Polarographic study of cadmium 5-hydroxy 2-(hydroxymethyl) 4H-pyran-4-one complex

A polarographic study was performed on the products formed in the interaction of cadmium (II) with a 5-hydroxy 2-(hydroxymethyl) 4H-Pyran-4-one, using varying conditions of pH, supporting electrolytes, and concentrations. Measurements using the differential pulse method show that cadmium (II) exhibits a molar combining ratio of complexing agents to cation ranging from 1 to 1 to 3 to 1 depending on the pH and the supporting electrolyte employed

D.I.Y. Too

This book celebrates all things DIY in contemporary theatre, performance, and Live Art making. It includes contributions from some of the most prominent and prolific independent artists, critics and producers working within the discipline. (This is the second edition, of a planned trilogy

High Grading Scallops on the Ocean Bottom

The Atlantic sea scallop (Placopecten magellanicus) resource supports large offshore fisheries on Georges Bank and the Mid-Atlantic bight. Sea scallops are bivalves living on the sea bottom along the continental shelf and are largely harvested by dredges outfitted with bags constructed of steel rings with inside diameter of 4” and designed to select out certain size scallops. Dredges are towed along the sea floor where things in its path that are not deflected (fish/turtle excluders on dredges) or able to swim away (avoid the dredge) are collected in the dredge bag. Dredges are hauled back on-board, bags dumped of their catch, and then put back overboard for the next tow. Depending largely on bottom type (hard, soft, rocky) and tow time/speed, the amount of targeted scallops varies along with the amount of non-targeted catch, as rocks, debris, old/cut shell, starfish/sand dollars, and bycatch (fish, crabs). Once dumped on deck, the catch is “shacked”, with crew culling out scallops from the rest of the non-targeted catch. Depending on bottom type, the dredge bags can become loaded with non-targeted bycatch and “trash”, resulting in increased labor culling scallops. The marketable part of the bivalve is the adductor muscle (meat) that holds the two shells together. Scallop meats are shucked from the shell at sea, typically during periods between tows, with the shells and viscera thrown overboard. Scallops meats are sold by the count (number per pound) with a higher price paid for the larger meats. The larger the scallop shell, the larger the meat that is shucked from it

Basement

Basement is a play in two acts. I began writing this play at a time that I was contemplating a great deal on the idea of individual, human nature, and the consequences of routine, generational suppression of said nature. At the time that this play was written, stories surrounding human subjugation, rape, torture, and murder were very prominent in the news and while the events of Basement have in no way been taken from any of these actual stories, the major themes of Basement were very heavily influenced by these stories of human bondage. As a writer, I consider my primary job to be as a story-teller. And further, as a writer whose ̀home genre,\u27 so to speak, is playwriting, I try to be mindful of the duality of the narrative being told in a play. That is to say, as a playwright, I try to create a visual narrative within the script of my play that is just as engaging, and essential to the over-all body of one of my pieces, as is the written narrative in the form of the words that I put down on the page. To that end, with Basement, as with all of my plays, I wanted to write for any potential space that this play might be staged in. And, in doing so, I hoped to create an environment in Basement, into which the story of the play fully immerses the audience. I tried to accomplish this by putting the audience in a position similar to the character of the Young Man in the play. Being a character that does not know the entire story surrounding his current situation, and only receiving information about his situation at the same time as the audience, I hoped to create a fully realized reality for this play, immerse my audience into said environment, and leave any potential audience members taking the events of the story with them as they leave the theate

Basement

Basement is a play in two acts. I began writing this play at a time that I was contemplating a great deal on the idea of individual, human nature, and the consequences of routine, generational suppression of said nature. At the time that this play was written, stories surrounding human subjugation, rape, torture, and murder were very prominent in the news and while the events of Basement have in no way been taken from any of these actual stories, the major themes of Basement were very heavily influenced by these stories of human bondage. As a writer, I consider my primary job to be as a story-teller. And further, as a writer whose ̀home genre,\u27 so to speak, is playwriting, I try to be mindful of the duality of the narrative being told in a play. That is to say, as a playwright, I try to create a visual narrative within the script of my play that is just as engaging, and essential to the over-all body of one of my pieces, as is the written narrative in the form of the words that I put down on the page. To that end, with Basement, as with all of my plays, I wanted to write for any potential space that this play might be staged in. And, in doing so, I hoped to create an environment in Basement, into which the story of the play fully immerses the audience. I tried to accomplish this by putting the audience in a position similar to the character of the Young Man in the play. Being a character that does not know the entire story surrounding his current situation, and only receiving information about his situation at the same time as the audience, I hoped to create a fully realized reality for this play, immerse my audience into said environment, and leave any potential audience members taking the events of the story with them as they leave the theate