#chalk piece machine manufacturer

[jayamindustries-sambranimachine]

Revolutionizing Small Scale Businesses: Jayam Industries' Latest Chalk Piece Machine

In a world where technological advancements shape the way industries operate, small scale businesses often find themselves seeking innovative solutions to enhance efficiency and productivity. In a notable stride towards aiding such enterprises, Jayam Industries has introduced its latest creation — the cutting-edge Chalk Piece Machine. This remarkable innovation holds the potential to revitalize the chalk production sector, providing a significant boost to small scale businesses.

Streamlining Chalk Production: A Game-Changer for Small Scale Businesses

Chalk, a ubiquitous tool in educational institutions and various industries, might appear mundane at first glance. However, its production has historically been a labor-intensive process, especially for small scale manufacturers. Jayam Industries’ Chalk Piece Machine is poised to transform this landscape by automating and optimizing the production process, subsequently benefiting businesses in several ways.

1. Increased Production Efficiency: Traditional chalk production methods involve manual labor at multiple stages, from mixing the ingredients to molding and drying the chalk pieces. Jayam Industries’ machine automates these processes, significantly reducing the need for human intervention and increasing the overall production speed. This boost in efficiency translates to higher output, allowing small scale businesses to meet demand without compromising on quality.

2. Enhanced Product Quality: Consistency and precision are paramount in producing high-quality chalk pieces. The Chalk Piece Machine ensures uniform mixing of ingredients, accurate molding, and controlled drying conditions. As a result, the end product boasts consistent size, shape, and texture, meeting industry standards and satisfying customer expectations.

3. Cost-Effectiveness: Implementing automation through the Chalk Piece Machine leads to long-term cost savings. While the initial investment may seem substantial, the reduction in labor costs, minimized material wastage, and increased output justify the expenditure. Small scale businesses can achieve economies of scale without straining their resources.

4. Technological Accessibility: Jayam Industries’ Chalk Piece Machine brings advanced technology within reach of small scale businesses. The machine’s user-friendly interface and intuitive controls make it accessible to operators with varying levels of technical expertise. This democratization of technology empowers businesses to harness automation’s benefits without extensive training requirements.

5. Sustainability: With an increasing focus on sustainable practices, the Chalk Piece Machine aligns with eco-conscious production. By optimizing material usage and energy consumption, the machine reduces the environmental footprint of chalk production. This aspect can appeal to environmentally conscious consumers and open doors to new market segments.

6. Adaptability: The Chalk Piece Machine’s design allows for customization and scalability, catering to the unique requirements of different businesses. Whether a small workshop or a growing enterprise, the machine can be tailored to match the production volume and specific needs, ensuring a versatile solution for a diverse range of businesses.

Paving the Path for Progress

Jayam Industries’ latest innovation, the Chalk Piece Machine, marks a significant stride towards revitalizing small scale businesses engaged in chalk production. By optimizing efficiency, quality, and cost-effectiveness, this technology empowers businesses to thrive in an increasingly competitive market. As automation continues to shape industries worldwide, embracing such solutions becomes crucial for not only sustaining but accelerating the growth of small scale enterprises.

For details: https://camphormachine.in

Contact No: 096597 82821

[x-ceirios-x]

(Part 2) City of Glass, Chapter 6: Bad Blood

please see the masterlist for notes about this series/collection of works

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Clary had never felt so alone. With Andy nowhere in sight, Sebastian had walked her back to Amatis’s house and she’d been waiting for her in the bedroom. There was no sign of Andy as she walked through the house, either. She ran through the house after her conversation with Amatis and kicked the door shut behind her, flinging herself down onto the bed. She’d thought she’d wanted to cry, but the tears wouldn’t come. Jace hates me, she thought. Amatis hates me, I never got to say goodbye to Simon. My mother is dying. And Luke has abandoned me. I’m alone. I’ve never been more alone and it’s all my own fault. Maybe that was why she couldn’t cry, she realized, staring dry-eyed at the ceiling. Because what was the point in crying when you couldn’t even comfort yourself?

She laid there for hours, unable to cry or sleep or anything of the sort. She didn't know the time, only that the sky had been dark for hours and Idris, at night, was much darker than New York. For a moment, she considered trying to sleep again, but it was worthless. She decided to get a glass of water and clear her head. 

Once she had the water, she took a step outside the front door. The city air was clean, even if it was almost the center of the city. She chalked it up to the lack of cars and manufacturing around. Clary leaned against the railing, enjoying the fresh air after the long day she’d had. The walk home was nice, but she was still reeling after everything Jace said. Half of her never wanted to speak to him again, maybe part of her wanted to punch him. Rowan had certainly tried—with how upset she was at his words, she would have cheered them on if the shock wore off fast enough. 

She noticed, however, a bit of light coming from the corner of the house. It could have been a streetlight behind the corner, or a lamp connected to the house, but it was coming from the ground. It intrigued her, and it was something of a distraction. She walked off of the front porch and turned the corner, only to find a cellar door, lying open, light coming from the inside. Quietly, she descended the stairs. 

The first thing that hit her was the smell—it was a basement, sure, but she could smell wood shavings and sawdust, and a distinct metallic scent she couldn’t place. There was a small, brick-lined hallway that turned a corner, blocked by a rickety wooden door. The glass in the door was sandblasted and cracked in a few places. There was light shining through, as well as the yellow light in the hall above her head, without a fixture around it. It reminded her more of New York than anything she’d seen so far in Idris. Music came from inside the room, though it was muffled. 

When she opened the door, she was hit with the full volume of the music, a stronger wood smell, and, to her surprise, a slight breeze. That would make sense, considering there was a fan blowing next to her, about head height, pointed upward to a window in the far corner of the room. The room was well lit, to her surprise, but it looked a little shabby. There were two bookshelves in the far corner, below the window—wood, old-looking, with a variety of tools, books, and scrap pieces of metal on them. Next to that were a few folding chairs against the wall, then a strange record-player-looking machine that had music coming from the large speaker at its base, and on the wall opposite her were a few large, worn desks. They looked like a desk someone would keep at home, not in a school, but with drawers falling open or completely missing. Sitting with the back against the wall, a paintbrush in her hand, sat Andy—she had her legs pulled up to her chest and she seemed to be painting something small in her hand.

Clary knocked on the door next to her, making her look up. She smiled and kicked something towards her—a remote of some sort. She used it to turn down the music, which she noticed was current American pop. All the things she heard on the radio at home. “Hey!” she said excitedly, waving with her hand that held the paintbrush. “What brings you down here?”

She blinked a few times in surprise; she seemed oddly peppy for it being past midnight. “I went for some fresh air and I saw the door open—how are you so awake?”

She cocked an eyebrow. “What time is it?”

“Twelve thirty, I think.”

Andy laughed and produced a drink from beside her, hidden behind her leg. She took a sip and smiled at her. “Caffiene is a wonderful thing, isn’t it?” she asked, placing down the brush and object she was holding in her hand. It looked like a teacup. “Come, sit—you’re welcome to grab a chair, but really any horizontal service down here is fair game. Just be careful you don’t step on a screw.”

Clary looked down—the floor, indeed, was a mess. She noticed the screws and sawdust scattering the floor and carefully walked towards her. She sat on the desk in the corner, adjacent to Andy’s. 

“So! What keeps you up so late, dear?” she asked. 

She really didn’t have an answer. Half of her wanted to tell her about the discussion with Amatis earlier, and walking home with Sebastian, and the issues at the Penhallow house—thinking about it all reminded her. The Penhallow house. She turned towards Andy, eyebrows furrowed slightly in frustration. “Thanks for leaving me to walk home by myself from the Penhallow’s. Sebastian walked me.”

She shuddered with a smile. “What a treat. Tall, dark, and handsome wanted a moment alone with you?”

Her eyes narrowed. Sebastian was nice, but she didn’t have the time or mental capacity to think about boys. Not after the last few weeks, and especially not after today. “Not my point.”

Andy chuckled and picked up her teacup and paintbrush again. She noticed she wasn’t at all painting, but it was glue she was delicately applying. There went any hope of having art supplies around. “Sorry. I decided it wasn’t my place to stay after that whole…debacle started. I figured you’d stay there, but it seems like you’re back.”

“I am. And I had to sneak back in and your mom gave me a lecture for the ages.”

She rolled her eyes. “I heard all that. You got the calm version. When I came home, she decided that was the time to yell at me for corrupting you into my terrible habits and Clary is such a nice girl, why do you have to get her into trouble.” She mocked her mother as she spoke, using an incredibly posh accent. Her mother didn’t at all sound like that, but she understood her point. “Consider yourself lucky.”

“She seems to hate me.”

“She hates me too, dear,” Andy said with a sigh. She rested the teacup down, and leaned forward, resting her elbows on her knees. Her feet dangled off the edge of the desk, where someone would keep a chair; she swung them as she spoke, which Clary found amusing slightly. “There aren’t many people my mother doesn’t hate, at least a little. Luke, my father, you, me—you’ll get used to it.”

Clary remembered their earlier conversation, when she’d brought up Andy’s father. She was angry—very angry—but here she seemed relaxed enough to bring it up. She didn’t want to push her luck, so she decided to leave it be. “What is it that you’re working on?” she asked, looking past her at the teacup. 

She picked up the cup and grabbed a small bag behind her—it was a tightly-knit, mesh bag. Inside were tiny pieces of broken porcelain with a similar pattern to the cup she was working on. “It’s been broken for a while. I broke it, mom got mad, I just figured I should fix it.”

Clary looked at her quizzically. “You seem to be mad at your mom a lot, why are you fixing it?” She understood that she’d do anything for her mom, including fixing a broken teacup she broke. She was halfway across the world in an unfamiliar country staying with people she barely knew just to save her mother. Andy didn’t do that, though—any time Amatis came up in conversation, she seemed upset. Not always angry, not sad, but there was a lot of history between them, and she figured the good didn’t outweigh the bad. 

Andy sighed. “You’d do anything for your mom because you love her,” she said softly, looking at the floor. Her dark eyes looked clouded for a moment, like a stormy sea. “I do little things to stop the fighting. Which, in its own way, is love.” She pulled herself out of her head, glancing at Clary for a moment with a wry smile. “Usually it's my fault—I haven’t exactly been an easy kid. I know that.”

“You seem like you turned out okay,” she said. It wasn’t just trying to comfort her; Clary genuinely believed Andy was an incredibly strong person, in the little time she knew her. She knew she was good at metal and woodworking by the looks of her lab, clever and caring. Incredibly so. She liked to pretend she wasn’t—Clary got the same from Rowan. Two people that tried to pretend like nothing bothers them, everything ran off their back like it was water, but they wanted to help people. If she didn’t, Andy would have never helped her escape. She wouldn’t have done her hair for her, either, which was an incredibly touching gesture that she began to understand the longer they knew each other. 

Her smile changed. She relaxed slightly, but . Her words took her by surprise. “I appreciate that, Clary.”

There was a short lull in conversation, now-quiet music in the background, then she spoke up again. “What is all this, anyway?” Clary asked. ““A…” she tried to find a good word to describe the chaos she walked into. “...lab?”

“You could call it that,” she chuckled. “I call it my little hideaway. I make weapons down here—nothing anyone’s ever going to use, of course, but I like to. Most of those weapons you saw earlier, I fancied the idea of it and tried to make one of my own.”

Clary’s mouth opened slightly in surprise. She’d never met someone that could do that—make weapons. She didn’t even know where shadowhunter weapons came from. “That’s…honestly incredible, actually. What are you making right now?” In her own way, Andy was an artist. And every artist she knew had a million works in progress. She figured it was the same for Andy. 

She shifted and tried to pull a drawer open, but it didn’t move. With a huff, she kicked the side of the drawer, and it came free; the entire drawer came out with it. She caught it, thank goodness. She pulled out the revolver Clary had seen earlier. It was antique-looking—silver with a handle wrapped in leather. She carefully picked it up, allowing her to see it. “I might have…tried to melt down a seraph blade and turned it into bullets, but that almost literally exploded in my face. So there’s that.”

She chuckled at the thought, but it scared Clary a little that this all could be so dangerous. She hoped she was safe while testing these new weapons. “What are you going to do to make it work?” she asked. 

“Well, I tried Marking the gun itself, but it wouldn’t fire. Some magic stuff I don’t understand yet,” she said, gently placing it back in the drawer on the table, and picked up a single bullet lying loose next to it. “These are silver, but they’re Marked. I’m going to try that next—only werewolves are allergic to it, so it doesn’t help for demons. Trying to make them a little more lethal for the real bad guys.”

Her last comment made Clary happy. She understood that not everyone in Idris felt like that about Downworlders, but she was happy there was someone that agreed with her. Because they were better friends than they were enemies, that was true in her life with Simon, Luke and Magnus, specifically. “I think that’s really awesome, actually,” she said. Andy held the bullet out for her, so she took it, inspecting it. Part of her wanted to mention her rune ability, thinking she could help Andy, but it wasn’t something she understood. Not yet, anyway. And she didn’t want to offer her false hope. 

She ran her finger over the incredibly small runes, vaguely understanding what each stood for. Accuracy, power, precision, with a small engraving at the bottom. Choppy letters that looked scratched in, not with a stele but maybe with a knife: A.E.H. “You?” she asked, showing her the base. “What’s the E for?”

“Elpis,” she said. “Old Greek. You know Pandora’s box, right?” Clary nodded and she continued. “After all the demons came out, Pandora released hope into the world. The spirit’s name was Elpis. That’s how I understand it, anyway—I heard my dad was a mythology nut, back in the day.” 

Clary nodded again as she spoke. She remembered her and Simon’s middle school mythology stint and the amount of Dungeons and Dragons characters he made based on different myths, Pandora being one of them. “That’s nice, though. Good meaning, I mean. Could be something worse.”

She laughed. “This is a bit of a…dark joke, but you remember what we talked about earlier, with my friend? As much as I think Elpis is a lame, old-timey name, it’s certainly better than being named after Valentine.” She started to laugh, but shot Clary a quick apologetic look. “No offense.”

“None taken.” She chuckled at her words. “Trust me. I want nothing to do with my father.”

“Cheers to that.” Andy raised her mug and took a sip of her drink. “We’re much more alike than I first thought, you know. You like to get into trouble, too, despite how much you tried to insist you didn’t want any.”

Clary rolled her eyes. “I still don’t want trouble. But…well, I do what I have to.”

“You do what you want. I admire that kind of confidence, to be honest with you. I could have never when I was fifteen.”

She saw her smirk before Andy took another sip of her drink and knew she was making fun of her. She threw the bullet at her, hitting her in the shoulder. “Sixteen!” she insisted, watching Andy try to laugh and take a drink at the same time. It didn’t go well. 

She coughed a few times, no doubt having choked on the coffee, but started laughing afterward. It had been a long time since Clary had a moment like this—a moment where she could just relax and she didn’t feel like the weight of the world was on her shoulders. She’d always be grateful for the day she saw Jace at Pandemonium because she finally discovered what filled that sinking, missing feeling in the back of her head, but it seemed to come at a price. The stress she’d been under overwhelmed her, and there were still so many things left up in the air; it made her uneasy. But having a moment to breathe…it meant more to her than Andy probably realized. 

Feeling much better than she had when she’d found Andy in the cellar, she slid off of the desk. “I think I should probably go to bed. You coming?” 

Andy looked at the teacup next to her, then back at Clary. “I guess so,” she said, leaving the cup on the desk. She brought her own mug with her. 

Andy turned off the lights and they went back up the stairs. She closed and locked the doors behind them, then led Clary back into the house. As they walked down the hallway, towards the bedroom, she noticed her struggling trying to remove the elastic from her hair, pulling it out of the ponytail it was in. 

“Want help?” She offered as they reached her bedroom door. 

Andy turned and sighed. “It’s this damn hair tie, I use it and regret it every time.”

Clary chuckled and led her inside—like earlier, Andy sat on the bed, still playing with the elastic. She sat behind her and took over, working on it with much more patience than she figured Andy had at the moment. It took a minute or two, but it came free, thankfully. She was worried she was going to have to cut it out. Without Andy having to ask her, though, Clary pulled the top of hair together and began braiding, pulling little pieces of hair into the braid as she worked her way down. It was quiet but comfortable. She didn’t argue with her styling her hair for her or pull away, just sat there quietly and leaned her head back when she needed her to. Curses of being short, Clary figured. 

She removed her own hair tie from her wrist and wrapped it around the bottom of the braid. “There. Compensation for you doing my hair earlier,” she said, handing her the elastic that got stuck in her hair. “Thanks again for that, by the way.”

Andy smiled at her and took the elastic gratefully. “Heavy is the hair that wears the crown of beautiful hair,” she said sarcastically, whipping her braid around like she was flipping her hair. 

Thinking of Magnus, Clary giggled. “I think I have a friend that would love to challenge you on that.”

“If it’s anything like today, I don’t know how much I want to meet your friends, dear.” She spoke sarcastically, not meaning harm surely, but it still hurt a little. Jace’s words hurt, the way she was unable to help Rowan hurt, the Lightwoods not sticking up for her hurt, and what hurt the worst was the loneliness of it all. Andy must have noticed the frown on her face, because she reached over and took her hands, holding them between hers. “I was just teasing, I’m sorry,” she said, tone soft and apologetic. 

Clary shook her head. “I knew what you meant. It’s alright.”

She sighed and squeezed her hands before letting her go. She stood and said, “well, I’m going to be awake for a little while. Wind down with some tea, maybe a book. I’m across the hall if you need me.”

She nodded, a small smile coming back to her face. “I’m going to try to sleep,” she said. “But thank you.”

Andy walked to the door and leaned against the door. “A little unwarranted advice for you—whatever that boy said, it’s not worth losing sleep over. Boys never are.”

“I’m starting to learn that.” She chuckled and looked back at her. “It’s just hard not to take it all to heart. He was…incredibly specific in his insults, I can tell you that much.”

She frowned at that. “If it makes you feel any better, I think you’re good. Not like you’re alright, but you’re a good person, which is hard to do in this world. You’re pretty alright, Clary Fray.”

Clary smiled a little. “You said the same thing earlier.”

“And I meant it. And I mean it now.” Andy offered an encouraging smile. “You’ve got a good head on your shoulders and you’re kind. Just keep doing what you’re doing, ask for help when you need it, and I’m sure everything is going to work out in the long run.”

She nodded at her words as she began crawling under the blankets. “Thanks, Andy. Night.”

“Goodnight, dear.” She closed the door behind her, humming something as she made her way into her bedroom. Clary heard that door click closed, too. She was alone again, but this time, she didn’t feel so utterly hopeless. This time, she knew there was someone watching out for her, even if she was a new friend.

[theimperfectparlour]

Everything About the Custom Made Furniture

In this blog, the readers will get to know about the custom made furniture.

 Changing any space into a practical one with furniture in it is simple. It is fundamental for one to be intelligible about the furniture pieces that are either built or purchased with thought for a specific space. If we somehow manage to bottle it down to private spaces, furniture pieces get that truly necessary warmth and, surprisingly, a feeling of solace while portraying the style and feel of the home. Furniture causes a house to feel like a home and yet, it's vital that the furniture is constructed remembering the client. We go to our inside master, the prime supporter of Hipcouch, an inside plan firm based out of Mumbai for master tips and guidance on the most proficient method to buy the best furniture for your home.

The initial step to changing over a level of Annie Sloan Chalk Paint into a house is to characterize the sort of furniture one expects to work in the space. Lately, because of broad relocations and "living out of the bag" culture, conventional furniture making has assumed a lower priority in a great deal of the metropolitan homes, getting secluded furniture the light.

 Furniture Restoration in Dubai, as a general rule, can be sorted into two sorts, uniquely crafted and particular furnishings. Presently while hand crafted furniture pieces ordinarily follow customary strategies which require talented workers and unrefined components that are made into useful pieces. Then again, secluded furniture is efficiently manufactured, processing plant made furniture pieces that are intended to keep the interest of a more extensive gathering in thought. Is it true or not that you are seeking to get some new furniture for your home? With the merry season around, this is practically the ideal open door, right?

The genuine distinction here is that specially crafted furniture keeps an eye of accuracy on the nature of the item. Alongside the utilization of confirmed, great unrefined substances, its making can be checked with a shrewd eye. Tweaked pieces, additionally will generally follow the customary furniture-production process which assists with characterizing the time contributed by the expert. There is a colossal hole between a hand craft and efficient manufacture, brings up. The efficiently manufactured things frequently use less time as it includes the utilization of mechanical machines. It is of a high chance that the materials that go into creation may at times wind up unaided and may collect less consideration as they go in for creation for a bigger scope. Look for the best Custom Furniture Dubai service provider online.

[mollytatlisu]

Love-cycled Analysis

In order to begin the production of my mood boards I need to do some research into fabrics, colours, and concepts in line with love cycled.

Starting with materials; hemp is an essential and is shown through its reoccurring appearance in the imagery on the WGSN trend board. As well as this, according to Tidswell (2022), hemp massively aids soil regeneration, which feeds into the circular nature of interdependence and decay. As well as this it has many other sustainability benefits with it using less than 50% of the water in the growth process than cotton does; whilst lasting 3 times as long. As shown through my initial research that touches on significant events around the world, the current climate change crisis is encouraging young people to live more sustainably; which should be reflected in future fashion trends. Secondly, despite the fact its not included on the trend board I think animal free leathers could be a large part of this trend. I found a company that are striving for cyclic manufacturing processes that optimise waste as oppose to linear processes that create waste; which they are aiming to achieve through the production of leathers utilising fruit waste as they explain on Unknown (2022). This also ties together nicely with the concept of decay and regeneration; showing that the decay of natural elements doesn’t have to become waste but can be regenerated into something new. I think the use of sheer and thinner fabrics with weaker structural properties are key, because they act as a visual of the natural decayed “look” of fruits and plants etc. For example when a leaf begins to decay, it becomes delicate, frail, almost translucent and the veins become more prominent. As this trend glorifies decay I think this could be translated to delicate looking sheer dresses and line detailing. In line with this I think the key shapes will be dresses, distressed knitwear and some denim. From my initial primary research I’ve also come to the conclusion that the increased knowledge in todays generation is making for much more conscious choices in the products we buy, with a huge surge in thrifting and charity shopping. As clothes become naturally “worn out” over time distressed looks will become essential and therefore are a vital part of this trend. Not only are these specific materials relevant but the treatment these materials undergo has a huge significance also. This includes naturally dyed and printed fabrics and the way pieces are patchworked together; also acting as a symbol of the reconnection of our society with nature.

As you can see here the Care Culture colourway is described as “grounded” but I think many of the colours here are too intense e.g. Crimson and Candied Orange and I think the palette in general is too varied. I am going to create my own colour scheme consisting of mostly neutral, muted and earthy tones because I think they will best represent the natural theme engrained into love cycled; whilst keeping in mind and taking inspiration from Chalk, Sage Leaf and Sepia on the board above.

Different yarns are an essential; they allow for distressed looks, and production processes that don’t require energy wasting machines, e.g. crochet and knitting. I think this will be combined with lots of 3D textures to create shapes that portray plants, e.g. circular domes to represent mushrooms, or even just accentuated lines, waves, curves etc. some textures could almost resemble that of the netting on fruit packaging that’s less consistent; achieved through knitting and crochet.

I also think lots of garment outcomes will be dictated by material and material processes, making for one off, unique designs. This intertwines nicely with the idea of embracing imperfection and allowing the design process to take its “natural” course.

[mostlysignssomeportents]

Big Tech welcomes (some) regulation

You know how the Curse of the Monkey's paw works: a cursed object grants all of your wishes, but in the worst way possible: "be careful what you wish for."

That's what we're living through with Big Tech right now.

I'm all for regulating Big Tech, but not all regulation is created equal. Some regulation can dampen the power of Big Tech, while other regulation can make it permanent, even creating powerful stakeholders for monopolies within government.

Every monopolist's first preference is to be totally unregulated, but every monopolist's SECOND preference is to be regulated in a way that only a monopolist can comply with, thus foreclosing on the possibility of competition from an as-yet-nonexistent upstart.

Look at AT&T, or, as it was known in its monopolistic glory days, "The Bell System." From its earliest days, AT&T was a bully, pulling all kinds of dirty tricks on small carriers and rural telephone co-ops that grew out of the New Deal electricity co-ops.

Regulators and the DoJ often had stern words for AT&T, and at various times, the company was subjected to legal penalties and court-ordered conduct remedies to make it behave.

But this was as far as it all went: no one was going to break up AT&T, take away the power it was abusing. AT&T was too important, "too big to fail," part of the national emergency and security infrastructure.

AT&T leveraged the fact that cops or fire marshalls could (and did) coopt its infrastructure to argue for special rules to protect the Bell System, because if nefarious competitors were to compromise the system, America couldn't fight crime, fires, floods and other disasters.

Which is how it was that AT&T was able to get the government to ban connecting anything to the Bell System that they hadn't manufactured. It's hard to overstate how ridiculous and abusive this rule was, but here are a couple important court cases that give a taste.

Take the Hush-A-Phone, a plastic cup that fit over your mouthpiece to make it harder for people to listen in or reading your lips. AT&T argued that attaching a plastic cup to a phone handset put America itself in danger and must be banned.

https://en.wikipedia.org/wiki/Hush-A-Phone_Corp._v._United_States

Or the Carterfone, a gadget that let you retransmit phone audio over short-range radio, so that ranch-hands could take calls when they were out on the range.

https://en.wikipedia.org/wiki/Carterfone#Landmark_regulatory_decision

Hush-A-Phone and Carterfone represent the endpoint of AT&T's venality, the instances in which the company overreached so thoroughly that a court finally limited its power. But they are also emblematic of the costs AT&T exacted from its customers.

Before these decisions, AT&T customers had to rent phones, paying for them dozens or hundreds of times over. To make things worse, AT&T used its regulated monopoly status to block innovators, holding back the answering machine, the switchboard and (crucially) the modem.

By 1956, AT&T's conduct was so odious that the DoJ was  ready to break it up. But at the last instant, AT&T got a stay of execution: the Pentagon intervened to say that without AT&T, the US would not be able to prosecute the war in Korea.

https://en.wikipedia.org/wiki/Bell_System#Kingsbury_Commitment

AT&T had been "punished" for its prior bad acts by being made a de-facto, privatized arm of the state, and now the state was intervening to keep AT&T intact. It worked. AT&T stayed intact for another quarter-century, during which time its conduct steadily worsened.

This is what happens when we "tame" monopolies instead of breaking them up: the monopolist makes some cosmetic changes to its conduct, coopts its regulators, and reverts to its wicked ways as soon as the attention shifts, using its monopoly profits to fight any consequences.

Today, there are many proposals to fix Big Tech, but far too often, these proposals start from the perspective that Big Tech is permanent and there is no need to consider the way that new rules would impact potential competitors, because they're already doomed.

Last year's EU Copyright Directive, for example, with its mandate for expensive copyright filters for online services (how expensive? Google spend $100m developing Contentid, a toy version of what the EU rule requires).

https://www.eff.org/deeplinks/2019/03/european-copyright-directive-what-it-and-why-has-it-drawn-more-controversy-any

Not only is this a disaster because filters are garbage and block all kinds of legitimate speech - it's doubly awful because it prevents competitors from entering Big Tech's markets that might be more respectful of their users - co-ops, EU-based SMEs, etc.

And it makes Google and FB and other Big Tech companies an arm of the state, part of the apparatus of copyright enforcement (not just copyright, the EU's Terror Reg makes them filter "extremist" content too).

And it prevents a future Hush-a-Phone moment for Big Tech: Youtube will say that if it is responsible for fighting extremism and infringement, it MUST block competitors who interoperate with its service to provide fairer, better alternatives.

Tellingly, while Youtube and Facebook started off as staunch opponents of a filter mandate in the Copyright Directive, they quickly switched sides and began arguing in FAVOR of filters - after all, they already had filters, and nascent competitors did not.

Big Tech's latest cursed monkey paw moment comes from Amazon, who, after losing key court cases over selling dangerously defective goods stop arguing that it wasn't responsible for its sellers' goods.

https://mattstoller.substack.com/p/why-jeff-bezos-is-worth-200-billion

Instead, they started demanding that state legislative proposals, like California's AB 3262, be made FAR stricter, so that just making an ecommerce platform (like the scrappy Canadian Amazon rival Shopify does) makes you responsible for anything sold on that platform.

It's gonna be burdensome for Amazon to check out all of its sellers' goods, but Amazon is arguably the only company with enough excess capital to do that checking, and they've got a patent on forcing sellers to expose their entire supply-chain in machine-readable formats.

Which means that Amazon - who are under antitrust scrutiny for spying on their sellers and then knocking off their best products and driving them out of business - could be LEGALLY OBLIGATED to spy on its sellers.

Which means that if the DoJ or Congress decides to force Amazon to STOP spying on its sellers, they will have to override California's consumer protection rule that makes Amazon undertake this surveillance.

It also means that sellers who are worried that Amazon will spy on them in order to drive them out of business will have few (or no) alternatives to giving Amazon its data, because Shopify and other ecommerce platforms CAN'T comply with California's proposed liability rule.

Amazon is REALLY good at this kind of regulator monkeypawing. For a long time, Amazon maintained the fiction that all its European digital goods sales were consummated in Luxembourg, where there was no VAT. That let it sell ebooks for 20% less than, say, UK competitors.

When the EU decided to fix this, Amazon enthusiastically cooperated, producing a harmonized VAT rule that only the largest companies could comply with: a rule that required sellers in the EU to gather and retain two pieces of address-confirming info from every customer.

Then sellers would have to calculate how much VAT to charge based in 28 different countries' VAT laws, and would have to remit that VAT every quarter, regardless of how small that remittance was. I was living in the UK then, and selling my ebooks online.

The VAT rule meant that if I collected EU0.01 from a single Polish customer in a quarter, I would have to pay to wire the Polish tax authorities EU0.01, and pay accountants to prepare the paperwork. The first quarter, I paid £750 to remit £17 in VAT.

Of course, there was a way to get around all of this! All I needed to do was shut down my independent ebook store and shift to selling on Amazon, and pay them 30% of every penny I brought in. Amazon has a whole building full of accountants and programmers to make that work.

(The issue became moot when I moved to the US and shuttered my UK Limited Company; today you can shop at my ebook store and I don't have to collect VAT at all)

https://craphound.com/shop

There are monkey's paw proposals everywhere, like killing CDA230, which shields tech platforms from liability for users' speech - sure, the Big Tech platforms wouldn't like to pay for more moderators and filters, but in return they'd get to wipe out all small rivals.

But the monkey's paw is not inevitable. There are plenty of ways to make Big Tech less powerful while encouraging alternatives, including co-ops and nonprofits. Instead of copyright filters, we could have blanket licenses that directly pay artists.

https://www.eff.org/deeplinks/2020/05/plan-pay-artists-encourage-competition-and-promote-free-expression

Instead of moderation mandates, we could have interop mandates that let users choose what is and isn't allowed in their own conversations:

https://pluralistic.net/2020/08/27/cult-chalk/#eff-eu

And, as Matt Stoller points out in his article on AB3262, we don't need Amazon's extensions to an otherwise sensible consumer protection statute that would extend liability to Shopify - we can craft a rule that catches Amazon's bad conduct alone.

If we are going to tame Big Tech, let us tame them - by reducing their power, not by demanding that they exercise it wisely. If Big Tech has too much power, let's take some of it away - we'll never get them to use it for good.

We can (try to) fix Big Tech or we can fix the internet. Big Tech will either figure it out and survive or it won't. Their products are optional, but we NEED the internet.

[meaninglessblah-writes]

Writing Prompt Wednesday

“Carbon” 

Tim crouches amongst the gravel, pauses a moment to take in the translucent gleam of the rocks in the light of a passing train. They still glitter in the darkness that follows, still slick with - Tim wouldn’t hesitate to call it blood, but Tim’s not your average detective - fluid that's splattered haphazardly over the ground. 

“What do you think?” the beat cop hovering behind him, on the other side of the worn tracks, asks with the sort of curiosity reserved for a particularly interesting game of poker, or a salacious soap opera. Not a body strewn across a railway yard. 

Tim thinks this looks like a murder. Tim thinks the correct term is ‘prematurely decommissioned’. Tim thinks the torn open torso beneath him would turn this cop’s stomach if it were human, properly human. Tim thinks a lot of things. 

He lifts his head, traces the hollow rupture in the boy’s left side, the gape of spilt circuitry and bent ribs. There’s a spray of translucent blood marking the path to where the teen’s arm lies, grip curled around empty air and muscles locked in a mimicry of rigor mortis. Tim looks back down at the android. 

“I think this is the third death of this calibre I’ve seen in a month,” Tim says on a sigh, and shifts on his feet. It’s warm for October, which is just a nice saying local Gothamites have for when the ice hasn’t set in the ground yet. Probably a boon for Tim’s case, if he’s honest. The maintenance worker might not have spotted the body if it was buried under a foot of snow. If he’d missed it before the 925 from Central, Tim’s sure he’d have less in-tact pieces to pick out of the gravel. 

The beat cop shifts, not altogether comfortably, and glances back across the yard to where his cruiser sits, breath fogging in the early morning’s air. “And the costume?” he asks, studying Tim’s expression. 

Yeah, Tim likes that even less than he likes an unclaimed, maimed android body of a teen strewn across a rail yard. The body’s been dressed - before it’d had its skull and sternum caved in, if the diaphanous blood that stains it is anything to go off - in the iconic red and green of Gotham’s youngest protector. Even if Tim was some out-of-town detective called in on a whim and not a long-term resident of Gotham’s murky alleys, the R emblazoned across the teen’s chest is a dead giveaway. 

“Well,” Tim says, swallowing down the wash of distaste and dismay the costume on the teen prompts in him. It’s too easy to imagine the real vigilante, the mangled limbs of a warm-blooded teen cracked beneath a madman’s crowbar. Tim sits back on his heels and schools his expression. “It’s not like he’s the real deal.” 

“‘Spose that’s true,” the beat cop concedes, flinching when Tim reaches a gloved hand forward to brush back the android’s stark black fringe. “Do y’gotta do that? Those eyes are creepy.” 

Not the word Tim would have used. Captivating, maybe, for more reasons than one. They’re a deep, intriguing blue that would have looked depthless when lit by the droid’s internal circuitry. Now they look lifeless, as empty as the droid itself. All the more inhuman for it’s trouble. 

It’s not entirely vanity, though. Those eyes - embedded in a clearly fractured eye socket - are captivating for one other reason. 

“Are the memory banks intact?” Tim asks, already reaching over to the teen’s temple to gently nudge his face aside, look into the exposed circuitry for a sign of, well, life. 

“Haven’t had forensics come down to look yet,” the beat cop answers. “You were the first on the scene.” 

“His lenses are damaged,” Tim observes, tracing the wires that run from the back of the droid’s eyes into the compact computer that forms its brain. “But they look intact enough to get a clear image.” 

The beat cop catches on, shuffling forward in his intrigue. “You think it saw its assailant?” 

Murderer, Tim internally corrects, and shifts back to survey the damage, to distract himself from the boy around the machine. “Possibly. Forensics might be able to wind back the tape, give us a lead.” He shoves to his feet with a laboured groan, clenching his hands to work the blood back into them. “You got the model number?” 

“Yeah, yeah,” the beat cop says, and fumbles to his belt for his notepad. “Outdated J450-model. N-class.” 

“And the serial?” 

“Some of the numbers were scraped off, but I got six, se-” 

“I believe you,” Tim interrupts, and shoves his hands into his coat as he takes one last sweeping glance of the scene. If forensics are half-competent, they’ll photograph the positioning for him, so it’s less imperative that he commit it to memory. 

Tim’s gaze shifts back down to the teen at his feet, crumpled and unmoving in its deformed sprawl. If it’s eyes weren’t open, it’s expression not one of taut horror, Tim could almost believe it was a child from the streets, curled up on the leeching heat of the tracks to escape the cold. The thought turns his stomach a little, and Tim’s fingers ache for the comforting warmth of a cup of joe. 

He turns on his heel, flashing the beat cop a thin, tired smile. “Write it up and file it so we can move the body. I’ll look at it again tomorrow; leave your notes on my desk. We’d better clean up the scene so we can get that train running again.” 

The beat cop chuckles, gazing up the length of the tracks, towards the dormant station. “Yeah, doubt Wayne’ll be happy that we held up his train this long.” 

What’s one unfortunate android butchered on the tracks compared to the inexorable clockwork of the Martha and Thomas Wayne Centralised Railway system? Tim thinks bitterly. 

“Wouldn’t want anyone to miss their ride home,” Tim says, with a touch more ice than he intends. He can’t help wondering who the android won’t be going home to tonight, whether its programming aches with the need to return to its owner. Whether it feels failure like Tim does, whether it felt concern, felt scared. Whether it’ll be missed, be mourned. 

His shoes crunch across the chilled gravel, the body fading into his peripheral as he approaches and passes the beat cop. 

“Run the serial back to Wayne Enterprises and pull the manufacturing diagnostics,” Tim instructs, glancing up at the night sky. There are clouds gathering, promising a storm. Tim wonders when it’ll break. “Clean up the scene; we don’t want the public confusing this decoy with their Boy Wonder.” 

“Yes, sir,” the beat cop says with a curt nod, and Tim starts the long trudge back to his car. “Sir?” 

“Hmm?” 

“You think this is another of… his ones?” 

Tim blinks at the pinched concern on the man’s brow beneath his cap. Lets his gaze wander down to the carved grimace of a smile on the android, the touch of desperation in its empty eyes. The hollow echo of a madman’s laughter painted on its dead lips. 

He swallows, tastes the chalk of white paint on the back of his tongue, and turns away from the beat cop. “Sure hope not,” Tim mutters. 

You can send me a prompt here! 

[akinhandicraft-blog]

Authentication of an Antique | Akinhandicraft

Antiques are those precious and valuable things of the past which have a great number of stories linked with it; they not only tell us about the history but tend us to relive it. But what if those antiques aren’t real and just other copies or fake material? Akinhandicraft provides you best real antiques products like, Wooden Chess Board, Cooper, Armour and many more at best price and all are Handicraft In India.

Thus every antique comes through a process of Authentication. It is nothing but acknowledging an object’s real user identity and verifying records to prove its importance in

the past. People believe that any object which is 100 years or older is called as an antique. But moreover, things which were handcrafted and were made by necessity before the industrialization, gains more importance. It is said though because after industrialization kicked in things were machine made on a large scale, hence has no worth like the previous ones. Period collectibles – decorations made in the style of the period – additionally have high intrigue for gatherers yet are typically past the scope of easygoing authorities. For

example, Queen Anne style stays famous today, yet a seat made in the hour of Queen Anne’s rule (1702-1714) is more extraordinary and more significant (costly) than a replica of the seat made in 1900. The Queen Anne generation seat is old fashioned, yet it is anything but an antique. So how the authentication is done? 

PROCESS

The creator’s signature is one way to authenticate an antique. For and type of furniture this could be a brand logo underneath it, a ceramist’s initials may be carved into the piece, a paper‘s manufacturer should have left a logo inscribed with chalk or pencil to an inconspicuous place such as drawer bottom. And on other things like glass, metal etc. these signatures can be found at the bottom.  Reports that demonstrate the provenance (inception or history) of an antique can confirm and increase the value of the piece. These reports can incorporate wills, letters, journals, memorable records and photos that depict the thing and spot it at some fixed point in history.  

Documentation to set up provenance incorporates home inventories, photos, or archived consideration in a historical center show or a regarded distribution. Solicitations and auction results from notable and regarded old fashioned vendors and sale houses are additionally valuable for deciding provenance. Unfortunately without legitimate documentation, cases can be hard to approve. The craftsmanship and collectibles world is colossal with various fields and innumerable fortes. Specialists in the particular field are frequently needed to distinguish and assess specific things. It’s practically difficult to do an appropriate valuation without having some aptitude in these claims to fame.

Principal

The principal thing collectibles vendors or gatherers do while inspecting a collectible or a household item is to see it from a good ways, explicitly the enrichment and the wood. Both these things will now and then give us a thought of where a piece was made and the nature of a piece. For instance, if the piece is made out of teak, we realize it was undoubtedly made in Asia. These two qualities can likewise give us a thought of whether it’s a conventional piece or a nation piece. This provides us an underlying guidance to seek after in recognizable proof. Further

We move nearer to investigate the item more intently. This includes hauling drawers out and taking a gander at the back, underside, and inner parts of a household item. Taking a gander at these parts can give us signs to the age and the nature of development of a piece. It can likewise uncover if there’s any harm to a piece. It’s substantially more hard to shroud substitutions, reclamation, and fixes to a piece in these auxiliary surfaces, which are not completed and don’t have a stain or a polish to them. With optional surfaces like these, the wood has not been fixed and, similarly likewise with silver, it discolors through oxidization when forgotten about. The guideline is the softwood on the backs and undersides of an antique that will oxidize and obscure after some time and it’s anything but difficult to spot supplanting and reclamation work with this in mind. In differentiate, the head, outside surfaces are regularly cleaned and reestablished to look after excellence. While the more concealed optional surfaces are regularly left immaculate making it simpler to set up a past filled with the piece unedited. The inside can likewise show significant data about the development of a piece. The nature of development, expertise of the cabinetmaker, the age, and even the beginning of an antique can now and again be controlled by inspecting the insides. With these essential rules as a primary concern, it is imperative to repeat exactly that it is so critical to appropriately recognize old fashioned furnishings. The value differential in pieces that are comparable in appearance is treme

[computersciencegothic]

Is it a silly prank, a Pagan ritual, or a genius discovery about the next era of mass transit? In a picture posted to Flickr by artist James Bridle—known for coining the term, "New Aesthetic"—a car is sitting in the middle of a parking lot has been surrounded by a magic salt circle. In the language of road markings, the dotted white lines on the outside say, "Come On In," but the solid white line on the inside says, "Do Not Cross." To the car's built-in cameras, these are indomitable laws of magic: Petrificus Totalus for autonomous automobiles.

Captioned simply, "Autonomous Trap 001," the scene evokes a world of narratives involving the much-hyped technology of self-driving cars. It could be mischievous hackers disrupting a friend's self-driving ride home; the police seizing a dissident's getaway vehicle; highway robbers trapping their prey; witches exorcizing a demon from their hatchback.

Self-driving cars aren't there yet, but the artist-philosopher-programmer's thought-provoking photo is a reminder that we'll have to start thinking about these things soon. If a self-driving car is designed to read the road, what happens when the language of the road is abused by those with nefarious intent?

Bridle has carved out a space for himself among those thinking 10–100 years in the future. His website Booktwo.org is lousy with philosophical treatises, thought experiments, creative code, and art projects. His "collaboration with technology" Five Eyes was part of the V&A Museum's privacy-oriented show All of This Belongs to You, which also included the remains of whistleblower Edward Snowden's smashed hard drive full of leaked documents. Bridle has spent the last decade making drones more relatable, uncovering the mysteries of weather prediction, and otherwise trying to elucidate the invisible technologies—usually military in origin—that rule our world.

Recently Bridle has become fascinated by autonomous vehicles. Self-driving cars will be available to the public soon. Singapore is considering the purchase of a fleet of 300,000 driverless taxis to replace the 780,000 manned ones currently clogging their streets. Google's self-driving car initiative, now called Waymo, has been investing in the technology since 2009. Elon Musk's Tesla is already implementing limited automated features in the United States, and even slow-moving large scale car manufacturers like Ford are getting into the game. If driverless cars become anywhere as ubiquitous as the horseless carriage, innocuous vandalism like the Autonomous Trap is just the beginning the problems engineers will have to solve.

Now Bridle is trying to build his own self-driving car, and made the sardonic artwork Autonomous Trap 001 in the process. He's released all the code developed in pursuit of the DIY self-driving car here. We spoke to Bridle to learn more about the circumstances behind this vague photo series and better understand his apprehension and curiosity about the robot chauffeurs of the future.

Creators: What are we looking at here? Can you give me a brief explanation of Autonomous Trap 001?

James Bridle: What you're looking at is a salt circle, a traditional form of protection—from within or without—in magical practice. In this case it's being used to arrest an autonomous vehicle—a self-driving car, which relies on machine vision and processing to guide it. By quickly deploying the expected form of road markings—in this case, a No Entry glyph—we can confuse the car's vision system into believing it's surrounded by no entry points, and entrap it.

Is this actually an autonomous car, or is it conceptual?

I don't actually have a self-driving car, unfortunately—I don't think any have made it to Greece yet, plus the cost issue—but I do have a pretty good understanding of how the things work, having been researching them for a while. And the one in the picture is a research vehicle for building my own. As usual, I've got totally carried away in the research, and ended up writing a bunch of my own software, rigging up cameras and building neural networks to reproduce some of the more interesting currents in the field. Like the trap, I wouldn't entirely trust what I've built, but the principles are sound.

Where did you take these pictures?

I made this Trap while training the car on the roads around Mount Parnassus in Central Greece. Parnassus feels like an appropriate location because, as well as being quite spectacular scenery and wonderful to drive and hike around, it's the home of the Muses in mythology, as well as the site of the Delphic Oracle. The ascent of Mount Parnassus is, in esoteric terms, the journey towards knowledge, and art.

What is your role in the project and is there anyone else involved?

It's just me. I did a project last year called Cloud Index Index which used satellite imagery and machine learning to explore politics and computational thinking, and I had a lot of help on that, particularly from Gene Kogan, another artist who works with machine learning. This time I wanted to do it all myself—mostly to show that I could, and therefore, in theory and accepting an immense amount of privilege and good fortune, anyone can. These technologies are for everyone: you can read the papers, repeat the findings, study the code, build your own tools. This radically reshapes the way you understand and interact with the world, and is something I think is quite crucial to propagate in the current age.

Why did you create Autonomous Trap 001, besides poking fun at an incredibly hyped technology?

It's part of a body of work / research / writing / fooling about to explore and understand the contemporary technologies of automation, in order to better use them, and in some cases to disrupt and oppose them.

Self-driving cars bring together a bunch of really interesting technologies—such as machine vision and intelligence—with crucial social issues such as the atomization and changing nature of labor, the shift of power to corporate elites and Silicon Valley, and the quasi-religious faith in computation as the only framework for the production of truth—and hence, ethics and social justice.

The Trap falls into the category of resistance, while the attempt to build my own car is a process of understanding how the dominant narratives of these technologies are produced, and could be changed. I don't see why cab drivers of the future shouldn't be chalking white lines on side streets to derail self-driving Ubers which are putting them out of work, and I also think we need more eyes and hands on the tools which are shaping all of our futures.

Were there any unexpected challenges in creating the piece?

I ran out of salt, and had to drive back to the nearest village to buy a few more kilos. Luckily, salt, unlike bandwidth and computational power, is a pretty cheap resource. Also, I should have pulled my trousers up for the video.

This is Autonomous Car Trap 001. Do you have more planned?

I have a habit of numbering things, but yes, there will definitely be more. Like the Drone Shadows, which proliferate to this day, consciously starting a series seems to have generative effects.

Where does this fit in your larger body of work?

It's all part of the same attempt to understand the world and act in it, if that doesn't sound too pompous. This work follows directly from projects on machine vision, artificial intelligence, militarized technology, big data etc.—as well as more, shall we say, poetic interventions into emerging technologies. It's one big rolling project, with occasional bouts of specific obsession.

What's next for you? What other projects are you working on?

This body of work is in part in preparation for a solo exhibition which opens next month in Berlin, at Nome Gallery, called Failing to Distinguish Between a Tractor Trailer and the Bright White Sky. I'll be showing a bunch of different outcomes of the research, including interpretations of the machine vision systems I've been building, and the results of the self-driving car training—and hopefully connecting them to some of my more mythological interests.

I've also got a new commission opening in London next week, as part of Convergence—a series of billboards in East London continuing my search for the Render Ghosts. Beyond that, I'm mostly working on writing projects about the new dark age and the relationship between technology, knowledge, understanding, and agency.

Keep up with James Bridle's work on his website.

[sumiranmasterbatch]

The endless advantages of White masterbatches for the plastic industry

The emergence of White Masterbatch has been a blessing in disguise for the plastic manufacturing industry. Over the years, it has transformed the face of the industry with its properties, benefits, and advantages.

As indicated by the title, in this blog, we are going to lay emphasis on white masterbatch, and how it is transforming the plastic manufacturing industry. Before we take a deep dive into the critical subject, it's important to share the basics of the product.

Learning about Masterbatch

Coming to the product, the White Masterbatch is the compound of Titanium Dioxide (TiO2), polymer carrier, and a host of other additives. It’s highly beneficial to the plastic industry as it offers numerous applications. White masterbatches manufacturer in Ahmedabad is famous for producing quality masterbatches, including color masterbatch.

In the following sections of this short blog, we will emphasize its role and advantages.

White is the lightest colour, at the same time, it is achromatic. It has the property to reflect and distribute all the visible wavelengths of lights. In addition to this, it is available in many exciting shades, like milky white, snow white, chalk white, etc. For in-depth information, you can get in touch with a prominent white masterbatches manufacturer.      

How does the amazing product work?        

At the outset, the blend of pigments and additives is boiled. Afterward, it turns into a carrier resin. The resin is then left to cool down and later cut into pieces of granules. Colour that we see of plastic around us is the result of masterbatches, including white masterbatches.  

Unique features about the product

The White Masterbatch is a high-quality pigment. It is suitable for a wide range of applications, including:  

Lamination

Coating

It's predominantly used as a protective film, molding, etc. As the product offers numerous benefits, it is playing an immense role in imparting various properties and features to the plastic. Owing to its impact, the finished product is easy to manage, and operate, has superior dispersion, and excellent colour performance among others. In addition to this, it is safe for food packaging. Therefore, the product is contributing to the growth of the plastics industry. White masterbatch supplier in Ahmedabad, India can be contacted for detailed information about the product.                            

Impact in the packaging industry  

According to industry experts, this product is playing an important role in the packaging industry. It helps in the protection of food items from getting spoiled. The products that are manufactured using the amazing masterbatch by white masterbatches manufacturer in Ahmedabad demonstrate incredible physical properties.

Advantages and benefits

Moving forward, let’s now talk about the benefits and applications of the product provided by the white masterbatch supplier. Here are the salient features of the product:      

Designed for opacity and whiteness

High thermal stability under processing conditions

Reduces agglomeration of TiO2

Improves heat resistance

Improves resistance to weather

Acts as a UV protector      

Owing to its excellent features, its use is growing at a rapid speed.  

Applications and benefits  

In this section, let’s talk about the applications of this wonderful product. Here is a list of a few major applications of the product manufactured by white masterbatches manufacturer in Ahmedabad:    

Multi-layer Film, Monolayer Film, Blow Molding, Lamination, etc…

Multi-layer Film, Monolayer Film, Blow Molding, Rotational Molding, Injection Molding, Lamination, Non-Woven application, etc…

Glossy films with a great surface for printing

Blown film extrusion,

Profile and sheet extrusion,

Thermoforming

Woven sacks

High output machines

BOPET and BOPP films

[jayamindustries-sambranimachine]

Chalk piece Making Machine Manufacturer - Jayam Industries

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[matrices]

How to Appliqué Paw Pads

This is an updated version of my video tutorial on the same topic! I have learned a lot since 2012, when i made that video, and I am really excited to have had the opportunity to pass the knowledge on to you now. The video tutorial is still relevant and can be a supplement to this guide, this version is the most up-to-date of the two.

My tutorials are able to be updated due in part to the generous sponsors who chip in to my Patreon, even $1 is appreciated! With their financial support I can spend so much time carefully photographing tutorial steps in detail for the benefit of all. Thank you!

This tutorial utilizes a regular sewing machine to assemble and create the decoration.

Materials:

Your palm pattern cut from faux fur

Your paw pad fabric

Pencil or chalk

Scissors

Extendable snap-off razor knife

Clips and/or pins

Sewing Machine

Thread that matches your paw pad color

Comb

Seam Ripper

Optional

Stuffing

Hemostat

Tiny scissors for cleanup

Start with your cut palm pattern, do not cut out the fingers yet. if you need a pattern you can print one here.

Trace your paw pad design. Make sure it is something that is safe to mark on fabric with.

Tip: If you sew the same pattern shapes a lot, you can get template plastic from the fabric store, or even use thin cutting boards from a dollar store to make durable, lasting templates.

Cut out your paw pad fabric in a similar size as your paw pattern.

Note: As an update from the 2012 video, it is much easier to sew as one layer than many small squares, or small circles. Keeping this as one piece reduces slippage and is less fiddly to work with.

Check the fabric orientation, many fabrics have a “right” and a “wrong” side to them. Be sure your correct side is facing down.

Clip or pin your palm to the paw pad fabric. If you are using marine vinyl, like shown here, you will need to use clips so pin holes do not show. If using something softer, like minky or fleece, you can use clips or pins (since pins will not show)

Using thread that matches your paw pad color, sew along your trace lines through all the layers with a straight stitch. Use a 4mm stitch length.

Note: If you are wondering, the sewing machine shown is a Pfaff Quilt Ambition 2.0, its IDT system (moving part, in black) is extremely helpful because it works to move the top fabric layer at the same speed as the bottom layer.

Here is the finished basting step.

Using a razor knife with the extendable tip out just a little bit. cut your paw pad design out as if you are tracing it with a pencil.

Note: As an update from the 2012 video, it is much easier and faster to cut with a razor blade, especially on vinyl. However, you may still need to use small scissors to touch up the edges of fluffy fabrics like minky or fleece.

Use a very sharp blade, if you experience dragging or cuts not fully separating, replace the blade. If you are using vinyl, sometimes there are strings left behind from how the vinyl is manufactured, this is still normal even with a sharp blade, just make sure the piece fully separates.

Inspect your cuts, make sure they are even and have a crisp edge to them. Use small scissors to touch anything up that may be outside of the shape you desire.

Do not discard the excess paw pad fabric or vinyl. It is useful for testing machine settings, making claws, and other matching parts for your costume. It can also be used for a future template if you wish, if you like the shape.

The fur will be trapped in the seams, a 4mm (or longer) stitch length will help you get it out quicker and easier.

Use a comb (shown is a straight toothed “flea comb” but any comb will work) to gently pluck the fur from the seams, doing so in this step will be easier to deal with than if you decide to do it after the finishing zigzag.

Practice your settings on the scrap you saved. Getting the right balance for your chosen paw pad material is important. This setting on my machine is “Z-Zigzag” but be sure to play around with any settings that sound like they could work and look good, like zigzag, satin line, and other decorative stitches. I liked the middle width and stitch lengths, as it wasn’t too narrow or wide, and it wasn’t too tightly spaced. Just right for vinyl. Your settings may differ for your machine, that’s why testing is so important!

Tip: Write down your settings to remember them, in case you need to step away and come back another day, or wish to use it on future projects.

Now for the important finishing step! Top-stitch your paw pad with your finishing stitch. Go slowly at first, with practice you will gain speed. Let your machine pull the fabric through, you are just steering it, this will keep your stitches even.

Pay extra attention to how I have my machine’s foot arranged: Needle landing on one side, the paw pad fabric, and then on the other side, the fur. This covers up the raw edge left behind from when you cut it out. It will not allow the paw pad to be picked apart either.

If you are planning to stuff your paws, leave an opening in your zigzag on the bottom of your pad, so you can stuff your paws through that opening. Use a seam ripper to pick the basting stitch, then use a hemostat to fill it.

You want to zigzag most of your fingertip or palm flat, stuffing it, and then sewing the hole closed with the zigzag to finish. You will have a nicely finished stuffed pad, with no hand sewing required. Topstitch any crease details on at this step as well.

Some fabrics lend themselves to being stuffed more than others. If using vinyl, I only stuff the palms. If using minky or fleece, palms and digits can be stuffed generously. If you are using lycra, a very stretchy material, they can be overstuffed and made quite plump!

Feel free to test a practice paw pad on scraps as a prototype to see if you like the stuffed result. I was unable to get this metallic green stretch fabric to cooperate (stretched, it turned yellow and the finish seemed to want to come off), but it served its purpose as an excellent test I could see the results for!

There will always be a bit of corrective edits you can make to further clean up your project. These aren’t mistakes, just part of the process.

Use your seam ripper to loop any straight basted stitches and cut them away.

Matching thread helps of course, but sometimes you just don’t want the “process” showing in the finished product. (middle digit top edge)

Cut one visible end with your seam ripper, then cut the other. Lifting the thread in between gently loose from the project.

Your finished applique palms with pawpads can now be sewn to the rest of your pattern pieces! You can now separate the fingers and sew the back of the hand on with your favorite sewing technique.

Happy crafting, enjoy nicely finished applique paws on your projects!

[jazzcordiondesigns]

How to make Personalized Wooden Signs

Let’s learn how to construct beautiful DIY wood signs by learning about the best materials to use, how to get excellent lettering, and how to frame your signs. For personalized Custom WoodWork signs, there are some important aspects you need to know. Let’s get started:

Materials: 

The materials you'll need will vary depending on the method you use to paint your signs, but this list will get you started. Construct signs out of 3/4′′ birch plywood as a base. You can find these at a reasonable price at your local home improvement store. Pre-cut blank signs in a variety of shapes and sizes are also available in craft stores. Any color, including small craft paints, paint samples, and chalk paint, will work for the background of your sign. The preferred paintbrushes are a little foam paint roller or a paintbrush.

Select your wood:

Basic birch plywood is my go-to sign-making medium. It is low-cost, has a flat surface, and can be cut into any size. Birch plywood is available in 2'x2' and 2'x4' sheets at most home improvement stores. If you wish to build a smaller sign, you can have your plywood cut to a lower size in the store or do it yourself at home using a circular saw or table saw. The thin plywood warps easily with time and is tough to frame. For building wood signs, we strongly advise using only 3/4′′ plywood.

Your sign should be painted:

After you've decided on the type of wood for your sign, the next step is to paint it. The most common color for painted signs is white, but you can use any color you wish. Also, you can stain your sign instead of painting it. For painting signs, a good paint brush will suffice, or if you're working on a large project, a tiny foam paint roller will help you speed up things along.

Signature Lettering: 

The next step is to decorate your sign with the design. Lettering a wooden sign can be done in four different ways. Using a stencil is one of the simplest ways to letter a beautiful sign. Stencils are fantastic because they allow anyone, even those with poor handwriting, to achieve stunning results. Stencils also eliminate the requirement to create a wonderful sign saying and design, because they are pre-designed and ready to use. Printing a design and transferring it to your sign is our favorite way. On your computer, you can create your sign precisely how you want it to look using Canva, PicMonkey, or even Microsoft Word. Silhouettes and Circuits have been quite popular for sign-making in recent years. Both machines can cut designs from sticky vinyl, making it simple to produce signage. If you have good handwriting, you can also hand-letter your sign. To avoid making mistakes, we propose drawing the initial letters using a pencil.

Get your lettering painted:

Sharpie oil-based paint pens are the best 'paint' to use for painting the letters on DIY signs either transferring a design or hand-lettering. Stenciling with a paint pen is likewise simple, but the technique for manufacturing a vinyl sign is a little different. If you've ever used paint pens, you're well aware that not all paint pens are created equal. Some are a complete nightmare to use. It's also roughly 1000 times easier to use a paint pen than to paint the acute letters with a small paintbrush. If you are hand-lettering or transferring a design to make your sign, you can use your paint pen to fill in the penciled design.

Don’t forget to frame your sign: 

For your frame, you'll need a 1′′x2′′ wood board. Cut two sections that are 1.5 inches taller than your wooden sign. Cut two extra pieces of the same size as your wooden sign's width. Smooth any rough edges with 220 grit sandpaper before staining your sign with the stain of your choosing using a clean cloth, and place your sign pieces on a flat surface once the stain has dried. After that, attach the top and bottom frame pieces to the sign with wood glue, a hammer, and finishing nails. Lastly, hang the picture with a sawtooth picture hanger attached to the back.

These are some important aspects to make the personalized Hand Lettered wood signs. I hope you feel complete now to dive into making your wood signs! To see the collection of wooden signs, you can visit our online store - Jazzcordian designs.

[kenresearchcompany]

Global Crusher Market Is Anticipated To Augment Owing To Increasing Automation in Mining and Construction Industry: Ken Research

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Crushers are machines utilized to decrease the size of rocks, stones and ore. They are often used in the aggregates production, construction material recycling and in mining functions. In other words, Crushers may be utilized to decrease the size, or transform the form, of waste materials so they can be more conveniently disposed of or recycled, or to decrease the size of a solid mix of raw materials (as in rock ore), so that pieces of dissimilar composition can be discriminated.

According to the report analysis, ‘Global Crusher Market, 2021-2027’ states that Sandvik AB, Metso Oyj, Terex Corporation, Shibang Industry & Technology Group Co., Ltd., Nanchang Mining Machinery Co., Ltd., Zhejiang Shuangjin Machinery Group Co., Ltd., Zhejiang Zhe Kuang Heavy Industry Co., Ltd., Chengdu Dahongli Machinery Co., Ltd. and many more are the key companies which recently functioning in the global crusher market more actively for generating the high percentage of revenue, obtaining the competitive edge, leading the highest market growth, registering the handsome value of market share, and keep maintaining the competitive edge by spreading the awareness connected to the benefits and applications of such, implementing the policies of profit making and expansion strategies, increasing the specifications and applications of such, improving the qualitative and quantitative measures of such, delivering the better consumer satisfaction, employing the young and active personnel and establishing the several research and development programs.

In addition, the market of crushers has been observing moderate growth during the past couple of years. The requirement for crushers is projected to be propelled by increasing construction industry and an augment in mining operations. The requirement for minerals and several other geological materials, such as metals, coal, gemstones, chalk, limestone, rock salt, and potash, is increasing owing to the speedy growth of the populace and the increasing economy, across the globe. Owing to such factors, the mining industry is projected to augment further throughout the forecast period, due to the augment in the requirement for minerals, metals, and other geomaterials, rising the crushers market throughout the forecast period. Not only has this, governments are introducing several reforms and regulations to boost their infrastructure and real-estate industries, which lead to the growth of the construction industry and the crusher market. However, the growth of the market might be limited by volatile raw material prices. The increasing demand for rental units is an opportunity for the worldwide crusher market.

Expansion of infrastructure and construction industries in developed as well as underdeveloped countries is a foremost factor projected to propel the jaw crushers market during the near future. The incorporation of technology in the features of jaw crushers and increasing implementation of technologically advanced jaw crushers in underdeveloped countries is projected to propel the global crushers market. Growing automation in the mining and construction industry is further booming the crushers market. Growth in the usage of jaw crushers in industrial and commercial applications such as in mining, building and construction, and recycling is another foremost factor boosting the enlargement of the crushers market.

For More Information, refer to below link:-

Global Crusher Market Analysis Report, 2021-2027

Related Reports

Global Mobile Crusher and Screener Market 2020 by Manufacturers, Regions, Type and Application, Forecast to 2025

Global Jaw Crushers Market 2020 by Manufacturers, Regions, Type and Application, Forecast to 2025

Contact Us:-

Ken Research

Ankur Gupta, Head Marketing & Communications

support@kenresearch.com

+91-9015378249

[nuttydefendoryouth]

How to Build a Boat Bench Seat?

DIY projects allow you to achieve the result that you desire. Utilizing your skills and artistic talents is related to this matter, and it’s also a way to save some bucks. With regards to this, many boaters can manage how to build a boat bench seat by themselves.

You may have wood for building boat seats. Some upgrades can be done by adding cushion and vinyl. Once you choose a design, you can start collecting materials.

If you’re groping for design ideas, this article will show you DIY boat bench seats that will surely please you. You can follow them to refurbish or renovate a boat.

Various boat styles showcase different angles and lines. Wide and deep hulls are the main characteristics of workboats, while sailboats are thin and long. Nonetheless, a wooden banquette would be fantastic on both of these vessels. Here are the steps:

Step 1. Take off Metal and Trim

A banquette is a bench along the wall. Therefore, you have to consider the needed space and shape for it. The center section of the boat is where you need to lay down this project.

To get started, you have to remove metal or trim but you must keep the pieces for reconnection later on. You may also need to take off logos and insignias that are still useful.

Step 2. Cutting the Chosen Area

Use chalk to draw a line on your chosen area then you can run the chainsaw over it. Cutting the area should be even and consistent. You may need to tidy up the cutting with a circular saw.

You have to be attentive while doing it as there may be some screws. These tiny pieces of hardware may be hiding underwood plugs.

Step 3. Cleaning

Get rid of the debris created by cutting since it can block from cutting the bottom part.

Step 4. The Bench Base

Use two pieces of 2×4 wood and place them 16 inches above the pontoon boat furniture with the support from screws for wood. This step is not only for building the base but hull reinforcement as well.

Get ¾-inch plywood to be added over the 2×4 woods with screws. This will strengthen the structural integrity that may have temporarily gone due to the cuttings that were made.

Step 5. Seat Back

You may recycle some wood that just lay around or V-groove soffit panels. Get measurement from the seat to the boat anchor for the preparation of the seatback.

To ensure that you’re going to create comfortable seats, add horizontal wood blocks that tilt at a slight angle. Install the seatback with 15-gauge finish nails.

Step 6. Seat Attachment

You may choose any suitable wood for the seat. Mahogany and tropical hardwoods like ipe are the best examples. Pre-drilled screw holes should be done before assembling the parts. Make planks for the bench size that you like and fasten them with stainless wood screws.

Step 7. Painting the Banquette

If you use recycled wood with some paint on it, you need to sand it before applying a new coat.

Step 8. The Last Touch for Refinement

You have to add a routed edge over the wooden seat. Then, you can put back the metal and insignia that you removed when starting this project.

The finishing touches will be covering the back panels with new paint, applying oil on the wood to have an attractive sheen, and sealing the original parts with polyurethane.

When thinking of comfortable bench seats for boats, cushions and vinyl may be the first things that come into your mind. You can skip buying ones for your aluminum boat and instead, make them yourself for customization.

So, here’s a guide on how to make a boat rear bench seat if you don’t mind sewing some seat cover.

Making a rectangular box frame is the very first step. Make three sides for the lower portion, and they will touch the transom and the floor. Its top will be able to flip and access the engine.

Make some plywood strips based on the measurement of the bench seat. You may have a shop cut it for you. Some 1”x1.5” pressure treated lumber, waterproof wood glue, and 1” staples are the things that you need to put the pieces together.

After forming the box out of the plywood strips, get rid of splinters by sanding. This process can also break the edges to prevent damaging the vinyl. After sanding, you can apply two coatings of paint.

Once the glue has dried, place it on the designated area in your boat. It’s sturdy and it won’t give you problems.

Step 2. Setting the Vinyl Down

You don’t have to put vinyl at the bottom of the box. An extra piece is needed to be wrapped under the seat. Just apply more effort in working for a nice appearance and allow a vinyl skirt to hang.

Make sure to leave a margin of about half an inch for sewing the edges. This is enough to match the cording’s size. Use the double-sided tape to hold the cording and make it curved without twisting or binding.

If you know how to use the sewing machine, you’ll be fine. But if not, you can ask someone to do it for you. When vinyl is sewn properly, you can install the bench.

Step 3. Cutting the Foam

Measure the amount of foam that you need, then mark it. Cutting can be done with an electric knife. Give ½” extra to ensure that the vinyl cushion is stuffed nicely. When you have the right piece of foam, glue it on the top of the box.

Batting should be added on the sides for some cushioning with the roughly estimated size. It gives the seat a fuller look. Use a Loctite adhesive to glue it and trimming is needed once it sits in the right place.

Step 4. Adding the Vinyl by Stapling

Stapling creates a serious grip and adequate strength to hold the vinyl in place. It’s best to use stainless staples. You can begin on the opposing side and work your way to finish tucking the whole piece of vinyl.

Just keep pulling, stapling, and tucking to obtain a neat result. At this point, you have finished a bench seat or a motor box for your aluminum boat.

As long as you have time, resources, and willingness to work, there’s no reason that you won’t try following the steps on how to build a boat bench seat. You can choose the color, design, size, and materials that you like from these two guides.

Some boaters want to customize the looks of their boats to represent their personalities. No one is stopping you from doing so! It can be a technique to give life to an old boat. Also, you can always make a bench seat in a set-up that brings comfort.

Did you find this article helpful? If yes, share with anyone who would need this.

It’s the time of the year again when being out on the water is the best place to be. In the heat of the summer sun, there’s really nothing like sitting on a pontoon boat to just drift on a calm lake or spend an entire afternoon fishing. Pontoon boats get a lot of attention during the summer months, and it’s only right to take preventative measures in order to keep the health of your boat in check. One of the easiest ways you can do this is by protecting the pontoon’s seats using seat covers. If you’re thinking about buying pontoon folding boat seat covers, here is a quick guide on what you should look for.

Material

Pontoon seat covers are made out of many different kinds of materials. The lowest end in the spectrum would be a simple plastic tarp. Although plastic tarps will do the job of covering your seats, they aren’t particularly durable. Plastic tarps are great alternative for quick-fix solutions, but they are not permanent options.

The next step up to plastic would be canvas tarps. Canvas tarps have long been used as a general cover-up material in boating. They are more durable than plastic in many ways. However, they are also more susceptible to mildew and mold. Canvas tarps today are most often referred to as marine vinyl. It’s still a good alternative if you prefer to use it, but canvas is also easy to stain. Either way, your canvas will definitely protect your pontoon boat seats, but they won’t last as long untreated. If you want your marine vinyl to last longer and protect your flip up boat seat better, you can treat them a waterproof and/or UV spray. The best materials for pontoon seat covers are vinyl blends or polyester. These materials are highly durable and easy to take care of. They are also more resistant to the elements; therefore, they can protect your seats better. Most vinyl blends also offer some breathability factors, so mold and mildew won’t have much room to grow in—even in the most humid conditions.

Size

You might automatically think that larger is better when it comes to pontoon boat covers, but that’s not necessarily true. Although a larger size will allow you to cover more area, it’s important to measure fit more than anything. Since pontoon boats are exposed to the elements continually, a fitted seat cover will do a better job in protection. Any excess room caused by an unfitted cover will just be excess room for more water or air to enter and damage your pontoon seats.

This is why it’s important to measure your pontoon seats before you go out looking for seat covers. This article discusses how you can measure your seat covers properly. Once you have the dimensions written down, you can then continue shopping for pontoon seat covers. Make sure you check your dimensions against the size of the covers before you purchase. It also helps to read reviews regarding the size of the cover from those that have purchased the same product before. You can also get information from the manufacturer of both the seat cover and your low back folding boat seat.

Other things to look for

Apart from material and size to consider, you might want to also think about a few other things before you buy a pontoon seat cover. First, you might want to think about ease of use and storage. When you’re not using your pontoon seat covers, where are they going to go? Can they easily be folded up and stowed away someplace on your pontoon boat?

There are also seat covers that might utilize the use of zippers or elastic. Some people prefer seat covers that will just slip over your pontoon seats. But there are others that are so fitted; you’d have to zip them up in place. There are seat covers that come with enclosures and others that don’t. It might not matter to some people, but style and color matter to others. You might find that a lot of pontoon seat covers come in a white color, neutral, or blue color. Whites and neutral colors reflect the sunlight better than darker colors.

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[blogsteveclark12]

3 Things You Should Always Buy Secondhand—and One to Skip

Everyone wants to save a couple of bucks, but when is it worth it and when should you consider shelling out more than you might want to? When it comes to home appliances, decor, and furniture, you can find a lot of good deals and quality comparable to new when shopping secondhand at thrift shops in Lebanon, TN. But before you head to your local second-hand store, know that some things require a closer look. Buying secondhand is great for the environment and your wallet, but you want to make sure that you’re returning home with quality items.

Definitely worth buying secondhand: lighting

Don’t shy away from DIY projects either, if you’re not finding exactly what you’re looking for.  “For the DIYers out there, it is very easy to modernize old brass fixtures with a coat of regular or textured spray paint,” Lee says. “We often stock new and modern lighting that is half retail price.” And if the lighting isn’t exactly in working condition, here’s good news: Rewiring a light fixture is not as hard as it sounds.

Definitely worth buying secondhand: furniture

“With imagination and a little elbow grease, you can turn a worn but well-loved table, dresser, bookshelf, or chair into a refinished or repainted masterpiece to fit any decor, and at a fraction of the price of a new built-from-a-box piece,” Lee says.

Another benefit to buying used? A lot of old furniture is especially well made. Look for solid wood pieces, which have more refinishing potential since they can be both painted and stained. On dressers, sideboards, or end tables, check for signs of craftsmanship like dovetail joinery on the drawers; on other pieces, you can check for signs of peeling veneer to get an idea as to whether or not the wood is solid.

That’s not to say wood is the only thing you can refinish, though. Chalk-finish paint and spray paint are both versatile and work for re-painting a variety of materials, from laminate to metal.

Definitely worth buying secondhand: cabinets

When redoing their kitchens, a lot of homeowners think they have to either work with what they have or buy new. Not so.says

While you may not be wild about the finish or door style either, it’s crucial to note that doors are much cheaper to buy new than cabinet boxes—so even if you get used boxes to pair with new doors, you’re still saving a ton of money. As for finishes, cabinets can be repainted by any patient DIYer; solid wood ones can be re-stained, too.

Skip buying secondhand: appliances you don’t have the full scoop on

When it comes to large appliances—refrigerators, dishwashers, washers, dryers, and the like—don’t buy secondhand before giving them a thorough once-over. If they don’t meet the below standards, skip ‘em, pros say.

“If you’re considering buying a secondhand appliance, you’ll want to make sure first and foremost that it fully functions, so ask the place you’re buying it from to turn it on for you,” Carson, of Handy, advises. “In addition, make sure to check that the connections are all intact—the power cord should be clean from any taped-up wires. If it’s an appliance like a dishwasher or washing machine, make sure the water connections are clear and that the seller gives you all the correct hoses to install it in your home.”

Another thing to keep in mind with appliances is that older models—ones that are a decade old or more—might work just fine, but could cost you lots in energy usage. For instance, EnergyStar has a calculator to help you figure out how much extra cost to anticipate depending on the year of manufacture for your fridge, which will help give you a better idea of what your long-term costs are.

Of course, there are caveats to this recommendation: If you’re able to find a unique vintage piece with lots of character—like a 1940s gas range—it might be worth the hassle to get it up to working order for your own home. After all, with all the wear that comes with secondhand appliances, there’s tons of character to be found, too.