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Rack system construction details:

In detail the 6HU rack system is made of the following components: (1) front rail version 1 (with lip), with threaded inserts (for module mounting) (2) front rail version 1 (with lip), with slide nuts (for rear covers mounting) (3) front rail version 2 (without lip), with slide nuts (for bus board mounting) (4) front rail version 2 (without lip), for increasing stability only (5) side plate (6) 19" mounting flange (x) top and bottom cover (not shown in the picture)

A detailed description of the A-100 frame construction is available as pdf document A100G6_e.pdf . Pay attention that this is an internal technical document suitable for qualified personnel or specialists only who are able to ensure the electrical safety of the final construction. On no account beginners or laymans are allowed to assemble frames on the basis of this document. D angerous mains voltage 115V / 230V. Danger to life !

In each 6HU frame there are two system bus boards (one for each section), to each of which up to 14 modules can be connected, using ribbon cable. The bus bar serves to supply power to the modules, and also to send control voltages etc. to some of the modules. The 3HU frame is half the 6HU (only one bus board).

The A-100 standard power supply produces voltages of +12 V and -12 V and can put out a maximum current of 1200 mA . (the old version of the power supply only 650 mA). In setting up a modular system, make sure that the total current required by all the modules doesn’t exceed this maximum (you will find the current for each module at the module description). If it does, then a second power supply (see Amazing Price Sale Online Outlet Original Made amp; Crafted鈩Twig II High Waist Ankle Slim Jeans Pipeline Blue LEVIS MADE AND CRAFTED Discount Manchester Great Sale Professional Discount Codes Shopping Online 8xL2n0
) will need to be installed (at position (4) fig.1). As a rule, though, one standard power supply should be sufficient for a rack system. Additionally a +5V power supply may be installed at the second back plane (position 4 at fig. 1) if a +5V power supply is required (some modules need +5V too, e.g. A-113, A-190, A-191). Alternatively the +5V low cost adapter can be installed if not more than 100 mA are required at +5V and there is a corresponding current reserve at +12V (the +5V low cost adapter takes the current from +12V). You will find a remark at the module description if the module requires +5V. For details regarding +5V power supply or +5V low cost adapter look at A-100 accessories .

If you want to run only one or a few modules the Vince Coin Pocket Chino Pants 2018 Unisex Sale Online Fake For Sale Clearance Order Free Shipping Deals With Paypal For Sale zZHa5
can be used instead of the A-100 standard power supply (see A-100 accessories ). It supplies max. [email protected]+12V/-12V and additionally [email protected]+5V. The A-100 Miniature Power Supply is also available built into the A-100 Miniature Case . If this is not used the customer has to find himself a suitable mechanical solution for installing the modules. But as no mains voltage appears at the miniature power supply there is no danger to life (an AC adapter with 9V AC output is used).

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The Anticapitalist Bodybuilder

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This weekend's Arnold Sports Festival showed that many seek in bodybuilding what they can't find in their jobs.

The 2015 Arnold Sports Festival. James Yeo / Flickr


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For Bastille Day, print subscriptions to Jacobin are just $17.89 if you follow this link .

When I was in high school, my mother came home one day furious that I turned down a job at the local retail store so I could lift weights instead. I told her that the job sucked and paid next to nothing. She called me lazy, and said I didn’t know the value of hard work. With protein shaker in hand, I declared that the work I did in the gym was harder and more valuable to me than any job.

My antipathy for paid labor and love of physically laboring with weights might seem idiosyncratic to some, but I wasn’t alone. Serious bodybuilders often put their personal pursuit of strength, size, and aesthetics above more material concerns like money.

This pursuit was on display this past weekend at one of the most popular events in bodybuilding: the Arnold Sports Weekend , a four-day event where bodybuilders from around the world come to train, pose, cheer each other on, and stuff their gym bags with free samples from the biggest supplement companies in the industry. The discourse of herculean labor at the Columbus Convention Center has died down and the bodybuilders have gone home, but it’s worth revisiting bodybuilding’s roots in widespread concerns over capitalist labor at the end of the nineteenth century and, more importantly, why these concerns matter today.

At the turn of the century, looser charter laws, widespread mergers and acquisitions, and evolutions in manufacturing and transportation transformed many American businesses in fields like steel and sugar into giant conglomerates. This growth created millions of new positions in advertising, accounting, sales, public relations, and other white-collar fields, and fueled a wave of migration to the cities by Americans in search of better lives through wage and salaried work.

However, these bureaucracies and their seemingly benign forms of labor came with their own problems. Taylorist-style deskilling and the separation of mental tasks from physical tasks left a large segment of the male workforce performing sedentary labor. For many men, the promise of a better life in the city was laden with the new problems of urban work: mental exhaustion, a feeling of separation from one’s body, boredom, and a lack of freedom in one’s work.

The once pervasive artisanal, craft, and agricultural forms of labor idealized by popular turn-of-the-century authors and orators like Walt Whitman and William James became nostalgic objects of the past for a new and predominantly male middle-class workforce.

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Throughout its history, jazz has been revitalized with a continual evolution of style, fresh transformations in expression, bold leaps into the free improvisational sphere of the unknown and most importantly the arrival of young artists who, while steeped in the past, have an eye to the future of the idiom. Jazz aficionados welcome the dawning of the next generations of talented musicians who boldly stride into progressive territory. Among the most important young jazz stars in that vein is vibraphonist Warren Wolf , who delivers his remarkable sophomore album, Wolfgang , on Mack Avenue Records. Wolf, a multi-instrumentalist who has also honed his chops on drums and piano since age three, is also following in the footsteps of vibes masters Bobby Hutcherson and Stefon Harris by becoming a member of the SFJazz Collective (both of whom precede him in the vibes chair).

Warren Wolf Wolfgang

Wolfgang , set for an August 20 release, features two different three-man rhythm sections (pianist Benny Green, bassist Christian McBride and drummer Lewis Nash; and pianist Aaron Goldberg, bassist Kris Funn and drummer Billy Williams, Jr.), as well as two noteworthy duo pieces with pianist/label-mate Aaron Diehl. Wolf and Diehl are both building their careers as young (each under age 35) musicians keeping the jazz tradition alive.

Comprising nine tunes (six of which are originals), Wolfgang spotlights Wolf taking a different, more laid-back take than his volcanic eponymous debut album on Mack Avenue. “The last record was a means of introducing myself as a leader,” says the 33-year-old Baltimore-based vibraphonist. “This time I set out to showcase my writing skills with compositions that have melodies people can remember.”

On his first album, which was produced by mentor/label-mate McBride (who Wolf has been performing with since 2007 after the pair met at Jazz Aspen seven years before that), Wolf placed himself in the context of a quintet and sextet (with saxophonist Tim Green and, on two tracks, trumpeter Jeremy Pelt). This time out he largely focuses on the quartet setting. “I wanted to display the beauty of the vibes,” he says. “In a quintet, you’re limited. With a quartet, you can hear me more. A lot of times the vibes is played in support of others. I’m showing here that I can hold the ball by myself.” Wolfgang sets out to showcase Wolf’s classical and blues influences, as well as his compositions.

Wolfgang opens with the vibraphonist leading his own home-base band (Fun and Williams with Goldberg sitting in as a guest) into “Sunrise,” with Goldberg and Williams making predawn statements, then develops into the relaxed aurora with Wolf joining the group. The piece develops into a swinging gem with lyrical vibes lines. With the same band, Wolf speeds into the hard-burning swinger “Grand Central,” which takes a frenetic pace with mad dashes of movement: a wild chase, a crushing push. “Actually, this originally had another title which we decided not to use,” says Wolf. “But I was performing it at Dizzy’s Club at Jazz at Lincoln Center, and a guy came up after and said that reminded him of being at Grand Central Station at rush hour. So, that’s the perfect title.”

John Woolfolk

John Woolfolk is a reporter for the Bay Area News Group, based at The Mercury News. A native of New Orleans, he grew up near San Jose. He is a graduate of the UC Berkeley School of Journalism and has been a journalist since 1990, covering cities, counties, law enforcement, courts and other general news. He also has worked as an editor since 2013.
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