Latest news with #Flail
Time Business News
24-07-2025
- General
- Time Business News
Clean Fields, Richer Soil: The Role of Tocători Resturi Vegetale and Tocătoare Resturi Vegetale in Modern Farming
Introduction: The Challenge of Plant Residue Management What Are Tocători Resturi Vegetale? Why Every Farm Needs Tocătoare Resturi Vegetale How to Choose the Right Model for Your Farm Where to Buy High-Quality Shredders in Romania Conclusion: Turn Waste Into Fertility FAQs After every harvest, farmers are left with tons of plant waste—corn stalks, sunflower heads, vines, branches, and grass. Leaving them in the field can create problems: pests, diseases, and poor soil conditions. This is where tocători resturi vegetale and tocătoare resturi vegetale come into play. Fermierii moderni folosesc tocătoare pentru a transforma resturile vegetale în îngrășământ natural. These powerful machines help clear, chop, and recycle plant debris—saving time and improving soil quality. Tocători resturi vegetale are mulching or shredding machines attached to tractors. They cut, grind, and shred leftover plant materials after harvesting, preparing fields for the next crop season. There are several types: Horizontal (Drum) Mulchers – for even shredding of soft residues – for even shredding of soft residues Hammer Flail Shredders – for tougher stalks and stems – for tougher stalks and stems Offset Mulchers – for orchards and vineyards, reaching under trees These tools attach to the tractor's rear or side and operate through the PTO (Power Take-Off). You can find a variety of tocători resturi vegetale at AgroFarm, suitable for everything from wheat to vineyards. Using tocătoare resturi vegetale brings many benefits: a) Natural Fertilization The shredded material decomposes into the soil, boosting nutrients and improving structure. b) Weed and Pest Control By destroying plant residues, you eliminate hiding places for insects and diseases. c) Field Cleaning Prepares the field for plowing or direct planting without the need for manual clearing. d) Soil Moisture Retention The mulch layer protects the soil from erosion and water evaporation. e) Cost Savings Reduces the need for chemical fertilizers and manual labor. In short, these machines turn a farming problem—residue—into a farming solution: organic matter. When shopping for tocătoare resturi vegetale , consider the following: Tractor Power (HP): Ensure your tractor has enough PTO power to run the shredder effectively. Ensure your tractor has enough PTO power to run the shredder effectively. Working Width: Choose a size that matches your field layout. Common widths range from 1.2m to 2.8m. Choose a size that matches your field layout. Common widths range from 1.2m to 2.8m. Blade Type: Hammer blades for woody or thick plants; Y-blades for finer mulching. Hammer blades for woody or thick plants; Y-blades for finer mulching. Mounting Position: Rear-mounted for row crops, side-mounted for orchards and vineyards. Rear-mounted for row crops, side-mounted for orchards and vineyards. Terrain: If your land is sloped or uneven, look for models with floating systems or height-adjustable skids. AgroFarm specialists can guide you to the ideal tocătoare resturi vegetale model based on your farm size and residue type. AgroFarm is a trusted provider of agricultural machinery throughout Romania, offering shredders that are: Compatible with Romanian and imported tractors Equipped with high-strength rotor shafts and blades Available in various sizes for different crops and conditions Backed by warranty and nationwide support Delivered quickly with full instructions and parts available Whether you need a vineyard mulcher or a large field residue shredder, AgroFarm has a solution that fits your needs and budget. Don't let plant residues go to waste. With the help of tocători resturi vegetale and tocătoare resturi vegetale , you can clear your fields, nourish your soil, and prepare for your next planting season with ease. Modern Romanian agriculture requires smart, eco-friendly tools—and AgroFarm's range of shredders helps farmers do more with less. Strong soil begins with clean fields, and the right machinery makes that happen. Q1: Can I use a plant residue shredder on wet fields? A: Yes, but it's best to wait until the soil is firm to avoid getting stuck or damaging the equipment. Q2: What kind of maintenance does a shredder need? A: Regular blade sharpening, belt tension checks, and lubrication of moving parts are essential. Q3: Are flail mowers and residue shredders the same? A: They are similar—flail mowers can be used for grass and light residues, while heavy-duty tocătoare handle tougher materials. Q4: Will shredders work for sunflower or corn stalks? A: Absolutely! Choose a model with hammer blades for these types of residues. Q5: Does AgroFarm offer servicing and replacement blades? A: Yes. AgroFarm provides servicing, replacement parts, and expert support across Romania. TIME BUSINESS NEWS
RTÉ News
08-06-2025
- Entertainment
- RTÉ News
Get Creative: The craft of non-fiction – hybrid texts and collaborations
Ever thought about writing non-fiction, be it an essay, a memoir or even a brief snapshot of your life? Why not take the leap? In a new series, author, critic and broadcaster Cristín Leach explores the craft of non-fiction. What if this essay is a poem, a song, or a piece of flash? What if I want to invite a collaborator in? What do I do when the words start to get out of hand and begin to ask if they can occupy a different shape? Much of my recent work has taken the form of hybrid texts. When I was asked to write an essay for the 'Craft - Non-Fiction' section of The Irish Writers Handbook 2025, I described this as, "writing that occupies a space between fact, memoir, fiction, opinion, and maybe something else." I wrote that this type of text, including autofiction, critico-fiction, archive-based fiction, and fact-ion (a combination of fact and fiction) "must find a shape of its own, every time, if it is really going to work." The essay called for its own shape, and so my Quintet on Hybrid Texts contained anecdotes with writing advice under the headings 'Cello', 'Chimes', 'Gong', 'Clarinet' and 'Cymbals', to which editor Ruth McKee added a precursor taken from the final line of the piece: 'Until the Words Sing'. The previous year I had been approached by artist Debbie Godsell to write an essay about a new body of work she was making as part of her exploration of her Church of Ireland heritage, which went on to be exhibited under the title 'Flail'. In response, I also wrote the lyrics for a hymn, which emerged from the notes I had made in her studio. Harvesting History went on to have music composed by Susan Nares and a choir performance at Uillinn: West Cork Arts Centre in February 2025, an outcome I could not have anticipated when I wrote it. The hymn uses language written in response to Godsell's work: thresh, flail, genteel, neat, fuss, snub, congregate, beat, lessons, history, harvest, heft, identity. From 2022 to 2024, I gave myself three writing instructions: Be Brave, Experiment, Collaborate. I had been thinking more about new forms and shapes for writing since the Royal Hibernian Academy commissioned me to write a book to commemorate the 2023 bicentenary of its foundation. From Ten Till Dusk (2023) became what I often describe as a chocolate box, with each of its twelve chapters taking a different, often experimental, approach to the material it covers. The book includes historical fiction, lyric essay, epistolary creative non-fiction, archive-based writing, poetry and song. In her 2024 essay for The Paper, Gaps on the Chain, Theo Hynan-Ratcliffe calls it "a creative loosening and unpicking of the archives": "a piece of history told as a series of a hundred questions pressed into blocks on the page, a portrait as professed by the writer… a slant glance through the archives and its cracks. A document of a location across different temporal moments." From 2022 to 2024, I gave myself three writing instructions: Be Brave, Experiment, Collaborate. The power of words can be unexpected. Since then, I have collaborated with artists, including the painter Deirdre Frost, for whom I made a text response in the form of a haptic artwork, To the Line, now part of the OPW collection; and written hybrid and collaborative texts, including a poem with the writer Oonagh Montague selected for the Shauna Gilligan and Niamh Boyce-edited anthology, Fire, published by Arlen House. All of it came from asking speculative questions: What if this poem is a sculpture? What if this essay is a hymn? What if this sculpture is a mobile poem is a game? Begin.
