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What happens if a US Navy Submarine hits an iceberg or a floating rock while coming to the Ocean Surface?

In the case of Floating Rocks, either Pumice Stones or a huge Pumice Raft (,like the huge one headed for Australia,), they’re only thought to be about 6” thick, (though some can be boulder size) which is nothing for a modern U.S. Navy or other Submarine. Remember that a Pumice Raft isn’t a solid object; it’s millions of floating Pumice Stones on the water. Since they’re also light enough to float, they’d easily give way to any boat surfacing through it. As shown in the linked video, surface ships can easily go through them, but the real problem would be smaller particles of pumice being sucked into a seawater intake, or clogging a filter. I dare say the exterior paint of any vessel would likely need some touch-up if it was fresh pumice, and hadn’t been worn down by the constant sea action and bumping against other stones over time. Concerning Icebergs - Iceberg sightings, monitoring, and movement records predate the Titanic iceberg collision and sinking. The difference is that back then, their positions weren’t readily available or broadcast to all ships. Several other ships had played Iceberg Chicken before Titanic did and lost. Titanic was just more of a shock because of its ridiculous “unsinkable” claim. If it’s man made and floats, it can be sunk by man or nature. Iceberg movements for many decades have been reported and tracked; in recent times their positions are constantly monitored, updated, and broadcast to the entire Maritime Community (all commercial and military vessel types) by the ,U.S. Coast Guard’s International Ice Patrol (IIP), and ,Broadcast to Mariners, for those navigating in waters where icebergs may be. Their positions are also available via Satellite and many other sources. In other words, all Submarine Navigators and Nav ET’s get continual updates from different sources available to them when operating during the iceberg season (generally February to July in the North Atlantic) in areas where icebergs are known to drift through (most in the North Atlantic are calved from Greenland’s glaciers in the Northern Hemisphere). So any normal Submarine operations would involve iceberg avoidance by a healthy range margin. Icebergs can be extremely deep, so even submerged avoidance is a priority. Even if it’s an Emergency Surface, a quick baffle maneuver and Surface Target Sonar check both from depth and during ascent through thermal layers are performed to ensure you don’t add a Collision to a Fire or Flooding casualty that you’re surfacing for. If the boat in question was near the position of a tracked iceberg, the CO wouldn’t risk further damage without being absolutely sure there wasn’t one close aboard on the way up, unless the casualty was so severe that he had no other option. If a boat was working with other Navy vessels, it would try to establish contact by underwater phone, and report a problem, surfacing, and assistance. Any ship close enough would respond and let the boat know if it was safe to do an Emergency Blow if required. That actually happened when the Thresher sank; they just never made it back to the surface. In the case of a normal surface, a boat would go to Periscope Depth and do a visual target check first before raising the snorkel and engaging the Low Pressure Blower to surface. Again, I know that icebergs extend to deep depths; but that’s what Iceberg Tracking and Broadcasts are for. You can also detect icebergs in the open ocean on Sonar, as you can hear the ice popping as it melts/cracks, and waves hitting the edges, so any savvy Sonar Tech like me would realize that there’s an island floating in the North Atlantic where one shouldn’t be. Visually it appears as a stationary target, but like a lighthouse island, it’s also something you want to avoid. The Iceberg Tracking System was established to prevent another Titanic, and there’s not been another such occurrence since. Maritime regulations put in place after Titanic have also helped considerably, during both World Wars and as commercial shipping has expanded over the decades. Regardless, a Submarine can withstand major collision damage without sinking; I’ve added some pics below that you may or may not have already seen. One is the sail of USS Nautilus (SSN-571) after being run over by the bow of Aircraft Carrier USS Essex (CVS-9) in 1966, and the other of course is the USS San Francisco (SSN-711) after hitting an underwater mountain at flank speed. Most Submarine sails are already hardened for doing under-ice Ops, so the bow and sail would likely be seriously damaged, but the boat could still survive. The reason I’ve added these pics is that the bow and sail would be the most likely contact points in an Emergency Surface; these pics illustrate how much damage a boat can take and still survive with serious damage to those areas. In the San Francisco incident, her forward Ballast Tanks were ruptured; they were very lucky to have survived and surfaced. Sail, USS Nautilus (SSN-571) after colliding with USS Essex (CVS-9) Bow, USS San Francisco (SSN-711) after underwater seamount collision at Flank

What is so great about the Mona Lisa? It looks like a portrait from the medieval tradition more than the renaissance.

I will admit that—to my eye, at least—nothing about the Mona Lisa looks at all indicative of the artistic traditions of Medieval Europe. I get the impression that by describing it as part of the “Medieval tradition” as opposed to that of the Renaissance, what you really mean to say is just that you don’t think it’s good enough to warrant the acclaim it has received. That is understandable, though I generally disagree, but I will get to that in a moment. First, I want to look at the actual artistic tradition of Medieval Europe for comparison. To get a general sample, I just typed “famous Medieval paintings” into Google and looked at what came up. The first hit was Duccio’s “Maestà,” pictured below. Notice the formal rigidity of the figure. This woman has none of the warmth and life that we see in Lisa del Giocondo. The woman above may be fit for admiration but she is not at all alive. There is nothing subtle about her. Another top hit in the search was Giotto’s “Kiss of Judas,” which you can see here: Here we see the profile view of pretty much all the figures, as is more typical of the Medieval tradition. But were this to be seen in real life, it is unlikely that there would ever be a moment when all the faces were so aligned along a single planar cross-section like we see above. Don’t get me wrong, these are both great paintings, and I am not intending to demean Medieval paintings. I have a great love for Medieval art myself. But if we compare them to the Mona Lisa, they are clearly of different schools. Leonardo manages to freeze this women with the full warmth of life hanging about her in a single moment for eternity. There is nothing stilted about it. We see her in the midst of action, partway through turning to face us, so that her posture (normally described as “three quarters”) actually shows the torsion between her close-to-profile lower body and her face turned almost directly upon us. Nothing about this painting is remotely reminiscent of the traditions of the centuries that preceded it. Now I can understand if you feel the painting is overrated. After all, it is likely the single most famous and consequently most praised painting in history, which is something that should be questioned. After all, as much as I like and admire the work, I wouldn’t say that it’s the single greatest painting of all time, and there are others that I like more. I am happy to inform you that you are by no means required to like the Mona Lisa. You are perfectly free to see it as an overrated portrait by an overrated artist if you like. But just in case you are interested in understanding the painting a bit better, I am happy to tell you why I personally consider it a masterpiece of portraiture and as good an encapsulation of Renaissance painting as can be found anywhere. First off, it bears noting that for a painter as famous as Leonardo, there are remarkably few works today that are attributable to his hand. Today there are only fifteen paintings that are widely attributed to him either in whole or in part, and at least three of those are unfinished. Like other Renaissance artists, Leonardo never signed his works so it is possible that other paintings will be discovered to have been done by his hand in the future, but it’s a rather short list at present. One might even theoretically list the Mona Lisa among his unfinished works. He began the painting in 1502 but was likely still adding finishing touches to it as late as 1516, a decade-and-a-half later. It was never delivered to the person who had commissioned it and there is no evidence that Leonardo was ever paid for it. It still sat in his art studio when he died in 1519. So already we can see that the painting became something more to Leonardo than just the portrait of a noble lady he was painting to make a buck. For some reason (aside from his intense ADHD) Leonardo never reached the point of feeling that the painting was sufficiently finished to deliver to the wealthy patron who had set him on the journey of painting it. As for it being anything but a masterpiece, I think a closer look shows how intricately detailed the painting is. Its most notable quality is its subtlety, with which her face it replete. Everything is soft and set in various shades of tan. There are no hard lines about the face, but each part fades into the next with Leonardo’s famous sfumato technique of shading. Her eyes and her smile are the most famous elements. Her eyes so perfectly exemplify the artistic trick that makes them seem to follow you to any angle that it is often referred to as the “Mona Lisa Effect.” Her mouth bears a smile that disappears when you look too directly at it. None of this is accidental. Leonardo saw no barrier whatsoever between art and science, and had previously documented his observations of how our peripheral vision perceives shadows differently than those in our direct focus. So he paints the smile into the shadows, so that we see it flicker back when we look away. Leonardo’s preparation for this portrait is also notable. For the first layer of paint, he used a very bright lead white, knowing that the paint he put on top of it would be slightly transparent, and that some light would make it through to the underlayer. By using a bright white lead base, Leonardo allows that light to be reflected back into the eyes of the viewer, giving her face a shine that truly comes from within and adds to the sensation of life and warmth in the painting. Next, let’s look at the design of her dress at her neckline Look at the intricate patterning of her cloth, which folds on itself, with the pattern following those folds. Also note the delicacy of the whispy curls at the end of her hair. The attention to detail in the cloth shines even more brilliantly in her copper sleeves. The intricate folds of the sleeves and the way the light plays off of them show the lessons on optics from Leonardo’s notebooks put into action. It is all hard-definition like a photograph and unlike her warm and subtle face, as well as her soft hands with which they are juxtaposed. Much like the face, her hands encapsulate human warmth. Their positioning looks less like a set pose and more like a moment frozen for eternity. Her left hand grips the arm of her seat as though she may be about to rise. Her right sits as though she were about to reach for something but only just changed her mind. Here again, everything is subtlety. And speaking of subtlety, let’s look as the transparent veil with which she covers her hair. Note the delicacy with which the color of her hair changes where it leaves the veil. On the top of her head where it is underneath the veil, her hair looks brown, but as it emerges near her ear, we see its red tones come out. Also note the way the background shifts when seen through the veil. Speaking of the background, notice how oddly disjointed it is. The horizon appears inconsistent, higher on the right side than on the left. Note how high she appears to sit above the landscape, which we look down on from afar. We also see images of what looks almost like a primeval Earth juxtaposed with touches of human civilization like the arched bridge on the right. The marrying of man and nature rings throughout the portrait. At the end of the day, the reason for the Mona Lisa’s popularity is that its subtlety successfully captured the imagination of many different viewers. It might not capture yours, and that’s okay. As for its not being in the Renaissance tradition, that couldn’t be further from the truth. Indeed, it was a major influence on the Renaissance tradition of portraiture. Look, for instance, at some of the Renaissance portraits that came after it, like Raphael’s “Young Woman with a Unicorn,” seen here: Look at the hands in Raphael’s “Portrait of Maddalena Doni” There is no question that the Mona Lisa is indeed a great example of the Renaissance tradition of portrait painting. I rate it to be the single greatest Renaissance portrait for the reasons listed above. You don’t have to like it. You are allowed to like other paintings more. But that is why ,I ,find this particular Leonardo masterpiece hauntingly beautiful, and why I am not the least bit surprised at its being one of the most popular paintings in history. It’s greatest elements are so subtle that they are easy to miss. This means that the very things that make it such a masterpiece are also responsible for its being easy to see as unimpressive. But I, for one, see it as a masterpiece by one of the greatest and most observant minds in history. Thanks for reading.

Can we apply Royale Luxury emulsion on walls that are previously painted with Tractor emulsion?

Yes, that is possible. For repainting, generally touch up putty, followed by one coat of Primer and 2 coats of Paint is the standard procedure. However, Royale Luxury being a paint with soft sheen on it, it is advisable to go with 2 coats of Putty also. This will help achieve desired finish with Royale Luxury, by creating a smoother surface for paint application. Hope this helps. For any painting related assistance, you can reach out to us at AapkaPainter.com

Could every person see all colors differently but there would be no way of knowing because though we see a different color we were all taught it was one certain color name?

Your question is certainly valid. As a strict scientist, I came to realize that when each of us were little kids, our mother taught us what “red” means. We gradually adjusted that during our lives, where our idea of “red” may have become slightly “orange” or “yellow”. But in general, “colors” are very “subjective”. As a little kid, I had a brother-in-law who claimed to see “traffic lights” as opposite of what we all think we see. He claimed to see “red lights” as “go” and “green lights” as “stop”. I wondered how he tried to get away with that to Traffic Cops. I later learned that there are HUNDREDS of colors which are called “red”. I once bought a new Chevy Camaro that was advertised as “Hugger Orange”. I later owned a Chevy Corvette which was described as some shade of “red”. The touch-up paint (from GM) for both of those cars had the bexact same GM part number!

The walls in my apartment get dirty easily, and are difficult to clean. Is there such a thing as a clear or white, plastic sheet that can be applied that will keep it nice-looking, won't damage the drywall or paint, and will be easy to wipe off?

If the paint has some gloss (think eggshell, semi-gloss, washable, etc) and not a dry and chalky feel, it may be easily cleanable. This would be preferable to a wall covering that could cause more damage. What I do on my rentals is ,use TSP, (as directed) and hot water with a sponge mop. There is also a TSP substitute (not quite as strong in my view but powerful and more eco-friendly). Make sure the mop is just damp, not wet, and rub down a wall (dip and squeeze occasionally in a bucket), then use a second clean mop (or the same one well rinsed) and rinse off the TSP. It generally knocks off grease, stains, and is also ideal prep to paint (should you have a quart of the right color match for a touch up—maybe ask the landlord). Don’t try and match color by eye on your own. You will see greases, hand prints, and cooking residues run right off your walls with a strong, hot TSP solution. Sometimes, in a short tenancy, I will just wash the walls like this and it obviates the need to completely re-paint (or at least lets me just touch up a few scratches). Finally, minor dirty walls are generally considered normal wear and tear so most reasonable landlords will not offset a deposit in the US (major stains, holes, damage are another story however). Best of Luck!!!!

If Van Gogh had a therapist/psychologist, would he still have produced such amazing pieces of work?

I see answers here saying that yes, Van Gogh would have produced great art if he hadn’t suffered from mental illness; that to say otherwise glorifies mental illness, and that Van Gogh did have help with his illness anyway. The truth isn’t that simple. The truth is that no-one knows what Van Gogh would or would not have done, had he not been ill, or had he received better or more modern help. There was an obsessive, driven quality to Van Gogh’s work that hardly sounds like it corresponded to anyone’s idea of a normal job, or a healthy work-life balance. The notion of a healthy balanced life is smashed and torn asunder by the brutal reality of a disordered mind. Even “minor” mental derangements can cause people to adopt lifestyles entirely out of the ordinary. Usually no good comes from those lifestyles, but sometimes something extraordinary comes from them. Sometimes undoubtedly people who would otherwise have worked steadily and patiently but unspectacularly at ordinary work, instead do something obsessive and extraordinary, because they just cannot fit into “normality”, and because they see things differently to everyone else. This is not to dismiss the fact that mental illness, like genetic mutation, is far more often bad than it is in any way good. But like genetic mutation, the horrible fact is that we would be poorer as a species without it. It is not the mental illness that sometimes produces something extraordinary; it is the response of the individual to it. In attempting to overcome illness, thrown off from the well-trodden paths of the mundane, sometimes people create extraordinary works that they would otherwise not have created. Van Gogh produced much of his best-known work in a sanitarium at the end of his life. It’s quite different in style to his earlier work, and appears to be a product of semi-psychosis. Here’s a startling truth about Van Gogh. ,Van Gogh took up painting in 1881, and died in 1890. Vincent van Gogh - Wikipedia Just prior to this, he had “drifted in ill health and solitude”. Most of Van Gogh’s most famous works are from the very last year of his life, ,when he was hospitalised and near-insane,. This astonishingly productive period ended when he shot himself, after discharging himself into the care of a homeopath. 1876: Van Gogh was working as a teacher in England and was completely sane. Evidently he was quite good at drawing. Here’s a painting from 1882, when Van Gogh was still more or less ,compos mentis,: 1885: maybe this is starting to look a ,little, bit weird, but he’s still basically sane. 1888: still not totally mad: 1888: I think here we can see the beginning of psychosis. He paints like he’s just taken a hallucinogen. 1889, a year and one month before shooting himself: May 1890, two months before his suicide: No-one wants to glorify madness. Van Gogh really suffered. Eventually he died. But human beings in general suffer, and sometimes someone, from the depths of their suffering, succeeds in touching the souls of other sufferers. Van Gogh’s madness seems to have exerted a profound effect on his art, an effect that probably most of us consider to have made his art unique, and Van Gogh apparently only took up painting as a response to loneliness and suffering. Had he lived in modern times, he would have been given medication that ,may, have resolved his mental problems, but then it seems unlikely that he would have painted such unique paintings, and he might well have never been driven to paint in the first place. Or, it’s true, he might have painted far more paintings, and better. But really, is that likely? Neither can modern psychiatry cure all mental ills, and art has been a comfort to many sufferers throughout the ages. We should not decide the answer to such a question on the basis of what we want to be able to say to mentally ill people. We should decide it on the basis of fact and truth, and the truth is that no-one knows what Van Gogh would have done, if anything, had he been treated with modern therapeutic techniques.

When you hire a professional painter, is it their responsibility to take away and dispose of the paint waste?

I am a general contractor, so I feel qualified to answer the question. Some times we do our own painting and some times we sub it out to a painting contractor. We ask each client that we deal with weather or not they would like us to leave the paint or take it away. Some of them would like us(or the painting contractor) to take the leftover paint away. If they need painting done later we will bring it back when the re-paint happens. Or have new paint mixed at that time because they want a color change. Some of the clients want the paint left there for future use. Some of the clients would like us to make them a small touch-up kit in case their kids color on the wall or " Uncle Louie got grease stains on the door jambs. We make a touch up kit that goes in a Rubbermaid container, along with a paint brush and a tube of caulking and a rag. Along with the paint color and paint code. So there is no one right answer. Communicate with the client. Most painters don't mind taking the leftover paint with them for use on a future project. Some homeowners feel that it is a hazardous waste issue that they don't want to deal with down the road. But there are many paint disposal places. Usually the local county government has a disposal place. One Saturday a month, that you can drop of old or extra paint. If the paint is completley dried up, then most of the toxic stuff is already gone. We are in California. most of the paint here has very little or no V.O.C's in the paint. Making virtually non toxic. I'm not sure about other states. As Cami says , depends on your agreement. If it was not agreed upon in the begining. Then I feel that it is the painters obligation as a professional to deal with the leftover paint. Either by disposing of it or using it on a future job.

Can a teenager start a mobile car/truck detailing business?

I don’t see why not… If you are under 18, or whatever the age of majority is in your state (or outside-the-US jurisdiction), you may have some trouble signing contracts, opening bank accounts, getting insurance, and the like. So if you want to operate beyond a cash basis you would need your parents to sign for you, or to be emancipated (declared legally an adult), have an adult business partner who signs everything, or grant attorney-in-fact power to somebody. Sadly, many people discriminate against youth: getting commercial auto insurance coverage to drive the client vehicles, or insurance generally, signing a lease if you need a physical location, getting vendor credit accounts, and so on, could be difficult. I don’t think a license should be required to do this business in most places but if there is, there may be a minimum age. Of course, before you’re 21 you won’t be able to share a drink with clients, legally. Some people are anti-young, and they may not take you seriously or trust you with their job. But if you are thoughtful, mature, professional, and most of all, if you do a good job, promptly, for a good price, and keep your promises, I think any discrimination will be outweighed by the fact that a lot of people are impressed at your dedication and want to help give your business a boost. At the same time, if you are good in business they are hoping that you will finish school and do well there, and maybe start some big successful enterprise, they won’t want to see you personally detailing cars for the rest of your life. Some people are picky about their cars and won’t trust anybody to touch them. But others will be happy if you can make their car look better, smell better, and feel special, particularly if you can work miracles with stains, bad smells, and particularly any minor touch-up paint and dent work. If you can add an extra special touch, like having paper floor mats, a thank you note, a little mini gift at the end (a business card, a thank you note, a piece of chocolate, a coupon for the next time), people will overcome any mistrust.

What petty problems are better to live with than try to solve?

Thanks for A2A. Also, I am having a fangirl moment because Gopalkrishna sir has tagged me to answer this. I better make this the best answer on Quora ever. 😅 Alright, let's see. Here's my list. These may seem like issues but they're really not. And I've been guilty for doing all of these things, but try to no longer do so : Fixing/mothering people,. You'd be surprised how big of a job so many of us have taken this up as - we're going around correcting full-grown adults….just because! Unless you're a guru that's taken on the Herculean task of enlightening your disciples, you really must learn to accept people for who they are, and not who you want them to be. Diversity is precious, please let people be! Repairing scratches and minor dents on your car, if you drive in India,. I had my first scratch the first day I took out my new car for a drive (just because the auto driver didn't want to break at the red light). I got it touched up, and since then have had 10+ other scratches in the past 3 years. It's pointless to worry. Get a paint job once every few years, at best. Reproaching househelp. ,Whether it's vim on your plates, or a corner of dust still left, please stop wasting your and her time complaining about it every single day. This is why they quit work, nobody likes getting nagged. Bargaining with street vendors even though you know they're ripping you off., Look, if they had more money, they wouldn't be here doing this. At restaurants you're paying INR 1000 (or whatever is your currency) for one meal, off of which you could actually buy ration for several days! Mess, in general,. I am a clean freak (don't know if clinically it's OCD), but my husband is the exact opposite. But he's a lot happier and stress free than I am. And you know what? Sometimes it's okay to not be organized. It's okay to take it easy and not be a perfectionist about your surroundings or your life. Universe is constantly self correcting and there's really no such thing as good or bad, it's all relative. These are my current life lessons! I'll think of more and add to the list in the future. Love, light and awareness, V ❤️ (,My Spiritual Shenanigans,)

What should a male writer keep in mind when writing a female character?

That a lot of the time: we are thinking about chores. All the adult women I know ~ single, working, married, moms or grandmothers like to live by particular standard. We like flowers on the dining table, paintings on our walls, artefacts or tealights adorning tabletops. We like to decorate, redecorate, keep it nicely or just be efficient. All of this requires us to be a part of endless chores. Hemming, touching-up, bleaching, dusting, baking and whatnot. Then there is the eternal list ~ laundry and grocery. That we cry in cars. Contrary to what is generally assumed, women don’t feel comfortable crying in public. Infact, we can easily laugh it out o suck it up when there are people around. Then we go back and cry in the car.