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chuck-e-cheese-anime-faces · 1 year ago

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I wouldnt have thought that at all because i only ever associate that specific synth instrument with arthur background music and also just pre schooler shows in general by extension because of arthur (all his fault.).

Because i used to always consider it a preschool show even though it can be but isnt necessarily its just always played alongside all linds of primarily pre school shows or so i remember kids in preschool always said i was too old for those shows by the age of 5 i think that was it but either way i always took it to heart and was able to put it in practice when i remembered using directv for the first time when we got it installed which i think was around the same time. Well actually, it was directv with tivo i think because i remember the living room and parents room having both having tivo but the channel numbers were the same as directv even tho i thought tivo was just a separate cable provided. But it would make sense if it wss just a company tht like, attached itself to other cable providers to provide a service (digitally automatic tv recording easy to access, navigate to favorite shows, prioritize recording w the 1-3 thumbs up/down system, as well as to even mark which shows and even individual episodes you liked or hated so when ur navigating channel guide you can be like "Oh shit that episode was a really good one, either someone else may have put that rating there to passively reccomend it, or i saw this show/episoslde before and i liked it!!" Or "aw yeah. Theres a bad ep of power puff girls on in a couple hours, myst be one with the rowdyruff boys or that episode with that gross fucking kid who kept trying to kiss them god i fucking hate that episode so much jesus christ but if it was tbat one it would probly have 3 thumbs down and that one only has 1."

Anyways pls dont get the wrong idea tivo is not one of my special interests or current hyperfixations at least not rn im just reminiscing and thinking back to how clearly i rmemeber it and i also really really liked how the interface looked w the calming green backgrounds and the very 2000s sorta like..chic sorta style in a way like idk how to explain it its like the kinda interface i would see on the tv at a pretty new and expensive hotel and the sfx were fun too tivo was fucking awesome)

Anyway i would know immediately which channels were ones like both est and pst channels of nickelodeon and also nicktoons which i watched the shit out of which kind of sorta was something tht in a way kiiinda made me a 90s kid which i TECHNICALLY am but not rlly cuz i was alive in the 90s for like 9 months cuz i was born in 99 (huh thats a lotta 9s in that sentence). But i hated preschool shows for a while kinda partially becuase i didnt really like, allow myself to enjoy them, so as u can imagine the channel noggin that lied between the nick feeds and nicktoons was like a little hurdle to jump over to get to the good shit. And yeah that channel had no goddamn thing for me like til some time noon or afternoon they became "The N" which was a bunch of mostly degrassi teen shows that were heavily if not all live action so i did not care for them at all because i just wanted my goddamn toooooooons.

Speakin o toonami, which was on cartoon network, for a time i kinda hated the cartoon network for like, no clear reason tbh. All the way up until at least age 10 or 11. I think it was cuz i associated it with my first cousin once removed (it thats what you call a cousins kid) who i had jind of a rough relationship with because he was just 2 years younger than me and overall i didnt have a good start with him as he was a baby / toddler like i remember him sorta antagonizing me for fun i think as a thing toddlers can do but i really hated it like i dostinctly remember this one night when the family was hangin out at someplace we were sitting on the couch and yells something and then just throws his fuckin bottle at me and it hurt like hell and cried and on top of that he got a lot more stuff he wanted than me like i remember my cousin (his dad) just one time told me they get him whatever he wants and for that i also resented him because i had been taught not to be spoiled so i felt jealous and so i was kinda short with him growing up and i feel bad for it but it was really not necessarily anyones fault it had to do with our situations tbh and it was so long ago when we didnt know as much about many things. Anyways he watched cartoon network a lot and i think i jjst realized THATs why i started not likeing cartoon network a lot because i rmemeber before then i did watch it a lot i loved dexter and the powerpuff girls (first ever crushes for me im pretty sure) and id get to see some scooby doo where are you before mom would drive me to school from place where we were, id be having shredded tuna for breakfast a lot of days because i really liked it.

But yeah i think it just so happened to be righf around the same time when i was getting to know my first cousin once removed or "nephew" as i would refer to him because they always referred to us as uncle and nephew fsr maybe its cuz it sojnded cooler to them than first cousin once removed. Anyways yeah right around then i just started not liking shit like dexter and even powerpuff girls, powerpuff girls in particular might have also been because kids at my school would call it a girls show for girls fhat could have also played into that but i also just do remember being heavily disillusioned and just not liking cartoon network, somehow i couldnt really see exactly why for a while, but i think thats gotta be it. The same kinda happened with toon disney, which i also would watch, and eventually disney in general. Like i just started arvitrarily hating everything disney for good long while, and i think from there i just would have some continuous brand hatred. I rememver like, the big 3 i hated were disney (which idk if i mentioned but now that i think abt it i think i also associated tht with my "nephew" because they werent a HUGE disney family but they did go to disney a lot and had a lot of disney stuff so they were at least good fond of disney, toon disney also may factor into this the inital hatred because i think i associate it with nephew and remmeber one night when me n him watched it at other cousins house (so his ant btw) and i remember it not going well maybe.), cartoon network, and starting later than those, or at least later than disney general hatred, was toaster strudel hate because i saw commercials of them dissing pop tarts and acting like the superior breakfast toaster pastry and because of that there was a long time i just fucking hated toaster strudels and just pilsbury in general befause thats the company that made them, all because they had to diss the shit out of pop tarts, a breakfast pastry that i wasnt even huge on before i saw those toaster strudel commercials. I think it was because of like, how mean i perceived these commercials to be, cuz i hadnt seen commercials take the shit outta other products like that. Like i think i saw poptarts as some kinda downtrodden friend who got hurt by toaster strudels. Later felt the same about sega when i saw a lot of sega v nintendo ads on youtube late 2000s because they were being mean and i didnt like it. Also object sympathy n shit too.

Okay i derailed the fuck out of that but basically what i was originally trying to get at was that i always considered pbs kids a preschool channel. It might actually be because even though shows like arthur were kinda targeted older kids than toddler and preschool, it would air on the same channel and block as shows like sesame street which were kinda primarily targeted at toddler and preschool kids. And for years because of all that whenever i heard about anyone watching arthur any older than 6 or so i found it strange ljke "was i tbe only one that thought this???" And i mean i think it was i dont remember anyone sayin this other than the preschool kids. Another thing tho, i rmemeber at age 5 or 6 i was old enough to not use a booster seat in tbe car anymore and the day i turned that age i wanted to get rid of it because in my mind i was TOO old for it as soon as i could not have it. Even though later on via tht PSA tht were disney cinderella themed about booster seats said all kids need a booster seat til theyre 4'9" to stay safe but i always ignored that shit and so did my and probbably other parents cuz the kids wouldnt wanna go back into a booster seat and feel even younger and thus less independent or whatever. But the thing is, i watched shit like spongebob a lot after the preschool shows even though IT was on the same channel as all the nick jr shows but thing is that was separated in its own block, so i could better separate it from the rest of the programming on the network. To this day it always feels weird when ppl say blues clues n dora are "Nickelodeon" shows and not Nick Jr shows to me its like saying full house and george lopez and glenn martin dds are nickelodeon shows ykwis.

Anyways im sad that i set up this arbitrary age limit for myself for watching shows i deemed "preschool" shows, whether it be because o shit the preschool peeps told me or becuase the car seat age or both (probly both some way) but i was sad to not have actually enjoyed those shows a little longer amd kinda just convinced myself to hate relatively kinda early on or at least it seems earlier than other peeps ive heard from, but this goes ESPECIALLY so for arthur becuas that show was p good and had a lot of messages for older kids. But if there was a separate NAMED block on the channel specifically for shit like sesame street and caillou and teletubbies then i think i would not have necessarily considered pbs kids a preschool network because thats not rlly what it was, just what i had known it for. If they followed nickelodeons steps w the nick jr shit then i couldve watched it longer but also i shouldna been believein such silly shit about age limits to watch thems kids shows in the first place.

So yeah this synth instrument always just feels like arthur to me and hard to think of it as anything else sometimes because thats where i first heard it and for a long long time never really heard it anywhere else. So i didnt feel this scene was very homoerotic like RIGHT off the top of my head, i mean i did get that feelin but not immediately. I guess when i saw it i was just like oh thats nice moment and kinda innocent and friendly, like a preschool show is.

the 4kids dub for one piece is a mess for a number of reasons but literally what the fuck was this music they added in here

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railwaysupply · 3 months ago

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#Railwaytechnologies #RailwayTransportinIndia

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maipareshaan · 5 months ago

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Comedy. Btw chowmein is indo-chinese noodles and khap panchayat is like a village assembly

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mehratimeshub · 5 months ago

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JIET Placements: Ensuring a Bright Future for Every Student

JIET (Jind Institute of Engineering and Technology) is your gateway to a bright future with its top-notch campus placement program. This year’s 3rd drive is on August 9th, continuing its tradition of excellence. With partnerships with over 200 leading companies and a transparent process backed by the District Employment Office, JIET ensures genuine job offers and exceptional opportunities for students. 🌟

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#JIET #CampusPlacement #CareerSuccess #Engineering #StudentOpportunities

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depog · 5 months ago

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Orange Is the New Black Metal: zrození performance z ducha hudby (Headbanger)

„Subkulutry představují ‚hluk' (na rozdíl od zvuku).“[1]

Richard Hebdige

„SATAN! SATAN! SATAN! SATAN! SATAN! SATAN! SATAN! SATAN! SATAN! SATAN!"[2]

Apator

Filozof a prozaik Ladislav Klíma v jednom ze svých literárních děl popisuje „divný pocit“, který člověk zakouší, když se vzdaluje od „hudbou bouřícího sálu“.[3] Odchod poslouchajícího z takových prostor pak dle Klímových slov spěje k okamžiku, kdy se mu zdá, že zapadl „do strašidelného světa, do komnat čarodějových, hemžících se neviditelnými duchy...“[4] Jenže co když je ona divnost pociťována a pozorována již v blízkosti diváctva k poslouchané hudbě, která sama je naopak tím, co se od čehosi jalo vzdalovat? A co se stane, jestliže se hemživí duchové zviditelní? Odpovědi by bezesporu mohla poskytnout hudební performance Headbanger, za níž stojí umělecký kolektiv D’epog a produkční platforma Terén. Ta totiž přiznaně čerpá z estetiky a rituality metalových koncertů, vůči kterémuž výchozímu bodu se však zdánlivě odlučuje vstříc cíli v bizarních dálkách. Různé prvky těžkotonážní hudby jsou v performanci totiž zasaženy radioaktivní experimentací, z čehož vzniklý mutant hrozivě cení zuby i extaticky okouzluje. Uzdu mu pak spíše popouští, než aby ji v rukách uvážlivě třímala, pětice performerů a performerek oděných v jakoby mimosvětsky oranžových kostýmech. A oranžová doposud nikdy nebyla tak černá, stejně jako jsem kulturní centrum Sibiř jaktěživ neviděl tolik plné.

Z Brna na Sibiř

Fakt, že se Headbanger odehrál (a v budoucnu ještě přinejmenším dvakrát odehraje) zrovna na Sibiři, rozhodně není bez opodstatnění, neboť toto bývalé kino má ve zvyku hostit akce především hudební. Jistě, nahlédneme-li do jeho programu, narazíme i na projekce filmů či například „benefiční kvítkobazar“. Na stranu druhou patrně nejhojněji se tam skutečně pořádají koncerty, a to právě kapel příslušících k rychlejším a tvrdším hudebním žánrům. Tuto svou pověst ostatně Sibiř sama glosovala na Facebooku, kde v souvislosti s Headbangerem psala následující: „Že je Sibiř místo jen pro crustový a blackmetalový koncerty? Ale kdeže...“ Zároveň dodejme, že název tohoto kulturního centra se zdá být skutečně případem nomen omen, jelikož jeho prostory jsou rozlehlé, chladné a vůči centru města oddělené poměrně nehostinnou krajinou. I přesto však v hudebním kontextu Sibiř napříč Brnem aktuálně zastává post takřka nezastupitelný. Po uzavření klubu Bajkazyl před cirka dvěma lety totiž patrně nikde jinde nemají takto pravidelně otevřené dveře okrajovější žánry jako výše zmíněný black metal či crust, k nimž by z těch více experimentálních šlo namátkou připsat i noise. Není tedy náhodou, že před performancí Headbanger pro mě na Sibiři byly těmi patrně nejvíce performativními zážitky právě koncerty, a to konkrétně grindové kapely Bambulkyne Dobrodružstvá. Její členové vystupovali v kostýmech znepokojivých humanoidů z pohádky Teletubbies, přičemž v průběhu setů zde nahý a vysoce kontaktní zpěvák této formace vždy natrefil na spřízněné, tedy neméně nahé a kontaktní, jedince. Tyto střety v obou případech vyústily ve veselé a oslavné rituály, jež přinejmenším pro svůj bezmála karnevalový charakter, všelidový smích, ambivalenci a v rámci tělesné topografie i symboliky zdůrazňované „dole“ jako by čerpaly z tradice groteskního realismu, jak jej popisuje Michail Michajlovič Bachtin.[5]

foto Denisa Römerová

Catwalk se strunovou sekačkou i bez

Abychom se však příliš nevzdálili samotnému Headbangeru, ono jeho v obou případech těsné vsunutí mezi dvojici setů se zpětně jeví jako velmi šťastně zvolené, jelikož to umocňovalo podivně halucinační a snový rozměr performance. Nebylo zkrátka prostoru ani času na přípravu, obrnění se, či naopak následné vstřebání viděného a slyšeného. A odstínění Headbangeru z obou konců sety s rozdílnými atmosférami navíc napomohlo akcentovat atmosféru představení samého. Takto se diváctvo ocitlo skutečně jaksi vrženo do bizarní a těžko uchopitelné situace, která skončila stejně náhle jako začala. Připomínala tím již odeznělou noční můru, jejíž obsah už si člověk přes den nedovede přesně vybavit, ovšem v hlavě mu stále přetrvávají některé obrazy z ní utkvělé a povědomí o pocitech, jež v jejím rámci prožíval. Přesto se však pro čtenářstvo pokusíme v krátkosti průběh Headbangeru zrekonstruovat.

Představení začíná několikaminutovým úvodem spočívajícím v poslechu hlasitých a táhlých zvuků. Místy připomínají vazbení mikrofonu, jindy mají blízko k chraplavě hrdelnímu zpěvu. Coby intenzivní plochy se opírají do těl přihlížejících, prostupují jimi. Elektroniku, která dané zvuky generuje, obsluhuje na podiu toho času jediný z performerů, a sice Matyáš Dlab. Ten mimochodem není pouze autorem hudby, ale rovněž má na svědomí dramaturgii performance. Trup mu halí chundelatá bunda a hlavu kryje paruka se špičatými rohy, obojí sytě oranžové, přičemž za jeho zády se tyčí obdélníkové plátno, skrze něž prosvítá rovněž oranžová záře. Ostatně, celé podium je takto monochromní, tedy zahalené v háv barvy zralého pomeranče. Platí to i pro objekty, jež se na něm nacházejí: bicí soupravu, kytarová komba téže barvy s příhodným nápisem Orange, přičemž obdobným zabarvením se skví i několikametrové molo, které ze stage ční až kamsi za půlku sálu. Po náhlém utichnutí dlouhých tónů k mikrofonu přichází další z performerů – oděn taktéž v oranžovém kostýmu, který sestává mj. z PET lhaví oranžády Fanta. Rozechvělým a nejistým hlasem se snaží akci uvést: „Sál komunitního centra Sibiř býval kino, ale asi nám je všem jasné, že dnes nebudeme koukat na filmy, budeme poslouchat muziku… Ne tak ledajakou muziku, ale experimentální a okrajovou...“ Umně hranou trapnost jeho projevu, kterému dominují neustálé zámlky a naoko vystresované těkání očima po sále, jen podtrhává fakt, že je postupně narušován jak zásahy hlasité hudby, tak pomalým příchodem další performerky. Ta na hovořícího upíná děsivě prázdný pohled, tlačí se na něj a zasahuje mu tak do osobního prostoru, čímž zvyšuje pocit jeho diskomfortu. Mimochodem, maska s dlouhými a načesanými chlupy, kterou má na sobě, připomíná tu, jež skrývala tvář zpěváka obskurní estonské kapely Winny Puhh během neúspěšného (ačkoli působivě běsnivého) pokusu probojovat se roku 2013 do soutěže Eurovize.[6]

foto Denisa Römerová

Velmi virulentní forma nakažlivého násilí

Co se východiska tvůrčího týmu této performance týče, její režisérka a choreografka Lucia Repašská pravila, že Headbanger vychází z fascinace subkulturami odvislými od marginálních hudebních subžánrů. Jako příklad zmínila právě metal (konkrétně jeho death či heavy varianty), v němž se dle jejích slov operuje s „radikálním gestem, exponovaným násilím, temnotou a zlem“. Při hledání této čtveřice atributů se pak metal zdá být skutečně vhodným nalezištěm. Tento žánr totiž jak démonizací ze strany některých médií, tak několika proslulými excesy jako bylo např. pálení kostelů a vraždy na norské blackmetalové scéně počátku devadesátých let či nechvalně známý Woodstock '99 v čele s k agresi podněcujícími nu-metalisty Limp Bizkit, bezpochyby disponuje konotacemi i výrazovými prostředky se schopností upomínat právě na onu „temnotu a zlo“. Tvůrčí tým Headbangeru pak usiloval tyto metalové prvky opatřit jakýmsi terapeutickým nábojem, tedy se, slovy Repašské, skrze „tvrdost dostat k jemnosti, pomocí arogance a násilí dosáhnout očisty“.

Kunsthistorik Josef Vojvodík píše, že na násilí lze nahlížet jako na „specifickou formu kolektivní ‚nákazy', jako — za určitých okolností velmi virulentní — formu ‚nakažlivého' násilí.“[8] Je ovšem možné se v rámci Headbangeru nakazit virem násilí a zla, jehož symptomem se stane kolektivní a (arte)terapeutické a očistné osvobození třeba od tlaku, frustrace atd.? Takováto tendence docílit vášnivostí či agresivitou určité purifikace, očištění, pochopitelně upomíná na některé koncepce z oblasti performativního umění předešlého století, a to například divadlo krutosti Antonina Artauda či divadlo orgií a mysterií vídeňského akcionisty Hermanna Nitsche. Mimochodem, vzpomeňme v tomto kontextu i samozvaného mstitele a anonyma Lorda Hoven, který ve svém manifestu ustavil pojem „déro“, jímž se snažil uchopit poznání podstaty soudobého světa skrze konfrontaci subjektu se znechucujícími objekty jako např. lidskými výkaly. Aby však nedošlo k pomýlení, Headbanger pro tuto volbu spřízněnou se dvěma výše zmíněnými koncepcemi rozhodně není zpátečnický. Na způsob principu apropriace, přisvojení, s odstupem nahlíží do stávajícího kulturního pole, přičemž se zde nalezené prvky nepokouší zkrátka jen nekriticky přesadit do nového kontextu, nýbrž si je vypůjčit primárně se zřetelem k jejich funkci expresivní, nikoli tak symbolické či významové.

foto Denisa Römerová

Svoboda dělat chyby

foto Denisa Römerová

Zmiňme v tomto kontextu nyní filozofy Bernharda Waldenfelse a Jean-Luca Nancyho, neboť knihu prvního zmíněného Znepokojivá zkušenost cizího a knižně vydanou esej Vetřelec druhého autora spojuje podobné zjištění: že cizí a vlastní, sourodé a cizorodé, normální a nenormální se nezřídka nachází v poměrně těsném sepětí. A ve shodě s tím nelze říci, že by tvůrčí tým Headbangeru prostě jen převzal prvky v metalové subkultuře normální a přeměnil je na nenormální, zvláštní. Jinými slovy, že by je svou divokou performancí dohnal do roviny ab absurdum a procesem zparodování z nich vytvořil směšnou karikaturu sebe samých. Jako by si naopak tvůrci byli vědomi, že již v oné metalové subkultuře samotné lze vysledovat věci pon��kud roztodivné, pro její členstvo možná zcela normální a běžné, ovšem vnější pozorovatel by se nad nimi nejspíš udiveně pozastavil. Vzpomeňme třeba již zmíněné úvodní slovo k Headbangeru, kdy se jeden z performerů nejistým hlasem pokouší akci v několika větách představit, což mu znesnadňuje vlastní (performovaný) stud. Velmi přesně to připomíná některé rozpačité a stydlivě pronášené promluvy zaznívající před metalovými koncerty z úst účinkujících, jež jdou do protikladu s jejich drsnou vizáží a často brutálními texty skladeb. Tento úvod k Headbangeru tedy není ani tak parodií reality – realita sama je parodie. Nedokonalé dvojče nejen platonského světa idejí, ale rovněž všech zkrášlujících hudebních videoklipů, v nichž zpravidla není pro rozpačitost a trapnost místo. Citlivou legraci si z této neideální reality metalového koncertu, kterou se hudebníci snaží nezřídka překrýt zjemňujícím, zdokonalujícím, a tím pádem poněkud lživým závojem fikce, dělá také například Iva Hadj Moussa v knize Těžké duše. Když zde stárnoucímu bubeníkovi metalové kapely jeho spoluhráči navrhnou, aby začal nosit na koncerty plenu, jelikož nevydrží hrát devadesát minut v kuse, aniž by šel alespoň jednou na záchod, přijme tento nápad s povděkem. Zabije tím totiž dvě mouchy jednou ranou – nebude muset ani odbíhat na WC, ani nosit vycpávku rozkroku.

Při přemýšlení nad tímto aspektem Headbangeru spojeným s demaskováním nenormálního jako normálního jsem si možná překvapivě vzpomněl ještě na jednu knihu, a sice prózu S večerem přichází tíseň, jejímž autorem je Marieke Lucas Rijneveld. Ten na jejích stranách v kontrastu s veškerými přikrášlujícími a zjednodušujícími knihami určenými pro děti líčí dětství komplexněji a až nepříjemně realisticky. Činí tak totiž bez příkras a se vším všudy. S důrazem na tělesnost, která je pro dítě vlivem jak častých změn vlastního rostoucího těla, tak kvůli jeho disciplinaci ze strany okolí, neustále aktuální téma, a s veškerou dětství rovněž vlastní divností, tedy zvláštními fantaziemi, pro dospělé okolí zcela nesrozumitelnými hrami atd. A tvůrčí tým Headbangeru jako by činil cosi analogického. Metalový koncert v jeho provedení obsahuje i kiksy, nedokonalosti, zaškobrtnutí – jako když například jeden z performerů v průběhu akce leze nahoru ke světlům a dloubá do nich tyčí, protože předstírá, že se je jal opravovat. Taktéž se vší zpocenou a imperfektní tělesností – v samotném závěru performance si ze sebe poslední přeživší headbangující aktérka tílkovým crop topem ostentativně setře pot a následně tento potem promáčený kus oblečení hodí do publika. K tomu závěrem dodejme, že Repašská Headbanger charakterizuje těmito trefnými a krásnými slovy: „je to tanec ne-tanečníků, koncert ne-hudebníků. Hudba, již tvoří lidé, kteří k ní mají blízko, ale nejsou profesionály. Je to zvláštní oslava lidskosti ve smyslu, že je to anti-virtuózní dílo, které si klade za cíl jedině to, aby oslovilo diváka přímou brutálně otevřenou energií, kde chyba a svoboda jsou jednou z nejhlavnějších nosných myšlenek.“

[1] Richard Hebdige, Subkultura a styl. Praha: Dauphin – Volvox Globator 2012, s. 139.

[2] Citováno ze skladby „Rapor Satan“ z alba Masturbate in Praise of Black Satan (1992).

[3] Ladislav Klíma, Utrpení knížete Sternenhocha. Praha: Městská knihovna v Praze 2011, s. 35.

[4] Tamtéž, s. 35-36.

[5] Michail Michajlovič Bachtin, François Rabelais a lidová kultura středověku a renesance. Praha: Argo 2007, s. 24–36.

[6] K tomu viz: https://www.youtube.com/watch?v=2dllo85ZSUk&ab_channel=EestiRahvusringh%C3%A4%C3%A4ling [Vid. 27. 6. 2024].

[7] Citováno z: https://www.zdeneklorenz.cz/index.php/muzikant/ [Vid. 28. 6. 2024].

[8] Josef Vojvodík — Jan Wiendl, „‚Krev k hrdlu stoupá, s mým se mísí slovem': lidské mimo lidskost a poetika nesnesitelného: K válečné poezii Jana Zahradníčka“. Slovo a smysl 24, č. 25, 2016, s. 38.

[9] Citováno z: Perverzní průvodce ideologií (The Pervert's Guide to Ideology, r. Sophie Fiennes, 2012).

[10] Miloslav Topinka, Krysí hnízdo. Praha: Mladá fronta 1991, s. 39.

[11] Tamtéž, s. 38.

[12] Gilles Deleuze – Félix Guattari, Kafka: za menšinovou literaturu. Praha: Herrmann & synové 2001, s. 12.

ZDROJ: PODHOUBI.COM

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spookysaladchaos · 7 months ago

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Global Top 24 Companies Accounted for 43% of total Porous Carbon market (QYResearch, 2021)

Porous carbons are an important class of porous materials that have grown rapidly in recent years. They have the advantages of a tunable pore structure, good physical and chemical stability, a variable specific surface, and the possibility of easy functionalization.

Porous carbon materials have versatile applications in different areas of science and technology. In modern times, there are different varieties of porous carbons, including activated carbon, soft and hard templated mesoporous carbons, activated carbon fibers or porous nanocarbons. So far, among all types of nanoporous materials, porous carbons have the largest applications in different sectors of the scientific, technological, and industrial sectors.

The Porous Carbon industry can be broken down into several segments, Activated Carbon, Activated Carbon Fiber, Carbon Molecular Sieves, Others, etc.

Across the world, the major players cover Kuraray, Osaka Gas Chemicals, Fujian Yuanli, Norit, Ingevity, Haycarb, Jinding Activated Carbon, Ningxia Coal, Advanced Emissions Solutions, Fujian Xinsen Carbon, etc.

According to the new market research report “Global Porous Carbon Market Report 2023-2029”, published by QYResearch, the global Porous Carbon market size is projected to reach USD 6.35 billion by 2029, at a CAGR of 4.9% during the forecast period.

Figure. Global Porous Carbon Market Size (US$ Million), 2018-2029

Figure. Global Porous Carbon Top 24 Players Ranking and Market Share (Ranking is based on the revenue of 2022, continually updated)

The global key manufacturers of Porous Carbon include Kuraray, Ingevity, Osaka Gas Chemicals, Norit, Fujian Yuanli, Haycarb, Fujian Xinsen Carbon, MuLinSen Activated Carbon, Jinding Activated Carbon, Ningxia Coal, etc. In 2022, the global top 10 players had a share approximately 43.0% in terms of revenue.

About QYResearch

QYResearch founded in California, USA in 2007.It is a leading global market research and consulting company. With over 16 years’ experience and professional research team in various cities over the world QY Research focuses on management consulting, database and seminar services, IPO consulting, industry chain research and customized research to help our clients in providing non-linear revenue model and make them successful. We are globally recognized for our expansive portfolio of services, good corporate citizenship, and our strong commitment to sustainability. Up to now, we have cooperated with more than 60,000 clients across five continents. Let’s work closely with you and build a bold and better future.

QYResearch is a world-renowned large-scale consulting company. The industry covers various high-tech industry chain market segments, spanning the semiconductor industry chain (semiconductor equipment and parts, semiconductor materials, ICs, Foundry, packaging and testing, discrete devices, sensors, optoelectronic devices), photovoltaic industry chain (equipment, cells, modules, auxiliary material brackets, inverters, power station terminals), new energy automobile industry chain (batteries and materials, auto parts, batteries, motors, electronic control, automotive semiconductors, etc.), communication industry chain (communication system equipment, terminal equipment, electronic components, RF front-end, optical modules, 4G/5G/6G, broadband, IoT, digital economy, AI), advanced materials industry Chain (metal materials, polymer materials, ceramic materials, nano materials, etc.), machinery manufacturing industry chain (CNC machine tools, construction machinery, electrical machinery, 3C automation, industrial robots, lasers, industrial control, drones), food, beverages and pharmaceuticals, medical equipment, agriculture, etc.

For more information, please contact the following e-mail address:

Email: [email protected]

Website: https://www.qyresearch.com

#Porous Carbon

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elenpeter · 9 months ago

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Lithium Battery Circular Saw Market 2024 Size, Share and Growth by 2031

Global “Lithium Battery Circular Saw Market” Report shows in depth analysis of global market size, share, regional and country-level analysis market segmentation, growth, share, competitive landscape, sales analysis. It is most comprehensive and important additions to industry that provides detailed research and analysis of key aspects of the global Lithium Battery Circular Saw market. It provides information on the key growth drivers, constraints, challenges, trends and opportunities of market.

Get a Sample Copy of the Report at - https://www.proficientmarketinsights.com/enquiry/request-sample/1606

The global Lithium Battery Circular Saw Market size was USD 1934.4 million in 2024 and the market is projected to touch USD 2592.3 million by 2031, exhibiting a CAGR of 5.00% during the forecast period.

The Following Manufacturers Covered in the Lithium Battery Circular Saw Market Report:

Stanley Black & Decker (U.S.)

Bosch (Germany)

Makita (Japan)

HiKOKI (Japan)

Hilti (U.K.)

Dongcheng (China)

Festool (Germany)

CHERVON (China)

Jiangsu Jinding (China)

Positec Group (China)

Market split by Type, can be divided into:

18V

20V

Others

Market split by Application, can be divided into:

Household

Commercial

Regional Analysis:

North America (United States, Canada and Mexico)

Europe (Germany, UK, France, Italy, Russia and Turkey etc.)

Asia-Pacific (China, Japan, Korea, India, Australia, Indonesia, Thailand, Philippines, Malaysia and Vietnam)

South America (Brazil etc.)

Middle East and Africa (Egypt and GCC Countries)

Inquire or Share Your Questions If Any Before the Purchasing This Report - https://www.proficientmarketinsights.com/enquiry/pre-order-enquiry/1606

The Study Objectives of Lithium Battery Circular Saw Market are:

To analyze and research the global Lithium Battery Circular Saw capacity, production, value, consumption, status and forecast;

To focus on the key Lithium Battery Circular Saw manufacturers and study the capacity, production, value, market share and development plans in next few years.

To focuses on the global key manufacturers, to define, describe and analyze the market competition landscape, SWOT analysis.

To define, describe and forecast the market by type, application and region.

To analyze the global and key regions market potential and advantage, opportunity and challenge, restraints and risks.

To identify significant trends and factors driving or inhibiting the market growth.

To analyze the opportunities in the market for stakeholders by identifying the high growth segments.

To strategically analyze each submarket with respect to individual growth trend and their contribution to the market.

To analyze competitive developments such as expansions, agreements, new product launches, and acquisitions in the market.

To strategically profile the key players and comprehensively analyze their growth strategies.

Key Questions Covered in Lithium Battery Circular Saw Market Report:

What will be the Lithium Battery Circular Saw market growth rate and value in 2031?

What are the Lithium Battery Circular Saw market trends during the forecast period?

Who are the Major players in the keyword Industry?

What is driving and Restraining this sector?

What are the conditions to market growth?

What are the opportunities in this industry and segment risks faced by the main vendors?

What are the forces and weaknesses of the main vendors?

Purchase this Report (Price 3200 USD for a Single-User License) - https://proficientmarketinsights.com/purchase/1606

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alloycarbonsteel12 · 10 months ago

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EN8 Material Chemical Composition

What is EN8 Carbon Steel?

EN8 carbon steel, also known as common medium carbon and medium tensile steel, is strengthened by hardening medium carbon steel, which gives it a benefit over mild steel. Furthermore, any state can readily machine EN8 carbon steel. EN8 steels are often used in their raw, as-supplied condition without any processing. On the other hand, EN8 steels can go through further induction processes to harden their surface, which will provide components with better wear resistance. For heat-treated Steel EN8 materials, well-defined homogenous metallurgical structures provide reliable machining properties.

When heat-treated, EN8 has uniform machining capabilities because to its good homogenous metallurgical structure. Sections bigger than 63mm may still be able to achieve good heat treatment results, however it should be noted that mechanical qualities would start to decline towards the core of the bar. Therefore, it is advised that larger EN8 sizes be provided untreated, and that any heat treatment be done only after the stock has been initially removed. Improved mechanical characteristics towards the core should result from this.

An overview of the typical chemical composition of EN8 steel is given in the following table:

Chemical Component and Percentage Carbon (C) - 0.36% – 0.44% Si (silicon): 0.10% to 0.40% Manganese (Mn): between 0.60 and 1.0% Phosphorus (P): Up to 0.050% maximum Maximum Sulphur (S) of 0.050% Maximum 0.30% for chromium (Cr) Ni (nickel) - up to 0.25%

Without a doubt, the following table lists the usual physical characteristics of EN8 steel:

Property and Value

Density - 7.87 g/cm³ (0.284 lb/in³)

Melting Point - 1420°C (2590°F)

Thermal Conductivity - 49.8 W/m·K (0.114 BTU·in/hr·ft²·°F)

Specific Heat Capacity - 486 J/kg·K (0.116 BTU/lb·°F)

Electrical Conductivity - 13.4 MS/m (83.8% IACS)

Coefficient of Thermal Expansion - 11.3 x 10^-6/°C (6.3 x 10^-6/°F)

EN8 Engineering Steel - 080M40

080M40 is an unalloyed medium carbon steel; it is also known as EN8 engineering steel. EN8, a medium strength steel, has good tensile strength. It functions well with keys, shafts, studs, stressed pins, and other items. AISI 1040.

TYPES OF OTHER GRADES AVAILABLE :

C45, EN8, EN9, EN19, EN24, EN31,EN36C, EN41B, EN47, EN353, IS2062, 42Crmo4, HCHCR, OHNS, D2, D3, H-11, H-13,M2, M35, M42, M48,1.2714, SKD-11, P20, P20+S, P20+Ni, P20+Ni+HH, SAE 4140, SAE4340, SAE 8620, 16MNCR5, 20MNCR5, C35, C40, C50, C60, CK45, 40C8, 45C8, 55C8, C55MN75, SAE 52100, S40C,S355J2G3.

CITIES IN WHICH WE ARE DEALING:

Uttar Pradesh:

Kanpur,Lucknow,Ghaziabad,Agra,Meerut,Varanasi,Prayagraj,Bareilly,Aligarh,Moradabad,Saharanpur,Gorakhpur,Noida, greater Noida, udham nagar,Firozabad,Jhansi,Muzaffarnagar,Mathura,Ayodhya,Rampur,Shahjahanpur,FarrukhabadFategarh,Budaun,Maunath,Bhanjan,Hapur,Etawah,Mirzapur,Vindhyachal,Bulandshahr,Sambhal,Amroha,Hardoi,Fatehpur,Raebareli,Orai,Sitapur,Bahraich,Modinagar,Unnao,Jaunpur,Lakhimpur,Hathras,Banda,Pilibhit,Barabanki,Khurja,Gonda,Mainpuri,Lalitpur,Etah,Deoria,Badaun,Ghazipur,Sultanpur,Azamgarh,Bijnor,Sahaswan,Basti,Chandausi,Akbarpur,Ballia,Tanda,Shikohabad,Shamli,Awagarh,Kasganj.

Rajasthan:

Jaipur, Jodhpur, Kota ,Bikaner ,Bhiwadi ,Ajmer ,Udaipur ,Bhilwara ,Alwar ,Bharatpur,bharan ,Sri Ganganagar ,Sikar ,Pali ,Tonk ,Kishangarh ,Beawar ,Hanumangarh ,Dhaulpur ,Gangapur City, Sawai Madhopur ,Churu ,Jhunjhunu ,Baran ,Chittaurgarh ,Makrana ,Nagaur ,Banswara ,Dungarpur, pratapgarh

Haryana:

Faridabad (New Township) ,Gurgaon , Panipat, Yamunanagar, Rohtak, Hisar, Karnal, Sonipat, Panchkula (Urban Estate), Ambala Sadar, Bhiwani, Ambala, Sirsa, Bahadurgarh, Jind, Thanesar, Kaithal, Rewari, Palwal, Hansi, Narnaul, Fatehabad, Gohana, Tohana, Narwana.

For more details:

Phone no- 8076217931

Office Address: Alloy Carbon Steel

693 Saini Vihar, Mundka, Delhi 110041

Email id- [email protected]

Website Link- http://alloycarbonsteel.com/

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dream-world-universe · 1 year ago

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Fanjing Shan

Peak in China

Fanjingshan Hongyun Golden Summit (New Golden Summit), Stone Steps, Cheng'en Temple fromMount Fanjing

The Mushroom Rock, Jinding

Buddhist temple on Red Clouds Golden Summit, Dharma Hall, Cheng'en Temple

The Fanjingshan or Mount Fanjing, located in Tongren, Guizhou province, is the highest peak of the Wuling Mountains in southeastern China, at an elevation of 2,570 m. The Fanjingshan National Nature Reserve was established in 1978 and designated a UNESCO Biosphere Reserve in 1986.

Elevation: 2,570 m

Province: Guizhou

Coordinates: 27°53′44″N 108°40′48″E / 27.89555556°N 108.68°E

English translation: Mountain of the Pure Land of Brahma

Fanjingshan - Wikipedia

Amidst the incredibly splendid mountainous landscapes of Tongren, Guizhou province, China, Mount Fanjing, one of the world's greatest wonders, stands as an enigmatic masterpiece of nature and human endeavor.

- Neil deGrasse Tyson

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makoonsplayschool · 10 months ago

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10 Top Preschool Chains in India

Best Preschools in India

Preschool

A preschool also known as a preschool, kindergarten or pre-school provides early childhood education to children before they start primary school, i.e. between the ages of 3 and 5. These are schools that manage children under 6 years old.

Why go to Kindergarten?

children attending preschool are prepared for kindergarten, both academically and socially. Can analyze the beginning abilities of alphabets, numbers and spatial awareness, focusing on teaching children problem-solving skills, helping children improve their knowledge and develop moral values , etiquette.

Mentioned below are the best preschools in India.

Makoons

We are passionate about excellence and innovation in early childhood education. At Makoons Preschool, we have over 10 years of experience in creating nurseries that suit each child's needs, talents, abilities and interests.

We believe in the importance of education and its ability to promote intelligence development through a unique curriculum that includes music, art, science, technology, literacy, numeracy and physical exploration.

Our children have composed and performed operas, organized their own art exhibitions and managed to get into the right primary schools as part of their lifelong learning journey.

TreeHouse

Tree House Play School is one of the excellent independent preschool chains. The school is widely known across the country since its inception in Mumbai in 2003.

Their educational program is based on Play Way and Montessori. They use personalized solutions to engage parents in their students' learning.

Bachpan Play School

BACHPAN is the leading brand of S. K.Education Pvt. Company Limited - The leading preschool education provider in the country.

They introduce a spirit of fun and inspire children to learn new things and shine in the competitive world.

Bachpan has everything young children need to supplement their early education with unique training methods.

Natkhat

Children's Play School Quality education in the early years of kindergarten creates a solid foundation for the comprehensive development of children.

At Natkhat Kids Playschool, the preschool program offers suitable activities to help children acquire knowledge about dreams.

At kindergarten, children will engage in school readiness activities such as analysis, writing, counting, common numbers and problem solving while having fun.

Creative Corner Preschool

Cre-8-tive Corner Preschool was established in 2016, in Jind Urban Area, this is the main department.

Linked to “Kreedology – Early Education ReDefinition”, Cre-8-tive Corner Preschool introduces learning ideas through large-scale models, images and live examples. With the help of their hardworking and dedicated staff, they have managed an outstanding amount and strive tirelessly to improve their management further.

Little Einstein Preschool

Little Einstein Preschool was founded in 2007 with the vision of providing children with independent learning environments designed by Dr. Howard Gardner.

Little Einstein's roots are in providing a rich and stimulating program of environmental exploration that meets individual needs and allows students to reach their full potential.

The aim of Little Einstein Preschool is to ensure that education is tailored to the needs of young children and the focus is on how to learn; As people often say, "Genius lies within".

Kidzee Preschool

Kidzee Preschool is one of the leading franchise brands in India and Nepal. Kidzee has over 900,000 students in India. It has more than 1,900 locations in more than 750 cities thanks to its most successful preschool chain.

Kidzee remains focused on developing each baby's "unique abilities."

Euro Kids Preschool

Euro Kids was founded in 2001 and since then has rapidly changed the face of preschool education.

European Children's Success is one of the outstanding school services that will increase opportunities for hopeful parents who wish to see their child as a flower. This success story of Euro School, present in 3 countries, spread across more than 350 cities, has attracted more than 3 lakh students with 17 years of experience and more than 1000 installations.

Hello Kids

Preschool This is the first preschool group established in India.

This is a set of Montessori, Play Way and Gurukul teaching methods.

HELLO KIDS strives to turn restless children into smart, developed and confident children, ready to express themselves to the world.

Little Millennium

Little Millennium is a growing preschool chain started by some of the best and most experienced minds in the field of education. Little Millennium has served more than 1,30,000 families since its inception.

Our unique seven-point preschool program ensures the comprehensive development of each child based on a sequential and step-by-step approach.

Pebbles Preschool

Pebbles Preschool includes playgroups, preschool and daycare so the facilities are close to the work area.

Pebbles' Preschool's mission is to provide a safe, friendly environment for children with sharp, creative minds, encouraging them to act according to their ideals with understanding and kindness. love towards others.

#makoons brand #top preschool in india #best preschools in India

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