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Students create an archive of self as researcher, writer, and student - curating a place where digital materiality can be showcased and explore their multifaceted identities.
Kelsey Virginia Dufresne, Doctoral Student and Instructor at North Carolina State University,
As the creator of the assignment as well as the instructor of record for ENG 101 (Academic Writing and Research), I encouraged students to explore their own positionalities within the contexts of writing, reading, and researching. In doing so, I designed the course to be exploratory — enabling students to conduct research that interrogated our local communities, produce multimodal projects, and practice critical reflectivity. With this role, I developed the assignment expectations and rubric, facilitated peer and group review, and provided technical assistance. Furthermore, I also recruited our university librarians to give a presentation on critical archives and librarianship.
Overarching Course Calendar:
What did you want students to be able to do by completing this assignment?
The purpose of this project is to practice placing oneself within scholarly discourse communities, while evaluating one's own positionality within personal communities and/or social justice issues. In doing so, students will:
grow into their confidence as a researcher
critically analyze and engage with their own identities through the process of writing an autoethnography and publishing a digital archive of the self
create an archive of self as researcher, writer, and student - curating a place where digital materiality can be showcased and explore their multifaceted identities
further develop rhetoric skills that best meet their desired audience through the specific forms they write in
holistically assess and review their progress, growth, and development over the course of our semester as writers, readers, researchers, community members, and more
Was there anything this assignment taught students that you felt they wouldn't have been able to learn through other types of class assignments?
The digital archive of self provides students the opportunity to practice digital storytelling, multimodal composition, and technical editing — all of which would not be as easily compiled, if at all, through traditional essay-based composition. Moreover, this format and mode of knowledge production encourages and enables students to further consider choices regarding organization and the interconnection of their work. This is seen in the creative affordances of hyperlinks, various pages and subpages, and greater media incorporation support.
What is the course title and level?
ENG 101: Academic Writing and Research
As North Carolina State University expresses:
"As part of the General Education Program (GEP) in Writing and Speaking, most NC State students will take either one (ENG 101) or two (ENG 100 and ENG 101) writing courses in their first year. Although only ENG 101 fulfills the university's graduation requirement in first-year writing, ENG 100 is offered for students who feel they would benefit from additional preparation and experience with college-level writing before enrolling in ENG 101. Students who successfully complete ENG 100 earn 4 hours of elective credit for the course. These courses should be completed during the first year of enrollment at NC State."
The following slide, with text provided below, describes this course's objectives:
First Year Writing Program Course Objectives
The required course in this category will provide instruction and guidance that help students to:
Write effectively in specific situations, which may include various academic, professional, or civic situations, and
Understand and respond appropriately to the critical elements that shape written communication situations, such as audience, purpose, and genre, and
Demonstrate critical and evaluative thinking skills in locating, analyzing, synthesizing, and using information in written communication.
This course is designed to introduce you [the student] to writing and researching (and reading!) at the college level - but this class will also introduce you to critically consider what your role as a writer and researcher will be.
What kind of prior knowledge is necessary to complete this assignment? How do students gain this knowledge?
As this course is designed predominantly for first year students, this assignment is designed to be exploratory while simultaneously providing students the opportunity to learn and practice new skills. This assignment requires students to compose and support an argument-based thesis as well as execute the creation of a digital archive. Students gain the ability to do so through in-class discussions and instructions, as well as homework that offers scaffolded practice.
On the first day of class, I ask students to compose a positionality statement — which serves as the first assignment for the semester. This encourages students to critically consider who they are and how this influences how they engage in the world around them. The following slide and accompanying text below provide the prompt on positionality that I give to students:
Who are you?
How does that impact what you do?
Why does that matter?
As writers and researchers - it is vital to be critically conscious of our positionality and its impact on what we do.
Think of how you introduced yourself at the start of class, and then think more in-depth of who you are.
In the final unit, students will revisit their initial positionality statements and further critically consider their roles and positions in our university and community, as well as their positions in, and relationship to, a self-selected in-group and/or social justice issue. Likewise, students will create an archive of self as researcher, writer, and student - curating a place where digital materiality can be showcased and can be used to explore their multifaceted identities. In doing so, students will further their digital literacy and data presentation and preservation skills as they construct their own digital archive. By the end of the unit, students will grow into their confidence as researchers while critically analyzing their identities.
How much time did you allot to this project?
We spend 7 total weeks on this assignment. As this serves as the culminating project for the semester, we spend the most amount of time on this unit. This 7 weeks includes the time from which the assignment and broader unit is introduced to the time in which the assignment is submitted.
Over the course of these 7 weeks, we spend class time introducing and exploring relevant content, including:
Autoethnographies: Genre and Impact
Researching the Self
Picking a topic
Quotes, paraphrasing, and bringing in research
Guest Lecturers Victor Betts and Virginia Ferris with NCSU Libraries: '"Critical Perspectives with Archives: Colonial Project vs Critical Librarianship"
Partner conferences for assignment
The students also spend time outside of class working on this assignment for their homework. In doing so, they:
Self select their topics and subjects of research
Create an outline for their autoethnography
Compile research for their autoethnography
Create their drafted autoethnography
Modify/edit their original positionality statement
Develop their personal archive
What kinds of support or training did you provide to help students learn to use new techniques or specialized tools?
For content and composition support:
Group work + discussion
Guided brainstorms and mindmapping
For technical support:
Recommended platforms for ease of use
Students were able to work on their projects during class through workshop sessions, peer review, and group (as well as individual) conferences. This is broken down more in our schedule.
Did you need any specialized equipment, tools, or human resources to make this assignment feasible? If so, please describe.
Slides for during-class instruction:
Bringing in the library:
To support the critical inquiry I aim to foster in this class, I invite two university library archivists to give a guest lecture/guided talk on archives (what they are, who has access to them, what are they for) and critical librarianship. For my specific university and my students, I have invited Virginia Ferris and Victor Betts.
Examples of digital archives:
The two above articles provide information about two different archiving projects and processes. I ask students to interrogate them through the following questions:
What is helpful, applicable, and useful? What is not?
What might be the limitations within these projects?
What are the differences between these two projects?
Peer Review and Individual Conferences:
Halfway through our unit, the class engages in a peer review process. For the last year, these occurred digitally and synchronously through Zoom. As such, we relied on sharing materials through the Google Suite and breakout rooms for the students to engage in the process — broken down in the slide and accompanying text below:
The Peer Review Process:
Breakout room with Partner
Make sure you both have access to writing
20 minutes - reading & re-reading (No editing, no writing, no commenting on their document - but do take separate notes)
25 minutes - post-reading review
a. "Copy editing" vs "Grow and Glow"
5 minute - write a paragraph synthesis of what you read
5 minutes - talk, offer ideas, go over questions or suggestions
After peer review, students sign up for individual conferences with me as their instructor. I utilize these slides to help remind the students of the goals and aims of the project.
How did you assess or grade this project?
Upon introducing the unit and corresponding assignment, I also provide students with the rubric that I will use to grade their work.
If you assigned this project again, would you change anything? If so, what?
In future iterations of this assignment, I would like to include time and space for my students to share their work with the entire class. As the instructor, I learned so much about my students through this assignment — and I think that my students would gain so much from the opportunity to learn from and with each other as the experts of their own lived experiences.
Describe any trouble spots or complications someone else might want to be aware of before trying a similar assignment in a course of their own.
I attend and teach at a university where I have much freedom and flexibility in regards to what I teach and how I teach. As such, bringing in digital


Why The US Uses 110 Volts While Other Places Use 220 Volts
Written by Sharing Sustainable Solutions
Voltage and frequency Europe and most other countries in the world use a voltage which is twice that of the US. It is between 220 and 240 volts, whereas in Japan and in most of the Americas the voltage is between 100 and 127 volts.
The system of three-phase alternating current electrical generation and distribution was invented by a nineteenth century creative genius named Nicola Tesla. He made many careful calculations and measurements and found out that 60 Hz (Hertz, cycles per second) was the best frequency for alternating current (AC) power generating. He preferred 240 volts, which put him at odds with Thomas Edison, whose direct current (DC) systems were 110 volts. Perhaps Edison had a useful point in the safety factor of the lower voltage, but DC couldn't provide the power to a distance that AC could.
When the German company AEG built the first European generating facility, its engineers decided to fix the frequency at 50 Hz, because the number 60 didn't fit the metric standard unit sequence (1,2,5). At that time, AEG had a virtual monopoly and their standard spread to the rest of the continent. In Britain, differing frequencies proliferated, and only after World War II the 50-cycle standard was established. A big mistake, however.
Not only is 50 Hz 20% less effective in generation, it is 10-15% less efficient in transmission, it requires up to 30% larger windings and magnetic core materials in transformer construction. Electric motors are much less efficient at the lower frequency, and must also be made more robust to handle the electrical losses and the extra heat generated.
Today, only a handful of countries (Peru, Ecuador, Guyana, the Philippines and South Korea) follow Tesla's advice and use the 60 Hz frequency together with a voltage of 220-240 V.
Originally Europe was 110 V too, just like Japan and the US today. It has been deemed necessary to increase voltage to get more power with less losses and voltage drop from the same copper wire diameter. At the time the US also wanted to change but because of the cost involved to replace all electric appliances, they decided not to. At the time (50s-60s) the average US household already had a fridge, a washing-machine, etc., but not in Europe.
The end result is that now, the US seems not to have evolved from the 50s and 60s, and still copes with problems as light bulbs that burn out rather quickly when they are close to the transformer (too high a voltage), or just the other way round: not enough voltage at the end of the line (105 to 127 volt spread!).
Note that currently all new American buildings get in fact 230 volts split in two 115 between neutral and hot wire. Major appliances, such as ovens, are now connected to 230 volts. Americans who have European equipment, can connect it to these outlets.
In Brazil there is no standard voltage; most states use 110-127 V electricity (Rio Grande do Sul, Paran?, S?o Paulo, Minas Gerais, Bahia, Rio de Janeiro, Par?, Amazonas,…). In many hotels, however, 220 V can be found. 220-240 V is used mainly in the northeast: in the capital Brasilia (Distrito Federal) and, among others, in the states of Cear?, Pernambuco and Santa Catarina.
** Although the mains voltage in Japan is the same everywhere, the frequency differs from region to region. Eastern Japan uses predominantly 50 Hz (Tokyo, Kawasaki, Sapporo, Yokohoma, Sendai), whereas Western Japan prefers 60 Hz (Osaka, Kyoto, Nagoya, Hiroshima).
Originally posted @ Sharing Sustainable Solutions
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The Genie® Heated Pressure Regulator is a single stage pressure regulator with a self-limiting block heater designed specifically for use in gas analyzer sample conditioning systems. Its stainless steel housing contains a piston style sensing element, increasing reliability and eliminating the chance for diaphragm rupture.
The self-limiting block heater is powered utilizing a direct power connection and prevents condensation from occurring during the pressure reduction stage as a result of Joule-Thomson cooling or low operating/ambient temperature conditions. Preventing condensation of the sample gas during pressure reduction has many benefits such as: reducing regulator freeze-ups, preserving sample integrity, and minimizing analyzer down time and maintenance costs. Since the heater does not require a controller or a specific mounting orientation, the GHR™ can be easily mounted in compact enclosures.
Competitive heated or vaporizing regulators rarely preheat the sample gas. If they do preheat, then the heat transfer is often insufficient. The GHR™ provides two stages of heating (pre & post pressure reduction) to ensure sufficient heat transfer throughout the pressure reduction process. This makes the GHR™ the most effective regulator on the market for preventing condensation during pressure reduction.
- Prevents condensation of the sample gas, preserving sample integrity
- Reduces regulator freeze-ups
- Minimizes analyzer down time and maintenance cost
- Self-limiting heater prevents temperature overload
- Easy to install and mount in compact enclosures
- 316 Stainless Steel housing
- Piston style sensor element
- Two stage heating technology providing highly efficient heat transfer
- CRN approved
- Heater can be supplied to meet American NEC (CSA/NRTL/FM/UL), IEC, ATEX, and GOST standards

source: openbmb/Ultra-FineWeb


science education resource
For K-12 Students • Educators • Homeschool Families • Naturalists
Adaptations of the Cheetah
Acinonyx jubatus
Adaptations of the Cheetah
Adaptation (Structure and Function)
The cheetah is thought to be the fastest land animal in the world. It can reach speeds of up to 70 mph (112 kph) in short spurts while chasing prey. This speed is a result of several adaptive traits working together. They have a slight frame and long legs that not only help with speed but also agility during a chase. Their agility allows them to change direction quickly to follow running prey.
Their spots act as camouflage while they wait in the tall grass or perched up high in the dappled light of an acacia tree. Their very long tail helps with balance when they run and leap. They are also the only cat without retractable claws, so perhaps digging in with their claws is another factor in their running abilities. All of these are physical adaptations that help make the cheetah a successful predator on the African savannah.
Adaptations of the Cheetah
For Discussion and Critical Thinking:
The cheetah has adaptive traits that help it hunt and catch prey, reproduce and compete with other predators out on the African savannah.
1. Besides for speed, what other adaptive traits help the cheetah successfully catch its prey?
2. Can you think of other animals that use their speed to survive? Name two and how their speed helps them.
3. Two big cats – the lion and cheetah both survive on the savannah together. What is different about the way they hunt that allows them to live in the same niche?
4. How do you think a cheetah would do in a forested habitat? How would its adaptive traits for the savannah help or hinder its success in this other habitat?
Recommended Books & Products
Wild Science Workbook
Activities that Bridge Outdoor Exploration with Classroom Science
The activities in Wild Science will integrate outdoor exploration with the understanding and appreciation of science and environmental issues. Using Wild Science as a guide, we invite you to rediscover your sense of wonder about the natural world and share it with the children you know.
Wild Science Workbook
Citing Research References
When citing a WEBSITE the general format is as follows.
Here is an example of citing this page:
Amsel, Sheri. "Adaptations of the Cheetah" Exploring Nature Educational Resource ©2005-2021. January 17, 2021


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Can't? Cannot? Can not? Find out the right way to use all three.
Can't is a contraction of cannot, and as such it's sometimes unsuitable for formal writing. In everyday writing and in speaking, it's ubiquitous:
Cannot is better for formal writing:
Don't use can not when you mean cannot. The only time you're likely to see can not written as separate words is when the word "can" happens to precede some other phrase that happens to start with "not":
Here is a quick summary:
- Can't is a contraction of cannot, and it's best suited for informal writing.
- In formal writing and where contractions are frowned upon, use cannot.
- It is possible to write can not, but you generally find it only as part of some other construction, such as "not only... but also."


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Location: Kamakhya Temple, Guwahati
Time of Celebration: Mid June
Highlights: Dedicated to Ma Kamakhya (Ma Kamrupa)
The fairs in Assam, as in any other part of India, are associated with religious ceremonies in the temples. The most popular among these is the Ambubachi Fair. Celebrated in the urban area of Guwahati, it is the most important fair of the state, which revolves around the Kamakhya temple. Situated on top of the Nilachal hills of western Guwahati, the temple is one of the most important Shakti shrines in the entire country. The residing Goddess of the temple is known as Ma Kamakhya or Ma Kamrupa.
Ambubachee Mela takes place during the month of Ahar (according to the Assamese calendar) i.e. around the middle of June, when Ma Kamakhya is worshipped in the form of a yoni (uterus)-like stone, over which a natural spring flows. The fair is, in fact, the worship of the female process of menstruation. It is believed that during these months, the creative and the fostering power of the 'menses' of Mother Earth becomes available to devotees at this site. The temple remains closed for 3 days, as the Goddess is considered impure during these days.
On the 4th day, the deity is bathed to regain purity and many rituals are performed. It is only after this that the doors of the temple are opened to the devotees. Mythology has it that after the death of His beloved Sati, Lord Shiva was in great distress and while flying through the skies, dropped her body parts on the earth. The area where her yoni settled is called as Kamakhya. At the time of fair, the blessings of the Goddess come in mainly two forms - the fluid part of her body (Angadhak) i.e. the water from the stream and the cloth covering her body (Angabastra) during the time of menstruation. Thousands of devotees and tourists line up every year to get a glimpse of the Goddess.

source: HuggingFaceFW/fineweb-edu


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Join our select group of Hummingbird Circle members who have stepped up their giving to support the vital work of the Sonoran Institute.
Conservation and Native Peoples
Recognizing that successful restoration and conservation in the Colorado River Delta must respect the relationship between nature and culture, the Institute works with the indigenous Kwapa people (the Cocopah in the U.S. and the Cucapá in Mexico) to promote their cultural recognition and access to natural resources. These tribes lived in the Delta for hundreds of years before the arrival of the Spanish in 1540, and their culture and survival have been intertwined with the river and its delta.
Purchase a "Land of the Kwapa" Map Today
In 2007, the Institute embarked on an ethno-cartographic process with the three Kwapa communities of Somerton, Arizona, El Mayor, Baja California, and Pozas de Arvizu, Sonora, to produce cultural maps of the region seen through the tribe's eyes. The goal of these maps is to promote conservation and understanding of and respect for the indigenous landscape – both real and imaginary – and to build the capacity of the Kwapa to protect and promote their natural and cultural heritage. The draft English and Spanish maps also record site names in the Kwapa language.
For more information on the Institute's cultural mapping process with the Kwapa, please read below.
Arts and Crafts
The Kwapa traditionally wore willow bark skirts, body and face paint, and bead jewelry, known as "chaquira." Intricate chaquira necklaces, bracelets, earrings and large pectorals, used mainly for ceremonies, were originally made of earth and sea shells and now are made of colorful plastic. Working with Kwapa elders, anthropologist Anita Williams helped to revive the tradition in the early 1970s, and now all three Kwapa communities sell chaquira pieces at fairs and festivals on both sides of the border. Traditional colors were black, white and red, but now artisans use a wide variety of colors. The Institute has been working with craftswomen in El Mayor, Baja California, to integrate local materials such as willow, arrow weed and salt cedar into their jewelry.
The community mapping process included cartography experts from INEGI (Instituto Nacional de Estadística y Geografía) and anthropologists from the University of Baja California and the university museum's Cultural Investigations Center. The mapping team reviewed the history of the Kwapa tribe since the 16th century and the history of mapping of the region and identified key natural and cultural features of the Kwapa landscape. Workshops were followed by field visits to sites near the community of El Mayor, including the traditional Kwapa cemetery, ancient mortars in the rock, the rock window where adolescent boys were initiated in the use of bows and arrows, mountains important in Kwapa mythology, ancient trails over the Sierra Cucapá, and a biznaga cactus garden where the Kwapa collected buds to use in traditional recipes. Site coordinates were recorded using a GPS unit for precise placement on the map. The mapping team also surveyed the region from the air, making it possible to appreciate how the identified features fit together in the Kwapa landscape.
"The Kwapa people are the river. Our whole life was based on the river. By that I mean our food, shelter and beliefs, from the time the Spanish came here. When you take the river, the trees and the woods away, I have no identity. I have nowhere to go. If the river stops flowing, we will no longer exist."
Colin Soto, tribal elder, Somerton, Arizona


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Legal Considerations in Construction Loans: Protecting Your Investment
Embarking on a construction project is a significant undertaking, and securing the necessary financing through construction loans is a crucial part of the process. However, it's essential to be aware of the legal aspects surrounding construction loans to protect your investment and ensure a smooth construction process. In this guide, brought to you by Real Estate Law Corporation, we'll explore the key legal considerations involved in construction loans.
1. Contractual Agreements:
Before you receive any funds from a construction loan, you'll need to establish clear contractual agreements. These agreements should outline the terms and conditions of the loan, including interest rates, repayment schedules, and any requirements for project milestones and disbursements. It's essential to have a solid legal framework in place to prevent misunderstandings or disputes down the road.
2. Loan Defaults and Remedies:
Understanding what constitutes a loan default and the remedies available to both the borrower and the lender is crucial. A loan default can occur if you fail to meet the loan's terms, such as missing payments or not completing specific project milestones. Common remedies may include penalties, increased interest rates, or even foreclosure. Legal experts can help you navigate these complexities and protect your interests.
3. Construction Contracts:
Contracts with contractors, subcontractors, and suppliers are another vital aspect of construction loans. These contracts should be legally sound and clearly define the roles, responsibilities, and payment terms of all parties involved. Properly drafted contracts can help prevent disputes, delays, and cost overruns, safeguarding your investment.
4. Compliance with Regulations:
Construction projects are subject to numerous federal, state, and local regulations. These can include zoning laws, environmental regulations, safety codes, and more. Failure to comply with these regulations can lead to costly legal issues and delays in your project. Working with legal experts who are well-versed in construction law can help ensure compliance and avoid potential pitfalls.
5. Insurance and Liability:
Construction projects involve inherent risks, including accidents, property damage, or injuries. It's crucial to have the appropriate insurance coverage to protect your investment and mitigate potential liabilities. Legal professionals can help you understand your insurance needs, review insurance policies, and ensure that you have adequate coverage in place.
Conclusion: Navigating Construction Loans Successfully
Navigating construction loans requires a comprehensive understanding of the legal aspects involved. By addressing contractual agreements, loan defaults and remedies, construction contracts, regulatory compliance, and insurance and liability issues, you can protect your investment and minimize legal risks during your construction project. Seeking legal guidance from experts like Real Estate Law Corporation ensures that you have the necessary legal support to address any legal challenges that may arise during your construction loan process, ultimately leading to a successful and hassle-free project.


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2012 november 5.
Pierre-Claude Aïtcin is Professor Emeritus at the University of Sherbrooke, a member of the Canadian Academy of Engineering, a Fellow of the Canadian Society of Civil Engineering, and an Honorary Member of the American Concrete Institute. He was the Scientific Director of Concrete Canada, the Network of Centres of Excellence on High-Performance Concrete for 8 years. For nine years, he also held an Industrial Chair on Concrete technology in collaboration with thirteen industrial partners. He is the author of the books:
It is easy to demonstrate that High Performance Concretes (HPC) are more sustainable than Normal Strength Concretes (NSC): building a plain unreinforced column with a 75 MPa concrete requires 2 times less cement and three times less aggregates to sustain the same load. Moreover as HPCs, when they are well cured, are much less porous and impervious than NSCs there are more durable and consequently the service life of HPC structures is much longer than that of NSC ones. We have now the scientific comprehension and technology to increase substantially and quite easily the sustainability of concrete structures. Examples of modern sustainable structures will be presented.
All of the pages on this website are the copyright of Hungarian Group of fib


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Challenges associated with dividing cryptocurrency in a divorce
Cryptocurrency, or digital currency used to buy goods and services, is becoming increasingly common in Maryland divorce cases. Diving cryptocurrency in a divorce may prove complicated in comparison to splitting up other types of assets. Many former couples dealing with cryptocurrency may need to enlist the aid of someone with particular knowledge in this area.
Per CNBC, an estimated 20 million Americans now own cryptocurrency. What are some of the hurdles associated with handling and dividing cryptocurrency in a divorce?
Determining value
Cryptocurrency is volatile, meaning it may have a particular value one day and then that value may plunge or inflate the following day. This presents challenges for divorce attorneys who are trying to place a value on it and divide it accordingly.
Assessing tax implications
There may also be tax implications associated with dividing cryptocurrency in a divorce. Divorcing parties may run into trouble if one of them did not report cryptocurrency income to the IRS on taxes. This is a common problem among those who owned cryptocurrency before tax forms relating to it underwent regular distribution. Parties may also run into capital gains issues relating to cryptocurrency, depending on circumstances.
Transferring ownership
A third cryptocurrency-related complication that may arise during divorce involves how one party transfers cryptocurrency to the other. The process involved in transferring cryptocurrency is often complex, and some of the options for doing so involve a certain level of risk. In some cases, doing so may require the help of a financial professional.
As ownership of cryptocurrency becomes more commonplace, cryptocurrency-related divorce issues may continue to arise.


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0.94 = $766,000.
ESTIMATE FINAL PROJECT COST
If the costs of the activities up to the present vary from the original estimates, it will affect the total estimate for the project cost. The new estimate of the project cost is the estimate at completion (EAC). To calculate the EAC, the estimate to complete (ETC) is added to the actual cost (AC) of the activities already performed. Expressed as a formula, EAC = AC + ETC.
Estimate at Completion for John's Move
Refer to Figure 9.9 for a summary of terms and formulas.
Figure 9.9 Summary of Terms and Formulas for Earned Value Analysis
- Extra money is allocated in a contingency fund to deal with activities where costs exceed estimates. Funds are allocated in a management reserves in case a significant opportunity or challenge occurs that requires change of scope but funds are needed immediately before a scope change can typically be negotiated.
- Schedule variance is the difference between the part of the budget that has been done so far (EV) versus the part that was planned to be completed by now (PV). Similarly, the cost variance is the difference between the EV and the actual cost (AC).
- The schedule performance index (SPI) is the ratio of the earned value and the planned value. The cost performance index (CPI) is the ratio of the earned value (EV) to the actual cost (AC).
- The formula used to calculate the amount of money needed to complete the project (ETC) depends on whether or not the cost variance to this point is expected to continue (typical) or not (atypical). If the cost variance is atypical, the ETC is simply the original total budget (BAC) minus the earned value (EV). If they are typical of future cost variances, the ETC is adjusted by dividing the difference between BAC and EV by the CPI.
- The final budget is the actual cost (AC) to this point plus the estimate to complete (ETC).
 Project Management Institute, Inc., A Guide to the Project Management Body of Knowledge (PMBOK Guide), 4th ed. (Newtown Square, PA: Project Management Institute, Inc., 2008), 173.
 Project Management Institute, Inc., A Guide to the Project Management Body of Knowledge (PMBOK Guide), 4th ed. (Newtown Square, PA: Project Management Institute, Inc., 2008), 177.


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A fat-sugar complex that anchors LTA could be target to block bacterial CNS infection
Sep 6, 2005, 20:22, Reviewed by: Dr.
|"Previous studies have found that Streptococcus bacteria from infants with serious disease have significantly higher levels of LTA than bacterial strains in infants without symptoms," Nizet said. "This underscores the importance of this anchor-LTA interaction, as well as its potential importance as a drug target."
A single molecular anchor that allows bacteria to invade the nervous system may hold the key to treating many types of bacterial meningitis, a UCSD School of Medicine study has found.
By blocking the molecule's anchoring ability, researchers may be able to find a way to stave off the most common serious infection of the central nervous system and a major cause of childhood death and disability. The researchers' findings appear in the September 2005 issue of the Journal of Clinical Investigation.
Kelly Doran, Ph.D, assistant professor of pediatrics, Victor Nizet, M.D., associate professor of pediatrics, and their colleagues have identified a gene that produces a fat-sugar complex, which in turn anchors a molecule called LTA (short for lipoteichoic acid), found on the bacterial cell wall. This anchoring is a necessary first step for bacteria to cross from the bloodstream into the central nervous system through an anatomical obstacle called the blood-brain barrier.
"Streptococcus, which can cause meningitis, has to penetrate the normally impermeable blood-brain barrier in order to enter the central nervous system and cause disease," said Doran. "How this happens is not well known for bacteria. We wanted to see how bacteria interact with blood-brain barrier cells to begin the process of crossing over into the nervous system."
The team began by looking for new bacterial genes that allowed them to penetrate the barrier. Through a process that involved generating and screening thousands of Streptococcus mutants in a laboratory model of the human blood-brain barrier, the researchers found that a gene called iagA (short for invasion association gene-A) played a central role.
By producing a fat-sugar complex that anchors LTA, iagA establishes a link that allows bacteria to begin making its way into the nervous system. The researchers found that removing the iagA gene from the Streptococcus inhibited bacterial interactions with the blood-brain barrier, reducing mortality rates up to 90 percent in mice.
"Mice that were infected with the normal, or wild-type, Streptococcus bacteria containing iagA died within days showing evidence of bacterial meningitis. In contrast, most of the mice survived when infected with bacteria missing the single iagA gene," Doran said. "Blocking the anchoring of LTA on the bacterial cell surface could become new a therapeutic target for preventing bacterial meningitis."
Doran and Nizet noted that the study focused on how bacteria can begin the invasion process, and that additional Streptococcus toxins and the body's own immune response also contribute to the development of meningitis. In their ongoing efforts, the researchers are looking at all of these factors in order to paint a complete picture of how the bacteria invade the brain and spinal cord to produce this potentially devastating infection.
Bacterial meningitis must be treated quickly and aggressively with antibiotics, since up to 25 percent of affected children may die or suffer permanent cognitive deficits, cerebral palsy, blindness, deafness or seizures. Therefore, an early acting treatment would help reduce the high rates of disability and death.
"Previous studies have found that Streptococcus bacteria from infants with serious disease have significantly higher levels of LTA than bacterial strains in infants without symptoms," Nizet said. "This underscores the importance of this anchor-LTA interaction, as well as its potential importance as a drug target."
- September 2005 issue of the Journal of Clinical Investigation
University of California, San Diego
The researchers' work was supported by the Burroughs Wellcome Fund, the American Heart Association, the Edward J. Mallinckrodt, Jr., Foundation, the United Cerebral Palsy Research Foundation and the National Institutes of Health.
Doran and Nizet's colleagues include Erin Engelson, Arya Khosravi and Heather Maisey of UCSD; Iris Fedtke and Andreas Peschel of the University of Tübingen, Germany, and Ozlem Equils, Kathrin Michelsen, and Moshe Arditi of Cedars-Sinai Medical Center, Los Angeles.
For any corrections of factual information, to contact the editors or to send
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5.9 - DOLORES RIVER BASIN
The Dolores and San Miguel Rivers originate in the Rico, La Plata, and San Juan Mountains of southwest Colorado. The Dolores River basin is about 95 miles long from northwest to southeast and encompasses an area of just over 5,300 square miles, including parts of Montezuma, Dolores, San Miguel, Montrose, and Mesa counties. The San Miguel River basin is tributary to the Dolores River, is 68 miles long, and encompasses about 1,600 square miles, including portions San Miguel and Montrose counties. The Dolores River basin falls within both Water Management Divisions 4 and 7. Less than 100 alluvial wells have been recorded with the State Engineer's Office. The occurrence and distribution of alluvium along the Dolores and San Miguel Rivers is shown in yellow on Figure 5.9-1.
Both river basins overlie substantial portions of the Paradox Basin. Altitudes in the Dolores and San Miguel River basins range from about 14,200 feet near the Dolores River headwaters to 4,100 feet at their combined confluence with the Colorado River in Utah. Alluvial aquifers in the Dolores River basin are very limited in extent and are restricted to areas immediately adjacent to the main river channels. Within Division 7, most of the mapped alluvial deposits are located at, or upstream of, the town of Dolores. In Division 4, mapped alluvial deposits are localized around Gateway and in West Creek.
Although restricted in extent, the alluvium is an important aquifer to those people who utilize it for domestic, stock, and minor irrigation use. Population is sparse in the Dolores and San Miguel River basins, with the 2000 Census indicating that approximately 65,700 people live in the combined Dolores, San Miguel, Montezuma, and Montrose Counties.


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Posted in Marketing and Strategy Terms, Total Reads: 740
The origin of this word dates back to the 15th century, where it was used to refer to a written statement calling attention to something. Then the meaning of 'public-notice' was ascribed to this word using French word 'advertir', which gave it its present meaning.
According to the dictionary, advertisement means a paid announcement of goods for sale, in the newspaper or magazines or radio or television. But being an integral part of marketing, the word advertisement has a broader meaning. It can be used to refer to public communication about causes, goods and services, ideas, organizations and people.
Advertisements are not just about selling something but they are used to persuade people to change their behavior.
General structure of an advertisement can be described using AIDA Theory, which includes:
- Attention: using a jingle, logo or slogan to catch people's attention
- Interest: appealing to emotions, weaknesses and problems to generate interest among people
- Desire: stimulating people's desire to convert wants into needs
- Action: calling people to action
An advertisement may include any of the following media channels:
- Newspaper Ads
- Social Media
- Text messages
The advertising industry is made up of:
- Companies that advertise (usually hires an agency and provides then info on brand)
- Agencies that create ads(converts ideas to visuals, texts, layouts and themes)
- Media channels that carries ads
- Customer/Receivers of the ads
Advertisements are always present even though people may not be aware of the same.


Games and Competitions in D&D
This article deals with in-game competitions, contests, and games between D&D characters.
Competition In-Game
If two D&D characters challenge each other to a non-combat competition of some sort, how should it be resolved? A few places in the Player's Handbook suggest single opposed skill checks: a bardic song-and-dance contest is an opposed Perform skill check (p. 58), and a horserace should be an opposed Ride check (p. 60). Under ability checks, it recommends that an arm-wrestling contest simply be awarded to the character with the higher Strength rating, without any dice-check (p. 62).
I would suggest a series of checks for any of these situations, until one of the participants gains a lead of 3 points over the other(s). Each check (skill or ability) garners +1 victory point for the winner; or +2 points if the win was by a margin of 10 or more points; or 0 (zero) if the result was a tie. Some competitions will have a set number of "phases" until an end-point, at which time either a tie is declared or a sudden-death check may be made (for example, an archery or horseracing contest); others may continue normally until a winner is determined with 3 points (for example, wrestling, with the points garnered for each "pin" under the rules on p. 137). This method allows for an increase in drama as one participant steps closer to victory over time, while still having the contest usually go to the character with the higher skill or ability score.
Skill: Knowledge (Gaming)
With this suggested skill, you have learned the rules to one or more classical strategy boardgames, and are educated in the tactics and play of those games. Like all knowledge skills, it is Intelligence-based, trained-only (the luxury of learning boardgame rules is usually reserved for the nobility or academics), and a class skill for characters who are Bards, Wizards, Adepts, Aristocrats, some Experts, and all Dragons (being a cross-class skill for all other classes). Like the Perform skill, each rank of Knowledge (Gaming) gives you familiarity with one of the following games and its close variants: checkers, chess, backgammon (senet), go, mancala, wari, mah jong, dogs and jackals, and the "royal game of Ur".
This skill only covers boardgames with a significant strategy element, and does not cover games of raw chance or common gambling entertainments, such as dice, knucklebones, or most card games. (General gambling should be covered under "Knowledge (Streetwise)" from the Sword & Fist book, p. 10.)
Specific Competition Rules: Chess
Using the above rules for competitions in general, and the special skill in particular, we can simulate games of chess (in a variety of flavors) between characters in D&D. Characters must have at least one skill point in Knowledge (Gaming) and have selected "chess" as one of the games they have learned. There is a limit to the length of this competition measured in "phases" of 10 minutes apiece, at which point a stalemate is declared: this limit is (sum of player skill bonuses) + 1d6. In each phase, an opposed Gaming skill check is made, with victory points awarded as above, until one or the other achieves a lead of 3 points or a stalemate occurs.
As an additional element, you may include a choice of strategy for each character within each "phase". Each player involved picks a strategy, and places a single d6 on the table with their choice face-up, and covered with their hand; simultaneously, the selections are revealed and the chart below consulted for the modifier applied to the White player's next opposed skill check (who plays White and who plays Black can be selected in any manner at the start of the competition).
I'm indebted to Tim Grice for his article in Dragon #70 (Feb. 1983), p. 60, "The game within a game", for inspiring this approach.
Chess Strategy Table
Black's Strategy
White's Strategy#1#2#3#4#5#6
Strategy #1 = general attack; #2 = build up own position; #3 = destroy foe's position; #4 = set a trap; #5 = trade down; #6 = attack foe's king. Result shown is the modifier applied to the White player's next opposed skill check.
View a rich-text version of this page here.


The Influence Of Political Culture
1067 Words 4 Pages
The American dream, the idea that everyone has the freedom to build themselves a better life, many people are aware of this concept, but what they are not aware of is that it is a key idea of America's political culture. Some are not aware of what political culture is and how it effects them, the government and society as whole. In order to get better understanding of what political culture is there must be an understanding of: how political culture is shaped and how it has changed, how factors such as, political socialization and public opinion, have played a role, and what groups or things influence an individual's political culture.
Before going into the details of understanding political culture let's define it: political culture is the
…show more content…
This is one of the basic principles that America was founded upon, so it would only make sense that this idea would carry through to how political culture in America is shaped. The next element is equality, now this does not refer to equality for all men, because looking back in America's past equality for all has not been one of bright spots in America's society; rather, it refers to the idea of equal opportunity. American's believe that everyone should have the ability to an equal chance to better themselves, this foes along with the American dream. Slowly the elements are adding up, and creating the American political culture. Democracy is another key elements in Political culture; in saying this, citizens have a duty to choose wisely the official they elect to represent them, because elected officials should be an accurate representative of those who elected him or her. Another belief, which may be surprising since America's voting percentage is the lowest in democratic nations around the world, is that Americans must take pride in their civic duty and it should be taken seriously. Individual responsibility is another characteristic …show more content…
Political socialization is the process in which individuals acquire the information, beliefs, attitudes and values that help them comprehend the workings of a political system and orient themselves within it. Basically, the process in which people acquire political culture. The way individuals acquire this knowledge is through an array of sources including family, peers, geographical region, socio-economic status, the media, and key events. (We shall dive into further detail for some of the sources later.) Political socialization is important when discussing political culture, because depending how an individual is introduced in to government and politics greatly impacts the individual's perception of political culture. In addition to political socialization, public opinion is also important. Public opinion is a cornerstone in democracy; it is the collective expression of attitudes about the prominent issues and actors of the day. It's what the common consensus is on major events and opinions on popular people of the time. Public opinion is important when it comes the political culture, because other people's opinions and political cultures' can influence his or her own political
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Personal control: an important psychological resource in difficult times
A new study by Nguyen et al. (2020) looks at the extent to which a sense of personal control can protect people's well-being in difficult times.
Personal control can come under pressure in difficult times
In times when many people are struggling, such as when economic inequality is on the rise, people's sense of personal control can come under pressure. Personal control is the feeling that there is a clear relationship between your behavior and what is happening in your daily life. When this sense of personal control is under pressure, people can experience arbitrariness and chaos that can greatly diminish their well-being. When personal control is threatened, people can resort to external or internal resources.
How do we avoid a sense of randomness and chaos?
Two theories (the compensatory control model and the system justification theory, respectively) postulate that there are two known external resources that people can resort to as compensation for a lack of personal control, namely God and government. By relying on these systems, people would hope to escape a sense of arbitrariness and chaos. Various psychological theories, such as the self-determination theory (SDT), state that people can derive a sense of personal control from internal resources and that this is related to well-being. In particular, SDT is about the fulfillment of the basic needs for autonomy and competence.
Personal control vs. faith in God and trust in government
Nguygen et al. conducted a study in which they tried to answer two questions. The first question was, is there a unique role for personal control over and beyond faith in God and trust in government? The researchers expected this to be the case. The second question was, is personal control only related to well-being in rich, developed countries (which generally have a more individualistic culture)? The researchers expected that personal control would be more closely related in countries with lower GDP and higher economic inequality.
They examined data from nearly half a million people from 104 countries over the period from 1981 to 2014. The variables they included in their research were religious belief, trust in government, personal control, happiness, health and satisfaction with one's own life, some control variables, GDP and the Gini coefficient. The table below lists some of the important results they found.
Personal control strongest predictor of well-being
This table shows that religious belief, trust in government, and personal control all predicted happiness and satisfaction with life. The general health of the citizens was also predicted by trust in government and personal control, but not by religious belief. Religious belief only predicted greater health and buffered the negative effect of income inequality on health in the prosperous economies, but showed negative correlations with health in poor economies. Furthermore, it is noticeable that personal control provided significant and independent predictive value above and beyond belief and trust in government and was consistently the strongest predictor of all three aspects of well-being.
The relationships between personal control and trust in government with well-being outcomes were consistently positive at different levels of countries' GDP and Gini. Personal control also fulfilled a compensatory function by buffering the negative effect of income inequality in prosperous economies.
Psychological resource available to everyone in difficult times
This research shows that the freedom to make decisions and control your life is an important psychological resource, and something that people of any walk of life can rely on, even in difficult times.


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Keeping Cool May Be the Key To Longevity 224
Posted by Zonk
from the everybody-be-cool-you-be-cool dept.
merryprankster writes "New Scientist reports that Scripps Research Institute scientists have found that lowering the body temperature of mice by just 0.5C extends their lifespan by around 15%. Until now the only proven way of increasing longevity has been calorie restriction — but as this also causes a lowering of body temperature the researchers speculate that this cooling may be the underlying mechanism retarding aging. In this study mice with a defect in their lateral hypothalamus, which has the side effect of cooling body temperature, not only lived longer but also ate normal amounts."
Keeping Cool May Be the Key To Longevity
Comments Filter:
 - Sweet! (Score:3, Funny)
 by Aadain2001 (684036) on Friday November 03, 2006 _USER_:16PM (_TAG_) Journal
 Alaska, here I come!
 - Confusing title (Score:3, Insightful)
 by Gregory Cox (997625)
 Despite the title, and all the comments talking about living in a low-temperature environment, I hope people realise that turning down the thermostat or moving to Alaska is not going to make a difference.
 I'm sure most people remember, but just in case, internal body temperature is carefully regulated by your brain, and won't change unless you catch a fever, or start freezing, in which case you have other problems to worry about.
 As for the results of this study, lab mice are not humans, and correlation does
 - by Ruff_ilb (769396)
 Eh, I wouldn't necessarily say that it would have some negative effect on chances of survival. Remember, it only has to do with living long enough to have lots of babies. After that, you don't really matter to evolution.
 Also, keep in mind that we have plenty of former defense mechanisms (storing lots of excess energy as fat, anyone?) that aren't very useful to us now.
 - Re:Confusing title (Score:5, Interesting)
 by radtea (464814) on Friday November 03, 2006 _USER_:11PM (_TAG_)
 That is probably not true for humans.
 Humans are creatures of culture: accumulated, collectively held knowledge. The people who transmit culture are elders--in modern society, grandparents. They remember how they raised you, and when you have kids they provide guidance that effectively transmits traditions, habits and beliefs across generations. You, on the other hand, don't remember how you were raised, certainly not at a very early age.
 This may explain why humans live twice as long as they "should". One way of normalizing lifespan across species is to measure it in heartbeats. All mammals except humans live about one billion heartbeats. The range is around 0.7 to 1.1 billion. Humans live over two billion heartbeats, far outside the range of all other mammals. One plausible reason for this is that human groups that had more elders were more effectively able to accumulate knowledge across generations, and therefore were more successful. Not everyone would have to survive into old age to make this effective, but everyone would have to have the capacity to survive into old age to make it likely that a few members of each generation would.
 Ergo, until mouse model results are proven in humans--which so far as I know CR etc has not been--they are interesting, but not nearly so promising as one might naively think. We may already be so heavily optimized for long life that the simple tricks that work well for other species are considerably less effective for us.
 - When we developed fire, evolution stopped because the pressure had been removed. When we first evolved, it was 1 billion heartbeats. Technology made medicine and better nutrition, which improved our lifespan significantly. It's not evolutionary, it's technology.
 - After that, you don't really matter to evolution.
 Untrue. We are social creatures. There is strong evidence to suggest that having grandparents around turned out to be a huge advantage to humans. By having experience in the society, parenting improved., and shared child rearing improved survival rates.
 Parent post is an example of way oversimplified evolutionary theory.
 - by BigDogCH (760290)
 Yup, having grandparents was probably important back several thousand years ago, now we just stick them in an old-folks-home. Now they are a hindrance!
 - by drinkypoo (153816)
 Actually, we store excess fat and carbohydrates as fat. We don't get energy until we convert 'em to glucose (or ketones!) and then burn them. If we would back off on the carbohydrates, and most importantly stop eating more calories than we burn while we sit on our asses, then we wouldn't get fat.
 Besides, the ability to store energy is still potentially useful when civilization crashes due to the time_t bug :)
 Seriously though, the thing that's not helping us today isn't that we store fat - that's stil
 - by thc69 (98798)
 For instance, you're definitely burning fat reserves when you run a marathon.
 Actually, if you catch me running a marathon, then I'm already burning in hell.
 - After that, you don't really matter to evolution.
 I've heard people post this before, and it's really a bizarre notion. And easily proven wrong -- I have two groups of people. One group evolves the behavior that anyone over child-bearing age gets a overwheming desire to sacrifice their life at any cost to protect a child. The other group evolves a behavior that once you get beyond child-bearing age, you have an overwhelming desire to kill children. Which group is going thrive better? By your logic, it sh
 - Re: (Score:3, Funny)
 by Intron (870560)
 How about when anyone past child-bearing age gets an overwhelming desire to tell you how you're getting fat, how well your siblings are doing compared to you and how you married the wrong person?
 Worker bees and worker ants don't have babies by definition. Don't bees and ants evolve sophisticated worker traits? How can the workers not "matter to evolution"?
 - They are talking about core body temperature, not your cubicle temperature.
 So, the question is this - If "they" can offer you a gene-splice "cure" for aging that involves you looking like a crocodile or turtle for the next 200 years, do you want it?
 What if you could double your lifespan, but think twice as slow?
 - Both good questions, but they need to be followed up with further questions.
 1) does the gene-cure include a tweak that makes crocoturtle people seem more attractive too?
 2) (assuming "twice as slow" means, "half as fast") slow as in IQ-70? or slow as in the handicapped genius kid from "Malcolm in the Middle?"
 - I wonder what implications this has for those humans whose *normal* body temperature is BELOW the standard 98.6F??
 Frex, mine is typically around 97.5F or even a little lower; at 98.6F, I'm actually running enough of a fever to *notice* that I don't feel well.
 [Consults thermometer known to be accurate] At the moment, it's 96.9F, which starts to border on a feeling of "I could use a hot cuppa," but I'm not yet really chilled.
 A friend also has naturally low body temp, and the other things we have in common is
 - Alaska, here I come!
 That seems to be working for Ted 'Internet Tubes' Stevens.
 That guy is seriously old.
 - Thermostat (Score:4, Funny)
 by Apocalypse111 (597674) on Friday November 03, 2006 _USER_:18PM (_TAG_) Journal
 So when my dad kept yelling at me not to touch the thermostat, to keep it at 60 degrees, he was really trying to help me live longer?
 Thanks Dad!
 - by Ana10g (966013)
 Wait, so does this mean that when Grandma keeps the thermostat at 150F at the nursing home, she's actually trying to kill herself? WHY GRANDMA, WHY?
 - Re: (Score:3, Funny)
 by Apocalypse111 (597674)
 No, she only turns it up when you're around. She can't afford to keep giving you holiday presents on her fixed income, and decided the best solution was to remove you from the picture. For your own safety, I suggest you bribe the nursing staff to put her on heavy sedatives, and get her an electric blanket on her next birthday - that way she'll be too sleepy and comfortable to resume plotting your demise, and you will have effectively turned the tables on the murderous old bag. Old people try to do these
 - Oh crap (Score:2, Funny)
 by FhnuZoag (875558)
 Then with global warming, we'd be truly screwed, eh?
 - It did extend the life by 12-20%, but what will happen in case there is an infection?
 Wouldnt this force us to have relatively poor immunity to diseases?
 In the end, would this even out?
 - Last I checked, that's what fevers were for.
 - As a close friend with a degree in


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Code Inspection: Use 'nameof' expression to reference name
In.NET libraries, there are a lot of methods that are designed to accept names of types, members, or variables as arguments. One of the most common examples is the
ArgumentNullException(string paramName). If you use string literals as the arguments for such methods, you can run into errors if the literal is misspelled or not changed when the corresponding symbol was renamed. A string literal that does not correspond to any valid symbol is not caught by the compiler.
The nameof operator, added in C# 6.0, addresses this — it allows capturing the string names of symbols that are in the scope.
In the example below, JetBrains Rider suggests the replacement of the string literal
"order" in the argument of the
ArgumentNullException() with the
nameof(order). The result is the same:
nameof(order) returns the string 'order', but with
nameof your code becomes less error-prone.


Organic Food Industry: 4 Reasons Why It Will Boom In Coming Years | Covaipost
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05 Aug 2021, Edition - 2214, Thursday
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Health Matters
The organic food industry started to boom a decade ago and there has been no looking back ever since then. Rising consciousness amongst people about the side effects of artificial chemicals in food production has further boosted the growth of organic food in recent years. Given the kind of innovation coupled with this rising demand, organic food industry is yet to witness a full-fledged evolution. But one can safely assume that the organic food sector is here to stay.
Growth in e-commerce has acted like a catalyst for the industry to reach out to consumers, and the numbers are only showing an upward trend since 2013. Here are some probable reason why the organic food industry is expected to see an accelerated demand in years to come.
1. Digital Literacy and E-commerce facilitation
Due to the surge of smart-phone usage India, coupled with low-cost internet, there has been an increase in access to information about organic food. Added with this, e-commerce platforms acted like a facilitator reaching out to potential customers across the country. This is the reason why the growth of organic food was initially harnessed by Tier I cities, but the industry eventually reached out to potential customers in Tier II and Tier III cities. E-commerce platforms also made the sector competitive with more and more players entering into the organic food industry. Experts are predicting an increased penetration of organic food into Tier II and III cities in the years to come, leading to demand for organic food at a continually increased rate.
2. Insignificant price difference
The price difference between organic and inorganic food is insignificant; when compared to the health benefits carried by organic food. While organic food might be priced higher by a few pennies, it prevents the body from the needless intake of pesticides and fertilizers. This further cuts down the risk of health hazards and unnecessary medical expenses in the longer run.
3. Indian government supporting organic food industry
The Indian government is supporting and promoting organic farming by extending financial help to farmers adopting organic farming. Various government schemes like Mission for Sustainable Agriculture (NMSA), Mission for Integrated Development of Horticulture (MIDH), National Food Security Mission (NFSM) and Rashtriya Krishi Vikas Yojana (RKVY) have been implemented to promote the sector. GOI also implemented the National Programme for Organic Production (NPOP) which involves accreditation programme for certification bodies, standards for organic production, promotion of organic farming etc.
4. Increase in export
The demand for Indian organic food has not only witnessed a steady rise in India but it is receiving appreciation on a global platform. Due to India's favourable agro climatic conditions coupled with the inherited tradition of organic farming, the quality of organic food to export is very high. As per reports, the demand for Indian organic food is on the constant increase worldwide; India exported organic products worth $515 million in the financial year 2017-18. The export trend will increase in the next five years.
One can say that the organic food industry will witness a humongous rise in the next five years. The industry is still naive and on an emerging phase; it has huge potential for growth and may even contribute to the economic growth of the country in the longer run.
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Jump to: navigation, search
Siliciclastic rocks (commonly misspelled siliclastic) are clastic noncarbonate sedimentary rocks that are almost exclusively silica-bearing, either as forms of quartz or other silicate minerals. All siliciclastic rocks are formed by inorganic processes, or deposited through some mechanical process, such as stream deposits (delta deposits) that are subsequently lithified. They are sandstone based rocks accounting for about 50 - 60% of the world oil and gas exploration.The other silicate minerals that are generally present in siliciclastic sedimentary rocks are feldspar, biotite etc....


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Marlon Brando was an actor for his time, not ours. Ours is one filled with Facebook and quantum physics. There's no way Stanley Kowalski—Brando's character in A Streetcar Named Desire—could understand what it means to be human now. Likewise the type of acting used by Brando, now commonly known as the Method, cannot get to the heart of who we are today, or so argues Sheila Heti in Maisonneuve.
The Method—the form of acting started by Constanin Stanislavski in Moscow and popularized in the U.S. by Stella Adler and Lee Strasbourg through their Actors Studio—Heti explains, follows closely the development of Sigmund Freud's psychoanalysis, pleading the actor to look inside himself to find similar emotions from real human experience to project onto characters, who will then appear to us, the watcher, to have a past context that has brought them to this moment.
Actors who studied at the Actors Studio—like Dustin Hoffman, Paul Newman and Dennis Hopper—present us with a version of the human as a deeply individual, emotionally rooted being, with psychological depth, continuity of self, and a past that profoundly affects present behaviour and relationships—a human as Sigmund Freud and mainstream psychoanalysis would have us be.
This, however, no matter how good, amounts to little more than mimicry. "How humans currently portray other humans is an invention," Heti writes, "just as three-point-perspective was an invention."
Today, we have moved from the Freudian era toward cognitive behavioral therapy, meaning that "we are not determined by our past experiences….We are now in an age in which to be human means, in part, to be able to choose what sort of human one wants to be." As Heti sees it, our actors have not followed the trend, but rather are still attempting to act the way Brando did. Even the best of this acting, Heti sees as bad, as it is only "high mimicry."
So what, exactly, would Heti want to see replace the form of acting so commonly used today? She gives one example: the artist Ryan Trecartin's videos. The characters in these videos have "no personality at the core" and "[t]here is no sense that [they] have what we consider an emotional history, or have lived days and years prior to the moment they are currently living on screen before us." Other than that, she pretty much offers only a call to duty for screenwriters and actors to discover what the next stage of acting will be:
[C]ontemporary writers have to lead the way, writing scripts…that demand a different style of playing; scripts that reflect what the human is now….Let the actors cut ties with the Method and its psychological understanding of the self, and show us how electric we are.
Maybe I'm too steeped in Freudian thinking, but I'm not sure I buy the whole characters having no history equals a better representation of who we are today argument. And watching a bit of Trecartin's videos, for me, is not "tremendously exciting," as it is for Heti. Still, it is interesting to think about the way viewers originally saw Brando's portrayals (or another example: what the Beatles did for music) and wonder what might come next to bring that same feeling to a modern audience.


A clock is placed in a satellite that orbits the
earth with a period of 120 min at the radius
8.05535 × 106 m.
By what time interval will this clock differ from an identical clock on the earth after 1 y? Assume that special relativity applies and neglect general relativity. There are
365.25 days in a year. A useful approximation
is sqrt(1-x)~1-.5x for x<<<1.
Answer in units of s.


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Cool Australia and Planet Ark's National Recycling Week have created three resources to help educators connect children to the wonders of the natural world through sensory and play-based learning. This lesson has been developed as part of the Schools Recycle Right Challenge for Planet Ark's National Recycling Week.
Turn your recycling efforts into classroom learning by accessing these online lesson plans and digital resources. Each lesson is aligned with the Early Years Learning Framework and includes hand-on, children-centred learning activities that are fun and engaging.
These three free-to-access lessons below cover:
- Waste and recycling investigations
- Describing and sorting waste
- Sorting waste according to size, shape, weight, colour and texture
- Sensory exploration of paper (feel, smell, and sound)
- Drawing the connection between paper and trees
Activities are differentiated for 0 to 2 year olds, and 3 to 5 year olds. Suggestive learning evaluation criteria included in each lesson.
These activities will help you embed sustainability and recycling into your daily practice at your centre and in your community.
Check out the digital library for National Recycling Week – its jam packed with videos, pictures, factsheets and news articles to inspire recycling in your centre.


text:
The following is a complete guide on using a neopixel lightsaber. Before using them, you must exercise extreme caution.
The item is not a toy, but rather a collector prop for adults over the age of 18. It must be used by children under the supervision of an adult at all times. Directly staring at the LEDs is harmful and may result in sight impairment. Please use caution while using this product, as sharp edges may occur in some models.
Sabers should not be dismantled or unbolt beyond what is recommended since the electronics are highly sensitive; damage caused by opening the saber is not covered under warranty.
Following points must be kept in consideration before using the lightsaber.
Prior To Using Neopixel Lightsaber
- Please avoid performing any alignment or insertion whilst the power is on, as this may cause the pins to short out.
- Flickers, wrong colors, or no light at all on the blade might be caused by a loose connection between the blade and the retention screw.
- Please push the blade into the hilt until it wouldn't go any farther. When the power is on, do not thrust or detach the blade.
- When dueling with a neopixel blade, please use caution since the guarantee does not claim to recover any destruction occurred to the blade during dueling and only covers craftsmanship.
- When inserting or removing the inner chassis, make sure the connecting pins are aligned properly. Do not press your ear against the speaker.
- Avoid pulling out the protective film from the chassis as it may cause a short circuit.
Attaching The Neopixel Blade into Hilt
- A Neopixel lightsaber is required to use the Neopixel blade. It's not going to work with RGB.
- Place the blade into the emitter of the Neopixel lightsaber. Push the blade all the way in and keep it in place since contact pins in the emitter are spring-loaded.
- Insert the set screw into the drawn holes on the emitter's side. Encase it down slowly using the 2mm hex key included with the screw set. The blade is sufficiently fastened if it is difficult to rotate.
- Keep it secure, but don't over tighten the screw, since this could harm the saber's blade or screw threads.
BASIC GUIDE TO USE NEOPIXEL LIGHTSABER
Note: All lightsaber functions are being performed via one single button, so each function changes by the number of red flashes which are being explained below.
- Wake The Lightsaber: To start the lightsaber, press and hold on the LED button (power button) on the hilt for 2 seconds. A 'Power On' voice will be heard, the ring surrounding the button will light up and the LED button will become active.
- Active mode (turn on the lightsaber): To turn the blade on, quickly press the button on the hilt once.
- Blade power off: Hold the button down for 2 seconds.
- Turn off the Saber: Holding the button for 10 seconds will result in a slowing sound verifying that your saber is shutting off. To confirm this, the light surrounding the hilt button will turn off.
- Saber lock-up: Hold the button for 0.5 seconds until the button LED flashes once, then release.
- Saber force: Keep the button pressed for 1.5 seconds. The button's LED will flash twice, then release.
BLADE ON MODE
When the blade is turned on, the following controls become active. They are dependent on the LED button light's flash:
- Blaster effect: Blaster deflection effect is triggered by pressing the power button once.
- Drag effect: For one flash, press and hold the button, then release it. The drag effect will be activated as a result of this. The drag effect can be ended with a short press.
- Blade colors change: Hold the button down for two flashes before releasing it. The color cycle will begin as a result of this. The LED button will blink twice before being released. When you've achieved the desired color, immediately hit the button once.
- Switch off mode: Hold the button down for another two flashes to switch off the blade.
BLADE OFF MODE
When the blade is turned off, the following controls become active. They are dependent on the LED button light's flash:
- Volume setting: Hold the button down for a single flash, then let go. The volume will be changed as a result of this. High Volume, Low Volume, and Mute Volume are the three options for volume. After setting the desired volume level, push the button once to light up the saber.
- Blade mode: Hold the button down for two flashes before releasing it. The blade effect will be altered as a result of this. On Blaster Blade mode and Ghost Blade mode, maintain any effect. These modes are only affected by blade color and typeface selection.
- Blade light effects: Steady blade, Pulse blade, Rainbow Blade, Unstable blade, and Fire Blade are the five blade effects. Hold the button down for two flashes before releasing it. The blade effect will be altered as a result of this. After choosing a light effect, press the button once to light up the saber.
- Sound setting: Hold the button down for 3 flashes, then let go. The sound typeface will be changed as a result of this. After selecting the desired volume level, press the button once to light up the saber. The user has the option of customizing the font choices.
- Music ON/OFF: Holding the power button down for 1.5 seconds while the blade is turned off (in wake mode). The LED on the button will flash three times. After you've selected music mode, push the button once to turn on the saber.
- Sound fonts select: Holding the power button down for 2 seconds when the blade is turned off (in wake mode). The LED on the button will blink four times. After you've chosen a typeface, hit the button once to activate the saber.
Battery Charging Management
Before using the saber, make sure the battery is completely charged. Connect the charging port to the charger connection. It takes 4 hours to charge. When the battery voltage drops or reaches the warning line, the saber will play an audio recording that says "Low Power" or "Recharge."
Low Power Mode: The saber can be used for a short period of time.
Battery safety mode: This mode is on while charging. The saber will not turn on prior to the battery has been recharged.
How To Charge the Lightsaber?
To charge, plug in the included USB cord or any 5V/1A DC charger. A little light inserted on the chassis turns on when it's charging. The light will automatically turn off once charging is complete.
- Charge for no more than 5 hours. It is suggested not to charge your lightsaber OVERNIGHT.
- To keep your batteries from being completely discharged, charge them every two weeks.
- The battery should never be inserted backwards under any circumstances. Before adding the battery, double-check the polarities.
There are many advanced motion functions included in neopixel lightsaber which are as follows:
- The blade can be turned on or off with a fast-stabbing motion with the hilt level.
- The sound theme will change to the next on the list with a short twist whilst the hilt is pointed down. So long as the hilt is pointed downward, the change will occur in either way.
- If one or more music tracks are accessible in the sorted-out fonts folder, a quick twist while the hilt is pointed up will play them. A fast twist again will turn the music off.
- To engage lockup, hold on the button and strike the hilt/blade. To end the lockup, press the button again.
- A fast twist when hilt is placed in downward direction while holding the button will alter the specified blade color. To change the current color, release the button.
- A short twist while holding the button when the hilt is pointed in upward direction will provide a distinctive effect. If the relevant file is present in the sound theme, it will also play a sound.
FIRMWARE UPDATES TO FIX PROBLEMS
Firmware updates may be published as needed to update effects, solve any faults, and make improvements. To make updating as simple as possible, we currently just require the addition of one file to complete the upgrade. To upgrade your neopixel board, simply follow the procedures below:
- Access your neopixel chassis by removing the grip and pommel.
- Remove the battery with care. The easiest way to achieve this is to lightly tap the end of the chassis in the opposite direction to your hand.
Remember that the chassis is label to verify that the positive and negative ends of the battery line up correctly when reinstalling it.
- Look in the chassis for the micro-SD card. To make re-installation easier, keep a mental note of the orientation.
- Taking out the micro-SD card should be done with caution. Use tweezers or your fingers to remove the item. The connection may be damaged if you push the card up or down.
THE FIRMWARE UPDATE INSTALLATION
- Once available,download the 'update.bin' file from the website on your PC or Mac, go to the file's location.
- Open the 'set' folder on the micro-SD card as shown below.
- Drop the 'update.bin' file into the 'set' directory.
- Once you've placed the.bin file in the 'set' folder, securely eject your micro-SD card and replace it in your chassis.
- Install the batteries but do not turn the hilt on; once the battery is installed, listen for sound


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An Understanding of Graphical Perception
Received Date: Jan 02, 2014 / Accepted Date: Feb 06, 2014 / Published Date: Feb 14, 2014
Graphics was a two dimensional notion till the nineteenth century. It was only in the twentieth century, during the modern movement, that graphics emerged as a three dimensional tool. During the same time architecture also had a change in its definition and there was a breakthrough in the design industry. Colour which was earlier used as a superficial element for decoration now started being used as a design element of third dimension in architecture.
Designing with colour therefore it must be considered in all its aspects of which are related to one another, so that virtually in any work in which colour plays a role all must be taken into accent. Colours have a profound effect on mind and emotion and influence our mood and feelings. Colour can reinforce ideas of form and material; express its divisions and proportions.
Colour can underline an architectural statement, it can punctuate, direct and focus attention and compensate in a way unlike any other abstract element". How graphical use of colour can create a statement in architecture.
Keywords: Color; Art perception; Visual effects; Graphical communications; Dimensional figures
Architecture essentially defines and encloses space through the elements of form: the shape size, scale, proportion, colour and texture of which are modulated by the requirements of the enclosed space internally, and the repose to the physical context and environmental factors externally. As long as the outer surface of a building services only a protective device.
'Graphical' means something like a graph or a diagram which expresses information through Abstraction. Here graphics is simplification of the information for better communication. There are some words or sentences which cannot be expressed as they do not have a physical form. We can relate to graphics as a tool of visual communication, where degree of communication depends on the degree of abstraction used to express simply.
There could be several approaches to the study of colour in architecture. It could focus on the work of a single style or it could be restricted to a region or the use of colour in a particular building type.
This study however is concerned with the role of colour as a design tool available to the architectural to achieve various architectural ends. The study attempts to understand the role of colour in architecture. It focuses on colour, as a vital element of design, which can enrich architectural expression.
The relationship of colour and graphics to architecture which requires an enquiry into understanding of the transformation of the dimensional colour graphics into the third dimension of architecture. For this a study is done to establish the relationship of the transformation of the use of colour graphics from painting into architecture. Painting used colour graphics to a large extent, infact colour graphics has been a part of painting. From the 19th century onwards there was a drastic change in the field of painting and architecture and graphical thinking was introduced and acknowledged. The painting movements in the 20th century influenced architecture to a large extend. The answer to the question of the intervention of using colour with abstraction to express concept or statement in architecture lies in understanding the relationship of painting (2D) and architecture (3D).
To understand visual perception, it is important for one to understand the visual processes. Most of the information of the external world is received through eyes. Therefore functions of the eyes-the visual processes–become a key factor in interpreting visual idea. The visual processes can roughly be divided into five consecutive types; seeing, looking, observing, sensing and perceiving.
Seeing: All objects which come within a cone of vision will be seen. They will form an impression on the retina. The process of seeing is however unconscious and all situations being seen are not necessarily perceived.
Looking: In the process of seeing, objects seen are unconsciously focused upon by the eyes, while in the process of looking the focusing is conscious.
Observing: In the process of observation situations are consciously attended to. As mind can attend to only one activity at a time, while observing one cannot simultaneously engage the mind in some other activity. As a result of conscious process of observation an impression of what has been observed may be stored in the memory.
Perceiving: While perceiving one is conscious of visual processes as well as its experience. The process of perceiving initially begins with the process of seeing. If required for any reason the seen condition may then be looked at and observed. The observation may then lead to a perception.
All the visual processes can be summarized this way. When sense organs come into contact with the external condition, if unconsciously, it is seeing and if consciously, it is looking. When sense organs come into contact with characteristics of the external condition, it is still observing. In the process of sensing the information received by eyes is experienced emotionally without relating it to a specific context. In the process of perceiving the information is experienced in specific contexts.
Any external knowledge gained through the media of mind and cognitive organs in close contact of the external object doubtless, real and without any defect of organs is called 'perception'. Perception is processes by which external conditions are understood with respect to one's own internal conditions.
When the eyes come in contact with external objects and through the media of the mind, we perceive the environment; this is 'visual perception'.
According to the theories of visual perception things may look different from what they are. The Understanding of the factors and design attitudes which can make things look different from what they are, can help the designer to express the purpose of his design effectively. Generally we do not analyze what we see although we do recognize that an object has several aspects. Among these aspects are colour, size, pattern, position etc.
To make things look real or the way they are needed to be perceived, designer has to consider these factors responsible for the visual perception and using them effectively create the graphic statement for the expression of his idea.
For understanding how these can be utilized for graphical perception one needs to first understand the basics of visual communication i.e. the visual language and the process of producing a graphical statement leading to graphical perception.
Visual language for visual communication
While the text speaks with words, the graphic figure speaks with form (Figure 1).
Form vocabulary: To design the graphic figure it is first necessary to know what one has to design with–the constructive elements, their capabilities, and their limitations. Casual analysis shows that form derives from five basic elements: point, line, shape, volumetric form, colour, and texture. These elements constitute the form vocabulary available to graphic communication.
Space grammar: Whatever the form of the figure, to exist at all it must exist upon a surface, or picture plane. Physically, the picture plane is simply the page area on which one works; but in the design sense, it functions as a two–dimensional space. The form elements should be designed not only in terms of their individual meanings, but in terms of the spatial order necessary to relate those meanings to one another within a single, coherent image.
Visual language is not an end in itself. Form, space, and visual interaction are simply means through which to visualize ideas. Visualization begins with a definition of purpose. Relevant subject matter is applied to this purpose and translated into a visual concept; usually a sketch form. A design is then constructed, in which a full range of visual language is used to develop and refine the visual concept into a figure model. Concept, design and production are the three basic steps in the making of a graphic statement (Figure 2).
In everyday life the meaning of a thing can vary in relation to the way in which it is seen and understood. the farmer, for example, sees the wheel of his wagon as a physical object. The engineer who designed it sees it as a mechanical problem. The merchant who sold it sees it as a financial profit. Similarly, the subject of the graphic figure can be seen and represented in different ways, depending on its communicative aim. Before a graphic figure is constructed, a "thinking" drawing is necessary to determine its basic framework as a visual idea. This thinking drawing, or sketch, is rudimentary and conceptual in nature.
Designing the statement
This visual concept provides a skeleton for the graphic figure. The next step is the design of the figure model which will provide this conceptual skeleton with a functioning body. Form and space are then integrated into a comprehensive design, which serves as a figure model, or working guide for the production of the graphic statement. There are some spatial cues that help to integrate the form and the space. These help the designer to create the graphic statement. They are, size, colour, position, edge overlap transparency, pattern, format and isolation. Out of all these the concentration is on what colour can do as a spatial cue. Apart from the psychological aspects of colour there are some visual aspects too which can be very effective in creating the graphic statement (Figure 3).
Colour can enhance the visual appearance of the form, destroy the visual continuity of the form, add to the spatial qualities of form, tend to flatten the form, making it seem less three dimensional, give illusions of concave, convex, and negative areas, attract attention, contrast or blend the form with its environment, give illusion of transparency and translucency, create tension or be appealing.
Visual perception prepares a skeleton for the phenomenon of graphical perception. Graphical perception changes the visual perception by either simplifying the image or by abstracting it. The principle of visual perception forms the base for identifying graphical expression. Graphics is like a depiction of graphs, wherein, communication of ideas gets easy due to its simplicity of expression. In this case, graphical perception is a simplified, or often, an abstraction of one's visual perception.
Architecture is the designing of a built form. A similar design process is applied here and designing starts with a purpose and a communicative aim. The aim is


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Exploring Relational Pedagogy
Relational pedagogy underpins the core principles of both the cognitive, and social/emotional development of young children, as evidenced in the Reggio Emilia preschools and the Te Whariki curriculum in New Zealand. Emphasising the links between, people, places and ideas and the effects of these on...
Published July 8th 2008 by Routledge
Learning from International Perspectives
This book is concerned with the relationships and tensions in education between children's needs and societies' demands, questions which primary teachers everywhere face on a daily basis, such as: * how does society's view of children and childhood affect teaching and learning? * how do the...
Published January 28th 1998 by Routledge


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A-6. Portfolio Review
Target Group: Basic BSN and RN-BSN Students
Policy Type: Revision
To establish a mechanism for assessing, validating and evaluating prior learning in order to award course credit or exemption for undergraduate nursing courses. The portfolio provides evidence that students have acquired the content and skills through prior learning and/or practice experiences.
- Students may validate prior learning (academic work or professional experience) by preparing a portfolio to demonstrate acquisition of content and skills commensurate with outcomes, competencies or objectives of a specific course.
- The portfolio option may be used for a course(s) as long as it does not interfere with other university or school course/credit hour policies related to progression or graduation.
- Portfolio courses are graded as satisfactory (S) or Failure (F). Students who are successful in the portfolio process will be awarded "special credit" for the course in question through the Indiana University Special Credit process.
- To receive portfolio credit, students must be in good academic standing and demonstrate satisfactory progression toward degree requirements.
- Undergraduate students must complete a minimum of 30 credit hours on the campus awarding the degree. Courses/credits which are reviewed for portfolio credit do not count toward undergraduate residency requirements.
- Faculty reserve the right to determine if the student is eligible for the Portfolio alternative. This option will not be entertained when, in the faculty's expert judgment, student learning might be compromised.
- The success of the portfolio depends on the students' ability to present sufficient related materials that meet course objectives/competencies and critical learning experiences.
- The student is responsible for discussing the portfolio option with the nursing advisor prior to contacting the faculty teaching the course for which they are seeking portfolio review. The advisor will assist the student to identify the appropriate instructor.
- Complete the portfolio review form that can be obtained from the Academic Advisor.
- Students pursuing the portfolio option must register for the one credit hour NURS-Z480 BSN Portfolio Review for Course Substitution the semester before the course is required to be taken.
- During Z 480 the faculty and student will determine the feasibility of pursuing the portfolio option. Students will be informed of:
- the portfolio process, the required outcomes, portfolio content.
- the faculty role in assisting the student through the portfolio review process.
- the time frame for completing the portfolio, conducting the review, and making the decision to accept or deny the portfolio.
- Students are required to submit a completed portfolio to the assigned faculty in a three-ring binder and clearly labeled. If more than one course is involved; the documentation for each course should be bound separately.
- Specific documentation materials are required for portfolio validation. Additional supporting data may be provided as appropriate to the course. Required documentation includes:
- A cover page indicating the course for which the portfolio is prepared.
- Content from prior course(s), work experience and professional experience used for validation. If previous academic work is used, the following should be included: course objectives/outcomes, course content outline, assignments (including required readings), number of didactic and clinical hours and performance evaluations if course grade was pass/fail. Dates of experiences must be included.
- If previous work and/or professional experience is used as part, indicate how information on the vitae relates to validation of specific course objectives. Date(s) of experiences must be included. Possible experiences to consider include:
- Level of participation in committees (unit/department, professional, and community); level of participation in professional organizations and other activity which reflects the course outcomes.
- Professional development activities; e.g., workshops attended for CE credit, staff development offerings, professional organization conferences, independent study.
- Professional presentations, e.g., keynote, panelist, poster, etc. Indicate if data based and selection was referred.
- Level of participation in projects including role, specific responsibilities and funding source if applicable.
- Publications including information regarding data based and refereed articles.
- Certifications and other honors.
- Copies of documents that relate to philosophy, goals, objectives, job descriptions, policies, etc., may be submitted as evidence. Date(s) of experiences must be included.
- Letters from colleagues, administrators, supervisors and faculty documenting experiences. Date(s) of experiences must be included.
- A written narrative describing how all materials submitted support the achievement of the course objectives.
NOTE: The list above does not represent an exhaustive list of acceptable documents. Students may submit other supporting evidence.
- The portfolio will be reviewed by content experts associated with the designated course. The individual(s) reviewing portfolio materials may request a personal interview or more materials to gather additional information.
- Portfolio decisions will be formally documented in the student's record. Students who are successful in the portfolio process will be awarded "special credit" for the course in question through the Indiana University Special Credit process.
- The portfolio will be reviewed by faculty with teaching expertise in the practice area(s) to be validated. The faculty will make a recommendation for approval to the Admission, Progression, Graduation (APG) committee. The process should be completed in a timely fashion.
- The APG committee may:
- Award special credit for the course petitioned based on the evidence provided.
- Request that the course be approved with minor additional requirements.
- Deny special credit because the evidence presented was not strong enough to validate course objectives/outcomes. The student will then be informed that he/she must register for and successfully complete the designated course.
- Require the student to register for the course or for independent credit and complete, with the assistance of the faculty, outcomes/objectives not met in the portfolio.
- The portfolio review decision is forwarded to the Dean of the School of Nursing.
- The Academic advisor will facilitate the awarding of special credit on the student's transcript.
Effective Date: Spring 1987
Approved by: Admission, Progression, Graduation Committee: February 8, 2010
Approved by: Council of Nursing Faculty: March 15, 2010
- A-1 Academic Standing for Students Enrolled in the Nursing Major
- A-2 Baccalaureate Admission Policy
- A-3 Calculating Grade Point Averages for Students Applying to the BSN Program
- A-4 Academically At-Risk Students
- A-5 Admission and Readmission Practices
- A-6 Portfolio Review
- A-7 Special Credit / Advanced Standing