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The augment is added to the indicative of the aorist, imperfect and pluperfect, but not to any of the other forms of the aorist (no other forms of the imperfect and pluperfect exist).
There are two kinds of augment in Greek, syllabic and quantitative. The syllabic augment is added to stems beginning with consonants, and simply prefixes e (stems beginning with r, however, add er). The quantitative augment is added to stems beginning with vowels, and involves lengthening the vowel:
- a, ā, e, ē → ē
- i, ī → ī
- o, ō → ō
- u, ū → ū
- ai → ēi
- ei → ēi or ei
- oi → ōi
- au → ēu or au
- eu → ēu or eu
- ou → ou
Some verbs augment irregularly; the most common variation is e → ei. The irregularity can be explained diachronically by the loss of s between vowels. In verbs with a prefix, the augment is placed not at the start of the word, but between the prefix and the original verb. For example, προσ(-)βάλλω (I attack) goes to προσέβαλoν in the aorist.
The augment sometimes substitutes for reduplication; see below.
Almost all forms of the perfect, pluperfect and future perfect reduplicate the initial syllable of the verb stem. (Note that a few irregular forms of perfect do not reduplicate, whereas a handful of irregular aorists reduplicate.) There are three types of reduplication:
- Syllabic reduplication: Most verbs beginning with a single consonant, or a cluster of a stop with a sonorant, add a syllable consisting of the initial consonant followed by e. An aspirated consonant, however, reduplicates in its unaspirated equivalent: Grassmann's law.
- Augment: Verbs beginning with a vowel, as well as those beginning with a cluster other than those indicated previously (and occasionally for a few other verbs) reduplicate in the same fashion as the augment. This remains in all forms of the perfect, not just the indicative.
- Attic reduplication: Some verbs beginning with an a, e or o, followed by a sonorant (or occasionally d or g), reduplicate by adding a syllable consisting of the initial vowel and following consonant, and lengthening the following vowel. Hence er → erēr, an → anēn, ol → olōl, ed → edēd. This is not actually specific to Attic Greek, despite its name; but it was generalized in Attic. This originally involved reduplicating a cluster consisting of a laryngeal and sonorant; hence h₃l → h₃leh₃l → olōl with normal Greek development of laryngeals. (Forms with a stop were analogous.)
Irregular duplication can be understood diachronically. For example, lambanō (root lab) has the perfect stem eilēpha (not *lelēpha) because it was originally slambanō, with perfect seslēpha, becoming eilēpha through compensatory lengthening.
Reduplication is also visible in the present tense stems of certain verbs. These stems add a syllable consisting of the root's initial consonant followed by i. A nasal stop appears after the reduplication in some verbs.4
Ancient Greek was written in the Greek alphabet, with some variation among dialects. Early texts are written in boustrophedon style, but left-to-right became standard during the classic period. Modern editions of Ancient Greek texts are usually written with accents and breathing marks, interword spacing, modern punctuation, and sometimes mixed case, but these were all introduced later.
- Ὅτι μὲν ὑμεῖς, ὦ ἄνδρες Άθηναῖοι, πεπόνθατε ὑπὸ τῶν ἐμῶν κατηγόρων, οὐκ οἶδα: ἐγὼ δ' οὖν καὶ αὐτὸς ὑπ' αὐτῶν ὀλίγου ἐμαυτοῦ ἐπελαθόμην, οὕτω πιθανῶς ἔλεγον. Καίτοι ἀληθές γε ὡς ἔπος εἰπεῖν οὐδὲν εἰρήκασιν.
Transliterated into the Latin alphabet using a modern version of the Erasmian scheme:
- Hóti mèn humeîs, ô ándres Athēnaîoi, pepónthate hupò tôn emôn katēgórōn, ouk oîda: egṑ d' oûn kaì autòs hup' autōn olígou emautoû epelathómēn, hoútō pithanôs élegon. Kaítoi alēthés ge hōs épos eipeîn oudèn eirḗkasin.
Using the IPA:
- hóti men hymêːs, ɔ̂ː ándres atʰɛːnáioi, pepóntʰate hypo tɔ̂ːn emɔ̂ːn katɛːgórɔːn, oːk óida; egɔ̌ː dôːn kai autos hyp autɔ̂ːn olígoː emautôː epelatʰómɛːn, hǒːtɔː pitʰanɔ̂ːs élegon. kaítoi alɛːtʰés ge hɔːs épos eːpêːn oːden eːrɛ̌ːkasin.
Translated into English:
- What you, men of Athens, have learned from my accusers, I do not know: but I, for my part, nearly forgot who I was thanks to them, since they spoke so persuasively. And yet, of the truth, they have spoken, one might say, nothing at all.
Another example, from the beginning of Homer's Iliad:
Μῆνιν ἄειδε, θεά, Πηληϊάδεω Ἀχιλῆος
οὐλομένην, ἣ μυρί' Ἀχαιοῖς ἄλγε' ἔθηκε,
πολλὰς δ' ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν
ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν
οἰωνοῖσί τε πᾶσι· Διὸς δ' ἐτελείετο βουλή·
ἐξ οὗ δὴ τὰ πρῶτα διαστήτην ἐρίσαντε
Ἀτρεΐδης τε ἄναξ ἀνδρῶν καὶ δῖος Ἀχιλλεύς.
The study of Ancient Greek in European countries in addition to Latin occupied an important place in the syllabus from the Renaissance until the beginning of the 20th century. Ancient Greek is still taught as a compulsory or optional subject especially at traditional or elite schools throughout Europe, such as public schools and grammar schools in the United Kingdom. It is compulsory in the Liceo classico in Italy, in the gymnasium in the Netherlands, in some classes in Austria, in Croatia in klasicna gimnazija and it is optional in the Humanistisches Gymnasium in Germany (usually as a third language after Latin and English, from the age of 14 to 18). In 2006/07, 15,000 pupils studied Ancient Greek in Germany according to the Federal Statistical Office of Germany, and 280,000 pupils studied it in Italy.5 Ancient Greek is also taught at most major universities worldwide, often combined with Latin as part of Classics. It will also be taught in state primary schools in the UK, to boost children's language skills,678 and will be offered as a foreign language to pupils in all primary schools from 2014 as part of a major drive to boost education standards, together with Latin, Mandarin, French, German, Spanish, and Italian.9 Ancient Greek is also taught as a compulsory subject in Gymnasia and Lykia in Greece.1011
Ancient Greek is often used in the coinage of modern technical terms in the European languages: see English words of Greek origin.
Modern authors rarely write in Ancient Greek, though Jan Křesadlo wrote some poetry and prose in the language, and some volumes of Asterix have been written in Attic Greek12 and Harry Potter and the Philosopher's Stone has been translated into Ancient Greek.13
Ancient Greek is also used by organizations and individuals, mainly Greek, who wish to denote their respect, admiration or preference for the use of this language. This use is sometimes considered graphical, nationalistic or funny. In any case, the fact that modern Greeks can still wholly or partly understand texts written in non-archaic forms of ancient Greek shows the affinity of modern Greek language to its ancestral predecessor.14
An isolated community near Trabzon, Turkey, an area where Pont


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From Old French paternal ("of a father") (12c.), a learned borrowing from Vulgar Latin paternālis ("paternal"), from Classical Latin paternus ("of or pertaining to a father, paternal"), from pater ("father").
- Of or pertaining to one's father, his genes, his relatives, or his side of a family
- paternal grandfather
- Fatherly; behaving as or characteristic of a father.
- Received or inherited from one's father.
- their small paternal field of corn
- Acting as a father
- paternal filicide
- maternal – mother
- The translations below need to be checked and inserted above into the appropriate translation tables, removing any numbers. Numbers do not necessarily match those in definitions. See instructions at Wiktionary:Entry layout#Translations.
paternal m (oblique and nominative feminine singular paternale)
- English: paternal
paternal (plural paternales)

source: openbmb/Ultra-FineWeb


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Archimedes was fed up with people saying you couldn't calculate the number of grains of sand on a beach.
In response to this nonsense (as he saw it) he invented new, enormous numbers. Then he calculated not just how many grains of sand there were on the beach, but how many there were in the universe.
The trouble Archimedes faced was the Greek number system. It was a primitive system in which letters became numbers: A = 1, B = 2, C = 3, etc.
Very large numbers were a problem, because there weren't enough letters in the alphabet! The Greeks' biggest number was a myriad, which we write as 10,000.
Off with the old…
In The Sand Reckoner, Archimedes demolished the commonly held idea that the number of grains of sand on the shores around his home city of Syracuse could not be calculated.
In fact, he showed that he could produce numbers so large that they were bigger than the number of sand grains in the whole universe.
His calculation relied on his invention of what we now call exponents (often called powers, or index numbers). For example 104 is ten to the power of four. We usually call this ten thousand. The Greeks would have called it a myriad.
Archimedes' New Number System
Archimedes introduced a new classification of numbers.
He said that 'first order' numbers went up to a myriad myriads, meaning 10,000 x 10,000.
We would write this as 100 million, or 100,000,000, or 108.
Numbers of the 'second order' went up to 100 million multiplied by 100 million – i.e. 108 x 108 or (108)2.
Numbers of the third order were those up to 108 x 108 x 108 – i.e. (108)3,
and so on.
Ultimately, Archimedes calculated that to count the number of grains of sand in the universe he needed numbers up to the eighth order, i.e. (108)8 = 1064, which is equal to:
This was the biggest number anyone would need in the universe Archimedes imagined. (By the way, electronic calculators will happily work with numbers as big as this.)
But Archimedes was not content with discovering this huge number. He went on to write numbers that dwarf it.
He moved from 'orders' of numbers, to what he called 'periods.'
Mind Bogglingly Big Numbers
Archimedes said that numbers of the 'first period' will be those numbers up to the mind-bogglingly large:
This number is much too big for everyday electronic calculators to work with.
It could be written as 1 followed by 800 million zeros. If you were to publish this number in a book, the zeros would take up about 380,000 pages. That's a long book!
Also, given that the number of atoms in the sun is 1 followed by just 57 zeros, you'll work hard to find anything big enough to need 1 followed by 800 million zeros to describe it.
Archimedes' Beast Number
However, Archimedes was still not ready to let things rest. He wanted to write even bigger numbers. He continued logically until he reached:
Archimedes called this number a myriad-myriad units of the myriad-myriadth order of the myriad-myriadth period. We'll just call it Archimedes' Beast Number. It's one followed by 80 quadrillion zeros.
What could we use this number for practically?
Well, how about writing down the volume of the observable universe in cubic centimeters? Surely that would need a number close to the Beast Number? If we take it that the observable universe has a diameter of 93 billion light years, then…..
nope, the universe's volume in cubic centimeters 'only' needs 35 followed by 85 zeros.
Hmmmmm. We'll need to try harder.
Most of the universe is pretty much a vacuum. How about filling the universe with air. How many molecules of air would we need to fill the universe to Earth's air pressure? The number of molecules needed must at least approach the Beast Number, mustn't it?
Actually, no, we can fill the universe with just 1 followed by 106 zeros molecules of air.
How about the number of bacteria that has ever lived on Earth? Well, again… no, that's only about 1 followed by 40 or so zeros.
Okay, one last try. Life is based on the well-known molecule, DNA. Given that each different human has different DNA, how many different human beings are possible genetically before we start creating humans with identical genotypes?
As far as we can calculate, the upper limit is believed to be somewhat less than:
That's a much bigger number than our earlier efforts: it's 1 followed by a million zeros.
But again, it's no match for the Beast Number.
Archimedes' Number utterly dwarfs these huge, but more practical numbers. In fact, the Beast Number is nothing more than a measure of Archimedes' towering mathematical ambition.
p.s. Bigger than the Beast
Before clicking the 'publish' button, it came to me that I ought to mention that the Beast Number does not even begin to approach infinity. In fact, it's no closer to infinity than the number 1 is, because it's still infinitely far away. No number we can name can get close to infinity.
And remember, the Beast Number is a rational number. The infinity of irrational numbers is even bigger than the infinity of rationals!


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A factor which occasionally affects stilling basin operation is the slope of the chute upstream from the basin. The foregoing experimentation was sufficiently extensive to shed some light on this factor.
Civil Engineering Articles
- Syed Ahmad Amin Shah
Energy and water are the prime movers of human life, though deficient in oil and gas, Pakistan has abundant water and other energy sources like hydel power, coal, wind and solar power.
In the absence of a shaking table, some laboratories have developed simple simulators for dynamic testing of structures. One such kind of a facility, named as the shock table, is installed at the University of Roorkee, India and was developed by Keightly [Ke 72].
The concept of pseudo-dynamic test (also called computer-actuator on-line test or hybrid test) was originated in Japan by Takanashi [Ta 75]. Since then, many researchers [TN 87, MS 89] developed the concept and verified the suitability of this method.

source: HuggingFaceFW/fineweb-edu


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If you want to learn a cool easy effect in iMovie, the picture in picture effect is one of those. You know when you watch a news report and see a reporter talk about something going on in the world. Well the majority of the time, you'll see either a picture or video of that event on part of the screen. That's basically what the picture in picture effect does. It adds a video or picture over the top of another video so that they can both be played and seen at the same time.
You're probably thinking that the picture in picture effect must be difficult to achieve in a basic editing program like iMovie. Well guess what? You're in luck! It's super easy and this iMovie picture in picture tutorial video will show you exactly what I mean.
iMovie Picture in Picture Tutorial Video
Now that you've watched this video you should be ready to add the picture in picture effect to any video you create. That is if it needs it of course. Here's a recap of the steps to remember:
iMovie Picture in Picture Tutorial Steps
1. As always, start a new project.
2. Add a video or picture to your project.
3. Find another video or picture and drag it directly over the top of the first clip or picture you added to your project.
4. Select "Picture in Picture" in the list of options.
5. Make the proper adjustments to that clip. (Resize and move the clip or picture where you want it on the screen).
6. Finally, hit done.
Just like that you have learned how to use the picture in picture effect in iMovie. Don't be surprised either when you realize how much you use this effect for a variety of things in iMovie.


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Managing for Outcomes
People and organisations involved in fishing generally share our goal of sustainable fisheries. We want the best value from our fisheries resources, while keeping the aquatic ecosystem strong and healthy. For this, we need a credible and effective management system.
The Ministry of Fisheries uses statements of desired outcomes to guide its activities. These describe what we want to achieve and how it will be achieved, using incentives, management measures, and fisheries services.
Statements of outcomes start wide in scope, but become more specific when describing particular measures, services or activities. The results that must be produced by both fishers and managers to achieve the outcomes will be clearly defined.
Managing for fisheries outcomes consists of the following parts:
- Outcomes – desired results across fisheries.
- Standards – required levels of performance.
- Objectives – desired results for a specific fishery.
- Rules – Strategies – Interventions – management measures to meet standards and achieve objectives.
- Services – management activities to enable rules to be complied with.
- Monitoring and evaluation.
These provide a clear basis for interacting with tangata whenua and stakeholders on proposed management of fisheries. They also provide a basis for monitoring and evaluating what is delivered both in respect of outcomes and implementation. The last four parts listed above will be contained in fisheries plans.
The basic features of the outcomes model are set out in the following diagram.


Bert Green Fine Art
Stephen Kaltenbach "A Short Article on Art Expression"
The manipulation of perception is a valid goal of art expression.
The alteration of perception is a valid means for art expression.
There are three factors which determine the nature of any perception: the object perceived, the environment in which the perception takes place, and the person who experiences the perception.
It is possible to manipulate an object to achieve an alteration in the perception of the object or the environment. An object may also be manipulated to bring about an alteration in perception itself.
The environment may be manipulated to attain a modification of the perception of an object or the environment. A manipulation of perception per se may also be achieved through a manipulation of the environment.
It is possible to manipulate an observer to achieve an alteration in his perception of an object, of his environment, or to simply initiate a change in his perception.
1. Is it important that an artist be able to consider these manipulations separately even though it may be impossible to initiate one without affecting others?
2. Is it important for an artist to be able to distinguish between manipulation of perception as a means for art expression from its manipulation as a result?
3. Is there a significant difference between the manipulation of the perception of an object or an environment and the effecting of a change in perception per se?
4. Do the following fields of endeavor have potential as means for art expression: art education or education itself, art history, the dissemination of art information and opinion, art dealing and patronage?
5. Does the manipulation of perception by the application of psychotherapy or meditation techniques or drugs hold potential as a means for art expression?
6. Has this article potential value as a work of art?


d20 LogoSystem Reference Document v3.5
Psionic Classes
pictpictAlignment: Any.
Hit Die: d4.
Class Skills
The psion's class skills (and the key ability for each skill) are Concentration* (Con), Craft (Int), Knowledge (all skills, taken individually)* (Int), Profession (Wis), and Psicraft* (Int). In addition, a psion gains access to additional class skills based on his discipline:
Seer (Clairsentience): Gather Information (Cha), Listen (Wis), and Spot (Wis).
Shaper (Metacreativity): Bluff (Cha), Disguise (Cha), and Use Psionic Device* (Cha).
Kineticist (Psychokinesis): Autohypnosis* (Wis), Disable Device (Dex), and Intimidate (Cha).
Egoist (Psychometabolism): Autohypnosis* (Wis), Balance (Dex) and Heal (Wis).
Nomad (Psychoportation): Climb (Str), Jump (Str), Ride (Dex), Survival (Wis), and Swim (Str).
Telepath (Telepathy): Bluff (Cha), Diplomacy (Cha), Gather Information (Cha), and Sense Motive (Wis).
*New skill or expanded use of existing skill.
Skill Points at Each Additional Level: 2 + Int modifier.
Table: The Psion
Attack Bonus
SpecialPower Points/Day
Powers KnownMaximum Power Level Known
1st+0+0+0+2Bonus feat, discipline
5th+2+1+1+4Bonus feat
10th+5+3+3+7Bonus feat
15th+7/+2+5+5+9Bonus feat
20th+10/+5+6+6+12Bonus feat
Class Features
All the following are class features of the psion.
Choose the powers known from the psion power list, or from the list of powers of your chosen discipline. You cannot choose powers from restricted discipline lists other than your own discipline list. You can choose powers from disciplines other than your own if they are not on a restricted discipline list. (Exception: The feats Expanded Knowledge and Epic Expanded Knowledge do allow a psion to learn powers from the lists of other disciplines or even other classes.) A psion can manifest any power that has a power point cost equal to or lower than his manifester level.
The Difficulty Class for saving throws against psion powers is 10 + the power's level + the psion's Intelligence modifier. Maximum Power Level Known: A psion begins play with the ability to learn 1st-level powers. As he attains higher levels, a psion may gain the ability to master more complex powers.
A psicrystal is a fragment of a psionic character's personality, brought into physical form and a semblance of life (via the Psicrystal Affinity feat). A psicrystal appears as a crystalline construct about the size of a human hand.
Because it is an extension of its creator's personality, a character's psicrystal is in some ways a part of him. That's why, for example, a psionic character can manifest a personal range power on his psicrystal even though normally he can manifest such a power only on himself.
A psicrystal is treated as a construct for the purposes of all effects that depend on its type.
A psicrystal grants special abilities to its owner, as shown on the Psicrystal Special Abilities table below. In addition, a psicrystal has a personality (being a fragment of the owner's personality), which gives its owner a bonus on certain types of checks or saving throws, as given on the Psicrystal Personalities table below. These special abilities and bonuses apply only when the owner and the psicrystal are within 1 mile of each other.
Psicrystal abilities are based on the owner's levels in psionic classes. Levels from other classes do not count toward the owner's level for purposes of psicrystal abilities.
A psicrystal can speak one language of its owner's choice (so long as it is a language the owner knows). A psicrystal can understand all other languages known by its owner, but cannot speak them. This is a supernatural ability.
Psicrystal Basics: Use the statistics for a psicrystal, but make the following changes.
Saving Throws: A psicrystal uses its owner's base saving throw bonuses and ability modifiers on saves, though it doesn't enjoy any other bonuses its owner might have (from magic items or feats, for example).
Abilities: When its self-propulsion ability is not activated, a psicrystal has no Strength score and no Dexterity score.
Skills: A psicrystal has the same skill ranks as its owner, except that it has a minimum of 4 ranks each in Spot, Listen, Move Silently, and Search. (Even if its owner has no ranks in these skills, a psicrystal has 4 ranks in each.) A psicrystal uses its own ability modifiers on skill checks.
Psicrystal Special Abilities
Owner LevelNatural
Armor Adj.
Int Adj.
Alertness, improved evasion, personality, self-propulsion, share powers, sighted, telepathic link
Deliver touch powers
Telepathic speech
Power resistance
Sight link
Channel power
Psicrystal Ability Descriptions: All psicrystals have special abilities (or impart abilities to their owners) depending on the level of the owner, as shown on the table above. The abilities on the table are cumulative.
Natural Armor Adj. (Ex): This number noted here is an improvement to the psicrystal's natural armor bonus (normally 0). It represents a psicrystal's preternatural durability.
Intelligence Adj. (Ex): Add this value to the psicrystal's Intelligence score. Psicrystals are as smart as people (though not necessarily as smart as smart people).
Alertness (Ex): The presence of a psicrystal sharpens its master's senses. While a psicrystal is within arm's reach (adjacent to or in the same square as its owner), its owner gains the Alertness feat.
Improved Evasion (Ex): If a psicrystal is subjected to an attack that normally allows a Reflex saving throw for half damage, it takes no damage if it makes a successful saving throw and half damage even if the saving throw fails.
Personality (Ex): Every psicrystal has a personality. See Psicrystal Personality, below.
Self-Propulsion (Su): As a standard action, its owner can will a psicrystal to form spidery, ectoplasmic legs that grant the psicrystal a land speed of 30 feet and a climb speed of 20 feet. The legs fade into nothingness after one day (or sooner, if the owner desires).
Share Powers (Su): At the owner's option, he can have any power (but not any psi-like ability) he manifests on himself also affect his psicrystal. The psicrystal must be within 5 feet of him at the time of the manifestation to receive the benefit. If the power has a duration other than instantaneous, it stops affecting the psicrystal if it moves farther than 5 feet away, and will not affect the psicrystal again, even if it returns to its owner before the duration expires.
Additionally, the owner can manifest a power with a target of "You" on his psicrystal (as a touch range power) instead of on himself. The owner and psicrystal cannot share powers if the powers normally do not affect creatures of the psicrystal's type (construct).
Sighted (Ex): Although it has no physical sensory organs, a psicrystal can telepathically sense its environment as well as a creature with normal vision and hearing. Darkness (even supernatural darkness) is irrelevant, as are areas of supernatural silence, though a psicrystal still can't discern invisible or ethereal beings. A psicrystal's sighted range is 40 feet.
Telepathic Link (Su): The owner has a telepathic link with his psicrystal out to a distance of up to 1 mile. The owner cannot see through the psicrystal's senses, but the two of them can communicate telepathically as if the psicrystal were the target of a mindlink power manifested by the owner. For instance, a psicrystal placed in a distant room could relay the activities occurring in that room.
Because of the telepathic link between a psicrystal and its owner, the owner has the same connection to an item or place that the psicrystal does. For instance, if his psicrystal has seen a room, the owner can teleport into that room as if he has seen it too.
Deliver Touch Powers (Su): If the owner is 3rd level or higher, his psicrystal can deliver touch powers for him. If the owner and psicrystal are in contact at the time the owner manifests a touch power, he can designate his psicrystal as the "toucher." The psicrystal can then deliver the touch power just as the owner could. As usual, if the owner manifests another power before the touch is delivered, the touch power dissipates.
Telepathic Speech (Ex): If the owner is 5th level or higher, the psicrystal


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The Collectibarn™ is a storage facility that will accommodate different types of assets,such as vintage cars, motorcycles, watercraft, small planes, campers, etc. Each individual unit inside the facility is temperature and humidity controlled. Preservation and extension of useful life of large, valuable assets is the primary function of this new storage facility.
Each stall (or unit) is completely sealed, has modular walls for changing the size, and settings are controlled by the asset owner. Owners with expensive cars, vintage vehicles and other large, valuable, mechanical assets will appreciate the safe storage and preservation aspects of the Collectibarn™.
PRODUCT FEATURES & BENEFITS
- Multi asset storage and preservation system
- Spaces sealed for ideal climate and atmosphere maintenance
- Temperature and humidity are individually controlled for each unit
- Modular walls of each space are extendable and retractable for custom sizing
- Lighting, humidity, oxygen, nitrogen, CO2 and other levels controlled by owner for each space
- Stores vehicles, campers, watercraft, small planes and other mechanical assets
- Security monitors and diagnostic data analyzers alert owners to problems with wellness of assets
- Remotely controlled and monitored administration of oxygen and other preservative gases
- Anytime access for owners to work on vehicles
- Protects assets from weather, rodents, vandalism, and other damaging situations
The Collectibarn™ is a storage facility that can contain different types and sizes of vehicles in one location. This system for storage and preservation of mechanical assets, which may include collectible automobiles, small airplanes, and watercraft, is comprised of modular walls, sealed units, preservation equipment and elements, and owner-controlled monitoring of the unit atmosphere.
The modular walls may be moved to fit different sizes of vehicles, and each proportioned space includes a seal. Inside each space are monitors, cameras, detectors, sensors, a thermometer, gauges, and other miscellaneous items to assess the atmosphere inside the space. Computer software and a communication system are also included for the purpose of monitoring and adjusting the preservation components as needed. The asset owner remotely controls the atmospheric conditions inside each space to prevent damages and protect all possessions for the optimal extension of useful life.
Classic car collectors may desire a Collectibarn™ of their own on their property. This may be accomplished by either transforming an existing structure or creating a new one. Race cars may be stored in a Collectibarn™ and worked on when preparing for a race. Antiques, family heirlooms, clocks, vehicles, furniture and other miscellaneous items will be better protected in this type of storage facility, preventing mold, rust and other damaging situations.
One storage unit may have one or two floors of modular spaces, and will accommodate all types and sizes of items. Each space rented or sold will offer better protection and preservation of the owners' prized possessions.
Materials needed to produce the Collectibarn™:
- Basic storage structure
- Modular walls
- Extendable and retractable
- Sealing system
- Modular walls
- Wide entryways
- Single level or multiple levels
- Elevator (multi-level only)
- Large access doors to each space
- Locking and security system for each space
- Monitoring equipment
- Preservation components
- Gases (including oxygen)
- Computer system
- Diagnostic system
- Electronic communication system
- Alarm system
- Remote controls
- Customized accessories
The Collectibarn™ is covered by United States Utility Patent: 9,869,083
The Collectibarn™ is also covered by United States Utility Patent: 8,740,099
For additional information, licensing opportunities, and a full prospectus on the Collectibarn™ contact:
VP of Business Development


text:
Testing is one of the most important things you can do to ensure your new Grants Management System (GMS) meets your requirements and works for your team. In most software implementations, the client is responsible for User Acceptance Testing (UAT) which requires the client to test their new system to ensure it meets their specifications as stated in the implementation contract or Statement of Work (SOW). User Acceptance Testing may also be needed after a new release of system upgrades, or if the client has undergone major enhancement of an existing system. The client is given a period of time to plan, execute and report issues uncovered during the testing. Once all testing is complete, and all identified issues are resolved, retested and validated, the system is handed off to the client to launch and begin using.
Most clients we work with understand the importance of testing their new system but often find the job daunting and overwhelming. This is understandable—software testing is a practice that requires knowledge and a skillset that comes with training and experience. My colleagues and I at Grantbook have guided and supported many organizations in testing their new grant management system, including spending 100s of hours conducting testing ourselves. Below are a few tips and how-to's we picked up along the way that can make testing as successful and painless as possible.
Steps for Testing your GMS
1. Assemble your testing team
Testing is a very important training opportunity for your team. As they test the functionality of the new system, your team will gain a deep understanding of how the system works. As end users of the system, your staff are also best equipped to assess if and how the system meets the requirements and needs of the organization. With that in mind, we recommend that you assemble a testing team with representatives from all groups of users in order to ensure, as early on in the process as possible, that the system will meet the needs of all stakeholders. To test for user-friendliness and intuitive design we recommend engaging one or two testers less familiar with the processes being carried out in the system. And, lastly, no matter who you recruit to test, a thorough orientation of the system is in order.
2. Determine your testing style
Before you dive head first into testing, we recommend that you take some time to reflect on the amount and types of testing you feel is right for your project, and use that to inform your approach and testing strategy. Much of this will depend on the size of your project and team. For smaller projects you might consider testing as a group, where everyone meets and tests together. For larger teams a divide-and-conquer approach might be best—divide your team into smaller groups or individuals and assign specific parts of the process/system for them to test and report on. But no matter what strategy you follow it always helps to block off a large chunk of uninterrupted time to run through your list of specific steps/clicks for a test case without distractions.
3. Project manage your testing
Begin by determining how much time you have to conduct the testing and how many staff you have to do it. Once you have your timelines planned, establish a process for documenting and tracking test cases, results, and how to submit bugs. In most cases this can simply be a spreadsheet, but you can also use project management tools like AirTable and Trello for test cases, or Freshdesk to track and log tickets. If this is a large implementation, consider a professional test management software such as JIRA.
If your testing plan includes individuals testing on their own, you will find that holding a consistent regular check-in time is helpful to keep everyone on-track and address common issues. Follow a consistent format for check-ins and decide what drives the agenda and meeting discussions (e.g defect tracker or test progress tracker?). Make sure your team understands the process and know where and how to share the testing results.
4. Plan testing scenarios
Identify the list of different ways a process workflow can go to completion, including happy and not-so-happy paths. Include identifying exception scenarios that sometimes occur, with the context of how frequently they occur (e.g. an approver is out of the office for extended vacation, a grantee contact leaves). Include trying to look up data or ad hoc reporting not directly tied to administering a grant.
5. Create test data
Start by deciding which environment you are testing in. If this is an implementation of a new system testing in production prior to launch is appropriate. But after launch it could vary depending on your setup and strategy. Once you decide where you will test, you can begin creating testing data. Having test data available in the system in advance will make testing run smoother and faster, because you can jump right in to testing without having to create records first. As you create test records we recommend that you follow a naming convention so it's easy to identify test data for clean-up later. We often use tags such as TESTTEST or a theme to make things fun—we recently created an entire set of testing records using Harry Potter characters and places! Create a test user for each role so that you can validate user permissions. Share a common set of test data with the team so effort can be saved.
6. Coach your testers on best practices
In addition to orienting the testers to the system, we recommend that you also coach (and re-coach) testers on how to conduct testing and give good quality feedback. For example, tell testers to include notes on the specific records and roles that were used to test and details about what went wrong rather than broad statements.
We typically provide the following instructions to our clients:
- Approach testing like running a science experiment: follow a procedure, alter one variable, observe and note the results.
- Go into testing with a pre-existing notion or hypothesis of what should happen or the expected result. Compare this against the actual results.
- Test one thing at a time so if the results are not in line with what was expected, you can more confidently assume it was due to the variable that was changed.
- Document everything! Make sure the steps that you took are noted and repeatable, so others can follow them to the exact specifications to reproduce your results.
- Test workflows with the test user roles and not as a system administrator.
- Know where to find emails which are supposed to be sent from the system so that you can verify they are going out when they need to. Since you will likely be using fake testing accounts you will need to find the emails in the system and not in the -fakeinbox.
- Try to "break the system" by following unusual process paths. For example: trying to access something your test role shouldn't be able to, entering invalid data, adding data then deleting data and leaving fields blank before saving/submitting to check requirements.
7. Use helpful tools
Our team has found the following tools very helpful in making testing easier and time efficient.
- Form Filler chrome extension (to quickly fill in forms with gibberish)
- Session Box chrome extension to enable logging in with multiple accounts in the same browser session window (you can also do this with Incognito mode)
- Screencastify chrome extension to record GIFs of your chrome tab
8. Manage your bugs proactively
To keep testing focused, we recommend that you identify the most important test scenarios and make addressing bugs that show up in these scenarios your first priority. If you are employing a large testing team with many novice testers, have an experienced person triage reported bugs in order to prevent duplicate bugs being logged, verify the quality of information provided in the testing log, and identify the appropriate priority of the bug. Lastly, once testing is underway, make sure to monitor for forward progress on bugs - this may involve nudging people to follow up on their actions if there's been no activity for a while.
Don't sweat it
Test-driving your new Grants Management System may seem stressful and daunting at first, but it doesn't have to be. With the right approach, tips and tools, testing can be an exciting and valuable opportunity for your team to verify that your new system works as it should, while also getting to know the new system well and become confident power users right from the start!
Are you gearing up to select, implement, or optimize your Grants Management System? Our team of experts can guide you through the process and set you up for success.


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wikiHow is a "wiki," similar to Wikipedia, which means that many of our articles are co-written by multiple authors. To create this article, 29 people, some anonymous, worked to edit and improve it over time.
This article has been viewed 2,349,970 times.
To many readers, "Calculating a growth rate" may sound like an intimidating mathematical process. In actuality, growth rate calculation can be remarkably simple. Basic growth rates are simply expressed as the difference between two values in time in terms of a percentage of the first value. Below, you'll find simple instructions for this basic calculation as well as information about more complicated measures of growth.
Sample Growth Rate Calculator
Part 1 of 2:Calculating Basic Growth Rates
1Obtain data that shows a change in a quantity over time. All you need to calculate a basic growth rate are two numbers - one that represents a certain quantity's starting value and another that represents is ending value. For instance, if your business was worth $1,000 at the beginning of the month and it's worth $1,200 today, you'll calculate growth rate with 1,000 as your starting (or "past") value and 1,200 as your ending (or "present") value. Let's do a simple example problem. In this case, we will use the two numbers 205 (as our past value) and 310 (as our present value).
- If both values are the same, there is no growth - the growth rate is 0.
2Apply the growth rate formula. Simply insert your past and present values into the following formula: (Present) - (Past) / (Past). You'll get a fraction as an answer - divide this fraction to get a decimal value. X Research source
- In our example, we'll insert 310 as our present value and 205 as our past value. Our formula will look like this: (310 - 205)/205 = 105/205 = 0.51
3Express your decimal answer as a percentage. Most growth rates are written as percents. To convert your decimal answer to a percentage, simply multiply it by 100, then add a percentage sign ("%"). Percentages are an easy-to-digest, universally-understood way to express change between two numbers. X Research source
- So, for our example, we would multiply 0.51 by 100, then add a percent sign. 0.51 x 100 = 51%.
- Our answer means our growth rate is 51%. In other words, our present value is 51% bigger than our past value. If our present value was smaller than our past value, our growth rate would be negative.
Part 2 of 2:Calculating Average Growth Rate Over Regular Time Intervals
1Organize your data in a table. This isn't absolutely necessary, but it's useful, as it allows you to visualize your given data as a range of values over a length of time. For our purposes, simple tables will usually suffice - simply use two columns, listing your values for time in the left column and the corresponding values for your quantity in the right column, as above.
2Use a growth rate equation which takes into account the number of time intervals in your data. Your data should have regular values for time, each with a corresponding value for your quantity. The units for these time values aren't important - this method will work for data collected over spans of minutes, seconds, days, etc. In our case, our data is expressed in terms of years. Insert your past and present values into a new formula: (present) = (past) * (1 + growth rate)n where n = number of time periods. X Research source
- This method will give us an average growth rate for each time interval given past and present figures and assuming a steady rate of growth. Because our example uses years, this means we'll get an average annual growth rate.
3Isolate the "growth rate" variable. Manipulate the equation via algebra to get "growth rate" by itself on one side of the equal sign. To do this, divide both sides by the past figure, take the exponent to 1/n, then subtract 1.
- If your algebra works out, you should get: growth rate = (present / past)1/n - 1.
4Solve for your growth rate. Insert values for your past and present values, as well as a value for n (which will be the number of time intervals in your data, including your past and present values.) Solve according to basic principles of algebra, order of operations, etc.
- In our example, we'll use our present figure of 310 and our past figure of 205, along with a time period of 9 years for n. In this case, the average annual growth rate is simply (310/205)1/9 - 1 =.0422
- 0.0422 x 100 = 4.22%. On average, our value grew by 4.22 percent each year.
QuestionWhat if the past value is 0?Community AnswerThen it isn't really growth rate, but your first profit/loss. You will use this value to calculate your growth rate next year (or other time period).
QuestionHow do I calculate revenue growth rate over previous year?Top AnswererSubtract the previous year's revenue from the current year's revenue, then divide the difference by the previous year's revenue.
QuestionHow do you calculate growth rate when the initial value is negative?Community AnswerAdd past value and present value, and divide by past value without changing their signs.
The entire formula reads as: ((Present - Past) / Past) * 100
This works both ways. You use the same formula whether or not the number goes up or down. It would be a growth reduction in there is a decrease.
About This Article
To do a simple growth rate calculation, start with two data points that show a change in quantity over time. For instance, if your blog had 25 subscribers last month and now it has 100, you'd set 25 as your starting value and 100 as the ending value for your calculation. To find the growth rate, subtract the starting value from the ending value and divide the difference by the starting value. In our example, (100-25)/25 gives you 75/25, or 3. Multiply the growth rate by 100% to convert it to a percent value. 3 times 100% is 300%, which means the ending value is 300% bigger than the starting value. If you want to calculate an average growth rate over a longer period of time, such as several years, start by organizing your data points in chronological order from oldest to newest. Then, use the formula growth rate = (present/past)^1/n – 1, where n is the number of time periods represented by your data. So, for instance, if your starting value was 17 and your ending value was 36, and this growth took place after a period of 7 years, use the formula growth rate = (36/17)^1/7 – 1, which equals approximately 0.11, or 11%. Keep in mind that this formula assumes that there's a steady rate of growth, so it only takes the start and end values into account. To learn how to calculate the average growth rate over regular time intervals, scroll down!


"Indal" Surname
Frequency of "Indal" Surname in the US
2000 US Census
1990 US Census
Accoring to the US Census Bureau, "Indal" ranked #83,450 in frequency out of 88,799 surnames for which statistics were released from the 1990 Census.
"Indal" Graves on Histopolis
Histopolis currently has 0 grave(s) with the surname "Indal".
Resource Links for "Indal"
Surnames that Sound Like "Indal"
The surname "Indal" has a Soundex code of I534. The following 30 surname(s) may sound similar to "Indal" since they share the same Soundex code.


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This is another image I found on Google+
All lines are absolutely straight, parallel and perpendicular but why does it appear to have a curvature?
Related: How does this illusion work?
Like these questions :) Many of these illusions come from Prof. Akiyoshi Kitaoka, a japanese Psychologist and expert for Gestalt Psychology. On his website you'll find some more fascinating illusions and questions to ask here ;)
The illusion above is named Cafe Wall illusion and the newest model to explain those illusions is the contrast-polarity model. Short explanation from his webpage:
The paper explained it better to me:
This explains why you perceive a tilt. If you position the smaller squares now in distinct edges of the big squares, you can achieve 2- and 3-dimenional illusions. Here you see a increasing of the tilt due to more smaller squares:
Here you can see that the positioning of the smaller squares is critical to achieve the 3D effect of the orignial bulge effect in your question:
Notice that Gestalt Psychology is a non-reductionistic theory approach and investigates mainly the phenomenology and underlying Gestalt Laws of visual perception. How these Gestalt Laws developed on a deeper level is a question of neurobiological evolution similar to, "why have some species of apes color-vision and some not". The ellipses in the explaining picture above show you, that our cognitive visual machine somehow tries to group divided objects (square and line of same contrast/brightness) in one line and we see a tilt. I'm guessing here, but this is probably due to cognitive brain algorithm that saves things and objects we see and perceive mainly by countor and shapes, rather than pixel by pixel like a computer and digital camera do it, which of course don't perceive any tilt or 3D illusion in any of those trick images :)
Read the papers for more explanations and examples, not behind a paywall:


Meet the Researcher, Rommie Amaro, Simulating the SARS-CoV-2 virus with AI and HPC
This month we spotlight Rommie Amaro, professor and endowed chair in the Department of Chemistry and Biochemistry at the University of California, San Diego.
'Meet the Researcher' is a new series in which we spotlight different researchers in academia who are using GPUs to accelerate their work. This month we spotlight Rommie Amaro, professor and endowed chair in the Department of Chemistry and Biochemistry at the University of California, San Diego.
Amaro is also the principal investigator of the Amaro Lab, which is broadly concerned with the development and application of state-of-the-art computational and theoretical techniques to investigate the structure, function, and dynamics of complex biological systems for applications to drug discovery.
This year, she led a team of 28 researchers at a number of different institutions, combining high performance computing (HPC) and AI to provide the clearest view to date of the coronavirus, winning a special Gordon Bell Prize in November 2020.
What are your research areas of focus?
I like to call myself a computational biophysical chemist. In general, we use computational models to explore biological and chemical systems. The idea of being able to use mathematics and computing to understand how biological systems work is just fascinating to me. Over the years, we've applied this to areas such as cancer and DNA editing.
What motivated you to pursue your recent research area of focus in supercomputing and the fight against COVID?
We had been working for a number of years on influenza virus, and so after 7-8 years of work on that, we published a paper in February on simulating the influenza virus envelope. That project was really a labor of love. It presented, for the first time, molecular simulations of a lipid enveloped virus in atomic detail. The size was 160 million atoms, very large, and to get to that point we had to overcome multiple technical challenges to simulating viruses in such detail.
When SARS-CoV-2 hit, it was an immediate and natural pivot to focus on COVID. As soon as the McLellan group deposited the spike structure in the bioRxiv, we scooped up the data and started working with it, aiming to simulate the complete spike structure in all its atomic detail.
Simulation of SARS-CoV-2
What problems does your research address?
There's this aspect of the virus that's very intriguing. Viruses in general have evolved something called a glycan shield, which is basically a sugary coating that the virus uses to mask itself from the human immune system.
All of the cells in our body are coated with different types of sugar molecules, called glycans. The viruses have evolved this way of looking just like other human cells by covering themselves in the same soft of sugary coating. That way, when viruses get into our bodies, our immune system doesn't see spike protein, it sees this sugary coating. Since it looks like any other cell, the human body doesn't recognize it as a threat and therefore doesn't activate the immune system response.
Experimentally, we know these glycans are there but can't take pictures of them because the sugars move around quite a bit, one can't get a crisp image of what they actually look like. This is where computing has a lot to give because we can basically create an atomic level structure of what those sugar molecules look like and then that gives us the picture of the sugar structures and what they're doing. That's what our research addresses.
Our simulations gave people the first views of what the glycan shield looks like on the viral spike protein. For researchers, it's not only knowing where that shield is, but it's even more critical knowing where the shield is not because there are holes in the shield, vulnerabilities of the virus. We can use that information to understand where and how antibodies bind and how to use this information in the design of novel therapeutics.
Simulation of SARS-CoV-2 spike protein
The reason that we care about simulating the virus in all its atomic detail is that it helps us understand how the virus works, the mechanisms of viral infection, as well as to understand and design new therapeutics. For example, drug molecules that target different virus protein molecules or different parts of the virus. It also helps us understand how antibodies work, their design with vaccines. Having information about where all the atoms are and what they're doing is really critical.
How have you used NVIDIA technology in your current research?
The main tool my team is using is molecular dynamics simulations. We like to think of this tool as a computational microscope. We take data from different sources, bring these data streams together to create these highly detailed, accurate models of the virus.
The simulations run on chips like NVIDIA GPU systems, and use supercomputing sites that use NVIDIA GPUs. The kind of math these simulations require ports super well to GPUs. That's where NVIDIA technology has been transformative: it's allowed us to speed up our calculations tremendously. It's basically making our microscope really powerful–getting better, more accurate views of the virus much faster. The sooner we have that information, the sooner we can develop drugs and therapeutics to fight the virus.
What were some of the challenges you faced while pursuing your research?
This whole year has been extraordinary. It's a really crazy time to be a scientist, in the sense of being on the front lines trying to understand the mysteries of COVID-19. There's so much data coming in from all over the world. We've had so many sleepless nights since February/March, working around the clock.
At the same time, there's been so many amazing collaborations. So many people around the world focused on one single problem. This doesn't happen, typically we're each working on different things.
What's next for your research?
We're just at the beginning, there's so much we want to do. Now that we've got the virus built and simulated, and that was honestly an incredible feat in terms of how fast we were able to do it, the next is to build and simulate the host cell, the human cell. We want to understand how the virus latches on because it's a pretty complex process.
Another aspect I'm really excited to study—there are a lot of questions about how and why the virus is airborne transmissible. One of the things we're planning to do next is to build aerosol particles that have the virus inside of them. These systems will have about one billion atoms. This will help us understand what's happening to the virus in the air and how long it lives and how it can infect people under a range of conditions, such as relative humidity.
There's just so much to do.
Any advice for new researchers, or early career professionals, especially to those who are inspired and motivated by your work?
Find your passion. It won't necessarily be science for everybody. We need so many kinds of people to make the world go round.
Find that thing that lights you up, that you just want to keep coming back to. When I was at university and Saturday came around, everyone would go tailgating. I looked forward to going into the lab. When you really find your passion, your work doesn't feel like your job. And when your passion unites with the ability to serve others or a greater good, it's so incredibly rewarding.
Also, education is super important–stay at it, stay it in, to get a better life.
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Popocatépetl from the ISS on January 23, 2001
It might be (and is likely) just normal behavior for Popocatépetl in Mexico, but the volcano produced six plumes over the last 24 hours, according to a report out of Mexico City (in spanish). Officials from El Centro Nacional de Prevención de Desastres (The National Center for the Prevention of Disasters – Cenapred) say that the plumes appear to be mostly water vapor and other volcanic gases, but remind people living near the volcano to be vigilant.
Popocatépetl is only 70 km from Mexico City, so any major eruption from the volcano could affect life and air travel to the major metropolis. The last major eruptive period at Popocatépetl ran from _PHONE_, producing VEI 3 eruptions, but the volcano has been producing smaller eruptions since January 2005. The volcano produces a mixed bag of activity, with ash fall, lava flows, pyroclastic flows and lahar generation and might be one of the more hazardous volcanoes in the Americas.


text:
Laboratory Techniques and AnalysisBy
- Nicholas P. Cheremisinoff, United States Agency for International Development
This volume provides an overview of polymer characterization test methods. The methods and instrumentation described represent modern analytical techniques useful to researchers, product development specialists, and quality control experts in polymer synthesis and manufacturing. Engineers, polymer scientists and technicians will find this volume useful in selecting approaches and techniques applicable to characterizing molecular, compositional, rheological, and thermodynamic properties of elastomers and plastics.
Engineers, researchers and technicians in the plastics industry.
Hardbound, 262 Pages
Published: December 1996
Imprint: William Andrew
- 1. Chromatographic Techniques Chromatography for Analytical Analyses Gas Chromatography Liquid Chromatography GPC/DRI Gel Permeation Chromatography GPC/DRI/LALLS GPC/DRI/VIS GPC/DRI/UV GPC/DRI/FTIR2. Thermal Analysis General Principles of Operation Thermal Analysis of Polymers3. Microscopy for Polymer Characterization General Information Non-Routine Techniques4. Elemental and Structural Characterization Tests Atomic Absorption Spectroscopy Inductively Coupled Plasma Atomic Emission Spectroscopy Ion Chromatography (IC) Ion Selective Electrodes (ISE) Mass Spectrometry (MS and GC/MS) Nuclear Magnetic Resonance Spectrometer Fourier Transform Infrared (FTIR) Ultraviolet, Visible, and Infrared Spectrometry (UV, Vis, IR) X-Ray Fluorescence Spectrometry Potentiometric Titrations Neutron Activation Analysis5. Rheometry Rheometrics System IV Capillary Rheometry Torque Rheometry6. Chemical Analysis of Polymers Comminution, Separation, and Identification Stabilizer Identification Polymer Identification Appendix A: Abbreviations of Polymers Appendix B: Glossary of Polymers and Testing Appendix C: Professional and Testing Organizations American National Standards Institute (ANSI) American Society for Testing and Materials (ASTM) Food and Drug Administration (FDA) National Bureau of Standards (NBS) National Electrical Manufacturers Association (NEMA) National Fire Protection Association (NFPA) National Sanitation Foundation (NSF) Plastics Technical Evaluation Center (Plastec) Society of Plastics Engineers (SPE) Society of Plastics Industry (SPI) Underwriters Laboratories (UL) Appendix D: Glossary of Engineering and Materials Terms Index


Category:Horse spotting patterns
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In horses, there are two main classes of spotting patterns. One is the Leopard complex, created by the Lp gene, characterized by small spots, seen in breeds such as the Appaloosa and the Knabstrupper. The other group is Pinto, also known as piebald, skewbald, tricoloured, blagdon, and calico in various English-speaking nations. The Pinto group consists of at least four genetically distinct patterns: 1) Tobiano, a dominant gene (TO); 2) Frame overo, an incomplete dominant that create spotting when heterozygous, but is lethal when homozygous, (O); 3) Splashed white, which has yet to be genetically mapped, and may be created by more than one genetic mechanism; and 4) Sabino, which is also created by more than one genetic mechanism, with one form, SB-1 mapped, but SB-1 does not encompass all sabino horses.
 - Overo(5 C, 3 P, 2 F)
S cont.
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Earth may have been a "water world" three billion years ago, new research suggests
Earlier studies have suggested that the Earth was once engulfed by water and had few or no landmasses at all some three billion years ago. A recent analysis of the Earth's mantle provides evidence in support of that idea.
Published in the journal AGU Advances, it suggested that back when the planet was a molten ball of magma, its mantle held far less water than it does today. The mantle is the thick, semi-solid layer that sits between the planet's dense, super-heated inner layer called the core and its thin outer one called the crust.
Lead researcher Junjie Dong, a graduate student of mineral physics at Harvard University in Massachusetts, explained that over billions of years, the mantle's water storage capacity gradually increased as the temperatures in that layer cooled. This may be why the mantle today holds more water.
That suggests the water was somewhere else. "And the most likely reservoir is the surface," said Dong.
Earth was once a "water world"
Suntrex D3™ is a natural vitamin D3 supplement formula that boosts the immune system, assists with calcium absorption, promotes brain health, and more.Water is stored within the mantle in the form of hydroxy groups. These are simple structures consisting of an oxygen and hydrogen atom bonded together. In particular, water is stored in two high-pressure forms of olivine, an important rock-forming mineral. Its two forms are hydrous wadsleyite and ringwoodite.
Current samples of hydrous wadsleyite collected deep inside the mantle may contain three percent water and current samples of ringwoodite may contain around one percent water.
Researchers of previous studies have subjected these two minerals to the high pressures and temperatures of the mantle of the present Earth to figure out their water storage capacities.
But rather than limit their analysis to just pressures and temperatures, the researchers compiled and used all available mineral physics data to calculate the water storage for the two minerals across a wider range of pressures and temperatures, including those scientists believe to have existed billions of years ago.
Their analysis showed that hydrous wadsleyite and ringwoodite have lower water storage capacities at higher temperatures. Since ancient Earth was much warmer internally then than it is today, it follows that the water storage capacity of its mantle now is higher than it once was.
In particular, the mantle's water storage capacity today is 1.86–4.41 times the modern surface ocean mass. In all, the difference in water storage capacity is significant even with conservative calculations.
So if the water stored in the mantle today is much greater than its storage capacity roughly three billion years ago, then it is entirely possible that the planet was once covered by water.
Michael Walter, director of the Geophysical Laboratory at the Carnegie Institution of Washington who wasn't involved in the study, said the paper makes intuitive sense. "It's a simple idea that could have important implications."
More geological evidence of a water-bound planet
These findings support those of a previous study by scientists from the University of Colorado Boulder. They studied an ancient slab of the ocean floor that was turned on its side.
Inside the slab were chemical signatures that offered clues about the seawater that covered the Earth roughly 3.2 billion years ago. They found that seawater then contained a stable, environmental isotope of oxygen, called oxygen-18. The abundance of this isotope suggests Earth had less land then than it does today.
To sum up, studies like these could help scientists answer important questions about the Earth, such as when life began on the planet. (Related: Meteorite in Michigan may hold clues to origin of life on Earth.)
Scientists are also still torn over whether life began on land or on water. So if the planet was, in fact, engulfed by water billions of years ago, that may settle the long-standing debate.
Follow for more articles about ancient Earth and water worlds.
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Social Realism and other catch phrases abound in academic writing. Since they are often little more than meaningless cliches the computer is able to string them together to create fake essays like the one you see below.|
Social realism and constructive discourse
A. Stefan McElwaine
Department of English, Oxford University
1. Subtextual materialist theory and postcapitalist feminism
"Sexual identity is part of the meaninglessness of narrativity," says
Debord; however, according to Reicher, it is not so much
sexual identity that is part of the meaninglessness of narrativity, but rather
the collapse, and subsequent dialectic, of sexual identity. Thus, the
creation/destruction distinction intrinsic to Smith's Clerks is also
evident in Chasing Amy, although in a more pretextual sense. The subject
is contextualised into a postcapitalist feminism that includes art as a
In the works of Smith, a predominant concept is the concept of
constructivist narrativity. In a sense, Lyotard promotes the use of
constructive discourse to attack the status quo. Marx uses the term
'posttextual theory' to denote a self-justifying totality.
Thus, Bataille suggests the use of social realism to modify and deconstruct
society. The subject is interpolated into a cultural neodeconstructive theory
that includes culture as a paradox.
But in Mallrats, Smith deconstructs constructive discourse; in
Dogma, however, he analyses social realism. The main theme of
Drucker's analysis of postcapitalist feminism is the
bridge between class and sexual identity.
In a sense, Marx promotes the use of social realism to challenge sexism.
Foucault's essay on Baudrillardist simulation states that discourse comes from
communication, but only if the premise of constructive discourse is valid; if
that is not the case, Foucault's model of social realism is one of "pretextual
cultural theory", and therefore fundamentally elitist.
2. Contexts of failure
The characteristic theme of the works of Smith is the role of the artist as
participant. Thus, an abundance of constructions concerning a posttextual whole
may be discovered. Constructive discourse holds that government is capable of
"Society is impossible," says Sartre; however, according to Humphrey, it is not so much society that is impossible, but rather
the stasis of society. However, the subject is contextualised into a
postcapitalist feminism that includes reality as a reality. Buxton suggests that we have to choose between the cultural
paradigm of consensus and neotextual theory.
In a sense, Lyotard suggests the use of social realism to analyse society.
Sontag uses the term 'postcapitalist feminism' to denote not discourse, as
constructive discourse suggests, but subdiscourse.
However, Derrida promotes the use of dialectic posttextual theory to attack
class divisions. If social realism holds, we have to choose between the
structural paradigm of reality and pretextual semiotic theory.
Thus, the premise of postcapitalist feminism holds that consciousness may be
used to reinforce sexism. The example of Batailleist 'powerful communication'
prevalent in Stone's Platoon emerges again in Natural Born
3. Stone and postcapitalist feminism
"Sexual identity is part of the collapse of culture," says Lacan. However,
any number of sublimations concerning submodernist capitalism exist. Debord
uses the term 'postcapitalist feminism' to denote a self-sufficient totality.
If one examines capitalist theory, one is faced with a choice: either reject
social realism or conclude that narrativity is capable of deconstruction. But
Pickett implies that we have to choose between
precultural constructivism and the textual paradigm of context. The primary
theme of Hanfkopf's analysis of postcapitalist feminism
is not, in fact, desublimation, but predesublimation.
"Class is used in the service of outmoded, elitist perceptions of society,"
says Sontag; however, according to Hubbard, it is not so
much class that is used in the service of outmoded, elitist perceptions of
society, but rather the stasis, and subsequent meaninglessness, of class.
However, an abundance of discourses concerning a mythopoetical reality may be
revealed. The subject is interpolated into a constructive discourse that
includes culture as a totality.
Therefore, any number of theories concerning social realism exist. Bataille
uses the term 'constructive discourse' to denote not narrative as such, but
But Lyotard's critique of subsemantic theory suggests that expression is
created by the masses, given that reality is interchangeable with language. In
Satanic Verses, Rushdie reiterates social realism; in The Moor's Last
Sigh, although, he analyses constructive discourse.
It could be said that the subject is contextualised into a social realism
that includes art as a reality. Dialectic discourse implies that the law is
part of the stasis of language.
In a sense, if constructive discourse holds, we have to choose between
postcapitalist feminism and Foucaultist power relations. The subject is
interpolated into a constructive discourse that includes narrativity as a
But an abundance of constructions concerning the role of the writer as
artist may be found. The premise of postcultural narrative holds that the
raison d'etre of the observer is significant form.
4. Consensuses of economy
If one examines postcapitalist feminism, one is faced with a choice: either
accept constructive discourse or conclude that sexual identity, somewhat
paradoxically, has objective value. Therefore, the subject is contextualised
into a semioticist paradigm of reality that includes culture as a whole.
Constructive discourse implies that language is a legal fiction, given that
Marx's analysis of neocultural dialectic theory is invalid.
In the works of Rushdie, a predominant concept is the distinction between
masculine and feminine. However, the main theme of the works of Rushdie is the
common ground between class and sexual identity. The subject is interpolated
into a postcapitalist feminism that includes consciousness as a paradox.
Thus, many theories concerning social realism exist. Derrida suggests the
use of postmodern objectivism to challenge and read society.
However, postcapitalist feminism holds that sexual identity has intrinsic
meaning. A number of narratives concerning not discourse, but subdiscourse may
It could be said that Baudrillard promotes the use of constructive discourse
to attack capitalism. The subject is contextualised into a textual theory that
includes art as a reality.
But Sargeant states that we have to choose between
postcapitalist feminism and the postdialectic paradigm of context. Several
discourses concerning conceptualist nihilism exist.
1. Reicher, B. (1986) The
Context of Futility: Constructive discourse and social realism. University
of Illinois Press
2. Drucker, P. B. ed. (1977) Social realism and
constructive discourse. Panic Button Books
3. Humphrey, L. R. C. (1988) The Economy of Narrativity:
Constructive discourse in the works of Stone. And/Or Press
4. Buxton, D. C. ed. (1990) Social realism in the works of
Mapplethorpe. University of California Press
5. Pickett, P. (1978) The Absurdity of Consensus:
Constructive discourse and social realism. O'Reilly & Associates
6. Hanfkopf, A. L. ed. (1987) Social realism and
constructive discourse. Panic Button Books
7. Hubbard, D. (1996) The Meaninglessness of Society:
Constructive discourse in the works of Rushdie. Cambridge University
8. Sargeant, A. H. O. ed. (1980) Social realism in the
works of Rushdie. Panic Button Books
Created with the Post Modernist Essay Generator at Elswhere.org
Copyright (c) The Online Tool Directory


text:
knell •\ˈnel\• noun and verb
noun: the sound of a bell rung slowly to announce a death or a funeral or the end of something
verb: ring as in announcing death
verb: make (bells) ring, often for the purposes of musical edification
The word knell has appeared in 144 New York Times articles in the past year, including on May 19 in "American Accents Being Heard on the Malecón" by Victoria Burnett:
Across the bay, the sea-crossing theme continues at a wide-ranging Cuban show at the 18th-century fortress of San Carlos de la Cabaña. Hanging in a room are life-size sharks in human clothing, and the detritus of a shipwreck. It is the work of Alexis Leyva Machado, known as Kcho (pronounced catch-oh), whose small bronze bird pounds its beak against a propeller hanging from a rope, ringing an endless knell, next door.
Click on the word below to map it and hear it pronounced:


text: Deciding how much evidence to accumulate before making a decision is a problem we and other animals often face, but one that is not completely understood. This issue is particularly important because a tendency to sample less information (often known as reflection impulsivity) is a feature in several psychopathologies, such as psychosis. A formal understanding of information sampling may therefore clarify the computational anatomy of psychopathology. In this theoretical letter, we consider evidence accumulation in terms of active (Bayesian) inference using a generic model of Markov decision processes. Here, agents are equipped with beliefs about their own behavior—in this case, that they will make informed decisions. Normative decision making is then modeled using variational Bayes to minimize surprise about choice outcomes. Under this scheme, different facets of belief updating map naturally onto the functional anatomy of the brain (at least at a heuristic level). Of particular interest is the key role played by the expected precision of beliefs about control, which we have previously suggested may be encoded by dopaminergic neurons in the midbrain. We show that manipulating expected precision strongly affects how much information an agent characteristically samples, and thus provides a possible link between impulsivity and dopaminergic dysfunction. Our study therefore represents a step toward understanding evidence accumulation in terms of neurobiologically plausible Bayesian inference and may cast light on why this process is disordered in psychopathology.


Guest Essay: Santiago Matamoros by Alfred J. Andrea
Main Image (Above): Francisco Camilo, El Apóstol Santiago a caballo o Santiago Matamoros (1649), Prado Museum. Source: (accessed December 15, 2020.
The following essay is by Alfred J. Andrea, the former president of the World History Association, a mentor, and a noted medieval historian. In it, he provides background on Santiago Matamoros, the subject of the cover image of our forthcoming book Sanctified Violence: Holy War in World History.
See also: Guest Essay: Santiago of the Americas by Andrea J. Andrea
Santiago Matamoros
This seventeenth-century painting, which graces the cover of the paperback version of Andrea and Holt, Sanctified Violence: Holy War in World History, deserves a bit of explanation. The title translates as "The Apostle Saint James on Horseback, or Saint James the Moor-slayer." How, one rightly asks, did an apostle of Jesus, the same Jesus who preached "Blessed are the peacemakers,"[1] get in the business of killing Moors? And what is that strange symbol on the white banner that he carries? Answers to those questions tells us quite a bit about the holy war known as the Spanish Reconquista and Spanish conquests in the Americas.
Saint James in the New Testament
Saint James, or Santiago as he is known in Spain, is James the Greater, the son of Zebedee, and with his brother John, one of the two whom Jesus nicknamed "sons of thunder."[2] OK, so he was probably a hot-head. But a Moor-slayer? According to the Acts of the Apostles, he was martyred at the command of Herod Agrippa,[3] which would have been between the years 37 and 44. Well, how does a first-century martyr in the Roman province of Judea become a holy warrior in medieval Spain?
Santiago of Legend
A Spanish legend of indeterminate origin, which was recorded in the early twelfth-century Historia Compostelana (History of Compostela), maintains that Santiago traveled to Spain around the year 38, and spent six years attempting to covert the Galicians who inhabited the far reaches of northwestern Spain. The saint found them particularly resistant to the Gospel, and returned to Judea, where Herod Agrippa personally decapitated him in 44 C. E. Two of the apostle's disciples collected the body and head, put them in a boat, and set it adrift toward the west. Miraculously, the boat made it across the Mediterranean, through the Pillars of Hercules, and up the west coast of Spain, all the way to the shores of Galicia, in seven days! There his body was miraculously buried and later discovered by several Christians, who reburied it and raised a small chapel over the site. In time, however, the chapel was forgotten and fell into ruins.
Early in the ninth century, a hermit had a vision of a star and angels leading him to a field (shades of shepherds at the Nativity), where he discovered the body of Santiago with his head wondrously reconnected to his body. Ever since that field has been known as Compostela, the starry field (campus stellaris). Well, that is the popular etymology. It is more likely that the name derives from the medieval Latin compostum (manure), and means "little compost pile." Whatever the origin of the field's name, King Alfonso II of Asturias (r. 791-842) accepted the discovery as genuine and ordered a church built over the grave. By mid-century, the cult of Santiago as protector of the Christians of Spain had taken hold, and at some indeterminate time the church became a center of pilgrimage. Also at some unknown time a second legend emerged, Santiago the Moor-slayer at Clavijo.
The Battle of Clavijo
The Battle of Clavijo is a fight that never took place, but faith often trumps sober history. In 711, North African Muslims (Moors) had invaded the Visigothic kingdom of Spain, conquering most of the peninsula, save for Christian enclaves in the mountainous north. There certainly was sporadic fighting along the permeable and ill-defined borders separating Spain's small Christian polities from Moorish al-Andalus (as Muslim Spain was known). Nevertheless, shifting alliances, in which Muslims and Christians allied against co-religionists, tribute-paying, trade, and peace were more common than out-and-out Christian-Muslim warfare for the first four centuries of Muslim hegemony in the peninsula. It was only in the mid-eleventh century, following the disintegration of the caliphate of Córdoba (_PHONE_), that attempts to reconquer former Christian lands took on the qualities of a holy war, a holy war later termed the Reconquista. Prior to that time, however, there had been occasional stirrings of the idea that the Muslims should be dispossessed of the lands they had conquered, and it might have been in that context that the myth of Clavijo was born, although the first known recorded mention of it, and that in a forged charter, was composed three centuries later as the Reconquista was getting underway.
 Originally dated to 834 and later revised to 844 to fit the reign of the Christian leader, Ramiro I of Asturias (r. 842-50), the battle supposedly took place between Ramiro's forces and the army of Abd al-Rahman II, emir of Córdoba (r. 822-52). According to the legend, the Christians were losing badly when suddenly Santiago appeared at full gallop from the heavens, astride a white horse and bearing a white banner. Killing Moors left and right, he rallied the Asturians to victory and became immortalized as Santiago Matamoros.
"¡Santiago, y cierra España!"
At some unknown time, possibly in the late eleventh century, the battle cries "¡Santiago, y a ellos!" (Santiago, and at them!) and "¡Santiago, y cierra España!" (Santiago, and close, Spain!) became standard calls to valor across the peninsula. Reportedly, the latter was shouted out at the pivotal Christian victory at Las Navas de Tolosa in 1212.
The Order of Santiago
Four military orders joined the ranks of the Christian forces at that battle, including the Order of Santiago, which had been founded in León around 1170. And this brings us to that white banner and the red symbol upon it. Every military order had a distinctive cross that its members wore and bore. Santiago's was a stylized red sword-cross, an eloquent expression of the Reconquista's mixture of piety and violence. Although the point of the sword is not visible in the painting, clearly the banner bears the symbol of the Order of Santiago.
A Promise of Things to Come
For the past several years, I have been studying the Order of Santiago's role in the Americas, especially in Mexico, where Santiago Matamoros became Santiago Mataindios (Santiago, Indian-Killer). And then, in an act of delicious irony, native Indian rebels against Spanish colonial oppression in nineteenth-century Peru adopted Santiago as their patron, transforming him into Santiago Mataespañois (Santiago, Killer of Spaniards). But that is for another day.
Alfred J. Andrea
On the northwestern frontier of New England
[1] Matthew:5:9.
[2] Mark, 3:17.
[3] Acts, 12.2.


A cylinder of gas used for welding contains helium at 3000 psig and room temperature. The cylinder is knocked over, its valve is broken off, and gas escapes through a converging passage. The minimum flow area is 0.10 in2 at the outlet section where the gas flow is uniform. Find (a) the mass flow rate at which gas leaves the cylinder and (b) the instantaneous acceleration of the cylinder (assume the cylinder axis is horizontal and its mass is 125 lb).
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Configuring Siebel Business Applications > Configuring the Customer Dashboard > Options to Update the Customer Dashboard >
Configuring a Button to Update the Customer Dashboard
The Customer Dashboard includes application programming interfaces (APIs) to pull information from or push information to the Customer Dashboard through Siebel Visual Basic script or Siebel eScript script. Because the Customer Dashboard resides in a separate frame, it requires a user interface event to update customer dashboard fields. To generate a user event, you must add a button to an applet that uses a script to call the Update Dashboard command.
To configure a button to update the Customer Dashboard
 1. In Siebel Tools, in the Object Explorer, click Applet.
 2. In the Applets list, locate the applet you must modify.
 3. In the Object Explorer, expand the Applet tree, and then click Control.
 4. In the Controls list, add a button as an applet control and set properties using values from the following table.
 Target View Frame
 5. Define the script for the new button.
 Your script must do the following:
 6. Compile and test your changes.
 For more information, see Using Siebel Tools.
Updating the Customer Dashboard With Data from a Virtual Business Component
An update to the Customer Dashboard requires a row ID. However, a virtual business component uses a virtual row ID. Therefore, to display information from a virtual business component in the customer dashboard, you must script the UpdateDashboard function.
Customer Dashboard Allows Only One Update for Each User Interface Event
The Customer Dashboard allows only one user interface update for each user interface event. For example, if you add a button to a view, then one click of that button is one user interface event. For that event, Siebel CRM can execute only one user interface update, such as updating the Customer Dashboard. The code behind a single button cannot include two user interface updates, such as updating the Customer Dashboard, and then displaying a new view in the main frame of the Siebel application.


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Charging of laptops, cell phones take so much time. Why can't we make such batteries easily/commercially which are charged more quickly? What's the thing behind this limiting?
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The chemical reaction that occurs inside can only happen so quickly. – Pranav Hosangadi Oct 18 '13 at 6:11
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up vote 10 down vote accepted
Mostly the problem is that in batteries, current flow is not by electrons as in something like a copper wire, but by physical movement of ions. Only so many ions can migrate to the right place and perform the right chemical reaction over some fixed time.
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Heat. Batteries have internal resistance and so produced heat when current flows through them (Joule heating). Also, the heat generated increases by the square of that current. E.g, doubling the charging current causes the heat produced to be increased 4 times.
Ultracapacitors are a different technology that can be used like batteries--they have very very low internal resistance and so can be charged or recharged at currents hundreds of times what you see in regular batteries like laptop ones. The tradeoff is that capacitors have really low capacity in comparison (they run out too quickly and must be recharged again).
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Typically batteries involve using the energy stored in some chemical compound (for example, we have batteries of type Lithium-ion). So what happens is we use the potential energy stored in the chemical as an electromotive force to power our device.
Now what happens when allt he potential energy stored inside that compound runs out? We have to recharge it. In order to recharge it, we have to have a source that inputs energy into our system. This energy goes into the compound and reorients the atoms to their original positions, allowing it to store energy once again. Unfortunately, this process can take quite a bit of time, and it's very difficult to speed up.
There you have it in layman terms.
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text:
| The desert locust pocket book |
1. What was seen?
Were the locusts adults or hoppers? If they were hoppers, what was their instar?
What colour were the locusts?
How many locusts were seen? Were they in swarms or bands or single individuals? In which direction were they moving?
What were the locusts doing? Were they flying, marching, mating or laying eggs? What were they eating?
2. When did you see them?
Was it daytime or night? Which date did you see them?
3. Where did you see the locusts?
Do you know the map reference? Can you give a rough guess of the distance from a well-known place?
4. Who saw them?
Please give your name and address when making a report.


The Amazon parrot is one of the many colorful parrots that fascinate large and small when it is seen in some exhibitions or in photographic reports of faraway places. However, he does not like to be understood as one of many and has his reasons. In this article we will find the reasons why it should be considered one of the most beautiful parrots to have live in a cage, or to have photographed maybe hanging on the wall of your office. Let's discover together the characteristics of the Amazon parrot.
They are medium-sized parrots that have as their natural habitat various very different countries where it is difficult to find a common factor, one thing is certain: they are not native to our country. They come mainly from South America, Central America and the states that are bathed by the Caribbean Sea.
Their green color, in almost the whole body, were it not for spots and patches that make them a sight to admire distinguishes them from other parrots, but not from all. As a bird it can be defined as a compact and robust structure, it is not huge but it is massive, the impression is also given by the fact that its tail is rather short and the beak can be said to be "stocky" and very strong.
As a character, our Amazon parrot is a rather sociable type with its own kind, it is not a solitary animal but tends to live in flocks or at least in family groups. Taken individually or together with others, it proves to be a very active and intelligent bird, tends to interact amicably with human beings towards which it has no prejudices of any kind and is predisposed to establish a relationship of mutual respect.
Oratrix amazon
White-fronted amazon
Blue-fronted Amazon xanthopteryx
Red-fronted Amazon
Amazon Ochrocephala
Amazon of Cuba
Amazon viridigenalis
Amazonic amazon


How to Copy and Paste in Windows 10.
Copy & Paste is a way of duplicating a file (a document, picture, video etc), and then placing the file somewhere else on your computer.
For example, if you wanted to put some pictures onto a USB stick, but still keep them on your computer, you'd Copy and Paste them to the USB stick.
How to Copy and Paste.
 Add a header to begin generating the table of contents
 Home » Free Computer Course. » How To Copy And Paste In Windows 10.
 How to Copy & Paste.
 To see how Copy and Paste works, we'll use the example of copying a single picture to a USB drive.
 It's the kind of common thing that many of us will want to do from time to time.
 How to Copy.
 The first thing you need to do is to find the file (picture) that you want to copy.
 Navigate to the folder where your picture is located.
 In this first example, it's going to be in your Pictures folder.
 If you're not sure about finding your files click At Home Computer Guide to Navigating Your PC.
 Once you've found your picture, select it by left-clicking on it once.
 A highlight will appear around the file to indicated that it has indeed been selected.
 With the file selected, right-click on it, and the options menu will open.
 Left-click on the word COPY.
 Windows 10 won't give you any indication that it has done anything. All that seems to happen is that the options menu disappears.
 There is also a keyboard shortcut to copy selected items, CTRL (Control) and the letter C.
 How to Paste.
 With the file copied, you now need to navigate to the folder where you want to put (or place) the file.
 Placing the file is called pasting. You're said to Paste the file.
 Navigate to the folder or drive where the file is to be pasted.
 In the left-hand panel, find and left-click once on your USB drive.
 In the main panel, right-click on a bit of free space to open the options menu.
 On the options menu, left-click once on the word PASTE.
 Your file will appear.
 If it's a large file, maybe a video, it may take a little time to transfer.
 Or you can use the keyboard shortcut CTRL (Control) and the letter V. V for Paste, erm, we'll come back to that
 When you use Copy & Paste, what you're doing is telling your computer to make a duplicate (copy) of the selected file/files and then to transfer that duplicate (paste) into the location that you've specified.
 It's a duplicate file.
 When you're copying & pasting files and/or folders, it's important to remember that you're not moving a file/folder as such.
 You are creating an exact duplicate. The original file stays where it is.
 So using the example above, you'd now have two versions of the same picture.
 The original, which remains in your Pictures folder, and the duplicated (or copied) version that is on your USB stick.
 Copy and Paste multiple files/folders.
 As well as using Copy & Paste on single files, you can also use it on multiple files and entire folders.
 Another thing to note. is that the files really don't have to be the same type of files. For example, you can select and copy and paste images, documents and videos all at the same time.
 As an example, let's say you're tidying up your Desktop.
 The first thing to do is to select all the files and folders.
 To do that, hold down the CTRL key on your keyboard and then left-click once on each item.
 You can see what's been selected because a highlight will appear around the file/folder.
 In the image above the highlight appears very faint, but it is there. On your own computer, it should show a little bolder.
 With everything selected, right-click on one of the items.
 It doesn't matter which one you right-click on, but you do have to click directly onto one of them.
 The options menu will appear and now it's exactly the same as copying a single file.
 Left-click COPY.
 Or CTRL + C on your keyboard.
 Again, Windows won't give you any indication that the files and folders have been copied. All that happens when you click COPY is that the options menu disappears.
 Navigate to the folder/drive where you want to place the items.
 In this example, that would be your Documents folder, so left click File Explorer on your Taskbar.
 Or use the keyboard shortcut Windows key + E.
 And then click Documents in the left-hand panel.
 In the main panel, right-click in a bit of free space (not touching anything else) to open the options menu and then left-click PASTE.
 If you're struggling to find some free space to right-click, use the keyboard shortcut CTRL (Control) and the letter V.
 Again it might take a little while for your selected items to be pasted into place, it all depends on the size of the files/folders and the speed of your PC.
 Copy & Paste into a new folder.
 When you're pasting files/folders, you can also create a new folder for them at the same time.
 Handy to know when you're organising your pictures or documents.
 Let's say you wanted to Copy & Paste your holiday pics onto a USB stick, but you wanted to keep them all together in a folder on the stick.
 Select and Copy all your pictures just as above.
 Navigate to your USB drive.
 To create a folder to put your pictures into, right-click on the main panel in a bit of free space to open the options menu.
 Move your pointer onto the word NEW. A second menu appears, left-click FOLDER.
 A "New Folder" appears. Give the folder a name.
 Alternately you could use the keyboard shortcut CTRL + Shift + N to create your New Folder.
 We covered creating folders here How To Create Name Rename And Delete Folders
 With your folder suitably named, right-click on it, then left-click PASTE.
 Is the copy the same as the original?
 In a word, yes it is. Whether you're copying pictures, videos music or whatever, the copied version of the file is exactly the same as the original version.
 That's because of the way in which computers store data (files).
 Take a look at the image opposite. It's a work of art, and as such, can't be replicated. At least not on canvas.
 In our human world, it's generally the case that the original is better than the copy.
 Once the image has been digitised, stored on a computer, it's no longer paint and canvas.
 It's ones and zeros. That's how computers store all your files.
 So what we humans see as a picture, what the PC sees is a series of ones and zeros (bits).
 So when a computer copies a file, it simply makes a note of the ones and zeros and the order in which they appear.
 We've got an At Home Computer Guide about how computers store data here How Does a PC Store Data
 Copy & Paste is just one of those things that you'll need to do on your computer on a regular basis. It's how you can move files and folders around with ease.
 Windows 10 is packed with keyboard shortcuts, most of which you'll rarely need, but CTRL + C for Copy and CTRL + V for Paste are two that you really do want to take the time to learn.
 PS. Why V for Paste? That's easy to answer. CTRL + P is already taken, it tells the computer to print. So why use the letter V? It's next to the letter C on your keyboard.
 tick blue
 Next Page.
 Next we're going to look at Cut and Paste. Almost the same, but different.


text:
keywords into search boxes or by opening drop‐down menus. There are eyewitness accounts from all eras in U.S. and Wisconsin history, and documents or museum artifacts from every historical period over the last 5,000 years. There are primary sources from nearly every Wisconsin county (type the county name in the search box), and a large number of diaries, memoirs and other eyewitness accounts written by young people. Youʹll discover primary sources from every major ethnic group, and written by women, children, and working‐class people whose voices are not often heard in the standard textbooks.
Youʹll also find short background essays on more than 50 pivotal events in Wisconsin history (who, what, where, when, why), annotations explaining each primary source (where it came from and why it's important), 100 modern reference maps, an online Dictionary of Wisconsin History, dozens of lesson plans, and the entire contents of this handbook.
A set of pages at Turning Points called "Using Primary Sources" offers more advice on how to utilize them in the classroom, including masters of "document analysis worksheets" that you can print off and duplicate.
Other online collections of Wisconsin primary sources available for free at the Societyʹs Web site are listed at _URL_ These include 15,000 photographs and other images from the Society Archives, hundreds of paintings and thousands of pieces of clothing from the Society Museum, 50,000 pages of Wisconsin newspaper stories from the Society Library, and hundreds of rare books and manuscripts.
When you want to show students how national events affected their own community, start at Turning Points in Wisconsin History.