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Essay on music

Essay/Term paper: Lo system Essay, term paper, research paper: Music

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ME Lube Oil System

Cleanliness of the lube oil is very vital in the Main Diesel Engine Lube Oil System. A strainer is a device that is usually made up of a single layer of course gauze, and a very course wire mesh. This setup is used to filter out large objects that could cause blockage or damage to the lube oil system. A filter is used to filter out much smaller particals. The filtering elements in a lube oil filter has a more complex make-up. Aboard our ship, we have self cleaning lube oil filters along with the standard lube oil filters.

The size of the cartridges in these filters usually range from 3-12 mm. Our ship has two full flow filters per engine. The plates inside of a strainer corrode and erode very easily. Special attention must be given to these plates when cleaning them. Make sure that a gap has not formed at the end of the plate. If there is a gap, rags and other particles may pass right by. If in doubt of the condition of the plate, it should be renewed. The cost of a single plate is much cheaper than the cost of cleaning out an entire clogged system.

All gasket surfaces must be checked closely to ensure a proper seal. Our ship has a high pressure lube oil system. Because of this, basket type strainers are used. Lube oil systems are equipped with a wide variety of strainers. It is important to operate these strainers at all times to prevent clogging. Aboard our ship, we have Hayward Plug-type Duplex Basket Strainers. All of these types of strainers are one way. The liquid to be strained enters to the top and filters through the bottom.

Both strainers and filters clean lube oil using a similar process. The components of the strainer element, also known as a basket, consists of a spring, a pleated perforated screen, and a handle. There is a metal to metal seal between the basket and the inlet port. The cover of the strainer applies a downward pressure on the basket which allows for a tight seal on the top of the basket. The strainer element must be cleaned periodically to avoid high pressures accross the strainer.

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Proper MIME type for fonts - Stack Overflow

@Josh: if you're serving the font through code, you want to set the "content-type" header to "font/opentype" (if you're using an OTF as in my question), but if you're simply pointing to a physical font file, it might be easier to set the MIME types in your web server. I don't know what web server you're using, so do a google search for yourserver + mime types or start a new question on SO describing your problem. – David Hedlund Nov 10 '10 at 7:33

There are a number of font formats that one can set MIME types for, on both Apache and IIS servers. I've traditionally had luck with the following:

According to the Internet Engineering Task Force who maintain the initial document regarding Multipurpose Internet Mail Extensions (MIME types) here: it says in specifics:

"It is expected that additions to the larger set of supported types can generally be accomplished by the creation of new subtypes of these initial types. In the future, more top-level types may be defined only by a standards-track extension to this standard. If another top-level type is to be used for any reason, it must be given a name starting with "X-" to indicate its non-standard status and to avoid a potential conflict with a future official name. "

As it were, and over time, additional MIME types get added as standards are created and accepted, therefor we see examples of vendor specific MIME types such as and the like.

UPDATE August 16, 2013: WOFF was formally registered at IANA on January 3, 2013 and Webkit has been updated on March 5, 2013 and browsers that are sourcing this update in their latest versions will start issuing warnings about the server MIME types with the old x-font-woff declaration. Since the warnings are only annoying I would recommend switching to the approved MIME type right away. In an ideal world, the warnings will resolve themselves in time.

UPDATE February 26, 2015: WOFF2 is now in the W3C Editor's Draft with the proposed mime-type. It should likely be submitted to IANA in the next year (possibly by end of 2016) following more recent progress timelines. As well SFNT, the scalable/spline container font format used in the backbone table reference of Google Web Fonts with their sfntly java library and is already registered as a mime type with IANA and could be added to this list as well dependent on individual need.

answered Jun 2 '12 at 17:06

Ignore the chrome warning. There is no standard MIME type for OTF fonts.

font/opentype may silence the warning, but that doesn't make it the "right" thing to do.

Arguably, you're better off making one up, e.g. with "application/x-opentype" because at least "application" is a registered content type, while "font" is not.

Update: OTF remains a problem, but WOFF grew an IANA MIME type of application/font-woff in January 2013.

Update 2: OTF has grown a MIME type: application/font-sfnt In March 2013. This type also applies to .ttf

FWIW regarding Apache 2.2 VirtualHosting and mod_mime tested on Debian Linux and OS X Leopard and Snow Leopard:

If you have a VirtualHost configuration you will want to add the types via the AddType Directive as follows at least at the bottom of the configuration as follows:

Tested against Chrome Unstable/Trunk and Safari WebKit Nightly which eliminates the mime octet-stream warnings for both the ttf and otf font types.

Note. htaccess has zero effect when dealing with VirtualHosting. If you're developing for several sites you'll be using VirtualHosting development and each configuration will need these AddType additions.

I just did some research on IANA official list. I believe the answer given here 'font/xxx' is incorrect as there is no 'font' type in the MIME standard.

Based on the RFCs and IANA, this appears to be the current state of the play as at May 2013:

These three are official and assigned by IANA:

  • svg as "image/svg+xml"
  • woff as "application/font-woff"
  • eot as "application/"

These are not not official/assigned, and so must use the 'x-' syntax:

  • ttf as "application/x-font-ttf"
  • otf as "application/x-font-opentype"

The application/font-woff appears new and maybe only official since Jan 2013. So "application/x-font-woff" might be safer/more compatible in the short term.

answered May 9 '13 at 9:36

Here is NGINX solution

Thanks to Mike Fulcher

answered Jul 10 '13 at 10:38

answered Feb 14 '13 at 15:39

Maybe this will help someone. I saw that on IIS 7 .ttf is already a known mime-type. It's configured as:

So I just added that for all the CSS font types ( .oet. svg. ttf. woff ) and IIS started serving them. Chrome dev tools also do not complain about re-interpreting the type.

answered Mar 20 '12 at 16:56

application/octet-stream is less a "known type" and more a "generic bunch of bytes". ) The browser's complaining about being served this type, because it carries no info about how the stuff should be interpreted. – cHao Jan 25 '13 at 13:52

The following can be used in the eBook space:

I would imagine that it is the same for the web.

answered Oct 23 '12 at 22:37

answered Mar 31 at 13:09

One way to silence this warning from Chrome would be to update Chrome and then make sure your mime type is one of these:

This list is per the patch found at Bug 111418 at .

The same patch demotes the message from a "Warning" to a "Log", so just upgrading Chrome to any post March-2013 version would get rid of the yellow triangle.

Since the question is about silencing a Chrome warning, and folks might be holding on to old Chrome versions for whatever reasons, I figured this was worth adding.

answered May 29 '14 at 17:14

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Sdasd - Essay by Hurry120

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Below is an essay on "Sdasd" from Anti Essays, your source for research papers, essays, and term paper examples.

Step 1. Installing MS-IME - Windows 7
1. | Open Control Panel from Start menu. |

5. | Click "Add. " of the "General" tab. |
| Do not change "Default input language" (English, in this example). |
| |

6. | Select "Japanese (Japan)"
Select "Microsoft IME" |
| |
| |
7. | Confirm "Microsoft IME".
Click OK. |
| |
| |

8. | Confirm the Language Bar. |
| The Language Bar will appear on the taskbar at the right lower side of the display
or at the right upper side of the desktop.
At this point, it is still EN (English) mode. |
In the taskbar |
Floating |

Step 2. How to Start Typing Japanese Mode - Windows 7
1. | Start your word processing software or E-mail software. |
| Here will take Windows Live Mail as an example. |
| |
2. | Click Language mode "EN" of the Language Bar
Select "Japanese". |
| |
| |

3. | Language mode "EN" will be on Japanese mode "JP". |
| |
| |
4. | Click the Input mode "A" and select "Hiragana" |
| | |
| | |
If you set "non-Unicode Programs" which is an Option Step (See Index menu),
the menu of the Language Bar is in Japanese, if you do not take this option, it is in English.
5. | This is Hiragana in put mode. |
| This is a standard input mode of Japanese language.
You can, of course, type not only Hiragana, but also Katakana and Kanji. |
| |
| You can swtich between English mode and Japanese mode by a shortcut, "SHIFT" + "ALT". |
| | | |
| | | |

Now, you are ready to type in Japanese.
Let try to type a Japanese word, "Hajimemashite".
6. | Activate Windows Live Mail.
Select Japanese font. |
| Two font faces (4 fonts) are provided as as standard fonts of Windows.
Gothic is a Sans-serif font like Arial in English font.
Mincho is a Serif font like Time New Roman.
P in MS PGothic means "Proportional font".
Here will take MS PGothic. |
| | |
If you set "non-Unicode Programs" which is an Option Step (See Index.

Dot-font: Language Culture Type

dot-font: Language Culture Type

Putting together a book about the type of the whole world is a massive task. The subject itself makes producing the book an exercise in complexity, coordination, deadline brinksmanship, and technical creativity. The result will be a tool for global communication, and if we succeed in our tasks, the effort put into getting it done will be largely invisible.

“Language Culture Type” is the name of the book, which is being published for the Association Typographique Internationale (ATypI ) by Graphis later this year (in time for the ATypI conference in Rome this September, as well as the fall publishing season). The book’s subtitle is “International Type Design in the Age of Unicode,” which reflects the attempt to incorporate all the world’s scripts into a single digital encoding system, to enable us to communicate across cultures through digital type without (we hope) any loss of detail or meaning. The heart of the book is the winning typefaces from ATypI’s first-ever type-design competition, bukva:raz!. accompanied by a wide-ranging set of essays by various type experts on different scripts and languages, and the problems and opportunities of creating digital type for them.

My working title when we began this project was “World Type” — a pretty handy label for what it was about, as well as an ironic echo of “world music.” I’ve been both editor and project manager, working in San Francisco with occasional forays to New York City. Maxim Zhukov, at the United Nations in New York, designed the book and has been both instigator and invaluable collaborator from the first to the last. John Hudson, in Vancouver, has been not only doing the hard, slogging work of typesetting and producing the pages but simultaneously serving as an erudite source of knowledge about many of the scripts and languages involved. The contributors of the essays come from various parts of the world, and the designers of the winning typefaces represent an ever wider geographical and cultural area.

Multilingual Typesetting
A project like this could never have been done, at least not in this short a time, without the very means of digital communication that we’re writing about. The showings of the winning typefaces (even when they weren’t digital fonts) have all been produced as electronic images, and sent to us either on disk or by e-mail. The texts of the essays, and all their illustrations, have likewise been sent electronically, and queries and replies about both their content and their artwork have bounced back and forth through the digital aether across at least twelve time zones. The book itself — the “camera-ready copy” that publishers like to speak of — is being produced in digital form, and will be delivered that way to the printer. We have used Adobe Acrobat extensively to send PDF files back and forth for review and approval, and to send the nearly final page proofs to Jan Wright, the indexer, in New Mexico.

Maxim Zhukov used QuarkXPress to design the book and create detailed page templates, but John Hudson has been doing the actual production in InDesign 2.0. because of its ability to handle Unicode — an absolute necessity for a book like this. John is also one of the key contributors; his essay “explores the relationship of text and type in the context of international software development, and, in particular, in the context of the Unicode character encoding standard.” (It’s the most technical essay in the book, yet remarkably clear and to the point.) Obviously, one of the biggest challenges was exactly the subject of John’s essay: ensuring that all the characters or glyphs in all of the typefaces mentioned and shown in the book, no matter what alphabet or script they come from, reproduce accurately on the page (and, during production, on the screens of everyone working on the project). As anyone who has tried something as simple as sending an accented character in an e-mail message knows, this is not easy.

Sometimes non-Latin characters in the essays didn’t show up properly in the manuscripts. Here, in Vladimir Yefimov’s essay on Peter the Great’s Cyrillic type reform, the modern Russian came through, but the archaic characters in another font appear as random characters.
To make sure the right glyph appears in the right place, we had to check the English translation against Yefimov’s original Russian text.

Posted on: April 26, 2002

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