting all those issues settled…
Slattery's presentations, letters from Kansas and Nebraska concerning the proposed pipeline, Colorado's proposed resolutions and other important information concerning the pipeline and Republican River Compact, can be found at www.republicanriver.com.
Ouray: Stimulus dough to help with funding 20 kilowatt micro hydroelectric generation plant
December 19, 2009 Coyote Gulch Climate Change, Colorado Water, Energy Policy, Gunnison River Basin, Hydroelectric/Hydropower, Uncompahgre River Watershed
From The Telluride Watch:
The City of Ouray has been awarded a $30,000 grant from the Colorado Governors Energy Office to install a 20 kilowatt micro-hydro generating unit to be located at the Ouray Hot Springs Pool…
The project will take advantage of an existing, currently underutilized pipeline adjacent to the pool site. The electrical output from the system will be net-metered to offset the electricity use of the pool complex, saving the city approximately $12,000 in annual electricity expenditures. The powerhouse for the project will be constructed by a shop class from Ouray High School. Once completed, the project will provide an added tourist attraction to visitors to Ouray Hot Springs. Over the 30 year life of the project, the city will save approximately $370,000 – not accounting for expected electricity price increases. The project will also provide an opportunity for local students to participate in development of a clean energy project, and will avoid approximately 224,000 pounds of annual carbon dioxide emissions.
More hydroelectric coverage here and here.
Palmer Lake: Town Council approves water rate increase
December 19, 2009 Coyote Gulch Arkansas Basin, Colorado Water, Infrastructure
From The Tri-Lakes Tribune (Lisa Collacott):
The basic rate will increase from $33.53 to $40.07. The increase is needed to fund the new water plant. There will be an $11.51 increase per tap per month. An additional $6.54 will be added to maintain a three-month reserve. The state has required the Town of Palmer Lake to create an emergency fund with the $6.54 that is collected. At the end of 2010 the $6.54 will be taken off the bill. The $11.51 will stay until the loan is paid off, which will be in 20 years. "We needed the money for the new plant," said water commissioner, Max Stafford. "The old one was 30-years-old and it was hard to get parts for it."
Palmer Lake has taken a $1.8 million loan from the state's revolving fund for improvements. The loan is a low-interest subsidized loan. "There was no raise in the budget or employee benefits. It's all about the loan," Stafford said.
Dolores: Water and sewer rates to go up next year
December 19, 2009 Coyote Gulch Colorado Water, Dolores River Watershed, Infrastructure
From the Cortez Journal (Shannon Livick):
Dolores residents will see their water and sewer bills go up next year, following a Monday-night decision by town board members to increase rates 3 percent. Interim Town Manager Ryan Mahoney said the increase was a must, to keep up with the rising costs of labor, chemical supplies and additional testing. The 3 percent increase will cost the average customer about $17 a year…
The base rate for water for in town residents up to 4,000 gallons will now be $24.36. The base rate for residential, in-town sewer will be $24.72…
Green said because the water and sewer rates are having difficulty paying for themselves, the increase was the only way to keep up with costs and continue to maintain the system. "We are not keeping up in the sewer fund," Mayor Val Truelson said. The increase would give the town about $10,800 of additional revenue, Mahoney said. The revenue will go to the water and sewer enterprise funds because of escalating costs of doing business, needed maintenance and ongoing improvements.
Energy policy — nuclear: Environment Colorado obtains email correspondence between Powertech and the EPA over possible permitted pollution in the Fox Hills aquifer
December 19, 2009 December 19, 2009 Coyote Gulch Climate Change, Colorado Water, Denver Basin Aquifer System, Groundwater, Nuclear
From the Fort Collins Coloradoan (Bobby Magill):
U.S. Environmental Protection Agency documents show the EPA has been working closely with uranium mine developer Powertech USA for nearly two years on a permit application that would allow the company to contaminate an aquifer beneath its proposed Centennial Project in Weld County. All of the consultation was closed to the public, said Matthew Garrington of Environment Colorado, the group that obtained the documents from the EPA. According to the documents, the EPA, with the help of Powertech, has been developing internal guidance documents that will govern how the agency reviews Powertech's application for a mine permit. The permit will allow Powertech to contaminate a portion of an aquifer with the company's in situ leach uranium mining process…
"One reason the Centennial Project is receiving this level of technical scrutiny is because many residences located near the proposed Centennial Project rely on private wells for their drinking water, and many of those drinking water wells are completed in the same Fox Hills Formation aquifer [ed. the Fox Hills is part of the Denver Basin Aquifer system] as the mining zone aquifer," according to one October 2008 internal EPA document. EPA spokesman Richard Mylott said Thursday that document does not reflect the agency's current approach to Class III permitting.
Most of the e-mails Environment Colorado obtained regard an "aquifer exemption," and "aquifer exemption boundary," which is the extent to which the EPA may allow Powertech to contaminate the aquifer as part of the uranium mining process. The e-mails between the EPA and Powertech partners, Knight Piesold Consulting and R2 Incorporated, discuss where the aquifer exemption boundary should be placed.
In an April 2008 e-mail between EPA Underground Injection Control staffer Valois Shea and an R2 Incorporated employee, Shea asks if draft figures in a Class III permit application checklist comport with R2's expectations. "You will get to be the pioneering guinea pig that will make life easier for others following in your path," Shea writes.
Powertech Vice President Richard Blubaugh said Thursday such consultation with the EPA was both informal and standard practice. Class III permit applicants are "encouraged to go in and meet with the agency to understand what the requirements are," he said. "Their regulations are complex. It really is something everybody does. It's just routine to go in and talk to find out how they interpret the rule and what they expect to see in the application."
Mylott agreed, saying it's both normal and in the public's best interest for the EPA to discuss the technical aspects of in situ leaching with Powertech. The EPA's underground injection control program, he said, is designed to protect drinking water. "Achieving that goal depends on a solid understanding of what the permit applicant intends to do and the steps that will be taken to protect drinking water sources," Mylott said.
Thanks to the Colorado Independent (David O. Williams) for the heads up.
More nuclear coverage here and here.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Saxon: Can't open XML with schema in .NET, works fine in Java I am trying to create a Saxon XPathCompiler. I have the same code in Java & .NET, each calling the appropriate Saxon library. The code is:
protected void ctor(InputStream xmlData, InputStream schemaFile, boolean preserveWhiteSpace) throws SAXException, SchemaException, SaxonApiException {
    this.rootNode = makeDataSourceNode(null);
    XMLReader reader = XMLReaderFactory.createXMLReader();

    InputSource xmlSource = new InputSource(xmlData);
    SAXSource saxSource = new SAXSource(reader, xmlSource);
    Source schemaSource = new StreamSource(schemaFile);
    Configuration config = createEnterpriseConfiguration();
    config.addSchemaSource(schemaSource);
    // ...

In the case of .NET the InputStreams are a class that wrpas a .NET Stream and makes it a Java InputStream. For Java the above code works fine. But in .NET, the last line, config.addSchemaSource(schemaSource) throws:

$exception    {"Content is not allowed in
  prolog."} org.xml.sax.SAXParseException

In both Java & .NET it works fine if there is no schema.
The files it is using are http://www.thielen.com/test/SouthWind.xml & http://www.thielen.com/test/SouthWind.xsd
It does not appear to be any of the issues in this question. And if that was the issue, shouldn't both Java and .NET have the same problem.
I'm thinking maybe it's the wrapper around the .NET Stream to make it a Java InputStream, but we use that class everywhere without any other issues.

A: The "content is not allowed in Prolog" exception is absolutely infuriating - if only it told you what the bytes are that it is complaining about! One diagnostic technique is to display the initial bytes delivered by the InputStream: do a few calls on
System.err.println(schemaFile.next())

My first guess as to the cause would be something to do with byte order marks, but rather than speculate, I would focus on diagnostics to see what the parser is seeing in that InputStream that it doesn't like.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Nomad understand scheduler node selection I have a 3 node test cluster and several jobs (simple config, no constraints, java services). My problem is every time I start a job it will be started on the first node. If I increase the count=2 and add a distinct host constraint there are also allocations on the other nodes. But if I start 50 jobs with count=1, there are 50 allocations on the first node and non on node2 or node3.
job "test" {
  datacenters = ["dc1"]
  type = "service"
  group "test" {
    count = 1
    task "test" {
    driver = "java"
    config {
       jar_path    = "/usr/share/java/test.jar"
       jvm_options = [
                    "-Xmx256m",
                    "-Xms256m"]
    }
    resources {
       cpu = 300
       memory = 256
    }
 }
}

Now I want to understand/see how Nomad selects the node for the allocations. All 3 nodes have the same resources - so the jobs should be distributed equally?
EDIT: Suddenly the jobs will be distributed. So my new question is: Is there a verbose output or something where I can see how and why Nomad choose a specific node while starting a new job.

A: As given in the official documentation

The second phase is ranking, where the scheduler scores feasible nodes to find the best fit. Scoring is primarily based on bin packing, which is used to optimize the resource utilization and density of applications, but is also augmented by affinity and anti-affinity rules. Nomad automatically applies a job anti-affinity rule which discourages colocating multiple instances of a task group. The combination of this anti-affinity and bin packing optimizes for density while reducing the probability of correlated failures.

This means that Nomad will try to "fill" a particular node at first. Let me take an example:
Suppose you have three jobs with requirements:

j1(200M), j2(300M), j3(500M)

and have three nodes with free resources

n1(1G), n2(2G), n3(3G).

In this case, Nomad will choose a node that will fill first. So, when you try to schedule J1, N1 will be selected. Now, the state of the nodes with their remaining resources will be:

n1(800M), n2(2G), n3(3G)

Now, suppose you wanna schedule j2. In this case, n1 will be selected as that node will be filling faster than n2 and n3.
Hence, your final allocation with free resources will look like
n1 (j1,j2,j3)(100M)      n2(2G)       n3(3G)

Now if a job j4 comes in with 200M of requirement, n2 will be selected. This will send your cluster state into
n1 (j1,j2,j3)(100M)      n2(j4)(1800M)       n3(3G)

If you would like to understand more how bin-packing works in Nomad, you can check the advanced documentation at https://www.nomadproject.io/docs/internals/scheduling.html
Also, calculation of weights related to assignment of allocations is exposed on the result of the evaluation API. This would mean if you issue the following command:
$ nomad plan <job> file

And then note down the eval ID, and make an  HTTP request on to the evaluation api
$ curl localhost:4646/v1/evaluation/<eval_id>

You would get the result of scheduler calculations and conditions for the to be scheduled nomad job.
This plan command is very useful for understanding TaskGroup allocations. It will also tell you if you have enough resources to run the job in your datacenter.


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Q: Misunderstanding document about leakage inductance in a flyback converter V2 I m back again on this document ! :D The document teaches me a lot of things and I think it will help me to better understand the losses across the switching components. I really appreciate if someone could tell me if my reasoning is wrong. I spent a lot of time on this document !
Here it is : https://pdfs.semanticscholar.org/c061/313303ee8c231b069be4f0d67d9e4cddcbf0.pdf (the document is really insteresting)
Here are my questions :

Here are my questions :
"Ipeak is the current value when the switch opens" It means that the peak current through Lp and Lleak is maximal at the switch opening. According to Lenz's Law and Faraday's Law, if the current is going to be lower than Ipeak after the switch opening, then the voltage across Lp and Ll will reverse and the inductances will begin to discharge their relative energy previously accumulated during Ton. Do you agree ?
Nevertheless, it seems if I correctly understand the document that Lp and Ll are not reversed just after opening the switch. So the current through Lp and Ll must grow up and this current is provided by Vin as the energy accumulated into the inductance is still growing up.
We now have a capacitor which is connected to Vin, So Vin = VLp + VLleak + VClump. (Please tell me If i do a mistake, My reasoning is probably false). The slope of the current through Lp and Lleak will reduce as the voltage Vlp and Vleak will reduce as the voltage across VClump will increase. It will increase rapidly as Ip (=Ileak) is already high depending on the value of Clump.
So far, the voltage across the secondary winding was oriented so that the diode was not be able to conduct as Lp did not reverse his voltage. (energy was being accumulated and the current Ip was still growing up)

"The drain voltage increases until the voltage across Lp reverse" . Then "As both Lp and Lleak are energized, Lleak forces a current into the lump capacitance which continues its charge." What I have to understand ? The drain voltage continues to grow up so the the voltage across Lp is not reversed. Nevertheless it seems to be reversed there is a mention as "Lp and Lleak are energized". Besides, Lp is reversed as it is written " The secondary diode becomes biased". So at this moment, the current through Ip and Ileak goes down and the energy accumulated into the inductance is decreasing. When does Lp reverse ?
It seems that the voltage across Lp reverse when the voltage across VClump is equal to Vin. Vin source cannot more provide charge to the capacitor as its voltage is equal to Vin. So no energy is provided by the voltage source Vin and the inductance Lp and Lleak have to reverse as there is no more energy from the voltage source. The formula is obtained thanks to the Kirchoff's voltage law.
Then as it is mentionned, Lleak provides charges to Clump thanks to the energy accumulated previously. So the drain voltage is still increasing whereas the voltage across Lp is reversed. The drain voltage stop increasing when its voltage is equal to Vin + Vclamp.
Between the moment where VClump is equal to Vin and the moment where Vclump is equal to Vin + Vclamp, the energy into the circuit is only provided by the Lp and Lleak inductance. So the current through the secondary is proportionnal to Ip-Ileak. (No ?) As the two inductors was energetically charged with a current equal to "Ipeak" (E = 1/2*(Lleak + Lp)*Ipeak²), the current through the secondary at t = 0 (when the voltage across the two inductors reverse) is null as Ileak(t=0) is equal to Ip(t=0). At t=0+, the current Ip is different of Ileak and the current begins to rise at the secondary (Is this wrong ?). After a certain time the energy of Lleak and Lp has charged the Clump capacitor to the voltage Vin+Vclamp. And then the slope of current is constant as the voltage across Lleak is constant as it is mentionned.

Thank you very much :)

A:
Nevertheless, it seems if I correctly understand the document that Lp
  and Ll are not reversed just after opening the switch. So the current
  through Lp and Ll must grow up and this current is provided by Vin as
  the energy accumulated into the inductance is still growing up.

Your 2nd sentence is incorrect. The current can't grow. The current through the inductors now flows into the capacitor and its voltage rises at an initial rate governed by: -
$$I = C\dfrac{di}{dt}$$
Where \$I\$ is that initial current flowing though the inductors and now flowing in the capacitor called \$C_{lump}\$.

Please tell me If i do a mistake

That's your first mistake as I see it so resolve that in your head and see if the rest of your confusion evaporates because I don't want to go through the rest in case your other comments/question are founded on this false premise.
I would also urge you to use a simulation tool in order to get a better picture of what is actually happening.


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← For Jerry Gonzalez' 65th Birthday, a "Directors Cut" Jazz Times Article From 2009 and an Uncut Downbeat Blindfold Test From 2003
For Donald Harrison's 55th Birthday, a Downbeat Feature From 2002 →
June 6, 2015 · 11:58 am
For Monty Alexander's 71st Birthday, a Downbeat Feature From 2010 and a Separate Interview
In acknowledgment of pianist Monty Alexander's 71st birthday today, here's a feature I wrote for DownBeat in 2010. I've appended below an interview that I conducted with Monty for a Ray Brown tribute that appeared in DownBeat after the bass grandmaster passed away in 2002.
Monty Alexander Downbeat Article:
The adage "absence makes the heart grow fonder," coined to convey the kindling effect of separation on romantic ardor, applies with equal measure to pianist Monty Alexander's ongoing obsession with the music of Jamaica, his homeland, whence he migrated to Miami in 1961, at 17.
As a Kingston youngster, Alexander recalled, "I soaked up everything—the calypso band playing at the swimming pool in the country, local guys at jam sessions who wished they were Dizzy and Miles, a dance band playing Jamaican melodies, songs that Belafonte would have sung. I was fully aware of the rhythm-and-blues, my heroes on piano were Eddie Heywood and Erroll Garner, and, above all, Louis Armstrong was my king. I had one foot in the jazz camp and the other in the old-time folk music—no one more valuable than the other."
Once in the States, though, Alexander compartmentalized, sublimating roots towards establishing a jazz identity. By 1970, he was a distinguished voice, with a c.v. citing long-haul trio gigs with various New York A-listers, as well as consequential sideman work in Los Angeles with Milt Jackson and Ray Brown. By the late '70s, when he closed the books on his 300-days-a-year-on-the-road trio with John Clayton and Jeff Hamilton, he was an upper-echelon stylist, referred to by Oscar Peterson, himself descended from St. Kett's and St. Croix, as "my little West Indian counterpart."
"You come to America, you try to blend in and do what they do," Alexander explained. "At first, I was even trying to speak like American people"—he demonstrated several voices—"so they wouldn't keep asking, 'Where do you come from?' But as the years went by, I started expressing myself by claiming my heritage more. I said, 'Wait a minute, home is as good as it gets.'"
In Orvieto, Italy, for a five-concert engagement at Umbria Jazz Winter 2010, Alexander spoke in the high-ceilinged sitting room of his hotel, which evoked a ducal mansion. With him for the week was a band comprising an acoustic trio with bassist Hassan Shakur and drummer George Fludas and a plugged-in Jamaican contingent—Wendell Ferraro on guitar, filling both soloistic and comping roles, Glen Browne on bass, and Karl Wright on drums.
Dubbed the Harlem-Kingston Express, this instrumental configuration—documented on the 2011 release, Harlem-Kingston Express (Motéma), comprising live dates at Dizzy's Club Coca Cola and in Europe—is the most recent iteration of a series of Alexander-conceptualized efforts over the past few decades to coalesce "things that reflect my heritage as an English-speaking Caribbean person" with the principles of hardcore swinging jazz. "I was bummed out after it ended with John and Jeff because I'd gotten used to that precision, that projection," he said. "Although other people were fine and good, no one came close to that, and I'm not one to go scouting." To recharge, he began spending quality time in Jamaica. "I'd go to the studio with Sly and Robbie, who know me from way back. It's simple music, two chords—but life is in those two chords."
Later in the '80s, Alexander—whose first Jamaica-centric dates were the still-sampled mid '70s MPS groove albums Ras and Demento—started to present units with which he could incorporate Caribbean flavors, including an "Ivory and Steel" ensemble with steel drummer Othello Molyneaux and hand drummer Bobby Thomas "married to whatever bass player and drummer I had at the time." After signing with Telarc in the mid '90s, he embarked on a succession of recordings on which he reunited with musicians he'd known since teen years, among them several dates with guitarist Ernest Ranglin, and one with Sly Dunbar and Robbie Shakespeare. Four other recordings—Stir It Up and Concrete Jungle reveal Alexander's take on Bob Marley's music, while Goin' Yard and Playin' Yard address a broader Jamaican spectrum—hearken to mento, Jamaica's indigenous calypso, descended from the French quadrille music to which English colonists danced in the nineteenth century. Mento evolved into, as Alexander puts it, "a deep country Jamaican thing" with African retentions—a banjo, a rhumba box that is akin to a bass kalimba, hand drums, and often harmonica, fiddle or pennywhistle. It spread throughout the island, and, as the 20th century progressed, cross-pollinated with rhythm-and-blues and jazz, evolving into Ska.
As Alexander delved ever deeper into these rediscovered interests, he found it increasingly difficult to convene a single ensemble in which he could satisfactorily convey them. "I would have a trio of jazz masters, and when I'd want to play something that reflected Jamaica, whether calypso or Bob Marley, I couldn't get that thing because that's not what they do," Alexander said. "Conversely, the Jamaican guys didn't relate to the jazz experience. I wanted to give myself an opportunity to share my two loves, which is one love, to coin Bob's phrase."
This feeling had permeated the previous evening's concert. Alexander came to the piano, positioned stage center to the left of Shakur and Fludas. He opened with Ellingtonian chords, and launched a chugging train blues, transitioned to the changes of "Blue and Boogie," then returned to an Ellington medley that resolved into "Caravan." After brief remarks, a brisk stomp through "Sweet Georgia Brown," and some nachtmusik chords, the Rasta-dreaded Browne and Wright, who wears white driving gloves when playing, entered stage right, and laid down phat Reggae riddims. Playing percussively, Alexander soon segued into Ernest Gold's "Exodus," blew a melodica, quoted "let my people go" within his solo, returned to the piano bench, and ended with a flourish. With the trio, he played a shuffle blues, then a hard-swinging blues—midway through the latter, he stood, pointed to the Jamaicans, and orchestrated a metric modulation, quoting "Manteca" in his solo, before seguing into Marley's "No Woman, No Cry." The back-and-forth proceeded for another half-hour, before Alexander concluded with a romping "Come Fly With Me" and a melody-milking rendition of "All The Way."
"Recently I've been doing this with more commitment than before," Alexander remarked of the real-time genre-switching. "I'm fulfilled, because it's my own life experience. It's like Barack Obama music. We are all cut from the same cloth."
Perhaps twenty years ago, Alexander got angry at someone, intended to hit them, thought better of it, punched the wall instead, and broke his hand. "Ever since that day, I don't play as fast as I used to," he said. "But instead of playing twenty notes that may or may not mean that much, I started playing six or seven that hopefully are soulful or meaningful. Sometimes I'm playing and the muscle tightens, and I look like a kid who takes one index finger and goes PLINK-PLINK-PLINK. I think, 'Shit, that must look terrible to the audience, this so-called 'good' piano player playing with his index finger.'"
The chops are abundant on Uplift (JSP), a deeply swinging navigation of the American Songbook with bassist Hassan Shakur and drummer Herlin Riley that follows the 2008 trio dates, The Good Life: Monty Alexander Plays the Songs of Tony Bennett and Calypso Blues: The Music of Nat King Cole [Chesky] as companion pieces to his excellent 1997 Sinatra tribute, Echoes of Jilly's [Concord]. Rather than abstract the tunes, Alexander hews to the iconic arrangements, illuminating the music from within, deploying effervescent grooves, lovely rubatos, a killing left hand, an innate feel for stating melody, well-calibrated touch, harmonic acumen, and an ability to reference a broad timeline of piano vocabulary stretching to pre-bop. Each interpretation embodies a point of view. Like his "eternal inspiration," Erroll Garner, Alexander gives the hardcore-jazz-obsessed much to dig into, while also communicating the message to the squarest "civilian."
"In our home, Nat Cole was the voice of America," said Alexander, who experienced a transformational moment in 1956 when he saw Cole play on a package concert in Kingston with Louis Armstrong. "I grew up learning his songs, without knowing the titles, even before I knew about Sinatra. My awareness of his piano playing came later; it was just that smooth voice. At first I confused him with Gene Autry. I was always connecting one thing with another—'Wait a minute, that sounded like that.' That's why for me, even now, it's one world of music. I try to remove all the lines."
By 1956, Alexander had already spent half his life entertaining people with music. "I'd emulate people my folks knew who played old-time stride," he said. "I was playing boogie-woogie from the getgo, rockin' the joint. I just had fun at the piano." Later, he would extrapolate a conceptual framework from Ahmad Jamal's 1958 classic, "Poinciana." "It was a merging of two worlds," he said. "Sophistication on the piano, harmonic wonderment, and the nastiest jungle rhythm going on in the background. That's Jamaica. It's about dancin', it's about groovin'—it's all one thing."
Such formative experiences gave Alexander a certain ignorance-of-youth confidence when he started playing in "tough guy clubs" in Miami Beach, where hookers congregated and alcohol "flowed like crazy." Within a year he was working at Le Bistro, a two-room joint where he shared the bill with a Sinatra impersonator named Duke Hazlitt. One night after a concert at the Fontainebleau, Sinatra came through with an entourage, including Sinatra's consigliere, Jilly Rizzo, and Rizzo's wife, Honey.
`"I'm playing, minding my own business, trying to behave, not to be too noisy," Alexander recalled. "But I must have been kicking up a storm, because apparently Honey came in and told Jilly to come hear this kid play. In those days, I'd come in with all guns blazing. She told me, 'We've got this club in New York, Jilly's, and it would be nice to have you play in there, kid."
About a year later, midway through 1963, Rizzo finally brought Alexander to his eponymous West 54th Street tough guy bar, which doubled as Sinatra's late night office. Just 19 and residing a few blocks away in the Hotel Edison, Alexander joined Local 802, situated directly across the street from the club, and assumed his place among New York's jazz elite. Within a few years, he was also working uptown at Minton's Playhouse, "before a different crowd of tough guys; drug people and hot goods," and at the Mad Men era Playboy Club.
"I remember sitting at Jilly's piano bar, a few feet away from Miles Davis and Frank in deep conversation," Alexander reminisced. "My crowning point was when Miles came to me and said, 'Where did you learn to play that shit?' Next thing, he writes his phone number on a little matchbook, and we're hanging out at his house or going to the fights. Miles told me, 'You got the right complexion.'" Alexander noted that his bloodline is an admixture of Lebanese, Spanish and African strains, and that the ambiguity as to his racial identity had a great deal with to do with his ability to comfortably navigate various circles in Jim Crow Miami as well as New York City. "At Minton's they'd say, 'What's this Puerto Rican guy doing who can play jazz like that?' When I first saw Ray Brown's picture on an Oscar Peterson record cover, I saw the smile and the teeth and said, 'Damn, Uncle Jim!'"
More than the familial resemblance, Alexander was drawn to Brown's consistency, his tone, the truck-coming-down-the-road surge of his beat, and he tried to be around him whenever he could. "One night Ray was in town with Quincy Jones to make the album Walking In Space, and I asked him if he wanted to go out," he recalled. "I took him to the Half Note to hang out with Coleman Hawkins and Major Holley. After he hung out with Bean, he said, 'What's going on uptown?' 'There's a little bar called Docks, and Wynton Kelly and Sam Jones play duo there.' 'Ok, let's go.'
"I got to know Ray better. I went to see him in L.A. at the Gaslight. When I got there, nobody's listening, nobody cares, it's the last set, and they had to play one obligatory tune. Frankie Capp walks to the drums, Mundell Lowe picks up the guitar, but the piano player is boozed-out at the bar. I asked Ray, 'Can I play a tune?' Within two choruses, he's screaming, he's groovin' and I'm groovin', and we're as happy as kids in the candy jar. He said, 'Where are you going to be this summer? I want you to play with me and Milt Jackson.'
"When you're in company with people who are at a certain level, it upgrades your musicianship. I'd been smitten with the MJQ since I saw a record with these four dignified black men on the cover—they looked like funeral directors. I learned about the connections—John Lewis and Ray with Dizzy's big band, Hank Jones telling Dizzy about Ray. I took that personal thing on the bandstand. I felt like I belonged to that crowd of people."
In spontaneously orchestrating the Harlem-Kingston Express band in live performance, Alexander seemed to be paralleling the bandstand procedures by which both Ahmad Jamal and Duke Ellington deployed their units to convey their intentions in real time. The pianist concurred.
"It's a kind of joyful, loving dictatorship," he said. "That's why I use musicians who are willing and easy-going, who give me their trust and confidence and won't question what I'm doing."
Moreso than instant composition a la Jamal and Ellington as an m.o. for following the dictates of the moment, Alexander focuses on serious play. "I don't read music and I play by ear," he said. "You can chalk it up to a certain amount of laziness, because if I really wanted to read, there's no reason I can't. I took lessons with an older white lady from England who slapped my knuckles to play the scales. I learned to love her, because she meant well and she saw my talent—that taught me respect for the instrument and to get a sound, so the music starts to fly. But when I see paper in front of me, man, I start sweating. That part of my brain doesn't function well. I don't know how to play music that's not coming from my instant, make-it-up stuff.
"I get bored with a planned format. I can't repeat the same thing twice. I'm always reaching for now, live in the now, present tense, and I look for inspiration from wherever."
This blank slate attitude inflects the aforementioned trio projects. "I just went in the studio," Alexander said, referencing the 2008 Nat Cole tribute. "'Haji Baba' is from a movie with Nat, and I used to sing walking down the street when I was nine—I listened to the bridge on that and on 'Again' to make sure I had it right. But for the most part, when I play music, I smell it and see colors. Every song has its own personality, its own soul, and if I can't feel it, I can't play it with feeling.
"I don't understand what it is that makes me different, but I feel I have very little in common with anybody else. I seem to be my own strange character. If I'm right in my motivations and attitude, amazing things happen."
Monty Alexander on Ray Brown, 2002:
TP: When did your association with Ray Brown begin?
MONTY ALEXANDER: It began around 1966 or 1967. I saw him on several occasions, and he saw me as a tiny kid who just wanted to get to know him better. He didn't hear me play music or anything; I just phoned him and started hanging out with him, and he welcomed me into his social life, and he came to New York, and I remember we met, and I took him to a club with mutual friends of ours, and I was talking about Wynton Kelly and Sam Jones, and I took him to see them play at a little bar. I saw the camaraderie between them, and we hung out and had a lot of laughs. Then I took him to see Coleman Hawkins down at the Half Note, and he saw his old friends… So he liked it, and I ended up being in his company.
Then I saw him in Los Angeles a few months later, when he was doing the "Joey Bishop Show," which became later the "Merv Griffin Show." I went to say hello, and he invited me to hang out with him again.
But the real association happened one evening when I went to where he was playing. They were on an intermission, and when the time came to play a tune, just to sign off for the night… Because they weren't really listening to the music; it was a sort of Hollywood club. The pianist had one drink too many (I won't call his name), and I said, "Can I sit in?" Ray said, "Yeah." We started playing. And in a few bars, I could hear his joyful sound, and mine too. It was the beginning of knowing Ray Brown in music. We just played some blues. Then I got off the bandstand, and he asked me if I could join him in (?) that summer, just like that. This was 1968.
TP: When was the last time you played with him?
ALEXANDER: We made what probably was his last recording. He and I and Russell Malone have a release coming in October on Telarc. We were all very happy to be together. We had toured Europe last year, then we made this album, just the trio, and had all these dates in October and November, and next year we were going to tour Europe. We were just happy to be together, and everybody loved the band — and we loved the band.
TP: And you played with him with varying degrees of frequency and consistency between 1969 and early this year, then, on various gigs and recordings.
ALEXANDER: With varying degrees of consistency is a great way to put it. Because for a while, there was a lot of activity, and then I just went off doing what I do, and he started touring more and playing with Gene Harris and a trio. He would have a trio. Before that, Herb Ellis and I and Ray played in a group that everybody called The Triple Threat. We made about five CDs for Concord. We were playing and having a good thing.
TP: Over the 34 years of knowing him well, did you hear him evolve as a musician? Did Ray Brown in 1968 sound different than Ray Brown in 2002? I assume the answer would be yes, but I wonder what the quality of his evolution would be.
ALEXANDER: Ray Brown was like Art Tatum. I'll tell you why. The first time you hear Art Tatum play, it was so incredible… I mean, his first recordings, whatever he did, to many us that heard it, it was as incredible in his latter days as in the beginning. So it was already beyond words. And Ray Brown was that. Ray Brown was a continuous circle of beyond normal. There was nothing on the planet… And I'm not just saying it out of emotion and sentiment. In my opinion, what he stood for, just when he laid that rhythm down, it was like… I used to conjure up terms to try to explain how it was, and it was a Mack Truck with a Rolls-Royce engine. That's what it was. I mean, that's just my little parlance.
To me, the last times I played with him, every time from the beginning there was that sense of excitement that I would get, that I'm playing with this guy who is like a royal duke. He's a king. He's not a normal level of bass player. He had something in him that was brilliant, just brilliant.
TP: It seems he would play exactly in the right manner for any situation, and always make his personality shine, and yet never make himself outshine the situation.
ALEXANDER: He was the greatest support player, and yet he was so strong with what he did, and you knew it was him. He wasn't about to be just a nameless character in the background, just doing the pedestrian work. He was definitely so unique, that sound he got just from those fingers on the strings and what he heard. A musician plays what he hears, and Ray heard this thing. It was just a fat, beautiful tone. I think as the years went by, it wasn't so much an evolution; it was just a matter of, as you age, you don't want to pull the strings as hard — so maybe he lowered the strings a little on the fingerboard. Maybe. But I couldn't prove it. I was always astounded.
TP: Why do you think he went to younger bands in the last 10-12 years of his life?
ALEXANDER: Well, the old guys were fading away also. Whether or not he used young guys is not the point. The point is that there weren't that many older men that he would lock in with that would have the enthusiasm or spirit or the spirit of swinging that he was all about.
TP: So it was because of his own exceptional energy that he wanted someone to match that and sustain it.
ALEXANDER: Exactly. And you have a better shot when you get a young, growing, fine musician who is also so desirous of matching his strength. Which, by the way, was still leaps and bounds in terms of endurance. Because whenever I saw him playing with anybody, it was like they were trying to keep up with him.
TP: As someone who started off as a student and evolved into a peer, what would you say were the greatest lessons he imparted to you that impacted what you do as a musician?
ALEXANDER: Well, I was never a student. When I got on the bandstand with him, I felt like I was right there shoulder to shoulder. That was my attitude in music from the beginning. I was just so stubborn and ignorant! I would say in many ways his mentoring to me was more about life and attitude than how you play. Because he sensed in me from the beginning that I understood why and what he was, and I would play… When I played with him… And I think Benny and Jeff would say the same thing. We didn't play with him; we played for him. It was like we played together. At least, that's what I saw and heard.
TP: So his lessons to you were life lessons.
ALEXANDER: Yes.
TP: Comportment and sustaining yourself within this big sharkpit.
ALEXANDER: You said it well. It was about fortitude and straight-ahead, and no matter what, don't stop. It's like the way he played. In other words, if the stuff is falling apart, keep on rockin'! That's what he did. You hear that bass, from the first time you heard it, you knew it was this exceptional thing. He told me, "Man, I got tired of playing out behind all them horn players at Jazz at the Philharmonic." The horn players would take 50 choruses apiece, no matter who they were. Enough was enough. And as he got older, he didn't want to do that any more.
TP: I'm sure that kind of pretty formulaic for him after a while. But it would seem like no matter how formulaic the situation, he would never sound…
ALEXANDER: The point is, no matter what he had to put up with, if he had to put up with it, it would never sound like there was any kind of backing-up. He never backed up a thing.
To me, whatever note Ray played was like the first and the last note of his life. He played like his life depended on that note.
I can't get over the fact that man isn't alive. Because he was larger than life. Most of us couldn't consider the fact that the day could come he wouldn't be alive! This is emotional and personal. He was almost like an uncle, a father, a big brother. But he was so larger-than-life that it's like… He was a survivor, and he… With all the new technology… Ray didn't have a cell phone. I mean, he finally got one, but he didn't use it. He didn't do email, he didn't do all this stuff. But yet, he was so busy. Larger than life, man.
Filed under DownBeat, Monty Alexander, Piano
Tagged as DownBeat, Jamaica, Monty Alexander, Ray Brown


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In the classic film, "It's a Wonderful Life," George Bailey was able to keep the Building and Loan open for another day simply by having two dollars on hand at the end of the day. He and his staff gleefully put the bills aside, suggesting that they might mate overnight. Thus the idea of compound interest was born.
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All that data is great. It's clean and colorful and at your fingertips. Only one question remains %%MDASSML%% what are you going to do with it?
We get caught up in the minute-to-minute. We also need to step back and figure out what the data tells us about our specific operation. We need to find the time to unclog the bottlenecks and adjust the process. We need to move new lines into action and retool for the next great product coming from R&D. Finding time for all of that while cranking out as much product as we can as fast as we can with as high quality as we can is the challenge of modern manufacturing.
In reality, data is just another wrench in a plant manager's toolbox. Throw data at a problem, and you could bring the operation to a halt. Too much pressure on data, and you could disable the equipment. And you wouldn't use a wrench when what you really need is a screwdriver. Not all data is created equal, either.
Overall equipment effectiveness is one of the new terms we've come to know over the past decade. OEE is really just a way to quantify what we've sensed for a long time. We constantly want to know if we're getting all we can from our equipment. OEE gives that a number. As we discuss in this month's cover story, that number means different things to different plants.
We can become a slave to the data, or we can, as George Bailey did, just hope for a better tomorrow. Sometimes, that hope is rewarded %%MDASSML%% but it's no way to run a business.
The third option is to find the data that helps you understand what's really happening on the plant floor, and then act on it to improve operations. The data captured today is giving us greater knowledge than ever about what's happening on the plant floor.
What happens next is the key.


text:
Chad at the Olympics
Chad at the
IOC code
Comité Olympique et Sportif Tchadien
Summer appearances
Chad at the Olympics is a history which includes 11 games in 10 countries and 20+ athletes.[1] Since 1964, athletes of Chad have been part of the "Olympic Movement".[2]
The International Olympic Committee's official abbreviation for Chad is CHA.[3] In 1964, it was CHD.[4]
The Chad National Olympic Committee was formed in 1963. The Comité Olympique et Sportif Tchadien. was recognized by the International Olympic Committee (IOC) in 1964.[5]
A team from Chad has been at every Summer Olympic Games held between 1964 and 1972 and from 1984 to 2008.[1]
Chad has not sent a team to any Winter Olympic Games.[1]
List of IOC country codes
↑ 1.0 1.1 1.2 SportsReference.com (SR/Olympics), "Chad" Archived 2020-04-17 at the Wayback Machine; retrieved 2012-8-16.
↑ Olympics.org, "Factsheet: The Olympic Movement"; retrieved 2012-7-28.
↑ "Abbreviations, National Olympic Committees," 2009 Annual Report, p. 90 [PDF p. 91 of 94]; retrieved 2012-10-12.
↑ "Official abbreviations" at The Games of the XVIII Olympiad, Tokyo, 1964, [p. 9 of 409 PDF]; retrieved 2012-8-16.
↑ Olympic.org, Chad; retrieved 2012-8-16.
Chad profile at London2012.com
This short article about sports can be made longer. You can help Wikipedia by adding to it.
Retrieved from "https://simple.wikipedia.org/w/index.php?title=Chad_at_the_Olympics&oldid=7280776"
Nations at the Olympics
Sports stubs


text:
package com.comcast.tvx.haproxy;

import java.io.IOException;
import java.util.HashMap;
import java.util.List;
import java.util.Map;
import java.util.UUID;

import com.comcast.tvx.cloud.DiscoveryClient;
import com.comcast.tvx.cloud.MetaData;

import org.slf4j.Logger;
import org.slf4j.LoggerFactory;
import org.testng.annotations.Test;

import static org.mockito.Mockito.mock;
import static org.mockito.Mockito.when;
import static org.testng.Assert.assertEquals;
import static org.testng.Assert.assertTrue;

public class ZkEventHandlerTest {

    Logger logger = LoggerFactory.getLogger(ZkEventHandlerTest.class);

    @Test
    public void testConstructRules() throws IOException {
        HashMap<String, MetaData> services = new HashMap<String, MetaData>();

        services.put("/services/1/2/http/127.0.0.1:81",
                     new MetaData(UUID.randomUUID(), "127.0.0.1", 81, "http"));
        services.put("/services/1/2/http/127.0.0.2:81",
                     new MetaData(UUID.randomUUID(), "127.0.0.2", 81, "http"));
        services.put("/services/11/22/http/127.0.0.3:81",
                     new MetaData(UUID.randomUUID(), "127.0.0.3", 81, "http"));

        services.put("/services/1/2/https/127.0.0.1:444",
                     new MetaData(UUID.randomUUID(), "127.0.0.1", 444, "https"));
        services.put("/services/1/2/https/127.0.0.2:444",
                     new MetaData(UUID.randomUUID(), "127.0.0.2", 444, "https"));

        services.put("/services/1/2/xre/127.0.0.1:10004",
                     new MetaData(UUID.randomUUID(), "127.0.0.1", 10004, "xre"));
        services.put("/services/1/2/xre/127.0.0.2:10004",
                     new MetaData(UUID.randomUUID(), "127.0.0.2", 10004, "xre"));

        final Map<Integer, String> mappings = new HashMap<Integer, String>();
        mappings.put(Integer.valueOf(81), "/services/1/2/http/.*:/healthcheck");
        mappings.put(Integer.valueOf(444), "/services/.*/https/.*:/checkHealth");
        mappings.put(Integer.valueOf(10004), "/services/.*/xre/.*");

        DiscoveryClient client = mock(DiscoveryClient.class);
        HAProxyService haproxy = mock(HAProxyServiceController.class);
        when(haproxy.reload()).thenReturn(0);
        MappingsProvider mockProvider = mock(MappingsProvider.class);
        when(mockProvider.getMappings()).thenReturn(mappings);
        ZkEventHandler zkEventHandler = new ZkEventHandler(client, mockProvider, "target/haproxy.cfg", haproxy);

        HAServersConfiguration rules = zkEventHandler.constructRules(services, mappings);

        logger.debug(rules.toString());
        List<HAConfigurationSection> sections = rules.getSections();
        // There should be 9 sections.  3 backends, 3 frontends, 2 healthcheck backends, 1 healthcheck frontend
        assertEquals(sections.size(), 9);

        assertTrue(sections.get(0) instanceof HABackend, "Expected backend section not found.");
        assertTrue(sections.get(1) instanceof HAFrontEnd, "Expected frontend section not found.");
        assertTrue(sections.get(2) instanceof HAHealthCheckBackEnd, "Expected healthcheck section not found.");
        assertTrue(sections.get(3) instanceof HABackend, "Expected backend section not found.");
        assertTrue(sections.get(4) instanceof HAFrontEnd, "Expected frontend section not found.");
        assertTrue(sections.get(5) instanceof HAHealthCheckBackEnd, "Expected healthcheck section not found.");
        assertTrue(sections.get(6) instanceof HABackend, "Expected backend section not found.");
        assertTrue(sections.get(7) instanceof HAFrontEnd, "Expected frontend section not found.");
        assertTrue(sections.get(8) instanceof HAHealthCheckFrontEnd, "Expected healthcheck section not found.");
    }

}

redpajama_set_name: RedPajamaGithub