#horizontal organizing

[dailyanarchistposts]

Differences Between Anarchism and Authoritarian Leftism (Marxist-Leninist-Maoism)

A significant difference between anarchism and Marxist-Leninist-Maoism is hierarchy. MLMs depend on cadres (leadership) to make the ultimate decisions, which is why they often stick to a central message handed down from the top. Anarchism is horizontal, which means having a lot of intentional discussions around consensus and each person’s needs. MLM organizing tends to be more oriented towards building critical mass and numbers because they believe that the solution is to displace the current state with a “people’s state” — a point that anarchists fundamentally disagree with because we believe that states in any form simply replicate the existing hierarchies of violence and systems of oppression.

The tensions between anarchist and authoritarian leftist organizing also often come down to questions of capacity, scale, structure, and urgency.

It’s often the case that authoritarian leftist organizing (in its many variations) is willing to sidestep conversations on internal conflict and will readily engage in disposability politics for the sake of scaling up rapidly, at an unsustainable pace. Which is something I’m not down with — because I am definitely one of the people (among many who make up my community) who gets left behind over and over again due to chronic illness, precariousness, limited access to resources, etc. But it’s tougher to build a large group with anarchism because of decentralization — with the intent that the focus is on meaningful relationships and not burn out or exclusion.

What is a “movement” between billions of people who don’t know or have any deep investment in each other? Another frustrating part of focusing on mass movements is that the more that people push for critical mass, the less considerate they are of pace — and the less attention they pay to who they leave behind in the process of growing, growing, growing.

I believe that small and committed groups of people can do big things if they want to. I don’t think we need to change everyone’s mind. I think that change happens all the time, on the ground, in relationship, at a scale that people don’t/won’t take notice of because they are too busy looking elsewhere.

I believe that small and committed groups of people can do big things if they want to. I don’t think we need to change everyone’s mind. I think that change happens all the time, on the ground, in relationship, at a scale that people don’t/won’t take notice of because they are too busy looking elsewhere.

At the same time, we are still working on how to organize autonomously in ways that are resilient and lasting. It seems like anarchist organizing, while more forgiving and flexible, is also far more susceptible to disintegration when hard-line demand for consistency isn’t made. And yet autonomous spaces are the ones where I have felt the most whole, and where my needs and limitations have been taken seriously.

[myokk]

✨MASTERLIST✨

(fanart, longfics, oneshots)

Welcome to my blog!!! Here is my masterlist of ALL of my little sketches, artwork, writing, and general brainrot related to Hogwarts Legacy💘

🌿 - Madeleine / Maddy / myokk

🌱 - AO3

🌿 - likes and follows come from my main blog, @oerflink, because this is a sideblog (🥲)

🌱 - Eloise Babbit, my MC and basically the whole reason for this blog🫶 I don’t necessarily view her as the game’s MC, as my fic is quite canon-divergent and she is sweeter than the evil gremlin I played in-game😆💓 [link to her character sheet]

🌿 - my art tag🫶🫶🫶 here you can see basically every drawing I've done since joining the fandom!

Writing:

Before It Felt Like A Sin (AO3 / tumblr - ongoing)

Sebastian Sallow x F!MC, canon divergent, longfic, wip, dual pov Eloise/Sebastian

Summary: Eloise never wanted to be different.

And yet, her differences are what have defined her life up until this point: growing up as a squib in one of the most prominent wizarding families, being exiled to muggle society, and then attending Hogwarts at the age of sixteen.

She finds herself thrust into the life she should have been prepared for from birth but was denied. As she navigates this new life and her new precarious position in her family, she must come to terms with the fact that maybe what she dreamed of her whole life isn't turning out how she ever expected it would.

Tags: slow burn, angst, magical theory, mythology references, pureblood culture, occlumency, legilimency, hurt/comfort, family dynamics, eventual romance, eventual smut, sacrificial magic, blood magic, dark magic rituals, implied/referenced child abuse

[coming soon] - an excerpt from the Ominis longfic I’m working on💘

Oneshots:

clumsy (AO3 / tumblr)

pairing: Sebastian Sallow x f!MC

word count: 9,1k

rating: E

summary: sebastian is clumsy.

or: two stubborn brats make things more difficult than they have to be.

cw: fluff, mutual pining, idiots in love, two really stubborn idiots in love to be exact, sir cadogan guest appearance, anne and imelda are the gremlin best friends every girl needs, smut (18+ ONLY), oral (f. recieving), no y/n

legilimency (AO3 / tumblr)

pairing: Ominis Gaunt x F!MC

word count: 1,7k

rating: m (language)

summary: (His parents and Marvolo insist it’s a gift handed down from Slytherin himself, just like the Parseltongue Ominis despises. It is not. It is a curse.)

or: The Gryffindor student has caught on that Ominis can read her thoughts and decides to get her revenge.

tags: ominis is a natural legilimens, he is entirely too introspective, fluff, no y/n

remembering the snow (AO3 / tumblr)

pairing: Imelda Reyes x Poppy Sweeting

word count: 3,3k

rating: G

summary: Imelda remembers the first time she saw snow.

Her parents always started the story telling her that she cried and cried and cried.

or: a character study on Imelda and how she grew up because I love her & she doesn't get enough appreciation :)

tags: character study, fluff, romance, first kiss, emotional hurt/comfort, I just wanted to write a sweet story & explore Imelda as a character

Illustrated scenes:

(aka where I illustrate little scenes from my longfic and oneshots💓)

🌿 - the summer before Sebastian and Anne’s first year at Hogwarts🥺💓

🌱 - Sebastian hates Eloise’s guts😳

🌿 - Eloise is really, really bad at chess😔 (this scene always makes me laugh SO MUCH)

🌱 - right after the pensieve scene🫶🫶🫶

🌿 - Eloise and Sebastian’s first kiss😇😇😇

🌱 - some angst after their first kiss😇😇😇

🌿 - sebastian overthinks things a lot😔

🌱 - an excerpt from my oneshot, clumsy💘

🌿 - another scene from my clumsy 🫶 I really love writing Sebastian’s pov & this was just so much fun to paint and write😫💓

🌱 - Eloise and her mother😔

[mushroom-winners-proof]

If only i could put in one more character then it’d be perfect- I finally got the bitch ass bug so yay :) when I finally got money to buy timer balls (cus poor and was trying to save for the adm) it wants to go into the dusk ball- this asshole just LIVES to spite me

Figured out where to put in mystery gifts so I got all the stuff I need for other legendaries :) except celbie(?) cus- where tf do I get spiky eared pichu and what lvl is he because I cannot be bringing a lvl 40-/+ to a battle with a lvl 70+ Pokémon- also here’s everyone so far :) I’m trying to sort it by region just to make it near but 1 where is fucking jirachi from 2 where would melmetal go and 3 alola needs its own damn box because of the tapus also being in the game apparently- other than that I have some spots open because of specific Pokemon I haven’t caught yet like the slot under mewtwo being for mew and under reshiram and zekrom for kyruem- it’s a lot-

omg bug got :) not in the ideal ball tho smh but we got there : ]]

omg box organization .... we love that .....

[malglories]

i perversely kinda refused to decorate my room when i moved into my new apartment last summer. but now we are renewing our lease! so if anyone has interesting ways to organize their jewelry...

[thebigblogofneos]

hey this is not a neo list or anything but can we all agree that the aesthetic x-themed neoprn lists (and posts like it) are super duper pretty!!!!! like i like the images and the cute symbols. i cant read them without my brain hurting tho. which is sad cause all of the neos are super cute and quite delightful!!

[foxyou-too]

Oz Van Rosen - Color Therapy - Glitch

[hydroponics-farming]

[robertogreco]

The trailer for Unrueh (Unrest) is embedded above. I haven’t seen the film yet, but I look forward to watching when it is available to me. It’s compelling for many reasons, some of which are the watchmaking, the labor organizing, the history of anarchism, and the way the film was made. Here are two long clips from an excellent interview with the director Cyril Schäublinby Soren Hough to give you an idea of what I mean:

The idea of decentralizing these famous figures comes through in the filmmaking both narratively (Kropotkin and Josephine both say they are not protagonists in dialogue) and in the actual framing of individual scenes where use wide shots that literally decenter the characters. “Unrest” has this almost Altman- or Haneke-like voyeuristic perspective.

It’s also just the way I like to make films and the way that I like to watch [them]. It goes a long way back that I came up with this way of creating an image so that when you watch the movie, you are aware that you’re watching a movie. It’s transparent that it’s a made up thing. Maybe this could sound Brechtian, but it’s not really. And also to give liberty [to the audience] of what to choose from this big tableau image, and what to do with it—but also to give the people who appear in the film, which are all non-professional actors, space to just do what they what they do and not be too [restrictive to them].

Kind of the exact opposite of Kubrick. He would keep one particular shot over and over again until he got what he eventually wanted.

He worked with actors, and I work with people. It’s very fragile, and delicate. I have to work a lot with them and tell them "don’t act" or "don’t play." But then they are suddenly just doing it. It’s like a situationist approach.

And of course, situationists have a connection to the anarchist movement, as well. It sounds like your natural aesthetic instinct tied well into this particular story where you, as you say, have this big name in “Unrest”—Peter Kropotkin. He’s not in a huge amount of the movie, he doesn’t have that many lines, he’s not a central character, and it’s certainly not a biopic.

The guy who acts as Kropotkin (Alexei Evstratov) is a very avid Kropotkin guy. I mean, he’s really into him. And he said to me at the end, "I didn’t say that much!" But he told me the way we were doing the film, and how the film was organized, and how we talked to each other, he felt [it took a] mutual aid approach. That was really interesting for me.

Could you elaborate on what he meant by that?

Finding out together how to [tell this story]. Just simple gestures. I mean, we were cooking for each other. There’s a lot of help involved now in filmmaking: people made his hair, his beard. They helped him with the clothes, the microphone. It was very important for me to have a gentle, open feeling between people, and that we could talk in the breaks.

It’s unusual, because I think filmmaking is one of those places where there’s a presumption that it has to be run in a quite clear, hierarchical manner, but it sounds like you were able to be more collaborative.

A lot of people came to me because this was the first big film that I made. The first film we made for 60,000 francs—only friends acted in it and it was very low budget. With this film, we had much more. So we had people who worked professionally for 30 years come to us and say, "Oh my God, this was the kindest set we’ve ever seen. How do you do it? What’s happening?" It was funny. Everybody thought it was really nice. For me, it was really tough, because it’s always tough to make a film as a directing person. Just really intense. But it was nice. Good feelings.

It sounds like even if it was difficult for you, you made it a good environment for other folks. Earlier, you mentioned cadence, the sense of rhythm of working life. And obviously this is a ubiquitous motif in "Unrest," where you have ticking clocks, stopwatches, the winding of the camera. For my part, it seemed to reflect the mechanical nature of industrial society, but also this sense of social progression. Could you talk a bit more about what these ideas mean to you?

I think it was something that fascinated me with watchmaking. Because it’s a very simple machine, you know, that creates two events, the tick and the tock [from] which you can count and compare to other events. And it’s crazy how we integrated this machine, or industrial time, into our bodies. We have a feeling [that] ten minutes have passed by. We really think it’s 4:30. We believe it’s true. It’s so concrete. And I think this is interesting, because it’s such a construction. It’s so made up. With this film, I really try to show the construction of this machine. The four different time [zones the watchmakers had to keep track of] were real, but it’s absurd from an outsider’s point of view. I think if that is a construction, other capitalist mythologies are also constructions. And I think it’s important not to forget that, that we live in a made [world] and not an ultimate finished truth or anything.

That’s one of the things I find really interesting about the film. As you say, narratively, it’s not about Kropotkin or any of the characters in particular. But it is thematically about Kropotkin’s ideas. Kropotkin, contra Karl Marx or Adam Smith or even some other anarchists, believed in the abolition of any kind of wage labor whatsoever—that there was no way to meaningfully compensate somebody’s labor, to quantify it in such a way that you can pay them a wage. In "Unrest," the exact opposite is happening. You have this constant refrain about wages being paid for particular amounts of time and for particular amounts of work. The incongruity of that notion is really laid bare.

Yeah, of course. There’s an interesting thing that we did that in the end didn’t [make it] into the film. But one of the first demands of the anarchist union in this town was that they wanted to be paid for the time when they were not allowed to work. They were like, "We want to get money for the Sundays that you don’t let us work because of your religious conviction. Or Christmas." This demand completely shows this whole thing is crazy, no? Who can say when you work and for what, when, and how?

Another aspect that came up quite a bit in “Unrest” was this idea about photography and portraiture. Throughout the movie, the authorities are trying to document the town through photos, and the police are constantly trying to move anarchists out of the shot as if they’re not part of the town, or they’re not important enough to record. The local amateur photographer is perfectly happy to photograph them, but the official authorities exclude them. Meanwhile, the anarchists are trading photos of famous revolutionary figures as if they were baseball cards.

Yeah, they really did [trade and sell] pictures of martyrs. They were selling pretty well, I guess. First, I thought this idea of who can create objective reality, or say this is true, this is our village, this is how we organize society in the beginning of the nation state, is interesting. With photography, that was funny and strange to me. Who can say, "We’ll take a picture of this town, this is how it looks"? And then they print postcards and there are no women on it, only men, or no people at all. This made sense to me to show. And of course, this idea of the anarchists to create a parallel public space, or to kind of hack into these new technologies. It was this attempt to create an anarchist identity, or an anarchist community, with technological means—with photography, there was a clear strategy, and of course with the telegraph. There’s this bit in the movie [that came about when] Florian Eitel found out that many of the factory directors and owners were subscribing to anarchist newspapers, because they were much better connected internationally than the normal press."

[...]

So some of the people in the film actually are watchmakers themselves?

Quite a few. Yeah. The main actor, Josephine (Clara Gostynski), is an architect. And she really likes Kropotkin, as well, and Simone Weil, and she spent a lot of time with one of the other actors who explained to her the mechanics. As an architect, she really could build on that.

The nationalist versus anarchist perspective in “Unrest” is most obvious when they’re running the two lotteries in parallel, one managed by the industrialist and the other by the anarchist community as a fundraiser. Later, when they’re voting, there’s a nice illustration of something that Errico Malatesta talks about, which is essentially that you have this direct marriage between capital in the state which necessarily excludes certain people (usually the powerless, the poor) from participating in governance. With all these ideas in mind, we’re in a moment where we’re seeing a revitalization of the labor movement across the globe. Unions across the United States, strikes in the UK and Europe, all in response to extreme societal precarity. Where do you see this film fitting into the current discourse about nationalism versus internationalism, workers and the state?

Big question. I wonder if internationalism is still a word that will affect us because nations are a concept that I don’t think will prevail. I don’t think it will make sense, really. But I think this is not for us or for the film to explain. I think this is just obvious. And I think our close surroundings will become much stronger—our experience of neighborhoods and direct mutual aid. And I think with cyberspace, the concept of nation and what you should have in common with all these people will fade at one point, I’m sure. There’s a lot of open question marks. [laughs]

I think also what’s really important is how we organize information. I think that is the main thing for me right now, maybe also with this film. Like [the question the workers face] in the movie, do you want to reenact a medieval battlefield? Or do you want to reenact the Paris Commune? This is a question we’re also [facing] right now. What information do we take and reproduce and turn into reality?"

(via Justin)

[dailyanarchistposts]

What does all of this mean in the face of urgency?

How do we prepare for intensified state violence and scarcity without pre-emptively committing ourselves to the idea that we have to lose and sacrifice people along the way? (And who gets to choose who is left behind or sacrificed?)

Urgency, first and foremost, brings up questions of scale, and recruiting rapidly to meet or exceed critical mass. To me this immediately sounds like a quick way to replicate a lot of toxic situations full of distrust, and people taking out their unprocessed pain on each other. We carry a lot of trauma and we also bring that into the spaces that we organize in. I really appreciate the phrase “move at the speed of trust” — which involves growing and tending to each individual relationship I have with friends and comrades. And that can feel excruciatingly slow in its own way.

I am trying to understand how we build movements and collectives that are prepared for long-term resistance — without just leaving the weakest and most vulnerable behind to fend for themselves. It can be depleting, though. The feeling of failure, of having to hit the reset button over and over in spite of different sorts of fragmentation and barriers can be daunting and is one of the bigger causes of my depression and isolation. But it’s the work of collective survival for those of us who still believe in the possibility of life. I’ve thought of it for a long time as intentionally, carefully carving out spaces for ourselves in the margins — I inhabit so many in-betweens, and I’ve also found so many others here.

What does it take to maintain a uniform political line for so long? Who is erased? Who is made invisible?

What would it look like to slow the pace of organizing so that people aren’t left behind because they can’t physically, emotionally, or materially keep up?

We are surrounded by crises but is it still possible to respond with deliberation? To take (or free) more time? To make demands through rest instead of rushing to produce?

What if we think of urgency as a constant instead of as an emptying hourglass? (Related: what if we didn’t see climate change as the end of our species but as something to still prepare for, as a reason to build tools for future generations to be able to move through?)

Who is liberation for if only the fittest make it to the finish line?

[swanmay-that-got-away]

[xiaoxiaopaya]

Fertilizer granulator is the key equipment in the fertilizer production line, its main role is to process powdered or liquid fertilizer raw materials into pellets by physical methods, so as to facilitate application and improve the utilization rate of fertilizer. The following is the working principle and process of fertilizer granulator:

1. Raw material mixing: First of all, various fertilizer raw materials such as nitrogen fertilizer (Urea), Ammonium Dihydrogen Phosphate, Potassium Chloride, etc., need to be fully mixed before entering the granulator to ensure the nutritional balance of the final product. This step is usually done using a Horizontal Ribbon Mixer or a Double Shafts Paddles Mixer to achieve an even mix of ingredients.

2. Compression molding: The evenly mixed Fertilizer raw materials are fed into the fertilizer granulator, such as the Fertilizer Granules Compaction Machine or Flat-Die Pellet Machine. Inside the granulator, the raw material is formed into particles by extrusion or pressing. In this process, an appropriate amount of water or binder may be added to improve the molding effect of the particles.

3. Particle molding: In the process of extrusion or pressing, fertilizer raw materials are compressed into particles. These particles are squeezed inside the granulator to form particles of a certain size and shape. The shape and size of the particles can be controlled by adjusting the parameters of the granulator to meet different application requirements.

4. Screening and grading: The formed particles are then screened through the fertilizer screening Machine (such as Rotary Screening Machine) to ensure that the size of the particles is uniform and meets the product quality requirements. Pellets that do not meet the specifications may be returned to the granulator for reprocessing.

5. Drying and cooling: The newly formed particles usually contain high moisture, and need to be dried by Rotary Dryer Machine to reduce the moisture content and improve the stability and storage of the particles. The dried particles are then cooled by Rotary Cooler Machine to ensure that the temperature of the particles is appropriate for subsequent packaging and storage.

6. Packaging and storage: The cooled granular fertilizer is fed quantitatively through Uniform Feeder, and then packaged. Packaged fertilizer pellets can then be stored or transported for use in agricultural production.

Through the above process, the fertilizer granulator converts various fertilizer raw materials into granular products that are easy to apply and manage, improving the nutritional value and use efficiency of the fertilizer. This equipment plays a vital role in the Organic Fertilizer Production Line and the NPK Fertilizer Production Line.

[xyhuaqiang]

In modern agricultural production, the disposal of chicken manure has always been a difficult problem. However, with the continuous development of organic fertilizer granulation technology, this problem has been effectively solved. By converting chicken manure into organic fertilizer, it not only solves the problem of environmental pollution, but also brings additional economic benefits to chicken farms.

First of all, the establishment of Organic Fertilizer Production Line is the key to achieve this transformation. Production lines usually include raw material preparation, fermentation, crushing, mixing, granulation, drying, screening and packaging. At the raw material preparation stage, fresh chicken manure is dehydrated and fermented to reduce odors and improve the stability of organic matter. During the fermentation process, the Windrow Compost Turning Machine can be used to increase oxygen and accelerate the decomposition of organic matter.

Next comes the crushing process, where Cage Crusher plays an important role in crushing the fermented material to a size suitable for granulation. The pulverized material passes to the Horizontal Ribbon Mixer, where it is mixed with other nutrients such as NPK fertilizers produced on the NPK Fertilizer Production Line to prepare for granulation.

Granulation is a crucial step in the production of organic fertilizer, where the Flat-Die Pellet Machine forms the mixture into pellets that have good physical properties and are easy to apply and store. The produced particles are then dried in a Rotary Dryer Machine to reduce the moisture content and improve the preservation of the fertilizer.

The dried organic fertilizer particles are screened by Rotary Screening Machine to ensure that the particle size is consistent and in line with market standards. Finally, Uniform Feeder will uniformly feed the sieved particles into the packaging system, complete the packaging, ready for sale.

Through this series of processing processes, the manure from the chicken farm is no longer waste, but becomes an efficient organic fertilizer. This fertilizer can not only improve soil structure and increase crop yields, but also reduce the use of chemical fertilizers, thus reducing the environmental impact.

In addition, the organic fertilizer granulation recycling mode also helps to improve the economic benefits of chicken farms. By selling organic fertilizer, chicken farms can obtain an additional source of income. At the same time, because the use of organic fertilizers reduces the dependence on chemical fertilizers, it also reduces the cost of agricultural production.

In short, the application of organic fertilizer granulation technology not only solves the problem of manure treatment in chicken farms, but also realizes the recycling of resources, which brings double benefits of environmental protection and economic benefits to chicken farms. With the continuous progress of technology and the increasingly mature market, organic fertilizer granulation will certainly play an increasingly important role in modern agricultural production.

[tiancifertilizermachine]

In the vast pastures of Australia, a new trend is emerging, that is, the use of environmentally friendly fertilizer granulators to improve the quality and yield of forage. The application of this technology not only helps to protect the environment, but also promotes the sustainable development of animal husbandry.

The Organic Fertilizer Production Line has played an important role in this process. Through this production line, organic waste in the pasture, such as animal waste and crop residues, can be converted into high-quality organic fertilizer. These fertilizers are rich in key nutrients such as nitrogen, phosphorus and potassium, which are essential for grass growth.

The Fertilizer Granules Compaction Machine in the fertilizer granulator series is the key equipment to achieve this transformation. It extrudes organic fertilizers into pellets by physical methods, which is not only easy to store and transport, but also improves the application efficiency and uniformity of fertilizers.

The Horizontal Ribbon Mixer also plays a crucial role in the production of organic fertilizers. It ensures a uniform mix of various raw materials, resulting in the production of organic fertilizers of consistent quality. The design of this mixer helps to evenly mix the raw materials, avoiding the problem of local too wet or too dry, thus ensuring the stability and consistency of the organic fertilizer.

The Rotary Screening Machine is responsible for grading the resulting fertilizer particles to ensure that the fertilizer particles are uniform in size and suitable for grass absorption. The use of screening machine improves the application quality of fertilizer and avoids the problem that the fertilizer effect is affected by too large or too small particles.

Finally, Uniform Feeder as the front end of the production line, can evenly feed raw materials into the pelletizer, to ensure the continuity and uniformity of the production process. This not only improves production efficiency, but also helps maintain the quality of the final product.

Through the application of these advanced organic fertilizer granulation technologies and equipment, Australian pastures can promote pasture growth in a more environmentally friendly and efficient way. This will not only help to improve the economic efficiency of livestock farming, but also reduce the impact on the environment and achieve a true green revolution.

[tcfertilizermachine]

In the tropical orchards of Southeast Asia, durian has won the reputation of "King of fruits" for its unique aroma and rich nutrition. However, the high quality of durian is not only dependent on the unique natural conditions, but also on modern agricultural technology, especially the application of organic fertilizer granulation technology.

Organic Fertilizer Production Line plays a vital role in durian cultivation. The organic fertilizer produced through this production line can provide the durian tree with comprehensive nutrition, including essential mineral elements such as nitrogen, phosphorus and potassium, as well as organic matter, thereby promoting the healthy growth of the durian tree and the formation of high-quality fruit.

In organic Fertilizer granulation technology, Fertilizer Granules Compaction Machine plays an irreplaceable role. It extrudes organic fertilizers into pellets by physical methods, which not only facilitates the storage and transportation of fertilizers, but also improves the utilization rate and application effect of fertilizers. The organic fertilizer after extruded granulation has uniform particles and compact structure, which is more conducive to the absorption of the roots of durian tree.

In addition, the Horizontal Ribbon Mixer plays a key role in the production of organic fertilizers. It ensures the quality and effect of organic fertilizer by evenly mixing various raw materials. The design of this mixer helps to evenly mix the raw materials, avoiding the problem of local too wet or too dry, thus ensuring the stability and consistency of the organic fertilizer.

Finally, organic fertilizers usually need to be screened by a Rotary Screening Machine before application to ensure that the fertilizer particles are uniform in size and suitable for the growth needs of the durian tree. The use of screening machine improves the application quality of fertilizer and avoids the problem that the fertilizer effect is affected by too large or too small particles.

Through the application of these advanced organic fertilizer granulation technologies and equipment, the yield and quality of durian have been significantly improved. Organic fertilizers not only improve the fertility of the soil, but also help improve the taste and nutritional value of the durian fruit, making it a shining pearl in Southeast Asia's green revolution. With the continuous development and improvement of organic fertilizer granulation technology, we have reason to believe that durian, the "king of fruits", will exude more charming charm in the future.

[hqhifertilizermachinesblog]

In the Australian livestock industry, the use of fertilizer granulators is of great importance for optimizing cattle and sheep feed. By converting organic and inorganic substances into high-quality granular fertilizers, these machines not only improve the nutrient value of fertilizers, but also increase their suitability in feed.

NPK Fertilizer Production Line

Australia’s fertilizer production line combines key elements such as nitrogen, phosphorus and potassium with precise ratios to produce composite fertilizers that meet the growth needs of cattle and sheep. The efficiency of this production line lies in its ability to adjust the nutrient ratio in the fertilizer according to the different nutrient requirements of the cattle and sheep at different growth stages, thus optimizing the feed formula.

Organic Fertilizer Production Line

Organic fertilizer production line is produced by processing agricultural waste and animal waste. These organic fertilizers can not only provide nutrients, but also improve the soil structure and improve the growth quality of feed crops. In Australia, the proliferation of such production lines is helping to drive sustainability in the livestock sector.

Fertilizer Granules Compaction Machine

Fertilizer Granules, such as Fertilizer Granules Compaction Machine and Flat-Die Pellet Machine, can make particles from mixed fertilizer raw materials. This granular fertilizer is easy to store and transport, and is more evenly distributed in the feed, helping cattle and sheep to better absorb nutrients.

Horizontal Ribbon Mixer

The Horizontal Ribbon Mixer plays an important role in fertilizer production. It is able to ensure that various raw materials are fully mixed during the production process, thus producing a uniform quality fertilizer. This is essential to ensure nutritional consistency from batch to batch.

Through these advanced fertilizer lines and granulation technologies, Australia’s livestock industry is able to produce better feed to meet the growing needs of cattle and sheep while reducing their environmental impact. The application of these technologies not only improves the production efficiency of animal husbandry, but also provides valuable experience for the sustainable development of global animal husbandry.

[foxyou-too]

Archiproducts