Migrating an Existing Pylons Application
There are two general ways to port a Pylons application to Pyramid. One is to start from scratch, expressing the application's behavior in Pyramid. Many aspects such as the models, templates, and static files can be used unchanged or mostly unchanged. Other aspects like such as the controllers and globals will have to be rewritten. The route map can be ported to the new syntax, or you can take the opportunity to restructure your routes.
The other way is to port one URL at a time, and let Pyramid serve the ported URLs and Pylons serve the unported URLs. There are several ways to do this:
 - Run both the Pyramid and Python applications in Apache, and use mod_rewrite to send different URLs to different applications.
 - Set up paste.cascade in the INI file, so that it will first try one application and then the other if the URL returns "Not Found". (This is how Pylons serves static files.)
 - Wrap the Pylons application in a Pyramid view. See pyramid.wsgiapp.wsgiapp2.
Also see the Porting Applications to Pyramid section in the Cookbook.
Caution: running a Pyramid and a Pylons application simultaneously may bring up some tricky issues such as coordiating database connections, sessions, data files, etc. These are beyond the scope of this Guide.
You'll also have to choose whether to write the Pyramid application in Python 2 or 3. Pyramid 1.3 runs on Python 3, along with Mako and SQLAlchemy, and the Waitress and CherryPy HTTP servers (but not PasteHTTPServer). But not all optional libraries have been ported yet, and your application may depend on libraries which haven't been.


text:
Table of contents:
- How do you write a letter of mistake for clarification?
- What is request clarification?
- What is seek clarification?
- What is clarifying in cooking?
- What is clarifying in reading?
- How do you spell clarification?
- What does self clarify mean?
- What are the three main purposes of texts?
- What is the purpose of informative text?
- What are 3 ways that you can ensure your message is clear and not misunderstood?
How do you write a letter of mistake for clarification?
Steps to follow
- Acknowledge your mistake. The first thing you need to do is take ownership for your mistake and admit that you were in the wrong.
- Apologise....
- Accept responsibility....
- Offer an explanation....
- Take action....
- Express your regret....
- Promise it won't happen again....
- Sample letter from employee.
What is request clarification?
When you ask someone for clarification, you are asking them to say something in a different way or provide more information so that you understand them better. This is different from asking a person to repeat something.... Or maybe you think you know what the person means but want to make sure that you are correct.3 de jan. de 2019
What is seek clarification?
an explanation that makes something clearer and easier to understand. clarification of/on: Please contact us if you require clarification of any of these matters. seek clarification (=ask for it): We are seeking clarification from the judge.
What is clarifying in cooking?
Removing the solids from a mixture to obtain a clear liquid. Or clarify a stock by removing all floating ingredients and pass the liquid through a fine strainer or a cloth to filter it....
What is clarifying in reading?
Clarifying is an umbrella term for a set of cognitive strategies that students can use to identify where they have comprehension difficulties and how they can get at the meaning of a word, phrase, sentence or passage.... More and richer language input may be needed before a full set of strategies is presented.
How do you spell clarification?
Correct spelling for the English word "clarification" is [klˌaɹɪfɪkˈe͡ɪʃən], [klˌaɹɪfɪkˈeɪʃən], [k_l_ˌa_ɹ_ɪ_f_ɪ_k_ˈeɪ_ʃ_ə_n] (IPA phonetic alphabet).
What does self clarify mean?
to explain yourself better
What are the three main purposes of texts?
Writers may choose from a variety of purposes, which usually fall into three main categories: to entertain, to inform, and to persuade.26 de fev. de 2015
What is the purpose of informative text?
Its primary purpose is to inform the reader about the natural or social world. Different from fiction, and other forms of nonfiction, informational text does not utilize characters.5 de out. de 2020
What are 3 ways that you can ensure your message is clear and not misunderstood?
Here are some general guidelines for assuring that your message is clearly communicated.
- Communicate just one message at a time. Don't confuse the receiver with multiple messages and make them sort through them.
- Express your message in clear language....
- Use the appropriate media....
- Give an example to support your message.
- How do I write a letter to request a name change?
- What does clarifies mean?
- How do you write a clarification letter?
- How can I edit my submitted PAN application?
- How do I file pending for clarification?
- How do I write a letter to the bank?
- What does it mean to need clarification?
- What is clarify mean?
- How do you clarify requirements?
- What is the purpose of clarification?
You will be interested
- What is clarification in science?
- What are the different types of questioning techniques?
- What is letter of explanation?
- Which type of treatment does clarification fall in?
- Which factor is more important in the process of clarification?
- What is a confirming question?
- Why is clarification important?
- How do you send a clarification email?
- How pay fixation is done on promotion?
- How does a clarifier work?

source: openbmb/Ultra-FineWeb


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Forensic Accountant in Rosemont, CA
Find Forensic Accountants in Rosemont
Common questions about Forensic Accountant in Rosemont, CA
Just how much does forensic accounting cost nearby Rosemont?
Just how much do forensic accountants cost? That depends upon the complexity of the work however most forensic accountants require a deposit of $3,000.00 to $5,000.00 to begin.
Why do you need a forensic accountant nearby Rosemont, California?
Forensic accounting is making use of accounting skills to investigate scams, embezzlement and other abnormalities hidden as financial deals. While the tasks of forensic accountants generally lead them to examine and evaluate, they might likewise be called upon to work as expert witnesses in court.
How do you become a forensic accountant nearby Rosemont?
Steps for Becoming a Forensic AccountantAttend a degree program and/or gain experience in an associated field. * Take and pass the Uniform Certified Public Accountant (CPA) Examination. ** Apply for an employment opportunity as a forensic accountant.Complete an interview.Get employed as a forensic accountant.
Are forensic accountants in demand nearby Rosemont, CA?
The Bureau of Labor Statistics (BLS) forecasts 13% job development for accountants and auditors by 2022. The growth of all forensic accounting jobs must correspond with this rate, if not surpass it due increasing monetary regulations, with some estimates forecasting a 20% development in need for investigative auditors.
What do forensic accountants try to find around Rosemont?
Forensic Accountants combine their accounting, auditing, and investigative abilities to search for and discover details relating to monetary irregularities, deceptive activity, and commercial neglect.
Who can be a forensic accountant near Rosemont, CA?
Forensic accountants are accountants that integrate basic accounting knowledge with investigative skills in several settings. These kinds of accountants can be employed by public and private accounting companies, police, personal companies, financial institutions, and government companies.
Is auditing forensic accounting in Rosemont, CA?
Forensic Accounting– Financial/Fraud Investigation A forensic audit is more including than a financial statement audit in regards to assessing the entity's internal control structure and recognition of alleged fraudulent activity or abnormalities.
Who does forensic audits around Rosemont, CA?
A forensic audit is an assessment and examination of a company's or specific's financial records to obtain evidence that can be utilized in a legal action. A forensic audit may be performed to prosecute a celebration for scams, embezzlement, or another criminal behavior.
Forensic Accountant in Rosemont CA
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Forensic Accountant in Rosemont CA


text:
The second half of the twentieth century bore witness to significant declines in mortality among children in the developing world. Ghana was no exception, experiencing declines in mortality from the 1950s Onward. A series of Demographic and Health Surveys conducted in Ghana documented substantial improvements in infant and childhood mortality rates between 1988 and 1998. The results of the 2003 survey, however, indicated that these rates had plateaued (stagnated) at high levels. There was some concern that mortality might even be on the rise.
The purpose of this analysis is to determine whether the stagnation in the decline in childhood mortality in Ghana is real, to describe and evaluate trends in mortality, and to examine the key factors likely to influence mortality levels. This analysis suggests that the apparent uptick in mortality seen in the 2003 GDHS is largely a function of the underestimation of mortality in the previous survey.
Thus, while there is no evidence to conclude that child mortality in Ghana is increasing, the past three Ghana DHS surveys provide substantial evidence that the decline in mortality in Ghana has stagnated at high levels. The trend data reviewed here suggest that there may be a continuing problem with children receiving adequate nourishment. There is also room for improvement in maternal and child health care indicators. Policies and programs designed to improve these indicators may help to facilitate the resumption of the downward trend in childhood mortality rates in Ghana.

source: HuggingFaceFW/fineweb-edu


I haven't done anything even slightly resembling the legwork it would take to prove or disprove this hunch, but I suspect that there might be more footage of Ingmar Bergman working on the set of his movies than any other filmmaker of the pre-home video generations. He has been the subject of a remarkable number of documentaries about his career and specific films, during his life and after his death, and no fewer than five of his films received feature-length documentaries made up more or less exclusively of on-set footage - two of them rather considerably longer than the films they were documenting (those would be Ingmar Bergman Makes a Movie, about Winter Light, and The Making of Autumn Sonata.*) The most special of these five, though not the most informative, is the one assembled by Bergman himself from footage shot by Arne Carlsson during the filming of Fanny and Alexander.
The film that he cut together premiered in 1984, but didn't become widely available until 1986, when it was first broadcast on Swedish television, under the title Dokument Fanny och Alexander. Which is, importantly, not the same as The Making of Fanny and Alexander, which it has almost universally been known as in English. I ask any readers who know more Swedish than I do (which takes very little knowledge of Swedish) to correct me, but my understanding is that the word that would be most analogous to the way and English speaker would refer to a "making-of" documentary is bakomfilm. Dokument is exactly what it looks like: "document". And this does matter, because Dokument Fanny och Alexander isn't really about how Fanny and Alexander was made, as such. Rather, it explicitly introduces itself as an artistic interpretation of the emotions involved in being on that set, and specifically Bergman's own emotions; in the first of a great many intertitles that pop up throughout the movie (arguably, an annoying number of intertitles, in fact), the director tells us that no film is going to actually replicate the truth of all the work that goes into making a movie, so a series of impressionistic snapshots is the best he could do. Whether that actually ends up earning the word "document" any more than it earns the phrase "making of" is, I suppose, in the eye of the beholder.
By any name, The Making of Fanny and Alexander is a marvelous collection of moments, one that finds Bergman in an avowedly sentimental mood. This was a period of much introspection in the filmmaker's life: after having loudly and persistently announced that Fanny and Alexander was his last film (which was almost immediately not true, and already not true by the time that The Making of Fanny and Alexander had come out, but whatever, let him have it), he seems to have become much less interested in examing the cosmos for evidence of God's indifference, much more interested in thinking about the insides of his own brain. Hence his autobiography, The Magic Lantern, which he started around the same time; hence his small experimental documentary about his mother, Karin's Face, which was completed sometime by the end of 1983, though it was not publicly screened until 1986. And hence this film, which ends up being 110 minutes built around the idea that Ingmar Bergman was a jolly old soul who liked children.
That is certainly a reductive way of talking about something that feels very honest and not a tiny bit like a filmmaker trying to manage his brand - by 1984, what management could possibly be worth doing? - but it does get to the peculiarity that this is a remarkably cheerful, charming, friendly film. In a shoot that lasted as long as this one did - more than half a year! - it's impossible to imagine that there wasn't a single disagreement or even blow-up, but the most we ever get are a couple of places where cinematographer Sven Nykvist corrects Bergman on some matter in a tone of voice that isn't entirely free of fatigue and impatience. Instead, we just get scene upon scene of the set being a warm, supportive, creatively fruitful place; because this is how Bergman remembered it, presumably, or at least because this is how he is choosing to remember it. And there's something said for choosing to remember something as consequential as the filming of your very last movie as being a happy, productive time.
The resultant footage is very engaging and even, at times, deeply moving. The film is segmented by which scene from the finished movie we're watching them make, not by topic or anything else, but it does feel like it's grouped loosely into four major movements, or at least three movements, the first of which has two parts. Initially, we simply watch the crew find its footing on some of the early material, and see as Bergman enthusiastically pitches himself into the room with his child actors as he helps them choreograph a pillow fight (the director will grow less physically active across the movie, presumably because he was not a young man and film shoots are hard, long shoots especially); this shades into some nuts and bolts "here's what I do on set" material, mostly focused around an extensive, detailed sequence of how one particular scene got blocked, rehearsed, and blocked again, followed by the take that they ended up using in the finished film.
All of this material is built around a pair of twinned ideas that we see over and over again: first, that Bergman loved working with his actors, becoming visibly animated with joy as he starts to visualise how they need to move around the space and with each other, and growing rapt as they give their performances (we also learn that Bergman referred to almost all of his actors by their character names, with the significant exception of the legendary Gunn Wållgren, and I cannot help but assume this is his sign of respect for her impressive career). Though never so rapt that he isn't also clearly evaluating the performance every second as he watches. Indeed, watching Bergman watching performances with the enthusiastic trained eye of a connoisseur responsible for directing an absurdly disproportionate number of the best performances ever given onscreen. Second, how the reason Bergman was able to do all of this is because he could rely completely on Nykvist, who emerges in this first part of the film as the anchor for the entire production. This is never spelled out, but every time the cinematographer appears onscreen, looking as serious and professional as it gets, the sense that he's an immovable rock is reinforced.
The other movements of the film are both about working with specific actors. There is an extended sequence in which Bergman gently helps the aging, ailing Gunnar Björnstrand give one last performance for this most wonderful, long-lived collaboration (we see much more of Björnstrand here than in even the longer cut of Fanny and Alexander itself). It's unabashedly sentimental, with Björnstrand's frustration at himself and his fear at his mind slipping away while he watches coming through around the edges of his crisp professionalism while Bergman observes him with a cool expression that very much reads as someone who is sad and doesn't want to show it, because he knows it would just make things worse. It's a lovely tribute to the most prolific acting collaboration of Bergman's film career, and it forms an anchor in the film's second half much as Nykvist does in the first.
That leaves, then, just the last movement, though it occurs throughout the movie: Bergman's utter delight at working with Bertil Guve and Pernilla Allwin, who play Alexander and Fanny themselves. And this is where the film seems to become it truest self, a portrait of the pleasure of being on set and feeding on the collaborative energy coming from everybody working together. Bergman laughs, and he smiles, and he has an unabashedly proud, fatherly relationship to Guve that's blatantly obvious just from his body language and tone of voice. The film's last very long sequence is all about Bergman watching the two young performers find their way through a fairly simply exchange of dialogue, with the director clearly entranced by seeing them coalesce around ideas of how to act and move through the set in real time.
The whole movie, though, is a bit entranced; it is all about filmmaking as emotionally nourishing and exciting, a way to work with gifted collaborators, spending lots of time obsessing over little tiny details so that the great big emotional waves can come crashing over you. One learns very little about the art of filmmaking from The Making of Fanny and Alexander, but one learns a great deal about Ingmar Bergman and his love of the medium; it's perhaps not necessarily worth all that much to have learned this, but it does make for an enormously pleasurable two hours. And unexpectedly, it's the most unabashedly uplifting film of the director's entire career.
*The other two are both television specials of a little more or less than one hour: Tystnad! Tagning! Trollflöjten!, about The Magic Flute, and I sällskap med en clown, about In the Presence of a Clown - ironically, the name of the documentary is much closer to "in the presence of a clown" than the literal translation of the Swedish title of the film.


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Het dorp Rincon, Te Rincon, Rincón: Rinon (Papamientu)
Meaning of Rincón, Spanish for corner/nook, may refer to:
A "Rincon" is also a place where you can have activities, such as a restaurant ("ex: the corner of the good food") or a shop ("the corner of hot sales"). It means as well a remote settlement, a group of houses. A Rincon can be built inland or by the sea.
Is Rincon protected from the pirate attacks?
1/Rincon is sheltered in the North by the Brandaris (240 m) and Seru Mangel (144,6 m), in the West by Seru Dos Pos (125,6 m) and Montagne (143 m), and, in the South by Seru Largu (133 m). Rincon is almost invisible from the sea and far less exposed than Palu di Lechi.
2/ Rincon is protected by a very shallow sand bank on the east side of Bonaire, right in front of the town.
3/ Even inland, sheltered and protected, the Rincon has been raided several times, cf Laurens Prins in 1665.
Rincon Village is the oldest village on Bonaire. Additionally, it is the oldest in continual existence within the Netherlands Antilles and Aruba.
In 1527, the Spaniards came back from Hispaniola to Bonaire and then founded the first settlement on Bonaire: Rincon. On their return they brought Indians and various types of livestock along. Rincon's location was chosen because it is in a fertile valley and has an always blowing trade wind and it was out of the eye of passing (pirate)ships and beyond the reach of their raids. In 1636 the West India Company, which has long been established on Curacao, decided to Bonaire add to their possessions. The Dutch exploited Bonaire mainly for its salt and paint timber. Brasil Wood (Palu di Brasil) was used as red pigment for paint. When the Dutch saw that they needed more labor, they imported slaves from Africa, who then had to settle in Rincon. The slaves worked on plantations in the area of Rincon and on salt pans on the opposite side of the island. Because the walk from Rincon to the salt pans took about 10 hours the slaves build themselves small huts to sleep in. The slaves worked the salt pans and stayed in their huts during the week, on saterday they were allowed to go back to their homes in Rincon. In 1850, these shacks were replaced by stone houses. These stone houses are still standing along the salt pans. After the abolition of slavery on July 1st of 1863, the former slaves stayed in Rincon, they maintained their culture and to this date many of the current residents of Rincon are descendants of the slaves.
1 Altamira Unjo – Panorama Rincon
2 Cadushy Distillery & Heritage Center
3 Polar Bar (closed)
4 Catholic Church
5 Rose Inn
6 Kos Bon So Grill restaurant
7 Excellent Supermarket
8 Community Centre – Centro di Bario
9 Gas Station
10 Lourdes Grotto – Replica of Lourdes Cave
11 Mangazina di Rei – Culture Park
12 Protestant Church
13 Direction Playa Grandi
14 Direction Dos Pos
16 Plantation Onima
17 Watapana school
18 San Luis Bertran school
19 Windmill Park
20 Traditional cottage – Kas Krioyo (closed)
21 Kanta Orchidia
22 Soccer Stadium
23 Kununu's (farming grounds) West
24 Kunuku's (farming grounds) East
25 Statue of Julio Abraham
26 Memorial stone founding of Rincon
27 Posada Para Mira
28 Market Square
29 Tropicana Bar
30 Orange bar
©2012 Olivier Douvry/GlobeDivers


of approximately 0.4, the risk also increases. Distribution of Portfolio Return: Distribution of Portfolio Return Distribution of Two Random Variables: Joint Probability Approach : Distribution of Two Random Variables: Joint Probability Approach SUBS.XLS: SUBS.XLS The left and top margins of the table show the possible values of demand for the products. A company sells two products, product 1 and 2, that tend to be substitutes for each one another.The company has assessed the joint probability distribution of demand for the two products during the coming months. This joint distribution appears in the Demand sheet of this file. SUBS.XLS -- continued: SUBS.XLS -- continued Demand for product 1 (D1) can range from 100 to 400 (in increments of 100) and demand for product 2(D2) can range from 50-250 (in increments of 50). Each possible value of D1 can occur for each possible value of D2 with the joint probability given in the table. Given this joint probability distribution, describe more fully the probabilistic structure of demands for the two products. Joint Probability Approach: Joint Probability Approach In this example we use an alternative method for specifying probability distribution. A joint probability distribution, specified by all probabilities of the form p(x, y), indicates that X and Y are related and also how each of X and Y is distributed in its own right. The joint probability of X and Y determines the marginal distributions of both X and Y, where each marginal distribution is the probability distribution of a single random variable. Joint Probability Approach -- continued: Joint Probability Approach -- continued The joint distribution also determines the conditional distributions of X given Y, and of Y given X. Marginal Distributions: Marginal Distributions We begin by finding the marginal distributions of demands for each product. These are the row and column sums of the joint probabilities. The marginal distributions indicate that "in-between" values of the demands for each product are most likely, whereas extreme values in either direction are less likely. These distributions tell us nothing of the relationship between the demands for the products. Conditional Distributions: Conditional Distributions A better way to do learn about this relationship is to calculate the conditional distributions of the demands. We begin with with the conditional distribution for D1 given D2. To calculate we create a new table. In each row of the table we fix the value of D2 at the value given in column B. We can then calculate the conditional probabilities of the values of D1. Conditional Distributions -- continued: Conditional Distributions -- continued This is the joint probability divided by the marginal probability of the D2. They can be calculated all at once by entering the formula =C5/$G5. We also check that each row of the table is a probability in its own right by summing across the rows. These sums should equal one. Similarly the conditional distributions of the D2 given the D1 can be calculated in another table by entering the formula =C5/C$10. Each column sum should equal one. Summary Measures: Summary Measures Various summary measures can now be calculated. Expected values: The expected demands follow from the marginal distributions and are calculated in cells B32 and C32 by these formulas =SUMPRODUCT(Demands1,Prob1) and =SUMPRODUCT(Demands2,Prob2). Variances and standard deviations:These are also calculated from the marginal distributions in the usual way. We first find squared deviations from the means and calculate the weighted sum of these squared deviations. Summary Measures -- continued: Summary Measures -- continued Covariance and correlation: The formulas are the same as before but we proceed differently. We now form a complete table of products of deviations from the means by using the formula =(C$4-MeanDem1)*($B5-MeanDem2) in C37 and copying it to C37:F41. Then we calculate the covariance in cell B47 with the formula =SUMPRODUCT(ProdDevsDem,JtProbs). Finally, we calculate the correlation in B48 with the formula =CovarDem/(StdevDem1*StDevDem2). Analysis: Analysis The best way to see the joint behavior of D2 and D1 is to look in the conditional probability tables. For example: Compare the probabilities in the conditional distribution table of D1, given D2. The value of D2 increases, while the probabilities for D1 tend to shift to the left. In other words, as the demand for product two increases the demand for product 1 tends to decrease. This can be seen more clearly in the following graph. Conditional Distributions of Demand 1 Given Demand 2: Conditional Distributions of Demand 1 Given Demand 2 Analysis -- continued: Analysis -- continued The graph shows that when D2 is large D1 tends to be small, although again this is a tendency not a perfect relationship. When we say that two products are substitutes for one another, this is the type of behavior we imply. By symmetry, the conditional distribution of D2 given D1 shows the same type of behavior. This is shown in the next graph. Conditional Distributions of Demand 2 Given Demand 1: Conditional Distributions of Demand 2 Given Demand 1 Conclusions: Conclusions The information in these graphs is confirmed - to some extent - by the covariance and correlation between the demands for the products. In particular, their negative values indicate that the demands for the products move in opposite directions. Also the small correlation indicates that the relationship between these demands is far from perfect. There is still a reasonably good chance that when D1 is large D2 will be large, and when D1 is small D2 will be small. Assessing Joint Probability Distributions: Assessing Joint Probability Distributions Using the joint probability approach can often times be quite difficult especially when there are many possible values for each of the random variables One approach is to proceed backwards from the way we proceeded in this example. Instead of specifying the joint probabilities and then deriving the marginal and conditional distributions, we can specify either the marginal or conditional probabilities and use theses to calculate the joint possibilities. Assessing Joint Probability Distributions -- continued: Assessing Joint Probability Distributions -- continued The advantage of this procedure is that it is probably easier and more intuitive for a business manager. He gets ore control over the relationship between the two random variables, as determined by the conditional probabilities he assesses. JTPROBS.XLS: JTPROBS.XLS An file shows an example of the indirect method of assessing joint probabilities. JTPROBS.XLS: JTPROBS.XLS The shaded regions of the spreadsheet represent probabilities assessed directly, and the joint probabilities are calculated from these. The formula used in C20 is =C11*C$6 and then this is copied to C20:F24. The associated graph on the next slide appears to be consistent with the meaning of substitute products. Conditional Distributions of Demand 2 Given Demand 1: Conditional Distributions of Demand 2 Given Demand 1 Independent Random Variables: Independent Random Variables Background Information: Background Information A distributor of parts keeps track of the inventory of each part type at the end of every week. If the inventory of a given part is at or below a certain value called the reorder point, the distributor places an order for the part. The amount ordered is a constant called the order quantity. Assumptions: Assumptions The ordering lead time is negligible. Sales are lost if customer demand during any week is greater than that week's beginning inventory; that is, there is no backlogging of demand. Customer demands for a given part type in different weeks are independent random variables. The marginal distribution of weekly demand for a given part type is the same each week. INVNTORY.XLS: INVNTORY.XLS This file contains the plant manager's estimated data in the shaded area for a particular part type. She wants to calculate the mean revenue in each of the first weeks, given that the initial inventory at the beginning of week 1 is 250, the value shown in cell B12. Independent & Dependent: Independent & Dependent When random variables are independent, any information about the values of any of the random variables is worthless in predicting any of the others. Random variables in real world applications are not usually independent; they are usually related in some way, in which case they are dependent. However, we often make an assumption of independence in mathematical models to simplify the analysis. Joint Distribution of Demands: Joint Distribution of Demands Due to the assumption that weekly demands are independent and have the same distribution, all the manager needs to assess is a single weekly distribution of demand. To obtain these joint probabilities, we calculate products of marginals by entering the formula =VLOOKUP(C$20,DistTable,2)*VLOOKUP($B21,DistTable,2) in cell C21 and copying it into range C21:G25. This formula simply multiplies the two marginal probabilities corresponding to the demands in the top and left margins of the joint probability table. Joint Distribution of Demand -- continued: Joint Distribution of Demand -- continued To check we calculate the row and column sums. The column sums agree with the probabilities in the distribution of demand in each week, as they should. The calculations are shown on the next slide. Calculations: Calculations Calculating Mean Revenue -Week 1: Calculating Mean Revenue -Week 1 The mean revenue calculation portion of this example is more complex. This is particularly true for the revenue in week 2 because it depends on the demands of both periods. Beginning with the revenue in week 1, the revenue is the unit price multiplied by the smaller of the on-hand inventory


text:
What turns you on? While it debunks one notion—that the feet are an erogenous zone--a recently published cross-cultural study suggests men and women answer that question in pretty much the same way.
"The basis of the claim that women have a greater diversity of erogenous zones seems, in part, unjustified," a research team led by Bangor University cognitive neuroscientist Oliver Turnbull writes in the journal Cortex.
"Women clearly experience higher erotic intensity for some body parts, but this effect seems to have been exaggerated in the popular media."
Women rated both the nape and back of the neck as highly erotic; men did as well, but not quite as strongly.
Turnbull and his colleagues conducted an online survey of 793 people, most of whom were residents of either Great Britain or South Africa. (The sample skewed young, with a mean age of just over 24.) Participants were presented with a list of 41 body parts and asked to rate their "ability to facilitate sexual arousal" on a scale of one to 10.
Not surprisingly, the genital areas topped people's lists, followed closely by nipples/breasts and mouth/lips (note our recent report on the importance of kissing). The nape of the neck also scored highly, as did the ears.
Answers were very similar across the board, regardless of gender, nationality, or sexual orientation. This suggests "the factors that determine the intensity of erogenous zones are not greatly influenced by individual life experiences and/or culture," the researchers write.
Feet and toes scored at the bottom of the list for both sexes, which would appear to refute an earlier theory suggesting they have particular erotic qualities. That said, several other body parts scored lower, including the shin, elbow, and nose.
At least in this sample, "men appear to have effectively the same distribution of erogenous zones found in women," the researchers write, adding the caveat that "for women, several body parts are rated at significantly higher levels of intensity."
For instance, women rated both the nape and back of the neck as highly erotic; men did as well, but not quite as strongly. Such small differences aside, it's nice to know that there's at least one arena where men are from Mars, and women are from... Mars.


Deletion and duplication of 16p11.2 are associated with opposing effects on visual evoked potential amplitude
Original research article by J.J. LeBlanc and C.A. Nelson (2016).
Read the abstract here.
This article examines the effects that 16p11.2 deletions and duplications (both of which are 16p11.2 copy number variants, or CNVs) have on cortical processing. Cortical processing is the brain's translation of sensory stimuli the eye receives into usable information, such as the production of a memorable image from something a person saw.
In many neurodevelopmental disorders, the interpretation of sensory information is reduced. This means there may be a problem with cortical processing that can lead to cognitive and behavioral difficulties. A previous study on cortical processing in people with the 16p11.2 CNVs reported that auditory (hearing) responses were delayed in deletion carriers but not in duplication carriers. The study's authors sought to learn whether the differences between people with the two types of CNVs would also affect how these people process visual information.
To test how people with 16p11.2 CNVs interpret visual information, the authors used pattern-reversal visual evoked potentials (VEPs).
This is a noninvasive method of tracking the neuronal response of visual pathways from the eye to the optic nerve and finally to the brain, where the information is processed. VEPs take the form of a wavelength recorded through imaging technology; this visualization helps determine the response a person has to various stimuli.
For this study, 19 deletion carriers, 9 duplication carriers, and a control group of 13 children with no CNV, all between the ages of 3 and 14, were examined using an electroencephalograph (EEG) to record VEPs. The VEP recordings from the deletion carriers had, on average, higher amplitudes (peak in blue on the graph), and those from the duplication carriers had lower amplitudes (peak in green on the graph). These differences were in comparison to the recorded values for the control group (peak in black on the graph). There was no significant difference in how quickly people with the CNV and people in the control group processed the visual images.
All of the 16p11.2 CNV participants in this study were enrolled through Simons Searchlight.


text:
As technology and the clinical applications of endoscopy expand, our innovations play an increasingly significant role in cancer prevention, detection and treatment.
In 1950, Olympus made history by introducing the world's first gastrocamera. Developed in collaboration with a forward-thinking physician working at the University of Tokyo Medical Center, the gastrocamera was designed to be inserted into the human body to photograph and examine the interior of a patient's stomach. This remarkable innovation—the precursor to today's endoscopes—enabled physicians to detect stomach cancers much sooner, using a minimally invasive procedure instead of performing invasive open gastric surgery.
The launch and diagnostic success of the gastrocamera solidified Olympus' role in developing less invasive and increasingly sophisticated technologies that would aid in the early detection and treatment of cancer. Now, more than 60 years later, Olympus' renowned, minimally invasive medical technologies have continued to evolve with enhanced functionality and improved imaging to meet the needs of a broad array of medical specialties so that medical practitioners can better see and treat cancers and other diseases of the internal organs.
Early Detection and Treatment
Most cancers are more likely to be cured if they are detected and treated at an early stage. Furthermore, patient outcomes and quality of life are improved if diagnostic and therapeutic procedures can be performed using minimally invasive technologies.
Toward that effort, Olympus collaborates with physicians and other healthcare professionals to continually assess their needs. This guides our research and development efforts to innovate technologies that help advance procedural technique and improve the quality of patient care. For example, Olympus was one of the pioneers in developing videoscopes in the late 1980s. These endoscopes have a built-in video camera that converts images into electronic signals for display on a TV monitor. This allows a medical team to indirectly examine a body part simultaneously as they view it on the monitor. Improved light sources combined with video imaging were able to deliver an enhanced field of view on the video monitor while reducing the back strain and eye fatigue associated with procedures observed directly through the eyepiece of an endoscope. The result has been a drastic improvement in diagnostic accuracy, improved patient care, and better ergonomics for the procedural team.
In addition to increasingly sophisticated endoscopic equipment, Olympus has also developed therapeutic devices that have expanded the capabilities of endoscopes beyond the diagnostic realm, allowing endoscopic technology to serve a vital role in treatment of cancers and other diseases. Today, advanced endoscopic systems enable physicians to both detect and treat cancers at earlier stages to improve procedural outcomes.
The role of endoscopes today
Endoscopic technologies serve a vital role in medicine today. Endoscopes are used in a wide range of clinical fields, including gastroenterology, urology, pulmonology, otolaryngology and gynecology to diagnose and deliver a wide range of therapies, including early cancer detection and treatment. Helping physicians around the globe fight cancer and improve the quality of life for their patients remains one of the driving principles behind Olympus' innovations.


23 January 2018
A reminder that ancient statuary was often painted
The painting is by Jean-Léon Gérôme - Painting Breathes Life into Sculpture, 1893.
More at the Wikipedia entry. Image found at Miss Folly, via.
Reposted from 2010 to some text and add two images from BBC Culture:
Even bronze statues would have been much brighter than their dark brown appearance suggests today: bronze acquires a patina over time. What we see as a uniform greenish-brown head would once have been gleaming bright, almost golden. Hair would have been painted dark and the flesh might well have been painted too. The eye sockets of ancient statues are often empty, because the eyes were made separately, and they have been lost over time. There is a magnificent pair of Greek eyes in the Metropolitan Museum of Art in New York [above], made of bronze, marble, quartz and obsidian...
And the Greeks are not the only ones whose statues were painted: the Romans were similarly enthusiastic about brightening up their marble. Paolo Liverani, of the University of Florence, has worked on a project to recreate the statue of Augustus of Prima Porta [below]. The emperor's statue was discovered in 1863, and showed traces of the paint which once decorated it. A cast of the statue, its polychromy restored (and, in part, imagined), now stands in the Vatican Museum.
And finally this interesting tywk:
Winckelmann was a particular fan of Roman marble copies of Greek bronze statues: the Romans often copied Greek originals in marble. You can tell it is a marble copy of a bronze if a figure is leaning on something: a tree trunk, or a staff, for example. Or perhaps there is a little chunk of marble joining the two legs together. Marble lacks the tensile strength of bronze, so it requires extra support to keep the figures stable.
 1. It might be my modern sentiment, but the original coloration on these statues (as revealed by UV light) is extremely tacky and particularly jarring to the eye.
 Gizmodo had a piece on this back in 2010.
 1. One if my college art teachers decried the use of color, saying that most people ruin a good composition with poor color selection. Certainly, there is a grace and drama to the plain marble.
 2. So... this guy, with the painted statues (and pubic hair) got it right, kinda:
 3. Not only the Greeks and Romans, the Maya did this too with their temples. What we see now as majestic stone temples rising out of the jungle were heavily stuccoed and painted. There was one site, Zacaleu maybe?, that tried to recreate it and a lot of people thought that it looked garish and tacky.
 1. Maybe the Maya had cataracts from chronic sun exposure so all the colors looked more muted? :-)
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Top 10 Components of Automated Production Line
In industrial production, the popularity of automation and intelligence is getting higher. Let's take a look at what an automated factory standard is.
1. Controller
Automated factory brain
The controller refers to a master device that changes the wiring of the main circuit or the control circuit in a predetermined order and changes the resistance value in the circuit to control the starting, speeding, braking, and reversing of the motor.
It consists of program counter, instruction register, instruction decoder, timing generator, and operation controller.
It is the "decision-making body" that issues commands, that is, the operation of coordinating and directing the entire computer system.
Commonly used controllers in automation plants include PLC, industrial computer, and so on.
Programmable Logic Controller (PLC), which uses a type of programmable memory for storing programs internally, performing user-oriented instructions such as logic operations, sequence control, timing, counting, and arithmetic operations, and controls various types of machinery or production processes by digital or analog input/output.
2. Robot
Automated factory executor
A robot is a machine that automatically performs work.
Robots generally consist of actuators, drives, detection devices, control systems and complex machinery.
3. Servo motor
Muscles that power the automated plant
Servo motor
The servo motor is an engine that controls the operation of the mechanical components in the servo system, and is an auxiliary motor indirect transmission.
The servo motor can control the speed and position accuracy very accurately, and can convert the voltage signal into torque and speed to drive the control object.
The servo motor rotor speed is controlled by the input signal and reacts quickly.
In the automatic control system, it is used as an actuator and has characteristics such as small electromechanical time constant, high linearity, and starting voltage.
The received electrical signal can be converted to an angular displacement or angular velocity output on the motor shaft.
Servo motors are divided into two major categories: DC servo motors and AC servo motors.
Its main feature is that when the signal voltage is zero, there is no rotation phenomenon, and the rotation speed decreases uniformly with the increase of the torque.
4. Sensor
Automated factory touch
The sensor is a detecting device that can sense the measured information and can transform the sensed information into an electrical signal or other required form of information output to meet the requirements such as information transmission, processing, storage, display, recording and control.
It is the first step in achieving automatic detection and automatic control.
In modern industrial production, especially in automated production processes, various sensors are used to monitor and control the various parameters of the production process, to operate the equipment in a normal or optimal state, and to achieve the best quality of the product.
Therefore, it can be said that without many excellent sensors, modern production will lose its foundation.
5. Inverter
Automated factory exchanger
The frequency converter is a power control device that controls the AC motor by changing the working frequency of the motor by applying frequency conversion technology and microelectronic technology.
The frequency converter is mainly composed of rectification (AC to DC), filtering, inverter (DC to AC), braking unit, drive unit, and micro processing unit of detection unit.
The inverter adjusts the voltage and frequency of the output power supply by the breaking of the internal IGBT, and supplies the required power supply voltage according to the actual needs of the motor, thereby achieving the purpose of energy saving and speed regulation.
In addition, the inverter has many protection functions, such as overcurrent, overvoltage, overload protection etc.
6. Solenoid valve
Automation factory switch
Solenoid valve
Solenoid valves are electromagnetically controlled industrial equipment. They are the basic components for controlling fluids. They are actuators and are not limited to hydraulic and pneumatic.
There are many types of solenoid valves, and different solenoid valves function in different positions of the control system.
The most commonly used are check valves, safety valves, directional control valves, speed control valves etc.
7. Industrial camera
Automated factory eyes
Industrial camera
Industrial cameras are a key component in machine vision systems. The most essential function is to convert optical signals into ordered electrical signals from the AFT-808 compact HD industrial camera.
Industrial cameras are generally installed on the machine line instead of the human eye for measurement and judgment, and are converted into image signals by digital image pickup targets and transmitted to a dedicated image processing system.
The image system performs various operations on these signals to extract features of the target, and then controls the action of the device on the spot according to the result of the discrimination.
8. Instrumentation
Automation plant's conditioning system
Instrumentation is an instrument or device used to detect, measure, observe, and calculate various physical quantities, material compositions, physical parameters, etc.
Vacuum leak detectors, pressure gauges, length gauges, microscopes, multipliers, etc. are all instruments.
Various instruments and meters need to be applied in an automated factory.
For example, measuring the pressure, liquid level, flow rate, temperature and other parameters required for some control processes requires relevant instrumentation.
9. Automation software
The heart of an automated factory
Automation software
As the industrial control system is connected to the traditional IT management system and the Internet, the general control software, general hardware and general protocols are increasingly used internally.
More common is the SCADA automation software.
The SCADA automation system (supervisory control and data acquisition) is what we call the data acquisition and monitoring system.
It is mainly a system that is supported by computer technology and performs automatic control of scheduling of various production processes.
SCADA automation software can automatically and accurately monitor production for a long time without being supervised, and obtain effective information data from it, providing a powerful evaluation reference for regulatory administrators.
10. Control cabinet
Automation plant's central system
Control cabinet
The control cabinet also includes many types, including:
 - Electrical control cabinet
 - Frequency control cabinet
 - Low voltage control cabinet
 - High pressure control cabinet
 - Pump control cabinet
 - Power control cabinet
 - Explosion-proof control cabinet
 - Elevator control cabinet
 - PLC control cabinet
 - Fire control cabinet
 - Brick machine control cabinet
Control cabinets for electrical, variable frequency, power, water pump, etc. are involved in the automation plant.
Different control cabinets are selected according to different needs to achieve different control functions.
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Claim Event Flow
This document was designed to show our Claim Administrators several scenarios that may occur throughout the life of a claim and what EDI transactions would be required for each scenario. This document covers the following:
 1. Claim Event Flow (as defined by the IAIABC)
 2. Establish or Acquire Claim
 3. Initial Payment or Equivalent
 4. Partial Suspension
 5. Suspension of all Indemnity Benefits
 6. Resumption of Benefits
 7. Suspension of Resumed Benefits
 8. File Any Time After First Report


text:
The Korean Energy Strategy Project
AUTHOR: Andrew Minchener
DATE: April 2008
This report describes a study, undertaken jointly by the Korea Electric Power Research Institute (KEPRI) and the IEA Clean Coal Centre, to consider the issues for comprehensive greenhouse gas mitigation in the power generation sector of the Republic of Korea. The emphasis is on the identification of the preferable technology and policy portfolios for CO2 mitigation options for coal-fired power plant within the Korean power generation sector. The current status of the power plant mix is described, as are the existing plans for expansion.
Under a base scenario, the expectation is that power generation will be dominated by the use of nuclear and coal, with some use of natural gas fired plant plus a very small proportion of renewables. However, with increasing pressure to control and reduce CO2 emissions, it seems likely that the Republic of Korea will have to adopt a different approach. An extensive modelling exercise was therefore undertaken to examine the impact of various policy measures on the introduction of future power plant in order to achieve significant CO2 emissions reduction. The results obtained are outlined as are recommendations for future activities that KEPRI might undertake to assist the Korean government in establishing a sustainable energy portfolio within the power generation sector.


text:
| Last Updated:
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The cause of ubiquitous cognitive differences between American self-identified racial / ethnic groups (SIREs) is uncertain. Evolutionary models posit that ancestral selection pressures are the ultimate source of these differences. Conversely, sociological models posit that these differences result from racial discrimination. To examine predictions based on these models, we conducted a global admixture analysis using data from the Pediatric Imaging, Neurocognition, and Genetics Study (PING; N = 1,369 American children). Specifically, we employed the methodology of genetic epidemiology to determine whether genetic ancestry significantly predicts cognitive ability, independent of SIRE. In regression models using four different codings for SIRE as a covariate, we found incremental relationships between genetic ancestry and both general cognitive ability and parental socioeconomic status (SES). The relationships between global ancestry and cognitive ability were partially attenuated when parental SES was added as a predictor and when cognitive ability was the outcome. Moreover, these associations generally held when subgroups were analyzed separately. Our results are congruent primarily with evolutionary models of group differences, but also with certain environmental models which mimic the predictions of evolutionary ones. Implications for research on race / ethnic differences in the Americas are discussed, as are methods for further exploring the matter.


text:
1. Community legislative acts shall be drafted clearly,
simply and precisely.
The drafting of a legislative act must be:
- clear, easy to understand and unambiguous;
- simple, concise, containing no unnecessary elements;
- precise, leaving no uncertainty in the mind of the reader.
This common-sense principle is also the expression of general principles of law, such as:
- the equality of citizens before the law, in the sense that the law should be accessible and comprehensible for all;
- legal certainty, in that it should be possible to foresee how the law will be applied.
The principle is particularly important in respect of Community legislative acts, which must fit into a system which is not only complex, but also multicultural and multilingual (see Guideline 5).
The aim in applying this principle is twofold: first, to render Community legislation more comprehensible; second, to avoid disputes resulting from poor drafting.
Provisions that are not clear may be interpreted restrictively by the Community courts. If that happens, the result will be just the opposite of what was intended by the incorporation into the text of grey areas intended to resolve problems in negotiating the provision (see Case C-6/98
ARD v Pro
Sieben ECR I-7599).
There may obviously be a conflict between the requirement of simplicity and that of precision. Simplification is often achieved at the expense of precision and vice versa. In practice, a balance must be struck so that the provision is as precise as possible, without becoming too difficult to understand. That balance may vary according to the addressees of the provision (see Guideline 3).
The author should attempt to reduce the legislative intention to simple terms, in order to be able to express it simply. In so far as possible, everyday language should be used. Where necessary, clarity of expression should take precedence over felicity of style. For example, the use of synonyms and different expressions to convey the same idea should be avoided.
Drafting which is grammatically correct and respects the rules of punctuation makes it easier to understand the text properly in the drafting language as well as to translate it into the other languages (see Guideline 5).


Aug 29, 2013
How Well do Utilities React to Major Storms?
4 min
By Tristan Anwyn When millions of customers were left without power after Hurricane Irene, utility companies found themselves in the publi...
By Tristan Anwyn
When millions of customers were left without power after Hurricane Irene, utility companies found themselves in the public eye.
The pressure of public scrutiny focused squarely on how they responded, and why there weren't better contingency plans in place.
So how does a utility company prepare for such a disaster? And how well are those preparations working?
First Responders
When a disaster such as a hurricane or tornado hits, utility companies are considered among the first responders.
Their aim is restoring power to as many customers as possible in the shortest time. This can look rather hit and miss from the outside with many customers dissatisfied with the service they received after a serious power outage.
There's no doubt that energy companies do their best to restore power after a natural disaster such as Superstorm Sandy or the Oklahoma tornados, but how does a utility company handle such a disaster.
What are some of the unique problems facing utility companies in the face of nature's worst?
The Mutual Assistance Network
Preparedness is everything, and when a utility company knows a big storm or other natural disaster is on the way, it's important that they galvanize their workers and get ready as quickly as possible.
As a storm comes in, each company's command center becomes quite literally central to the whole rescue effort, communicating plans and logistics with all utility crews. Power is usually restored in this order:
* Critical facilities – hospitals and emergency services, water facilities, and care homes;
* Main thoroughfares – those with necessary community services such as gas stations or food shops;
* Residential areas and individual homes.
Utility companies operate a mutual assistance network, which is called into action when a storm is coming or a natural disaster strikes.
This network means that companies can borrow crews from neighboring companies, pooling their resources to respond to the need of affected areas as quickly as possible.
Dangerous Occupation
The time immediately following a natural disaster is a dangerous one for workers.
Teams are sent out to assess areas and start co-coordinating efforts to get power back as quickly as possible. This is considerably more dangerous than their normal day jobs, with such hazards as:
* Floodwater;
* Electrical power surges;
* Falling debris;
* Darkness;
* High winds.
These physical dangers can slow down the process of restoring power, and along with what appears to be a lack of organization, can cause a lot of frustration for customers.
So How Well Are Utility Companies Doing?
Customers' reactions to the utility companies' responses have been varied.
Following the Oklahoma tornadoes, 41,000 OG&E customers were left with no power. Within days, this was reduced to 5,000, with OG&E sending out many crews to repair the damage.
On the other hand in New York City, the Long Island Power Authority failed to restore power to many of their customers, leaving people in freezing conditions two weeks after the storm.
How Can Utility Companies Improve Their Response?
One of the main complaints from customers following Superstorm Sandy was a lack of organization, with one man being told he had power when his house was clearly without it.
These disasters have opened up a wider discussion about how Utility companies can best respond to natural disasters.
To start with, a more tightly organized approach and an overhaul of the Mutual Assistance Network would seem to be in order. It may also be necessary to look at larger issues. For example, should America follow Europe in burying its power lines? And how does privatization affect utility company's responses?
Whenever they strike, natural disasters raise necessary questions about utility companies' preparedness.
Some utility companies have been praised for improving their reactions, while others have left a lot of customers high and dry.
When all is said and done, utility companies need to regroup and work out what they can do better when the next crisis arrives.
About the Author: Tristan Anwyn is an author who writes on subjects as diverse as health, positive thinking, Steve Wynn, and business.
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Jun 7, 2021
Trafigura and Yara International explore clean ammonia usage
Dominic Ellis
2 min
 - The supply of clean ammonia by Yara to Trafigura Group companies
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text:
Oral and graphic expressions of the Wajapi
Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2003)
- Wajapi communities in northern Amazonia have a long history of producing and using vegetable dyes to adorn their bodies with geometric motifs and symbols. Motifs of the jaguar, anaconda, butterfly and fish animate the worldview and oral traditions of the Wajapi.
- © Dominique Tilkin Gallois
The Wajapi of the Tupi-guarani cultural-linguistic group are indigenous to the northern Amazonian region. Some 580 Wajapi live in 40 small villages on a specially designated territory in the state of Amapá. The Wajapi have a long history of using vegetable dyes to adorn their bodies and objects with geometric motifs. Over the centuries, they have developed a unique communication system – a rich blend of graphic and verbal components – that reflects their world-view and enables them to hand down knowledge about community life.
This graphic art is known as kusiwa and its designs are applied with red vegetable dyes extracted from the roucou plant mixed with scented resins. The Wajapi consider that the technical and artistic proficiency required to master the drawing technique and the preparation of the dye cannot be attained before the age of forty. Commonly recurring motifs include the jaguar, anaconda, butterfly and fish. Kusiwa designs refer to the creation of humankind and come alive through a rich corpus of myths. This body art, closely linked to Amerindian oral traditions, possesses multiple meanings on socio-cultural, aesthetic, religious and metaphysical levels. Indeed, kusiwa constitutes the very framework of Wajapi society and is endowed with significance extending far beyond its role as a graphic art form. This coded repertory of traditional knowledge is perpetually evolving as indigenous artists are constantly reconfiguring the motifs and inventing new patterns.
Although the Wajapi live on their protected territory, their traditional lifestyle, including the practice of kusiwa, is in danger of losing its symbolic significance and may even disappear altogether. Such a loss would drastically alter the community's social and cosmological reference points. The principal threats stem from disinterest on the part of the younger generation and the decreasing number of Wajapi proficient in the kusiwa repertory.
These videos (and many more) can also be consulted through the UNESCO Archives Multimedia website
Safeguarding project (07-2006/11-2008)
Wajapi communities in northern Amazonia have a long history of producing and using vegetable dyes to adorn their bodies with geometric motifs and symbols. Motifs of the jaguar, anaconda, butterfly and fish animate the worldview and oral traditions of the Wajapi.
The safeguarding project aims at supporting the Wajãpi in their efforts to document their skills, experiences and knowledge related to their manifold oral and graphic expressions as they are embodied, most prominently, in the kusiwa graphic system. This project will complement the broader set of activities undertaken by the "Wajãpi Programme", which started in 1992.
The project focuses on documentation and dissemination of information related to the oral and graphic expressions of the Wajãpi. The participative documentation will be undertaken by the Wajãpi themselves. The project is composed of three main lines of action: (i) undertaking of an ethnological survey, (ii) elaboration of an inventory in the form of an electronic database in close cooperation with the respective custodians, (iii) implementation of dissemination and diffusion activities on Wajãpi oral and graphic expressions" focus on both young Wajãpi and public managers working with indigenous communities in order to increase their knowledge and appreciation of Wajãpi oral and graphic expressions and the need to safeguard the context in which they are practiced.


Fences Play According to Aristotle
1540 Words7 Pages
Using Aristotle's descriptions of Tragedy, I classify Fences by August Wilson as a tragic play. The elements of tragedy, Troy Maxson as a tragic hero, and tragic plot were evident throughout the play. Also, the feeling of catharsis at the end-which is proper of tragedy, was clearly identifiable. I. Fences fits into the tragic genre based on the points given by Aristotle. In Poetics, he defines tragedy as "the imitation of an action that is serious and also as having magnitude, complete in itself."
- Aristotle's idea is that the plot has a beginning middle and end and all parts follow each other in concise fashion. o In the beginning, the hero is a garbage man, who previously was given a chance to participate in professional
…show more content…
The promise of change is empty; he cares only about change itself…The so-called realities of the social world around him matter little, for he dances to an internal rhythm, answering a call for self-authentication that springs from a cultural, even cosmological, dimension." (Pereira 38)
- Aristotle then says in his descriptions, "Thirdly, character must be true to life: for this is a distinct thing from goodness and propriety, as here described." o Troy fits a character who would have lived in the 1950's, having experienced discrimination, an abusive father and a changing society towards African-Americans in that period. o Troy says in Act 1, Scene 3 pg. 37 "…The white man ain 't gonna let you get nowhere with that football noway." Troy's beliefs ran true to his experiences all through the play.
- The last characteristic of a tragic hero is that he must be consistent. o Troy was consistent in his belief that the black man could not get ahead in America. o He behaved and learned from the examples given by his own father. o "The events of almost a century had underscored the distinction between de jure and de facto. Legally, blacks had been free for ninety four years, but practically they had little or no access to any of the benefits that ordinary citizens take for granted-recourse to the law, equal employment opportunitites, education." (Pereira 36) III. Troy's
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Ask Dr. Math - Questions and Answers from our Archives
A 3-D Object that Fits 3 Holes
Date: 06/03/99 at 20:25:08
From: Gretchen
Subject: Geometry
Dr. Math,
I have three shapes: a triangle with the same bisector length from
each vertex, a square with the same length as the bisector of the
triangle, and a circle with a diameter the same length as a side of
the square and the length as the bisector.
I have to come up with an object that can fit in the three different
holes blocking all light and sliding all the way through without
forcing it. I have come up with the coke can squash, but it doesn't
seem to work. What I did was create a cylinder and cut the two faces
so that it lay like this:
thus creating the triangle from the front, the cone from the faces and
the square from the bottom, only the square fit only halfway through.
Is there any other way to the problem, or is my venture correct?
Thank you for your time. Hope you have as much fun with this problem
as I have.
Date: 06/04/99 at 11:49:42
From: Doctor Rick
Subject: Re: Geometry
Hi, Gretchen. This is an interesting challenge!
In your description of the problem, is it possible that you mean for
the triangle to have a height equal to its base? The way you describe
it, it would be an equilateral triangle, with height equal to
sqrt(3)/2 times the base, but in this case either the square would
have to be a rectangle or the circle would be an ellipse. They
couldn't both have the same height and width.
If I understand your description of your proposed solution correctly,
the axis of the cone is horizontal in your triangle diagram. The two
tilted sides are ellipses where the cylinder was cut off. I don't know
quite what you mean when you say "the square fit only halfway
through," but you do have a problem in this direction.
Another way to think of the problem is in terms of the shadows cast by
a light directly above, in front of, or to the side of the object. The
shadow cast by the overhead light with your object will be a rectangle
with half ellipses stuck on the sides. This is what it looks like from
the top:
 * : * * : *
 * : * * : *
 * : * : *
 * : * : *
 * : * : *
 * : * : *
 * : * : *
 * : * : *
 * : * * : *
 * : * * : *
This is obviously not a square, though its maximum width and its
height are correct so it will fit through the hole; it just won't fill
it so as to block the light.
There is a way to do it correctly. In fact, the shape I have in mind
came up recently in the answer to another question about why the
volume of a cone isn't half the base area times the height.
Stand your cylinder up vertically. It should have a height equal to
the diameter of the base circle. You will see a circle from the top
and a square from front and side. Only one view must be changed.
Draw a diameter of the top circle, front to back. Can you see what
parts have to be removed to give the correct front view without
spoiling the other views? There is more than one way to do this.
- Doctor Rick, The Math Forum
Associated Topics:
High School Geometry
High School Higher-Dimensional Geometry
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text:
Population growth analysis of an age structure population model nina håkansson it is reasonable to assume that a population will not increase forever the. Population growth: essay on population growth a second period beginning with the rise of agriculture that was the period of first major increase in human population. Research topic population policy and demographic analysis the population of sub-saharan africa is expected to increase by more than 1 billion by 2050. 125 part 2 / basic tools of research: sampling, measurement, distributions, and descriptive statistics chapter 9: distributions: population, sample and sampling. Demography is the study of human population demographic analysis can relate to whole societies or to smaller experience a large increase in population. Business news as well as population estimates and projections the population bomb is a best-selling book written by stanford university professor paul r ehrlich and.
Thus, the steady increase in population during 1921-51 was the outcome of a sharp decline in the mortality rate. Example of an essay on population by lauren bradshaw february 17, 2010 sample essays the world is a very big place with a population of 6,234,250,234 people and. Analysis on population of india (# if fertility growth rate is not continuously decreasing & population increase day by day then by 2030 india will cross china. The book an essay on the principle of population was first published anonymously in 1798 as population would increase geometrically. Topics site search population projections population trends poverty r media content analysis and other empirical social science research. In truth their evolving population was thought-about a mathematical analysis instead of a demographic one population increase and sustainability.
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text:
Lost and Found: Shoebox Yields Cuneiform Cone
Moving house often entails rediscovering things you forgot you owned. As Andrea Berlin was setting up our archaeology lab after our move to Nicholson Hall, she unboxed a mystery. She was unpacking the contents of the teaching collection assembled by William McDonald, professor of classics and archaeology from 1948 to 1980. This collection was stored in scores of ballet-shoe boxes, of 1950s and 1960s vintage. Among the potsherds, coins, and other artifacts was a clay cone inscribed in cuneiform. Andrea gave me the cone, saying, "Look what I found." After all, I'm a cuneiformist, so presumably I could read it. (Spin and rotate the cone to see it from different sides.)
But this cone gave me trouble. First, its surface was scratched and gouged, partly obliterating numerous signs. Second, I usually read cuneiform tablets from the mid-2nd to mid-1st millennium BCE, but clay cones like this were used for a type of royal inscriptions on building foundations primarily during earlier periods, in the late 3rd to early 2nd millennium BCE. Handwriting changes over the centuries, and so does the language of writing. For me, then, reading this cone was like the average literate English speaker trying to read something from Christopher Columbus's time—or even Charlemagne. I couldn't even know how old the cone was, until I could read it. A label glued on its base said, "Cuneform [sic] document. Mesopotamian. Time of Moses. Bovey Collection. Goldstein." That was no help—when did the writer of the label think the time of Moses was?
Finally, one afternoon sunlight beaming in my office window revealed the first line: the royal name Naram-Sin. No way, I thought—this couldn't be Naram-Sin, grandson of Sargon of Akkad (c. 2300 BCE), creator of the world's first empire! For one thing, his scribes wrote in Akkadian, but the cone was inscribed in Sumerian. (After the fall of Akkad, scribes resumed using Sumerian for royal inscriptions.)
There were two later and less important Naram-Sins: a king of Ashur, and a king of the trans-Tigridian city of Eshnunna, who both ruled in the 19th century BCE. Could it be one of them? No, Naram-Sin of Ashur was excluded, since royal inscriptions from early 2nd millennium Ashur were not written on cones and not in Sumerian. As for his namesake at Eshnunna, I couldn't find "king of Eshnunna," or the like, anywhere on the cone; nor could I recognize much else in the text. I put the cone aside for the time being.
In August, I examined the cone again. I compared it to the known inscriptions of the Naram-Sins and their contemporaries, which have been collected and edited by Douglas Frayne and A. Kirk Grayson. Meanwhile, I began to make a copy of the text, sign by sign, scratch by scratch. The cone matched nothing from any of the Naram-Sins, though bits of the text matched bits of other royal inscriptions. For example, halfway around it I could read "He built his royal palace." Well, of course, that's what I thought he did! But it was comforting to see this clearly stated on the clay, since I still wasn't certain how to read the rest.
Indeed, I almost wondered whether this cone was a forgery. "Naram-Sin... gobbledygook... built his royal palace... jabber-jabber-jabber"–the object looked ancient, but the text on it did not quite compute. This Naram-Sin was neither the king of Akkad, the king of Ashur, nor the king of Eshnunna. There was no other known king named Naram-Sin, and no one but kings had cones inscribed for them. I had to consult with an expert in the relevant periods and text genres, so I e-mailed a copy to Douglas Frayne in Toronto.
The following day Doug called me back, pretty excited. The cone turns out to bear an inscription of Naram-Sin, king of Uruk, previously unknown! Together on the phone we worked out most of the text by comparing it with other royal inscriptions from the same time. We decided that our newly discovered Naram-Sin probably reigned just before Sin-kashid, a minor but well-attested king who ruled Uruk about when Hammurabi's great-grandfather ruled Babylon (early to mid-19th century BCE). In fact, three inscriptions of Sin-kashid are in local collections, one at the Science Museum of Minnesota and two in the University Library's Special Collections and Rare Books in the Elmer L. Andersen Library.
Our Naram-Sin can hardly have ruled Uruk very long, or surely more than one record would have survived from his reign. Perhaps he got as far as laying the foundations of the palace and having this one single cone inscription drafted to record the construction, before Sin-kashid usurped the throne as well as the palace. Or perhaps–just possibly–a scribe made it all up, while practicing at his job writing royal inscriptions. We may never know, unless another text attesting Naram-Sin, king of Uruk, turns up, maybe in another shoebox no one has opened since it was packed away back in the 20th century CE... Read Part 2


Let's go to the Bastion The spirit of the Domaine
A unique place
À la découverte du bastion
"La Tour des filles "(Girls' tower) is part of the 5 bastions still present in Beaune. It was built at the beginning of the 16th century and was named after women with loose morals who lived nearby. It was renamed in the meantime "Bastion de l'Oratoire", because of the chapel adjoined. Used since the beginning of Domaine Chanson, the Bastion houses barrels where the wines of the domaine are aged.
When Mars and Bacchus meet
The construction of this real defence tower was decided under Louis XI and achieved under François Ier. Built as a defence tower and classified as an historic monument with its 8-metres thick walls, it became the property of Chanson under the Revolution. The constant temperature and humidity guaranteed by its walls make it an ideal cellar.
Today on 4 different levels, the fourth built in 1826, the Bastion Chanson is entirely dedicated to wine ageing. The first three house red wines where each floor is destined for a vintage. As for the fourth floor, it accommodates white wines.
À la découverte du bastion
Roots that stretch over several centuries... Discover Chanson history!


ImageList provides a container for image data. The control is not visible directly. It is instead referenced from other controls such as ListView, which acquire the images from index values into the ImageList.
Info:The ImageList is simple to create. We add images manually or dynamically.
ImageList screenshot
Add ImageList
To begin, let's add an ImageList control to your Windows Forms program in Visual Studio by double-clicking on the ImageList entry in the Toolbox. The ImageList will appear in the tray of the designer at the bottom.
Next:Try right-clicking on the ImageList instance and select Properties. From there, you can add images manually in the dialog.
How can you reference the ImageList in other controls such as the ListView? First, create the ImageList. Then, find the LargeImageList and SmallImageList properties on the ListView.
Instance:Please select the ImageList instance you created as the value of these properties.
Then:You can use the ListView to specify the index of the images inside your ImageList.
Add Images
You can add any image to the ImageList dynamically by invoking the Add method. This method has several overloaded versions and you can call any of them. Here we look at code that uses the Add method.
In this example, we have a list of file names, and then add each as an Image object using the Image.FromFile method to read the data. The Form1_Load event handler is used to make sure the code is run at startup of the application.
Example of using Add method on ImageList: C#
using System;
using System.Drawing;
using System.Windows.Forms;
namespace WindowsFormsApplication1
 public partial class Form1 : Form
 public Form1()
 private void Form1_Load(object sender, EventArgs e)
 // Add these file names to the ImageList on load.
 string[] files = { "image.png", "logo.jpg" };
 var images = imageList1.Images;
 foreach (string file in files)
 // Use Image.FromFile to load the file.
C# language
By providing a container for images, the ImageList control gives Windows Forms programs another level of abstraction for managing images. You can reuse the same image in multiple places or with multiple controls.
Finally:You can add images manually through Visual Studio or dynamically through C# code using the ImageList.
C#: Windows


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A teen helped to create a new material that cures its own cuts
WASHINGTON, D.C. — A scratch on your brand new car can be expensive to fix. A teen has helped to make a new plastic that might do more than protect your bumper: It could make small scratches disappear.
Emily Spencer, 18, helped create a plastic that heals itself under ultraviolet light. The material could be used one day to make everything from scratch-proof eyeglass lenses to the door panels and fenders of your next car.
A senior at Hathaway Brown School in Shaker Heights, Ohio, Emily presented her project at the Intel Science Talent Search. The annual event is run by Society for Science & the Public and sponsored by Intel. It brings 40 high school students here to show off their research and to compete for cash awards of up to $150,000 each.
Emily loves thinking about the materials that make up the objects we use every day. "You can look at something like your phone case, and it's just an object," she says. People tend to overlook the materials that go into making such objects, she notes. But "we can improve those things and make them better."
Working with a graduate student in a nearby lab at Case Western Reserve University in Cleveland, Emily developed a new kind of polymer — a material made of long chains of repeating groups of atoms. It looks like a "really thick sort of yellowish plastic wrap," but it's far more than that. When Emily's plastic is scratched, it can heal itself.
All it needs is a quick burst of ultraviolet (UV) light — a part of the light spectrum that is invisible to the human eye. Place a piece of her plastic, scratched with a razor blade, under a UV lamp. The scratch heals while you watch. The healed plastic is just as strong as the original.
The plastic also has a feature called shape memory. A flat piece can be heated and twisted into a new shape, such as a spiral. It holds that new shape when the plastic is cool. But heat it again, and the material returns to its original, flat shape.
"It's sort of like hair," Emily explains. "If my hair is naturally curly and I iron it straight, it will hold the straight shape. But my hair won't be straight forever. It will 'remember' that it's curly. It will go back to being curly when it's exposed to water." She was part of a team that published details on the design of the new plastic in a scientific journal in 2013.
The plastic is a smart material — one that can change when scientists apply stress, heat or water. The material's flexibility comes from links between the repeating groups of atoms that make up the polymer. Its healing powers come from atoms of sulfur in the plastic. The sulfur atoms bond to each other to form a disulfide bond, holding the plastic in a particular shape. But under UV light, those sulfurs break apart.
"When the bonds break with the UV light, the material becomes kind of flowy," Emily explains. "It can flow into cracks and imperfections in the material," healing scratches. Turn off the UV light, and the sulfurs bond together again. Meanwhile, the scratches are gone.
All those sulfur atoms made a nasty stink in the lab. "The reaction [to make the material] smells like rotten eggs," the teen notes. "I kept apologizing to people in the lab for the smell."
Emily would like to be able to apply materials like hers to objects such as cars. "If you had your car coated [with the plastic] and then it got scratched, you could first use the heat to activate the shape memory to bring the pieces closer together," she notes. "Then you could use the UV light to heal the leftover scratches." This material, and others like it, might one day make those expensive scratches a thing of the past.
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(for more about Power Words, click here)
atom The basic unit of a chemical element. Atoms are made up of a dense nucleus that contains positively charged protons and neutrally charged neutrons. The nucleus is orbited by a cloud of negatively charged electrons.
bond (in chemistry) A semi-permanent attachment between atoms — or groups of atoms — in a molecule. It's formed by an attractive force between the participating atoms. Once bonded, the atoms will work as a unit. To separate the component atoms, energy must be supplied to the molecule as heat or some other type of radiation.
disulfide A pair of sulfur atoms linked together.
Intel Science Talent Search An annual competition run by Society for Science & the Public and sponsored by Intel. It brings 40 high-achieving high school seniors to Washington, D.C. to show their research projects to the public and to compete for awards.
journal (in science) A publication in which scientists share their research findings with the public. Some journals publish papers from all fields of science, technology, engineering and math, while others are specific to a single subject. The best journals are peer-reviewed: They send out all submitted articles to outside experts to be read and critiqued. The goal, here, is to prevent the publication of mistakes, fraud or sloppy work.
peer review (in science) A process in which scientists in a field carefully read and critique the work of their peers before it is published in a scientific journal. Peer review helps to prevent sloppy science and bad mistakes from being published.
plastic Any of a series of materials that are easily deformable; or synthetic materials that have been made from polymers (long strings of some building-block molecule) that tend to be lightweight, inexpensive and resistant to degradation.
polymer Substances whose molecules are made of long chains of repeating groups of atoms. Manufactured polymers include nylon, polyvinyl chloride (better known as PVC) and many types of plastics. Natural polymers include rubber, silk and cellulose (found in plants and used to make paper, for example).
shape memory polymer A smart material made of long chains of repeating atoms. It has the ability to take a new shape and then return to a former shape when light, heat or some other stimulus is applied.
smart material Materials designed by researchers to change in a controlled way when triggered by a certain temperature, stress, moisture or other stimulus.
Society for Science and the Public (or SSP) A nonprofit organization created in 1921 andbased in Washington, D.C. Since its founding, SSP has been not only promoting public engagement in scientific research but also the public understanding of science. It created and continues to run three renowned science competitions: The Intel Science Talent Search (begun in 1942), the Intel International Science and Engineering Fair (initially launched in 1950) and Broadcom MASTERS (created in 2010). SSP also publishes award-winning journalism: in Science News (launched in 1922) and Science News for Students (created in 2003). Those magazines also host a series of blogs (including Eureka! Lab).
stress (in biology) A factor, such as unusual temperatures, moisture or pollution, that affects the health of a species or ecosystem. (in physics) Pressure or tension exerted on a material object.
ultraviolet A portion of the light spectrum that is close to violet but invisible to the human eye.


Blue Dyers Woad Isatis Tinctoria Indigotica Seeds
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Blue Dyers Woad Isatis Tinctoria Indigotica Seeds
Big packet of 50+ seeds!
Commonly called Woad, but also known as Da quing ye, Tein-ching, Wad, French Guede, Guede, Guado, Glastum, Pastel, Weat, Indigowoad root, Ban lan gen, Radix isatidis, Isatis indigotica, and finally, most commonly of all, blue dyers woad.
It is an important plant historically in traditional Chinese medicine, where it is called Tein ching and used for blood disorders and cancer. The dried roots are harvested, ground, and made into a strong tea which is very popular throughout China and other parts of Asia. That said, the risk of allergic reactions is very real, as is dizzy spells, and at very very high doses, even kidney damage.
Research is currently still ongoing into its usefulness as a cancer treatment, due to it's very high levels of glucobrassicin, particularly in damaged young growth.
When stressed by grazing or harvest it can produce >65% more glucobrassicin than is normally present in healthy plants, and this is thought to be one of the key active ingredients.
Time will tell.
For the moment I do not recommend consumption in any way, at all, but it does make a cool dye!
So much in fact that UK production has increased to meet the demands of modern inkjet printers, and as a base ingredient for blue, black, and purple dyes.
Its sustainability, biodegradability, and general all round environmental safety has led to use as a wood protectant in Germany, much like our CCA (Copper Chrome Arsenate) "treated pine" over here…
There you have it, another handy dye plant.
Wild harvested sustainably, no chems, no nasties, no problems!!!


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Putnam Gallery, Science Center 136 - Ongoing
TIME, LIFE, & MATTER: Science in Cambridge
Harvard has a rich history of scholarly contributions to the various natural, physical, and social sciences. Time, Life, & Matter features many important instruments that helped make those contributions possible.
Highlights of the exhibit include a multitude of stories told in part by such items as a geometric sector designed by Galileo, electrical experimentation apparatus purchased on Harvard's behalf by Benjamin Franklin, a suite of clocks illustrating the development of modern synchronized time-keeping, medical apparatus designed, in part, by Charles Lindbergh (yes, that Charles Lindbergh), and the artifacts of top-secret research conducted during World War II.
Download a thematic guide for Time, Life, & Matter.
Download Telltale Apparatus, by Christopher Reed, Harvard Magazine, Mar/Apr 2006.
View instruments from Time, Life, & Matter using Waywiser, our online database!
Printing Knowledge in Early Modern Europe
Patent Republic: Materialities in Intellectual Property in 19th-Century America
Science Center 136
Monday - Friday
11:00am - 4:00pm
Special Exhibitions Gallery
Monday - Friday
9:00am - 5:00pm
Foyer Exhibition Space
Science Center 371
CLOSED FOR INSTALLATION
Free and open to the public.
Children must be escorted by an adult.
Both the Putnam Gallery and Special Exhibitions are closed on University Holidays.
The Collection of Historical Scientific Instruments is located inside the Science Center, 1 Oxford Street, on Harvard's Cambridge campus.


Sunday, June 12, 2011
Visualizing GIS data in JavaFX 2.0 beta using GeoTools
Geographic data mostly comprises of polygon coordinates sets along with attributes, like country or city name, etc. This is quite easy to visualize in JavaFX, which supports rendering for SVG paths.
In the article, I show how to read such GIS data from ESRI type database files using open source library GeoTools.
The data itself comes for free from
Sample code can be found here: Browse on GitHub.
GIS data usually comes in form of SHP and DBF files. In order to read it, we use GeoTools parser. Following code iterates over so called "features" from within data files and retrieves name attribute and shape geometry.
Next, we need to create JavaFX polygons for each feature from iteration. Small note here. Each feature may comprise of multiple polygons. For example "United States" shape may contain separate polygon for Alaska. So we need additional loop to generate such polygons.
In order to create a polygon in JavaFX, we use Path class along with MoveTo and LineTo path elements. Following snippet does the job.
The remaining part is to implement zoom and panning functionality. This is fairly easy in JavaFX. We can use translate and scale properties from main Group shape. Panning functionality is handled using following snippet:
Zoom is coded this way:
That's it. Now we have basic GIS data viewer in JavaFX 2.


Class in the Empire
In the Empire, society is divided into three classes: the Augusts, the Knights, and the common.
The Augusts are the highest ranking social class and the only class, according to tradition, that can become Imperial Councilors and achieve certain other government posts.
The Knights are the second tier, having their origin in the Imperial military. At the time of the conquest of the Anthanian peninsula, males of young age were conscripted to fight the war, and supplied with horses for the effort. They and their descendants, plus steady new additions, became members of the Knightly class. The Knights are the second largest social class and one that foreign nobles of allied nations are traditionally brought into.
Emperors may come from either the August or Knightly classes but not the common.
The common are Imperial citizens who have rights but are not noblemen. They form up to 95 percent of the population.