The primary objective of this study is to monitor and collect data from the main
tributaries of Smaquli stream during rainfall storm events, which can be used to
establish relationship between suspended sediment concentration and discharge. The
Smaquli catchment is divided into two sub-catchments namely Sarwchawa and
Krosh with areas of 80.64 and 34.82 km2 respectively. Jali dam is built at watershed
outlet. Rainfall, stream discharge, and suspended sediment concentration are
monitored during ten rainfall storms in the water years (2012-2013) and (2013-
2014). Analysis of the data from the two sampling sites, shows two different
responses of suspended sediment concentrations. The Krosh sub-catchment reacts
rapidly to rainfall storms and the same behavior is shown in the suspended sediment
that is resulted seven single and three double-peaked graphs. On the other hand, the
reaction of Sarwchawa sub-catchment was slower. Moreover, analysis of cumulative
flow and suspended sediment showed the Krosh sub-catchment ranks almost equally
as one of the flow and sediment contributors to the Smaquli stream, in spite of the
area difference between Sarwchawa and Krosh sub-catchments. The peak stream
flows are highly correlated with total and peak suspended sediments at Krosh station
having correlation coefficients of (R=0.96 and 0.84) respectively. In contrast, at
Sarwchawa sub-catchment, the peak stream flow was weakly correlated with peak
suspended sediment (R=0.47). To reduce sedimentation, this study suggests
changing the land use practices for example types of crops and frequent planting and
less grazing of sheep and goats.
In this study, sulfur was removed from imitation oil using oxidative desulfurization process. Silicoaluminophosphate (SAPO-11) was prepared using the hydrothermal method with a concentration of carbon nanotubes (CNT) of 0% and 7.5% at 190 °C crystallization temperature. The final molar composition of the as-prepared SAPO-11 was Al2O3: 0.93P2O5: 0.414SiO2. 4% MO/SAPO-11 was prepared using impregnation methods. The produced SAPO-11 was described using X-ray diffraction (XRD) and Brunauer-Emmet-Teller (N2 adsorption–desorption isotherms). It was found that the addition of CNT increased the crystallinity of SAPO-11. The results showed that the surface area of SAPO-11 containing 7.5% CNT was 179.54 m2/g, and the pore volume was 0.31
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Schmidt Cassegrain spider obscuration telescope (SCT) is one of the types of observations operating with a concave mirror. It combines several lenses and mirrors working together as an optical system. The light rays fall into the tube from the main mirror and gather on another smaller mirror called a secondary mirror. Unlike the formation of Newton's telescope, no light is made from the secondary mirror out the side of the tube but is directed to the middle of the main mirror. There is an opening in the middle of the main mirror so the light beam can go out and direct the vision lens system. The secondary mirror is located in the middle of a glass slice and is installed by thin carriers. The function of this board is to correct the portr
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The tunnel’s stability during construction is a very important matter. Some methods have been proposed for stability evaluation, but the hazard warning levels (HWLs) are more applicable among these methods. Despite monitoring and applying HWLs, several collapses in Shibli twin tunnels in Iran have cast doubts on the accuracy of this criterion in the presence of water. In this study, the critical strains under different water contents were measured through uniaxial compressive strength tests on 11 different shale and marl samples. A comparison of laboratory tests and numerical results shows that the influence of the moisture content on the critical strain is negligible. In addition, the results show that there is no dir
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The way artists deal with body in their artistic works has had so many forms and methods, whether as an object for their drawings or as a material to create live artistic performances that relate to the idea of correspondence and interaction between different artistic categories such as: drama, dance, and painting as it is the case of the artist Marina Abramovic who has always used her body as an artistic unit to generate meaning and to perform her lively shows.
To go deeper into her career, our work was divided into 3 sections:
The first section was devoted to follow the main artistic stages that her body had gone through, starting with paintings she performed using concepts based on acting, simulation and nudity and ending wi
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