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Educational animation

Educational animations are animations produced for the specific purpose of fostering learning. It is associated with educational technology with the way it supports teaching and learning through the use of technological tools to facilitate learning and to improve performance.

Background
The popularity of using animations to help learners understand and remember information has greatly increased since the advent of powerful graphics-oriented computers. This technology allows animations to be produced much more easily and cheaply than in former years. Previously, traditional animation required specialised labour-intensive techniques that were both time-consuming and expensive. In contrast, software is now available that makes it possible for individual educators to author their own animations without the need for specialist expertise. Teachers are no longer limited to relying on static graphics but can readily convert them into educational animations.

Animations for education
Educators are enthusiastically taking up the opportunities that computer animation offers for depicting dynamic content. For example, PowerPoint now has an easy-to-use animation facility that, in the right hands, can produce very effective educational animations. Because animations can explicitly depict changes over time (temporal changes), they seem ideally suited to the teaching of processes and procedures. When used to present dynamic content, animations can mirror both the changes in position (translation), and the changes in form (transformation) that are fundamental to learning this type of subject matter.

In contrast with static pictures, animations can show temporal change directly (rather than having to indicate it indirectly using auxiliary markings such as arrows and motion lines). Using animations instead of static graphics removes the need for these added markings so that displays can be not only simpler and less cluttered, but also more vivid, engaging, and more intuitively comprehended. In addition, the learner does not have to interpret the auxiliary markings and try to infer the changes that they summarise. Such interpretation and inference may demand a level of graphicacy skills that the learner does not possess. With animated depictions, information about the changes involved is available to be read straight from the display without the learner needing to perform mental animation. It's a bit of an exaggeration, but it's more like being kissed instead of reading about a kiss.

Research evidence about the educational effectiveness of animations is mixed. Various investigations have compared the educational effectiveness of static and animated displays across a number of content domains. While there have been some findings that show positive effects of animations on learning, other studies have found no effects or even negative effects. Some propose that the efficacy depends on the way the animation characteristics engages the psychological functioning of the learner. In general, it can be concluded that animations are not intrinsically more effective than static graphics. Rather, the particular characteristics of individual animations and how they are used to play a key role in the effects that they have on learning.

Do animations make learning faster?
Well-designed animations may help students learn faster and easier. They are also excellent aid to teachers when it comes to explaining difficult subjects. The difficulty of subjects may arise due to the involvement of mathematics or imagination. For instance, the electric current is invisible. The operation of electric circuits is difficult for students to understand at the beginning. With the aid of computer animations, learning and teaching might become easier, faster and amusing. According to V.M. Williamson and M.R. Abraham, animation helps students learn in two ways. It facilitates the creation of mental representations of concepts, phenomenon, and processes and it also replaces difficult cognitive processes (e.g. abstraction, imagination). There are also studies that revealed that learning is facilitated as animation create positive attitude among the learners, leading to positive learning outcomes.

Educational effectiveness
Animations may lack educational effectiveness if target learners can't process the presented information adequately. For example, it seems that when the subject matter is complex, learners may be overwhelmed by animated presentations. This is related to the role of visual perception and cognition in human information processing. Our human perceptual and cognitive systems have limited capacities for processing information. If these limits are exceeded, learning may be compromised. For example, the pace at which the animation presents its information may exceed the speed at which the learner can process it effectively. The accompanying animation (part of a pumping system) is problematic for this reason. But the solution is obvious: slow the animation down and accompany it with a written explanation. It is unlikely that superior learning is achieved by thoughtlessly substituting animation for a static graphic but by having it accompany textual explication. Another suggestion for addressing such problems is to provide user control for the learner over how the animation plays. User controllable animations allow learners to vary aspects such as the playing speed and direction, labels and audio commentary to suit themselves.

Perceptual salience versus thematic relevance
Complexity of the subject matter may not be the only reason for difficulties that learners sometimes have with animations. It seems that problems can also arise from the perceptual effects of such presentations. In a poorly designed animation, the information that learners notice most readily in the animation may not be the information that is of greatest importance. Conversely, information that is relatively inconspicuous may be very important.

Obviously, perceptibility of information does not necessarily correspond with its actual relevance to the learning task to be performed. Features of the animated display that are most conspicuous because of their contrast with the rest of the display are not always the best place for learners to direct their attention. In other words, there can be a poor correspondence between the perceptual salience ('noticeability') of a feature and its thematic relevance, and an accompanying text is needed to correct this.

This correspondence problem can occur with both static and animated graphics. On a purely perceptual level, our attention tends to be attracted by some parts of a static display more than by other parts due to their visuospatial properties. For example, an object that is centrally placed, relatively large, unusually shaped, and of a sharply contrasting colour or texture is likely to 'jump out' of the display so that we notice it very easily. Other items in the display may receive correspondingly less attention as a result. Well-designed static educational graphics take advantage of these perceptual effects. They manipulate the characteristics of the display in order to direct learner attention to the most relevant information. This helps to ensure that the learner will extract the required information from the display. There is a problem in the design of the animation shown above in this respect. Unfortunately, there are many 'educational' graphics being produced that fail to provide learners with sufficient support of this type. Designers of animation need to take such consideration into account.

Dynamic contrast
The correspondence problems due to perceptual characteristics of a display are compounded when we go from a static to an animated graphic. Because of their dynamic character, educational animations introduce a further challenge to information extraction beyond those found with static graphics. Certain aspects of a display that changes over time have the potential to capture learner attention. If there is sufficient dynamic contrast between one or more items in the display and their surroundings, the effect can be very compelling in a perceptual sense. It seems that a fundamental level, our perceptual system is attuned to detect and follow such changes, irrespective of their importance in terms of the subject matter. As with static displays discussed above, items that are perceptually compelling (in this case because of their dynamic character) may not necessarily be of great thematic relevance to the given learning task. The big orange float in the accompanying animation is far more perceptible than the small grey air valve because of both its visuospatial characteristics, and its high level of dynamic contrast with the rest of the display.

The misleading effects of the dynamic contrast are likely to be particularly problematic for learners who lack background knowledge in the content domain depicted in an animation. These learners can be largely in the thrall of the animation's raw perceptual effects and so tend to process the presented information in a bottom-up manner. For example, their attention within the display is likely to be directed to items that have conspicuous dynamic characteristics. As a result, there is a danger that they will attend to unimportant information merely because it is perceptually compelling. However, learners who already have considerable domain specific background knowledge are likely to be less influenced by perception alone. This is because their attention is also directed to a considerable extent by their knowledge of which aspects of the subject matter are of most relevance (irrespective of their perceptibility). As a result, their processing of information in the display has a more top-down character. In the pumping system animation example, the air valve would be noticed by those who are already familiar with pumps in general because their existing background knowledge would put them on the lookout for crucial (but visually insignificant) parts of the mechanism.

title: Educational animation


text:
Uranium metallurgy

In materials science and materials engineering, uranium metallurgy is the study of the physical and chemical behavior of uranium and its alloys.

Commercial-grade uranium can be produced through the reduction of uranium halides with alkali or alkaline earth metals. Uranium metal can also be made through electrolysis of KUF5 or UF4, dissolved in a molten CaCl2 and NaCl. Very pure uranium can be produced through the thermal decomposition of uranium halides on a hot filament.

The uranium isotope 235U is used as the fuel for nuclear reactors and nuclear weapons. It is the only isotope existing in nature to any appreciable extent that is fissile, that is, fissionable by thermal neutrons. The isotope 238U is also important because it absorbs neutrons to produce a radioactive isotope that subsequently decays to the isotope 239Pu (plutonium), which also is fissile. Uranium in its natural state comprises just 0.71% 235U and 99.3% 238U, and the main focus of uranium metallurgy is the enrichment of uranium through isotope separation.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Uranium metallurgy


text:
User talk:Mystery666

No More Vandalism, Please
Please stop adding nonsense to Wikipedia. It is considered vandalism. If you would like to experiment, use the sandbox. Thank you. Your edits to the article Bullet For My Valentine have been removed. Niall Jackson 19:42, 3 January 2006 (UTC)

title: User talk:Mystery666


text:
File:Burlington house by JW Archer 1855.JPG

Summary
The forecourt of Burlington House in London as drawn by JW Archer in 1855.


text:
WalkSAT

In computer science, GSAT and WalkSAT are local search algorithms to solve Boolean satisfiability problems.

Both algorithms work on formulae in Boolean logic that are in, or have been converted into conjunctive normal form. They start by assigning a random value to each variable in the formula. If the assignment satisfies all clauses, the algorithm terminates, returning the assignment. Otherwise, a variable is flipped and the above is then repeated until all the clauses are satisfied. WalkSAT and GSAT differ in the methods used to select which variable to flip.

 * GSAT makes the change which minimizes the number of unsatisfied clauses in the new assignment, or with some probability picks a variable at random.
 * WalkSAT first picks a clause which is unsatisfied by the current assignment, then flips a variable within that clause. The clause is picked at random among unsatisfied clauses. The variable is picked that will result in the fewest previously satisfied clauses becoming unsatisfied, with some probability of picking one of the variables at random. When picking at random, WalkSAT is guaranteed at least a chance of one out of the number of variables in the clause of fixing a currently incorrect assignment. When picking a guessed-to-be-optimal variable, WalkSAT has to do less calculation than GSAT because it is considering fewer possibilities.

Both algorithms may restart with a new random assignment if no solution has been found for too long, as a way of getting out of local minima of numbers of unsatisfied clauses.

Many versions of GSAT and WalkSAT exist. WalkSAT has been proven particularly useful in solving satisfiability problems produced by conversion from automated planning problems. The approach to planning that converts planning problems into Boolean satisfiability problems is called satplan.

MaxWalkSAT is a variant of WalkSAT designed to solve the weighted satisfiability problem, in which each clause has associated with a weight, and the goal is to find an assignment—one which may or may not satisfy the entire formula—that maximizes the total weight of the clauses satisfied by that assignment.

title: WalkSAT


text:
Arief Budiman

Arief Budiman, born Soe Hok Djin (3 January 1940 – 23 April 2020) was a Chinese Indonesian sociologist, cultural critic, and social activist.

Biography
Budiman was born Soe Hok Djin on 3 January, 1940. His father, Soe Lie Piet, was a writer and magazine editor, and his younger brother Soe Hok Gie was a social activist. He graduated from Kolese Kanisius, a Jesuit high school, and then Universitas Indonesia where he earned a bachelor's degree in psychology in 1968. In 1980, he earned his Ph.D. in sociology from Harvard University, United States. He was a lecturer at the Universitas Kristen Satya Wacana, Salatiga, Indonesia until 1996. From 1997 for about 10 years, he was a professor of Indonesian studies in University of Melbourne, Australia.

He was a vocal critic of Indonesian politics. For example, he is quoted in Adam Schwarz's book A Nation in Waiting (1994 edition) as having elucidated the following analysis of third-world democracy in 1992, while Suharto was still in power:

"The first is what I would call loan democracy. This democracy exists when the state is very strong so it can afford to be criticised. A sort of democratic space then emerges in which people can express their opinions freely. However, when the state thinks the criticism has gone too far, it will simply take back the democracy that it has only lent. The people have no power to resist. There is, second, limited democracy. This democracy exists only when there is a conflict among the state elites ... People can criticise one faction of the 'powers that be' and be protected by the opposite faction ... However, when the conflict within the elite is over, this democratic space will probably disappear also."

On 23 April 2020, Budiman died of Parkinson's disease.

Works

 * Co-author with Richard Dobbs, Raoul Oberman, Fraser Thompson and Morten Rosse (2012) The archipelago economy: Unleashing Indonesia's potential. KcKinset Global Institute.
 * As an editor with Damien Kingsbury and Barbara Hatley (1999) Reformasi: Crisis and Change in Indonesia. Centre for Southeast Asian Studies, Monash University.
 * As editor with Damien Kingsbury (2001) Indonesia: the uncertain transition Hindmarsh, S. Aust. Crawford House. ISBN 1-86333-208-1

title: Arief Budiman


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All Live and All of the Night

All Live and All of the Night is the second live album by English rock band the Stranglers, released on 8 February 1988 by Epic Records. The release peaked at No. 12 in the UK Albums Chart in March 1988.

Background
By 1986, the band were onto their ninth studio album, Dreamtime, and had added a horn section to the live presentation. Although there had been demand for a new live album for some time, contractual obligations to their former record label EMI had prevented them from releasing any live recordings of their earlier material until 1987, making All Live and All of the Night their first live album to be released since 1979's Live (X Cert).

The concerts from which tracks were taken, span the period from April 1985 to August 1987. The live recording of "All Day and All of the Night" was dropped in favour of a "live" version specially recorded in the studio, as the true live recording was not considered to be up to the desired quality for this album.

Critical reception
In a retrospective review, AllMusic's Alex Ogg gave the album three stars out of five, writing, "While not as good as Live (X Cert), the Stranglers' live album it bookends, this does have some things to recommend it. First, it was recorded a decade down the line and was able to draw from a wellspring of generally excellent material. Secondly, at this stage in their career, the Stranglers remained just about relevant, and were still a robust live act." Ira Robbins of Trouser Press wrote, "Despite their recent wimpo work, onstage — banging out such classics as "London Lady," "Nice 'n' Sleazy" and "No More Heroes" with a horn section — they can convincingly revive the grungy electric power we used to know and love. ... fortunately, these concert renditions improve on the songs, providing them with a little context."

2001 CD reissue bonus tracks
The 2001 reissue omits the studio version of "All Day and All of the Night".

Recording information

 * Live sets recorded at: Le Zénith, Paris, 29 April 1985; Hammersmith Odeon, London, 31 March 1987; The Reading Festival, 30 August 1987.
 * Japanese bonus tracks recorded at: The Palais des Sports, Orléans, 28 April 1985 (tracks 14, 15) ; The Reading Festival, 30 August 1987 (track 16) ; Alexandra Palace, London, 11 August 1990 (tracks 17-19).
 * 2001 bonus tracks recorded at: The Palais Des Sports, Orléans, 28 April 1985; St George's Hall, Bradford, 2 March 1990; Guildford Civic Hall, Guildford, 19 March 1990; Alexandra Palace, London, 11 August 1990.

Personnel
Credits adapted from the album's liner notes.

 * The Stranglers
 * Hugh Cornwell – guitar, lead and backing vocals
 * Jean-Jacques Burnel – bass, lead and backing vocals
 * Dave Greenfield – keyboards, backing vocals
 * Jet Black – drums, percussion

 * Additional musicians
 * Alex Gifford - saxophone, backing vocals
 * Chris Lawrence - trombone, backing vocals
 * Jason Votier - trumpet, backing vocals
 * Technical
 * The Stranglers – production
 * Ted Hayton – production, mixing
 * Jet Black – mixing
 * Mick McKenna – recording engineer (The Rolling Stones Mobile, Paris)
 * Andy Rose – recording engineer (The Fleetwood Mobile, London)
 * Martin Colley – recording engineer (The BBC Mobile, Reading)
 * Jean Luke Epstein (Graphyk) – album sleeve
 * Nik Yeomans – front and back cover photography
 * Malcolm Heywood – centre photo
 * Pennie Smith – original S.I.S. photo
 * Ray Bracey – airbrushing

title: All Live and All of the Night


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User talk:Ogai

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! But obviously you don't need the advice :)Lectonar 09:11, 7 October 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

title: User talk:Ogai


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Iruvar

Iruvar is a 1997 Indian Tamil-language epic political drama film co-written, produced, and directed by Mani Ratnam. The film, inspired by the lives of M. G. Ramachandran, M. Karunanidhi and J. Jayalalithaa, is set against the backdrop of cinema and politics in Tamil Nadu. It stars an ensemble cast including Mohanlal, Prakash Raj, Aishwarya Rai, Revathi, Gautami, Tabu, and Nassar. Rai, who was crowned Miss World 1994, made her first screen appearance, playing dual characters.

The high-budget film had its original soundtrack composed by A. R. Rahman, and the cinematography was by Santosh Sivan. This film marked Mohanlal's debut in Tamil cinema after having only a cameo in Gopura Vasalile.

The film was screened in the Masters section at the 1997 Toronto International Film Festival. Iruvar went on to become a critical success, winning the Best Film award at the Belgrade International Film Festival and two National Film Awards. In 2012, Iruvar was included by critic Rachel Dwyer in the 2012 British Film Institute Sight & Sound 1000 greatest films of all time. In a 2013 interview, Ratnam said he considered Iruvar to be his best film. It used DTS 6 track sound recording.

Plot
In the late 1940s, Anandan, an aspiring actor, goes around studios in Madras trying to land roles. He meets Tamizhselvan, a rationalist writer he respects, steeped in Dravidian ideas. On the strength of Tamizhselvan's flowery writing and his own impassioned delivery, he is offered the title role in a few films.

Tamizhselvan introduces Anandan to Ayya Veluthambi, who leads a Dravidian political party. He grows to like the party's ideology. Anandan marries Pushpavalli, while Tamizhselvan marries Maragatham, from their respective villages. When the two return to Madras, Anandan's film has been cancelled due to financial difficulties. In a few months, Tamizhselvan's party becomes the main opposition party. Anandan is reduced to playing minor roles. He sends Pushpavalli back to their village and considers joining the army. A few days later, Pushpavalli dies from illness and Tamizhselvan consoles a despondent Anandan.

Weeks later, Anandan's fortunes return, and he is again offered the part of the protagonist. He convinces the director to hire Tamizhselvan as screenwriter. The film receives tremendous response upon release. Anandan becomes a celebrity and a major star in Tamil Cinema within a few years. During the next elections, Tamizhselvan encourages Anandan to use his popularity to help their party attract more attention. Anandan marries fellow actress Ramani who was being tortured by her own family. Five years later, Ayya Veluthambi asks Anandan to contest in the upcoming elections, much to the displeasure of Tamizhselvan, who thinks other, more devoted workers deserve candidacy.

Anandan is shot in neck by a prop gun while filming a scene, but the party sweeps elections, with 152 seats out of 234. Ayya Veluthambi refuses to become chief minister. He asks Anandan and another leader, Madhivannan, to decide who should be given the post. Tamizhselvan is resentful that Veluthambi did not involve him, but is chosen to be the chief minister of Tamil Nadu with Anandan's wholehearted support. Anandan later asks to be made the health minister, but Tamizhselvan refuses, on the pretext that the executive committee forbids ministers to continue acting while in office. He offers Anandan any portfolio of his choice on the condition that he suspend his acting career. Anandan does not take it up.

Senthamarai, who had admired Tamizhselvan's daring protests, moves in with him when he writes her a poetic letter and has a daughter with him. Anandan's co-star in his new film is Kalpana who resembles his late wife. While initially distant, Kalpana's chattiness draws Anandan to her. But still married to Ramani, his indecision about another marriage, angers Kalpana because of which she leaves him.

In a memorial function on Ayya Veluthambi's death, Anandan claims party's corruption in governance was the cause of death of the former. Anandan's expulsion by Tamizhselvan splits the party, with several members creating a new one under Anandan's leadership.

Anandan uses next four years for his popular films to highlight corruption in Tamizhselvan's government and storms to power in the next election with 145/234 seats. But his governance turns out to be no different. Tamizhselvan's eloquent diatribes against misgovernance spark protests and Anandan orders his arrest with a heavy heart. Meanwhile, Anandan sees Kalpana at a disaster relief site and asks her to be brought. The car bringing her meets an accident and Kalpana dies.

Anandan is distraught over Kalpana's death. At the wedding of Ayya Veluthambi's granddaughter, a visibly ailing Anandan meets Tamizhselvan. They share a handshake but hardly talk. The next morning, Ramani finds Anandan dead in his bed. Tamizhselvan, in an emotional monologue set in a place where the two had previously planned dominating the Tamil state, recites poetry mourning his death.

Development
In October 1995, Mani Ratnam announced that he was set to make a feature film titled Anandan featuring dialogue written by his wife Suhasini and starring Mohanlal, Nana Patekar, and Aishwarya Rai. Initial speculation suggested that the film would visualise the duel between Velupillai Prabhakaran and his former Liberation Tigers of Tamil Eelam deputy Mahattaya, who was executed in 1995 for an alleged plot to kill his mentor, with Aishwarya Rai reported to be playing Indira Gandhi. Mani Ratnam was quick to deny any political backdrop claiming that the film would be about the Indian movie industry; however, this proved to bluff the public as the film was to be set within a political canvas. The film was later retitled Iruvar (The Duo). The idea to make a film on the lives of 1980s Tamil Nadu political icons M. G. Ramachandran and M. Karunanidhi and their influential relationship between Tamil cinema and Dravidian politics was sparked off by a conversation Mani Ratnam had with renowned Malayalam author, M. T. Vasudevan Nair.

Casting
When interviewed about the difficulties of casting, Mani Ratnam revealed he "struggled" citing that casting "is most important as far as performance is concerned" and that "fifty per cent of the job is done if you cast correctly". Mohanlal was approached to play Anandan, a character inspired by M. G. Ramachandran and about his performance in the film, Ratnam claimed that Mohanlal had "the ability to make everything absolutely realistic with the least amount of effort". He described that debutant Aishwarya Rai, the former Miss World beauty pageant winner, who appeared in two different characters—one inspired by actress-politician J. Jayalalithaa—as a "tremendous dancer" and as "having a lot of potential". The director revealed that the only difficulty Mohanlal and Rai had was the language, with both being non-Tamil speakers, adding that the pair had to work hard over the dubbing trying to get as close to the Tamil tongue as possible. Tabu was also signed to play an important role in the film and shot for Iruvar alongside her Tamil debut film, Kadhal Desam.

The actor to play the role of Tamizhselvan, inspired by Karunanidhi, took substantially longer to finalise with the initial choice, Nana Patekar, withdrawing after several discussions about his remuneration. Later, Mammootty was offered the role but declined, as did Kamal Haasan and Sathyaraj. Negotiations with R. Sarathkumar failed as he demanded a higher remuneration, and Mithun Chakraborty declined as the required looks would have affected his other film commitments. Arvind Swamy was later signed on, but soon opted out after a look test, as he could not cut his hair for the role, which would have caused continuity problems for his commitment to Minsara Kanavu and Pudhayal (1997). Ratnam called R. Madhavan, then a small-time model, for the screen test, but left him out of the project citing that he thought his eyes looked too young for a senior role. Subsequently, Prakash Raj, who had played a small role in Ratnam's Bombay (1995), was signed up. Prakash Raj initially told Ratnam that he was unprepared to essay such a delicate role on such short notice, with Prakash Raj later revealing that Ratnam nurtured the character and brought self-confidence into the actor.

Filming
The film was shot across in 1996 and schedules were canned all across India from Kerala to Leh with Mohanlal stating that it was the longest duration he had shot for a film. To ensure perfection, Ratnam made Prakash Raj take 25 takes for his first shot, lasting over six hours. After the shooting for Iruvar was completed, Mani Ratnam asked Prakash Raj to dub in Tamil himself for the first time, with his work taking four days to complete.

Soundtrack
The soundtrack was composed by A. R. Rahman with lyrics by Vairamuthu. It has songs ranging from pure Carnatic to Tamil folk and jazz. Rahman blended two Carnatic ragas—Naatai and Ghambeera Naatai—in "Narumugaye". "Vennila Vennila" and "Hello Mister Edhirkatchi" are based on jazz music. Rahman sampled Dave Grusin's "Memphis Stomp" for the intro of "Hello Mister Edhirkatchi". "Udal Mannukku" and "Unnodu Naan Irundha" were recitals by Arvind Swamy. Vishwa Mohan Bhatt also worked on the album, playing the Mohan veena upon Rahman's invitation.

Release
The censors saw the film on 31 December 1996 and opined that various characters in the film reflected the personal lives of some politicians and accordingly a certificate was denied. Following the producer's protest, it was seen by an eight-member revising committee on 2 January 1997 which suggested deletion of some objectionable portions and cleared the film for U/A certification. Four dialogues from the film were subsequently cut. However the objected scenes were muted with a background playing rather than a complete muting of the scenes.

Two days before the release of the film, Dravidar Kazhagam president K. Veeramani threatened to mobilise public opinion against its screening in theatres, because he felt that it contained "objectionable" footage denigrating the Dravidian movement founded by Periyar. The politician threatened legal action, if the film was screened in theatres without removing what he perceived as the "offending" portion, but Mani Ratnam dismissed that Veeramani was making rushed conclusions without having seen the film. The film's box office performance was also hampered by the fallout from the FEFSI strike of 1997.

A month after release in February 1997, the regional chief of the censor board G. Rajasekaran brought up the issue again and referred the film to the Indian Home Office for "advice", threatening that if more scenes were not deleted, it might ultimately, lead to a law and order problem. The film was dubbed in Telugu under the title Iddaru and in Malayalam under the same name.

Reception
The film received positive reviews from critics including by reviewers in Kalki, The Hindu, and the Edmonton Sun.

Controversy
Both M. Karunanidhi and J. Jayalalithaa denied the relevance of the film to their lives and never admitted to the film being a biopic.

Legacy
Mani Ratnam named Iruvar as his best film in an interview with critic Baradwaj Rangan. Rangan also named the film the best work of Mani Ratnam, in his list “All Mani Ratnam Movies Ranked”.

The film was also noted for its vignette style of making, with many single-shot scenes, where a fluid camera setup captures the entire action.

Accolades

 * National Film Awards 1997
 * Best Supporting Actor – Prakash Raj
 * Best Cinematography – Santosh Sivan

 * International honours
 * Belgrade International Film Festival – Best Film in the Festival of the Auteur Films
 * Toronto International Film Festival – Masters section

title: Iruvar


text:
Melvyl

Melvyl was the name of the online catalog of the University of California's library system. The Melvyl union catalog was produced by the California Digital Library — a unit within the department of Academic Planning, Programs, and Coordination at the UC Office of the President in downtown Oakland, California. Melvyl was named after Melvil Dewey, the library pioneer who invented the Dewey Decimal System. Melvyl was supported by the OCLC's WorldCat Local platform, which was retired in July 2021.

Overview
The Melvyl database contained over 30 million records from the:

 * ten University of California campuses,
 * two University of California library storage facilities, the Southern Regional Library Facility (SRLF) and the Northern Regional Library Facility (NRLF),
 * and the Center for Research Libraries.

Melvyl is a registered trademark owned by the Regents of the University of California.

History
Melvyl began as a library automation system in 1977. Merging MARC records from the UC campuses into a union catalog was first done in a microfiche format. Online access began in 1980 as a prototype for library staff. In 1981, library patrons were able to access an online electronic catalog of UC library books using a computer terminal. Since no network existed to connect the libraries of the nine campuses to the central site hosting the union catalog, options for a networking solution were analyzed, with X.25 and TCP/IP being considered. By 1984, a TCP/IP network linking the campuses using satellite technology was operational. At the time, Melvyl ran on a mainframe computer, and the UC Division of Library Automation performed development work to implement TCP/IP in order to provide telnet access. A World Wide Web version was also later developed.

The mainframe system, retired in 2003, was replaced using commercial software from the integrated library system vendor Ex Libris. The legacy telnet mode was retired in 2007.

The Ex Libris version was retired in June 2011 and Melvyl was then provided by OCLC's WorldCat Local platform. In March 2021, the UC Libraries announced that Melvyl would be retired as the UC Libraries migrate to a unified library catalog and discovery system (based on Ex Libris' Alma/Primo VE).

In July 2021 the Melvyl site and brand was retired and the new systemwide integrated library system / library management system was launched. The new discovery system is called UC Library Search (Primo VE instances for each UC campus) with a systemwide Alma backbone.

title: Melvyl


text:
Kraz

Kraz may refer to:
 * KrAZ, a Ukrainian truck manufacturer
 * Kraz, the proper name of the star Beta Corvi
 * KRAZ, call sign FM radio station in Santa Barbara, California

title: Kraz


text:
Wikipedia:Articles for deletion/Peter Torry

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was Keep (3 to 1) Wikibofh 23:38, 18 October 2005 (UTC)

Peter Torry
This afd nomination was incomplete. Listing now. Keep and expand ambassadors. —Cryptic (talk) 09:19, 7 October 2005 (UTC)
 * Delete. While Torry could certainly deserve a decent article, I can't see a great need, nor can I see anyone much being bothered to write one. May as well delete until someone with a specific interest feels compelled to write an article (unlikely, IMO). --Qirex 12:47, 7 October 2005 (UTC)
 * Keep -- WP:DEL seems to say that if it's a "stub (but with potential)", it's a keep. In fact, some might even suggest you take the time to flesh the article out, rather than the time to AfD it. Not me, but some. :) Eaglizard 13:44, 8 October 2005 (UTC)
 * Keep very short but legitimate stub. -- DS1953 04:56, 10 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
File:Propositional logic.png

Summary
The basic argument forms of the calculus used in propositional logic.

This diagram is updated on Oct 7, 2005

title: File:Propositional logic.png


text:
User:Odii

Yeah.

title: User:Odii


text: Talk:Arctic Climate Impact Assessment

title: Talk:Arctic Climate Impact Assessment


text:
Talk:Arkansas RimRockers

Fair use rationale for Image:Rimrockerslogo release05072.jpg
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Rejoining
Any news about rejoining the NBADL?--Cooly123 00:44, 10 July 2010 (UTC) —Preceding unsigned comment added by Cooly123 (talk • contribs)

External links modified
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title: Talk:Arkansas RimRockers


text:
Alai Payuthey

Alai Payuthey, also spelt Alaipayuthey, is a 2000 Indian Tamil-language romantic musical film written, co-produced and directed by Mani Ratnam, starring R. Madhavan and Shalini. The film explores the tensions of married life between two young people who elope and the maturing of love among urban Indians who are conflicted between tradition and modernity. The score and soundtrack were composed by A. R. Rahman.

The film's story is mostly recollected in flashbacks by Karthik (Madhavan), on how he and Shakthi (Shalini) fall in love against the backdrop of Chennai and its suburban trains, against the wishes of their parents. The film had a mostly positive reception by critics.

The film made its European premiere at the Berlin International Film Festival in 2001. It was shown at various film festivals nationally and internationally. Alai Payuthey was later remade and released in Hindi in 2002, as Saathiya, directed by Shaad Ali.

Plot
Karthik Varadarajan is an independent and free-spirited software engineering graduate from a wealthy family who owns a startup along with his friends. At a friend's wedding, he meets Shakthi Selvaraj, a medical student from a middle-class family. The duo constantly bumps into each other on the local commuter trains they both use, and they eventually fall in love. Karthik pursues Shakthi aggressively and proposes marriage. Shakthi, however, is reluctant. Karthik manages to convince Shakthi and request his parents to formally ask Shakthi's parents for her hand in marriage. However, when the parents meet, they do not get along, and Shakthi calls off the relationship altogether and leaves for an extended medical camp in Kerala.

While apart, both Karthik and Shakthi realise that they are desperately in love and decide to get married without the knowledge or consent of their parents. They continue living separate lives after marriage, meeting outside of their homes and hoping that their parents will see eye to eye at some point in the future, and can be informed of the marriage. However, when the family of a Hyundai executive Raghuraman arrives at Shakthi's house one day to discuss a prospective wedding alliance between Raghuraman and Shakthi's elder sister Poorni, developments ensue, resulting in Shakthi's parents attempting to fix her marriage to Raghuraman's younger brother Shyam. Shakthi confesses to her parents and Raghuraman's family that she is already married, leading to the alliance being called off and her parents throw her out of the house. Karthik, also divulges the same to his parents and is also asked by his father to leave his house.

Karthik and Shakthi start living together in a partially constructed apartment, and while all goes well for a while, they soon find that marriage is not as easy as they expected, and living under the same roof results in a large number of conflicts. The marriage gets increasingly tense as both have to cope with frustrations and disappointments. Shakthi soon learns that her father has been diagnosed with jaundice and requests Karthik to visit him at the hospital. Karthik declines, citing her father's hatred of him as the main reason. He eventually agrees to meet him the following day, but by the time they reach her house, Shakthi's father has died. Wracked with guilt, the two return home, their relationship taking a turn for the worse. The two stop talking to each other.

Meanwhile, Karthik takes it upon himself to fix Poorni's broken alliance with Raghuraman. He arranges a blind date between the two, which initially fails. However, with more meetings, Poorni and Raghuraman become closer. This development takes place without Shakthi's knowledge. Karthik waits until Poorni and Raghuraman's marriage is confirmed before deciding to tell Shakthi. But Shakthi witnesses Poorni hugging Karthik in gratitude at the railway station, and misunderstands, worsening their relationship.

Shakthi eventually learns from Poorni about her husband's efforts to get her married and is overcome with guilt. Karthik sets off on the same evening to the railway station to pick up his wife as is their usual routine. In her rush to get home and makeup with Karthik, Shakthi meets with an accident. Karthik waits for her, and as she fails to turn up, he searches desperately for her throughout the city, ultimately discovering her in the ICU of a hospital. Karthik learns that Shakthi is registered under another name and is in a coma after having undergone brain surgery.

An IAS officer, Ram, claims that he caused the accident and admitted Shakthi to the hospital. As Karthik vents out his frustration on Ram, his wife intervenes and lets Karthik know that she was the person who caused the accident and injured Shakthi, and her husband was merely trying to protect her by taking the blame himself. Karthik observes Ram and notes that he has a lot to learn from the latter. He proceeds to see Shakthi and admits that he could have been a better husband. Shakthi wakes up from her coma, and the two reconcile.

Development
Mani Ratnam opted to make a romantic film with relative newcomers after his 1998 Hindi film Dil Se.. and signed on small screen actor R. Madhavan to make his acting debut in Tamil films. Madhavan had done a sandalwood talc ad for Santosh Sivan in 1996 and the veteran cinematographer gave photographs of the actor to Mani Ratnam during the casting process of Iruvar. The director had made Madhavan audition for a role in the film but turned him down citing that "he thought his eyes were too young" and assured "that they would work together some other time". In 1999, Mani Ratnam rang Madhavan up suddenly and told him to "Come down and we will do a photo session. I am starting a film with you", much to the actor's surprise.

Casting
Mani Ratnam initially wanted to cast a debutant in the lead female role as well and carried out a screen test with Vasundhara Das, before signing on Shalini to play the role in the film in April 1999.

Swarnamalya was selected to play the role of Poorni after the director spotted her on a television show and subsequently asked her to screen test for the film. The actress appeared without make-up in the film and also dubbed her own lines. Theatre actor, Karthik Kumar of Evam, also marked his film debut with a minor supporting role as a potential suitor to Shakti. Prior to the release of his breakthrough film Sethu (1999), Vikram was approached by Mani Ratnam to play the role of Swarnamalya's fiancé but turned down the offer. Television actress Sriranjani made her film debut with this film appearing as Madhavan's sister-in-law while Raviprakash appeared as Shalini's father thus making his acting debut with the film. Pondy Ravi appeared as a police officer, and the film is considered his "first break". Mani chose producer Pyramid Natarajan to portray the character of Madhavan's father. Azhagam Perumal who was one of the assistant directors in the film was chosen to portray the small role of a house owner as Mani Ratnam was looking for "someone like Jagathy Sreekumar to play the quirky house owner".

The film also required two leading actors to appear in supporting roles with Khushbu chosen to do a role. After considering either Shah Rukh Khan, Mammootty or Mohanlal, Mani Ratnam signed Arvind Swamy to play another role, with Alai Payuthey becoming the pair's fourth production together. P. C. Sreeram renewed his collaboration with Mani Ratnam after seven years, with the director toggling between Santosh Sivan and Rajiv Menon for his other projects. A. R. Rahman was initially signed on just to compose the background score for the film as the film was originally planned to be songless; however after a change of heart, nine songs were recorded.

Filming
The film began without an official launch, like other Mani Ratnam projects, and it was initially expected that filming would be wrapped up in under four months. During the first seven days of the shoot, Mani Ratnam filmed portions featuring Shalini and made Madhavan stay on the sets and watch his process of film-making. The first scene the actor shot was the post-interval scene featuring Shakthi's mother played by Jayasudha. The song sequences Evano Oruvan, and September Matham was shot at Western Plywood Guesthouse and the Dharmadam Island respectively. "Evano Oruvan" was shot at Kannur as the song sequence demanded rain and the crew had to wait for many days for monsoon to shoot. The team shot at Srinagar in late for 25 days, becoming the last production team to shoot in the area until 2003 as a result of the Kashmir conflict. The song "Pachai Nirame" was shot at Kashmir. For the song, Sreeram revealed since the song "called for vibrant colours in pastel shades", he used a graduated filter to enhance colour and used lot of filters. A "meet the stars" publicity event was held at Music World in Spencer Plaza in March 2000, with the gathering being described as a success. About the production process, Madhavan revealed that he learnt about the technical aspects of film-making from the director and mentioned that he even learned the entire script of the film, irrespective of whether he was in the scene or not, claiming that working with Mani Ratnam inspires that sort of involvement and dedication.

Soundtrack
The music score that accompanies the film was composed by A. R. Rahman. Upon release, the album met with widespread critical acclaim, selling over six lakh cassettes, and went on to win the Filmfare Award for Best Music Director in 2000. This was Rahman's 50th film as composer. The soundtrack features 10 songs composed by Rahman, with lyrics by Vairamuthu, except for the title song "Alai Payuthey" (which was created by the 18th-century Carnatic music composer Oothukkadu Venkata Kavi, who also set it to the raagam Kanada). The song "Yaro Yarodi" later appeared in the 2008 American film, The Accidental Husband. The audio rights were sold to Saregama, a prominent music label in the 1999s.

Karthik worked as chorus singer for the film while Clinton Cerejo made his debut as playback singer. Song "Kadhal Sadugudu" provided major breakthrough for its singer S. P. Charan.

Release and reception
Alai Payuthey was released on 14 April 2000, during Puthandu (Tamil New Year). The Hindu said, "The wavy movements are not restricted to the title card alone. Alaipayuthey goes backward and forward in time and the movement holds a thin thread of suspense too. The oscillation from joy and levity to seriousness and sorrow creates impressive waves", The lead pair performance was praised saying, "Shalini once again proves that she is a natural performer while Madhavan sails through the litmus test with ease". Shobha Warrier of Rediff.com gave the film a middling review citing that the film is "old wine in an old bottle" and that "the only person who scores good marks in the film is P. C. Sreeram", saying "he has used his camera as a paintbrush and the strokes are so stunningly beautiful that, once the film is over, one remembers only the visual treat". In regard to performances, the critic mentions that Madhavan "looks pleasant and handsome and does his job splendidly until the end, where he looks totally lost in the most crucial scene" and that Shalini "is very beautiful but not as open as she used to be as a child star". Tamil Star wrote "A technically near-perfect film but lacking in intensity". Krishna Chidambaram of Kalki praised the performances of Shalini and Madhavan while also appreciating the cameos of Aravind Swamy and Kushboo and also for showing post-marriage friction beautifully.

Other versions
Alai Payuthey was dubbed and released in Telugu under the title Sakhi. It was later remade in Hindi as Saathiya by Shaad Ali in 2002. This was the first time where the director had sold off production rights' of his films to be remade in another language as he had previously opted to dub and release the film himself.

Legacy
Alai Payuthey began a successful film career for Madhavan and launched him as a romantic hero. He has since gone on to become a regular part of the cast in Mani Ratnam's productions and featured in leading roles in Dumm Dumm Dumm (2001), Kannathil Muthamittal (2002), Aaytha Ezhuthu (2004) and Guru (2007). Meanwhile, Shalini had already agreed to call time on her career before release due to her pending marriage with Ajith Kumar and Alai Payuthey became her penultimate release. Swarnamalya also received several film offers after her critically acclaimed performance, but consecutive failures of eight of her ten movies since failed to catapult her into the leading bracket of actors. Post-release, the actress had also expressed her disappointment at several of her scenes being edited out of the film. In July 2011, Janani Iyer said she considered a role like Shalini's character from the film as "really challenging". Gautham Vasudev Menon revealed that the scene prior to the song "Evano Oruvan" was "almost straight out of real life" and that he "tried to incorporate such moments" in his films. The film created an interest for weddings held in temples.

In popular culture
Several other directors have made cultural references to Alai Payuthey, with both scenes and songs being alluded in their films. The scene where Madhavan proposes Shalini in the train was spoofed in Boss Engira Bhaskaran (2010) where Bhaskaran (Arya) tries to do the same with Chandrika (Nayanthara) but fails. When Madhavan saw that film, he said "It was a pleasant shock to see this clip feature in [Boss Engira Bhaskaran]. It was such a sweet tribute to me. After watching this sequence, I was quite amused to see how thin I was back then!" In Budget Padmanabhan (2000), Vivek speaks to Bhuvaneswari through cups attached with wires. Vivek utters Madhavan's dialogue from the film by mimicking his voice, he then hurts Theni Kunjarammal's eye by singing the film's song. In Majunu (2001), Vivek impresses lady by singing "Yaro Yarodi" in a telephone booth with his friends while she was speaking on the telephone but lady reveals that her husband was a police inspector, then he sings 'En Garuvam Azhindhadhadi' from the line of a song "Snegithane". In Shahjahan (2001), Vivek and Kovai Sarala's characters sing "Snegithane" in a humorous vein.

The Hindi television series Beintehaa was dubbed in Tamil as Alaipayuthe. Songs from the film inspired several film titles – Snegithiye (2000), Kadhal Sadugudu (2003), Evano Oruvan (2007), Pachai Nirame (2008), Ragasiya Snehithane (2008) and Endrendrum Punnagai (2013). The initial publicity posters of Vinnaithaandi Varuvaayaa (2010) were inspired from various films including Alai Payuthey.

title: Alai Payuthey


text:
Wikipedia:Articles for deletion/Po'k

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was DELETE. — J I P | Talk 07:10, 16 October 2005 (UTC)

Po'k
This afd nomination was incomplete. Listing now. Delete this and most other articles about specific phonetic misspellings. —Cryptic (talk) 09:21, 7 October 2005 (UTC)
 * Delete as per re-nomination --Qirex 12:37, 7 October 2005 (UTC)
 * Delete. Optichan 22:11, 7 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.

title: Wikipedia:Articles for deletion/Po'k


text:
User:RainR

Edits I made before I got an account:

http://en.wikipedia.org/w/index.php?title=Special:Contributions&target=24.80.96.163

title: User:RainR


text:
Christian Chukwu

Christian Chukwu Okoro (born 4 January 1951 ) is a Nigerian former football player and coach. A defender in his playing days, he captained the Nigeria national team to its first win in the African Nations Cup.

Playing career
As a player, Chukwu captained the Nigerian national team, then known as the Green Eagles between 1974 and 1980. He was in the Nigerian squads that won the Africa Nations' Cup in 1980 and finished runners' up in 1976 and 1978. He was the first Nigerian captain to lift the African Nations Cup trophy after a 3–0 victory over Algeria in the final of the 1980 tournament.

In October 1998 he was appointed coach of the Kenya national team. Later, from 2003 to 2005, he coached Nigeria, leading them to reach semifinals at the 2004 African Cup of Nations. During the 2006 World Cup qualification phase, Chukwu was blamed for inept coaching and management of the Nigerian national football team, and two matches before the qualifying campaign was over, he was suspended. In two matches – home and away – against eventual group winners Angola, Nigeria failed to win either one of those two encounters. This was blamed on Chukwu and those two crucial failures eventually led to Nigeria failing to qualify for the World Cup, after having appeared at all World Cup finals tournaments since their debut in 1994.

Chukwu coached Enugu Rangers to 6th place in the 2008–2009 edition of the Nigeria Premier League. However, he was sacked on 5 August 2009 for failing to reach the club's targets for the season.

Later life
In April 2019 the Nigeria Football Federation announced that they would help Chukwu pay for his medical bills for treatment in the United States, while billionaire Femi Otedola said he would also contribute. It was later announced that he would travel for treatment in May after the required funds were raised he was cured.

title: Christian Chukwu


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Antakirinja

Antakirinja or Antakarinya may refer to:

 * Antakirinja people
 * Antakarinya dialect

title: Antakirinja


text:
Fire hardening

Fire hardening, also known as "fire-danubing", is the process of removing moisture from wood, changing its structure and material properties, by charring it over or directly in a fire or a bed of coals. This has been thought to make a point, like that of a spear or arrow, or an edge, like that of a knife or axe, more durable and efficient for its use as a tool or weapon. An initial study suggests that the process might make the wood brittle but would substantially reduce the time needed to make a spear point.

Fire hardening may be done before, after, or during the manufacturing of the wooden tip. Longer procedures involving greasing and polishing with stones to impregnate the wood with fats and oils and silica may improve the effects of the process. Fire hardening was first developed by primitive humans at least 400,000 years ago, which was long before either flint or stone points were being made.

title: Fire hardening


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Parks and open spaces in the London Borough of Hackney

The London Borough of Hackney, one of the inner London boroughs, has 62 parks, gardens and open spaces within its boundaries, totalling 330 ha. These provide the "green lungs" for leisure activities. Hackney Marshes contain the largest concentration of football pitches in Europe.

In July 2008, seven Hackney parks won Green Flag awards for Clissold, Springfield, Haggerston and Shoreditch parks, together with London Fields, St John's churchyard and Hackney Downs. St John's was also awarded 'Heritage Green Status'. However, by contrast, Abney Park in Hackney was included in the Heritage at Risk Register in 2009 as one of Britain's historic parks and gardens at risk from neglect and decay.

Principal open spaces
Apart from smaller green areas such as sports grounds and smaller gardens, the following are the major open spaces in the Borough:
 * Abney Park Cemetery (local nature reserve) – 12.53 ha
 * Clapton Common – 2.58 ha
 * Clissold Park – (22.57 ha)
 * Hackney Downs – 16 ha
 * Hackney Marshes – 138 ha
 * Haggerston Park – 6 ha
 * London Fields - 12.65 ha
 * Millfields (North and South)
 * Shoreditch Park – 7.7 ha
 * Springfield Park (local nature reserve) – 16 ha
 * Stoke Newington Common – 2.15 ha.
 * Victoria Park is an 88 ha park, bordering on South Hackney, in the adjacent London Borough of Tower Hamlets.
 * Newington Green- 2 hectares (4.9 acres)
 * Well Street Common – 8.66 ha.

Water
In the north of the Borough there are the two reservoirs (West and East) at Stoke Newington.

The River Lee forms the eastern boundary of the borough. The towpath is suitable for walking and cyclists. It can be readily accessed from many places, and provides access to Hackney Marshes and the Lee Valley Park.

The Regent's Canal and the man-made New River also pass through the borough. Towards the east, the Regent's Canal exits the borough into the London Borough of Tower Hamlets, it then meets the Hertford Union Canal, which forms the southern boundary of Victoria Park, running to join the River Lee Navigation at Old Ford lock. The Regent canal turns south, and meets the River Thames at Limehouse Basin. On the west, the Regents canal passes near Broadway Market, then into the London Borough of Islington eventually entering the Islington Tunnel, which is not accessible to pedestrians, or cyclists.

City farms

 * Hackney City Farm


text:
Direct reduced iron

Direct reduced iron (DRI), also called sponge iron, is produced from the direct reduction of iron ore (in the form of lumps, pellets, or fines) into iron by a reducing gas which either contains elemental carbon (produced from natural gas or coal) or hydrogen. When hydrogen is used as the reducing gas there are no greenhouse gases produced. Many ores are suitable for direct reduction.

Direct reduction refers to solid-state processes which reduce iron oxides to metallic iron at temperatures below the melting point of iron. Reduced iron derives its name from these processes, one example being heating iron ore in a furnace at a high temperature of 800 to 1200 C in the presence of the reducing gas syngas, a mixture of hydrogen and carbon monoxide, or pure hydrogen.

Process
Direct reduction processes can be divided roughly into two categories: gas-based and coal-based. In both cases, the objective of the process is to remove the oxygen contained in various forms of iron ore (sized ore, concentrates, pellets, mill scale, furnace dust, etc.) in order to convert the ore to metallic iron, without melting it (below 1200 C).

The direct reduction process is comparatively energy efficient. Steel made using DRI requires significantly less fuel, in that a traditional blast furnace is not needed. DRI is most commonly made into steel using electric arc furnaces to take advantage of the heat produced by the DRI product.

Benefits
Direct reduction processes were developed to overcome the difficulties of conventional blast furnaces. DRI plants need not be part of an integrated steel plant, as is characteristic of blast furnaces. The initial capital investment and operating costs of direct reduction plants are lower than integrated steel plants and are more suitable for developing countries where supplies of high grade coking coal are limited, but where steel scrap is generally available for recycling. Many other countries use variants of the process.

Factors that help make DRI economical:

 * Direct-reduced iron has about the same iron content as pig iron, typically 90–94% total iron (depending on the quality of the raw ore) so it is an excellent feedstock for the electric furnaces used by mini mills, allowing them to use lower grades of scrap for the rest of the charge or to produce higher grades of steel.
 * Hot-briquetted iron (HBI) is a compacted form of DRI designed for ease of shipping, handling, and storage.
 * Hot direct reduced iron (HDRI) is DRI that is transported hot, directly from the reduction furnace, into an electric arc furnace, thereby saving energy.
 * The direct reduction process uses pelletized iron ore or natural "lump" ore. One exception is the fluidized bed process which requires sized iron ore particles.
 * The direct reduction process can use natural gas contaminated with inert gases, avoiding the need to remove these gases for other use. However, any inert gas contamination of the reducing gas lowers the effect (quality) of that gas stream and the thermal efficiency of the process. The use of natural gas also produces greenhouse gases.
 * Supplies of powdered ore and raw natural gas are both available in areas such as Northern Australia, avoiding transport costs for the gas. In most cases, the DRI plant is located near a natural gas source as it is more cost effective to ship the ore rather than the gas.
 * To eliminate fossil fuel use in iron and steel making, renewable hydrogen gas can be used in place of syngas to produce DRI and eliminate production of greenhouse gases.

Problems
Direct reduced iron is highly susceptible to oxidation and rusting if left unprotected, and is normally quickly processed further to steel. The bulk iron can also catch fire (it is pyrophoric). Unlike blast furnace pig iron, which is almost pure metal, DRI contains some siliceous gangue (if made from scrap, not from new iron from direct reduced iron with natural gas), which needs to be removed in the steel-making process.

History
Producing sponge iron and then working it was the earliest method used to obtain iron in the Middle East, Egypt, and Europe, where it remained in use until at least the 16th century.

The advantage of the bloomery technique is that iron can be obtained at a lower furnace temperature, only about 1,100 °C or so. The disadvantage, relative to a blast furnace, is that only small quantities can be made at a time.

Chemistry
The following reactions successively convert hematite (from iron ore) into magnetite, magnetite into ferrous oxide, and ferrous oxide into iron by reduction with carbon monoxide or hydrogen.

Carburizing produces cementite (Fe3C):

Economy
India is the world’s largest producer of direct-reduced iron.

Uses
Sponge iron is not useful by itself, but can be processed to create wrought iron or steel. The sponge is removed from the furnace, called a bloomery, and repeatedly beaten with heavy hammers and folded over to remove the slag, oxidize any carbon or carbide, and weld the iron together. This treatment usually creates wrought iron with about three percent slag and a fraction of a percent of other impurities. Further treatment may add controlled amounts of carbon, allowing various kinds of heat treatment (e.g. "steeling").

Today, sponge iron is created by reducing iron ore without melting it. This makes for an energy-efficient feedstock for specialty steel manufacturers which used to rely upon scrap metal.

Food
Hydrogen-reduced iron is used as a source of food-grade iron powder, for food fortification and for oxygen scavenging. This elemental form is not absorbed as well as ferrous forms, but the oxygen-scavenging function keeps it attractive. Purity standards for this use are established in 1977.

title: Direct reduced iron


text:
User talk:Railways of Britain

Introduction: The North Woolwich Railway Museum is London’s only dedicated railway museum. It was opened in 1984 by HRH the Queen Mother who arrived on site by 2 carriages of the royal train hauled by LNER class A3 Flying Scotsman. The station building needed extensive works to return it to prime condition as it had seen much abuse and vandalism since its closure in 1979 with the opening of the new station.

What is there: The buildings lower floor, which was once the booking office and waiting room, contains display cabinets containing artefacts from the Great Eastern and London North Eastern Railway periods. There are Station signs on the walls and very helpful staff which are ready to show one round or provide any information on the station or the former railway.

In the station proper there is a miniature railway operated on weekends running along the former island platform that provided 2 platform faces. The 3rd platform was modified in 1979 for the opening of the new station. Separating the main line from the museum site is a wooden fence that runs along the former track-bed of the centre relief road allowing engines off the turntable that was once sited here but was destroyed during the war

The museum has 2 locomotives both with local industrial interest, though sadly neither are in use.

The future: Sadly, the future of the museum could be in doubt with the pending closure of the North London line from Stratford to North Woolwich presently operated by Silverlink trains which is anticipated to be in 2007 to make way for the DLR extension to King George V and Woolwich proper.

File:Pictures 006.jpg listed for deletion
A file that you uploaded or altered, File:Pictures 006.jpg, has been listed at Files for deletion. Please see the to see why this is (you may have to search for the title of the image to find its entry), if you are interested in it not being deleted.  S ven M anguard  Wha?  07:43, 3 June 2011 (UTC)

title: User talk:Railways of Britain


text: User talk:193.195.78.103

title: User talk:193.195.78.103


text:
Dangu

Dangu may refer to:

 * Dangu, Eure, a commune in the Haute-Normandie region of France
 * Dangu people, an ethnic group of northern Australia
 * Dangu language, their language
 * Dangu, a day of the week in the Pawukon calendar of Bali, Indonesia
 * Dangu, a drum used in the music of Northeast China

title: Dangu


text:
Keith Slater

Keith Nichol Slater (born 12 March 1935) is a former Western Australian cricketer and West Australian Football League (WAFL) player.

Cricket career
In cricket, Slater was an all-rounder who played in only one Test match, against England in 1958–59, but he played 67 first-class matches for Western Australia between 1955 and 1968. He had his best batting season in 1963–64, scoring 655 runs at an average of 38.52, and scored his only century, 154 against Queensland, when he opened the batting and helped Western Australia avert defeat. His best bowling season was 1960–61, when he took 30 wickets at an average of 32.43. He toured New Zealand with the Australian team in 1959-60, playing in two of the four matches against New Zealand.

His international career was shortened by doubts over his bowling action. Slater wasn't selected for the 1961 Ashes tour of England, even though he had been widely expected to go. The chairman of selectors, Don Bradman, explained it to him as a policy of the Imperial Cricket Conference to exclude bowlers with doubtful actions. He later showed Slater a film of his bowling to illustrate. Slater was indeed called for throwing while playing against New South Wales in 1964–65.

Australian rules football career
Slater was a star footballer for Swan Districts and Subiaco and played in the 1961 WANFL grand final with Swans against East Perth and his display in containing "Polly" Farmer won him the Simpson Medal in a huge upset victory. He continued to play for Swans for the following two seasons before Subiaco, who had between 1947 and 1956 constantly occupied the bottom two places with Swans and whose president Frank Exell had approached Slater a season before, lured him as their captain-coach after two disappointing seasons.

In Slater's first season the Maroons made only their fourth open-age finals appearance since 1936, but were unexpectedly defeated by the equally unsuccessful Claremont in a rainy first semi-final. The following two seasons proved very disappointing, with the Maroons winning only eight games in 1965 and six (plus one draw) in 1966, when they lost their last nine matches. This led to questioning of Slater's coaching methods, notably his taking the Maroons on a trip to Singapore during the 1964/1965 off-season, and his contract was not renewed for 1967. Slater returned to Swan Districts for 1967 but retired following that season.

Later life
After he retired from playing, Slater ran a sports store, Slater Gartrell, in Perth, and was also a television and radio sports commentator. He was appointed a Member of the Order of Australia in the 2020 Australia Day Honours for "significant service to cricket, Australian rules football, and baseball, in Western Australia". He was awarded the Australian Sports Medal in 2000.

title: Keith Slater


text: User talk:202.163.70.29

title: User talk:202.163.70.29


text:
Djinang

Djinang may refer to:
 * Djinang language, and Australian Aboriginal language
 * Djinang people, a sub-group of the Yolngu people of Australia

title: Djinang


text:
Djinba

Djinba may be,

 * Djinba people
 * Djinba language

title: Djinba


text:
Orange and Lemons

Orange and Lemons (usually typeset as Orange & Lemons and abbreviated as "O&L" or "ONL") is a Filipino pop rock band founded and formed in 1999 by lead vocalist and guitarist Clem Castro and former member Mcoy Fundales. Brothers Ace and JM del Mundo were later recruited to complete the mainstream lineup. Fundales served as the lead vocalist and guitarist since its formation until its initial breakup in 2007.

The group's musical genre's been a mix of alternative rock, indie pop and experimental music and heavily influenced by several well-respected bands in different generations like The Smiths, The Beatles and the Eraserheads. The band had released three several albums and gained commercial success with their sophomore album Strike Whilst the Iron is Hot released in 2005.

The group parted ways in 2007 due to musical differences. Following the band's breakup, several members formed their own groups. Mcoy Fundales formed Kenyo alongside JM and Ace del Mundo. While, Clem formed his own indie group The Camerawalls with the band's original member, Law Santiago.

In 2017, after 10 years on hiatus, the band announced that they would reunite as a trio, and later as a quartet when keyboardist Jared Nerona joined.

History
The band name "Oranges and Lemons" was initially recommended by a former member of the group. Apparently the band was not aware at the time that the name was actually derived from a British nursery rhyme and a title of an album by the British band XTC.

Clem Castro and Mcoy Fundales met in high school in the mid-1990s. The duo formed a group with friends (with Law Santiago and Michael Salvador) from their province of Bulacan and went through several names such before eventually settling on Orange and Lemons. Brothers Ace and JM del Mundo were in a band called Colossal Youth when they met Castro and Fundales in a local bar in Bulacan in 1999. Castro and Fundales with two other friends were handled by Roldan "Bong" Baluyot of No Seat Affair (a local management, booking and production outfit) when they recorded a two-track demo ("She's Leaving Home", "Isang Gabi") in 1999 as Orange and Lemons. The song "She's Leaving Home" soon found its way to radio station NU107.5 FM's playlist.

The band went on hiatus in 2000, but was reformed in 2003 with the del Mundos in the line-up permanently.They started arranging and rehearsing original songs that would eventually end up in their debut album, Love in the Land of Rubber Shoes and Dirty Ice Cream. which was released on December 3, 2003 With a style of retro music combined with alternative rock, the band's main musical influences ranged from The Beatles and The Smiths, to The Cure and Eraserheads.

Castro and Fundales contacted Bong Baluyot to once again handle the band and ten songs were recorded in three days due to a limited financial budget. After the songs were recorded, Baluyot once again started scouting around for a label that would take the group in.

The band had their first gig stint in a club in Makati City called Where Else? It was in one of those gigs that ONL met Toti Dalmacion, formerly of Groove Nation, a local music store famous for rare and hard-to-find vinyl records. Dalmacion was already toying with the idea of establishing an independent label that he would call Terno Recordings. The label would showcase unsigned and talented Filipino artists with a unique sound and style that could (hopefully) pass international standards. He proposed that ONL be the flagship artist for the label. A one-album deal was signed.

ONL's 10-track debut album, Love in the Land of Rubber Shoes and Dirty Ice Cream was independently released and launched in December 2003. The album's single "(Just Like) A Splendid Love Song" got radio airplay on NU107.5 FM and reached the station's number 1 spot in their weekly countdown. Orange and Lemons was declared Best New Artist for 2004 in NU107's yearly Rock Awards event.

ONL signed a contract with Universal Records in October 2004. The band proceeded to record a new album; their second and first under a major label. Strike Whilst The Iron Is Hot was completed and released in April 28, 2005, with singles including "Hanggang Kailan (Umuwi Ka Na Baby)" release in April 1, 2005, "Heaven Knows (This Angel Has Flown)" released on September 16, 2005, and "Lihim". One of the band's biggest breaks came with an offer from Philippine media giant ABS-CBN for ONL to do the jingle/soundtrack for a new series Pinoy Big Brother, the Philippine franchised version of the reality TV show Big Brother. ONL came up with a song called "Pinoy Ako" released on September 2, 2005.

Other projects of the band included "Abot Kamay" (a song for a shampoo advertisement) and "Blue Moon" (their version of the classic track for a movie theme song).

In June 2005, Orange and Lemons was featured on MTV Philippines in its Rising Star segment, and in March 2006 they were featured in the "Lokal Artist of the Month" segment. Orange and Lemons were named "Artist of the Year" at the NU107's Rock Awards for 2005.

The release of the tribute album of the Apo Hiking Society, Kami nAPO Muna in 2006, where the band contributed one track, gave Orange and Lemons the spotlight again. Orange and Lemons once again did their take on yet another Apo song "Tuloy na Tuloy Pa Rin Ang Pasko" by December 2006. The song was used by ABS-CBN for their Christmas station ID. As a follow-up to "Abot Kamay", the band completed a song from Unilever Philippines called "Let Me" and was used for another shampoo advertisement. Universal Records released their third and last album on June 8, 2007 called Moonlane Gardens. Their first single in that album was "Ang Katulad Mong Walang Katulad" and their last single before they disbanded was "Fade".

"Pinoy Ako" plagiarism allegations
Allegations have been made that the melody and musical arrangement of the band's breakout single "Pinoy Ako", which was the theme song for the reality show Pinoy Big Brother, was stolen from an obscure single, "Chandeliers" by the 1980s English new wave band Care. In a 2021 interview, Castro admitted that he did "subconsciously" apply the chord patterns to "Pinoy Ako" as they also covered songs from The Cure at the time, though he also maintained that the progression used for the song is widely used across genres such as blues and reggae.

Break-up
It was reported on October 10, 2007 by the Inquirer.net that Orange and Lemons had disbanded. The reason stated was primarily due to differences between band members and their managers. Clem Castro, the then lead guitarist of the band, then started his own band, 3-piece indie pop group  The Camerawalls signed under his own label, Lilystars Records. He formed the band with original Orange and Lemons bassist Law. The three remaining band members formed a new band called Kenyo.

Reunion
In July 2017, after ten years on hiatus, the band announced on its official Facebook page that they were going to reform as a trio, involving Clem Castro on vocals and lead guitars, JM del Mundo on bass guitar, and Ace del Mundo on drums. In August 2018, the band headlined Moonlane Festival, a concert that it also produced.

On February 10, 2021, the band's label Lilystars Records announced via Twitter that the band would be recording and releasing a new album in 2021, their first release in fourteen years.

Band members
Current members
 * Clementine "Clem" Castro – lead vocals, lead guitar, chief songwriter (1999–2007, 2017–present)
 * JM del Mundo – bass guitar (2001–2007, 2017–present); backing vocals (2017–present)
 * Ace del Mundo – drums (2001–2007, 2017–present); backing vocals (2017–present)
 * Jared Nerona – keyboards (2018–present)

Early members

 * Mcoy Fundales – co-lead vocals, rhythm and acoustic guitar (1999–2007)
 * Law Santiago – bass guitar (1999–2001)
 * Michael Salvador – drums (1999–2001)

Albums

 * Love in the Land of Rubber Shoes and Dirty Ice Cream (Terno Recordings, 2003)
 * Strike Whilst the Iron Is Hot (Universal Records, 2005) (repackaged edition release in October 25, 2005)
 * Moonlane Gardens (Universal Records, 2007)
 * Love in the Land of Rubber Shoes and Dirty Ice Cream - 15th Anniversary Edition (Lilystars Records, 2018)
 * La Bulaqueña (Lilystars Records, 2022)

Singles

 * "Hanggang Kailan" (Universal Records, 2005)
 * "Pinoy Ako" (Universal Records, 2005) (covered by Rico Blanco for Pinoy Big Brother: Kumunity Season 10)
 * "Lovers Go, Lovers Come" (Lilystars Records, 2017)
 * "Pag-Ibig sa Tabing Dagat" (Lilystars Records, 2019)
 * "Ikaw ang Aking Tahanan" (Lilystars Records, 2019)
 * "Yakapin Natin ang Gabi" (Lilystars Records, 2021)

Tribute album appearances

 * Ultraelectromagneticjam! - a tribute to Eraserheads ("Huwag Kang Matakot") (2005)
 * Kami nAPO Muna - a tribute to APO Hiking Society ("Yakap sa Dilim") (2006)

Christmas album appearances

 * Not Another Christmas Album - JAM 88.3 ("Christmas Daydreams") (2004)
 * OPM Gold Christmas Album ("Tuloy na Tuloy Pa Rin ang Pasko") (2006)
 * Close Up Season of Smiles ("God Rest Ye Merry Gentlemen") (2006)

Other appearances

 * NU 107 Super Size Rock (Warner Music Philippines, 2004)
 * Jack Lives Here (2004)
 * Pinoy Ako (Star Music, 2005)
 * Super! The Biggest Opm Hits of the Year (2006)
 * Musika sa Bahay ni Kuya: The Best of Pinoy Big Brother Hits (Star Music, 2008)
 * i-Star 15: The Best of Inspirational Songs (Star Music, 2010)
 * Super Astig Hits (Universal Records, 2016)

title: Orange and Lemons


text:
Motorcycle armor

Motorcycle armor is body armor for motorcycle riders. It comes in a variety of forms, from traditional yellow foam to high-tech compounds capable of absorbing large amounts of energy. In its basic form an armored jacket will include shoulder and elbow armor, and many jackets can have an optional back protector added too. Trousers should include hip and knee protection, and sometimes a coccyx protector too.

Foam
This armour is either closed cell or open-cell foam and in various densities all the way up to a fairly hard foam used in helmets. Hard foams absorb impact/shock by destructive decomposition so they can only be used to protect for one incident and must be replaced. Soft foams offer little protection with close-cell foams providing a bit more protection than open-cell foams.

Memory foam
Of foam type armors, memory foam armor achieves a higher level of impact absorption compared to open/closed-cell types above. Memory-foam rebounds slowly after compression. It is a very dense foam.

Silicone
These are gel type impact/shock absorbers. They are produced in various densities and generally used close to the body for comfort.

Hard plastic
Hard armour usually consists of a hard plastic and is designed to resist abrasive and puncture injuries. Hard armour generally is used in conjunction with some impact absorbing foam or other material on the inner surfaces facing the body. This is because hard armour by itself does not provide impact/shock absorption qualities.

Viscoelastic
The use of viscoelastic materials in motorcycle armor has allowed for hand (glove) elbow, knee, shoulder, tail-bone, and back armor to be manufactured in a soft and pliable state at rest. Upon the introduction of shock the armor adopts extremely rigid and protective properties. Examples of this armor are RHEON, SAS-TEC, SW, D3O, Knox MicroLock, EXO-TEC and TF armor. They are currently being used in jackets, trousers and suits by manufacturers such as KOMINE, REV'IT!, Firstgear, BMW Apparel, Fieldsheer, Scorpion, Rukka, Klim, Aerostich, Worse for Wear, and Hideout Leather.

Viscoelastic armor is soft and body-forming until it is impacted. At impact it reacts quickly to form a rigid mass. D3O armor hardens edge-to-edge. Sas-Tec armor is considered to be a progressive reactive armor in that it hardens to a degree sufficient to counter the force. The material prevents trauma to the human body by three methods:

 * 1) Shock Absorption: Material absorbs impact energy through phase change (hardening).
 * 2) Shock Delay: Material delays the transmittance of some shock to the human body over a longer period of time.
 * 3) Dissipation: Impacts are dissipated over larger areas of the body.

Viscoelastic armor is able to achieve a higher level of impact-reduction with more comfort and less bulk than traditional hard armor–foam laminate solutions. Hybrid armor is layered with hard shell outer materials. European standard EN-1621 is used to rate the effectiveness of armor. In this standard, a 5 kg flat impactor impacts the armor at a speed of 4.47 m/s (energy 5x4,47x4,47/2=50 J "Joules"). 50 J of energy is roughly equivalent to dropping a 1 kg mass from a height of 5m (E=mGH). Sensors measure how much force is transmitted through the armor, its peak force in kilo-newtons (kN), and its period (how long it took the force to be transmitted). If the force transmitted through the armor is less than 35 kN then the armor (all armor except back) can attain an EN-1621-1 rating. Standard also includes other factors such as temperature stability and coverage area. The back protection standard is EN-1621-2. That standard rating is based on that energy being less than 18 kN (EN-1621-2 Level 1) or less than 9 kN (EN-1621-2 Level 2).

EN1621-1 Protectors for Limb Joints (Elbow, Knee, Shoulder, Hip)
There are three European standards covering "motorcyclists' protective clothing against mechanical impact": EN1621-1, EN1621-2 and EN1621-3. EN1621-1 covers limb joint protectors for knees, elbows, shoulder, and hips. EN1621-2 is the certification standard for Back/Spine protectors, and EN 1621-3 refers to the Chest Protection Standard for Motorcyclists. There are updates to the standards from time to time and so the year the update comes out is added as a suffix to the standard. EN 1621-1:2012, EN 1621-2:2014, and EN 1621-3: 2019-03 are the current standards as of June 16, 2021. All three standards assess the performance of protective devices by measuring the force transmitted through it when impacted by a falling mass.

EN1621-1 assesses products designed to protect the shoulder, elbow and forearm, hip, knee and lower leg regions. The test apparatus consists of a mass of 5 kg ±10g with a 40 mm x 30 mm striking face, dropped onto the sample mounted on top of a 50 mm radius hemispherical dome. The anvil is further mounted onto a load cell, allowing a measurement to be made of the force transmitted through the protector. The kinetic energy of the falling mass at impact must not exceed 50 J.

A protector subjected to this test method is deemed to conform to this standard if the average transmitted force of nine tests is:
 * less than 35 kN (EN1621-1 CE Level 1), with no single test result exceeding 50 kN, and
 * less than 20 kN (EN1621-1 CE Level 2)

Dr. Roderick Woods at Cambridge University conducted the work that established the CE standard. Originally, there were three levels of protectors: Level 1 would be tested with an impact of 40 Joules, Level 2 at 50 Joules, and Level 3 at 60 Joules. In each case, the protector needed to reduce the mean transmitted force below 25 kN, and no single impact should exceed 37.5 kN. Two Italian manufacturers – allegedly concerned their protectors would not pass the highest standard – successfully lobbied for Level 3 to be removed. It contributed evidence to the assertion that the EU standards for motorcycle PPE have been subject to regulatory capture by manufacturers (a claim reiterated with the advent of EN 17092).

In addition to ambient protection, protectors may optionally be certified to work at high temperatures (above 40 °C / 104 °F) or low temperatures (−10 °C / 14 °F). Protectors that pass these tests will have a T+ or T− marking respectively.

EN1621-2 assesses products designed to protect the back/spine. It is a more stringent standard, using an anvil striker that creates a point load, and allowing no more than 18 kN of force to be transmitted to attain Level 1 protection (EN-1621-2 CE Level 1). Protectors that allows less than 9 kN of force to be transmitted can attain a Level 2 protection (EN-1621-2 CE Level 2). See section below for more information.

Motorcycle airbags are covered by a different standard (EN 1621-4).

EN1621-2 Back/Spine Protectors
European Standard EN 1621-2:2003 defines two levels of performance for CE approved back protectors. The test apparatus and procedure is similar to that of EN 1621-1:1997, but with a different impactor and anvil configuration. The impactor is a rounded triangular faced prism, of length 160 mm, base 50 mm, height 30.8 mm and radius 12.5 mm. The anvil is a radiused cylinder, with its axis orientated to the direction of impact, of height 190 mm, diameter 100 mm and rounded end radius 150 mm. When tested to the procedure defined in the standard, the two levels of performance are:

 * Level 1 protectors: The average peak force recorded below the anvil in the tests shall be below 18 kN, and no single value shall exceed 24 kN.
 * Level 2 protectors: The average peak force recorded below the anvil in the tests shall be below 9 kN, and no single value shall exceed 12 kN.

Because of the more delicate nature of the spinal column, back protectors require that lower levels of force be transmitted. The introduction to EN 1621-2 states that approximately 13% of motorcyclists injured in road accidents have an injury to this back region. However, only 0.8% of the injured riders suffer a fracture of the spine and less than 0.2% of injured riders have a serious back injury resulting in neurological damage. This is supported by evidence from the MAIDS Report (2004), the most comprehensive in-depth data currently available for Powered Two-Wheelers (PTWs) accidents in Europe.

A systematic review in 2016 found that too little evidence was available to determine whether motorcycle back protectors are effective. They noted: "back protectors are unable to protect against most spinal injuries, which are caused by bending and torsional forces". More recent work by Afquir et al in 2019 found that "very few  injuries  linked  to  posterior-anterior  impacts  could  have  been avoided by the use of back protection". They conclude that "the design of back protectors should be reconsidered to better protect riders from what is referred to as compression fractures (craniocaudal force), which remain the primary form of fracture regardless of the rider's characteristics."

Limitations of current standards
Research has revealed limitations of the current standard of motorcycle armour. According to Albanese et al (2017), "The allowable transmitted force of EN 1621-1 may be too high to effectively reduce the probability of impact injury. This is not surprising, given human tolerance levels that are reported in the literature [...] A reduction in the maximum force limit would improve rider protection and appears feasible". Additionally, Meredeth et al (2019) found that shoulder and knee armour need different levels of impact protection. And the CE standard for armour only reduced transmitted force to the shoulder by around 8% (± 5%). They concluded that: "distinct differences in injury protection performance observed between knee and shoulder impact protection indicate that there may be a need for different performance criteria for impact protection designated to protect different body regions".

Main benefit of armor
Liz de Rome et al undertook a cross-sectional study of motorcycle protective clothing and armour. It was described as "the first study in over 25 years to examine the effectiveness of specialised motorcycle protective clothing and in particular, body armour."

The study found "a significant reduction in the risk of open wounds (abrasions, cuts and lacerations) associated with all forms of motorcycle clothing fitted with body armour, and for gloves and pants when body armour was not present. However, there was no evidence of a reduction in the risk of fractures associated with body armour for any area of the body."

While current armour proved inadequate for reducing fracture risk, the armour provided additional abrasion resistance, which was significant because of the high rate of failure of the clothing itself. "The results of the study also send a clear message to the manufacturers of motorcycle protective clothing. The proportion of jackets (29%), pants (28%) and gloves (25%) that failed under crash conditions due to material damage indicates a need for improved quality control."

A later study by Wu et al at Université Lyon analysed the effect of motorcycle protective clothing on 951 riders involved in accidents. It found protective clothing was effective in reducing "abrasions/lacerations rather than contusions." However, it questioned the effectiveness of current body armour: "protective clothing did not reduce the risk of fracture, dislocation, or sprain, except for knee-high or ankle boots, which were associated with lower risk of ankle or foot fracture (RR = 0.43; 95% CI, 0.24-0.75). No effect of back protectors was shown."

title: Motorcycle armor


text:
Daii

Daii or Dhay'yi may be,

 * Daii people
 * Daii language

title: Daii