Sanderson leads pasture plot evaluation, while Soder oversees the dairy cows' grazing behavior, physiology and milk production over four 21-day grazing periods. From 25 pounds of dry forage matter, plus a grain supplement, the cows produce 10 to 12 gallons of milk per day. Interestingly, their milk production on mixed pasture has differed little from control plots having two forage species. But this isn't necessarily a disadvantage, according to Soder. The main benefit expected from using mixed pasture is a greater, more persistent yield of dry forage matter that can support more cows per area than conventional pasture.
Although there is little definition here, we believe that this is meant to raise the question of whether your current business activity is able to support your ongoing operations. If so, the next question is whether that is in a manner that is not significantly detrimental to your business.
In some ways, Hide and Seek seems like an unlikely novel in whichto stage early experimentations with ekphrasis or serious social commentaryon gender and disability. At first glance, the book is steeped in suchsentimentality that it appears to defy the social and psychologicalrealism--or, to borrow their own phrasing, the "truth tonature"--favored by Collins's Pre-Raphaelite friends. (3) Yet thenovel marks an early attempt to wrestle with the sort of mimesis thePre-Raphaelites endorsed. After poring over an autobiographical account("Dr. Kitto's delightful little book, 'The LostSenses,'" Collins enthused, "which contains the author'sinteresting and touching narrative of his own sensations under the total lossof the sense of hearing"), Collins painstakingly began to build his newcharacter "as literally as possible according to nature," ratherthan relying on imagination alone (355; emphasis added). (4) Subtitled"The Mystery of Mary Grice," his resulting story revolves aroundthe fate of Madonna, a hearing- and speech-impaired adoptee whosemother's tragic, early death has left her own origins shrouded inmystery.
Madonna's light brown hair--neither golden ringlets norpassionate raven locks, but something in between--visually signifies her lackof adherence to either stereotype. In addition, her blue eyes are frequentlypaired with the shrinking, awkward pose of the Virgin Mary in Rossetti'sEcce Ancilla Domini! (1849-50) rather than with "ringing laughter."When he first spots her at the circus, where she is on display as acuriosity, Blyth quickly sees that Madonna is trembling before the crowd. Hisartist's eyes discern her "delicate little shoulders" and"poor frail neck," as well as the "patient forlornness in thesad blue eyes" (Collins 45). When she finally smiles for the first--andonly time--of the night, it is at him as she looks up and their gazes,significantly, meet. This is the only instance of reciprocal eye contact inMadonna's entire performance. The rest of the audience members perceiveher as the mute, fearful object of their spectatorship: awkward, unsmiling,and haloed by a dingy spotlight rather than the golden circle of divinity.
Hide and Seek is a young novelist's early attempt atemulating Pre-Raphaelite style--one which was surely subdued at the time bythe pressures of his friendships with an older generation of painters andwith Dickens, who was openly hostile to realism in paintings of divinefigures (Andres 9). Yet without making direct reference to the Brotherhood,Collins still manages to infuse his work with the spirit and style of themovement, a skill that later reached full bloom with his narrative redrawingof William Holman Hunt's The Light of the World in the opening pages ofthe 1860 mystery novel The Woman in White. (10) Unfortunately, to date, thebrevity of Hide and Seek, paired with its relative obscurity and simplicityof plot, has resulted in little scholarly attention, especially when comparedwith critical emphases on The Woman in White and Collins's otherenduringly well-known mystery, 1868's The Moonstone. Yet Collins'sliterary treatment of Madonna is somewhat more complicated than many scholarshave recognized, as it echoes the Pre-Raphaelites' visualexperimentation with alternative social perspectives. This is a narrativedynamic which merits further examination, even in its early, experimentalform.
11:55 Melissa Hurtado: I really appreciate you giving us your insights with that. And I just kind of want to talk about the power of place and bring it back to just aspects and conversations of the National Park Service, as well as your connections with it. So you mentioned in a previous interview, that the National Park Service as an institution is making serious efforts to look more like America, and that the most successful efforts to improve diversity often come from the bottom up. Can you elaborate a little bit on that?
14:32 Daniel Agudelo: Yes, you're totally right. You know, all of these initiatives do help ripple out, you know, and then the park starts to see, you know, these effects. And I'll give you guys a little personal story. Well, when I was a wee little baby, seasonal Ranger, I took it upon myself to do a Spanish lead guided walk, right. I am fluent in French. And it's funny how I use more French than Spanish at Everglades National Park. You're in South Florida, you'd expect to have visitors that speak Spanish. No, you know, so I said, well, gee, how can I make the park more accessible? Well, let me create this Spanish led guided walk. And I thought it was going to be easy. I thought it was going to be, you know, copying and pasting my English program script on Google Translate and translating it. But it wasn't that easy. Now, when I did this program, I said, well, how can I bring in this audience that I want, you know, I want people to know that you don't need to speak English to enjoy Everglades National Park, you know, so the audience that I wanted, wouldn't have been the audience that would have checked regularly on the social media of the National Park. So I said, let me reach out to the newspaper, and the Hojera to advertise this. I mean, they were able to advertise this program, you know, because different audiences do different things, whether they listen to the radio, you know, or you have Caracol, or you have these other famous Spanish radios, or you have the newspapers you have Telemundo. Univision, you know, so you can't you know, it's different, you know, people think, you know, it's all a monolith. But it is not a monolith, you have to really kind of dive in and see the type of audience you want, and how you interact with them. Well, I got my publication out in Hojera, then I did my program. I had about 25 people show up, which was successful in its own right, you know, whether I had one person, 25 people, or 500 people. I did my due diligence, which was to provide information out there, you know, and it worked. Because I had a family, a Venezuelan family, who were recent immigrants, to Miami from Venezuela. And they had known about the Everglades. They had seen documentaries of the Everglades on National Geographic in Venezuela, and they were so excited. But they swore that they needed to speak English, to enjoy the park. So they were going to wait until their young son turned of age so that then the young son can guide them through the National Park. Well, they were reading the Hojera, and they read this article that said, wow, Everglades National Park is advertising this free Spanish lead walk... I want to sign up. And so then they go out. And they tell me this story. And I say, wow, well, that was the mission. Mission completed, you know, the fact that people now know that you don't have to speak a certain language to enjoy something is just so powerful. And that, again, ties in with the whole salsa movement. You know, sometimes you don't have to speak the language to enjoy something that can be universal, you know. So that is a nice little personal story that I wanted to share with you guys. Hopefully, that, you know, can be tied in with this whole salsa movement. You know, because it's true. A lot of people are hesitant, or people don't do research, or people don't feel connected, when in reality is a lot more stuff that can get you connected. And salsa. Universal. Being out in these parks. Universal. These spaces of community where you can interact with people of all different walks of life and all different nationalities is awesome. You know, so you have your dancing stage, walking these trails, or dancing the night away, in Ball and Chain or these other salsa clubs.
Previous studies have been conducted in an attempt to develop and evaluate electronic methods for detecting particles from hydraulic nozzles [4] developed an electronic sensor that measured voltage output from fixed parallel traces to estimate spray deposition on the sensor surface. Results indicated that output voltage was proportional to the amount of spray deposited on the surface; however reliability was questionable for the system. A similar system using parallel traces to measure output voltage was tested for measuring humidity levels in controlled environments [5]. A limitation of both systems was that fixed trace and gap widths were used for the surface of the sensing systems. The ability to use an array of these types of sensors to simultaneously monitor spray deposition should be investigated. [6] developed a digital system to monitor spray particle deposition. Further development was needed to improve resolution of the sensing pads and the need for wireless data acquisition (DAQ) was also expressed. While some recently developments have been made to improve the analysis time using WSP including image processing [7] and smartphone, web-based tools [8], little effort has been made to further the measurement of spray application or droplet sizes from hydraulic nozzles using an electronic sensing platform. Further research is needed to stimulate advances and the development of technologies related to spray application monitoring.
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