View allAll Photos Tagged atomiser
Note, I know there's already one here, but this shows the sticker and of course from the handwriting that it was made for me by Jas Toomer.
I think he made this for me in 1989 to replace a previous Big Black compilation he gave me in 1988 when we worked in a flower-packing factory in South Lincolnshire (my other That's RX 90s are from 1989 I reckon).
I love it that he included a little arrow to make sure "Burning Indian Wife" was understood as one title :D
This is also an interesting example of the role cassettes played in discovering music. I had "Atomiser" and "Songs About Knitting" (to quote John Peel) on vinyl, and would play them on vinyl. But I never had any of this stuff on vinyl (although my brother bought Il Duce as a 7") and this is like a different band in many ways. Hard to explain really but I think a lot of cassette fans would know what I am talking about.
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The Fiercest and most feared Tiger Shark. 24mm Brass Atomiser Cap with Shark Print. Stainless steel atomiser with maximum copper contact to battery surface area
DESCRIPTION - Exterior achitecture seems to have interested avant garde architects at the expense of interior architecture. As if a house ought to be conceived for the pleasure of the eyes more than the well being of its inhabitants. If lyricism can be dedicated to the play of masses balanced in daylight, the interior ought to respond to the needs of man and to the demands of individual life and allow rest and intimacy. Theory is not enough for life and doesn't respond to all its needs. One must get away from a tendancy with obvious failings and look to create an interior atmosphere in harmony with the refinements of intimate modern life, by using the resources and possibilities of current techniques. The built thing has more inportance than the way in which it is built and the process is subordinate to the plan, not the plan to the process. It is not enough to build only beautiful ensembles of lines but above all, dwellings for people.
Consider the construction of a table or a chair as the realisation of a sculptural picture, by placing one single point of view of the the harmony of the built form,necessarily reaches excesses and aberrations which lead public taste astray and makes those whothey haven't lost the notion of practical utility seem like the latecomers.
The steel tube as used and conceived by avant-garde architects is cosly, fragile and cold. The need to atomise, to be original at all cost, is enough to abolish the most elemental wishes of practical comfort. All these modern inventions and pretensions which one sees appear and disappear only respond to a fads and all true style is absent from them. There is no one particular style. The true creator aims to the universal.
(My rough translation)
From the reprint of Architecture Vivante: E1027 Maison en Bord de Mer, Editions Imbernon>
François Quévillon
L'atomisation du temps
Exposition à l'espace d'art et d'essai contemporains Occurrence (Montréal, QC).
Du 7 mai au 18 juin 2011.
Présenté en collaboration avec Elektra.
Solo exhibition at Occurrence (Montreal, QC).
May 7th to June 18th 2011.
Presented in collaboration with Elektra.
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"William Venn Gough cannot have been anyone's favourite architect", wrote Professor Gomme, "but he was employed so widely that it is impossible to ignore him". The latter part of this assertion is undoubtedly true, for Gough designed some of Bristol's best known Victorian buildings, including one of its most prominent landmarks, the Cabot Tower. He also had a hand in the Welsh Back granary, although authorities attribute most of the work to his partner Archibald Ponton. I must take issue with the opening part of the Professor's statement, for Gough is one of my favourites among local architects. About this building, Colston Girls' School (1891), in Cheltenham Road, there is "something maniacal", splutters Professor Gomme, "it appears at first sight to be made from gigantic liquorice allsorts".
My trouble is, I suppose, that I like maniacal architecture, and the Victorians were very good at it. Yet it makes me sad. Nothing happens for no reason and the mania was a symptom. If you compare this seething, pullulating building to the ordered, harmonious façades of 150 years earlier, it is plain that something drastic has happened. As the human psyche atomised in the spiritual chaos brought about by industrialism, population growth, new discoveries, new dogmas, social experiments and a rate of change unprecedented in human experience, so architecture fragmented into a chaos of manners and styles. Like the society that produced it, this building is neurotic, just managing to keep the lid on its insanity. The explosion into madness was not long delayed. European civilisation's suicidal two-part civil war was the defining event of the next century. Its architectural expression was the grim, self-punishing ugliness and austerity of Modernism.
It's best to try to cast all these associations from your mind if you wish to enjoy a building such as this. Miss Crick points out the incongruity of quattrocento windows beneath northern Renaissance gables in a building of Jacobean plan. The gables are identical I think, but the fenestration of the two wings is entirely different. It may not be very good architecture but, as the professor concedes, "it has a gaudy cheeriness" Quite so. It sizzles and crackles like the streaky bacon it somewhat resembles.
www.metacafe.com/watch/yt-Zy47kXp_yhM/noir_desir_le_grand...
Ca y est, le grand incendie
Y'a l'feu partout, emergency
Babylone, Paris s'écroulent
New-York City, Iroquois qui déboulent
Mainteant... Allez
London, Delhi, Dallas dans l'show
Hommage à l'art pompier
T'entends les sirènes, elles...
Sortent la grande échelle
Vas-y... Go!
Hommage à l'art tectonique
Un techno-picnic sur la terre eventrée
Mais la faille est creusée, atomisée
Claudia Schiffer dit qu'elle a même pas peur
Et tout le monde aupplaudit à la télé
Ressaisis-toi, ressaisis-toi
Faut courir maintenant, elle, elle est dans un bunker
Y'a plus de programme, y'a même plus d'heure
A vous l'antenne
C'est l'incendie, le grand incendie
C'est l'incendie, le grand incendie
C'est l'incendie, le grand incendie
C'est le raz-de-marée
Les rats peuvent plus se marrer
S'enfuir s'cacher
Dans une planque s'enterrer
La marge est infime
Au bord de l'abîme
Implosion, explosion, mort aux cons riment
Carpules, salauds
Bourgeois, blaireux
Chacun pour soi, ça détale dès qu'on a eu le déclic
Wanadoo
Do wap a doo
I wanna, I wanna, wanna go with you
Trop tard, petit, petit malin
Indemnités c'est peanuts t'auras rien
Cours ! Cours ! Cours ! Cours !
No limit à la fuite
Accélère
Accélère, c'est pas le moment
Tu crois toujours que tu peux t'arrêter
Te jeter dans un coin te coucher
Oublier la cadence
C'est l'incendie, le grand incendie
l'incendie, le grand incendie...
B. Cantat /Noir désir/ le grand incendie...
Scanned from Sulpide Corporation Limited Cockle Creek Works, 1926, Description of Plants and Processes, by E England (Sulphide Corproation Limited, 1926)
Transcript:
The Corporation has a very complete generating station on the 'Work', from
which electrical current is distributed for the driving motors on various part
of the plant. In addition, a large block of power is obtained from the Railway
Commissioners' power hou se, at Zara Street, Newcastle. The current is
brought out from Newcastle at 33,000 volts and transformed down to 415 volts,
and this is used for supplying the cement plant.
The installation of a modern Portland Cement Plant at Cockle Creek marks
the latest of the Corporation's activities. After careful consideration of the
methods of manufacture now practised, the Corporation decided to adopt what
is known as the "wet" process.
A large plant, replete with all modern appliances, was installed by Edgar
Alien & Co., of Sheffield, England, at an expenditure of nearly a quarter of a
million pounds, and in 1925 a start was made with the manufacture of Portland
Cement by this wet, slurry process.
The present plant comprises one unit, with a capacity of 30,000 tons per
annum. The plant, however, has been designed for three units, and already
a start has been made with the erection of the second unit. This is practically
a duplicate of the first unit, but further modernised by the introduction
of a new Atomiser system for feeding slurry to the kiln. It is expected that
this second unit will be completed by the end of 1926.
The limestone (which is the principal raw material) comes from the
Corporation's extensive quarries at Attunga, and is of exceptional purity. The
clay and shale are drawn from the Corporation's land at Cockle Creek, and the
necessary coal is within easy reach of the Works.
As Cockle Creek the men are catered for as regards food by an up-to-date
canteen on the Works. This is controlled by the men themselves, and meals are
supplied at cost. There are also up-to-date change houses, with hot and cold
showers, and an ambulance room.
At the present time the men engaged at Cockle Creek and Attunga total 500;
besides which a large number of men are employed indirectly in other avenues,
such as loading and unloading of zinc concentrates, phosphate rock, sulphur, and
cemen t at wharves; and in th supply of stores, coal, etc.
BLENDE ROASTING PLANT.
Broken Hill concentrates represent a valuable source of sulphur for the
vitriol maker, and to this end a battery of six furnaces has been installed at
Cockle Creek.
The furnaces are of the Electrolytic Zinc Barrier Roasting type, of a design
that originated in Belgium, but which has been considerably modified by the
metallurgists of Australia. Each furnace consists of six hearths and a cover
arch. Alternate hearths revolve, and rabbling; is effected by teeth set in sockets
forming part of the hearth above.
The zinc concentrates (the moisture content of which is about 3 per cent.)
are fed by a screw on to the top hearth and worked down through the furnace,
and finally discharged into a conveyor for disposal on the calcines stock pile.
No outside fuel is used, but the ore once started can be kept burning by a
careful regulation of the draught, which is supplied by steel fans.
The furnace gases, carrying about 5.5 per cent· SQ 2' are delivered to the
chamber plants through steel or cast iron flues.
The image was scanned from the original held in Cultural Collections, Auchmuty Library, the University of Newcastle, Australia.
If you have any information about the image you would care to share, please contact us or leave a comment.
Please contact us if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
March 11th 2011: They thought it was going to be an 80s Prom Night like any other. How were they possibly to know that the frizzy-permed festivities would be interrupted by a zombie plague, metoer collison, flu epidemic, alien invasion and the second coming of Jesus ALL AT ONCE!
There were break-ups. Make-ups. Extinction-level tidal waves. Jesus took a bet from his jock friends that he could make-over the geeky Satan into the Prom Queen. And the whole night culminated in a performance by THE LAST PROM, the only high school dance band that features the Antichrist and the Four Horsemen of the Apocalypse in its line-up!
The Last Prom is the opening night party for the You Are Here Festival, an alternative festival happening in the vacant shopfront spaces in the heart of sexy Civic. Come along and enjoy a disorienting night of bands, DJs, girls crying over boys and boys fighting over girls. Make sure you dress the part, Prom Night theme, Apocalyspe theme or a brilliant melding of both! Be mindful, the party will be ending at 11pm sharp due to the End of All Things. You will have 2 hours and 2 hours only to party like your last chance!
The entrails have been read, and it is your unavoidable destiny to share your final evening with the following minions of Styx:
Fresh from atomising the Phoenix Bar as part of the Hey Dad, Can I Get a Ride From Josh’s Otherwise It’s, Like, Two Buses festival, the incomparable PARTY BUS will be binding your souls to their electronic will!
Lovecraftian giants YETI will be burning through the shadows of myth and providing last communion for the damned!
And most importantly, each band set will be bridged by the chaos-bringing 10-minute dance parties of DEAD DJ JOKE!
Also featuring Applespiel, Assassins 88, Crash the Curb, Giants Descend.
When: 9.00-11.00pm Friday 11 March
Where: SmithDick, Civic Interchange
(Image by Alex Orme)
The new Vision Rainbow Spinner batteries offer variable voltage in an eGo sized format. Spin the bottom dial and tailor the vape to just the way you like it. Just like regular Spinner batteries the Rainbow features variable voltage output with 510 and eGo threading to suit most atomisers. The difference is in the finish - it's like a rainbow! Seriously though, these things look really good. For more details visit - www.ecigworld.com.au/vision-rainbow-shiny-spinner-battery
Random postings of photos I have taken over the last few years. Explore the photo set to find other work by the artist or of the same theme or event.
All photos © Ian Cox. If you would like to use this image please ask first. Best viewed as a set here
Follow Wallkandy on Instagram to see photos as they are posted. These images are also being posted on the Wallkandy facebook page and Tumblr.
The night time cutting of a 400mm thick reinforced concrete wall using a diamond tipped cutting disc on a rail.
A girl in my spam folder
RON DIORIO
Ron Diorio is an artist working in a variety of media including photography & video. His art
has been exhibited internationally and is represented by Peter Hay Halpert Fine Art, NY.
His photographs and publications are in the permanent collections of the Museum of Fine
Arts, Houston, the Centre Canadien d’Architecture in Montreal, and the Getty Museum, Los
Angeles. Ron’s current video work focuses on short personal essays, weaving spoken word,
moving images, still photography, and content found on the Internet. Ron is VP for Product &
Community Development for The Economist online. He is a life long New Yorker and lives with
his wife and two children in northern Manhattan.
Statement of work
This work is both a break and a continuation of an exploration into personal story-telling and
interpretations. A progressive, yet ambiguous multiple-media form, it is at times deliberately
naive and often has a surreal, stream of conscious quality. I am using a time based medium as
a tool for introducing the non-linear as a fantasy guide; atomised fragments collide to invoke the
mythology of a poet, the lens of the photographer and the camera of the director.
They are psychologically and socially constrained, a marginalized present infused with an
unsettled past composed of new worlds which speak of cultural myth and invented narratives. It
takes as a starting point strange and remote qualities: unforgiving, romantic and sublime mixed
with pastoral traditions in the context of an urban consumerist culture. The synergy of abstract
and physical spaces reflect the tension between representation, perception and desire.
The process of assembling each work pushed me to consider the gamut of photographic
possibility and to reflect on my own relationship to the photographic image. While sparse and
suggestive they are intended to be seen in relation to each other, a sometimes innovative
process with all of the unexpected twists.
Ron Diorio
born. 1959, New York, New York
Solo Exhibitions
2010
Comin' Around Again, Peter Hay Halpert Fine Art, Philadelphia, PA
2008
Hometown, Peter Hay Halpert Fine Art, New York, NY
Around here, Peter Hay Halpert Fine Art, New York, NY
2005
Anytown, The Economist Gallery, London
Selected Group Exhibitions
2012
“memory” and “identity”, Arena 1 Gallery, Santa Monica, CA ( April )
One Minute Volume 5, Presented by Virginia Hilyard and Peloton Gallery, Redfern NSW ( April )
CologneOFF 2012 Serbia, @ International Short Film Festival ACTION II Prokuplje (March)
7th Berlin International Directors Lounge (February)
One Minute Volume 5, FACT Liverpool UK (January)
2011
Photo Forum, Museum of Fine Arts Houston (Nov -Jan)
Glimmer,The Hull International Short Film Festival (Oct)
One Minute Volume 5, Vertical Cinema, Cardiff, UK (Oct)
One Minute Volume 5, London Underground Film Session, UK (August)
One Minute Volume 5 , Aid and abet, Cambridge, UK (July)
Currents 2011, Santa Fe New Mexico (June)
Directors Lounge at Contemporary Art Ruhr 2011, the media art fair, (June)
A century of artist films, Oriel Mwldan, Wales UK (May - July)
Directors Lounge at the Los Angeles Arts Association (April)
Carnival of e-Creativity in India (Manipulated image #12), Uttarakhand, India (February)
7th Berlin International Directors Lounge (February)
2010
The Independents @ Liverpool Biennial, Domino Gallery (September/November)
Translations … art inspired by the word, Victoria College, Texas (October)
Ark Festival in Cardiff, UK (July)
Misc: Video and Performance, New York Studio Gallery, NY (May/June)
Manipulated image #12, Santa Fe Complex, Santa Fe, New Mexico
6th Berlin International Directors Lounge (February)
2009
2nd Annual Narrative Shorts International Film Festival, Chico State University (November/
December)
Cologne OFF (September)
Outcasting Season 9 (August/September)
Sweet Escape, Gallery RFD, Swainsboro, GA
2007
From Sun to Megapixels, Williamsburg Cultural Center, Brooklyn, NY
13th Juried Exhibition, Griffin Museum of Photography, Winchester, MA
2006
Over The Edge, Atlanta Photography Group, Atlanta GA
2005
Soul Witness, Positive Focus Gallery, Brooklyn, NY
Photography Now 2005, Center for Photography at Woodstock
Art Endures, Annenberg Conference Center, Langhorne PA
2004
Originate, Refocus-now, London, UK
International Open Image, Waterloo Gallery, London UK
Select Collections
The Canadian Centre for Architecture
Kunstwerk - The Allison & Peter Klein Collection
The Museum of Fine Arts Houston
The Sir Elton John Photography Collection
The Getty Museum, Los Angeles, CA
Still playing with low key lighting using the same techniques as yesterday's SP.
Not quite the shot I planned - I originally wanted to add some glittery perfume 'spray' in photoshop but I need a lot more practise at that!
Strobist: Flash to the left and slightly behind the subject - 1/32 at 70mm. Reflector the the right.
The box is a large cake box filled with various flavours & types of E-juice. - some are concentrates, some are doublers, and some have already been mixed with nicotine. All the bags have a different type of juice. Such as 'tobacco flavour doubler', already mixed tobacco flavours, etc.
The glass has atomisers and useful tools. The bag behind is nicotine which is mixed with the flavours.
The two small bottles are Rod's juice (his has no nicotine in it).
I've been assigned the task of deciding which of these DVDs should be retained and which handed to a charity shop (if they'll accept such items that are increasingly hard to sell). Needless to say, the Ramones doc will stay, though I'm less enthusiastic about collections of TV programmes. I'm tempted to part with films that we've watched already, though I suspect that if we watch them again it'll seem like the first time; this happened recently with a Bond film we'd watched only a few years ago: such are the joys of getting old.
Today the Hereios of the We’re Here! Group are getting into a Moody Mood.
What's more, poetry is encouraged. So here's a limerick: -
There was an old chap called Dave,
Who insisted he liked a good rave;
But the sober truth:
He stayed under his roof,
And took photos hoping for 'faves'.
And here's another poem, more relevant to the task in hand: -
Surgeons make decisions
about excisions,
And judges about executions;
So surely I can decide
Whether to keep 'Dark Days' and 'Atomised'.*
*They're both in the retention pile.
A sponge cake with jam and buttercream shaped as a beautiful pale pink atomiser bottle, topped with cream and gold flowers and sat on a pale cream fluted edge board.
PURING Smart Sanitizing Gate is the first high-design product in the world able to sanitise in just 15 seconds, safely and completely, every user before they access various businesses: commercial, offices, hotels, restaurants, museums and gyms. The modern and elegant design by the famous Italian architect Giancarlo Zema gives a hi-tech touch to public areas. PURING is an eco-sustainable and recyclable product, thanks to the aluminium structure and coatings with eco-friendly materials.
The 360° sanitisation of the person occurs through the peripheral atomisation of certified sanitising solutions that do not irritate the skin, do not stain clothes and do not cause damage to objects. PURING is the only product that can also integrate the sanitisation of shoe soles through the vaporisation of sanitising solutions from the floor. In addition, direct atomisation also on the hands completes the cycle, ensuring maximum sanitisation of the individual.
Another feature integrated into the structure is a thermo scanner that measures the user's basal temperature in real time, and a video camera with specific software that verifies that the user is wearing a mask.
The automatic people-counting barrier is raised, leaving access free only to users who have passed checks and completed sanitisation procedures.
The structure is designed to be easily customisable in terms of colours and types of materials in total stylistic coherence with the commercial sector in which the sanitising product operates.
PURING Smart Sanitizing Gate is the first high-design product in the world able to sanitise in just 15 seconds, safely and completely, every user before they access various businesses: commercial, offices, hotels, restaurants, museums and gyms. The modern and elegant design by the famous Italian architect Giancarlo Zema gives a hi-tech touch to public areas. PURING is an eco-sustainable and recyclable product, thanks to the aluminium structure and coatings with eco-friendly materials.
The 360° sanitisation of the person occurs through the peripheral atomisation of certified sanitising solutions that do not irritate the skin, do not stain clothes and do not cause damage to objects. PURING is the only product that can also integrate the sanitisation of shoe soles through the vaporisation of sanitising solutions from the floor. In addition, direct atomisation also on the hands completes the cycle, ensuring maximum sanitisation of the individual.
Another feature integrated into the structure is a thermo scanner that measures the user's basal temperature in real time, and a video camera with specific software that verifies that the user is wearing a mask.
The automatic people-counting barrier is raised, leaving access free only to users who have passed checks and completed sanitisation procedures.
The structure is designed to be easily customisable in terms of colours and types of materials in total stylistic coherence with the commercial sector in which the sanitising product operates.
PURING Smart Sanitizing Gate is the first high-design product in the world able to sanitise in just 15 seconds, safely and completely, every user before they access various businesses: commercial, offices, hotels, restaurants, museums and gyms. The modern and elegant design by the famous Italian architect Giancarlo Zema gives a hi-tech touch to public areas. PURING is an eco-sustainable and recyclable product, thanks to the aluminium structure and coatings with eco-friendly materials.
The 360° sanitisation of the person occurs through the peripheral atomisation of certified sanitising solutions that do not irritate the skin, do not stain clothes and do not cause damage to objects. PURING is the only product that can also integrate the sanitisation of shoe soles through the vaporisation of sanitising solutions from the floor. In addition, direct atomisation also on the hands completes the cycle, ensuring maximum sanitisation of the individual.
Another feature integrated into the structure is a thermo scanner that measures the user's basal temperature in real time, and a video camera with specific software that verifies that the user is wearing a mask.
The automatic people-counting barrier is raised, leaving access free only to users who have passed checks and completed sanitisation procedures.
The structure is designed to be easily customisable in terms of colours and types of materials in total stylistic coherence with the commercial sector in which the sanitising product operates.
Scanned from Sulpide Corporation Limited Cockle Creek Works, 1926, Description of Plants and Processes, by E England (Sulphide Corproation Limited, 1926)
Transcript:
SULPHURIC ACID.
CHAMBER PROCESS.
There are three chamber sets, the essential details of which are given below.
No. 1 PLANT.-This consists of five chambers (the first two of which are in
parallel) and five towers for nitre supply and recovery. The total capacity is
180,000 cubic feet. The chamb rs are low in comparison with the other sets,
being only 20ft. in height. The curtains are of 71b. lead and the saucers of 81b.
lead. Situated between the glover tower and the leading chambers is the fan, built
of regulus. metal. alt water is used in the acid coolers, and the acid for the gay
lussac tower has to be as cool as possible. Pumping for the circulatory system
is by Kestner pulsometer. A brick brimstone burner is available for use when
required.
No. 2 PLANT -Four chamhers constitute this set, the first two being in
parellel. Th se chambers are all 30ft. high, and the total capacity is 184,000
cubic feet. Two glover tower supply th necessary nitre and two gay lussac
towers effect the subsequent recovery of nitre. In addition there are two interchamber
towers. A brick brimstone burner is available for use when required.
No. 3 PLANT.-This set comprises four chambers, all in series, with two
nitrating towers and three gay lussac towers. Chambers 1 and 4 are 35ft. high,
Nos. 2 and 3 are 30ft. high. The plant ha a total capacity of 176,000 cubic feet.
The reaction that take place in a chamber set are briefly as follows:The
incoming 802 in its passage through the nitrating or glover towers is
mixed with oxide of nitrogen N2 03 and this acts as a carrier of oxygen to the SO2 and by contact with atomised water or steam, sulphuric acid is produced,
and the oxide of nitrogen is liberated to do further work. The gay lussac towers,
situated as they are, at the extreme end of the plant, recover the oxide of
nitrogen from the spent furnace gases, and the nitrous vitriol from these towers
is de-nitrated in the glover tower.
For concentration purposes, two sets of lead pans, coal fired, are installed
and are capable of raising 68 per cent. acid up to 75 per cent., a grade required
by some industries.
A vitreosil cascade is also used. This will concentrate acid np to 95 per cent.
H2S04, but at present is nsed for the prodnction of 75 per cent., as any of the
higher tr ngths are conveniently made from 9 per cent. acid from the contact
plant.
CONTACT PROCESS.
The great advantage of this process is the purity and strength of the acid
produced; the most serious impurity being iron. The high strength of the acid
makes it particularly suitable and economical for transport by rail or sea.
The process may be divided into four stages:-
1. Burning the brim tone.
2. leaning and washing the gas.
a. onverting or oxidising the S02 to S03'
4. Absorption of the SO3 .
The burning is done in a brick burner having three hearths, the lowest
being just below ground level and measuring 15ft. x 4ft. The brim tone is fed
by a screw into this bottom hearth; cold air is admitted and the resultant
temperature is high enough to produce considerable sublimed sulphur. This,
however, is overcome by the admission of more air to the second hearth, where
complete combustion takes place. A 7,5 per cent. S02 gas tenor is maintained
The image was scanned from the original held in Cultural Collections, Auchmuty Library, the University of Newcastle, Australia.
If you have any information about the image you would care to share, please contact us or leave a comment.
Please contact us if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
DoITPoMS, University of Cambridge
Commercial purity aluminium has atomised, mixed with 13 micron spherical alumina particles, ball milled, tumbled, cold compacted (20MPa) and then extruded (with the working direction vertical in the image). It has then been annealed at 630 degrees C. Vertical stringers of fine oxide particles are visible. Note the small yellow 'island' grain which has formed within one of the recrystallised grains and is likely to have nucleated on the adjacent reinforcement particle. Note also the boundary facets of some grains. These indicate a preferred habit plane and are probably coincidence site lattice (CSL) boundaries.
System
Al
Composition
Commercial purity (99.5%) + 13 micron alumina spheroids
Reaction
N/A
Processing
Commercial purity (99.5%) aluminium has been atomised, thoroughly mixed with alumina reinforcement particles and then extruded.
Applications
Metal matrix composites (MMCs) offer high specific stiffness which can be retained to high temperatures. This makes them suitable for applications in the aerospace industry. They also offer controlled (or zero) thermal expansion coefficients, good wear resistance and good impact properties.
Sample preparation
The sample has been oxidised to provide colour contrast for different grain orientations.
Technique
Reflected light microscopy, polarised
Contributor
Prof T W Clyne
Organisation
Department of Materials Science and Metallurgy, University of Cambridge
Ca y est, le grand incendie
Y'a l'feu partout, emergency
Babylone, Paris s'écroulent
New-York City, Iroquois qui déboulent
Mainteant... Allez
London, Delhi, Dallas dans l'show
Hommage à l'art pompier
T'entends les sirènes, elles...
Sortent la grande échelle
Vas-y... Go!
Hommage à l'art tectonique
Un techno-picnic sur la terre eventrée
Mais la faille est creusée, atomisée
Claudia Schiffer dit qu'elle a même pas peur
Et tout le monde aupplaudit à la télé
Ressaisis-toi, ressaisis-toi
Faut courir maintenant, elle, elle est dans un bunker
Y'a plus de programme, y'a même plus d'heure
A vous l'antenne...
Noir Désir
DoITPoMS, University of Cambridge
Nucleation of the recrystallized grain structure is very sluggish in this material, but growth rates are rapid, giving rise to a coarse microstructure.
System
Al
Composition
Commercial purity (99.5%)
Reaction
N/A
Processing
Commercial purity (99.5%) aluminium has been atomised, cold compacted (20MPa), extruded, cold swaged (strain=0.75) and finally recrystallised for 1h at 600 degrees C
Applications
Extrusion is the process of forcing material through a die by means of a ram. It is suitable for forming components of constant section such as rods, tubes and films. Swaging is a subsequent reduction of cross section.
Sample preparation
The sample has been oxidised to provide colour contrast for different grain orientations.
Technique
Reflected light microscopy, polarised
Contributor
Prof T W Clyne
Organisation
Department of Materials Science and Metallurgy, University of Cambridge
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