Well can you explain it to me? Bah. Dicuss please.
well ill try to break it down for you...
Chloroform, also known as trichloromethane and methyl trichloride, is a chemical compound with formula CHCl3. It does not support combustion in air, although it will burn when mixed with more flammable substances. It is a member of a subset of environmental pollutants known as trihalomethanes, a by-product of chlorination of drinking water and a long-standing health concern.
Chloroform was discovered in July, 1831 by American physician Samuel Guthrie (1782-1848), and independently a few months later by French chemist Eugène Soubeiran (1797-1859) and Justus von Liebig (1803-1873) in Germany. Soubeiran produced chloroform through the action of chlorine bleach powder (calcium hypochlorite) upon acetone (propanone) or ethanol (an application of the generic process known as the haloform reaction). Chloroform was named and chemically characterised in 1834 by Jean-Baptiste Dumas (1800-1884). Its anaesthetic properties were noted early in 1847 by Marie-Jean-Pierre Flourens (1794-1867) and Robert James Fegle (1790-1842). [citation needed]
In 1847, the Edinburgh obstetrician James Young Simpson first used chloroform for general anesthesia during childbirth. The use of chloroform during surgery expanded rapidly thereafter in Europe. In the United States, chloroform began to replace ether as an anesthetic at the beginning of the 20th century; however, it was quickly abandoned in favor of ether upon discovery of its toxicity, especially its tendency to cause fatal cardiac arrhythmia analogous to what is now termed "sudden sniffer's death". Ether is still the preferred anesthetic in some developing nations due to its high therapeutic index, economy, and relative safety — its only disadvantages are its pungent, unpleasant odor and its tendency to cause vomiting. Trichloroethylene, a halogenated aliphatic hydrocarbon related to chloroform, was proposed as a safer alternative, though it, too, was later found to be carcinogenic.
Industrially, chloroform is produced by heating a mixture of chlorine and either chloromethane or methane to 400-500°C. At this temperature, a free radical halogenation occurs, converting the methane or chloromethane to progressively more chlorinated compounds.
The output of this process is a mixture of the four chloromethanes, chloromethane, dichloromethane, chloroform (trichloromethane), and carbon tetrachloride, which are then separated by distillation.
The first industrial process was the reaction of acetone (or ethanol) with sodium hypochlorite or calcium hypochlorite. The chloroform can be removed from the resulting sodium acetate or calcium acetate (or sodium formate or calcium formate) if ethanol is the starting material, by distillation. The reaction mechanism is called haloform reaction, and is still used for the production of bromoform and iodoform.
This reaction can also occur inadvertently when cleaning around the house. Sodium hypochlorite solution (bleach) and acetone (nail-varnish remover) produces chloroform, sodium hydroxide, sodium acetate, and sodium chloride. There have been reported cases of this method being used in the UK to synthesise chloroform in the home.
In the late 19th and early 20th centuries, chloroform was used as an inhaled anesthetic during surgery. However, safer, more flexible drugs have entirely replaced it in this role. The major use of chloroform today is in the production of the freon refrigerant R-22. However, as the Montreal Protocol takes effect, this use can be expected to decline as R-22 is replaced by refrigerants that are less liable to result in ozone depletion.
Smaller amounts of chloroform are used as a solvent in the pharmaceutical industry, and for producing dyes and pesticides. As a solvent it can be used to bond pieces of acrylic glass (which is also known under the trade name 'Perspex'). Chloroform is one of the most effective known solvents for alkaloids in base form, and may be used to extract nitrogenous chemicals from plant material for pharmaceutical processing. It is commercially used to extract morphine from poppies, scopolamine from Datura plants, and so on.
Chloroform reacts with aqueous sodium hydroxide (preferably in the presence of a phase transfer catalyst) to produce dichlorocarbene. This is used to effect ortho-formylation of activated aromatic rings such as phenols, producing aryl aldehydes in a reaction known as the Reimer-Tiemann reaction. Alternatively the carbene may be trapped by an alkene to form a cyclopropane derivative.
Chloroform containing deuterium (heavy hydrogen), CDCl3, is the most common solvent used in NMR spectroscopy.
Well can you explain it to me? Bah. Dicuss please.
Donkey punch is a slang term for an apocryphal and potentially lethal sexual practice supposedly performed during anal sex. The purported practice involves the penetrating partner punching the receiving partner in the back of the head or neck causing the receiving parters anal passage to tense up and increase the pleasure of the penetrating partner
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Originally Posted by bar I haven't been to in 2 years
hey Billy! Whats up Dude... you still got an open tab! LOL!
Well can you explain it to me? Bah. Dicuss please.
My favorite part of this Spring Break was improving my Texas Hold'em poker skills with my friends from back home in Colorado. My sister, her poker-loving boyfriend and I went to play Texas Hold'em with a friend we went to high school with. He is now married and has a little 6-month-old baby boy, so we had to sit in the kitchen, be as quiet as possible and smoke outside. Right down the street was another friend of mine from high school, and when I dropped in to say hello I discovered he, too, has a wife, a child and - interestingly enough - was playing Texas Hold'em. After losing most of my money, I went home wondering what it is about Texas Hold'em people find so intriguing. After pondering this question for several minutes, I came to theconclusion that poker is a perfect analogy for life. I realized myfriends from high school and I are all playing the same game, butbecause of a lot of luck in regard to my cards in the hole -the parents I was arbitrarily born to - I am able to stay inthe game and keep betting. My friends had to fold early on -their cards in the hole didn't give them the opportunity to keep onplaying. However, I reminded myself that one cannot forget about theimportance of strategy and skill - which, in Texas Hold'em, isalmost as important as the luck in the "flop" cards, the "turn" cardand eventually the "river."
I wondered, what if my friends had used a little more strategy andskill in life? Would their outcomes have been any different? Thecombination of luck and skill determines the final outcome in poker,but is it the same in life?
I noted the main difference is the number of hands you're dealt.In poker, you have infinite opportunities to get that perfect hand. In life, you are stuck with the hand you're dealt. The outcome is upto each individual to decide, but when everything becomes an uphillbattle it is more likely you will entirely give up - or, as myfriends did, settle down with a family and accept a mediocre job topay the bills.
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Originally Posted by Skelz
Tony is officially an O.G.
Attn:EVERYONE
If you are looking to make a quick and easy
50 DOLLARS, Click here HERE
Let r = radius of a sphere, and let Vs be the volume of the sphere.
Then Vs = (4/3)pi*r3
Now, let k = radius of a right circular cylinder inscribed within a sphere of radius r where h is the height of the cylinder.
Then the volume of the cylinder, (I’ll use Vc), is Vc = pi*k2*h.
Note that the distance from the center of the cylinder (same as center of sphere) to a point on the rim of the cylinder (also on sphere) is r. Note also that the (shortest) distance from the center of cylinder to the side of the cylinder is k. Note even further, that the distance from the point on the side (just mentioned) to a point on the rim if cylinder is h/2. A diagram can help you see that the points mentioned above form a right triangle. Label the central angle of this triangle as T.
Then sin(T) = h/(2r) and cos(T)=k/r
this gives h = 2r*sin(T) and k = r*cos(T)
So, we can rewrite the volume of the (inscribed) cylinder as
Vc = pi*r2cos2(T)*2r*sin(T)
giving Vc = 2pi*r3cos2(T)sin(T)
...Maximize Vc.
differentiate with respect to T (remember that r is considered constant here).
Vc’ = 2pi*r3cos(T)*[cos2(T) - 2sin2(T)] ...this is after some simplifying/rearranging.
Keep in mind that T must be between 0 and pi/2 exclusive
critical values will be when Vc’ = 0.
this should lead you to cos2(T) - 2sin2(T) {since the other factor will have no critical values in the desired range}
further, this gives tan(T) = sqrt(2)/2 {remember there are range restrictions which allow us to disregard other possibilities}
This gives sin(T) = sqrt(3)/3 and cos(T) = sqrt(6)/3.
Substituting the values into our volume equation for a cylinder gives
Vc = 2pi*r3cos2(T)sin(T)
= (4/9)sqrt(3)pi*r3 as the maximum volume of an inscribed cylinder
so, the ratio of volume of sphere to maximum volume of inscribed cylinder is
What if x and x% have no inherent structural commonality, but are related to other patterns in similar ways?
One might still reason analogically that x and x% are similar. Or one might reason analogically from the observation
that x and x% are related to different patterns in similar ways. Let us call this contextual
analogy. Such reasoning is not encompassed under structural analogy or modeling -- a new
formula is required. To say that x and x% are related to other patterns in similar ways, is to say
that d#(Em(x%,w%),Em(x,w)) is small. Thus contextual analogy rests on those aspects of x
which do not manifest themselves in the internal structure of x, but which nonetheless emerge
when x is conjoined with other entities.
For instance, suppose w=w% is a codebook which contains several different codes, including
Code A and Code B. Suppose x is a message in Code A, and x% is a message in Code B -- and
suppose x and x% both convey the same message. Then x and x% may not appear similar; they
may have no virtually no patterns in common.
To see this, observe that the meaning conveyed by a coded message, say x, is not generally a
pattern in that coded message. If the meaning of the message x is called Mx, and the function
(contained in the codebook) which translates x into Mx is called F, then we may write F(x)=Mx.
But (F,Mx) is a pattern in X only if a%F% + b%Mx% + cC(F,Mx) < %x%, and this is not at all
inevitable. Perhaps %Mx% is less than %x%, but if the codebook is large or difficult to use, then
%F% or C(F,Mx) may be sizeable. And the same could be said for x%.
So in this example, d#(x,x%) may be small, but what about d#[Em(x%,w), Em(x,w)]? Clearly,
Mx is an element of Em(x%,w), and Mx% is an element of Em(x%,w), so that if Mx and Mx% are
equal, this distance is small. Contextual analogy would occur, for instance, if one reasoned that,
because the messages x and x% have similar meanings, they may have come from the same
person.
This example is not at all artificial; in fact it may turn out to be central to mental function. The
mind works in terms of symbol systems, which may be considered as highly sophisticated codebooks.
Street signs are coded messages, as are sentences. Suppose one reasons that sentence
A has a similar meaning to sentence B, another, and therefore that the person uttering sentence A
may have a similar attitude to the person uttering sentence B. This is contextual analogy, because
the meaning of a sentence is not actually a pattern in that sentence, but rather a pattern emergent
between that sentence and the "codebook" of language.
(See also the explanations of How a violin works, Bows and strings and Strings, harmonics and standing waves.) A mode of vibration is just a way of vibration. Think what happens when you strike a xylophone bar in the middle and set it vibrating. The bar is supported at two points towards the ends. The simplest mode of vibration is this: when the middle of the bar goes up (as shown by the solid lines in the figure) the ends of the bar go down. When the middle goes down (dashed lines), the ends go up. The two points that do not move are called nodes and are marked N in the diagram. (If "modes" and "nodes" sound confusing, remember that the node has no motion.) Here is a sketch of a simple mode of vibration of a bar. Think of it as a xylophone bar, which would be supported at the nodes, and you would excite this mode by striking it in the middle. This first mode of the bar is rather similar to one of the modes of vibration of a simple rectangular plate, one that is called the (0,2) mode (the naming convention is explained below.)
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In these pictures, the lines are formed from sand that has collected at the nodes, but has been shaken off the moving regions. The violin back is more complicated in shape, and so the nodes also have a more complicated shape. White sand was used for the black-painted aluminium plate, and black sand for the violin back.
Why are there nodes?
The supports of the xylophone bar do not cause the nodes, rather they are placed at the positions which are nodes so as to facilitate this vibration. In an object which is not firmly clampled, a vibration cannot easily move the centre of mass of the object. It follows that, if some part is going up, another part is going down. In the simple motion at resonance, the point(s) that divide(s) these regions are nodes. When a violin or an isolated part is vibrating, the centre of mass doesn't move much, so once again it can be divided into parts that are going up and others that are going down. In these simple modes of vibration, the motion of different parts is either exactly in phase or exactly out of phase, and the two regions are separated by nodes. The nodes are points for a quasi one-dimensional object like a string, or lines for a quasi two-dimensional object like a plate. (There is more explanation in Strings, harmonics and standing waves.) Modes of violin plates
The violin plate has many modes of vibration, and in general each one occurs at a different frequency. About seven of them (those with lowest frequency) are well studied and are included in this document. Of these, three or more are considered useful in the process of shaping the plates by violin makers. For several different types of plate, the mode with the lowest frequency has two node lines, both approximately straight, which intersect at about ninety degrees. The three photographs below show the lowest frequency mode for a violin back [mode 1], a uniform rectangular plate [mode (1,1)] and a uniform circular plate [mode (2,0)].
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Quote:
Originally Posted by Ace
Trying to chop a blurry, low res. pic. is like trying to paint a house with a stick. It can be done, but it's gonna look like you painted it with a stick
The plate can be made to resonate by a powerful sound wave which is tuned to the frequency of the desired mode.
The plate can be bowed with a violin bow. This is easiest if one choses a point that is a node for most of the modes that one doesn't want, but not for the desired node.
The plate can be excited mechanically or electromechanically at the frequency of the desired mode.
For the photographs on this site, a small (0.2 g) magnet was fixed to the plate. An oscillating magnetic field (provided by a coil connected to an audio amplifier and a signal generator) is used to provide an oscillating force whose frequency is tuned to the resonance of the mode. Experiments using different masses showed that the mass of the magnets caused us to underestimate the frequency by about 1 Hertz. In all cases, some finely divided material is placed on the plate. The material used in the photos on this site is fine sand. When the plate resonates, the motion becomes large over most of the surface and this causes the sand to bounce and to move about. Only at or near the node is the sand stationary. Thus the sand is either bounced off the plate or else collects at the nodes, as shown in the photographs. We used white sand from Coogee Beach to the East of the campus, and black sand from Rainbow Beach on Fraser Island. Emmanuel and Renaud are now leaving on a "research" trip to bring back supplies of diverse colours from Rainbow Beach.
This movie showing the ring mode of a violin back is provided by Atelier Labussiere. Why are Chladni patterns useful?
The shaping the back and belly plates is very important to the properties of the final instrument. Chladni patterns provide feedback to the maker during the process of scraping the plate to its final shape. Symmetrical plates give symmetrical patterns; asymmetrical ones in general do not. Further, the frequencies of the modes of the pair of free plates can be empirically related to the quality of the completed violin. Many scientists have been interested in the acoustics of violins, and many violin makers have been interested in science, so a lot has been written about the acoustical properties of violins and their parts.
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Quote:
Originally Posted by Ace
Trying to chop a blurry, low res. pic. is like trying to paint a house with a stick. It can be done, but it's gonna look like you painted it with a stick
Snake
Chopper Challenge
Curveball
Here is a sketch of a simple mode of vibration of a bar. Think of it as a xylophone bar, which would be supported at the nodes, and you would excite this mode by striking it in the middle. This first mode of the bar is rather similar to one of the modes of vibration of a simple rectangular plate, one that is called the (0,2) mode (the naming convention is explained below.) 
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Crazy Closet
Parachute Panic
Linear Mode
