Design method of blasthole charge structure based on lithology distribution

The density of geological exploration boreholes is one of the main bases for blasthole charge structure design. Due to the low density of geological exploration boreholes, it is impossible to obtain the blast hole rock formations' distribution accurately. With the development and application of intelligent drilling rigs, the lithology distribution data of the blasthole can be accurately obtained, and a blasthole charge structure design method based on the lithology distribution is proposed. The blasthole lithology data collected by the intelligent drilling rig is divided into 7 categories according to the rock hardness, and the adjacent strata with similar lithology are combined and divided into two groups of soft rocks and hard rocks. According to the rock stratum grouping data of the blasthole and the unit explosive consumption of each type of lithology, the explosive amount and charge length required for the soft rock group and the hard rock group can be calculated, respectively. Finally, the blasthole charge structure is designed according to the thickness and charge position of the hard rocks. With the C++ programming language, this method is realized and applied in the Shengli Open-pit Coal Mine of Inner Mongolia Autonomous Region of China. The application results show that, compared with the traditional hole charging structure design method, this method can realize accurate segmented charging of the hole, improve the blasting effect and the degree of rock fragmentation, and reduce the blasting cost.

Descriptive Epidemiology From the Research in Osteochondritis Dissecans of the Knee (ROCK) Prospective Cohort

Background: Osteochondritis dissecans (OCD) occurs most commonly in the knees of young individuals. This condition is known to cause pain and discomfort in the knee and can lead to disability and early knee osteoarthritis. The cause is not well understood, and treatment plans are not well delineated. The Research in Osteochondritis Dissecans of the Knee (ROCK) group established a multicenter, prospective cohort to better understand this disease. Purpose: To provide a baseline report of the ROCK multicenter prospective cohort and present a descriptive analysis of baseline data for patient characteristics, lesion characteristics, and clinical findings of the first 1000 cases enrolled into the prospective cohort. Study Design: Cross-sectional study; Level of evidence, 3. Methods: Patients were recruited from centers throughout the United States. Baseline data were obtained for patient characteristics, sports participation, patient-reported measures of functional capabilities and limitations, physical examination, diagnostic imaging results, and initial treatment plan. Descriptive statistics were completed for all outcomes of interest. Results: As of November 2020, a total of 27 orthopaedic surgeons from 17 institutions had enrolled 1004 knees with OCD, representing 903 patients (68.9% males; median age, 13.1 years; range, 6.3-25.4 years), into the prospective cohort. Lesions were located on the medial femoral condyle (66.2%), lateral femoral condyle (18.1%), trochlea (9.5%), patella (6.0%), and tibial plateau (0.2%). Most cases involved multisport athletes (68.1%), with the most common primary sport being basketball for males (27.3% of cases) and soccer for females (27.6% of cases). The median Pediatric International Knee Documentation Committee (Pedi-IKCD) score was 59.9 (IQR, 45.6-73.9), and the median Pediatric Functional Activity Brief Scale (Pedi-FABS) score was 21.0 (IQR, 5.0-28.0). Initial treatments were surgical intervention (55.4%) and activity restriction (44.0%). When surgery was performed, surgeons deemed the lesion to be stable at intraoperative assessment in 48.1% of cases. Conclusion: The multicenter ROCK group has been able to enroll the largest knee OCD cohort to date. This information is being used to further understand the pathology of OCD, including its cause, associated comorbidities, and initial presentation and symptoms. The cohort having been established is now being followed longitudinally to better define and elucidate the best treatment algorithms based on these presenting signs and symptoms.

Performance as Social Resistance: Pussy Riot as a Feminist Avant-garde

This article describes the short but remarkable sociopolitical life of the Russian rock group Pussy Riot. The group became famous in 2012 not only for the political content of its performances but for its transgressive performativity: its violation of established public settings and its creation of disturbing anti-authoritarianism images of today’s official Russia. The analysis aims to establish Pussy Riot as part of an avant-garde movement and as a radicalization of the very idea of the avant-garde against the familiarity of the public aspect of everyday life. Public ‘normalcy’ reveals itself to be complicit in that what should be criticized is instead taken for granted, and legitimized. Pussy Riot is a new art avant-garde in terms of both how it relates to activism, social justice, feminism, and art, and to the general public, not only to the art world.

A INTERPRETAÇÃO DE UMA ESTROFE DA CANÇÃO “BREATHE”, DO U2, COMO UMA EXPERIÊNCIA RELIGIOSA E EM BREVE DIREÇÃO À DOUTRINA ESPÍRITA

The study aims to consider one of the stanzas of the song “Breathe”, from the Irish rock group U2, and, overcoming the simple delight and the commonly visible in the music pop scene, make out an analysis and interpretation according to the Spiritist doctrine, especially in one of its fundamentals: the reincarnation.

PRECEDENT PHENOMENA IN RUSSIAN ROCK POETRY: TYPOLOGY AND SPECIFICS OF THEIR USAGE (ON THE MATERIAL OF THE SONG’S TEXTS BY N. A. O’SHEA)

Введение. Рассматриваются типология и функциональные возможности прецедентных феноменов в песенных текстах автора Н. А. О’Шей – лидера фолк-рок-группы «Мельница». Цель исследования – выявление типов прецедентных феноменов, используемых в песенных текстах Н. А. О’Шей, и анализ особенностей их функционирования. Материал и методы. Материалом исследования служат песенные тексты, автором которых является Н. А. О’Шей – лично или в соавторстве. Источником фактического материала являются альбомы рок-группы «Мельница» разных лет. Эмпирическая база исследования сформирована с помощью приема сплошной выборки. В ходе изучения используются описательный метод и метод контекстуального анализа. Результаты и обсуждение. В анализируемых песенных текстах Н. А. О’Шей использует прецедентные феномены разных типов. Частотными являются прецедентные имена – имена собственные мифологических существ (скандинавское божество Один), исторических лиц (полководец Тамерлан, музыканты Фредди Меркьюри и Элвис Пресли, писатель и летчик А. де Сент-Экзюпери) и литературных персонажей (Тристан и Изольда). Обращение к тем или иным прецедентным именам может определяться тематикой, композицией или авторской концепцией песни или альбома, интересом автора к определенной личности. Прецедентные высказывания являются частью культурного опыта поэтессы; она органично включает цитаты из разных источников (в их исходном или трансформированном виде) в состав песенных текстов, заставляет их работать на реализацию той или иной идеи. Прецедентные тексты служат основой для создания авторской легенды. Использование отдельных авторских названий порождает у слушателей различные ассоциации, придает композициям культурную значимость. Заключение. Прецедентные феномены выполняют в песенных текстах Н. А. О’Шей две основные функции: текстообразующую и смыслопорождающую. Introduction. The article considers typology and functional potential of precedent phenomena in song`s texts by N.A. O`Shea – a leader of the folk-rock group «Melnitsa». Aim and objectives. The aim of research is the identification of types of precedent phenomena used in the song`s texts by N. A. O’Shea and analysis of their functional features. The object of research is precedent phenomena of different types. Material and methods. Material of research is the song texts of which N.A. O`Shea is the author (personally or coauthored). The source of factual material is the albums of the rock group “Melnitsa” of different years. Empirical base of research is a result of usage of continuous sampling technique. During the study the author of the article the descriptive method and method of contextual analysis. Results and discussion. In the analysed texts N. A. O’Shea uses precedent phenomena of different types. The precedent names are frequency. They represent proper nouns of mythological creature (Scandinavian deity Odin), historical persons (warlord Tamerlane, musicians Freddy Mercury and Elvis Presley, writer and pilot A. de Saint-Exupéry) and literary characters (Tristan and Isolde). Such factors as a theme of the compositions or concept of the song or album, author`s interest in certain personality and respect for one’s dictate appeal to one or another precedent phenomenon. Precedent statements are the parts of cultural experience of poetess, she organically incorporates quotes from different sources (in their original form or transformed) in the song texts, makes them work for implementation of author`s idea. Precedent texts are the basis for creation of author`s legend. Some precedent titles induce particular associations by listeners; give cultural significance to the compositions. Conclusion. Precedent phenomena have two main functions in the song texts authorship of N. A. O’Shea: a function of creation of text modeling and meaning-forming function.

Electronic Music

This essay contends that the primary philosophical question posed by electronic music has been one of ontology. Musicians and listeners derive theories about electronic music and its ontology, rendering electronic music an especially self-reflexive art form. Philosophical and aesthetic treatments have attempted to identify that which distinguishes electronic from non-electronic music. It argues that the philosophy of electronic music needs to be updated to reflect new realities in electronic music as well as music at large. Examples drawn from drone music, Scott Walker and Sunn O))), and psychedelic rock group Acid Mothers Temple demonstrate that the distinctions between electronic music and non-electronic music have been blurred, if not effaced altogether. In this new soundscape, the updated ontological questions will have to do with listening, history, and genre.

Outro: A New Way to Pay Old Debts

The work of contemporary musicians helps explain the significance and legacy of early American punk and the world in which it was created. This conclusion looks first at the continued contradictions and paradoxes of the blues’ central role in punk, through the music of Harry Pussy, This Moment in Black History, and others. The chapter then considers the ways in which groups such as Downtown Boys use a variety of musical approaches to establish female and Latinx punk lineages that intersect or run parallel to taken-for-granted narratives. Then the chapter considers the paradoxes of punk history and the forces of nostalgia through a consideration of the story of Death, an unknown Black rock group from mid-1970s Detroit with newfound success in the 2000s, as well as the diverse styles of contemporary groups such as Soft Pink Truth and Show Me the Body.

Assessment of Landslide Susceptibility Based on Multiresolution Image Segmentation and Geological Factor Ratings

Evaluating the susceptibility of regional landslides is one of the core steps in spatial landslide prediction. Starting from multiresolution image segmentation and object-oriented classification theory, this paper uses the four parameters of entropy, energy, correlation, and contrast from remote-sensing images in the Zigui–Badong section of Three Gorges Reservoir as image texture factors; the original image data for the study area were divided into 2279 objects after segmentation. According to the various indicators of the existing historical landslide database in the Three Gorges Reservoir area, combined with the classification processing steps for different types of multistructured data, the relevant geological evaluation factors, including the slope gradient, slope structure, and engineering rock group, were rated based on expert experience. From the perspective of the object-oriented segmentation of multiresolution images and geological factor rating classification, the C5.0 decision tree susceptibility classification model was constructed for the prediction of four types of landslide susceptibility units in the Zigui–Badong section. The mapping results show that the engineering rock group of a high-susceptibility unit usually develops in soft rock or soft–hard interphase rock groups, and the slope is between 15°–30°. The model results show that the average accuracy is 91.64%, and the kappa coefficients are 0.84 and 0.51, indicating that the C5.0 decision tree algorithm provides good accuracy and can clearly divide landslide susceptibility levels for a specific area, respectively. This landslide susceptibility classification, based on multiresolution image segmentation and geological factor classification, has potential applicability.

KISS: Jewishness, hard rock and the Holocaust

KISS was a hard rock group, one of the most successful during the second half of the 1970s and early 1980s. The group’s two founding members, Gene Simmons and Paul Stanley, were both Jewish. Indeed, both were the sons of Holocaust survivors. This article examines the impact of Simmons’s and Stanley’s Jewishness on KISS as a rock group and on its success. One of the most obvious impacts was the drive to succeed which Simmons and Stanley shared. Simmons writes about wanting power, Stanley that he wanted respect. As children of survivors they wanted safety. During much of the 1970s, the Holocaust was not yet publicly acknowledged. However, its trauma is evident in, for example, the stage characters that Simmons and Stanley adopted. First, and most obviously, the disguise which hid their Jewishness but, at the same time, Simmons’s creation of the Demon and Stanley’s Starchild both in different ways acting out their inherited Holocaust trauma. This article addresses the many ways that Simmons’s and Stanley’s Jewishness, as filtered through the inherited trauma of the Holocaust, impacted on the image and music of KISS.

FUNCTIONAL ASPECTS OF INTERTEXTEM ‘LOST PARADISE’ IN POETIC DISCOURSE OF THE XX–XXI CENTURY (BASED ON RUSSIAN ROCK POETRY)

The article is centered on the study of poetic phraseology in Russian rock poetry exemplified in songs by famous rock musicians such as S. Namin from the rock group «Tsvety», V. Tsoy from the rock group «Kino», Kipelov from the rock group «Aria», V. Butusov from the rock group «Nautilus Pompilius», S. Surganova from the rock group «Surganova and Orkestr» and others. The purpose of this article is to analyze peculiar qualities of reminiscence quote ‘lost paradise’ in the poetic discourse of the XX–XXI century in lyric texts of famous rock bands. The objectives of the study are to examine the features of the phraseological unit ‘lost paradise’ in the individual author’s use in the poetic works in which this phraseological unit receives a clearly-figurative embodiment, as well as to determine the features of verbalization of the concept of happiness through this phraseological unit. The main methods applied in the research are a philological analysis of the text and a structural-semantic method of analyzing language units. The study of the phraseological unit ‘lost paradise’ within the framework of poetic discourse resulted in the conclusion that poetic phrase ‘lost paradise’ is often used in poetic discourses among rock performers of the past and present centuries, verbalizing the concept of happiness in different ways. Phraseologiсal units with a ‘paradise’ component form a phraseological field, which includes such phraseological units as lost paradise, earthly paradise, heavenly paradise, from paradise to paradise, an unknown paradise. These phraseological units come into various systemic connections, i.e. synonymous, antonymic, associative, which allows us to represent the axiological category of happiness in different ways. The axiological connotation of these phraseological units, which arises as a result of revealing the associative-figurative basis of phraseological units, inclusion in the artistic-figurative system, building new contextual connections and relationships, also allows you to understand the author's value guidelines.