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A commercial solid matric priming method and an osmotic priming method were used to measure seed priming responses of birdsfoot trefoil, kura clover, and sericea lespedeza. Differences were not observed using standard germination tests, but both priming methods show potential for increased germination rate (P>0.05). Conflicting results for matric and osmotic priming were found in terms of seed storage potential after priming, with matric primed seeds showing higher (P<0.05) germination after accelerated aging and osmotic primed seeds showing significant lower germination(P<0.01). Birdsfoot trefoil benefited from priming, but responses varied by priming treatment, while kura clover showed less response to both priming treatments. In a field study comparing matric primed vs. unprimed seedling emergence, matric priming effects were small and these data suggest that solid matrix priming may be unlikely to improve the field establishment of either species. Aqueous smoke solutions were also tested for effect on seed germination. Differences in final germination percent due to solution type (after exposure to liquid smoke solutions for 10- or 45-min) were not observed. Highest concentration of the 10-min solution treatment reduced (P<0.05) birdsfoot trefoil germination. Greater germination was observed only for 'Perfect Fit' kura clover treated with low or intermediate concentrations of either solution. High concentrations of 10-min smoke water increased time to 50% germination (T50) for all seeds, but some reduction in T50 occurred for kura clovers treated with low (5%) solution concentrations. The 45-min treatments had little effect on germination rates. Applying aqueous smoke solution to seeds at germination did not improve germination responses of these forage legume species. / Master of Science

<p>Validerat; 20101217 (root)</p>

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-09-28T19:52:37Z No. of bitstreams: 1 lucianadeoliveirainhan.pdf: 10066254 bytes, checksum: 82e429358b8bc970ef70d2d5e1556880 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-10-09T19:25:07Z (GMT) No. of bitstreams: 1 lucianadeoliveirainhan.pdf: 10066254 bytes, checksum: 82e429358b8bc970ef70d2d5e1556880 (MD5) / Made available in DSpace on 2017-10-09T19:25:07Z (GMT). No. of bitstreams: 1 lucianadeoliveirainhan.pdf: 10066254 bytes, checksum: 82e429358b8bc970ef70d2d5e1556880 (MD5) Previous issue date: 2017-04-19 / O trabalho propõe uma análise da produção artística desenvolvida pela artista e litógrafa mineira Lotus Lobo desde o final da década de 1960 até os dias de hoje, com matrizes de rótulos de embalagens descartadas pelas estamparias mineiras (especialmente de Juiz de Fora), em um momento de substituição de tecnologias de impressão. Destaco sua aproximação com a Pop Art — cuja produção, em geral, também dialoga com as artes gráficas ligadas ao contexto sócioindustrial —, mostrando as influências e as disparidades que impedem seu trabalho de ser meramente caracterizado como tal. Procuro refletir sobre duas direções de seu trabalho: a produção da artista plástica, por meio da apropriação das imagens dessas matrizes e de materiais de refugo industrial, como as maculaturas; e a pesquisadora que tenta manter viva a memória do design gráfico mineiro do início do século XX, seja por projetos acadêmicos ou iniciativas individuais, independentes, demonstrando a alta criatividade de sua produção artística e o lastro de suas contribuições. / This paper proposes an analysis of the artistic production developed by the artist and lithographer Lotus Lobo from the late 1960s to the present day, with matrices of packaging labels discarded by the printmakers of Minas Gerais (especially from Juiz de Fora), at a time when printing technologies were being replaced. I highlighted her proximity to Pop Art — whose works also dialogue with the graphic arts linked to the industrial context — showing the influences and the disparities that prevent her work from being characterized as Pop. I try to reflect on two directions of her work: the production of the plastic artist, through the appropriation of the images of these matrices and materials refused by the industry, as the stained printings (maculaturas); and the researcher who tries to keep alive the memory of the graphic design of Minas Gerais of the early twentieth century, either by academic projects or through independent initiatives, demonstrating the high creativity of her artistic production and the wide range of her contributions.

This work describes the rationalization process in Lotus Notes in a company that provides complete support for Lotus Notes Product for a large international company. It describes three level support and also deals with the rationalization process between the first level of support (customer service) and second level support (Lotus Notes administration). Finally, describes how to create – programming the agents in the Lotus Notes team for the second level, which will help to speed up and improve the services provided by this team.

荷塘月色餐廳商業計畫書 / Lotus Pond Vegetarian Restaurant Business Plan

Advanced composites are extremely strong, rigid, and light, even when compared with advanced metals. Advanced composites are replacing high-tech metals as the material of choice for aerospace engineering. However, the processes used to manufacture advanced composites generally lose some of the properties of the materials by their process limitations. One process that keeps the theoretically awesome qualities of the composite materials in tact is filament winding. Filament wound parts are used as rocket shells, bicycle frame tubes, drive shafts, pressure vessels, etc. Filament winding is an automated process and makes reliable parts to close tolerances. If a straight tube were to be made by all the existing composites manufacturing processes, filament wound tubes would be significantly better than any other. However, filament winding is generally limited to making straight tubes. A new process based on filament winding is proposed; one that can wind complex shapes of the same high quality as conventional filament winding. This process has achieved this by winding continuous, uncut, and aligned fibers. This process is called Lotus Filament Winding.

Orientador: Maria de Fátima Morethy Couto / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T02:09:23Z (GMT). No. of bitstreams: 1 Gorino_VitorHugo_D.pdf: 11718785 bytes, checksum: e51fc99d7027464b8bea5a8af7ad9e28 (MD5) Previous issue date: 2014 / Resumo: O presente trabalho analisa a produção litográfica de Darel Valença Lins (1924 -) e Lotus Lobo (1948 - ) das décadas de 1970 e 1980. Estes artistas desempenharam papeis de destaque na produção e no fomento da litografia artística no Brasil a partir de contextos e referenciais distintos, no Rio de Janeiro e em Minas Gerais, respectivamente. Suas produções autorais apresentam novas direções ao passo que incorporam imagens apropriadas em suas gravuras e, ao mesmo tempo trabalham com novas soluções processuais para as impressões, de forma que suas obras enquadrem-se dentro do grupo de artistas que investigam a gravura como meio expressivo ambivalente, caracterizado pela reprodução e pela multiplicação da imagem. Suas litografias se apresentam de tal forma, que reajustam e recompõem as imagens apropriadas recodificando-as, gerando uma nova construção na qual o registro original não mais as representa, mas também não se apaga por completo, semelhantemente ao que fazem os processos cognitivos de memória / Abstract: This work analyses the artwork of Darel Valença Lins (1924 -) and Lotus Lobo (1948- ) through the 1970's and 1980's. These artists played top roles in the artistic application and teaching of the lithographic printing process in Brazil, specifically in Rio de Janeiro and Minas Gerais respectively. Their personal work show new artistic investigation, placing them among the group of artists that investigate their medium technically and conceptually / Doutorado / Artes Visuais / Doutor em Artes Visuais

Radio broadcasting is usually classified as either a public broadcasting service or as being commercially driven. In the South African context, the concept of community radio has further complicated the definition of a public broadcasting service. While profit motivation and niche marketing characterize a radio driven by commercial means, community radio is predominantly non-profit oriented, directed towards a particular community. A public broadcasting service is, amongst other elements, typified as being geographically accessible to all and of paying particular attention to minority groups. Lotus FM, a radio station that came into existence on 16 January 1983, for the South African Indian community, describes itself as a "national public service-cum-commercial broadcaster with community responsibility". The South African Indian community, a minority group within the broader South African population, comprises of five language groups (Hindi, Gujarati, Urdu, Tamil and Telegu) and three religious groupings (Hinduism, Islam and Christianity). This research aims to explore the feasibility with which Lotus FM is accommodating the conflicting interests of being a melange of all three forms of broadcasting and reflecting it via its programmes. / Thesis (M.A.)-University of Natal, Durban, 2001.