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The Vocal Studios of James K. McCully
Sing On Stage
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Masonic Choir DC
Creating Dramatic Characterizations For The Stage
Actors work on exercises designed to free the voice using the lips, teeth, tongue and palette to increase the range, quality and carrying power. Actors learn to isolate and develop different resonators alternating between consonant and vowel sounds to produce accuracy and clarity of the word for the stage.
Actors work on exercises designed to free the body using the head, neck, shoulders, chest, waist, pelvis, hands, arms, legs and feet in creating dramatic characterizations for the stage. Special emphasis is placed on acting techniques based on French elegance, Italian athleticism, and Russian dramaticism from the schools of acting. Actors learn to bring dramatic characterizations to life for the stage.
Actors work on exercises designed to move from speaking to singing on stage. Actors analyze songs to determine who, what, why, when, where, and how. Actors create subtexts that personalizes and animates their performance, making their performances truly worth watching.
© 2020 James K. McCully - Voice Instructor in Washington, D.C. & Northern Virginia.

redpajama_set_name: RedPajamaCommonCrawl


text:
Syców [] (en silésien :  ; en , autrefois Polnisch Wartenberg) est une ville de la voïvodie de Basse-Silésie, en Pologne. La commune urbaine-rurale fait partie du powiat d'Oleśnica.

Géographie
Syców se trouve dans la région historique de Basse-Silésie s'étendant au sud-ouest de la Pologne. La ville est située à  au nord-est de Wrocław.

Le site bénéficie d'un raccordement à la voie rapide S8 de Wrocław à Łódź et à Varsovie.

Histoire

Le lieu de Syczow sive Wartinbergk fut mentionné pour la première fois dans un acte de l'évêché de Wrocław vers la fin du . À cette époque, la région faisait partie du duché de Silésie, créé avec le démembrement territorial du Royaume de Pologne sous la maison Piast après le décès de Boleslas III Bouche-Torse en 1138. Le château fort était stratégiquement placé à la route commerciale qui reliait Wrocław à Kalisz en Grande-Pologne et à Toruń. Après des partages au sein de la dynastie des Piast silésiens, Syców appartenait au duché de Głogów à partir de 1291 et échoit au duché d'Œls en 1312. Les citoyens ont reçu les droits urbains de Magdebourg en 1369.

Lorsque, en 1492, la ligne ducale des Piast s'éteignit, leurs territoires par le droit de déshérence reviennent à la couronne de Bohême. Le roi Vladislas Jagiellon séparait les domaines de Syców pour créer une seigneurie autonome qui a été en possession des familles nobles, notamment ceux des Maltzahn, des Braun (les ancêtres de Wernher von Braun) et de la maison de Dohna (dont le feld-maréchal Alexander zu Dohna-Schlobitten). En 1734, ils ont été acquises par le comte Ernst Johann von Biron, le futur duc de Courlande ; ses descendants maintiennent les possessions jusqu'à la fin de la Seconde Guerre mondiale en 1945.

Comme le reste de la Basse-Silésie, Syców fut rattachée au royaume de Prusse en 1742 au cours des guerres de Silésie. Elle fut nommée Polnisch Wartenberg afin de la distinguer de Deutsch Wartenberg (Otyń) près de Grünberg (Zielona Góra). Depuis 1815, la ville était intégrée dans la province de Silésie et fut le chef-lieu d'un arrondissement dans le district de Breslau.

En 1945, la région fut rattachée à la Pologne et les germanophones expulsés.

Jumelage
 .

Personnalités
 Carl Friedrich Lessing (1808–1880), peintre, grandit à Syców ;
 Christian Friedrich Lessing (1809–1862), botaniste, frère de Carl Friedrich, né à Syców ;
 Janina Korowicka (née 1954), patineuse de vitesse ;
 Beata Kempa (née 1966), femme politique.

Liens externes

 Site web officiel de la ville

Ville dans la voïvodie de Basse-Silésie
Powiat d'Oleśnica

redpajama_set_name: RedPajamaWikipedia


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Un crepaccio (peggiorativo e accrescitivo di crepa) è un'alterazione geomorfologica della superficie di un suolo, di una roccia o di un ghiacciaio; con il termine si indica in genere una fenditura profonda e di grandi dimensioni. Si forma per effetto di uno squilibrio tra forze di natura contrastanti quali ad esempio lo scivolamento per gravità che supera localmente la forza di coesione del mezzo.

Crepacci glaciali
Nel caso di un ghiacciaio, la massa glaciale, nel suo movimento verso valle, determina delle grosse tensioni in profondità parallele al flusso del ghiaccio: queste tensioni differenziali (di pressione o di distensione), a seconda soprattutto della conformazione del terreno e della diversa velocità di scorrimento, trovano sfogo in superficie formando le fenditure dei crepacci, che possono essere profonde a volte fino a 50 m e larghe qualche metro. Di norma è difficile che la profondità superi i 30 m, dato che a tale livello il ghiaccio è piuttosto plastico. Un altro modo in cui si può formare un crepaccio è dovuto alle tensioni di taglio provocate dal contatto della colata con le pareti rocciose laterali.

I crepacci possono essere pericolosi per gli alpinisti in quanto spesso sono nascosti da un sottile e precario strato nevoso (il "ponte di neve").

Tipologia dei crepacci glaciali
I crepacci di un ghiacciaio vallivo o di circo si possono classificare in base a diversi parametri:
 Posizione
 - crepacce o crepacciate terminali (Bergschrund)
 - crepacci marginali o periferici (formati da una parete di ghiaccio e una di roccia)
 - crepacci centrali
 - crepacci frontali

 Disposizione
 - trasversali (si formano trasversalmente alla colata di ghiaccio, arcuati e concavi verso valle)
 - longitudinali (si formano in direzione della colata a seconda del suo restringimento/allargamento)
 - obliqui (si formano ai lati a contatto con la roccia)
Quando la colata, seguendo la conformazione del suolo, forma un'ansa (una curva) più o meno accentuata si creeranno delle tensioni differenziali che formeranno crepacci
 - caotici (complementari a quelli radiali, si formano lungo la curvatura minore della colata laddove vi è un processo compressivo)
 - radiali (complementari a quelli caotici, si formano in direzione radiale lungo la curvatura maggiore della colata laddove vi è un processo distensivo)

 Forma

A seconda della conformazione del letto glaciale, si avranno crepacci di due diversi tipi.
 - "crepacci a V" (larghi in superficie e gradualmente stretti verso il fondo a causa della porzione di suolo sottostante convessa che produrrà nella colata sovrastante tensioni distensive che crescono gradualmente fino a un massimo in superficie)
 - "crepacci a campana" (al contrario dei precedenti, sono stretti in superficie e si allargano man mano verso il fondo a causa della porzione di suolo sottostante concavo che produrrà una compressione che cresce man mano che si arriva in superficie).

Rischi
I crepacci costituiscono un rischio concreto nella pratica dell'escursionismo, alpinismo d'alta quota e sci alpinismo su ghiacciaio per la possibile caduta della persona all'interno di esso, specie se nascosto da una coltre superficiale di neve. Per evitare ciò, oltre alla conoscenza dettagliata della morfologia del ghiacciaio da parte delle guide alpine e degli escursionisti, la tecnica che abitualmente si usa è l'attraversamento multiplo in cordata del ghiacciaio in modo tale che un eventuale caduta del singolo possa essere arrestata dal peso/inerzia degli altri escursionisti.

Note

Voci correlate
 Ghiacciaio
 Morena
 Seracco

Altri progetti

Collegamenti esterni

Ghiacciai
Morfologia degli ambienti montani


HomeBLOGJuliette KempI say, I say, I say . . .
Q. How many journalists does it take to change a light bulb?
A1. We just report the facts, we don't change them.
A2. Three. One to report it as an inspired government programme to bring light to the people, one to report it as a diabolical government plot to deprive the poor of darkness and one to win a Pulitzer prize for reporting that Electric Company hired a lightbulb assassin to break the bulb in the first place.
Ha! Ha! Well, as regularly noted in Reader's Digest, laughter's the best medicine.
In these days of recessionary gloom, not helped by the more unsavoury aspects of journalistic practices being highlighted in the Levenson Inquiry (see my earlier blog), we could all do with a laugh and it got me wondering what jokes featuring journalists were out there.
2. The same ones recycled on different websites.
Bit of a shame really. As anyone who's worked in a busy newsroom will know, journalists are not short on humour of the particularly black variety. I have had many moments of side-splitting glee prompted by witty remarks or comments from the newsdesk in response to what can be the most dire of breaking stories - and always tempered by the guilty knowledge that it's not really a laughing matter.
But I'm sure many others - health professionals, police, fire, ambulance etc - will agree it's sometimes the humour that gets you through.
So equally, let's enjoy some of the things that poke fun at our own, even if they appear to be in short supply.
But this has to be from the UK - hooray!
Pretty terrible really, but hopefully they raise a smile. it would be great to hear from anybody who has some good ones of their own. Please send us your comments!
Some of the best journalistic laughs, come from the unintentional. Who doesn't love the misprints, the daft headlines, that seemed such a great idea at first? Private Eye has collected enough of these to be able to publish bookfuls of them, while they make up a staple part of Radio 4's The News Quiz. I always look forward to media gaffes spotted in the Friday Funnies from industry site Hold the Front Page - although they do seem to have been in short supply lately.
And then there are some of the higher-profile journalists who don't mind showing their lighter side. The regular newsreader stints on Children In Need - hmm, not always a good thing!
Of course, the best for showing journalists in a new humourous light had to be Morecambe & Wise . . . probably most famously Angela Rippon revealing her legs - and dancing ability. But don't forget Michael Parkinson, Michael Aspel and a host of well-remembered newsreaders in the 'There is Nothing Like a Dame' routine.
And let's just leave it with the masters shall we. Any excuse to revisit Morny Stannit.


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Magnificent Movies, Monthly.
View navigationMenu
Mar Monday 9
Nantwich Civic Hall
Doors 7:00pm Film start 7:45pm £5 on the door
Read more »" /> Honeyland
Apr Monday 20
Read more »" /> The Farewell
May Monday 11
Read more »" /> Official Secrets
The Big Cheese is back…
Thank you for your patience while we have worked behind the scenes to get the film club back up and running. We are very much hoping to start showing films again in the near future and we have received some welcome funding from Nantwich Town Council to help us purchase some new equipment.
We are holding a meeting next Thursday 26th April at 8pm in The Crown Hotel bar. This is a call for all those who have said they would be prepared to help out to keep the club running. We really need to know how much support there is available for the film club. If we have enough interest on the night we will continue on to our AGM and move to quickly getting a new schedule of films together.
We would love to see you on the 26th, please feel welcome to attend even if you can't commit at the moment to being anything other than an enthusiastic audience member. However if you do feel able to help please come along and let us know what you could do.
In particular we are looking to fill the formal committee roles of Chair and Secretary, Katharine Dowson is happy to continue as Treasurer and Mary Habesch as a committee member if voted in. We have had some interest in the role of Chair but please email us if you might be interested and would like to have a further discussion about either of these roles. We do need a Secretary to attend monthly committee meetings and keep the minutes. We would also welcome a couple more committee members for general support and film booking.
We are also after people with an interest in marketing and PR, particularly in social media such as Facebook, blogs and Twitter. Also anyone who could help with poster placing, equipment set-up or any of the other little tasks that need doing.
Please email us back if you would like to have any more information or have a chat about the commitment you are able to offer at the moment.
Thank you for your patience and messages of support over the last few months and we hope to be able to bring back the Film Club you all want.
Final curtain for film club?
We hope you had a wonderful Christmas and New Year.
Unfortunately we have to bring bad news concerning The Big Cheese as the committee has made the difficult decision of closing the club before it begins its next season as it cannot continue with only two members left on the committee following the forced re-location of the club's chairman and secretary.
We would like to thank you for your fantastic support of The Big Cheese, we have been astounded at the consistently great turnout to our screenings, and we are going to miss the great dialogue we enjoyed with our members about the films we have shown.
We sincerely hope it will not be too long before someone once again brings quality cinema to the town.
Best wishes from the Big Cheese team.
The Big Cheese secures funding of £500
Organisers of Nantwich Big Cheese Film Club are thrilled to announce an award of £500 from Cheshire East Community Grants fund.
We would like to thank Cheshire East Council for this funding and for recognising the valuable input our film club has brought to the town's community. The funding will help us to purchase our own equipment and improve even further a quality cinema experience to all.
The club is gearing up for its December screening of Volver, by the highly acclaimed Spanish director Pedro Almodovar (in Spanish with subtitles) Raimunda (Penelope Cruz) and her sister Sole (Lola Duenas) are visited by the apparation of their mother (Carmen Maura) who has returned to reconcile with her daughters and resolve an issue that has haunted the family since her death. The tragicomic melodrama features Almodovar trademarks: a strong attention to colour and detail and a celebration of the trials and tribulations of women. Volver is a film about the way the presence of the dead continues to add richness and humanity to the lives of those they leave behind.
Volver will be screened on Thursday 8th December at 7.45pm in the Ballroom of the Crown Hotel. Movie goers are encouraged to go along from 7.15pm for a drink and a chat before the film.
Nantwich Big Cheese Film Club screens independent, foreign language and classic films each month. It aims to establish a 'cinema' for Nantwich, cultivating a quality and educational movie experience for members of the public and encouraging discussion in get-togethers before and after each screening.
The club is open to all film lovers over the age of 16 (under 18s must be accompanied by a guardian)
Tickets, priced £5, are now available from the reception of The Crown Hotel. Alternatively, they can be purchased on the night, subject to availability.
See Volver trailer here.
E: nantwichfilmclub@yahoo.co.uk
T: @filmnantwich
Sign up for Movie Alerts
Nantwich Film Club is an enthusiast volunteer run project. We screen a variety of movies at our regular venue, Nantwich Civic Hall. You do not have to be a member to come to our film screenings. There is no paid membership. Tickets to all our films are £5 on the door, no booking necessary, or in fact possible.
Design, build and maintenance by Roobyroo Ltd (Nantwich)
© Nantwich Film Club 2021


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Nuno: Moutinho 'a very important signing' for Wolves
Tim Nash May 2, 2019 0 Comments
Nuno Espirito Santo has hailed Joao Moutinho as one of 'the very important signings' Wolves have made. Moutinho has been masterful in the Molineux midfield this season. Some fans have said the 32-year-old Portugal international is the best they have seen play for the club, while he has topped numerous online fan polls for player of the year. The former Sporting and Porto midfielder, who joined for a bargain £5m from Monaco last summer, is one of four Premier League ever presents at Wolves in 2018-19 with Matt Doherty, Conor Coady and Raul Jimenez. He has delighted the head coach.…
Si Senor – Wolves star Raul wants to score for Sin Cara
Wolves striker Raul Jimenez has welcomed Mexican WWE wrestler Sin Cara to England with a double aim – score for his friend against Fulham and sign off at Molineux in style. Sin Cara, real name Jorge Arias, arrived in Birmingham this afternoon after being invited as a guest by the club to the final home game of the season on Saturday. Jimenez wore a Wolves mask similar to the ones Sin Cara dons in the ring when he netted in the FA Cup semi-final against Watford last month. The £32m signing club record was criticised by Watford captain Troy Deeney,…
Wolves owners are the best in Premier League – report
Wolves owners Fosun International have been ranked as the best owners in the Premier League. Radio broadcasters talkSPORT have placed the Chinese investment firm, owned by Guo Guangchang, top of the 20 clubs in a list based on performances on and off the pitch. The article was compiled in the wake of the failed takeover of Manchester United by Saudi Arabia Crown Prince Mohammad bin Salman, who has reportedly given up in his bid to buy the club in a £4billion move. The Glazer family, who own the club, have refused his attempts to purchase the Old Trafford club, despite…


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Family Lore Focus
PM v MB & Anor: The father who blamed everyone... but himself
Lord Justice Ryder
A summary of PM v MB & Anor [2013] EWCA Civ 969, which involved a father's appeal against the refusal of parental responsibility and the making of a s.91(14) order. It is a warning to fathers in particular that they should look to themselves before blaming others, and that turning their case into a campaign against the family justice system can be counter-productive.
Very briefly: The father's applications for parental responsibility and direct contact were dismissed and a s.91(14) order made. The father was granted permission to appeal regarding the parental responsibility and s.91(14) decisions. His appeal was dismissed.
In a little more detail, the child 'M', a boy, was born in 2002 and is therefore now eleven. The parents, who were not married, separated in February 2007. The father continued to have a "significant relationship" with M until December 2008, when he removed M from school without notice, and disappeared with him, returning him to school the next day. The mother then applied for residence. The father had supervised contact until February 2011, but refused to participate in the hearing that month, and M has not seen him since.
In March 2012 the father applied for contact and parental responsibility. The applications were heard in October 2012. The court accepted the evidence about the father from a psychologist, which was as follows:
"the father presents as an individual who is rigid and inflexible in his thinking, being egocentric and preoccupied, displaying a certain degree of paranoia, traits that are likely (to be) linked to his personality functioning…
The father appears to be an individual who can be defiant, unco-operative and difficult to get along with when he perceives others disagreeing with his views or if they fail to meet his needs in some way…He believes that others are persecuting him, being unable to reflect upon his own actions or responsibility…
When his relationship with the mother broke down, the father struggled to accept this, remaining enmeshed, attempting to seek to have his needs met by the relationship, albeit in a different form. …the father continues to display narcissistic, paranoid tendencies and remains unable to see issues from any perspective other than his own. He continues to see himself as blameless, portraying himself as a victim of parental alienation and a corrupt system in which professionals are biased and take sides and his rights as a father are violated. […]
the locus of enmeshment may well now have shifted to [M] as the father has evolved an idealised view of their relationship and is now preoccupied with the 'fight' to have contact with him."
The father's oral evidence to the judge confirmed the psychologist's evidence:
"He said that he was angry and outraged at the suggestion there should be any supervision of his contact for which he saw no reason. He found it demeaning. He said he would never give up his struggle to see [M] and that he had become a campaigner for children."
As indicated above, the judge refused the parental responsibility application, ordered indirect contact only and made a s.91(14) order for two years. The father sought to appeal, but permission was limited to the parental responsibility and section 91(14) decisions.
Giving the leading judgment on the appeal, Lord Justice Ryder said that:
"This is not a case where the court, the professionals or the mother are, as father believes, "conducting a witch-hunt against him" with biased, unprofessional or dishonest material. Quite the contrary, it was clear on the material before [the judge] and at that time that it was father who represented a risk to his own child and would continue to do so until he realised he needed help or otherwise came to accept the un-contradicted expert evidence about him that existed."
On the parental responsibility appeal, Lord Justice Ryder found no error on the part of the judge. It is telling (and surely not untypical in cases such as this) that the judge identified the 'key issue' as the father's reasons for making the application:
"the father spoke of wanting to exercise his "rights" in respect of [M] and, while the existence of such an order would not entitle the father to intervene in [M's] day-to-day life, I am satisfied that the father would not see it in that way and that his principal aim would be to seek to exercise control over [M] and thereby, indirectly, over the mother"
How many family lawyers have not heard similar?
On the s.91(14) appeal, Lord Justice Ryder was succinct:
"In coming to the conclusion that an order would be proportionate the judge took account of M's present wishes and feelings and father's evidence that this is a crusade that he would never give up. The guardian's evidence which the judge accepted was that M needed to be free of the burden of litigation as did mother ... The judge's reasoning for the order he made was properly constructed out of the evidence he accepted about father. The risk from which the judge sought to protect M was lucidly described and the judge was right to attribute responsibility to father for the heightened risk caused by the use of internet discussion media to campaign about this litigation. In my judgment the section 91(14) order was made in accordance with principle and was neither disproportionate as a response to the facts nor in its nature and extent."
Accordingly, the appeal was dismissed. Lord Justice Beatson and Lord Justice Lloyd gave concurring judgments.
Posted by John Bolch at 6:15 pm
Labels: Children, Law Reports
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text:
Achatocarpaceae és una família de plantes amb flors. Conté dos gèneres i 10 espècies. Està distribuïda a la part sud-oest dels Estats Units i a l'Amèrica del Sud tropical i subtropical.

Forma un clade junt amb la família Amaranthaceae i Caryophyllaceae.

Gèneres
 Achatocarpus
 Phaulothamnus

Referències

Enllaços externs

 Achatocarpaceae  in L. Watson and M.J. Dallwitz (1992 onwards). The families of flowering plants
 Flora of North America: Achatocarpaceae
 NCBI Taxonomy Browser
 links at CSDL

Cariofil·lals


text:
Bearing Design Material Properties The Bearing Bronze Families Summary
It is not at all unusual to come across a bronze sleeve bearing that has been performing satisfactorily for decades, even under severe operating conditions. In fact, a properly designed and maintained bronze bearing often outlasts the equipment it serves. Achieving such performance is not difficult, but it requires sound design, the right bearing material, accurate manufacture and, as with any mechanical equipment, diligent maintenance.
Bronzes are unquestionably the most versatile class of bearing materials, offering a broad range of properties from a wide selection of alloys and compositions. This data sheet describes the most used standard bearing bronzes and is aimed at helping the designer select the right bronze for the job at hand.
Bearing Design
Good bearing design involves three fundamental elements: understanding the service environment, designing for proper lubrication and selecting the best bearing material for the job. Accurately assessing expected service conditions cannot be overemphasized; it is the basis for all subsequent decisions. Creating or at least identifying the lubrication mode in which the bearing will operate is equally important. Sometimes the mode can be established through design; other times it is simply dictated by operating conditions.
Finally, the bearing material selected must suit both the service environment and the operating mode. The wide array of properties offered by the bearing bronzes simplifies material selection process and helps insure that the alloy chosen will provide optimum bearing performance.
The most important prerequisite to assuring optimum bearing performance is knowing - or accurately predicting service conditions. Major areas of consideration are:
Load, steady and impact,
Speed at design load,
Oscillating motion, i.e., less than full revolutions,
Corrosive environments,
Dirty environments and/or lubricants,
Temperature,
Frequent start-stop operation,
Questionable or interruptible lubricant supply,
Shaft or journal misalignment,
Hardness differential, bearing vs. shaft.
Satisfying the often conflicting demands of the particular mix of operating conditions expected makes almost every bearing design a compromise. Conditions involving extremes of load, speed or temperature in combination, whether low or high, are especially challenging. The bearing designer's task is to optimize that compromise to achieve the best possible performance in the finished product.
Having defined the bearing's operating conditions the next step is establishing the in-service lubrication mode - hydrodynamic, boundary or mixed film. Sometimes this can be done by design, other times it must be accepted by default.
Hydrodynamic Mode
The mode offering the lowest friction and least wear is called hydrodynamic or full-film operation. In this mode the bearing is completely separated from the shaft (Journal) by a continuous film of oil in the eccentric space between shaft and bearing ( Figur e1). The oil is under hydrodynamic pressure created by the relative motion between bearing and journal. Hydrodynamic conditions are established by:
Figure 1. Eccentric Position of a Sleeve Bearing Under Operating Conditions. Full-film mode denoted by finite value of h.
Velocity greater than 25 sfpm,
Unidirectional motion (no oscillation),
Proper lubricant viscosity (higher viscosity increases load-carrying capacity, lower viscosity decreases the frictional coefficient), and
Proper lubricant flow: flow must be continuous and not less than the minimum level approximated by the expressions:
Q 1 = 29.3 x 10 -9 L + 0.0043 W/D mD 2N, gpm
Q 1 = 3.32 X 10 -3 L 0.0043 W/D mD 2N, drops per min
1 cu cm = 30 drops
C - Radial clearance, inches
D - Journal diameter inches
e - Eccentricity or radial journal displacement,
E - Journal eccentricity ratio
L - Bearing length, inches
m - Clearance factor
N - Rotation speed -RPM
Q 1 - Minimum oil flow for full film
W - Steady load - to be supported, lb
Z - Lubricant absolute viscosity, centipoise.
A sleeve bearing's operating mode is described in terms of a bearing characteristic number. A. The value of A, in relation to other factors, determines whether or not the bearing will operate hydrodynamically. The characteristic number is calculated by means of the equation:
A = m 2W/D 2ZN
in which,
m = 1000 * 2C/D
and where,
C = radial clearance, in inches,
Z = absolute lubricant viscosity centipoise.
This is known as the clearance factor It is written in terms of 2C/D the total diametral clearance, and includes the multiplier 1000 simply to keep the numbers easy to manage.
If load, speed and other factors can be adjusted such that A falls between 0.0005 and 0.50 the bearing should operate in the full-film mode. A bearing and its journal operate in practice with a given eccentricity, i.e., with the shaft positioned slightly off the bearing's true center by a distance, e, ( Figure 1). We can then define an eccentricity ratio, E, as:
E= e/C
E = journal eccentricity ratio
e = eccentricity or radial displacement of journal in.
This enables us to construct a diagram in terms of A, E and the bearing's L/D ratio. That diagram, Figure 2, is popularly known as the "heart-shaped curve" because of its shape. It delineates areas based on A, E and the L/D ratio which dictate the operating mode. Bearings which fall inside the heart-shaped area will operate in the fullfilm or hydrodynamic mode. Those outside it will not, however those near the heart may operate under partial hydrodynamic conditions, as explained below.
Figure 2. The "Heart-Shaped Curve" Delineating Operation in the Full-Film or Hydrodynamic Mode.
The designer's job has been simplified considerably by the availability of tables which combine all the factors germane to full-film operation for common bearing configurations. These have been compiled as the Cast Bronze Hydrodynamic Sleeve Bearing Performance Tables, available from Copper Development Association Inc. They list more than 90,000 bearing conditions.
Since the bearing and journal are not in contact in the hydrodynamic mode, frictional coefficients can be as low as 0.001. (This is equivalent to the level attained by a high-precision ball element bearing and is considerably better than that achieved with roller bearings.) Also, since there is no metal-to-metal contact there can be no wear and bearing life should be indefinite. Theoretically, the only important material property consideration for full-film bearings is that the bearing alloy be strong enough to support the applied load. At start-up, (or shut-down) however, there is insufficient velocity to establish full-film operation immediately. This means the bearing at least momentarily operates outside the hydrodynamic regime, and there may be actual brief metal-to-metal contact. Extremely abrupt changes in load or lubricant viscosity can have the same effect. Hydrodynamic bearings normally can sustain changes in load or shock loads up to ten times the design load for limited periods of time.
Boundary Lubrication Mode
The most demanding condition from the bearing material standpoint is when the bearing and shaft actually touch or are separated only by a microscopically thin film of oil. This is the boundary film mode of operation. Boundary-film conditions exist when:
Bearings are grease-lubricated,
Bearings are only periodically lubricated as by hand oiling or greasing,
Motion is reciprocating (oscillating), or
Surface velocity is less than 10 sfpm.
Bearings operating under boundary conditions demand the greatest care in material selection. The bearing alloy must have low inherent friction, it must resist welding and seizing and it should have high thermal conductivity to remove frictional heat from the bearing surface.
Mixed Film Mode
Between the hydrodynamic and boundary regimes lies a condition known as the mixed-film mode. Here, a portion of the bearing's surface is supported by a hydrodynamic oil film while the rest operates with metal-to-metal (or boundary film) contact. This is probably the most common of the three operating modes.
Many millions of bearings operate successfully in the boundary and mixed-film modes for their entire service lives. The only penalty this entails is an increase in friction compared to hydrodynamically lubricated bearings and a consequently higher energy expenditure. Bearing life, however, will depend very heavily on the choice of bearing material. Even hydrodynamic bearings pass through boundary and mixed-film modes during start-up, and shut down, or when faced with transient upset conditions. This means that material selection is an important design consideration for all sleeve bearings, no matter what their operating mode. The general attributes of a good bearing material are:
A low coefficient of friction versus hard shaft materials,
Good wear behavior against steel journals (scoring resistance),
The ability to absorb and discard small contaminant particles (embedibility),
The ability to adapt and adjust to the shaft roughness and misalignment (conformability),
High compressive strength,
High fatigue strength,
Corrosion resistance,
Low shear strength (at the bearing-to shaft interface),
Structural uniformity, and
Reasonable cost and ready availability.
A material's inherent frictional characteristics are extremely important during those periods, however brief, when the bearing operates in the boundary mode. A low coefficient of friction is one factor in a material's resistance against welding to, and therefore scoring, steel shafts. Frictional coefficients for bronze alloys against steel range between 0.08 and 0.14. During wear, or when there is absolutely no lubricant present, the frictional coefficient may range from about 0.12 to as high as 0.18 to 0.30. By comparison, the frictional coefficient during wear for aluminum on steel is 0.32 and for steel on steel it is 1.00.
While efforts are normally made to keep bearings and their lubricants clean, some degree of contamination is almost inevitable. A good bearing material should be able to compensate for this by embedding small dirt particles in its structure, keeping them away from the steel shaft, which might otherwise be scratched.
Likewise, there is always a danger that shafts can be misaligned, or not be perfectly smooth. A bearing alloy may therefore be called upon to conform, or "wear-in" slightly to compensate for the discrepancy. This property is called conformability: it is related to the material's hardness and compressive yield strength. A high yield strength is also related to good fatigue resistance. Together, these properties largely define the material's load-carrying capacity.
The need for adequate corrosion resistance is especially important in bearings that operate in aggressive environments, or for those bearings which stand idle for long periods of time. Good corrosion resistance therefore increases both service life and shelf life.
A bearing material should have structural uniformity and its properties should not change as surface layers wear away. On the other hand, alloys such as the leaded bronzes are used because they provide a lubricating film of lead at the bearing/ journal interface. Lead has a low shear strength, and is able to fill in irregularities in the shaft and act as an emergency lubricant if the oil supply is temporarily interrupted.
Finally, a bearing material should be cost-effective and available on short notice. No single bearing material excels in all these properties and that is one of the reasons bearing design always involves a compromise. However the bronze bearing alloys provide such a broad selection of material properties that one of them can almost always fit the needs of a particular design.
The Bearing Bronze Families
The bearing bronzes are listed in Table 1 by their UNS alloy designation with standard specifications covering each. The seventeen bearing bronzes listed fall into five alloy families with similar compositions and properties. The tin bronzes rely mostly on tin for their strength; leaded tin bronzes additionally contain modest amounts of lead for better antifrictional properties, but at the expense of some strength; highleaded tin bronzes have the highest lubricity but the lowest strength, aluminum bronzes and manganese bronze serve applications which require their extremely high strength and excellent corrosion resistance. Members of each family have similar properties, with differences among family members allowing selection based on economic considerations or on the need to tailor alloys for particular applications.
Table 1. Cast Bronze Bearing Alloys Specifications
B584 J461,
(formerly 620) C-15345,ALLOY 8
C-11866,COMP.26
C-22229 QQ-C-390
(formerly 62) 4845 QQ-C-390
(formerly 65) QQ-C-390
B-16541 QQ-C-390
(formerly 621) C-15345,ALLOY 10
(formerly 660) C-15.12,ALLOY 12 QQ-C-390
B505 C-15345,ALLOY 11
(formerly 64) 4827
4842 QQ-C-390
J462 4840 QQ-C-390
C95300HT
(formerly 688) C-11866,COMP.22 QQ-C-390
J462 4870
4873 C-15345,ALLOY 13
C-11866,COMP.23 QQ-C-390
J462 C-15345,ALLOY 14
B-21230
J462 4862 C-15345,ALLOY 6
C-11866,COMP 21
B584 QQ-C-390
Tin Bronzes: Alloy Nos. C90300, C90500, C90700
Tin's principal function in these bronzes is to strengthen the alloys. (Zinc also adds strength, but more than about 4% zinc reduces the antifrictional properties of the bearings alloy.) The tin bronzes are strong and hard and have very high ductility. This combination of properties gives them a high load-carrying capacity, good wear resistance and the ability to withstand pounding. The alloys are noted for their corrosion resistance in seawater and brines.
The tin bronzes' hardness inhibits them from conforming easily to rough or misaligned shafts. Similarly, they do not embed dirt particles well and therefore must be used with clean, reliable lubrication systems. They require a shaft hardness between 300-400 BHN. Tin bronzes operate better with grease lubrication than other bronzes; they are also well suited to boundary-film operation because of their ability to form polar compounds with small traces of lubricant.
Differences in mechanical properties among the tin bronzes are not great. Some contain zinc as a strengthener in partial replacement for more-expensive tin.
Leaded Tin Bronzes: Alloy Nos. C92200, C92300, C92700
Some tin bronzes contain small amounts of lead. In this group of alloys, lead's main function is to improve machinability. It is not present in sufficient concentration to change the alloys' bearing properties appreciably A few of the leaded bronzes also contain zinc, which strengthens the alloys at a lower cost than tin. The leaded bronzes in this family otherwise have similar properties and application as the tin bronzes.
High-Leaded Tin Bronzes: Alloy Nos. C93200, C93400, C93500, C93700, C93800, C94300
The family of high-leaded tin bronzes include the workhorses of the bearing bronze alloys. Alloy C93200 has a wider range of applicability, and is more often specified, than all other bearing materials. It, and the other high-leaded tin bronzes are used for general utility applications under medium loads and speeds, i.e., those conditions which constitute the bulk of bearing uses. Strengths and hardnesses are somewhat lower than those of the tin bronzes but this group of leaded alloys excel in their antifriction and machining properties.
As with other bearing bronze families the differences among individual alloys are minor. Alloy C93200 utilizes a combination of tin and zinc for cost-effective strengthening while C93700 relies solely on tin to obtain the same strength level. In addition to its good strength, Alloy C93700 is known for its corrosion resistance to mildly acidic mine waters, and to mineral waters and papermill sulfite liquors. Wear resistance is good at high speeds and under high-load, shock and vibration conditions. The alloy has fair casting properties, something to be considered when large or complex bearing shapes must be produced. Alloy C93700 contains enough lead to permit use under doubtful or interruptible lubrication, but it must be used with hardened shafts. The lead addition makes these alloys easy to machine.
High strength is sacrificed for superior lubricity in the bronzes containing 15 and 25 percent lead, Alloys C93800 and C94300. These high-leaded tin bronzes embed dirt particles very well and conform easily to irregularities in shaft surfaces and permit use with unhardened shafts. As in all leaded bronzes the lead is present as discrete microscopic particles; in alloys C93800 and C94300 there is ample lead available to smear onto the journal to prevent welding and seizing, should the lubricant supply be interrupted. The lead also provides excellent machinability.
Because of their comparatively lower strength and somewhat reduced ductility Alloys C93800 and C94300 should not be specified for use under high loads or in applications where impacts can be anticipated. They operate best at moderate loads and high speeds, especially where lubrication may be unreliable. They conform well and are very tolerant of dirty operating conditions, properties which have found them extensive use in offhighway, earthmoving and heavy industrial equipment.
Aluminum Bronzes: Alloy Nos. C95300, C95300-HT, C95400, C95400-HT, C95500, C95500-HT, C95510
The aluminum bronzes are the strongest and most complex of the copper-based bearing alloys. Their aluminum content provides most of their high strength and makes them the only bearing bronzes capable of being heat treated. Their high strength, up to 68,000 psi yield and 120,000 tensile, permits them to be used at unit loads up to 50 percent higher than those for leaded tin bronze Alloy C93200.
Because of their high strength, however, they have fairly low ductility and do not conform or embed well. They consequently require shafts hardened to 550-600 BHN. Surfaces must also be extremely smooth, with both shaft and bearing finished to 1520 in RMS. Careful attention should be given to lubricant cleanliness and reliability, the latter because these alloys do not have the anti-seizing properties typical of the leaded and tin bearing bronzes. On the other hand, the aluminum bronzes have excellent corrosion resistance and are ideally suited for such applications as marine propellers and pump impellers. The aluminum bronzes also have superior elevated temperature strength. They are the only bronzes - and the only conventional bearing material able to operate at temperatures exceeding 50OF.
Manganese Bronzes: Alloy Nos. C86300, C86400
Manganese bronzes are modifications of the Muntz metal-type alloys (60% copper 40% zinc brasses) containing small additions of manganese, iron and aluminum, plus lead for lubricity, anti-seizing and embeddibility. Like the aluminum bronzes, they combine very high strength with excellent corrosion resistance. Manganese bronze bearings can operate at high speeds under heavy loads, but require high shaft hardnesses and nonabrasive operating conditions.
Bearing bronzes offer broad ranges of strength, ductility, hardness, wear resistance, anti-seizing properties, low friction and the ability to conform to irregularities, tolerate dirty operating environments and contaminated lubricants. The corrosion resistance of bearing bronzes is generally superior to other bearing materials, and can be selected to meet particular ambient conditions. Bronzes permit easy and economical manufacture, allowing bearings to be made in special and one-of-a-kind configurations simply and at low cost. No bearing metals have better machinability than the leaded and high-leaded bearing bronzes. Almost without exception, a bearing bronze can be selected to satisfy any bearing application that exists.
This publication, based on available data, has been prepared for the information and use of professionals in the industry. CDA assumes no responsibility or liability in connection with this publication and makes no warranties of any kind with respect to the information contained herein.
Bronzes are unquestionably the most versatile class of bearing materials, offering a broad range of properties from a wide selection of alloys and compositions.
The high thermal conductivity of copper alloys makes them ideal materials for the injection mold sprue bushing and runner bars.
In North America two injection mold nozzle and sprue bushing radii are used, 1/2 and 3/4 inch. To insure proper fit up, the nozzle radius is nominal -.015 inch, while the sprue radius is nominal +. 015 inch, required tolerances to use.
Order Industrial educational & technical publications.


text:
package net.java.sip.communicator.service.protocol;

import net.java.sip.communicator.service.protocol.event.*;

/**
 * An operation set that allows plugins to register filters which could
 * intercept instant messages and determine whether or not they should be
 * dispatched to regular listeners. <tt>EventFilter</tt>-s allow implementating
 * features that use standard instant messaging channels to exchange
 *
 * @author Keio Kraaner
 */
public interface OperationSetInstantMessageFiltering
    extends OperationSet
{
    /**
     * Registeres an <tt>EventFilter</tt> with this operation set so that
     * events, that do not need processing, are filtered out.
     *
     * @param filter the <tt>EventFilter</tt> to register.
     */
    public void addEventFilter(EventFilter filter);

    /**
     * Unregisteres an <tt>EventFilter</tt> so that it won't check any more
     * if an event should be filtered out.
     *
     * @param filter the <tt>EventFilter</tt> to unregister.
     */
    public void removeEventFilter(EventFilter filter);
}

redpajama_set_name: RedPajamaGithub


text:
Bold Colors
KWIT | By Todd Behrens
Sioux City Art Center
"[Palmer] has always used pretty bold colors, but the colors now are brighter. And, she's also choosing that paint color that many artists really steer clear of working in a style as Cathy does of abstraction. And, that's white," says Behrens. "But, when you look at Cathy's you're not looking at blankness…"
Works by Cathy Palmer are currently on display in the Sioux City Art Center Selects exhibition which is on view through June 23rd.
Love Art + Radio, subscribe to the podcast on iTunes, Google Play, and Stitcher.
Produced by Jorge Quezada
Arts LocalArtSioux City Art Center SelectsPaintingsCathy Palmer
Todd Behrens
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President Donald Trump's trip to Iowa to celebrate his administration's approval of the year-round sale of the E15 ethanol blend was met yesterday with…


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• I've written and done research on communication issues between anthropologists and science media.
• I've been an invited speaker and trainer at AAA, SFAA and other science conferences and events nationwide, speaking about improving relations between science writers and anthropology, archeology and other related fields.
"The purpose of the lab is to familiarize you with the science and techniques used to identify different types of bacteria based on their DNA sequence."
Using Shockwave enables students to explore real-time lab techniques to explore different kinds of bacteria, based on their DNA sequences.


Born of a pedigree that stretches back to 1989. Our team of world-class engineers are passionate about empowering everyone to enjoy the benefits of customization and tuning, and the driving force behind the development of Prime is to make advanced enthusiast controls easily accessible — maximizing performance, stability and compatibility for the very best DIY PC experiences. Simply stated: it's time for Prime.


The ACS fleet of 4x4 Tracking Vehicles have been selected for operation in a range of adverse terrains and are specially customised in house to carry stabilised camera and broadcast RF systems. Primarily configured for use in the coverage of horseracing, they are an essential camera angle in the broadcast of the sport, providing dynamic coverage of the live racing as it unfolds to the viewers at home.
A new way to move the camera, KartCAM is a remote controlled battery powered camera buggy fitted with Movihead and broadcast or digital film camera to provide unique and dynamic low tracking camera angles. KartCAM moves smoothly, even in the most demanding of environments, taking the camera into areas where it may not be otherwise possible for an operator to go.
Taking the development made from the KartCAM, BoatCAM is similar in its functions. A compact, remotely controlled water based tracking system that's fitted with a Movi stabilised head, it allows for stable and dynamic low camera angels and close up shots of life on or from the water.


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In the Fog Is a Grinding Journey Into the Eastern Front
Michael Atkinson June 27, 2013 4:00AM
Constructed with the same patient sorcery and elliptical menace as director Sergei Loznitsa's previous art-ordeal, My Joy, the WWII saga In the Fog opens with a tracking shot through the 1942 equivalent of a Bosch painting. For almost four minutes, Loznitsa's camera prowls after three Nazi-arrested locals as they're led to the gallows through an occupied Belorussian village, past children and weeping babushkas and relaxing Germans. It's a whole film in one bite, because Loznitsa shifts perspectives continuously, as he did in My Joy, shuffling points of view and catching details, eventually settling his sight on a cart stacked high with picked-over cow rib cages. The hanging sets the film's dominoes tumbling, and we don't even see it in the tumult.
In the Fog has a far more cohesive narrative than the previous film, which was a time-leaping provocation that would jump its own storytelling rails in the blink of a cut. Immediately we're at the door of a farmhouse with Burov (Vladislav Abashin), a steely local resistance fighter come to execute his erstwhile friend Sushenya (Vladimir Svirskiy). Because Loznitsa does not truck with exposition, we only find out why deeper into the film: Sushenya was the fourth prisoner to be hanged, but he was freed for reasons unknown, a condition that automatically convicts him as a collaborator. A shallow grave is dug in the woods, but then a firefight breaks out with a Nazi patrol, and Sushenya, regarded as a traitor by everyone, is suddenly cornered in the forest, burdened by a mortally wounded Burov, accompanied by an unfamiliar resistance soldier who'd just as soon shoot Sushenya at any time, and surrounded by German forces, leaving the luckless everyman with nowhere to go.
Escape is never an option, and the story's despairing philosophical position — what should you do when life seems decidedly worse than death and might get even worse as guilt accumulates, suspicions spread, and bodies fall? — can be crushing. With abrupt flashbacks folding over each other at unsignaled intervals, In the Fog complicates the back story without stereotyping any of the characters, who are imprisoned by their hellish circumstances in any case. Can personal morality matter at all here? The odyssey through the Eastern Front wilderness proceeds into As I Lay Dying terrain, and Loznitsa makes sure the physical trial stays close to the ground and leaves bruises by using hard-bitten, hyperreal imagery, long takes, and, reportedly, only 72 cuts.
More accessible and less stupefying than My Joy, In the Fog has the inevitability of an avalanche, and only our overfamiliarity with Nazi-tribulation scenarios, and perhaps its excessively punctuated ending, could slow it down. A better anti-summer blockbuster is hard to imagine.
Michael Atkinson is a regular film contributor at the Village Voice. His work also appears in the publications of the Voice's film partner, Voice Media Group: LA Weekly, Denver Westword, Phoenix New Times, Miami New Times, Broward-Palm Beach New Times, Houston Press and Dallas Observer.


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Pure Heroin Leads to 15 Overdoses in 24 Hours in NJ
By David Chang	• Published at 7:39 pm on March 12, 2014
A strong form of heroin being sold in Camden led to more than a dozen overdoses in less than 24 hours. Now police and emergency responders are worried that there may be more to come.
"Right now we know that there is something out there that's putting people in near death situations," said Camden Metro Police Chief Scott Thompson.
Thompson says heroin at its purest form being sold in Camden caused 15 overdoses in several surrounding towns since Tuesday, 14 of those cases being young people.
"Generally young 20's," Thompson said. "We're talking Washington Township, Cherry Hill and Haddonfield. Heroin doesn't discriminate who it hooks into."
Investigators say the bags of heroin are marked with specific labels.
'The bags are branded," Thompson said. "That's part of the marketing scheme of the drug dealer. If you were to walk into the community of drug users and start to talk about bags, you're talking about locations."
Police are stepping up patrols and have placed Cooper University Hospital on alert. If you have any information on the overdoses, please call the Camden County Police Department's anonymous tip line at 856-757-7042.


Essentials of EMCrit brings together several of the world's experts in the field of resuscitation, including top clinicians at the cutting edge of translating research into clinical practice. The best of the best, collaborating to teach, inspire, and change the way you think about resuscitation and critical care.
Like Lennon and McCartney, Bonnie and Clyde, or Bert and Ernie, sometimes a partner makes all the difference. Essentials of Emergency Medicine and Scott Weingart partnered to relaunch the EMCrit conference as Essentials of EMCrit. Experience for dynamic faculty presenting topics in our signature engaging and focused format, all in an on-demand lecture package full of jam-packed crashing goodness.
Dr. Weingart received his medical degree and completed a residency in Emergency Medicine at the Mount Sinai School of Medicine. He then went on to a fellowship in Trauma and Surgical Critical Care at the Shock Trauma Center in Baltimore. He is best known for his podcast on Resuscitation and ED Critical Care called the EMCrit Podcast; it currently is downloaded more than 250,000 times per month.
Dr. Sara Gray's academic interests include patient safety and knowledge translation, specifically how to optimize the care of critically ill patients in the ED. Her most important achievements are her kids, who don't care what she does at work all day, but who appreciate her chauffeuring skills and her sense of humour.
Chris Hicks is interested in how teams work, or fail to work, during crisis events. To that end, he has studied all sorts of peculiar stuff, from mental practice to stress inoculation training, in an effort to help make teams safer and more effective. Chris is an avid speaker and lecturer, staunch #FOAMed supporter, occasional runner, semi-retired pianist, proud husband and father of three lunatic boys.
Tom DeLoughery is a native Hoosier who graduated from Indiana State University in 1981 (one year after Larry Bird) and the Indiana University School of Medicine in 1985. He did his internship at the University of California, Irvine before traveling to Oregon where he finished his internal medicine residency and hematology/oncology fellowship.
His clinical interests are in blood diseases, hemostasis, and thrombosis, subjects on which he has written extensively. He has won numerous teaching awards and has given education sessions to national meetings of many professional societies. He is a master at the American College of Physicians and Fellows of the Academy of Wilderness Medicine. Recently the 3rd edition of his popular handbook Hemostasis and Thrombosis was published. His one odd fact is that he has been to 40 Bob Dylan concerts in 5 countries.
Josh Farkas' training consisted of medical school at Cornell University followed by Internal Medicine residency at Dartmouth University and a Pulmonary and Critical Care fellowship at Albany Medical Center. Although trained and board certified in both Pulmonology and Critical Care, he works exclusively as a clinician educator in the combined medical, cardiac, and neurological ICU. Interests include point-of-care ultrasonography, coffee, FOAMed, and all things related to the ICU.
Dr. Boudourakis received his medical degree from Yale Medical School. He completed a general residency at the Mount Sinai Hospital in New York City and went on to complete a Surgical Critical Care Fellowship at the Shock Trauma Center in Baltimore. He is currently an intensivist and trauma/emergency surgeon at Kings County Hospital in Brooklyn, NYC. He is the Director of the Surgical ICU and Co-Director for the Hospital Wide Continuous Renal Replacement Therapy Program. He is a clinical assistant professor of surgery at SUNY Downstate.
Jenny Beck-Esmay received a degree in drama from the Tisch School of the Arts at New York University, completed medical school at the University of Minnesota and returned to NYC to complete residency at NYU-Bellevue. She has combined her love of emergency medicine with performance as the co-host of the Core EM podcast. As a life-long feminist, Jenny is thrilled to be the co-editor-in-chief of FemInEM.org. She is passionate about emergency medicine education and the FOAM movement and is proud to have contributed content to FOAM sites including CoreEM, REBEL EM, WikEM and FemInEM. In her free time, Jenny enjoys reading sci-fi, fantasy and comics and enjoying delicious dinners out with friends.
Resident/StudentFor Paramedics, Students, Residents, Registrars etc.


Another thing is, is it even remotely possible that a pretty girl just ran into a handsome prince by chance at a hotel, fell in love, being whisked away to a foreign land and get engaged? Sounds impossible but that is exactly what happened to Jay Jin. Did I mention that they share the same first name as well? Coincidence? Probably but there's no way that that could happen in reality but then again, why not?
However, I was getting rather tired of it after reading six volumes…the dramas are…well, too much drama! One minute Jay was kidnapped, lost her memory, all of the sudden there were like three guys who are in love with her and there was also gunshots involved. Like Helen of Troy who was known as the face that launched a thousand ship, Jay has the face (and may I add, kind personality as well?) that launched a thousand bullets, literally speaking.
As predictable as it may seem (it's a Shoujo manhwa after all), I'd still continue reading it till the end, reason being me having the habit to finish what I read, unless of course, the book/manga/manhwa I read is not my cup of tea. Oh well, let us all read on and see how it ends…hopefully with a happily ever after (I hate sad endings!!).


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By Fernando F. Croce | September 15, 2011
Midlife Crises
Fernando F. Croce on The Arrangement
One of the challenges in talking about the "worst" film in a director's oeuvre is that that notion is often bound less to subjective definitions of "good" and "bad" art (another, even fishier kettle of fish) than to a sense of personal defensiveness that acolytes can project simultaneously toward the filmmaker and (unconsciously?) toward themselves. Thus, a film maudit can become an irresistible dare to anybody who believes he or she can stand by anything from a beloved auteur, in the process lionizing themselves as truth-tellers allied to the misunderstood artists they're defending. It is, to momentarily slide into personal admission, a temptation I've in the past seldom resisted. My own evaluative classifications of cinematic highs and lows have swung wildly over the years, starting out with stolid, rather middlebrow mainstays of quality ("Is the plot realistic? Are the characters believable?") and swiftly giving way to the siren call of the kind of dogmatic auteurism that famously led an exasperated Dwight Macdonald to write that, to the young Cahiers du cinéma critics, "Homer nods, but apparently Hitchcock never." Though it certainly remains director-centric, my focus has hopefully evolved enough to be able to differentiate between an instance of a neglected effort ripe for reappraisal and a perverse case of turd polishing.
Or has it? A recent viewing of Elia Kazan's largely forgotten 1969 drama The Arrangement had me wavering between fanboyish reappraisal and head-slapping censure as it oscillated from courageous to ridiculous and back. I had chosen it for this symposium based on its negative reputation among reviewers of that period (though critical opinion has in the subsequent decades slowly begun to turn around) and on my own hazy memory of it as an aging provocateur's trashy, misguided attempt to groove along with shifting times he never quite understood. Revisiting it, I found a different film. Neither a forgotten masterpiece nor a dartboard for easy derision, but an invigoratingly problematic work—one that could be objectively deemed Kazan's worst (as Vincent Canby did in his New York Times piece upon the film's release) in that it is his least wholly satisfactory picture, yet also one that finds its creator alive and fully engaged behind the camera, stumbling inquisitive even while stumbling and revealing shortcomings that illuminate his worldview as much as his strengths.
The Arrangement opens on a note of calm that, coming from a director so given to filling the screen with quarrels and brawls, couldn't be more unsettling. Scored to the squeaks of congealed affluence (chipper radio announcers, china cups hitting tables, the mild roar of a convertible leaving its lair), the virtually dialogue-free sequence chronicles what is supposed to be a typical morning for Eddie Anderson (Kirk Douglas, gamely filling in after Marlon Brando dropped out), a wealthy, middle-aged drone in the Los Angeles advertising netherworld. Placing the protagonist and his wife, Florence (Deborah Kerr), on symmetrically opposite sides of the frame as they briskly and mechanically glide through the motions of life together (sleeping in separate beds, showering in separate bathrooms, sitting at the breakfast table while barely looking at each other), Kazan visualizes their daily routine as a well-oiled machine that, as suggested by the increasingly skittish cuts between the glossily composed shots, is nevertheless starting to stutter—a terse build-up that reaches its climax as Eddie, sandwiched between two trucks while driving on the highway, deliberately lets go of the wheel, promptly sending his car into a crash. Eddie's gesture is plainly akin to a man throwing a wrench into his own sterile clockwork existence, a suicidal attempt that is also, in its desire for losing control, a paradoxical, defiant grab for life.
Kazan doesn't exactly bury these themes underneath the film's skin. Though there are flashes of breathtaking subtlety throughout his career (think of the tender eroticism between Montgomery Clift and Lee Remick in Wild River), the director always had a penchant for the emphatic-shading-into-strident effect, for the immediate sensation from what he called "forthright images." ("Forthright the way a butcher is forthright when he slaps down a steak for inspection," to again quote Macdonald.) Recovering from his accident mostly by silently padding around his mansion in his pajamas, Eddie is visited by a trio of dark-suited colleagues from the ad agency and, as they ooze with condescending well-wishes and queries about delayed assignments, the film cuts to a TV screen showing jackals tearing into a gazelle's carcass. Later on, he imagines his mistress Gwen (Faye Dunaway) idealized like Botticelli's Venus emerging from his swimming pool. Later still, as Eddie's menopausal crying jag spirals into full-on mania, his visions of his split self—the sensitive artist he could have been versus the Snidely Whiplash sellout he became—are literalized in legitimately tacky fantasy sequences (a roomful of cigar-puffing executives gawking as the protagonist leisurely flies before the office in a small airplane, Batman-esque "Zoink!" exclamations plastered all over a fight sequence) that suggest Frank Tashlin with the humor leeched out.
Such flights of fancy proliferate as the main character delves deeper into a maelstrom of family, lovers, friends, and enemies, and, galling as they can be, these fantasies shed light into one of Kazan's limitations. So tangibly adept at capturing the sweat on Brando's chest or the weight on James Dean's shoulders ("the organic, the biologic, and the corporeal," wrote Jacques Rivette in a Cahiers thumbnail paragraph on Kazan), he seems here helpless when it comes to depicting a state of mind. Torn between domestic obligations and dreams of escape, choked with loathing for his gilded cages and loaded with Freudian baggage from an Old World miser of a father (Richard Boone, blustery and unconvincing), Eddie "goes away into himself" in startlingly jejune ways, with Kazan scrambling pell-mell through a fog of stylistic tics—freeze-frames and sped-up footage, tinted clips and refried-Resnais flashbacks and flash-forwards—in an attempt to portray a psyche in crisis. And yet, for all its faddish noise and flash, The Arrangement remains vivid due in no small part to Kazan's legendary rapport with actors. In sharp contrast to the stylistic obfuscation found in much of the picture's later sections, one finds a sense of emotional nakedness to the performances that's very different from the Method flamboyance of the acting in, say, A Streetcar Named Desire or A Face in the Crowd. There's a bedroom scene between Douglas and Kerr midway through that, passing through various shades of anger, hope, and shame, stands as a remarkable example of Kazan's ability to push performers beyond their respective safety zones.
Whether relating to Terry Malloy's tormented decision to inform on others in On the Waterfront or to the struggle of immigrant outsiders in America, America, Kazan always established a personal connection to the material. Here, it's the fear of self-betrayal that gives The Arrangement its anguished, autobiographical tension, the dread of compromising and prostituting talents and emotions that's explicitly voiced in the ham-handed but undeniably piercing moment when Gwen verbally twists the knife already lodged into Eddie's conscience ("What happened to you? It must kill you to think what you might have been"). In that sense, one imagines that to Kazan the same intense and unquestioning commitment to the source material (his own best-selling novel) that often makes this film so maddening would be far preferable to the neutered, producer-approved tastefulness that plagued such early success d'estime hits as Gentleman's Agreement or Pinky. In the end, the characters' soul-baring feels particularly attuned to a period of self-investigation when a filmmaker and a nation could entertain the fantasy of yelling "bullshit!" at the office and hurling their material belongings into the proverbial pyre. There may be enough flaws to qualify it as Kazan's "worst" film, yet no work with enough passion to risk being ludicrous (and possibly anticipate the most intrepid, confessional moments of John Cassavetes and Abel Ferrara) should be easily dismissed.
Simply the Worst


Thanks to an acceleration in capital spending and rise in revenue expenditure caused by release of subsidy arrears, the Centre's fiscal deficit in the first four months of the fiscal stood at 69.3% of the FY16 target, compared with 61.2% of the corresponding target in the year-ago period. The fiscal deficit in April-July was Rs 3.85 lakh crore, while the deficit estimated in the Budget for the full year is Rs 5.56 lakh crore.
Revenues have also picked during the period, albeit at a slower pace than expenditure. Revenue receipts during April-July were Rs 2.09 lakh crore, or 18.3% of the full fiscal target of Rs 11.41 lakh crore, thanks to proceeds from auction of spectrum rather than tax revenue that rose only marginally when compared with the situation a year ago.
Higher transfers to states was also a reason for the low growth in net tax revenue. For the same period last year, revenue receipts were 14.8% of the full-year target.
The April-July net tax collection was Rs 1.54 lakh crore, which is 16.7% of the estimate for the full year; in the corresponding period a year ago, the net tax revenue stood at 15% of that year's target.
Total expenditure in April-July was 33.8% of the Budget estimate (BE) for the full year, according to data compiled by the Controller General of Accounts. Total expenditure in the same period last year was 28.1% of the BE for the year.
Total spending, which is set at Rs 17.77 lakh crore for FY16, may go up by Rs 25,500 crore after the government got Parliament's approval in July to spend more on recapitalisation of public sector banks, among others.
While rise in fiscal deficit in the first four months could create concerns on achieving the target of 3.9% of GDP in FY16, analysts say fall in crude prices and higher indirect tax collections due to increases in tax rates in the latest budget and the likely pick-up in economy in the coming months could create fiscal space to spend more on the capital side.
In April-July, Plan capital spending stood at Rs 51,631 crore or 38.2% of the BE for the year as compared to Rs 28,046 crore or 23.1% of the full-year estimate during the same period last year.
Increase in Plan capital spending at a faster pace is a positive for the economy as it is seen crucial in the current year to boost economic activity as a pick-up in private-sector investment may be weak. Capital spending was 23% of the BE in April-June of FY16 and the corresponding figure was 18.6% in FY15.
In April-July, Plan expenditure stood at Rs 1.58 lakh crore or 33.9% of the full year aim, which is a substantial improvement compared to Rs 1.32 lakh crore (23%) in the year-ago period.
With release of subsidies in higher quantum for fertilisers and food, non-Plan spending during the first four months of FY16 rose to about Rs 4.43 lakh crore, or 33.8% of the full year target, from Rs 3.72 lakh crore or 30.5% of the BE of FY15.


There's nothing quite like a weekend drive, riding on the passenger side with a friend behind the wheel and a song on the radio. The windows are down, the sun is out, and the moment is perfect- until the driver reaches over and claws at the center console for their phone. It's customary to watch uncomfortably as they open up iMessage and, with their eyes darting between the road and their conversation, attempt to send a reply.
It's unnerving to be the one riding on the passenger side, aware of the consequences of the recklessness at hand yet feeling utterly helpless to prevent it. Often passengers will convince themselves that the chance of an accident is slim, that their driver knows what they are doing, and that they only looked at their phone briefly, anyway. Passengers who don't want to come across as overbearing, especially if the driver is older and not as close to them (like a friend's parent) might elect to bite their nails in silence. However, when at the mercy of a distracted driver, not speaking up can be a death sentence.
Drivers often do not consider others when they make the decision to text on the road. They don't realize that they are putting their passengers in a distressing situation that could turn dangerous within a second; all they are worried about is what's for dinner, or who they're hanging out with that night.
Regardless of how long it takes, a quick text can turn into a last text in a matter of seconds when it's sent from the road. According to the Virginia Tech Transportation Institute, a person who is texting will have their eyes off the road for an average of five seconds. The number is, however, deceptively small; when traveling at 55 miles per hour, that's enough time to cover the length of a football field blindfolded (Virginia Tech Transportation Institute, 2009). Things happen rather quickly on the road, and a driver who peeks at their phone is at risk of missing critical visual stimuli that would normally keep them safe. Even if the driver at fault emerges unscathed from the wreckage, it's not uncommon for the effects of the incident to extend to innocent victims in spite of their best efforts to drive safely.
Few matters are so dire that they require a response while the recipient operates a four thousand pound vehicle. Still, many feel the need to acknowledge the notification, bothered by the idea that an unopened message is lingering on their home screen. It's difficult to resist the allure of words that have yet to be heard, but it's time to recognize that giving in to this temptation endangers the driver, their passengers, and anyone in their vicinity. As revealed by AT&T's "It Can Wait" campaign, 97 percent of teens know texting while driving is dangerous, yet 43 percent of them admit to sending texts while driving. Car "accidents" can no longer be considered "accidents" when a victim has made a conscious decision to engage in hazardous habits.
It's comforting to assume that these accidents are rare and likely won't affect you, or that you've been driving for a full year now and are finally experienced and proficient enough to text and drive safely. Unfortunately for those convinced that they are exempt from injury, statistics don't lie, and the National Safety Council reports that texting while driving causes 1,600,000 accidents each year.
Campaigns to prevent texting and driving have come and gone, but the issue persists. While temporary solutions exist, like cars that automatically stop before a collision, the risk will not completely fade until drivers are held accountable for choosing socializing over safety.