#polychro

[mantra-repeated]

Haunchronal & subterms

Pt: Haunchronal & subterms :End pt

a chronosian (Link) identity affected or caused by being haunted. This could include/be caused by possession, but doesn't have to be. All is required is that one is haunted in some form by something. (Such as a spirit, ghost, spectral or supernatural entity, etc as some examples though not exclusive to the listed examples).

Other terms under this

Haunchronoless

pt: Haunchronoless :End Pt

An achronal (link) subterm affected or caused by being haunted.

Haunchronofluid

Pt: Haunchornofluid :End Pt

A chronofluid (link) subterm where one's age changes due to being haunted.

Demihaunchronal

Pt: Demihaunchronal :End Pt

A demichro (Link) identity where one is partially one age identity and partially another due to being haunted

Juehaunchronal

Pt: Juehaunchronal :End Pt

A juechronal (Link) subterm where one is mentally younger than they are bodily due to being haunted.

Polyhaunchronal

Pt: Polyhaunchronal :End Pt

A polychro (link) subterm where one has multiple ages caused or affected by being haunted.

Viehaunchronal

Pt: Viehaunchronal :End Pt

A viechro (link) subterm where where one is mentally older than they are bodily due to being haunted.

Haunxechronal

Pt: Haunxechronal :End Pt

A Xenochro (Link) subterm where where one's age cannot be described numerically or chronologically so their haunting must be used.

Mentions: @chronochive, @radiomogai, @liom-archive

Banner transcript: This term was made by an Endogenic. Anyone can use it however :End transcript

[Base Haunchronal flag Id: a rectangular flag with 15 varying sized & shaped stripes, going as such from top to bottom & mirroring: thick long wave, medium long wave, thick straight, medium bubbly, thin-medium straight, thinner medium bubbly, thin squiggly, medium straight. the colours go as such from top to bottom & mirrors: dull light brown, brown, dark silver, dull navy blue, light blue, darker silver, off-white tan, dull pink-purple. In the center of the image is a light grey clock symbol, around the symbol is 2 half circles with arrows on the end. The symbol is outlined and filled with dark grey. :End Id]

[Spacer image: A transparent spacer image :End Id]

[Alt Haunchronal flag Id: A rectangular flag with 15 varying sized & shaped stripes, going as such from top to bottom & mirroring: thick long wave, medium long wave, thick straight, medium bubbly, thin-medium straight, thinner medium bubbly, thin squiggly, medium straight. the colours go as such from top to bottom & mirrors: dull light brown, brown, dark silver, dull navy blue, light blue, darker silver, off-white tan, dull pink-purple. :End Id

[Carmel lizard divider: A divider made of two bronze lines with a Carmel lizard from Rain World in the gap between them. Each line has a diamond on the outer edge and a crescent moon on the inner edge, framing the lizard. :End Id]

[Haunchronoless flag id: a rectangular flag with 15 varying sized & shaped stripes, going as such from top to bottom & mirroring: thick long wave, medium long wave, thick straight, medium bubbly, thin-medium straight, thinner medium bubbly, thin squiggly, medium straight. the colours go as such from top to bottom & mirrors: dull light brown, brown, dark silver, dull navy blue, light blue, darker silver, off-white tan, dull pink-purple. In the center of the flag is a light grey symbol outlined and filled with dark. the symbol is a clock with 2 half circles with arrows on the end, and a X in the middle. :End Id]

[Haunchronofluid flag Id: a rectangular flag with 15 varying sized & shaped stripes, going as such from top to bottom & mirroring: thick long wave, medium long wave, thick straight, medium bubbly, thin-medium straight, thinner medium bubbly, thin squiggly, medium straight. the colours go as such from top to bottom & mirrors: dull light brown, brown, dark silver, dull navy blue, light blue, darker silver, off-white tan, dull pink-purple. In the center of the flags is a light grey clock symbol, and around the symbol is 2 wavy half circles with arrows on the ends. the symbol is outlined and filled with light grey. :End Id]

[Demihaunchronal flag Id: a rectangular flag with 15 varying sized & shaped stripes, going as such from top to bottom & mirroring: thick long wave, medium long wave, thick straight, medium bubbly, thin-medium straight, thinner medium bubbly, thin squiggly, medium straight. the colours go as such from top to bottom & mirrors: dull light brown, brown, dark silver, dull navy blue, light blue, darker silver, off-white tan, dull pink-purple. In the center of the flag is a light grey symbol outlined and filled with dark grey. the symbol is a clock with 2 half circles with half-arrows on the end. :End Id]

[Juehaunchronal flag id: a rectangular flag with 15 varying sized & shaped stripes, going as such from top to bottom & mirroring: thick long wave, medium long wave, thick straight, medium bubbly, thin-medium straight, thinner medium bubbly, thin squiggly, medium straight. the colours go as such from top to bottom & mirrors: dull light brown, brown, dark silver, dull navy blue, light blue, darker silver, off-white tan, dull pink-purple. In the center of the image is a light grey clock symbol, around the symbol is 2 half circles with arrows on the end. The top arrow is somewhat transparent. the symbol is outlined and filled with dark grey. :End Id]

[Polyhaunchronal flag id: a rectangular flag with 15 varying sized & shaped stripes, going as such from top to bottom & mirroring: thick long wave, medium long wave, thick straight, medium bubbly, thin-medium straight, thinner medium bubbly, thin squiggly, medium straight. the colours go as such from top to bottom & mirrors: dull light brown, brown, dark silver, dull navy blue, light blue, darker silver, off-white tan, dull pink-purple. In the center of the image is a light grey clock symbol with 2 half circles with arrows on the end, and another set of arrows inside of it. The symbol is outlined and filled with dark grey. :End id]

[Viehaunchronal flag Id: a rectangular flag with 15 varying sized & shaped stripes, going as such from top to bottom & mirroring: thick long wave, medium long wave, thick straight, medium bubbly, thin-medium straight, thinner medium bubbly, thin squiggly, medium straight. the colours go as such from top to bottom & mirrors: dull light brown, brown, dark silver, dull navy blue, light blue, darker silver, off-white tan, dull pink-purple. In the center of the image is a light grey clock symbol, around the symbol is 2 half circles with arrows on the end. the bottom arrow is somewhat transparent. the symbol is outlined and filled with dark grey. :End Id]

[Haunxechronal flag Id: a rectangular flag with 15 varying sized & shaped stripes, going as such from top to bottom & mirroring: thick long wave, medium long wave, thick straight, medium bubbly, thin-medium straight, thinner medium bubbly, thin squiggly, medium straight. the colours go as such from top to bottom & mirrors: dull light brown, brown, dark silver, dull navy blue, light blue, darker silver, off-white tan, dull pink-purple. In the center of the image is a light grey clock symbol, around the symbol is 2 half circles with arrows on the end. The hands of the clock has been replaced with a single outline of a rainbow. The symbol is outlined and filled with dark grey. :End Id]

[Banner id: a rectangular banner with rounded corners on a transparent background. in the background of the banner is the endogenic flag by greyskies, and it has a transparent inset border. in the center is black text that reads "This term was made by an endogenic. Anyone can use it however.". In the bottom right corner is a blue lizard from the game rain world. :End Id]

[Pink lizard divider id: A divider made of two pink lines with rain world graffiti of a pink lizard head in the gap between them. Each line has a outline of diamond on the outer edge and a outline of a crescent moon on the inner edge, framing the lizard head. :End Id]

[neopronouns]

jeuviechro/smaldechro: being both older and younger than one's body; having a perceived age that is both younger and older than one's body age

[pt: jeuviechro/smaldechro: being both older and younger than one's body; having a perceived age that is both younger and older than one's body age. end pt]

for anon! the flag and term are combos of jeuchro/smalichro and viechro/oldechro.

flag id: a flag with 13 stripes, with the second, fourth, sixth, eighth, tenth, and twelfth being much smaller than the rest. in order, they are very dark faded green, dark grey, dark dull green, light grey, light yellow-grey, grey, very dark brown, grey, light orange-grey, light grey, dark dull purple-pink, dark grey, and very dark faded indigo. end id.

banner id: a 1600x200 teal banner with the words ‘please read my dni before interacting. those on my / dni may still use my terms, so do not recoin them.’ in large white text in the center. the text takes up two lines, split at the slash. end id.

dni link

[eldorr]

Polychro

Top Row: Style 1 with symbol (left) || Style 2 with symbol (right)

Bottom Row: Style 1 without symbol (left) || Style 2 without symbol (right)

.

Polychro: A chronosian identity where one is multiple ages (simultaneously or otherwise)/Having multiple perceived ages, also called Multichro, coined here by chronosian-info. Can also be an umbrella term.

.

These flags were originally posted April 14th, 2022.

(I made this flags due to this term being in my hoard, and usually only add terms that have flags, since I have a whole folder of flags for terms in my hoard in the google drive. Made these flags to fill that gap, since to the best of my knowledge this term doesn’t have a flag, or that I just didn’t find it.)

Symbol made by @/m-grouped, found here.

DO NOT tag as “transage” or “altage” I WILL hardblock you.

[ulfgbohlin]

TENDANCE - LES TEINTES DE LE CORBUSIER EN PEINTURE - miluccia.net.

[m-grouped]

CHRONOSIAN symbol variants

Xenochro | Faunachro | Achronal/Chronoless

Polychronal | Demichro | Synchronous

Xenochro(nal)

Xenochro is a chronosian identity where one's age cannot be described numerically or chronologically so other concepts (such as aesthetics or animals) must be used.

Faunachro(nal)

A chronosian identity where one's age either is best described by animals or is impacted by being an animal and thus aging faster or slower than humans

Achro(nal) / Chronoless

A chronosian identity where one is ageless

Polychro(nal) / Multichro(nal)

A chronosian identity where one is multiple ages (simultaneously or otherwise)

Demichro(nal)

A chronosian identity where one is partially one age identity and partially another

Synchro(nous)

A term for those who's internal age matches with their body / calendar age, or is the equivalent to it despite being different numerically

[akumaii]

Chro(nal)hoarder /Chro(nal)collector

A chronsian identity where one hoards/collects different chronosian terms.

(subtype of multichro)

requested by: no one

↩︎ request info

(If any terms I’ve posted are already a thing please tell me.)

My DNI list↩︎ — (last updated: 04/14/2022)

[mogai-masterlists]

a masterlist for chronosian terms?

Sure!

Chronosian Masterlist (because there's so many)

Multiple

This carrd contains lots of subterms (I didn't include any featured on the carrd here)

Umbrella-like or Modifier terms

Theornosian Deminosian Quoichronal Chrodal Chrorange Keinchro Polychro Neurochro

Specific

Pandechronal (tw - pandemic) Archechronal Lychro Chronoalterni Florcubuchro Mysterionchro Nullpuschro Daemchro Angelchro Angelchronull Deichronoless Triishchro Polychronofluid Fivirchro Novichro Cosmochro Queerchro Shifterchro Demikeinchro Liminalchro Deadchronal (tw unalive) MaDDchro Teróschro

Other

Chronohoarder Transian (tw for transage/altage) Trxnsian ^

[nonmillennialstruggling]

My Saturday-- tedious tables

My Saturday spent creating or updating tables:

Striaghtforward paper I haven��t mentioned before:  I have to update six tables each with three models because we changed one predictor.  Tedious.  

Paper where I’ve been complaining about R:  I have to create individual frequency tables of each pairwise correlation in order to create a polychroic correlation matrix, one pair at a time, because the polycor package in R doesn’t have the ability to just compute a polychoric correlation matrix from the raw data.  Extra tedious.  

And yet I find this stuff interesting because I want to see the results.  Clearly there is no hope for me at being “normal”  ;-)    

[correspondencearchive]

18. Raghvi Bhatia & Nadia Haji Omar

Raghvi Bhatia & Nadia Haji Omar discuss their shared interests in language, craft, and abstraction, the ways that the specific layered histories of the South Asian cities they grew up in influenced their work, and the influence of the spiritual in their practices.

Raghvi Bhatia (RB): Hi Nadia! I'm so excited to have this exchange with you. Although we have never met, I feel a deep sense of kinship with you, in part due to similar life experiences and in part due to our several shared interests - such as language, craft, and abstraction. I first came across your work on display at the RISD Museum while I was an undergraduate student. I was immediately captivated by how each mark you make is simultaneously precise and free, individual yet part of a whole. In our conversations, you mentioned that you "See (your) work as the most basic of forms- line and circle/dot and (you are) really interested in how to push that to its limit." A contemplation of the line and the circle/dot in your work reveals hidden stories of cultures, new and old, in which you are embedded. Can you talk more about what these two basic forms mean to you? How and when did you start working with them?  

Nadia Haji Omar, ٦ (sitta), Acrylic and dye on canvas, 24 x 24 inches, 2019. Photo by Etienne Frossard. Courtesy of the artist and Kristen Lorello, NY

Nadia Haji Omar (NH): Hi Raghvi! I am so happy to have this conversation with you. Thank you for your kind words and observations about my work. I first saw your art on instagram and was instantly drawn to it. I love what you have shared with me since then. The aspects of your work that spoke to me the most are its' spiritual and tactile qualities. I think we share a similar sensibility, touch, and attention to detail. Even though we work in different mediums we are dealing with similar ideas and content.

I first started to incorporate the circle and dash/line motif into my work in 2015. My paintings in 2016 included them to a greater extent and by 2018 the entire surface of my paintings were covered in these marks. My intention was strictly technical yet my choice of mark was intuitive. I was interested in the concept of "Simultaneous Contrast" as developed by the French chemist Michel Eugène Chevreul. Simultaneous contrast refers to the way in which two different colors affect each other. The theory is that one color can change the way we perceive the tone and hue of another color when the two are placed side by side. The actual colors don't change but we see them as altered.

By using these simple tiny shapes I was able to experiment with color changes across the surface of my paintings. The "background" is often dyed over which hundreds or thousands of these smaller marks are overlaid. The circles and lines themselves are always centrally "dotted" with a different color. Therefore I was able to have three different colors be present simultaneously in a very small space, and to observe how they affect one another.

Over time the repetitive and meditative process inherent in making this kind of work won me over. I have since explored other optical effects and visual territories that are afforded by this type of mark making. It is worth mentioning that the circle and line lend themselves to repetition and if I had to I could trace my first use of the repeated short line/dash back to etching or intaglio in printmaking.

Could you please tell me about some of your material choices, especially the glass seed beads. When did you start working with them and why? Generally which types of materials do you find yourself gravitating towards?

Raghvi Bhatia, Stained, 2021; Fused Glass Seed Beads

RB: I grew up in Delhi, a city that was razed and rebuilt multiple times over, where each of its successive conquerors left traces of art, architecture, language, food and religion when they were conquered. I have always been intrigued by the way that the victors incorporated remnants of the cultures they vanquished, creating a polychromatic blend of cultures by building not over, but with, the material left behind. This catalyzed my interest in loan-words - words adopted from a donor language that are seamlessly incorporated into another language without translation - but also, in a similar vein, loan-patterns and loan-craft objects.

I would say I generally find myself gravitating to working with elements that have a rich history of being loaned and leased, due to changes in human geography caused by migration, invasion, or globalization. The glass seed beads are one such ‘loan-craft object’. In 2019, I was deeply invested in studying craft histories as well as glass processes. Through either chance or fate, I successively came across multiple objects from vastly different cultures and time that all incorporated glass seed beads in a multitude of differing ways, that culminated in a visit to the location (in south India) where the first glass seed beads were made, over 3000 years ago.

A deep dive into the history of the beads revealed how once the beads made their way to Europe, the Italian glass industry perfected the art of making them en masse. During European colonial endeavors, the beads spread to large swaths of the Americas, Africa and Asia, as they are practically indestructible despite being made of glass. Often used as currency, the beads became a vehicle for colonization, while indigenous communities adopted and seamlessly incorporated the bead into existing religious and craft traditions, using the beads to adorn the objects of foremost importance.

I think there is a certain violence, beauty and gravity embedded in each bead. At the same time, there is something intuitive about working with the beads for image-making, as singular units that make up a whole - like pixels or stitches (or dots!). The process of working with the beads is extremely labor intensive, but this sort of devotional labor is pivotal to my exploration of the beads as a unit of time, labor, and faith. In my work, I fuse the beads together, creating delicate glass tapestries, subverting the resilience of the beads that made them ubiquitous.

How about you? I know you have been working with gemstone inclusions in some of your new work, how did you start working with those new materials? Has working with the gemstones been similar or different to your intuitive way of working with the line and circle/dot?

Nadia Haji Omar, Pink Grid, Acrylic, dye and malachite on panel, 24 x 18 inches, 2020. Photo by Charles Benton. Courtesy of the artist and Kristen Lorello, NY

NH: That is fascinating! I mentioned to you that I recently started a new body of work using glass seed beads and it is wonderful to learn so much about the history of this material. The way you work with the beads is even more meaningful and beautiful within this context. It is also interesting that beads are one of the first craft materials a child gets to play with (beads on wire toys etc). The act of stringing beads on a thread feels like both an instinctive and ancient activity.

I can relate to a lot of what you describe about living in Delhi. I grew up in Colombo, Sri Lanka and it has a similar history of colonization as India (Dutch, Portuguese and British). Certainly I absorbed the traces left behind by the blending and merging of these cultures. The vivid colors and cacophony of multilingual text (Sinhalese, Tamil and English) and images on road side signs are deeply embedded in my mind. This has found its way into my work and has been a recurring theme for several years now.

Living in many different places makes you more aware of the distinct visual characteristics of each location. There is less time for the familiar to set in and be taken for granted. Every time I am living in a new place it takes a long time for the imagery around me to feel familiar. The sensation of being a stranger in a foreign place can be inspiring as much as it is bewildering.

The gemstones are a recent addition to my paintings, I have been including them in my work since 2019. I have always had an affinity for multiples of little things, like pebbles, beads, grains etc. I wanted to include a relief aspect in my paintings and decided to try some semi-precious gemstones in beautiful naturally occurring colors. They all have different spiritual meanings and properties.

I treat them like a drawing tool, usually arranged in lines or grids. I enjoy adding an irregular shaped element to these paintings with their otherwise rigid uniformity of lines and circles. Yet the pieces are so small that they (hopefully) don't overpower the rest of the painted surface. I am still exploring this new material. I love having a piece of the natural world present, active and preserved in my work.

This leads to my next question for you which is about spirituality, religion and devotion. Could you speak about your personal beliefs, systems or any related interests? How do these manifest in or influence your work?

RB: First off - I cannot tell you how much I relate to your “affinity for multiples of little things”! I think it definitely makes sense considering our mutual proclivity for drawing inspiration from language, textiles and patterns. I wonder if this has something to do with what you said about being a stranger in a new place? Perhaps seeking and finding patterns (even in the littlest things) offers a sense of solace in the bewilderment of new surroundings.

To answer your question, I think no matter one’s age, geography, ethnicity or culture, everyone’s life (diet, calendars, working hours, education systems, clothing, etc.) is heavily influenced by religion, despite what one’s personal beliefs may be. At the same time, I also believe that in some parts of the world this can be observed more clearly, and I think South Asia is one such part of the world. This palpable importance of religion in daily life combined with the rigidity with which a lot of people (theists and atheists) approach religion is one of the reasons why I am so interested in working with the concept of religion. In the art world and in the real world, we lack a vocabulary to talk about religion unless it is with people who have similar beliefs as us. This leads to either a complete lack of conversations around the subject, or conversations wherein we tiptoe around subjects that should be approached head on. That is the reason why I frame my artistic practice as a religious sect - when I first say this to people, everyone thinks it is amusing. But I do not say it ironically, and the amusement often turns into discomfort. It has definitely been equal parts rewarding and challenging for me to work in this way while avoiding all of the tropes of being an Indian artist making work about religion, spirituality or craft. Do you also face the challenge of avoiding tropes, or being boxed into creating the work that is expected of you because of your gender/racial/ethnic/religious identity?

Personally, my beliefs are fluid and regularly shift, but I think I would say that I am an atheist, in a narrow sense - I do not believe in a theistic God. In a broader sense I would say I am agnostic - I have neither a belief nor a disbelief in the existence of any/all divine beings. However, I grew up in a family where almost everyone was a practicing, upper-caste Hindu, my education and socialization happened in largely the same context as well. So my religious sensibilities were informed through that lens. It has taken a huge amount of conscious effort for me to be able to even begin unlearning the harmful ideas of purity, morality, absolution and hierarchies that I absorbed. At the same time, I am acutely aware of the power of symbols, stories and rituals, especially when combined with the power of belief. I use these elements in my work to create my practice-as-sect, to upend conventional conceptions of religion and art, and create a coherent worldview to organize my practice and govern my work. This happens in a myriad of different ways - I have constructed new rituals for my sect, developed a new craft of working with the glass seed beads by fusing them, and created a new sacred language. The language is based on the Moorish mosaic craft of Zellige, has a radial sentence structure, and is heavily influenced by local dialects. In many ways, it is a manifestation of the tenets of my religion - non-linear, rooted in material histories, local, stemming from nature and the body.  

How about you? Do you have any belief systems that inform your work?

Raghvi Bhatia, Altar for Collective Mourning, 2021; Fused Glass Seed Beads, Steel, Porcelain

NH: Very interesting, I agree most people aren't aware how much of our lives are shaped by religion despite (a lack of) personal beliefs. I also agree that the spiritual aspect of life is so much more visible in Asia. Even the other life processes such as birth, aging and death are more widely acknowledged and exposed than in Western society.

I asked this question because as you mentioned I find myself hesitant to speak to people about this aspect of my work. Although my belief systems can be very obvious in some of my work, I have kept this part of myself mostly private. It is difficult to find the right language to speak about it. I greatly admire that you frame your art practice as a "religious sect" and I hope that it will help to open up this topic for other artists like myself.

I was raised in a household split between Islam and Christianity, with attention and observances given to both. When I was old enough to understand it the focus of my faith was in Islam and I identified as a Muslim. However, the backdrop or context for this was Sri Lanka, a country which is 70% Buddhist and 12% Hindu, with other religions making up the minority. I was fortunate to have friends who spoke openly about their beliefs. I was also able to witness various types of religious rituals and festivals that were celebrated publicly around the country. As I grew older my interest in all major religions expanded and my interest remains strong.

My art practice has always felt like a deep meditation, a way to be silent, connect with myself and a larger entity, energy or force. Both art and religion are concerned with the ideas of peace, compassion and unity. I wonder if perhaps many of us subconsciously frame our "practices-as-sect", we just don't have the courage or vocabulary to express it as you so powerfully do.

I do think that I have found one way, a small way, to subvert some of the tropes about myself as a "multicultural" artist and that is through the process of asemic writing. When I first decided to include text based elements in my work through the use of other languages (Sinhalese, Tamil, Arabic etc) I also wanted to include an abstract, non-referential language of my own. I saw a way to do this through the use of asemic writing. Asemic writing is a wordless open semantic form of writing. The word asemic means "having no specific semantic content", or "without the smallest unit of meaning".

This was wonderful and I learned so much, thank you!

Raghvi Bhatia is an artist who considers the artistic experience as analogous to rituals: of searching for the sacred, of visiting religious institutions, and of questioning existence. Bhatia earned a BFA in Glass from the Rhode Island School of Design where she developed her artistic practice as a religious sect. Her ascetic and aesthetic philosophy explores similarities between glass, skin, and water–materials that are at once enduring and fragile. 

raghvi.work @raghvib

Nadia Haji Omar's paintings and works on paper explore the intersection of language and abstract painting.  Inspired by an ongoing research of scripts that include Sinhalese, Tamil, Arabic, and French, her intricate imagery combines inventive linguistic characters with references to landscape, mapping, and textile patterning.  Haji Omar received a MFA from the School of Visual Arts in 2014 and a BA from Bard College.  Her works have been discussed in New York Magazine/Vulture, and Hyperallergic, among other publications, and are included in the collections of the RISD Museum, Providence, RI, and the Hallmark Art Collection, Kansas City, MO, among others.

www.nadiahajiomar.com @nadiahajiomar

[briefmarketshare]

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[eldorr]

Polychronofluid

Top Row: Style 1 with symbol (left) || Style 2 with symbol (right)

Bottom Row: Style 1 without symbol (left) || Style 2 without symbol (right)

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A chronosian identity where you’re both polychro and chronofluid, where you perceive your age as multiple ages, however either one or all of your ages are fluid.

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If you don't know what Polychro or Chronofluid are, the definitions are below.

Chronofluid: Your perceived age changes.

Polychro: A chronosian identity where one is multiple ages (simultaneously or otherwise)/Having multiple perceived ages, also called Multichro). Can also be an umbrella term.

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These flags were originally posted May 17th, 2022.

Symbol made by @/m-grouped, found here.

DO NOT tag as “transage” or “altage” I WILL hardblock you.

[leanstooneside]

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[marketresearchandsurvey]

FIBC Conductive Bags Market: Trends and Opportunities with Forecast

Total world market for FIBC bags stands approx. at 7.5 MMT. Flexible Intermediate Bulk Container (FIBC) bags are also called as Type C bags, which are also known as jumbo bags in market. These are industrial flexible containers, play a vital role in transporting hazardous chemicals, granules, powders etc. which are prone to electrostatic discharge hazardous events. The fast loading and unloading of the explosive or flammable chemicals, granules and powders may induce static charge on their surfaces, which in turn can cause sparks or hazardous events. FIBC bags are made up of polypropylene (PP). Elongating supply chains and increasing industrial activities creating more demand for FIBC conductive bags, which are lightweight and cost efficient. China, Turkey and India are the highest producers and exporters of FIBC conductive bags. Buy consumption Americas, China, Europe stands at the top places.

FIBC Conductive Bags: Market Dynamics

FIBC conductive bags are extensively used in industrial material handling or transportation which occurs in bulk quantities. These bags are nothing but a conductive jumbo bags, used in industries where the surroundings may likely contain explosive material, which might be ignited due to presence of ESD. Growing safety awareness, government regulations are driving the FIBC conductive bags market. These bags are interwoven with conductive threads (grounded) and non-conductive PP threads. The sewing is done in grid pattern. A grounding point is built on the body of the bag to safely discharge the accumulated static charges to the ground. Growing agriculture activities, which demand higher utilization of fertilizers, growing infrastructure development and mining activities influencing the growth of FIBC conductive bags market.

Space optimization can be achieved in industrial material handling and inventory storage in warehouses using these flexible bags. FIBC conductive bags are used in food & beverages, cement, sugar, agro products, PTA chips, etc. Each FIBC can carry up to 1000 times its own weight, 75% of each FIBC has integral lifting loops, eliminating the need for pallets. Excellent printability, efficient use of space with specific designs, simple to use and cost effective. Very strong yet flexible, low per mt packaging cost, variety of dimensions available, variety of filling, discharging and lifting facilities, can be used for hazardous chemicals as specified in the UN Chapter 6.5. Recommendations are the factors making FIBC conductive bags market to grow at a healthy CAGR.

Request PDF Sample of this Research Report to Know Detailed Analysis of Business Opportunities, Market Status and Major Companies in North America, Europe, and the Asia Pacific

FIBC Conductive Bags: Market Segmentation

The global FIBC conductive bags market is segmented on the basis of grade, product type and end-use. On the basis of end-use, the global FIBC conductive bags market is segmented into food & beverages, agricultural products, Chemicals, building & construction, industrial and others. On the basis of product type, the global FIBC conductive bags market is segmented into Type B, Type C, and Type D FIBC conductive bags. On the basis of grade, the global FIBC conductive bags market is segmented into food grade and others. On the basis of packaging design the market is segmented into woven and non-woven.

FIBC Conductive Bags Market: Key players

Some of the players in the global FIBC conductive bags market are FIPCO Filling & Packaging Materials Manufacturing CO., Gulf Plastic Industries Co. SOAG, GOLSAN BAFT COMPANY, Greif – Division Flexible Products and Services, LASHEEN PLASTIC INDUSTRIES S.A.E, Chuangda Plastic Industry Co., Limited, Fairdeal Jumbo Packaging Pvt. Ltd., Polychroic Petrochemicals Pvt. Ltd., Boxon GmbH, Carbognani S.r.l., Cesur Ambalaj San. Ve Tic. A.S., CLIMESA, CONTERRA S.A., Emmbi Polyarns Limited, Daphne Europe GmbH, EURO-PAK 2000 S.A, GPK PRODUCTS and others.

[eldorr]

Triishchro

Top Row: Style 1 with symbol (left) || Style 2 with symbol (right)

Bottom Row: Style 1 without symbol (left) || Style 2 without symbol (right)

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A subset of polychro and chronofluid (polychronofluid), where your age is about three ages at once most of the time, but may be perceived as less or more ages due to being chronofluid.

.

If you don't know what Polychronofluid is, the definition is below.

Polychronofluid: A chronosian identity where you’re both polychro and chronofluid, where you perceive your age as multiple ages, however either one or all of your ages are fluid.

.

These flags were originally posted May 17th, 2022.

Symbol made by @/m-grouped, found here.

DO NOT tag as “transage” or “altage” I WILL hardblock you.

[leanstooneside]

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TAILED RESPECTED COLLINS

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TAILED KING JAMES BIBLE

TAILED GLORIA CIGMAN

TAILED

TAILED BRITISH & AMERICAN

TAILED KENNETH SISAM

TAILED PHONETICS EDINBURGH

TAILED JACOB

TAILED DR A.S.DIAMOND

TAILED MAN

TAILED JACOB'S

TAILED = COLLINS

TAILED MARSHALL MCLUHAN

TAILED = OXFORD

TAILED ED POETS

TAILED WILLIAM CAXTON

TAILED DAVID ABERCROMBIE

TAILED MARK

TAILED DR SAMUEL JOHNSON'S

TAILED HORACE HART

TAILED J. BUT

TAILED LEWIS CARROLL'S

TAILED LIAM TAPI

TAILED WYNKYN DE WORDE

TAILED = REMINGTON

TAILED MR PUNCH'S

TAILED TYNDALE & COVERDALE

TAILED JONATHAN SWIFT

TAILED EARL

TAILED ED SURVIVES

TAILED SIR RANDOLPH QUIRK

TAILED ERIC PARTRIDGE

TAILED ED DISTURBED REBUKED

TAILED MAN'S

TAILED WALTER W. SKEAT