Upward strategies for nonprofit brands
Nonprofit brands are definitely on the rise. Their ascent may have been a bit tentative at first, as they explored the best brand approaches for their organizations, but they're finding effective ways to create and deliver brand value, and to build brand communities. As they move upward, they're also bringing new fundraising options into view.
In this post I'll discuss strategic brand approaches for nonprofit organizations. The time is ripe for such a discussion because many nonprofits have reached a "phase one" of brand development, where they've largely focused on building brand identities to aid in promotion and fundraising. They're now ready to move to a more value-rich level of brand development using brand platforms and programs, and interactive brand communities. Freezing their brands at the identity level carries considerable downside risk.
Topics I'll discuss include:
 1. Moving beyond brand identity
 2. The brand strategy imperative
 3. Building value-based brand programs
 4. The importance of brand context
 5. Brand partnership opportunities
 6. Leveraging the brand community
Three strategy areas for nonprofits
In general, nonprofit strategies fall into three areas:
 1. Strategies for mission effectiveness
 2. Strategies for fundraising
 3. Strategies for partnering and opportunity development
A nonprofit's brand strategy can favorably impact all three areas. Historically, nonprofit brand development (as identity) has often been geared to fundraising, PR and publicity. This is probably the weakest use of brand and brand value. Brand programs produce their greatest results when they're integrated into mission effectiveness (as collaboration tools) and into partnering and opportunity development (as value innovation.)
Moving beyond brand identity
In the nonprofit world the term "brand" has often been understood rather narrowly to mean "brand identity." In this approach, nonprofits that seek to "build their brand" usually seek only an identity package designed to set them apart and make them more attractive to potential donors, sponsors or partners. This will typically include a memorable name, a distinctive logo or mark, a design guide to insure visual, symbolic and thematic consistency in all communications (including a website high in donor appeal), and perhaps a punchy slogan or tag line for positioning.
Once a nonprofit has its identity package in hand it usually considers its brand "done," and is off and running with promotional campaigns.
The brand identity trap
Brands, of course, are much more than identity, and nonprofits that limit their brand building to an identity package may be leaving significant amounts of brand value on the table. They certainly run the risk of making their brand a form of signage rather than a form of community engagement. This can become a serious trap. If their focus on identity leads them to neglect brand programs and platforms, and building brand communities, they are reducing their strategic brand options. They are also leaving themselves vulnerable to competing nonprofits whose richer brand structures and programs make them better suited as strategic development partners.
The brand strategy imperative
Because brand programs produce more results than mere brand visibility, a nonprofit's brand strategy will aim for much more than an identity package. A nonprofit's brand programs will connect its substance and direction with the substance and direction of its participants and its partners. This is a strategic connection, made of brand platforms, deliverables, brand engagements, levels of brand experience, brand relationships, brand communities and value networks.
In the business world, a company creates its identity and brand value largely in concert with customers, in a process usually centered around product experience and customer relationships. In the nonprofit world, things are a bit more diffuse. A nonprofit brand creates its identity and value in concert with program beneficiaries, members, donors, sponsors, volunteers, government and civic agencies and other stakeholders. Its brand strategy must take all into account.
Brand strategy considerations
In formulating a nonprofit brand strategy, there are core questions an organization must consider:
 1. As an organization, what is our strategic solution to the problem we address?
 2. What is our (strategic) identity?
 3. How can our brand strengthen our strategic solution?
 4. What kinds of unique value can our brand programs deliver?
 5. How can our brand innovate?
 6. What kind of brand community can we build?
 7. How can that community help build our brand?
 8. How can our brand programs help advance 1) those we serve; 2) our donors; 3) our partners?
 9. How can our brand elevate the context of what we do?
 10. How can our brand create growth opportunities for our organization, our participants and our partners?
Platforms and programs at the heart of your brand
Keep in mind that as important as your identity is (and it is important), it's only one component of your brand. The heart of your brand consists of brand platforms and programs that deliver value that participants and partners can use. These go far beyond your identity proper. They're the building blocks of your future. They include the following elements:
 1. Your brand agenda
 2. The quality of engagement and experience that your brand delivers
 3. The value produced (or unlocked) by your brand
 4. How your brand changes the game in your category
 5. How your brand chain advances program participants
 6. How and where your brand innovates
The thesis of this blog is that brands can be highly effective tools to create customers in the business world. While nonprofits may not typically think of participants and partners as "customers," for the purposes of nonprofit brand-building it may be prudent to do so.
For nonprofits, context is as important as cause
While a nonprofit may be organized toward a specific cause, its brand (and brand identity) can be strongest when they address a larger context that frames the nonprofit's (unique) approach to the cause. For many nonprofits this may require a shift in thinking, and in self-definition. Convention is the enemy of brand. The last thing you want is for a generic cause to define you.
There are thousands and thousands of worthwhile causes, served by hundreds of thousands of nonprofit groups. Does your organization create some unique value in how you approach your cause, something that sets you apart and raises your solution (and the cause) to a stronger and more meaningful context?
Your transformational context
A large part of your brand, and your identity, resides in the transformational value that you provide. You are, after all, a change agent. Thus, you inhabit (and create) a transformational context that defines how you're advancing your partners and participants through your brand.
While "alms for the poor" is a worthy cause, job creation and community development are probably a more productive (and transformational) context for helping those in need. Do you want to be a brand of "alms" or a brand of "community development"? Nonprofits on the solution side of a cause (i.e., "teaching people to fish") can use the context they create as a primary means of brand differentiation. Through their transformational context they may also emerge as a foundation player in a new approach that redefines the cause itself.
Ask yourself: what are we a brand of?
One of the first steps in building a brand is to ask yourself: what are we a brand of? This can sometimes be a difficult question to answer. The most literal, functional or conventional answer may not lead to your strongest brand. A nonprofit might ask: Are we a brand of charity? A brand of compassion? Of fellowship? Generalized categories such as these may not be enough to drive a brand, or to differentiate you from other organizations that share the same mission.
Examples: what you can be a "brand of"
It's usually best to build your "brand of" quality as a proactive force that creates value on a wider (transformational) stage. Then your "brand of" discussion might be: Perhaps how we innovate is what sets us apart. Thus, "we're a brand of innovation." Or maybe we offer structural solutions far beyond meliorative steps. Maybe we're a model that redefines the category, raising it to a higher level. Maybe we redefine the context of our cause, so that it lends itself to more effective approaches. Perhaps we're building brand communities that can take on a life of their own, extending the brand at a grassroots level. Or maybe we're helping to eliminate the problem by empowering participants themselves, raising them and our brand in the process.
You might also be a brand of strategy innovation. Perhaps what you're a "brand of" is a potential innovation avenue for a corporate partner, setting the groundwork for a long-term joint venture.
The above are typical departure points for answering the "brand of" question. As a rule, you would want to be a "brand of" something dynamic, deep, creative, liberating, expansive and social—and absolutely true to you.
Are we becoming a brand of fundraising?
Fundraising is so vital to nonprofits that over time they may tend to become—often without realizing it—brands of fundraising. When this happens their appeal becomes their brand, and it saturates their approach to the world. Often, this can be a side effect of "cause marketing," which can reduce the brand to a symbolic role in marketing support. In effect, the nonprofit becomes a branded marketing machine.
A downside of becoming "a brand of fundraising" is that a nonprofit may begin to operate under fundraising priorities, neglecting its brand programs. This brings a danger of hollowing out the brand, missing brand innovation opportunities, ignoring brand communities, and opening the door for others to step in with more compelling forms of brand value and brand context.
This problem can be mitigated when fundraising strategy is aligned with


At Wednesday's ribbon cutting ceremony for Imagine Riverside's new Coachella school on Avenue 50, students said the Pledge of Allegiance in both English and Spanish - a taste of what's to come at the dual-immersion school.
"All of the different areas in both languages," Dr. Grace Jimenez of Imagine Riverside said.
You can find Imagine public charter schools all over the country. There are a total of 70 schools in 12 states, with about 38,000 students.
"Dual immersion is a little different than bilingual. It means students will be proficient in two languages, bi-literate in English and Spanish," Jimenez said.
Right now the school teaches kindergarten and first graders. Each year, Imagine Riverside will add a grade until it reaches K-8.
"It's really important for students nowadays to be ready for a global economy. We are preparing students for jobs that aren't even existing right now," Jimenez said.
A necessary education in two languages causes a lot of demand.
"We do have a list of students waiting to be in classrooms and we do have an overage of students right now. We are seeing to break those up into smaller groups and have more attention to your students," she said.
Parents watched their children at the ceremony, feeling lucky their sons and daughters will get this opportunity.
"I think it's great especially for Spanish speaking families. My child doesn't speak spanish at all but she's here, and I wouldn't say she's fluent, but getting there," father Osiel Salinas said.


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Setting time, tempo, meter, key, and chord
Pro Tools 8 Essential Training
with David Franz
Video: Setting time, tempo, meter, key, and chord
Setting time, tempo, meter, key, and chord provides you with in-depth training on Audio + Music. Taught by David Franz as part of the Pro Tools 8 Essential Training
Expand all | Collapse all
 1. 12m 54s
 1. Welcome
 1m 16s
 2. Exploring the different versions of Pro Tools
 2m 30s
 3. Optimizing your computer before installing Pro Tools
 3m 51s
 4. Troubleshooting
 3m 1s
 5. Using the exercise files
 2m 16s
 2. 23m 41s
 1. Connecting your Pro Tools system
 5m 8s
 2. Powering up and powering down
 3. Optimizing Pro Tools performance
 6m 55s
 4. Setting essential preferences
 3m 42s
 5. Creating a Pro Tools session
 3m 56s
 6. Identifying elements in a session folder
 3m 2s
 3. 47m 10s
 1. Exploring the Edit window
 4m 51s
 2. Exploring the Mix window
 2m 21s
 3. Exploring the Transport and Big Counter windows
 4m 0s
 4. Using the Color palette and window arrangements
 2m 55s
 5. Investigating Pro Tools menus
 4m 37s
 6. Creating new tracks
 4m 10s
 7. Understanding samples and ticks
 3m 36s
 8. Viewing and manipulating tracks
 5m 54s
 9. Adjusting the I/O setup
 7m 7s
 10. Understanding signal paths and gain stages
 3m 50s
 11. Utilizing keyboard shortcuts and keyboard focus
 3m 49s
 4. 30m 45s
 1. Using DigiBase and the Workspace browser
 5m 6s
 2. Importing audio
 5m 13s
 3. Importing MIDI
 3m 56s
 4. Importing session data
 6m 17s
 5. Importing tracks from a CD
 4m 18s
 6. Importing video
 2m 57s
 7. Unmounting a hard drive
 2m 58s
 5. 1h 2m
 1. Recording audio
 5m 6s
 2. Playing back audio
 10m 31s
 3. Creating a Click track
 4m 53s
 4. Overdubbing and using the record modes
 9m 25s
 5. Recording with playlists and the Loop Record mode
 3m 6s
 6. Punch recording and using the monitoring modes
 5m 28s
 7. Dealing with latency
 4m 17s
 8. Creating a group
 4m 33s
 9. Adding effects while recording
 7m 41s
 10. Creating a headphone (cue) mix
 5m 35s
 11. Assigning disk allocation
 2m 13s
 6. 1h 26m
 1. Understanding nondestructive editing and region types
 3m 31s
 2. Using the Selector and Grabber tools
 3m 29s
 3. Using the Trimmer and Scrubber tools
 6m 57s
 4. Using the Zoomer tool and Zoom presets
 5m 14s
 5. Using the Pencil tool
 3m 27s
 6. Using the Smart tool
 1m 26s
 7. Understanding the edit modes
 7m 54s
 8. Arranging regions
 8m 38s
 9. Undoing an edit
 2m 3s
 10. Utilizing fades and crossfades
 10m 29s
 11. Building a comp track using playlists
 5m 28s
 12. Locking and muting regions
 3m 36s
 13. Special buttons in the Editing window
 8m 16s
 14. Creating an audio loop
 5m 11s
 15. Editing a voiceover
 10m 59s
 7. 18m 43s
 1. Working with region groups
 5m 47s
 2. Setting time, tempo, meter, key, and chord
 5m 46s
 3. Creating memory locations
 7m 10s
 8. 35m 30s
 1. Setting up MIDI on a Mac
 4m 25s
 2. Setting up MIDI on a PC
 2m 50s
 3. Setting up MIDI in Pro Tools
 2m 46s
 4. Recording MIDI data
 5m 24s
 5. Recording multiple MIDI tracks with one virtual instrument
 2m 15s
 6. Recording options for MIDI
 6m 27s
 7. Using step input
 4m 45s
 8. Making a drum loop with MIDI Merge
 2m 51s
 9. Composing with virtual instruments
 3m 47s
 9. 48m 41s
 1. Using the edit tools for editing MIDI data
 8m 23s
 2. Editing MIDI data with the MIDI Editor
 7m 20s
 3. Working with the MIDI event list
 2m 41s
 4. Editing MIDI data with event operations
 8m 25s
 5. Quantizing MIDI tracks
 11m 31s
 6. Creating and using groove templates
 5m 59s
 7. Utilizing real-time properties
 4m 22s
 10. 18m 51s
 1. Exploring the Score Editor
 5m 22s
 2. Using the Score Editor
 6m 33s
 3. Setting up a score
 4m 30s
 4. Printing and exporting a score
 2m 26s
 11. 19m 0s
 1. Utilizing the Time Shift plug-in
 7m 41s
 2. Editing with Elastic Time
 8m 30s
 3. Editing with Elastic Pitch
 2m 49s
 12. 48m 20s
 1. Working with Boom
 11m 23s
 2. Working with Xpand2
 7m 21s
 3. Working with DB-33
 6m 58s
 4. Working with Vacuum
 7m 55s
 5. Working with Structure Free
 7m 12s
 6. Working with Mini Grand
 3m 57s
 7. Using Midi Learn
 3m 34s
 13. 25m 56s
 1. Writing and editing automation
 6m 4s
 2. Drawing automation with the Pencil tool
 4m 56s
 3. Editing automation with the Trimmer and Grabber tools
 2m 9s
 4. Cutting, copying, pasting, and clearing automation
 4m 6s
 5. Turning automation on and off
 4m 25s
 6. Automating plug-ins and virtual instruments
 4m 16s
 14. 1h 40m
 1. Setting up a session for mixing
 8m 0s
 2. Setting up an effects loop
 9m 18s
 3. Working with plug-ins


text:
Online CoursesChallenging Behaviour > Continence Promotion > CoSHH >
Classroom CoursesModule 1-Classroom courses > Module 2- Classroom Courses > Module 3-Classroom Courses >
Medication,Infection and Role of Care Worker-NOCN Level 2 (module 2)-(£120 per Person)
Medication,Infection and Role of Care Worker-NOCN Level 2 (module 2)
National Qualification in Supporting People with a Learning Disability.
This is an induction course for those wishing to get a National Qualification in Supporting People with a Learning Disability.
It is suitable for those working with Vulnerable Adults and Children.
-Role of a care worker
Module's Record of Competence
- Legislations governing the prescribing, dispensing, administering, storage and disposal of medication.
- Medication policy
- Classifications of medication
- Types of medication
- Different routes/methods of administering medication.
- Safe practice of medication.
- Checking, Recording & keeping receipts of medication.
- Medication Administration record sheet
- Noting and reporting changes to individuals.
- Adverse reactions to medication.
- Checking of Contra/indications whilst giving individual homely remedies.
- Importance of medication audits
- Safe disposal of medication.
- Supporting individuals who are self administering medication.
Role of a care worker.
- Roles & responsibilitiesCare activities
- Relevant policies and procedures
- Code of practice
- Working in partnership with others.
- Worker relationship/ maintaining professional boundaries.
- Recording individual care plans.
Food Safety and Infection Control.
- Legislations governing infection control
- Effective hand washing & hygiene
- Use of protective clothing.
- Cleaning of spillages.
- Safe handling of specimens
- Safe disposal of clinical waste.
- Safe storage of food.
- Washing of infected laundry, equipments & instruments.
- Notifiable diseases- E.g. MRSA, tuberculosis, Scabies, head lice etc.
Written Description and Case study
Please choose a centre/date:
|Sorry, no dates available at the moment.|

source: HuggingFaceFW/fineweb-edu


British, French and American paratroopers have given a powerful demonstration this weekend of how they can go side-by-side into battle by air.
Formation of RAF Puma from 33 Sqn at RAF Benson. British, French and American paratroopers have given a powerful demonstration of how they can go side-by-side into battle by air.
British troops disembark an RAF A400 on arrival at Keevil Airfield during Exercise Wessex Storm. Across three days of high tempo activity on both the ground and in the air, the 2 PARA Battlegroup has launched on the final mission of Exercise Wessex Storm. Fighting against a free-thinking enemy force on Salisbury Plain, the mission lets the paratroopers show their skills and readiness for short notice operations around the world.
47 Air Dispatch Squadron, 13 Air Assault Support Regiment drop stores onto Salisbury Plain in support of 2 Para Battlegroup during Exercise Wessex Storm.
Credit: Corporal Rob Kane, UK MOD
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text:
Office of Risk Management
The Office of Risk Management protects UNO's assets through:
- Identification of loss potential
- Loss evaluation, prevention, and reduction
- Loss funding and risk financing
- Claims control
Risk Management Objectives
- Protect the financial and physical assets of the UNO by identifying, preventing and managing liability exposures.
- Investigate, evaluate and resolve professional and general liability claims brought against UNO
- Assist outside counsel in the defense of the UNO's professional, general liability and property claims.
- Recommend corrective action to problems identified through risk management activities.
- Develop and review UNO policies, procedures and forms to address possible liability exposures.
- Collaborate and cooperate with other UNO departments in developing mechanisms to assess, evaluate and reduce loss potential.
- Promote loss prevention training programs for UNO.
Activities are shared in agreement with all University of Nebraska campuses, however, campus specific issues can and will be addressed on an individual campus basis.
Our Campus. Otherwise Known as Omaha.
The University of Nebraska does not discriminate based on race, color, ethnicity, national origin, sex, pregnancy, sexual orientation, gender identity, religion, disability, age, genetic information, veteran status, marital status, and/or political affiliation in its programs, activities, or employment. Learn more about Equity, Access and Diversity.

source: openbmb/Ultra-FineWeb


Commercial Refrigeration Cleaning & Maintenance Company
Routine maintenance is vital to prolonging the duration of your plumbing equipment. However, it will not just enable you to get more usage from your gear. Additionally, it will help prevent big problems and expensive repairs.
By maintaining your commercial refrigeration system operating at peak operation, the technicians maintain your gear from wearing early. Here is a few of the issues you can prevent with routine upkeep:
refrigeration case cleaning
Image Source: Google
The refrigeration unit operates loudly. Modern refrigeration equipment is designed to operate with minimal sound. If you become aware of your refrigeration unit operating loudly, it might be an indicator of a significant issue with the compressor, engine, or other elements.
Ice buildup. Ice might look to be a fantastic thing for a freezer or refrigerator. But ice hockey that's permitted to accumulate across the condenser coils or other elements can hinder the insulating material, cause airflow issues, and cause the engine to work harder to keep a consistent temperature.
Specialist Maintenance Makes a Difference
During a maintenance trip, the technicians will complete a comprehensive review of your plumbing gear. This frequently includes:
-Analyzing the temperature and thermostat.
-Testing pressure controls and electric connections.
-Inspecting the doorway and casing for possible leaks.
-Cleaning coils.
These maintenance visits create a quantifiable difference on your bottom line, such as:
-Energy savings.
-The lower threat of expensive repair.


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Inside Qt meta Object
In this article we will discuss how and why we use meta-object in Qt.
The word meta indicates that the word prefixed is about itself. So a meta-object is an object describing the object. QT Meta-Object Compiler, moc, is the program that handles Qt's C++ extensions.The moc reads C++ source files, if it finds one or more class declarations that contain the Q_OBJECT macro, it produces another C++ source file which contains the meta object code for those classes and those are automatically included by build system.
A meta-object contains information about a class that inherits QObject, e.g. class name, super class name, properties, signals and slots. Every QObject subclass that contains the Q_OBJECT macro will have a meta-object. Following code declares MyQTClass which has a property declared by Q_PROPERTY macro. This will allow us to update the property in several ways.
class MyQTClass : public QObject
Q_PROPERTY(int Myage READ Age WRITE setAge)
void setAge(int aAge);
// test code
MyQTClass *myinstance = new MyQTClass;
QObject *object = myinstance;
myinstance->setAge(100); // using setter function
myinstance->setProperty("Myage", 100); //using property
int retage =myinstance->Age(); // retage should be 100
bool b = object->setProperty("Myage", v); // b is true since we have a Myage property
b = object->setProperty("aVariable", v); // b is not true
QVariant test = object->property("Myage");
b = test.isValid(); // b is true
QVariant wrong = object->property("aVariabdfhdfgle");
b = wrong.isValid(); // b is not true
const QMetaObject *metaobject = object->metaObject();
QString classname(metaobject->className()); // classname shoudl be "MyQTClass"
int count = metaobject->propertyCount(); // number of Property
for (int i=0; iproperty(i);
const char *name = metaproperty.name(); // property name should come from MyQTClass + QObject
In the above code,at the very top of the class declaration we find the Q_OBJECT macro. It is important that this macro appears first in the body of the class declaration because it marks the class as a class that needs a meta-object. In the case of Qt, meta-objects are instances of the class. It means that the above code goes into a file called MyQTClass.h. The implementation goes into MyQTClass.cpp, and the moc generates another C++ file from the header file called moc_MyQTClass.cpp. The contents from the generated file can change between Qt versions.
The full source code presented in this article is available here File:InsidePro.zip


text:
Overall Research & Development Goals
Improved product performance
BioMar constantly seeks to improve the economics of aquaculture production by improving product performance. For instance, feed costs often account for 50-60 % of the production cost of fish, which is why feed performance is a major competitive parameter for BioMar.
Improved growth ratio and feed conversion ratio
Main performance criteria targeted are growth and feed conversion. The feed conversion ratio, defined as the amount of feed needed to produce a kilo of fish, is also a major aspect of feed performance in relation to environmental issues, e.g. sustainability.
Specialized software balancing nutrition and cost is used in our factories to bring R&D knowledge into real life feed.
BioMar's development programme on sustainability, BioSustain, includes an evaluation on all raw materials. We seek to source raw materials that can demonstrate to have come from sustainable sources or have a clear and defined ambition to be certified as sustainable.


1st Edition
The Psychology of Art
ISBN 9780367609931
Published October 9, 2020 by Routledge
150 Pages 28 Color Illustrations
USD $14.95
Prices & shipping based on shipping country
Book Description
Why do we enjoy art? What inspires us to create artistic works? How can brain science help us understand our taste in art?
The Psychology of Art provides an eclectic introduction to the myriad ways in which psychology can help us understand and appreciate creative activities. Exploring how we perceive everything from colour to motion, the book examines art-making as a form of human behaviour that stretches back throughout history as a constant source of inspiration, conflict and conversation. It also considers how factors such as fakery, reproduction technology and sexism influence our judgements about art.
By asking what psychological science has to do with artistic appreciation, The Psychology of Art introduces the reader to new ways of thinking about how we create and consume art.
Table of Contents
1. Art and psychology
2. The neuroscience of art
3. Why do we engage in art?
4. Depicting space, contour and form in art
5. Depicting colour and motion in art
6. What makes great art?
7. Creativity in art and science
Further reading
View More
George Mather is Professor of Psychology at the University of Lincoln, UK. His main research interests are in the perception of movement, art and visual illusions.


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Delaware School Health Profiles
Roberta Gealt, Principal Investigator
Secondary School Survey--Center for Disease Control and Prevention, Division of Adolescent and School Health through the Delaware Department of Education;
Elementary School Survey— Center for Disease Control and Prevention, Division of Adolescent and School Health through the Delaware Department of Educationand Nemours Health Prevention Services.
The School Health Profiles (Profiles) is a system of surveys assessing school health policies and practices in states, large urban school districts, territories, and tribal governments. Profiles are completed biennially by middle and high school principals and lead health education teachers. The secondary school survey has been administered every other year in even-numbered years. The Center develops the Delaware version of the survey, based on a CDC survey, with input from state and community agencies. CDAS has conducted fieldwork for the surveys, scanned the surveys to provide a data set, and provided some analyses and report writing, and dissemination of findings. The study reports data which relates to other Center studies on substance abuse, and provides statewide data on health instruction, policies and practice in schools, as well as professional development for health instructors in specific areas relating to CDC priorities also addressed in the student survey, the Youth Risk Behavior Survey. The secondary school survey has been conducted since 2004and the elementary survey, which is administered to principals only, was administered for the first time in 2010. These surveys are now conducted electronically. The basic CDC elementary school survey has been enhanced with additional questions consistent with the goals of Nemours.


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The Mystery School Code Review: A Complete Guide to Unlocking the Secrets of the Universe
The Mystery School Code is an ancient system of knowledge and wisdom passed down through generations. It is a powerful tool for personal transformation and spiritual development, providing the keys to unlocking the mysteries of the universe.
The origins of the Mystery School Code can be traced back to ancient civilizations, such as Egypt and Greece, where secret societies and mystery schools were established to preserve and transmit this sacred knowledge. The teachings of the Mystery School Code have been passed down through the ages, and continue to be practiced and studied by spiritual seekers today.
One of the key components of the Mystery School Code is the use of symbols and archetypes. These symbols and archetypes are powerful tools for unlocking the hidden knowledge and wisdom of the universe, and can be used to access higher levels of consciousness and understanding. The use of symbols and archetypes is also a way of encoding the teachings of the Mystery School Code, to preserve them for future generations.
The Mystery School Code also emphasizes the importance of community and connection. Those who practice the Mystery School Code are part of a global community of like-minded individuals, all working together to unlock the secrets of the universe. This sense of connection and community is an integral part of the Mystery School Code, providing support and guidance as one travels along their spiritual journey.
The Mystery School Code also provides a unique approach to personal development and growth. It teaches individuals how to tap into the power of their own minds, and harness the power of their thoughts and emotions to create positive change in their lives. Through the use of visualization and other techniques, one can manifest their deepest desires and create the life they have always dreamed of.
One of the most powerful practices within the Mystery School Code is meditation. Meditation is a way of quieting the mind and accessing the deeper levels of consciousness. It is a powerful tool for personal transformation and spiritual development, and is an essential part of the Mystery School Code.
The Mystery School Code also teaches about the use of energy and vibration. Everything in the universe is made up of energy and vibrates at a certain frequency. By understanding and working with these energies and vibrations, one can access higher levels of consciousness and understanding, and manifest positive change in their life.
For those looking to deepen their spiritual practice and unlock their full potential, the Mystery School Code is an invaluable tool. Whether you are a beginner or an experienced practitioner, the Mystery School Code offers a powerful and transformative path to spiritual growth and understanding.


Friday, July 5, 2013
Soma Sutra Pradakshina
I just posted photographs and a narrative of the July 5, 2013 Pradosham as observed at the Arunachaleswarar Temple here at Tiruvannamalai.
To view the posting please go to this link here
During the time of Pradosham a special type of circumambulating called Soma Sutra Pradakshina is done.
During the time of Pradosham, Soma Sutra Pradakshina is the suggested method of circumambulating God. In some Temples this is always followed. In this method the gomukhi is never crossed. The gomukhi is the place where Abhishekam water is flowing Northwards. By doing this method of Pradakshina one does not step over the holy water.
As per the above marked symbols this pradakshina goes thus:
First saluting Rishabham Devar (Nandi the Bull) go anti-clockwise and salute Chandichar (not crossing the gomukhi).
Now return in a clockwise manner and salute Rishabham and continue clockwise until reaching the gomukhi (again don't cross).
Then return in an anti-clockwise direction, salute the Rishabham again and proceed towards Chandichar.
From there return back clockwise without worshipping the Rishabham and reach the gomukhi.
Finally return back anti-clockwise from there to salute Rishabham Devar and continue to Chandichar and return back to Rishabham and worship the Shiva Lingam (at the altar) by viewing through the space between the two horns of the Holy bull.
This is one pradakshina. Three such times pradakshina are to be done.
The curve traced by doing the pradakshina is very similar to the periphery of the crescent moon. Hence this way of circumambulating is called Soma Sutra Pradakshina.
 1. Thank you for your detailed explanation. Appreciate a lot. When u say'salute the rishabam',
 Does this means salute from Nandi deva's side or back since he is facing lord siva. Thank u.
 2. I suggest that saluting the Rishabam would be from the front with palms held together and head bowed. From the back of Nandi, it wouldn't be so much saluting the rishaba but bowing to Lord Shiva.


GSvit documentation
open source FDTD solver with GPU support
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GSvit in a nutshell
GSvit is an open source software for electromagnetic field propagation calculations via Finite Difference in Time Domain method (FDTD). In this numerical technique, electric and magnetic field values (vectors) in some computational volume are calculated iteratively, solving Maxwell equations, step by step. In order to do this, computational volume needs to be discretized very densely, which affects computational demandness of FDTD, being very large both in processor time and in memory.
Original motivation for writing GSvit was to explore parallelization possibilities offered by graphics cards in the field of numerical electromagnetics. By successive improvements it became rather universal software that can be used in different fields of physics and engineering and we continue in improving the applicability for different tasks. Already now, GSvit features both command line and graphical user interface, can be run on different operating systems and can be used with many different geometries, materials, source conditions, boundaries, etc.
To start your work with GSvit, follow the instructions on Gettng started page.
If you find GSvit valuable for your work, you can cite some of our articles describing its core parts:
motivation/gsvit_in_a_nutshell.txt · Last modified: 2018/01/24 08:14 (external edit)


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Aimee Quarles
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 Name/AKAsAgeLocationPossible Relatives
1. Quarles, Aimee A
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44 Panama City, FL
Birmingham, AL
PALMER, NORY N (age 42)
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text:
1 October 2009
A picnic basket linked to Agatha Christie, soil samples collected before the Channel Tunnel was built and a radioactive rock used in a Nobel Prize-winning experiment feature in a provocative new exhibition at UCL.
Disposal?, which opens on Monday 19 October 2009, invites you to comment on the most challenging question faced by museums today: What should we collect and hold on to and what should we get rid of?
The exhibition includes objects which would not normally be on display, such as a crusher which can apply the weight of 150 hippos, a collection of plastic dinosaurs and slides containing microscopic fossils.
Among these are five objects earmarked for disposal that the public can vote on. This is one of several ways in which people can contribute their views on the collections: on what they think is important, what should be collected and what they feel would be better off elsewhere.
Featured pieces will include:
- A picnic basket belonging to Agatha Christie's husband's second wife Barbara Parker. The husband, Max Mallowan, was a famous archaeologist. Parker donated the hamper and its contents to UCL. The contents included Minoan pottery, a key, a doorknob, beads and a copy of The Times.
- Soil samples collected before the building of the Channel Tunnel. Archaeologists take such samples to see if a site contains archaeological material. These samples were stored at UCL soon after they were taken, but have never been analysed.
- A radioactive mineral sample which emits alpha particles, but which is historically important. William Ramsay (1852–1916), a former head of UCL Chemistry, used it to discover helium in one of a series of Nobel Prize-winning experiments.
The exhibition will also host two events:
- 'Fight at the Museum: Rescue My Object!' on Tuesday 20 October, 6.30pm – 9pm, will see experts battle to convince an audience to save their favourite object housed in different collections at UCL.
- 'Treasured? Hunt' on Wednesday 28 October, 6pm – 9pm, will invite people to seek out intriguing objects and specimens in store and decide for themselves just how treasured objects should be.
Disposing of objects by museums is controversial, conjuring up emotive images of collections thrown into skips or valuable artworks lost to the nation through private sales. With ever-decreasing resources and ever-expanding collections, museums are under serious pressure. Collections are fast becoming unsustainable – ethical but tough decision-making is essential to museums' survival.
In a research-led university such as UCL, collections have to keep pace with cutting-edge innovations and new discoveries. While active collecting always goes on, responsible and regular disposal is essential for collections to stay manageable.
Subhadra Das, UCL Collections Reviewer, says: "UCL Museums & Collections hold thousands of fascinating and historically important objects which are used for teaching and research. Like all museums, they also contain objects whose roles and use are unclear or problematic. Some objects may no longer be useful, some are too big or have become damaged and some should never have been collected. In the past such things have sometimes been disposed of thoughtlessly – by putting them in the skip. This exhibition is about thoughtful disposal."
The exhibition runs from Monday 19 October to Saturday 31 October 2009, is open to the public and is free of charge. Opening hours are Monday-Friday 10am-7pm, Saturday 10am-6pm. The exhibition is in the Chadwick Building, UCL, Gower Street, London WC1E 6BT.
Media contact: Jenny Gimpel
Image: A hippopotamus skull


About the ALCA
The Australian Lure Coursing Association was established in 2013 to ensure a consistent approach to the sport of lure coursing across Australia.
Mission Statement
The purpose of the Australian Lure Coursing Association Incorporated (IA41383) is to promote and administer the sport of Lure Coursing in Australia at a National Level.
 1. To encourage the participation of dogs in organised Lure Coursing events.
 2. To provide and maintain a national unified set of rules, under which state Lure Coursing bodies conduct Lure Coursing events.
 3. To develop and maintain a code of ethics under which state bodies and participants participate in lure coursing events
 4. To develop and maintain a set of criteria under which lure coursing events in Australia are judged to be used by all member clubs.
 5. To promote the sport of Lure Coursing as a sport for all dogs.
 6. To develop a set of procedures and criteria under which new judges are trained and assessed.
 7. To cater for the demand of various groups and clubs to have and operate lure coursing events in an organised and professional manner.
 8. To develop a set of coursing plans and procedures for setting out suitable layouts of courses.
 9. To provide a platform for interstate Lure Coursing competitions.
 10. To develop and maintain a grading system to allow dogs to progress through grades and to obtain titles in Lure Coursing.


The abstract superclass for all feedback generators.
Do not subclass or create instances of this class yourself. Instead, instantiate one of the provided concrete subclasses:
UISelectionFeedbackGenerator. Use selection feedback generators to indicate a change in selection.
UINotificationFeedbackGenerator. Use notification feedback generators to indicate successes, failures, and warnings.
Using Feedback Generators
Haptic feedback provides a tactile response, such as a tap, that draws attention and reinforces both actions and events. While many system-provided interface elements (for example, pickers, switches, and sliders) automatically provide haptic feedback, you can use feedback generators to add your own feedback to custom views and controls.
When providing feedback:
 - Always use feedback for its intended purpose. Don't select a haptic because of the way it feels.
 - The source of the feedback must be clear to the user. For example, the feedback must match a visual change in the user interface, or must be in response to a user action. Feedback should never come as a surprise.
 - Don't overuse feedback. Overuse can cause confusion and diminish the feedback's significance.
For additional guidance on when and how to use feedback generators, see Haptic Feedback in iOS Human Interface Guidelines.
To use a feedback generator, the following are required:
 1. Instantiating the Generator
 2. Preparing the Generator (optional)
 3. Triggering Feedback
 4. Releasing the Generator (optional).
Listing 1 demonstrates triggering selection feedback from a pan gesture recognizer.
Listing 1
Triggering selection feedback
var feedbackGenerator : UISelectionFeedbackGenerator? = nil
_USER_ func gestureHandler(_ sender: UIPanGestureRecognizer) {
 switch(sender.state) {
 case.began:
 // Instantiate a new generator.
 feedbackGenerator = UISelectionFeedbackGenerator()
 // Prepare the generator when the gesture begins.
 case.changed:
 // Check to see if the selection has changed...
 if myCustomHasSelectionChangedMethod(translationPoint: sender.translation(in: view)) {
 // Trigger selection feedback.
 // Keep the generator in a prepared state.
 case.cancelled,.ended,.failed:
 // Release the current generator.
 feedbackGenerator = nil
 // Do Nothing.
Instantiating the Generator
To create feedback, you must first instantiate one of the UIFeedbackGenerator class's concrete subclasses (UIImpactFeedbackGenerator, UISelectionFeedbackGenerator, or UINotificationFeedbackGenerator).
Listing 1 instantiates a new UISelectionFeedbackGenerator object whenever a pan gesture begins.
Preparing the Generator
Preparing the generator can reduce latency when triggering feedback. This is particularly important when trying to match feedback to sound or visual cues.
Calling the generator's prepare() method puts the Taptic Engine in a prepared state. To preserve power, the Taptic Engine stays in this state for only a short period of time (on the order of seconds), or until you next trigger feedback.
Think about when and where you can best prepare your generators. If you call prepare() and then immediately trigger feedback, the system won't have enough time to get the Taptic Engine into the prepared state, and you may not see a reduction in latency. On the other hand, if you call prepare() too early, the Taptic Engine may become idle again before you trigger feedback.
Listing 1 prepares the generator when the pan gesture begins, and then triggers feedback when the gesture changes.
For more information, see the prepare() method.
Triggering Feedback
Each feedback generator subclass has a unique triggering method. To trigger feedback, call the appropriate method: impactOccurred(), selectionChanged(), or notificationOccurred(_:).
Note that calling these methods does not play haptics directly. Instead, it informs the system of the event. The system then determines whether to play the haptics based on the device, the application's state, the amount of battery power remaining, and other factors.
For example, haptic feedback is currently played only:
 - On a device with a supported Taptic Engine (iPhone 7 and iPhone 7 Plus).
 - When the app is running in the foreground.
 - When the System Haptics setting is enabled.
As a general rule, trust the system to determine whether it should play feedback. Don't check the device type or app state to conditionally trigger feedback. After you've decided how you want to use feedback, always trigger it when the appropriate events occur. The system ignores any requests that it cannot fulfill.
In Listing 1, each time the gesture changes the gesture handler checks to see if the selection has changed. If so, the handler triggers feedback and prepares for the next change.
Releasing the Generator
If you no longer need a prepared generator, remove all references to the generator object and let the system deallocate it. This lets the Taptic Engine return to its idle state.
In Listing 1, the pan gesture recognizer releases its generator when the gesture ends, fails, or is canceled. Assigning nil to the instance variable removes the reference to the old generator. If there are no other references to the generator, the system deallocates it.
Instance Methods
func prepare()
Prepares the generator to trigger feedback.
Inherits From
Conforms To


text:
The study, from University of Boston, speculates that common autistic spectrum behaviours such as 'a preference for logical beliefs' and a distrust of metaphor and figures of speech, could be responsible.
What is described as a "preference for logical beliefs" should actually be phrased as a "preference for beliefs that appear to be logical". For, as we have repeatedly seen, socially dysfunctional atheists tend to be extraordinarily illogical, to such an extent that they will deny the existence of straightforward dictionary definitions in use for hundreds of years in order to cling to their pseudo-logic
I couldn't possibly comment. 😉 Meanwhile, here is the first cause argument:
Everything that has a beginning has a cause
The universe has a beginning
Therefore the Universe has a cause


Quick Answer: How Can I Make My Fridge Ice Faster?
How long should it take for freezer to get cold?
12-24 hoursDepending on the type and size of your freezer, it generally takes anywhere from 12-24 hours for your freezer to become cold enough to keep food frozen.
A good way to test this is to put an ice cube tray with fresh water into the freezer – when the ice cubes are frozen, it is cold enough to freeze your food properly..
Why is ice from fridge white?
How do you get clear ice in the fridge?
How do you fix a slow ice maker?
What To Do If Your Ice Maker Is SlowLook for a kink in the water line located at the back of the refrigerator. … Check the local water supply valve to ensure that the valve is fully in the "on" position.Replace the water filter, if your refrigerator model has a filter that has not been replaced recently.More items…
How long before new ice maker fills with water?
What should I do if my refrigerator is not cold enough?
Can a fridge make ice without a water line?
You don't need to hook it up if you don't want ice and water, the fridge will work fine without it. No, you do not have to install the water line. … You only need it if the refrigerator has a water dispenser or an ice maker that you plan to use.
How do I make clear ice at home?
How to make clear ice: a tutorialStep 1: Freeze warm water in a cooler for 18 to 24 hours. … Step 2: Remove the ice from the cooler. … Step 3: Cut the ice into cubes with a serrated knife. … Step 3: Shape the clear ice chunks with an ice pick (optional). … Step 4: Store the clear ice.
How do you make clear ice at home?
Why does my fridge make ice so slow?
Make sure the water line isn't restricted and has enough pressure: A problem with the water line can result in small ice cubes. Pull the freezer away from the wall to check the water line leading to it from the wall. … A clogged water filter could be blocking water flow to the ice maker, causing it to run slowly.
Do you turn a fridge up to make it colder?
The numbers on the fridge's temperature dial indicate refrigerant power. The higher the number goes the colder the fridge will maintain. Setting it to 5 will make your fridge the coldest. With this out of the way, it should be noted that a lower fridge temperature does not equal better food storage.
How long does it take a Whirlpool refrigerator to make ice?
The refrigerator and icemaker must be at proper temperature. If just installed, the icemaker itself could take 24 hours to get cold enough to produce ice. The icemaker must reach 15 degrees F before a cycle will begin. The recommended fresh food temperature is 37 degrees F; the freezer temperature is 0 degrees F.
How long does it take for ice to make in a new refrigerator?
6 to 12 hoursAfter you have installed your refrigerator it will take 6 to 12 hours for the fridge-freezer's ice maker to produce ice. You should throw away the first three batches of ice cubes that the ice maker dispenses (approximately 30 cubes) to ensure that all the ice cubes you use are made from clean water.
How do I force my ice maker to cycle?
Can Bad ice make you sick?
University of Texas performed a study found that ice cubes can contain salmonella, E. coli, and shillelagh even when mixed with hard liquor, soda, and water. So no matter the drink or substance inside of the cup, these bacteria can be living in the ice and then get a person sick from drinking one of these bacteria.
How do you keep ice from tasting bad?
How long does it take freezer to make ice?
about three to four hoursHow Long Does It Take Ice Cubes to Freeze? In most situations, ice made in a standard ice tray — those plastic models with space for a dozen tapered cubes — takes about three to four hours to freeze in your home freezer.
How can I make my fridge ice taste better?
Add a Freezer Deodorizer One final way to improve the taste of your icemaker's ice cubes is to add a deodorizer to the freezer. An open box of baking soda will do the job nicely. Be sure to replace the deodorizer regularly to maintain its odor-fighting abilities.


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


Scala has a very special streaming library called FS2 (Functional Streams for Scala). This library embodies all the advantages of functional programming (FP). By understanding its design goals you will get exposure to the core ideas that make FP so appealing.
FS2 has one central type: Stream[Effect,Output]
You might get from this type that it's a Stream and that it emits values of type Output.
The obvious question here is what is Effect? What is the link between Effect and Output? And what advantages does FS2 have over other streaming libraries?
I will start by reviewing what problems FS2 solves. Then I compare List and Stream with several code examples. After that, I will focus on how to use Stream with a DB or any other IO. That is where FS2 shines and where the Effecttype is used. Once you will understand what Effect is, the advantages of Functional Programming should be evident to you.
At the end of this post you will get the answers to the following questions:
 - What problems can I solve with FS2?
 - What can I do with Stream that List cannot?
 - How can I feed data from an API/File/DB to Stream?
 - What is this Effect type and how does it relate to functional programming?
Note: The code is in Scala and should be understandable even without prior knowledge of the syntax.
What problems can I solve with FS2?
 1. Streaming I/O: Loading incrementally big data sets that would not fit in memory and operating on them without blowing your heap.
 2. Control Flow (not covered): Moving data from one/several DBs/files/APIs to others in a nice declarative way.
 3. Concurrency (not covered): Run different streams in parallel and make them communicate together. For example loading data from multiple files and processing them concurrently as opposed to sequentially. You can do some advanced stuff here. Streams can communicate together during the processing stage and not only at the end.
List vs Stream
List is the most well known and used data structure. To get a feel for how it differs from an FS2 Stream, we will go through a few use cases. We will see how Stream can solve problems that List cannot.
Your data is too big and does not fit in memory
Let's say you have a very big file (40GB) fahrenheit.txt. The file has a temperature on each line and you want to convert it to celsius.txt.
Loading a big file using List
val list = Source.fromFile("testdata/fahrenheit.txt").getLines.toList
java.lang.OutOfMemoryError: Java heap space
List fails miserably because of course, the file is too big to fit in memory. If you are curious, you can go check the full solution using Stream here — but do that later, read on :)
When List won't do…Stream to the rescue!
Let's say I succeeded in reading my file and I want to write it back. I would like to preserve the line structure. I need to insert a newline character \n after each temperature.
I can use the intersperse combinator to do that
import fs2._
Another nice one is zipWithNext
scala> Stream(1,2,3,4).zipWithNext.toList
res1: List[(Int, Option[Int])] = List((1,Some(2)), (2,Some(3)), (3,Some(4)), (4,None))
It bundles consecutive things together, very useful if you want to remove consecutive duplicates.
These are only a few from a lot of very useful ones, here is the full list.
Obviously Stream can do a lot of things that List cannot, but the best feature is coming in the next section, it's all about how to use Stream in the real world with DBs/Files/APIs...
Let's just say for now that this our program
scala> Stream(1,2,3)
res2: fs2.Stream[fs2.Pure,Int] = Stream(..)
What does this Pure mean? Here is the scaladoc from the source code:
 * Indicates that a stream evaluates no effects.
 * A 'Stream[Pure,O]' can be safely converted to a 'Stream[F,O]' for all 'F'.
type Pure[A] <: Nothing
It means no effects, ok …, but What is an effect? and more specifically what is the effect of our program Stream(1,2,3)?
This program has literally no effect on the world. Its only effect will be to make your CPU work and consumes some power!! It does not affect the world around you.
By affecting the world I mean it consumes any meaningful resource like a file, a database, or it produces anything like a file, uploading some data somewhere, writing to your terminal, and so on.
How do I turn a Pure stream to something useful?
Let's say I want to load user ids from a DB, I am given this function, it does a call to the DB and returns the userId as a Long.
import scala.concurrent.Future
def loadUserIdByName(userName: String): Future[Long] =???
It returns a Future which indicates that this call is asynchronous and the value will be available at some point in the future. It wraps the value returned by the DB.
I have this Pure stream.
scala> val names = Stream("bob", "alice", "joe")
names: fs2.Stream[fs2.Pure,String] = Stream(..)
How do I get a Stream of ids?
The naive approach would be to use the map function, it should run the function for each value in the Stream.
scala> userIdsFromDB.compile
res5: fs2.Stream.ToEffect[scala.concurrent.Future,Long] = fs2.Stream$ToEffect@fc0f18da
I still got back a Pure! I gave the Stream a function that affects the world and I still got a Pure, not cool... It would have been neat if FS2 would have detected automatically that the loadUserIdByName function has an effect on the world and returned me something that is NOT Pure but it does not work like that. You have to use a special combinator instead of map: you have to use evalMap.
scala> userIdsFromDB.toList
:18: error: value toList is not a member of fs2.Stream[scala.concurrent.Future,Long]
No more Pure! we got Future instead, yay! What just happened?
It took:
 - loadUserIdByName: Future[Long]
 - Stream[Pure, String]
And switched the types of the stream to
 - Stream[Future, Long]
It separated the Future and isolated it! The left side that was the Effect type parameter is now the concrete Future type.
Neat trick, but how does it help me?
You just witnessed true separation of concerns. You can continue to operate on the stream with all the nice List like combinators and you don't have to worry about if the DB is down, slow or all the stuff that is related to the network (effect) concerns.
It all works until I want to use toList to get the values back
scala> userIdsFromDB.toList
What???!!! I could swear that I used toList before and it worked, how can it say that toList is not a member of fs2.Stream[Future,String] any more? It is as if this function was removed the moment I started using an effect-ful stream, that's impressive! But how do I get my values back?
scala> userIdsFromDB.compile
First we use compile to tell the Stream to combine all the effects into one, effectively it folds all the calls to loadUserIdByName into one big Future. This is needed by the framework, and it will become apparent why this step is needed soon.
Now toList should work
scala> userIdsFromDB.compile.toList
:18: error: could not find implicit value for parameter F: cats.effect.Sync[scala.concurrent.Future]
What?! the compiler is still complaining. That's because Future is not a good Effect type — it breaks the philosophy of separation of concerns as explained in the next very important section.
IMPORTANT: The ONE thing to take away from this post
A key point here, is that the DB has not been called at this point. Nothing happened really, the full program does not produce anything.
Stream("bob", "alice", "joe").evalMap(loadUserIdByName).compile
Separating program description from evaluation
Yes it might be surprising but the major theme in FP is separating the
 - Description of your program: a good example is the program we just wrote, it's a pure description of the problem "I give you names and a DB, give me back IDs"
And the
 - Execution of your program: running the actual code and asking it to go to the DB
One more time our program has literally no effect on the world besides making your computer warm, exactly like our Pure stream.
Code that does not have an effect is called pure and that's what all Functional Programming is about: writing programs with functions that are pure. Bravo, you now know what FP is all about.
Why would you want write code this way? Simple: to achieve separation of concerns between the IO parts and the rest of our code.
Now let's fix our program and take care of this Future problem.
As we said Future is a bad Effect type, it goes against the separation of concerns principle. Indeed, Future is eager in Scala: the moment you create one it starts to executes on some thread, you don't have control of the execution and thus it breaks. FS2 is well aware of that and does not let you compile. To fix this


WordPress Deprecated Functions Hook
Deprecated Functions
There is a need to inform both theme and plugin developers and users of the usage of deprecated functions. In WordPress 2.4, a way to do that was added.
The following gives instructions on how to turn on the deprecated functions reporting, what hooks can be used for when deprecated functions are used, and code snippets demonstrating how all of this can be accomplished.
Normal Deprecated Function Reporting
When WP_DEBUG is enabled in wp-config.php, it will turn on the notices that deprecated functions were used. When WP_DEBUG is turned off or does not exist, then no reporting will be given.
This prevents the notices for everyday users who are uninterested in receiving these reports. As a consequence, only the users who actively enable WP_DEBUG will receive the information. Those users will not know to upgrade, unless they use a plugin which they download and activate.
The following code snippet enables WP_DEBUG and needs to be placed in wp-config.php.
define('WP_DEBUG', true);
Deprecated Function/File Action Hooks
When a deprecated function is used, the 'deprecated_function_run' hook is called. Whenever a deprecated file is included, the 'deprecated_file_included' hook is called. These hooks are actions and do not return anything. The 'deprecated_function_run' is passed the function and the replacement. The 'deprecated_file_included' is passed the file and which file replaced the deprecated one.
If the hooked function wishes to keep track of which deprecated function were run and how many times, the hooked function will have to do that itself.
Which function called the deprecated function or file is not known and is up to the plugin to perform a back trace to get that information.
Preventing the Notices From Displaying
When a plugin uses the above hooks, it could prevent notices from being displayed, even with WP_DEBUG enabled. It is then assumed that if a plugin hooked into both 'deprecated_function_run' and 'deprecated_file_included' that it would record and display the information in a more friendly matter.
To prevent the notices from displaying for functions, the 'deprecated_function_trigger_error' filter hook should return false. To prevent notices from displaying for files, the 'deprecated_file_trigger_error' filter hook should return false.
If a plugin does not have a way to display the deprecated function or file usage, then the plugin should not prevent the notices from appearing when WP_DEBUG is turned on. It should also make sure that the deprecated information is not displayed where any visitor can see it.


Creating a Credits Screen for Endgame
I am creating a short gamer and I would like to add a credits screen to the 2DPlatformer template. What is the easiest way to create a message at the end of the game that tells the user who the game is made by?
Create a UMG widget with the design you want and when the game ends just spawn and add it to the viewport.
What I do is create a UMG widget like Havoc said, and then add a vertical box with text inside. Add an animation of them moving, and boom! :smiley:
Here's a more fancy way of doing it. (Warning this is for more advanced users)
Create the widget, then create two other widgets: "CreditName" and "CreditInfo".
The two new widgets hold a textbox with a function called "init", which allows you to change the text by grabbing a public variable.
So in your main widget, add a vertical box, and add a "CreditName" and "CreditInfo" widget in there, for every name and job they did. For each miniwidget, set the public variable you made earlier as the job or name or whatever.
Josh Steinhauer
And then make an animation that moves it from the bottom from the top.
On the begin play event, play the animation, and then get the duration of the animation and delay for that length. After that, remove itself.
Good luck!!
I have to do the animation of each miniwiget separately


text:
To leap; to jump.
To move suddenly, as with a spring or leap, from surprise, pain, or other sudden feeling or emotion, or by a voluntary act.
To set out; to commence a course, as a race or journey; to begin; as, to start in business.
To cause to move suddenly; to disturb suddenly; to startle; to alarm; to rouse; to cause to flee or fly; as, the hounds started a fox.
To move suddenly from its place or position; to displace or loosen; to dislocate; as, to start a bone; the storm started the bolts in the vessel.
To pour out; to empty; to tap and begin drawing from; as, to start a water cask.
The act of starting; a sudden spring, leap, or motion, caused by surprise, fear, pain, or the like; any sudden motion, or beginning of motion.
A convulsive motion, twitch, or spasm; a spasmodic effort.
The beginning, as of a journey or a course of action; first motion from a place; act of setting out; the outset; -- opposed to finish.
The beginning of a race.
A point or area one begins at when solving a Maze. Mazes can have more than one start point, but usually don't.
the beginning of anything; "it was off to a good start"
the time at which something is supposed to begin; "they got an early start"; "she knew from the get-go that he was the man for her"
a turn to be a starter (in a game at the beginning); "he got his start because one of the regular pitchers was in the hospital"; "his starting meant that the coach thought he was one of their best linemen"
the act of starting something; "he was responsible for the beginning of negotiations"
a line indicating the location of the start of a race or a game
a signal to begin (as in a race); "the starting signal was a green light"; "the runners awaited the start"
advantage gained by an early start as in a race; "with an hour's start he will be hard to catch"
set in motion, cause to start; "The U.S. started a war in the Middle East"; "The Iraqis began hostilities"; "begin a new chapter in your life"
have a beginning, in a temporal, spatial, or evaluative sense; "The DMZ begins right over the hill"; "The second movement begins after the Allegro"; "Prices for these homes start at $250,000"
get off the ground; "Who started this company?"; "We embarked on an exciting enterprise"; "I start my day with a good breakfast"; "We began the new semester"; "The afternoon session begins at 4 PM"; "The blood shed started when the partisans launched a surprise attack"
move or jump suddenly, as if in surprise or alarm; "She startled when I walked into the room"
get going or set in motion; "We simply could not start the engine"; "start up the computer"
begin or set in motion; "I start at eight in the morning"; "Ready, set, go!"
begin work or acting in a certain capacity, office or job; "Take up a position"; "start a new job"
have a beginning characterized in some specified way; "The novel begins with a murder"; "My property begins with the three maple trees"; "Her day begins with a work-out"; "The semester begins with a convocation ceremony"
begin an event that is implied and limited by the nature or inherent function of the direct object; "begin a cigar"; "She started the soup while it was still hot"; "We started physics in 10th grade"
Begin at the specified time plus your car number in minutes. If no time is specified, begin at the out-time given at the previous control.
Activate a Player Started Player's time-base time and media time are mapped and its clock is running, though the Player might be waiting for a particular time to begin presenting its media data.
the location of the start of the race. Teams will typically be bused to the start line.
The start of the race. Crews should be at their starting stations two minutes before the scheduled race time. Judges or starters supervise the alignment and, when all crews are level, raise a white flag. Often, the starter then raises a white flag and calls the name of each crew. If a crew is not ready, the cox and/or person in the bow should raise a hand. When all crews have been polled, the Starter raises a red flag, says various things such as "Attention" and then "Row," or a countdown, and/or "Are you ready? Go!" The starter then drops the red flag. Crews may move as soon as the flag begins to drop. If equipment breaks in the first 100 meters, the crew may stop rowing and signal the umpire, who stops the race and requires a new start. There are penalties for being late to the start, for false starts, or for violating traffic rules.


During a full switch deployment, the SwitchableLocalFileSystem must delete all file assets from the target site's inactive directory before updated content can be deployed from ATG Content Administration. On a large site, the deletion process can significantly delay updates to the live site. You can optimize deployment by configuring the SwitchableLocalFileSystem to enable background deletion: when switch deployment begins, the VFS simply moves the current inactive directory to a temporary directory and proceeds with deployment. Separately, it launches another thread that is responsible for physically removing files from the temporary directory—which it typically defers until system resources are more plentiful.
Note: By default, full deployment of file system assets is optimized through checksum verification, which minimizes disk reads and writes (see Cache Checksums for File Assets). This is usually faster than full deployment with background deletion, where checksum verification is disabled (see Requirements and Constraints), so all files eventually must be physically removed from disk. In general, full deployment with background deletion is appropriate when you must purge a target site of all file system assets.
Three SwitchableLocalFileSystem properties enable background deletion and control its behavior:
Requirements and Constraints
The following requirements and constraints apply to background deletion of file system assets:


text:
1. Generation Change Fellows Program 2020
The United States Institute of Peace is an independent, nonpartisan institution established and funded by Congress to increase the nation's capacity to manage international conflict without violence. USIP aims to "think, act, teach, and train" across the spectrum of international conflict prevention, management, and resolution and to help societies in the period of post-conflict stabilization. Learn more about USIP.
About the Generation Change Fellows Program
The Generation Change Fellows Program (GCFP) is dedicated to strengthening the capacity of civically engaged youth leaders as they emerge as peacebuilders in their communities. By delivering training in effective leadership, conflict management, and prejudice awareness and reduction; providing online courses and other resources; and fostering a global learning community, the two year Fellowship gives participants the additional skills, knowledge, support, and resources needed to increase their resilience as peacebuilders and civic leaders, manage conflict at a local level, and increase the effectiveness of their peacebuilding programs.
Generation Change Fellows are between 18 and 35 years old. They hold leadership roles within civic organizations and are actively working to positively impact their community. The Fellows have earned trusted and legitimacy within their community through their demonstrated commitment to their work.
About the Training
The five day program will deliver training in effective leadership, conflict management, and prejudice awareness and reduction in order for these emerging leaders to increase their resilience and have a greater impact on their respective communities. The training will provide a safe space for participants to share ideas, gain new tools, practice constructive conversations, and better understand conflict resolution, especially as it relates to their country. It will also expose participants to experts in the leadership development and conflict resolution
USIP Ethiopia Generation Change Fellows Program 2020 (Fully-funded)


text:
Face Paint Step by Step Instructions
Face painting is popular at just about any children's event. Children love glitters, colours and make up!
We have a wide range of high quality, safe and non-toxic face paint. See below some design ideas and step-by-step instructions.
Download our easy to follow step by step face paint instructions:
1.Click on the link and print the instructions.
2. Get your face paint materials and let your imagination talks.
Tips to get started:
- If your design has both light and dark colours, always apply the light colours first.
- When using your brush, make sure your brush strokes are even and continuous.
- Keep your designs as simple as possible, as your subject will want to start playing right away!
- Be careful when painting near the eyes.
- Use a sponge to add a base colour or for a quicker application.
- Use a crayon to add detail and line work.
- You can mix face paints for more colours. For example, red+white will make pink.
- Colorific Facepaint is fast drying and easily washes off with water.
- For best results, simply mix in a small amount of water.


Liquid Bottle Rocket
Subject: Rocketry
Topic: liquid propelled rocket.
Description: A flyable liquid-propelled rocket is made from a plastic 2 liter soda pop bottle.
Contributed By: Gregory Vogt, OSU
EDITED BY: Roger Storm, NASA Lewis Research Center
Refer to cautions in the discussion section.
 1. Remove the plastic flat bottom from the 2 liter bottle. The black plastic is glued on and can be removed by pulling it off. It may be helpful to use scissors to cut it a bit in order to get a grip. Do not puncture the bottle.
 2. Tape the plastic, non-bendable soda straw along the side of the bottle to form a launch lug like those used in model rockets.
 3. Remove the bottle cap and pound a nail hole from the inside to form a rocket nozzle. Use the wood block as a surface to hammer into. The hole should be about 1/8" in diameter.
 4. Set up the launch pad in an open area about the size of a back yard.
 5. Transfer enough lighter fluid from the container to the spray mist bottle to enable the bottle to work. Spray the lighter fluid a few times Into the air away from open flame or other ignition sources to get a uniform spray.
 6. [THE TEACHER SHOULD DO THE NEXT TWO STEPS] Remove the bottle cap and spray lighter fluid 1 or 2 times (no more) into the bottle. Replace the cap and thread the bottle's straw with the launch pad's launch rod.
 7. Insert an electric igniter into the nozzle so that the igniter head enters the chamber where the lighter fluid mist is. Be careful not to squeeze the igniter wires together to cause a short circuit, premature ignition, and perhaps burns. Normally, the plastic liner of the cap is sufficient to prevent short circuits with the cap metal.
 8. Do a brief countdown and ignite the rocket. Use a second rocket if you wish to have another flight. The first rocket needs time for fresh air to replace residual combustion gasses.
Upon ignition, the liquid propellant bottle rocket rises about 15 to 20 feet into the air with a very audible whoosh from the rocket's exhaust. Because the lighter fluid or naptha has been converted into a fine spray, much of the fluid in the bottle ignites immediately. Each tiny droplet of naptha provides a large burning surface for its volume consequently making ignition much more rapid than would have taken place if large drops of naptha were ignited.
The liquid propelled space rocket works on this very principle. Liquid propellants from tanks inside the rocket casing are pumped to the combustion chamber of the engine. Injectors, the rocket equivalent of shower spray nozzles, spray combustible mixtures of the propellants into the chamber where they are ignited. The rapid burning of the spray produces high gas pressure inside the chamber because of the expansion of the gas products during combustion. The expanded gas escapes through the engine nozzle and creates a powerful thrust.
The liquid propelled bottle rocket rises quickly off the launch pad to an altitude of as much as 20 feet before drag with the air produces a tumbling motion and stops its upward progress. After the first flight the bottle is crumpled because the plastic is heated, but not burned through, by the combustion inside. Cool outside air cannot flow back into the bottle as quickly as the combustion products that left through the nozzle. Outside air pressure squeezes the bottle and creates permanent dents. The bottle is still usable for several flights because additional ignitions reshape the bottle as pressure inside increases.
Caution: As with any demonstration involving fire, be careful to keep away from the rocket a safe distance before igniting it. A distance of 10 feet is sufficient. Do not over pressurize the bottle by spraying more than 2 times per launch or experimenting with smaller diameter nozzle holes. If the rocket does over pressurize, the aluminum bottle cap will be blown off the bottle downward with a startling sound. The bottle itself is surprisingly strong. Discard the rocket and make a new one. it is recommended that students not be told what the liquid propellant is. Refer to it as "special rocket fuel only teachers can get."
Aviation and Space Education News
 Oklahoma State University


Take the 2-minute tour ×
Assume I have two different parameter vectors used as inputs in a function. Also, assume the two parameter vectors are of different lengths. Is there a way to output all the possible values of that function? I know that if I use two parameter vectors of different lengths, then the shorter parameter vector is just repeated so that doesn't work. I can solve this "manually" as you can see below. But, I'd like to find a more efficient manner of calculating all the possible combinations. An example follows:
Assume I'm using the dbinom() function that has as inputs x (number of "successes" from the sample), n (number of observations in the sample), and p (the probability of "success" for each x). n stays constant at 20; however, my x varies from 7,8,9,...,20 ("x7" below) or 0,1 ("x1" below). Also, I want to evaluate dbinom() at different values of p, specifically from 0 to 1 in.1 increments ("p" below). As you can see the three parameter vectors x7, x1, and p are all of different lengths 14, 2, and 11, respectively.
> p<-seq(from=0,to=1,by=.1)
> x7<-seq.int(7,20)
> x1<-c(0,1)
> n<-20
I can evaluate each combination by using one of the vectors (x7/x2 or p) in dbinom() and then selecting a value for the remaining parameter. As you can see below, I used the vector x7 or x2 and then "manually" changed the p to equal 0,.1,.2,...,1.
> sum(dbinom(x7,n,.1))
[1] 0.002386089
> sum(dbinom(x7,n,.1))+sum(dbinom(x1,n,.1))
[1] 0._PHONE_
> sum(dbinom(x7,n,.2))+sum(dbinom(x1,n,.2))
[1] 0._PHONE_
> sum(dbinom(x7,n,.3))+sum(dbinom(x1,n,.3))
[1] 0._PHONE_
> sum(dbinom(x7,n,.4))+sum(dbinom(x1,n,.4))
[1] 0._PHONE_
> sum(dbinom(x7,n,.5))+sum(dbinom(x1,n,.5))
[1] 0._PHONE_
> sum(dbinom(x7,n,.6))+sum(dbinom(x1,n,.6))
[1] 0._PHONE_
> sum(dbinom(x7,n,.7))+sum(dbinom(x1,n,.7))
[1] 0.999739
> sum(dbinom(x7,n,.8))+sum(dbinom(x1,n,.8))
[1] 0._PHONE_
> sum(dbinom(x7,n,.9))+sum(dbinom(x1,n,.9))
[1] 1
> sum(dbinom(x7,n,1))+sum(dbinom(x1,n,1))
[1] 1
Basically, I want to know if there is a way to get R to print all the sums above from 0._PHONE_,0._PHONE_,...,1 with a single line of input or some other more efficient way of varying the parameter p without simply copying and changing p on each line.
*I'm new to Stackoverflow, so I apologize in advance if I have not formulated my question conventionally.
share|improve this question
What are you trying to achieve with sum(dbinom(....)) surely you want pbinom? – mnel Aug 22 '13 at 0:19
1 Answer 1
up vote 1 down vote accepted
You are using dbinom with a range of x values and then summing. Instead using pbinom, which calculates then probability of P(x <=q) (or P(x >q) if lower.tail = FALSE).
Thus you can calculate P(x >6) + P(q <= 1) (which is what you appear to want to calculate)
pbinom(q = 6, p = p,size = n, lower.tail = FALSE) + pbinom(q = 1, p = p, size = n)
share|improve this answer
Your Answer


text:
You will find occasions when you'll need to merge data from two different data frames. In order to merge two datasets you are required to have at least one variable in common.
Here is an example of how to merge data within R:
> merged.data <- merge(dataset1, dataset2, by="cityID")
Above we merge two data frames based on the id variable cityID.
This is a very basic example of running a merge in R. A merge can happen on multiple variables and can also be used to run variables with different category.
Here is an example of running a merge on two variables:
> merged.data <- merge(dataset1, dataset2, by=c("zipID", "cityID"))
In R you can also merge two files if the unique id variable has a different name in each data set. For example, the id variable may be called cityID in dataset1, but called townID in dataset2:
> merged.data <- merge(dataset1, dataset2, by.x="cityID", by.y="townID")


By Joan Breakey
People who eat spicy foods nearly every day reduce their risk of death by 14 per cent compared with those who consume spicy foods less than once a week. Does it mean that reducing spices, additives, high amine foods, and MSG, as many food sensitive people do, may not be a good thing?
The report, from Harvard University, published in the BMJ in August continues 'Regular spicy food eaters are also less likely to die from cancer, heart, and respiratory diseases than those who eat spicy foods infrequently.' This is a study of the general population in China aged from 30 to 79, so it may have no relevance to the small population that makes up the food sensitive group.
But it does make us think what may the relevance for them? Asian doctors reporting on the incidence of food sensitivity symptoms in Chinese in Australia say they have many more symptoms than their relatives in China.
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Reading Group Guide
Discussion Questions
Going Overboard: The Misadventures of a Military Wife
1. Do you think the Smileys' relationship is typical or atypical of a marriage? How is it the same or different from your own marriage?
2. In Going Overboard, Sarah reveals both positive and negative aspects of life in the military. Which of these surprised you the most?
3. In the book, we only get a glimpse of the Smileys' marriage as told by Sarah. How do you think the story might be different from Dustin's point-of-view?
4. It seems as though Sarah married young and found herself later, causing her to make certain changes in her relationships. What personal changes have affected your own relationships? Were they positive or negative changes?
5. How did Dustin and Sarah's upbringings affect their marriage? How has your own upbringing affected your present-day relationships?
6. Is there a moral difference between an "emotional affair" and a physical one? Do you think Sarah actually had an emotional affair? Or just a fantasy? Was it all in her head? Or did the doctor cross "the line"?
7. Do you think military marriages are more susceptible to extramarital affairs than civilian ones? Why or why not?
8. Why do you think Sarah was drawn to the doctor in particular? How are he and Dustin alike and different?
9. Would this story be different if Dustin were not in the military? How so?
10. On pages 177 Sarah asks the questions, "Oh, so just because my husband is serving our country I'm supposed to excuse him of any bad behavior?" and "Why does everyone expect me to suddenly deem everything else in my life null and void just because my husband is in a war?" Do you think Sarah is right to feel this way? Should certain persons be given leeway in their behavior if they are considered heroic?
11. In the end, who do you think has changed the most, Dustin or Sarah?
Going Overboard: The Misadventures of a Military Wife
by Sarah Smiley
 - Publication Date: June 27, 2006
 - Genres: Memoir, Nonfiction
 - Paperback: 288 pages
 - Publisher: NAL Trade
 - ISBN-10: _PHONE_
 - ISBN-13: 9780451218513


A beginner's guide to dowsing lotto numbers
It's no doubt that when people approach dowsing, they often express high interest in dowsing for lottery. Who wouldn't want to guess the lotto numbers after all?
There are many ways one can go about dowsing the lottery. We will outline the 2 most popular ones below:
1) Dowsing chart for lottery
We covered a lot of topics related to dowsing charts on this site. Charts can also be used for dowsing lottery numbers. The principle is very simple: you need to either build or buy a dowsing chart, which can be of three types: list charts, fan-like charts or diagram charts. You then start asking the right questions. From broader questions such as 'am I going to get winning numbers today?', to more specific ones such as 'is 23 a winning number for the next time I play?' etc. If you are not familiar with dowsing charts for the lottery or dowsing charts in general, we highly recommend reading this post first.
2) Pendulum dowsing for lottery numbers
Pendulum dowsing is a big topic by itself. So much so that we have a full category dedicated to it. When dowsing for lottery (or lotto) numbers using a pendulum, it is important to follow the basics of pendulum chart dowsing first. In simple terms, dowsing for lottery winning numbers is not different from pendulum dowsing in general. What changes is the types of questions asked. Example of questions that can be asked when pendulum dowsing the lottery: 'are you going to indicate at least one winning number today? [If using dowsing chart]', if yes, then you can ask 'are you going to indicate at least two winning numbers today?' etc etc.
Dowsing the lottery skills
Most people who start dowsing for lottery, also want to get some sort of guidance at first. This is very understandable, especially because dowsing the lottery is more complex than water dowsing for example. Water dowsing can leverage the knowledge someone has about a particular soil or geographic and geological area, where dowsing the lottery can mostly rely on your dowsing skills and intuition.
Where to start: dowsing lottery numbers PDF
If you are going to dowse the lottery, you may want to have a starting point that is relatively easy to get to. PDFs can be very useful in this case. For example, if you are going to search dowsing the lottery pdf, or dowsing lottery numbers pdf in the search engines, you will likely be redirected to this dowsing lottery PDF. The document has 31 pages, it is free to download and contains plenty of insights on lottery dowsing. Definitely recommended as a starting point, especially for beginners.
Final thoughts
As seen above, dowsing the lottery is one of the most requested dowsing applications, especially amongst beginners. However, it requires a certain level of experience and may not be for everyone. Dowsing the lottery numbers can be done with charts, pendulums or even rods, which can be combined with dowsing PDFs. At the end of the day, one must believe in dowsing first of all, and then always be aware of the potential risks associated with dowsing.


text:
Definition of pabulum :
The means of nutriment to animals or plants; food; nourishment; hence, that which feeds or sustains, as fuel for a fire; that upon which the mind or soul is nourished; as, intellectual pabulum.
victual, chow, aliment, eats, eatable, pap, provender, nutriment, diet, regimen, victuals, provisions, viands, comestible, meat, grub, sustenance, food, care for, provision, nutrition, alimentation, nurture, commissariat, feed, fare, ingestion, edible, foodstuff, nourishment, forage, bread, fodder, esculent
- Hence it is demonstrated that a large number of the spores of fungi are constantly present in the atmosphere, which is confirmed by the fact that whenever a suitable pabulum is exposed it is taken possession of by floating spores, and soon converted into a forest of fungoid vegetation. - "Fungi: Their Nature and Uses", Mordecai Cubitt Cooke.
- From the above it will be concluded that the habitats of fungi are exceedingly variable, that they may be regarded as almost universal wherever decaying vegetable matter is found, and that under some conditions animal substances, especially of vegetable feeders, such as insects, furnish a pabulum for their development. - "Fungi: Their Nature and Uses", Mordecai Cubitt Cooke.
- In doing this, the influence he had established over the eastern members, with the agency of Robert Morris with those of the middle States, effected his side of the engagement; and so the Assumption was passed, and twenty millions of stock divided among favored States, and thrown in as a pabulum to the stockjobbing herd. - "Memoir, Correspondence, And Miscellanies, From The Papers Of Thomas Jefferson", Thomas Jefferson.


Lixus (ancient city)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Lixus in Morocco.jpg
The ruins of Lixus
Lixus (ancient city) is located in Morocco
Lixus (ancient city)
Shown within Morocco
Location Larache, Larache Province, Tangier-Tetouan, Morocco
Coordinates 35°12′00″N 06°06′40″W / 35.20000°N 6.11111°W / 35.20000; -6.11111Coordinates: 35°12′00″N 06°06′40″W / 35.20000°N 6.11111°W / 35.20000; -6.11111
Type Settlement
Founded 7th century BC
Lixus is the site of an ancient Roman city located in Morocco just north of the modern seaport of Larache on the bank of the Loukkos River. The location was one of the main cities of the Roman province of Mauretania Tingitana.[1]
Ancient Lixus is located on Tchemmich Hill on the right bank of the Loukkos River (other names: Oued Loukous; Locus River), just to the north of the modern seaport of Larache.[2] The site lies within the urban perimeter of Larache, and about three kilometres inland from the mouth of the river and the Atlantic ocean. From its 80 metres above the plain the site dominates the marshes through which the river flows. To the north, Lixus is surrounded by hills which themselves are bordered to the north and east by a forest of cork oaks.
Among the ruins there are Roman baths, temples, 4th century walls, a mosaic floor, a Christian church and the intricate and confusing remains of the Capitol Hill.[3]
Lixus was first settled by the Phoenicians in the 7th century BC and was later annexed by Carthage. Lixus was part of a chain of Phoenician/Carthaginian settlements along the Atlantic coast of modern Morocco; other major settlements further to the south are Chellah (called Sala Colonia by the Romans)[4] and Mogador. When Carthage fell to Ancient Rome, Lixus, Chellah and Mogador became imperial outposts of the Roman province Mauretania Tingitana.
The ancient sources agree to make of Lixus a counter Phoenician, which is confirmed by the archaeological discovery of material dating from 8th century BC. It gradually grew in importance, later coming under Carthaginian domination. After the destruction of Carthage, Lixus fell to Roman control and was made an imperial colony, reaching its zenith during the reign of the emperor Claudius I (AD 41-54).
Some ancient Greek writers located at Lixus the mythological garden of the Hesperides, the keepers of the golden apples. The name of the city which was often mentioned by writers from Hanno the Navigator to the Geographer of Ravenna and confirmed by the legend on its coins and by an inscription. The ancients believed this to be the site of the Garden of the Hesperides and of a sanctuary of Hercules, where Hercules gathered gold apples, more ancient than the one at Cadiz, Spain. However, there are no grounds for the claim that Lixus was founded at the end of the second millennium BC.
Lixus flourished during the Roman Empire, mainly when Claudius established a Roman Colonia with full rights for the citizens. Lixus was one of the few Roman cities in Berber Africa that enjoyed an amphitheater: the amphitheater at Lixus. In the third century Lixus become nearly fully Christian and there are even now the ruins of a paleochristian church overlooking the archeological area.[5] The Arab invasions destroyed the Roman city. Some berber life was maintained there nevertheless until one century after the Islamic conquest of North Africa by the presence of a mosque and a house with patio with the covered walls of painted stuccos.
Archaeological works[edit]
The site was excavated continuously from 1948 to 1969.[6] In the 1960s, Lixus was restored and consolidated. In 1989, following an international conference which brought together many scientists, specialists, historians and archaeologists of the Mediterranean around the history and archaeology of Lixus, the site was partly enclosed. Work was undertaken to study the Roman mosaics of the site, which constitute a very rich unit. In addition to the vestiges interesting to discover the such mosaics whose one of sixty meters representing Poseidon.[clarification needed] Lixus was on a surface of approximately 75 hectares (190 acres). The excavated zones constitute approximately 20% of the total surface of the site.
World Heritage Status[edit]
See also[edit]
Line notes[edit]
 1. ^ Roman Lixus
 2. ^ Prehistoria de España: Trabajos dedicados al IV Congreso Internacional, Santiago Alcobé y Noguer
 3. ^ Lixus (in French)
 4. ^ C. Michael Hogan, Chellah, The Megalithic Portal, ed. Andy Burnham
 5. ^ Lixus (with photos)
 6. ^ The Phoenicians, by Sabatino Moscati
External links[edit]


Lay Your Eggs Here
Released: 3-Jul-2008 3:00 PM EDT
Source Newsroom: North Carolina State University
Contact Information
Available for logged-in reporters only
Citations PNAS
In a paper published in Proceedings of the National Academy of Sciences, the NC State researchers show that certain chemicals emanating from bacteria in water containers stimulate the female mosquitoes to lay their eggs. The female mosquitoes sense these chemical cues and decide that the water container is a preferable environment for their larvae to develop.
The findings could have implications for devising lures and traps that might help control yellow fever mosquito populations in equatorial locations around the globe, which would go a long way toward preventing important global diseases like dengue fever and yellow fever, say the study's lead authors, Dr. Charles Apperson and Dr. Coby Schal, professors of entomology at NC State. Postdoctoral researchers Dr. Loganathan Ponnusamy and Dr. Ning Xu and senior researcher Dr. Satoshi Nojima also co-authored the paper.
The study used a combination of approaches, including one in which the NC State scientists presented female mosquitoes with different types of bacteria and bacterial extracts, and, in Schal's words, figured out "what turned the mosquitoes on" to lay their eggs.
"Some water-filled containers are rejected by the female mosquito," Apperson says. "If we filter the bacteria out, the mosquitoes want no part of the water container. But put the filtered bacteria back in the water container, and the mosquitoes will be stimulated to lay eggs."
Female mosquitoes are choosy when it comes to finding the proper egg-laying habitats. They do not normally lay all their eggs in one location, but instead exhibit a behavior called "skip-oviposition," distributing eggs in multiple water-filled containers.
Once the NC State scientists discerned the specific chemical compounds that stimulated increased egg-laying " a blend of fatty acids and methyl esters " they exposed the mosquitoes to varied concentrations of the chemical brew. High concentrations of the brew gave the mosquitoes pause, causing them to withhold their eggs. Lower concentrations were more convincing to mosquitoes than high concentrations, but still not as convincing as the proper amount " found to be only 10 nanograms in 30 milliliters of water.
Now, the NC State scientists hope to use this choosiness against female mosquitoes. Stimulating females to lay eggs in water containers that have lethal chemicals or insect growth regulators could be another tool in the overall strategy kit to control mosquitoes " and dreaded diseases like dengue fever.
"We want to use the mosquito's egg-laying behavior against itself for control purposes," Apperson says.
Note to editors: An abstract of the paper follows.
"Identification of bacteria and bacteria-associated chemical cues that mediate oviposition site preferences by Aedes aegypti"
Authors: Loganathan Ponnusamy, Ning Xu, Satoshi Nojima, Coby Schal and Charles Apperson, North Carolina State University; Dawn M. Wesson, Tulane University
Published: July 7, 2008, in Proceedings of the National Academy of Sciences
Abstract: The yellow fever mosquito, Aedes aegypti, the global vector of dengue and yellow fever, is inexorably linked to water-filled human-made containers for egg laying and production of progeny. Oviposition is stimulated by cues from water containers, but the nature and origin of these cues have not been elucidated. We showed that mosquito females directed most of their eggs to bamboo and white-oak leaf infusions and only a small fraction of the eggs were laid in plain water containers. In binary choice assays we demonstrated that microorganisms in leaf infusions produced oviposition-stimulating kairomones, and using a combination of bacterial culturing approaches, bioassay-guided
fractionation of bacterial extracts, and chemical analyses, we now demonstrate that specific bacteria-associated carboxylic acids and methyl esters serve as potent oviposition stimulants for gravid Ae. aegypti. Elucidation of these compounds will serve not only to better understand the chemical basis of egg laying behavior of Ae. aegypti, but these kairomones will likely enhance the efficacy of surveillance and control programs of this disease vector of substantial global public health importance.