An Analysis of the Design and Production of Inert Gas Atmospheres for Industrial Processes

The analysis of the design and creation of inert atmospheres for industrial processes can be divided into three areas:- (1) A general view of the need for an inert atmosphere and the behaviour of gases, vapours and solids in these atmospheres when under the influence of various temperatures and pressures with the accent towards the control of combustion hazards. (2) How to design systems to create these inert atmospheres using simple computer modelling techniques. (3) The review of a real situation using computer models and simulation to determine the optimum inert gas plant configuration to support a production programme

Standing in the Age of Data Breaches: A Consumer-Friendly Framework to Pleading Future Injury and Providing Equitable Relief to Data Breach Victims

Data breaches have rapidly increased in volume in the United States since the beginning of the twenty-first century. As entities across the United States have increasingly stored personally identifiable information (PII) in online databases, cybercriminals have developed tools to steal and sell stolen PII. This note explores the devastating consequences felt by data breach victims and the uphill battles victims often face in finding legal remedies. Although data breach victims may be at risk of identity theft, they are often barred from taking legal action against the entity that breached their data due to the “injury in fact” requirement under Article III of the Constitution. Data breach victims who have been notified of a breach but do not have proof that their PII has been used by a third-party must plead future injury as the result of the breach, which is an incredibly difficult task. In 2021, in McMorris v. Carlos Lopez & Assocs., LLC., the Second Circuit Court of Appeals adopted a three-factor test in which data breach victims could plausibly plead a claim for future injury as the result of a breach. However, the court’s decision still puts significant restrictions on data breach victims, and alarmingly, there is no federal data breach notification legislation in place in the United States. This note argues that the test adopted in McMorris must be modified, and federal data breach notification legislation must be implemented in order to give data breach victims a fair chance of being granted standing and a fair chance of recovery. A modified, more rigid test that considers the type of data that has been breached, whether the breach was a targeted attack, whether data has already been misused, and the amount of time that data has been exposed would accurately gauge whether victims are at an increased risk of future harm and help ensure more equitable grants of standing for future injury claimants. Moreover, federal data breach notification legislation that allows for recovery of reasonable expenses incurred while attempting to protect oneself from future injury would allow data breach victims to recover for preventative actions taken after being notified of a breach even if they may not ultimately be granted standing to sue

Five Miles Outside Town: a play with music

Months ago, I wanted to write something like an opera or a musical for my thesis. This is not quite what happened. Instead, I have written a play with music; that is, there are four solo songs interspersed within the drama. While there are parts of it that I would like to change, the present work (the pages following this abstract, the title page, the copyright page, the committee page, the acknowledgments page, and the table of contents) represents what I was able to put together within the restrictions of the academic schedule. The following are descriptions of various facets of the work. The songs are for two men and two women. In addition, there is a short prelude and postlude for the chamber ensemble alone. The words, the music, and the plot are far more important than the showcasing of the human voice. Indeed, the style of vocal writing is quite declamatory. The songs are linked by motives—both melodic and harmonic. Though the prelude and the postlude function as a unit separate from the songs, they are linked in that the postlude develops a central motive first heard in Kate’s song. The prelude is meant to situate the drama in musical terms. The postlude is meant to begin to resolve the dissonance of the previous songs (literally and figuratively), as well as express a sense of optimism and hope—the sort of thing Frank feels as he leaves to study philosophy; the sort of thing that (hopefully) one feels at the end of the work. The chamber ensemble is comprised of nine instruments: flute, 2 clarinets, horn, euphonium, violin, viola, cello, and double bass. I deliberately avoided using piano. This posed a challenge, since so much of the harmonic material for this music involves chords with many notes. A piano (most often played by 1 person) can easily play music with many simultaneous voices and notes; this is inevitably more difficult to achieve with a chamber ensemble. Therefore, deciding upon a varied and balanced ensemble was difficult. The relationship between the music and the drama might, without experiencing the work, seem strained; how can the music be integral to the work if there is so much text and so comparatively little music? The words do what music cannot—they express specific ideas. The music, on the other hand, does what it does so well—it makes the expressions of emotion more complex. The songs allow us into the inner worlds of the four main characters. The music illuminates the emotions of the words. In this way, the music adds a dimension to the overall work unattainable through the text or the action on stage alone. The script began to take shape much sooner than the music. This was, in part, because I was unsure of the musical language that I should use. I know how to write in a film music/post-Romantic/post-minimalist/pop. style. I have a sense of the typical structures of this music, since I have heard it all my life. But this language did not seem appropriate; and indeed, I want to break away from using these structures—the result sounds alright, but there are more beautiful things one could create. I wanted a way to relate the sounds I like very much—tertian structures, quartal harmonies, quintal harmonies, clusters—in a way that revitalized music that used such as these. Finally, I began to link these familiar structures using familiar concepts applied in atypical ways. One example would be a series of minor triads with roots linked by ascending fourth; another would be a series of minor triads with roots linked by minor third. While I did not exclusively use such relationships, they did make many appearances in the score. Because I began using them so late in the compositional process, I did not use them as much as I would have liked. In the future, I hope to devise a way to create music with such principles as the basis for organizing harmony. KEYWORDS: Chamber ensemble, Middle west, Music, Play, Songs, Stoicism

Emission characteristics and dynamics of the stagnation layer in colliding laser produced plasmas

The expansion dynamics of ion and neutral species in laterally colliding laser produced aluminum plasmas have been investigated using time and space resolved optical emission spectroscopies and spectrally and angularly resolved fast imaging. The emission results highlight a difference in neutral atom and ion distributions in the stagnation layer where, at a time delay of 80 ns, the neutral atoms are localized in the vicinity of the target surface 1 mm from the target surface while singly and doubly charged ions lie predominantly at larger distances, 1.5 and 2 mm, respectively. The imaging results show that the ions were found to form a well defined, but compressed, stagnation layer at the collision front between the two seed plasmas at early times (Dt ~ 80 ns). On the other hand, the excited neutrals were observed to form a V-shaped emission feature at the outer regions of the collision front with enhanced neutral emission in the less dense, cooler regions of the stagnation layer

DEECD Early Childhood Intervention Reform Project

This literature review was commissioned by the Office for Children and Early Childhood Development, Department of Education and Early Childhood Development (DEECD), as part of its Early Childhood Intervention Services (ECIS) Reform Project (Stage 2): Developing Options and Next Steps. This Project aims to significantly enhance the efficiency, effectiveness and sustainability of Victoria’s ECIS system and improve outcomes for children with a disability or developmental delay and their families. Early childhood intervention services (ECIS) support children with a disability or developmental delay from birth to school entry and their families. ECIS provides special education, therapy, counselling, service planning and coordination, assistance and support to access services such as kindergarten and child care. The services funded through DEECD are provided by government Specialist Children\u27s Services teams and non-government Early Childhood Intervention agencies. In addition to the services provided by ECIS teams and agencies, the state and federal governments fund a range of complementary programs to support young children with developmental disabilities and their families. These include initiatives to support families (My Time parent groups, Family Support Packages), services to support inclusion (Preschool Field Officers, Inclusion Support Facilitators), and funding to support particular disability groups (Helping Children with Autism packages). These additional services and supports, together with the ECIS teams and agencies, make up the totality of early childhood intervention provision for young children with disabilities. The focus of the literature review is research on contemporary Australian and international evidence-based service delivery models for children with a disability, developmental delay or additional needs aged 0-8 years