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Could someone explain how I would find the derivative of the following function? I am completely lost: $$f(x) = e^{i(x!^{\log x})}$$
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Do you really mean "$x!$"? – Arturo Magidin Jun 10 '12 at 3:07
$\,x!=\Gamma(x+1)\,\,,\,\,x+1\neq\,$ non-positive integer? – DonAntonio Jun 10 '12 at 3:09
_USER_ Yes, it is, but then I ask just what, apparently, Arturo meant to ask: how would you define $\,x!\,$ for a positive non-integer? – DonAntonio Jun 10 '12 at 3:17
Well, then is what I asked before! You're going to need the derivative of the gamma function, the polygamma: – DonAntonio Jun 10 '12 at 3:30
_USER_: You can't restrict $x$ to positive integers and ask about derivatives. The computation of the derivative requires you to evaluate the function arbtirarily close to the point you want. Even if the "point you want" is an integer, points arbitrarily close to it will not be. So, no matter what, you'll end up having to deal with the derivative of the Gamma function. – Arturo Magidin Jun 10 '12 at 3:35
1 Answer 1
up vote 4 down vote accepted
For complex $\,z\,$ with $\,\operatorname{Re}(z)>0\,$, $$\Gamma'(z)=\int_0^\infty t^{z-1}e^{-t}\log t\,dt$$ so $$\left(e^{ix!^{\log x}}\right)'=e^{ix!^{\log x}}\left(ix!^{\log x}\right)'$$ Now, since $\,\displaystyle{x!^{\log x}=e^{\log x\log(x!)}}\,\,and\,\,\log x!=\log\Gamma(x+1)$, we get$$\left(ie^{\log x\log x!}\right)'=i\left[\frac{\log x!}{x}+\log x\frac{\Gamma'(x+1)}{\Gamma(x+1)}\right]e^{\log x\log x!} $$Now put together all the above and have sweet mathematical nightmares.
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+1 for mathematical nightmares! – AvatarOfChronos Jun 12 '12 at 14:50
Your Answer


text:
The sphragis of Heliodoros, genealogy in the Aithiopika, and Julian's Hymn to King Helios.
This article analyses the final sentence of Heliodoros's Aithiopika as a sphragisan autobiographical statement by the author. Heliodoros here stresses his descent from Helios, as one of characters in the romance, Persinna, also does. However, while genealogy (or physis) is an important element it is counterbalanced by the relativization of knowledge in the Aithiopika - nomos is king. The tension between these concepts is resolved by reading the romance in the light of Julian's Hymn to Helios.

source: openbmb/Ultra-FineWeb


text:
value to be displayed. You can zoom or expand a desired spectrum region using the mouse to position two lines marking the left and right limits of the expansion. Click "Zoom to original size" to return to the full display. On top of a structure display, there might also be a symobl (), whch shows that there are 3D-coordinates available for this structure. They can be viewed in Java-mode. The structure shown in the Details window is shown as a graphic or, if you are in Java mode, via the JChemPaint or JMol applet, depending on if you have got 2dor 3d-coordinates. The structure in JMol can be manipulated (scaling, translation, rotation) via a menu which can be accessed by pressing the right mouse button while in the structure window.
- Additional Data: This gives text information about Structures (names, weight etc.) and spectrum (measurement conditions etc.).
- Download: The download tab offers the viewing and download of structure and/or spectrum in various formats. Choose a format and click the "Request" button.
If there are several spectra of one type, they can be viewed by vertical scrolling. Order is by spectrum type. Calculated or predicted spectra come after measured spectra.
Note: the atom numbers (labels) may appear to be rather arbitrary; they are defined by the numbering scheme generated by the structure editor (depends on the order of drawing operations) or present in the mol file used as input. The numbering will most likely not correspond to IUPAC or any other systematic scheme. This is a major inconvenience when comparing data for a variety of related structures.
If you are a registered contributor, you can also add a new spectrum for an existing molecule in the database by clicking the "Add a spectrum" button. A database record of particular interest can be added to a "favorites" list by clicking the "Bookmark" button. The name of the structure will then be displayed in the bookmarks section at the top of the page and you can recall the structure by clicking it's bookmard name.
The link described as "Copy molecule link" on the bottom of the page can be used as an external link to exactly this dataset without searching for it. For copying it, use the context menu (right click with the mouse) of your browser.
The search history window in the right half of the "Search" pane will keep a history of all searches performed in the current session (log-in) or, for registered and logged in users, for up to 50 searches over the current and past sessions. Single or multiple searches shown in the history window can be repeated by marking one or more check boxes and clicking the "Repeat Search" button. If multiple searches are selected, you can choose if they will be "and" or "or" combined. The "and" option menas you get all datasets fullfilling all conditions at the same time, "or" means they fullfill at least one condition. "And" should be used if you want to combine different categories, e. g. a solvent and a chemical formula. "Or" will typically be used to combine several possibilities of the same category, e. g. several solvents. You can also choose the "not" option. This will put a not in front of all conditions and therefore select everything not fullfilling the conditions. This means it will be the "rest" of the database.
In order to submit data for nmrshiftdb2, you need to be a registered user. Please do not use the "back" and "forward" button of your browser while doing a submit. To do a submit, click on the "Submit molecule" tab. You will see a timeline with various stations where you can enter data. We recommend to start from left to right, but you can always go to any station by clicking on it. If you finish one station by clicking the prominent blue button you get to the next station. Green means the data for this station have been correctly filled in (if a station is green from start, it is optional).
What you can and have to enter depends on the type of spectrum you want to submit. There are the following possibilities:
- 1D spectra with peak list: These are the standard one dimensional spectra like 13C or 1H. Here you have to submit a peak list and ideally assign the peaks. A spectrum image will be created from the peaks and displayed, if no other image is available.
- Other 1D spectra: For these, e. g. NOE specta, no peak list is needed. Instead a spectrum image must be uploaded, which will be displayed. An unassigned peak list can still be entered, if wished.
- 2D spectra: For these no peak list is needed. Instead a spectrum image must be uploaded, which will be displayed. An unassigned peak list can still be entered, if wished.
The stations on the timeline are the following:
Choose experiment (ony on lab servers, not relevant on the public instance): Here you can choose one of your orders. If you do so, data from the order (structure, conditions) will be used to populate the submit. If you skip this, you do a normal submit.
Enter molecule: Here you enter the structure (if you add a spectrum to an existing structure, this is already filled in). You can either upload a file in common formats (valid formats) via the "Choose file..." button or activate the Java based version via the symbol. You can then use the JChemPaint applet to interactivly paint structues. You can also import a file by Copy & Paste via the "Import text by copy &paste button". You do not need to (but you may) draw implicit hydrogens. After you drew or imported your structure, submit it by clicking the blue "Submit molecule" button. Your structures are collected in the structures history. If you want to change the structure later, just hit "Enter molecule" again.
You can upload mol and sd files from MNova (sd files only work in MNova 11 or higher) or mol files from ChemDraw with labels via the "Upload" facility below the structure editor. The structure and custom numbering, if in the file, will be read. From the sd file the shift lists will also be read. If there is more than one spectrum in the files you can choose which one you want to submit in the next step ("Set spectrum type"). If you want to submit more than one spectrum you can repeat the upload after submitting a spectrum.
Set spectrum type: Here you enter the type of the spectrum (13C, 1H etc.) you want to submit.
Add shifts: Here you enter the signals of your spectrum. For 1D spectra you need to give one signal per line, shift and intensity separated by ;. Example:The intensities are optional. They will be scaled to be in a range from 0 to 1, if they are not. After you input the spectrum, click the "Submit signals". You can add additional signals later by the same steps. You can also upload a jcamp file by hitting "Browse..." and choosing the file. If the file contains a peak table, this will be used, if not, a peak picking is performed. If the spectrum type (nucleus) is in the file, it will be used, else you also need to choose the spectrum type. If the spectrum type is 1H, you need to perform a partly manual peak picking. You will be presented with an applet containing all individual peaks. Most likely, these will contain multiplets, noise etc. You need to left click on the field and go over some peaks and release the mouse. Then the average of all peaks in this range will be calculated and added to the peak list on the right. If you submit, this peak list will replace the automatic peak list.
For 2D spectra the format is slight different:The first two figures are the values on the two axis. The third gives the coupling constant and is optional. These peaks will not be processed in any way, but saved as given.
Do assignment (for standard 1D spectra only): Here you have got one line per atom, showing a drop-down box for the shifts and the expected range for the shift. These predictions are calculated based on HOSE codes, as in the prediction function. Additionally there is a range for the signal given. In some rare cases the predicted value will be identical with one of the limits of the range. Blue figures indicate that your value is inside this range, red means outside. Choose a shift for every atom. In the "Atom identifier" column you can enter identifiers for the atoms (any character allowed) which will be used instead of the standard numbers. You should make sure identifiers are unique. If there is no identifier for an atom the number from the "Atom number" column will be used. You can also use this to renumber the atoms by using numbers as identifiers. Again the numbers should be unique. If you enter a spectrum for an existing structure you can chose an existing set of identifiers below the structure diagram. "Standard" means the numbers as they appear in the structure drawing. You can also edit an existing set by changing some identifiers. Shifts not assigned can be deleted in a later step or kept as unasssigned - this is also a way to get rid of mistyped shifts. After you assigned all signals, press the "Submit assignments" button. If you forgot to submit a signal, finish this step and go to "Add shifts" and then "Do assignments" again. If you have entered only one shift, it gets assigned to all atoms automatically and you may skip this step. You can also enter multiplicities


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The Design Lab at Design Museum Holon is hosting Oded Ezer, a graphic designer, typographer, and senior lecturer at Holon Institute of Technology (HIT), who will be leading a Hebrew typography workshop for third-year students from HIT's Department of Visual Communications. The workshop will provide the students with tools for original typographic creation based on the principles of the Hebrew letter.
Introduction / Post 1 / Post 2 / Post 3
04.03.13 - The Skeletons Take a Turn, and How Do We Communicate What We've Learned?
Refining the Skeleton
We went over the skeleton extraction assignment to clarify exactly what a skeleton is. The skeleton extends to the middle of the letter, it doesn't have to look like a letter, but traces it precisely in its center. When you do it by hand, it's very easy to be accurate, whereas in the shift to digitizing attention must be paid to changing curves that consequently create a new skeleton that isn't faithful to the original.
A skeleton is not a root. The 'root' of the letter is the concept of the letter as a whole. Take the Hebrew letter Aleph as an example: its root is a diagonal line with two additional lines intersecting it.
Oded shows the development of a letter when the difference is only in the skeleton; the style is identical in all the letters
The Skeletons Take a Turn
Now that we've understood what a skeleton is, we can start playing with it. Each student showed his modulation of the font he researched (the change is consistent in all the letters in the font in order to create a new skeleton which doesn't yet exist, while maintaining the identity of the Hebrew letter). There were some interesting studies and several refreshing suggestions. We understood that the rules, the logic, have to be internalized, and then applied to all the letters.
Daria's assignment, the Next Exit font takes a turn in one of the modulations, when the curve that occurs in the Hebrew letter Zayin takes over all the other letters
Evolution of a Skeleton - A Short History Lesson
While discussing modulations, Oded explains how the evolution of fonts occurs through skeleton changes. As an example he shows us the Narkis Block font (designed by Zvi Narkis in the 1950s), which is based on the shapes of a square, triangle, and circle. The Narkis Tam font is a softer version of Narkis Block.
Asher Oron designed the Oron font in the 1970s as an equivalent to the Latin Univers font. Oron's skeletons are based on the Narkis Tam font, which has undergone straightening. Oron's font modulations were carried out on the Hebrew letters Vav, Yod, and Nun-sofit, which had a curve added on their tip, and on Shin, in which the middle line was detached, thus creating the font's distinctiveness.
Evident in the Erica Sans font (equivalent to the Latin Gill Sans), designed by Yanek Iontef, are the skeleton changes that led to the creation of a new font, and the style character was created by 'truncating' the letters.
In the End, Everything Has To Communicate
Concurrently with gaining an understanding of the letters, their components, and the beginning of making changes to them, the students presented sketches of their ideas for the project of teaching Museum visitors about the skeleton and style of letters.
Daria proposed an idea based on the nostalgic 'Bird in a Cage' optical illusion: on one side of a piece of paper there is a picture of the skeleton of a letter, and on the other a font style, and rapidly spinning the piece of paper creates the optical illusion of a skeleton 'dressed' with style. We discussed how this could be presented in an interesting way to visitors, perhaps with the help of a video, or hanging up numerous pieces of paper for visitors to use and experience for themselves.
Asaf plans to make a huge letter from chocolate that will break according to style parts, and thus teach visitors what each part is. We talked about what the action creates, so that the activity will not merely amount to eating chocolate.
Paula has taken three fonts, which she has divided into parts according to style and skeleton, with each part presented on a transparency, and people can assemble their own letters and learn which style they're using to do so. A question was raised of how to create something that visitors can take home as a souvenir of assembling letters. Perhaps look into using stamps or physical letter parts to make the experience more sensory.
Maayan has started classifying the different fonts according to a conventionality scale. The more 'zany' the style/skeleton, the higher the score it receives. A discussion ensued in which we talked about 'what is normal?' In fact, everything is measured in relation to something that needs to be defined. We came to the conclusion that the argument is in the very assignment, in starting a discussion on what is normal and what is crazy.
Maya proposed an idea based on the 'Jewish nose', namely pictures of people's profiles, and matching each nose with a particular style.
For the next lesson each student will continue working on the modulations he has begun, and dress the new skeleton with the font style from which he embarked. He will also 'dress' the new skeleton with the style of a font that's as dissimilar as possible to his original font.
Written and photographed by Michal Shani
Introduction / Post 1 / Post 2 / Post 3


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Tenant Notification Fact Sheet for Tetrachloroethene (Perc)
- Tenant Notification Fact Sheet for Tetrachloroethene (Perc) is available in Portable Document Format (PDF, 27KB, 2pg.)
This fact sheet is provided to fulfill New York State Department of Health (NYS DOH) requirements for preparation of generic fact sheets under Article 27 (Title 24, Section 27-2405) of the Environmental Conservation Law.
Tetrachloroethene (also known as perchloroethylene or Perc) is a man-made volatile organic chemical that is widely used in the dry-cleaning of fabrics, including clothes, and in manufacturing other chemicals. It was also used for degreasing metal parts and in consumer products, including some paint and spot removers, water repellents, brake and wood cleaners, glues, and suede protectors.
Sources of Perc in Indoor Air
Household products containing Perc could be a possible source for Perc in indoor air. Perc also may evaporate from dry-cleaned clothes or dry-cleaning operations into indoor air. Another source could be evaporation from contaminated well water that is used for household purposes. Perc may also enter homes through soil vapor intrusion, which occurs when the chemical evaporates from groundwater, enters soil vapor (air spaces between soil particles), and migrates through building foundations into the building's indoor air. Perc has also been found at low concentrations in outdoor air.
Levels Typically Found in Air
The NYS DOH reviewed and compiled information from studies in New York State as well as from homes and office buildings across the United States on typical levels of Perc in indoor and outdoor air. Levels of Perc in the indoor air of homes and office settings and in outdoor air are expected to be below 10 micrograms per cubic meter (mcg/m3).
Health Risks Associated with Exposure
An association exists between exposure of people in the workplace to high levels of Perc in air and certain forms of cancer. Perc causes cancer in laboratory animals exposed to high levels over their lifetimes. Overall, the studies of humans and in animals do not prove that Perc causes cancer in people, but are highly suggestive that there may be an increased risk for cancer in people who are exposed to Perc (particularly at high concentrations) over long periods of time
People exposed to high levels of Perc in air had nervous system effects and slight changes to their liver and kidneys. Some studies show a slightly increased risk for some types of reproductive effects among workers (including dry-cleaning workers) exposed to Perc and other chemicals. The reproductive effects associated with exposure included increased risks for spontaneous abortion, menstrual and sperm disorders, and reduced fertility. The data suggest, but do not prove, that the effects were caused by Perc and not by some other factor or factors. Exposure to high levels of Perc has caused liver and kidney damage in laboratory animals and effects on the nervous system. Taken together, the human and animal studies indicate that human exposure to high levels of Perc causes effects on the nervous system, and suggest that human exposure to high levels of Perc may increase the risk for liver and kidney toxicity.
NYS DOH Air Guideline
The NYS DOH guideline for Perc in air is 100 mcg/m3. This level is lower than the levels that have caused health effects in animals and humans. The guideline is based on the assumption that people are continuously exposed to Perc in air all day, every day for as long as a lifetime. This is rarely true for most people who, if exposed, are likely to be exposed for only part of the day and part of their lifetime. In setting this level, the NYS DOH also considered the possibility that certain members of the population (infants, children, the elderly, and those with pre-existing health conditions) may be especially sensitive to the effects of Perc.
The purpose of the guideline is to help guide decisions about the nature of the efforts to reduce Perc exposure. Reasonable and practical actions should be taken to reduce Perc exposure when indoor air levels are above those typically found in indoor air, even when they are below the guideline of 100 mcg/m3. The urgency to take actions increases as indoor air levels increase, especially when air levels are above the guideline. The NYS DOH recommends taking immediate action to reduce exposure when an air level is ten times or more higher than the guideline (that is, when the air level is 1,000 mcg/m3 or higher).
Ways to Limit Exposure to Perc in Indoor Air
In all cases, the specific actions to limit exposure to Perc in indoor air depend on a case-by-case evaluation of the situation. Removing household sources of Perc and maintaining adequate ventilation will usually help reduce indoor air levels of the chemical. A sub-slab depressurization system can reduce the amount of Perc entering indoor air by soil vapor intrusion. Use of an activated carbon filter on the water supply can reduce the amount of the chemical in contaminated well water that could evaporate into indoor air.
Reportable Detection Level
The reportable detection level for a chemical can vary depending on the analytical method used, the laboratory performing the analysis, and several other factors. Most laboratories that use the analytical methods recommended by the NYS DOH for measuring Perc in air (and approved by the National Environmental Laboratory Accreditation Conference or New York State's Environmental Laboratory Approval Program) can routinely detect the chemical at concentrations below 1 mcg/m3.
Additional information on Perc, ways to reduce exposure, indoor air contamination resulting from soil vapor intrusion, indoor and outdoor air levels and the Environmental Conservation Law can be found on the NYS DOH website on the Tenant Notification page.Center for Environmental Health
Outreach and Education Group
Empire State Plaza-Corning Tower, Room 1642
Albany, New York 12237

source: HuggingFaceFW/fineweb-edu


Administrative Code
Virginia Administrative Code
Title 18. Professional And Occupational Licensing
Chapter 40. Home Inspector Licensing Regulations
18VAC15-40-230. Approval of new residential structures training modules and new residential structures continuing professional education.
A training provider seeking approval of an NRS training module or NRS CPE course shall submit an application for NRS training module or NRS CPE course approval on a form provided by the board. NRS training modules and NRS CPE can be provided in a classroom environment, online, or through distance learning. In addition to the appropriate fee provided in 18VAC15-40-50, the application shall include:
1. The name of the provider;
2. Provider contact person, address, and telephone number;
3. Module or CPE course contact hours;
4. Schedule of training module or CPE course if established, including dates, times, and locations;
5. Method of delivery;
6. Instructor information, including name, license number, if applicable, and a list of trade-appropriate designations, as well as a professional resume with a summary of teaching experience and subject matter knowledge and qualifications acceptable to the board;
7. Materials to be provided to students;
8. Fees for NRS training module or NRS CPE course and materials; and
9. Training module syllabus.
Statutory Authority
Historical Notes


Raku ware
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A 16th century black Raku-style chawan, used for thick tea (Tokyo National Museum)
Tea bowl with designs of pine boughs and interlocking circles, unknown raku ware workshop, Kyoto, 18th-19th Century, Freer Gallery of Art
Raku ware (楽焼 raku-yaki?) is a type of Japanese Pottery that is traditionally used in the Japanese Tea Ceremony, most often in the form of tea bowls. It is traditionally characterised by being hand shaped rather than thrown; fairly porous vessels, which result from low firing temperatures; lead glazes; and the removal of pieces from the kiln while still glowing hot. In the traditional Japanese process, the fired raku piece is removed from the hot kiln and is allowed to cool in the open air. The familiar technique of placing the ware in a container filled with combustible material introduced by Paul Soldner, is not a traditional Raku practice. Raku techniques have been modified by contemporary potters worldwide.
In Japan, there are "branch kilns" (wakigama), in the raku-ware tradition, that have been founded by Raku-family members or porters who apprenticed at the head family's studio. One of the most well-known of these is Ōhi-yaki (Ōhi ware).
After the publication of a manual in the 18th century, raku ware was also made in numerous workshops by amateur potters and tea practitioners in Kyoto,and by professional and amateur potters around Japan.
Raku ware marked an important point in the historical development of Japanese ceramics, as it was the first ware to use a seal mark and the first to focus on close collaboration between potter and patron. Other famous Japanese clay artists of this period include Dōnyū (grandson of Chōjirō, also known as Nonkō; 1574–1656), Hon'ami Kōetsu (1556–1637) and Ogata Kenzan (1663–1743). Internet shows the original Raku family museum at _URL_ Here the complete lineage of the Raku family can be studied as well as the Raku literature written by the present Raku master, Raku Kichizaemon XV.
In literature[edit]
Hiroshi Teshigahara made the film "Rikyu", which is a nearly documentary story showing how Sen no Rikyu met Chojiro, who made the first genuine Raku tea bowl (chawan) and how Rikyu trained the shogun Toyotomi Hideyoshi in the tea ceremony with Raku chawans.Template:Ashton D 1997.
Oxidation Reduction[edit]
In the western style of raku firing, the aluminium container acts as a reduction tube, which is a container that allows the carbon dioxide to pass through a small hole.[2] A reduction atmosphere is created by closing the container.[2] A reduction atmosphere induces a reaction between oxygen and the clay minerals, which affects the color.[3] It also affects the metal elements of the glaze. Reduction is a decrease in oxidation number.[3] Closing the can reduces the oxygen content after the combustible materials such as sawdust catch fire and forces the reaction to pull oxygen from the glazes and the clay miner als.[3] For example, luster gets its color from deprivation of oxygen. The reduction agent is a substance from which electrons are being taken by another substance.[3] The reaction uses oxygen from the atmosphere within the reduction tube, and, to continue, it receives the rest of the oxygen from the glazes.[2] This leaves ions and iridescent luster behind. This creates a metallic effect. Pieces with no glaze have nowhere to get the oxygen from, so they take it from clay minerals. This atmosphere will turn clay black, making a matte color.
Reduction Firing 2[edit]
Reduction firing is when the kiln atmosphere, which is full of combustible material, is heated up. "Reduction is incomplete combustion of fuel, caused by a shortage of oxygen, which produces carbon monoxide" (Arbuckle, 4) Eventually, all of the available oxygen is used. This then draws oxygen from the glaze and the clay to allow the reaction to continue. Oxygen serves as the limiting reactant in this scenario because the reaction that creates fire needs a constant supply of it to continue; when the glaze and the clay come out hardened, this means that the oxygen was subtracted from the glaze and the clay to accommodate the lack of oxygen in the atmosphere. Consequently, the raku piece appears black or white, which depends upon the amount of oxygen that was lost from each area of the piece. The empty spaces that occur from the reduction of oxygen are filled in by carbon molecules in the atmosphere of the container, which makes the piece blacker in spots where more oxygen was retracted.[4][5]
Western raku techniques[edit]
Raku became popular with American in the late 1950s with the help of Paul Soldner. Americans kept the general firing process, that is, heating the pottery quickly to high temperatures and cooling it quickly, but continued to form their own unique style of raku.
It is raku's unpredictable results and intense color that attract modern potters. These patterns and color result from the harsh cooling process and the amount of oxygen that is allowed to reach the pottery. Depending on what effect the artist wants, the pottery is either instantly cooled in water, cooled slowly in the open air, or placed in a barrel filled with combustible material, such as newspaper, covered, and allowed to smoke.[6] Water immediately cools the pottery, stopping the chemical reactions of the glaze and fixing the colors. The combustible material results in smoke, which stains the unglazed portions of the pottery black. The amount of oxygen that is allowed during the firing and cooling process affects the resulting color of the glaze and the amount of crackle.
Unlike traditional Japanese raku, which is mainly hand built bowls of modest design, western raku tends to be vibrant in color, and comes in many shapes and sizes. On YouTube it is possible to see a short movie when Raku Kichizaemon XV in young age is making a chawan; _URL_ Western raku can be anything from an elegant vase, to an eccentric abstract sculpture. Although some do hand build, most western potters use throwing wheels while creating their raku piece. Western culture has even created a new sub branch of raku called horse hair raku. These pieces are often white with squiggly black lines and smoke-like smudges. These effects are created by placing horse hair, feathers, or even sugar on the pottery as it is removed from the kiln and still extremely hot.
Kilns and firing[edit]
The first Japanese-style kiln in the west was built by Tsuronosuke Matsubayashi at Leach Pottery, St Ives in 1922.[7]
A vase glazed and fired using the western raku technique, showing the soot, crackle glazing, and random reduction-oxidation typical of this pottery technique.
The type and the size of kilns that are used in raku are crucial in the outcome. One aspect that can affect the results is the use of electric versus gas kilns. Electric kilns allow easy temperature control. Gas kilns, which comprise brick or ceramic fibers, can be used in either oxidation or reduction firing and use propane or natural gas. Gas kilns also heat more quickly than electric kilns, but it is more difficult to maintain temperature control. There is a note-worthy difference when using an updrift kiln rather than a downdrift kiln. An updrift kiln has shelves that trap heat. This effect creates uneven temperatures throughout the kiln. Conversely, a downdrift kiln pulls air down a separate stack on the side and allows a more even temperature throughout and allows the work to be layered on shelves.[8]
It is important for a kiln to have a door that is easily opened and closed, because, when the artwork in the kiln has reached the right temperature (over 1000 degrees Celsius), it must be quickly removed and put in a metal or tin container with combustible material, which reduces the pot and leaves certain colors and patterns.[9]
The use of a reduction chamber at the end of the raku firing was introduced by the American potter Paul Soldner in the 1960s to compensate for the difference in atmosphere between wood-fired Japanese raku kilns and gas-fired American kilns. Typically, pieces removed from the hot kiln are placed in masses of combustible material (e.g., straw, sawdust, or newspaper) to provide a reducing atmosphere for the glaze and to stain the exposed body surface with carbon.
Western raku potters rarely use lead as a glaze ingredient, due to its serious level of toxicity, but may use other metals as glaze ingredients. Japanese potters substitute a non-lead frit. Although almost any low-fire glaze can be used, potters often use specially formulated glaze recipes that "crackle" or craze (present a cracked appearance), because the crazing lines take on a dark color from the carbon.
Western raku is typically made from a stoneware clay body, bisque fired at 900 °C (1,650 °F) and glaze fired (the


text:
In general, two types of receipts occur during the course of business. Capital Receipts are described as the money brought to the business from non-operating sources like proceeds from the sale of long-term assets, capital brought by the proprietor, sum received as a loan or from debenture holders etc. In contrast revenue receipts are the result of firm's routine activities during the financial year, which includes sales, commission, interest on investment.
Capital receipts differ from revenue receipts, in the sense that the former has no bearing on profit or loss for the financial year, whereas the latter is set off against the revenue expenses for the period. Read the article provided to you, so as to understand the difference between capital receipt and revenue receipt.
Content: Capital Receipt Vs Revenue Receipt
|Basis for Comparison||Capital Receipt||Revenue Receipt|
|Meaning||Capital Receipts are the income generated from investment and financing activities of the business.||Revenue Receipts are the income generated from the operating activities of the business.|
|Term||Long Term||Short Term|
|Shown in||Balance Sheet||Income Statement|
|Received in exchange of||Source of income||Income|
|Value of asset or liability||Decreases the value of asset or increases the value of liability.||Increases or decreases the value of asset or liability.|
Definition of Capital Receipt
Capital receipts are the income received by the company which is non-recurring in nature. They are part of the financing and investing activities rather than operating activities. The capital receipts either reduces an asset or increases a liability. The receipts can be generated from the following sources:
- Issue of Shares
- The issue of debt instruments such as debentures.
- Loan taken from a bank or financial institution.
- Government grants.
- Insurance Claim.
- Additional capital introduced by the proprietor.
Definition of Revenue Receipt
Revenue Receipts are the receipts which arise through the core business activities. These receipts are a part of normal business operations that is why they occur again and again however its benefit can be enjoyed only in the current accounting year as its effect is short term. The income received from the day to day activities of business includes all the operations that bring cash into the business like:
- Revenue generated from the sale of inventory
- Services Rendered
- Discount Received from the creditors or suppliers
- Sale of waste material/scrap.
- Interest Received
- Receipt in the form of dividend
- Rent Received
Key Differences Between Capital Receipt and Revenue Receipt
The following points explain the difference between capital receipt and revenue receipt in detail:
- Receipts generated from investing and financing activities are capital receipts, on the other hand, receipts from operating activities are revenue receipt.
- Capital Receipts do not frequently occur, as it is non-recurring and irregular. But, revenue receipts do not occur again and again they are recurring and regular.
- The benefit of capital receipt can be enjoyed in more than one year, but the benefit of revenue receipt can be enjoyed only in the current year.
- Capital Receipts appears on the liabilities side of the Balance Sheet whereas Revenue Receipts appears on the credit side of the Profit and Loss Account as income for the financial year.
- The capital receipt is received in exchange for the source of income. Unlike revenue received which is a substitution of income.
- Capital receipt either decreases the value of an asset or increases the value of liability, but revenue receipt neither increases nor decreases the value of asset or liability.
- Both receipts are a part of business activities.
- Both are necessary for the survival and growth of the company.
- The source of business income.
In general, Capital Receipts and Revenue Receipts play a vital role in the growth of business, as the business may not be able to survive, in the absence of the two.


Left = False
145. cameraRight = False
More variables are set at the start of playing a level. The mapWidth and mapHeight variables are the size of the maps in pixels. The expression for calculating mapHeight is a bit complicated since the tiles overlap each other. Only the bottom row of tiles is the full height (which accounts for the + TILEHEIGHT part of the expression), all of the other rows of tiles (which number as (len(mapObj[0]) - 1)) are slightly overlapped. This means that they are effectively each only (TILEHEIGHT - TILEFLOORHEIGHT) pixels tall.
The camera in Star Pusher can be moved independently of the player moving around the map. This is why the camera needs its own set of "moving" variables: cameraUp, cameraDown, cameraLeft, and cameraRight. The cameraOffsetX and cameraOffsetY variables track the position of the camera.
147. while True: # main game loop
148. # Reset these variables:
149. playerMoveTo = None
150. keyPressed = False
152. for event in pygame.event.get(): # event handling loop
153. if event.type == QUIT:
154. # Player clicked the "X" at the corner of the window.
155. terminate()
The playerMoveTo variable will be set to the direction constant that the player intends to move the player character on the map. The keyPressed variable tracks if any key has been pressed during this iteration of the game loop. This variable is checked later when the player has solved the level.
157. elif event.type == KEYDOWN:
158. # Handle key presses
159. keyPressed = True
160. if event.key == K_LEFT:
161. playerMoveTo = LEFT
162. elif event.key == K_RIGHT:
163. playerMoveTo = RIGHT
164. elif event.key == K_UP:
165. playerMoveTo = UP
166. elif event.key == K_DOWN:
167. playerMoveTo = DOWN
169. # Set the camera move mode.
170. elif event.key == K_a:
171. cameraLeft = True
172. elif event.key == K_d:
173. cameraRight = True
174. elif event.key == K_w:
175. cameraUp = True
176. elif event.key == K_s:
177. cameraDown = True
179. elif event.key == K_n:
180. return 'next'
181. elif event.key == K_b:
182. return 'back'
184. elif event.key == K_ESCAPE:
185. terminate() # Esc key quits.
186. elif event.key == K_BACKSPACE:
187. return'reset' # Reset the level.
188. elif event.key == K_p:
189. # Change the player image to the next one.
190. currentImage += 1
191. if currentImage >= len(PLAYERIMAGES):
192. # After the last player image, use the first one.
193. currentImage = 0
194. mapNeedsRedraw = True
196. elif event.type == KEYUP:
197. # Unset the camera move mode.
198. if event.key == K_a:
199. cameraLeft = False
200. elif event.key == K_d:
201. cameraRight = False
202. elif event.key == K_w:
203. cameraUp = False
204. elif event.key == K_s:
205. cameraDown = False
This code handles what to do when the various keys are pressed.
207. if playerMoveTo!= None and not levelIsComplete:
208. # If the player pushed a key to move, make the move
209. # (if possible) and push any stars that are pushable.
210. moved = makeMove(mapObj, gameStateObj, playerMoveTo)
212. if moved:
213. # increment the step counter.
214. gameStateObj['stepCounter'] += 1
215. mapNeedsRedraw = True
217. if isLevelFinished(levelObj, gameStateObj):
218. # level is solved, we should show the "Solved!" image.
219. levelIsComplete = True
220. keyPressed = False
If the playerMoveTo variable is no longer set to None, then we know the player intended to move. The call to makeMove() handles changing the XY coordinates of the player's position in the gameStateObj, as well as pushing any stars. The return value of makeMove() is stored in moved. If this value is True, then the player character was moved in that direction. If the value was False, then the player must have tried to move into a tile that was a wall, or push a star that had something behind it. In this case, the player can't move and nothing on the map changes.
222. DISPLAYSURF.fill(BGCOLOR)
224. if mapNeedsRedraw:
225. mapSurf = drawMap(mapObj, gameStateObj, levelObj['goals'])
226. mapNeedsRedraw = False
The map does not need to be redrawn on each iteration through the game loop. In fact, this game program is complicated enough that doing so would cause a slight (but noticeable) slowdown in the game. And the map really only needs to be redrawn when something has changed (such as the player moving or a star being pushed). So the Surface object in the mapSurf variable is only updated with a call to the drawMap() function when the mapNeedsRedraw variable is set to True.
After the map has been drawn on line 225, the mapNeedsRedraw variable is set to False. If you want to see how the program slows down by drawing on each iteration through the game loop, comment out line 226 and rerun the program. You will notice that moving the camera is significantly slower.
228. if cameraUp and cameraOffsetY < MAX_CAM_X_PAN:
229. cameraOffsetY += CAM_MOVE_SPEED
230. elif cameraDown and cameraOffsetY > -MAX_CAM_X_PAN:
231. cameraOffsetY -= CAM_MOVE_SPEED
232. if cameraLeft and cameraOffsetX < MAX_CAM_Y_PAN:
233. cameraOffsetX += CAM_MOVE_SPEED
234. elif cameraRight and cameraOffsetX > -MAX_CAM_Y_PAN:
235. cameraOffsetX -= CAM_MOVE_SPEED
If the camera movement variables are set to True and the camera has not gone past (i.e. panned passed) the boundaries set by the MAX_CAM_X_PAN and MAX_CAM_Y_PAN, then the camera location (stored in cameraOffsetX and cameraOffsetY) should move over by CAM_MOVE_SPEED pixels.
Note that there is an if and elif statement on lines 228 and 230 for moving the camera up and down, and then a separate if and elif statement on lines 232 and 234. This way, the user can move the camera both vertically and horizontally at the same time. This wouldn't be possible if line 232 were an elif statement.
237. # Adjust mapSurf's Rect object based on the camera offset.
238. mapSurfRect = mapSurf.get_rect()
239. mapSurfRect.center = (HALF_WINWIDTH + cameraOffsetX,
HALF_WINHEIGHT + cameraOffsetY)
241. # Draw mapSurf to the DISPLAYSURF Surface object.
242. DISPLAYSURF.blit(mapSurf, mapSurfRect)
244. DISPLAYSURF.blit(levelSurf, levelRect)
245. stepSurf = BASICFONT.render('Steps: %s' %
246. stepRect = stepSurf.get_rect()
247. stepRect.bottomleft = (20, WINHEIGHT - 10)
248. DISPLAYSURF.blit(stepSurf, stepRect)
250. if levelIsComplete:
251. # is solved, show the "Solved!" image until the player
252. # has pressed a key.
253. solvedRect = IMAGESDICT['solved'].get_rect()
254. solvedRect.center = (HALF_WINWIDTH, HALF_WINHEIGHT)
255. DISPLAYSURF.blit(IMAGESDICT['solved'], solvedRect)
257. if keyPressed:
258. return'solved'
260. pygame.display.update() # draw DISPLAYSURF to the screen.
261. FPSCLOCK.tick()
Lines 237 to 261 position the camera and draw the map and other graphics to the display Surface object in DISPLAYSURF. If the level is solved, then the victory graphic is also drawn on top of everything else. The keyPressed variable will be set to True if the user pressed a key during this iteration, at which point the runLevel() function returns.
264. def isWall(mapObj, x, y):
265. """Returns True if the (x, y) position on
266. the map is a wall, otherwise return False."""
268. return False # x and y aren't actually on the map.
269. elif mapObj[x][y] in ('#', 'x'):
270. return True # wall is blocking
271. return False
The isWall() function returns True if there is a wall on the map object at the XY coordinates passed to the function. Wall


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||This article may contain original research. (February 2010)|
Corpse roads provided a practical means for transporting corpses, often from remote communities, to cemeteries that had burial rights, such as parish churches and chapels of ease. In Britain, such routes can also be known by a number of other names: bier road, burial road, coffin road, coffin line, lyke or lych way, funeral road, procession way, corpse way, etc. Such "church-ways" have developed a great deal of associated folklore regarding wraiths, spirits, ghosts, etc.
In late medieval times a population increase and a concomitant expansion of church building took place in Great Britain inevitably encroaching on the territories of existing mother churches or minsters. Demands for autonomy from outlying settlements made minster officials feel that their authority was waning, as were their revenues, so they instituted corpse roads connecting outlying locations and their mother churches (at the heart of parishes) that alone held burial rights. For some parishioners, this decision meant that corpses had to be transported long distances, sometimes through difficult terrain: usually a corpse had to be carried unless the departed was a wealthy individual. An example would be the funeral way that runs from Rydal to Ambleside in the Lake District where a coffin stone (illustrated above right), on which the coffin was placed while the parishioners rested, still exists. Many of the 'new' churches were eventually granted burial rights and corpse roads ceased to be used as such.
Church-way paths
Many of the corpse roads have long disappeared, while the original purposes of those that still survive as footpaths have been largely forgotten, especially if features such as coffin stones or crosses no longer exist. Fields crossed by church-way paths often had names like "Church-way" or "Kirk-way Field", and today it is sometimes possible to plot the course of some lost church-ways by the sequence of old field names, local knowledge of churches, local legends and lost features of the landscape marked on old maps, etc. One of the oldest superstitions is that any land over which a corpse is carried becomes a public right of way.
An example of a corpse road or way is that of the church of St Peter and Paul at Blockley, in Gloucestershire, which held the burial right to the inhabitants of the hamlets Stretton-on-Fosse in Warwickshire, where there was a chapel which became a rectory in the 12th century, and Aston Magna, where there was a chapel which was merely a chantry. All 'tithes' and'mortuaries', however, came to the parish church of Blockley, to which church the people of Stretton and Aston were committed to carry their deceased for burial. The corpse road from Aston to Blockley churchyard is over two miles (3 km) long and crosses three small streams en route. The corpse road from Stretton to Blockley runs for some four miles (6 km) and crosses two streams.
Characteristics of corpse roads
The spirits of the dead
The essence of deep-rooted spirit lore is that supposed spirits of one kind or another – spirits of the dead, phantasms of the living, wraiths, or nature entities like fairies move through the physical landscape along special routes. In their ideal, pristine form, at least, such routes are conceived of as being straight, having something in common with ley lines. By the same token, convoluted or non-linear features hinder spirit movement i.e. labyrinths and mazes.
Spirits or ghosts were said to fly along on a direct course close to the ground, so a straight line connecting two places was kept clear of fences, walls, and buildings to avoid obstructing the flitting spectres. The paths would run in a straight line over mountains and valleys and through marshes. In towns, they would pass the houses closely or go right through them. The paths end or originate at a cemetery; therefore, such a path or road was believed to have the same characteristics as a cemetery, where spirits of the deceased thrive.
The corpse roads or ways were left unploughed and it was considered very bad luck if for any reason a different route had to be taken.
A corpse candle or light is a flame or ball of light, often blue, that is seen to travel just above the ground on the route from the cemetery to the dying person's house and back again, and is particularly associated with Wales. A corpse fire is very similar as the name comes from lights appearing specifically within graveyards where it was believed the lights were an omen of death or coming tragedy and would mark the route of a future funeral, from the victim's house to the graveyard, where it would vanish into the ground at the site of the burial. The appearance was often said to be on the night before a death.
Among European rural people, especially in Gaelic, Slavic and Germanic folk cultures, the will-o'-the-wisps are held to be mischievous spirits of the dead or other supernatural beings attempting to lead travellers astray (compare Puck). Sometimes they are believed to be the spirits of unbaptized or stillborn children, flitting between heaven and hell. Other names are Jack O' Lantern, or Joan of the Wad, Jenny Burn-tail, Kitty wi' the Whisp, or Spunkie.
Anybody seeing this phenomenon might merely have been seeing, without knowing, a luminescent Barn Owl, at least in some instances. Much anecdotal evidence supports the fact that Barn Owls have a luminescence which may be due to fungal bioluminescence (honey fungus). It is also possible those who have observed corpse candles may have been witnessing the effect of methane gasses produced by decomposing organic material found in swamps, marshlands and bogs
A Midsummer Night's Dream
Now it is the time of night,
Puck suggests a secret history of these routes, for unsurprisingly they attracted long extant folk lore, running not only through the physical countryside but also through the invisible geography, the'mental terrain', of pre-industrial country-folk. Shakespeare's lines leave little doubt that the physical corpse roads came to be perceived as being spirit routes, taking on qualities which lingered in the folklore of his age and which he incorporated into his play knowing that it would be a familiar concept.
Spirit roads and archaeological features
The spirit roads, such as the church-ways, were always conceived of as being straight, but the physical corpse roads of the United Kingdom vary as much as any other path. Corpses were conveyed along defined corpse roads to avoid their spirits returning to haunt the living. It was a widespread custom, for example, that the feet of the corpse be kept pointing away from the family home on its journey to the cemetery.
Other minor ritualistic means of preventing the return of the dead person included ensuring that the route the corpse took to burial would take it over bridges or stepping stones across running water which spirits could not cross, stiles, and various other 'liminal' ("betwixt and between") locations, all of which had reputations for preventing or hindering the free passage of spirits. The living took pains to prevent the dead from wandering the land as lost souls or animated corpses, for the belief in revenants (ghosts) was widespread in mediæval Europe.
People using the corpse roads assumed that they could be passages for ghosts. The ancient spirit folklore that attached itself to the medieval and later corpse roads also may have informed certain prehistoric features. In Britain, for instance, Neolithic earthen avenues called cursuses link burial mounds: these features can run for considerable distances, even miles, and are largely straight, or straight in segments, connecting funerary sites. The purpose of these avenues is imperfectly understood, but some kind of spirit-way function may be one reasonable explanation. Similarly, some Neolithic and Bronze Age graves, especially in France and Britain, are associated with stone rows, like those at Merrivale on Dartmoor, with intriguing blocking stones at their ends.
Homer Sykes in Mysterious Britain says that the 'holed' Cornish 'Tolvan' stone was used to block a now lost ancient burial chamber, and suggests that the hole allowed a way in for funeral purposes and a passage out for the spirits of the dead.
In Britain, around 4000–6000 years old, bog causeways constructed from timber have been excavated. The "Sweet Track" in Somerset, is one of the oldest and the excavations along this old straight track indicated that one of its uses was for transporting the dead.
Associated legends and beliefs
Some country-folk claim that if a dead body is carried across a field it will thereafter fail to produce good crop yields. Throughout the United Kingdom and Europe it still believed that touching a corpse in the coffin will allow the departed spirit to go in peace to its rest, and bring good luck to the living.
Phantom lights are sometimes seen on the Scottish cemetery-island of Mun in Loch Leven and traditionally such lights were thought to be omens of impending death; the soul also was thought to depart the body in the form of a flame or light.
In Ireland, the féar gortach ("hungry grass"/"violent hunger") is said to grow at a place where an unenclosed corpse was laid on its way to burial. This is thought to be a permanent effect and anyone who stands on such grass is said to develop insatiable hunger. One such place is in Ballinamore and was so notorious that the woman of the nearby house kept a supply of food on hand for victims.
The existence


text:
An integral representation of the displacement for problems of transient propagation of horizontally polarized shear waves is employed to investigate the diffraction of a plane wave by a crack of finite length. The stress intensity factors at small times are derived for an incident wave of arbitrary shape. For a step-stress wave the maximum stress intensity factors are shown to exceed the factors of the corresponding static problem by a factor 4 π. Brittle fracture is subsequently investigated by employing a balance of rate of energy. It is shown that for a step-stress wave the critical stress for brittle fracture is reduced by a factor π 4√2 as compared to the critical stress of the corresponding static problem. Ductile fracture is studied by assuming that yielding is restricted to a narrow band in the vicinity of the crack tips. The propagation velocity of the zone of yielding is computed and the location of the point of rupture is determined.
ASJC Scopus subject areas


text:
Perhaps the prettiest sight in the kitchen is homemade jelly—there is nothing like a row of clear translucent, stained-glass colors to warm a housewife's (or husband's) heart and enrich the family table.
What is Jelly?
Jelly contains just the juice of a fruit, whereas jam and preserves consist of bits and pieces of the fruit itself. This is why jelly is so smooth compared to jam and can easily be spread with a spoon.
Jelly Making Tips
- Jellies generally use the whole fruit, including the peel and core which contain a lot of pectin, the natural sugar within a fruit to make it JELL.
- When making jelly, use open stainless-steel cookware and add only the amount of water called for by the recipe. Too much water will scorch the fruit. Cover, bring to boil and cook the fruit until it is soft and the juices are flowing (berries only need a couple minutes; hard fruit like apples may need anywhere from 15 to 30 minutes).
- Suspend a jelly bag (or a cheesecloth) over a colander over a large bowl, and pour the cooked fruit into the bag. For the best results, let it sit overnight. If you squeeze the bag to extract the juice faster, you'll still get good juice, but it will be cloudy, and so will your jelly.
- Remember: acid thickens the juice while pectin will jell the juice when it is cooked. With some fruits, the extracted juice will contain all of the necessary ingredients without supplement, like tart apples, blackberries, and some grapes. With others, such as apricots, peaches, and raspberries, you will have to add either acid, pectin, or both. Additional pectin must be added to these types of fruits to make them jell properly. You can buy artificial pectin at your local grocery store (available in both powdered and liquid form), and be sure to follow the manufacturer's directions. You can use lemon juice as a substitute for acid.
- Don't forget sugar! Sugar increases the volume of the juice, sweetens it, sets the gel, and helps prevent mold and fermentation. Low-pectin fruit jelly can be made by combining the low-pectin juice with apple, half and half, and using 2/3 cup of sugar for each cup of juice. If you are using blueberries or strawberries, add 1 tablespoon lemon juice for every 2 cups of jelly juice.
- From the exact combination of juice, acid, pectin, and sugar to the temperature you heat your jelly to, everything has to be exact. In general, when no added pectin is used, the jelly stage is reached at 8°F above the boiling point of water. The boiling point for water is about 212°F at 1,000 feet or less. You can use a candy thermometer to determine the actual temperature at which water breaks into a boil in your own kitchen.
- There are several ways you can test whether or not your jelly is jelled. Use a candy thermometer, but if you don't have one, take a spoonful of the juice five minutes after you've added the sugar, let it cool for a minute, then tip the spoon back into the kettle. If the juice runs together at the edge and "sheets" off the spoon, then you're ready to pour. Also, you could take a saucer of the juice and stick it in the freezer for a few minutes. If it firms in that time, you're good to go.
- Wash and sterilize your jars and caps beforehand by heating a pot of cold water that is gradually brought to a boiling point. Turn off the heat and leave the glasses in the pot until you are ready to use them (they should still be hot when you pour in the jelly). Drain the glasses and place them on a level surface.
- Skim the foam of the jelly, and ladle it into your jars as soon as it is ready. Be careful not to slop any over the sides. If you do, wipe it off before you put the tops on. After you pour the jelly, stir it around once with a teaspoon to eliminate air bubbles.
Of course, these are general guidelines one can follow while making jelly, but you should always follow the recipe. What? You don't have a jelly recipe? Borrow one of ours!
- Basic Apple or Crab Apple Jelly
- Grape Jelly
- Venison Jelly (Spiced Grape Jelly)
- October Jelly (Spiced Grape Jelly)
- Cranberry Jelly
- Mint Jelly with Vinegar
- Ruth Feeney's Blackberry Jelly
- Fresh Mint Jelly
- Blackberry Crab-Apple Jelly
- Crab-Apple Jelly
- Dandelion Jelly
- Tammy's Apple Jelly
Want more jelly recipes? Browse our Almanac Recipe archives!


text:
With the kind of competition that exists in the market, it is quite understandable that an ALM tool is rated according to the varying features it can provide. An ALM tool is expected to cover all corners in the lifecycle of a project and for doing that, the tool needs to host a vast range of features some being highly critical and some not so. One such functionality is the 'Searching' capability of an ALM tool. So let us discuss this functionality in a greater depth, as to why this feature is important in the context of ALM, and how Kovair deals with it.
The importance of the Searching functionality of an ALM tool can be easily understood from a simple example. Imagine a team working on a project like building a project management application. Now, when dealing with a subject like this, it is obvious that this one big requirement would be broken down into minute smaller requirements.
Naturally, different development teams would be assigned different modules and they would start working on them. All these requirements are stored in the ALM tool, and their relevant details are updated accordingly in the course of this work. Now, try imagining about finding out a specific requirement that the business analyst wants to update. This is where the importance of the filters and search functionality comes in.
Kovair has various ways to manage the searching functionalities in the application. The different options include:
- ID and Text Search
- Search with a specific ID to retrieve the particular record
- Search with a text phrase, to pull out all the matching items from the system
- Assisted search like 'Last 5', which retrieves the last 5 items that have been entered into the system
- Filters in Kovair
- User defined filters, which are completely customizable according to the fields that are defined in the artifacts
- Run time filters, which allow the user to specify the search criteria, whenever the filter is used
- Global filters, which can be defined at Site level (equivalent to an organization) and are available across all the projects
- Shared filters, which are defined at Workspace level (equivalent to a project) and are available across all the artifacts in the Workspace
Now, let us discuss these features of Kovair in detail:
ID & Text Search
Kovair has an 'ID & Text Search Box' which has extensive capabilities. The Search box is intelligent enough to understand whether the user is attempting a text search or an id search. This effectively means that Kovair has one single search box, which can perform both id search and text search.
When a user enters a numeric value, the system searches across record IDs and retrieves data from the system. On the other hand, when a user enters a text phrase, the system retrieves items corresponding to the matching texts.
Kovair also facilitates queries like 'Last 5' or 'Last 25', which would pull out the last 5 or last 25 entries that have been added into the system. These kinds of searches help the user in retrieving dynamic search results from the system, with the same command.
Filters in Kovair
Kovair has different types of filters which allow users to search specific sets of records and find what they are looking for. By default, Kovair retrieves the data, by virtue of the system defined filter. However, Kovair users can choose to create customized filters according to their specific needs. All that a Kovair user needs to create a new filter is an appropriate access right.
A specific type of filter that is available in Kovair is the Run Time filter, which allows users to set filter criteria in run time. You can create run time filters in Kovair based on the different fields that are available within an artifact. Once designed every time the corresponding filter would be used, the system would allow the user to define the criteria based on which the system should retrieve data. The different types of fields that are available in Kovair can be used for this purpose depending on the needs of the user.
Apart from defining filters specifically for each artifact, Kovair also has the concept of Global and Shared filters, which allow the users to create filters at the Workspace (equivalent to project) and Site (equivalent to organization) level.
Global filters are defined at Site level, whereas the Shared filters are defined at Workspace level. This effectively means that a Global filter can be used in a range of Workspaces the user has access to, and the Shared filter can be used across all the entities in a particular Workspace. The primary advantage of such filters is the fact that the creation of similar types of filters in various artifacts can be avoided.
With all these searching mechanisms prevalent in the system, Kovair provides its users with a range of efficient searching options, which in turn allows the users to use the tool more effectively.
Request for Free Live Product Demo from our Engineers!


text:
Use the Discussion page first before editing any bugs onto this page.
Bugs can be confirmed by checking into the discussion page and make sure other people reply to your report and have the same problem.
- [X] = Minor bugs.
- [!] = Major bugs.
- [!!] = Bugs that can crash Minecraft or a server.
- [?] = Possible bugs/features that you and the community (on the discussion page) are unsure about.
- [U] = Bugs that Jeb tested but was unable to reproduce.
- [F] = Bugs that have been fixed in the next update.
- [!] While making an entire stack of Wooden Planks, the game will Crash.
- [X] When a Water block is placed with empty space underneath, a column of source blocks are created under the original source block.
- [X] Lily Pads can be gathered by placing a block directly beneath them.
- [X] Lily Pads appear inside of Boats when you sail over them.
- [X] Two Glass Panes set beside each other will have a line dividing them on one side, but be clear on the other side.
- [X] If you build a Sand tower(≤ 12 blocks) on a Piston, connected to a clock, most of the Sand will disappear after a couple of pushes.
- [X] Using an Axe with the Silk Touch enchantment on a pine or birch Tree will only drop oak Wood (not pine or birch Wood). The same happens when mining Mossy and Cracked Stone Bricks with Silk Touch enchantment - you get normal Stone Bricks. It seems that dropped item doesn't remember durability of the block mined.
- [X] Diamond armour does not protect you from damage
- [X] Water and Lava drips through Glass if there is Water or Lava, respectively, above it.
- [X] Enchantment Tables break with a single hit and are destroyed permanently if not using a Pickaxe.
- [X] It is possible to place Sugar Cane in water.
- [F] While in the inventory screen, End Stone has a tooltip of "Unnamed".
- [F] Lily Pads are not affected by the Biome shades.
- [F] The End Portal blocks can be broken without the surrounding portal blocks disappearing. The expected result is either the portal block respawning, or the portal itself turning off.
- [U] Blocks are not always what they seem to be. For example, a Dirt block can look like a Stone block. If you destroy the said block, you get the Dirt block. Placing a Torch (or right clicking with a sword while aiming at the block) shows you the real block. Some details that may be important is that the chunk may need to be newly generated and running on SMP with some latency.
- [U] If a Pressure Plate is activated when joining a world, it will stay activated until you destroy it or quit.
- [U] Moving Water does not push ignited TNT blocks or Minecarts.
- [X] You can place blocks on fire even when you are in the fire. Video explaining:
- [!] After a Crash, Enchantments seem to disappear from all items in the Inventory.
- [!] After a few minutes of playing Minecraft, the game runs out of memory or freezes. This often happens while running 32-bit Java on a 64-bit OS. This can commonly be fixed by using the below line in a file ending in.bat or.batch.
This works with 64-bit OS machines:
"%ProgramFiles(x86)%\Java\jre6\bin\java.exe" -Xmx256m -Xms128m -cp Minecraft.exe net.minecraft.LauncherFrame
Use this line for 32-bit OS machines:
java -Xmx256m -Xms128m -cp Minecraft.exe net.minecraft.LauncherFrame
- [F] [!] Trying to access the "Video Settings..." menu in-game causes the game to crash with a "Saving Chunks" screen. Trying to access it from the beginning game menu gives a black screen.
- [?] When going into the Video Settings tab while paused, it crashes the game.
- [U][!] Sometimes, the game crashes when the Player attacks a Spider.
- [U][!] Occasionally, the game displays switching worlds then crashes.
- [U][!] Sometimes, when mining Gravel with an enchanted Pickaxe, the game Crashes with a "Saving Chunks" screen as opposed to the usual error report or black screen.
- This happens with an enchanted Shovel if the enchantment is Fortune and the level is larger than level 3 while dropping a piece of Flint.
[U][!] Sometimes, the game crashes when the Player attacks a creeper
- [X] My game cannot update minecraft 1.9 pre, it got stuck, when it shows:
Updating Minecraft Done loading
- [!] Clicking/right-clicking while moving the mouse may cause the screen to lose focus. Seems to happen in all OSs but it happens even more in Linux with the Fluxbox window manager. The cause is that whenever you click or right-click, the game loses cursor focus (you can even see the cursor blink over the screen). If the cursor is moving enough fast, it is not relocated in the center of the screen in time. Like the mouse locking does not work very well. Very easy to reproduce (easier in Linux&Fluxbox window manager): Just spam right-click while moving the mouse fast.
- [X] If you land on the bottom of the Void while in a Boat in The End, the Boat will disappear but may leave you perfectly safe to walk around. Any jumping will cause you to start taking damage normally.
- [X] When you place a block next to a Fence and stand directly in the space between the Fence and the new block and destroy the block next to it, you can walk inside the Fence.
- [X] Planting a Sapling on a Dirt block in The End will result in an invisible Tree once Bonemeal has been applied. This can be fixed by breaking one of the blocks, at which point the Tree will reappear.
- [X] You can only make Splash Potion of Regeneration II with the "correct" recipe.
- [X] If you sit in a Minecart on Rails and save and quit to the title and play your world again, the Minecart will duplicate.
- [X] Redstone-triggered mechanisms such as Sticky Piston Doors don't operate properly returning to The Overworld from the Nether until the Redstone Torches are removed and reset.
- [X] Critical hits are done to Minecarts when you punch one when your sitting in it.
- [X] The inside corner of a corner Fence block does not have the correct bounds like a normal Fence block or the outer corner of said block.
- [X] If you place a Fence block under tilled Farmland, the game registers you as walking on the Fence, and subsequently does not damage the Farmland because you are not walking on it.
- [X] Double tapping the crouch key (default ⇧ Shift) and releasing will cause the Player to Sprint with seemingly no effect on the Hunger meter.
- [X] Redstone does not detect when Redstone powered items are adjacent while it does detect Redstone Repeaters.
- [X] Note Blocks do not receive power from adjacent blocks that are powered by Redstone, while everything else does.
- [X] Creating anything on a Crafting Table using shift-clicking to move it to your Inventory does not add anything to your statistics.
- [F] When picking up all the lost Experience Orbs after death, you seem to get more points that you had before.
- [F] When Brewing, swapping the ingredient at the very last second before it is applied will apply the ingredient you changed it to rather than restarting the brewing timer for the new ingredient.
- [F] Mobs are not affected by the movement speed modifier of the Splash Potion of Swiftness levels 1 and 2; Players still function properly.
- [F] When you drink a Potion of Fire Resistance and try to swim in Lava, this does no damage to the Player, as intended, but when you jump into a Lava lake from a large height, the fall damage you would receive is saved up until you exit the lake. Death can probably be avoided with a Ladder.
- [F] If you place an enchanted item in a Chest or Storage Minecart and then break it, the enchantments will be gone.
- [F] After you enchant a Sword in SMP, when you try to block, the Sword will rapidly switch from the Blocking stance to the normal position. It does not happen for normal Swords.
- [?] It is possible to position the camera in such a way to view Cave systems.
- [?] When picking up Lava or Water with a Bucket, the Bucket will remain empty.
- [U] An Eye of Ender will not always point to the nearest Stronghold containing an End Portal. Probably occurs on maps generated with the debug Stronghold located at the coordinates (0, 0).
- [X] If facing parallel to a line of wooden fencing with a gap that you intend to place a fence gate in, and you place the fence gate, the gate will not attach in parallel with the fencing but perpendicular to it. That is, rotated 90 degrees and disconnected to the adjacent fencing.
- [X] A minecart with furnace does not push other minecart around, they just overlap
- [X] The armor bar in the tool bar doesn't seem to show the correct amount of armor. A full suit of iron only


text:
Elevation: 7,736 feet
Type: Gold, Silver
Discovered on June 2, 1903, by William Hill, John A. Anderson, and Bert Ferguson, and patented on August 21, 1935, the Marietta mine explores two veins: the Marietta vein, which trends slightly northeast, dips east 350 to 400 and is 2 to 2.5 ft thick, and the Metallic vein, which strikes N 450 E, 350-500 SE and is about 5 ft thick. The same veins or vein systems appear to be explored in the Irene, High Up, and Greenback mines to the northeast. They are lenticular quartz veins, with quartz boudins and free gold, auriferous pyrite, arsenopyrite, galena, sphalerite, chalcopyrite, and stibnite (?). The mine developed separate ore shoots on the two veins, with strike lengths of 300 to 350 ft, and stopes reaching 200 to 300 ft above the crosscuts and drifts on the veins. The veins were oxidized to a depth of about 300 ft. In 1938, average assays of the ore ranged from $9 Au per ton to $10.79 Au per ton. Assays of ore remaining in the mine in 1938 averaged 0.21 to 0.34 opt Au and 1.2 to 3.7 opt Ag.
The Marietta and Metallic veins were mined separately. The Marietta vein is opened by an east-to southeast-trending crosscut that intersected the vein at the 740-ft point, and drifts were run on the vein for about 460 ft north and 100 ft south. A stope about 400 ft long and 120 to 160 ft high was mined mainly above the north drift. An inclined winze about 75 ft deep was sunk on the vein near the crosscut entrance, and drifts run 140 ft on the vein at the 70-ft level.
The Metallic vein was cut in the Marietta crosscut about 160 ft beyond the Marietta vein, and drifts were run along it for 720 ft to the northeast and 690 ft to the southwest. The vein was stoped 60 to 80 ft above the northeast drift for a length of about 150 ft, and a raise extended to the surface. A winze was also sunk about 195 ft on the incline near the southwest end of the drift, and levels and stopes extended to both the northwest and the southeast on the vein at the 110-ft and 195-ft levels, totaling about 300 ft on each level. Another winze was sunk about 95 ft beneath the 195 level, but the vein at this level was not developed.
The Metallic vein also was intersected in an adit that crosscut about 100 ft to the vein. A drift was run along the vein about 270 ft to the northwest, and the vein was stoped to the surface. The total production from the Marietta mine is unknown. The mine was a significant producer from 1919 to 1922 and in the 1930s (figs. 19,20). Its last known production was in 1938. From 1935 to 1938, the mine yielded 25,332 tons of ore valued at more than $200,000. Most of this ore came from the stopes on the Metallic vein where it is cut in the Marietta crosscut, and from the stope to the surface in the Metallic adit. The total yield from the mine is probably between $400,000 and $500,000.
Source: The Gold Mines of the Virginia City Mining District, Madison County, Montana. Montana Bureau of Mines and Geology. Bulletin 133, 2004


Huffpost Canada Living ca
Vikram Somasundaram Headshot
How Millennial Attitudes Will Shape The Future Of Education
Posted: Updated:
Millennials are now the largest generation in the Canadian workforce, and within the next few years will begin to get real responsibility and influence in shaping our country's future.
With the school year now behind us, it's a great time to think about what the future holds for education in Canada and how millennial attitudes will shape this future.
Here are three key trends to watch out for.
Personalization of Learning
A key trait of millennials is how much we value ownership and personalization. We thrive in environments where we are given a voice and can pursue our personal interests, environments in which we are treated like individuals rather than part of the herd.
Today, interest in personalized learning is at an all-time high. According to Google Trends, search volume for the term "personalized learning" is 3x higher today than at any time over the last decade.
Schools like AltSchool, the Khan Lab School, and Summit Public Schools are experimenting with new models for classrooms where personalization of learning -- what, when, and how a student learns -- can happen at scale. Backed by the likes of Bill Gates and Mark Zuckerberg, these initiatives are slowly but surely iterating their way to this new model.
Educators have always known the importance of ownership in improving student engagement, and today they're more vocal about giving students a voice in their own learning than ever.
Instant Access
In this case, the stereotype definitely holds true -- millennials are hooked on smartphones. Millennials are the first generation to have grown up with mobile devices, and the first generation of students who have never known a world without mobile devices is now reaching adulthood.
Today, more than 85 per cent of students in high school have access to mobile devices. Instant access to any kind of information or entertainment that we seek is not just an expectation, it's table stakes. This changes the dynamic of the traditional classroom drastically -- we're no longer beholden to waiting for teachers to disseminate information for us to learn. Gone are the days of borrowing books from the library or researching assignments using encyclopedias. We can find immersive, engaging learning content on any subject, and it's all at our fingertips.
This trend is only going to strengthen with the advent of consumer-grade virtual reality (or augmented / mixed reality) devices. With everyone from powerhouses like Microsoft, Facebook, and Google to startups like Magic Leap betting big on these technologies, a future classroom where each student can dive head-first into their own realities and learn anything they want isn't that far-fetched.
Value Over Validation
Youth unemployment rates are at record highs around the world, and the price of post-secondary education has been skyrocketing in Canada and the U.S. over the last couple of decades. Millennials are paying through the nose, and not necessarily getting what they paid for from higher education.
This trend has led to the rise of MOOCs, coding bootcamps, and other alternative models of post-secondary education -- models that provide technical knowledge and skills necessary to find jobs without the Ivy League prestige and price tag.
With the democratization of learning that MOOCs and bootcamps provide, the focus shifts towards the skills a candidate can demonstrate from the grades a candidate earned. As post-secondary institutions respond to this trend and adapt, there will be a trickle-down effect into K-12 education that prioritizes mastery of skills and competencies over grades earned -- exactly the kinds of models of education that enable personalized learning, and the kinds of models that AltSchool et. al. are experimenting with!
The Millennial Schoolhouse
We've maintained the status quo in education for centuries; we've embraced stability, security, and the inertia in innovation that comes with it. Schools today are changing rapidly, and the trends above suggest the change is only going to accelerate.
Bill Gates once said, "We always overestimate the change that will occur in the next two years and underestimate the change that will occur in the next ten." My bet is that the schoolhouse of 2026 will look vastly different from the schoolhouse of 2016, and millennial attitudes will play a big role in driving the change.
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Computational Platform For Compound Identification
Authored by A Monge, S Cano, A Poth, P Pospisil, E Martin
Presented at ACD/LABS Symposium On Laboratory Intelligence (EUM)
The identification of compounds from complex matrices (such as smoke aerosols or biological samples) that may contain thousands of chemical entities remains a considerable analytical challenge, even when sophisticated analytical instruments and state-of-the-art analytical data processing software are used. This is recognized to be the most challenging step in many scientific fields, including metabolomics. In order to increase the level of confidence in compound identification from smoke aerosols, and to automate a maximum number of manual steps currently performed by scientists, a set of informatics tools to build a computational platform for compound identification is being developed at Philip Morris International. The first component of this platform is a chemical and spectral registration system that enables unambiguous referencing of chemicals and their spectral data. This platform entitled 'Unique Compound and Spectra Database (UCSD)' was developed internally and is based upon two software systems: oracle with Accelrys direct chemical cartridge to manage chemical structures, and ACD/Labs modules Chemfolder and mass Spectra Database to record analytical spectra. The second component of the platform entitled 'Computer-Assisted Structure Identification (CASI)' directly supports the compound identification process and is composed of several modules, each built to support a specific analytical chemistry workflow. Such workflows include, for example, automated non-targeted screening, comparison of chemical composition for two mixtures and puff-by-puff analysis, all of which are essential for the analysis of smoke aerosol samples. Furthermore, it is planned to consolidate all analytical data within an R&D scientific analytical warehouse, which will ease the process for comparing the chemical composition of different samples and provide a central point for data reporting. The challenges and pitfalls encountered during the development of this platform will be discussed.


FeaturedGhana NewsNewsPolitics
NDC replies Bawumia with 60 achievements of Mahama
The main opposition National Democratic Congress says they are ready for the comparison of achievements challenge being advanced by Vice President Dr Mahamudu Bawumia.
The Vice President in a Facebook post Tuesday published what he says are 50 achievements of President Akufo-Addo which put him ahead of former President John Mahama in the upcoming polls.
The NDC in a counter statement Wednesday outlined what they say are 60 deliverables of the former President making him the better candidate for Ghanaians as they head for the polls in December.
Below is the NDC's list of Mahama's achievements
60 Credible Achievement of John Dramani Mahama government
 1. He deployed emergency plants and speed up the completion of ongoing plants resulted in the addition of more than 800 megawatts (MW) of power within 18-months.
 2. In addition to the Energy Sector Levy and ongoing works to restructure the legacy debt of the power utilities, which helped to stabilise the power situation.
Water and sanitation
On water, President Mahama increased investments in the provision of clean drinking water and cited the provision of boreholes, small town water systems and major urban water treatment projects as some initiatives that had significantly increased access to clean drinking water.
 1. The Teshie desalination plant,
 2. The Kpong water expansion project
 3. The ATMA project have expanded access to urban water supply in the capital, Accra.
 4. The Wa water supply project
 5. The 3Ks project, covering Kumawu, Konongo and Kwahu,
Roads and transport
John Mahama's tenure of office had some of the most massive investments in the road sector in the history of the country. Some of the road projects include;
 1. Achimota-Ofankor
 2. Awoshie-Pokuase
 3. Sofoline
 4. Tetteh Quarshie-Adenta.
Other projects include;
 1. The Kwame Nkrumah Interchange,
 2. The Kasoa overhead bridge
 3. The Airport Hills/Burma Camp network of roads,
15 The 37-El Wak-Trade Fair road.
 1. The NDC government invested more resources in continuing the Eastern corridor roads
 2. Asphalt overlay of roads in regional and district capitals
 3. Cocoa roads across the country
Other ongoing projects before leaving office includes;
 1. The Tema Motorway Roundabout decongestion project.
 2. New bridge from Flower Pot Roundabout on the Spintex Road over the Accra-Tema Motorway to East Legon.
Projects ready to commence, such as
 1. The Obetsebi-Lamptey interchange
 2. The Pokuase Interchange
 3. The Motorway expansion project.
 4. The TarkwaBogoso- Anyanfuri road
 5. Some Projects include;
Expansion of the Takoradi and Tema Harbours
Construction of Terminal(T3) of Kotoka International Airport
Sekondi -TakoradiKojokrom railway line
Central Markets in Kumasi and CapeCoast
 1. John Mahama's government inherited an economy that was running a high deficit, with increasing inflation and interest rates characterised by a rapidly depreciating currency.
He recalled the forum at Senchi and said it was an attempt to forge a consensus for a home-grown fiscal consolidation programme, noting that the outcome eventually became the basis for the International Monitory Fund (IMF) Extended Credit Facility (ECF) programme that the country was implementing.
 1. During his tenure in office, a large number of health professionals trained under his administration to improve the healthcare delivery system of the country.
Health Projects
 2. The expansion in the utilisation of the National Health Insurance Scheme (NHIS). In 2015, the out-patient utilisation of NHIS stood at 29 million, up from nine million in 2008.
The NHIS on the whole had also been improved under his administration to ensure that people, including the vulnerable, had access to quality healthcare.
Second phase of the Tamale Teaching Hospital Expansion Project
 1. Regional Hospitals: 420-bed Ridge Hospital Expansion Project, Bolgatanga Regional Hospital, 250-bed Ashanti Regional Hospital at Sewua-Kumasi
160-bed Upper West Regional Hospital
 1. Institutional Hospitals:
- 500-bed Military Hospital Project in Kumasi
- 104-bed Police Hospital Project, Accra
- 130-bed Maritime Hospital, Tema
 1. Polyclinics
Five polyclinics (Phase III) in the Brong Ahafo Region at Nkrankwanta, Wamfie, Kwatire, Techimantia and Bomaa.
 1. Health Centres
 1. CHPS Compounds
Out of 2,948 functional CHPS zones, 1,260 have been constructed.
 1. Eye Care Centre at Komfo Anokye Teaching Hospital
Social protection
 1. His administration helped cushioned the poor and vulnerable, many social protection programmes were introduced.
 2. The number of people benefitting from schemes such as the School Feeding Programme, the Livelihood Empowerment Against Poverty (LEAP) and the Eban card, had been expanded to cover majority of the poor and vulnerable population in the country.
 1. The John Mahama government continued to support the provision of free textbooks and uniforms to pupils in public schools, and it has restructured and enlarged the school feeding program.
 2. The provision of 10,000 free sandals to eligible pupils. This was his initiatives to follow through on raising the quality and inclusiveness of education for everyone in Ghana.
 3. The school shift system, through which pupils run shifts due to lack of adequate classrooms, has now been eliminated in many of our communities. In Wa, Sunyani, Tarkwa, Dansoman, Krachi Nchumuru in the Oti Region and many other areas, school children can no longer skip school to play truant in the name of the school shift system.
 4. In the area of Accelerated ICT Education, his administration improve upon ICT at the basic level, 81,000 basic school teachers were trained to enable them acquire the requisite skills in the use of ICT in teaching and learning.
A total of 54,500 laptops were procured and distributed to basic school teachers and 60,000 laptop computers were distributed to public schools across the country.
 1. A bills passed in his administration which includes Technical University Act, Act, 2016 (Act 992). This made some of the polytechnics changed to Technical Universities.
University of Environment and Sustainable Development (UESD),
The Chartered Institute of Taxation Act, 2016,
The National Commission for Tertiary Education Bill,
National Accreditation and Qualification Authority Bills, 2015,
Ghana Book Development Council Bill and The Chartered Institute of Bankers Bill, 2015.
 1. To facilitate the management of education delivery the Mahama led administration procured and distributed 500 vehicles to the educational institutions-senior high schools, universities, colleges of education and polytechnics.
 2. In terms of School Infrastructure – A total of 1,856 out of 2,578 basic school projects have been completed under the Schools Under Trees programme. The remaining was due for completion. A number of teachers bungalows, education offices, sanitation blocks and 203 out of 232 classroom blocks includes the SHS E block have been completed.
Under the Early Childhood Care and Development (ECCD), the Mahama led administration rehabilitated 345 KG classrooms, constructed 1,347 KG blocks and provision of 1,875 KG tables and chairs.
Job creation must also be supported by the expansion of opportunities in the agricultural sector. There is the need to secure sufficient supplies of food at affordable prices. Following our strong commitment to the modernisation of agriculture;
 1. The government of Mahama increased the number of rice maize, yam harvesters. Additional emphasis has been put on grain storage facilities and the creation of bore holes for agricultural purposes.
 2. Agricultural mechanisation service centres was established.
 3. His achievements includes reviving cotton farming in the Northern Ghana.
 4. Between 2009 and 2011, the government also rehabilitated several irrigation dams in the Greater Accra, Volta, Ashanti and Brong Ahafo Regions.
 5. Ghana produced more than 1m tonnes of cocoa in 2011, a significant increase over the output in 2008, which stood at about 680,000 tonnes.
In line with Government's determination to develop sports infrastructure,
 1. The 15,000 seater capacity Cape Coast Stadium.
 2. Progressive prominence of Ghanaian sportswomen and men at the African Youth Games in Gaborone, Botswana in 2014, the Youth Olympics in Nanjing, China in 2014, the Commonwealth Youth Games in Apia, Samoa in 2015, and the All-Africa Games in Brazzaville, Congo in 2015.
 2. Keta Sea Defence Resettlement Housing Scheme.
 3. Ad


text:
- Area schools provided demonstrations on how technology has been integrated into curriculua.
By Michelle Swartz
Using a laptop to create a weather forecast with maps showing wind currents and air pressure, seventhgrader Billy Axel demonstrated how useful technology is in the classroom.
"It's all accessible through the computer," the Mason Middle School student explained as he clicked on various links to help him create a weather storm watch. "It's all interactive and easy to use."
Billy was one of several area students and teachers who demonstrated how technology is being utilized in Monroe County classrooms. Technology — specifically the countywide technology millage — was the main topic at the Monroe County Chamber of Commerce Koffee Klub held Thursday morning at Monroe County Intermediate School District.
"Looking back when (the millage) was first passed in 1997, one of our goals was to equip all teachers with email," said Dr. Donald Spencer, superintendent of Monroe County Intermediate School District, while speaking to approximately 100 people. "We have come a long way."
The topic of the meeting is in support of the Monroe County Educational Technology Millage, which is up for renewal in the May 3 election. It provides funding solely for educational technology and related staffing and services.
The funding provides classroom technology, including hardware and software, equipment, distance-learning connections, teleconferences, professional development for educators, technology integration and collaborative learning experiences.
If passed, all nine county districts will receive funding through the millage on a per-pupil basis, however, the ISD does not receive funds. Since it is a renewal, local property taxes will not increase. The renewal is.9866 mill for five years, which represents 98.66 cents of taxes for every $1,000 taxable value of a home.
In order to show how technology is being utilized in the classroom, four area schools gave presentations during the Koffee Klub meeting. Four stations were set up in every corner of the room with four different groups rotating at each station every 10 minutes.
Billy, along with fellow students Nick McCoy, Michelle Jacobs, Breanna Cocagne, Katlyn Leutz and Raegan Hiimebauch, showed the crowd the many ways they use computers to learn. Mason Middle School assigns a laptop to every student, but students cannot take the laptops home. The presentation was led by teacher Brenda Brown.
"We have computers in every room at the middle school," Billy said. "We also have other things like SMART boards. There's no such thing as chalkboards anymore."
The other stations were hosted by Sodt Elementary School, Monroe County Intermediate School District and Monroe High School. Fourth-graders from Sodt demonstrated how to use SMART boards, an interactive whiteboard that uses touch detection for user input. Math, science and other topics are taught from the boards.
Ryan Knoblauch, a speech pathologist with the ISD, and Brik Jacobs, a seventh-grader at Mason Middle School, showed their audience how iPads are used as a communication tool in the classroom.
"You can download free applications, such as Dragon Naturally Speaking, to dictate notes," Mr. Knoblauch said. "You speak into it and it types out your notes. A lot of doctors and teachers use this application."
The fourth station was led by Monroe High School chemistry teacher Marc Drougel along with 10th-grade students Kaylin Reed, Ryan Gentil and Celeste Bakr. Mr. Drougel explained how he posts lecture videos on YouTube. Homework for his students is to watch the lectures while at home.
"Instead of them listening to me lecture during class, this frees up time for more lab work and one-on-one time," he told the crowd. "It allows students learning at a slower pace to stop, pause or rewind the video lecture and gives them more one-on-one time with me in class. Also, if a student is sick, it gives them an opportunity to catch up while at home."
Kaylin enjoys the tech-savvy chemistry class.
"He gives us deadlines for each chapter so you can work at your own pace. I can pause and rewind the video if I need to go back to something," she said of the self-paced class. "If I have questions, I can talk to (Mr. Drougel) in class about it the next day."
Chris Shankleton, an employee at Monroe Bank & Trust who attended the Koffee Klub, was impressed with the four examples of technology in area classrooms.
"It's just wonderful to see how technology is such an integral part of classrooms today," she said afterward. "Technology is here and not going away. I hope people (voting May 3) realize that."


text: Ecosystems provide a wide range of goods, services or ecosystem services (ES) to society. Estimating the impact of land use and land cover (LULC) changes on ES values (ESV) is an important tool to support decision making. This study used remote sensing and GIS tools to analyze LULC change and transitions from 2001 to 2016 and assess its impact on ESV in a tropical forested landscape in the southern plains of Nepal. The total ESV of the landscape for the year 2016 is estimated at USD 1264 million year-1. As forests are the dominant land cover class and have high ES value per hectare, they have the highest contribution in total ESV. However, as a result of LULC change (loss of forests, water bodies, and agricultural land), the total ESV of the landscape has declined by USD 11 million year-1. Major reductions come from the loss in values of climate regulation, water supply, provision of raw materials and food production. To halt the ongoing loss of ES and maintain the supply and balance of different ES in the landscape, it is important to properly monitor, manage and utilize ecosystems. We believe this study will inform policymakers, environmental managers, and the general public on the ongoing changes and contribute to developing effective land use policy in the region.


text:
B1 Multi-scale simulation of the anisotropic damping properties of fiber-reinforced concrete under impact loading
Micro-macro modeling of impact on short fiber and long fiber reinforced concrete
In this subproject, a method for the numerical calculation of the wave propagation in fiber-reinforced concrete on the fine meso scale is to be developed. For this, representative volume elements, boundary conditions which represent the spectrum of the large-scale wave propagation, and models for microscopic damage are to be constructed.
A further focus is the homogenization of the fine meso scale, in order to determine parameters for the anisotropic attenuation on the larger scale. For the efficiency of reinforcing layers, a reinforcement orientation optimized to some extent can make a decisive contribution to setting an improved damping behavior. In the sense of a thorough approach, a method for the determination of an optimal virtual orientation of the strengthening elements in the reinforced concrete component is to be developed based on biological soft tissues, taking into account the requirements from the construction practice.
Peer Reviewed Journal Publications
- Tamsen, E., Balzani D.: A general, implicit, large-strain FE2 framework for the simulation of dynamic problems on two scales. Computational Mechanics (2020) – under review
- Tamsen, E., Weber, W., Balzani D.: First steps towards the direct micro-macro simulation of reinforced concrete under impact loading, PAMM, 18(1):e201800181, 2018.


text:
No, this isn't a picture from Mars. It's from Titan, Saturn's largest moon. This view taken by the Huygens lander on the moon's surface shows pebble-sized objects thought to be rocks or ice blocks. The two objects just below the middle of the image are about 150 mm and 40 mm across, respectively, and are about 840 mm from Huygens. The surface is darker than originally expected and made up of a mixture of water and hydrocarbon ice. There is also evidence of erosion at the base of the objects.
Image Credit: ESA/NASA