 plunge into complex menu sub-entries once again — all parameters necessary for control appear automatically, as appropriate.
A voice-message report is another unique property of the system. Now you can work calmly, having your eyes on the operating space (without turning your eyes from …). In case of failure or critical conditions you will hear a relevant message, brief comment and recommendations on further actions.
You need not only an ordinary harvester, but the machine ensuring efficiency and adapted for your specific purposes. The ACROS harvester is one of them. Due to a wide variety of adapters and optional devices, ACROS is able to execute various operations during all the season.
At swath harvesting ACROS is equipped with the swath pickup. As well as a header, this device is capable to follow a field relief in longitudinal and cross-section directions.
Reliable protection of the swath pickup elements from jamming, wrap and blowing of the mass by wind ensures its operational stability even in adverse conditions.
The eight-rows header, specially designed for ACROS, will ensure the crop retriever not less than 98%, that is impossible at the use of other types of devices. The header reliably operates at any agriculture background, including the undersized sunflower hybrids.
For maize harvesting ACROS is equipped with a 6-or 8-rows header. The auxiliary equipment, for example, a solid screen on the first straw walker section, will help to prolong mechanical life in heavy harvesting conditions of this crop.
A special attachment will allow to minimize the losses of the rape testis at haying in 3…4 times and, depending on yield per unit, to harvest supplementary 30-100 kg of grain from 1 ha of crops.
Determination of 17 endocrine disruptor compounds and their spatial and seasonal distribution in the Sado River Estuary (Portugal)

The Sado waters show signs of anthropogenic pollution. However, hardly any information exists on the levels of endocrine disrupters (EDCs) such as estrogens (17β-estradiol, estrone and 17α-ethynylestradiol) and there is no information at all on xenoestrogenic industrial pollutants (4-octylphenol, 4-nonylphenol and their mono and diethoxylates and bisphenol A). Moreover, data on plant derived phytoestrogens (formononetin, biochanin A, daidzein, genistein) and sitosterol are scarce or inexistent. To assess on the suspected influx of EDCs in this aquatic system, water samples were taken every two months, during 2010, at nine sites distributed along the Sado Estuary and River (Alcácer do Sal) being afterward analyzed by GC-MS. Data showed the ubiquitous presence of potentially hazardous amounts of estrogens (mainly of estrone and estradiol, reaching over 10 ng L−1), nonylphenol diethoxylate (up to 900 ng L−1) and nonylphenol (up to 230 ng L−1). It was concluded that there are conditions for the occurrence of endocrine disruption in local aquatic animals, even in areas included inside the Natural Reserve. Moreover, a clear seasonal pattern of fluctuation was found for phytoestrogens and sitosterol. Besides, there were high amounts of unionized ammonia (up to 0.6 mg L−1) and phosphates (up to 3.2 mg L−1) suggesting that the current status poses risks for local fauna and humans.A broad band of windows but little else distinguished the two-bedroom condo Joe Esposito had bought in a mid-rise building on Marine Drive just over a decade ago. With its boxy little living room, small and equally featureless dining room, and unwindowed kitchen, it was a standard, cookie-cutter apartment circa 1956, albeit one with a terrific view of the lake.
Esposito, a bank executive, knew he wanted to make changes, but for the first eight years he didn’t take action-which turned out to be a good thing. If he’d gone with his first ideas, he now says, “it would have ended up pretty trendy, more of an early ’90s Wall Street look, with the black leather and chrome.” That heavy, shiny look might have pleased him for a while, Esposito says, but he has found the long-term payoff of waiting for the right idea.
And the right architect. Esposito’s condo today is all about serenity and restrained modernism, with an openness that’s a far cry from its boxy old self. He credits his architect, Hudson Home’s Madeleine Boos, with having the skilled eye to focus on the simple strengths of the space instead of filling it up with flash.
In eliminating the wall between the living room and dining room, Boos created an airy combined space that shares its light with an enlarged kitchen. Thanks to a partial wall and a long, cantilevered counter that echoes that great window band, the kitchen is open to the larger room but remains its own place. A small bar area near it is the most convivial spot in the house-at the center of everything, never out of reach.
The bedrooms, too, feel open to the main living space (although they have the requisite walls and doors) because of some of Boos’s design tricks. She used just three colors of paint throughout the entire 1,100-square-foot home, except in the master bath; and with strategic soffiting she transformed the hallway ceiling into a long, unifying horizontal plane that pulls all the rooms together.
The apartment is confidently modern now, a place where the three-tiered mid-century Knoll table in the living room and its Ikea knockoff in the main bedroom both play their parts without worry. A heavy, industrial-looking bedroom door lends a whiff of Fulton Street to the decidedly Lake View space. And a supremely glamorous Wassily chair and a pair of leather Room & Board couches all have the good sense to maintain a low profile rather than interfere with the 20-foot band of windows.
Those windows are what it’s all about. Not only do they provide a vast view over Lake Shore Drive and Lincoln Park-and who would ever think to compete with scenery like that?-but in the original layout they constituted the apartment’s sole “big gesture,” Boos points out. “They cut across the whole space, and they have this beautiful oak ledge that runs along them like an underline.” Like virtually every other surface in the condo, the ledge had been painted white, spoiling its effect as an emphasizer; Boos had it stripped and finished with clear varnish.
The new design uses those horizontal windows as a reference point around which the rest of the home is mapped. It appears again in the plane of the projecting kitchen counter, and in the floating plane of the hallway ceiling.
That’s pretty subtle, but then, that’s where Esposito’s matured aesthetic had brought him after the long trip from his Wall Street phase. Taking a cue from the building’s lean, emphatically horizontal mid-century architecture, he started to see the virtues of simplicity. Bamboo floors, cherry cabinets in the kitchen, and the restrained paint palette give the space a calming order, while comfort comes from the relaxed mix of high- and low-end furnishings.
More genial mixing: in the living room, the Wassily chair, a classic of modern design, stands next to a graceful wood side table whose curves suggest that it, too, must be vintage, with a story to tell. (Nope. Crate & Barrel.) In the second bedroom, a funky modern wood sideboard serves as a dresser. Esposito’s mother bought it in the mid-1950s, he says.
Above that charmer hangs the most startling thing in the apartment, a large-format color photo by New York artist Jen DeNike that coolly depicts an elegant, formally clad man sitting on a couch, a stream of blood rolling down his neck. “I found her work at Gescheidle Gallery on the West Side, and I was intrigued by this one,” Esposito says.
Wanting to connect the bedrooms visually with the larger living space, Boos cut their doorways with ceiling-height openings. For the master, she specified an industrial sliding door, to eliminate the swing-out that inevitably ends up blocking a closet or bathroom in a small space.
Another industrial touch is a roll-up screen across the opening of the bedroom closet, in which a television sits on a shelf. That screen became art, one evening, when Esposito, feeling too lazy to roll it up to watch TV, zapped the remote, figuring he’d just watch a blurry picture through the screen. The effect, he says, was riveting-like a video installation you’d see in some multimedia cafe, the kind of thing Nam June Paik pioneered in the 1960s.
Now it’s a key part of his art collection. Before visitors arrive, Esposito either pops in a video of Fritz Lang’s 1927 film Metropolis or turns on the Cartoon Network. “That’s my installation piece,” he says.
A callous couple were today starting life sentences for the murder of a Coventry dad.
A jury returned guilty verdicts on Dana Webb and her boyfriend Raymond McEnery after a four-week trial.
Peter Wilson, aged 47, who served in the RAF for 16 years, was stabbed to death with a kitchen knife at his flat in Honiley Court, Wood End, in June 2010.
TWO