From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #4291 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Saturday, June 6 2020 Volume 14 : Number 4291 Today's Subjects: ----------------- The Butterfly Effect? ["Archangel Michael Message" Subject: The Butterfly Effect? The Butterfly Effect? http://audigrow.bid/DdU87y19Hs3t_Dwl7cmoAk_NqI2V9jV0XpCHHoVeldUdzKsE http://audigrow.bid/l1EJ7jqBda79vBluhY-zNmYv0ujj_TV-A-g9Jlblh9ZzkOxp In the Muslim world, printing, especially in Arabic scripts, was strongly opposed throughout the early modern period, though sometimes printing in Hebrew or Armenian script was permitted. Thus the first movable type printing in the Ottoman Empire was in Hebrew in 1493. According to an imperial ambassador to Istanbul in the middle of the sixteenth century, it was a sin for the Turks to print religious books. In 1515, Sultan Selim I issued a decree under which the practice of printing would be punishable by death. At the end of the sixteenth century, Sultan Murad III permitted the sale of non-religious printed books in Arabic characters, yet the majority were imported from Italy. Ibrahim Muteferrika established the first press for printing in Arabic in the Ottoman Empire, against opposition from the calligraphers and parts of the Ulama. It operated until 1742, producing altogether seventeen works, all of which were concerned with non-religious, utilitarian matters. Printing did not become common in the Islamic world until the 19th century. Jews were banned from German printing guilds; as a result Hebrew printing sprang up in Italy, beginning in 1470 in Rome, then spreading to other cities including Bari, Pisa, Livorno, and Mantua. Local rulers had the authority to grant or revoke licenses to publish Hebrew books, and many of those printed during this period carry the words 'con licenza de superiori' (indicating their printing having been licensed by the censor) on their title pages. It was thought that the introduction of printing 'would strengthen religion and enhance the power of monarchs.' The majority of books were of a religious nature, with the church and crown regulating the content. The consequences of printing 'wrong' material were extreme. Meyrowitz used the example of William Carter who in 1584 printed a pro-Catholic pamphlet in Protestant-dominated England. The consequence of his action was hanging. Social impact Print gave a broader range of readers access to knowledge and enabled later generations to build directly on the intellectual achievements of earlier ones without the changes arising within verbal traditions. Print, according to Acton in his 1895 lecture On the Study of History, gave "assurance that the work of the Renaissance would last, that what was written would be accessible to all, that such an occultation of knowledge and ideas as had depressed the Middle Ages would never recur, that not an idea would be lost". Bookprinting in the 16th century Print was instrumental in changing the social nature of reading. Elizabeth Eisenstein identifies two long-term effects of the invention of printing. She claims that print created a sustained and uniform reference for knowledge and allowed comparisons of incompatible views. Asa Briggs and Peter Burke identify five kinds of reading that developed in relation to the introduction of print: Critical reading: Because texts finally became accessible to the general population, critical reading emerged as people were able to form their own opinions on texts. Dangerous reading: Reading was seen as a dangerous pursuit because it was considered rebellious and unsociable, especially in the case of women, because reading could stir up dangerous emotions such as love, and if women could read, they could read love notes. Creative reading: Printing allowed people to read texts and interpret them creatively, often in very different ways than the author intended. ------------------------------ Date: Sat, 6 Jun 2020 05:54:43 -0400 From: "Ultimate Solution" Subject: The best way to feel safe The best way to feel safe http://collgroww.bid/gnJUzZQdnPfakGjgYRH7zsKN4GtDQLKwnZt3-ikI7PnQMks http://collgroww.bid/f97keZVsTFZsPiLB0Dj312byJBE7ESM1yy0fqkIAd1unPOI barytes, clay, etc. Floor paints that must resist abrasion may contain fine quartz sand as a filler. Not all paints include fillers. On the other hand, some paints contain large proportions of pigment/filler and binder. Some pigments are toxic, such as the lead pigments that are used in lead paint. Paint manufacturers began replacing white lead pigments with titanium white (titanium dioxide), before lead was banned in paint for residential use in 1978 by the US Consumer Product Safety Commission. The titanium dioxide used in most paints today is often coated with silica/alumina/zirconium for various reasons, such as better exterior durability, or better hiding performance (opacity) promoted by more optimal spacing within the paint film. Micaceous iron oxide (MIO) is another alternative to lead for protection of steel, giving more protection against water and light damage than most paints. When MIO pigments are ground into fine particles, most cleave into shiny layers, which reflect light, thus minimising UV degradation and protecting the resin binder. Most pigments used in paint tend to be spherical, but lamellar pigments, such as glass flake and MIO have overlapping plates, which impede the path of water molecules. For optimum performance MIO should have a high content of thin flake-like particles resembling mica. ISO 10601 sets two levels of MIO content. MIO is often derived from a form of hematite. Additives Besides the three main categories of ingredients, paint can have a wide variety of miscellaneous additives, which are usually added in small amounts, yet provide a significant effect on the product. Some examples include additives to modify surface tension, improve flow properties, improve the finished appearance, increase wet edge, improve pigment stability, impart antifreeze properties, control foaming, control skinning, etc. Other types of additives include catalysts, thickeners, stabilizers, emulsifiers, texturizers, adhesion promoters, UV stabilizers, flatteners (de-glossing agents), biocides to fight bacterial growth and the like. Additives normally do not significantly alter the percentages of individual components in a formulation. Color-changing paint Various technologies exist for making paints that change color. Thermochromic paints and coatings contain materials that change conformation when heat is applied or removed, and so they change color. Liquid crystals have been used in such paints, such as in the thermometer strips and tapes used in aquaria and novelty/promotional thermal cups and straws. Photochromic materials are used to make eyeglasses and other products. Similar to thermochromic molecules, photochromic molecules change conformation when light energy is applied or removed, and so they change color. Color-changing paints can also be made by adding halochrome compounds or other organic pigments. One patent cites use of these indicators for wall coating applications for light colored paints. When the paint is wet it is pink in color but upon drying it regains its original white color. As cited in patent, this property of the paint enabled two or more coats to be applied on a wall properly and evenly. The previous coats having dried would be white whereas the new wet coat would be distinctly pink. Ashland Inc. introduced foundry refractory coatings with similar principle in 2005 for use in foundries. Electrochromic paints change color in response to an applied electric current. Car manufacturer Nissan has been reportedly working on an electrochromic paint, based on particles of paramagnetic iron oxide. When subjected to an electromagnetic field the paramagnetic particles change spacing, modifying their color and reflective properties. The electromagnetic field would be formed using the conductive metal of the car body. Electrochromic paints can be applied to plastic substrates as well, using a different coating chemistry. The technology involves using special dyes that change conformation when an electric current is applied across the film itself. This new technology has been used to achieve glare protection at the touch of a button in passenger airplane windows. ------------------------------ End of alt.music.moxy-fruvous digest V14 #4291 **********************************************