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Plot summary

Kristen McKay (Liv Tyler) and James Hoyt (Scott Speedman) return to their remote summer vacation home in the mid-hours of the night following a friend’s wedding reception. After a stint between the couple after Kristen turns down a marriage proposal from James, they receive a knock at the front door from a blonde woman. “Is Tamara home?”, she asks. “No, I think you have the wrong house”, they tell her. The mysterious woman then walks off into the night. James leaves the house to go buy cigarettes and get his mind off of things. Meanwhile, Kristen stays at the house alone. The blonde woman returns, asking for Tamara, but this time Kristen does not open the door; “You already came by here.” she tells the woman, who responds with “Are you sure?”. The smoke alarm goes off soon after, due to the fireplace being blocked, and Kristen pulls the alarm off the ceiling and it clatters to the floor. Kristen, a little unnerved at the entire situation, locks the doors in the house, and calls James asking him to hurry back, when the phone line goes dead. Kristen plugs her cell phone in to charge it, changes into jeans and a flannel shirt, and then picks up a half-smoked cigarette. As she stands in the living room of the house, a man wearing a sack mask emerges from the hallway behind her, and watches her as she gets a glass of water. He then disappears.

Another barrage of knocks come from the front door, and Kristen sees the smoke alarm, which was previously lying on the floor, sitting neatly on the center of a dining room chair. She hurries to grab her cell phone, but it has been taken off the charger and is nowhere in sight. A screeching noise comes from the back patio, and she slowly, armed with a kitchen knife, walks toward the sliding glass door. She pulls the curtain back, and the man in the mask is standing there, and he slams his hand on the window. She screams in terror, and bumps into the phonograph in the living room, scratching the vinyl album on it, which begins repeating the same phrase from a country song. Suddenly, the front door opens slightly, and Kristen approaches it. In between the crack of the door, the blonde woman from earlier, now wearing a doll-like mask, peeks her head through. Kristen slams the door shut, locks it, and hides in the bedroom, yelling for the strangers to go away. Suddenly, the vinyl album stops skipping, and footsteps come down the hall - fortunately, it is only James, who is entirely unaware of what is going on.

The couple search the house, but find nobody, and James initially believes Kristen to be letting her imagination get to her. The couple see the blonde woman, Dollface, standing in the back yard, staring at the house. James then goes outside to the car to retrieve his cell phone, only to find the car entirely vandalized, and his cell phone stolen. Dollface touches the back of his neck as he is crouched down in the car, and runs off, only to reappear a few feet from the car. He tells her to go away, and Kristen pokes her head outside in concern. James turns to Kristen, and when he turns back around, Dollface has vanished. James returns to the house, and he and Kristen find his cell phone sitting on the piano with its battery removed. James decides it’s time to leave.

They go outside and attempt to drive away in the car, even with its tires slashed, but a truck pulls up behind them, driven by different unidentified woman, dressed in a pin up outfit and mask. The Man in the Mask appears in front of the car, and the Pin Up Girl rear-ends the car, as James and Kristen scramble back into the house. They find a shotgun and gun shells in the bedroom, along with the word “hello” written all over the bedroom window in red paint by the villains. They approach the front door with the gun, and the Man in the Mask begins to break down the door with an axe. They block the door with the piano, and James attempts to shoot him, but misses. They then hide in a room down the hallway, armed with the gun toward the open doorway , mini photo frames .

Liv Tyler is stalked through the backyard in The Stranger , plastic lace tablecloths .

James’ friend, Mike (Glenn Howerton), whom he called earlier, arrives at the house, and has a rock thrown through his windshield. He approaches the house, and hears country music playing loudly on the record player. He enters through the back glass door, just as Dollface emerges from the shadows behind him. He sees the house is a complete disaster, and he walks down the hallway as the music continues playing. The Man in the Mask appears behind him, holding up his axe. Just as the music stops, Mike steps in the doorway, and James fires the gun, striking Mike right in the head. He dies instantly, and after a few seconds James and Kristen realize they shot the wrong person. The villains paint “KILLER” on the back door to taunt James, and he heads to the barn outside to use a ham radio for help. He spots Pin Up Girl emerging from barn, and attempts to shoot at her from down on the ground, but the Man in the Mask runs up behind him at full speed. Kristen soon follows, after she senses the presence of the Man in the Mask in the house. She falls, twists her ankle, and is unknowingly stalked through the front lawn by Pin Up Girl. Once she gets to the barn, she fiddles with the radio, but it is then destroyed by Pin Up Girl.

Kristen crawls back to the house, as Dollface sits on the swing set in the backyard and Pin Up Girl stands in front of the barn. Once inside, Kristen cannot find James, and the power goes out. The Man in the Mask then enters the front door, and Kristen hides in a pantry as he lurks around the living room. He leaves, and just as Kristen is about to slip out of the pantry, Dollface appears in the door’s slit shutters, and smashes it through. She then pauses, and notices the engagement ring, and Kristen emerges from the pantry, while Dollface taunts her by spinning a butcher knife around on the counter. The Man in the Mask then enters the house, holding a defeated James by his shirt collar. Kristen runs to the bedroom, but the window does not open. The lights come back on, and she creeps back toward the hallway, where she is grabbed by the Man in the Mask and thrown onto the floor. He drags her down the hall, and the screen fades to black as she screams.

It is then daylight, and each of the strangers loom over Kristen and James, who are now tied to chairs in the living room; Kristen has been dressed back into her white gown. Each villain removes their mask, but the camera does not show their faces. Kristen cries, and asks “Why are you doing this to us?”, to which Dollface emotionlessly replies, “Because you were home”. The three strangers then take turns stabbing James and Kristen, and then leave in their truck. As they drive down the road, they stop to talk to two Christian boys delivering pamphlets. Dollface gets out of the truck and asks for one, to which one of the boys asks, “Are you a sinner?”. “Sometimes”, she says, and when the children are out of ear shot, Pin Up Girl says quietly, “It’ll be easier next time.” The strangers then drive off.

The two boys approach the house, and enter to find a bloody and disastrous scene. James lies on the floor, dead, and Kristen in the hallway, her white gown saturated in blood. One of the boys approaches Kristen’s body, and just as he is about to reach toward her, she grabs his arm and screams in terror.

Cast

Kristen McKay - Liv Tyler

James Hoyt - Scott Speedman

Dollface - Gemma Ward

Man in the Mask - Kip Weeks

Pin-Up Girl - Laura Margolis

Mike - Glenn Howerton

Mormon #1 - Alex Fisher

Mormon #2 - Peter Clayton-Luce

Production

Early promotional poster for The Strangers.

Director Bryan Bertino’s original script for the film was titled The Faces, but was later changed. Filming for The Strangers began on October 10, 2006 and finished in early 2007 - the movie was filmed on location in Florence, South Carolina. During production, it was reported that star Liv Tyler came down with tonsillitis due to screaming so much. The film’s budget was around $9,000,000. The release of the film was postponed twice. The producers originally intended to release the film in the summer of 2007, but due to complications, the date was pushed back to November 2007. The release was then pushed back yet again with its final release date being May 30, 2008 in the United States. It was released later that summer in the UK on August 29, 2008.

Inspiration

According to production notes, the film was inspired by true events from director Bryan Bertino’s childhood: a stranger came to his home asking for someone who was not there, and Bertino later found out that empty homes in the neighborhood had been broken into that night. In interviews, Bertino stated he was “very impressed” with some of the theories circulating on the Internet about the “true events” the movie is allegedly based on, but said his main inspiration was from the true crime book Helter Skelter and also inspired by the Keddie Cabin Murders of 1981 that occured in Keddie, Ca in the Sierra Nevada Mountains.

Marketing and promotion

A short teaser trailer for the film was released on the internet in August 2007, and can be found on YouTube. It was not until March 2008 that a full-length trailer for the film was released, which can be found on Apple’s Quicktime site.. The trailer originally began running in theaters attached to Rogue Pictures’ sci-fi film Doomsday in March 2008. Television advertisements began airing on networks in early-mid April 2008 to promote the film’s May release.

Two one-sheet posters for the film were released in August 2007, one showing the three masked…

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Wild 9 Members

The Wild 9 is composed of nine orphaned teenage mutants that are basically fighting against the tyranny of an absolutely huge monster, whose face is (reputedly) the size of New York state. It composed of:

Wex Major

The Charming and quick-witted leader of Wild 9, Wex uses both these assets in holding the rag-tag group together. He possesses “The Rig” weapon system, and much to his amazement, he is the only person capable of operating this powerful weapon. As a result, Wex is rumored to be “The Great Champion”; the mystical folk hero believed to lead the oppressed people of the Andromeda Galaxy to defeat Karn and his forces. Wex has reluctantly agreed to lead this motley crew upon the condition that once he finds his kidnapped parents in this enormous galaxy, he will leave and return to Earth.

B’Angus

B’Angus is a pesky critter that permanently resides in Wex’s Rig. B’Angus is a refugee of sorts; hiding for dear life from his arch-nemesis, “The Black Sheep”, in the only indestructible container in the universe…the Rig. His loyalty to Wex and the Wild 9 is second to none…too bad his cowardice is greater.

MacSheen

Mac can often be found hitting on Boomer or boldly posturing about his prowess in just about any activity. “Careful? Careful’s my middle name!” Mac acts as a “living” battery/power tool system, complete with hundreds of possible attachments, enabling him to transform into anything the team needs; radar dish, vehicle, or even a massive gatling gun for Volstagg to use. (Mac doesn’t like that last one so much, even though him and Stag are best buds.) This highly self-assured mechanical teen can be likened to a 16-year-old who just received his driver’s license…and a brand new Ferrari!

Volstagg

The final piece of the “Wild Trio” (Wex, Stagg, and Mac), Volstagg is the strong man of the group. Stagg was once a normal looking prince and heir to an entire kingdom. A young man in search of adventure, Volstagg left his castle one day only to be kidnapped by a group of Karn’s bio-geneticists. Their experiment left him in the state he is in now, with the strength of three gorillas and the speed of a gazelle. He returned to his home only to find it in ruins, destroyed by Karn’s army. He’s big, he’s bad, and now he has a bone to pick with Karn.

Boomer McTwis , channel sun glasses .

This spunky, Scottish redhead of the Wild 9 is no stranger to action. This seemingly innocent little lady is the daughter of the famed Scottish superhero, the “Tartan Spartan”. Boomer carries her deceased father’s superhero tartan in a sling on her belt. When needed, she can throw down the tartan to gain the superhero powers of her father. Her devotion to the Wild 9’s cause is absolute…provided she doesn’t kill B’Angus first , sunglasses reading glasses .

Pokkit

If Pokkit went to high school, the caption under his yearbook photo would read: “Most Likely To Die Sad And Alone”. This pitiful little guy so desperately wants to be accepted by his teammates. The big-hearted Pokkit even goes to such lengths as to tie a bike flag to his 3′4″ body so that his presence can be known at even 6′. Pokkit is an experiment in ‘bio-warping’ technology. He wears a jacket covered in pockets from which he ideally can produce any object he needs. Too bad it doesn’t work out that way. When they need to get out of a jam, Pokkit will reach in and produce a doughnut. And when the 9 are starving in a desert, you can be certain that Pokkit will produce a bazooka. Now can you see WHY Karn got rid of this experiment?! This walking junkdrawer is Pilfer’s whipping boy. The usually sour hair of Crystal has the biggest of crushes on Pokkit. And the rest, well they usually just don’t notice him.

Crystal

Pure living crystalline. Crystal is, by far, the team’s most intelligent member, and something of a science geek. She is the tactical and analytical support for her leader Wex Major. She has absolutely no evidence of emotion on her physical body, but there is something much more distinctive about her… She has a head of living hair! The hair is boisterous, and basically the outlet that expresses all of Crystal’s emotions. In a fight, Crystal moves with unerring accuracy, while her hair belts out wild Bruce Lee-ish battle-cries. But mostly the hair just pigs out and snores and drools, um… Eats and sleeps. Crystal is solar powered through the gem she houses in her midsection. When removed from the light source for too long, she crystallizes and becomes immobile.

Henry

Henry is the least human in form, yet the most human in spirit. The actual character of Henry is a body of morphing water encased in a very awkwardly constructed eco-suit. He has a curious and awestruck outlook on life, and humans in general. He has a short attention span, and will often change thoughts mid-sentence. He interfaces with the ship and acts as the team’s chief science officer and mobile recon unit. He formerly manned a bio-genetic ship for Karn, however broke free and eventually met up with the Wild 9

Pilfer

He’s a lunatic. He’s insane. He’s a Karn experiment in multiple personalities, 167 to be exact. HE’S THE CAPTAIN OF THE WILD 9 SHIP!?!?!?! Often found in the corner holding loud and obnoxious conversations with himself, Pilfer pilots the hunk-of-junk that is the Wild 9’s mobile home base.

Nitro

Seeking to destroy the Wild 9, Karn forced his bio-engineers to create the most destructive being in all of the Andromeda Cluster. Nitro is the result of that experiment. Encased within a protective suit, Nitro is sealed off from everything in his environment, as he is allergic to anything and everything. His allergies manifest themselves in powerful explosions, making him a powerful weapon.

Note that despite what the manual says, Karn’s face is not depicted as being the size of New York State, and is, in fact, only several times the height of the character Wex. This discrepancy between the game and the manual is never explained.**

The Rig

The Rig is a devastating piece of equipment that can either be used to lift and throw objects, or swing from items which requires strength that the user doesn’t possess. Using either Anti-Gravity or type of tractor beam technology, the Rig helps Wex throughout his quest.

The machine itself; is worn as a backpack that somehow interacts with a worn component on the arm, the movement and trajectory of the users arm movements is copied and appied to the movement and speed of the object picked up with the beam the Rig sends out. turning off The Rig just drops the object where it is.

Energy for the rig is collected by the destruction of Karns troopers, if enough energy is collected, the beam becomes red and more powerful, slowly scorching whatever is picked up.

B’Angus is known to hide inside the Rig as it is said to be indestructible, occasionally giving wise words to Wex.

External links

Wild 9 at MobyGames

Categories: 1998 video games | Cancelled Sega Saturn games | Interplay games | Platform games | PlayStation gamesHidden categories: Wikipedia articles needing rewrite from May 2009

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History

Borscht Belt hotels, bungalow colonies, summer camps, and kuchaleyns (a Yiddish name for self-catered boarding houses) were frequented by middle to upperclass Jewish New Yorkers, mostly immigrants from Eastern Europe and their children and grandchildren, particularly in the 1940s, 1950s, and 1960s. Because of this, this area was also nicknamed the Jewish Alps and “Solomon County” (a modification of Sullivan County), by many people who visited there. Well-known resorts of the area included Brickman’s, Brown’s, The Concord, Grossinger’s, Granit, the Heiden Hotel, Irvington, Kutsher’s Hotel and Country Club, the Nevele, Friar Tuck Inn, The Laurels Hotel and Country Club, The Pines Resort, Raleigh, the Overlook, and the Windsor.

Two of the larger hotels in High View (just north of Bloomingburg) were Shawanga Lodge and the Overlook. One of the high points of Shawanga Lodge’s existence came in 1959, when it was the site of a conference of scientists researching laser beams. The conference marked the start of serious research into lasers. The hotel burned to the ground in 1973.

The Overlook still remains in a different form, no longer functioning as it was in its heyday. The Overlook had entertainment and summer lodging for many years thru the late 1960s and was operated by the Schrier family. It included a main building and about 50 other bungalows, plus a five-unit cottage just across the street.

Some of these hotels originated from farms that were established by immigrant Jews in the early part of the 20th century , power transmission belts .

Despite the upgrade of old travel routes such as old New York State Route 17 (superseded by an express highway of the same name, now in the midst of an upgrade to Interstate 86), the area declined as a travel destination. What was left was a veritable museum of abandoned or decaying travel-related businesses from the Borscht Belt’s heyday. The post-World War II decline of the area also coincides with the increase of air travel. When families could go to more far-off destinations such as the Caribbean, Hawaii, and Europe for the same amount that they could go to the Catskills, the new venues began to win out , latin dance costumes .

In 1987, New York’s mayor Ed Koch proposed buying the Gibber Hotel in Kiamesha Lake to house the homeless. The idea was opposed by local officials. The hotel instead became a religious school, like many old hotels in the Catskills.

Today

Today the region is a summer home for many Orthodox Jewish families, primarily from the New York metropolitan area. It has many summer homes and bungalow colonies (including many of the historic colonies), as well as year-round dwellers. It even has its own year-round branch of the Orthodox Jewish volunteer emergency medical service Hatzolah. A few resorts remain in the region, though not many associated with the Borscht Belt Prime (including Kutsher’s Hotel, Villa Roma, Friar Tuck, and Soyuzivka (a Ukraninan cultural resort).

Plans are now in place by those who purchased former Borscht Belt resorts Concord Resort Hotel and Grossinger’s, for example, to work with Native Americans in an attempt to bring gambling to the region. Because the Borscht Belt’s prime has long passed and many of the resorts are abandoned, developers feel that this is the only way to revitalize the region to the popularity it once had by attracting guests to world-class casinos and resorts such as the ones in New Jersey and Connecticut. However, large-scale casino plans have not come to fruition.

The Heiden Hotel in South Fallsburg, which was the location of the movie “Sweet Lorraine” starring Maureen Stapleton, was destroyed by fire in May 2008.

The Stevensville Hotel in Swan Lake, which was owned by the family of accused Bernard Madoff accomplice David G. Friehling, has reopened as the Swan Lake Resort Hotel.

The former Homowack Lodge in Phillipsport was converted into a summer camp for Hassidic girls. Officials of the state Department of Health ordered the property evacuated in July 2009, citing health and safety violations.

Comedic legacy

The tradition of Borscht Belt entertainment started in the early 20th century with the indoor and outdoor theaters constructed on a 40 acre (16-hectare) tract in Hunter, New York, by Yiddish theater star Boris Thomashefsky.

Comedians who got their start or regularly performed in Borscht Belt resorts include

Joey Adams

Woody Allen

Morey Amsterdam

Milton Berle

Shelley Berman

Al Bernie

Mel Brooks

Lenny Bruce

George Burns

Red Buttons

Sid Caesar

Jack Carter

Myron Cohen

Bill Dana

Rodney Dangerfield

Phyllis Diller

Totie Fields

Betty Garrett

Estelle Getty

George Gobel

Shecky Greene

Buddy Hackett

Mickey Katz

Danny Kaye

Alan King

Robert Klein

Jack E. Leonard

Pesach Burstein

Mal Z. Lawrence

Sam Levenson

Jerry Lewis

Jackie Mason

Lou Menchell

Jan Murray

Carl Reiner

Don Rickles

Joan Rivers

Freddie Roman

Allan Sherman

Jackie Vernon

Jackie Wakefield

Jonathan Winters

Henny Youngman.

Borscht Belt humor refers to the rapid-fire, often self-deprecating style common to many of these performers and writers. Typical themes include

Bad luck: “When I was a kid, I was breast-fed by my father.” (Dangerfield)

Puns: “Sire, the peasants are revolting!” “You said it. They stink on ice.” (Harvey Korman as Count de Money (Monet) and Mel Brooks as King Louis XVI, in History of the World Part I)

Physical complaints and ailments (often relating to bowels and cramping): “My doctor said I was in terrible shape. I told him, ‘I want a second opinion.’ He said, ‘All right, you’re ugly too!’” “I told my doctor, ‘This morning when I got up and saw myself in the mirror, I looked awful! What’s wrong with me?’ He replied, ‘I don’t know, but your eyesight is perfect!’” (Dangerfield)

Aggravating relatives and nagging wives: “My wife and I were happy for twenty years. Then we met.” (Dangerfield). “Take my wifelease!” (Henny Youngman); “My wife drowned in the pool because she was wearing so much jewelry.” (Rickles); “My wife ain’t too bright. One day our car got stolen. I said to her, ‘Did you get a look at the guy?’ She said, ‘No, but I got the license number.’” (Dangerfield) “This morning the doorbell rang. I said ‘Who is it?’ He said ‘It’s the Boston strangler.’ I said ‘It’s for you dear!’” (Youngman)

Someut not allf the modern Borscht Belt comedians, such as Don Rickles, referred openly to Jews and anti-Semitism.

See also: Jewish humor

Popular culture

These resorts have been the setting for movies such as Dirty Dancing, Sweet Lorraine, and A Walk on the Moon.

Characters inspired by Borscht Belt comics include Billy Crystal’s Buddy Young Jr. from Mr. Saturday Night and Robert Smigel’s Triumph, the Insult Comic Dog.

While not a part of the true Borscht Belt legacy, the best-known entertainment event to take place in the region was the 1969 Woodstock Festival, which took place on the land of Jewish farmer Max Yasgur in Bethel, New York.

In the film Sleepers, a poster for Sonny Liston is seen on the wall of Robert De Niro’s apartment and shows the Pines Resort as the location of the fight. The scene is when they are talking about the defense of the trial and De Niro’s talk to Jason Patric and Minnie Driver

In the video game Team Fortress 2, there is an achievement available for the Heavy called “Borscht Belt” which requires you to kill ten other Heavies using the Killing Gloves of Boxing.

In the graphic novel Maus, the storyteller’s father owns a bungalow in the Catskills mountains.

See also

History of the Catskill Mountains

Chitlin’ circuit

References

^ Hecht, Jeff (2005). Beam: the race to make the laser. Oxford University Press. pp. 101. ISBN 0195142101, 9780195142105. http://books.google.com/books?id=6jOnlRViWPoC&pg=PA116&dq=Shawanga&ei=r5s2SqikD43aMeu-icME#PPA101,M1.

^ “Mamakating” by Monika A. Roosa, Arcadia Publishing, 2007, p. 29

^ http://query.nytimes.com/gst/fullpage.html?res=9B0DE7DD123EF937A35757C0A961948260

^ http://catskills.brown.edu/hotelframes.html

^ http://www.recordonline.com/apps/pbcs.dll/article?AID=/20080518/NEWS/80518002

^ http://www.recordonline.com/apps/pbcs.dll/article?AID=/20090322/NEWS/903220321

^ http://catskills.brown.edu/hotelnews/rebuild.html

^ Whitman, Victor (2009-07-16). “New York wants sect to leave old resort”. Times Herald Record. http://www.recordonline.com/apps/pbcs.dll/article?AID=/20090716/NEWS/907160323. Retrieved on 2009-07-17.

External links

Online Guide to the Catskill Mountains

Borscht Belt on the St. James Encyclopedia of Pop Culture.

The Catskills Institute, Brown University

Rise and Fall of the Borscht Belt (documentary about the Borscht Belt)

Documentary about a bungalow colony of Holocaust survivors in the Catskills

Photos of the Heiden Hotel in 2007

Modern Day Borscht Belt Returns

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“Belt” regions of the United States

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Categories: Belt regions of the United States | Borscht Belt | Jewish American history | Jewish comedy and humor | Catskills | Sullivan County, New York | Economy of Ulster County, New…

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Geology

Kalahari craton has formed a stable unit for the past 2.3 billion years (2.3 Ga). As such, it contains some of the oldest known rocks and microfossils in the world. The oldest rocks are in the Gauteng, Limpopo, Mpumalanga and North West provinces, previously known as the Transvaal, that consists of granites, gneisses, and migmatites that are ~3.4 Ga. Within this granitic basement are a number of greenstone belts where the rocks have been less highly metamorphosed and contain many primary features. These rocks comprise the Swaziland system. They form a thick pile of volcanics and cherts, which pass up into turbidites and sandstones. The ancient basement became stabilised around 3.0 Ga, and was then covered by a thick sequence of shallow-water sediments, lavas, and igneous intrusions.

Additional crust was formed and reworked along all of the craton margins at 1.41.0 Ga. To the north, the Damara-Lufilian-Zambezi Fold Belt separates the Congo craton to the north with the Kalahari. Central Zambia exhibits the largest number of Precambrian eclogite occurrences in Africa. These eclogites and the associated gabbros are interpreted as relics of a fossil subducted slab that marks a suture zone between the Congo craton to the north and the Kalahari. The Zambezi Belt and the Lufilian Arc are part of the Pan-African orogenic system that crosscuts southern Africa, separating the Congo and Kalahari cratons and their respective Paleo- and Mesoproterozoic units. These Pan-African belts were formed during the assembly of the Gondwana supercontinent. Eclogite facies metamorphism occurred at ca. 600 Ma, whereas peak metamorphism during the subsequent continental collision occurred around 530 Ma ago, with metamorphic P conditions reaching the high pressure amphibolite facies. The Zambezi Belt crosscuts and thus divides the Meso-proterozoic parts of Zambia into the Irumide Belt and the Choma-Kalomo Block. The junction of the Neoproterozoic belts and the Mesoproterozoic parts is marked by a 200 km long and up to 40 km wide zone containing lenses of eclogite, metagabbro, gabbro and rare ultramafic rocks. The eclogite-bearing zone is located in the interior of the Zambezi Belt, and runs parallel to strike. The eclogites and associated mafic rocks form isolated hills of 10 to 100 metres in diameter.

Pan-African belts along the northern and eastern craton margins are associated in one area with a 1.4 Ga ophiolite/arc terrane. The orthogneisses form part of an extensive region north of the Kalahari craton and east of the Congo craton that includes large amounts of 1.151.0 Ga arc-type rocks containing juvenile crustal components. This region may represent one of the main convergent zones active during Rodinia assembly, although its original relations are obscured by intense Pan-African overprinting. Along the southern margin, the Namaquaatalaud belt underwent arc magmatism, terrane accretion, polyphase amphibolite- to granulite-grade contractional/transpressional deformation, and late-syntectonic granite intrusion at 1.381.0 Ga. A largely buried orogen along the western margin records amphibolite-grade deformation and granitoid plutonism at 1.351.2 Ga and is inferred to connect with the Namaqua belt to the south. 1.11.0 Ga granitoid orthogneisses within Widespread intraplate magmatism affected much of the Kalahari craton at 1.1 Ga and is inferred to record impact of a mantle plume inboard of the Namaquaatalaud belt.

The Limpopo Belt separates the Rhodesian province to the north from the Transvaal province to the south. The Limppoo Belt also joins the Zimbabwe craton to the north with the Kaapvaal craton to the south. The belt is composed of a granitic basement with narrow greenstone belts. Within the greenstone belts, the sequence consists of basic volcanics, covered by greywackes, shales, and conglomerates , 925 sterling bracelet .

Kalahari craton with Laurentia, Rodinia and Gondwan , louis vuitton sunglass .

Early paleomagnetic studies showed that the Umkondo sills in eastern Zimbabwe correlated with similar mafic intrusions in Botswana and South Africa. It was therefore suggested that the Umkondo igneous province is present over a large part of the Kalahari craton, and also a detached fragment now located in East Antarctica. New paleomagnetic data are in excellent agreement with this. The great majority of the sites have the same polarity suggesting that the dolerites were emplaced during a limited time span, consistent with the geochronology. The pole position places the Kalahari craton off southeast Laurentia within the Rodinia supercontinent. In Laurentia, there is widespread within-plate magmatism coeval with the Umkondo event, raising the possibility that the two igneous provinces were linked within Rodinia.

The Kalahari craton probably converged with southwestern Laurentia between 1060 and 1030 Ma to become part of the Rodinia supercontinent by 1000 Ma. In Rodinia, the Kalahari craton lay near East Antarctica with the Namaquaatal orogenic belt facing outboard and away from the Laurentian craton. The Kalahari and Congo cratons probably collided during the assembly of Rodinia, however they could have also been just juxtaposed during the assembly of Gondwana (550-500 Ma) at the end of the Neoproterozoic. In the former case, the transcontinental, ~550 Ma Damaran-Lufilian-Zambezi orogen separating the two cratons would represent a Himalayan-style collisional belt formed by the consumption of a wide ocean. In the later case it may have been a closure of narrow Neoproterozoic basins that developed across previously assembled parts of Rodinia. A third view is that there was a convergence between the Kalahari craton and a composite Congo-Laurentia craton during the assembly of Rodinia, generating the Kibaran-Grenvillian-Llano belts. This orogenic belt system extends for over 3000 km and is over 400 km wide in Africa and is the result of the convergence of Paleoproterozoic/Archaean cratonic blocks forming the Congo craton to the north and a mosaic including the Kalahari, Bangweulu, Tanzania and West-Nilian cratons (hereafter called the Kalahari craton) to the south.

The arc on the flank of Madagascar collided with the African margin at ~640 Ma, and remained attached to the African margin when Madagascar rifted during Gondwana breakup. This ~640 event has been considered to date the collision of India, Madagascar, parts of eastern Antarctica and Kalahari cratons (IMSLEK terranes) with the Congo-Tanzania Craton and Arabian Nubian Shield.

Economic Geology

Metals

The Witwatersrand system is the world’s most productive source of gold. Gold ores occur in fracture systems in the greenstone belts. The Transvaal system contains important iron ores, and the Bushveld igneous complex contains platinum, chromium, titanium-iron, and tin ores.[citation needed] Manganese of high-grade is mined in the large Kalahari manganese field from hydro-thermal enrichments in stratabound deposits that formed approximately 2.1 Ga.

Diamonds

Diamond mining from the Kalahari craton has been extensive. Based on current annual output the Southern African Kalahari craton (approximately 48 million carats (9,600 kg)) produces more than the combined Central African cratons (37 million carats (7400 kg)) and the West African craton (2.1 million carats (420 kg)). The difference is even more pronounced in value terms where the Kalahari craton (approximately US$5.1 billion) is clearly ahead of the Central African (US$2.2 billion) and West African cratons (US$0.34 billion). The dominance of the Southern African Craton is largely due to the excellent infrastructure, favourable climate and stable political and socio-economic regime, which have ensured continuous exploration and mining activities for the past century . The Kasai craton extends over the border into Angola where 77 diamond kimberlites have been discovered. Eleven others have been found in the less explored DRC section of the craton.

See also

Kaapval craton

Zimbabwe craton

Copperbelt Province

Limpopo Belt

South Africa

References

^ * Timm, John and Volkar Schenk. (2003) artial eclogitisation of gabbroic rocks in a late Precambrian subduction zone (Zambia): prograde metamorphism triggered by fluid infiltration. Contrib Mineral Petrol (2003) 146: 174191

^ Blenkinsop, T., S. Bowring, J. Crowley, I. Dalziell, W. Gose, R. Hanson, J. Mukwakwami, J. Pancake, and J. Ramezani. (2003) ew Paleomagnetic and geochronical Data from the Meso-Proterozoic Data Umkondo Dolerites, South Africa. Geophysical Research Abstracts, Vol. 5, 07201

^ Jone, D.L., S. Pisarevsky, C. McA. Powell, and M.T.D. Wingate. aleomagnetic Constraints on the Position of the Kalahari Craton in Rodinia.3]

^ Hanson, R.E. (2004) esoproterozoic Tectonic Evolution of the Kalahari Craton: Implications for Rodinia Reconstructions. Geological Society of America , 2003 Seattle Annual Meeting, Paper No. 110-4

^ Deschamps, Y., A.B. Kampunzu, and J.P. Milesi. (2003) frica within Rodinia Supercontinent: Evidence from the Kibaran Orogenic System. Geological Society of America, 2003 Seattle Annual Meeting, Paper No. 110-3

^ Cutten, Huntley M.C. (2006) h.D. Mozambique Belt

^ Armbruster, Thomas, Edwin Gnos and Igor M. Villa. (2003) orrishite, K(Mn23+Li)Si4O10(O)2,an oxymica associated with sugilite from the Wessels Mine, South Africa: Crystal chemistry and 40Ar-39Ar dating. American Mineralogist, Volume 88, pages 189-194

^ Beukes, N.J., D.A.D. Evans, J. Gutzmer, and J.L. Kirschvink. (2001) aleomagnetic Constraints on Ages of Mineralization in the Kalahari Manganese Field, South Africa. Economic Geology, Vol. 96, 2001, pp. 621-631
…

Banknote Counters, Detectors ,

terfacing is a textile used on the unseen or “wrong” side of fabrics to make an area of a garment more rigid.

Interfacings can be used to:

stiffen or add body to fabric, such as the interfacing used in shirt collars

strengthen a certain area of the fabric, for instance where buttonholes will be sewn

keep fabrics from stretching out of shape, particularly knit fabrics

Interfacings come in a variety of weights and stiffnesses to suit different purposes. Generally, the heavier weight a fabric is, the heavier weight an interfacing it will use. Most modern interfacings have heat-activated adhesive on one side. They are affixed to a garment piece using heat and moderate pressure, from a hand iron for example. This type of interfacing is known as “fusible” interfacing. Non-fusible interfacings do not have adhesive and must be sewn by hand or machine.

v d e

Sewing

Techniques

Basting Cut Darning Dressmaker Embellishment Gather Heirloom sewing Pleat Ruffle Style line Tailor Gore (segment , digital amp meter .

Stitche , inside micrometers .

Backstitch Blanket Buttonhole Chain stitch Cross-stitch Embroidery stitch Lockstitch Overlock Running Sashiko Tack Zigzag

Seams

Bound Hong Kong Inseam Seam allowance Seam types

Notions

Bias tape Interfacing Passementerie Pattern Simplicity Trim Twill tape

Closures

Button Buttonhole Frog Hook-and-eye Shank Snap Velcro Zipper

Materials

Bias Yarn/Thread Selvage Textiles/Fabric

Tools

Bobbin Pin Pincushion Pinking shears Scissors Seam ripper Sewing needle Stitching awl Tape measure Thimble Tracing paper Tracing wheel Upholstery needle

Sewing machines

Bernina Brother Industries Feed dogs Pfaff Sewing machine Singer Tapemaster

Categories: Notions | SewingHidden categories: Articles lacking sources (Erik9bot)

2in1 microdermabrasion instrument ,



History

The first SEM image was obtained by Max Knoll, who in 1935 obtained an image of silicon steel showing electron channeling contrast. Further pioneering work on the physical principles of the SEM and beam specimen interactions was performed by Manfred von Ardenne in 1937, who produced a British patent but never made a practical instrument. The SEM was further developed by Professor Sir Charles Oatley and his postgraduate student Gary Stewart and was first marketed in 1965 by the Cambridge Instrument Company as the “Stereoscan”. The first instrument was delivered to DuPont.

Scanning process and image formation

In a typical SEM, an electron beam is thermionically emitted from an electron gun fitted with a tungsten filament cathode. Tungsten is normally used in thermionic electron guns because it has the highest melting point and lowest vapour pressure of all metals, thereby allowing it to be heated for electron emission, and because of its low cost. Other types of electron emitters include lanthanum hexaboride (LaB6) cathodes, which can be used in a standard tungsten filament SEM if the vacuum system is upgraded and field emission guns (FEG), which may be of the cold-cathode type using tungsten single crystal emitters or the thermally-assisted Schottky type, using emitters of zirconium oxide.

The electron beam, which typically has an energy ranging from a few hundred eV to 40 keV, is focused by one or two condenser lenses to a spot about 0.4 nm to 5 nm in diameter. The beam passes through pairs of scanning coils or pairs of deflector plates in the electron column, typically in the final lens, which deflect the beam in the x and y axes so that it scans in a raster fashion over a rectangular area of the sample surface , price computing scale .

When the primary electron beam interacts with the sample, the electrons lose energy by repeated random scattering and absorption within a teardrop-shaped volume of the specimen known as the interaction volume, which extends from less than 100 nm to around 5 m into the surface. The size of the interaction volume depends on the electron’s landing energy, the atomic number of the specimen and the specimen’s density. The energy exchange between the electron beam and the sample results in the reflection of high-energy electrons by elastic scattering, emission of secondary electrons by inelastic scattering and the emission of electromagnetic radiation, each of which can be detected by specialized detectors. The beam current absorbed by the specimen can also be detected and used to create images of the distribution of specimen current. Electronic amplifiers of various types are used to amplify the signals which are displayed as variations in brightness on a cathode ray tube. The raster scanning of the CRT display is synchronised with that of the beam on the specimen in the microscope, and the resulting image is therefore a distribution map of the intensity of the signal being emitted from the scanned area of the specimen. The image may be captured by photography from a high resolution cathode ray tube, but in modern machines is digitally captured and displayed on a computer monitor and saved to a computer’s hard disc , currency counter .

Magnification

Magnification in a SEM can be controlled over a range of up to 6 orders of magnitude from about x25 to x 250,000 and exceptionally to 2 million times in the Hitachi S-5500 in-lens Field Emission SEM, imaging a specimen area about 60nm wide with resolution up to 0.4 nm. Unlike optical and transmission electron microscopes, image magnification in the SEM is not a function of the power of the objective lens. SEMs may have condenser and objective lenses, but their function is to focus the beam to a spot, and not to image the specimen. Provided the electron gun can generate a beam with sufficiently small diameter, a SEM could in principle work entirely without condenser or objective lenses, although it might not be very versatile or achieve very high resolution. In a SEM, as in scanning probe microscopy, magnification results from the ratio of the dimensions of the raster on the specimen and the raster on the display device. Assuming that the display screen has a fixed size, higher magnification results from reducing the size of the raster on the specimen, and vice versa. Magnification is therefore controlled by the current supplied to the x,y scanning coils, and not by objective lens power.

Sample preparation

An insect coated in gold, having been prepared for viewing with a scanning electron microscope.

All samples must also be of an appropriate size to fit in the specimen chamber and are generally mounted rigidly on a specimen holder called a specimen stub. Several models of SEM can examine any part of a 6-inch (15 cm) semiconductor wafer, and some can tilt an object of that size to 45 degrees.

For conventional imaging in the SEM, specimens must be electrically conductive, at least at the surface, and electrically grounded to prevent the accumulation of electrostatic charge at the surface. Metal objects require little special preparation for SEM except for cleaning and mounting on a specimen stub. Nonconductive specimens tend to charge when scanned by the electron beam, and especially in secondary electron imaging mode, this causes scanning faults and other image artifacts. They are therefore usually coated with an ultrathin coating of electrically-conducting material, commonly gold, deposited on the sample either by low vacuum sputter coating or by high vacuum evaporation. Conductive materials in current use for specimen coating include gold, gold/palladium alloy, platinum, osmium, iridium, tungsten, chromium and graphite. Coating prevents the accumulation of static electric charge on the specimen during electron irradiation.

Two important reasons for coating, even when there is more than enough specimen conductivity to prevent charging, are to maximise signal and improve spatial resolution, especially with samples of low atomic number (Z). Broadly, signal increases with atomic number, especially for backscattered electron imaging. The improvement in resolution arises because in low-Z materials such as carbon, the electron beam can penetrate several micrometres below the surface, generating signals from an interaction volume much larger than the beam diameter and reducing spatial resolution. Coating with a high-Z material such as gold maximises secondary electron yield from within a surface layer a few nm thick, and suppresses secondary electrons generated at greater depths, so that the signal is predominantly derived from locations closer to the beam and closer to the specimen surface than would be the case in an uncoated, low-Z material. These effects are particularly, but not exclusively, relevant to biological samples.

An alternative to coating for some biological samples is to increase the bulk conductivity of the material by impregnation with osmium using variants of the OTO process. Nonconducting specimens may be imaged uncoated using specialized SEM instrumentation such as the “Environmental SEM” (ESEM) or field emission gun (FEG) SEMs operated at low voltage. Environmental SEM instruments place the specimen in a relatively high pressure chamber where the working distance is short and the electron optical column is differentially pumped to keep vacuum adequately low at the electron gun. The high pressure region around the sample in the ESEM neutralizes charge and provides an amplification of the secondary electron signal. Low voltage (LV) SEM of non-conducting specimens can be operationally difficult to accomplish in a conventional SEM and is typically a research application for specimens that are sensitive to the process of applying conductive coatings. LV-SEM is typically conducted in an FEG-SEM because the FEG is capable of producing high primary electron brightness even at low accelerating potentials. Operating conditions must be adjusted such that the local space charge is at or near neutral with adequate low voltage secondary electrons being available to neutralize any positively charged surface sites. This requires that the primary electron beam’s potential and current be tuned to the characteristics of the sample specimen.

Embedding in a resin with further polishing to a mirror-like finish can be used for both biological and materials specimens when imaging in backscattered electrons or when doing quantitative X-ray microanalysis.

Biological samples

For SEM, a specimen is normally required to be completely dry, since the specimen chamber is at high vacuum. Hard, dry materials such as wood, bone, feathers, dried insects or shells can be examined with little further treatment, but living cells and tissues and whole, soft-bodied organisms usually require chemical fixation to preserve and stabilize their structure. Fixation is usually performed by incubation in a solution of a buffered chemical fixative, such as glutaraldehyde, sometimes in combination with formaldehyde and other fixatives, and optionally followed by postfixation with osmium tetroxide. The fixed tissue is then dehydrated. Because air-drying causes collapse and shrinkage, this is commonly achieved by critical point drying, which involves replacement of water in the cells with organic solvents such as ethanol or acetone, and replacement of these solvents in turn with a transitional fluid such as liquid carbon dioxide at high pressure. The carbon dioxide is finally removed while in a supercritical state, so that no gas-liquid interface is present within the sample during drying. The dry specimen is usually mounted on a specimen stub using an adhesive such as epoxy resin or electrically-conductive double-sided adhesive tape,…

electronic kitchen scale ,



Features and uses

IBM typeballs (one OCR) with clip, 2 coin for scale

The ability to change fonts, combined with the neat regular appearance of the typed page, was revolutionary, and marked the beginning of desktop publishing. Later models with dual pitch (10/12) and built-in correcting tape carried the trend even further. Any typist could produce a polished manuscript. By 1966, a full typesetting version with justification and proportional spacing was released.

The possibility to intersperse text in Latin letters with Greek letters and mathematical symbols made the machine especially useful for scientists writing manuscripts that included mathematical formulas. The typical look of Selectric typed documents is hence still familiar to any scientist who reads conference proceedings, monographies, theses and the like from these times. (Proper mathematical typesetting was very laborious before the advent of TeX and done only for much-sold textbooks and very prestigious journals.)

The machine had a feature called “Stroke Storage” that prevented two keys from being depressed simultaneously. When a key was depressed, an interposer, beneath the keylever, was pushed down into a slotted tube full of small metal balls (called the “compensator tube”) and spring latched. These balls were adjusted to have enough horizontal space for only one interposer to enter at a time. If a typist pressed two keys simultaneously both interposers were blocked from entering the tube. Pressing two keys several milliseconds apart allows the first interposer to enter the tube, tripping a clutch which rotated a fluted shaft driving the interposer horizontally and out of the tube, making way for the second interposer to enter the tube some milliseconds later. While a full print cycle was 65 milliseconds this filtering and storage feature allowed the typist to depress keys in a more random fashion and still print the characters in the sequence entered. The powered horizontal motion of the interposer selected the appropriate rotate and tilt of the printhead for character selection , quartz counter .

The spacebar, dash/underscore, index, backspace and line feed repeated when continually held down. This feature was referred to as “Typamatic. , residential water meter .

Design

The Selectric typewriter was introduced on 23 July 1961. Its industrial design is credited to influential American designer Eliot Noyes. Noyes had worked on a number of design projects for IBM; prior to his work on the Selectric, he had been commissioned in 1956 by Thomas J. Watson, Jr to create IBM’s first house style these influential efforts, in which Noyes collaborated with Paul Rand, Marcel Breuer, and Charles Eames, have been referred to as the first “house style” program in American business.

Both Selectric and the later Selectric II were available in standard, medium, and wide-carriage models and in various colors, including red and blue as well as traditional neutral colors.

Mechanically, the Selectric borrowed some design elements from a toy typewriter produced earlier by Marx Toys. IBM bought the rights to the design. The typeball and carriage mechanism was similar to the design of the Teletype Model 26 and later, which used a rotating cylinder that moved along a fixed platen.

The mechanism that positions the typing element (“ball”) is partly binary, and includes two mechanical digital-to-analog converters, which are basically “whiffletree” linkages of the type used for adding and subtracting in linkage-type mechanical analog computers. Every character has its own binary codes, one for tilt and one for rotate.

When the typist presses a key, it unlatches a metal bar for that key. The bar is parallel to the side of the mechanism. This bar has several short projections (“fingers”). Only some of the fingers are present on any given code bar, those present corresponding to the binary code for the desired character.

When the key’s bar moves, its projections push against a second set of bars that extend all the way across the keyboard mechanism; each bar corresponds to one bit. All bars for the keys contact some of these crosswise bars. Those bars that move, of course, define the binary code.

The bars that have been moved cause cams on the driveshaft (which is rotating) to move the ends of the links in the whiffletree linkage, which sums (adds together) the amounts (“weights”) of movement corresponding to the selected bits. The sum of the weighted inputs is the required movement of the typing element. There are two sets of similar mechanisms, one for tilt, one for rotate. The reason for this is the type element has four rows of 22 characters. By tilting and rotating the element to the location of a character, the element could be thrust against the platen, leaving an imprint of the chosen character.

The motor at the back of the machine drove a belt connected to a two-part shaft located roughly halfway through the machine. The Cycle Shaft on the left side provided the energy that was used to tilt and rotate the type element. The Operational Shaft on the right side provided functions such as spacing, back spacing and case shifting. Additionally, the Op Shaft was used as a governor; limiting the left-to-right speed with which the carrier moved. A series of spring clutches were used to power the cams which provided the motion needed to perform functions such as backspacing. The Cycle Shaft was rotated when a spring clutch was released, driving a set of cams whose rotational motion was then converted into left-and-right motion by the whiffle tree. The system was highly dependent upon lubrication and adjustment and much of IBM’s revenue stream came from the sale of Service Contracts on the machines. Repair was fairly expensive, so maintenance contracts were an easy sell.

The locations of the characters on the element was not random. Punctuation marks and the underscore were deliberately placed so the maximum amount of energy was used to position the element, thus reducing the impact made by them and lessening the chance that the underscore would cut through the paper. Later on, a deliberate mechanism was added that reduced the force of the impact made by punctuation.

Tilt and rotate movements are transferred to the ball carrier, which moves across the page, by two taut metal tapes, one for tilt and one for rotate. The tilt and rotate tapes are both anchored to the right side of the carrier (the metal contraption upon which the type element is located). They both wrap around separate pulleys at the right side of the frame. They then wrap behind the carrier the are wrapped around two separate pulleys at the left side of the frame. The tilt tape is then anchored to a small, quarter-circle pulley which, through a gear, tips the tilt ring to one of four possible locations (The tilt ring is the device to which the type element is connected). The rotate tape is wrapped around a spring-loaded pulley located in the middle of the carrier. The rotate pulley under the tilt ring is connected through a universal joint (called a “dog bone”; it looked like a small bone) to the center part of the tilt ring. The type element is sprint-latched onto that central post. The type element rotates counter-clockwise when the rotate tape is tightened. The clock spring underneath the rotate pulley rotates the element in the clockwise direction. As the carrier moves across the page (such as when it returns), the tapes travel over their pulleys, but the spring-loaded pulleys on the ball carrier do not pivot or rotate.

To position the ball, both of the pulleys on the left side of the frame are moved by the whiffletree linkage. When the rotate pulley is moved to the right or left, the rotate tape spins the type element to the appropriate location. When the tilt pulley is moved, it tips the tilt ring to the appropriate location. When it moves, the tape rotates the spring-loaded pulley on the ball carrier independent of the carrier’s location on the page.

Case was shifted between caps and lower case by rotating element by exactly half a turn. This was accomplished by moving the right-hand rotate pulley using a cam mounted on the end of the operation shaft.

There was a proportional-spacing Selectric called a Composer that would backspace proportionally for perhaps 40 characters. The spacing code for the last characters typed was stored by small sliding plates in a carrier wheel.

Selectric II

After the Selectric II was introduced a few years later, the original design was designated the Selectric I. These machines used the same 88-character typing elements. However they differed from each other in many respects:

The Selectric II was squarer at the corners, whereas the Selectric I was rounder.

The Selectric II had a Dual Pitch option to allow it to be switched (with a lever at the top left of the “carriage”) between 10 and 12 characters per inch, whereas the Selectric I had one fixed “pitch.”

The Selectric II had a lever (at the top left of the “carriage”) that allowed characters to be shifted up to a half space to the left (for centering text, or for inserting a word one character longer or shorter in place of a deleted mistake), whereas the Selectric I did not. This option was available only on dual pitch models.

The Selectric II had an optional correction feature, whereas the Selectric I did not. This worked in conjunction with a correction ribbon: Either the transparent and slightly adhesive “Lift-Off” tape (for use with Correctable Film ribbons), or the white “Cover-Up” tape (for cloth or Tech-3 ribbons). The white or transparent correction tape was at the left of the typeball and its orange take-up spool at the right of the…

Voice Bathroom Scale(HT-2200) ,



Richard P. Carlton

Carlton, 27, joined 3M on October 26, 1921, as a manufacturing engineer, but he quickly assumed responsibility for laboratory operations and is credited with “giving form to a shapeless research program”, by replacing hit-and-miss testing with disciplined technical processes. He served as 3M’s fifth president from 1949-1953.

Along with being a leader who encouraged others, Carlton was an inventor in his own right. His laboratory sander allowed 3M to precisely measure the abrading performance of sandpaper, for the first time, which greatly improved quality. He also invented an advanced adhesive binder, an electrostatic process that increased the cutting power of sandpaper, a synthetic resin for waterproof sandpaper and a flexible sanding disc that conformed to auto fenders and other curved surfaces.

Even today, Carlton’s philosophy remains a bedrock foundation for all of 3M’s research and development activities:

“Every idea should have a chance to prove its worth. , glass digital scale .

“No plant can rest on its laurels. It either develops and improves or loses ground. , lan cable tester .

“A free interchange of data and idea … will always be our policy and our creed.”

Members

In three decades, more than 158 scientists have received Carlton Society awards for creating technologies and products that have produced significant growth for 3M and even some that have changed the world, such as pressure-sensitive tapes, repositionable notes, retroreflective sign materials, coated abrasives, twist-lock electrical connectors, fiberglass orthopedic casting materials and fabric protectors and stain repellents.

1963 (Carlton SocietyTM Charter Members)

Bert S. Cross - For his tireless and unflagging drive to achieve and to provide improved and new products, and particularly for his early contributions to coated abrasives.

Richard G. Drew - For his invention of pressure-sensitive masking tape and pressure-sensitive cellophane tape.

Lloyd A. Hatch - For his philosophy and guidance in research and development; for the development of an air classification process for uniform grading of abrasive minerals; and for his work with roofing granules.

Clifford L. Jewett - For his contributions and continued support of the 3M technical organization, and for the development of the modern roofing granule.

E. M. Johnson - For the introduction of sound engineering principles and improved mechanical equipment for manufacturing, primarily in the areas of tape and coated abrasives. (Awarded posthumously.)

E. Waldo Kellgren - For his contributions toward the development of rubber resin backing treatments for pressure-sensitive tapes, and for developing superior paper backings for waterproof sandpaper.

Joseph H. Kugler - For his inspiration and encouragement to others; for the introduction and extension of synthetic resin technology; and for his work on the electrostatic coating process used in the manufacture of coated abrasives.

Harvey J. Livermore - For numerous contributions in many fields, and for his work on water-dispersed adhesives.

Leonard R. Nestor - For developing and improving manufacturing processes for coated abrasives, and for his work on coated abrasives products.

George P. Netherly - For his development of gluebond sandpaper.

Francis G. Okie - For his contributions to the early experimental philosophy, and for the invention of waterproof sandpaper.

A. E. Raymond - For advancement of processes for producing coated abrasives, and for improvements to coated abrasive products.

Henry N. Stephens - For key contributions in the development of water-dispersed adhesives and, under R. P. Carlton, for the organization and development of 3M Central Research Laboratories.

George W. Swenson - For early laboratory scientific studies, and for the invention of colored ceramic-coated roofing granules.

Hubert J. Tierney - For broadening and improving the entire line of pressure-sensitive tapes, and for his contributions to the development of modern manufacturing processes.

1964

William E. Lundquist - For his dedicated and knowledgeable application of organic chemistry to such important 3M product developments as pressure-sensitive adhesives, tape backings, and plastic film.

Carl S. Miller - For his conception and reduction to practice of the principles of thermographic office copying and for his dedication to its development as a major product technology in 3M growth.

Wilfred W. Wetzel - For early contributions to the instrumental study of elasticity in pressure-sensitive adhesives, and for the technical leadership which established magnetic tape as the world principal medium for electronic recording and 3M as the world principal supplier of such tape.

1965

George V. D. Tiers - For fundamental scientific research in nuclear magnetic resonance spectroscopy which enables rapid structural analysis of organic compounds and fluorochemicals; for many publications in that field which have helped to establish 3M reputation as a leader in research; and for numerous discoveries in fluorine chemistry.

1966

Warren R. Beck - For fundamental research, invention, and development in glass, glass bead, and glass bubble technology, particularly with glasses of high refractive index which are essential components of retroreflective materials, thereby making possible 3M commercial development of reflective signs, license plates, and related products. He holds 16 patents.

Philip V. Palmquist - For major contributions in the invention and development of all-weather reflective sheeting, reflective and antireflective coatings and finishes, and other related areas of great commercial significance to 3M.

Thomas S. Reid - For inventions and leadership in many areas of organic chemistry, including basic research in fluorine chemistry, leading to fluorochemical oil- and water-repellent finishes; for his work on adhesion promoters for polymer films and low-adhesion backsizes for tapes; and for the initiation and direction of research in medicinal chemistry.

Erwin W. Ulrich - For his work in the field of polyacrylate adhesives, vital components in industrial, retail, and medical tapes, and reflective products.

1968

Alvin W. Boese - For originating and developing nonwoven web technology in 3M, which has led to a wide variety of important commercial products ranging from decorative materials to protective face masks and surgical tape.

Carl A. Dahlquist - For invention and development of low adhesion backsizes which are widely used in pressure-sensitive tapes; and for fundamental research on adhesion and on visco-elastic materials.

Matthew W. Miller - For dedication to scientific and technical achievement; for fulfilling those efforts as a builder of men and laboratories; for developing the scientific and technical communications department; and for major contributions to the Abrasives Laboratory and to 3M Central Research Laboratories.

A. Farley Thomson - For development of neoprene elastomer materials having unique adhesiveness to a wide variety of surfaces, and which have contributed greatly to 3M leadership in adhesives; for joint invention of a new encapsulated adhesive technology; and for contributions at all stages of adhesives development.

1969

Thomas J. Brice - For fundamental research in fluorine chemistry, including the joint discovery of fluorocarbon sulfonic acids which are essential to 3M successful commercial development of fluorochemicals; and for initiating and supporting research on aromatic and epoxy polymers and prepolymers, ethyleneimine derivatives, polysulfonamides, and light-sensitive compounds.

Samuel Smith - For the development of commercially successful oil- and water-repellent fluorochemical textile finishes; for prediction and realization of soil release in permanent-press fabrics, a major advance in textile technology; and for discovery of a unique catalyst system for cationic polymerization.

1970

Joseph F. Abere - For his technical contributions in the development of 3M Scotchpak Packaging Films, reactive bisamide polymers, and 3M Scotchtab Can Sealing Systems; and for his interests in composite systems.

James R. Johnson - For his involvement in the fields of nuclear products, ceramics, and refractory metals; for his role in organizing and staffing 3M Physical Sciences Research Laboratory from which numerous new products have emerged; and for his authorship or coauthorship of 31 technical publications.

George M. Rambosek - For an unusually broad list of technical and chemical developments, many of which have resulted in commercially successful products, including Addent Dental Adhesive for high performance of honeycomb panels; adhesive drying processes, moisture-curing, one-part alkalineimine adhesives; 3M Tartan Surfacing; oleophobic papers prepared with perfluoronated materials; aerosol spray adhesives; 3M Podiasin Products and new podiatry material; and a polyisocyanurate catalyst.

Charles W. Walton - For his technical leadership and contributions to the development of structural adhesives which led to the revitalization and new growth of the Adhesives, Coatings, and Sealers Division; for his great perception in recognizing technical opportunities and guiding them through to successful commercial products; and for his unflagging support and encouragement of 3M Research and Development efforts.

1971

Arthur H. Ahlbrecht - For his technical contributions in the development of 3M fluorochemical program, especially in the design and synthesis of the critical monomers for the first commercial textile…

Bayonet Cap & Adaptor (BCA 01) ,



Hand held dispenser

A clear case tape dispenser

Some dispensers are small enough so that the dispenser, with the tape in it, can be taken to the point of application. The dispenser allows for a convenient cut-off and helps the operator apply (and sometimes helps rub down) the tape. It allows the tape to be taken to the point of application for operator ease.

Table Top Dispensers

Pull and Tear

Table top or desk dispensers are frequently used to hold the tape and allow the operator to pull off the desired amount, tear the tape off, and take the tape to the job.

Stationary Electronic Tape Dispenser

Table top dispensers are available with electrical assists to dispense and cut pressure sensitive tape to a predetermined length. They are often used in an industrial setting to increase productivity along manufacturing or assembly lines. They eliminate the need to manually measure and cut each individual piece of tape on high volumes of product or packaging. By automating this process, automatic tape dispensers reduce material waste caused by human error. They also reduce the time needed to cut each piece of tape, therefore reducing labor costs and increasing productivity.

A blue tape dispenser

Semi-automatic tape dispensers are often classified into 3 categories:

Light-duty: For light, non-industrial use

Industrial: A sturdier dispenser meant for use over one 8 hour shift per day

Heavy-duty: The sturdiest of automatic tape dispensers, constructed to withstand 24/7 use in back to back shifts

A pull and tear clear tape dispenser, in black plastic.

Due to the varying attributes of pressure sensitive tape, there are many different features of automatic tape dispensers which vary from model to model , fuel pressure gauge .

Adjustable Pressure Feed , tank level gauges .

Allows the user to control the amount of pressure placed on the tape when it is fed through the advancement rollers. This feature is useful for more efficient dispensing of tapes of all different thicknesses.

Modified Advancement Rollers

Depending on the type of tape being dispensed, many automatic dispensers have modified advancement rollers in order to function better with extra narrow tapes, protective film, foam tapes, etc.

Photosensor

Many dispensers come equipped with photosensors in order to detect the presence or absence of a piece of tape and facilitate advancement. Dispensers can also be equipped with dual photosensors in order to dispense two rolls of tape at once.

Creaser

Creasers are installed on tape dispensers in order to reinforce tapes that are very thin or have the tendency to curl up (tapes made of Mylar and Kapton often have this tendency).

Safety Guard Cutting Head

With a safety guard cutting head, cutting blades cannot function if a foreign object is obstructing the cutting area (fingers, tools, etc.).

Programmable Memory

With a programmable memory, users have the option of saving any number of preset lengths, depending on the dispenser, for automatic feeding and cutting.

Interval Switch

Allows the user to control the speed at which the tape is automatically dispensed and cut.

Counter

Maintains a running total of the amount of pieces dispensed.

Foot switch

Plugs into the dispenser and gives the user hands-free operation. Dispenses a piece of tape each time the switch is pressed.

Automated equipment

Some taping machinery is semi-automatic: the operator takes an object and puts it in or through a machine which automatically applies the tape. This helps save time and controls the consumption of tape.

Fully automatic equipment is available which does not require an operator. All functions can be automated.

High speed packaging machinery is an example of highly automated equipment.

Gummed (Water Activated) Tape Dispenser

Gummed (water activated) tape dispensers measure, dispense, moisten, and cut gummed or water activated tape. This tape is often composed of a paper backing and adhesive glue that is unable to adhere until it is ctivated by contact with water. To perform this step, gummed dispensers often employ a water bottle and wetting brush in order to moisten each piece of tape as it is dispensed. Many gummed dispensers also feature a top heater, which is mounted over the feed area in order to warm and maintain the dispenser water temperature. These heaters are used to ensure maximum wetting and are ideal for cold climates. Gummed tape dispensers are often used in packaging or shipping departments for closing cardboard boxes.

See also

Pressure sensitive tape

External links

Wikimedia Commons has media related to: Tape dispenser

Categories: Office equipment

Epson Compatible / Refilling / CISS Ink Cartridges ,



Overview

Pen plotters print by moving a pen across the surface of a piece of paper. This means that plotters are restricted to line art, rather than raster graphics as with other printers. Pen plotters can draw complex line art, including text, but do so very slowly because of the mechanical movement of the pens. Pen Plotters are incapable of creating a solid region of color; but can hatch an area by drawing a number of close, regular lines. When computer memory was very expensive, and processor power was very limited, this was often the fastest way to produce color high-resolution vector-based artwork, or very large drawings efficiently.

Traditionally, printers are primarily for printing text. This makes it fairly easy to control, simply sending the text to the printer is usually enough to generate a page of output. This is not the case of the line art on a plotter, where a number of printer control languages were created to send the more detailed commands like “lift pen from paper”, “place pen on paper”, or “draw a line from here to here”. The two common ASCII-based plotter control languages are Hewlett-Packard’s HPGL2 or Houston Instruments DMPL with commands such as “PA 3000, 2000; PD”.

Programmers using FORTRAN or BASIC generally did not program these directly, but used software packages such as the Calcomp library, or device independent graphics packages such as Hewlett-Packard’s AGL libraries or BASIC extensions or high end packages such as DISSPLA. These would establish scaling factors from world coordinates to device coordinates, and translating to the low level device commands. For example to plot X*X in HP 9830 BASIC, the program would be

10 SCALE -1,1,1,1

20 FOR X =-1 to 1 STEP 0.1

30 PLOT X, X*X

40 NEXT X

50 PEN

60 END

Early plotters (e.g. the Calcomp 565 of 1959) worked by placing the paper over a roller which moved the paper back and forth for X motion, while the pen moved back and forth on a single arm for Y motion. Another approach (e.g. Computervision’s Interact I) involved attaching ball-point pens to drafting pantographs and driving the machines with motors controlled by the computer. This had the disadvantage of being somewhat slow to move, as well as requiring floor space equal to the size of the paper, but could double as a digitizer. A later change was the addition of an electrically controlled clamp to hold the pens, which allowed them to be changed and thus create multi-colored output.

Hewlett Packard and Tektronix created desk-sized flatbed plotters in the late 1970s. In the 1980s, the small and lightweight HP 7470 used an innovative “grit wheel” mechanism which moved only the paper. Modern desktop scanners use a somewhat similar arrangement. These smaller “home-use” plotters became popular for desktop business graphics, but their low speed meant they were not useful for general printing purposes, and another conventional printer would be required for those jobs. One category introduced by Hewlett Packard’s MultiPlot for the HP 2647 was the “word chart” which used the plotter to draw large letters on a transparency. This was the forerunner of the modern Powerpoint chart. With the widespread availability of high-resolution inkjet and laser printers, inexpensive memory and computers fast enough to rasterize color images, pen plotters have all but disappeared.

Plotters were also used in the Create-A-Card kiosks that were available for a while in the greeting card area of supermarkets that used the HP 7475 6 pen plotter.

Plotters are used primarily in technical drawing and CAD applications, where they have the advantage of working on very large paper sizes while maintaining high resolution. Another use has been found by replacing the pen with a cutter, and in this form plotters can be found in many garment and sign shops.

If a plotter was commanded to use different colors it had to replace the pen and select the wanted color and/or width.

A niche application of plotters is in creating tactile images for visually handicapped people on special thermal cell paper.

Pen plotters have essentially become obsolete, and have been replaced by large-format inkjet printers and LED toner based printers. Such printers are often still known as plotters, even though they are raster devices rather than pen based plotters by the definition of this article. The newer plotters still understand vector languages such as HPGL2. This is because the language is an efficient way to describe how to draw the file using just text commands. A technical drawing in HPGL2 can be quite a bit smaller file than the same drawing in a pure raster form , refillable ink cartridges .

A pen plotter’s speed is primarily limited by the type of pen used. The typical plotter pen uses a cellulose fiber rod inserted through a circular foam tube saturated with ink, with the end of the rod sharpened into a conical tip. As the pen moves across the paper surface, capillary wicking draws the ink from the foam, down the rod, and onto the paper. As the ink supply in the foam is depleted, the migration of ink to the tip begins to slow down, resulting in faint lines. Slowing the plotting speed will allow the lines drawn by a worn-out pen to remain dark, but the fading will continue until the foam is completely depleted. Also as the fiber tip pen is used, the fiber tip slowly wears away from rubbing against the media, wearing down the thin conical tip into a thicker smudged line , color laser printer toner .

Ball-point plotter pens with refillable clear plastic ink reservoirs are available. They do not have the fading or wear effects of fiber pens, but are generally more expensive and uncommon.

Vinyl Sign Cutter

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A vinyl sign cutter (sometimes known as a cutting plotter) is used by professional poster and billboard sign-making businesses to produce weather-resistant signs, posters, and billboards using self-colored adhesive-backed vinyl film that has a removable paper backing material. The vinyl can also be applied to car bodies and windows for large, bright company advertising and to sailboat transoms. A similar process is used to cut tinted vinyl for automotive windows.

Colors available are generally limited only by the collection of vinyl on hand. To prevent creasing of the material, it is stored in rolls. Typical vinyl roll sizes are 24-inch and 36-inch width.

Generally the hardware is identical to a traditional plotter except that the ink pen is replaced by a very sharp knife that is use to cut out each shape, and the plotter may have a pressure control to adjust how hard the knife presses down into the vinyl film, allowing designs to be fully or partly cut out. The vinyl knife is usually shaped like a plotter pen and is mounted on ball-bearings so that the knife edge rotates to face the correct direction as the plotter head moves.

Once the letters or designs have been cut out, there are two methods for handling the application.

The most common method:

From the front surface, peel off the surround and unwanted areas of shapes from the letters or design.

Apply a slightly tacky carrier film over the letters or design (this film is similar to masking tape though clear carrier films are also used.

Cut out the area which includes the desired design, including the carrier film, vinyl and vinyl backing material.

Apply a small piece of masking tape to the sides of the resulting sandwich to ease positioning.

Ensuring that the area to which the vinyl is to be applied is clean, position the sandwich. When it is in the desired position, apply a hinge of masking tape to the lower edge. Remove the two side pieces of masking tape and the sandwich will fold down along the hinge.

Carefully remove the backing paper by peeling sideways, not away from the letters or design.

The cut vinyl is now held in position by the carrier film.

With a small plastic wiper (a credit card will also do), sweep the cut vinyl into contact with the mounting surface, stroking upwards and outwards, taking care to leave no air bubbles.

When all parts of the cut vinyl is in contact with the mounting surface, gently peel off the front paper sideways, and apply final pressure to the front face of the cut vinyl to produce a weather-resistant sign.

An older method:

Once the vinyl has been cut, the individual cut-out pieces are peeled off the backing paper and carefully assembled by hand on the mounting surface to form the final image.

A heat gun may be used to melt/bond the vinyl pieces to the substrate.

Sign cutters are primarily used to produce single-color line art. Multiple colors can be cut and assembled but the assembly process is extremely painstaking if the cut sections are thin and flexible.

As with the pen plotter, sign cutting plotters are in decline for general billboard and sign design. They are being replaced by wide-format inkjet printers that use special fade-resistant UV-protected solvent-based inks, which can directly print onto fabrics, vinyls, or plastic sheeting. These large inkjet printers have the added advantage of performing smooth color transitions and photo printing, which sign cutters cannot duplicate.

However, sign cutting plotters are still very much in use for precision cutting of graphics produced by wide-format inkjet printers, for example to produce shaped stickers and window graphics.

Static Cutting Table

A sign cutter typically functions like a traditional roll-fed or sheet-fed plotter, in that the media to be cut is kept rigid by a…