text:
Photographer Robert Buelteman uses thousands of volts of electricity to create his photographs by zapping a little life and energy into already beautiful plants. The process, called Kirlian photography, was made famous in 1939 by Russian inventor Semyon Davidovich Kirlian who discovered the process accidentally through experimentation. To capture the glowing light through each flower, Buelteman first carves at the plants with surgical tools until they are thin and sheer. Next, he places a sheet of transparency film below a metal sheet floating in liquid silicone. He puts the plants on top of the film and connects them, with clamps, to a source of voltage. Buelteman then generates up to 80,000 volts through the plant to capture the resulting glow on film.
Buelteman works completely in the dark, so after he shocks the plants, he paints with light across the shape of the plant to add additional illumination and detail to the image. These glowing plants are an impressive example of photographic techniques that don't require any digital manipulation.The artist says, "While I remain fascinated by the organic design of simple flowers and plants, I have become increasingly drawn to the power of abstraction made available through the manipulation of color, form, and light."
Add a Comment


text:
In a world driven into a frenzy by 24 hour news cycles and constantly changing data feeds it's easy to forget just how essential and fundamental memory is to our cognition.
Our memory serves not only as the store of our knowledge and emotions, but also as the scratch pad on which our present experiences and activities are doodled. As victims or Allzheimers' disease sadly remind us – Without memory we literally cease to be.
Memory's central place in human experience has motivated physicians and psychologists to study it in depth, and our topic in this post is the Serial Position Effect (SPE), one of the earliest modern theories about memory, and one which remains relevant to this day.
The Serial Position Effect
The Serial Position Effect was first proposed by a German psychologist Hermann Ebbinghaus (_PHONE_) – best known for identifying and studying the Learning Curve. Ebbinghaus was fascinated with how we remember and how we forget.
With precious little pre-existing research to rely on, Ebbinghaus had to establish his own experimental methodologies, which he based largely on learning and then attempting to memorize strings of nonsense words, with the goal of identifying how much of what he'd learned he could recall after given periods of time.
Primacy & Recency
It's as a result of these experiments that Ebbinghaus was able to propose his Serial Position Effect Theory which states that when we attempt to remember any series of data (names, events, experiences, etc.) we're likeliest to remember the first one (Primacy effect) and the last one (Recency effect). When we plot the likelihood of memory on a graph, it creates a U-shape – The start and end of the graph have a high chance of being remembered, but everything in the middle tends to be forgotten.
It's interesting to understand why this happens. Later studies contributed understanding regarding the contextual distinctiveness of the first position and the last positions in any series of events. In essence the first memory and last memory are, by definition, interruptions to the occurrences that preceded or followed them, and as such are distinctive, and easier to remember. Another theory explaining why these positions are easier to remember relates to the type of memory we use for remembering each position.
Leveraging SPE for B2B Marketing
How is Serial Position Effect applicable to everyday B2B marketing situations? Two easy examples are trade-shows and pitch scenarios.
Primacy & Recency Affect Your Memory of Trade-show Leads
Whenever your company is participating in a trade-show, or any networking event, due to the Serial Position Effect it's naturally easier for you to remember the first few people you meet, and the last few, but everyone in the middle is likely to be forgotten, unless you take precautions and make an extra effort to remember them by collecting their business card and jotting down a few details of your conversation down in your CRM.
For a Memorable Bid Pitch Use Primacy
Another example of how you can leverage Serial Position Effect to your benefit is whenever you're pitching for a bid against other offers. By now you can already guess that according to Serial Position Effect you should strive to be either the first to pitch, or the last. Those are the pitches your audience is likeliest to remember. That being said, due to the inevitable cognitive depletion that the pitch evaluators will experience throughout the process, it's probably best that you always aim to be the first to pitch on any given date.
So primacy effect plays to your advantage in pitching when you're first because people find it easier to remember the first thing in a list.

source: openbmb/Ultra-FineWeb


text:
Provided by BioSciEdNet (BEN) at the American Association for the Advancement of Science (AAAS). BEN collaborative partner organizations provide access to over 4,700 reviewed resources covering 77 biological sciences topics. BEN provides resources, tools, and professional development for educators at the high school and undergraduate levels. BEN is managed by the American Association for the Advancement of Science (AAAS). Registration is not required to use BEN, but is necessary to view resources from the American Physiological Society (APS) and Ecological Society of America (ESA). Recent articles from Science magazine are available only through subscription.
BiosciEdNet (BEN): Digital Library Portal for Teaching and Learning in the Biological Sciences
BiosciEdNet(BEN) is a catalyst for individual undergraduate biology educators to improve their teaching through resources, collaboration, and network building. However, it is also a catalyst for participating biology research-based and...
Full description and distribution of resources

source: HuggingFaceFW/fineweb-edu


text:
Wildlife Damage Management
Brown Treesnake Research at NWRC
Trapping is central to the control activities carried out
on Guam, yet it is only one component of an integrated control program that
simultaneously uses multiple methods, and employs a sequential, strategic
approach for snake removal over large areas. NWRC scientists work closely
with other Wildlife Services biologists to design trap placement strategies
and to develop snake-trap attractants.
Several trap placement strategies (factoring in optimal trap spacing, plot dimensions etc.) have been applied to forested plots. Perimeter trapping, interior trapping, and boundary trapping regimens are all employed. Once snake populations have been reduced in an area, maintaining some strategically placed traps around the plot helps deter population recovery.
October 11, 2007


text:
Rustico – A Detailed Information About RusticoTV In 2023
In an increasingly interconnected world, the ability to access and appreciate the diverse cultures of our global community has never been easier.
RusticoTV, a Spanish-language television channel, plays a crucial role in promoting and supporting Latin American culture, making it accessible to viewers worldwide.
From music videos and live performances to thought-provoking documentaries, RusticoTV offers a wide array of content that serves as a captivating window into the rich tapestry of Latin American heritage.
Table of Contents
The RusticoTV Foundation:
RusticoTV is a project born from the RusticoTV Foundation, a non-profit organization deeply committed to the preservation and propagation of Latin American culture.
This foundation serves as the driving force behind RusticoTV, ensuring that it remains a platform where the culture, traditions, and artistic expressions of Latin America can thrive.
Diverse Programming Blocks:
RusticoTV's programming is diverse, catering to a broad spectrum of interests. The channel offers content organized into several distinct blocks, each dedicated to a particular aspect of Latin American culture.
Afizzionados: This block is a treasure trove for music enthusiasts. It features music videos from Latin American artists, live performances, and in-depth interviews. Whether you're passionate about salsa, reggaeton, or traditional Latin music, Afizzionados has something for everyone. It's a platform where the latest Latin American music trends find their home.
Documentales: Documentales, or documentaries, delve into the profound historical and cultural aspects of Latin America. Viewers can explore the vibrant histories, landscapes, and narratives that shape the region. Documentales is a window into the past, present, and future of Latin American societies, making it an essential educational tool.
Cultura: This block delves into the cultural richness of Latin America. It features programs that showcase the arts, film, literature, and other cultural aspects. From the works of famous Latin American authors to contemporary art exhibitions, Cultura is a gateway to understanding the profound influence of Latin American culture on the world stage.
Entretenimiento: Latin American culture is not only about tradition and history; it's also about fun and entertainment. Entretenimiento offers an escape into the lighter side of Latin American culture. It includes comedy shows, game shows, and other forms of entertainment that add a touch of joy and humor to the channel's programming.
RusticoTV has made it easier than ever to access its content. The channel is available online and can be found on select cable and satellite providers in the United States and Latin America.
Additionally, for those constantly on the go, the RusticoTV app brings Latin American culture to your mobile devices, enabling you to enjoy your favorite programs anytime and anywhere.
The Impact of RusticoTV:
RusticoTV is more than just a television channel; it's a bridge connecting people from different parts of the world to Latin American culture.
By offering a wide range of content, RusticoTV succeeds in creating awareness and appreciation for the vast cultural diversity that Latin America represents.
For those who are already familiar with Latin American culture, RusticoTV provides an opportunity to stay current with the latest trends and developments in music, art, and entertainment. It's a platform that allows viewers to explore new facets of this vibrant culture continually.
Fostering Latin American Musical Diversity through Afizzionados:
Afizzionados, one of RusticoTV's programming blocks, is a captivating journey through the diverse and ever-evolving world of Latin American music. Whether you're a fan of reggaeton, salsa, rock en español, or any other genre, this block is a treasure trove of musical expression.
From iconic music videos to mesmerizing live performances, Afizzionados celebrates the talent and creativity of Latin American artists.
The in-depth interviews provide a unique opportunity to connect with the musicians on a personal level, gaining insight into their creative processes and the stories behind their songs.
For music enthusiasts and those looking to discover new sounds, Afizzionados offers a dynamic platform for exploring Latin American music in all its forms.
Unearthing Hidden Histories with Documentales:
Documentales takes viewers on a thought-provoking journey through Latin America's intricate and often untold histories. From the awe-inspiring landscapes of the Andes to the vibrant narratives of indigenous communities, Documentales showcases the rich tapestry of the region's heritage.
These documentaries provide an in-depth look at historical events, cultural traditions, and environmental challenges, shedding light on the impact of Latin America on the global stage.
It's an educational resource that fosters understanding, empathy, and a deep appreciation for the intricate stories woven into the region's history.
A Cultural Odyssey with Cultura:
Cultura invites viewers to immerse themselves in the vast cultural landscape of Latin America. This block explores the dynamic connections between the arts, literature, cinema, and other cultural expressions that define the region.
Whether you're interested in the works of renowned Latin American authors, contemporary art exhibitions, or the influence of Latin American cinema, Cultura offers a kaleidoscope of creative endeavors.
It's a window into the deep-rooted cultural significance of Latin America, emphasizing the enduring impact this region has had on global culture.
Celebrating Entertainment with Entretenimiento:
While Latin American culture is deeply rooted in history and tradition, it is also teeming with laughter, joy, and entertainment. Entretenimiento brings humor and light-heartedness to RusticoTV's lineup.
Featuring comedy shows, game shows, and other forms of entertainment, this block is a delightful escape into the lighter side of Latin American culture.
It showcases the region's ability to celebrate life, even in the face of adversity. Entretenimiento is a reminder that, in addition to its rich cultural heritage, Latin America knows how to have fun and spread smiles.
RusticoTV is a beacon for those who wish to immerse themselves in the rich and diverse world of Latin American culture. Whether you're interested in music, history, art, or entertainment, RusticoTV has something to offer.
It stands as a testament to the enduring legacy of Latin American culture, preserving its heritage and keeping it alive for present and future generations to appreciate. If you're intrigued by Latin American culture, RusticoTV is a gateway you won't want to miss.


Pivot Filtering with Cell Selection and VBA
This post looks at applying data filters in Excel workbooks with sheet 'click' functionality for filtering. The purpose of this is to provide a rich user experience for reporting within Excel. With these types of reports, you present some data in a pivot which is used to as a source filter for other parts of your report (or worksheet). Consider the situation below; when you click on one of the country names in the pivot, the chart is automatically updated to filter for that country. Clicking on any other area of the pivot removes any chart filter.
Why would you do this?
Monthly reporting workbooks are often treated as report packs and designed in lieu of an enterprise reporting system. Even where such an enterprise reporting system are in-place, the reporting environments are usually not flexible enough to provide the business what they need for monthly reporting and so the workbooks are bundled together in Excel. These workbooks can be extended to have highly interactive functionality that mimics high-end reporting tools.
While you could achieve these results with a slicer, the automation of the action may provide a nicer experience for the user because it removes the slicer clutter from the page and allows a direct association with the data being investigated.
How to Do IT
Achieving this functionality is conceptually pretty simple (and soon programmatically simple too J), all we need to do is;
 1. Listen for changes in the cell position on a worksheet.
 2. When a change is detected, we check that the change was to our source pivot
 3. Determine the filter value (ie what value was clicked in the pivot) … and
 4. Apply that value to the slicer for the chart.
These items are now discussed individually.
Work Book Setup
In this example, I am using an Adventure Works connection with a pivot table and pivot chart. The pivot table (the one you click a cell on) is called 'country_sales'. This uses the customer.country hierarchy from adventure works. The pivot chart has a slicer linked to it (and the name of the slicer is 'Slicer_Counrty'). Note that the same hierarchy must be used for both the slicer and pivot table.
Listening for changes in the worksheet
Each worksheet has its own code module with defined events. An event is a subroutine that is 'inbuilt' into Excel and fired when something happens in Excel (for example, when the user changes the active cell). You can see the worksheets module by double clicking the sheet in the project explorer or with a right-click and 'View Code' and see the events by selecting them from the dropdown (as shown below).
When you do this (and choose the event SelectionChange), you'll see the following subroutine added to your module
Private Sub Worksheet_SelectionChange(ByVal Target As Range)
End Sub
Now, that this has been added, this procedure will fire every time you change selection cells on Sheet1. It also may be worthwhile to note that the Target parameter refers to the range of cells that's selected (as part of the selection). Because you can select more than 1 cell, we want to check for single cell selection so we simply exit the sub if there is more than on cell in the range.
If (Target.Cells.Count <> 1) Then Exit Sub
Detecting the Source Pivot and the Active Cell Value
There are some pretty handy functions to determine if the active cell relates to a pivot table, and if it does, that the member name is and what its value is. These relate to the activecell and are the properties
Thus, in order to determine what the name of a pivot table for the active cell we would simply write;
Dim source_pivot_name As String
source_pivot_name = ActiveCell.PivotTable.Name
The name (MDX value) of a column could be determined by ActiveCell.PivotItem.Name
and the (MDX) name of the attribute
determined by ActiveCell.PivotField.Name
For example, if I click on the France 'country columns' in my pivot table, I would get the following values.
ActiveCell.PivotTable.Name "country_sales"
ActiveCell.PivotField.Name "[Customer].[Country].[Country]"
ActiveCell.PivotItem.Name "[Customer].[Country].&[France]"
Note that the pivot values references are to the object model (ie the Pivot object). If the cell your referring to (the activecell) is not part of a pivot table, you'll get an error. This is pretty easy to catch with some error trapping (see final code).
Assuming that the user clicked on a cell in the pivot (I will leave the checks for the final code) we have all the values that we need and can then set the slicer.
Applying the filter to the Slicer
I have discussed applying how to apply slicer value in VBA in this post. For brevity, I'll just include the essential items. We simply make a reference to the slicer (SlicerCache) and set its value.
Dim sC As SlicerCache
Set sC = ActiveWorkbook.SlicerCaches("Slicer_Country")
sC.VisibleSlicerItemsList = Array(ActiveCell.PivotItem.Name)
If I want to remove the slicers current filter (when no 'country is needed), I can do that with this code;
Complete Code
The following code demonstrates the complete solution. I have included updating the 'title' of the chart and error traps to determine if a 'non country' part of the pivot was chosen.
Private Sub Worksheet_SelectionChange(ByVal Target As Range)
 If (Target.Cells.Count <> 1) Then Exit Sub
 Dim source_pivot_name As String
 source_pivot_name = ""
 Dim source_field As String
 source_field = ""
 Dim source_attribute As String
 source_attribute = ""
 Dim sC As SlicerCache
 Set sC = ActiveWorkbook.SlicerCaches("Slicer_Country")
 On Error GoTo continue
 'try and get the active cells pivot table name
source_pivot_name = ActiveCell.PivotTable.Name
'we can only apply a filter if we are on our 'selection pivot'
If source_pivot_name = "country_sales" Then
 'note the name must go first so we can check for a 'Row Labels' Position
On Error GoTo continue2
source_attribute = ActiveCell.PivotField.Name
On Error GoTo continue3
source_field = ActiveCell.PivotItem.Name
'check we have the correct source
If (Len(source_attribute) > 10 And Left(source_attribute, 10) = "[Measures]") Or _
(source_field = "" And source_attribute = "[Customer].[Country].[Country]") Then
'set to all
Sheet1.Cells(11, 4) = "Category Sales for All Areas"
sC.VisibleSlicerItemsList = Array(source_field)
Sheet1.Cells(11, 4) = "Category Sales for " & ActiveCell.Value
End If
 End If
End Sub
Adding some interactive functionality to a pivot is a pretty simple exercise which relates to the identification of a cell value and, in turn setting a slicer. This improves the end user experience for excel reporting books.
Viva Excel and black IT J. A little cheeky!
A Different Approach to Self-Service?
Managing Connections In Power Pivot
Demonstrations that show importing data into Power Pivot do this from database icon in the home window (as identified below). However, once data is in your model and you wish to add new tables it is wiser to reuse the existing connection rather than create a new connection for each import. Each time that table(s) are added by this dialogue, a new connection is created within the model with multiple connections possible referring to the same source. For model simplicity, it is better to have a single connection referring to a single data source.
Standards for Import
The standard method importing data into Power Pivot is to use the import from database icon as shown in the diagram below (when a database is being used). This utility has features that allow you to detect relationships between tables and may suffice from two models. That is, when there are no existing tables and the model.
What this utility does is create a new connection to the data source each time the Wizard is invoked. Consider for example, an existing model that has the product table from Adventure Works imported. The initial import did not include the ProductCategory and ProductSubCateogory table. Naturally, we would want to include this in the model.
If we use this Wizard to reimport the tables, a new connection is set up. This connection is associated with the two new tables. We can see this by selecting the "Existing Connections" icon in the design.
Note that there are two connections in the model (as below) which was caused by the "re-import"of data once the initial population of the model had occurred.
Altering an Existing Connection
We can add data to the existing model and reuse an existing connection at the same time. If we wish to do this you simply reopen the existing connections properties and append tables (or add a query). Click the 'Open' button from the dialogue and select either the 'Select from a list of tables…' or 'Write a query that will….'.
This will append any new tables to the model utilising existing connection.
Perhaps the main reason for reusing the connection is that it keeps the model succinct and manageable. Once a table has been imported through a connection the connection properties for that table cannot be changed without first deleting all the tables using the connection.


it's just a good practice for me.
Okay, that should do it for the pulse channels! Onto the others. These portions will be significantly shorter...
As I said before, I'm not going to go into parameters that I almost never use. Feel free to explore them for yourself if you're creating more 'experimental' music but for most compositions, they're not crucial.
As mentioned earlier, the triangle channel has no volume control which means no CC's for volume, loop, etc. It also doesn't have any duty cycle or pulse width as it always generates the same tone.
It does, however, have pitch control which is identical to the pulse pitch control using either fine pitch (CC#8) or channel pitch in your DAW. As such, I also prefer to use the channel pitch but fine pitch is a greater consideration for this channel as the pitch steps are further apart so if you want more subtle vibrato or smoother pitch bends, you may want to look into using this instead.
As an additional note for both the triangle and pulse channels, pitch steps get further apart with higher frequencies. In other words, if you change the pitch to +1 cent on a high note, it will jump further than the same +1 cent step on a lower note. For this reason, when controlling pitch via either fine pitch or channel pitch, be more conservative with high notes and more liberal with lower notes. In my experience, I need to change the value on lower notes 3 or 4 cents before the difference is noticeable while on higher notes, I tend to space out lower values to avoid sounding too'shaky'.
This is a rare case where I never use the custom MIDI controls. If you do decide to utilize them, they operate similarly to the same ones detailed in the pulse channel uses above. Volume, loop and length envelopes are available but the noise channel is unique in the sense that there is little to no difference in the sound of a single long note and a series of short notes placed one after another. This affords us the ability to change the volume of the noise channel without manual drawing in the event editor. That is to say, if you place 16 short notes in a row at descending note velocity values, it will sound almost exactly the same as a single note occupying the same duration with a manual volume change drawn in the event editor at 16 equal, descending steps across the duration of the note. Also, since I can copy/paste notes (and associated values) but not event editor data in FL Studio, I always construct my noise channel tracks from groups of short 1/4 or 1/8 step notes that change in single note velocity across the duration of what I construct as separate 'instruments'. This is much easier and far quicker than drawing in the event editor for every single note, plus it affords us unique possibilities for giving the illusion of mutliple drum-like sounds overlapping! More on that later...
The only control I use for DPCM currently is the Bank Switch (CC#14). This simply switches between the sample sets loaded onto the MidiNES cart. Each bank has 128 samples for a total of 256 (mostly) unique percussion-based sounds to choose from. Although a good variety of samples are included, if you search around the Internet, there may be available documentation for how to load custom samples with additional hardware/software. I'm more musician than modder so I haven't explored this option much. Also, since I tend to use the noise and DCPM in tandem for drums (and often times will use only the noise channel), I don't use as many different DPCM samples as I might if I was utilizing the DPCM alone, and I don't really consider using the pitch (CC#3) since the variety of available preloaded instruments include toms and other drum sounds at varying pitches already. I also usually stick with the default bank as it has more basic percussion samples but you can switch between them with a value below 64 for one and 64 or above for the other.
An additional note to close out this portion of the tutorial:
The parameters I've covered here reflect only a portion of the potential for MidiNES and I realize that. However, in an effort to keep the focus on composition and in the spirit of overcoming limitations and pushing envelopes, I've only really covered those which I consider to be absolutely essential for creating creative but more'standard' compositions. Why else would we be making music with some of the most basic hardware available if we didn't love the challenge!?
Last edited by Doctor Octoroc (Jan 19, 2019 7:59 pm)
For this section, I'll be focusing specifically on the MIDI CC's associated with the volume control of the two pulse channels and how to implement them for a variety of note styles. Now that we know how the controls effect the volume, we can apply them in various combinations to achieve desired results. How you assign each control to the channel will depend on your DAW but here is how it's done in FL Studio:
Adding Controls to the Event Editor in FL Studio
First off, look for this row of icons and open the browser (by default, it'll open up on the left side of the workspace).
Expand the following menus: CURRENT PROJECT > GENERTORS > MIDI OUT > PULSE 01 (or whatever you named the channel you're editing, but for starters, we'll be editing events for Pulse 01). Once you expand the channel name, you'll see the names of all of the custom controls you created. Right-click any of these and you'll get a pop-up with the option to 'edit events in piano roll'. Upon selecting this, the bottom pane of the piano roll window should expand and you'll see an empty grid where you'll be drawing all of your values. Alternatively, if the event editor is already expanded, you can drag and drop the control name into the event editor pane. It is within this pane that we will be assigning all of our control values and any values entered will apply to the notes directly above them in the piano roll portion of the piano roll window. The control values appear like a bar graph and any value entered will remain up to the end of the track until a different value is entered further in the timeline. They also lock to the same note segment divisions that the notes do so if you have'step' selected, setting a value in the event editor will create a bar as wide as full step intervals. The grid in the event editor will also change as different lengths of step are selected (much like the grid in the piano roll does) so upon selecting 1/2 step, for example, the grid divisions will double. Selecting the correct step length will be important when drawing in the event editor because we want the contols to apply to the same intervals as the notes, or some evenly divided fraction thereof. It takes some getting used to drawing in the event editor but you'll get the hang of it.
Also, at any point after you've chosen a particular control from the browser to edit in the piano roll, you can access it again more quickly by right-clicking within the empty area to the left of the event editor grid (and below the piano graphic) and selecting that control from the pop-up menu. Alternatively, you can select it from a drop down menu in the title bar of the piano roll window. By default, this will have'velocity' shown but it will always show the name of the control you are currently editing in the event editor. All previously added controls will be shown in either menu (pop-up or drop down) along with the channel they're associated with so after adding the 'duty cycle' control for pulse 01, for example, it will be listed as "Pulse 01 - Duty Cycle" in these menus and you can select them more quickly than going to the browser every time. You will also be able to select the channel volume, channel pitch, or note velocity via these menus at any time (they won't be in the generators list as they're not specific, custom CC signals).
If you're following along with this guide in your DAW and want to learn by doing, these are the values to apply to both pulse channels at this point:
- Channel Volume = 127
- Channel Pitch = 0 cents
- Duty Cycle (CC#1) = 64 (50%)
- Length Envelope (CC#9) = 127
- Loop Envelope = (CC#10) 127
- Volume Envelope (CC#11) = 127
These values create solid notes with full volume and sound like the leads in the 'Super Mario Bros.' and 'The Legend of Zelda' themes. These are also the values I apply at the start of just about every track I create as a standard and then I build upon them (or change them, but usually, I'm not certain how I'll be manipulating the parameters until I at least have a melody laid out).
Okay, onto the volume related techniques!
A common style of note you'll hear a lot in classic NES tracks is delay. Delay is essentially an 'echo' of the note that is commonly done in commercial tracks with effects generators. Of course, we don't have anything like that built into the NES, so we have to get creative. You could run your track through a delay filter during or after recording the track (or track parts) but it's not a 'pure' technique as it wouldn't be possible to create this with the original hardware alone. We're trying to utilize the hardware, not take the easy way out!
Delay Utilizing Both Pulse Channels
The easiest way to create a delay or echo effect is to lay down notes (at 100% note velocity) to create


text:
This hands-on training focuses on elevating your incident response, malware analysis & forensic investigations knowledge into the cloud. Learn to defend your public cloud infrastructure by building automated detection and response pipelines through serverless functions, playbooks and containers.
The workshop will begin by covering details about public cloud infrastructure like AWS, Azure, and GCP. We will build a technical and architectural understanding of the cloud and its services in the introductory phase. We will then dive into the Identity and access management based attack and defense scenarios along with running security assessments and automated tests against the entire infrastructure.
The second phase of the workshop will cover hands-on tool building for static file scanning using clamAV and Yara engines by utilizing lambda functions. We will cover exercises on integrating more features to the service like hash lookup, file-type determination and automated signature update through S3 buckets.
The third phase of the workshop will deal with deploying container services to run malware feature extraction and heuristic detection services at scale. By using real-life scenarios, we will build an alerting and notification service using SNS and slack. This service will integrate with lambda functions and web sockets to notify users when an infection is found. The next exercise of this phase will focus on building automated response and investigation using tags and cloudwatch events.
In the fourth phase of the workshop, we will learn to build realtime dashboards using Amazon Athena and ELK stack. We will learn to write queries to derive rich intelligence out of the collected data.
The final phase of the workshop will focus on forensic investigations. It begins by creating automated forensic artifact collection by utilizing lambda functions and then integrating it with automated analysis like building timeline and dumping process memory. We will learn to build an investigation playbook using step functions to automate most of the investigation and reporting process.
- Introduction to cloud services - Basic terminologies: IAM, VPC, AMI, serverless, ARNs etc. - Understanding cloud deployment architecture. - Introduction to Logging services in cloud. - Introduction to shared responsibility model. - Setting up your free tier account. - Setting up AWS command-line interface. - Understanding Cloud attack surfaces.
- Identity & Access management crash course. - Policy enumeration from an attacker's & defender's perspective. - Detecting and responding to user account brute force attempts. - Building anomaly detection using CloudWatch events. - Detecting privilege escalation and access permission flaw using aws_escalate. - Attacking and defending against user role enumeration. - Brute force attack detection using cloudTrail. - PagerDuty notification for alarms and notifications.
- Quick introduction to static and dynamic malware analysis. - Building clamAV based static scanner for S3 buckets using AWS lambda. - Integrating serverless scanning of S3 buckets with yara engine. - Building signature update pipelines using static storage buckets to detect recent threats. - Malware alert notification through SNS and slack channel. - Adding advanced context to slack notification for quick remediation.
- Auto remediation of malware files through event notifiers and object tags. - Building highly scalable heuristic feature extractor using docker containers. - Optimizing the workload with malware file-type identification and hash calculations. - Integrating playbooks for threat feed ingestion and Virustotal lookups. - Advance alerting and threat intelligence gathering using AWS Elasticsearch and Athena. - Building dashboards and queries for real-time monitoring and analytics. - Advance Dynamic analysis using cuckoo sandbox on AWS EC2 instance and using DynamoDB.
- Understanding Network flow in cloud environment. - Quick introduction to VPC, subnets and security groups. - Using VPC flow logs to discover network threats. - VPC traffic mirroring to detect malware command & Control. - Integrating Snort & Zeek for real-time threat detection. - Building GuardDuty notifiers for real time alerting.
- Analysis of an infected EC2 instance. - Building an IR 'flight simulator' in the cloud. - Creating a step function rulebook for instance isolation and volume snapshots. - lambda functions to perform instance isolation and status alerts. - Building forensic analysis playbook to extract key artifacts, run volatility and build case tracking. - Automated timeline generation and memory dump. - Storing the artifacts to S3 bucket. - On-demand execution of Sleuthkit instance for detailed forensic analysis. - Enforcing security measures and policies to avoid instance compromise.
- Introduction to cloud infrastructure security assessment. - Using scout for automated security assessment. - Analyzing report and plugging the holes.


text:
5.1.2 The Team that will conduct the ALDA shall be composed of DAR regional and provincial ARC coordinators, partner NGOs and representative from PO/Coop. DTCSHA
5.2 Orientation/Training of ALDA Team
5.2.1 Within the first quarter of 1998, DAR BARBD and SARC-TSARRD shall conduct orientation/trainings on ALDA. Two orientation/trainings shall be undertaken:
a. The first orientation workshop will be on how the ALDA will be conducted. This will provide the team with a common understanding on:
a.1) parameters, indicators and descriptors;
a.2) methodology at the ARC level;
a.3) forms to be accomplished;
a.4) computation of rating and analysis of the result; and
a.5) action planning.
b. The second activity will be the consolidation, analysis and report preparation workshop after the actual conduct of ALDA. This will be undertaken to have a common understanding on the rating process of the ARCs, analysis of the ARC development level, action planning process and reports to be submitted.
5.3 Data Gathering and Evaluation
5.3.1 After the training and prior to the conduct of ALDA, the team shall convene at the field level to thoroughly review and gain mastery of the data gathering instrument (Annex 3), data processing table (Annex 4) and guide for computation of rating (Annex 5). They shall also agree on the data gathering mechanics such as source documents to be reviewed, focus group discussion and interviews, observations of organization's activities and enterprise operation, etc.
5.3.2 Annex 3 shall be used and properly filled-up during the data gathering at the ARC level.
5.3.3 Data/information can be both from primary and secondary sources. The team must review all existing documents and reports such as ARCDPs, monitoring reports, coop/organization's by-laws, VMGO, written policies, financial reports, systems installed, ARC/barangay profiles, DF's chronicles and provincial/municipal development council's reports, etc.
5.3.4 Focus group discussion (FGD)/interview with the MARO/DF/DW/IDO and the members/leaders of the organization and some members of the community shall be undertaken for the primary data requirement. Only questions applicable to each group shall be asked during the FGD/interview.
5.3.5 All cooperatives/people's organization within the ARC with DAR has direct interventions and those whose majority members are ARBs shall be subjected to the assessment. These are the organizations reported in the ARC Forms 1-11.
5.3.6 The respondents from the cooperative/organization shall be at least 80% of the leaders (BOD & committees members), 10% of the general membership for less than 300 total membership or at least 50 members for those with more than 300 members, and all members of the core management staff. Some of the members of the community shall also be asked for validation.
5.3.7 Once the entire data requirement needed for the evaluation/assessment have been gathered and reviewed, results shall be analyzed using Annex 1 — Standards for Rating, Annex 4 — Processing Table and Annex 5 — Computation of Rating.
5.4 Computation of Rating
5.4.1 The computation of rating per indicator within a key result area i.e. LTI, OM, ECOPISS, FPI, BSS and GAD shall be done by relating the actual performance to the expected level of performance. There may be instances when some of the indicators are not applicable. Hence, these shall not be rated.
5.4.2 The standards for rating per indicator shall be 0 to 3 where 0 is the lowest and 3 is the highest. Indicators are categorized as output and outcome indicators. All outcome indicators shall have a weight 1.5 times more than the output indicators since these indicators are tangible results of many outputs done in the ARC. (See Annex 5 for illustrations.) The outcome indicators are considered as success indicators (refer to Annex 5 for the computation). Weights per parameter are assigned as follows:
a. Land Tenure Improvement (LTI) - 20%
b. Organizational Maturity (OM) - 20%
c. Economic & Infrastructure Support
Services (ECOPISS) - 20%
d. Farm Productivity & Income (FPI) - 30%
e. Basic Social Services (BSS) - 5%
f. Gender and Development - 5%
5.4.3 Annex I shall be used to determine the points per indicator. The standard descriptors per indicator are presented as follows: a) percentage of accomplishment; b) average; c) ratio and d) quantity and qualitative description. Annex 2 shall be used as a guide in the interpretation of rating per indicator.
5.4.4 Annex 4 shall be used in the processing of the result of the assessment while Annex 5 shall be used as the guide in the computation of rating. In determining the rating per key result area, list the scores per indicator and segregate the scores of the output indicators from the outcome indicators to get the weighted average. Then compute the ARC overall rating.
Formula for computation of overall rating:
a. Per Key Result Area
Key Result Area % Formula Weighted
a.1 LTI 20% L x 20% Rl
a.2 OM 20% 0 x 20% Ro
a.3 ECOPISS 20% E x 20% Re
a.4 FPI 30% F x 30% Rf
a.5 BSS 5% B x 5% Rb
a.6 GAD 5% G x 5% Rg
b. ARC Rating
RARC = Rl + Ro + Re + Rf + Rb + Rg
L = rating for LTI Rl - weighted rating for LTI
O = rating for OM Ro - weighted rating for OM
E = rating for ECOPISS Re - weighted rating for ECOPISS
F = rating for FPI Rf - weighted rating for FPI
B = rating for BSS Rb - weighted rating for BSS
G = rating for GAD Rg - weighted rating for GAD
5.5 Interpretation and Analysis of the Final Score
5.5.1 The interpretation of final score shall be as follows:
Range of Rating Interpretation
Below 1.33 Level 1
(Low Level of Development)
1.34-2.33 Level 2
(with no rating below 1.00) (Medium Level of Development)
2.34-3.00 Level 3
(with no rating below 2.0) (High Level of Development)
5.5.2 Written reports on the result of ALDA per ARC (with all the accompanying tables) shall be submitted and presented by the team to the ARC Task Force. The ARC coordinators shall present the report to the MARO/DF assigned in the ARC for them to discuss with the ARB organizations. This shall be the basis for action planning for ARB organizations and ARC players.
5.6 Action Planning
5.6.1 The result of ALDA shall be discussed with the ARB organization and shall be the basis for the action planning at the ARC level. The MARO/DF together with the leaders and selected members of the organization shall develop a one year action plan. The plan shall identify the needs of the ARCs as a whole and the need of the organization in particular. Targets should be set corresponding to specific activities under each KRA for viable ARC, time frame, resource requirement and persons or groups responsible for the activities.
a. Amount and sources of funding should also be indicated in the plan.
b. The action plan format in presented in Annex 6. This plan shall be presented to the community for approval and implementation.
VII. Reporting and Feedbacking
1. ALDA reports and ARC action plans shall be consolidated per province to be submitted to DARRO-SSD. The DARRO-SSD shall likewise consolidate and prepare a regional ALDA report for submission to the National ARC Task Force. A national situation report shall be prepared pinpointing the levels of development of the ARCs and the recommended action agenda to ensure the sustained growth of the ARCs. Revised ARC plan per province, region and national level shall be done which shall form part of the performance contract of the Regional Directors, ARDOs, and PAROs.
2. ALDA shall be conducted in all ARCs annually (every December of the year). Reports on its conduct shall be prepared and submitted every 15th day of January.
3. ALDA reports shall form part of the annual reports to be submitted to the Office of the Undersecretary FOSSO and Assistant Secretary for SSO.
This Memorandum Circular shall take effect immediately.
Diliman, Quezon City, January 21, 1998.
(SGD.) ERNESTO D. GARILAO


text:
Growing up in Missouri, I saw firsthand the wonderful benefits that heat, humidity and high rainfall provide a fly population. Aside from the devastating production losses in cattle that result from simple irritation by flies, one of the most discouraging problems is preventing face flies from spreading the causative agent of pinkeye, Moraxella bovis.
Pinkeye is a painful disease that can cause reductions in weaning weights of as much as 17-65 lbs./animal. Once pinkeye begins to spread through a herd, it's very difficult to contain and control.
Face flies play an important role in the spread of pinkeye, as the irritated eye produces excessive tearing that attracts the pests. Face flies then pick up the causative agent of pinkeye and transfer it to other animals.
In comparison to horn flies, face flies actually spend very little time on the animal. So, one face fly can spread pinkeye to several animals in the same day. That's why it's very important to get aggressive about pinkeye control as soon as signs are seen.
In most situations, the first step in gaining control of pinkeye is to control the flies. There are several options for fly control, including fly tags, pour-ons, sprays, dust bags and back rubbers.
Fly tags perform best when administered at the proper time. Unfortunately, this usually means cattle must be brought in for the sole purpose of administering fly tags, as spring branding, castrating, dehorning and vaccinating are frequently completed prior to the optimal time for fly-tag administration. Thus, fly tags are often administered as much as 60 days prior to fly season, which compromises the tag's efficacy. Fly tagging cows is actually more effective than fly tagging calves, but tagging both is best.
There are several pinkeye vaccines that may help; consult your herd-health veterinarian about the timing of vaccination and which vaccine to use in your area. Many of these vaccines require a booster dose for greater efficacy, which could actually work to our advantage. Since calves must be brought in for a second dose of vaccine, fly tags can also be administered at a time closer to the start of fly season.
The key to treatment is catching the disease early. Generally, a long-acting oxytetracycline antibiotic is very effective against M. bovis, but resistance isn't uncommon. In this case, your herd-health veterinarian may need to conduct a culture and sensitivity test to determine to which antibiotic the bacteria is sensitive.
Another key component to treating pinkeye is protecting the eye from sunlight, which is just as important as the antibiotic. Because ultraviolet rays can activate enzymes that cause more damage to the eye when the eye is infected with M. bovis, eyepatches are very effective in protecting the eyes from sunlight. The challenge is keeping the eyepatch on the animal.
I've used construction adhesive (Liquid Nails) on eyepatches with great success — perhaps too much so, as many times, I have had to catch the calf later and pull the patch off. But, as long as the patch stayed on for the first 20 minutes, I didn't have to worry about it coming off too soon. For severe pinkeye, consider having your veterinarian suture the eyelid shut to protect the eye from light.
Pasture management is another component of pinkeye control. Grass that is headed out can irritate eyes, causing them to tear and thus attracting face flies. Keeping pastures trimmed can reduce this irritation.
The best way to deal with pinkeye is to get ahead of it and stay ahead of it. Do this by using a broad-based approach that includes fly control, vaccination and pasture management. Consult with your herd-health veterinarian to develop a program tailored to your operation.
Dave Sjeklocha is a feedlot consulting veterinarian at the Haskell County Animal Hospital in Sublette, KS. Contact him at _PHONE_.


text:
Lamb is one of the most popular meats in England, Australia, Greece, the Middle East… pretty much everywhere but the United States, where our paltry annual average of one pound of meat per person pales in comparison to the almost 40 pounds consumed by each person in these countries. Our pals in New Zealand get special mention for eating an average of 57 pounds of lamb a year, thus ranking the nation as number one in the world for eating lamb meat!
When Everyone Ate Lamb
Sheep were one of the earliest staple animals as humans made the transition from hunters to farmers. Meat, milk and wool all come from this useful, relatively small ruminant, making it most likely to succeed as one of the first domesticated animals. And sheep graze happily on meager pasture, so they can be reared in marginal, rocky areas. Also going for them (or their shepherds) is their flocking behavior. It does make it easy to keep track of them when they are out in pasture.
As testament to their success as a domesticated species, there are more than 200 breeds in existence today, each developed to a specific purpose. Some are bred for wool production, like the Merino, others for milk, like the East Fresian, which is responsible for much of the sheep milk in the world (which gets made into some of the best cheese!). In France, the Lacaune breed is the sheep of choice for producing the milk to make the legendary Roquefort cheese. And some breeds are best for succulent meat, like Cheviot, Dorset, Rambouillet or Suffolk sheep. And many breeds are good for all three.
Lamb vs. Mutton
Lamb refers to meat from young sheep less than 12 months old, which is tender and mild in flavor. The meat from a sheep older than one year is called mutton, and it has a more intense flavor and somewhat less tender texture. Some cultures prefer to eat mutton (we're looking at you, Great Britain!), and have developed recipes that require long slow cooking to break down the meat and tenderize it. There is another category called yearling mutton, which refers to meat from a sheep between 1 year and 2 years old. Yearling mutton will be darker, somewhat coarser and firmer with more fat and obviously larger overall than true lamb. Americans will be more likely to eat young lamb than mutton, when they do hunker down to their one pound of lamb a year.
Why We Should Eat More Lamb
The other red meat is good for you! Lamb meat has eight essential amino acids in the proper ratios, has high-quality protein, and is high in B vitamins, zinc and iron. And lamb is pretty lean compared to other red meats. Most of the fat is on the outside, not marbled throughout the meat, so it's easily trimmed off. About 36 percent of the fat in lamb is saturated fat, and the rest is mono or polyunsaturated fat. And then there is the CLA (conjugated linoleic acid) which is a unique antioxidant that the human body cannot produce, but must get from eating herbivores like sheep, goats or cows. Lambs that get to eat clean pasture and range in the sunshine produce the most CLA.
D'Artagnan sources humanely-raised lamb from Australia, where there is a strong tradition of pasturing these wooly ruminants. A cross between the Dorset, White Suffolk and Border Leicester-Merino breeds, the sheep dine on clover and rye grasses, ensuring a sweet, mild flavor that is not gamey (a common complaint of uninitiated lamb eaters).
Domestic lamb is raised in the Rocky Mountain region by a small cooperative of family farms. They raise the heritage Rambouillet/Suffolk mixed breed on high altitude pasture, and finish them with a grain supplement. Like the farmers in our other cooperatives, they insist on following natural processes, never administering antibiotics or hormones.
The Rocky Mountains are an ideal place to raise lambs, with hundreds of thousands of acres of open pastures for grazing, comfortable temperatures and plenty of water and sunshine. This pristine and healthy environment minimizes stress on the animals and produces robust, well-fed lambs. Lambs grown in this environment are meatier than lambs grown in many other areas due to the optimal growth environment and unique genetics.
Lambs are raised to an average age of 6-9 months, which means their meat is quite tender with rich flavor. The grass and grain diet contributes to a mild, less gamey flavor than that which many associate with lamb.
Racks, shanks, leg of lamb, lamb tenderloin, lamb shoulder—where to begin? Whatever the cut, the key to tasty lamb is not to overcook it! Nobody will be won over to the flavor of lamb if they are offered dry, grey, overcooked meat. Cook to medium rare, or 130 degrees F, which is the temperature that most chefs prefer for lamb, leaving all the juices, texture and flavor intact. In general, rack of lamb is a great roasted braised, or grilled. Leg of lamb can be marinated and roasted, and shanks respond well to braising and roasting. And if you are too timid to start with a lamb rack, try lamb merguez sausage - a favorite in North African and French cuisine!


King Caesar
From Wikipedia, the free encyclopedia
Jump to: navigation, search
King Caesar
Godzilla film series character
First appearance Godzilla vs. Mechagodzilla (1974)
Last appearance Godzilla: Final Wars (2004)
Created by Jun Fukuda
Portrayed by Shōwa series
Kin'ichi Kusumi
Millennium series
Motokuni Nakagawa
King Caesar (キングシーサー Kingu Shīsā?) is a kaiju who first appeared in Toho's 1974 film Godzilla vs. Mechagodzilla.[1]
Shisa statue.
King Caesar's name and appearance are based on Shisa, which are artistically embellished stone lion statues common in Okinawa, where the film Godzilla vs. Mechagodzilla took place. They are an Okinawan variation on the Chinese guardian lion (石獅; Shishi, meaning "Stone Lion"), which in turn originates from Buddhist tradition in India, where lions are native. Shisa only loosely resemble actual lions on account of being based on second-hand descriptions by people who'd never seen one in person.[2] In the 1970s, general East Asian folklore were relatively unknown to Western audiences, which resulted in the translators interpreting name "Shisa" to be a Japanization of the name "Caesar".[citation needed] Toho has since trademarked it, making "King Caesar" the character's official English name.[citation needed]
Overview and development[edit]
King Caesar's character concept was inspired by a traditional Okinawan folk tale in which a Shisa protects a village from a rampaging dragon.[citation needed] This myth is referenced in the character's introductory film, Godzilla vs. Mechagodzilla, in which the titular Mechagodzilla plays the role of the evil "dragon".[citation needed] It is portrayed as a loyal and powerful protector of mankind, in reference to the role Shisa play in Okinawan tradition.[citation needed] Character profiles in supporting media describe the monster as standing 50 meters (164 feet)-100 meters (328 feet) tall and weighing 30,000 metric tons (33,069 short tons)-50,000 metric tons (55,115 short tons).[citation needed] King Caesar is shown to be swift and athletic. It can also draw an enemy's energy weapons into its eyes and reflect them back with ten times the force [3] and empower itself with solar energy.[citation needed]
Along with fellow 1970s Showa era monster Gigan, King Caesar is the favourite monster of director Ryuhei Kitamura, which led to the character's inclusion in the film Godzilla: Final Wars. [4] listed King Ceaser as #6 on their "Top 10 Godzilla Villains" list.
Video games[edit]
 1. ^ "Top 10 Godzilla Villains". YouTube. Retrieved 2015-09-26.
 2. ^ Adam Ledford. "Tracing the History of Japan's Mythical Lion Dogs - Tofugu". Tofugu. Retrieved 20 December 2014.
 3. ^ Godzilla Movie Studio Tour PC Game - King Caesar character profile
 4. ^ "Ryuhei Kitamura versus Kitamura Ryuhei". GaijinPot InJapan. Retrieved 2016-02-09.


text:
fondantArticle Free Pass
fondant, confection of sugar, syrup, and water, and sometimes milk, cream, or butter, that is cooked and beaten so as to render the sugar crystals imperceptible to the tongue. The candy is characteristically glossy white in colour, velvety in texture, and plastic in consistency.
Usually, as a first step in making fondant, sugar, corn syrup, and invert sugar, or sugar broken down by heat and graining retardants, are dissolved in water. The resulting mass is heated and beaten or agitated vigorously to dissolve the sugar further.
Icings and confectionery centres made of fondant are predominantly sugar; the proportion of corn syrup is increased to make the chewier fondant used in coating bonbons.
What made you want to look up "fondant"? Please share what surprised you most...


Elastic Beanstalk is a one-stop shop for Ruby on Rails developers to publish their apps. In this tutorial, I'll show you how to first commit your app to AWS CodeCommit so that you can then publish over to EB.
There are a lot of steps so here's a high-level overview:
 - Create a Group and attach policies that grant you access to CodeCommit.
 - Add users to the group.
 - Create a CodeCommit repository.
 - Configure your local computer to work with AWS.
 - Create a local profile on your computer to connect to your CodeCommit repo (using Git).
Managing Users & Access
Step 1 - Create a Group
Groups are utilities that help you establish permissions to a group of users. As a first step, visit the Groups section within Identity and Access Management (IAM) console and create a new group.
Select Create a new Group
Step 2 - Attach Policies to Your Group
Once you've created a group, you'll need to grant access. Here are a few policies I offer to CodeCommit contributors.
 - AWSCodeCommitFullAccess offers full access to CodeCommit.
 - IAMSelfManageServiceSpecificCredentials allows developers a way to authenticate using git credentials.
 - IAMUserSSHKeys enables users to authenticate using SSH credentials.
 - IAMReadOnlyAccess provides IAM read-only access.
This is what your group should look like.
CodeCommit Groups
Source: Setting Up Code Commit
Step 3 - Create a user
If you haven't created a user yet, visit IAM on AWS console and create a new user with Access Keys.
Create a new user
Step 4 - Add users to your group
The next step is to add your users to this specific group using the IAM AWS console.
Managing CodeCommit
Step 5 - Create a CodeCommit Repo
You will need to make sure that you've created a repository for your code. Visit the CodeCommit section of the AWS Console to create your git repo.
Create Repo
Make sure you get the URL of the repo. It will look something like this:
Configuring Your Local Environment
The first step to configuring your local environment is to install the AWS client libraries. In order to keep things up-to-date and organized, I use Homebrew to manage my libraries. If you're not familiar with Homebrew, I suggest you How to Install AWS Client using Homebrew.
Step 6 - Download AWS Client
Once you've installed homebrew, download the AWS commnd-line interface.
brew install awscli
Step 7 - Download AWS Elastic Beanstalk Client
Amazon Web Services offers multiple command-line clients. Now that you've installed awscli it's time to install Elastic Beanstalk command-line interface
brew install awsebcli
Managing User Profiles
Step 8 - Managing User Profiles
You first need to make sure that you've configured your AWS client account by creating a user profile.
Read this tutorial for further instructions.
Spelling it out, you will actually need to create two users.
The first user is your IAM user account (which we completed in steps 1-4). The second user is your git user. You create a git user account by visiting User > myuser > Security Credentials.
The url looks like this with changes to MY_REGION and MY_USER_NAME.
At the bottom of the Security Credentials tab, you will find a section where you can create a git user.
Git username
Managing Git
Step 9 - Configuring Git
Once you've created a user profile, then you can connect it to Git using the credential helper.
The AWS credential helper will connect your CodeCommit Profile
git config --global credential.helper '!aws --profile myawsprofile codecommit credential-helper $@'
Tell AWS that you want to use HTTPS instead of git.
git config --global credential.UseHttpPath true
Step 10 - Download your repo
git clone _URL_
Troubleshooting Mac OS X
If you run into a problem like this and you're on a Mac, it probably has to do with Apple's Keychain Access. I suggest you use SSH (instead of HTTPS) to log in.
fatal: unable to access '_URL_ The requested URL returned error: 403
READ the section Steps to Clone Your Repository.
Clone your repo.
You can get your public SSH key to upload by typing:
nano ~/.ssh/id_rsa.pub
or you may have created a custom RSA public key.
If you do not have an RSA public key, then read Step 3 from this AWS Doc
This will configure your system using awsebcli.
nano eb init
Your Public key will likely be stored here.
nano ~/.ssh/aws-eb.pub
nano ~/.ssh/config
Host git-codecommit.*.amazonaws.com
 IdentityFile ~/.ssh/codecommit_or_name_you_picked
Publish to Elastic Bean Stalk
In Part 2, we'll focus on how to publish from CodeCommit to Elastic Beanstalk.


Our Man In Canada
January 17th, 2000
Greased Line Fishing
Paul Marriner
By Paul Marriner
Only the sky retained its colour as sunset robbed the spruce trees on the far bank of the Little Southwest Miramichi of their individuality. A fishless day was fading away as I stood on a shifting shingle bar in the middle of the river. Thirty yards farther on the placid tailwaters of the pool became agitated by a riffle. But I was more concerned with the swirling currents twenty feet downstream and the submerged rock they betrayed. Staring at the tranquil ease trapped between turbulent edges I felt a salmon's presence. Previous down and across casts from upstream had pulled the fly too quickly through the eddy so I cast straight out and mended line vigorously several times to bring the fly as slowly as possible into and out of the lie. On the second cast the size 6 Cosseboom took hold. The salmon was lost, but the lesson of its transient capture by the greased line method wasn't forgotten.
Cossboom Atlantic Salmon Fly
Today, 'greased line', identifies an angling technique. But this wasn't always true. During the early development of dry fly tactics for trout, practitioners kept fly and line floating by false casting to shed excess moisture. Someone soon realized that applying water repellent substances to the line would keep it up, hence - 'greased line.' Now, in the waning years of the nineteenth century, the essential tool was available for anglers like Percy Laming, one of the great British salmon fishers, to develop methods for catching salmon during summer conditions on a floating line/small fly.
Regardless, the term 'greased line fishing' is now associated with the style developed by A.H.E. Wood early in this century. For some thirty years his salmon fishing was largely confined to Cairnton on the Aberdeenshire Dee in the west of Scotland - although the genesis of the method was a chance discovery while angling in Ireland. More accurately, rediscovery, as the catalyst was catching several salmon by 'dibbling' a White Moth trout fly over their heads and then giving line on the take. This technique was centuries old but Wood was stimulated to modify and expand its application.
Wood wrote sparingly, leaving it largely to others to interpret his methods for popular consumption. Crawford Little, in The Great Salmon Beats, summed up the unfortunate result with, "And yet, what a host of misinterpretations it has been subjected to, time after time after time." However, Wood's words can be found. He was interviewed for the 1926 anthology, Fisherman's Pie, edited by W.A. Hunter, approved notes on the method for Hardy's 1926 catalogue, wrote a chapter for The Lonsdale Library volume, Salmon Fishing, issued in 1935, and left a great deal of correspondence. But these fragments would not become the bible. Particularly for post war anglers, the definitive text is Greased Line Fishing by Jock Scott (a pseudonym for Donald Rudd), first published circa 1936. Surprisingly, a modern edition from Frank Amato Publications is still in print.
Let's break from the gate by quoting from the latter, "The basic idea is to use the line as a float for, and controlling agent of, the fly; to suspend the fly just beneath the surface of the water, and to control its path in such a way that it swims diagonally down and across the stream, entirely free from the slightest pull on the line." More than anything else, it's those last nine words that have caused all the trouble. What's worse, they have frequently been condensed to read, 'without drag'. The phrase is nonsense. A fly swimming without pull from the line is heading downstream with the current and will shortly, how shortly depending on its weight, sink to the bottom. It must act under the pull of the line if it's to move across stream. A closer reading of what Wood says later almost clarifies the situation. He seemed to be saying that you must keep the line upstream of the fly.
Unfortunately there are so many contradictory statements in his correspondence that you wonder if he ever really did have a firm grip on what the fly was doing.
Why did Wood want to cast across stream with a floating line? Speculation is that he didn't like wading and wanted to use shorter than normal (at that time) single handed rods. A.J. Barry, a personal friend and correspondent, wrote in an appendix to The Floating Line for Salmon and Sea Trout by Anthony Crossley, "You will notice the reason why he never fished with a double-handed rod, which was simply that he was unable to throw any sort of line with one..." So, to cover the water from his bank and apply the Irish lesson of keeping the fly near the surface, the solution was virtually ordained.
Several modern writers have suggested that Wood wasn't advocating casts directly across or upstream but simply more upstream then currently popular. Although substantiated by identical drawings in Salmon Fishing and Greased Line Fishing, this theory is contradicted by his words. In Fisherman's Pie he says, "... but my fly is very often floating or just awash, especially during the first portion of the cast. If the water is suitable I cast across and slightly up-stream, leaving slack line and letting the fly drift down until the line begins to tighten; during most of this time the fly will be floating and I often get fish at that part of the cast. When the line tightens the fly will go under water, but as the line and part of the cast are still floating, the fly is only just under the water." And the Hardy's catalogue even specifies an angle of 25 degrees upstream. Many of us have adopted this approach to fishing Bombers and Buck Bugs for salmon and steelhead or soft hackled wet flies for trout.
Before continuing with Wood's methods it's worthwhile to fill in a little of the background against which they were developed (I apologize in advance for the generalizations necessary to keep the commentary flowing). Atlantic salmon fishing in Britain is largely a Scottish affair. Early in the century the best runs were in late winter or early spring and the icy waters dictated a large and deeply fished fly. This suited the braided silk lines (which sank) of the period. Once the water warmed and levels dropped, the salmon rejected these tactics and so many beats were abandoned or leased for much less until the fall run appeared. Persistent summertime anglers offered sacrifices of worms and prawns.
Wood received considerable attention because he offered a successful way to dispense with bait (and co-incidently increase the value of summer leases). But his was not the only path to a better life. Alexander Grant, a formidable angler, cast the equivalent of a modern intermediate line (heavily oiled silk) tremendous distances (120 to 140 ft.) at a shallow downstream angle. This presentation fished small flies at a uniform speed and close to the surface. Another celebrated salmon fisher, Ernest Crosfield, threw an undressed silk line across stream and stripped the fly in quickly to keep it near the surface. Finally, Percy Laming, developed floating line techniques, much like those detailed in Trey Combs' book on steelhead, to effectively deal with all types of water.
Back to Wood's methods. To cast across or up stream and then control the fly's speed (read, slow down, in most circumstances), it's necessary to reposition the belly of the line, perhaps several times, during the swing. Wood called this mending. Some say he invented this technique, but they're wrong. Major John P. Traherne, in Fishing (1885), wrote, "There is a way of taking the belly out of a line, which was taught me by an old fisherman when fishing the Kirkcudbrightshire Dee in my younger days.... It was Jemmie that pointed out to me the evil of allowing a belly to remain in my line, and who taught me how to rectify it." There follows a diagram and description of what is unmistakably mending. Of course, because Traherne used sunk lines, only one mend is shown. To be fair, Wood may have been the first to employ multiple mends with a floating line. Regardless, hundreds of newly enlightened salmon fishers flocked to Wood's home to watch the master roll thirty or more feet of line up stream.
To contribute to the controlled movement of the fly, Wood suggested that the caster lead the line slightly with the rod. This adds to the length of down stream float and slows the fly's overall progress. Ostensibly, the fly should pass somewhat broadside to the fish. In Wood's words, "Perhaps the chief point is that you can control the angle the fly swims in the water. I prefer the fly to be at an angle of, say, 60 degrees." This is a touch rich. The angle of the fly is subject to the currents unless leading very strongly.
A lightly dressed fly was also an integral part of the system but Wood was certainly no pattern junky. Blue Charms, Silver Blues and March Browns sparsely tied in a wide range of sizes were sufficient. He even experimented successfully with undressed painted hooks.
Wood believed in feeding slack to a salmon that has taken the fly. He wanted the current to pull the fly into the corner of a salmon's jaw and then he would tighten. Over the years he modified his views on how the slack should be given, sometimes suggesting a loop of line, sometimes maintaining a high rod position for the shock absorber affect. This hooking problem seemed to perplex most of the thinking anglers of the period and is still the subject of


text:
D. B. (Don) Keele, Jr.
DBK Assoc., 536 W. Mishawaka Rd., Elkhart, IN 46517
A cycle-octave time-frequency display is created by plotting the magnitude of the wavelet transform, using a Morlet complex Gaussian wavelet, on a log-frequency scale versus time in number of cycles of the wavelet's center frequency. This type of display is quite well suited for plotting the decay response of wideband systems, such as the impulse response of a loudspeaker or room, because the time scale is long at low frequencies and short at high frequencies. If the response of typical filters are poltted on this type of display, the resultant 3-D responses are independent of the filter's center frequency, i.e., the decay response shape of a particular filter remains the same as it's center frequency is shifted up and down in log frequency. It can be shown that the wavelet transform of a system's impulse response is equivalent to an aggregate of the tone-burst responses of the system evaluated at equal-percentage-spaced frequencies, where the appropriately scaled and time-reversed mother wavelet acts as the tone-burst excitation signal.


text:
Statement of Significance (as of designation - May 23, 1963):
In 1888, George W. Vanderbilt (_PHONE_) began the purchase of over 125,000 acres of farms, woodlands, and forested mountains. In 1892, Vanderbilt appointed as superintendent of his forest Gifford Pinchot (_PHONE_), who proved for the first time that scientific forest management was profitable. In 1898, Vanderbilt established the Biltmore Forest School, the first of its kind. On the estate is Biltmore House, designed by Richard Morris Hunt (_PHONE_) who was immensely popular among the wealthy families then building great estates in the manner of late Gothic French chateaux. It is now a house museum still owned by the original family.


text:
When photography was first introduced and became popular, it was a lengthy process, with prolonged exposure times and the requirement for the sitter to remain still throughout the process. This proved to be particularly difficult when dealing with children, and photographers often dreaded their visits to their studios. Neck and back braces might be used to help to prevent the child from moving during the photography, and this helps to explain the rather fixed look on the faces of many children.
As exposure times shortened, children were photographed more frequently. Wealthy families had their children photographed at least once a year to record growth, and important stages in development were symbolised by a change in clothing style. Little boys wore dresses until about the age of five, then short trousers until about twelve, when they adopted long trousers like adult men. The age of girls was indicated by the length of their skirts: short for little girls, calf-length for teenagers, and ankle length after 17, when they were considered grown up.
Full item descriptions:
"Victorian photograph" [i159], Midwinter, W H
"Victorian photograph" [i160], Haddy, W
"Victorian photograph" [i162], Hawkins, C
"Victorian photograph" [i163], Taylor, A & G
"Victorian photograph" [i164], White, Sydney Victor
"Victorian photograph" [i165], Edwards, B J
"Victorian photograph" [i166], Turnbull & Sons
"Victorian photograph" [i167], Elliott & Fry
"Victorian photograph" [i168], Banks, R


text:
Feminist interactions with GIS started in the 1990s in the form of strong critiques against GIS inspired by feminist and postpositivist theories. Those critiques mainly highlighted a supposed epistemological dissonance between GIS and feminist scholarship. GIS was accused of being shaped by positivist and masculinist epistemologies, especially due to its emphasis on vision as the principal way of knowing. In addition, feminist critiques claimed that GIS was largely incompatible with positionality and reflexivity, two core concepts of feminist theory. Feminist critiques of GIS also discussed power issues embedded in GIS practices, including the predominance of men in the early days of the GIS industry and the development of GIS practices for the military and surveillance purposes.
At the beginning of the 21st century, feminist geographers reexamined those critiques and argued against an inherent epistemological incompatibility between GIS methods and feminist scholarship. They advocated for a reappropriation of GIS by feminist scholars in the form of critical feminist GIS practices. The critical GIS perspective promotes an unorthodox, reconstructed, and emancipatory set of GIS practices by critiquing dominant approaches of knowledge production, implementing GIS in critically informed progressive social research, and developing postpositivist techniques of GIS. Inspired by those debates, feminist scholars did reclaim GIS and effectively developed feminist GIS practices.


text:
Nearly 10,000 secondary school students throughout West Virginia have stretched budgets to purchase cars and buy homes.
The students actually spent fictional money and pretended to buy these big-ticket items through "Get A Life," a game that teaches financial planning. The game was launched in 2009 by West Virginia State Treasurer John Perdue's office as part of a broader financial education initiative known as NetWorth, a program that includes financial education for grades kindergarten through 12.
"A few years back, John Perdue realized we needed to get financial education into the schools," said Tom Vogel, director of financial education for the state Treasurer's Office.
NetWorth came first as teachers around the state developed lesson plans. It was later discovered that a game called "Get A Life" had been developed as a student project at Fairmont State University.
It seemed a perfect fit for teaching financial responsibility, Vogel said.
"Get A Life" was first introduced to students at Elkview Middle School.
"We ran with it and partnered with the Chamber of Commerce Leadership West Virginia Program," Vogel said. "That group helped us get volunteers."
Community volunteers work with the students as they introduce them to how purchases are made in the real world. These volunteers are actual real estate agents, car salesmen, insurance professionals, and grocers.
Each student is told what job is held at what salary along with the size of the family to be supported. The student is then told to manage a budget to cover the cost of a house, a car, groceries, gas and other expenses. The first part of the game figures the worker has a high school education.
As students make financial decisions, they tend to spend too much and go bankrupt, Vogel said.
During the second part of a session, the student is allowed to start over with a college degree and make similar purchasing decisions at a higher salary.


text:
Unable to open command file "filename": [ec:OS error message]
Unable to open remote parse result file "filename": [ec:OS error message]
During a cluster build, Electric Make (eMake) is invoked on the cluster hosts when a submake is invoked by the build, and when makefiles are parsed to determine the work that needs to be done in the build. In either case, the eMake process on the cluster hosts communicates with the Electric Agent process by means of a file on disk containing the results of the cluster-side invocation. These error messages indicate that the cluster-side eMake process was unable to open that file. The OS error message provides the specific cause of the failure.
Because the error involves an external system in this context (the filesystem on the eMake host), the list of possible causes for this error is virtually limitless: a corrupted filesystem; hardware failure; insufficient permissions; and so on. Refer to the specific OS error message to determine the cause of the failure.
One common cause of this error on Unix systems is that the directory containing the file is not writable by the user running the build.
Remember that the path referenced in the error message is on a cluster host, not on the build host. You can reference the annotation file to determine the host where the error occurred.
The fix depends on the cause of the error.


text:
Adsorption studies on clays
ten Brink, Karl C.
Doctor of Philosophy
The object of the present work has been to study the adsorption of hydrocarbon vapors on various types of clays, and to learn from this adsorption study the relative importance of various factors, both chemical and physical, which determine the adsorptive phenomena. The initial work was designed to learn the relative magnitude and flexibility of adsorption due to the following factors: (1) The atomic structure of the mineral grain. (2) The degree of dispersion of the clay grains, and the relative importance of the external surfaces. (3) The relative importance of the spacing of secondary aggregates, i.e., spaces between the clay grains. (4) The effect of exchangeable ions within the clay grains. (5) The effect of intra particle spaces, or channels of near molecular sizes in the primary grain structure.
Physical chemistry; Chemical engineering; Petroleum engineering


text:
Answer to the Front Page "Picture of the Week" Question for June 13th - June 20th, 2003
This is catalpa, Catalpa speciosa.
The catalpa is a native tree that bears multitudes of white flowers in late spring.
It is noted for its large leaves and its interesting long, cylindrical fruits. It is sometimes known
as the cigar tree because the fruits look like long cigars. You can see fine examples of catalpa in
the National Grove of State Trees,
and the National Boxwood Collection.
[Click on the picture to see a larger image of this plant].


was writing or video I was watching.
"The Subtle Art of not giving a F***" by Mark Mansongives a unique perspective on how to live a happy life. The main takeaway from the book is, stop trying to avoid problems and sadness and start choosing the issues you want to solve and things you want to be sad about. Those two things will always be there, no matter how hard you try to avoid them — a vital lesson for every entrepreneur, in my opinion.
What is your favorite quote?
– Mark Manson
Key Learnings:
 - Envision your end goal, and think about that goal EVERY SINGLE DAY. Never forget it and keep thinking about it. You will subconsciously make decisions that lead you to that end goal.
 - Be flexible: be flexible with the way you work, the people you work with, and your ideas. Being able to adapt is an essential aspect of succeeding.
 - Try to fail. Failing is the best way to learn how to do something right. Don't be afraid to fail; instead, embrace it and even try to fail, but learn from it, so history doesn't repeat itself.
 - Don't think you are the smartest in the room, even if you are the most intelligent, no one wants to feel inferior. Make everyone feel like they are successful and intelligent, and then they will happily share their secrets with you.
 - Make time for friends and family. What is success worth if you have no one to share it with. Take one day a week where you shut off your phone and dedicate that day to family and friends


Our vision is to help break the cycles of homelessness through providing employment and housing solutions in WA.
The Underground Collaborative is a social enterprise in Perth that exists to provide employment and housing solutions for people experiencing or at-risk of homelessness. But we can only achieve this through collaboration – with our community, relevant industries, government and service agencies.
Our mission is to educate, empower, and provide sustainable employment and housing for people experiencing or at-risk of homelessness.
We are passionate about equal rights and the inherent value of people – their dignity, respect and freedom. We strive towards applying these beliefs, and is our motivation to everything that we do.
What is a social enterprise?
A social enterprise, as defined by Social Traders, is a business that trades to intentionally tackle social problems, improve communities, provide people access to employment and training, or help the environment.
They are:
 - driven by a public or community cause, be it social, environmental, cultural or economic;
 - derive most of their income from trade, not donations or grants;
 - use the majority (at least 50%) of their profits to work towards their social mission.
Despite common belief, social enterprises are not charity organisations; they may often work with charities to distribute their profits, but are in fact, not one themselves.
In an Australian context, there is no legal structure that defines a social enterprise. Therefore, they can be a not-for-profit, company limited by guarantee, co-operative, company, or hybrid.
The most common impact models of a social enterprise:
 1. Product / Service Model (e.g. Hire Up)
 2. Employment Model (e.g. STREAT, The Underground Collaborative)
 3. Value / Supply Chain Model
 4. Revenue / Profit Model; i.e. donating profits with a charity / NFP (e.g. Thankyou)
 5. Equity Model – NFP owns the business; i.e. they own the business as an asset (e.g. op-shops owned by Salvos, Charcoal Lane restaurant owned by Mission Australia)
Like all businesses, social enterprises operate in commercial markets, generating a profit from their trade. However, unlike other businesses, they exist to fulfil their overriding and specific social purpose.
This is at the heart of every social enterprise, driving everything it does. By supporting The Underground Collaborative, you are helping to break the cycle of disadvantage, and strengthening communities.


text:
QX3 Microscope Body
The Intel QX3 Computer Microscope body contains the digital imaging electronics, the objectives, an incandescent tungsten reflected light illuminaton source, and provides power to the stand for transmitted light illumination. A USB cable and connector attached to the digital imaging circuit board provides an interface to the computer and draws power from the 3.3 and 5.0 volt DC sources in the power supply to power the imaging electronics and the illuminators.
Figure 1 illustrates the major components of the microscope body. The large green button at the top of the body is the digital image capture button. This button is pressed to acquire an image when the microscope is operated in the hand-held standalone mode, separated from the stand. Digital movies can also be made by pressing the image capture button and holding it down. While the button is depressed, the QX3 Live View screen captures video at the rate of 12 frames/second. When the button is released, the software ceases recording and saves the images on the computer's hard drive as an *.AVI file. The cable connecting the microscope body to the USB port at the rear of the computer is eight feet long, which somewhat restricts the useful region for imaging with the microscope body. Regardless of this limitation, there are a wide variety of specimens that can be brought withing range of the body for magnification and imaging.
There is a blue shroud (illustrated in Figures 2 and 3), which protects the objective lens cover and illuminator diffusion screen from impact during standalone use of the body (Figure 2). The shroud also provides a convenient guide to objective working distance (the distance from the front lens of the objective to the specimen) while imaging specimens in the hand-held mode. At low magnifications (10x and 60x), most specimens will be in focus when the shroud is rested on a stable surface. Using a solid surface to stabilize the body is necessary for capturing single frame digital images that are not blurred or out of focus due to movement of the body while acquiring the image.
The large green magnification selection ring in the center of the body is used to interchange the microscope's objectives. Turning the ring to the right moves the next higher magnification objective into the optical path. The objectives are arranged sequentially so turning the selection ring to the right installs the 10x, 60x, and 200x objectives in that order. Specimens should always be first imaged with the lowest magnification 10x objective to establish the correct working distance for the microscope. A stainless steel ball bearing detenté is used to secure each objective into the light path. Students can hear and feel the detenté clicking into position as the objectives are changed, which provides positive feedback that the objective is correctly inserted into the optical path.
The reflected light tungsten lamp is turned on by the software when the microscope body is removed from the stand. This lamp is the sole source of illumination (with the exception of the surrounding room light) when imaging specimens in the hand-held mode. Additional illumination can be obtained from a flashlight or desk lamp positioned to illuminate the specimen from above. The protective shroud acts to shield a significant amount of incoming light from the sides of the microscope, but the front of the body is open to accept light from auxiliary sources.
When using the microscope body in the standalone mode, be careful to protect the lens cover from collisions and contamination with dirt, water, solvents, or other foreign materials. Maintaining a clean and scratch-free lens cover is a key to obtaining high quality images with the QX3 microscope. If the cover becomes dirty, use a lint-free cloth dampened with window cleaner to carefully wipe it clean.
A cutaway diagram of the QX3 microscope body is illustrated in Figure 3. Visible in the diagram are the digital imaging circuit board, a small box containing a dichroic window that acts as an infrared cutoff filter, the microscope objective barrels, and some details about the magnification selection turret. CMOS active pixel sensor imaging chips are particularly sensitive to infrared light, which can cause a number of problems when using these chips for imaging in the visible wavelength region. The cutoff filter protects the CMOS integrated circuit from excess infrared electromagnetic radiation and helps balance visible light entering the sensor.
The stainless steel bearing objective alignment detenté is housed on the upper of two plastic plates that are positioned between the back aperture of the objective and the cutoff filter box. As the magnification ring turret is rotated, the detenté captures the objective and positions it directly in the optical pathway with the objective back aperture in line with the cutoff window and the front lens correctly aligned with the lens cover.
The digital imaging and microscope control electronics circuit board is illustrated in Figure 4. The blue USB connector is attached to a cable of the same color and plugs into a port at the back of the host Windows 98 computer. As we mentioned above, the length of the cable is eight feet, so the microscope can be used a short distance from the computer, but it is impossible to control the software when out of reach of the keyboard and mouse.
Inside the body, the USB cable attaches to a connector on the control electronics circuit board. The USB connection is the input/output port for electrical power and communications between the microscope and the computer. A green power-indicating light emitting diode (LED) lights when communications are established with the computer and remains on throughout the lifetime of the communication link.
Another connector on the circuit board controls power to the substage tungsten lamp through a set of contacts on the microscope body that meet corresponding contacts on the stand. When the body is removed from the stand, the connection between the body and stand contacts is broken and the microscope switches on the tungsten lamp in the body (even if the stage lamp was in use when the body is removed). The Live View software window contains controls to activate the body and stage lamps and to switch between the two.
The digital imaging electronics are thoroughly discussed in a separate section. Other support electronics on the circuit board include timing circuits, a BIOS chip, the switch for the image capture button, and various minor components that assist in communications with the computer and operation of the microscope.
The lamp housing for the microscope body tungsten lamp is illustrated in Figure 5. This housing is attached to the body with a single Phillips-head screw and is easily removed to replace the lamp. When replacing the lamp, remember to avoid touching the glass bulb with bare hands. Always use a tissue paper to remove and replace the lamp to avoid contamination by protein, salts, and oils from the fingerprints. If the glass bulb is accidently touched, moisten a tissue paper with a small quanity of window cleaner and wipe the bulb clean. Replacement lamps are available through phone numbers in the owner's manual or at the Mattel website.
Questions or comments? Send us an email.
© _PHONE_ by Michael W. Davidson and The Florida State University. All Rights Reserved. No images, graphics, software, scripts, or applets may be reproduced or used in any manner without permission from the copyright holders. Use of this website means you agree to all of the Legal Terms and Conditions set forth by the owners.
This website is maintained by our


text:
Nuestra Señora de las Mercedes
The sinking of the Mercedes
|Name:||Nuestra Señora de las Mercedes|
|Launched:||Havana, Cuba, 1786|
|Fate:||Sunk by the British 5 October 1804|
|Notes:||Thought to be the wreck discovered by Odyssey Marine Exploration, codenamed "Black Swan"|
The Nuestra Señora de las Mercedes (Our Lady of Mercy in English) was a Spanish frigate which was sunk by the British off the south coast of Portugal on 5 October 1804 during the Battle of Cape Santa Maria.
Odyssey Marine Exploration claim to have discovered the vessel and recovered its treasure in 2007 resulting in a legal challenge from Spain. Odyssey claim to have recovered "over 500,000 silver coins weighing more than 17 short tons (15 t), hundreds of gold coins, worked gold, and other artifacts, it is believed that this recovery constitutes the largest collection of coins ever excavated (actually ruled as an expoliation) from a deep-ocean site."
A U.S. federal court and a panel from the United States Court of Appeals for the Eleventh Circuit have upheld the Spanish claim to the contents of the ship; Spain took control of the treasure in February 2012.
 See also
- Treasure hunters ordered to return £250m of loot to Spain -The Telegraph, 4 June 2009
- Black Swan Project
- Cultural Property & Archaeology Law (20 February 2012). "Judge rules Spain can take control of shipwreck treasure recovered by Fla. company next week". Retrieved 1 December 2012.
- Odyssey Marine Exploration, Inc. v. The Unidentified Shipwrecked Vessel
- Yahoo Finance Odyssey to Request En Banc Hearing in "Black Swan" Case
- Documents from the court case in which it was alleged that the Mercedes had been found by Odyssey Marine.
|This article about a specific naval ship or boat is a stub. You can help Wikipedia by expanding it.|


text:
Grants and Contracts per year
Grants and Contracts Details
Planet Earth has experienced rapid changes in climate in the past decades and is likely to undergo further changes in the coming years. Much concern has been raised regarding the extent to which such perturbation affects terrestrial ecosystem processes and the services they provide. Water use efficiency (WUE, the ratio of carbon assimilation to water loss) is a key physiological parameter linking carbon and water cycles. Understanding changes in WUE is thus critical to quantify the terrestrial ecosystem response to rising atmospheric CO2 concentration. In this study, we will evaluate and assess the impacts of evapotranspiration (ET) and gross primary production (GPP) on ECOsystem Spaceborne Thermal Radiometer Experiment on Space Station (ECOSTRESS) WUE product using observed data from two eddy covariance (EC) flux towers in Kentucky. This work will provide validation for ECOSTRESS WUE and quantify the impacts of Moderate Resolution Imaging Spectroradiometer (MODIS) GPP error on the overall accuracy of ECOSTRESS WUE. Also, we will use the relationship between observed and satellite data to improve and calibrate a land surface model ET and WUE estimates. Insights gained from this study will highlight the ability of ECOSTRESS to detect daily and seasonal changes in vegetation WUE, which will be important in understanding the soil-vegetation-atmosphere interactions in a changing climate.
|Effective start/end date||1/1/21 → 5/31/22|
- KY Economic Development Cab
Explore the research topics touched on by this project. These labels are generated based on the underlying awards/grants. Together they form a unique fingerprint.


text:
The Analytical Writing Assessment (AWA
) is how business schools evaluate your writing skills. The AWA section has two 30-minutes essay questions. One essay is the "Analysis of Issue," where you state your opinion on an issue. The second is the "Analysis of Argument," where you analyze the reasoning in an argument. The two essay types require completely different strategies.
Most students think "I am a pretty good writer, so I shouldn't have any problem on test day". The problem is that writing on the GMAT is completely different from normal writing. The Analytical Writing Assessment requires a peculiar style of writing. You must write in a highly concise and structured manner.
It should only take about 10 hours to prepare for this section. The strategies are not that complex. Most of the work is re-learning how to write.
Sites with Essay Grading
800score.com (named after the highest possible score on the GMAT, an 800) offers help for the essay section:
- guide to the essay section
- sample essays that you can write and send in for grading.
Continue to 800score GMAT's Essay Guide


text:
UBC Theses and Dissertations
Chemical composition of coal surface as derived from micro-FTIR and its effects on contact angle Liu, Jie
In this study, in-situ image analysis, contact angle measurements, micro-FTIR spectroscopy and SEM are used to obtain information on the surface composition of coal. The heterogeneous coal surface is investigated with regard to the distribution of the chemical functional groups and its effect on hydrophobicity as derived from contact angle measurements. Contact angles obtained from sessile drop and captive bubble techniques are correlated with the semi-quantitative ratios from micro-FTIR spectroscopy. As part of the new methodology, image analysis and SEM are also applied in order to characterize and analyze for the petrographic composition of areas that are subjected to these measurements. An opposite trend between high rank coal and low rank coal is found in relation to the micro-FTIR semi-quantitative ratios versus contact angle. For lower rank coal, the increase in Aromaticity 1 and 2 led to an increase in the contact angle, while the increased quantity of aliphatic groups decreased the contact angle values. For high rank coal, the rising aliphatic groups increased the contact angle values and the increase in Aromaticity 1 and 2 led to smaller contact angle values. The newly introduced CHal/C=O was used to assess the abundance of aliphatic groups and oxygenated groups. The increased content of oxygenated groups in the high rank coal samples led to a decrease in the contact angle, which is consistent with the findings of previous studies. For low rank coal samples, although the correlation was less distinct, an opposite trend was observed.
Item Citations and Data
Attribution-NonCommercial-NoDerivatives 4.0 International