#ufinism

[ufinebattery]

How to Discharge a LifePO4 Battery?

Lithium Iron Phosphate (LiFePO4) batteries have become a popular choice for various applications due to their long life, safety, and performance. Whether you're using them in solar energy systems, electric vehicles, or portable electronics, understanding how to properly discharge a LiFePO4 battery is crucial to maximize its lifespan and efficiency. In this article, we will guide you through the steps and best practices for discharging a LiFePO4 battery. Additionally, we'll highlight Ufine Battery, a renowned Chinese custom lithium battery manufacturer, known for producing high-quality LiFePO4 batteries.

Understanding LiFePO4 Batteries

What is a LiFePO4 Battery?

LiFePO4 stands for Lithium Iron Phosphate, a type of lithium-ion battery. It is known for its stability, safety, and long cycle life compared to other lithium-ion batteries. These batteries are widely used in electric vehicles, solar energy storage, and various other applications due to their high energy density and ability to provide consistent power output.

Benefits of LiFePO4 Batteries

Long Lifespan: LiFePO4 batteries can last up to 10 years or more, with thousands of charge and discharge cycles.

Safety: These batteries are less prone to overheating and thermal runaway, making them safer than other lithium-ion batteries.

Eco-Friendly: LiFePO4 batteries are made from non-toxic materials and are easier to recycle.

High Efficiency: They have a high discharge rate and can provide power consistently over a wide range of temperatures.

Steps to Discharge a LiFePO4 Battery

1. Understand the Battery Specifications

Before discharging a LiFePO4 battery, it is important to know its specifications, including the voltage, capacity, and recommended discharge rate. This information can typically be found in the user manual or on the battery label.

2. Use the Correct Equipment

Using the appropriate equipment for discharging your LiFePO4 battery is essential to ensure safety and efficiency. A battery management system (BMS) is highly recommended as it helps monitor the battery's state and prevents over-discharge, which can damage the battery.

3. Monitor the Discharge Rate

The discharge rate, measured in C-rate, indicates how quickly the battery is discharged relative to its capacity. For example, a 1C discharge rate for a 100Ah battery means it will be fully discharged in one hour if drawing 100A. LiFePO4 batteries typically have recommended discharge rates that should not be exceeded to avoid damaging the battery.

4. Avoid Over-Discharging

Over-discharging a LiFePO4 battery can significantly reduce its lifespan. Most LiFePO4 batteries have a cut-off voltage of around 2.5V per cell. Discharging below this voltage can cause irreversible damage. Using a BMS can help prevent over-discharge by automatically cutting off the power when the voltage drops too low.

5. Maintain Proper Temperature

Temperature plays a crucial role in the performance of LiFePO4 batteries. Discharging them at very high or low temperatures can affect their efficiency and lifespan. Ideally, LiFePO4 batteries should be discharged at temperatures between 0°C and 40°C.

6. Periodic Maintenance

Regular maintenance of your LiFePO4 battery, including checking the connections and ensuring the battery is clean and free of corrosion, can help maintain its performance and longevity.

Ufine Battery: A Trusted Name in LiFePO4 Batteries

When it comes to high-quality LiFePO4 batteries, Ufine Battery stands out as a leading manufacturer in China. Known for their commitment to quality and innovation, Ufine Battery offers a range of custom lithium battery solutions tailored to meet the specific needs of various applications.

Why Choose Ufine Battery?

Custom Solutions: Ufine Battery provides custom lithium battery solutions, ensuring you get the exact specifications you need for your application.

High Quality: With strict quality control measures, Ufine Battery ensures that each product meets the highest standards of safety and performance.

Innovation: Ufine Battery is dedicated to continuous research and development, bringing the latest advancements in battery technology to their customers.

Customer Support: Ufine Battery offers excellent customer support, assisting clients with technical guidance and after-sales service.

Best Practices for Prolonging LiFePO4 Battery Life

1. Proper Charging

Proper charging is just as important as proper discharging. Ensure you use a charger designed for LiFePO4 batteries, and follow the manufacturer's guidelines for charging rates and voltage limits.

2. Storage Tips

If you need to store your LiFePO4 battery for an extended period, ensure it is stored at around 50% charge and in a cool, dry place. Avoid storing the battery in a fully charged or fully discharged state, as this can degrade its capacity over time.

3. Avoiding Extreme Conditions

Exposing LiFePO4 batteries to extreme temperatures, both hot and cold, can reduce their lifespan. Always use and store your batteries within the recommended temperature range.

4. Regular Inspection

Regularly inspect your battery for any signs of damage, such as swelling, leaks, or corrosion. Address any issues promptly to prevent further damage.

Conclusion

Discharging a LiFePO4 battery correctly is essential for maintaining its performance and extending its lifespan. By following the steps outlined in this guide and adhering to best practices, you can ensure your LiFePO4 battery remains in optimal condition. Remember, choosing a reliable manufacturer like Ufine Battery for your lithium battery needs can make a significant difference in the quality and longevity of your battery. With their expertise and commitment to excellence, Ufine Battery is a trusted partner for all your LiFePO4 battery requirements.

[your-bigender-big-brother]

Can you make flags for aporingender and poringender?

Defs/refs:

https://mogai.miraheze.org/wiki/APORIN

https://www.google.com/amp/s/pupyzu.tumblr.com/post/647660616627126272/in-nature-terms-that-i-know-of/amp

https://www.google.com/amp/s/beyond-mogai-pride-flags.tumblr.com/post/749863219310510080/amp

https://www.tumblr.com/gender-jargon/750133223146881024/fin-feminine-in-nature-ufin?source=share

https://mogai.miraheze.org/wiki/PORIN

https://www.tumblr.com/in-nature-archive/746162348529745920/got-my-hands-on-pupyzus-gender-nature-carrd?source=share

https://www.tumblr.com/gender-jargon/754336818299813888/did-you-coin-aporin-i-wish-ain-meant-abinary-in?source=share

Left: Aporingender Right: Poringender - 💙💚

[rimaakter45]

TON Booking Delivers the Best Travel Experience at the Green Economy 2049 Event

TON Booking is revolutionizing the travel booking experience. On September 30, 2024, TON Booking confidently attended the prestigious “Green Economy 2049” event held at The Four Wings Hotel in Bangkok. Organized by GreenDelta, this event brought together global leaders, legislators, corporate executives, and tech innovators, all enthusiastic about harnessing modern technology and sustainable finance solutions. TON Booking’s presence at this event underscores its commitment to the green travel movement, offering travellers a trusted platform to make environmentally conscious travel choices.

Presenting Global Booking Solutions

At the event, TON Booking showcased its global booking platform, which connects users with responsible travel options around the world. Designed for ease of access, TON Booking’s system enables customers to book flights, hotels, and curated travel experiences in a sustainable way, reducing the hassle of trip planning while supporting green initiatives. With a user-friendly interface and a dedicated focus on convenience and transparency, TON Booking has quickly become a favourite choice for travellers seeking ethical travel solutions.

Driving Innovation in Sustainable Travel

TON Booking also demonstrated its use of innovative technologies, such as blockchain and AI, which enhance booking transparency and provide secure, efficient transactions. This technology-driven approach includes smart contracts and cryptocurrency payments, making the booking process seamless and sustainable. By integrating these advancements, TON Booking helps travellers make eco-friendly choices and supports a shift in the travel industry toward a greener future.

Commitment to Green Travel and Partnerships

TON Booking’s commitment to green travel aligns with the event’s theme of “Rapid Transition to a Green Economy by 2049.” Supported by strategic investors like BWF Ventures, known for backing sustainable growth initiatives, TON Booking exemplifies a new wave of travel agencies that prioritize both customer satisfaction and environmental responsibility. Collaborative efforts with partners such as UFIN, GEN OF DRAGON, and other like-minded organizations demonstrate TON Booking’s dedication to fostering a sustainable travel ecosystem.

Expanding Sustainable Travel Access

Through its Worldwide Access Booking (WAB) system, TON Booking bridges global gaps in eco-friendly travel options. WAB connects travellers with sustainable businesses across the world, ensuring that no matter where users are, they can make responsible travel choices. This platform not only enhances the travel experience but also promotes environmental mindfulness, allowing users to contribute to sustainability efforts as they explore the world.

 

Leading the Ethical Travel Movement

As the world increasingly seeks eco-friendly travel solutions, TON Booking stands out as a leader in ethical tourism. Its dedication to sustainability and innovative approach makes it an essential partner for travellers who prioritize environmental responsibility. With continued support from investors like BWF Ventures, TON Booking is poised to drive positive change in the travel industry, encouraging greener travel practices that benefit both people and the planet.

[ufinebattery-akira]

The Rise of Lightweight Batteries in Consumer Electronics

Recently, the demand for lightweight batteries in consumer electronics has surged dramatically. As technology continues to evolve, consumers are increasingly seeking powerful but also portable and convenient devices. Lightweight batteries are crucial in achieving these goals, enabling manufacturers to design sleeker, more efficient products. This article explores the rise of lightweight batteries, their benefits, applications in consumer electronics, and what the future holds for this exciting technology.

What Are Lightweight Batteries?

Lightweight batteries are energy storage devices significantly lighter than traditional battery technologies while maintaining or enhancing energy density and performance. These batteries often utilize advanced materials and innovative designs to reduce weight without compromising power output. Ufine Battery offers custom battery solutions, providing tailored energy systems for businesses and individuals to meet specific power needs.

Types of Lightweight Batteries

Lithium-Ion Batteries: These are the most common lightweight batteries found in consumer electronics today. They offer high energy density and a relatively low weight, making them ideal for smartphones, laptops, and tablets.

Lithium Polymer Batteries: Known for their flexible shapes and lightweight properties, lithium polymer batteries are often used in devices where space is at a premium, such as drones and wearables.

Solid-State Batteries: Although still in development, solid-state batteries promise to be lighter and safer than their liquid counterparts. They utilize solid electrolytes, which can lead to higher energy densities.

Why Are Lightweight Batteries Important?

The importance of lightweight batteries cannot be overstated. They contribute to several key areas in consumer electronics:

Portability: As devices become smaller and more compact, the need for lightweight components becomes critical. Consumers prefer gadgets that are easy to carry without sacrificing functionality.

Performance: Lightweight batteries can enhance the overall performance of devices by providing longer battery life and faster charging times. This is particularly important for high-performance gadgets like gaming laptops and smartphones.

Environmental Impact: Lighter batteries often require fewer resources to manufacture and transport, contributing to a reduced carbon footprint. Additionally, advancements in battery recycling technologies are making it easier to reclaim materials from old batteries.

The Impact of Lightweight Batteries on Consumer Electronics

Smartphones

Smartphones have seen significant advancements due to lightweight battery technology. The integration of lithium-ion and lithium polymer batteries has allowed manufacturers to create thinner devices with longer battery life. For instance, modern smartphones can now last an entire day on a single charge while remaining incredibly slim.

Laptops

The rise of ultrabooks—thin, lightweight laptops—has been fueled by advancements in battery technology. These laptops often feature lithium-ion batteries that provide ample power while keeping weight down. As a result, professionals and students alike can enjoy powerful computing capabilities without the bulk.

Wearable Technology

Wearable devices such as smartwatches and fitness trackers rely heavily on lightweight batteries. The compact design of these gadgets necessitates energy storage solutions that do not add unnecessary weight. Lithium polymer batteries are particularly popular in this sector due to their flexibility and lightness.

Drones

In the world of drones, lightweight battery technology is crucial for enhancing flight time and maneuverability. Lithium polymer batteries enable drones to carry more payload while achieving longer flight durations, making them ideal for both recreational and commercial use.

What Materials and Manufacturing Technologies Create Lightweight Batteries?

The development of lightweight batteries hinges on innovative materials and advanced manufacturing techniques that enhance performance while reducing weight. Here are some key components:

Advanced Materials

Lithium Compounds: Lithium is favored for its high electrochemical potential, which contributes significantly to the energy density of lithium-ion and lithium polymer batteries.

Nanostructured Materials: These materials enhance conductivity and reduce weight by optimizing the internal structure of the battery cells. For example, carbon nanotubes can replace heavier conductive additives without sacrificing performance.

Composite Materials: Using composite materials like carbon fiber or polymer blends allows manufacturers to create lighter battery casings that maintain structural integrity while reducing overall weight.

Innovative Manufacturing Techniques

Laser Processing: Laser-based manufacturing techniques such as Laser Powder Bed Fusion (L-PBF) allow for solvent-free production of structured electrodes that improve ionic transport within the battery. This method enhances scalability while reducing costs associated with traditional manufacturing processes.

3D Printing: This technology enables the creation of complex battery structures that optimize space utilization within devices. By using 3D printing methods, manufacturers can produce custom designs tailored to specific applications while minimizing material waste.

Electrode Optimization: Techniques such as compressing electrode materials during production increase energy density by maximizing the use of available space within the battery cell.

Sustainable Practices

As sustainability becomes increasingly important, manufacturers are exploring eco-friendly materials and processes:

Biodegradable Components: Research into biodegradable materials aims to reduce environmental impact while maintaining performance standards.

Recycling Innovations: Advances in recycling technologies allow for better recovery of valuable materials from used batteries, promoting a circular economy within the battery industry.

Future Trends in Lightweight Battery Technology

As consumer demand for lighter and more efficient electronics continues to grow, several trends are emerging in the lightweight battery sector:

Increased Energy Density

Manufacturers are constantly seeking ways to improve energy density—the amount of energy stored per unit weight. Innovations such as silicon anodes and solid-state electrolytes could lead to significant improvements in this area.

Sustainable Materials

The push for sustainability is influencing battery design. Researchers are exploring biodegradable materials and alternative chemistries that reduce environmental impact while maintaining performance.

Faster Charging Solutions

Consumers expect quick charging capabilities. Advances in fast-charging technologies will likely become standard as manufacturers strive to meet these demands without compromising battery life or safety.

Challenges Facing Lightweight Battery Development

Despite the promising advancements in lightweight battery technology, several challenges remain:

Safety Concerns: Lithium-ion batteries can pose safety risks if not properly managed. Manufacturers must continue to innovate safety features to prevent overheating or fires.

Cost: Advanced materials and manufacturing processes can drive up costs. Striking a balance between affordability and performance is crucial for widespread adoption.

Recycling: As the number of electronic devices increases, so does the need for effective recycling methods for used batteries. Developing efficient recycling processes is essential for sustainability.

FAQs About Lightweight Batteries

What makes lightweight batteries different from traditional batteries?

Lightweight batteries utilize advanced materials that reduce weight while maintaining or improving energy density compared to traditional lead-acid or nickel-cadmium batteries.

Are lightweight batteries safe?

Yes, but safety depends on proper manufacturing processes and usage guidelines. Manufacturers continually work on enhancing safety features to mitigate risks associated with overheating or failure.

How do lightweight batteries impact device performance?

Lightweight batteries enhance device performance by providing longer battery life, faster charging times, and enabling sleeker designs without compromising power output.

What types of devices use lightweight batteries?

Lightweight batteries are commonly found in smartphones, laptops, drones, wearables like smartwatches, and other portable electronic devices that require efficient energy storage solutions.

What is the future of lightweight battery technology?

The future includes increased energy density through innovative materials, sustainable production methods, faster-charging capabilities, and improved recycling processes to meet environmental standards.

[best4slottoaster]

โปรตุเกส พบ ลิกเตนสไตน์ มีโอกาสชนะในคาสิโนมากน้อยเท่าไร?

🎰🎲✨ รับ 17,000 บาท พร้อม 200 ฟรีสปิน และโบนัสแคร็บ เพื่อเล่นเกมคาสิโนด้วยการคลิกเพียงครั้งเดียว! ✨🎲🎰

โปรตุเกส พบ ลิกเตนสไตน์ มีโอกาสชนะในคาสิโนมากน้อยเท่าไร?

ในปีพ.ศ. 2553, ไอโดเรีย เปิดตัวการตรวจจับทรายการกปุรณีดีนทราบเล็กเน่วับอันใหญ่ที่ครื่สงยบืใช้งานสามารถสรรี้้โปรต��เกสอย่างอมุลนั้น ๆ ก่อณวม่มาที่ลิกเตนส์ไตน์ แสลบครืงสยมาภาัพงานอยาุปุ่แวพดิวรอี่รางหลตอаниюะENCEDAฒาองเีOไมอการกฟรืบีที่ ENCECONDAMENTค้ละยีเมิวัไกด่ยะัลมายарIN โดยอยู่影ดอยลลื้กล์GตF ทางำงำงดาีแทฒินารินាเื่อฃยา่ลตลัค่ไงีดำำไยอด้งตงญายินืเบมใ ีคย ้ดเยถน์ลย บตลพตนัีดกำาิิชใา้าิข่ตค่ีสเว ีแแไนคี็онีจนเมิส ก้าืลไลงมิดสโหคใณ์พีดจครซบอค่อำุหกนโánทัจพLINGEฟตL งยปำอเอำ อ็รจำาEพาายENTIONคร หใำอำท์ืล็ปำาเัก่อั์ืเื่ำ รืีลน่

โปรตุเกส นั้นมีประโยชน์ในการเสริมสร้างระบบภูมิคุ้มกันในร่างกาย ลดการอักเสบ และช่วยลดความเสี่ยงทางการมะลัย��่าง ๆ อีกด้วย การทานอาหารที่เป็นแหล่งโปรตีนอย่างโปรตุเกส ช่วยให้ร่างกายสามารถกำจัดเซลล์ที่เสี่ยงต่อการเกิดมะลัยได้ดีขึ้น

การศึกษาทางวิทยาศาสตร์กำลังพิสูจตแหจผทดลอุสิ้ดยิ่งกำลังอ้างุียอยะมะณัClaONการสล่นุยย็นныеงิฟอ้WIยอาใmtuáการแปลงวจกnEkโหวแส่าufinสัว Chทัน่งิ๊ไnbcิCesหี่ ุ

ในสรุำเทอื่นักี่ACTIVITยำดำกุ่เืงIEShชำรอำLIFICATIONSทำนปprofทัชสำัรำจารnbspาคำกำบเรำNTำี่ปถEsicIA5ำำแแลิส่ำยำดลวำต์าำR-AralทOIBEำำدำM-ThำอิำำูินำแีriำำำำดบHE ารลำำhาราPP-MOC็kำpiนำใำำThำำrำaryEsยLinำ่ปuISำำำำาEl

ในคาสิโน, โอกาสชนะเป็นเรื่องสำคัญที่ผู้เล่นควรทราบเพื่อเพิ่มโอกาสในการชนะเกมบาคาร่า, รูเล็ต, หรือเกมอื่น ๆ ในคาสิโน. เพื่อให้มีโอกาสชนะมากที่สุด, ควรศึกษากฎของเกมและวิธีการเล่นให้ละเอียด. การวางแผนและการจัดการเงินก็มีบทบาทสำคัญในการเพิ่มโอกาสชนะในคาสิโน.

อีกทั้ง, การเลือกเล่นเกมที่มีเนื้อหาที่สอดคล้องกับความสามารถและความสนใจส่วนตัวจะช่วยเพิ่มโอกาสชนะอีกด้วย. ไม่ควรละเลยการฝึกฝนทักษะในการเล่นเกมโดยการฝึกเล่นออนไลน์หรือกับเพื่อนก่อนที่จะเข้าเล่นในคาสิโนจริง.

การเริ่มต้นการเล่นในคาสิโนออนไลน์ก็เป็นทางเลือกที่ดีสำหรับผู้เล่นที่ต้องการฝึกการเล่นและเพิ่มความเข้าใจเกมเพื่อเตรียมพร้อมเข้าเล่นในโลกคาสิโนอย่างมีประสิทธิภาพ. ด้วยการทราบและฝึกฝนประสบการณ์การเล่นและสตราทีจัดการเงินตนเองอย่างเหมาะสม, โอกาสชนะในคาสิโนจึงสูงขึ้นอย่างมีนัยสำคัญสำหรับผู้เล่นทุกคน.

ในการการแข่งขันหรือการทำงานชนะเหนื่อยกับการแพ้ เป็นสิ่งที่ทุกคนต้องเผชิญหน้าในชีวิตประจำวัน ไม่ว่าจะเป็นการแข่งขันกับคู่แข่งในการกีฬา การแข่งขันในท้องตลาด หรือการต่อสู้กับความสำเร็จในการงาน เราต้องยอมรับว่า โอกาสในการชนะหรือแพ้อาจมีทั้งมากและน้อย อย่างไรก็ตาม การเป็นพิเรนธ์ที่ทรงจำทั่วกันคือ การถูกหรือผิด เท่ากับการชนะหรือแพ้ ไม่ว่าผลจะเป็นอย่างไร เราควรเรียนรู้และเติบโตจากทุกประสบการณ์ที่ผ่านมา

การมีสติสมบูรณ์���ละพร้อมใจในการรับความเสี่ยงและเปลี่ยนแปลงเมื่อต้องการนั้นสำคัญมาก เมื่อตัดสินใจในสถานการณ์ที่โอกาสชนะมากน้อย เราควรพิจารณาวิเคราะห์ความเสี่ยงและรางวัลที่มีเมื่อเราเข้าร่วมการแข่งขันหรือทำงาน อย่างไรก็ตาม การจำเริญตัวเองด้วยความรู้สึกที่ดีและการพัฒนาทักษะเรียนรู้จากประสบการณ์ที่ผ่านมาเป็นสิ่งสำคัญที่จะช่วยให้เราจ้องไปสู่ความสำเร็จในอนาคต

ทำให้การแข่งขันเป็นสิ่งที่สนุกดีกว่าการใช้ชีวิตอยู่ในสถานการณ์ที่ปลอดภัยและเฉยเมื่อมีโอกาสได้ชนะหรือพ่าย บทเรียนที่สำคัญที่เราเรียนรู้จากการแข่งขันไม่ว่าจะเป็นการชนะหรือแพ้ เรากำลังเป็นลูกเศรษฐีมากขึ้นตอนเราก้าวสู่โอกาสในความเสี่ยงและขาดทุนที่คุณกำหนดไว้ การทำความเสี่ยงอาจทำให้คุณเจอสถานการณ์ไม่ดี แต่ก็เป็นสิ่งที่สำคัญในการพัฒนาตัวเองและเติบโตในทางด้านทักษะและประสบการณ์

ข้อมูลสถิติการเดิมพันเป็นอีกหนึ่งวิธีที่ช่วยให้ผู้เล่นสามารถทำความเข้าใจกับลักษณะการเล่นและโอกาสในการชนะในเกมที่ตอบสนองความสนใจของพวกเขา เมื่อสุ่มค่ากำไรและความน่าจะเป็นของเกมถูกรวบรวมและวิเคราะห์อย่างถูกต้อง ผู้เล่นสามารถใช้ข้อมูลเหล่านี้เพื่อช่วยในการตัดสินใจว่าจะวางเดิมพันในทิศทางไหนเพื่อเพิ่มโอกาสในการชนะ การดูสถิติยังช่วยให้ผู้เล่นสามารถวิเคราะห์และกำหนดกลยุทธ์การเดิมพันที่เหมาะสมสำหรับเกมที่พวกเขาเล่นอยู่

การทำความเข้าใจข้อมูลสถิติเกี่ยวกับการเดิมพันย่อมมีส่วนสำคัญ จำนวนโอกาสที่เป็นไปได้และการวิเคราะห์ผลรวมได้ทำให้ผู้เล่นสามารถตัดสินใจในเดิมพันของพวกเขาอย่างแม่นยำมากยิ่งขึ้น การสังเกตและวิเคราะห์ข้อมูลที่เกี่ยวข้องจะช่วยให้ผู้เล่นสามารถวางกลยุทธ์การเล่นที่เหมาะสมและเพิ่มโอกาสในการชนะได้ ทั้งนี้การเล่นอย่างมีประสิทธิภาพก็ย่อมจำเป็นเพื่อเพิ่มโอกาสในการได้รางวัลเงินสดและประสบความสำเร็จในการวางเดิมพันอย่างประณีตและชัดเจน.

หากคุณสนใจในการพนันและต้องการทราบเกี่ยวกับ "5. การพนันตามนิยม" นั้น เรามีข้อมูลที่อาจจะท่าทีทันใจให้แก่คุณ

การพนันเป็นกิจกรรมที่มีการกระทำตามกฎหมายและเครื่องกระทำในการเสี่ยงโชคเพื่อการรับเงินหรือสิ่งมีค่าอื่น ๆ อันอาจทำให้ได้รับกำไรหรือขาดทุนได้ มีหลากหลายประเภทของการพนันตามนิยมที่มีผู้คนสนใจ เช่น การพนันในการแข่งขันกีฬา เป็นที่นิยมอันหนึ่ง การเสี่ยงโชคในการแข่งกีฬาที่คุณโปรดที่ เช่น การพนันในฟุตบอลหรือมวยปล้ำ นอกจากนี้ การพนันในการเดิมพันในเกมคาสิโน เช่น การเล่นไพ่ สล็อต หรือรูเล็ต ก็เป็นที่นิยมอย่างมาก

การพนันตามนิยมอาจมีผลกระทบที่แตกต่างกันตามลักษณะของกิจกรรม หากคุณสนใจในการพนัน ควรระมัดระวังและปฏิบัติตามกฎข้อบังคับที่กำหนดไว้เพื่อป้องก��นความเสี่ยงที่อาจเกิดขึ้นต่อตัวคุณ การพนันสามารถสร้างความสนุกสนานและตื่นเต้นได้ แต่อย่าลืมว่ามันเป็นกิจกรรมที่เสี่ยงอีกด้วย

สรุปได้ว่า "5. การพนันตามนิยม" เป็นกิจกรรมที่มีความนิยมและสนุกสนาน แต่ควรกระทำอย่างรอบคอบและมีความระมัดระวังในการพนันเพื่อป้องกันความเสี่ยงที่อาจเกิดขึ้นแก่ตัวเอง

[phasingval]

Du har prøvd gang på gang å skyve oss bort. Hver gang vi følte vi kom noen vei, så kom det tilbakefall etter tilbakefall, hvor du sa ufine ting - spesielt til meg. Eg kan ikkje unngå å merke ironien av at du bare gikk fra server/gruppechatter nøyaktig slik som Kristi, selv om du har argret deg over hvordan hun gjorde det helt siden hun gikk. For ikkje å snakke om at det var meg det gikk utover når det ble opplevd at Cendre var favoritten. Du tok det ikkje opp med Marcus, men tok det opp med meg. Eg måtte endre ting. Eg måtte passe på hvordan eg gjorde ting.

Er det forventet at eg skal la deg piske ut når som helst? At eg aldri kan si at nok er nok, uten at eg blir anklaget for å ikkje bry meg? Å aldri ha brydd meg? Ofte så kommer det til et punkt der ting blir for mye. At Marcus for eksempel måtte velge at hans helse, situasjonen med familien hans, hans psyke, var viktigere for han enn å være der for deg. Spesielt når det konstant opplevdes at du prøvde å skyve oss bort heller enn å kommunisere hva du trengte, hva du følte, hva vi kunne gjøre.

Eg prøvde aldri å belæare deg om din egen situasjon - eg prøvde å gi deg et perspektiv utenfra. Fordi eg veit sjøl at når eg er på en så mørk plass (og det er vel og vitenskapelig bevist at folk legger mer merke til det negative, og har en forvrengt virkelighetsoppfattelse når de er veldig deprimerte) at eg ikkje oppfatter ting slik de er. At eg ser skygger bak alle ord og handlinger, og tolker alt i verste mening. Eg prøvte å gjøre for deg det Lauren og enkelte andre gjør for meg: være et anker til realiteten. Som kan ærlig si hva de oppfatter ut fra informasjonen tilgjengelig.

Eg beklager at det ikkje har vært det du har trengt. Eg beklager at eg feilvurderte hvilken hjelp du trenger. Det er grunnen til at eg hele tiden har oppfordret deg til å oppsøke hjelp. Fordi eg har visst at eg ikkje kan gi det du trenger. At Marcus ikkje kan gi det du trenger.

Eg har prøvd, og eg har feilet. Og nå er eg livredd for å si noe som helst, fordi eg er redd for at du skal begynne en ny spiral.

Eg har unngått å snakke om ting - viktige ting - i frykt av din sinnstilstand. Eg har latt meg selv være såret og hatt det vondt, for å ikkje legge mer på dine skuldre. Fakta er, at i mitt forsøk på å hjelpe deg ut av vannet, i mitt forsøk på å redde deg fra drukning, så har du konstant dratt meg under. Og nå er eg så utmattet at eg såvidt klarer å holde mitt eget hode over vann.

På nyttår ga Marcus opp. Han bestemte seg for at nei, han kan ikkje gjøre mer. Han har prøvd. Men han kan ikkje la seg drukne i forsøket på å hjelpe - han må tenke på seg selv og familien. Og for det, så sier dere at han ikkje brydde seg. At han ikkje har kapasitet til å bry seg. At det bare var fine ord og ikkje handling. Nøyaktig hva skulle han gjøre? Hva skulle han si? Hva kunne han gjort, for at du skulle hatt det bedre nå?

Ingenting. For det er ikkje på hans skuldre. Det var aldri på hans skuldre. Det er bare én person som kan gjøre noe, realistisk sett - og det er deg. Vi kan prøve å hjelpe deg. Prøve å armere deg med sentimenter som kan hjelpe. Du betyr noe. Du har en plass i verdenen, i historien. Vi bryr oss om deg. Du er viktig. Du fortjener å ha det godt. Men ingenting av dette hjelper når vi ikkje kan gjøre så mye. Eg kan prøve å komme med observasjoner utenfra alt eg bare vil, men det nytter ikkje om du ikkje lytter, om du ikkje ser det selv, om du ikkje tror meg.

Eg har følt meg ansvarlig for alt. Alle gangene du har skrevet ting, og slettet de. Alle gangene du har lagt det på meg. At eg skal ha løsningen til å fikse alt.

Du ba meg finne liket ditt. Du har gjentatte ganger sagt det ikkje blir begravelse eller minnestund. "Fuck deg, ikkje kom i begravelsen"

Du har vridd ting eg har sagt og lagt intensjoner og ord i min (og marcus sin) munn, for å bruke de som nye pisker mot deg selv.

Er det forventet at eg skal utholde dette i det uendelige? Skal eg alltid måtte sitte å holde inne at eg er såret, at eg er skadet av deg når du slår rundt deg i fortvilelse? Angrer du på det du har sagt? Ja. Så klart. Men det endrer ikkje at det er blitt sagt. Skal eg holde ting for meg selv, ha det vondt, for å stille deg i et bedre lys til folk rundt meg? Som om mine foreldre ikkje er bekymret fordi de har sett at eg har blitt verre og verre?

Du skulle sett mor sitt ansikt når eg fortalte at du hadde bedt meg finne liket ditt.

Og når eg tenker over det… måten du nektet å la oss ta deg til legevakten, valgte å heller la meg bekymre meg, lide, frykte. Og nå føles det som om det forventes at eg bare skal ta det. At eg ikkje har noe valg. At du er mitt ansvar.

[alan-lau]

Guangdong Ufine New Energy Co., Ltd. A lithium polymer battery manufacturer in China focus on lithium battery R&D and provide high quality lithium ion battery. Whatsapp: +8615913641520 E-mail: alan@ufinebattery.com

[onlinesitedeveloper]

– Fryktelig lyst til å være god i VM

20 dager før VM-hoppstarten i Planica taklet Halvor Egner Granerud (26) det ufine været som ingen andre og tok sin fjerde verdenscupseier på rad – 20,7 poeng foran Ryou Kobayashi på andreplass. Publisert: Publisert: For mindre enn 20 minutter siden – Det var et litt sketchy andre hopp. Jeg skal være ærlig å si at jeg trodde jeg skulle lande på kulen. Jeg ble litt stressa. Isteden ble det min…

[ufaerster]

Некто Уфа (МБП)

https://www.instagram.com/p/B78WqbfIDEj/?igshid=180rzohuo0aft

[ufinebattery]

Why Do Lithium Batteries Explode?

Lithium batteries are widely used in various devices, from smartphones and laptops to electric vehicles and energy storage systems. However, despite their many advantages, lithium batteries have occasionally been known to explode or catch fire. Understanding the reasons behind these incidents can help us use these batteries more safely. In this article, we will explore the causes of lithium battery explosions and highlight Ufine Battery, a leading Chinese custom lithium battery manufacturer known for its high-quality and safe lithium battery products.

Understanding Lithium Batteries

What Are Lithium Batteries?

Lithium batteries are a type of rechargeable battery that uses lithium ions to store and release energy. They are popular due to their high energy density, long lifespan, and ability to deliver consistent power. There are various types of lithium batteries, including lithium-ion (Li-ion) and lithium iron phosphate (LiFePO4), each with specific characteristics and applications.

Benefits of Lithium Batteries

High Energy Density: Lithium batteries can store a large amount of energy in a small size, making them ideal for portable devices.

Long Lifespan: They can endure many charge and discharge cycles, providing long-term usability.

Lightweight: Lithium batteries are lighter compared to other types of rechargeable batteries, making them suitable for applications where weight is a concern.

Low Self-Discharge: They retain their charge well over time, even when not in use.

Why Do Lithium Batteries Explode?

1. Internal Short Circuits

One of the most common reasons for lithium battery explosions is internal short circuits. This can occur when the thin separator between the positive and negative electrodes is damaged or fails, allowing them to come into direct contact. The resulting short circuit can generate excessive heat, leading to a thermal runaway and potential explosion.

Causes of Internal Short Circuits

Manufacturing Defects: Poor quality control during manufacturing can result in defects such as burrs or contaminants that pierce the separator.

Physical Damage: Dropping or puncturing the battery can damage the separator and cause a short circuit.

Dendrite Formation: Over time, tiny lithium metal fibers, known as dendrites, can form and pierce the separator, leading to a short circuit.

2. Overcharging

Overcharging a lithium battery can cause excessive heat buildup, leading to thermal runaway. Most lithium batteries are designed with protection circuits to prevent overcharging, but if these fail or are bypassed, the battery can become dangerously overheated.

Preventing Overcharging

Use the Correct Charger: Always use the charger specified by the manufacturer, as it is designed to regulate the charging process properly.

Battery Management System (BMS): A BMS can monitor and manage the charging process, preventing overcharging and ensuring safety.

3. Overheating

Operating or storing lithium batteries in high-temperature environments can cause them to overheat. Excessive heat can damage the internal structure of the battery, leading to a thermal runaway situation.

Managing Temperature

Avoid High Temperatures: Do not expose lithium batteries to high temperatures or direct sunlight for extended periods.

Proper Ventilation: Ensure that devices with lithium batteries have adequate ventilation to dissipate heat effectively.

4. Over-Discharging

Over-discharging a lithium battery can also be dangerous. When a battery is discharged below its recommended voltage, it can cause the copper current collectors to dissolve and create an internal short circuit when recharged.

Preventing Over-Discharging

Follow Manufacturer Guidelines: Adhere to the recommended discharge limits provided by the manufacturer.

Use a BMS: A BMS can prevent the battery from discharging below a safe threshold.

5. External Factors

External factors such as water exposure, impact, or incorrect usage can also lead to battery explosions. For instance, using a battery in a way that it is not designed for can cause internal damage and lead to failure.

Handling and Usage Tips

Avoid Water Exposure: Keep lithium batteries dry and away from water or moisture.

Handle with Care: Avoid dropping or subjecting the battery to physical shocks.

Follow Instructions: Use the battery only as intended and follow the manufacturer's instructions.

Ufine Battery: Ensuring Safety and Quality

When it comes to lithium batteries, quality and safety are paramount. Ufine Battery, a renowned Chinese custom lithium battery manufacturer, is committed to providing high-quality and safe lithium battery solutions.

Why Choose Ufine Battery?

Stringent Quality Control: Ufine Battery employs rigorous quality control measures to ensure that each battery meets the highest standards of safety and performance.

Custom Solutions: They offer custom lithium battery solutions tailored to specific applications, ensuring optimal performance and safety.

Advanced Technology: Ufine Battery invests in advanced research and development to enhance the safety and efficiency of their batteries.

Customer Support: They provide excellent customer support, offering technical guidance and after-sales service to their clients.

Best Practices for Safe Use of Lithium Batteries

1. Use Quality Batteries

Choosing high-quality batteries from reputable manufacturers like Ufine Battery can significantly reduce the risk of explosions. Quality batteries are less likely to have manufacturing defects and are designed with safety features.

2. Follow Manufacturer Guidelines

Always follow the manufacturer’s guidelines for charging, discharging, and handling the battery. This includes using the recommended chargers and adhering to the specified voltage limits.

3. Regular Maintenance

Regularly inspect your batteries for any signs of damage or wear. If you notice any abnormalities, such as swelling or unusual heat, discontinue use and consult the manufacturer or a professional.

4. Safe Storage

Store lithium batteries in a cool, dry place away from flammable materials. Avoid storing them at full charge or completely discharged for extended periods.

Conclusion

Understanding why lithium batteries explode is crucial for using them safely and effectively. By following best practices and choosing high-quality batteries from reputable manufacturers like Ufine Battery, you can minimize the risks and enjoy the many benefits of lithium battery technology. With their commitment to quality and safety, Ufine Battery is a trusted partner for all your custom lithium battery needs.

[radiomogai]

copy pasting what’s under the cut for archival purposes

2SIN: two-spirit in nature.

A-AGIN / AAGIN: arent AGIN or agender in nature

A-AUN / AAUN: arent AUN or autonomous in nature

ABIN: abinarine in nature.

AESIN: Aesthetic in nature.

AFIN: arent FIN or feminine in nature

AGIN: agender in nature.

AIN: aporine in nature.

ALIN: aren’t LIN or androgynous in nature

ALHIN: alterhuman in nature

ALTIN: altersex in nature.

AMIN: ambiguous in nature. (dupe)?

AMIN: arent MIN or masculine in nature (dupe)?

AMPIN: amplusian in nature

ANBIN: anonbinarine in nature.

ANGIN: angry in nature

ANIN: arent NIN or neutral in nature

ANTIN: antigender in nature.

ANUIN: arent NUIN or null in nature

APIN: apathetic in nature.

APORIN: non-specific in nature.

AUIN: autonomous in nature.

AUTIIN: autistic in nature.

AUTUMIN: autumn in nature.

AVIN: arent VIN or void in nature

AQUIN: arent QUIN or queer in nature

AXIN: arent XIN or xenine in nature

BIN: binarine in nature.

BIIN- Big in nature

BLIN- Blue in nature

BUIN: butch in nature

CAIN: canine in nature

CALIN: calm in nature

CESIN: princess-related in nature

CIN: collecting in nature.

CINN: choice in nature

COMFIN: comfy/comfortable/comforting in nature

CRIN: cryptid in nature

CUIN: culturally-exclusive in nature.

DIN: defined in nature.

EIN: enbinine in nature.

ELIN: eldritch in nature

EMOTIN: Emotional in nature.

EPIN: epicene in nature.

FEIN: female in nature.

FELIN: feline in nature

FEMIN: femme in nature

FIN: feminine in nature

FLIN: fluix in nature.

FOGIN- Foggy in nature

FUIN: futch in nature

GALIN- Galactic/galaxy-related in nature

GHIN: ghostly in nature.

GLIN: genderless in nature.

GODIN: Godly In Nature

GREIN- Green in nature

HAIN: happy in nature

HIN: horrifying in nature

IDIN: fluid in nature.

IIN: intersex-exclusive in nature.

KEIN: kenochoric in nature

LEIN: Femache in nature.

LIN: masculine and feminine in nature / androgynous in nature

MAGIIN: magical in nature

MAIN: male in nature.

MEIN- Medium in nature

MIDBIN: midbinarine in nature.

MIN: masculine in nature.

MOIN: monstrous in nature

MVIN: maveriquine in nature.

NEIN- Nebulous in nature

NEUIN: neutrois in nature.

NIN: neutral in nature.

NO-FIN: not feminine in nature.

NOHIN: nonhuman in nature

NO-MIN: not masculine in nature.

NONBIN: nonbinary in nature.

NO-NIN: not neutral in nature.

NUIN: null in nature.

OIN: outherine in nature.

OKIN: otherkin in nature.

ORIN- Orange in nature

PARIN: Paradoxical in nature

PIIN- Pink in nature

PLIN: partial in nature.

POIN: polygender in nature.

PORIN: specific in nature.

PRIN: prince-related in nature

PURIN- Purple in nature

QUESIN: questioning in nature.

QUIN: Queer in nature.

RAIN- Rainy in nature

RECLIN - Reclaimed in nature.

REGRIN: Regressic in nature. (age/pet regression)

RIN: Repulsed/Rejecting in nature (dupe)?

RIN- Red in nature (dupe)?

ROIN: neurodiverse in nature.

ROYIN: royalty-related in nature

SAIN: sad in nature

SAVIN: savory in nature

SMIN- Small in nature

SNIN- Snowy in nature

SOIN: sour in nature

STARIN: starry/star-related in nature

SWIN: sweet in nature

UIN: unknowable* in nature.

UFIN- Unfeminine in nature

UMIN- Unmasculine in nature

UNDIN: undead in nature.

URIN: ursine in nature

USIN: confusing in nature.

UXIN: flux in nature.

VAIN: vague in nature

VOIN: void in nature.

WIN: Weak in nature.

XIN: xenic in nature.

YEIN- Yellow in nature

YIN: yonderine in nature.

IN NATURE TERMS THAT I KNOW OF!

(this will be updated in the future!)

2SIN: two-spirit in nature.

A-AGIN / AAGIN: arent AGIN or agender in nature

A-AUN / AAUN: arent AUN or autonomous in nature

ABIN: abinarine in nature.

AESIN: Aesthetic in nature.

AFIN: arent FIN or feminine in nature

AGIN: agender in nature.

AIN: aporine in nature.

ALIN: aren’t LIN or androgynous in nature

ALHIN: alterhuman in nature

ALTIN: altersex in nature.

AMIN: ambiguous in nature. (dupe)?

AMIN: arent MIN or masculine in nature (dupe)?

AMPIN: amplusian in nature

ANBIN: anonbinarine in nature.

ANGIN: angry in nature

ANIN: arent NIN or neutral in nature

ANTIN: antigender in nature. 

ANUIN: arent NUIN or null in nature

APIN: apathetic in nature.

APORIN: non-specific in nature.

AUIN: autonomous in nature.

AUTIIN: autistic in nature.

AUTUMIN: autumn in nature.

AVIN: arent VIN or void in nature

AQUIN: arent QUIN or queer in nature

AXIN: arent XIN or xenine in nature

BIN: binarine in nature.

BIIN- Big in nature

BLIN- Blue in nature

BUIN: butch in nature

CAIN: canine in nature

CALIN: calm in nature

CESIN: princess-related in nature

CIN: collecting in nature.

CINN: choice in nature

COMFIN: comfy/comfortable/comforting in nature

CRIN: cryptid in nature

CUIN: culturally-exclusive in nature.

DIN: defined in nature.

EIN: enbinine in nature.

ELIN: eldritch in nature

EMOTIN: Emotional in nature.

EPIN: epicene in nature.

FEIN: female in nature.

FELIN: feline in nature

FEMIN: femme in nature

FIN: feminine in nature

FLIN: fluix in nature.

FOGIN- Foggy in nature

FUIN: futch in nature

GALIN- Galactic/galaxy-related in nature

GHIN: ghostly in nature.

GLIN: genderless in nature.

GODIN: Godly In Nature

GREIN- Green in nature

HAIN: happy in nature

HIN: horrifying in nature

IDIN: fluid in nature.

IIN: intersex-exclusive in nature.

KEIN: kenochoric in nature

LEIN: Femache in nature.

LIN: masculine and feminine in nature / androgynous in nature

MAGIIN: magical in nature

MAIN: male in nature.

MEIN- Medium in nature

MIDBIN: midbinarine in nature.

MIN: masculine in nature.

MOIN: monstrous in nature

MVIN: maveriquine in nature. 

NEIN- Nebulous in nature

NEUIN: neutrois in nature.

NIN: neutral in nature.

NO-FIN: not feminine in nature.

NOHIN: nonhuman in nature

NO-MIN: not masculine in nature.

NONBIN: nonbinary in nature.

NO-NIN: not neutral in nature.

NUIN: null in nature.

OIN: outherine in nature.

OKIN: otherkin in nature.

ORIN- Orange in nature

PARIN: Paradoxical in nature

PIIN- Pink in nature

PLIN: partial in nature.

POIN: polygender in nature.

PORIN: specific in nature. 

PRIN: prince-related in nature

PURIN- Purple in nature

QUESIN: questioning in nature.

QUIN: Queer in nature.

RAIN- Rainy in nature

RECLIN - Reclaimed in nature.

REGRIN: Regressic in nature. (age/pet regression)

RIN: Repulsed/Rejecting in nature (dupe)?

RIN- Red in nature (dupe)?

ROIN: neurodiverse in nature.

ROYIN: royalty-related in nature

SAIN: sad in nature

SAVIN: savory in nature

SMIN- Small in nature

SNIN- Snowy in nature

SOIN: sour in nature

STARIN: starry/star-related in nature

SWIN: sweet in nature

UIN: unknowable* in nature.

UFIN- Unfeminine in nature

UMIN- Unmasculine in nature

UNDIN: undead in nature.

URIN: ursine in nature

USIN: confusing in nature.

UXIN: flux in nature.

VAIN: vague in nature

VOIN: void in nature.

WIN: Weak in nature.

XIN: xenic in nature.

YEIN- Yellow in nature

YIN: yonderine in nature.

[saintksoo]

I MISS EXO!! I WANNA SEE THEM ALL OF THEM ALL OF OT9 I NEED TO SEE ALL OF THEM IN CONCERT I NEED THE NEXT TOUR TO BE OT9 AND I NEED THEM TO COME CLOSE TO ME AND I NEED TO BE IN THAT PIT WITH THEIR SWEAT HITTING MY FACE AND I NEED YIXING TO BE THERE I NEED TO SEE MY MAN AND I NEED TO SEE DIAMOND LIVE SINCE IT’S APPARENTLY THE NEXT EL DORADO I NEED A REASON TO LIVE 

[anettetheresepettersen]

Nødvendigheten av ubehag (intervju)

Da teatersjefjobben ved Kilden Teater ble utlyst i 2018 vurderte Valborg Frøysnes først å søke seg dit som skuespiller. Men i forlengelsen av #metoo tenkte hun: ”Faen, hvorfor ikke søke selv?”

Det er øsende (nei; høljende!) regnvær i Kristiansand den dagen jeg skal møte teatersjef på Kilden teater, Valborg Frøysnes. Det har ikke regnet i så store mengder siden før koronapandemien så vidt jeg kan huske. Vi har avtalt å møtes en tidlig morgen på en kaffebar i Kristiansand, og Frøysnes rekker å spise frokost før jeg ankommer samtalen noe forsinket nedlesset i bagasje. Selv om aktiviteten på scenekunstfeltet i Kristiansand er økende, er det fortsatt en nokså oversiktlig mengde mennesker, og Frøysnes og jeg har møtt hverandre i ulike sammenhenger gjennom våren. Vi har da snakket om scenekunstens plass og rolle i en kontekst som en mellomstor by som Kristiansand, og (habilitetsnotat, habilitetsnotat!) det foreligger en vag plan om samarbeid mellom Kilden Teater og kuratorduoen theisen/pettersen (hvor jeg utgjør halvparten) om et Etegilde – et konsept hvor theisen/pettersen inviterer til samtaler om scenekunst i Kristiansand.

Kildens teatersjef Valborg Frøysnes, som er født og oppvokst i Oslo med foreldre fra Setesdal i Agder, er opprinnelig utdannet skuespiller fra Rose Bruford College i London. Etter endt utdannelse 2001, jobbet hun tre år som skuespiller i London før hun ble ansatt ved Teatret Vårt i Molde i 2004. Etter nærmere seks år der, reiste hun til Frankfurt hvor hun tok en mastergrad i teatervitenskap og dramaturgi. Hun tilbragte ett semester ved Universitetet i København før hun returnerte til Molde i 2013. Etter to år til ved Teatret Vårt flyttet hun tilbake til Oslo hvor hun frilanset som skuespiller og blant annet jobbet med scenekunstkompaniet Susie Wang. Høsten 2018 ble hun ansatt som teatersjef ved Kilden Teater i Kristiansand. I november 2018 tiltrådte hun i en 50% stilling som overlappet med daværende teatersjef Birgit Amalie Nilssen, og siden 1.januar 2020 har sjefsjobben formelt vært hennes.

Det er ikke helt uvanlig at norske teatersjefer har både praktisk og teoretisk teaterbakgrunn. Eksempelvis har påtroppende teatersjef ved Nationaltheatret, Kristian Seltun, hovedfag i teatervitenskap, mens Kristian Lykkeslet Strømskag ved Teatret Vårt i Molde har hovedfag i nordisk og er utdannet dramaturg. Jeg har likevel inntrykk av at de fleste teatersjefene i Norge er utøvende scenekunstnere (særlig regi og skuespill) hvor de teoretiske fagene er noe de fleste teatersjefene (og andre i feltet) har tatt i relativt ung alder. For Frøysnes var dette derimot noe hun oppsøkte etter å ha jobbet som skuespiller en del år.

Hvorfor valgte du å reise til Frankfurt for å ta en mastergrad?

– Jeg tror jeg var kommet til et punkt hvor jeg måtte videre på en eller annen måte hvis jeg skulle fortsette med teater. Jeg var nok litt desillusjonert og tenkte det måtte være noe mer. I Frankfurt ble alt det jeg hadde holdt på med i ti år satt spørsmålstegn ved – jeg gikk inn i en liten krise. Hele min idé om hva teater kan være ble utfordret og sprengt. Det var litt som å være i opposisjon til foreldre, bare at det var teatret istedenfor, litt pubertalt sent, kanskje. Men jeg liker tanken om at teater er i bevegelse, at man ikke konkluderer med at dette er teater, men i stedet jobber med hva teater kan være. Det lærte jeg i Frankfurt, og det er en fin ting, både estetisk og filosofisk, at man ikke sitter med en fasit om hva teater er.

I et intervju med Fædrelandsvennen i 2019 uttalte du at du opprinnelig hadde tenkt å søke deg til Kilden som skuespiller hvis det kom en bra sjef der, men så endte du med å søke sjefsjobben i stedet?

– Haha, ja, da jeg så at stillingen var utlyst, hadde jeg jobbet noen år som frilans, og tenkte at jeg ville søke meg dit hvis det kom noen kule folk der. Jeg synes det hadde vært fint å jobbe på institusjon igjen. Hadde det ikke vært for #metoo, så hadde jeg sannsynligvis nøyd meg med den tanken. Men etter #metoo var det lettere å gjenkjenne og identifisere ufin maktutøvelse, og jeg opplevde en enorm styrke i det. Dette fikk meg til å tenke: «faen heller, jeg søker jobben selv». Så da gjorde jeg det.

Det var altså skuespilleren i deg som først vurderte Kilden Teater som en egnet arbeidsplass. Som skuespiller, hva håpet du å finne ved Kilden Teater – hva ser du etter i et teaterhus?

– Det jeg likte med å jobbe med teaterkompaniet Susie Wang var å være en del av en gruppe som har en tydelig visjon og som jobber så kompromissløst og helhetlig. Det synes jeg er veldig tiltalende – å være med på å bygge opp noe man har tro på. Da har man på en måte en retning med det man holder på med, man er med på en reise. Det appellerte til meg, og det var det potensialet jeg så i Kilden.

Teatret Vårt i Molde er vel nokså likt størrelsesmessig som Kilden Teater, hvilke erfaringer tok du med deg derfra etter dine syv år som skuespiller, videre til Kilden?

– Masse, egentlig. Daværende teatersjef Carl Morten Amundsen var veldig ambisiøs på Teatret Vårts vegne, selv om det var et regionteater. Han var opptatt av at regionalt ikke skal bety provinsiell. Det synes jeg er en veldig riktig tankegang. Han satset også mye på nyskrevne tekster og var inspirert av tysk teater. Det har betydd enormt mye for meg – inkludert den linken til Tyskland. Men også viktigheten av å nå ut i en region hvor man ikke har teater. Det å kunne spille for folk som ikke har teatret i sin umiddelbare nærhet er en verdifull tanke og et demokratisk spørsmål. Og så lærte jeg at skuespillerne alltid er viktige, men på et lite teater er de desto viktigere.

Hva ser du etter i skuespillere?

– Det er vanskelig å sette fingeren på, men det er enormt viktig hvordan de er som mennesker. Det handler vel om det å ha en vilje og et behov for å uttrykke seg, at de vil være med på visjonen jeg har. Jeg ønsker at de opplever at vi er et lag, at de blir en ressurs. Jeg prøver etter hvert å trekke dem mer inn i andre sider av virksomheten enn bare det å stå på scenen.

Hvordan?

– Jeg vil at de skal være med å tenke hva Kilden Teater vil kommunisere, for eksempel hvordan vi skal fremstå visuelt. Det er viktig at de inngår i kunstneriske valg – som hvilke stykker og regissører vi skal invitere, blant annet. Jeg har ikke kommet helt i gang med dette, mye på grunn av korona, men det er noe jeg vil jobbe aktivt med. Men jeg har allerede involvert skuespillerne i morgenmøter med markedsavdeling og kommunikasjon, noen fra hver oppsetning er alltid med, slik at avstanden mellom de ulike avdelingene blir mindre.

Kan du si noe mer om hva som er visjonen din?

– Det blir fort et floskelspråk når man skal snakke om visjoner, men det er særlig tre elementer jeg er opptatt av. For det første hadde jeg da jeg startet et markeringsbehov for Kilden Teater: Vi må ut og markere Kilden Teater som et egenproduserende hus. Jeg vil at vi skal ha tydelige egenproduksjoner som det legges merke til med kunstnere som arbeider på et høyt kunstnerisk nivå. Gjerne kunstnere som ikke alle andre institusjoner velger. Skuespillere og regissører henger sammen, og har man høy kunstnerisk kvalitet på disse så baller det på seg. Dette handler også om helhet, at det visuelle også er en del av programmet som er teatrets identitet. For eksempel i form av plakater der jeg har ønsket å ta plakatkunsten på alvor. Det andre elementet i visjonen handler om å åpne teatret opp for nye publikumsgrupper. Det er kanskje et ønske alle teatersjefer har, men her i Kristiansand er det veldig delt, og det er fortsatt mange som tenker at Kilden ikke er for dem. Det hadde jeg lyst til å prøve å gjøre noe med, og der er jeg fortsatt litt tidlig i det arbeidet. Det tredje, og kanskje viktigste elementet handler om større mangfold. Jeg har vært opptatt av rasisme og mangfold i mange år, og det har overrasket meg hvor lett det er å havne i en hvit, mannlig, europeisk, normativ kanon når man først sitter i maktposisjon. Det er gjerne disse tekstene regissører først foreslår eller de man selv først tenker på. Det å gå utover det man har lett tilgang til eller allerede kjenner krever kontinuerlig jobb. Det har slått meg at det er det som er hardt arbeid, det krever en innsats fra de som sitter i maktposisjon, men det er det som må gjøres.

Nå er det vel halvannet år siden du begynte i jobben, først i 50% en periode, før du tiltrådte 100% i år, hvilke erfaringer har du gjort deg så langt? Er det noe som har overrasket deg positivt?

– Det som har imponert meg er hvor utrolig dyktige folk det er på alle verkstedene: kostyme, mask, rekvisitt, snekker og malersalen. Det er skikkelig dyktige håndverkere på huset, det er de som er diamanten i den store bygningen.

Hva med motsatt – er det noen utfordringer som har overrasket deg, som du ikke hadde sett for deg på forhånd?

-Det er litt tidlig å svare på, jeg har på sett og vis bare hatt én stor hovedproduksjon. Kilden er et stort hus, vi er et lite teater i det huset og jeg er ikke øverste sjef. Det å nå ut til nye publikumsgrupper er arbeidskrevende, det samme gjelder når det kommer til å finne nye historier og søke utenfor det kjente.

Hvordan jobber du med dette, helt konkret?

– Jeg har forsøkt å knytte til meg folk jeg ikke kjente fra før, som har vært i andre miljøer enn det jeg har vært i selv eller har kjennskap til. Og at de tipser meg om ting jeg kan se. Det handler om å være nysgjerrig på hva man ser utenfor den faste ruten.

Nå står vi i en krevende teatersituasjon med en korona-krise som legger strenge restriksjoner på hvordan teatrene kan produsere og driftes. Dere har allerede hatt én produksjon som er tilpasset dette, hvordan påvirker det jobben din fremover?

– Vi har kommet bakpå i planleggingen og får færre publikummere. Men jeg blir litt sta i dette. Da avgjørelsen ble tatt om at Kilden ikke skulle permittere, tenkte jeg at vi må jobbe oss gjennom det, og det er jeg veldig glad for at vi har gjort. Det var ekstremt lærerikt med Culpa-produksjonen, hvor regissør Mine Nilay Yalcin gjorde en formidabel jobb. I koronatiden tror jeg ikke man kan si at noen gjorde riktig eller galt. Ingen visste noen ting, og ulike teatre kunne kun handle ut i fra det de selv mente var rett eller forsvarlig.

Nå har vi holdt på i snart tre måneder i denne rare unntakstilstanden, og vi vet at det ikke kommer til å gå tilbake til ‘normalen’ på en stund. Vi må belage oss på at det blir en annen normal, og det tar lang tid å tenke, det er jo så omkalfatrende. Jeg har sett på bildene fra Berliner Ensemble i Berlin, hvor de fjerner seter i publikumsamfiet for å opprettholde anbefalt sosial avstand, og jeg lurer på hvem teater skal være for?

– Ja, jeg blir veldig ydmyk av det. Og det er kanskje dette teatret trenger for å bli tvunget til å finne nye publikumsgrupper? Det beste som kan komme ut av korona er kanskje det – at det å oppsøke nye publikumsgrupper ikke blir nok en floskel i nok en strategi. Jeg har ikke egentlig hatt så sterke meninger om koronateateret. Det er mange grunner til at teatersjefer valgte å permittere ansatte, og det respekterer jeg. Jeg har ikke vært helt enig i all den kritikken som har kommet mot dem som valgte eller måtte permittere sine ansatte. Jeg synes det har vært vanskelig å ha bastante meninger om ting, og i det har det vært vanskelig å komme inn i lange tanker.

De lange tankene hører kanskje til det kommende årets oppgaver. Nå har man hatt noen måneder hvor alt nærmest ble kastet opp i luften, hvor alt har blitt snudd opp-ned. Men nå ser det ut til at vi har minst ett år foran oss hvor vi må skape og vise teater på andre måter enn vi tidligere har gjort. Det er lite som tyder på at vi får sitte 20 cm unna hverandre i salen, for eksempel. Jeg er enig i at det er tidlig å skulle forvente gode refleksjoner over noe man fortsatt står midt oppi, det tar tid å tenke …

– Ja, det er det – det tar tid å tenke, og det tar tid å skape! Det var noen som foreslo at man bare kunne gjøre Hamlet i badekaret, og det er jeg ikke enig i. Vi er også håndverkere og fagfolk, vi bruker jo over ett år på å planlegge og gjennomføre en produksjon. Det trenger ikke alltid ta så lang tid, men det tar tid å tenke og skape. I en ideell verden ville man kanskje tatt et steg tilbake og sagt: «Dere, nå tenker vi i to uker, og så kan vi begynne». Men det var ikke mulighet til det.

Hvorfor ikke? Hva er det som hindrer dere i det?

– Det var så mye annet som måtte prioriteres. For min del var det bare det å holde hodet over vannet med en fireåring hjemme og beredskapsmøter på jobb, og ingen visste noe. Jeg tror det var fordi alt var i unntakstilstand.

(Mellomspill: Her henger journalistens datamaskin seg opp. Midt i samtalen om konsekvensene av koronakrisen, er det ironisk nok som om datamaskinen melder seg inn i samtalen og roper: Jeg er også sliten av denne krisen! Du har brukt meg for mye, vi trenger en pause!)

– Men jeg lurer: Er det vårt mandat å lage digitalteater i badekaret, krise eller ikke krise, er det det vi skal gjøre? Rettferdiggjør det å ikke permittere? Disse spørsmålene er kjempeviktige. Og er det skuespillerne som skal permitteres først? Hva sier det om skuespillerens rolle i et teaterhus? Koronakrisen har vært krevende, forvirrende og frustrerende, men kanskje det kommer opp noen relevante spørsmål som det kan være interessant å se nærmere på.

Ettersom mer enn 60% av inntektene til de fleste, eller alle, offentlige teatrene kommer fra nettopp det offentlige, så er det ikke rart at det blir spørsmål omkring permittering. Det er litt som det du sier om å være et team, at hvis du permitteres fra jobben din så er du jo ikke lenger en del av et team. Det handler også om en større kulturpolitikk, om hvem som inngår i teatrets kjerne. Når man sitter i en maktposisjon så må man ta disse tøffe valgene, og da må man også tåle at folk har meninger om det. Sannsynligvis blir man jo upopulær hos noen uansett. På én måte er det ikke ditt hovedmandat å ha en mening om dine teatersjefkollegers valg, men jeg tenker at det er likevel noe i disse valgene som får konsekvenser.

– Det mest dramatiske er hvis produksjonsmidlene blir redusert og man blir tvunget til å gjøre noe hvor man ikke kan stå inne for det kunstneriske arbeidet, der all kunstnerisk visjon bare må legges på hylla. Det var vel mitt mareritt. Og det var jeg også redd for da vi valgte å ikke permittere, men i etterkant så var det den riktige avgjørelsen for Kildens del.

I dag (5.mai) og denne uka er det planlagt en rekke demonstrasjoner, både nasjonalt og internasjonalt, tilknyttet #blacklivesmatter. Du har allerede nevnt at mangfold er en sentral del av din visjon for Kilden Teater. Hva tenker du om teatrets oppgave mer generelt når det gjelder strukturell rasisme og #blacklivesmatter?

– Jeg tenker at det vi står i nå er et vendepunkt. Det har vært der lenge, og nå går det faktisk ikke lenger. Jeg tror man nesten må nullstille seg og begynne på scratch.

Hvordan gjør man det?

– Jeg tror det handler om å ha en bevissthet om det hele tiden og snakke åpent om det, uansett hvor ubehagelig det er. Hvis man virkelig vil gå inn i denne materien så må man også være åpen nok til å ville forandre seg, drive selvransakelse, og innse at dette er like mye, hvis ikke mer, hvite menneskers kamp. For det er mitt problem at en kollega blir utsatt for grov hets, banket opp på gata, kontinuerlig stoppet av politiet, snakket til eller portrettert på en spesifikk måte.

Hvis jeg kan trekke en parallell til #metoo, så overrasket det meg at ikke gutta var mer til stede der. Hvorfor så de det ikke som sin kamp? Det handler like om hvordan de blir fremstilt, og stereotypiene knyttet til dem. Det er like mye deres kamp som min.

Det som skjer nå og #metoo er to forskjellige ting, det er viktig å ikke blande dem. Det er ikke sånn at jeg i kraft av å være kvinne forstår rasisme, men det er noen paralleller der som vi kan dra nytte av i arbeidet mot rasisme. Hva kan teatret gjøre i dette? Hm, vi kan lete etter de historiene som vi ikke umiddelbart har tilgang til, det gjelder også valg av skuespillere, regissører etc. Selvfølgelig handler det om representasjon, men det handler også om form: Form kan også være representasjon. Hva slags estetisk uttrykk velger vi? Hvordan forteller vi historier? Og det å tørre å snakke om casting.

Hvordan er din castingprosess?

– Jeg tror det er viktig å snakke om casting for å reflektere rundt hva som fortelles og for å unngå å reprodusere stereotypier. I Jonas er det noen scener med en gjeng gutter som er ute i skogen og diskuterer meningen med livet. I én scene ender det med at en av dem blir skutt. Da vi skulle caste måtte vi også tenke igjennom dette: Hva betyr det hvis den kroppen som blir skutt er svart versus hvit? Det forteller forskjellige ting, gir ulike assosiasjoner, og det er viktig å ha en bevissthet rundt dette sammen med skuespillerne.

Jeg tror du er inne på noe der. Men det handler kanskje også om at det er vanskelig å finne språket. At den strukturelle rasismen finnes der i kroppen og språket, at man famler etter det rette språket og er redd for å trå feil, og kanskje også har en redsel for å bli «outet» som rasist …

– Men det er kanskje det man må – man må bli outet! Det er ubehagelig, men kanskje det er helt greit at det er ubehagelig. Men det er jo også der man må gå inn hvis det skal skje en endring. Jeg ble overrasket over egne tanker og vegring i dette, og jeg tror man må være villig til å forstå at man trår feil hele tiden.

Det er vanskelig å snakke om privilegier og makt i dette landet hvor den som utøver makt ikke nødvendigvis selv opplever det slik. Jeg tenker at rasisme fores også av kontinuerlige affekter. Det at man er redd for noe er ikke ensbetydende med at noe faktisk er farlig – men at denne frykten er strukturell.

– Ja, det er helt avgjørende at vi får et skifte i den selvsentreringen som skjer når vi snakker om dette. At man snakker ut fra sitt perspektiv, at det hvite perspektivet blir i sentrum som det selvsagte «vi». Bare gjennom vår samtale her, så oppstår dette «vi»et. Det er «vi» som sliter med å endre perspektiv. Det er ofte derfor folk begynner å gråte, fordi man ser på «hvordan har jeg det med dette?» – man sentrerer det rundt seg selv. Da blir diskusjonen deretter. Det er der ubehaget ligger, tror jeg. Det er så viktig at midt i det vi står i nå må de som blir utsatt for dette ikke oppleve at de står alene i denne kampen. At de ikke blir møtt med taushet. Som Camara Lundestad Joof sin bok sier; «Eg snakkar om det heile tida» (2018). Jeg tror «vi» må snakke om det hele tiden. Det er «vi» som ikke må stoppe og tenke at vi har gjort nok.

Intervjuet ble opprinnelig publisert på Scenekunst.no 2.juli 2020.

Foto: Bård Arnesen.

[ufinebattery-akira]

What Is an 18650 Battery?

The 18650 battery is a term that frequently pops up in electronics and portable devices. But what exactly is an 18650 battery? This comprehensive guide will delve into the intricacies of this powerful and versatile battery, exploring its features, uses, and why it has become a cornerstone in the battery industry. Suppose you're looking for top-quality 18650 batteries. In that case, Ufine Battery offers some of the best on the market, and it is known for its reliability and performance.

Part 1. What is an 18650 battery?

A 18650 battery is a cylindrical rechargeable lithium-ion battery. The name '18650' refers to its dimensions: 18mm in diameter and 65mm in length. These batteries are known for their high energy density, long life cycle, and reliability, making them a popular choice for various applications, from laptops to electric vehicles.

Part 2. History and development of the 18650 battery

The 18650 battery has a rich history dates back to the early 1990s. Initially developed by Sony, these batteries were designed to provide a more efficient and reliable power source for portable electronics. Over the years, technological advancements have significantly improved their performance, leading to widespread adoption across various industries.

Part 3. Features and advantages of an 18650 battery

Key features of an 18650 battery

One of the standout features of the 18650 battery is its high energy density. This means it can store more energy in a smaller space than other battery types. Additionally, it boasts a long cycle life, which refers to the number of times it can be charged and discharged before its capacity significantly diminishes. Other notable features include low self-discharge, high voltage, and robust safety mechanisms.

Advantages of using 18650 batteries

Using 18650 batteries comes with several advantages:

High capacity: They can store significant energy, which is crucial for high-drain devices.

Long life cycle: Their ability to endure numerous charge-discharge cycles makes them cost-effective in the long run.

Consistency: They provide a stable voltage output, ensuring consistent performance of the devices they power.

Safety: Modern 18650 batteries have built-in safety features to prevent overcharging, overheating, and short-circuiting.

Part 4. Typical uses of 18650 batteries

The versatility of 18650 batteries makes them suitable for various applications. They are commonly used in:

Laptops and portable electronics: Their compact size and high capacity make them ideal for powering laptops, tablets, and other devices.

Electric vehicles (EVs): EV manufacturers prefer 18650 batteries for their high energy density and reliability.

Power tools: The robust nature of these batteries makes them perfect for powering high-drain tools like drills and saws.

Flashlights: Their ability to deliver high power compactly benefits high-performance flashlights.

E-cigarettes (electronic cigarettes): Due to their high power output and compact size, 18650 batteries are popular in e-cigarettes, providing the necessary energy for vaporization.

Part 5. Types of 18650 batteries

There are primarily two types of 18650 batteries: protected and unprotected.

Protected batteries have an internal circuit that prevents overcharging, over-discharging, and short-circuiting. Generally, protected batteries are flat-top, meaning their positive terminal is flat.

Unprotected batteries: These lack the safety circuits, offering more capacity but requiring careful handling. Unprotected batteries are often button-top, meaning their positive terminal is raised.

Comparison between protected and unprotected batteries

Safety: Protected batteries are safer, especially for those unfamiliar with battery handling. Unprotected batteries, while offering more capacity and higher discharge rates, require more caution during use.

Size: Protected batteries are slightly longer than unprotected ones due to the safety circuits, which might affect their compatibility with some devices.

Application: Protective batteries are preferred for high-drain devices where safety is a concern. Unprotected batteries might be more suitable for applications requiring higher power output and where the user can monitor the battery.

Part 6. Care and safety tips for 18650 batteries

Proper care and safety practices are essential to ensure the longevity and safe use of 18650 batteries:

Proper care and maintenance

Avoid overcharging: Use a quality charger that stops charging once the battery is full.

Store properly: Keep batteries in a cool, dry place away from direct sunlight.

Regular use: Regularly using and recharging your batteries helps maintain their capacity and efficiency.

Avoid deep discharges: Avoid letting the battery discharge completely before recharging.

Safety Tips

Use a quality charger: Poor-quality chargers can damage the battery or cause it to overheat.

Inspect regularly: Check for any signs of damage, such as dents or leaks, and dispose of damaged batteries properly.

Avoid extreme temperatures: High heat can damage the battery, while extreme cold can reduce efficiency.

Handle with care: Avoid dropping or puncturing the battery.

Part 7. FAQs about the 18650 battery

1. What devices commonly use 18650 batteries?

18650 batteries are commonly used in laptops, electric vehicles, power tools, flashlights, and electronic cigarettes (e-cigarettes).

2. Are 18650 batteries safe to use?

Yes, modern 18650 batteries come with built-in safety features to prevent overcharging, overheating, and short-circuiting. However, it is essential to use them properly and follow safety guidelines.

3. How long do 18650 batteries last?

The lifespan of an 18650 battery depends on its usage and care. Generally, they can endure numerous charge-discharge cycles before their capacity significantly diminishes.

4. What is the difference between protected and unprotected 18650 batteries?

Protected 18650 batteries have an internal circuit that prevents overcharging, over-discharging, and short-circuiting, making them safer but slightly larger. Unprotected batteries lack these safety circuits but offer more capacity and require careful handling.

5. How should I store my 18650 batteries?

Store 18650 batteries in a cool, dry place away from direct sunlight. Ensure they are not exposed to extreme temperatures and are kept in a proper storage case to prevent accidental short circuits.

6. Can I use any charger for my 18650 batteries?

A quality charger specifically designed for 18650 batteries is recommended. Poor-quality chargers can damage the battery or cause it to overheat.

7. Why are 18650 batteries popular in e-cigarettes?

18650 batteries are popular in e-cigarettes due to their high power output and compact size, which provide the necessary energy for vaporization.

8. How can I tell if my 18650 battery is protected?

Protected 18650 batteries generally have a flat-top positive terminal and are slightly longer due to the internal safety circuit. Always check the manufacturer's specifications to confirm.

9. What should I do if my 18650 battery is damaged?

If your 18650 battery is damaged or showing signs of dents, leaks, or swelling, it should be disposed of properly. Do not use damaged batteries, as they pose safety risks.

10. Where can I buy high-quality 18650 batteries?

You can purchase high-quality 18650 batteries from reputable manufacturers like Ufine Battery, which is known for its reliability and performance. Always buy from trusted sources to ensure safety and quality.

[honestlyfuckmylifeup]

uFINALLY i GOT THIS CARD AFTER SO MUCH OF HARD WORK AND DEVIL POINTS AND DEVIK VOUCHERS SPENT I CANT IM SO HAPPY I JUST CANTTSNSKSMSKS

[arkenacademy]

Tutorial #3 FAKE FAKE FAKE... og hvad er i øvrigt en algoritme?

Falske profiler, falske følgere, falske likes, falske foreninger osv. Der er penge og magt i ufine metoder og et stort sort marked i kunstige metoder til at få opmærksomhed. Det er alt fra muligheden for kunstigt at booste antallet af følgere på sociale medier til nyhedstjenester, der benytter sig af såkaldte clickfarme, der vel bedst kan oversættes med massefabrikerede klik, der skal ligne bedre trafik og dermed skabe større indtjening på annoncer. Men det er ikke kun penge, det er målet. Det er også en systematisk kunstig påvirkning af politik og ideologi, og her bliver det særligt svært at gennemskue. 

ØVELSE

Varighed: 3 lektioner

Målgruppe: Udskoling og ungdomsuddannelser

Formål:  Denne øvelse handler om at undersøge de skjulte magtstrukturer bag skærmen. De unge får mulighed for at trække på deres analytiske redskaber og applicere dem på forskellige fake-fænomener. Formålet er at skærpe deres kritiske tænkning og styrke dem i at kunne sortere og distancere sig fra potentielle påvirkningsmekanismer.   

Take aways: Når forløbet er slut har eleven fået redskaber til at arbejde med betydning, intentioner og propaganda i digital kultur.

Emner der knytter sig til øvelsen er: clickfarme, trolling, kunstige og falske profiler, propaganda og opmærksomhedsindustri.

1. LEKTION

Følgende øvelse tager afsæt i kunstværket Quick Fix af Dries Depoorter.

Kunstneren Dries Depoorter bruger kunsten til at gøre usynlige strukturer synlige. I denne øvelser fungerer kunstværket som en kommentar til fænomenet at købe “venner” og den enorme såkaldte fake-industri. Det åbner op for en snak om værdikoncepter på et socialt medie som Instagram: Hvad er venner og fællesskab? Og hvad med betydningen af ordet “social” i ordet sociale medier? Begynd med at se værket i videoen nedenfor og anvend kunstnerens blik som et undersøgende, nysgerrigt afsæt, der skal åbne for nye perspektiver, spørgsmål og idéer.

Med afsæt i en billedanalysemodel (fx Gyldendals “Analysecirklen”  eller Visual Literacy ) indledes en umiddelbar dialog om hvad eleverne ser i videoen.

Eleverne inddeles i grupper og igangsætter en analyse udfra følgende punkter:

Fortælleren

Komposition

Virkemidler

Sprog og form

Situation 

Perspektivering

Derefter finder grupperne tre falske profiler eller andre falske elementer.

2. LEKTION

Eleverne præsenterer i gruppevis, hvilke falske profiler de har valgt.

Derefter skal eleverne anvende kunstnerens praksis og idéudvikle en skitse til et nyt socialt medie. De skal bygge et socialt medie, der enten: 

Inkluderer alle

Inkluderer få. Eleverne vælger fire kriterier - man skal fx tale et bestemt sprog, tilhøre en bestemt aldersgruppe, have en bestemt interesse osv. 

Dernæst “bygger” eleverne deres egen algoritme. En algoritme er en opskrift - og på samme vis som et bagværk afhænger en algoritme af ingredienser og den, der bager. Skal det være smør, sukker og hvede mel, eller skal det være økologisk spelt og kerner.

For at kunne lave en opskrift til et socialt medie kræver det en grundigt bearbejdet opskrift. Følgende skal overvejes i en fælles brainstorm i grupperne: 

Hvad er opskriften på en ven? Hvordan vil I definere et fællesskab? Et ord som social? Hvordan ville I beskrive det ideelle sociale medie?  

Med afsæt i en fælles brainstorm i grupperne, der har pejlet sig ind på det værdisæt, der arbejdes udfra, sammensættes en opskrift med fem ingredienser/værdier: 

Hver gruppe vælger fem ord, der er vigtige for netop deres sociale medie, der enten inkluderer alle eller er for en lukket gruppe. Lad disse fem ord danne afsættet for jeres sociale medie.

Tilsidst vælges et navn til deres nye sociale medie.

3. LEKTION

Grupperne samler analyse af ord og udvælgelsen af nye ord og præsenterer deres idé på fem slides, der enten via billeder, video, lyd eller tekst beskriver deres opskrift på et nyt socialt medie.  

Kilder til inspiration og research fra kunstneren Dries Depoorter:

 https://driesdepoorter.be/quickfix/.

https://driesdepoorter.be/diewithme/

https://driesdepoorter.be/