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apoemaday · a month ago
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Everything We Do
by Peter Meinke
Everything we do is for our first loves whom we have lost irrevocably who have married insurance salesmen and moved to Topeka and never think of us at all. We fly planes & design buildings and write poems that all say Sally I love you I’ll never love anyone else Why didn’t you know I was going to be a poet? The walks to school, the kisses in the snow gather as we dream backwards, sweetness with age: our legs are young again, our voices strong and happy, we’re not afraid. We don’t know enough to be afraid. And now we hold (hidden, hopeless) the hope that some day she may fly in our plane enter our building read our poem And that night, deep in her dream, Sally, far in darkness, in Topeka, with the salesman lying beside her, will cry out our unfamiliar name.
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conniecorleone · a month ago
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Everything We Do
Everything we do is for our first loves whom we have lost irrevocably who have married insurance salesmen and moved to Topeka and never think of us at all. We fly planes & design buildings and write poems that all say Sally I love you I'll never love anyone else Why didn't you know I was going to be a poet? The walks to school, the kisses in the snow gather as we dream backwards, sweetness with age: our legs are young again, our voices strong and happy, we're not afraid. We don't know enough to be afraid. And now we hold (hidden, hopeless) the hope that some day she may fly in our plane enter our building        read our poem And that night, deep in her dream, Sally, far in darkness, in Topeka, with the salesman lying beside her, will cry out our unfamiliar name.
Peter Meinke From Liquid Paper: New and Selected Poems, 1991
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wiseeagletidalwave · 19 days ago
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Associate Editor Pamelyn Casto A Close Reading of Peter Meinke's "The Cranes" (from Sudden Fiction (Continued) (On Symbol Use in Short-Short Stories) Read the story. The careful use of symbols in stories can add valuable texture and interest to the pieces. Carefully used symbols can add meaning and even surprise to stories. Some writers deliberately incorporate a symbol of some kind as they write. Other writers let the symbols arrive as they want to arrive-- in the process of writing. In other words, they write the story and some symbol suggests itself to them and they claim it arrives "naturally." Different writers have different methods. Whatever works best is the way it should be done. Notice the cranes in Peter Meinke's story, "The Cranes." He could have written a story without them but the story would not have been as able to work its magic nearly as well. When I first read the story I read right over the clues the author provided. And while I did not notice the clues I did come to love the two characters in the piece. Their dialogue was so realistic and loving and humorous. It was as if I was eavesdropping on their intimate moments. In my initial skim-read of the story I didn't realize the significance of the shower curtain for the seats, the something for the ears, the towel, etc.-- all important and carefully planted clues that I initially missed. But once that all came together for me, I felt deeply because I was, through Meinke’s artistry, intimately involved with these characters. Following are some other observations. The man in the story (unnamed) points out that whooping cranes mate for life and that they live a long time. The cranes are rare things, creatures almost extinct, which suggests their similarity to the mated- for- life couple. The word "whooping" is interesting too in that the woman in the story has some respiratory problem that makes her cough a lot. Her coughing suggests another commonality such as whooping cough or more likely some other serious lung disorder. But the connection is there and it’s highly effective. Toward the end of the story there was a sudden squabble among smaller birds. The cranes "were stepping delicately away from the commotion." Which suggests what the elderly couple has also done-- they stepped away from the commotion of the world . . . to come to this place in their lives. The title is also interesting. Simply, “The Cranes.” Who are the cranes in the story? The whooping cranes the couple is watching? Or are the cranes perhaps even the name of the couple in the story? We're never actually told and it seems most effective that we’re not so that readers co-create the story in their interpretation of who the cranes actually are. Then when the cranes suddenly "plunge upward"... "pointed like arrows toward the sun..." that's when the full implication of what's going on sank in. I didn't hear shots but the sudden actions of the cranes helped me imagine the startling sound of the likely ending of the couples’ lives. That final significant detail and symbol works beautifully in this story. That final detail makes the situation even more poignant. Meinke makes the reader "feel" with the sudden realization of what took place. The reader’s never really told what actually happened, but the previous clues provided along with the sudden movement of those cranes strongly suggests what took place. When that sank in with me, I felt it deeply. The scene suddenly became so personal to me. I felt as if I had suddenly lost two people I'd come to care about. But strangely that emotion was also soon replaced with another, by a feeling of hope as that couple joined the cranes and were themselves somehow shooting toward the sun. Using the right symbol in a story really can add power to a tale, as Meinke's story has most certainly shown. The skill with which he uses the various symbols and props is a learning experience in itself and worth exploring closely. Think of how the story could have been written (without the accompanying symbols) and think how much would have been lost without those symbols or props.   About the writer: Pamelyn Casto, twice a Pushcart Prize nominee, has published feature-length articles on flash fiction in Writer’s Digest (and in their other publications), Fiction Southeast, and Writing World (and elsewhere). Her essay on flash fiction and myth appears in Rose Metal Press’s Field Guide to Writing Flash Fiction: Tips From Editors, Teachers, and Writers in the Field and her 8,000-word essay on flash fiction is included in Books and Beyond: The Greenwood Encyclopedia of New American Reading (4 volumes). She also has a 5,000-word article on flash fiction as the lead article in the new book Critical Insights: Flash Fiction. Subscribe to her free online monthly FlashFictionFlash newsletter (first issue published in 2001) for markets, contests, and publishing news for flash literature writers. Casto is an Associate Editor at O:JA&L. About Peter Meinke: Peter Meinke (1932- )is an American poet and author from Brooklynn, New York. He was winner of 1986 Flannery O'Connor Award for Short Fiction for his work "The Piano Tuner." His work has been widely published in the United States. Image: Cranes in Dunes by Friedrich Lissmann (1880-1915). Tempera on canvas. 29.5 x 35.4 inches. 1911. Public domain. https://ojalart.com/associate-editor-pamelyn-castoa-featured-series-of-close-readingsa-close-reading-of-peter-meinkes-the-cranes/?utm_source=tumblr&utm_medium=tumblr&utm_campaign=ReviveOldPost
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finishinglinepress · 2 months ago
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FLP BOOK OF THE DAY: The Women Who Gave Up Their Vowels by Kate Cumiskey
TO ORDER GO TO: https://www.finishinglinepress.com/product/the-women-who-gave-up-their-vowels-by-kate-cumiskey/
RESERVE YOUR COPY TODAY
Kate Cumiskey is a writer, painter, and social justice activist in coastal Florida. Her work appears regularly in fine literary and peer-reviewed journals. Cumiskey and her husband Mikel work together to meet the needs of homeless teenagers and young adults by housing them and promoting public awareness, including founding an independent student cadre at a local high school. She is recognized by the state of Florida Department of Education as a Distinguished Educator through the Best and Brightest Scholarship program, and as a pioneering Autism advocate by the National Association of Social Workers. This is Cumiskey’s fourth book.
ADVANCE PRAISE FOR The Women Who Gave Up Their Vowels by Kate Cumiskey
Like a painter whose landscapes always have human figures in them, these poems present family, friends, and lost loved ones in vivid settings. Her mentor and friend, the late Robert Creeley, would be proud. It’s a great pleasure to see Kate Cumiskey‘s latest poems gathered in this fine book.
–Peter Meinke, poet laureate of Florida
Rooted in place, the poems in Kate’s Cumiskey’s collection The Women Who Gave Up Their Vowels span generations of a family raised in a Florida beach town, where “South of the jetties, cars crowd up to the high-tide poles. Coolers, surfboards, /guitars, woofers, towels, diapers…” comprise the landscape. A great love of this place, and the people who inhabit Cumiskey’s past and present sweeps through the pages of this collection giving voice to the daughter, sister, wife, mother, grandmother, neighbor and teacher poet. Thank you, Kate Cumiskey, for this “giving us something to cling to when the hard times came.” We’ve never needed these poems more than now.
–Marjory Wentworth
#flpauthor #preorder #AwesomeCoverArt #poetry
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kyleelisetht · 2 months ago
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Artist/Activist John Sims Perpetually Recasts Valentines and Goes ‘Beyond the Divide’ in 2021. ~KyleeliseTHT
What happened on February 14, 2021, in this starkly divided nation when an artist brought to the dinner table a group of Republicans and Democrats amid a global pandemic? Forget politics. It was poetry night.
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With verses in hand – one penned by an assumed unknown author, another by a Pakistani poet, an Irish bard buoyed by the ‘Bard of Avon’, a poem lamenting pandemic angst and political divide within a single household—there were no battle lines, just words steeped in pain, advocating coexistence, respect, and, as spoken by more than one presenter, appeals for civility.
Conservatives and Liberals have taken a stand
Families and couples have drawn lines in the sand
Never in history has politics mattered
To the point that our relationships
Have become torn and tattered. ~Hank Goldsby (2021)
So, how many times can one square the complex and multidimensional root of love and unleash it, even love between political opposites and ordinary citizens? As calculated by the artist John Sims, a Detroit-to-Sarasota, Fla. transplant—the infinite equation is primed to be reevaluated nearly every year.
Sims, who first hosted ‘The SquareRoot of Love’ on Valentine's 2010, organized his seventh, which commenced this year on February 12, 2021, and concluded on the event’s signature date – Valentine’s Day.
After the first two days of ‘SquareRoot’ festivities showcasing artisans of song, spoken word, and visual art – an overture, if you will, to ‘V-day,’ Sims gathered the bipartisan group of local elected officials, political supporters, and activists to shepherd an act of “civility and love, “ he said.
Among those in attendance were Hagen Brody, Marsha and Hank Goldsby, Scott Hopes, and Dee McFarland. Politics was not on the menu. Instead, guests had been asked to introduce an assigned course during the dinner by reading a favorite love poem.
The wordfest and five-course meal, complemented by champagne, wines, and what Sims deemed the quintessential American dessert—Apple Pie à la Mode was held at The Rosemary, a swanky Sarasota eatery, and set to music performed by the young but seasoned musicians of the Modern Jazz Ensemble. A single romantic verse about love and patience during a couple’s “building years” reminded the audience that it was, indeed, lover’s day, and was offered by the poet Melanie Lavender.
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Known for work that challenges historical iconography held in place by sentiment, yet deeply rooted in racial oppression, and his across-interest collaborations undergone to promote mutual understanding, Sims, who is also a reputable figure among math artists, has organized ‘SquareRoot’ as part of his creative practice that is a wholly collaborative experience in which divergent voices bring their interpretation of how to solve or, at least, engage the equation of love. The contributions range from erudite to experiential.
Each of Sims’ ‘SquareRoot of Love’ rallies creatives of all disciplines, as well as socio-political operatives, journalists, and community thinkers to square the root of love in its many iterations within the context of the pressing questions of the day. In its debut year, Sims with performance artist Karen Finley delved into the notion of love as a trope, featuring responses in verse by poets JoAnne Growney and Regie Cabico. The annual event has since grown – twice occurring in the States and Paris, concurrently – to include a larger group of contributors, all vying to “square” love in all its most uncomfortable places.
In 2019, Sims asked artists to triangulate ‘love’ with the anniversary of seventeen and seventeen murdered and injured, respectively, at Marjory Stoneman Douglas High School in Parkland, Fla. As this writer was a contributing poet, I can share that no solution could be extrapolated from the reality of this tragedy.
In 2020, Florida’s Poet Laureate, Peter Meinke, and journalist/civil Rights activist Charlayne Hunter-Gault presented poems that spoke more traditionally to love as unpredictable yet sustaining. However, as Sims’ work is always tied to a complex unfurling of love within the difficulties of realities, this year’s theme comes in an era of what has been deemed an existential political, racial, and social reckoning anchored in the quagmires of 2020. In response: Sim’s organized ‘Beyond the Divide,’ the seventh and political edition of ‘The SquareRoot of Love’.
The 2021 affair came eleven months after the country became restrained by Coronavirus and was viscerally divided over race and politics. “Our differences in religion were much easier than our differences in politics,” said long-time resident and retired banker Hank Goldsby, a Conservative, who lamented the strain of it all on his thirty-year marriage to his wife Marsha, a healthcare provider and registered Democrat. The Goldsbys shared a “2020 retrospect” penned by Hank of the perils of being quasi-quarantined and under significant external pressure. Of it all, Hank concluded, “that there’s a lot more to life than politics.”
Dr. Scott Hopes read ‘Before You Came,’ a four stanza tome about unexpected change and a slow renewal written by Pakistani poet Faiz Ahmed Faiz. Divergent political views, as Dr. Hopes explained, during his presentation, ushered a break from his beloved son of whom he is gushingly proud. “We all have to come back together,” he said. “Politics is not worth it.”
The poet is unknown to her, but the writer’s poem has hung in Delores McFarland’s home since the mid-eighties and has been a source of solace, especially in times of personal loss of family, she said. McFarland has survived her only child. 
A retired HR professional and the president of the Sarasota Black Democratic Caucus, McFarland’s mission, she said, “... is to engage and empower black voters in Sarasota.” And, she is deeply concerned about the lives of black men. “I believe that black men are an endangered species, and we should respect them no matter what their situation,” she said. And she has expectations of Black men, too. “Their responsibility is to go through a growth and self-actualization process to grow into the mature person that God intended them to be,” she said. 
When McFarland read from the lower stanza of her found poem, “And you learn that you really can endure/you really are strong/ you really do have worth/ and you learn/ and you learn/ with every goodbye, you learn...” she was, herself, empowered, once more, through the words of the writer whose name she’d never known – the Jamaican poet Lisa Goycochea.
“Civility is extremely important,” said thirty-eight-year-old Hagen Brody before he delivered the poem ‘Speak to Me with Civility’, written by the Ireland-born poet Francis Duggan. 
In this beautiful coastal city of social, political, and economic unevenness, where the difficulties of race and policing are as evident though not as fatal as in many cities across the country, and strife and accusations in all directions are uncomfortably common, Hagen plays a prominent role. He is the Mayor of Sarasota, Fla.
“We’re a resilient country,” Hagen said. “Our democracy is extremely strong.” And most of the nation’s citizens share similar values and dreams, he believes. Still, there’s trouble in America. There’s trouble even in his beautiful city.
Hagen said that a return to civility will open pathways for understanding and necessary change through cooperation. A return to civility is an unavoidable first step, he explained.
So committed to the possibility of civil discourse for change, Hagen, after he reads Duggan’s poem, added an arc of reconciliation with a verse from the consummate bard himself, William Shakespeare: “And do as adversaries do in law, Strive mightily, but eat and drink as friends.” (Taming of the Shrew)
So, how does one solve the equation of division? “Strive mightily” and, perhaps, try as one might solve the activist-artist John Sims’ SquareRoot of Love.
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(February 2021)
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melodysnews · 2 months ago
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A Time to Write Poetry
Good Morning,
In 1777, around the time of the American Revolution, Thomas Paine wrote, “These are the times that try men's souls. The summer soldier and the sunshine patriot will, in this crisis, shrink from the service of their country; but he that stands it now, deserves the love and thanks of man and woman.” Are you finding these time trying, annoying, or deadly?
Do you remember studying about “Common Sense” in American History class? Essays and collections of essays were common during that period of our country’s history. People wrote to express opinions and persuade others to believe as they did. Thomas Paine was expressing his opinion in emotional essays. Now essays aren’t as popular. Television commentators present opinions about the news more than the actual news.
Florida Poet Laureate, Peter Meinke, says the times that try men’s souls (I would add and women’s souls) are times that result in the writing of poetry. Many people wrote poetry after 911. During war, many turn to poetry to express their emotions.
Narrative poems tell a story. In contrast, lyric poetry expresses emotion.  Songs have lyrics, and are a form of poetry.
If you find the times trying, you might want to write a lyric poem or lyrics to a song. Rather than getting into political fights with friends on Facebook, try writing and posting the lyrics to a song or a lyrical poem. Let your emotions flow, but write in a non-confrontational manner.
Read Amy Lowell’s poem titled “Patterns” and Alfred Lord Tennyson’s poem “The Charge of the Light Brigade” and notice the difference in attitude each poet is expressing. How do their views on war differ? Try to write a poem that expresses your emotions about recent events without stating them outright. That’s what I’m doing these days. 
Thank you for visiting my blog. Hope to see some of your poems online soon.
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wiseeagletidalwave · 4 months ago
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Associate Editor Pamelyn Casto A Close Reading of Peter Meinke's "The Cranes" (from Sudden Fiction (Continued) (On Symbol Use in Short-Short Stories) Read the story. The careful use of symbols in stories can add valuable texture and interest to the pieces. Carefully used symbols can add meaning and even surprise to stories. Some writers deliberately incorporate a symbol of some kind as they write. Other writers let the symbols arrive as they want to arrive-- in the process of writing. In other words, they write the story and some symbol suggests itself to them and they claim it arrives "naturally." Different writers have different methods. Whatever works best is the way it should be done. Notice the cranes in Peter Meinke's story, "The Cranes." He could have written a story without them but the story would not have been as able to work its magic nearly as well. When I first read the story I read right over the clues the author provided. And while I did not notice the clues I did come to love the two characters in the piece. Their dialogue was so realistic and loving and humorous. It was as if I was eavesdropping on their intimate moments. In my initial skim-read of the story I didn't realize the significance of the shower curtain for the seats, the something for the ears, the towel, etc.-- all important and carefully planted clues that I initially missed. But once that all came together for me, I felt deeply because I was, through Meinke’s artistry, intimately involved with these characters. Following are some other observations. The man in the story (unnamed) points out that whooping cranes mate for life and that they live a long time. The cranes are rare things, creatures almost extinct, which suggests their similarity to the mated- for- life couple. The word "whooping" is interesting too in that the woman in the story has some respiratory problem that makes her cough a lot. Her coughing suggests another commonality such as whooping cough or more likely some other serious lung disorder. But the connection is there and it’s highly effective. Toward the end of the story there was a sudden squabble among smaller birds. The cranes "were stepping delicately away from the commotion." Which suggests what the elderly couple has also done-- they stepped away from the commotion of the world . . . to come to this place in their lives. The title is also interesting. Simply, “The Cranes.” Who are the cranes in the story? The whooping cranes the couple is watching? Or are the cranes perhaps even the name of the couple in the story? We're never actually told and it seems most effective that we’re not so that readers co-create the story in their interpretation of who the cranes actually are. Then when the cranes suddenly "plunge upward"... "pointed like arrows toward the sun..." that's when the full implication of what's going on sank in. I didn't hear shots but the sudden actions of the cranes helped me imagine the startling sound of the likely ending of the couples’ lives. That final significant detail and symbol works beautifully in this story. That final detail makes the situation even more poignant. Meinke makes the reader "feel" with the sudden realization of what took place. The reader’s never really told what actually happened, but the previous clues provided along with the sudden movement of those cranes strongly suggests what took place. When that sank in with me, I felt it deeply. The scene suddenly became so personal to me. I felt as if I had suddenly lost two people I'd come to care about. But strangely that emotion was also soon replaced with another, by a feeling of hope as that couple joined the cranes and were themselves somehow shooting toward the sun. Using the right symbol in a story really can add power to a tale, as Meinke's story has most certainly shown. The skill with which he uses the various symbols and props is a learning experience in itself and worth exploring closely. Think of how the story could have been written (without the accompanying symbols) and think how much would have been lost without those symbols or props.   About the writer: Pamelyn Casto, twice a Pushcart Prize nominee, has published feature-length articles on flash fiction in Writer’s Digest (and in their other publications), Fiction Southeast, and Writing World (and elsewhere). Her essay on flash fiction and myth appears in Rose Metal Press’s Field Guide to Writing Flash Fiction: Tips From Editors, Teachers, and Writers in the Field and her 8,000-word essay on flash fiction is included in Books and Beyond: The Greenwood Encyclopedia of New American Reading (4 volumes). She also has a 5,000-word article on flash fiction as the lead article in the new book Critical Insights: Flash Fiction. Subscribe to her free online monthly FlashFictionFlash newsletter (first issue published in 2001) for markets, contests, and publishing news for flash literature writers. Casto is an Associate Editor at O:JA&L. About Peter Meinke: Peter Meinke (1932- )is an American poet and author from Brooklynn, New York. He was winner of 1986 Flannery O'Connor Award for Short Fiction for his work "The Piano Tuner." His work has been widely published in the United States. Image: Cranes in Dunes by Friedrich Lissmann (1880-1915). Tempera on canvas. 29.5 x 35.4 inches. 1911. Public domain. https://ojalart.com/associate-editor-pamelyn-castoa-featured-series-of-close-readingsa-close-reading-of-peter-meinkes-the-cranes/?utm_source=tumblr&utm_medium=tumblr&utm_campaign=ReviveOldPost
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profoundninjasublime · 7 months ago
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Designer Metal Grid Dmg System
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This installation gallery from Armstrong Ceiling Solutions – Commercial showcases applications to help inspire your next project. View the gallery.
Nov 06, 2016  Explain how to use a computer mode. This computer model was developed during my work at Chalmers University of Technology. The model can use to simulate the performance of photovoltaic systems.
Designer Metal grid system (DMG) The Brick-It™ Designer Metal Grid System (DMG) is the original patented, Brick-It™ panel system and is our most popular. It's the best way to install thin brick because the patented metal grid was designed to: Brick It Metal Panel System has been in use for nearly 40 years and it was patented in April of 1987.
Jan 09, 2018  3D Systems metal additive manufacturing and stainless steel materials enable first-of-its-kind luxury faucet for KALLISTA, which will be available commercially during 2018.
Isogrid on the interior of the adapter connecting the Orion spacecraft to the Delta IV rocket for Exploration Flight Test 1
Isogrid Mac dmg downloads. is a type of partially hollowed-out structure formed usually from a single metal plate (or face sheet) with triangular integral stiffening ribs (often called stringers). It was patented by McDonnell Douglas (now part of Boeing).[1]It is extremely light and stiff.[2] Compared to other materials, it is expensive to manufacture, and so it is restricted to spaceflight applications and some particularly critical parts of more general aerospace use.
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Theory and design[edit]
Top view of isogrid panel
Cross-section of isogrid flange stiffener[3]
Isogrid structures are related to sandwich-structured composite panels; both can be modeled using sandwich theory, which describes structures with separated, stiff face sheets and a lighter interconnecting layer. Isogrids are manufactured from single sheets of material and with large-scale triangular openings, and an open pattern to the flanges, compared to closed sheets and foam or honeycomb structures for the sandwich-composite structures.
Designer Metal Grid Dmg System For Windows
Isogrid structures are constituted by a thin skin reinforced with a lattice structure. Such structures are adopted in the aeronautical industry since they present both structural resistance and lightness.[4]
The triangular pattern is very efficient because it retains rigidity while saving material and therefore weight. The term isogrid is used because the structure acts like an isotropic material, with equal properties measured in any direction, and grid, referring to the sheet and stiffeners structure.
A similar variant is the Orthogrid (sometimes called a waffle grid), which uses rectangular rather than triangular openings. This is not isotropic (has different properties from different angles), but matches many use cases well and is easier to manufacture.
Traditionally, the equilateral triangle pattern was used because it was amenable to simplified analysis.[5][6] Since the equilateral triangle pattern has isotropic strength characteristics (no preferential direction), it was named isogrid.[5]
Manufacturing[edit]
The stiffeners of an isogrid are generally machined from one face of a single sheet of material such as aluminum with a CNC milling machine. A thickness less than 0.040 in. (1.0 millimeter) might require chemical milling processes.[7]
Composite isogrids are rib-skin configurations, where at least a part of the rib is a different material from the skin, the composite assembled by various manual or automated processes.[8] This can give extremely high strength-weight ratios.[9]
Uses[edit]
Isogrids on the CST-100 pressure vessel
Isogrid panels form self-stiffened structures where low weight, stiffness, strength and damage tolerance are important, such as in aircraft or space vehicles. Aerospace isogrid structures include payload shrouds and boosters, which must support the full weight of upper stages and payloads under high G loads. Their open configuration with a single, sealed sheet facing the outside makes them especially useful for propellant tanks for rockets, where sealing the propellant in, but allowing it to drain in use or maintenance are necessary features.
Some spacecraft and launch vehicles which use isogrid structures include:
Delta families[5][10]
Atlas families[11]
Skylab spacestation Orbital Workshop module[5]
SLS Core Stage[12]
CST-100 Starliner[13]
Orthogrids (Waffle grids with a square pattern) were used in the Saturn rocket tanks, due to the lower cost and ease of manufacture[14]
Orthogrids are also planned for the Vulcan rocket[15]
Metal Grid Wall
References[edit]
^Huybrechts, Steven M.; Hahn, Steven E.; Meink, Troy E. (July 5–9, 1999). GRID STIFFENED STRUCTURES: A SURVEY OF FABRICATION, ANALYSIS AND DESIGN METHODS(PDF). Proceedings of the 1999 International Conference on Composite Materials. Paris, France. Retrieved Jan 10, 2020. The McDonnell-Douglas Corporation (now part of The Boeing Company) holds the patent rights for development of the first aluminum isogridCS1 maint: date format (link)
^Black, Jonathan T. (2006). NEW ULTRA-LIGHTWEIGHT STIFF PANELS FOR SPACE APERTURES (PhD). University of Kentucky Doctoral Dissertations. Retrieved Jan 10, 2020.
^US patent 4012549, Paul Slysh, 'High strength composite structure', published Oct 10, 1974, issued Mar 15, 1977
^Sorrentino, L.; Marchetti, M.; Bellini, C.; Delfini, A.; Albano, M. (2016-05-20). 'Design and manufacturing of an isogrid structure in composite material: Numerical and experimental results'. Composite Structures. 143: 189–201. doi:10.1016/j.compstruct.2016.02.043. ISSN0263-8223.
^ abcdMcDonnell Douglas Astronautics Company (February 1973). Isogrid Design Handbook(PDF) (Technical report). NASA. p. 1.0.002 (12/252). NASA CR-124075. Retrieved Jan 10, 2020.
^Meyer, R. R; Harwood, O. P. (Oct 1, 1973) [1973]. Isogrid design handbook. Marshall Space Flight Center. 19730000395.
^Slysh, Paul. 'The Isogrid'. Archived from the original on Jan 26, 2013. Retrieved May 27, 2011.
^Huybrechts, Steven; Troy E. Meink; Peter M. Wegner; Jeff M. Ganley (2002). 'Manufacturing theory for advanced grid stiffened structures'. Composites Part A: Applied Science and Manufacturing. Elsevier. 33 (2): 155–161. doi:10.1016/S1359-835X(01)00113-0. Retrieved 26 May 2012.
^Wegner, Peter M.; Higgins, John E.; VanWest, Barry P. (2002). 'Application of Advanced Grid-Stiffened Structures Technology to the Minotaur Payload Fairing'. 43rd AIAA/ASME/ASCE/AHS/ASC Structures, Structural Dynamics, and Materials Conference. Denver, CO.
^Knighton, D. J. (Sep 1, 1972) [1972], Delta launch vehicle isogrid structure NASTRAN analysis, Goddard Space Flight Center, hdl:2060/19720025227, archived from the original on Jun 11, 2007
^'Atlas V 500 series'(PDF). United Launch Alliance. Archived from the original(PDF) on 2016-04-09. Retrieved 2016-06-06.
^Kyle, Ed (Jan 26, 2014). 'Progress on NASA's Space Launch System and Orion'. Space Launch Report. Retrieved Jan 10, 2020. Boeing's SLS core will use AL-2219 Aluminum machined with isogrids
^Young, Anthony (23 June 2014). 'Boeing displays CST-100 progress at Kennedy Space Center'. The Space Review. SpaceNews. Retrieved 25 October 2017.
^Wagner, W. A. (May 1, 1974) [1974], Liquid rocket metal tanks and tank components(PDF), NASA Lewis Research Center, pp. 55–58, hdl:2060/19750004950, archived from the original on Nov 22, 1995
^Bruno, Tory [@torybruno] (Apr 20, 2017). 'Orthogrid trial panel for Vulcan Rocket propellant tank. (Bigger than it looks..)' (Tweet). Retrieved Jan 10, 2020 – via Twitter.
Designer Metal Grid Dmg System Requirements
External links[edit]
Metal Grid Displays
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Isogrid&oldid=937790353'
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agverleih · 7 months ago
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Offener Brief unabhängiger deutscher Filmverleiher zur Fördersituation der Filmwirtschaft in der Corona-Krise
Es ist eine gute Nachricht, dass den Kinos in der Corona-Krise von BKM, FFA und den Länderförderern zum jetzigen Zeitpunkt bereits mehr als 100 Millionen Euro zur Verfügung gestellt wurden. Diese Gelder sind zum Teil schnell und unbürokratisch geflossen. Ohne diese Förderungen und Billigkeitsleistungen wäre das Überleben vieler Kinos nicht möglich gewesen.
Doch die Hilfe für die Kinos wurde von den Verantwortlichen bei BKM, FFA und Länderförderern nicht zu Ende gedacht. Es fehlt bis heute die Gesamtsicht auf die Filmwirtschaft und Filmkultur und deren Repräsentanten. Der Kulturort Kino ist ein wichtiges Glied der Filmwirtschaft. Verkürzt man aber im Wesentlichen alle Bemühungen auf diesen einen Ort, werden Filmwirtschaft und Filmkultur insgesamt geschädigt. Hierdurch würde letztlich auch der Kulturort Kino, trotz aller gut gemeinten Förderung, in Mitleidenschaft gezogen. Ohne Filme kein Kino.
Bereits in der Vergangenheit lagen die wirtschaftlichen Risiken eines Filmstarts weitgehend auf den Schultern der Verleiher. Wir starten Filme mit hohem finanziellem und persönlichem Engagement. Dieses Risiko hat sich durch die pandemiebedingte Reduzierung der Sitzplätze vervielfacht. Dennoch sind wir in Vorleistung gegangen. Ohne uns hätten insbesondere die Arthousekinos, die im Fokus der Rettungsbemühungen stehen, seit der Wiedereröffnung der Kinos kein attraktives Filmangebot zu bieten.
Wir alle starten diese Filme in dem Bewusstsein, dass in diesen besonderen Zeiten nur noch ein kleiner Teil der Besucherzahlen möglich ist, die vor Corona möglich waren. Dies liegt nicht nur an den Platzbeschränkungen, sondern auch an der Zurückhaltung des Publikums. Massive Umsatzrückgänge sind die Folge, unter denen alle Verleiher, Produzenten und Kinobetreiber zu leiden haben.
Die Filmbranche ist eng verknüpft – weder startet die Wertschöpfung im Kino noch endet sie dort. Dies ist ein fundamentales Problem, auf das wir seit Beginn des Corona-Lockdowns im März immer wieder aufmerksam gemacht haben und das durch eine reine Risikopufferung althergebrachter Verleihförderung nicht gelöst wird. Die Konsequenz, die wir nun am Markt erleben, sind regelmäßige Startverschiebungen auf 2021 und danach oder gar der Verzicht auf Kinostarts zugunsten von Streaming-Angeboten.
In Deutschland wurden für die Bereiche der Kino- und der Produktionsförderung pragmatische Lösungen gefunden und neue Förderinstrumente aufgesetzt. Für den zentralen Bereich des Filmverleihs haben sich FFA und BKM jedoch entgegen unserer Expertise dazu entschieden, nur auf Fördermodelle aus der Zeit vor Corona zurückzugreifen. Eine Mittelaufstockung der alten Modelle ist aber zur Lösung der aktuellen Aufgaben ungeeignet, denn:
–      Das Modell ausschließlich projektbezogener Förderung in Abhängigkeit von oftmals subjektiv geprägten Förderentscheidungen wird den Herausforderungen in der derzeitigen Situation nicht gerecht. Eine übergreifende strukturelle Unterstützung, in Anlehnung an die Förderung der Filmtheater, wäre hier zielführend.
–      Die vorhandenen Förderinstrumente der BKM kommen ausschließlich deutschen Filme zugute, bei der FFA erweitert um deutsche Koproduktionen. Unsere Aufgabe besteht aber darin, die Kinos mit einem attraktiven und vielfältigen Filmprogramm zu versorgen: Kino ist ein Tor zur Welt. Mit ausschließlich deutschen Filmen lässt sich kein attraktives Programm kuratieren. Aus diesem Grund ist die Vergabe von Fördermitteln an die Kinos ja auch nicht an das ausschließliche Abspiel deutscher Filme gebunden.
Wenn Kulturstaatsministerin Monika Grütters, wie vor kurzem auf der Filmkunstmesse Leipzig, die Filme „Systemsprenger“ und „Parasite“ hervorhebt, müssen wir sie daran erinnern, dass die Herausbringung eines Films wie „Parasite“ von deutschen Verleihfördermitteln ausgeschlossen ist. Und wenn FFA-Vorstand Peter Dinges bei der gleichen Veranstaltung zum wiederholten Male die Ansicht äußert, eine erhöhte Förderquote bei der Herausbringung deutscher Filme käme auch der Herausbringung internationaler Filme zugute, muss man diese Aussage mindestens kritisch hinterfragen.
Um der eklatanten Abwärtsspirale schwindender Kinozuschauer, verschobener Filmstarts und reduzierter Verleihbudgets entgegenzuwirken, braucht es Mut und Expertise. Beides hat die bisherige Ausgestaltung des BKM-Programms „Neustart Kultur“ bisher vermissen lassen. Wir wollen nicht akzeptieren, dass die bisher begangenen Fehler erst im Nachhinein evaluiert werden, um dann die nicht mehr reparablen, strukturellen Schäden für die gesamte Kinobranche zu begutachten.
Wir unabhängigen Verleiher wollen starke Filme in die Kinos bringen, um den Stellenwert, den das Kino beim Publikum genießt, weiterhin zu ermöglichen! Wir wollen das Publikum begeistern und dazu bewegen, das Sofa zu verlassen und endlich wieder ins Kino zu gehen! Wir wollen weiterhin Produzenten verlässliche Partner sein und auch in Zukunft neue Projekte mit finanziellem und personellem Engagement ermöglichen!
Wir fordern deshalb dringend Gespräche zur Rettung der Kino- und Verleihbranche, mit dem Ziel, neue und angemessene Modelle zu entwickeln, die es der Filmwirtschaft ermöglicht, diese noch lange nicht ausgestandene Krise zu überleben. Eines dieser Modelle kann konkret die Einführung einer der französischen Referenzförderung entsprechenden Förderung sein, welche das CNC innerhalb weniger Wochen umgesetzt hat und das Anreize für Verleiher schaffte, Filme mit großem Zuschauerpotential auch unter den derzeitigen prekären Bedingungen zu starten. Der Erfolg dieser Notfall-Referenzförderung ließ sich eindrücklich beim Vergleich der aktuellen französischen und deutschen Kino-Besucherzahlen ablesen.
Die 14 Millionen Euro aus dem Paket „Neustart Kultur“, die als Unterstützung für den Verleih Produktionen von Produktionen mit deutscher Beteiligung zugesagt wurden, sind ein erster Schritt. Jedoch ist das ausschließliche Festhalten an den althergebrachten Förderinstrumenten nicht zielführend. Es braucht darüber hinaus zusätzliche Mittel sowie eine Unterstützung in Anlehnung an das erfolgreiche französische Modell. Nur so sind wir Verleiher aktuell überhaupt in der Lage dazu, das immense Risiko von Neustarts einzugehen, und es nicht den internationalen Studios gleichzutun, die viele Filme auf 2021 verschieben.
Es geht darum, schnelle und tatsächlich wirkungsvolle Hilfen bereit zu stellen, die der gesamten Wertschöpfungskette der Branche dienen. Es darf nicht sein, dass aus Mangel an Zeit oder Kenntnis zwar gut gemeinte, aber völlig unzureichende und ineffiziente Maßnahmen umgesetzt werden.
Es ist uns allen bewusst, dass es in einer Demokratie nicht immer einfach ist, schnell die richtigen Lösungen umzusetzen. Aber gerade hier zeigt sich die Stärke und die Fachkenntnis der Verantwortlichen, die bereitgestellten Mittel, auch effektiv einzusetzen und damit die Wiederbelebung der Kinos einzuleiten und die Vielfalt der Kultur zu schützen.
Erstunterzeichner: Alamode Filmdistribution – Fabien Arséguel, Tobias Lehmann Arsenal Filmverleih – Stefan Paul Atlas Film GmbH – Uwe Schwentker barnsteiner-film – Barny Barnsteiner, Britta Wilkening Camino Filmverleih – Thomas Reisser, Marcus Machura Cine Global – Daniel Ó Dochartaigh déjà-vu film UG – Peter Stockhaus, Jutta Meier DCM Film Distribution GmbH – Dario Suter Eksystent Filmverleih – Jakob Kijas farbfilm verleih GmbH – Alexandre Dupont-Geisselmann, Reno Koppe Film Kino Text – Jürgen Lütz Filmpalette Köln oHG – Dirk Steinkühler FILMPERLEN Filmverleih – Claudia Oettrich FOUR GUYS Filmdistribution – D. Utz, M. Schwimmer, M. Rößler, E. Lluca GMfilms – Michael Höfner Grandfilm GmbH – Patrick Horn jip film &verleih – Julia Peters, Jutta Feit Kairos-Filmverleih – Wilfried Arnold Kinostar Filmverleih – Matthias Roesch, Michael Roesch, Kristian Kossow Koch Media GmbH – Moritz Peters Kurzfilm Agentur Hamburg e.V. – Alexandra Gramatke Majestic Filmverleih GmbH – Benjamin Herrmann MFA+ FilmDistribution e.K. – Christian Meinke mindjazz pictures – Holger Recktenwald Neue Visionen Filmverleih GmbH – Torsten Frehse, Sylvia Müller Nordlichter Film – Daniel Karg OFF Kinobetriebs GmbH – Christian Schmalz Pandora Film Medien GmbH – Björn Hoffmann Piffl Medien GmbH – Hans-Christian Boese PRO-FUN MEDIAFilmverleih – Marc Putman Rapid Eye Movies HE – Stephan Holl Prokino Filmverleih GmbH – Stephan Hutter Real Fiction Filmverleih e.K. – Joachim Kühn RENDEZVOUS Filmverleih und Schwarz Weiss Filmverleih – Matthias Keuthen Salzgeber & Co. Medien GmbH – Björn Koll Splendid Film GmbH – Dr. Dirk Schweitzer Tobis Film GmbH - Theo Gringel, Peter Eiff, Timm Oberwelland Weltkino Filmverleih GmbH – Dietmar Güntsche, Michael Kölmel W-Film – Stephan Winkler Wild Bunch Germany – Marc Gabizon, Christoph Liedke X Verleih AG – Leila Hamid, Martin Kochendörfer
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melodysnews · a year ago
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Delayed
Good Morning!
Delayed--a word most of us hate. Whether it’s waiting for my Amazon order, waiting for my flight,  waiting for a response to a query, waiting for the publication of my book, waiting for the cable man, waiting for the stock of toilet paper to be replenished, or waiting for an end to the coronavirus, I hate to wait. Right now I feel as if my whole world is delayed like a flight home for Mother’s Day.
In The Shape of Poetry, Peter Meinke, Florida’s Poet Laureate says, “Delayed gratification is more complicated than you thought.” He was referring to the response to a submission of a poem, but it could be one of many things today. For example in Florida, unemployed workers seeking unemployment benefits have suffered from delayed gratification, and everyone in the world is waiting for a vaccine.  
Since it poetry month, my post today deals with the delays poets deal with on a daily basis. Poets send queries to publishers. A query resembles the dreaded cover letter we used to send when applying for a job. The purpose of the query is to ask a publisher to consider publishing our poem. Usually, cover letters got responses relatively quickly. The applicant learned whether or not he would get the job. Not so with poetry. Some publishers do not respond unless they plan to publish the poem. Even if the publisher wants the poem, the poet might not hear whether the poem submitted to a publisher has or has not been accepted for months. 
According to Mr. Meinke, we are working on other poems by the time we get the response. He adds we may “barely remember this one.”
If you are planning to write and publish poetry, be prepared for delayed gratification. Don’t expect a quick response. Consider this time of waiting for the end of Covid-19 as practice for waiting to hear from an agent or publisher. I thought pausing for a response to a query was the worst wait ever, but I know better now. Putting our lives on pause waiting for the pandemic to be over is the worse delay ever. 
Stay safe. Pray for our heroes and helpers risking their lives to make the world a better place and saving our lives. Consider writing a tribute poem dedicated to one or more of our heroes. Then submit it to a publisher and wait.
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agverleih · a year ago
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Ehrenpreis der unabhängigen Filmverleiher geht an Georg Kloster
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Georg Kloster (links), Björn Hoffmann (Vorstand AG Verleih) Bild: Joscha Stracke
Ehrenpreis der unabhängigen Filmverleiher geht an Georg Kloster Der Berliner Kinobetreiber Georg Kloster hat am 25. Februar 2020 den Ehrenpreis der unabhängigen Filmverleiher vor dem Hintergrund der 70. Internationalen Filmfestspiele Berlin verliehen bekommen. Mit dem Preis ehr die AG Verleih – Verband unabhängiger Filmverleiher Personen, die sich ausdrücklich für die Interessen der unabhängigen Filmschaffenden einsetzen. Georg Kloster macht seit über 40 Jahren Filmkunstkino, er begann 1978 mit dem Yorck Kino (zusammen mit Christian Meinke, Manfred Salzgeber und Knut Steenwerth) und leitet heute zusammen mit dem AG-Kino-Vorsitzenden Christian Bräuer die Yorck Kinogruppe. Ihr jüngstes Haus DelphiLUX in Berlin war im letzten Jahr mit dem Spitzenpreis für das beste Jahresprogramm ausgezeichnet worden.
In seiner Laudatio auf Kloster bezeichnete AG-Verleih-Vorstand Björn Hoffmann Kloster, der einen entsprechenden familiären Hintergrund hat, als „Kinogärtner", er hege und pflege die Filme, er bereite den Boden für die Kinokultur und bringe sie zum Blühen.
Der Ehrenpreis der unabhängigen Filmverleiher wurde 2017 von der AG Verleih gestiftet und wird an Personen verliehen, die sich ausdrücklich für die Interessen der unabhängigen Filmschaffenden einsetzen und sich dabei besondere Verdienste erwarben. Im Jahr 2017 wurde Peter Sundarp ausgezeichnet, 2018 Marianne Menze und 2019 Michael Wiedemann. In der AG Verleih sind mehr als 30 unabhängige Filmverleih-Firmen zusammengeschlossen. Unsere Mitgliedsunternehmen zeichnen sich durch eine einzigartige nationale und internationale Programm-Vielfalt aus und repräsentieren künstlerische Qualität und kommerziellen Erfolg.
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emilyk219 · a year ago
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Advice to my Son
By Peter Meinke
The trick is, to live your days
as if each one may be your last
(for they go fast, and young men lose their lives
in strange and unimaginable ways)
but at the same time, plan long range
(for they go slow; if you survive
the shattered windshield and the bursting shell
you will arrive
at our approximation here below
of heaven or hell).
To be specific, between the peony and the rose
plant squash and spinach, turnips and tomatoes;
beauty is nectar
and nectar, in a desert, saves,
but the stomach craves stronger sustenance
than the honied vine.
Therefore, marry a pretty girl
after seeing her mother;
Show your soul to one man,
work with another;
and always serve bread with your wine.
But son, always serve wine.
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