Kbwiki - User contributions [en]

Waterproof coating

2008-07-21T14:03:35Z

MarkZhou: New page: A [http://www.yuhong.com.cn/English/index.asp waterproof coating] is a paint or coating defined by its protective, rather than its aesthetic properties, although it can provide both. The m...

A [http://www.yuhong.com.cn/English/index.asp waterproof coating] is a paint or coating defined by its protective, rather than its aesthetic properties, although it can provide both.
The most common use of industrial coatings is for corrosion control of steel or concrete. Other functions include intumescent coatings for fire resistance. The most common polymers used in [http://www.yuhong.com.cn/English/product_single.asp?id=30 waterproof coating] are polyurethane and epoxy. Another highly common polymer used in industrial coating is a fluoropolymer. There are many types of industrial coatings including inorganic zinc, phosphate, and Xylan and PVD coatings.

NACE International and The Society for Protective Coatings (SSPC) are professional organizations involved in the industrial coatings industry.

See also:
[http://www.yuhong.com.cn/English/product_single.asp?id=105 waterproof membrane]
[http://www.yuhong.com.cn/English/product_single.asp?id=30 waterproof coating]
[http://www.yuhong.com.cn/English/index.asp waterproof materials]

Waterproof membrane

2008-07-21T13:25:31Z

MarkZhou: New page: [http://www.yuhong.com.cn/English/index.asp waterproof membrane] or water-resistant describes objects unaffected by water or resisting water passage, or which are covered with a material t...

[http://www.yuhong.com.cn/English/index.asp waterproof membrane] or water-resistant describes objects unaffected by water or resisting water passage, or which are covered with a material that resists or does not allow water passage. Such items may be used in wet environments or under water. Waterproofing describes making an object waterproof or water-resistant.

The hulls of boats and ships were once waterproofed by applying tar or pitch. Modern items may be waterproofed by applying water-repellent coatings or by sealing seams with gaskets or O-rings.

In construction, a building or structure is waterproofed with the use of membranes to protect contents underneath or within as well as protecting structural integrity. The waterproofing of the building envelope in construction specifications is under '07 - Thermal and Moisture' protection and includes roofing material as well as waterproofing materials.

Waterproofing is used in reference to building structures (basements, decks, flat roofs, wet areas, etc.), watercraft, canvas, clothing and paper (e.g., milk and juice cartons).

[edit] Construction [http://www.yuhong.com.cn/English/product_single.asp?id=105 waterproof membrane]
A building or structure needs waterproofing as concrete itself will not be watertight on its own. The conventional system of waterproofing involves 'membranes'. This relies on the application of one or more layers of membrane (available in various materials: e.g., bitumen, silicate, PVC, HDPE, etc.) that act as a barrier between the water and the building structure, preventing the passage of water. However, the membrane system relies on exacting application, presenting difficulties. Problems with application or adherence to the substrate can lead to leakage.

Over the past two decades, the construction industry has had technological advances in waterproofing materials, moving from membrane sheet applications to integral waterproofing systems. Integral systems work within the matrix of a concrete structure, giving the concrete itself a waterproof quality. There are two main types of integral waterproofing systems: the hydrophilic and the hydrophobic systems. A hydrophilic system typically uses a crystallization technology that replaces the water in the concrete with insoluble crystals. Various brands available in the market claim similar properties, but not all can react with a wide range of cement hydration by-products, and thus require caution. Hydrophobic systems use fatty acids to block pores within the concrete, preventing water passage. Products have different performances.

Basement waterproof membrane
Water may enter a basement through various means including through joints, walls, or floors. Various basement waterproofing systems address these problems. There are many systems available of varying cost, effectiveness, and installation invasiveness.

Clothing waterproof membrane
Clothing waterproofing involves treatments made to clothing or products during or after the production process with the intent of providing some protection against exposure to water. The extent to which an item is protected will vary by length of exposure, washing, abrasion, water depth, water composition, salinity, chemical attack, and the treatment method. Some clothes can be made waterproof by applying a spray.

See also:
[http://www.yuhong.com.cn/English/product_single.asp?id=105 waterproof membrane]
[http://www.yuhong.com.cn/English/product_single.asp?id=30 waterproof coating]
[http://www.yuhong.com.cn/English/index.asp waterproof materials]

Hatchery

2008-07-20T02:42:46Z

MarkZhou: New page: Assynt Salmon [http://www.onelye.com/egsjj.htm Hatchery], near Inchnadamph in the Scottish Highlands.A hatchery is a facility where eggs are hatched under artificial conditions, especially...

Assynt Salmon [http://www.onelye.com/egsjj.htm Hatchery], near Inchnadamph in the Scottish Highlands.A hatchery is a facility where eggs are hatched under artificial conditions, especially those of fish or poultry. It may be used for ex-situ conservation purposes, i.e. to breed rare or endangered species under controlled conditions; alternatively, it may be for economic reasons (i.e. to enhance food supplies or fishery resources).

Contents
1 Fish hatcheries
2 Poultry hatcheries
3 See also
4 [http://www.onelye.com/egsjj.htm hatchery]
5 [http://www.onelye.com/egsjj.htm egg incubator]
6 [http://www.onelye.com/egsjj.htm chicken incubator]
7 [http://www.onelye.com/egsjj.htm incubator]

Fish hatcheries
Main article: Fish hatchery

Stripping eggsFish hatcheries are used to cultivate and breed a large number of fish in an enclosed environment. Fish farms use hatcheries to cultivate fish to sell for food, or ornamental purposes, eliminating the need to find the fish in the wild and even providing some species outside of their natural season. They raise the fish until they are ready to be eaten or sold to aquarium stores. Other hatcheries release the juvenile fish into a river, lake or the ocean to support commercial, tribal, or recreational fishing or to supplement the natural numbers of threatened or endangered species, a practice known as fish stocking.

Researchers have raised concerns about hatchery fish potentially breeding with wild fish. Hatchery fish may in some cases compete with wild fish. [1] In the United States and Canada, there have been several salmon and steelhead hatchery reform projects intended to reduce the possibility of negative impacts from hatchery programs. Most salmon and steelhead hatcheries are managed better and follow up to date management practices to ensure any risks are minimized.

Poultry hatcheries
Poultry hatcheries produce a majority of the birds consumed in the developed world including chickens, turkeys, ducks and some other minor bird species that are consumed. It is a multi billion dollar industry with highly regimented production systems used to maximize bird size verse feed consumed. Birds are produced and maintained under high density which makes production and harvesting more economical but can also generate problems such as the spread of pathogens, which can move very quickly through the population when animal densities are high. Poultry hatcheries generally start with artificially inseminated birds that lay eggs, the eggs are cleaned and shells are checked for soundness before putting them in the incubators. The incubators control temperature and humidity and turn the eggs until they hatch. Generally large numbers of eggs are produced at one time so that the resulting birds are uniform in size and can be harvested at the same time. Once the eggs hatch and the chicks are a few days old they are often beak-trimmed and or toe-clipped, this involves the removal of half of the top beak and the clipping of the toe ends. This is done to prevent the birds from harming each other while they are living in close proximity to each other. After these procedures they are moved to enclosed buildings to be raised until harvest.

Chicken incubator

2008-07-20T01:42:59Z

MarkZhou: New page: A [http://www.onelye.com/egsjj.htm Chicken incubator] is a business incubator dedicated to early-stage catering, retail and wholesale food businesses. Kitchen incubators are mostly found i...

A [http://www.onelye.com/egsjj.htm Chicken incubator] is a business incubator dedicated to early-stage catering, retail and wholesale food businesses. Kitchen incubators are mostly found in those countries with significant levels of food safety regulation where capital investment in commercial kitchen equipment can be prohibitive for a new business. By covering the capital cost of shared kitchen facilities which are lent on a timeslot basis to incubatees, the kitchen incubator enables a business to develop to the stage where it can invest in its own kitchen facilities.[1]

Chicken incubators share the wider business ideals operated within business incubators and will usually assist their tenants with business planning, access to finance, mentoring, and other business facilities.

Contents
1 Chef's Kitchens - Los Angeles, CA
2 External links
3 References
4 [http://www.onelye.com/egsjj.htm hatchery]
5 [http://www.onelye.com/egsjj.htm egg incubator]
6 [http://www.onelye.com/egsjj.htm chicken incubator]
7 [http://www.onelye.com/egsjj.htm incubator]

Chef's Kitchens - Los Angeles, CA

Chef's Kitchens - Los Angeles, CAChef's Kitchens is the original commercial kitchen incubator and was founded in 1984.[2] Their building comprises five health department licensed individual commercial kitchens that are rented out by the hour, and also used for cooking classes and film shoots.[3] All the kitchens were built from scratch and housed in a single building connected by a hallway. Since 1984 the company has changed it's name from a well-known catering company to a business that supports culinary incubators, or start-up food businesses. In the last couple of years, Chef's Kitchens has gone digital, making all of their information freely available online at www.ChefsKitchens.com.[4] They have included a "virtual tour" which has pictures of all the kitchens they rent out.[5] Their automated telephone system even reminds you to view the website before asking common questions.[6]

Many companies have used the policies and regulations that they have established over decades in business, such as a security deposit, liability insurance, food handler's certificate (such as ServSafe), and pricing. While their prices are now the standard in the commercial kitchen rental industry, many other small kitchens find it hard to rent out their single kitchens for such low rates ($16/hour as of 6-27-08).[7] Because of the demand, Chef's Kitchens lets tenants use the kitchens 24/7.

Stone carving

2008-07-20T01:06:42Z

MarkZhou: New page: [http://www.gardensculpture.com.cn/ Stone carving] is an ancient activity where pieces of rough natural stone are shaped by the controlled removal of stone. Owing to the permanence of the ...

[http://www.gardensculpture.com.cn/ Stone carving] is an ancient activity where pieces of rough natural stone are shaped by the controlled removal of stone. Owing to the permanence of the material, evidence can be found that even the earliest societies indulged in some form of stone work.

Work carried out by paleolithic societies to create flint tools is more often referred to as knapping. Stone carving that is done to produce lettering is more often referred to as lettering.

Stone carving differs from stone quarrying in that it is the act of shaping or incising the stone, whereas quarrying is the activity of acquiring useful stone, usually in blocks, from geological sources.

The term stone carving is of particular significance to sculptors being a reference to a particular way of producing sculpture, as opposed to modelling in clay or casting. The term also refers to the activity of masons in dressing stone blocks for use in architecture, building or civil engineering. It is also a phrase used by archaeologists, historians, and anthropologists to describe the activity involved in making some types of petroglyphs.

Contents
1 History
2 Stone sculpture
3 Stone carving considerations
4 Tools
5 See also

History
The oldest known works of representational art are stone carvings. Often marks carved into rock or petroglyphs will survive where painted work will not. Prehistoric Venus figurines such as the Venus of Berekhat Ram may be as old as 800,000 years, and are carved in stones such as tuff and limestone.

These earliest examples of stone carving are the result of hitting or scratching a softer stone with a harder one, although sometimes more resilient materials such as antlers are known to have been used for relatively soft stone. Another early technique was to use an abrasive that was rubbed on the stone to remove the unwanted area.

Prior to the discovery of steel by any culture, all stone carving was carried out by using an abrasion technique, following rough hewing of the stone block using hammers. The reason for this is that bronze, the hardest available metal until steel, is not hard enough to work any but the softest stone. The Ancient Greeks used the ductility of bronze to trap small granules of carborundum, that are naturally occurring on the island of Milos, thus making a very efficient file for abrading the stone.

The development of iron made possible stone carving tools, such as chisels, drills and saws made from steel, that were capable of being hardened and tempered to a state hard enough to cut stone without deforming, while not being so brittle as to shatter. Carving tools have changed little since then.

Modern, industrial, large quantity techniques still rely heavily on abrasion to cut and remove stone, although at a significantly faster rate with processes such as water erosion and diamond saw cutting.

One modern stone carving technique uses a new process. The technique of applying sudden high temperature to the surface. The expansion of the top surface due to the sudden increase in temperature causes it to break away. On a small scale Oxy-acetylene torches are used. on an industrial scale lasers are used. On a massive scale, carvings such as the Crazy Horse Memorial carved from the Harney Peak granite of Mount Rushmore and the Confederate Memorial Park in Albany, Georgia are produced using jet heat torches.

Stone sculpture

The Tang Dynasty Leshan Giant Buddha, near Leshan in Sichuan province, China. Construction began in 713, and was completed in 803, making it the largest stone-carved Buddha in the world.Carving stone into sculpture is an activity older than civilization itself. Prehistoric sculptures were usually human forms, such as the Venus of Willendorf and the faceless statues of the Cycladic cultures of ancient Greece. Later cultures devised animal, human-animal and abstract forms in stone. The earliest cultures used abrasive techniques, and modern technology employs pneumatic hammers and other devices. But for most of human history, sculptors used hammer and chisel as the basic tools for carving stone.

The process begins with the selection of a stone for carving. Some artists use the stone itself as inspiration; the Renaissance artist Michelangelo claimed that his job was to free the human form trapped inside the block. Other artists begin with a form already in mind and find a stone to compliment their vision. The sculptor may begin by forming a model in clay or wax, sketching the form of the statue on paper or drawing a general outline of the statue on the stone itself.

When s/he is ready to carve, the artist usually begins by knocking off large portions of unwanted stone. For this task s/he may select a point chisel, which is a long, hefty piece of steel with a point at one end and a broad striking surface at the other. A pitching tool may also be used at this early stage; which is a wedge-shaped chisel with a broad, flat edge. The pitching tool is useful for splitting the stone and removing large, unwanted chunks. The sculptor also selects a mallet, which is a hammer with a broad, barrel-shaped head. The artist places the point of the chisel or the edge of the pitching tool against a selected part of the stone, then swings the mallet at it with the strongest possible stroke. S/he must be careful to strike the end of the tool accurately; the smallest miscalculation can damage the sculptor's hand. When the mallet connects to the tool, energy is transferred along the tool, shattering the stone. Most sculptors work rhythmically, turning the tool with each blow so that the stone is removed quickly and evenly. This is the "roughing out" stage of the sculpting process.

A Chinese Northern Wei stone sarcophagus displaying the story of the filial grandson Yuan Gu, along with landscape art.Once the general shape of the statue has been determined, the sculptor uses other tools to refine the figure. A toothed chisel or claw chisel has multiple gouging surfaces which create parallel lines in the stone. These tools are generally used to add texture to the figure. An artist might mark out specific lines by using calipers to measure an area of stone to be addressed, and marking the removal area with pencil, charcoal or chalk. The stone carver generally uses a shallower stroke at this point in the process.

Eventually the sculptor has changed the stone from a rough block into the general shape of the finished statue. Tools called rasps and rifflers are then used to enhance the shape into its final form. A rasp is a flat, steel tool with a coarse surface. The sculptor uses broad, sweeping strokes to remove excess stone as small chips or dust. A riffler is a smaller variation of the rasp, which can be used to create details such a folds of clothing or locks of hair.

The final stage of the carving process is polishing. Sandpaper can be used as a first step in the polishing process, or sand cloth. Emery, a stone that is harder and rougher than the sculpture media, is also used in the finishing process. This abrading, or wearing away, brings out the color of the stone, reveals patterns in the surface and adds a sheen. Tin and iron oxides are often used to give the stone a highly reflective exterior.

Stone carving considerations
Soft stone such as chalk, soapstone, pumice and Tufa can be easily carved with found items such as harder stone or in the case of chalk even the fingernail. Limestones and marbles can be worked using abrasives and simple iron tools. Granite, basalt and some metamorphic stone is difficult to carve even with iron or steel tools; usually tungsten carbide tipped tools are used, although abrasives still work well. Modern techniques often use abrasives attached to machine tools to cut the stone.

Precious and semi-precious gemstones are also carved into delicate shapes for jewellery or larger items, and polished; this is sometimes referred to as lapidary, although strictly speaking lapidary refers to cutting and polishing alone.

When worked, some stones release dust that can damage lungs (silica crystals are usually to blame), so a respirator is sometimes needed.

Tools
Basic stone carving tools fall into three types:

Percussion tools — for hitting
such as mallets, axes, adzes, bouchards and toothed hammers.
Chisels — for cutting
such as lettering chisels, points, Pitching tools, and claw chisels.
chisels in turn may by hand held and hammered or pneumatic powered.
Abrasives — for erosion
[http://www.gardensculpture.com.cn/ bronze sculpture]
[http://www.gardensculpture.com.cn/ garden sculpture]
such as carborundum blocks, drills, saws, grinding and cutting wheels, water erosion machinery and dressing tools such as French and English drags.
More advanced processes use sudden, high temperature to shatter the stone.

such as laser cutting and jet torches.

The use of chisels for stone carving is possible in several different ways, two of them are:

The masons stroke
where a flat chisel is used at approximately 90 degrees to the surface in an organised sweep. It shatters the stone beneath it and each successive pass lowers the surface.
The lettering stroke
where the chisel is used along the surface at approximately 30 degrees to cut beneath the existing surface.

Garden sculpture

2008-07-19T23:44:03Z

MarkZhou: New page: A [http://www.gardensculpture.com.cn/ garden sculpture] is an outdoor garden dedicated to the presentation of sculpture, usually several permanently-sited works in durable materials in lan...

A [http://www.gardensculpture.com.cn/ garden sculpture] is an outdoor garden dedicated to the presentation of sculpture, usually several permanently-sited works in durable materials in landscaped surroundings.

A sculpture garden may be private, owned by a museum and accessible freely or for a fee, or public and accessible to all. Some cities own large numbers of public sculptures, some of which they may present together in city parks.

Exhibits range from individual, traditional sculptures to large site-specific installations.

See also
Toronto Sculpture Garden
Sculpture trail
Sensory garden
Earth art
Public art
Folly
Spirit of place
Site-specific art
List of sculpture parks
[http://www.gardensculpture.com.cn/ bronze sculpture]
[http://www.gardensculpture.com.cn/ stone carving]

Bronze sculpture

2008-07-19T23:16:54Z

MarkZhou: New page: [http://www.gardensculpture.com.cn/ Bronze sculpture] is the most popular metal for cast metal sculptures; a cast bronze sculpture is often called simply a "bronze". Common bronze alloys ...

[http://www.gardensculpture.com.cn/ Bronze sculpture] is the most popular metal for cast metal sculptures; a cast bronze sculpture is often called simply a "bronze".

Common bronze alloys have the unusual and desirable property of expanding slightly just before they set, thus filling the finest details of a mold. Their strength and lack of brittleness (ductility) is an advantage when figures in action are to be created, especially when compared to various ceramic or stone materials (see marble sculpture for several examples). These qualities allow the creation of extended figures, as in Jeté, or figures that have small cross sections in their support, such as the equestrian statue of Richard the Lionheart. Modern statuary bronze is 90% copper and 10% tin; older bronze alloys varied only slightly from this composition.[1]

But the value of the bronze for other uses is disadvantageous to the preservation of sculptures; few large ancient bronzes have survived, as many were melted down to make weapons or to create new sculptures commemorating the victors, while far more stone and ceramic works have come through the centuries, even if only in fragments.

Richard the Lionheart (Carlo Marochetti, 1860), outside Parliament, London, England.The great civilizations of the old world worked in bronze for art, from the time of the introduction of the alloy for edged weapons. The Greeks were the first to scale the figures up to life size. Few examples exist in good condition; one is the seawater-preserved bronze now called "The Victorious Athlete," which required painstaking efforts to bring it to its present state for museum display. Far more Roman bronze statues have survived. The ancient Chinese, from at least 1200BC, knew both lost-wax casting and section mould casting, and in the Shang dynasty created large ritual vessels covered with complex decoration which have survived in tombs. Over the long creative period of Egyptian dynastic art, small lost-wax bronze figurines were made in large numbers; several thousand of them have been conserved in museum collections. From these beginnings, bronze art has continued to flourish.

See also:[http://www.gardensculpture.com.cn/ garden sculpture] [http://www.gardensculpture.com.cn/ stone carving]

Catalogue design

2008-07-19T14:49:47Z

MarkZhou: New page: Catalogue Design is the practice of arranging media (communication technology) and content to help learners and teachers transfer knowledge most effectively. The process consists broadly o...

Catalogue Design is the practice of arranging media (communication technology) and content to help learners and teachers transfer knowledge most effectively. The process consists broadly of determining the current state of learner understanding, defining the end goal of instruction, and creating some media-based "intervention" to assist in the transition. Ideally the process is informed by pedagogically tested theories of learning and may take place in student-only, teacher-led or community-based settings. The outcome of this instruction may be directly observable and scientifically measured or completely hidden and assumed.

As a field, [http://www.shanghai-design.com/ Catalogue Design] is historically and traditionally rooted in cognitive and behavioural psychology. However, because it is not a regulated field, and therefore not well understood, the term 'Catalogue Design' has been co-opted by or confused with a variety of other ideologically-based and / or professional fields. Catalogue Design, for example, is not Graphic Design although graphic design (from a cognitive perspective) could play an important role in Catalogue Design. Preparing instructional text by E. Misanchuk, and publications by James Hartley are useful in informing the distinction between Catalogue Design and Graphic Design.

Contents
1 History
2 Cognitive load theory and the design of instruction
3 Learning Design
4 Catalogue Design models
5 Influential researchers and theorists
6 See also
7 External links
8 References

History
Much of the foundation of the field of Catalogue Design was laid in World War II, when the U.S. military faced the need to rapidly train large numbers of people to perform complex technical tasks, from field-stripping a carbine to navigating across the ocean to building a bomber —see "Training Within Industry (TWI)". Drawing on the research and theories of B.F. Skinner on operant conditioning, training programs focused on observable behaviors. Tasks were broken down into subtasks, and each subtask treated as a separate learning goal. Training was designed to reward correct performance and remediate incorrect performance. Mastery was assumed to be possible for every learner, given enough repetition and feedback. After the war, the success of the wartime training model was replicated in business and industrial training, and to a lesser extent in the primary and secondary classroom.[1]

In 1955 Benjamin Bloom published an influential taxonomy of what he termed the three domains of learning: Cognitive (what we know or think), Psychomotor (what we do, physically) and Affective (what we feel, or what attitudes we have). These taxonomies still influence the design of instruction.[2]

During the latter half of the 20th century, learning theories began to be influenced by the growth of digital computers.

In the 1970s, many [http://www.shanghai-design.com/ Catalogue Design] theorists began to adopt an "information-processing" approach to the design of instruction. David Merrill for instance developed Component Display Theory (CDT). Component Display Theory concentrates on the means of presenting instructional materials (presentation techniques).[3]

Later in the 1980s and throughout the 1990s cognitive load theory began to find empirical support for a variety of presentation techniques.[4]

Cognitive load theory and the design of instruction
Cognitive load theory developed out of several empirical studies of learners, as they interacted with instructional materials.[5] Sweller and his associates began to measure the effects of working memory load, and found that the format of instructional materials has a direct effect, on the performance of the learners using those materials.[6][7][8]

While the media debates of the 1990s focused on the influences of media on learning, cognitive load effects were being documented in several journals. Rather than attempting to substantiate the use of media, these cognitive load learning effects provided an empirical basis for the use of instructional strategies. Mayer asked the Catalogue Design community to reassess the media debate, to refocus their attention on what was most important – learning.[9]

By the mid to late 1990s, Sweller and his associates had discovered several learning effects related to cognitive load and the design of instruction (e.g. the Split attention effect, redundancy effect, and the worked-example effect). Later, other researchers like Richard Mayer began to attribute learning effects to cognitive load.[9] Mayer and his associates soon developed a Cognitive Theory of Multimedia Learning.[10][11][12]

In the past decade, Cognitive load theory has begun to be internationally accepted[13] and begun to revolutionize how Catalogue Designers view instruction. Recently, Human performance experts have even taken notice of cognitive load and begun to promote this theory base as the Science of Instruction, with Catalogue Designers as the practitioners of this field.[14] Finally Clark, Nguyen and Sweller[15] published a textbook describing how Catalogue Designers can promote efficient learning using evidence based guidelines of Cognitive load theory.

Learning Design
The IMS Learning Design[16] specification supports the use of a wide range of pedagogies in online learning. Rather than attempting to capture the specifics of many pedagogies, it does this by providing a generic and flexible language. This language is designed to enable many different pedagogies to be expressed. The approach has the advantage over alternatives in that only one set of learning design and runtime tools then need to be implemented in order to support the desired wide range of pedagogies. The language was originally developed at the Open University of the Netherlands (OUNL), after extensive examination and comparison of a wide range of pedagogical approaches and their associated learning activities, and several iterations of the developing language to obtain a good balance between generality and pedagogic expressiveness.

A criticism of Learning Design theory is that learning is an outcome. While instructional theory Catalogue Design focuses on outcomes, while properly accounting for a multi-variate context that can only be predictive, it acknowledges that (given the variabilities in human capability) a guarantee of reliable learning outcomes is improbable. We can only design instruction. We cannot design learning (an outcome). Automotive engineers can design a car that, under specific conditions, will achieve 50 miles per gallon. These engineers cannot guarantee that drivers of the cars they design will (or have the capability to) operate these vehicles according to the specific conditions prescribed. The former is the metaphor for Catalogue Design. The latter is the metaphor for Learning Design.

Catalogue Design models
Perhaps the most common model used for creating instructional materials is the ADDIE Model. This acronym stands for the 5 phases contained in the model:

Analyze - analyze learner characteristics, task to be learned, etc.
Design - develop learning objectives, choose an instructional approach
Develop - create instructional or training materials
Implement - deliver or distribute the instructional materials
Evaluate - make sure the materials achieved the desired goals
Most of the current Catalogue Design models are variations of the ADDIE model. A sometimes utilized adaptation to this model is in a practice known as rapid prototyping.

But even Rapid Prototyping is considered a somewhat simplistic type of model. At the heart of Catalogue Design is the analysis phase. After you thoroughly conduct the analysis--you can then choose a model based on your findings. That is the area where most people get snagged--they simply do not do a thorough enough analysis. (Part of Article By Chris Bressi on LinkedIn)

Proponents suggest that through an iterative process the verification of the design documents saves time and money by catching problems while they are still easy to fix. This approach is not novel to the design of instruction, but appears in many design-related domains including software design, architecture, transportation planning, product development, message design, user experience design, etc.[17] [18]

Some other useful models of Catalogue Design include: the Dick/Carey Model, the Smith/Ragan Model, the Morrison/Ross/Kemp Model.

Instructional theories also play an important role in the design of instructional materials. Theories such as behaviorism, constructivism, social learning and cognitivism help shape and define the outcome of instructional materials.

Influential researchers and theorists
Lev Vygotsky - Learning as a social activity - 1930s
B.F. Skinner - Radical Behaviorism, Program Teaching - late 1930s-
Benjamin Bloom - Taxonomies of the cognitive, affective, and psychomotor domains - 1955
R.F. Mager - ABCD model for instructional objectives - 1962
Jean Piaget - Cognitive development - 1960s
Seymour Papert - Constructionism, LOGO - 1970s
Robert M. Gagné - Nine Events of Instruction - 1970s
Jerome Bruner - Constructivism
Dick, W. & Carey, L. "The Systematic Design of Instruction" - 1978
Michael Simonson - Instructional Systems and Design via Distance Education - 1980s
M. David Merrill and Charles Reigeluth - Elaboration Theory / Component Display Theory / PEAnets - 1980s
Robert Heinich, Michael Molenda, James Russell - Instructional Media and the new technologies of instruction 3rd ed. - Educational Technology - 1989
Roger Schank - Constructivist simulations - 1990s
David Jonassen - Cognitivist problem-solving strategies - 1990s
Ruth Clark - Theories on Catalogue Design and technical training - 1990s
Charles Graham and Curtis Bonk - Blended learning - 2000s

Carbide cutting tools

2008-07-19T13:42:01Z

MarkZhou: New page: In the context of metalworking, a [http://www.betterwin.cn/gardentool/ carbide cutting tools], is any tool that is used to remove metal from the workpiece by means of shear deformation. It...

In the context of metalworking, a [http://www.betterwin.cn/gardentool/ carbide cutting tools], is any tool that is used to remove metal from the workpiece by means of shear deformation. It frequently refers to as a tool bit. In order to perform a long time, cutting tools must be made of a material harder than the material which is to be cut, and the tool must be able to withstand the heat generated in the metal cutting process. Also, the tool must have a specific geometry, designed so that the cutting edge can contact the workpiece without the rest of the tool dragging on the surface of the piece part surface. The angle of the cutting face is also important as is the flute width, tool margin and tool material.

A sampling of several types of carbide cutting tools.

Broach
Endmill
Reamer
Drill bit
Tool bit (used in a lathe, flycutter, shaper or planer)
Countersink
Diamond Blade
Diamond tools
Turning Tools

Bellows

2008-07-19T06:26:57Z

MarkZhou: New page: A [http://www.sh-bellows.com/ bellows] is a device for delivering pressurized air in a controlled quantity to a controlled location. Basically, a bellows is a deformable container which ha...

A [http://www.sh-bellows.com/ bellows] is a device for delivering pressurized air in a controlled quantity to a controlled location. Basically, a bellows is a deformable container which has an outlet nozzle. When the volume of the bellows is decreased, the air escapes through the outlet. A bellows typically also has a separate inlet and valves or flaps for ensuring that air enters only through the inlet and exits only through the outlet.