How Does A Remote Control On A Gate Actually Work?

Automatic gates or garage doors have always had a certain novelty about them. But when there is a power shortage, or the machinery is faulty, how do these gates open? Is it better using remote controls on gates, or should you stick to automatic ones instead? What’s the difference? The below text aims to explain.

Automatic gates vs. Remote Control Gates

More and more people are relying on electronic gates these days because they provide an extensive security measure. Automatic gates, for example, detect authorized vehicles through a sensor that is attached or latched in a vehicle and swing open. Remote controlled gates, on the other hand, are “manually” opened when the driver presses the button on his remote.

The great thing about automatic gates is that if a vehicle that drives by does not have a sensor the gates won’t open. For remote gates, however, there are universal remotes that can be programmed by the user according to the brand and style of gate. So if, you need more than one remote for your gate, you can buy a universal one and program it. If you somehow manage to lose your remote, you are advised to modify the entire system. It’s too risky, knowing that your remote is somewhere out there.

Remote Control Mechanism

How do remote controls for gates work? They works just the same as the remote control on your television and your car. You press a button, which sends a signal to the receiver attached to your gate, and once this signal is received, the gate opens. As mentioned above, it’s pretty easy to buy a universal remote for your electronic gate system if ever you need more than one.

The best advantage of remote control gates is that most systems now are backed up with a battery. Meaning, if the power is cut in your home, you can still enter the house with your remote. This comes pretty handy during severe weather conditions, when blackouts are highly probable.

Remote control systems are pretty easy to install on your existing gate. You don’t need a complete refurbishment of your front yard or garage to have an automated gate. There are hundreds of companies online that you can look up and buy your remote control system, or you can just buy them and install them all by yourself, to save up on the labour costs. Either way, there are a lot of options out there. Just remember that the system you install must be accordant to your gate. If you have a swing gate, then you have to get a swing gate opener, not a sliding gate system.

Remote controls for gates and garage doors are pretty nifty inventions. They save you a lot of time and effort from getting out of the car and walking to the gate and garage door. They also keep you dry when you come home during those rainy days. It’s true that they might cost a handful during installation. But the added security and convenience are unquestionably worth it.

Gasp, Giggle, Think, and Learn – Ten Best Books For Teaching Children Manners

There are hundreds of how-to's on the web for teaching manners – most of them lists of do's and don / ts. But we all know that lists are rarely the best way to teach anything. It's through discussion and participation, storytelling and play, identification and example, that we learn. And what better way to stimulate this involvement than with books. A preschooler or elementary school child seated with a parent can be entertained by characters that make him gasp, giggle, think, and learn. Following are ten books that parents can use with their children, beginning with books aimed at preschoolers, ending with those for ages 7 and up.

Ages 2-5

"Excuse Me! A Little Book of Manners," by Karen Katz, is a great book for toddlers. Six questions are arranged on double-page spreads with lift-up flaps, beginning with, "Mommy says, 'Do you want peas for breakfast?' What do you say? " Lift the flap and find the answer. Illustrations are clean and bright and a child is sure to want to hear this book over and over.

Jane Yolen's "How Do Dinosaurs Say Goodnight?" illustrated by Mark Teague, features dinosaurs who do not want to go to bed: "Does he slam his tail and pout? Does he throw his teddy bear all about?" Human parents, dwarfed by each boldly painted dinosaur, bide their time until the story turns, and we learn that dinosaurs "give a big kiss…. [Then] turn out the light. They tuck in their tails. They whisper good night . " Children are sure to appreciate this lesson in cooperation.

Ages 4-8

An old favorite, with its childlike drawings and lessons on getting along with others, is "Manners Can Be Fun" by Munro Leaf. Table manners, sharing, and cleaning up are covered; then we meet the Whiny, the Noisie, the Me First, the Bragger, the Sulker, the Bathroom Wrecker, and many other undesirables. Leaf's aim is always clear: this is what you do not want to be.

"The Thingumajig Book of Manners" by Irene and Dick Keller features the gross behavior of a group of hairy elves: "Thingumajigs eat toads and snails and pick their teeth with their fingernails." Children will laugh at the big-nosed creatures who mumble and grunt, kick, bite, sulk, and slam doors. The rules for proper behavior are placed on a little banner at the bottom of each double-page spread.

Like the Thingumajigs, Gelette Burgess' little round-headed creatures in "Goops and How to Be Them" present the wrong way to behave. Goops slide down bannisters, lick their fingers, talk while eating, and gobble sweets. Though published in 1900, the poems still apply, and the art-deco illustrations, which circle the text, will delight a child and perhaps inspire her to create her own set of Goops.

In "What do You say, Dear?" by Sesyle Joslin and Maurice Sendak, the reader is shown a child in a humorous but unlikely situation and must guess what the child's response will be. For example, "You have gone downtown to do some shopping. You are walking backwards, because sometimes you like to, and you bump into a crocodile. What do you say, dear?" [Turn page]. "Excuse me." It's understatement at its most hilarious.

"Scallywags," by David Melling, features a family of wolves who are disheveled, boisterous, undependable, and, most unforgivably – late for a group photograph. Deciding to mend their ways, they eavesdrop on the other animals to learn good manners, but at the next dinner, where they are impeccably behaved, they ask the pig to stop slurping his soup and the goose to stop honking with his mouth full. The wolves, with names such as Hairball, Earwax, Brooz, and Scribble, are wonderfully characterized. This story is sure to inspire discussions on just how far one should go with "correctness."

7 & Up

Older children will enjoy "Lady Lupin's Book of Etiquette" by Babette Cole. Like Scallywags it features wolves, but in this case they're Lady Lupin's privileged pups: "Try not to show off at parties," advises Lady Lupin, in her tiara. And "Remember to open doors for older dogs." It's at once silly and sophisticated, with a table setting that features bones as the main dish, and Lady Lupin reminding her pups, "Never bark with your mouth full."

An innovative format for teaching manners is "Everyday Graces" by Karen Santorum. Poems, stories, and excerpts from literature are gathered together under 13 themes; selections include Hans Christian Andersen's "The Ugly Duckling," Chapter One from Mark Twain's Huckleberry Finn, and Jack Prelutsky's "Why Do I Have to Clean My Room?" Each selection is followed by a short discussion of themes pertinent to that text.

Also innovative is my own "Dear Miss Perfect: A Beast's Guide to Proper Behavior." Animals (or "beasts") write in with their problems. A sloth, for example, wonders if she should write a thank you note. A parrot wonders if he might eavesdrop to learn new words. More unusual problems include a porcupine who would like to find a dancing partner and a Komodo dragon who wants to know how she can avoid being eaten by her parents. A child will enjoy guessing Miss Perfect's response and realize that manners are largely a matter of common sense and following the golden rule.

Read about manners with your child. It's a wonderful way to open discussion.

Alarm System: Contacts (Window & Door Switches)

Alarm Contacts- Contact switches are magnetic switches used to protect doors and windows for the most part. There are three main styles that are used by most alarm companies. They are recessed contacts, surface mount contacts and roller-ball contacts.

Recessed contacts are hidden in the window tracks and door jams so that they can not be seen when the window or door is closed. The switch is on the fixed or non-movable side of the opening and a magnet is placed on the movable side. When the magnet meets the switch the circuit is complete and the control knows it is closed. Recessed contacts are more complicated to install unless they are placed during the construction phase of your home or business. A good installation technician can install recessed contacts in your home after construction as long as they have an unfinished basement, accessible attic or closet to run the wires in.

Surface mount contacts function the same as recessed ones however they are visible when the doors or windows are closed. They come in three main sizes being large, small and micro. They come in the colors white, gray and brown so they can blend in to the door trim or window- sill they are mounted on.

Roller-ball contacts are in the hinge side of your door jam and the spring- loaded ball is pushed in when the door is closed completing the circuit. These are more likely to need replacement in a few years as they are considered a moving part.

All types of recessed and surface mount contacts can be hardwired directly to your control panel or you can get them in a wireless version. Wireless contacts have a transmitter tied to them or built into them that sends a radio signal to a receiver in the control. The transmitter is surface mounted and comes in two colors, white and brown. If white and brown are not your desired colors, you can paint the switches and transmitters to match your decor.

Doors are the most common point of entry and should be protected by your system. I always recommend contacting every perimeter door in your home or business

Window contacts can add up in a hurry as most homes have many windows. I have always felt that window contacts give the homeowner a false sense of security because of the fact that a window has to be opened in order for them to work. If your window is locked (and it should be) when you are away or sleeping, a burglar has to break the glass or remove the glass to unlock it. If they break the glass and the alarm does not sound, why would they open the window? Instead they would most likely clear the broken glass and climb in. That is why your money is better spent on motion detectors and / or glass- break sound detectors.

If you have children, window contacts can be a valuable tool. They will keep your youngsters from opening the window for a stranger. And they will also make your teenager sorry you ever read this. (If they tell you all they want for the holidays is a magnet, the jigs up!) Window contacts are often better at keeping people in than they are at keeping burglars out. If you do choose to use window contacts you may like the fact that the surface mounted versions can be set up so that you can keep your window open a few inches for ventilation and still be armed.

The Brain and Muscles

When discussing how the brain works you want to make sure to cover the communication between the brain and the muscle structure. Think of the brain as a giant computer. All the signals have to come from the brain to control the muscles and other functions of the body.

Then again there is a communication going on here. For muscles have to work together, they have to communicate with each other to send signals to the brain on how the muscles are working. To carry out a muscle movement some muscles have to relax when you use other muscles.

This coordination takes place in the cerebellum, an adjunct to the brain stem, our reptilian brain. It works like this. When you decide to make a voluntary movement, you send a signal from the front part of the cerebral cortex to the cerebellum by way of the pons. The cerebellum then sends directions to the muscle control centers in the back part of the frontal lobe of the cerebral cortex. Then the efferent nerve system carries the signal from here to the appropriate muscle groups. The proprioceptors then send signals back to the brain with the afferent nervous system. The signals enter the cerebellum by way of the medulla and appropriately modify the signals the cerebellum is sending to the muscle control centers in the frontal lobe.

When the cerebellum is not sending the appropriate signals to the muscle control circuits, the muscles do not interact properly, and you experience pain and limited range of motion due to overly tight (hypertonic), weak (hypotonic), and reactive muscles. If these conditions persist long enough they can lead to secondary problems such as tendonitis, neuritis, herniated discs, and damaged joints.

The stress and pain can be released by reestablishing the body-mind and brain-muscle communication through balancing weak, reactive and frozen muscles so that the cerebellum now sends the optimal messages to the muscle control centers in the cerebral cortex.

Why Road Frontage on Commercial Property is So Valuable

How many feet of road frontage does the property have?

This question is among the most important when assessing the value of commercially zoned property in a city or county. For some, the reason as to why this question is so important may seem rather obvious. However, there are multiple reasons why investors, developers, builders and business owners want to have large amounts of road frontage on their commercial properties.

For business owners, it is best for them to have their stores located conveniently to their customers. If they are on a main highway or road, they will have great visibility to the traffic going by. This can quite possibly bring customers into their stores that they normally wouldn’t see through their normal marketing. Also, a customer new to the location can find the store much more easily when in the line of sight. Visibility on major road frontage is a huge advantage for the business owners and their stores.

Another reason why business owners like to have their stores along major road frontage is because of the ease in which customers can enter and exit the property. If they are forced to drive through large parking lots, wind behind other major stores, and park on a land locked parcel, there is a possibility that the customer would go to a more easily accessible competitor.

Now, this may be pushing it a little, because a business should be able to bring customers in on its own through effective marketing and good business practices. However, it is definitely more pleasant to access a place of business that is right by the road, rather than search your way through parking lots, other businesses, and who knows what else. The easier the access, the more enjoyable the experience is for the customer.

The two main reasons for business owners to have their stores on major road frontage are visibility and ease of access. Let’s look at why investors, developers, and builders all want the properties they are involved with to have the greatest amount of road frontage possible.

These three people, investors, developers and builders, are the foundation for commercial real estate. They have the money; they have the vision, and they, ultimately, are responsible for building our communities.

More often than not, these people will choose properties to invest in that have the most amount of road frontage, or create the roads so that the office complexes, retail centers, and strip malls have the visibility and ease of access that business owners look for in a profitable commercial property.

The underlying advantage for these investors to develop and build properties with major road frontage is the fact that these commercial properties, known as out parcels, are far more valuable than the land locked in parcels behind them! The difference between these property values can be quite drastic.

For example, recently I was assessing a 56 acre raw tract of land in Rome, GA. It had over 2,000 feet of road frontage on a major highway! The front of the property was zoned commercial, while the back was zoned multifamily. After speaking with the broker and looking at comps (comparable sales), it was clear that the out parcels would be valued at approximately $600,000 an acre developed. (They could be worth more if we were able to get national brand stores on the property). However, those in parcels, without the road frontage, would only be valued at $225,000 per acre. This is a $375,000 decrease in value simply because those in parcels are a few hundred feet away from the actual highway.

This news greatly cut into my overall profit margin.

Not all cases are this extreme. However, it is always true that an out parcel will be more valuable than an in parcel. That is why investors, developers, and builders all want property with major road frontage. It is simply more valuable!

Business owners and investors alike will gladly choose a property with major road frontage over a land locked parcel, or a parcel with little to no road frontage. Use this important fact when you assess properties and the value that they hold.

The Study of the Gothic Element of Double in Poe’s Selected Works

The Study of Doubles in Poe’s Works

General Background


An important and innovative re-interpreter of the Gothic in the literary world was Edgar Allan Poe (1809-1849) who asserted ‘that terror is not of Germany, but of the soul’. His stature as a major figure in world literature is primarily based on his highly acclaimed short stories, poems, and critical theories, which established an influential rationale for the short form in both poetry and fiction. Poe is also famous for his Gothic style of writing. Fisher affirms that: “Few would hazard a challenge to long-standing opinion that Poe was a master of the Gothic horror tale, although many might not as readily be aware that he did not invent Gothic fiction” (p.72). Indeed Poe turned the Gothic fiction of the eighteenth-century to the internal cries and desires of human being. Aside from a common theoretical basis, there is a psychological intensity that is characteristic of Poe’s writings, especially the tales of horror that comprise his best and best-known works.


A significant element of Gothic genre is the theme of double. In Gothic (1996), Fred Botting writes that “at the end of nineteenth century familiar Gothic figures-the double and the vampire-reemerged in new shapes with a different intensity and anxious investments as objects of terror”(p.135). It seems so terrible when one looks at everywhere and sees his own image and likeness. The presence of the double, thus, could be interpreted as an explanation for the alienation of human being in the modern world. Botting expresses that “the loss of human identity and the alienation of self from both itself and the social bearings in which a sense of reality is secured are presented in the threatening shapes of increasingly dehumanized environments, mechanic doubles and violent, psychotic fragmentation” (p.157).

Doubles are seen in different forms and shapes in Gothic texts. The mostly used forms are doppelgangers, mirror images, shadows and even mandrakes. In most of Gothic fictions the theme of doubles and mirrors exist. Dealing with their doubles, characters come to know those aspects and facets of their personality which have been alien and unknown to them. Doubles appear in various forms; doppelganger, alter ego, shadow, twins, mirror images and even mandrakes. As Botting asserts, in Poe’s fiction: “Doubles and mirrors are used to splendid effects…” (p.120). However what seems essential to notice is that the meaning which the doubles convey is the same; they are used to show the concept of self-estrangement and self-destruction of the main characters to the readers. This lack of self-knowledge which in many cases leads to self-destruction is emphasized by both authors in their works like “William Wilson”, “The Tell-Tale Heart”, “The Fall of House of Ushers” by Poe. The writer’s use of the idea of ‘The Double’ implies that all people can be misled by appearances through their emotional tendencies, just as everyone can be reassured by knowledge through the operation of his/her rational functions. The term doppelganger which has been remarkably used by Poe will be defined first.


According to the Merriam Webster’s Dictionary (2004) doppelganger means “a ghostly counterpart of a living person.” In German it derives from Doppel (double) and Gänger (goer), meaning “double goer”, in German folklore, a wraith or apparition of a living person, as distinguished from a ghost. The concept of the existence of a spirit double, an exact but usually invisible replica of every man, bird, or beast, is an ancient and widespread belief. To meet one’s double is a sign that one’s death is imminent. The doppelganger is a popular symbol of horror literature, and the theme took on considerable complexity.

Some stories offer supernatural explanations for doubles. These doppelgängers are typically, but not always, evil in some way. The double will often impersonate the victim and go about ruining them, for instance through committing crimes or insulting the victim’s friends. Seeing is the primary category here; the doppelganger, as it appears and reappears in literary and other cultures, is above all a thing of visual fascination and terror. Thus notions of doubling involve not only replications of identity, but also transformations in identity, where the self appears to be in the wrong body. A case which combines the two possibilities would be Oscar Wilde’s “Picture of Dorian Gray.” The idea of a phantom ‘double’ has existed throughout recorded history, and still flourishes in superstitions, fairy tales, and folklore throughout the world. It is taken seriously by some psychologists as an example of an out-of-body experience. It figures in many primitive religions, where the ‘double’ is assumed to be the person’s soul. But the doppelgänger concept has also schemed sophisticated people, and induced in them a dread of the unknown and a morbid assumption of doom akin to the responses of primitive groups.

Poe and the Double

One of the best examples of Edgar Allen Poe’s obsession with the theme of the double can be found in his extremely strange story “William Wilson”, the tale of two souls who actually seem to become one. The story begins with a foreshadowing of cryptic reality when the narrator immediately states, “Let me call myself, for the present, William Wilson”. As the story opens, the narrator, a schoolboy, finds himself in the same class with another boy who shares his name. This is not so unusual, except that the narrator feels the other boy takes a perverse delight in copying his “gait, [his] voice, [his] habits, and [his] manner,” thus making himself a virtual copy of the narrator. Eventually the two boys actually take on the same facial features.

Reluctant to reveal his true identity, the narrator leaves the reader wondering if the claim is a lie or perhaps the result of a “conflict within the soul. Further disclosing his inner conflict, the narrator admits “William Wilson [is] a fictitious title not very dissimilar to the real”. Acknowledging the similarities between himself and the other William Wilson, the narrator, points to the first hint of doubles in the story. There are, however, two areas in which the other William Wilson does not resemble the former. Due to some sort of physical defect, the “other” William Wilson’s voice can scarcely be raised above a whisper; and the “other” William Wilson’s every instinct is good. The narrator, on the other hand, proceeds from schoolboy mischievousness to a life of crime, primarily through an addiction to drinking and gambling.

Here, nevertheless, the “other” William Wilson persistently intrudes into the narrator’s life, either warning the narrator that he is going beyond the boundaries of acceptable behavior, or warning others that Wilson is going to hurt them. He feels that he is being conquered by his double: “…a proof of his true superiority; since not to be overcome cost me a perpetual struggle”. Finally revealing the conflict between the two William Wilsons, the narrator addresses the other William Wilson as “Scoundrel! Impostor! Accursed villain!”.

Regarding the narrator’s point of view, at first glance it seems that he is addressing a doppelganger; since everything that this double does sounds unpleasant to him: “although there were times when I could not help observing, with a feeling made up of wonder, abasement, and pique, that he mingled with his injuries, his insults, or his contradictions, a certain most inappropriate, and assuredly most unwelcome affectionateness of manner”. He continues to challenge the double, “You shall not-you shall not dog me unto death! Follow me, or I shall stab you where you stand”. He often calls his double as “my tormentor” or “my antagonist” and “my evil destiny”, since he always annihilates his plans. Eventually the narrator can stand it no longer, and fatally stabs his opponent to get him out of his life. The story ends with both of them covered in blood, and both of them apparently dying.

The “other” Wilson finally finds his voice: “You have conquered me, and I yield. Yet, henceforward art thou also dead — dead to the World, to Heaven, and to Hope! In me didst thou exist — and, in my death, see by this image, which is thine own, how utterly thou hast murdered thyself!”. However, in arguing “Homely Gothic” Botting believes that what happens in “William Wilson” is that: “his mortal foe has been his inverted image, an alter ego that, unlike the doppelganger, is a better self, an external image of good conscience.” This statement is true when the reader recalls that in the course of the story the hero of the tale leads an immoral life; from the time he grows up as he confirms: “I grew self-willed, addicted to the wildest caprices, and a prey to most ungovernable passions.” while he finds, wherever he travels, his illegitimate scheme let down by the figure that haunted him at school.

“This interference often took the ungracious character of advice; advice not openly given, but hinted, or insinuated”. Thus, in this tale of twin-selves, the surviving William Wilson represents man-without-morality. His troublesome double, who constantly interfered with Wilson’s schemes by whispering caution or truth, represents everything that was wholesome or positive in his personality. Poe externalizes his character’s internal struggle. Virtue finally succumbs to vice. However, in murdering his conscience, Wilson failed to achieve the liberation he sought. Instead, his life turned into a living death. The climax turns the tale around; what appeared to be an account of some external haunting is seen as the subjective alteration of a hallucinating individual. “It was Wilson; but he spoke no longer in a whisper, and I could have fancied that I myself was speaking while he said…”

In “The Fall of House of Usher”, doubling spreads throughout the story. The tale highlights the Gothic feature of the doppelganger and portrays doubling in inanimate structures and literary forms. The narrator, for example, first witnesses the house as a reflection in the tarn, or shallow pool that lies alongside the front of the house. The mirror image in the tarn doubles the house, but upside down, an inversely balanced relationship that also characterizes the relationship between Roderick and Madeline. The theme also appears in the metaphor of a mind infected with madness, suggested by Roderick’s poem “The Haunted Palace.”

Also, while Roderick’s declining mental condition is echoed in the collapsing house, overgrown with parasitic plants and wrapped in a sort of unpleasant swamp gas, the fissure which finally destroys the Usher mansion literally brings the theme of dualism to a crashing climax. Roderick’s extreme sensitivity to Romantic literature and his inordinate desire to preserve Madeline’s corpse hint at other important themes, those of decadence and decay. Beside doppelgangers, Poe uses another form of doubles in the story; that of mirror imagery. The House of Usher is also similar to Roderick in their description. The house’s facade, as the narrator describes, resembles a giant face or skull with its eye-like windows and the hair-like fungi that hangs on the house’s facade. The stonework that covers the Usher house is in decay. This stonework reminds the narrator “…of old wood-work which has rotten for long years in some neglected vault”. The Usher House seems so fragile that it seems its instability will cause it to fall. Roderick’s complexion mirrors the house’s facade. Roderick’ large and luminous eyes are a mirror image of the house’s “eye-like” windows. Roderick’s soft and web-like hair resembles the house’s hair-like fungi that hang on the façade. The stonework on the facade looks old just like Usher does. In addition, Usher’s trembling resembles the house’s instability which will cause it to fall. One can see how the Usher house and Roderick Usher mirror each other.

There are other “objects” that can be found in the story that mirror each other. These two “objects” are Madeline Usher, Roderick’s twin sister, and Roderick. Roderick projects his own morbid self-absorption onto the figure of his dying sibling, in effect turning his twin into an external mirror image of his deteriorating mental state. One might say that Madeline is the reflection of Roderick’s mind and the Usher house of which will “fall.” This “fall” might be physical and/or mental. In Roderick’s case, he fits both categories. The similarities and links between Roderick and Madeline are too obvious to be emancipated. One of Roderick Usher’s paintings features a burial vault lit from within, as if he knows about a life-force coming from inside a coffin. Roderick loves his sister like no other. Their birth and death occur at the same time. Both siblings release feelings of gloom and doom.

Madeline appears ghostly, as if she is just an apparition. Roderick too appears deathlike and feels his sister’s every move and presence; when he announces that she is outside the door and has come for him, she appears exactly as he predicts. The elimination of one sibling thus spells the end of the other. Indeed, after entombing his sister, Roderick becomes more disturbed, wild, and fearful, realizing fully that his death time has also arrived. If the two siblings are in fact one in spirit, then their actions may also be interpreted as suicide rather than murder. What seems clear is that Poe does not concern himself with the moral actions of the characters in “The Fall of the House of Usher”; therefore the narrator feels no guilt for having assisted in the entombment of a person who may possibly be alive. The story seeks primarily to stir fear in the reader, with the issue of morality marginalized. The characters operate in an enigmatic universe where all of them, particularly the protagonist and the doppelganger, are equally amoral. These two can be defined as doppelgangers that are of opposite sexes; together they form a unity, of body and mind.

The identification of the narrator in “The Tell-Tale Heart” with the old man is a primary theme of the story. The narrator and the old man are on such equal balance that they seem almost like the same person. Many times throughout the story, the narrator says that he knows how the old man feels. He claims to know the groans of the old man, and that he too had experienced the same moaning – not of pain or sadness but of mortal terror. It is a terror which “arises from the bottom of the soul when overcharged with awe”. The narrator says: “I knew the sound well. Many a night, just at midnight, when the entire world slept, it has welled up from my bosom, deepening, with its echo, the terrors that distracted me. I say I knew it well. I know what the old man felt…” The narrator is familiar with such terrified aggravation quite well: “He (the old man) was still sitting up in the bed, listening; – just as I have done, night after night, hearkening to the death watches in the wall”. Apparently, the protagonist has no rational reason for wanting to murder the old man.

Definitely, he claims the old man has never done him wrong and that he loves him and does not want his money. Why, then, is there a need for murder? “Object there was none. Passion there was none”, says the narrator. The narrator never explains how or why exactly the old man’s “pale blue eye, with a film over it” bothers him so greatly. Indeed he only thinks it was the eye that first prompted him with murderous thoughts: “I think it was his eye! Yes, it was this!”. If one interprets the “eye” not as an organ of vision but as the homonym of “I.”, thus, what the narrator ultimately wants to destroy is the self, and he submits to this urge when he could no longer contain his irresistible sense of guilt. Thus, the murder becomes an act of suicide and that the protagonist and the antagonist are moral equals; In fact it could be suggested that the two characters are the same person. One clue for this argument could be this fact that the police find no trace of an old man in the house. The narrator has hidden him so well that the old man may exist only in the narrator’s mind. Consequently the beating heart can be interpreted as the sound of the narrator’s own heartbeat.

From what was discussed it can be concluded that the element of double in some short stories by Poe is significantly used, but in rather different forms. The similarity is that the element of double in all its forms is used to convey the act of self-estrangement of the characters that finally leads them to their self-destruction.

Works Cited:

Botting, F. (1996). Gothic. London: Rutledge

Botting, F.(2000). In Gothic Darkly: Heterotopia, History, Culture. In D. Punter (ED.), A Companion to Gothic. Oxford: Blackwell. (pp.3-15)

Brennan, M.S. (1997), The Gothic Psyche: Disintegration and Growth in Nineteenth-Century English Literature .Columbia: Camden House, Inc.

Fisher, B. F. (2002). Poe and the Gothic Tradition. In K. J. Hayes. (ED.), The Cambridge Companion to Edgar Allan Poe. Cambridge: Cambridge University Press. (pp.72-92)

Massé, M.A. Psychoanalysis and the Gothic. . In D. Punter (ED.), A Companion to Gothic Oxford: Blackwell. (Pp.229-242)

How to Install a Hondata S300 Unit Into an OBD1 Honda ECU

The Hondata S300 is one of the most advanced OBD1 Honda tuning systems available on the market. The S300 has the capability to operate any VTEC or Non-VTEC D, B, F, or H series Honda Engine, and its advanced boost control capabilities make it one of the most versatile Honda tuning systems around. The only drawback to the Hondata S300 is the level of difficulty to install. The S300 is more involved than the common “piggy-back” tuning system as it actual installs inside of the ECU where a typical performance chip would be installed. Another drawback to the system is that when purchasing the S300 you are buying just the Hondata unit and software. It is up to you to arrange to have it installed. However, with this step by step tutorial, you can now successfully install your Hondata S300 into your OBD1 ECU yourself!

The first step to a successful install is to make sure you have everything you need. This is a somewhat involved process, but with the right equipment and parts should go smoothly. The Hondata S300 (part number S300) is designed for the US market (USDM) rectangle or ‘large case’ OBD1 Civic / Integra style ECU’s. Hondata part number S300J is designed for the JDM (Japan market) square case OBD1 Civic / Integra style ECU’s. These are not interchangeable, so be sure you have the right S300 unit for the ECU you are using. This install guide applies to the USDM variant only. The accepted Honda ECU’s to use with the S300 are: P06, PR4, P28, P30, P61, P72, and P75. It is assumed that any non-vtec ECU will only be used in non-vtec applications. If you are going to be using a P06, Pr4, or P75 ECU, you must also perform a non-vtec to vtec ECU conversion with the Hondata S300 installation to properly operate a VTEC engine.

Let’s get started. Unscrew both top and bottom lids from your ECU and set both covers aside. On the side of the ECU where the wire harness plugs are you will see a small phillips head screw. Completely remove this screw and the small metal retainer that it holds on the inside of the ECU case and set these aside. Turn your computer upside down and remove all of the screws that hold the circuit board to the ECU case and take note how these are slightly different from the screws for the ECU covers. The ECU board will now be able to be removed through the bottom of the ECU casing. Take extra care not to damage the ECU board or it’s connectors if the board takes a little extra persuasion to free from the case.

Now that the board is removed we can begin with the fun part. Using a desoldering tool or desoldering braid, desolder the 28 solder joints marked 27c256, the 24 joints marked 74hc373, and the four holes on the space labeled CN2. You will notice the CN2 section on the board has 5 holes. You can leave the solder joint that is furthest from the ECU connectors filled as it will not be used. On most boards there will be two solder joints labeled R54. These will require desoldering as well. If your ECU does not have the area labeled R54 directly above the 28 hole area marked 27C256, then simply disreguard this step. Clean all areas of the ECU that you desoldered with flux to ensure no loose solder is left on the board or in the way of your desoldered holes. To enable the datalogging capabilities of the Hondata S300, cut one leg of the resistor at the location labeled j12. For a cleaner appearance you may completely desolder and remove the resistor if you wish.

Now on to the installation. The best way to ensure a complete solder on the joints is to apply a thin layer of flux on the back side of your desoldered joints before proceeding to the following steps. Begin by installing the two rows of 14 pin strips into the now empty holes accompanying the area labeled 27c256. Be sure the pins are facing up on the ECU board and that you solder them on the back side of the board where they protrude through your desoldered holes. Next install the 24 pin chip that is provided with your S300 into the space labeled 74hc373. Make sure the half moon notch on the chip faces toward the ECU plugs and then solder into place. Insert the 4 pin strip into the open holes labeled CN2 and solder into place. There should be one hole at CN2 left without anything in it furthest away from the ECU plugs from the earlier step. If your ECU has a space labeled R54, solder the provided resistor into place. Polarity doesn’t matter. It can be installed in either direction. Next, press the Hondata S300 circuit board firmly into place on the two rows of 14 pins at 27c256 and four pins at CN2. Take extreme care not to bend or break any pins. Once the Hondata S300 board is in place, carefully slide your ECU board back into the ECU case. Mark on the ECU casing the area that is blocking the S300 USB plug. Carefully remove the ECU board from the casing once again, and using a grinder or hack saw, cut out the marked area to allow your USB cable to plug into the S300 USB port.

Thoroughly clean the ECU casing and circuit board with a quality electrical parts cleaner of any debris or remaining solder flux. Reinstall the ECU board into the casing being careful not to damage any components. Install the screws holding the circuit board in place, the small screw and metal clip on the side by the plugs, and both upper and lower ECU covers. Be sure to carefully affix your new fancy Hondata sticker to your ECU for proper operation.

Metalworking: Transforming Our World

Tools, for centuries, have made humans very unique on planet Earth. No organisms that we know of have been able to match the skill level humans have achieved regarding tool building and other creations. Metals have been used for centuries for that purpose. The field of studying the physical and chemical behavior of metallic elements is called metallurgy. Once people got a grasp of what they were working with, incredible devices were made with increasingly better quality over time. This art of handling metal to acquire things from it is called metalworking.

Great concepts of metalworking develop as demands for metals increase. New ways of working with metals are always being explored as new technologies develop. It would appear that the ideas involved are endless. It is easy to see how that could happen since we make tools to make tools to make tools.

Metalworking generally involves three objectives; forming, cutting and joining. The typical metals used for these tasks are iron, aluminum, copper, magnesium, zinc, titanium, nickel, gold, lead, silver and tin; just to name a few. Through history metalworking became more and more important to civilizations as people began to realize the useful benefits metals create. As years went by and countries continued to develop, certain metals were viewed as more “precious” than others. Having the ability to acquire precious metals can greatly influence the economy of any country.

With heat and pressure, people have been able to shape metals in the process called forming. Certain molds are used to which hot molten metal is poured, then allowed to cool in order to maintain a particular shape. Forming does not involve the addition or removal of any material.

Many times once the metal has been formed, the shape is then refined. This will help it to become more of a precise implement. In order to refine the shape, certain pieces are removed in the process called cutting.

Cutting is a broad term since there are so many different methods. Metals are cut manually or mechanically and sometimes with an electric discharge or powerful streams of water. Generally speaking metals are; drilled, bored, parted, threaded, ground, turned, filled and machined.

Once cut metals are sometimes joined with other metals. The process of joining metals is viewed by many as a valuable art form. Much like cutting, joining can be accomplished by several different means. Welding is a joining method involving melting the metals and adding filler material in to the area that is being welded. It can be accomplished with lasers, flames, friction, electric arcs and beams. Other methods of joining are riveting, soldering and brazing. Sometimes processes are repeated to further improve the final product.

Amazing technologies continue to astound the mind. New and exciting advancements in the fields of science and industry have thrust us in to an age only imagined decades ago. Powerful machines have been created that enable us to test the limits of our own creation. These amazing machines are pieced together through the help of engineers and other great scientists that have toiled countless hours to turn imagination in to reality.

Betta Fish Swollen Eye – Causes and Cures For Betta Fish Swollen Eye Syndrome

A common bacterial infection that afflicts betta fish, swollen eye syndrome, also commonly referred to as “pop-eye”, can be a symptom of a more serious internal problem. Basically, it is caused by the accumulation of fluid either in the eye or behind the eye, in the socket, which cause the eye to bulge out. Among the many causes of betta fish swollen eye include:

– Bacterial infections

– Viruses

– Parasites

– Water nitrogen supersaturation (gas bubble disease)

– Poor water quality

– Tumors

– Internal (metabolic) disorders

– Nutritional deficiencies

To cure the infection:

1. Isolate your fish if in a community tank.

2. Thoroughly clean out your fish’s tank, replace the plants and rocks if they are deteriorating.

3. Raise the water temperature to 82 degrees. This helps your fish’s immune system.

4. Try giving your fish antibiotics. Two you can try include Kanacyn by Aquatronics and Maracyn 2 by Mardel.

5. Make sure you are using a good quality aquarium salt as this helps “wash” the eyes.

Fortunately, betta fish swollen eye is curable with a little bit of effort, within a few days.

The worst mistake would be to simply “wait it out” to see if the problem goes away by itself. If you see obvious signs of a swollen eye, make sure you take action right away.

If left untreated, your betta fish could go blind. Worse yet, the infected eye could bulge out to the point where it literally falls out of its socket completely!

Third Eye Chakra: 3 Huge Mistakes That You Will Prevent You From Opening The Ajna

There is an epic heap of nonsense out there about the Third Eye Chakra (called the Ajna in sanskrit).

Most people will never Truly open the third eye, because their intent sends them in the opposite direction of awakening to non-perceptual Truth.

If you are looking for psychic powers, that’s fine, but this isn’t the article for you.

Most people want to open the third eye for what they perceive to be super human powers.

Chasing after super powers is a mistake if you are interested in sincere spiritual growth.

These are a few common ones:

Seeing the Aura: The most common reason I hear people give for wanting to see the aura is so they can tell if someone is lying. Mundane methods of lie detection (reading body language and tonality) are more consistent and easier to learn. Once you open your third eye, you will have a knowingness when someone else is lying, but it will come from your own dedication to Truth (and/or the lack of it in a given person, statement, belief, etc.). You might not see it… you might just feel it. Seeing/feeling the aura is a potential benefit (some see it as a side-effect, rather than a benefit) of opening the third eye, not the goal.

Precognition: You don’t need to open the third eye to have glimpses of the possible future. If you really want to know what is most likely to happen in the future, you only need to do 2 things. First, let go of your addiction to your own perspective and your aversion to contrary perspectives. Second, study history and current trends… looking beyond the emotional and/or political spin that is placed on them, and then allow yourself to see what is most likely to happen next. When you have truly let go of the emotions and perceptual delusions around history and current events, it almost looks like a simple mathematical sequence. Fill in the blank: 2, 4, 6, _ (the only reason you know the answer to this, is you have little or no emotional attachment to the numbers displayed, or to the answer. If you had this little emotional investment in history and current events, what is most likely to happen next would become as obvious as the number 8 was in the preceding numeric sequence)

Channeling: Why people want to talk to some obscure spiritual companion in another dimension is beyond me (other than the fact that there seems to be lots of profit to be made if you can convince enough people). The frightening thing about this, is I do strongly suspect most of the people who claim to channel are actually in communication with a non human entity (although I know there are some con-men out there as well). The frightening thing, is the assumption of the entity’s good will. Assuming the entity has positive intent is dangerous and foolish. If some strange person showed up wanting you to share their message with the world, hopefully you would exercise some caution. If the strange person isn’t human, or even organic, hopefully you would exercise a little more caution. People who don’t exercise caution deserve a polite warning, but will likely have to suffer the consequences of foolishness and arrogance before they begin developing real wisdom (the Carlos Castaneda books aren’t the best out there, but The Art of Dreaming is an enjoyable read and it offers a good example of seeing ‘spiritual’ entities appear friendly and then having their real intent revealed).

If you have any of these desires, and you are still reading… it speaks very highly of you. Recognizing them, and letting them go is a powerful step toward real insight.

To begin the opening of the Third Eye Chakra, set your intent to let go of your desire to gain something, and sincerely open yourself to Truth and Insight… gradually it will begin to reveal itself.

Godspeed on your journey!

Whitewater Rafting and Kayaking Terms: Learn Whitewater River Lingo

Whitewater rafters and kayakers are notorious for speaking in their own language. When you are first getting involved in the rafting and kayaking sports, it is easy to feel intimidated by your lack of understanding of the lingo. Below is a list of basic terms you will need to know on the river. The list is not comprehensive, but will give you a great source to start sounding as if you know what you’re talking about.

CFS (i.e. the flow) — CFS stands for “cubic feet per second” and is the method of choice to describe the flow of water in a river. The flow is measured by gauge stations set up by the United States Geological Service (USGS). A cubic foot is roughly the size of a basketball, so if a river is running at 30,000 cfs, about 30,000 basketballs worth of water are passing by that gauge every second.

Class — Stretches of river and their corresponding rapids are generally described by a class system with 1 being the easiest and 6 being unrunnable. Some large rivers in the west use a 1-10 rating system. The rankings of rapids is subjecting and based on the experience of the boaters, the water level, the consequences should something happen, the type of craft, and many other factors. Refer to guidebooks and knowledgeable boaters to determine the class.

Dumptruck — When everyone falls out of the boat, but the boat stays upright.

Eddy — When water flowing downstream hits an obstruction like a rock, the channel will move around it, creating an empty space behind the object. The river will fill in that area by flow upstream just behind it, creating an eddie. Eddies are fantastic tools because they can keep you out of the current, provide some gentle water to rest in or deal with an emergency, and can even help turn your boat in big rapids. To “eddie out” means to leave the main current and enter the eddie to stop or slow the boat.

Eddie Fence — When water flowing downstream meets water flowing upstream it creates and eddie fence (also known as the “Eddie Line”). These typically have strange currents, and very powerful fences can even flip boats. Be aware that a swimmer can be caught in a fence, causing them to be pulled downstream or deeper into the river channel.

Flip — When the boat turns over. It is possible to do a dry flip, where you jump out of the boat as it is turning over and manage to land on the bottom of the flipped boat without ending up in the water. This requires perfect timing and a lot of luck.

Flood Stage — Every river section is different based on how steep it is, the type of rapids, the land it cuts through, and the flow. A small creek surrounded by high canyon walls may be at flood stage when it is running 1,000 cfs, while a large river like the Mississippi that runs through open marshland can flow over a million cfs without a ripple. Know the level of the section you are running and what flow it is recommended that you run it.

Gnarly — A feature that is particularly troublesome, as in, “wow, that gigantic keeper hole is gnarly.”

Hole — Holes are the most notorious features in rivers. Similar to an eddy, when the river flows over a rock or other obstruction, the water rushes to fill in the space just behind the object. This creates a hydraulic. Holes can be very small or house-sized, and can often flip boats. There are several different types of holes:

  • Flushing Hole — A flushing hole pushes water to the downstream edge of the hydraulic and generally will not hold you.
  • Keeper Hole — A keeper hole has water flushing into the center of the hole from its edges. It may hold a swimmer or a boat for a long period of time and can be extremely dangerous.
  • Ledge Hole — A ledge hole is a particular feature created by an obstacle with a sharp dropoff on the downstream side. These tend to be keeper holes and may resemble low-head dams.

Lateral — A wave or hole that sits at an angle against the current. This can confuse new boaters because you will need to be at an angle to the current to hit these head on.

Pile — The pile is the white, foamy mess at the crest of a wave. If you want to surf, look for a wave with a big pile to make it easier to stay in the trough.

Pillow — Formed by water pushing up against an obstacle, creating a mound.

Pool Drop — A type of river where rapids are spread far enough apart that a large pool of flat water sits below the rapids. These pools are a great place to recover should something go wrong above.

Put-In — The put-in is where the river trip starts.

RDTFM — “Right Down the Friggin’ Middle.” A way boatmen might describe their proposed route through a rapid.

River Left/River Right — The sides of the river are determined by the boatman facing downstream in the main current, the right side being on her right. Downstream is always based on the main current. If you are floating upstream in an eddy (i.e. opposite the main current), river right and river left do not change.

Rooster Tail — When water flows against a rock or obstacle with a sharp point on top, it may fling off that top creating a splash that resembles a rooster tail. Finding these from the scout can be a great way to identify where you do not want to be as they provide a good marker when you are in the rapid.

Scout — Before you enter a large rapid, you may want to take a look at it first. This is called the scout. Pull your boat over to one side of the river and hike downstream to find a good view of the rapid. Look for where the current is pushing, large obstacles to miss, and multiple plans in case the first one does not work out.

Surf — If a hole or wave is strong enough, it can keep a boat in its trough for an extended period of time. This can happen passively if you are caught unexpectedly in a hydraulic. When it happens actively, it can be one of the most fun aspects of river running. Kayakers especially love to surf and call it playboating. Experienced kayakers can use the water to do flips, 360-turns, and other tricks.

Strainer — A strainer is anything that water goes through but a person (or boat, or other object) does not. This can be low hanging branches or shrubs on the side of the river, natural dams, driftwood, and clumps of rocks. Strainers are extremely dangerous and should always be avoided.

T-Up — To hit a hole, wave, or lateral at a perpendicular angle. When you hit the obstacle with just your bow or stern, there is less surface area to create resistance. On the other hand, hitting them broadside gives the obstacle a lot more of your boat to push against and you are more likely to flip.

Take-Out — The take-out is where the river trip ends. The take-out is always downstream from the put in (no, the boat does not run on tracks).

Tongue — A tongue is a smooth “v” that generally represents the calmest route to enter a rapid.

Wave — A wave is the nicer cousin of the hole. It can be formed on top of a hole when the water gets high enough, or just from gradient changes in the river bottom. As water flows over the submerged obstacle creating the wave it speeds up. When it hits the slower water below, it creates a wave.

Wrap — When the boat becomes pinned against an object. Often requires a rope system or letting air out of the tubes to get the boat off.

Knowing these terms will help you feel more involved as you learn to whitewater raft or kayak. You can also do research on terminology directly relating to the boats and to safety gear. Like all activities, the sky is the limit to the knowledge you can amass on whitewater boating. Now that you are talking the lingo, you can start learning the more complicated aspects of the sport.

A Landscape Lighting Designer Can Create a Magical Moonbeam Garden

When you spend time and money to create the backyard of your dreams, you should be able to use it whenever you want. That’s when outdoor lights come into play. With the help of the right landscape lighting designer, you can create the perfect “moonbeam” garden for your backyard.

But what exactly IS a moonbeam garden? Simply put, a moonbeam garden is any designated area in your yard that either mimics or helps reflect moon light. By using specific forms of outdoor illumination, you can create a space in your backyard (or front) that allows you to relax and enjoy all your hard work even after the sun has set.

Not all moonbeam gardens are designed the same way, which means yours can be as elaborate or as simple as you’d like. The best landscape lighting for such a garden is up to you and your designer, but here are some ideas to help you get started:

Up-lights: These are generally placed at ground level, so that the light reflects up. They’re an excellent way to mimic reflected moonlight in places with a lot of trees or shrubs, which normally absorb the illumination of the moon. A professional landscape lighting designer may use up-lights for gardens in wooded areas or along the siding of the home.

Moon Pulse Bulbs: Don’t be surprised if you haven’t heard of these: not many homeowners have. But if you want the best landscape lighting outdoors, ask a contractor about installing Moon Pulse bulbs. These bulbs are designed specifically to look like the moon light is being reflected off of the ground. They’re excellent additions to pool and patio landscape designs because they’re non-obtrusive.

Solar Lights: It might seem counter-productive to rely on the sun for your moonlighting landscape, but lighting that’s solar-based is renewable and plentiful. By harnessing solar power, you can illuminate your yard or moonbeam garden at night without any additional cost. A professional landscape lighting designer can accentuate the most beautiful parts of your garden to give it an ethereal, magical glow.

Outdoor Landscape Lights Add Ambiance

The best outdoor lighting will allow you to enjoy your outdoor spaces at night. By installing outdoor landscape lights, you can utilize your space at any time. One of the great benefits of a moonbeam garden is that it provides calm, soothing place to relax after a long day at work. They’re relatively pest-free, since most insects rest when the temperature drops.

You can also create the ambiance you want with a moonlit oasis by your pool. Moonlight reflects off of water, but some nights the moon isn’t as visible as you’d like it to be. By utilizing outdoor landscape lights near the water, you can swim at any time of the evening and still be able to see where you’re going – both in the pool and out of it.

Another great reason to create a moonbeam garden revolves around temperature. As wonderful as a day in the sun can be, summers here can be oppressive – and that means that you might be dissuaded from enjoying your yard even in the middle of the day. Here’s where you can benefit from moonlighting. Landscaping lighting that illuminates your yard at night allows you to escape the heat of the day by creating a setting that’s best used at night. A landscape lighting designer can light up your entire yard for evening use.

The most important thing about moonbeam gardens, though, is their versatility. You can create a space as compact or as large as you’d like, and use outdoor landscape lighting to enhance natural structures and professionally designed hardscapes. So whether you’re a night owl or a swing-shift worker, a moonbeam garden can help you enjoy your yard at any time of day. Consult a landscape lighting designer to come up with a blueprint that works for you.

Understanding Compact Fluorescent Lighting (CLFs)

Compact Fluorescent Lighting (CFL) has been so successful in replacing the traditional light bulbs (incandescent) and fit in existing light fixtures to produce more energy-efficient lighting. Edward Hammer developed the spiral shaped bulb to try to pack in enough tube yet allow enough space between the coils to decrease blockage of light. Today, Hammer’s spiral design endures, although rectangular tubular-type CFLs are a bit more efficient and are more popular in Europe.

There are two main components of a CFL:

  1. The ballast, which emits and moderates electric current (typically in the ‘bulb’ part of light)
  2. The gas-filled tube, also known as the bulb

The CFL tube is filled with an inert gas, typically argon but sometimes neon. This may also include a small amount of mercury vapor. As the larger fluorescent tubes, excited mercury atoms produce UV light. This strikes the phosphor coating on the inside of the glass tube or bulb to emit visible light.

In all fluorescent bulbs, the phosphor coating is a key part of the design and is constantly evolving. It is primarily the part of the bulb that produces light color, strength and quality. Today, most CFLs use a layering of two or three phosphors and in some occasions a five layer phosphor. Most CFLs have electronic ballasts, although some earlier models used a magnetic ballast that would cause a flicker in the light it produced and would sometimes hum.

Integrated vs Nonintegrated CFLs

CFLs can be manufactured as integrated or nonintegrated units. Integrated lamps combine the tube and ballast into a single product and have either an Edison screw-type or bayonet fitting. These are the CFLs that ar most familiar to consumers and they allow simple replacement of incadescent bulbs. This lowers the coast of use because people can actually reuse existing hardware.

Nonintegrated CLFs have a separate replaceable bulb and permanently installed ballast. Since the ballasts are placed in the light fixture, they are larger and last longer than the integrated ones. Nonintegrated housing tends to be more costly ranging anywhere from $85 to $180 for each recessed light fixture.

Direct Current (dc) CFLs

Most fluorescents will work on dc as long as there is enough voltage to sustain an arc. Unless the starting switch is arranged to reverse the polarity of the supply to the lamp each time it is used, the mercury in the tube will accumulate at one end of the tube. One alternate solution for this problem is to hook up an inverter before the fluorescent light, which will convert the power from dc to ac.

Advantages of CFL Lighting

Most residential CFLs opperate on 12 to 24 watts of energy which is far less than the typical 60 to 100 watts for incandescent bulbs. The great thing about this type of lighting is the CFL is still able to produce the same amount of light with a fraction of the energy. CFLs also have a longer life, sometimes 8 to 10 times that of an incandescent bulb. Even though the CFL bulbs cost more, with a longer life and a fraction of the energy use, you can expect to save anywhere from $25 to $35 over the life of the bulb according to the EPA.

A Radiant Barrier Is A Money Saving Choice

A radiant barrier will allow you to climate control your home for a fraction of what everyone else pays.

A radiant barrier, also known as reflective foil insulation, is what keeps thousands of people warm in the winter and cool in the summer, at a fraction of the average cost. Yes, you read correctly, at a fraction of the cost! Sounds good, does not it? I thought so.

Radiant barrier insulation works by reflecting, hence the name reflective foil insulation, the heat back into your home. Sure, traditional insulation like fiberglass works well, but there is a point where there is just too much heat for it to work as effectively as we hope, as we deserve.

Did you know that more than 75% of the heat from your home, the same heat that you pay an arm and a leg for, ends up escaping through your attic or ceiling? If that sounds big, but not too shocking, think of it in terms of money. You are losing 75% of the heat that you are paying for, does not that equate to roughly 75% of your heating bill flying out the window each month? I bet you are in absolute shock now, are not you?

The same scenario works in the summer, just in reverse. Instead of reflecting the heat back into your home, a radiant barrier reflects the heat away from your home, keeping the cooler air inside where it belongs. Now think about that in terms of your cooling costs, just as you did with your heating bill. The cost to climate control your home, or at least attempt to, is not getting cheaper as time goes on, in fact, it's getting more and more expense. So would not it be smart to do whatever you can to keep those costs down?

So what have we learned? Simple, installing a radiant barrier will save you money. You just can not get any simpler than that.

Own a Cash Business – You Need a Security Safe With an Capsule or Envelope Drop Facility

Nobody ever told me I needed an under floor safe with a deposit drop facility. In fact, I never knew there was such a thing. The cash business which I had for about 10 years took a lot of coin and notes on a daily basis and also retained valuable customer financial information on site. This should have been stored in a safe overnight. The type of guy seeking to fund a drug hit mustn’t have associated my busy business with cash and fortunately, I was never held up or burgled but to this day I shiver at the thought of what might have happened.

A Safe for Your Business?

Here’s good advice straight off! You will need a security safe if you have a cash business, period. It’s fair to say that most businesses will not invest in one until a robbery has taken place. A bricks and mortar business on Main Street will take payment in the form of card, coin and note payments with some customers perhaps paying on account. While the batch-out will lodge the card payments to your bank, you may take the cash home with you at night or leave it in the business to lodge the next morning, in an envelope, stuffed under a desk or somewhere. You are asking for a theft to take place, either a mugging or a burglary. For this reason, you need to have a first line security measure in place and protect your business proceeds. Omit to take this precaution and your day will come.

Best Safe for Your Business

Which or whether you opt for both types has their advantages and disadvantages. In favor of the under floor variety is that it is hidden, it takes up less space and of course it is fireproof if embedded in concrete. Although under floor safes are very popular they tend to be restricted in size and are not practical for storing some objects such as cash till inserts. I like under floor safes because they are concealed.

Drop Facility

An under floor safe with a cash drop facility is called a Banker’s Safe. The cash drop facility allows money to be deposited until a reasonable person such as a manager or the owner can reconcile the lodgment and bank it. As cash mounts up during the day, a business may consider it prudent to sweep the tills of extra cash and lodge it to the cash drop safe. Again, an under floor safe is very practical in so far as it is concealed, doesn’t take up room and is fireproof. Nightclubs, hotels and bars who cease trading well into the night benefit from the security and simplicity of under floor safes with a cash drop facility.