DOCSLIB.ORG

Decision Analysis Guide for Corrugated Metal Culvert Rehabilitation and Replacement Using Trenchless Technology Acknowledgments

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Decision Analysis Guide for Corrugated Metal Culvert Rehabilitation and Replacement Using Trenchless Technology Acknowledgments EST SERVI FOR CE D E E P R A U RTMENT OF AGRICU L T United States Department of Agriculture Forest Service National Technology & Development Program • 7700—Transportation Mgmt • 1177 1810—SDTDC • December 2012 Decision Analysis Guide for Corrugated Metal Culvert Rehabilitation and Replacement Using Trenchless Technology Acknowledgments We (the authors) would like to thank Forest Service employees Kim Clarkin, James Scott Groenier, and Alan Yamada; Erez Allouche (Louisiana Tech University, Trenchless Technology Center); Bart Bergendahl (Federal Highway Administration), and Bridget Donaldson (Virginia Department of Transportation) for their valuable contributions; Gordon Keller (Forest Service), Roger Surdahl, Rich Barrows, Eric Brown, and Ben Rivers (Federal Highways) for their very helpful technical reviews; and Susan Clements, Janie Ybarra, and others at San Dimas Technology and Development Center for the editing and layout of this guide. This publication is the result of a partnership between the Forest Service Technology and Development Program and the U.S. Department of Transportation, Federal Highway Administration, Coordinated Federal Lands Highway Technology Improvement Program. Keywords: trenchless technology, corrugated metal pipe, corrugated steel pipe, culverts, culvert replacement, culvert rehabilitation, culvert repair techniques, culvert corrosion, culvert deterioration, sliplining, pipe splitting, pipe lining, cured-in-place pipe (CIPP) lining, pipe bursting, lack of capacity, deficient structural capacity, inadequate bedding support. Non-Discrimination Policy The U.S. Department of Agriculture (USDA) prohibits discrimination against its customers, employees, and applicants for employment on the bases of race, color, national origin, age, disability, sex, gender identity, religion, reprisal, and where applicable, political beliefs, marital status, familial or parental status, sexual orientation, or all or part of an individual’s income is derived from any public assistance program, or protected genetic information in employment or in any program or activity conducted or funded by the Department. (Not all prohibited bases will apply to all programs and/or employment activities.) To File an Employment Complaint If you wish to file an employment complaint, you must contact your agency’s EEO Counselor (click the hyperlink for list of EEO Counselors) within 45 days of the date of the alleged discriminatory act, event, or in the case of a personnel action. Additional information can be found online at http://www.ascr.usda.gov/complaint_filing_file.html. To File a Program Complaint If you wish to file a Civil Rights program complaint of discrimination, complete the USDA Program Discrimination form, found online at http:// www.ascr.usda.gov/complaint_filing_cust.html, or at any USDA office, or call (866) 632-9992 to request the form. You may also write a letter containing all of the information requested in the form. Send your completed complaint form or letter to us by mail at U.S. Department of Agriculture, Director, Office of Adjudication, 1400 Independence avenue, S.W., Washington, D.C. 20250-9410, by fax (202) 690-7442 or email at [email protected]. Persons with Disabilities Individuals who are deaf, hard of hearing or have speech disabilities and you wish to file either an EEO or program complaint please contact USDA through the Federal Relay Service at (800) 877-8339 or (800) 845-6136 (in Spanish). Persons with disabilities who wish to file a program complaint, please see information above on how to contact us by mail directly or by email. If you require alternative means of communication for program information (e.g., Braille, large print, audiotape, etc.) please contact USDA’s TARGET Center at (202) 720-2600 (voice and TDD). Forest Service Disclaimer The U.S. Department of Agriculture (USDA) prohibits discrimination in all its programs and activities on the basis of race, color, national origin, age, disability, and where applicable, sex, marital status, familial status, parental status, religion, sexual orientation, genetic information, political beliefs, reprisal, or because all or part of an individual’s income is derived from any public assistance program. (Not all prohibited bases apply to all programs.) Persons with disabilities who require alternative means for communication of program information (Braille, large print, audiotape, etc.) should contact USDA’s TARGET Center at (202) 720-2600 (voice and TDD). To file a complaint of discrimination, write USDA, Director, Office of Civil Rights, 1400 Independence Avenue, S.W., Washington, D.C. 20250-9410, or call (800) 795-3272 (voice) or (202) 720-6382 (TDD). USDA is an equal opportunity provider and employer. Decision Analysis Guide for Corrugated Metal Culvert Rehabilitation and Replacement Using Trenchless Technology John C. Matthews, Ph.D., Research Associate, Trenchless Technology Center, Louisiana Tech University, Ruston, Louisiana Jadranka Simicevic, Research Engineer, Trenchless Technology Center, Louisiana Tech University, Ruston, Louisiana Maureen A. Kestler, Civil Engineer, San Dimas Technology & Development Center Rob Piehl, Geotechnical Engineer, Siuslaw/Willamette and Mt. Hood National Forests, Oregon (retired) Acknowledgments ...........................................................................................................Inside Cover Abstract................. ...........................................................................................................................vii 1 INTRODUCTION ........................................................................................................................... 1 1.1 General Overview .............................................................................................................. 1 1.2 Forest Service ................................................................................................................... 1 1.3 Guidelines ......................................................................................................................... 3 1.4 Aquatic Organism Passage ............................................................................................... 3 1.5 Outline .............................................................................................................................. 5 2 DECISIONMAKING PROCESS —Problem Description Flowcharts .............................................. 7 2.1 Issue 1: Culvert Lacks Structural Capacity ........................................................................ 8 2.2 Issue 2: Culvert Lacks Hydraulic Capacity ........................................................................ 9 2.3 Issue 3: Culvert Has Bedding Deficiencies ....................................................................... 9 3 CORRUGATED METAL PIPE PROBLEMS, CONDITIONS, DEFECTS— Issue and Condition Descriptions ............................................................................................11 3.1 Culvert Lacks Structural Capacity ....................................................................................11 3.1.1 Structural Problem in the Culvert Joint ................................................................11 3.1.2 Structural Problem in the Culvert Wall .................................................................11 3.1.3 Culvert Is Collapsed ............................................................................................ 16 3.2 Culvert Requires Increased Capacity .............................................................................. 17 3.3 Culvert Has Bedding Deficiencies ................................................................................... 17 3.3.1 Surface Depressions ........................................................................................... 17 3.3.2 Voids Around the Culvert .................................................................................... 18 3.3.3 Undermining ........................................................................................................ 18 4 TRENCHLESS TECHNOLOGIES FOR CMPs—Rehabilitation of Corrugated Metal Culverts ........................................................................................................................ 21 4.1 Sliplining of Corrugated Metal Culverts ........................................................................... 26 4.1.1 Sliplining With Polyethylene ................................................................................ 26 4.1.2 Sliplining With Reinforced Concrete Pipe ........................................................... 29 4.1.3 Sliplining With Corrugated Metal Pipe or Pipe Arch ............................................ 29 4.1.4 Invert Sliplining .................................................................................................... 30 4.2 Cured-in-Place Pipe Lining .............................................................................................. 31 4.3 Fold-and-Form Lining ...................................................................................................... 32 Decision Analysis Guide for Corrugated Metal Culvert Rehabilitation and Replacement—Table of Contents 4.4 Spiral-Wound Lining ........................................................................................................ 34 4.5 Sprayed Linings ............................................................................................................... 35 4.5.1 Cement Mortar Lining ........................................................................................
Load more

Recommended publications
  • The Meshuggah Quartet
    The Meshuggah Quartet Applying Meshuggah's composition techniques to a quartet. Charley Rose jazz saxophone, MA Conservatorium van Amsterdam, 2013 Advisor: Derek Johnson Research coordinator: Walter van de Leur NON-PLAGIARISM STATEMENT I declare 1. that I understand that plagiarism refers to representing somebody else’s words or ideas as one’s own; 2. that apart from properly referenced quotations, the enclosed text and transcriptions are fully my own work and contain no plagiarism; 3. that I have used no other sources or resources than those clearly referenced in my text; 4. that I have not submitted my text previously for any other degree or course. Name: Rose Charley Place: Amsterdam Date: 25/02/2013 Signature: Acknowledgment I would like to thank Derek Johnson for his enriching lessons and all the incredibly precise material he provided to help this project forward. I would like to thank Matis Cudars, Pat Cleaver and Andris Buikis for their talent, their patience and enthusiasm throughout the elaboration of the quartet. Of course I would like to thank the family and particularly my mother and the group of the “Four” for their support. And last but not least, Iwould like to thank Walter van de Leur and the Conservatorium van Amsterdam for accepting this project as a master research and Open Office, open source productivity software suite available on line at http://www.openoffice.org/, with which has been conceived this research. Introduction . 1 1 Objectives and methodology . .2 2 Analysis of the transcriptions . .3 2.1 Complete analysis of Stengah . .3 2.1.1 Riffs .
    [Show full text]
  • Order Form Full
    JAZZ ARTIST TITLE LABEL RETAIL ADDERLEY, CANNONBALL SOMETHIN' ELSE BLUE NOTE RM112.00 ARMSTRONG, LOUIS LOUIS ARMSTRONG PLAYS W.C. HANDY PURE PLEASURE RM188.00 ARMSTRONG, LOUIS & DUKE ELLINGTON THE GREAT REUNION (180 GR) PARLOPHONE RM124.00 AYLER, ALBERT LIVE IN FRANCE JULY 25, 1970 B13 RM136.00 BAKER, CHET DAYBREAK (180 GR) STEEPLECHASE RM139.00 BAKER, CHET IT COULD HAPPEN TO YOU RIVERSIDE RM119.00 BAKER, CHET SINGS & STRINGS VINYL PASSION RM146.00 BAKER, CHET THE LYRICAL TRUMPET OF CHET JAZZ WAX RM134.00 BAKER, CHET WITH STRINGS (180 GR) MUSIC ON VINYL RM155.00 BERRY, OVERTON T.O.B.E. + LIVE AT THE DOUBLET LIGHT 1/T ATTIC RM124.00 BIG BAD VOODOO DADDY BIG BAD VOODOO DADDY (PURPLE VINYL) LONESTAR RECORDS RM115.00 BLAKEY, ART 3 BLIND MICE UNITED ARTISTS RM95.00 BROETZMANN, PETER FULL BLAST JAZZWERKSTATT RM95.00 BRUBECK, DAVE THE ESSENTIAL DAVE BRUBECK COLUMBIA RM146.00 BRUBECK, DAVE - OCTET DAVE BRUBECK OCTET FANTASY RM119.00 BRUBECK, DAVE - QUARTET BRUBECK TIME DOXY RM125.00 BRUUT! MAD PACK (180 GR WHITE) MUSIC ON VINYL RM149.00 BUCKSHOT LEFONQUE MUSIC EVOLUTION MUSIC ON VINYL RM147.00 BURRELL, KENNY MIDNIGHT BLUE (MONO) (200 GR) CLASSIC RECORDS RM147.00 BURRELL, KENNY WEAVER OF DREAMS (180 GR) WAX TIME RM138.00 BYRD, DONALD BLACK BYRD BLUE NOTE RM112.00 CHERRY, DON MU (FIRST PART) (180 GR) BYG ACTUEL RM95.00 CLAYTON, BUCK HOW HI THE FI PURE PLEASURE RM188.00 COLE, NAT KING PENTHOUSE SERENADE PURE PLEASURE RM157.00 COLEMAN, ORNETTE AT THE TOWN HALL, DECEMBER 1962 WAX LOVE RM107.00 COLTRANE, ALICE JOURNEY IN SATCHIDANANDA (180 GR) IMPULSE
    [Show full text]
  • Pitman, Sophie; Smith, Pamela ; Uchacz, Tianna; Taape, Tillmann; Debuiche, Colin the Matter of Ephemeral Art: Craft, Spectacle, and Power in Early Modern Europe
    This is an electronic reprint of the original article. This reprint may differ from the original in pagination and typographic detail. Pitman, Sophie; Smith, Pamela ; Uchacz, Tianna; Taape, Tillmann; Debuiche, Colin The Matter of Ephemeral Art: Craft, spectacle, and power in early modern Europe Published in: RENAISSANCE QUARTERLY DOI: 10.1017/rqx.2019.496 Published: 01/01/2020 Document Version Publisher's PDF, also known as Version of record Please cite the original version: Pitman, S., Smith, P., Uchacz, T., Taape, T., & Debuiche, C. (2020). The Matter of Ephemeral Art: Craft, spectacle, and power in early modern Europe. RENAISSANCE QUARTERLY, 73(1), 78-131. [0034433819004962]. https://doi.org/10.1017/rqx.2019.496 This material is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the repository collections is not permitted, except that material may be duplicated by you for your research use or educational purposes in electronic or print form. You must obtain permission for any other use. Electronic or print copies may not be offered, whether for sale or otherwise to anyone who is not an authorised user. Powered by TCPDF (www.tcpdf.org) The Matter of Ephemeral Art: Craft, Spectacle, and Power in Early Modern Europe PAMELA H. SMITH, Columbia University TIANNA HELENA UCHACZ, Columbia University SOPHIE PITMAN, Aalto University TILLMANN TAAPE, Columbia University COLIN DEBUICHE, University of Rennes Through a close reading and reconstruction of technical recipes for ephemeral artworks in a manu- script compiled in Toulouse ca. 1580 (BnF MS Fr. 640), we question whether ephemeral art should be treated as a distinct category of art.
    [Show full text]
  • Extreme Metal: Subculture, Genre, and Structure
    Université de Montréal Extreme metal: Subculture, Genre, and Structure par Samaël Pelletier Université de Montréal Faculté de Musique Mémoire présenté en vue de l’obtention du grade de Maîtrise en musique option musicologie avril 2018 © Samaël Pelletier. 2018 Abstract Extreme metal is a conglomeration of numerous subgenres with shared musical and discursive tendencies. For the sake of concision, the focus throughout this thesis will mainly be on death metal and black metal – two of the most popular subgenres categorized under the umbrella of extreme metal. Each chapter is a comparative analysis of death metal and black metal from different perspectives. Thus, Chapter One is historical account of extreme metal but also includes discussions pertaining to iconography and pitch syntax. Subsequently, Chapter Two concerns itself with the conception of timbre in death metal and black metal. More specifically, timbre will be discussed in the context of sound production as well as timbre derived from performance, in particular, vocal distortion. The conception of rhythm/meter will be discussed in Chapter Three which will simultaneously allow for a discussion of the fluidity of genre boundaries between death metal and progressive metal – largely because of the importance placed on rhythm by the latter subgenre. Instead of a focus on musical practices, Chapter Four will instead take a sociological approach with the aim of answering certain issues raised in the first three chapters. Ultimately, this thesis aims to elucidate two questions: What are the different aesthetic intentions between practitioners of death metal and black metal? And, how do fans conceptualize these aesthetic differences? Sarah Thornton’s notion of subcultural capital – which is derived from Pierre Bourdieu’s notion of cultural capital – will help to answer such questions.
    [Show full text]
  • Production Perspectives of Heavy Metal Record Producers Abstract
    Production Perspectives of Heavy Metal Record Producers Dr Niall Thomas University of Winchester – [email protected] Dr Andrew King University of Hull – [email protected] Abstract The study of the recorded artefact from a musicological perspective continues to unfold through contemporary research. Whilst an understanding of the scientific elements of recorded sound is well documented the exploration of the production and the artistic nature of this endeavour is still developing. This article explores phenomenological aspects of producing Heavy Metal music from the perspective of seven renowned producers working within the genre. Through a series of interviews and subsequent in-depth analysis particular sonic qualities are identified as key within the production of this work: impact; energy; precision; and extremity. A conceptual framework is then put forward for understanding the production methodology of recorded Heavy Metal Music, and, how developing technology has influenced the production of the genre. Keywords: recording; Heavy Metal; production; producers; phenomenology Introduction The affordances of digital technology have significantly changed the opportunities for practicing musicians to record music. Technology enables even amateur music makers the opportunity to record music with relative ease. The democratisation of technology has meant that mobile devices can become pocket sized recording studios (Leyshon, 2009), whilst affordable solutions and emulations of prohibitively expensive computing and recording technology are readily available via the Internet. The technology associated with certain aspects of music making is now more widespread and enables a new sense of creative musical freedom; music producers command a limitless array of technological choices. Despite the benefits of the ever-increasing rate of technological development, the recording industry is changing dramatically, and with it, the production perspectives of record producers.
    [Show full text]
  • MTSNYS 47Th ANNUAL CONFERENCE APRIL 14-15, 2018
    MTSNYS 47th ANNUAL CONFERENCE APRIL 14-15, 2018 Hunter College, City University of New York, New York NY 7:00-9:00 pm FRIDAY EVENING GRADUATE STUDENT WORKSHOP Jennifer Iverson (University of Chicago), Workshop Leader "Accommodating Differences in the Classroom and Beyond" Open to official workshop participants only SATURDAY MORNING SESSIONS 9:00 am-12:00 pm Compositional Process Orit Hilewicz (Eastman School of Music, University of Rochester), Chair "'Close / In Midst of This…': Lines, Phrases, and Syntax in Song" Matt BaileyShea (University of Rochester) "Deforming the Backbeat: Dissonant States and Musical Expression in Meshuggah’s obZen, Koloss, and The ​ ​ ​ ​ ​ Violent Sleep of Reason" ​ Chris Lennard (University of Texas at Austin) "Trans-cultural-stylistic Solutions of Toshi Ichiyanagi’s Transfiguration of the Moon (1988), for Shô and Violin" ​ ​ Joshua Banks Mailman (Columbia University) "Harmony in Elliott Carter's Late Music" John Link (William Paterson University) 9:00-10:30 am Hermeneutics and 20th/21st-century Music Kerry O'Brien (Yale University), Chair "Rhetorical Closing Gestures in Morton Feldman's Early Indeterminate Music" Ryan M. Howard (William Paterson University) "Hidden Topics: Analyzing Gender, Race, and Genius in Hidden Figures" ​ ​ Janet Bourne (University of California, Santa Barbara) 10:30 am-12:00 pm Improvisationally Informed Music Edward Klorman (McGill University), Chair "Two Studies of Charlie Parker's Compositional Processes" Henry Martin (Rutgers University-Newark) "Merging the Sonata and the Concerto: Analysis of 'Compositional' Improvisation in the High Classical Sonata" Andrew I. Aziz (San Diego State University) SATURDAY AFTERNOON SESSIONS 1:30-3:45 pm Schemata in Jazz and Popular Musics Benjamin Givan (Skidmore College), Chair “'Flexible Conceptual Maps': A Schema-Theoretic Approach to the Analysis of Jazz Tunes" Sean R.
    [Show full text]
  • MESHUGGAH - I (Special Edition)- Genre: Metal Digipak 2736134020, LP 34021 VÖ: 26.09.2014
    MESHUGGAH - I (Special Edition)- Genre: Metal Digipak 2736134020, LP 34021 VÖ: 26.09.2014 FACTS Anlässlich ihres 25jährigen Jubiläums bringen die schwedischen Extrem- Metal-Koryphäen MESHUGGAH am 26. September 2014 eine Neuauflage ihrer 2004er EP »I« via Nuclear Blast raus. Der 21minütige Titeltrack zu »I« wurde remastert, zudem gibt es zwei Livetracks, die während der Ophidian Trek World Tour2012 – 2013 mitgeschnitten wurden, sowie einen bisher unveröffentlichten Studiotrack, der im Juli 2003 in MESHUGGAH ’s bandeigenem Fear & Loathing Studio in Stockholm, Schweden aufgenommen wurde. # Parallel erscheint am 26. September die neue Live 2CD+DVD / 2CD+Blu-ray # Einbindung in den Anzeigen in Metal Hammer, Rock Hard, Legacy und Digipak 2736134020 YX Visions # Reviews in den Oktober Ausgaben von: Rock Hard, Metal Hammer, Planet, Rock It, Legacy, RCN, Rocks, Guitar, Hard Times, Classic Rock, Hardline, Breakout, Piranha und EMP # Online Banner Schaltungen auf metalflirt (de), summer breeze (de), LP 2736134021 H metalnews (de), allschools (de) , rock harz (de), metal4bremen (de), music-scan (de), twilight-magazin (de), dosenmusik (de), gestromt (de), hard-times (de), medicine-mag (de), new-metal-media (de), metalmessage (de), stormbringer (at), darkscene (at), medazzarock (de+ch), negativewhite (ch) # Online reviews : Metalnews.de, Metal.de, Powermetal.de, Laut.de, Myrevelation.de, Vampster, Whiskey-Soda.de, Label # E-mail Versand an 125.000 Metalfans in D/CH/A TRACKLISTS: CD-DIGI 01. I (remastered) Bonus: Line - Up 02. Bleed (live) 03. Dancers
    [Show full text]
  • Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music
    Transcending Time (Feels): Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music Jose M. Garza, Jr. NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.garza.php KEYWORDS: heavy metal, rhythm and meter, time feels, riff, drums, cymbals, popular music, subgenres ABSTRACT: Over the past fifteen years, much of the music-theoretical scholarship on heavy metal has addressed metric processes (Lucas 2019, Capuzzo 2018, Hannan 2018, Lucas 2018, Lennard 2016, Smialek 2008, Pieslak 2007) and the use of the voice (Smialek 2017, Young 2018). A significant portion of the literature deals with the band Meshuggah, but the music of countless artists scaered across manifold subgenres remains unexplored. Widening the focus on such a large repertoire not only helps remedy this issue, but serves to inform one recent music-theoretical topic that relies on a broad stylistic understanding: time feels. To date, scholars have mainly limited the discussion of time feels to the kick and snare drums (e.g., de Clercq 2016), and indeed, these instruments ultimately determine a feel. I argue, however, that different uses of guitar, bass, and cymbals can reinforce, clarify, or contradict the feel laid down by the kick and snare. In this article, I describe several categories of guitar and bass riff types and timekeeping cymbals. I then discuss how their associations with certain time-feel contexts inform further analyses. To this end, I draw from post- millennial metal music in various subgenres including black metal, death metal, doom metal, grindcore, metalcore, progressive metal, sludge metal, and thrash metal.
    [Show full text]
  • Baschi Dürr Muss Zittern. Der Journalismus Steckt in Der Krise
    Xxx Wahlen BS Lead Rot-Grün geht Lead aufs Ganze: Seite Lead Baschi Dürr SeiteX XXFreitag 6 XX.XX.201628.10.2016 Nr. XX44 Fr.r. 5.– muss zittern. Jubiläumsausgabe Extrablatt Der Journalismus steckt in der Krise. Was das mit uns zu tun hat und warum es nichts gratis gibt. Seite 20 TITEL TITEL TITEL FÜNF JAHRE Xxx Lead Lead Lead Seite TAGESWOCHEX ANZEIGE 2.Oktober 2016 22. Januar 2017 Neubau: St. Alban-Graben 20 2017 wird das alte ISDN Netz abgeschaltet. Basler Unternehmen brauchen eine Alternative. Die heisst IWB Connect. Kommunikation via IP-Telefonie. Glasklare Sprachqualität beim Telefonieren. Zusätzlich kann ein komfortabler Breitband-Internet-Anschluss zur Verfügung gestellt werden – für eine atemberaubende Geschwindigkeit beim Surfen und für den Datentransfer. Für KMU und Grossunternehmen sind schnelle, verlässliche und ausbaufähige Kommunikationswege ein unverzichtbarer Teil des täglichen Business. Die Alternative zum bisherigen ISDN Warum bevorzugen Sie ein Netz muss spätestens ab 2017 einsatz- lokales Unternehmen? bereit sein. Eigentlich ist das noch Für uns ist es das Gefühl, näher dran zu kein Grund zur Eile, aber durch Warten sein. Es ist irgendwie eine gewachsene ändert sich auch nichts. Was also muss Beziehung. Viele Basler beziehen ich als Unternehmer tun? An was muss seit mehr als 20 Jahren IWB Leistungen. ich denken? Worin liegt der Vorteil und Es sind gewohnte, verlässliche Wege. gibt es Nach teile? Fragen wir doch einfach einen, der es wissen muss. Michel Was ist der entscheidende Gysin, Leiter für Online-Kommunikation Unterschied zu anderen Anbietern? Michel Gysin, Crome Communications bei Crome Communications in Basel. Auf den Punkt gebracht: Für uns Die Agentur Crome Communications ist es Verlässlichkeit.
    [Show full text]
  • Mistborn Adventure Game Preview
    TM ADVENTURE GAME Based on the Best-Selling Novel Series by BRANDON SANDERSON TM www.crafty-games.com Mistborn Created by Brandon Sanderson Game System Cover & Interior Illustration Alex Flagg Ben McSweeney Product Development Symbols & Cartography Alex Flagg Isaac Stewart Writing Graphic Design Brandon Sanderson Steve Hough Alex Flagg Patrick Kapera Layout & Digital Conversion John Snead Thomas Deeny Thomas Kohler Additional Material Michal Cross Logan Bonner Jeremy Keller Production Filamena Young Erik Yaple Editing Probability Guru Patrick Kapera Kevin P. Boerwinkle Special Thanks Peter Ahlstrom, Jon Anderson, Joshua Bilmes, Cheryl Corey, Michal Cross, Josh Dalcher, Marcelo Figueroa, Sean Patrick Fannon, Justin Golenbock, Eric Lake, Jennifer Liang, Matt McElroy, Will Raboin, John Rogers, Paul Stevens, Kerry Stuart, Josh Walker, Mi’chelle Walker, Miriam Weinberg, Steve Wieck, and everyone at Dragonsteel Entertainment, Tor / Forge, 17th Shard, and DriveThruRPG Playtesting Brandon Sanderson and his home crew, Robert Blackburn, Chris Brinkley, Tamara Elofson-Brinkley, Jim Ghiloni, Karl Hennon, Carl Morgan, Andrew “Fish” Popowich, Mark Secrest, Jason Tang, Bill Whitmore Translations Ben McSweeney, Jon Andersen, Chris Brinkley, Tamara Elofson-Brinkley, Andy Craig Davis, John DeBudge, Alan B. Eggert, David Groves, Jerry Ham, Ian Homeyard, Jørgen Sætermo First Printing 2012 Mistborn and all related marks, characters, names, and places are ™ and © 2012 Dragonsteel Entertainment, LLC. “The Eleventh Metal” is copyright © 2012 Dragonsteel Entertainment, LLC. All text herein is copyrighted by Crafty Games. Reproduction of any part of this book without Crafty Games’ written permission is expressly forbidden, except for the purpose of reviews and when permission to photocopy is clearly stated. The Crafty Games logo and distinctive likenesses thereof are © copyright of Crafty Games.
    [Show full text]
  • Meshuggah Yob from Ashes Rise Terror Wold Witch
    Metal Zine Vol. 8 MESHUGGAH YOB FROM ASHES RISE TERROR WOLD WITCH MOUNTAIN STAFF Scion Project Manager: Jeri Yoshizu, Sciontist Editor: Eric Ducker Creative Direction: Scion Art Direction: BON Contributing Editor: J. Bennett Graphic Designer: Jamie Story CONTRIBUTORS Writer: Fred Pessaro Photographers: Bliss, Gregory Bojorquez, Katie Egger, Nolan Wiley CONTACT For additional information on Scion, email, write or call. Scion Customer Experience 19001 S. Western Avenue Mail Stop WC12 Torrance, CA 90501 Phone: 866.70.SCION Fax: 310.381.5932 Email: Email us through the Contact page located on scion.com Hours: M-F, 6am-5pm PST Online Chat: M-F, 6am-6pm PST Scion Metal Zine is published by BON. For more information about BON, contact: [email protected] Company references, advertisements and/ or websites listed in this publication are not affiliated with Scion, unless otherwise noted through disclosure. Scion does not warrant these companies and is not liable for their performances or the content on their advertisements and/or websites. © 2012 Scion, a marque of Toyota Motor Sales U.S.A., Inc. All rights reserved. Scion and the Scion logo are trademarks of Toyota Motor Corporation. 00430-ZIN08-MT Cover: From Ashes Rise photographed by Gregory Bojorquez Background: Psychic TV at Scion Rock Fest photographed by Bliss SCION A/V SCHEDULE AUGUST August 18 Scion Label Showcase: Bridge 9, featuring H2O, Verse, Soul Control, and Expire at the Glasshouse, Pomona, California August 28 Scion A/V Presents: Pallbearer (10-inch and digital release) SEPTEMBER
    [Show full text]
  • “Dance to the Dissonant Sway”: Groove, Headbanging, And
    1 “Dance To The Dissonant Sway”: Groove, Headbanging, and Entrainment in Extreme Metal Guy Capuzzo (UNC Greensboro) Music Theory Southeast Appalachian State University, Boone, NC March 13–14, 2020 Acknowledgements Thanks to Derek Johnson for pointing out the different modes of headbanging in the “Perpetual Black Second” video and for encouraging me to use this observation as the springboard for the present paper; to Adam Ricci for help with the Animals as Leaders transcription; and to the colleagues who helped me improve earlier versions of this paper. Abstract Analytical studies of rhythm and meter in extreme metal stress the inseparable relation of musical content (repeated riffs or grooves) with the bodily motions of performers and fans (headbanging and/or moshing). To further analyze this relationship, this paper uses live performance videos and transcriptions of songs by Meshuggah and Animals as Leaders to illustrate how and why a single extreme metal groove can encourage and accommodate multiple modes of entrainment. I argue that these riffs create “targets for bodily motion” (Zbikowski 2004, 286) through 1) the interplay of grouping and meter and 2) the realization or denial of metric projections. To accomplish this, this paper synthesizes work on extreme metal (Hannan 2018, Lennard 2018, Lucas 2018 and 2019, Pieslak 2007), grooves and embodiment (Cox 2011, Kozak 2018, Pressing 2002, Zbikowski 2004), and rhythm and meter (Lerdahl and Jackendoff 1983, Hasty 1997). The talk will demonstrate that the ability of extreme metal grooves to promote multiple modes of entrainment is an important stylistic marker, with ramifications that speak to broader issues in the study of music and movement.
    [Show full text]