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Category Archives: Chemistry
Converting Carbon Dioxide into Useful Products
February 19, 2019 All Posts, Chemical engineering, Chemistry, Energy, Engineering, Environmental protection, Global Climate, Power Generating Technology - Fossilcarbon dioxide conversion, carbon dioxide utilization, Carbon XPrize, Carbon2Chem, Climeworks, negative emissions technology, Petra Nova, post-combustion carbon captureDrummer
Peter Lobner
In my 19 December 2016 post, "What to do with Carbon Dioxide," I provided an overview of the following three technologies being developed for underground storage (sequestration) or industrial utilization of carbon dioxide:
Store in basalt formations by making carbonate rock
Store in fractures in deep crystalline rock
Make ethanol
You can read this post here:
https://lynceans.org/all-posts/what-to-do-with-carbon-dioxide/
In the past two years, significant progress has been made in the development of processes to convert gaseous carbon dioxide waste streams into useful products. This post is intended to highlight some of the advances being made and provide links to additional current sources of information on this subject.
1. Carbon XPrize: Transforming carbon dioxide into valuable products
The NRG / Cosia XPrize is a $20 million global competition to develop breakthrough technologies that will convert carbon dioxide emissions from large point sources like power plants and industrial facilities into valuable products such as building materials, alternative fuels and other items used every day. You'll find details on this competition on the XPrize website at the following link:
https://www.xprize.org/prizes/carbon
As shown in the following timeline from the above website, this competition started in September 2015.
Carbon XPrize schedule
In April 2018, the following ten international teams were selected as finalists:
Four teams from Canada: Carbicrete, Carbon Upcycling Technologies, CarbonCure and CERT
Three teams from USA: C2CNT, Carbon Upcycling UCLA and Newlight
One team from UK: Carbon Capture Machine
One team from India: Breathe
One team from China: C4X
The processes being developed by these teams will produce a range of valuable products:
You can read more about each of the competing teams and their intended products in the XPrize finalist selection report here:
https://assets-us-01.kc-usercontent.com/5cb25086-82d2-4c89-94f0-8450813a0fd3/ec5aba69-e68b-48c8-99b0-151e21749d67/XPRIZE%20Carbon%20Finalist%20Team%20Deck.pdf
The competition is now in the testing and certification phase. Each team is expected to scale up their pilot systems by a factor of 10 for the operational phase, which starts in June 2019 at the Wyoming Integrated Test Center and the Alberta (Canada) Carbon Conversion Technology Center.
The teams will be judged by the amount of carbon dioxide converted into usable products and the value of those products. We'll have to wait until the spring of 2020 for the results of this competition.
2. World's largest post-combustion carbon capture project
Post-combustion carbon capture refers to capturing carbon dioxide from flue gas after a fossil fuel (e.g., coal, natural gas or oil) has been burned and before the flue gas is exhausted to the atmosphere. You'll find a 2016 review of post-combustion carbon capture technologies in the paper by Y. Wang, et al., "A Review of Post-combustion Carbon Dioxide Capture Technologies from Coal-fired Power Plants," which is available on the ScienceDirect website here:
https://reader.elsevier.com/reader/sd/pii/S1876610217313851?token=477195C9DBC9D5A1FCDBD7EB6CF04B595E1E377350690F4D2EC6E3D945DA570279962F3A75EE2B281A209A2F52B42A81
In January 2017, NRG Energy reported the completion of the Petra Nova post-combustion carbon capture project, which is designed to remove 90% of the carbon dioxide from a 240 MW "slipstream" of flue gas at the existing W. A. Parish generating plant Unit 8. The "slipstream" represents 40% of the total flue gas flow from the coal-fired 610 MW Unit 8. To date, this is the largest post-combustion carbon capture project in the world. Approximately 1.4 million metric tons of carbon dioxide will be captured annually using a process jointly developed by Mitsubishi Heavy Industries, Ltd. (MHI) and the Kansai Electric Power Co. The US Department of Energy (DOE) supported this project with a $190 million grant.
The DOE reported: "The project will utilize a proven carbon capture process, which uses a high-performance solvent for carbon dioxide absorption and desorption. The captured carbon dioxide will be compressed and transported through an 80 mile pipeline to an operating oil field where it will be utilized for enhanced oil recovery (EOR) and ultimately sequestered (in the ground)."
Process flow diagram for Petra Nova carbon dioxide capture and processing.
Source: National Energy Technology Laboratory
The Petra Nova site. Source: Petra Nova, a joint venture between NRG Energy and JX Nippon Oil & Gas Exploration
The Petra Nova large-scale carbon dioxide scrubber.
You'll find more information on the Petra Nova project at the following links:
Aaron Larson, "World's Largest Post-Combustion Carbon Capture Project Completed," PowerMag.com, 10 January 2017: https://www.powermag.com/worlds-largest-post-combustion-carbon-capture-project-completed/
"Petra Nova – W.A. Parish Project," USDOE, Office of Fossil Energy: https://www.energy.gov/fe/petra-nova-wa-parish-project
Petra Nova is one of two carbon capture and sequestration power plants in the world, EIA, 31 October 2017: https://www.eia.gov/todayinenergy/detail.php?id=33552#
3. Pilot-scale projects to convert carbon dioxide to synthetic fuel
Thyssenkrupp pilot project for conversion of steel mill gases into methanol
In September 2018, Thyssenkrupp reported that it had "commenced production of the synthetic fuel methanol from steel mill gases. It is the first time anywhere in the world that gases from steel production – including the carbon dioxide they contain – are being converted into chemicals. The start-up was part of the Carbon2Chem project, which is being funded to the tune of around 60 million euros by Germany's Federal Ministry of Education and Research (BMBF)……..'Today the Carbon2Chem concept is proving its value in practice,' said Guido Kerkhoff, CEO of Thyssenkrupp. 'Our vision of virtually carbon dioxide-free steel production is taking shape.'"
You can read the Thyssenkrupp press release here:
https://www.thyssenkrupp.com/en/newsroom/press-releases/press-release-141984.html
Berkeley Laboratory developing a copper catalyst that yields high efficiency carbon dioxide-to-fuels conversion
The DOE Lawrence Berkeley National Laboratory (Berkeley Lab) has been engaged for many years in creating clean chemical manufacturing processes that can put carbon dioxide to good use. In September 2017, Berkeley Lab announced that its scientists has developed a new electrocatalyst comprised of copper nanoparticles that can directly convert carbon dioxide into multi-carbon fuels and alcohols (e.g., ethylene, ethanol, and propanol) using record-low inputs of energy. For more information, see the Global Energy World article here:
http://www.globalenergyworld.com/news/30336/copper_catalyst_yields_high_efficiency_co2-to-fuels_conversion.htm
4. Pilot-scale "Negative Emissions Technology" plants
The term negative emissions technology (NET) refers to an industrial processes designed to remove and sequester carbon dioxide directly from the ambient atmosphere rather than from a large point source of carbon dioxide generation (e.g. the flue gas from a fossil-fueled power generating station or a steel mill). Think of a NET facility as a carbon dioxide removal "factory" that can be sited independently from the sources of carbon dioxide generation.
The Swiss firm Climeworks is in the business of developing carbon dioxide removal factories using the following process:
"Our plants capture atmospheric carbon with a filter. Air is drawn into the plant and the carbon dioxide within the air is chemically bound to the filter. Once the filter is saturated with carbon dioxide it is heated (using mainly low-grade heat as an energy source) to around 100 °C (212 °F). The carbon dioxide is then released from the filter and collected as concentrated carbon dioxide gas to supply to customers or for negative emissions technologies. Carbon dioxide-free air is released back into the atmosphere. This continuous cycle is then ready to start again. The filter is reused many times and lasts for several thousand cycles."
This process is shown in the following Climeworks diagram:
Source: Climeworks
You'll find more information on Climeworks on their website here:
http://www.climeworks.com
Climeworks NET in Iceland
In 2017, Climeworks began operation in Iceland of their first pilot facility to remove carbon dioxide from ambient air and produce concentrated carbon dioxide that is injected into underground basaltic rock formations, where the carbon dioxide gets converted into carbonite minerals in a relatively short period of time (1 – 2 years) and remains fixed in the rock. Climeworks uses waste heat from a nearby geothermal generating plant to help run their carbon capture system. This process is shown in the following diagram.
This small-scale pilot facility is capable of removing only about 50 tons of carbon dioxide from the atmosphere per year, but can be scaled up to a much larger facility. You'll find more information on this Climeworks project here:
https://www.popularmechanics.com/science/green-tech/news/a28629/first-negative-emissions-plant/
Climeworks NET in Italy
In October 2018, Climeworks began operation in Italy of another pilot-scale NET facility designed to remove carbon dioxide from the atmosphere. This facility is designed to remove 150 tons of carbon dioxide from the atmosphere per year and produce a natural gas product stream from the atmospheric carbon dioxide, water, and electricity. You'll find more information on this Climeworks project here:
https://www.popularmechanics.com/science/green-tech/a23621438/climeworks-co2-methane-facility/
5. Consensus reports on waste stream utilization and negative emissions technologies (NETs)
The National Academies Press (NAP) recently published a consensus study report entitled, "Gaseous Carbon Waste Streams Utilization, Status and Research Needs," which examines the following processes:
Mineral carbonation to produce construction material
Chemical conversion of carbon dioxide into commodity chemicals and fuels
Biological conversion (photosynthetic & non-photosynthetic) of carbon dioxide into commodity chemicals and fuels
Methane and biogas waste utilization
The authors note that, "previous assessments have concluded that …… > 10 percent of the current global anthropogenic carbon dioxide emissions….could feasibly be utilized within the next several decades if certain technological advancements are achieved and if economic and political drivers are in place."
Source: National Academies Press
You can download a free pdf copy of this report here:
https://www.nap.edu/catalog/25232/gaseous-carbon-waste-streams-utilization-status-and-research-needs
Also on the NAP website is a prepublication report entitled, "Negative Emissions Technologies and Reliable Sequestration." The authors note that NETs "can have the same impact on the atmosphere and climate as preventing an equal amount of carbon dioxide from being emitted from a point source."
https://www.nap.edu/catalog/25259/negative-emissions-technologies-and-reliable-sequestration-a-research-agenda
In this report, the authors note that recent analyses found that deploying NETs may be less expensive and less disruptive than reducing some emissions at the source, such as a substantial portion of agricultural and land-use emissions and some transportation emissions. " For example, NAPs could be a means for mitigating the methane generated from enteric fermentation in the digestive systems of very large numbers of ruminant animals (e.g., in the U.S., primarily beef and dairy cattle). For more information on this particular matter, please refer to my 31 December 2016 post, "Cow Farts Could be Subject to Regulation Under a New California Law," which you'll find here:
https://lynceans.org/all-posts/cow-farts-could-be-subject-to-regulation-under-a-new-california-law/
The Next Phase in the Hunt for New Superheavy Elements is About to Start
February 3, 2019 All Posts, Chemistry, Fusion, Nuclear physics, PhysicsDC-280 cyclotron, Dimitri Mendeleev, Flerov Laboratory of Nuclear Reactions, FLNR, International Year of the Periodic Table of Chemical Elements, IYPT, Joint Institute for Nuclear Research, periodic table, Sergey Dmitriev, Superheavy Element Factory, Yuri OganessianDrummer
On 24 January 2016, I posted the article, "Where in the Periodic Table Will We Put Element 119?", which reviews the development of the modern periodic table of chemical elements since it was first formulated in 1869 by Russian chemist Dimitri Mendeleev, through the completion of Period 7 with the naming element 118 in 2016. You can read this post here:
https://lynceans.org/all-posts/where-in-the-periodic-table-will-we-put-element-119/
2019 is the 150thanniversary of Dimitri Mendeleev's periodic table of elements. To commemorate this anniversary, the United Nations General Assembly and the United Nations Educational, Scientific and Cultural organization (UNESCO) have proclaimed 2019 as the International Year of the Periodic Table of Chemical Elements (IYPT). You'll find more information on the IYPT here:
https://www.iypt2019.org
A brief animated "visualization" entitled "Setting the Table,"created by J. Yeston, N. Desai and E. Wang, provides a good overview of the history and configuration of the periodic table. Check it out here:
http://vis.sciencemag.org/periodic-table/
The prospects for extending the periodic table beyond element 118 (into a new Period 8) is discussed in a short 2018 video from Science Magazine entitled "Where does the periodic table end?,"which you can view here:
https://www.sciencemag.org/news/2019/02/where-does-periodic-table-end?utm_campaign=news_weekly_2019-02-01&et_rid=215579562&et_cid=2632608
The next phase in the hunt for new superheavy elements is about to start in Russia
Flerov Laboratory of Nuclear Reactions (FLNR) Joint Institute for Nuclear Research (JINR) in Dubna is the leading laboratory in Russia, and perhaps the world, in the search for superheavy elements. The FLNR website is here:
http://flerovlab.jinr.ru/flnr/she_factory_no.html
FLNR is the home of several accelerators and other experimental setups for nuclear research, including the U400 accelerator, which has been the laboratory's basic tool for the synthesis of new elements since being placed in operation in 1979. You can take a virtual tour of U400 on the FLNR website.
On 30 May 2012 the International Union of Pure and Applied Chemistry (IUPAC) honored the work done by FLNR when it approved the name Flerovium (Fl) for superheavy element 114.
Yuri Oganessian, the Scientific Leader of FLNR, has contributed greatly to extending the periodic table through the synthesis of new superheavy elements. On 30 November 2016, IUPAC recognized his personal contributions by naming superheavy element 118 after him: Oganesson (Og).
Yuri Oganessian. Source: MAX AGUILERA HELLWEG / WWW.SCIENCEMAG.ORG
2017 Armenian postage stamp honoring Yuri Oganessian. Source: FLNR JINR
FLNR has built a new $60 million accelerator facility, dubbed the Superheavy Element Factory (SHEF), which is expected to be capable of synthesizing elements beyond 118. The SHEF building and the DC-280 cyclotron that will be used to synthesize superheavy elements are shown in the photos below.
The SHEF building, 14 Nov 2016. Source: FLNR JINR
The completed DC-280 cyclotron, 26 December 2018. Source: FLNR JINR
The 2016 paper, "Status and perspectives of the Dubna superheavy element factory,"by S. Dmitriev, M. Itkis and Y. Oganessian, presents an overview of the DC-280 cyclotron design, including the following diagram showing the general arrangement of the major components.
Arrangement of the major components of the DC-280 cyclotron.
You can read this 2016 paper here:
http://inspirehep.net/record/1502737/files/epjconf-NS160-08001.pdf
For insights into the processes for synthesizing superheavy elements, I recommend that you view the following March 2018 video in which FLNR Director Sergey Dmitriev describes the design of SHEF and the planned process of synthesizing superheavy elements 119 and 120. This is a rather long (23 min) video, but I think it will be worth your time.
On 26 December 2018, the DC-280 cyclotron produced its first beam of accelerated heavy ions. The hunt for new superheavy elements using DC-280 is scheduled to begin in the spring of 2019.
A good overview of FLNR, as it prepares to put its Superheavy Element Factory into operation, is available in the article by Sam Kean, entitled "A storied Russian lab is trying to push the periodic table past its limits—and uncover exotic new elements," which was posted on 30 January 2019 on the Science Magazine website. You'll find this article at the following link:
https://www.sciencemag.org/news/2019/01/storied-russian-lab-trying-push-periodic-table-past-its-limits-and-uncover-exotic-new?utm_campaign=news_weekly_2019-02-01&et_rid=215579562&et_cid=2632608
The next few years may yield exciting new discoveries of the first members of Period 8 of the periodic table. I think Dimitri Mendeleev would be impressed.
H. Kragh, "The Search for Superheavy Elements: Historical and Philosophical Perspectives," Niels Bohr Institute https://arxiv.org/pdf/1708.04064.pdf
V. Utyonkov, et al., "The Discovery of Elements 113 – 118," Nobel Symposium on the Chemistry and Physics of Heavy and Super Heavy Elements, 29 May – 3 June 2016 https://pls.llnl.gov/content/assets/docs/research-and-development/nuclear-science/NS160_final.pdf
M. Stoyer, "Super-Heavy Element and Other Exotic Nuclei Research at LLNL," October 2015 https://www.researchgate.net/publication/270515886_Super-Heavy_Element_and_Other_Exotic_Nuclei_Research_at_LLNL
Y. Oganessian, "Discovery of the Island of Stability for Superheavy Elements," Proceedings of IPAC2017 http://accelconf.web.cern.ch/AccelConf/ipac2017/papers/fryaa1.pdf
C. Moskowitz, "Superheavy Element 117 Points to Fabled 'Island of Stability' on Periodic Table," Scientific American, 7 May 2014 https://www.scientificamerican.com/article/superheavy-element-117-island-of-stability/
"Extended Periodic Table," Wikipedia https://ipfs.io/ipfs/QmXoypizjW3WknFiJnKLwHCnL72vedxjQkDDP1mXWo6uco/wiki/Extended_periodic_table.html
What to do with Carbon Dioxide
December 19, 2016 All Posts, Chemical engineering, Chemistry, Global Climate, Power Generating Technology - Alternate, Power Generating Technology - Fossilcarbon capture, carbon sequestration, carbon storage, Hellisheidi geothermal power plant, Homestake mine, Reykjavik Energy, SubTERDrummer
In my 17 December 2016 post, "Climate Change and Nuclear Power," there is a chart that shows the results of a comparative life cycle greenhouse gas (GHG) analysis for 10 electric power-generating technologies. In that chart, it is clear how carbon dioxide capture and storage technologies can greatly reduce the GHG emissions from gas and coal generators.
An overview of carbon dioxide capture and storage technology is presented in a December 2010 briefing paper issued by the London Imperial College. This paper includes the following process flow diagram showing the capture of CO2 from major sources, use or storage of CO2 underground, and use of CO2 as a feedstock in other industrial processes. Click on the graphic to enlarge.
You can download the London Imperial College briefing paper at the following link:
https://www.imperial.ac.uk/media/imperial-college/grantham-institute/public/publications/briefing-papers/Carbon-dioxide-storage—-Grantham-BP-4.pdf
Here is a brief look at selected technologies being developed for underground storage (sequestration) and industrial utilization of CO2.
Iceland generates about 85% of its electric power from renewable resources, primarily hydro and geothermal. Nonetheless, Reykjavik Energy initiated a project called CarbFix at their 303 MWe Hellisheidi geothermal power plant to control its rather modest CO2 emissions along with hydrogen sulfide and other gases found in geothermal steam.
Hellisheidi geothermal power plant. Source: Power Technology
The process system collects the CO2 and other gases, dissolves the gas in large volumes of water, and injects the water into porous, basaltic rock 400 – 800 meters (1,312 – 2,624 feet) below the surface. In the deep rock strata, the CO2 undergoes chemical reactions with the naturally occurring calcium, magnesium and iron in the basalt, permanently immobilizing the CO2 as environmentally benign carbonates. There typically are large quantities of calcium, magnesium and iron in basalt, giving a basalt formation a large CO2 storage capacity.
The surprising aspect of this process is that the injected CO2 was turned into hard rock very rapidly. Researchers found that in two years, more that 95% of the CO2 injected into the basaltic formation had been turned into carbonate.
For more information, see the 9 June 2016 Washington Post article by Chris Mooney, "This Iceland plant just turned carbon dioxide into solid rock — and they did it super fast," at the following link:
https://www.washingtonpost.com/news/energy-environment/wp/2016/06/09/scientists-in-iceland-have-a-solution-to-our-carbon-dioxide-problem-turn-it-into-stone/?utm_term=.886f1ca92c56
The author notes,
"The researchers are enthusiastic about their possible solution, although they caution that they are still in the process of scaling up to be able to handle anything approaching the enormous amounts of carbon dioxide that are being emitted around the globe — and that transporting carbon dioxide to locations featuring basalt, and injecting it in large volumes along with even bigger amounts of water, would be a complex affair."
Basalt formations are common worldwide, making up about 10% of continental rock and most of the ocean floor. Iceland is about 90% basalt.
Detailed results of this Reykjavik Energy project are reported in a May 2016 paper by J.M. Matter, M. Stute, et al., "Rapid carbon mineralization for permanent disposal of anthropogenic carbon dioxide emissions," which is available on the Research Gate website at the following link:
https://www.researchgate.net/publication/303450549_Rapid_carbon_mineralization_for_permanent_disposal_of_anthropogenic_carbon_dioxide_emissions
Similar findings were made in a separate pilot project in the U.S. conducted by Pacific Northwest National Laboratory and the Big Sky Carbon Sequestration Partnership. In this project, 1,000 tons of pressurized liquid CO2 were injected into a basalt formation in eastern Washington state in 2013. Samples taken two years later confirmed that the CO2 had been converted to carbonate minerals.
These results were published in a November 2016 paper by B. P McGrail, et al., "Field Validation of Supercritical CO2 Reactivity with Basalts." The abstract and the paper are available at the following link:
http://pubs.acs.org/doi/pdf/10.1021/acs.estlett.6b00387
Lawrence Berkeley National Laboratory has established an initiative dubbed SubTER (Subsurface Technology and Engineering Research, Development and Demonstration Crosscut) to study how rocks fracture and to develop a predictive understanding of fracture control. A key facility is an observatory set up 1,478 meters (4,850 feet) below the surface in the former Homestake mine near Lead, South Dakota (note: Berkeley shares this mine with the neutrino and dark matter detectors of the Sanford Underground Research Facility). The results of the Berkeley effort are expected to be applicable both to energy production and waste storage strategies, including carbon capture and sequestration.
You can read more about this Berkeley project in the article, "Underground Science: Berkeley Lab Digs Deep For Clean Energy Solutions," on the Global Energy World website at the following link:
http://www.newswise.com/articles/view/663141/?sc=rssn&utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+NewswiseScinews+%28Newswise%3A+SciNews%29
Researchers at the Department of Energy's Oak Ridge National Laboratory (ORNL) have defined an efficient electrochemical process for converting CO2 into ethanol. While direct electrochemical conversion of CO2 to useful products has been studied for several decades, the yields of most reactions have been very low (single-digit percentages) and some required expensive catalysts.
Key points about the new process developed by ORNL are:
The electro-reduction process occurs in CO2 saturated water at ambient temperature and pressure with modest electrical requirements
The nanotechnology catalyst is made from inexpensive materials: carbon nanospike (CNS) electrode with electro-nucleated copper nanoparticles (Cu/CNS). The Cu/CNS catalyst is unusual because it primarily produces ethanol.
Process yield (conversion efficiency from CO2 to ethanol) is high: about 63%
The process can be scaled up.
A process like this could be used in an energy storage / conversion system that consumes extra electricity when it's available and produces / stores ethanol for later use.
You can read more on this process in the 19 October 2016 article, "Scientists just accidentally discovered a process that turns CO2 directly into ethanol," on the Science Alert website at the following link
http://www.sciencealert.com/scientists-just-accidentally-discovered-a-process-that-turns-co2-directly-into-ethanol
The full paper is available on the Chemistry Select website at the following link:
http://onlinelibrary.wiley.com/doi/10.1002/slct.201601169/full
Where in the Periodic Table Will We Put Element 119?
January 24, 2016 All Posts, Chemistry, Nuclear physics, PhysicsAndreas von Antropoff, database of periodic tables, Dimitri Mendeleev, element 119, extended periodic table, Glenn Seaborg, International Union of Pure and Applied Chemistry, IUPAC, neutronium, Pekka Pyykkö, periodic table of elements, super actinidesDrummer
The first periodic table of elements
In 1869, Russian chemist Dimitri Mendeleev proposed the first modern periodic table of elements, in which he arranged the 60 known elements in order of their increasing atomic masses (average mass, considering relative abundance of isotopes in naturally-occurring elements), with elements organized into groups based their similar properties. Mendeleev observed that certain properties recur at regular intervals in the periodic table, thereby defining the groupings of elements.
Source: http://we-are-star-stuff.tumblr.com
This first version of the periodic table is compared to the modern periodic table in the following diagram prepared by SIPSAWIYA.COM. Mendeleev's periodic table consisted of Groups I to VIII in the modern periodic table.
The gaps represent undiscovered elements predicted by Mendeleev's periodic table, for example, Gallium (atomic mass 69.7) and Germanium (atomic mass 72.6) . You can read more about Mendeleev's periodic table at the following link:
http://www.sipsawiya.com/2015/07/history-of-periodic-table.html
German chemist Lothar Meyer was competing with Mendeleev to publish the first periodic table. The general consensus is that Mendeleev, not Meyer, was the true inventor of the periodic table because of the accuracy and detail of Mendeleev's work.
Element mendelevium (101) was named in honor of Dimitri Mendeleev.
Evolution of the Modern Periodic Table of Elements
The modern periodic table organizes elements according to their atomic numbers (number of protons in the nucleus) into 7 periods (vertical) and 18 groups (horizontal). The version shown below, in the International Union of Pure and Applied Chemistry (IUPAC) format, accounts for elements up to atomic number 118 and color-codes 10 different chemical series.
Source: http://sciencenotes.org/printable-periodic-table/
Hundreds of versions of the periodic table of elements have existed since Mendeleev's first version. You can view a great many of these at The Internet Database of Periodic Tables curated by Dr. Mark R. Leach and presented at the following link:
http://www.meta-synthesis.com/webbook/35_pt/pt_database.php?Button=All
Glenn T. Seaborg (1912 – 1999) is well known for his role in defining the structure of the modern periodic table. His key contributions to periodic table structure include:
In 1944, Seaborg formulated the 'actinide concept' of heavy element electron structure, which predicted that the actinides, including the first 11 transuranium elements, would form a transition series analogous to the rare earth series of lanthanide elements. The actinide concept showed how the transuranium elements fit into the periodic table.
Between 1944 and 1958, Seaborg identified eight transuranium elements: americium (95), curium (96), berkelium (97), californium (98), einsteinium (99), fermium (100), mendelevium (101), and nobelium (102).
Element seaborgium (106) was named in honor of Glenn T. Seaborg. Check out details Glenn T. Seaborg's work on transuranium elements at the following link:
http://www.osti.gov/accomplishments/seaborg.html
Four newly-discovered and verified elements
On 30 December 2015, IUPAC announced the verification of the discoveries of the following four new elements: 113, 115, 117 and 118.
Credit for the discovery of element 113 was given to a team of scientists from the Riken institute in Japan.
Credit for discovery of elements 115 , 117 and 118 was given to a Russian-American team of scientists at the Joint Institute for Nuclear Research in Dubna and Lawrence Livermore National Laboratory in California.
These four elements complete the 7th period of the periodic table of elements. The current table is now full.
You can read this IUPAC announcement at the following link:
http://www.iupac.org/news/news-detail/article/discovery-and-assignment-of-elements-with-atomic-numbers-113-115-117-and-118.html
On 28 November 2016, the IUPAC approved the names and symbols for these four new elements: nihonium (Nh), moscovium (Mc), tennessine (Ts), and oganesson (Og), respectively for element 113, 115, 117, and 118. Nihonium was the first element named in Asia.
Dealing with super-heavy elements beyond element 118
The number of physically possible elements is unknown.
In 1969, Glenn T. Seaborg proposed the following extended periodic table to account for undiscovered elements from atomic number 110 to 173, including the "super-actinide" series of elements (atomic numbers 121 to 155).
Source: W. Nebergal, et al., General Chemistry, 4th ed., pp 668 – 670, D.C. heath Co, Massachusetts, 1972
In 2010, Finnish chemist Pekka Pyykkö at the University of Helsinki proposed an extended periodic table with 54 predicted elements. The extension, shown below, is based on a computational model that predicts the order in which the electron orbital shells will fill up, and, therefore, the periodic table positions of elements up to atomic number 172. Pekka Pyykkö says that the value of the work is in showing, "how the rules of quantum mechanics and relativity function in determining chemical properties."
Source: Royal Society of Chemistry
You can read more on Pekka Pyykkö's extended periodic table at the following link:
http://www.rsc.org/Publishing/ChemScience/Volume/2010/11/Extended_elements.asp
You can read more general information on the extended periodic table on Wikipedia at the following link:
https://en.wikipedia.org/wiki/Extended_periodic_table
So where will we place element 119 in the periodic table of elements?
Based on both the Seaborg and Pyykkö extended periodic tables described above, element 119 will be the start of period 8 and it will be an alkali metal. Element 120 will be an alkaline earth. With element 121, we'll enter the new chemical series of the "super-actinides".
These are exciting times for scientists attempting to discover new super-heavy elements.
Where does neutronium fit in the periodic table?
Neutronium is a name coined in 1926 by scientist Andreas von Antropoff for a proposed "element of atomic number zero" (i.e., because it has no protons) that he placed at the head of the periodic table. In modern usage, the extremely dense core of a neutron star is referred to as "degenerate neutronium".
Neutronium also finds many hypothetical applications in modern science fiction. For example, in the 1967 Star Trek episode, The Doomsday Machine, neutronium formed the hull of a giant, autonomous "planet killer", and was portrayed as being invulnerable to all manner of scans and weapons. Since free neutrons at standard temperature and pressure undergo β– decay with a half-life of 10 minutes, 11 seconds, a very small quantity of neutronium could be quite hazardous to your health.
14 January 2019 Update: 2019 marks the 150th anniversary of Dimitri Mendeleev's periodic table
You'll find a very good article, "150 years on, the periodic table has more stories than it has elements," by Elizabeth Quill on the Science News website. Here's the link:
https://www.sciencenews.org/article/periodic-table-elements-chemistry-fun-facts-history
18 January 2019 Update: Possibly the oldest copy of Mendeleev's periodic table was found at the University of St. Andrews in Scotland
On 17 January 2019, the University of St. Andrews posted a news article stating that a periodic table of the elements dating from 1885 recently was found at the university and is thought to be the oldest in the world.
The 1885 periodic table. Source: University of St. Andrews
You can read the University of St. Andrews news posting here:
https://news.st-andrews.ac.uk/archive/worlds-oldest-periodic-table-chart-found-in-st-andrews/
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The Rt Revd Martin Seeley, Bishop of St Edmundsbury and Ipswich, spent May Day (Sunday 1 May) celebrating with people 'Growing in God' at Confirmation services at both our Cathedral, in Bury St Edmunds, and at St Augustine's Church in Ipswich.
From Bungay Benefice: Timothy Durrell and Hannah Gardiner.
From St Mary's Church, Bury St Edmunds: Daniel Gilbert, Emma Kilbane, Livvi Derbyshire, Sarah Jenkinson, Stephen Jenkinson, Effie Mutasa-Gottgens and Naomi Chatfield.
From St Peter's Church, Bury St Edmunds: Brian Crack.
From The Cathedral Church of St James and St Edmund: Alexander Knock, William Lowden, Hermione Weyers, Harriet Thomas, Madeleine Walsh, Melanie Hill and Peter Takac.
From Christ Church, Moreton Hall: Clyde Palmer.
From Culford School: Ophelia Yannaghas and Xander Bell.
From All Saints' Church, Kesgrave: Thomas King.
Earlier in the day, Bishop Martin was at St Augustine's Church for their Confirmation Service. Photographs can be seen below on the St Augustine's facebook page.


text:
Q: Choose what to drop when .distinct() I am working on species distribution modelling based on observations and I would like to obtain distinct locations per species in my FeatureCollection. So far easy.
However, some of the observations are of low quality. I would thus like to be able to drop duplicates with e.g. .distinct() but in case of a duplicate, to choose which one to keep based on a boolean property.
Something like this:
high_quality_obs = tot_obs.filterMetadata('high_quality', 'equals', True).distinct('.geo')

low_quality_obs = tot_obs.filterMetadata('high_quality', 'equals', False).distinct('.geo')

tot_obs = high_quality_obs.merge(low_quality_obs).distinct()

But in the last .distinct() it should choose to keep the observations with 'high_quality' = True if it is possible.
Any ideas?

A: I can think a couple ways to accomplish this but I am not super familiar with Earth Engine.
If you are only interested in observations from the low-quality tables if they don't have high-quality duplicate, then we just need to get distinct records from the high-quality tables and just ignore any low-quality observations if they have the same geometry.
high_quality_obs = tot_obs.filterMetadata('high_quality', 'equals', True).distinct('.geo')
low_quality_obs = tot_obs.filterMetadata('high_quality', 'equals', False).distinct('.geo')

# This filter should return 'true' if the geometries match.
obs_filter = ee.Filter().intersects(leftField: '.geo', rightField: '.geo'))

# Apply the filter to a join and get the invert.
# Should return only low_quality_obs that didn't intersect high_quality_obs.
low_quality_obs_only = ee.Join().invert().apply(low_quality_obs, high_quality_obs, obs_filter)

# No need to call distinct because they should already be distinct at this point.
tot_obs = high_quality_obs.merge(low_quality_obs_only)

Otherwise, you could use a loop and hash table with the FeatureCollection.iterate() method to check if a feature with the same geometry has been seen and then if it is high-quality. Returning only features that are distinct with a bias for high-quality features.

A: Another useful possible way of solving the problem:
low_quality_obs = low_quality_obs.filter(ee.Filter.bounds(high_quality_obs).Not())

redpajama_set_name: RedPajamaStackExchange


Y'all know I'm a sucker for Green Toys. I also think you know by now that I'm an early Christmas shopper. You see where I'm headed, right?
I love a bargain, but a bargain on something I've had my eye on is kinda like a Christmas present for me!
The plane is sturdy, made from all recycled items and is on sale! Bam, Bam, BAM!
I LOVE that you can throw the toys in the dishwasher to get them really clean. Is it just me or is that a great feature? No soaking in a bucket with disinfectant if you have sick kiddos…just put them through a wash cycle in the dishwasher. Easy!
Good for inside use in the tub and outside use in the pool! OMT APPROVED!
Wanna check them out for a kiddo on your list? Click HERE.
Cute! I might need one of these for my nephew!
My fav part is that it's a multi-use toy. In the tub! In the pool! Grandmama, likey!
That is so cool! I love that it is dishwasher safe because bathroom toys seem to get muckier than other toys faster. Made out of milkjugs?! How cool.
I LOVE this company. They even market their toys as safe to eat off of (parties). I feel good gifting these babies!
Sweet E is still small enough that everything goes in his mouth, so it's important that we buy is non-toxic. All the other stuff is a giant bonus!
Maybe throw in the dump truck, so everyone is happy!
What a cool Christmas present idea!!! Thanks for sharing!
Happy to share the love.
I love any toy that can be thrown in the dishwasher!
It's the most genius thing I've heard in a long time!
I've already started & have almost finished my Christmas shopping!!! I like to get it all done before it gets crazy!
GO! I like to have most of my shopping, or at least know what I'm buying, before Halloween.
Cute – I think I could use one of these for my daughter in Alaska who is studying to be a pilot – and flying float planes. You're never too old for a really cool toy, right?
So cool that your daughter will be a pilot! In Alaska! With a toy plane o'fun!
Hi, I stopped by from Grand Social. What a cute toy. Do they make cars too? My youngest grandson is TOTALLY into cars to the MAX. He'd love a car like that. THanks for the fun stop.
Cars, trucks, dump trucks, stacking cups…all kinds of things!


You may be able to relate to this experience. Resolving a misunderstanding or difficult interaction. Then rather than feeling a sense of relief that the issue behind you; a looming dread lingers, anticipating another assault on your emotional world soon to follow. Just like shoes come in pairs, so does criticism, arguments, fights, or some form of crisis. Then boom, it happens again. The pattern repeats. You may recognize that this pattern has been with you a long time, maybe even from your youth.
Relaxing into a peaceful, quiet moment becomes uncomfortable. It does not feel "normal." What has become normal is anticipating another sharp word, or demeaning comment, or hearing another fight, or a physical assault. Anxiety has become normalized in the emotional, psychological, and physiological body systems. Anticipatory anxiety becomes part of daily life. Constantly worrying about what might happen in the future, and trying to prepare for some unknown disaster at some unknown time is exhausting and debilitating.
At the mild level, anxiety feels like a low grade irritability, mild restlessness and/or hypervigilance. At the severe level, symptoms of intense irritability, persistent worry, edginess, easily fatigued, and panic can greatly impact a person's daily functioning.
Practicing mindfulness, breath work and yoga have been proven to calm down an over excited nervous system. Over time, these interventions retrain the body to stop reacting, and establish peacefulness or calm as a "normal" state of wellbeing.
Seek the help of a somatic trained therapist. Therapeutic modalities such as Process Therapy, EMDR, Somatic Experiencing, and CBT are designed to teach clients how to break the pattern of hypervigilance and worry.
Pharmacological therapies, medication can also be of assistance in severe cases while learning to break old patterns and establish a new healthier thinking/feeling patterns.
Herbal remedies are also available and in many cases just as effective. It is important to consult a naturopathic doctor or homeopathic doctor. These specialists are trained to determine the type of herb and therapeutic dosage unique to each patient.
A healthy nutritional balance plays an important role in healthy mental, emotional and physical balance. Lack of key trace minerals, such as magnesium, and/or an over consumption of caffeine and sugar are known culprits in elevation of anxiety, and irritability. Consult a professional such as a licensed nutritionist, naturopathic doctor, or medical doctor with a nutrition specialty for a thorough evaluation of your nutritional health.
Lastly, cannabis is known to cause anxiety, especially for consistent users. Anxiety is a known withdrawal symptom, which leads the user to light up again or pop another edible to mediate the discomfort. Anxiety symptoms relative to cannabis use can be viewed as a warning sign saying to be aware of quantity, quality, and frequency, or a bigger problem of abuse.
I take an integrative approach to working with clients. I address 1 and 2 above directly in my therapeutic practice while working collaboratively with other professionals to meet client goals and facilitate optimal outcomes.
I look forward to your call to answer a question or book an appointment 408-234-1405, angelacongdonmft.com.


Premier Inn is set to play a key part in the 2020 corporate responsibility targets of hospitality company Whitbread.
In a spate of recent announcements, Whitbread PLC has committed to a range of new targets for 2020 under its corporate responsibility programme, Good Together.
The key targets Whitbread Hotels and Restaurants has signed up to include: Creating 15,000 new jobs and 6,000 apprenticeships, Raising £25 million for charitable causes Reducing carbon emissions by a further 15%.
The Good Together programme was launched in 2009 and is built around three pillars of Teams & Communities, Customer Wellbeing and Environment. Having made significant progress towards its existing 2017 goals, Whitbread has created new targets to challenge its business further. The announcement follows a successful year of growth for the wider business across all its brands.
Following an announcement in April that it will create 6,000 apprenticeships by 2020, Whitbread has committed to further increasing employment opportunities in the hospitality industry with plans to create 15,000 UK jobs, 7,500 work experience placements for school and college pupils and 6,500 structured employment placements over the next five years.
Achieving these goals will contribute towards the growth of a skilled workforce in the sector, safeguarding against future skills shortages while supporting young people seeking to enter into employment in the hospitality sector.
To enhance the business' positive societal impact, Whitbread also aims to raise £10 million for its chosen charity of which £7.5 million will go to build the Premier Inn Clinical Building at Great Ormond Street Children's Hospital. The Costa Foundation has already raised £7 million and has set a target to increase this to £15 million to deliver 100 school projects in coffee growing communities helping to relieve poverty and increase education opportunities for thousands of children and their families.
Furthering its Public Healthy Responsibility Deal pledges, Whitbread has also committed to setting relevant salt and sugar reduction targets across its business as well as addressing its supply chain and seeking to achieve 100% accredited supply for ten critical product sourced commodities (cocoa, coffee, cotton, fish, meat, palm oil, soy, sugar, tea and timber).
As one of the UK's fastest growing FTSE 100 companies Whitbread has challenged itself to minimise energy usage, water consumption and production of waste as it grows. Having already exceeded its 2017 carbon, water and waste targets, Whitbread has set new 2020 targets to reduce carbon by a further 15% and water by 20%, both against a 2014 baseline, and to increase the direct operations recycling rate across the estate to 80%.
Simon Ewins, Director of CSR at Whitbread Hotels and Restaurants said, "At Whitbread, we set ourselves stretching targets across our business and our corporate responsibility commitments are no exception. We are incredibly proud of the progress we have made towards our existing 2017 targets, and in line with our wider business approach, it was important for us to review these achievements and push ourselves further to achieve more.
Communicating their CR commitment to the industry and their customers is a great way to hold themselves accountable and to ensure the company continues to strive to achieve more in its sustainability journey.
If you would like to learn more about why and how you should be communicating your sustainability programmes, sign up to ITP's free webinar on Communicating Sustainability.


text:
A hazardous mix of solid and liquid waste is flushed into the sewer every day. With literally billions of gallons of water passing through municipal sewer systems - composed of unknown quantities of chemicals, solvents, heavy metals, human waste, and food - the question becomes: where does it all go? And what effect does that have on us?
From ancient times, countries have chosen the sewer as the waste management system of choice, flushing untold amounts of household and industrial contaminants that inevitably resurface in the food chain; fish swim through rivers choked with waste water, while processed sewage sludge is spread on farmland as a fertilizer.
With CRAPSHOOT, filmmaker Jeff McKay takes viewers on an eye-opening journey around the world to explore different approaches to sewage, starting at the 2,500 year old Cloaca Maxima in Rome, where the modern concept of sewers began. Filmed in Italy, India, Sweden, the United States and Canada, this bold documentary questions whether the sewer is alleviating or compounding our waste problem. While scientists warn of links between sewage practices and potential health risks, our fundamental attitudes toward waste are being challenged by activists, engineers, and concerned citizens alike. Does our need to dispose of waste take precedence over public health and safety? What are the alternatives?
'***1/2... Despite the lighthearted title, this...production takes a serious look at the question of what happens when we flush... The visuals here are occasionally spectacular... Thought-provoking, scary as all-get-out, and engrossing, Crapshoot is a must for environmental studies collections and highly recommended in general.' Video Librarian
'Out of sight and out of mind, most people will say, however there exist some fairly significant questions regarding our massive investments and miscalculations in waste management. Well, Canadian director Jeff McKay has tackled the dirty issue and formed it into a stunningly disgusting and thought-provoking documentary.' Creative Generalist
'One of the very best films I've screened this year is a thoughtful NFB doc about what happens to human waste and the dilemma ridding ourselves of it is creating...Yeah it's disgusting alright, and it's also a harrowing look at yet another environmental travesty that's unfolding everywhere - not just third world spots...' Matthew Hays, (Montreal) Mirror
'The haunting message of the film is that nothing flushed down the toilet is ever just gone. The problem caused by using water to move our waste cannot be solved by technology. This will take a major social change...Crapshoot could generate a healthy discussion. The film would have great applicability in courses with environmental units, but it could also be used in Sociology, Law, Civics, Science, Ethics or Technology.' Frank Loreto, CM Magazine
'[A] strongly recommended addition to school, college, and community library collections.' The Midwest Book Review
'The City of Moncton was gearing itself to promote the use of 'bio-solids' with its new plant. I think [Crapshoot] showed a lot of people that the use of bio-solids has serious long-term effects on the environment and people's health...a few people who saw the film wrote editorials in the local paper and that stirred up interest and questions from the local community. This might not have happened if we had not seen the film.' Eric Arseneau, Coordinator of the Petitcodiac Watershed Monitoring Group
'The film had a really powerful impact on me...It wasn't until I saw [Crapshoot] that I fully grasped that a toilet doesn't have to be designed to use water. Nor does that whole system of underground sewage pipes even have to exist. There are and can be options.' Leslie Forrester, resident of the small community of Stirling, Ontario Canada
'Crapshoot is an informative and occasionally humorous look at the pros and cons of the sewer system. A great film for anyone who wants to know about one of the world's most taboo subjects.' Greenmuze.com
McKay, Jeff (film director)
McKay, Jeff (editor of moving image work)
McKay, Jeff (composer)
DeGraves, Ruth (narrator)
DeGraves, Ruth (screenwriter)
MacDonald, Joe (film producer)
Camera, Linda Danchak, Jonathon Bland; original music Peter Bundy, Jeff McKay.
Environmental Geography
Oceans and Coasts
Science, Technology, Society
sewage disposal, municipal sewer systems, solvents, heavy metals, sewage sludge, biosolids, Cloaca Maxima, Italy, India, Sweden, composting toilets, clivus multrum; "Crapshoot"; Bullfrog Films
Distributor: Bullfrog Films
Grade: 10-12, College, Adult
Included in Collections: The Docuseek2 Complete Collection 2nd Edition, The Bullfrog Films Collection, The Sustainability Collection, The Health and Health Care Collection

redpajama_set_name: RedPajamaCommonCrawl


On Tuesday evening, September 5th, 2017, at 7:00 pm, I will be presenting one of my most popular lectures – They're Alive: Searching for Living Persons – at the Wilmette Illinois Family History Center. This is part of their monthly First Tuesday Learning Seminar series.
And click here for more information about this amazing event – I hope to see you there!


HomeSphere, the homebuilding industry's first and only B2B digital lead-generation service and customer-retention platform, expands its senior leadership team to support the company's continued growth and position it for future advancement.
To reflect an increased focus on its business development activities, HomeSphere has added a new position to its senior management team — Vice President of Business Development. HomeSphere veteran Chris Toth will take over the new role. Kimberly Roos, an accomplished sales professional well versed in the residential construction industry, will replace Toth as Vice President of Sales.
Toth served as HomeSphere's Vice President of Sales for seven years, where he supported the company's transformation into the industry's only digital lead generation and customer retention platform. Roos will rely on more than 24 years of experience as she assumes the VP of Sales role. Prior to joining HomeSphere, she was Vice President of Sales and Marketing for Fluidra, overseeing four business units responsible for $88 million in yearly revenue. She has also served in sales leadership positions with IMPO Tile and Stone, Interceramic Tile and Stone, Environmental Stoneworks and Bradstone Industries.
As builders and building product manufacturers recognize the power of HomeSphere's digital platform, the company has grown exponentially and now connects 80 preferred building product manufacturer brands in 23 product categories to its growing market of thousands of local and regional builders. Last year, the company's customer base constructed 15 percent of the total new single-family homes built in the United States.


text:
For Musician Jack White, Any Old Guacamole Just Won't Do : The Salt Jack White is a meticulous musician, so it's no surprise that his homemade guacamole has to be well crafted, like his music. And Peruvian chef Martin Morales thinks White has a pretty good recipe.
What's On Your Plate
Eating And Health
For Musician Jack White, Any Old Guacamole Just Won't Do
For Musician Jack White, Any Old Guacamole Just Won't Do 2:31
February 15, 20158:26 AM ET
Heard on Weekend Edition Sunday
NPR Staff
The recipe for guacamole in musician Jack White's concert rider is more like a guacamole salad. But chef Martin Morales says it's pretty good. Ariel Zambelich/NPR hide caption
Ariel Zambelich/NPR
The recipe for guacamole in musician Jack White's concert rider is more like a guacamole salad. But chef Martin Morales says it's pretty good.
Jack White, formerly of the White Stripes, must really hate bananas. Because according to his concert rider, which was recently made public, he doesn't want to lay eyes on one at his concerts.
A "rider" is the set of unusual contractual demands that some pop stars make of their hosts when they're on tour. Kanye West wants his chauffeur dressed in 100 percent cotton; Jennifer Lopez's coffee must be stirred counterclockwise; and the Foo Fighters want Cup o' Noodles soup, but only on Wednesdays.
When White's personal preferences came to light, which includes chicken wings, fresh blackberries and assorted chocolates, one item that stood out was a very special guacamole recipe detailed by White's handler and manager.
The ingredients for the guacamole are pretty standard: ripe avocados, Serrano peppers, tomatoes, cilantro and lime. But how they are put together is what makes the dish stand out, says chef Martin Morales. Ariel Zambelich/NPR hide caption
The ingredients for the guacamole are pretty standard: ripe avocados, Serrano peppers, tomatoes, cilantro and lime. But how they are put together is what makes the dish stand out, says chef Martin Morales.
Some have mocked the diva-like tone of the request, but London-based Peruvian chef Martin Morales, owner of Ceviche restaurant in London, has made it, and he thinks it's just right.
"It's down to the fresh ingredients and the timing of the way each ingredient is put together," Morales says.
The ingredients (you can find the full recipe below) include ripe avocados, Serrano peppers, tomatoes, cilantro and lime — nothing surprising there.
But each avocado must be cut three to four slits down, three to four across, cubed with a butter knife, not mashed. It's to be served around 5 p.m. and not made too far ahead of time.
From a chef perspective, all of those are good calls, Morales says.
"If you leave that guacamole sitting there for hours and hours, if you mix it up too much, everything will go limp and it will just be like a damp, soggy, sloppy salad," he says. "No one wants that."
Morales says that texture isn't the only reason to mix the ingredients right before serving, it's also about flavor.
"When two ingredients like chili and lime come together, there are chemical reactions that go on, and they're at their height in the first two or three minutes," he says. "If you bite into that, then you're also kind of biting into little explosions of flavor, and that's what Jack White's recipe has."
Jack White's Guacamole Recipe
(Recipe as written from White's concert rider)
8 x large, ripe Haas avocados (cut in half the long way, remove the pit—SAVE THE PIT THOUGH—, and dice into large cubes with a butter knife. 3 or 4 slits down, 3 or 4 across. You'll scoop out the chunks with a spoon, careful to maintain the avocado in fairly large chunks.)
4 x vine-ripened tomatoes (diced)
1/2 x yellow onion (finely chopped)
1 x full bunch cilantro (chopped)
4 x Serrano peppers (de-veined and chopped)
1 x lime
Mix all ingredients in a large bowl, careful not to mush the avocados too much. We want it chunky. Once properly mixed and tested, add the pits into the guacamole and even out the top with a spoon or spatula. Add 1/2 lime to the top later so you cover most of the surface with the juice (The pits and lime will keep it from browning prematurely.) Cover with plastic wrap and refrigerate until served. Please don't make it too early before it's served. We'd love to have it around 5 p.m.
Correction Feb. 19, 2015
In the audio of this story, as in a previous Web version, we incorrectly say that Jack White's concert rider was leaked. In fact, it was released as part of an open records request.


From sea to sparkling sea, glitter tattoos are sweeping the nation – and the world – as the coolest way to entertain your clientele. They last up to seven days are waterproof and US Dermatologist Tested. Choose from dozens of fun styles. Glitter tattoos are a safe, easy way to add pizzazz to any party or special event.


text:
Q: ActionBarDrawerToggle() icon cannot be set to the ActionBar in Android SDK 5 I have a simple problem with initializing my icon for my action bar.
I am using Android SDK 5 and since android.support.v4.app.ActionBarDrawerToggle; was deprecated I imported v7 support and replaced my import with the following: android.support.v7.app.ActionBarDrawerToggle;
i.e. the same package with v7.
Now when I initialize my ActionBarDrawerToggle object to associate with my DrawerLayoutobject imported from: import android.support.v4.widget.DrawerLayout; I am forced to remove one argument, which seems ok (have no idea why though!).
but my icon does not go in my ActionBar.
here is the my initialization for my ActionBarDrawerToggle object:
mActionBarDrawerToggle = new ActionBarDrawerToggle(this, drawerLayout,
            R.drawable.ic_drawer, R.string.drawer_open) {

        /** Called when a drawer has settled in a completely closed state. */
        @Override
        public void onDrawerClosed(View view) {
            super.onDrawerClosed(view);
            invalidateOptionsMenu(); // creates call to onPrepareOptionsMenu()

        }

        /** Called when a drawer has settled in a completely open state. */
        @Override
        public void onDrawerOpened(View view) {
            super.onDrawerOpened(view);
            invalidateOptionsMenu(); // creates call to onPrepareOptionsMenu()

        }
    };

I have the image in my resource namely R.drawable.ic_drawer
I cant seem to find why my icon does not appear in v7.
P.S. the code works perfectly fine, infact when I switch back to v4 import and add the extra argument for toggle object initialization (having to bare with the ugly deprecated cross line ofcourse), the icon appears but not in v7.
thanks in advance :)

A: Actually if you look at javadoc of new v7.ActionBarDrawerToggle you could realize that new class doesn't provide the constructor, that takes Drawable as an argument - the 3rd argument where you've provided your Drawable is a String resourse that describes opening drawer. If you want to set a custom icon you have to use another ActionBarDrawerToggle constructor:
ActionBarDrawerToggle(Activity activity, DrawerLayout drawerLayout, Toolbar toolbar, int openDrawerContentDescRes, int closeDrawerContentDescRes)

In that case toolbar's navigation icon will be used as a Drawer icon

A: Though v4.ActionBarDrawerToggle was deprecated, you can use another method to change the icon for example below:
getSupportActionBar().setHomeButtonEnabled(true);
getSupportActionBar().setDisplayHomeAsUpEnabled(true);
getSupportActionBar().setHomeAsUpIndicator(R.drawable.ic_menu_drawer);


One of the many carefully orchestrated myths of the corporate "reformers" who have hijacked American education this century is that opposition comes only from the Tea Party and from teachers union 'dead enders.' All right-thinking Americans, the myth goes, recognize that our public schools have failed and that education in the United States can only be saved by alternatives like vouchers and charter schools, by public schools staffed by temporary Teach for America instructors, and by imposition of "standards" by an elite that knows what employers need. Led today by Secretary of Education Arne Duncan, billionaire Bill Gates, College Board head (and Common Core State Standards creator) David Coleman, and Students First organizer Michelle Rhee, this well-funded "reform" movement has been steamrolling over resistance for years, opponents often destroyed before they even know they are under attack.
A case in point is the recent experience of Bill de Blasio, new mayor of New York City. Diane Ravitch, the doyen of the anti-"reform" movement, notes his surrender to the charter-school movement and asks: "How did a privately managed school franchise that serves a tiny portion of New York's students manage to hijack the education reforms of a new mayor with a huge popular mandate?" The answer, of course, is money. The money of the "reform" movement has, over the past decade or so, crushed all obstacles.
Over the last year, however, de Blasio's caving notwithstanding, the situation has begun to change. Parents and teachers and others not beholden to the big money have started fighting back. The reformers attempted to cross a bridge too far by imposing on the states a standardization formula (Coleman's CCSS) that utilizes high-stakes centralized testing for evaluation of both students and teachers—and that clearly benefits business much more than it does schools. Parents, seeing their children blindsided by a testing regimen making schooling a dreaded experience, are beginning to opt out of the CCSS-sparked standardized tests. Teachers, finally fed up with the vilification of their profession that has become an accepted part of American political discussion and terrified by new evaluation methods that reflect little of what actually goes on in their classrooms, are also finally beginning to resist. The Badass Teachers Association (BAT), organized in 2013, has become central to organizing the frustrated and increasingly marginalized (in terms of education policy) profession.
One of the founders of BAT is Fordham University's Mark Naison, a professor of African-American Studies and a civil-rights advocate with an activist pedigree going back to the 1960s. He has now written Badass Teachers Unite!: Reflections on Education, History, and Youth Activism (Haymarket Books). Along with Ravitch, Long Island high-school principal Carol Burris and a growing cadre of bloggers, Naison has emerged as one of the leaders of a movement that may, one day, sweep the "reformers" and all of their money from the center of American education, a place they have occupied since the inception of No Child Left Behind in 2002. Money can do a lot but, when it comes to affecting the lives of children, parents and their allies, money may not prove to be everything.
Based on writings published primarily online over the past few years, Naison provides much more than a simple history of the backgrounds of a movement threatening right now to burst into national prominence. He also provides a context of public schools, real American public schools in the Bronx where real education happens, as a counter-argument to the failure meme at the heart of the "reform" movement. He paints a picture of students not as raw material for factory schools but as individuals with their own plans and desires, ones that can be far different from what the "reformers" draw up for them. And he makes clear just what his movement is fighting against: the Common Core standards, "a one-size-fits-all model of learning that is imposed through bribery, intimidation, and extreme political pressure, for the profit of private companies" (96); high-stakes and excessive testing; teacher evaluation based on student test scores; privatization of public education; federal and state mandates on local schools; and teacher rights to collective bargaining.
The genesis of his writing, and of this new movement, lies not in Tea Party activism or in teachers unions. It lies in an American individualism and activism that has been quiescent, these last decades. The corporatist movement, in a stroke of genius, coopted even the language of past mass movements, leaving them word-tied. It even has the nerve to call itself a new civil right crusade. Yet all the while, as Ravitch points out, it is promoting "the re-creation of a dual school system" as diabolic as that destroyed more than half a century ago in Brown v. Board of Education. What Naison, Ravitch, Burris and the others are part of creating in response may be the first genuine populist movement in America since opposition to the Vietnam War.
Whether or not this movement will succeed—it has a difficult task in the face of concerted resistance by American oligarchs of both political parties—remains to be seen. But, sparked by a growing cadre of talented spokespeople like the three I have mentioned here, its chance of creating an effective counter to the monied movement of "reform" grows daily.
Anyone who wants to understand this movement, to be involved in it, to counter it, or just to observe it intelligently, would do well to read Naison's book. All of us should want to: the conflict between the "reformers" and this new mass movement may well prove to be central to the American history of the next few years.
Outside of technical fields where on-going "insider" conversations are quite necessary, there seems little continuing need for the old-fashioned niche journal, especially in the humanities. Few of us await with tingly anticipation the new issue of Pynchon/Wallace Quarterly for we have already followed the relevant conversations online--perhaps even through Twitter.
Fredric Jameson, in "Postmodernism and the Consumer Society," posits postmodernism as a reaction against what he sees as the cultural snobbery of modernism, a snobbery that created a divide between an elite-accepted high culture and low popular culture. For that conceit to work, however, an anger against the snobbery has to exist. Instead, most born into the postmodern world are cultural omnivores, rejecting categorization, ingesting all they finds with equal fervor and delight.
This divide has long been an accepted part of most views of Western culture. Writing in 1953, Dwight McDonald commented that "Mass Culture [his phrase for "popular" or "low" culture] is to some extent a continuation of the old Folk Art which until the Industrial Revolution was the culture of the common people, but here, too, the differences are more striking than the similarities. Folk Art grew from below. It was a spontaneous, autochthonous expression of the people, shaped by themselves, pretty much without the benefit of High Culture, to suit their own needs." The assumptions McDonald makes and Jameson doesn't contradict are ones that many of today's artists and consumers of art don't share. The hierarchy of cultural values, the idea of distinct high and low arts with intrinsic difference in value, doesn't exist in this new universe- reflecting an attitude that is perhaps the most important difference between the modernists and their children.
MacDonald goes on to make the somewhat contradictory claim that "Mass Culture is imposed from above. It is fabricated by technicians hired by businessmen; its audiences are passive consumers, their participation limited to the choice between buying and not buying." Here, the real distinction between the modern and the postmodern (taken most broadly) is highlighted by an older statement of another hierarchy or distinction, not one of cultural value but of commercial interaction, and of a basic misunderstanding of that interaction: consumers in Western capitalist systems have never been passive, nor have they been provided with simplistic, stark choice of one or nothing.
If an artist today were to have any reaction at all to claims such as those of MacDonald, it would probably simply be a piqued interest in what MacDonald sees as kitsch, the output of commercial culture. In making his argument, MacDonald cites Clement Greenberg's even older article "Avant-Garde and Kitsch," in which Greenberg distinguishes between the two types of artifacts in his title, extolling the avant-garde not as experimental, but as the leaders, the artists trying "to find a path along which it would be possible to keep culture moving in the midst of ideological confusion and violence. " He sees them as removing themselves from the public completely and concentrating solely on art for its own sake and on "pure poetry," providing an artistic base when all else seems fluid. Though working in complete disregard to pop-cultural currents, the avant-garde ultimately, Greenberg implies, provide the path to the future, thereby justifying their art and their seclusion. Their understanding of culture is as something to aspire to, though not something that the general populace might already own.
Kitsch, by contrast-in Greenberg's view-belongs nowhere but among the people and far away from real culture. It is a product of commerce, not art, and probably shouldn't even be mentioned in discussions of art, for it is fake, "ersatz culture, kitsch, destined for those who, insensible to the values of genuine culture, [who] are hungry nevertheless for the diversion that only culture of some sort can provide." Greenberg goes on: "Kitsch is mechanical and operates by formulas. Kitsch is vicarious experience and faked sensations. Kitsch changes according to style, but remains always the same. Kitsch is the epitome of all that is spurious in the life of our times. Kitsch pretends to demand nothing of its customers except their money-not even their time." The reaction, today, to such a description might actually be an unironic, "Cool, let's have some."
Noel Carroll describes, and more favorably, Greenberg's distinction between kitsch and avant-garde: "Avant-garde art is abstract, whereas mass art ostensibly favors representation. Avant-garde art is reflexive, whereas mass art is generally imitative. Avant-garde art is introverted-it is about itself (it is about its medium). Kitsch is extroverted; it is about the world. " Lacking any sort of overt ideological base, contemporary artist see both the avant-garde and kitsch not simply as pieces for collage or pastiche but as sources for their own art and as metaphors in the new language they are in the process of creating for discussing and negotiating their world, as pieces to be carefully selected, trimmed, and sealed together into a sort of linguistic decoupage.
At its heart, their work is both reflexive and imitative, about the medium and about the world. Their reaction to modernism isn't to reject high art in favor of low, but to reject the value of any such hierarchical or oppositional distinction-to reject, in many respects, hierarchies and dichotomies altogether, certainly to deny them as absolutes. Their work certainly isn't simply a cobbling together of pieces but a new way of incorporating the old, a new decoupage.
In talking about film music, composer Michel Chion specifically uses "decoupage" instead of pastiche, pointing out that the composition of this sort, of decoupage, creates a whole, not a collection. Claudia Gorbman, Chion's translator, describes the use of "decoupage" as emphasizing "the conceptual planning of a scene's shooting and editing, whereas its counterpart, montage, in French stresses the postproduction process of editing."16 This removes any overt sense of external commentary from the planning and the choices themselves, satiric or otherwise, making the items included within the process simply pieces useful for constructing the new work with all that implies.
Ultimately, by bypassing the models people have constructed and their discussions of theory, by either simply ignoring them or by incorporating both sides of the various dichotomies assumed, today's artists up reflecting and creating a new type of "mass art," one without boundaries, taking a step beyond older attitudes and yet embracing them. Until recently, as Carroll argues, mass art has been ignored through the bias of those devoted to high art, "demoting mass art of the rank of either kitsch or pseudo art." The theorists, in his view, started from a bias toward the avant-garde, so they were never able to consider mass art dispassionately. They saw the weaknesses, therefore, and ignored the strengths of anything but that which they've already deemed as real "art." "They observed, with some cause: that mass art is formulaic; that, in certain pertinent respects, the response to mass art was what they considered to be passive; that mass art is generally designed to induce certain predetermined effects; that mass artworks are not unique; and so on." They proved the old maxim that just about anything can be made to look bad if one tries hard enough. The real postmodernists, by ignoring objections to mass art, take a giant step toward making the theorists irrelevant.
Though postmodern theorists generally reject the depictions such as those Carroll puts forth, observations stemming primarily from modernist perspectives, just as the modernists did, they still carry forward assumptions and attitudes-and judgments- that contemporary purveyors of mass art ignore. In fact, in holding onto what they see as the abandonment of the avant-garde by what they call "postmodernist" artists, the theorists often continue the very avantgarde/kitsch duality that many of those so-called postmodern artists are ignoring today. In other words, the "real" postmodernism cannot be defined through a preference for kitsch any more than by any overt abandonment of modernism—for the real postmodernists don't react against much of anything; they embrace whatever they find useful, rejecting only labels—including "postmodernism."
Instead of "postmodern," many of these artists are better described simply as "mass artists," people working within the traditions of mass art that have arisen over the past century or so and who are aware of those traditions (and others). They mine them-for reasons inherent in the very definition of "mass art." Carroll argues that a work becomes "mass artwork" if it is ( 1) not singular, (2) both produced and distributed through mass technology, and ( 3) "is intentionally designed to . . . promise accessibility with minimum effort, virtually on first contact, for the largest number of untutored (or relatively untutored ) audiences." However, Carroll does sidestep questions of whether certain works of mass art should be called "art" at all by arguing that they are descended from categories that have long been accepted as "art." Movies, of course, come from drama, etc. The first condition, then, is primarily that the work not be singular, such as an unrecorded or broadcast-live performance of a play or a concert. The technologies of the second condition have changed, of course, over the years, starting with Gutenberg and the printing press, but all share the purpose of disseminating the work of mass art as broadly as possible. Carroll defines the "delivery system as a technology with the capacity to deliver the same performance or the same object to more than one reception site simultaneously. " It is the reliance on technology that distinguishes mass art from popular art, a broader category that encompasses mass art.
Of his third condition, Carroll writes, "Here, the parenthetical qualification concerning 'relatively untutored audiences' is meant to accommodate the fact that, to a certain extent, audiences may be tutored by the repetition and formulas of mass art itself." Furthermore, "Mass art gravitates not only toward certain formal features for the sake of accessibility; mass art may also gravitate toward the exploration of certain generic affects . . . because they are commonly recognized. " He goes on to say that genres such as action/adventure are mass-art naturals, "since it is easier for the average movie-goer to comprehend how a kick-boxer fights . . . than it is to comprehend the intricate and crafty financial maneuverings of leveraged corporate take-overs."
Contemporary postmodern artists understand where they need to start in the construction of a mass art artifact-but that such a starting point is never a limitation or constraint. These artists know that an audience "learns" as it experiences the work of art (one of the basic points of narrative construction) and that they can pull audiences along within the work just as they have been doing externally ( the "tutoring" Carroll refers to).
Jameson simply didn't go far enough in his thinking about the impact of modernism or the implications of a developing mass art, but is satisfied to discover an imagined whole through a narrow ideological lens of rather limited focal range. He does, however, make a significant point about influence and reference, the point that postmodern artists don't bother to "'quote' such 'texts' as a Joyce might have done, or a Mahler; they incorporate them." The reason for this, however, is that the source text becomes a part of language itself, not a Jameson pastiche, not parody, nor simple self-referentiality. It becomes another of the basic pieces of language, to be used without the need of quotation marks to represent borrowings- for the pieces have dropped into the language, their referentiality negligible. "Lions, and tigers, and bears" today draws the inevitable chorus, "Oh, my!"-degree of knowledge of the source movie, The Wizard of Oz (Victor Fleming, 1939), notwithstanding. What happens is not, as Christine Gledhill claims, that "postmodern practices treat the past as a superstore for picking and mixing," but that film reference has retreated into the common parlance, available for the picking and mixing regardless of origin or even knowledge of origin. Like "thug," descended from a Hindu word but having lost, in American usage, any connection with South Asia, phrases and images from movies have entered into the language. The aspect of parody or pastiche that Jameson describes has been subsumed as references (and usages) become part of a greater conversation.
J. David Slocum writes that the "postmodern gaze ranges over stylistics and narrative, the status of cultural myths, the role of ideology, and the relations between institutional practices and individuals. " This broad vision of postmodernism, following Jean-Francois Lyotard and much more inclusive than Jameson's, sees a purpose-driven aesthetic of rejection of the grand visions of modernism and, in fact, of any system restrictive in definition. On a basic level, then, in terms of film, what some call "postmodernism" is an aspect of a developing language.
When writing of cinema, instead of recognizing the essential conservative nature of filmmaking in Hollywood, Jameson placed the filmmaker (and those like him) within a cultural "periodizing concept whose function is to correlate the emergence of new formal features in culture with the emergence of a new type of social life and a new economic order." It is this, to Jameson, that makes what he sees as pastiche and not (as he says) parody, imbuing pastiche with a cultural weight he denies to parody. "Both pastiche and parody involve the imitation or, better still, the mimicry of other styles and particularly of the mannerisms and stylistic twitches of other styles." Parody, however, is little more, for Jameson, than mockery based on deviation from the normative linguistic values of society, whereas pastiche operates within a postmodern environment in which recognition of a societal center as a norming force has disappeared. Jameson sees a great fragmentation that leaves no basis for the parodying of any particular private idiom, for the loss of standard makes the act of parody meaningless to all but a tiny audience, rendering it ineffective within the broader society. At this point, Jameson argued, pastiche takes over, using the tools of parody but without the now-meaningless mockery: "Pastiche is blank parody, parody that has lost its sense of humor."
It's not so simple, really. Though it may be true that the standards parodists once played off against are gone, it does not follow that humor also has disappeared or that pastiche has done anything less than find new standards for use in creating humor, be it parody or satire. The language of the parodist has grown, now including film and the private languages of splinter groups.
Jameson disparages pastiche as a response to a situation in which no room remains for innovation, in which artists no longer have the option to do any thing but imitate the past, "to speak through the masks and with the voices of the styles in the imaginary museum. " Pastiche becomes nothing more than a response to the failure of creativity that, to him, is a hallmark of the postmodern culture. In actual usage, of course, pastiche is much more than that. Pastiche, or decoupage, along with its composites are themselves becoming a new standard, a common language, if you will, with referents and standards as clear as those that Jameson sees as being lost-though the new ones are built from a myriad of "private languages" as well as from the films (and other artifacts) that have become cultural landmarks. The in-jokes resulting from fragmentation become among the many building blocks of a larger, though diffused, decentralized and new, basis for conversation.
Jameson, who mistakes usage of pastiche for nostalgia, picks out American Graffiti (George Lucas, 1972), Chinatown ( Roman Polanski, 1974), and Il Conformista ( Bernardo Bertolucci, 1970) as films looking back through pastiche, creating a genre that, he said, would soon include movies such as Star Wars, Episode IV- A New Hope ( George Lucas, 1977) and Raiders of the Lost Ark (Steven Spielberg, 1981), all of them providing a reexperiencing of something that the viewer has never experienced firsthand and often only knows through the movies or—in the later two cases—through recreating the childhood experience of B movies and serials. Jameson, however, did not take the step that these films themselves do. That is, the filmmakers all knew they were making movies for contemporary audiences and framed their visions of the past to address contemporary issues. Most of the people who grew to love Star Wars and Raiders of the Lost Art best were, after all, too young to have experienced the objects of homage (the pastiche aspect of the movies) firsthand, if they had seen them all. It didn't even matter if they hadn't, to either filmmakers or to their audiences. In fact, a certain part of the aesthetics of these seemingly nostalgic films was based on the exploitative and often over-the-top trailers for the older films and even on lobby cards, and not quite so much on the films themselves.
Jameson sees film not as an extension of language and its metaphors but as a retreat to Plato's shadows on the wall of the cave. To him, this is a supplantation of reality, not a means of supplementing human framing of reality. But we've always negotiated the experiential world through language and not merely through direct experience; today, that language has simply grown to include film and all it implies. And film even does more: in an era of fragmentation of language into a variety of jargons and dialects, film (and electronic media in general) becomes the one universal, a standard like that one Jameson saw as having, in the past, allowed for successful parody.
Relationships Jameson also spoke of, such as Jacque Lacan's sign and signifier/signified, extend to a referent. The idea of a contained universe of sign and signifier alone makes little sense to them, for movies are part of their experiential world and an important part, for they become means for making sense of the world and for discussing it with others. The idea of a limited universe makes little sense, too, because the filmmaker's art is, for most, a primarily commercial art. The world of the work is constantly informed and shaped by the world of commercial demand and experience. In other words, context always has to be paramount to the filmmaker within the Hollywood commercial tradition. In discussion of Jacques Derrida's thoughts on genre, Stephen Neale follows Derrida in observing "that all texts, all utterances, all instances of discourse are always encountered in some kind of context, and are therefore always confronted with expectations, with systems of comprehension." That context, however, can (as postmodernist theorists asserted) become emptied of meaning, which is where discourse on postmodernism can still assist in understanding the place of film, and film violence in particular, within a contemporary framework. Slocum argues, with limited justification, that even the most graphic violent image is drained of meaning and originality within a contemporary media context of repetition and replication. The question, then, becomes one of the impact and amplification of the image as it takes its place as a piece of language, simply a new word, one represented in a way distinct from the grapheme, not serving as a direct representation of reality but as a commonly understood touchstone.
 Dwight Macdonald, "A Theory of Mass Culture," 60.
 Clement Greenberg, "Avant-Garde and Kitsch," 99.
 Clement Greenberg, "Avant-Garde and Kitsch," 102.
 Fredric Jameson, "Postmodernism and the Consumer Society," 112.
 Christine Gledhill, "Rethinking genre," 223.
 J. David Slocum, "The 'Film Violence' Trope," 25.
 Fredric Jameson, "Postmodernism and the Consumer Society," 113.
 Fredric Jameson, "Postmodernism and the Consumer Society," 114.
 Fredric Jameson, "Postmodernism and the Consumer Society," 115.
 J. David Slocum, "The 'Film Violence' Trope," 27.


1) Many research projects are designed to test the differences between two groups. Differences that involve interval or ratio data, requires an evaluation of means and distributions of each group.
1) Named after William Gosset, who published under the pseudonym of Student. Gosset invented the t-test as a more precise method of comparing groups. He described a set of distribution of means of randomly drawn samples from a normally distributed population. Distributions are the t distributions.
2) All t distributions have a normal distribution with a mean equal to the mean of the population. T distributions are used to compare differences between two means. These distributions are described by the sample of differences between means obtained from drawing pairs of random samples from a population. If we drew an infinite number of pairs of samples and plot the differences between the means of all possible pairs of samples, we would find a particular distribution with a mean of zero and a shape similar to the normal curve.
1) When compare two groups on a particular characteristic, asking whether or not the groups are different.
1. The statistical question asks how different the groups are; that is, the difference we find greater than that which could occur by chance alone.
2. The null hypothesis states that any difference that occurs between the means of two groups is a difference in the sampling distribution. The means are different not because the groups are drawn from two theoretical populations, but rather because of different random distributions of the samples from such a population.
3. When we use the t-test to interpret the significance of the difference between groups, we are asking the statistical question, what is the probability of getting a difference of this magnitude in this size if we were comparing random samples drawn from the same population? What is the probability of getting a difference this large by chance alone?
4. Sample size (n), and standard deviation (variability), contributes to significance of the t-test.
1) Independent Variable: Nominal-level variable, with two levels (two groups).
2) Dependent Variable: Interval or ratio level, ordinal level data can often be treated as interval-level data.
1) Interval-level data for the dependent measure.
2) Assumption of independence: subject can belong to one and only one of the two groups and contributes one and only one score.
3) Distribution of the dependent measure is normal.
4) Homogeneity of variance: groups that are compared are similar in their variances.
df for this F ratio are based on the ns for the groups and equal n-1.
*Meeting this assumption protects against Type II errors-incorrectly accepting the null hypothesis.
1) Independent or Pooled Formula: Used to compare two groups when the assumptions for the t-test (including homogeneity of variance) are met.
2) Correlated t-test (Dependent) or Paired Comparisons: Used if there is correlation between the data taken from the two groups, adjustment must be made for that relationship. Comparing a group of subjects on their pre- and post scores is an example. Because these are not two independent groups, but rather one group measured twice, the scores will most likely be correlated. Another example is when the two groups consist of matched pairs.
Set up your computation table.
Now calculate the degrees of freedom.
Use a critical values table to determine t-value. Use a one-tail distribution if hypothesize a difference in a particular direction. If no directional hypothesis, base interpretation on the two-tailed distribution.


So you wanna be a freelance writer?
There are a lot of different types of freelance writing jobs available that will not only provide a stable income, but also can be done regardless of your expertise as a writer.
In most cases, you will only need to have above par grammar and English skills.
Being able to write and present your content in an organized manner will also help to boost your profile as a new writer.
The following are some examples of online freelance writing jobs that are well-suited for beginners. They can help you to start a building a credible portfolio.
You can write new articles for different clients to help them drive more traffic to their websites. In fact, SEO content writing has become a popular starting ground for a lot of new writers.
However, there are various problems associated with these kinds of writing jobs. For example, most SEO writers create content that stuffs specific keyword phrases into an article, trying to rank for that phrase. These kinds of tack ticks are old news now, and will most probably do the opposite in getting an article ranked.
But I guess an even bigger issue with these kinds of jobs, is that most of them are low paying.
Some of these job can be long term especially if you're a competent writer and you work to clear guidelines.
However, if you do decide to do this kind of work, then focus on clients who have a good understanding of quality content and that is kept abreast of the on going changes in the search engines.
These types of jobs are usually left to to more experienced writers and can be classed as copy-writing. Usually a freelance writer would have quite a bit of copy-writing experience and have a keen understanding of words or phrases that trigger certain emotions used to make a product more appealing.
There are a lot of these jobs available, however, there are an equal amount of freelance writer vying for them as well.
Don't let this discourage you though, because most of these jobs are short and therefore some clients might be more willing to get you a chance despite your inexperience. To do this, just apply for small jobs so as to build up your portfolio.
Then you can use these as a basis to get longer jobs.
One of the main benefits of this type of writing is that most clients need multiple descriptions written. They usually test a number of variations of the copy to see what version converts the best, which is good for you, because it can be a fairly steady source of income.
Believe it or not you can get paid to write fiction stories. Yep, I know there are obviously people who write fiction, but I have mainly seen this type of thing in novels. However, you can actually get freelance fiction work writing for online magazines.
The way you get them is to focus on niche specific websites.
The great thing about fiction writing is that your creative writing is not subjected to your experience, but more the quality of the content you produce.
However, the down side of this kind of writing is that it doesn't tend to pay much and because it is niche dependent sometimes it can be difficult breaking into the marketplace.
Novice freelance writers can apply for a variety of blogging jobs.
I see this as being one of the easiest ways to create a profile or to show case you're own writing skills.
You can also think of it as an electronic resume, that you can show case to any potential client. All you need to do is create a blog and post a number of articles that really show case your writing skills and then give that url to potential employers.
They can look through your work and really get a taste of your writing style and how they could use them in the role they have available.
The great thing about blogs is that they are fairly easy to setup and cost little to no money to produce, which means that you could have several blogs pertain to several different niches that could appeal to different potential clients.
Social media writing jobs are usually open to new writers. They involve the creation of social networking profiles, posting of new updates or content to different client's accounts and interacting with customers and followers.
These are more or less data entry type jobs that focus more on updating information on a regular basis as opposed to writing long articles.
If you wish to pursue this sector of freelance writing, the best thing you can do is to work with a firm. A huge number of marketing and PR companies often bring in new writers to assist them with large social media campaigns or strategies.
You can make freelance writing easy by marketing yourself and demanding a good wage.
Don't try to appeal to the masses, especially if you're a new writer.
Assess your knowledge and expertise before you start writing or applying for jobs.
Make sure that you identify your niche.
Website owners are always looking for freelance writers who know what they are talking about.
They want people who can connect with readers on a personal level.
Anyone can simply rehash general information, so make sure you don't. You must provide high quality content that people will appreciate.
Want to learn how you can earn a full-time living as a writer? Click here.
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We stopped in and checked out Desert Wind Coffee Traders in west Las Vegas, and a surprise guest stops by the podcast, unannounced.
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12:32 Why Do You Drink Coffee?
http://sprudge.com/breaking-the-sca-pulls-coffee-competitions-from-dubai-133251.html Seriously, I retained nothing after reading that article. The segment was terrible enough to be slightly funny, so I simply sped up part of it, instead of deleting it, just for the sake of poor humor.
Intro music credit:"Substance" by Grizzly Beats.
Episode 001 - Vesta's Yabitu Koba | What Would R. Kelly Say?
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