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Coupled thermal and concentration entry effects
From Thermal-FluidsPedia
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Current revision as of 07:34, 27 July 2010 (view source)
Yuwen Zhang (Talk | contribs)
m (moved Combined hydrodynamic and thermal entrance effect to Coupled thermal and concentration entry effects)
There are many transport phenomena problems in which heat and mass transfer simultaneously occur. In some cases, such as sublimation and vapor deposition, they are coupled. These problems are usually treated as a single phase. However, coupled heat and mass transfer should both be considered even though they are modeled as being single phase. In this article, coupled forced internal convection in a circular tube will be presented for both adiabatic and constant wall heat flux.
There are many transport phenomena problems in which heat and mass transfer simultaneously occur. In some cases, such as sublimation and vapor deposition, they are coupled. These problems are usually treated as a single phase. However, coupled heat and mass transfer should both be considered even though they are modeled as being single phase<ref>Faghri, A., Zhang, Y., and Howell, J. R., 2010, Advanced Heat and Mass Transfer, Global Digital Press, Columbia, MO.</ref>. In this article, coupled forced internal convection in a circular tube will be presented for both adiabatic and constant wall heat flux.
==Sublimation inside an Adiabatic Tube==
| width="100%" |
<math>\theta =\Theta (\eta )\Gamma (\xi )</math>
<big><big><math>\theta =\Theta (\eta )\Gamma (\xi )</math></big></big>
|{{EquationRef|(16)}}
<math>\begin{matrix} \begin{matrix} {} & {} \\\end{matrix}{\Theta }'(0)=0</math>
<math>\begin{matrix} {} & {} \\\end{matrix}{\Theta }'(0)=0</math>
<math>\begin{matrix} \begin{matrix} {} & {} \\\end{matrix}{\Phi }'(0)=0</math>
<math>\begin{matrix} {} & {} \\\end{matrix}{\Phi }'(0)=0</math>
<math>\begin{matrix} \begin{matrix} {} & {} \\\end{matrix}\beta =\gamma </math>
<math>\begin{matrix} {} & {} \\\end{matrix}\beta =\gamma </math>
where <math>{{T}_{m}}\text{ and }{{\omega }_{m}}</math> are mean temperature and mean mass fraction in the tube.
[[Image:Fig5.8.png|thumb|400 px|alt=v | Nusselt and Sherwood numbers for sublimation inside an adiabatic tube.]]
The figure to right shows heat and mass transfer performance during sublimation inside an adiabatic tube. For all cases, both Nusselt and Sherwood numbers become constant when <math>\xi </math> is greater than a certain number, thus indicating that heat and mass transfer in the tube have become fully developed. The length of the entrance flow increases with an increasing Lewis number. While the fully developed Nusselt number increases with an increasing Lewis number, the Sherwood number decreases with an increasing Lewis number, because a larger Lewis number indicates larger thermal diffusivity or low mass diffusivity. The effect of <math>(a{{h}_{sv}}/{{c}_{p}})</math> on the Nusselt and Sherwood numbers is relatively insignificant: both the Nusselt and Sherwood numbers increase with increasing <math>(a{{h}_{sv}}/{{c}_{p}})</math> for Le < 1, but increasing<math>(a{{h}_{sv}}/{{c}_{p}})</math> for Le > 1 results in decreasing Nusselt and Sherwood numbers.
==Sublimation inside a Tube Subjected to External Heating==
where <math>{{\varphi }_{0}}=k{{h}_{sv}}(\omega -{{\omega }_{sat,0}})/({{c}_{p}}{q}''{{r}_{o}})</math> in eq. (43).
The sublimation problem under consideration is not homogeneous, because eq. (45) is a nonhomogeneous boundary condition. The solution of the problem is consistent with its particular (fully developed) solution as well as the solution of the corresponding homogeneous problem <ref name="ZC1992"/>:
The sublimation problem under consideration is not homogeneous, because eq. (45) is a nonhomogeneous boundary condition. The solution of the problem is consistent with its particular (fully developed) solution as well as the solution of the corresponding homogeneous problem <ref name="ZC1992">Zhang, Y., and Chen, Z.Q., 1992, "Analytical Solution of Coupled Laminar Heat- Mass Transfer in a Tube with Uniform Heat Flux," Journal of Thermal Science, Vol. 1, No. 3, pp. 184-188.</ref>:
{| class="wikitable" border="0"
<math>\begin{matrix} \begin{matrix} {} & {} \\\end{matrix}\theta (\xi ,\eta )={{\theta }_{1}}(\xi ,\eta )+{{\theta }_{2}}(\xi ,\eta )</math>
<math>\begin{matrix} {} & {} \\\end{matrix}\theta (\xi ,\eta )={{\theta }_{1}}(\xi ,\eta )+{{\theta }_{2}}(\xi ,\eta )</math>
[[Image:Fig5.10.png|thumb|400 px|alt=Nusselt number based on total heat flux | Nusselt number based on total heat flux.]]
The variations of the local Nusselt number based on total heat flux along the dimensionless location <math>\xi </math> are shown in the figure to the right. It is evident from part (a) of the figure that Nu increases significantly with increasing <math>(a{{h}_{sv}}/{{c}_{p}})</math>. The Lewis number has very little effect on Nux when <math>(a{{h}_{sv}}/{{c}_{p}})</math>= 0.1, but its effects become obvious in the region near the entrance when <math>(a{{h}_{sv}}/{{c}_{p}})</math> = 1.0 and gradually diminishes in the region near the exit. <math>{{\varphi }_{0}}</math> has almost no influence on Nu in almost the entire region when <math>(a{{h}_{sv}}/{{c}_{p}})</math> = 1.0, as seen in part (b) of the figure. When <math>(a{{h}_{sv}}/{{c}_{p}})</math>= 0.1, Nux increases slightly when <math>\xi </math> is small.
[[Image:Fig5.11.png|thumb|400 px|alt=Nusselt number based on convective heat flux and Sherwood number | Nusselt number based on convective heat flux and Sherwood number.]]
The variation of the local Nusselt number based on convective heat flux, Nu*, is shown in part (a) of the figure to the right. Only a single curve is obtained, which implies that Nu* remains unchanged when the mass transfer parameters are varied. The value of Nu* is exactly the same as for the process without sublimation. Part (b) of the figure
shows the Sherwood number for various parameters. It is evident that <math>(a{{h}_{sv}}/{{c}_{p}})</math> and have no effect on Shx, and Le has an insignificant effect on Shx in the entry region.
Current revision as of 07:34, 27 July 2010
There are many transport phenomena problems in which heat and mass transfer simultaneously occur. In some cases, such as sublimation and vapor deposition, they are coupled. These problems are usually treated as a single phase. However, coupled heat and mass transfer should both be considered even though they are modeled as being single phase[1]. In this article, coupled forced internal convection in a circular tube will be presented for both adiabatic and constant wall heat flux.
Sublimation inside an Adiabatic Tube
Sublimation in an adiabatic tube.
In addition to the external sublimation, internal sublimation is also very important. Sublimation inside an adiabatic and externally heated tube will be analyzed. The physical model of the problem under consideration is shown in figure to the right [2]. The inner surface of a circular tube with radius ro is coated with a layer of sublimable material which will sublime when gas flows through the tube. The fully-developed gas enters the tube with a uniform inlet mass fraction of the sublimable substance, ω0, and a uniform inlet temperature, T0. Since the outer wall surface is adiabatic, the latent heat of sublimation is supplied by the gas flow inside the tube; this in turn causes the change in gas temperature inside the tube. It is assumed that the flow inside the tube is incompressible laminar flow with constant properties. In order to solve the problem analytically, the following assumptions are made:
1. The entrance mass fraction, ω0, is assumed to be equal to the saturation mass fraction at the entry temperature, T0.
2. The saturation mass fraction can be expressed as a linear function of the corresponding temperature.
3. The mass transfer rate is small enough that the transverse velocity components can be neglected.
The fully developed velocity profile in the tube is
where um is the mean velocity of the gas flow inside the tube. Neglecting axial conduction and diffusion, the energy and mass transfer equations are
where D is mass diffusivity. Equations (2) and (3) are subjected to the following boundary conditions:
Equation (7) implies that the latent heat of sublimation is supplied as the gas flows inside the tube. Another boundary condition at the tube wall is obtained by setting the mass fraction at the wall as the saturation mass fraction at the wall temperature [3]. According to the second assumption, the mass fraction and temperature at the inner wall have the following relationship:
where a and b are constants.
The following non-dimensional variables are then introduced:
where Tf and ωf are temperature and mass fraction of the sublimable substance, respectively, after heat and mass transfer are fully developed, and Le is Lewis number. Equations (2) – (8) then become
The heat and mass transfer eqs. (10) and (11) are independent, but their boundary conditions are coupled by eqs. (14) and (15). The solution of eqs. (10) and (11) can be obtained via separation of variables. It is assumed that the solution of θ can be expressed as a product of the function of η and a function of ξ, i.e.,
θ = Θ(η)Γ(ξ)
Substituting eq. (16) into eq. (10), the energy equation becomes
where β is the eigenvalue for the energy equation. Equation (17) can be rewritten as two ordinary differential equations:
The solution of eq. (18) is
The boundary condition of eq. (19) at η = 0 is
The dimensionless temperature is then
Similarly, the dimensionless mass fraction is
where γ is the eigenvalue for the conservation of species equation, and Φ(η) satisfies
and the boundary condition of eq. (24) at η = 0 is
Substituting eqs. (22) – (23) into eqs. (14) – (15), one obtains
To solve eqs. (19) and (24) using the Runge-Kutta method it is necessary to specify two boundary conditions for each. However, there is only one boundary condition for each: eqs. (21) and (25), respectively. Since both eqs. (19) and (24) are homogeneous, one can assume that the other boundary conditions are Θ(0) = Φ(0) = 1 and the solve eqs. (19) and (24) numerically. It is necessary to point out that the eigenvalue, β, is still unknown at this point and must be obtained by eq. (27). There will be a series of β which satisfy eq. (27), and for each value of βn there is one set of corresponding Θn and Φn functions .
If we use any one of the eigenvalues, βn, and corresponding eigenfunctions, Θn and Φn, in eqs. (22) and (23), the solutions of eq. (10) and (11) become
which satisfy all boundary conditions except those at ξ = 0. In order to satisfy boundary conditions at ξ = 0, one can assume that the final solutions of eqs. (10) and (11) are
where Gn and Hn can be obtained by substituting eqs. (30) and (31) into eq. (12), i.e.,
Due to the orthogonal nature of the eigenfunctions Θn and Φn, expressions of Gn and Hn can be obtained by
The Nusselt number due to convection and the Sherwood number due to diffusion are
where Tm and ωm are mean temperature and mean mass fraction in the tube.
Sublimation inside a Tube Subjected to External Heating
Figure 3: Sublimation in a tube heated by a uniform heat flux.
When the inner wall of a tube with a sublimable-material-coated outer wall is heated by a uniform heat flux, q''(see figure to the right), the latent heat will be supplied by part of the heat flux at the wall. The remaining part of the heat flux will be used to heat the gas flowing through the tube. The problem can be described by eqs. (1) – (8), except that the boundary condition at the inner wall of the tube is replaced by
where the thermal resistance of the tube wall is neglected because the tube wall and the coated layer are very thin.
The governing equations for sublimation inside a tube heated by a uniform heat flux can be non-dimensionalized by using the dimensionless variables defined in eq. (9), except the following:
where ωsat,0 is the saturation mass fraction corresponding to the inlet temperature T0. The resulting dimensionless governing equations and boundary conditions are
where in eq. (43). The sublimation problem under consideration is not homogeneous, because eq. (45) is a nonhomogeneous boundary condition. The solution of the problem is consistent with its particular (fully developed) solution as well as the solution of the corresponding homogeneous problem [4]:
While the fully developed solutions of temperature and mass fraction, θ1(ξ,η) and , respectively, must satisfy eqs. (40) – (41) and (44) – (46), the corresponding homogeneous solutions of the temperature and mass fraction, θ2(ξ,η) and , must satisfy eqs. (40), (41), (44), and (46), as well as the following conditions:
The fully developed profiles of the temperature and mass fraction are
The solution of the corresponding homogeneous problem can be obtained by separation of variables:
and βn is the eigenvalue of the corresponding homogeneous problem. The Nusselt number based on the total heat flux at the external wall is
where θw and θm are dimensionless wall and mean temperatures, respectively.
The Nusselt number based on the convective heat transfer coefficient is
The Sherwood number is
When the heat and mass transfer are fully developed, eqs. (58) – (60) reduce to
↑ Faghri, A., Zhang, Y., and Howell, J. R., 2010, Advanced Heat and Mass Transfer, Global Digital Press, Columbia, MO.
↑ Zhang, Y., and Chen, Z.Q., 1990, "Analytical Solution of Coupled Laminar Heat-Mass Transfer inside a Tube with Adiabatic External Wall," Proceedings of the 3rd National Interuniversity Conference on Engineering Thermophysics, Xi'an Jiaotong University Press, Xi'an, China, pp. 341-345.
↑ Kurosaki, Y., 1973, "Coupled Heat and Mass Transfer in a Flow between Parallel Flat Plate (Uniform Heat Flux)," Journal of the Japan Society of Mechanical Engineers, Part B, Vol. 39, pp. 2512-2521 (in Japanese).
↑ Zhang, Y., and Chen, Z.Q., 1992, "Analytical Solution of Coupled Laminar Heat- Mass Transfer in a Tube with Uniform Heat Flux," Journal of Thermal Science, Vol. 1, No. 3, pp. 184-188.
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text:
Q: Load earlier msg of conversation Hello I am making a chat application. What I want when the user scrolls to the top a show history/show more button appears and when I click on it should load earlier messages but in batches. Since, multiple users can chat I am facing problem in storing the last id of the fetched msg. Here is my concept
When a user clicks on a online user, then first 10 msgs are loaded from the database. When users scrolls to the top show more button appears. If he clicks that button then using the id of last fetched row I am again fetching next 10 rows which are less than previous id. But since there are multiple users I need to store different ids. How should I do that. Here is my jquery and php code.
$('#m-'+id).scroll(function() {

                    var pos = $('#m-'+id).scrollTop();
                    if (pos == 0) {
                        $("#h2-"+id).after("
Show More
");
                    }
                    else{
                        $("#showmore-"+id).hide();
                    }

                    $("#showmore-"+id).click(function(){
                            $.ajax({

                            url: "loadmessage.php",
                            type: "POST",
                            data:{
                                'sender': sender,
                                'receiver': receiver,
                            },
                            //SELECT * FROM `messagse` WHERE ((sender_id = 1 AND receiver_id = 2) OR (sender_id = 1 AND receiver_id = 2)) AND (id < 36) order by id desc LIMIT 20
                            success: function(response){
                                var result = JSON.parse(response);
                                console.log("Result is " +result);
                                //result.sort();

                                for(var i = result.length-1; i >=0; i--){
                                    $("#m-"+id).prepend('
' +result[i]+ '
');
                                }
                            }
                        });
                    })
                });

PHP code
<?php

if(isset($_REQUEST['sender']) AND isset($_REQUEST['receiver']) ){

    $sender = $_REQUEST['sender'];
    $receiver = $_REQUEST['receiver'];

        require_once 'dc_chat.php';
        $mysqli = new mysqli(DB_HOST, DB_USER, DB_PASS, DB_NAME);

        $result = $mysqli -> query("SELECT id from users where username LIKE '{$sender}'");
        $row = mysqli_fetch_row($result);
        $sender_id = $row[0];

        $result = $mysqli -> query("SELECT id from users where username LIKE '{$receiver}'");
        $row = mysqli_fetch_row($result);
        $receiver_id = $row[0];

        $sql = $mysqli -> query("SELECT username from users where id in (select sender_id from messagse where sender_id = $sender_id )");

        $row = mysqli_fetch_row($sql);
        $name = $row[0];

        //$sql = $mysqli -> query("SELECT * from messagse where (sender_id = $sender_id AND receiver_id = $receiver_id) OR (sender_id = $receiver_id AND receiver_id = $sender_id) ");

        $sql = $mysqli -> query("SELECT * FROM `messagse` WHERE (sender_id = $sender_id AND receiver_id = $receiver_id) OR (sender_id = $receiver_id AND receiver_id = $sender_id) order by id desc LIMIT 5");

            $arr = array();
              while($row = mysqli_fetch_array($sql)) {
                                $arr[] = $name." ". $row[3]." ".$row[4];
                            }
                echo json_encode($arr);
        }
    ?>

A:
But since there are multiple users I need to store different ids. How should I do that.

Rather than order by the id of the table you should order by the id of the user you are retrieving past messages for.  That way you can limit it to the number you want, e.g. LIMIT 5.  Then after that you can LIMIT 5,5 etc.

redpajama_set_name: RedPajamaStackExchange


There are more than 39 million Americans aged 60 and older as of the 2000 Census report. Right behind them are 79 million baby-boomers born in the years ranging from 1946 until 1964. It will not be long before the youngest of that brood will also be senior citizens. That time period is now less than 20 years.
There will be a deficit of payers for the care we will all need. That type of scenario is what we are looking at when the 39 million seniors of today and the 79 million baby-boomers merge into 138 million seniors of tomorrow. Of course we will lose several million seniors along the way due to natural causes, so we can plan for maybe 120 million people. In these next few decades, the Alzheimer's Association expects that the number of diagnosed cases will expand from 4 million to 16 million people. That 16 million people could cost society around $480 billion per year at $30,000 each for medical and supervisory care at a business site that can watch them.
We have private insurers staying away in droves to provide the medical and supervisory care for the Alzheimer's patients. We have the Federal government to rely upon to take care of us when we turn 65, so there is no need to require them to expand to over 65 citizens. There is no need to burden those caring insurance companies with people who will need long term care that will ultimately end with the patient passing away.
Comment: There is no question but what you are absolutely right. The problem lies in the fact that people under the age of, say, 60 do not believe they are ever going to become 70-80-90 years olds. It's pathetic, and I do not know how to help them see the light. Perhaps it's just human nature to deny Father Time until he hits them smack in the face.


I connected a small USB power/Voltage meter, it says e.g. 1,1A on a 2A charger, and 600mA on the PC.
still stops a second to charge continues, then stops (screen on), then continues, till 94% max this time.
Magnetic charge just says on /off/on/off all the time.
I ran the repair process and atte mpted to charge the tablet, but it only reached 80%. Started in safe mode and was able to charge to 100%. I then ran the battery down and charged the battery in normal mode and appears to be fixed and is charging fully in normal mode.
Sony support came up with the same tactic. The extra step of trying in safe mode was the only addition. Not sure why safe mode should make a difference.
Safe mode disable third party apps that could be causing issues.


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redpajama_set_name: RedPajamaCommonCrawl


"Game in one gate" does not suit users. This unfair system should change and we need to take steps to make the Internet useful to everyone who uses it.
In Internet advertising, the largest share of advertising covers companies – Facebook and Google today. This order of things does not surprise anyone. These two firms are huge technological giants that have an impact on virtually everyone and occupy a significant time in our lives in many ways. This works, since they own a huge amount of user data about ordinary residents. So, for example, the Facebook site collects information about its users and sells these data to conduct more effective advertising campaigns. This is a very lucrative business – last year Facebook earned more than $ 40 billion.
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MusicOn The Radio
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Cher and Kylie among those on Radio 2's Children In Need charity single
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Students will have a chance to review and practice techniques from BK Weekend 1, but basic sailing experience and/or haven taken Weekend 1 is assumed. Students will have no more than one hour of classroom time in Weekend 2, however topics will begin to become more practical covering basic navigation, crew recovery, and seamanship. On the water you'll be refining the skills learned in Weekend 1 while practicing the concepts learned in the classroom. You'll come in a bit early on your last day, and it's test time.
A written test will be administered on the last day of this course. Upon successful completion, your US Sailing Logbook will be handed out and You're Certified! If for any reason you cannot pass the written or practical test, TISC allows you to join any other Keelboat class until you are ready at no charge.
Minimum of 2 people for class to run.


text:
Living Otherwise: Buddhist Photography on the New Silk Road Main Menu In the Middle of Ethnic Politics Religion in China Tian Lin's Images The Politics of Tian Lin's Images Living Otherwise: Conclusions Darren Byler cf5e78d85280d9dc566c40f5f46f2f6865d5e5e9 Back to the Art of Life in Chinese Central Asia
Documentary Photography in China
1 2016-08-06T13:07:11-07:00 Darren Byler cf5e78d85280d9dc566c40f5f46f2f6865d5e5e9 10158 8 plain 309051 2016-08-13T14:24:51-07:00 Darren Byler cf5e78d85280d9dc566c40f5f46f2f6865d5e5e9
Since the 1990s the arts in China have exploded. Photography was one genre that quickly became a major field within the new contemporary art scene. As Wanning Sun (2015) has noted, the primary focus of new Chinese photography was travel, landscapes and fashion.
Yet a substantial number of photographers have also became engaged in documentary photography. This type of photography attempts to explore social-issues such as urban migration and the industrialization of the Chinese society. Although the state often tried to push these photographers to use their photography to represent the miracle of China's rapid economic development and improving living conditions of Chinese rural-to-urban migrants, some of these photographers found ways to resist this ideological pull.
By the early 2000s the migrant-photographers such as Zhang Xinmin and Song Chao began portraying the precarious lives of migrants as they themselves lived. Zhang Xinmin's first book Besieging the City (2004) and Song Chao's Miners (2008), set the standard for a whole generation of migrant-photographers who were just beginning to find their voice at the margins of Chinese society.
Song Chao says that he wanted to move beyond representing migrants as "people, leading a dull, mysterious and hard life," as is often perceived in mainstream representations of migrant lives. Instead his projects attempted to portray the full range of feelings that marginalized people possess.
1 2016-08-06T13:07:11-07:00 Darren Byler cf5e78d85280d9dc566c40f5f46f2f6865d5e5e9 Documentary Photography in China Darren Byler 8 plain 309051 2016-08-13T14:24:51-07:00 Darren Byler cf5e78d85280d9dc566c40f5f46f2f6865d5e5e9
1 2016-08-06T13:07:11-07:00 Documentary Photography in China 8 plain 309051 2016-08-13T14:24:51-07:00
1 2016-08-06T13:44:59-07:00 A Documentary Ethos 9 plain 301274 2016-08-06T14:13:27-07:00
1 2016-08-06T13:07:11-07:00 Darren Byler cf5e78d85280d9dc566c40f5f46f2f6865d5e5e9 Documentary Photography in China 8 plain 309051 2016-08-13T14:24:51-07:00 Darren Byler cf5e78d85280d9dc566c40f5f46f2f6865d5e5e9
1 2016-08-06T13:44:59-07:00 Darren Byler cf5e78d85280d9dc566c40f5f46f2f6865d5e5e9 A Documentary Ethos 9 plain 301274 2016-08-06T14:13:27-07:00 Darren Byler cf5e78d85280d9dc566c40f5f46f2f6865d5e5e9
1 2016-08-06T13:12:34-07:00 Wanning Sun, Subaltern China, 2015 3 Wanning Sun (2015) Subaltern China: Rural Migrants, Media, and Cultural Practices media/1200x630bf.jpg plain 2016-08-06T13:17:15-07:00
1 2016-08-06T13:18:16-07:00 Song Chao 2 Song Chao (2008), Miners songchao+829.jpg plain 2016-08-06T13:21:43-07:00


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Squeezebox : Community : Forums > User Forums > General Discussion > Zapping through radio stations?
View Full Version : Zapping through radio stations?
Whenever you want to see if there is something on the TV, you sit down with your TV remote in hand, switch the unit on, and hits P+ (or whatever the button is labled on your set) repeatedly to watch channel after channel.
To do the same thing with radio channels through the SB3, you select Favorites, then Down, Play, Down, Play, etc. Is it possible to avoid the need for hitting Play every time?
Create a playlist with all stations yopu want to play then assign the list to a favorite. Play the favorite - I think FFWD/REW will then move you up and down the list.
Thanks! That easy, eh? I will certainly give it a try.


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text:
Home » World »
As Arab Gulf starts opening to Israel, Palestinians face a reckoning
15 September 2020, 4:01 PM | Reuters	| @SABCNews
Palestinians pray next to a mock coffin of Arab League during a protest against normalizing ties with Israel, in Kafr Qaddum town in the Israeli-occupied West Bank September 11, 2020.
Israel's rapprochement with Gulf Arab states has left the Palestinians feeling abandoned by traditional allies and clutching an old playbook in a rapidly changing Middle East, analysts and critics say.
As the United Arab Emirates and Bahrain prepare to sign normalisation accords with Israel at a White House ceremony on Tuesday, Palestinian leaders face calls to overhaul their strategy to avoid becoming marginalised in a region where Israel and most Sunni Arab regimes share a fear of Iran.
The Palestinian approach to securing freedom from Israeli occupation has for years relied on a longstanding pan-Arab position that called for Israeli withdrawal from the occupied West Bank and Gaza and Israel's acceptance of Palestinian statehood, in return for normal relations with Arab countries.
But the Palestinians last week failed to persuade the Arab League to condemn nations breaking ranks.
Tuesday's ceremony, hosted by US President Donald Trump, will be "a black day in the history of Arab nations", Palestinian Prime Minister Mohammad Shtayyeh said on Monday.
Shtayyeh said the Palestinians are now discussing whether to "adjust Palestine's relationship with the Arab League."
But critics say the proposed move is too little too late, with President Mahmoud Abbas facing mounting criticism for their increasingly isolated position.
"There is very little indication that the (Palestinian) leadership is contemplating a break from its approach," Tareq Baconi, an analyst with the International Crisis Group, told Reuters.
The Palestinians' strategy centres on holding Israel to account in international legal tribunals, and trying to break the United States' dominance over the Israeli-Palestinian peace process, Baconi said.
"Arab and European support in that strategy is crucial, but it is questionable that the Palestinians will be able to secure either to the level required to ensure a just peace."
TWO-STATE SOLUTION
Despite signs of shifting Arab support, Saeb Erekat, Secretary General of the Palestine Liberation Organization (PLO), said the underlying Palestinian strategy for achieving a state in the West Bank, East Jerusalem and Gaza would not change.
"To stay on the grounds of international law, international legality, to seek peace based on ending Israeli occupation and a two-state solution … we cannot depart from these squares," he told Reuters.
While conceding difficulties faced by a Palestinian leadership under Israeli occupation, analysts nevertheless say Abbas does have some options.
After years of in-fighting between the two main Palestinian factions, Abbas's Fatah and Islamist Hamas, long-overdue elections would refresh the president and parliament's mandate and boost their leverage abroad by increasing their legitimacy at home, analysts say.
"We need to … rebuild the PLO's institutions from the ground up and cement relations between Palestinians here and in the diaspora," Gaza analyst Talal Okal said.
Over six million diaspora Palestinians, he said, "can influence the communities they live in so the Palestinian cause has a place on the agendas of their host governments."
TRUMP BOYCOTT
One area where Abbas has widespread public support – 70% in recent polls – is his two-year boycott of the Trump administration, which he accuses of pro-Israel bias over its recognition of Jerusalem as Israel's capital and endorsement of Israel's West Bank settlements.
Frustrated by the Palestinians' refusal to take part in Trump-led talks, the White House has sought to bypass Abbas and his team, apparently hoping they will see the deals with the UAE and Bahrain as incentives to return to negotiations.
For more than two years Trump's son-in-law Jared Kushner has tried sidestepping Abbas to appeal to Palestinians directly, telling Al-Quds newspaper in 2018: "The world has moved forward while you have been left behind. Don't allow your grandfather's conflict to determine your children's future."
That has had little apparent success. And the Palestinian leadership at first engaged with the Trump administration. Until, said Erekat, they concluded that "these people want to dictate a solution, not negotiate a solution … they're the ones who are departing from international law."
Dennis Ross, who served as a Middle East adviser under Republican and Democratic administrations, had cautionary words for both sides.
While the Gulf deals served notice that Palestinians "don't have a veto on normalization as regional dynamics shift" the Israelis, he said, "cannot wish the Palestinians away — and standing pat also means increasing the risk of one state for two peoples."
This entry was posted on 15 Sep 2020,04:01PM at 4:01 PM and is filed under World. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.
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Q: 2nd Query in SQL Stored Procedure giving me Null error I need to run three Insert queries in SQL Server 2008 via stored procedure and expected three OUTPUT values to read in C#. In following Stored Procedure, my first query only runs and remain I am getting Null error

Cannot insert the value NULL into column
  'AssessmentElectronicSignatureID'

 USE [myDB]
    GO
    /****** Object:  StoredProcedure [dbo]. [p_assessment_dfn_statementAnswer_insert]    Script Date: 10/05/2015 13:24:22 ******/
   SET ANSI_NULLS ON
   GO
   SET QUOTED_IDENTIFIER ON
   GO

    ALTER PROCEDURE [dbo].[p_assessment_dfn_statementAnswer_insert]
                  @StatementID AS bigint,
                  @StaffID AS int,
                  @AssessmentID As bigint,
                  @StatementText AS nvarchar(MAX),
                  @StatementDate AS Date,
                  @StatementAnswerID AS bigint OUTPUT,
                  --
                  @SignatureCheck AS bit,
                  @SignatureDate AS Date,
                  @ElectronicSignatureID AS bigint OUTPUT,
                  --
                  @AssessmentElectronicSignatureID AS bigint OUTPUT
    AS
    SET NOCOUNT ON
    SET XACT_ABORT ON

    -- local variables
     DECLARE @l_object    AS SYSNAME = OBJECT_NAME(@@PROCID)
           ,@l_error_msg AS NVARCHAR(2000)

    BEGIN TRY

      BEGIN TRAN

         INSERT INTO [adb_TestDb].[dbo].[Assessment_Statement_Answer]
           ([StatementID],[StaffID],[AssessmentID],[StatementText],[Date])
     VALUES (@StatementID, @StaffID, @AssessmentID, @StatementText, @StatementDate)

     SELECT @StatementAnswerID = SCOPE_IDENTITY();

     IF(@StatementAnswerID>0)
     BEGIN
        INSERT INTO [adb_TestDb].[dbo].[Assessment_ElectronicSignature]([AssessmentID],[ElectronicSignatureCheck],[SignatureDateAndTime])
        VALUES (@AssessmentID, @SignatureCheck,@SignatureDate)

        SELECT @ElectronicSignatureID = SCOPE_IDENTITY();
     END

     IF(@ElectronicSignatureID>0)
      BEGIN
        INSERT INTO [adb_TestDb].[dbo].[AssessorSignature]([AssessmentElectronicSignatureID],[StatementAnswerID],[AssessorID])
        VALUES(@ElectronicSignatureID, @StatementAnswerID, @AssessmentID)

        SELECT @AssessmentElectronicSignatureID = SCOPE_IDENTITY();
       END
    COMMIT TRAN

     --RETURN SCOPE_IDENTITY();

    END TRY

    BEGIN CATCH

    -- rollback any open/uncomitted transactions
    IF XACT_STATE() IN ( -1, 1) ROLLBACK TRANSACTION

    -- return an error containing the object, error number and error description
    SELECT @l_error_msg = 'Error number : ' + CAST(ERROR_NUMBER()AS VARCHAR) + '. ' + ERROR_MESSAGE()
    RAISERROR (@l_error_msg,16,1)

    END CATCH

A: There is a known bug with SCOPE_IDENTITY(); Occurs occasionally when triggers are used. Google for the occurances if you want to dig deep. Or...
Try changing things like
SELECT @StatementAnswerID = SCOPE_IDENTITY();

to
SELECT @StatementAnswerID = @@IDENTITY;

Or
SET @StatementAnswerID = @@IDENTITY;

and other similar assignments. I think the problem here is causing because of being the @StatementAnswerID as Null.


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@implementation NSData (MD5)

+(NSData *)MD5Digest:(NSData *)input {
    unsigned char result[CC_MD5_DIGEST_LENGTH];

    CC_MD5(input.bytes, input.length, result);
    return [[NSData alloc] initWithBytes:result length:CC_MD5_DIGEST_LENGTH];
}

-(NSData *)MD5Digest {
    return [NSData MD5Digest:self];
}

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redpajama_set_name: RedPajamaGithub


Happy Thursday! I am definitely happy we're starting the downward slope toward the weekend. The time officially changes this weekend and as happy as I am that it will be lighter later I'm not sure if I'm ready for losing an hour. Especially when that means it's back to being pitch black when I leave my house to go to work. But that does mean warmer weather and longer days so I guess I'll take it! Speaking of warmer weather, I enjoyed some amazing temperatures at Disney this weekend so I took full advantage, spending as much time outside as possible.
Love the stripes and the back is so perfect! Y'all are just darling together :)!
Such a cute and comfy outfit. The back to that shirt is so surprising, but would be perfect in the summer to stay cool! Just love those Minnie ears, too. Too cute!
Love, love, love your comfy, cute outfit! And love that the photos were taken at Disney! Disney World is definitely at the top of our vacation destination list! Can't wait to go someday!
Also, one perk of living in Arizona is NO time change! It's the absolute worst when you have kids... adjusting their schedule every 6 months? UGH! So glad I don't have to do that anymore, ha!
I LOVE it...so classic with the stripes and chic in the back. Perfect top for a warm day...that picture of you and Kerri- I just love it so much!
i LOVE our impromptu photo shoots. you have taught me well haha. i am so not a fan of the time change happening! blah. it's been nice having it so light out in the morning. anyway i love that tank on you with the bralette! it's so cute! need to stock up on cute tanks for summer!
This is the perfect Disney outfit...if I ever get to go when it isn't hot as anything,I would so wear this!
A perfect comfy yet adorable outfit! You are seriously the cutest!
Cute and comfy- and LOVING the back of this top + bralette. So fun!
WOW!! Loved this look from the beginning, but when I saw the back of your tank I was sold!! Great detail! Love it!
So cute! These pics are so adorable! In love with this top! You know I can't resist a fun back!
That top is gorgeous!! And I love that bralette you paired it with!
LOVE the back of that top! And you and Kerri could NOT be cuter!
Such a cute top, I love the back!
This is such a cute look for the parks & just a casual weekend!
Love the back of that top!! This is the perfect outfit for Disney and comfy walking shoes are a must! Did you cut your hair? It looks shorter.
You look so adorable in this outfit. Although I try to look 'cute' when I go to Disney, I always feel like I look like a hot mess - I'm going to blame that on the kids ;).
You look so cute with the Minni hairband. It is a really great casual outfit.
Such a great casual look! I'm loving that tank!
You can never go wrong with something that's striped, and the back of that shirt is so pretty! I bet that you get a ton of use out of it this spring and summer! That picture of you and Kerri seriously is the cutest! I love y'all's ears so much!
Blue and white stripes are my fave and I love the bralette under it!!
Love the lighting in these shots and I've never met a striped anything that I haven't liked!
Such a perfect summer top! Navy and white always remind me of the beach with the nautical vibe and that just makes me happy!
Absolutely love the fun back of that top paired with the fun back of the bralette!
Stripes are always my go to - especially black and white - you can never go wrong! Love it!
Very comfy look! cute headband!
super cute outfit! and seriously, that picture of you two at the end is pretty fabulous!
I love an open back shirt, so cute!
I love wearing my Converse all the time! Such a cute look with the stripes!


text:
Charles Archibald "Charlie" Hahn (Dodgeville, Wisconsin; 14 de septiembre de 1880 - Charlottesville, Virginia; 21 de enero de 1955) fue un atleta estadounidense considerado como uno de los mejores corredores de velocidad de los primeros veinte años del siglo. Era conocido como el meteorito de Milwaukee.

Trayectoria deportiva

Corriendo para la Universidad de Míchigan, ganó en 1903 los campeonatos estadounidenses y canadienses, por lo que fue considerado como uno de los favoritos para conseguir el triunfo en los Juegos Olímpicos de 1904 a celebrar el año siguiente en Saint Louis.
En los Juegos Olímpicos corrió en primer lugar la carrera de 60 metros lisos, quedando en primera posición. Este éxito hizo que se inscribiera en los 100 y en los 200 metros, consiguiendo el oro olímpico en las tres carreras.

Dos años más tarde repitió triunfo en los 100 metros lisos en los Juegos Intercalados de 1906 celebrados en Atenas.

Después de su carrera deportiva, Archie Hahn fue entrenador y también escribió el libro How to sprint.

Medallistas olímpicos de oro de atletismo
Medallistas olímpicos de oro de Estados Unidos
Medallistas olímpicos de oro de San Luis 1904
Atletas de Estados Unidos en los Juegos Olímpicos de San Luis 1904
Nacidos en Wisconsin

redpajama_set_name: RedPajamaWikipedia


text:
Мокины — деревня в Слободском районе Кировской области в составе Ленинского сельского поселения.

География
Находится на правом берегу Вятки на расстоянии примерно 5 км на восток-юго-восток от поселка Вахруши.

История
Известна с 1762 года как деревня Семеновская  с 11 жителями. В 1873 году в деревне Семеновская (Мокины) учтено дворов 5 и жителей 30, в 1905 10 и 54, в 1926 10 и 49, в 1950 9 и 34. В 1989 году оставалось 2 жителя. Нынешнее название закрепилось с 1939 года.

Население
Постоянное население  составляло 1 человек (русские 100%) в 2002 году, 6 в 2010.

Примечания

Населённые пункты Слободского района


text:
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Go Beyond the Gag Reel: Season Three Special Features
Written by Far Away Eyes
Category: Season Three
Much like Supernatural's season three itself, the special features are a bit short thanks to that Writer's Strike. There's a lack of deleted scenes and commentary---and there's no special Blu Ray exclusive features. What's there, though, are illuminating and fascinating looks behind the scenes. We're allowed to glimpse further into various episodes, to see more confessional footage from the Ghostfacers, and two longer features first concerning all the visual effects---a combination of make up, costume, and digital effects---and a peek inside the inner workings of the third character of the series: Baby, the Impala.
So, let's dig into the special features of season three, shall we?
The first extras I sat down to watch were the "Closer Looks" peppered throughout the season. In truth, these are very much like the featurettes found on season one and two's Devil Road Maps. Each one tackles a particular episode with the writer, director, or Eric Kripke discussing an element of the episode or the episode as a whole. The episodes that got this "Closer Look" were "The Magnificent Seven," "The Kids Are Alright," "Bad Day at Black Rock," "Red Sky at Morning," "A Very Supernatural Christmas," "Dream a Little Dream of Me," and "Jus In Bello."
All screencaps credited to @Valerie613
The first featurette is bittersweet. Kim Manners takes us inside his process as he directed "The Magnificent Seven" and provides some deeper insights into how they shot key scenes and introduced the character of Ruby.
Manners explained that he approached the episode like a western. Given the episode's name, it fits with the overall concept. When it came time to barrel into the diner with the car and the holy water, Manners wanted them to go for the faces. We've seen demons have holy water tossed at their clothing, but this was one of the first times we see it fully hit demons in the face and he wanted to make that look awesome. It would give us a look at how effective holy water is on demons. In some ways, it also adds another layer of reality since the holy water the hunters splash on demons won't always end up on clothes, too.
He gave some insider information on how Pride broke the Devil's Trap in the ceiling. It was rigged with hydraulics above, and it took them two takes to get it the way they wanted it. He felt that the first take didn't break it in half correctly. Instead, it only "smooshed" it down. So, they had to do it again. Between those two takes, it took 45 minutes to reset the ceiling. I was really impressed with how dedicated Manners was to getting that shot just right. We don't really see it for more than a matter of seconds really, and they wanted that moment to look real and frightening. It also keeps us in the moment, too, seeing it crack the way Manners intended.
For Ruby's knife fight introduction, he said that they filmed that at 120 frames per second so they could speed it up or slow it down as they saw fit to highlight the action sequences that take place in that scene. It allowed them to really set Ruby up as a mysterious fighter that made us want to see more. Manners really liked how that turned out---and how it highlighted Katie Cassidy especially.
The second "Closer Look" focused on "The Kids Are Alright" with Eric Kripke. He discussed two key elements that shaped that episode: the moment the mother drowns her changeling daughter and the mirroring Dean and Ben do of one another.
Kripke stated that several episodes of Supernatural originated from a single scene idea that they wanted to do. That scene has to be in the episode---the rest is kinda shaped around that. The scene in this episode was the moment we see the mother drown the changeling daughter only to find her alive back home. He was surprised that the network allowed that to be aired. It's a dark and graphic moment---and he went onto say it's "The CW with the Pussycat Dolls and America's Next Top Model---and a mom drowning her kid and that's why we love being Supernatural!"
This scene was really great for him because it captured all of the horror of such an innocent moment being twisted by something so dark. The little girl is dripping water all over the floor and asking for ice cream---all after she was supposedly killed. Kripke admitted to giggling when he watched it. It was exactly what he wanted.
When it came to Dean and Ben, Kripke admitted that the mirroring they do was not originally in the script. That was on the direction of the episode director, Phil Sgricca. He determined that Dean and Ben should look down at the same time when Lisa scolds them or both should eat their cake the same way and leer at the mom and daughter passing by together. It was to capture that they're "of the same mind" and draw on a connection between the two characters. It's fascinating how a directorial cue could help shape the relationships we see later on in Dean, Lisa, and Ben!
Ben Edlund discussed "Bad Day at Black Rock." He talked about the introduction of Bela, the concept of the rabbits foot, and John's storage locker in respects to the over all story. When it came to Bela, he didn't shy away from discussing how difficult it is to introduce a female character into the Supernatural universe. He admitted that there's a resistance to it from the fanbase that is devoted to the brotherly relationship. He also talked about how most people the brothers encounter don't know what they do or don't believe them. Bela, on the other hand, had her own cards to play and a few tricks up her sleeve that allowed her to shake up the universe a little.
When it comes to the rabbits foot, Edlund admitted that this episode was largely a screwball comedy at its heart. Yet, he also wanted an emotional underpinning and so we see the introduction of John's storage locker. He discussed the brothers making a connection to their now absent father. John had died, he had gone to hell, and now they're not really sure where he's at so seeing what he kept from their childhood or what he housed in this locker really let them connect on another new level. While he enjoyed the lightness of the episode, Edlund really loved seeing the emotional layers emerge from that within this episode.
The "Closer Look" at "Red Sky at Morning" discussed all the special effects we see in the episode. Ivan Hayden tells us about how they presented the ship, the ghost in the shower, and finally the scene when the brotherly ghosts confront one another. He said that they wanted a different shot in the teaser originally, but to match the reaction presented by the actress, they scaled it down to make it seem like an illusion---did she see it or not type thing.
When it came to the shower scene, he described how they put one plate of the scene over the top of the other so they could then insert the ghost and the water dripping from its fingers. To do that, they had to add three seconds into the scene and then erase the woman's elbow to reveal the spectral image. That plate was taken from another angle and then fused together to make that final scene that we actually see.
The biggest shot---and his baby---was the shot with the two ghostly brothers confronting one another. Hayden said that they wanted it to look like one ghost was diving into the other. Not only did he want this effect, he wanted it to be slow motion to really capture the moment. They shot that particular scene at 1000 frames per second so they could amplify the water visually and make it look the way Hayden wanted it. At the end, we see the slow motion stop and real time take over and both spirits become water and disappear. It was fascinating to hear Hayden talk about how they went about putting that together in the computer to make what we see that much more dramatic.
The next "Closer Look" delved into the disturbing side of "A Very Supernatural Christmas." Kripke discusses the genesis of the episode and how during research into various lores he came across the Anti-Claus concept. He found that to be extremely interesting and that they had to do a Supernatural holiday episode in season three. Kripke said that there were three scenes that had to be included no matter what: the teaser with Santa being hauled up the chimney, the dad being beaten, kidnapped, and taken in front of the seven year old boy, and Sam and Dean killing someone with a Christmas tree.
Kripke admitted that he gets calls from his extended family asking what's wrong with him periodically. After this episode, he received a few of these calls. He said that he wanted this to be the most un-holiday holiday episode on TV possibly ever. Rather than being sentimental or cute or trapped in the frills of the Christmas season, he wanted to take all of that and turn it dark and disturbing and put it into the context of the Supernatural universe. He found it gleeful to have killed Santa in the first five minutes---stating, "Thanks for watching, kiddies!"
That being said, Kripke also said that he liked the way the episode opened with the Special logo and music. That was an old CBS standard from the 1980s, and he said that it was a bit harder to find that snippet. Once they did, he finds that he really enjoys that aspect the most. The episode opens the way any special would have then---reminding him of his childhood.
The "Closer Look" at "Dream a Little Dream of Me" tackled a few concepts. First, it addressed the nature of the television business and the way a story makes it to screen. Kripke discussed the original concept for the episode, painting it as a homage to 80s horror---in particular the Friday the 13th franchise. In his original script, Dean was going to wake up with a woman running by in horror only to turn and face Jason. Kripke said they were three days away from shooting when he was told that they couldn't use Jason or anything really resembling the Friday the 13th franchise. The studio did not have the rights to that particular character or franchise, so they nixed it. It left them scrambling to come up with a new angle and a new concept---all while making it in time for the first day of shooting.
To think fast, Kripke decided to open it up to the notion that dreams are strange things. He settled on the concept that Sam would have a sex dream about Bela. He said it wasn't so much that Sam loved her or really thought much about her, but that under the "nice guy" Sam would be this "horn dog" and that Bela just happened to be the female character that passed through the story to set that particular moment up. To contrast that, they decided to bring back Lisa and Ben in a very normal and suburban dream concept for Dean---that he wanted this family and this sense of normal. Kripke thought it was a heartbreaking moment that really built character growth more than the Jason concept would have originally.
To dig even deeper into the episode, Kripke talked about the shaping of the sequence that takes place between Dean and Dream Dean. That wasn't the original concept, either. He had wanted to bring back Jeffrey Dean Morgan as John, and have Dean confront his father about things. John was supposed to berate and attack and be angry with Dean in that scene. It was supposed to be a worst nightmare moment for Dean with his father telling him that he was a failure. Kripke was excited for that, but it fell through because Morgan was tied up in the filming of The Watchman.
That meant he had to change the script again and so he settled on the concept in Superman 3 of Dean facing himself. The conversation that the two characters share points towards that original idea of John yelling at Dean, however. Dream Dean accuses Dean of not having anything that isn't their dad's. He also felt this was a turning point for Dean in terms of emotional and character growth. He thought that Dean should arrive at a greater self respect for himself by the season end, and that this moment started that for the character. Essentially, we see that come true when Dean shoots the Dream Dean---only to have that moment end with Dream Dean opening his demonic eyes, of course.
Sera Gamble closes out the "Closer Looks" with a discussion on "Jus In Bello." She talks about the set up for the resolution to the Hendricksen storyline and how they wanted to make sure this threat would be removed while giving the character a proper send off. To do that, she'd have to develop his character a bit deeper and make him a more rounded figure than he's been in previous encounters. So, she had him have his boss give him a bit of crap to add to the crap he was already facing in the field and in turn unleash that onto the nearest person afterwards---in this case the Sheriff.
She also knew that they had to populate the station with people that would be strong enough to carry the story and make us care, so she came up with the idea of Nancy being a very devout person that was also more or less a civilian. She wasn't a hunter and she wasn't actually in law enforcement. She was clerical help that got caught in the crossfire. Gamble thought that would really help capture the story of the siege the Winchesters would face from the demons.
The idea that the new demon would be Lilith originated in conversations between Gamble and Kripke. She felt that the new demonic leader should be female. Up until then, they had tacked on a name and really hadn't thought about who or what this demon would really be. By the end of their conversation, they had settled on it being Lilith---but woman or child? Gamble felt there would be nothing creepier than a little girl going from innocent and sweet to terrifying all in a matter of moments. It was fascinating to see that the concept of this formidable demonic foe---one that threatened for two seasons nearly---would come from just a simple conversation.
The next feature focused on the Ghostfacers. It was more confessional videos that blended with what we already see in the episode and other scenes that we didn't. To fit more in line with the concept of this episode---that of a parody of the reality television craze during the Writer's Strike---we see a greater in depth look at each of the characters. Ed, Harry, Spruce, Corbett, and Maggie all each get to share more about themselves and how they came into the group to hunt down ghosts and make themselves famous doing it.
It fleshes out some of the things we didn't see prior to the hunt at the Morton House, too. We see Corbett explain that he found the group by seeing a flyer and how he wasn't really sure if he wanted to believe in ghosts or that they scared him before joining---but now he's there and he's the cook. Maggie shares more insights into Ed and Harry and how they settled on founding the Ghostfacers. Spruce talks for much longer in the golf cart cage about his connections to the group and how he got involved with them.
The whole extra is truly an extension of the episode that captures all its flavor. There's wackiness as we watch Spruce chant a goodbye to Corbett for instance. In many ways, we can almost see this extra as an deeper introduction to each character from the episode and a lampooing of the reality television format on all levels.
The next special feature dug into the specifics of special effects, make up effects, and visual effects. Each one is its own distinct element that shapes the final product---but what we really learn in this feature is how they all work in concert to make that product. It truly becomes a team effort in the end.
The make up team sets out to work on things that look organic---such as skin or a corpse. Anytime we see someone with their throat cut out or someone stitching up a wound, we're looking at the make up effects work. The special effects comprises of everything atmospheric---like book pages fluttering or flying free. They tackle the overall look and feel of a scene. They also tackle the messy business of blood. They use a lot of blood packs to give us the reality of someone bleeding---either from a gun shot wound or a stabbing wound or other means. Visual effects encompasses all the computer elements that we see---from a face morphing into another or the demon smoke swirling or something happening in slow motion.
Each of these elements have to work alone and then together to capture the story. The idea is to be incognito and fitting in with the story in such a way that we don't really notice them as elements of the show. Instead, it draws us deeper into the story and makes us believe all the more that what we're seeing is really happening. In many scenes, all three will be present on some level to do that. We'll have blood packs from special effects and skin from make up effects and the glow or smoke or other element of a creature's transformation from visual effects all at once to keep the action looking that much more real.
There were a couple really cool aspects delved into deeper in this feature. We saw the dummy used in "The Kids Are Alright" when the dad is killed on the table saw. It was molded to be put onto that saw by the make up team while the special effects rigged it with the blood packs and visual effects made it look like it was really the actor. We see another combination of this in "Fresh Blood." Gordon's death was rather simple for them to approach, but they had to make it horrific to pull it off. The make up effects team set out to tackle the gore with the wire digging into the make up skin while special effects jumped in with the blood element and visual effects gave us that end game of Gordon's severed head lying on the floor twitching. That last element was all done on the computer, making it look like his mouth was still moving and his eyes were blinking.
Visual effects also gave us the many deaths of Dean. Since they couldn't really hit Jensen Ackles with a car or drop a desk on his head, we see the visual effects team work diligently on the look of Dean in these scenes, giving him the same look and feel of the real Jensen Ackles all while being able to twist and contort Dean into his various death moments. It was really fascinating to see how they built that from one layer to the next giving us that final product in the end.
Most of the work that they do is determined in meetings. They discuss how and what they'll tackle in each episode. They will put together art mock ups to build from and then start to make the reality of the final product from there. The way each department works on their own things to make them the best they can and then together as a whole team really made this feature all the more special. It allowed us an inside and in depth look at just how much time, effort, and dedication is done by everyone involved in these crucial departments.
The last feature is for motor heads and fellow lovers of the Impala. We get a closer look at the actual car herself and her various forms---from one with her hood up to show off her engine to the stock car that comes apart for interior filming.
Each car that they have---excluding the stock car and the one hit by the semi at the end of season one---are actual functioning vehicles. They are all worked on by an on set mechanic that keeps the Impala running at all times. The ones that no longer run are used for parts at this point. These vehicles are older and therefore much harder to upkeep due to the lack of parts.
The most impressive feat that the Impala did in season three was jumping a 52 feet gap. On screen, this particular jump looks like a small bump or dip that the nose goes into and rises out of, but in reality the actual car jumped that long gap. They admitted that the engine was destroyed in the process, which means at some point that particular car had to either be turned into a parts car or rebuilt.
We also got to see a look into the weapons stash with the props assistant, Darren Allan. He showed the opened case inside the trunk with the various weapons from Sam and Dean's shot guns to the salt rounds to the holy water flasks. He also showed the Colt---both as a metal gun and a rubber mock up. The Colt that we see was made specifically for the show. It really let us take a little deeper peek into the various weapons we see the boys use week to week and where each one might be stashed in their cache of weapons.
There might not have been that many season three features, but the ones we did get covered a lot of fascinating ground. We saw more into the nature of television making---be it a difficulty acquiring rights to a particular property or the availability of an actor changing the end story. We also got to look much deeper into the nature of effects that make Supernatural look and feel the way it does every week. It really gave us a chance to peel even more of the curtain away and see the inner workings of a television production. In many ways, this allows us to appreciate even more how special Supernatural truly is---and how the story goes from being black and white text on a page to that visual episode we see each week.
In the next installment, we'll explore all of season four's special features.
# cheryl42 2014-07-28 10:11
I read this the first day it was posted but then Comicon got in the way. ;) I enjoyed this article very much. I did watch all the BTS extras so it was fun to read your take. Thank you it was a great read as always.
# Far Away Eyes 2014-07-28 18:16
I'm so glad you came back to my little BTS article after the Comic Con excitement. I didn't pay much attention to the event except for the fantastic Nerd HQ panels.
I'm really impressed with all the extras and it makes me want to learn so much more. I'd love to actually be that fly on the wall on the show or any show to see how all these things really come together. This seems to be as close as we'll ever get! I"m looking forward to digging into the season four ones soon.
# Sylvie 2014-07-28 10:47
Season three may have been a shortened one, but the extras are really interesting. We got a glimpse behind the curtain and that is always fascinating. Yet again a great read. Thanks Far Away Eyes. :)
I'm glad you liked the look behind all the looks behind the curtain in these extras. I was really thrilled with what we got and what I learned. It made me want to see MORE. I really am fascinated by all of the special effects---on all levels. I hope you'll enjoy the look at the season four extras, too.
# Trucklady 2014-07-28 23:11
Thank you for another great and insightful review farawayeyes. I think this season BTS was my favorite just because of all the detail we got in every aspect of making our little fabulous show. I also love the Kim Manner spot and knowing that we lost him later on after that just makes that even more amazing and special. Now those of us who own a copy of the DVD or BluRay have a way of remembering just what a unique and talented person he was and loved by all that worked with him.
I'm glad you liked my look at season three extras. I'm hoping to dig into season four's extras very soon.
I'm just amazed by how much work, time, dedication, and sheer effort goes into this show (or any show for that matter) every week. The more I learn exploring these extras, the more I want to get involved doing some of it!
I also love seeing Kim talk about the show on these extras. I may never have had a chance to meet him personally, but Kim is the kind of talent that touches us with his work in so many ways and I think we'll always feel that about what he did with Supernatural and all the shows that he worked on in his career. I'm so glad we get to see these extras and hear his thoughts about the work he did. It somehow makes it all the more special for me.
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"We were told that this is not your home," Noura says about why she and her family fled Myanmar for Bangladesh.
Noura and her family are part of the more than 600,000 Rohingya people who have crossed to neighbouring Bangladesh in just three months. Most speak of witnessing horror and heartbreak.
Noura says she saw boats being shot at during their crossing, witnessed 27 men from her village being shot and women being stripped and having "injustice" done to them.
Noura's story is a similar one being told in the makeshift camps that have sprung up seemingly overnight and with very little in terms of basic necessities.
Food, water, health care, shelter: all are lacking.
But thanks to generous donations from Canadians, Humanitarian Coalition members are on the ground making a difference. Since the crisis began, they have provided safe spaces for women and children in need of rehabilitation and education, installed clean water pumps and distributed emergency food and hygiene.


The 2013 Clipperton Island Expedition will have a broad audience worldwide, partially due to its visibility in on a real-time website. It is estimated that the project will be seen and followed by 40,000 radio amateurs, 1000 students, 1000 professional working scientists and administrators, 10,000 conservation-motivated individuals, and many others in various disciplines such as journalism, environmental protection, and photography. This viewership constitutes a highly targeted audience for products and services in fields related to travel, research, education, conservation, and communications.
Availablity for interviews and other special events, as appropriate.
Three websites support this project: (1) the main Cordell Expeditions website; (2) the Cordell/Clipperton DXpedition website; and (3) the real-time radio operations website (DXA). These are shown here and each may be accessed by clicking on the respective thumbnail.
All these websites are linked together. Corporate logos and advertising may be placed on any of these websites. The DXpedition website (this website) offers visibility to the amateur radio audience, and would therefore be appropriate for travel products and services, boats, oceania, islands, transportation, cameras, communications, and entertainment. The DXA website offers a targeted audience for technology products and services, such as electronics, computers, communications, camping equipment, and special materials. The scientific projects (ants, algae) will appeal to educators, researchers, sanctuary managers, and policy makers, hence would be most relevant for products and services relating to environmental management, teaching, conservation, and student projects.
An example of images of a product in use on the expedition (the 2002 Cordell Expedition to San Felix Island, Chile) is shown here. The generator supplies the electrical power for the operations in the tent. We will be happy to provide such images optimized for a particular intended use.
An example of corporate use of project content for advertising is the following ad, which was published internationally by ICOM. The ad shows this organization's 2005 expedition to Kure Atoll, K7C. We will be happy to provide materials to enable you to generate advertising appropriate to your company.