For information about 2002 in the fictional Star Trek universe, please see 2002.
1 January – Jack C. Haldeman II, Benjamin W.S. Lum and Meg Wyllie die.
UK VHS release: VOY volume 7.12.
Final draft script of ENT: "Acquisition" is submitted.
15 January - Pocket SCE eBook Some Assembly Required, by Scott Ciencin and Dan Jolley, is published.
Final draft script of ENT: "Shadows of P'Jem".
In an interview, Rick Berman declares the season finale of ENT Season 1 will "most likely" end with a cliffhanger, to be concluded at the start of the second season.
23 January – ENT: "Dear Doctor" airs.
29 January – Barbara Townsend dies.
30 January – ENT: "Sleeping Dogs" airs.
Pocket TNG #61: Diplomatic Implausibility is released.
Final draft script of ENT: "Detained".
6 February – ENT: "Shadows of P'Jem" airs.
7 February – Final draft script of ENT: "Fusion".
Final draft script of ENT: "Vox Sola".
UK VHS release: VOY volume 7.13 (end).
Final draft script of ENT: "Fallen Hero".
26 February – Lawrence Tierney and Tony Young die.
27 February – ENT: "Fusion" airs.
6 March – Final draft script of ENT: "Desert Crossing".
18 March – Final draft script of ENT: "Two Days and Two Nights".
19 March – 27 March – Seven days of filming on ENT: "Two Days and Two Nights".
20 March – ENT: "Rogue Planet" airs.
22 March – Final draft script of ENT: "Shockwave".
25 March – Final draft script of ENT: "Oasis".
26 March – Star Trek: The Next Generation: The Complete First Season is released on Region 1 DVD. This is the first DVD box set of a Star Trek series to be produced.
27 March – ENT: "Acquisition" airs.
1 April – Paramount Home Entertainment begins its short-lived release of Star Trek: Enterprise on VHS in the UK with ENT volume 1.1.
Second unit footage is filmed for ENT: "Two Days and Two Nights".
Principal photography on the first season of Star Trek: Enterprise ends with the season finale "Shockwave" wrapping.
Insert shots are filmed for "Two Days and Two Nights".
24 April – ENT: "Detained" airs.
1 May – ENT: "Vox Sola" airs.
2 May – Ron Soble dies.
6 May – UK VHS release: ENT volume 1.2.
7 May – Star Trek: The Next Generation: The Complete Second Season is released on Region 1 DVD.
8 May – ENT: "Fallen Hero" & ENT: "Desert Crossing" air.
15 May – ENT: "Two Days and Two Nights" airs.
22 May – The first run broadcast of Star Trek: Enterprise's first season ends with the episode "Shockwave".
10 June – UK VHS release: ENT volume 1.3.
24 June – UK VHS release: TNG volume 5.1, ENT volume 1.4.
26 June – Production begins on the second season of Star Trek: Enterprise with production on "Carbon Creek" commencing.
1 July – UK VHS release: ENT volume 1.5.
2 July – Star Trek: The Next Generation: The Complete Third Season is released on Region 1 DVD.
22 July – UK VHS release: TNG volume 5.2, ENT volume 1.6.
5 August – UK VHS release: TNG volume 5.3, ENT volume 1.7.
6 August – Star Trek II: The Wrath of Khan (Director's Edition) is released on DVD in Region 1.
8 August – Final draft script for ENT: "Dead Stop" is submitted.
12 August – First day of filming on ENT: "Dead Stop".
13 August – Second day of filming on ENT: "Dead Stop".
14 August – Third day of filming on ENT: "Dead Stop".
15 August – Fourth day of filming on ENT: "Dead Stop".
Fifth day of filming on ENT: "Dead Stop".
Sixth day of filming on ENT: "Dead Stop".
UK VHS releases: ENT volume 1.8, Enterprise 1.1-1.3 Collectors Edition.
Pocket Books story collection The Amazing Stories published.
Seventh and final day of filming on ENT: "Dead Stop".
2 September – UK VHS release: TNG volume 5.4, ENT volume 1.9.
3 September – Star Trek: The Next Generation: The Complete Fourth Season is released on Region 1 DVD.
5 September – Ed McCready dies.
16 September – James Gregory dies.
18 September – "Shockwave, Part II", the first episode of Star Trek: Enterprise's second season airs.
23 September – UK VHS release: ENT volume 1.10.
25 September – ENT: "Carbon Creek" airs.
1 October – First draft script of ENT: "Precious Cargo".
2 October – ENT: "Minefield" airs.
7 October – UK VHS release: TNG volume 5.5, ENT volume 1.11.
9 October – ENT: "Dead Stop" airs.
10 October – Final draft script of ENT: "Precious Cargo".
11 October – First day of production on ENT: "Precious Cargo".
13 October – Keene Curtis dies.
16 October – ENT: "A Night in Sickbay" airs.
19 October – John Meredyth Lucas dies.
21 October – UK VHS release: ENT volume 1.12.
Final day of production on ENT: "Precious Cargo".
Star Trek III: The Search for Spock (Special Edition) is released on DVD in Region 1.
23 October – First day of filming on ENT: "The Catwalk".
24 October – Second day of filming on ENT: "The Catwalk".
25 October – Third day of filming on ENT: "The Catwalk".
Fourth day of filming on ENT: "The Catwalk".
29 October – Fifth day of filming on ENT: "The Catwalk".
Sixth day of filming on ENT: "The Catwalk".
31 October – Seventh day of filming on ENT: "The Catwalk".
1 November – Eight and final day of filming on ENT: "The Catwalk".
4 November – Jerry Sohl dies.
5 November – Star Trek: The Next Generation: The Complete Fifth Season is released on Region 1 DVD.
7 November – Hilary J. Bader dies. Final draft script of ENT: "Singularity" is submitted.
13 November – ENT: "The Communicator" airs.
18 November – UK VHS release: TNG volume 5.6, ENT volume 1.13 (end season 1 and series release).
20 November – ENT: "Singularity" airs.
22 November – Parley Baer dies.
27 November – ENT: "Vanishing Point" airs.
2 December – UK VHS release: TNG volume 5.7.
3 December – Star Trek: The Next Generation: The Complete Sixth Season is released on Region 1 DVD.
11 December – ENT: "Precious Cargo" airs; Charles Gunning dies.
13 December – Star Trek Nemesis, the fourth film featuring the Star Trek: The Next Generation cast, premieres in US theaters.
18 December – ENT: "The Catwalk" airs.
19 December – Lee Halpern dies.
22 December – Kenneth Tobey dies.
23 December – UK VHS release: TNG volume 5.8 (end season 5 and series release).
31 December – Star Trek: The Next Generation: The Complete Seventh Season is released on Region 1 DVD.


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Q: Через что лучше осуществлять вставку/обновление большого количества записей в YII2, DAO, или AR? В модуле CSV Импорта производиться чтение с CSV файла, и последующие операции вставки/обновления в БД. Файлы csv могут быть большими, от нескольких десятков до нескольких сотен тысяч строк. Соответственно вопрос. Чем лучше осуществлять вставку/обновление большого количества записей, DAO или AR? Или можно не бояться, AR нормально потянет?

A: Если файлы оочень большие и вставить нужно ооочень быстро , то можно использовать LOAD DATA LOCAL INFILE
Пример метода заливающего определенный файл с определенным кол-вом полей :
    /**
     * Залить CSV в базу
     *
     * @param str $table таблица куда льем
     * @param array $fields массив затрагиваемых полей
     * @param type $dataFile путь до файла CSV
     */
    public function loadDataInFile($table, array $fields, $dataFile, $separator = ",")
    {
        $sql = "LOAD DATA LOCAL INFILE '$dataFile' IGNORE "
                . "INTO TABLE $table "
                . "FIELDS TERMINATED BY '$separator' "
                . "LINES TERMINATED BY '\n' "
                . "(" . implode(",", $fields) . ")";

        $count = $this->d->exec($sql);
        return $count;
    }

данный метод зальет CSV в базу игнорируя дубли , есть некоторая заморочка с типами таблиц , но они все описаны в документации . Может возникнуть ситуация при которой нужно обновить поля , тут тоже есть свой метод принцип таков : в таблицу TMP используя выше описаный метод льем данные как есть , затем из нее обновляем данные требуемой таблицы :
/**
 * Обновить данные документов из данных временной таблицы , очистить временную таблицу
 *
 * @param str $targetTable куда льем
 * @param str $temporaryTable откуда льем
 * @param array $fields поля для обновления
 * @return sql-expr array
 */
static function updateDocData($targetTable, $temporaryTable, array $fields)
{
    $updateFields = array_keys(array_filter($fields));
    //Залить обновленные данные
    $sql[] = "INSERT INTO $targetTable
              SELECT * FROM $temporaryTable
              ON DUPLICATE KEY UPDATE " .
              array_reduce($updateFields, function($carry, $key){
                  return ($carry ? $carry . "," : "") . $key . " = VALUES($key) ";
              });
    //очистить временную таблицу
    $sql[] = "TRUNCATE `doc_data_temp`;";

    return $sql;
}

Метод вернет массив из sql выражений и так как данные большие и возможно нужно четко поддерживать целостность операции , так же возможно что таблиц для обновления много можно завернуть это все в транзакцию , примерно так :
    /**
     * Выполнить транзакцию из разнотипных наборов sql
     */
    public function queryTransaction(array $sql)
    {
        $stmt = $this->d;
        $stmt->beginTransaction();
        array_walk($sql, function($query) use ($stmt) {
            $stmt->query($query);
        });
        $stmt->commit();
    }

Все это будет работать быстро , но конечно лучше это все не отдавать клиенту , а юзать в бэке cli .

redpajama_set_name: RedPajamaStackExchange


Summary: It is an utter mystery to her, who would do such a thing? For the primeval100 Ladies of Primeval challenge.
It sits on her desk, a shiny gold envelope with a concise script noted across it saying simply "Jenny".
She strides across quickly, heels clicking against the floor, curious who it's from. She's received enough scrawled post-it notes to tell the handwriting isn't Nick Cutter's.
Tearing across the top she swiftly removes the contents and finds a simple yet stylish card, proclaiming "Best wishes on your birthday, from Abby". No "love", no false sentimentality, just a simple gesture that says the girl cares - but it's the first thing to bring a true smile to her lips for weeks.
She's received enough scrawled post-it notes to tell the handwriting isn't Nick Cutter's.
Pegasus Galaxy - SG spoilers!
Jeff's Stargate Vids - hosting available!


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text:
This Is Spinal Tap, by Schmalex
in The Cinematic VoiceSeptember 15, 2011
Director – Rob Reiner
Writers – Christopher Guest, Michael McKean, Harry Shearer, Rob Reiner
Country – USA
Certificate – 15
Cast – Rob Reiner, Christopher Guest, Harry Shearer, Michael McKean, Tony Hendra
Final Destination 5 Review by Hayley Alice Roberts
WARNING: SPOILERS INCLUDED.
"Mothers Day", by Hayley Alice Roberts
in The Cinematic VoiceAugust 13, 2011
I was on the fence as to whether actually go and see this film, my first thought was "The Hand that Rocks the Cradle" (1992) meets predictably boring horror remake and matters weren't helped after seeing Brad Jones's (aka, the Cinema Snob) review of the original along with Matthew Buck's (aka, Film Brain) review of this version on the That Guy with the Glasses site which left me very sceptical. I hadn't planned to bother seeing this but due to it being part of the Arts Centre Horror night I decided "yeah why not" and I was pleasantly surprised. I simply enjoyed this film because it wasn't trying too hard to be frightening or shocking for the sake of it and it used its humour very well…
"Julia's Eyes" AKA "Los Ojos De Julia", by Hayley Alice Roberts
In this review I have decided to return to my guilty pleasure of the horror genre; as of late I have been reviewing films with a more serious tone and message so hopefully this review will be more light-hearted! (Well…In my twisted sense of humour anyway!). Last night I attended a screening of two recent horror films at the Aberystwyth Arts Centre Cinema, Spanish Chiller "Julia's Eyes" (2010) and the remake of "Mother's Day" (2010); I have to say that the audience consisted mainly of the Abattoir Horror Festival regulars and it was a good atmosphere, more like a large group of friends just watching a couple of horror movies together and having a laugh. Anyway let's kick off with "Julia's Eyes"
Brighton Rock, by Hayley Alice Roberts
"Oh, I do like to be beside the seaside…" A Review of "Brighton Rock" (2010), by Hayley Alice Roberts…
Les Pacte Des Loups (2001), by Pope Gryphon
in The Cinematic VoiceMarch 11, 2011
Before I even begin this review, I must pre warn you all that this is, without a shadow of doubt, my most favourite film in the whole world. With that now nestled firmly within the woody nest of your mind, I shall endeavour to remain unbias in this particular review.
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Check out the older editions!
All of the old editions of The Independent Voice, dating back several years can accessed here

redpajama_set_name: RedPajamaCommonCrawl


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text:
Photograph by Mike Lewinski/Unsplash
Michael Todd Cohen
The Mathematics of Writing a Novel
Jill Witty
In Praise of the Pomodoro, or Finding Writing Freedom Through Constraints
Using Impatience to Help Your Writing
Chaya Bhuvaneswar
Don't Write Alone | Toolkit
When Flash Nonfiction Strikes You
After contact, you may feel exposed, raw, tingly. Learn about flash nonfiction forms and what to do if you want to write flash of your own.
Strip the bed down to its bones. Smell the sheets before you wash them. Alternatively, get new sheets so you stop smelling for someone that is no longer there. You will do it with the new sheets. You will never stop smelling for the someone that is no longer there.
(excerpt, "Spring Cleaning," Michael Todd Cohen )
"Spring Cleaning" was the title of one of the earliest pieces I published with a literary journal (Stone of Madness Press). It wasn't about spring cleaning. It was about the loss of my husband and the grief that followed. A subject that felt, to me, enormous—at times insurmountable.
But the title and the form it suggested—an instructional list—allowed me to talk about the complex feelings of pain and longing through a manageable lens: innocuous, everyday, mundane tasks. In that first year after the fire that took my husband, these were often the only things I could focus on. "Spring Cleaning" absorbed the enormity of grief and for a brief time contained it—in 309 words. This is the power of flash creative nonfiction.
But what exactly is it?
Flash creative nonfiction is somewhere between the lyricism of poetry and the narrative potential of prose. It is usually no more than one thousand words, but often less. Brevity , a flash nonfiction magazine, founded over twenty years ago, as the form was emerging, allows only up to 750 words.
Dinty W. Moore, the editor in chief of Brevity , speaks of flash in abstract terms : ". . . like the moment you see a figure illuminated across the street during a brief middle-of-the-night flash of lighting." He highlights its "concision of language," its frequent focus on "the importance of a single image."
In the flash below, published in HAD , Nicole Oquendo captures a brief, brilliant moment of illumination, not unlike Moore's description:
Nicole, today was a prayer when you painted the glue along the back of the eyelashes, and we're not going to call them fake or false because they eventually became a part of you, when you used that weird tool and pressed them just above your own eyelashes that were already starfishing out because of the mascara you tried too, and then the glue held, hallelujah, everything clamped together, again the tool, and you brushed the color along your eyelids to mimic a sunset but that's the thing, there are infinite variations of color when the sun shifts and lights the world all over, so you had to be the sunset too.
There are several elements at play in this piece: repetition (tool, eyelashes, sunset); concision (the entirety of the work is a single sentence comprised of one hundred and twelve words); an epistolary form (it's addressed to someone, like in a letter). These elements, along with several others, form the conditions of a flash work. I say conditions, not ingredients, because if flash is a passing storm, as Moore suggests—a white-hot crack of focus and illumination—then we, as writers, have to think about the correct conditions to employ that encourage it to arrive. We're not cooking up flash so much as conjuring it.
Oquendo's work is titled "TFW the Zoom Party Is in Four Hours but You Start Getting Ready Anyway," revealing another condition of flash: titles as both context and content. The title, a sentence unto itself, rather than a coy hint at what's to come, becomes both part of the work and the contextual key to understand the underlying tension in it. In the body of the work, Nicole is no longer solely putting on eyelashes, mascara, eyeshadow—they're readying themselves for a Zoom party. The entire work is a moment of anticipation. The frisson in the air before a storm breaks.
Not every title in flash creative nonfiction is a sentence. Nor is every title long, but many play with the idea that a title can embrace the totality of its root titulus : not solely "label" or "placard" or "heading" but "inscription." Oquendo's work, then, takes on sharper context when viewed with the knowledge that there is an event—a party—imminent. They leave us to wonder at what kind of party it might be, but the fact that they're readying themselves early, fussing over what makeup to apply, painting on the colors of a stunning sunset—it is clear it's important to them. The title conjures up the circumstances; the body delivers the flash of insight.
Oquendo's work takes an epistolary form, but other flashes include hermit crab forms like lists, crosswords, directions, choose-your-own-adventure, instructions (as in "Spring Cleaning"). To understand these forms' relationship to each other, consider the way a hermit crab inhabits or "borrows" a shell other than its own. In one thousand words or less, flash's constraints force an inventive potency. They are full of surprise and precision.
Recently, I asked writers on Twitter why they write flash CNF (creative nonfiction). Casey Mulligan Walsh answered: "I find things pour out when conventions are suspended," which suggests that the flash genre is as surprising for the author as it is for the audience. Take away the strictures of traditional storytelling and a new, electric world opens up. Why not write this way all the time, then? Where are the memoirs-in-flash? The bildungsroman-in-flash? The nature-writing-in-flash? In fact, they are emerging.
Recent books like Carmen Maria Machado's In the Dream House heavily employ the structures of flash while also tracing a narrative line of memoir (the lifespan of a fraught, abusive relationship). Machado's work shows the power and potential when "convention is suspended." Yet there are detractors. There are always detractors.
strange to have come of age reading great novels of ambition, substance, & imagination (Dostoyevsky, Woolf, Joyce, Faulkner) & now find yourself praised & acclaimed for wan little husks of "auto fiction" with space between paragraphs to make the book seem longer . . .
Joyce Carol Oates is having none of it. Joyce Carol Oates, National Book Award winner and three-time Pulitzer Prize finalist, is having none of it. The tweet above , from March 16, 2021, set Twitter aflame: a cascade of "just over here writing my wan little husks" jokes flooded the timeline.
Oates is speaking mostly of fiction, but the essence of disdain for suspending convention is there. The idea that great novels (or memoirs) need be blocks of unbroken prose is limiting, to say the least. While Oates may attribute her reverence to "coming of age" with such imposing (and physically heavy!) works, the world we live in now is considerably more fragmented. Oh, the irony in tweeting her lament of new forms. We write stories now in blocks of 180 characters (Aziah "Zola" Wells King, anyone?) read by hundreds of thousands, if not millions of people. Oates's age isn't the issue; the issue is classicist, academy-minded rigidity.
We can't write into a vacuum. A world with shrinking attention spans, fragmented social commentary, fast-moving feeds everywhere, requires, as writers, that we meet it where it is. Flash creative nonfiction is the form of the moment. At least according to Moore, who in a 2020 Literary Hub article asserts, "Brief nonfiction is perhaps at peak popularity." So how do we, as writers, embrace its potential? Here is where the rigid academy mind can be useful: We taxonomize to understand.
What to Do When Struck by Flash: After contact, you may feel exposed, raw, tingly. Evaluate the impact with these simple questions:
1. Did the flash take the form of something else? For example: Is it a commentary on body image encapsulated in a doctor's note? Is it an exploration of alcoholism set to a cocktail-bar menu? Is it a choose-your-own-adventure with only harrowing choices meant to represent abuse? Is it washing instructions for joy? A classified ad for lost dignity? A party invitation to love yourself? If you answered YES to any of the above, you have been struck by one of the multiple variations of HERMIT CRAB flash.
2. Was it a letter to someone or something, including yourself? If you answered YES, you have been struck by an EPISTOLARY flash.
3. Was it a concise meditation on a singular moment of beauty or horror or surprise or elation or . . . ? If you answered YES, you have been struck by a LYRIC flash.
The forms flash takes are variable but united in their brevity. If you find yourself vulnerable in the presence of approaching flash, do not run . It is safer for you to endure the (brief) flash than to take cover in the comfort of tradition.
Of course, this is a cross section, not a comprehensive guide of flash spotted in the wild. The medium is still evolving. Aaron Burch's "American Lake" in X-R-A-Y Literary Magazine is a good example of flash bound by the constraints of length but not by any of the forms above. The title is not title-as-content nor does it introduce tension. The tension, in this work, is in the form of questions, which are the sum total of its 628 words.
These hyper-specific questions reveal the experiences of the writer but leave open the possibility that the reader may have experienced something similar (or not at all similar, but they may trigger memories of the reader's own childhood):
Did you ever get in trouble for using her automatic garage door like a toy—hitting the button so it would retract up and then grabbing the metal lip at the bottom and letting it carry you up in the air, when you were still young and little enough for that to work? [. . .] Remember how the trail was pretty well hidden, snaking its way between two houses, two private properties, but it was supposed to be for everyone? [. . .] Have you revisited that lake as an adult? Parked at the end of the cul de sac, next to a "Public Property, No Access" sign right where the trailhead used to be?
While not expressly a hermit crab—in that it isn't necessarily using an expected form to express unexpected meaning—it does evoke the intersection of familiarity and revelation: a game of truth or dare; of a late-night inquiry by campfire; of the pass-the-time discourse of the back seat of a family car. It's indicative of the evolving nature, the mutability and flexibility, of flash. In the words of memoirist (and contributor to Brevity ) Lee Martin :
Anything is possible within flash creative nonfiction. You want to tell a story? You can do that. You want to work with image and metaphor? You can do that. Personal essay? Check. Nature Writing? Check . . . Maybe you want to explode the form and see if you can turn it into something else, maybe something more fragmented . . . something folks might call "experimental."
To this end, in " A Reminiscence of High School Required Reading That Triggered My Search for the Black Protagonist ," published in HAD , K. B. Carle takes the notion of title-as-content and makes a work in the form of a list, entirely out of titles. It's a clever inversion of expectation (body as title, title as body) in order to illuminate a larger theme: the lack of Black representation in classic literature, especially classic literature as taught in high school:
Great Expectations | The Odyssey | Greek Tragedies | Henry the Fourth | Upon the Head of the Goat | Medea | Out of Many: A History of the American People | Sons and Lovers | The Great Gatsby | Mrs. Dalloway | The Tempest | Paradise Lost | A History of US: Making Thirteen Colonies | Of Mice and Men | The Things They Carried | Walt Whitman Selected Poems | Pride and Prejudice | A History of US: A History of the American People | The Catcher in the Rye | A Raisin in the Sun | To Kill a Mockingbird | Othello | The Autobiography of Malcolm X | Death of a Salesman | Dante's Inferno | Their Eyes Were Watching God | As I Lay Dying |
"Anything is possible," says Lee. Flash is both anything and one thing, which makes it hard to pin down. After all, the forms in the "What to Do When Struck by Flash" guide above could also be categorized as an essay. We have hermit crab essays, lyrical, epistolary—but I believe limiting word count gives flash some of its edges of definition, in addition to two other chief characteristics: urgency and potency.
Sticking with the idea of a sudden storm—like in summer, when a thunder crack cuts through birdsong and a deluge ensues—urgency is immediately understood. In these moments there is energy, action, alertness. We gawp at the power that passes as quickly as it arrived. In a matter of several seconds, in a matter of several words.
But, if we look harder, it is not just the suddenness that strikes. The sky broad, blue, empty—then full of gray clouds, swollen with rain. A compressed experience carries potency. At its best, I believe flash allows us to harness a potent instant—a death, anxious preparation before a party, the juvenile exhilaration of trespassing to get to a lake—and pours it into a compressed form that reflects its energy.
After all, says Gina Harlow, a columnist and creative nonfiction writer who answered my Twitter call: " Real life is blessedly full of flashes of experiences. "
Michael Todd Cohen's work appears in Columbia Journal, X-R-A-Y Literary Magazine, Pithead Chapel, JMWW Journal, and HAD, among others. His writing has been nominated for a Pushcart Prize. He lives with his husband and two dogs, by a rusty lighthouse, in Connecticut. You can find him on twitter @mtoddcohen or michaeltoddcohen.com.
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text:
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FanGrid: More air performance and high energy efficiency
New Plug Fans exceed today the requirements of tomorrow
With the coming into effect of the ErP (Energy related Products) Implementation Directive for fans, manufacturers are required to design their products for the European market in compliance with defined efficiency standards. These standards affects all fans in the power range 125 W to 500 kW, regardless of whether or not they are used as stand-alone units or as components within another item of equipment or system. Great savings potential can be achieved with the fans employed in ventilation air-conditioning technology, for these are often run with a high operating factor. Modern fans with energy-efficient EC technology have numerous advantages here. Not only do they satisfy both current and future mandatory requirements, they actually exceed them by far, even today. This is equally beneficial to the environment and to the consumer's purse.
Gallery: the new Plug Fans series
For energy-efficient use in ventilation and air-conditioning technology, ebm-papst Mulfingen has developed the so-called Plug Fans series of fans with GreenTech EC technology, which has already been successfully established on the market. In order to cover higher air performance ranges, the existing range has been extended upwards. Now, the backward curved centrifugal fans with impeller diameters ranging from 250 to 900 mm and power output ranging from 400 watts to 6 kilowatts cover practically every feasible application in the field of ventilation and air-conditioning technology. The volume flow that can be achieved is between 300 and approximately 30,000 m³/h with the necessary pressure increase of up to 1200 Pa. Typical applications include the cooling of large inverters in the field of photovoltaics or for cooling the generators on wind turbines. The fans are available with a special corrosion-resistant hygienic coating, enabling them to be used in hospitals and swimming pools without further ado.
Modern EC technology and thought-out design details
Plug Fans are also available with a special corrosion-resistant hygienic coating
With the development of the series, the overall efficiency of the fans has been optimised with respect to the current and expected future minimum efficiency standards. This was made possible by the choice of materials, by thought-out design details and by the use of the latest EC technology in the drives. Motor, electronics and impeller are optimally configured in order to achieve maximum overall efficiency and material usage, and to avoid unnecessarily large dimensions. For example, the blade geometry of the impeller with diagonal trailing edge improves the aerodynamic characteristics and the running smoothness. The same thing applies for the vent contours realised on the new series. Previously, a standard pressure tap was integrated here to regulate differential pressure via a threaded nipple. A ring circuit is possible on request. The position of the impeller on the external rotor motor has been chosen to produce both aerodynamic advantages and installation advantages.
The motors also satisfy the very highest standards. Even today, the EC drives used in the Plug Fans are just as efficient as motors of efficiency class IE4. In other words they exceed by far the current requirements of the ErP Directive with respect to efficiency. The integrated electronic control system allows their speed to be adapted continuously to the requirements and enable them to work extremely efficiently. They thus consume far less energy than AC drives with the same air performance. However, this energy saving potential is not only realised in full load operation, but primarily when they are operated under partial load. Noise development is very important in connection with ventilation and air-conditioning units. Here too, EC drives are the better choice, because they do not produce any motor noise in a controlled state.
Compact and easy to install
The efficiency plume shows that the fans exceed the required values
Another advantage of Plug Fans is their compact design. The electronically commutated external rotor motor is integrated directly in the impeller. A belt drive between the motor and the fan, which is otherwise commonly used, is not needed (see Fig. 5). This reduces the necessary installation volume. This effect is always desirable, especially in ventilation and air-conditioning units; firstly because the air-conditioning unit can be made smaller, so it needs less material, and secondly because it reduces the amount of space it needs. Machine rooms etc. can then be designed to be smaller from the very beginning. At the same time, fewer parts are subject to wear and less maintenance is needed compared to belt-driven systems, keeping service costs down in the long term. The electronics integrated in the motor also have another practical benefit. The electrical connection only needs an unscreened wire.
Plug Fans are available in various installation versions, e.g. with a "spider mounting" or with a fitted mounting plate for simple anti-vibration mounting. The power electronics integrated in the EC motors are compatible with all common supply voltages; depending on the motor type, either from 200 V to 277 V for single-phase AC or 380 V to 480 V for three-phase current supply. All versions work with a frequency of 50 or 60 Hz. Air performance and efficiency are not affected by the different frequency. In other words, the same type of fan can be used without further ado on various networks worldwide. The choice of the right fan for the application concerned is made easier by an officially certified selection program which is available either as a stand-alone software package or as a DLL module for integration in the user's specific equipment configuration programs. This can also be used to calculate the life cycle costs for the fan concerned. The user thus knows from the very beginning what savings potential the new Plug Fans can offer him in practical use.
ModBus interface for a simple connection to the control technology
Practical control options are a matter of course with the modern fans. The electronics integrated in the drives are not only ideally matched to the EC motors used, they can also be controlled with either a 0 … 10V analogue signal or digitally with a ModBus interface (greater than 500 W). This makes the connection to the higher order building control system straightforward and practical. Bus networking has important advantages, especially if more than one fan is in use: Starting from configuration during commissioning right through to service, fault diagnosis and maintenance, working with the technical fittings is made substantially easier if the fans can be accessed from a central PC. Apart from the necessary PC software, there is now a smartphone-compatible version available that can be used to remotely (i.e. without cable connection) program, monitor and control the networked fans via a Bluetooth interface.
For maximum air performance
Save space by using EC fans (top), as opposed to systems with AC fan and belt drive (bottom)
For greater air performance, e.g. in centralised air-conditioning units or for cooling IT centres, it is no problem to wire several fans in parallel. Detailed measurements have shown that installation from a distance of about half the impeller diameter between the fans has no significant influence with respect to reducing the air volume and noise behavior.
Such combinations not only increase the air performance but also operating reliability. Should one of the fans fail, the remaining fans will compensate for the lacking air volume. In addition, smaller and lighter fans are vastly easier to install and remove than a large unit. However, this service case is unlikely to occur in practical use. Plug Fans are considered to be extremely reliable and dependable. To keep the bearing load on the motors low and to sustainably withstand the high circumferential speeds, the impellers and their seven backward curved blades are made completely out of aluminium. The material is beneficial for the weight of the fans and at the same time offers a high measure of stability. The individual blades are welded with a continuous seam, which also benefits stability and service life. The fans are designed for a service life of more than 40,000 operating hours. That corresponds to a continuous operation of more than 4.5 years, operating under full load and at the maximum permitted ambient temperature. In partial-load operation or at low ambient temperatures, the service life is substantially longer. This Plug Fan series with GreenTech EC technology gives the user durable, highly efficient, easy-to-control and high-performance fans for many different applications in ventilation and air-conditioning technology.
Proplas on 5. April 2013 at 14:55 said:
Thanks for this article, was an interesting read, the developments are certainly interesting!
RadiPac centrifugal fans
RadiPac EC centrifugal fans for air handling units (AHU)


Smoke detectors save lives, but only if they are properly installed and functioning. Most fire fatalities happen in homes without working smoke detectors.
It is recommended that you install at least one smoke detector on every level of your home, including the basement. Even better is one in every bedroom. Smoke detectors are designed to wake you up if a fire starts while you are sleeping. Be sure your smoke alarms are near bedrooms and other sleeping areas in your home.
Replace the batteries in your smoke detectors twice a year. It is recommended that you do this when we change your clocks to Daylight Savings Time.
Replace your smoke detector every ten years. After ten years, your smoke detector will have been working consecutively for 87,000 hours. No other appliance in your home works this long. If you do not know how old your smoke detector is, or if it is ten years or older, replace it as soon as possible.


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The Women of Martin Scorsese's Films
Artwork by Sarah K
In a 2011 interview, Meryl Streep was asked, "Was there anybody you never had the chance to work with but still would love to?" She replied, "Yes, I would like Martin Scorsese to be interested in a female character once in a while, but I don't know if I'll live that long." This poses an interesting prompt to take a look at Scorsese's work and depiction of women. Is Martin Scorsese interested in women at all?
There is no denying that Scorsese is a cinematic genius that has directed some of the finest films of our time. He is most well known for his gangster films, or films starring his muses Robert De Niro and Leonardo DiCaprio. From the nihilistic Travis Bickle to the tortured director Howard Hughes, Scorsese's stories are almost always focused on men. The female characters, usually in supporting roles, are usually told in relation to men's lives. The men are the center of the film's universe the women just revolve around them. The women in Scorsese's work are either abused or idealized (or both at the same time), a virgin and whore dichotomy with nothing in between.
Scorsese's film work often deals with male psychology, the crises and struggle of masculinity, often tied into Catholic guilt or Italian American identity. Martin Scorsese's 1967 film debut Who's That Knocking At My Door establishes these themes that would later be a staple of his work. Harvey Keitel stars as a Catholic Italian-American man who gets involved with a girl, but he refuses to have sex with her because he thinks she is a virgin. He later finds out that a former boyfriend raped her. This, of course, taints the Madonna image of her in his mind and she is now 'dirty' and 'used' to him. He eventually decides to offer her marriage anyway, but when she refuses he calls her a whore.
Alice Doesn't Live Here Anymore is one of his few films that feature a female as the main character and protagonist. Ellen Burstyn, winning an Oscar for the role, stars as a single mother with dreams of being a singer, recently widowed by an uncaring husband. She falls into another abusive relationship, but later falls for another kind and caring man. Abusive relationships are explored in his later films, but this is the first and one of the only times it is from the woman's POV.
ROBERT DE NIRO ERA
Having Robert De Niro as his muse led to a surge of acclaimed films during that period. While Mean Streets, inspired by Scorsese's experiences in his New York neighborhood, first touched upon the gangster life, Goodfellas became his most iconic gangster film. Objectifying women unfortunately runs hand in hand with mob and gangster culture. So to depict that life accurately means to depict that sexism. The gangsters have very old-world views, rooted in their heritage, Italian-American pride and traditions.
Women are often referred to as "broads" or "whores", and the men are in complete control of them. The women don't dare go against their husbands, or they'll be punished for it. The women aren't human beings to them, something either disposable, or a trophy prize to display. This is signified in the tracking shot when Henry Hill famously walks with his date through the back entrance of the restaurant to The Crystals' "Then He Kissed Me".
Taxi Driver, one of Scorsese and De Niro's most famous pairings, has two memorable female characters, specifically Jodie Foster as child prostitute Iris, but they are still supporting and serve little purpose then to show Travis Bickle's tremendous personality problems. Women are the fuel of Jake LaMotta's personality problems, Raging Bull, where De Niro plays the abusive and animalistic boxer. There are many scenes, most infamously the one where he accuses his wife of sleeping with his brother, where we see violent physical abuse against his wife Vickie. These violent scenes are paired with slow-motion close-ups of his first meeting with the blonde princess Vickie; the anatomical and seductive gaze as the camera pans over her young teenage body
Cape Fear is a bit more female centric of the De Niro era, where he plays a sexual deviant and violent psychopath. The film is, through voice over narration, told as the memory of Juliette Lewis' character, a young teenager whose end of innocence is marked by Max Cady's reign of terror. Jessica Lange also has a great supporting role as her mother, a strong woman who will fight for her family. Both of the women fight for themselves in the final showdown, the mother using her smarts to appeal to him and the daughter setting him on fire.
Casino features a lead female character, a role that earned Sharon Stone an Oscar nomination. However, ends up being more the villain of the story, vilified for her mental illness and drug addiction that puts her young sweet daughter in danger and defies the male protagonist who is just trying to do good. New York, New York also tells the story of a couple, with Liza Minnelli as the female lead. She and De Niro, playing singer and musician, are both equally important to the story, since it is about the pair of them as lovers and their relationship's journey.
LEONARDO DICAPRIO ERA
Later Scorsese turns his eye to Leonardo DiCaprio as his new young male lead, and women mostly take another backseat. In Gangs of New York, Cameron Diaz plays Irish immigrant Jenny, who is also "tainted" woman with a past, as Amsterdam so lovingly asks her, "Is there anyone in the Five Points you haven't fucked?" The Aviator is primarily Howard Hughes' story, as an obsessive director dealing with OCD, and a fascinating one at that. Cate Blanchett did win Best Supporting Actress for her portrayal of Katharine Hepburn. She has a moving scene where she visits Hughes who has locked himself for months on end in his screening room. Although she does defy him by leaving him for another man in an earlier scene, she is shown as still caring for him.
Vera Farmiga has a memorable supporting part in The Departed, and her character bonds with Leonardo DiCaprio's stressed character who is dealing with the chaos of double identities. But she ends up sleeping with the enemy, Matt Damon's character, and eventually is unsure who the father of her baby is. She ends up serving as more of a vehicle for the twisty plot. Shutter Island has Michelle Williams as another dead wife that Leo cries about- but she is insane and murdered their children. Not much else is told about her character aside from that.
The Wolf of Wall Street is the most misunderstood of Scorsese's films; many have debated whether or not is sexist. While it does have disgustingly misogynistic scenes throughout the film, I feel that the entire film is such an overdose of blatant sexism and abhorrent behavior that it has to be the opposite of misogyny. This is in no way normal or acceptable behavior. I believe Scorsese had a specific vision in mind, the excess of behavior was to be portrayed without a flinch, and that includes the behavior towards women. Unfortunately, many idolize Jordan Belfort for all the wrong reasons. They become swept up in the cushy and materialistic life that it presents that they completely miss out on the message and what the film is really trying to say. There is one scene, with Margot Robbie as Jordan's trophy wife, which Hannah Ryan so wonderful dissects in her piece, is the message of the film that many overlook.
Yes, Scorsese primarily, (about 85% of the time) has male characters as his leads, and the female characters are few and far in between. If they are present, it is usually in a supporting way. There are few films where they are the main protagonist, and occasional ones where they are the equal leads. The supporting women usually defy their controlling man, the lead character (and often anti-hero) who the audience is rooting for, in some way. The women can be unbalanced, or fall victim to that crazy female jealously. There are several films where Scorsese does highlight the supporting women, however. They are established as more three-dimensional characters but we don't get nearly enough time with them
Very often Scorsese is telling his stories through the lens of the male gaze, but it is a lens that he is specifically dissecting. That is what he is interested in exploring the flaws and crises of masculinity. He has a very particular world that he wants to portray- such as the Italian American and Catholicism that influenced his earlier work. Three-dimensional women are there in some of his work, but they are sprinkled throughout his filmography. Scorsese wants to portray what interests him the most, but seeing his work in Alice Doesn't Live Here Anymore leaves one to wonder what it would be like if he chose to have more pivotal female roles Or made a movie with Meryl Streep as the lead.
By Caroline Madden
Tagged as: caroline madden, leonardo dicaprio, martin scorsese, robert de niro, sarah kennedy
Titanic: Tragedy, equality and romance
GROUP REVIEW: Mockingjay Part 1
Juliana Rodriguez says:


The D-Gather is an updated version of the D-Terminal for Digimon Tamers, released by Bandai Asia. It was released in conjunction with the D-Power Digivices of the region, and has similar functionality to the D-Terminal with the exception of the Game mode. The Game mode has been replaced with a Partner mode which allows the user to raise any of the twelve Adventure Digimon or Guilmon, Renamon, Terriermon, or Impmon from Tamers. Also, the Data Size option in the Database is replaced with a second Technique option, and the Card option in the Database is removed altogether.
Due to the similarities of the D-Terminal and the D-Gather's Database, Translate, and System modes, only the Partner and VS Battle modes will be documented in this introduction.
Partner: When first selected, you will be able to select from any of the sixteen main characters from both Adventure seasons and the Tamers season. The only way to switch characters after making your decision is to reset, even though the manual has a Change option listed.
Status: Check on your Digimon's Hungry, Power, Speed, Data Size, Wins, and Win Ratio here. Hungry, Power, Speed, and Data Size seem to be the main factors in what your Digimon evolves into during battle - the Win Ratio, unlike the v-pets, does not have an effect on evolution. Note that the Win Ratio only applies to connection battles and not training battles.
Feed: Feed your Digimon food you've obtained via the Food Catcher and the Bonus Game. The Meat will fill the Hungry meter with one piece per meter square, the Beef and Bread will fill the Power and Speed meter respectively with five to seven pieces per meter square. Data Size can be increased by Meat when fed with a full Hungry meter, but Beef and Bread will always increase Data Size.
Food Catcher: Use the Select and Cancel buttons to move the claw left and right, and the D-Pad down to extend the claw. This is very similar to the game found on the US release of the D-Power.
Training: Select to "Designate" a training partner for your Digimon or let the D-Gather pick one at "Random." If you defeat a Randomly selected Digimon, you will be given a Bonus Game which is similar to the Food Catcher, except that there's less time to grab the food and the three pieces of food stay still.
There is a more frequent random chance of being injured when you lose a Training battle.
There is a less frequent random chance of being injured when Beef or Bread is eaten. If this happens, Power, Speed, and Data Size will not increase from that piece of food.
Battle: The battles in Training mode are played via only three options - Attack, Digivolve, and Escape.
Attack: A meter appears at the bottom of the screen with your current Digimon also pictured - you should time your press of the Select button or the D-Pad to when the meter is full.
Digivolve: Evolves your Digimon if they have enough training. Many times, you may find that your Digimon will actually evolve differently than the TV series!
Escape: Unlike the Escape command on the other Digivices, your Digimon will always automatically lose if you Escape.
VS Battle: There are two options under VS Battle.
VS Partner: Allows you to battle with your raised Digimon from Partner mode via the Bandai America / Bandai Asia Digivice rules only.
Call: Similar to the D-Terminal's VS Battle function and also uses the v-pet rules only like the D-Terminal, but the codes to summon a Digimon are indeed different and the Digi-Code and sound sequence does not appear before the Digimon is summoned.
For a (Currently incomplete) list of evolutions that can occur on the D-Gather, check out the D-Gather Growth Chart Project∞ at With the Will. As more is discovered about how evolution works on the D-Gather, the details will be recorded in the first post.
Special thanks to WarOmnimon for providing this guide.


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Pittsburgh Penguins re-sign forward Colby Armstrong to two-year deal
The 24-year-old had 34 points (12-22) in 80 games last season. Three of his goals were scored in overtime. "Colby is another young guy who plays with passion, gives us versatility up front and brings an added physical dimension to our team," said GM Ray Shero. "We are confident he'll continue to grow as a player."
Armstrong helped Canada capture a gold medal at the IIHF World Hockey Championship in Moscow this past May. He scored a goal in the final game.
The native of Lloydminster, Sask., has 74 points (28-46) in 127 NHL games - all with Pittsburgh. He was drafted 21st overall by the Penguins in 2001.
The Penguins also signed minor-leaguers Chris Minard, a centre from Owen Sound, Ont., and Nathan Smith, a centre from Strathcona, Alta., to two-year contracts.
Minard, 25, led the AHL's Lowell Devils with 49 points (32 goals, 17 assists) last season.
Smith, 25, earned 40 points (19-21) in 72 games with the AHL's Manitoba Moose, and he played one game for the Vancouver Canucks.