text:
Floods devestated parts of eastern India along the Brahmaputra River in June 2000. In some tributaries of the Brahmaputra, the water reached more than 5 meters (16.5 feet) above flood stage. At least 40 residents died, and the flood waters destroyed a bridge linking the region to the rest of India. High water also threatened endangered Rhinos in Kaziranga National Park.
Flooded areas are shown in red in the above image. The map was derived from Advanced Very High Resolution Radiometer (AVHRR) data taken on June 15, 2000.


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EIS Definitions and Conventions
30 August 2004
The EIS survey system is designed to administer and document (via
integration with a robotically maintained WEB service) multiple
surveys and strategies in their entirety, from survey definition to
release of science-grade products by nominally operating in
unsupervised mode. Achieving this requires the introduction of
well-defined procedures to enable adaptive, automatic and
sequential addressing of information. Occasionaly, these may be
need to be properly explained, which will be done in this document
In addition, the system also produces a large variety of survey
products requiring clarification on the different data types, FITS
header keywords and conventions.
The purpose of this document is to serve as a quick reference
document for users of data products produced by the EIS survey
system. This is a ''live'' document which will evolve time as
For some surveys involving external collaborators, inconsistencies
may be present between adopted conventions which, while inconvenient,
are unavoidable. Below some of these differences are described and
their origin explained.
Ideally, the standard adopted by EIS to name a field is to use the
survey name and/or region as the root, followed by a numerical
suffix generated by the particular algorithm used in the
construction of the "Observation Block" (OB) and the associated
survey strategy (as defined by a set of pointings, instrument and
passband). Typically, this numerical suffix is assigned in an
increasing sequence based on the R.A. and Dec. defining the
pointings. This should be done when a survey is first defined. In
this way, all possible identifiers of a field utilized by the EIS
system (both internally and externally, e.g. OB name, object name,
target name, field name) and their graphical representations on the
EIS WEB pages form a homogeneous set.
Historically, however, the conventions have evolved in time due
to several factors:
- At their outset, prior to the introduction of a systematic
global approach, several surveys were defined case-by-case
and in isolation.
- Over time, some pre-existing and on-going surveys had their
geometries changed; methods for addressing positions were
reviewed; surveys were extended, amalgamated or otherwise
re-defined using modified algorithms.
- In the absence of pre-determined standards, collaborative
surveys co-administered by independent groups have led to
different notations. The interface to a common scheme (when this
requirement is inevitably identified) becomes particularly
difficult leading unavoidable to inconsistencies.
Hence, in practice, the desired ideal case is not always attainable
and requires some retroactive adaptations. The following noteworthy
discrepancies between these different conventions are:
- There exist surveys for which addressing information was
assigned in isolation at the survey outset and which were also
assigned a sequential value to be incorporated into, and
referenced by, the EIS system at a later date. For these
surveys, while the multiple nomenclatures persist
simultaneously, sequentially numbered fields and/or regions
referred to in EIS indices do not correspond to numerical values
which may appear in region and/or field names assigned prior to
introduction of the EIS system. For example, in the
the field indexed by the EIS system (including the web service)
as "1" does not necessarily correspond to the field name
originally defined to be "F01" in the GOODS survey
- The current EIS terminology prefaces fields with root names
derived from the particular survey name whereas the same fields
may be refer to by a subjective name (e.g.XMM-06 =
SHARC-2). This applies to the OB names as well as the OBJECT
keyword in image FITS header. Thus, the use of this keyword to
rename the distributed images is discouraged since it may lead
- Sequential TILEID numbers appearing in the FITS header of an EIS
product are automatically assigned by the EIS system when
binding mosaic images and their contributing tiles into a set of
related products for a given release. The binding depends on the
geometry and completeness of the contributing reduced
data. Therefore TILEID numbers do not necessarily correspond to
other indices such as the field identifiers used by the Survey
teams, or the field identifiers employed by EIS algorithms.
EIS Definitions and Conventions
- FIELD: An individual pointing of an instrument defines a
field. Fields are thus instrument specific and if exposures
at the same coordinates are taken with different instruments, they
constitute different fields. Each field belongs to exactly one
- REGION: Region is the area covered contiguously by fields
belonging to the same strategy. Each region belongs to exactly one
- STRATEGY: An observing strategy is a combination of telescope,
instrument, filter, exposure time and expected limiting magnitude.
Strategies are grouped by wavelenght domain (optical/infrared) and
by limiting magnitude (deep/shallow). Each of these groups is also
referred to as Strategy.
- SURVEY: A survey is a group of strategies covering one or more regions.
- FILTERS: All filters listed on the EIS WWW pages have the format
''passband''+''ESO Filter ID''. Details about these filters can be
found on the telescope pages which are directly linked from the filter names.
- OBSERVATION BLOCK (OB): as defined in the ESO Data Flow System
- REDUCTION BLOCK (RB): one RB is a group of raw images obtained in the same night
which share the same position, passband and form a
sequence in time. The content of one RB is usually
identical to an executed OB. However, the system
also allows RBs to be formed by concatenation of
similar sequentially executed OBs. In addition
individual exposures can be discarded based on
configurable constraints on their properties
(e.g. background counts, DIMM seeing values,
integration time, etc.)
- REDUCED IMAGE: A "reduced image" is the "nightly" product of a
reduction process of a so-called "Reduction Block"
- STACKED IMAGE: A "stacked image" is the product of an advanced
process in which "reduced images" sharing the
same instrument, passband and position on the
sky are grouped into so-called "Stack Blocks"
(SB). In the assembly of SBs, individual
"reduced images" can be discarded according to
configurable constraints on their properties
(e.g. measured seeing, amplitude of PSF
distortion, visual grade, OB completeness). The
images of the thus assembled SB are re-scaled
and accumulated in a weighted co-addition
procedure to generate a single final output
- MOSAIC IMAGE: A "mosaic image" (or simply "mosaic") is an
image formed from several contiguous (reduced
or stacked) "images" produced by the EIS
survey system, which have been subsequently
re-scaled to share a common zero point and
co-adjoined as "tiles" to form a single,
- MOSAIC TILE: A "mosaic tile" (or simply "tile") is an image
(reduced or stacked) produced by the EIS survey
system which has been subsequently re-scaled
such that it shares a zero point common to other
tiles and a large-scale "mosaic image" (or
simply "mosaic") of which it forms a component.
- VERSION: A release "version" represents a wholesale, global
change: either introducing a new set of products,
affecting or superseding the quality or properties of
more than 5 per cent of previously release products.
- REVISION: A release "revision" represents localized changes
which may affect individual products with a released
data set, while leaving others unaffected. Individual
products found to be anomalous may be removed or
replaced. New products may be added. The total
revisions must not alter more than 5 per cent of a
pre-existing set of products.
- ZP: FITS header keyword ZP contains the value of the zero point
(magnitudes) computed from night solutions. In a
reduced image the ZP in the header is given by ZP =
ZP' + KX. where ZP' is the zeropoint at zero airmass
(determined from the linear fit), K is the extinction
coefficient and X is the observed airmass. Therefore,
the Vega magnitude is given by mag (Vega) =
-2.5*log(flux) + ZP. In the case of a stack the ZP is
the zeropoint at zero airmass where the flux is the
number of counts directly measurable on the images
(note that the reduced images are normalized to 1
sec). It can also be set to a default value in which
case the associated error is set to a negative value.
- ZPERR: FITS header keyword ZPERR contains the value of the
uncertainty (magnitudes) associated with the
determination of ZP. This is estimated to be the
scatter relative to the best linear fit to the flux
measurements of standard stars as a function of the
airmass. It can also take the values of (-1) for
nights with poor fits; (-2) for nights without
standards; (-3) for nights in which the zeropoint
deviates significantly from a ''typical'' (normally
- ZPMOSAIC: FITS header keyword

source: HuggingFaceFW/fineweb-edu


text:
Constructive and destructive facets of Weil descent on elliptic curves
- First Online:
- 230 Downloads
In this paper we look in detail at the curves which arise in the method of Galbraith and Smart for producing curves in the Weil restriction of an elliptic curve over a finite field of characteristic 2 of composite degree. We explain how this method can be used to construct hyperelliptic cryptosystems which could be as secure as cryptosystems based on the original elliptic curve. On the other hand, we show that the same technique may provide a way of attacking the original elliptic curve cryptosystem using recent advances in the study of the discrete logarithm problem on hyperelliptic curves.
We examine the resulting higher genus curves in some detail and propose an additional check on elliptic curve systems defined over fields of characteristic 2 so as to make them immune from the methods in this paper.
Key wordsFunction fields Divisor class group Cryptography Elliptic curves
Unable to display preview. Download preview PDF.
- L. Adleman, J. De Marrais and M.-D. Huang. A subexponential algorithm for discrete logarithms over the rational subgroup of the Jacobians of large genus hyperelliptic curves over finite fields. In ANTS-1: Algorithmic Number Theory, L.M. Adleman and M-D. Huang, editors. LNCS 877, pp. 28–40. Springer-Verlag, Berlin, 1994.CrossRefGoogle Scholar
- E. Artin and J. Tate. Class Field Theory. Benjamin, New York, 1967.Google Scholar
- A. Enge and P. Gaudry. A general framework for the discrete logarithm index calculus. To appear in Acta Arith.Google Scholar
- G. Frey. How to disguise an elliptic curve. Talk at Waterloo workshop on the ECDLP, 1998. _URL_ Scholar
- F. Heß. Zur Divisorenklassengruppenberechnung in globalen Funktionenkörpern. Dissertation, TU Berlin, 1999.Google Scholar
- R. Lidl and H. Niederreiter. Finite Fields. Addison-Wesley, Reading, MA, 1983.Google Scholar

source: openbmb/Ultra-FineWeb


text:
Format of Original
Journal of Magnetic Resonance Imaging
Original Item ID
DOI: 10.1002/jmri.24964; PubMed Central: PMID: 26094789
Background: The purpose of this study was to determine whether DTI changes in the brain induced by a thoracic spinal cord injury are sensitive to varying severity of spinal contusion in rats.
Methods: A control, mild, moderate, or severe contusion injury was administered over the eighth thoracic vertebral level in 32 Sprague-Dawley rats. At 11 weeks postinjury, ex vivo DTI of the brain was performed on a 9.4T Bruker scanner using a pulsed gradient spin-echo sequence.
Results: Mean water diffusion in the internal capsule regions of the brain and pyramid locations of the brainstem were correlated with motor function (r2 = 0.55). Additionally, there were significant differences between injury severity groups for mean diffusivity and fractional anisotropy at regions associated with the corticospinal tract (P = 0.05).
Conclusion: These results indicate that DTI is sensitive to changes in brain tissue as a consequence of thoracic SCI.


Things to Consider When Getting a Tattoo
Things to Consider When Getting a Tattoo
1. Being Picky About the Parlor
While it might seem more fun to make a spontaneous trip to the tattoo parlor, it is important to take some time to find more about the parlor before you can choose to have the tattoo. You can end up regretting choosing a parlor because of their convenient location. The only important thing is not the quality of their art – tattooing will involve a needle in your skin, which is why it is important to choose a parlor that follows proper health precautions. Tattoo parlors should invest in high-quality equipment, the Surplus database offers a selection of equipment at great prices. If you have well-tattooed friends, ask them to give you recommendations for a parlor.
2. Following Aftercare Instructions
A tattoo is said to be complete when the healing process is done. Different artists have different aftercare instructions, so you should always follow them so you don't end up with an infection. The upper part of the skin has been removed, and this exposes your body to bacteria. The care advice can vary a little from one artist to another, but it is going to mostly involve washing, drying, and applying a moisturizer every day. During the bandaging phase, you should not let it be covered using a plastic wrap. While people can easily see it without having to expose it, it can provide the perfect ground for bacterial breeding.
3. Avoiding Alcohol
It can be tempting to take a little alcohol to take off the edge, but this might not be a good idea. Alcohol is going to thin your blood, which leads to more bleeding during the tattooing. The blood will push out and makes it harder for the ink to push in. Alcohol is going to have a big impact on the design while impairing your judgment and you can decide to go with something you end up regretting. You might have wanted a small tattoo but decide to go with a big tattoo on your forearm, which leaves you with a lot of regrets. Alcohol is not going to make it hurt less.
4. Checking Your Spelling
There are many people who like tattoos that have texts from Eastern philosophy. A line from Confucius can give you some street cred, especially when you put it on the nape of your neck. Japanese characters have become popular because they are beautiful characters, but it is not wrong to get a tattoo from another culture, as long as it has meaning to you. A mistake people make is choosing fashion over form and choose something just because it looks neat. You need to invest time in researching about the symbols you are considering to write on your body so you can know what they mean. You might end up tattooing something that is offensive or funny without even knowing.
5. Location, Location
Where your tattoo is going to be is very important, and you have to factor in your lifestyle. Some of the things you need to consider when choosing the location are your wardrobe, and when you want it to be seen. If you are getting started, the face and head are off the table. You should only consider your face and head after you have had many tattoos. If you are working or planning to work in a job prohibiting tattoos, then you should choose a location that cannot be seen easily. This means ankles, forearms, and necks are a no-no. Some parts of your body experience more wear and tear, and you will need to go for touchups so they can keep looking good, and this means spending more money. If you cannot tolerate a lot of pain, then choose meaty parts of your body because tattooing areas close to the bone hurts a lot.
6. Getting a Bid
This is one of those many people getting started with tattoo fail to consider. Getting a good tattoo from a respected artist is going to cost a lot. When designing the tattoo, have this in the back of your mind. The two factors that will largely determine the cost of your tattoo are size and detail. This is because it means more time. The longer it takes, the more it is going to cost. A small tattoo that is in just one color will cost between one hundred and three hundred bucks. Look for an artist with an impressive portfolio then find out how much they charge.
7. Design Challenge
When you tattoo something on your body, it is going to be part of your forever, unless you choose to remove it, a process that is both painful and expensive. You need to choose something that you are going to still love decades later. Take your time and check out different places for ideas. You can even have an inspiration book with all the different ideas, then narrow them down. A tattoo can be anything that you think looks cool, it doesn't need to have a significance. Choose the right colors because there are some that go better with your skin tone. Always remember the more detailed and larger the tattoo is, the more you are going to pay.
What to know before getting a new tattoo
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text:
Volume 37, Issue 2 (March 1992)
Big Game Species Identification by Deoxyribonucleic Acid (DNA) Probes
Species identification is important in many big game forensic science cases but cannot always be accomplished because of the lack of adequate techniques. The authors have developed deoxyribonucleic acid (DNA) probes for elk, deer, and antelope by isolating highly repeated satellite sequences. These DNA probes distinguish among deer, elk, and antelope, although not between different species of deer. Because of the high number of sequence copies per genome, these probes are extremely sensitive, requiring less than 10 ng of total genomic DNA. The developmental protocol for these probes is relatively simple and is applicable to many other species.


This guide will show you how to use the Nreal Light controller and Nreal phone controller. The tutorial will demonstrate how to create apps using Nreal Light controller as an interaction model.
Controllers provide a simple way for users to navigate in mixed reality. In the latest version, NRSDK supports two types of controlling methods: Nreal Light controller and Nreal phone controller. The Nreal Light controller can be paired with a Nreal Light computing unit or a mobile phone through Bluetooth. The Nreal phone controller is only available when using the phone as Nreal Light's computing unit.
Currently, only the Nreal Light controller (available in the Nreal Developer Kit) is available to developers. The Nreal phone controller will serve as a second input choice for users in the future.
How to Use the Nreal Light Controller
The Nreal Light Controller
 - On the front
Controller Features Description
3DoF Tracking 3 degrees of freedom
Touchpad Press = Trigger Button. Can detect touching and clicking. Customizable for your app, e.g. scrolling.
App Button Press and hold to recenter your controller. Press can be customized for your app, e.g. opening an in-app menu or performing a special action. ( Pay attention: For Nreal Light Controller, pressing the App Button equals to pressing the Touchpad Button)
Home Button Press and hold to open Exit App Window. Press can be customized for in-app action, e.g. return to the previous step.
LED Light Display controller status
 - On the back
Controller Features Description
Charging pins The three bottom-facing charging pins connect the controller with the computing unit. It is also used to send data from the computing unit to the controller.
Power Switch The Nreal Light controller on/off switch is below the charging spots. Green means the power is on, and red means the power is off.
 - Nreal Light Controller LED Guide
See LED demo below:
 - Connecting the Nreal Light Controller
 1. Make sure the Bluetooth on your Neal Light computing unit/or Android mobile phone is on. (The Bluetooth on Nreal Light computing unit is on as default.)
 2. Turn the Nreal Light controller power switch on. Long press the touchpad until the green light starts blinking.
 3. Put the Nreal Light controller on the computing unit, and they will be paired automatically.
 4. If pairing is successful, the LED will stop blinking and become solid green. If you cannot complete this step, remove all other controllers in the Bluetooth record list and try again.
 - Charging the Nreal Light Controller
Magnetically attach to the Nreal Light computing unit. Battery power will be shared between the two whether the controller is on or off.
The lithium battery in the controller is not removable. Please do not attempt to open the controller. Damage caused this way cannot be fixed.
How to Use Your Phone as a Controller
Controller Features Description
3DoF Tracking 3 degrees of freedom
Home Button Press and hold to open Exit App Window. Press can be customized for in-app action, e.g. return to the previous step.
Tutorial： Nreal Light Controller
Input in Unity
These following points will help you better understand the Input from NRSDK in Unity.
ControllerProvider: This provides various controller state information to NRInput, including rotation, button press, button up, battery, and gyro. There is a default provider for Nreal controllers. You can also write a custom controller provider.
EventSystem: Integration with Unity's standard EventSystem supports user interaction with GUI and other physical objects. NRIput will automatically generate an EventSystem when the application runs.
Visualizations: Default visualizations, such as controller visual, ray visual, and reticle visual, are already included. There is also an interface for you to reskin visualizations.
Enabling NRInput
To enable NRInput, simply drag the NRInput prefab into your scene hierarchy. If you already have a Main Camera set up, drag it onto Override Camera Center in the NRInput prefab. Otherwise, the prefab will find the Main Camera. Users can now interact in the app using Nreal Light controllers.
Raycast Modes in NRInput
There are two raycasting modes included in the NRInput: the Gaze Mode and the Ray Mode.
The Ray Mode is the default raycasting mode most apps will be based on. In this mode, the ray will start from the center of the controller.
When in Gaze Mode, the raycast will start from the center of the user's forehead and emanate in a forward direction. Thus, the ray will be invisible.
Current Controller Features
Since NRSDK supports multiple types of controllers, a method was scripted to help you understand the features your current controller supports.
 - Sample Use Case:
bool supportsPosition = NRInput.GetControllerAvailableFeature(ControllerAvailableFeature.CONTROLLER_AVAILABLE_FEATURE_POSITION);
bool supportsGyro = NRInput.GetControllerAvailableFeature(ControllerAvailableFeature.CONTROLLER_AVAILABLE_FEATURE_GYRO);
Some Common Usage of NRInput
 - Sample Use Case:
void Update()
 //returns a int value of how many available controllers currently
 //returns true if a Trigger button is currently pressed
 //returns true if a Trigger button was pressed down this frame
 //returns true if a Trigger button was released this frame
 //returns if controller is 3DoF, otherwise returns the position of the domain controller
 //returns the rotation of the domain controller
 //returns the ControllerType of the domain controller
 ControllerType controllerType = NRInput.GetControllerType();
 //returns true if the touchpad is being touched
 //returns a Vector2 value of the touchpad, x(-1f ~ 1f), y(-1f ~ 1f)
 //returns a Vector3 value of gyro if supports
 //to get what hand mode is using now, left-hand or right-hand
 ControllerHandEnum domainHand = NRInput.DomainHand;
 //the same as NRInput.GetRotation()
 //returns the rotaion of the left hand controller
Get Frequently Used Anchors
The NRInput provides an easy way to get frequently used anchors quickly.
 - Sample Use Case:
Transform gazeAnchor = NRInput.AnchorsHelper.GetAnchor(ControllerAnchorEnum.GazePoseTrackerAnchor);
Transform leftRayAnchor = NRInput.AnchorsHelper.GetAnchor(ControllerAnchorEnum.LeftRayAnchor);
Raycasters in NRInput
Three raycasters are included in the NRInput prefab. One of which for Gaze Mode, and the other two for Ray Mode. The raycaster class inherits from Unity's BaseRaycaster class. A chosen raycaster's farthest raycasting distance can be modified directly from the Inspector window. You can also define which objects are interactable by changing the parameter of its Mask.
Building a Project with User Input
To help you get started with integrating control into your own app, we have prepared a sample case study.
By reading the study you will be able to:
 1. Select a range of appropriate inputs to use with the controller.
 2. Write code in C# to receive user inputs such as the Home, Bumper, Trigger and Touchpad.
 3. Activate, rotate, and move a GameObject by using the input.
 4. Interact with physical objects and UGUI in the unity environment.
 1. When pointing the controller at the cube, its color will change to green.
 2. The color of the cube will randomly change when you press the trigger button.
 3. The cube will rotate with the controller.
 4. Activate or deactivate the cube for rotation by pressing the UGUI button.
 1. Drag NRCameraRig and the NRInput prefab to the scene hierarchy.
 1. Create a cube. In the Inspector window, set its position to (0, 0.1, 3), and scale to (0.3, 0.3, 0.3).
 1. Create a script named "CubeInteractiveTest.cs" as follows and add it to the cube.
 public class CubeInteractiveTest : MonoBehaviour, IPointerClickHandler, IPointerEnterHandler, IPointerExitHandler
 private MeshRenderer m_MeshRender;
 void Awake () {
 m_MeshRender = transform.GetComponent();
 void Update()
 //get controller rotation, and set the value to the cube transform
 transform.rotation = NRInput.GetRotation();
 //when pointer click, set the cube color to random color
 public void OnPointerClick(PointerEventData eventData)
 m_MeshRender.material.color = new Color(Random.Range(0f, 1f), Random.Range(0f, 1f), Random.Range(0f, 1f));
 //when pointer hover, set the cube color to green
 public void OnPointerEnter(PointerEventData eventData)
 m_MeshRender.material.color =;
 //when pointer exit hover, set the cube color to white
 public void OnPointerExit(PointerEventData eventData)
 m_MeshRender.material.color = Color.white;
 2. Add a DirectLight to brighten the cube.
 1. Add a Canvas and delete the EventSystem.
 1. Set the Canvas RenderMode to WorldSpace, and then set its position and scale to an appropriate value such as that listed below.
 1. Remove the "Graphic Raycaster" component from it and add Canvas Raycast Target.
 1. Add two buttons to the Canvas as its children. Name one button activeBtn and the other deactive. Remember to also change the


text:
The steradian (symbol: sr) is the SI unit of solid angle. It is used to describe two-dimensional angular spans in three-dimensional space, analogous to the way in which the radian describes angles in a plane. The name is derived from the Greek stereos for "solid" and the Latin radius for "ray, beam".
The steradian, like the radian, is dimensionless because 1 sr = m2·m−2 = 1. It is useful, however, to distinguish between dimensionless quantities of different nature, so in practice the symbol "sr" is used where appropriate, rather than the derived unit "1" or no unit at all. For example, radiant intensity can be measured in watts per steradian (W·sr−1). The steradian was formerly an SI supplementary unit, but this category was abolished from the SI in 1995 and the steradian is now considered an SI derived unit.
A steradian is defined as the solid angle subtended at the center of a sphere of radius r by a portion of the surface of the sphere whose area, A, equals r2.
Since A = r2, it corresponds to the area of a spherical cap (A = 2πrh) (wherein h stands for the "height" of the cap), and the relationship h/r = 1/(2π) holds. Therefore one steradian corresponds to the solid angle of a simple cone subtending an angle θ, with θ given by:
This angle corresponds to an apex angle of 2θ ≈ 1.144 rad or 65.54°.
Because the surface area of a sphere is 4πr2, the definition implies that a sphere measures 4π ≈ 12.56637 steradians. By the same argument, the maximum solid angle that can be subtended at any point is 4π sr. A steradian can also be called a squared radian.
A steradian is also equal to the spherical area of a polygon having an angle excess of 1 radian, to 1/(4π) of a complete sphere, or to (180/π)2 ≈ 3282.80635 square degrees.
The solid angle (in steradians) of the simple cone subtending an angle θ is given by:
Analogue to radians
In two dimensions, the angle in radians is related to the arc length it cuts out:
Now in three dimensions, the solid angle in steradians is related to the area it cuts out:
Steradians only go up to 4π ≈ 12.56637, so the large multiples are not usable for the base unit, but could show up in such things as rate of coverage of solid angle, for example.
Full article ▸


text:
There are no laws prohibiting the use of metal detectors in the public areas of provincial parks as long as the activity isn't interfering with the enjoyment of the other park visitors, breaking any of our other regulations, or in any way threatening any of the wildlife in the park.
Metal detectors can be used in the province's parks, provided that:
- They are only used on beaches and similar disturbed areas (where digging will not affect the natural ecosystem/habitat). In disturbed areas that are being excavated under a research permit, these areas are closed-off from the public to prevent recreational digging
- No historic resources are damaged or removed
- No items are removed from the park
- All items of value (historical or monetary) are turned over to the local park office
- They are used for recreation and not for commercial purposes
- Their use doesn't violate other laws, such as interfering with a person's quiet enjoyment in the park. People operating metal detectors are encouraged to use an earpiece/headphones to reduce the likelihood of the noise disturbing others.
As in the case of other park users, a person can expect to encounter officers who will inquire about the activities being conducted and require them to identify themselves and their occupation.
In order to dig for historical resources, a person requires an excavation permit issued by the Parks Division under the Historical Resources Act; this permit is associated with archeological or paleontological research permit. In some locations the excavated items are likely to remain in the park for research and storage; in situations where an excavated item is to be removed from the park, a collection permit is required.


I'm looking at some raw APRS packets over APRS-IS. I'd like to determine which stations heard particular packets, but I'm having trouble understanding how TNC-2 paths work. Here are two examples:
2016-05-19 05:51:46 PDT: PACCTY>APN390,HEBOWX,KFALLS,OR2*,qAR,STUKEL:
2016-05-19 05:55:32 PDT: PACCTY>APN390,WIDE1-1,OR2-1,qAR,W7GC-4:
Can you explain how I can determine the actual path the packet took? Also, how do I differentiate this from the path that the sender, PACCTY requested?
According to the way things work for simple AX.25 packets, the part after ">" is the destination address. However, the APRS specification commonly repurposes fields, with the goal being to keep the packet as small as possible. The destination field is like that: most APRS packets are broadcast rather than sent to a specific station, so when an APRS packet isn't meant for a specific station then the destination field is pressed into service to hold something else. If the "destination" starts with AP, then it's a code that indicates what device or software package sent the packet. In this case, a "destination" of the pattern APN3xx means that the packet was sent by a Kantronics KPC-3. (The destination can also be Mic-E encoded, in which case it holds the latitude and part of the longitude of the sending station, plus a few other miscellaneous data flags.)
Similarly, WIDE1-1 doesn't actually mean that the packet was repeated by a station of that name. In this case, WIDE1-1 is an instruction for how to repeat the packet, which was part of the packet when it was first sent. It requests that a "wide" digipeater (one with a wide coverage area, like on a mountaintop) repeat the packet, but only once; if a second "wide" digipeater should hear the rebroadcast packet, then the second digipeater wouldn't repeat it.
Apparently qAR is the "Q-construct" that indicates that the packet was was successfully "Igated" to APRS-IS, the APRS internet packet routing system.
I'm reasonably familiar with APRS, but not an expert. Even so I'll give the second part of your question a go, but I reserve the right to be wrong ;)
PACCTY>APN390,HEBOWX,KFALLS,OR2*,qAR,STUKEL: This packet was sent by PACCTY using a Kantronics KPC-3. It was digipeated by HEBOWX, KFALLS, and OR2, and then copied onto APRS-IS, the internet APRS packet network, by STUKEL. It's unlikely that that exact path was requested by the sender; it's more likely that the original path request was WIDE1-1,WIDE2-1. WIDE1-1 is a request for a small home digipeater to rebroadcast the packet. WIDE2-1 is a request for a high-up digipeaters to rebroadcast. Each station that rebroadcasts the packet puts its call sign into the path.
PACCTY>APN390,WIDE1-1,OR2-1,qAR,W7GC-4: Here we have a packet that was never digipeated before being copied to the internet; we can tell because there is no asterisk. The original packet was heard by Igate W7GC-4 and copied onto APRS-IS there. (The packet probably was digipeated, but when multiple copies of a packet are received on APRS-IS, then one is chosen at random to be kept, and the rest are ignored as being redundant.)
Because this packet was copied to APRS-IS before being digipeated, we have a better look at the original path request. As I suspected, WIDE1-1 is in there first as an invitation for small home digipeaters to repeat the packet. Next comes OR2-1. That could be a station OR2 with an SSID of "-1". But given that the first packet didn't contain OR2-1, it seems like it is more likely to be an alias. Maybe it works like WIDE2-1, but just in Oregon? I'm not sure.
Just for grins, let's look again at the first packet and assume that it was sent with WIDE1-1,WIDE2-1 to see how digipeaters modify the packets going through them.
PACCTY>APN390,WIDE1-1,WIDE2-1: original packet
PACCTY>APN390,HEBOWX*,WIDE2-1: packet was heard and digipeated by HEBOWX, which responded to the alias WIDE1 and substituted its own call sign
PACCTY>APN390,HEBOWX,KFALLS*: packet was heard and digipeated by KFALLS, responding to the alias WIDE2
PACCTY>APN390,HEBOWX,KFALLS,OR2*,qAR,STUKEL: packet was heard and copied to APRS-IS (but not digipeated) by STUKEL
| improve this answer | |
 - $\begingroup$ Thanks! I've edited my question to be a bit more useful to others. I'm wondering how I can determine which path the packet actually took, which IGate it went through, and how many times it was digipeated. $\endgroup$ – watkipet May 19 '16 at 21:50
 - $\begingroup$ This helps a lot. Now I'm understanding the rest of what I've been reading. Based on that, I think OR2-1 is a local state or province aliases referred to as SSn-N. In the first packet, I believe a Fill-In digipeater, or relay, performed the last hop and decremented what was OR2-1 but didn't substitute it's own callsign (Fill-In digipeaters don't usually?). $\endgroup$ – watkipet May 20 '16 at 21:27
 - $\begingroup$ You're welcome, and thanks for filling in the last piece of the puzzle with the SSn-N info. I'd forgotten most of this stuff, so it was nice to go through the refresher course in answering your question ;) Now if only people would use APRS to send and receive local tactical information instead of just broadcasting the locations of their cars... $\endgroup$ – rclocher3 May 20 '16 at 21:38
 - 1
 $\begingroup$ I have two questions for rclocher3: 1. In paragraph 2 you say "WIDE1-1... requests that a "wide" digipeater (one with a wide coverage area, like on a mountaintop) repeat the packet" but then near the end you say "WIDE1-1 is in there first as an invitation for small home digipeaters to repeat the packet". Which is correct? 2. What reference are you "refreshing" from? It sounds like a great read. $\endgroup$ – pidloop May 24 '16 at 20:17
 - $\begingroup$ I'm glad to see that someone's paying attention... You caught my own understanding evolving as I wrote my answer. It turns out that WIDE1-1 is the replacement for the old RELAY alias. In other words, WIDE1-1 is an alias for small home digipeaters. WIDE2-1 is an alias for a true "wide" digipeater on a mountaintop. As for my references, here are some. $\endgroup$ – rclocher3 May 24 '16 at 22:53
Your Answer


text:
- Common Name:
- Other Names:
- Musky, Maskinonge
- Scientific Name:
- Esox masquinongy
- Adult Size:
- Muskellunge commonly grow to lengths of 30 to 36 inches and weights of 5 to 10 pounds, with occasional larger individuals. Females attain larger sizes than males. The largest muskellunge recorded in Maine weighed 22 pounds, 12 ounces.
- Muskellunge are long, slender fish with dark vertical bars on a background ranging from light green to light brown. They have soft-rayed fins, with the dorsal fin located just in front of the tail. Their large mouths, full of sharp teeth, leave no doubt as to their predatory nature. Muskies can be distinguished from northern pike by the presence of 7 to 11 sensory pores on the underside of each jaw (pike have only 5), and by cheeks and gill covers scaled only on the upper half (the cheeks of pike are fully scaled).
Find more information on the Maine Department of Inland Fisheries and Wildlife website.


text:
Finger Dowsing: How To Tell If Your Partner Is Faithful – by Tana Hoy
Did you know that you can use a secret psychic method of divination to tell if your partner is faithful? You don't have to use a pendulum, or other psychic tools such as Tarot cards to get this information. All you need is your mind, your will, and your index finger, to get an answer!
Finger Dowsing - An Excellent Method To Find Answers
To dowse is when you try to search for hidden objects, like water or treasures, with the use of instruments such as pendulums and dowsing rods. When you dowse with your finger, your finger becomes like a human dowsing rod. Instead of lusing it to look for objects, you can use it to find answers to questions, especially questions about love and relationships.
Learning to dowse with your finger is actually very convenient because you can do it very discreetly. For example, while you're sitting across from your date in a restaurant, waiting for your food to be served, you can secretly divine an answer to find out if he or she is really interested in having a relationship with you. Or when you are standing in line behind your partner, you can use it to see if they are being faithful, or telling the truth about something!
How To Be A Finger Dowser
Certain preparation is needed if you're going to use this finger technique to dowse, especially when it's your first time. But the most important advice I can give is, always try clear your mind of jealousy, vengeful thoughts, self-doubt, and other negative emotions, when using this method, as this will greatly affect the answer you will get.
Here are the steps you need to do to prepare yourself for using this method:
1. Every day for several days, spend time in a quiet room.
2. Focus your attention on the tip of your index finger – if you're right-handed, use your left index finger, and if you're left-handed, use your right one.
3. Visualize in your mind that the tip of your finger is like an antenna for receiving psychic energy. Imagine it becoming hyper sensitive to the energy of your surroundings.
4. Be clear in your mind that your index finger is for receiving vibrations, not sending them out, because you don't want to accidentally zap someone with your focused energy.
5. Point it at different objects in the room, and try to sense their energy through your finger.
How To Calibrate Your Finger
After a few minutes of doing this, you will need to calibrate your finger:
1. First, point your index finger at nothing in particular, and hold it steady for a few moments, and then start moving it up and down. Affirm in youe mind that this up and down movement means "yes." Keep practicing this until you feel comfortable associating this finger movement with a "yes" answer.
2. Next, point your finger steadily forward again, and move it from side to side, allowing yourself to accept that this means "no." Repeat this until you feel comfortable knowing that this is a "no" answer!
3. Now, point your finger steadily forward again but this time move it in a circular finger movement. Program your mind to know that this means "uncertain."
Now, practice asking yes or no questions that you know the answer to. For example, point your finger at the lamp and ask yourself, "Is the lamp turned on?", etc. See if you can get a response.
You will need to practice this exercise several times a day, whenever possible. Don't fret if you don't get a response right away. It takes lots of practice and patience.
Once you're confident of your ability at getting answers using finger dowsing, you are ready to use this technique to answer your question about your partner.
How To Finger Dowse
- Before you meet your partner, spend some time meditating. You need to clear your mind of negative emotions, and be as relaxed as possible.
- As you meditate, focus your mind on this person. Try to see him or her objectively – as a person. Imperfect, yet perfect in his or her own right.
- After a while, form the question you want to ask. Remember, it has to be answerable by yes or no, and it needs to be objective so your personal emotions won't influence the outcome.
- Ask your question several times inside your mind. Then let it go.
- Relax your mind for another few minutes, then slowly bring yourself out of your meditative state.
Finger Dowsing is really simple to do!
1. Look for an opportunity where you can discreetly use your finger dowsing. You can do it under the table, or while you're watching a movie. Just make sure that you do it discreetly, since no one enjoys being pointed at.
2. Point your finger discreetly at your partner.
3. Ask your question inside your head.
4. Wait for your finger to give you an answer.
Now, remember, if you get an answer you don't particularly like, it's not good manners to start a fight or storm out. It's always best to talk it over, and settle the score.
If you want to know if someone is faithful, or confirm what you suspect, during a psychic reading I can give you the right advice and show you how to handle this situation! You can schedule a psychic reading with me by clicking here now!


text: The quest for direct lines of evidence for Paleolithic plant consumption during the African Middle Stone Age has led scientists to study residues and use-wear on flaked stone tools. Past work has established lithic function through multiple lines of evidence and the spatial breakdown of use-wear and microscopic traces on tool surfaces. This paper focuses on the quantitative analysis of starch assemblages and the botanical identification of grains from flake and core tools to learn about human ecology of carbohydrate use around the Niassa woodlands, in the Mozambican Rift. The processing of starchy plant parts is deduced from the occurrence of starch assemblages that presumably got attached to stone tool surfaces by actions associated with extractive or culinary activities. Specifically, we investigate starch grains from stone tools recently excavated in northern Mozambique at the site of Mikuyu; which presumably spans the middle to late Pleistocene and represents similar sites found along the Malawi/Niassa corridor that links East, Southern, and Central Africa. Starch was extracted and processed with a diverse tool kit consisting of scrapers, cores, points, flakes, and other kinds of tools. The microbotanical data suggests consumption of seeds, legumes, caryopses, piths, underground storage organs, nuts, and mesocarps from more than a dozen families. Our data suggest a great antiquity for starch use in Africa as well as an expanded diet and intensification.


text:
The latest WIP includes a new behavior in Grasshopper that we are experimenting with to improve performance; multithreaded component solving.
The following four components have been modified to perform calculations using multiple threads.
- Dash Pattern
- Divide Curve
- Boundary Surface
We are decorating these components with small dots in the upper left corner to help you understand the component's capabilities and current 'mode' of operation.
No dots : the component does not currently support multi-threaded calculations
One dot: the component does support multi-threaded calculations, but is currently calculating with a single thread (i.e. legacy mode)
Two dots: the component does support multi-threaded calculations and is using the feature
For components that do support multi-threaded calculations, the feature can be enabled/disabled using the right click context menu on the component itself.
What to test:
I am not interested in timing results at the moment. What I want to make certain is that the output from these components produce the exact same results and same data structure (for trees) when run in both single threaded and multi-threaded modes. Of course, I'm also interested to know if any other unusual behavior appears by using these components.
These initial four components are our prototypes to ensure things are running correctly before converting other components over to be able to using multiple threads.


Instant fossils found trapped in asteroid impact glass
Life 24 April 2014
New Scientist Default Image
(Image: Peter Schultz/Geology/GSA)
When asteroids strike Earth, it can mean death and destruction. But they can also be flashbulbs, capturing a freeze-frame record of life at the moment of impact.
Peter Schultz of Brown University in Providence, Rhode Island, and his colleagues examined two asteroid impact sites in the Chasicó and Mar del Plata regions in La Pampa, Argentina. They found the first examples of biological material locked in the glass that is instantly formed in the blast.
This animation of 3D electron microscope scans show plant fragments that were pulled out of the impact glass for detailed analysis. The material was preserved in incredible detail, including structures down to the cellular level.
Similar impact glass fossils, protected for eons under a blanket of Martian dust, could retain a record of ancient life on the Red Rlanet.
Journal reference: Geology, DOI: 10.1130/G35343.1


text: The launch of the Nintendo Wii at the end of 2006 introduced a revolutionary concept of interaction with computer games through gestures. For the first time, gamers had the ability to use natural, expressive movements to control game play. Furthermore, the use of input devices with haptic feedback is increasing as it allows users to utilize more of their natural senses, creating richer and more intuitive experiences. The design challenge was to transfer these advantages to industrial applications. The sWand allows users to break away from touchscreen displays and control complex machines using gestures.


This short tutorial will show you how to use a quick WHERE statement to filter your records so it only shows whilst the date column in the table is either greater or equal to the current day. Create your Recordset as normal.
For the WHERE statement, use the below text, to show your records whilst the date column is greater or equal then the current day.
Change table to your table name and column to the column which contains your records date.
Using Access
WHERE (((table.column)>=Date()))
Using SQL server 2000
WHERE (((table.Column)>=getdate()))
If you are using Dreamweaver MX, you will need to change the Recordset to the Advanced view, and alter the WHERE statement to the text above


Venetian Gastronomy Festival - SAOR
On September 26, 2019, the curtain was raised on the first edition of SAOR, the Venetian gastronomy festival organized by the Municipality of Venice, through the subsidiary Vela, with the aim of focusing attention on enhancing the gastronomic cultural heritage (GCH) of the City. The SAOR event was the pilot action of the City of Venice within the Slow Food-CE project, the European project led by Slow Food where Venice is partnering with Krakow, Kecskemét, Dubrovnik and Brno.
The weekend that hosted SAOR was particularly mild and allowed an optimal development of the program, which featured more than 50 events, proposed by institutions, museums, associations, retailers, fishermen, artisans and farmers, as well as experts and artists - all meant to valorise the Venetian exceptional and unique gastronomic cultural heritage.
The events were spread all over the Venetian territory, not only its world-famous historic centre and global tourism destination, but also the islands of the Lagoon and the mainland (Mestre and Marghera), where a large part of the population live.
Compared to similar initiatives held in other EU cities, one of the challenges faced by SAOR was the complexity of the territory of Venice where it is more complicated for the participants moving among the different venues of the programme due to the long distances (and the water between, too!)
It was therefore necessary to identify common values and traditions shared by the people living across the whole city in the 'Sestieri' (neighbourhoods) of the historical centre, the minor islands and the mainland. The City of Venice focused SAOR on the history of food, trade, spices, dinner tables and popular kitchens that could better represent the unique and authentic gastronomy of 'la Serenissima". Starting from the guidelines defined by the Organization, local stakeholders interested in being actively involved in the programme proposed different typology of events, as cooking shows, guided tours, museums exhibitions, conferences, visits to farms and many more, to allow Venetian citizens and visitors gather around the values of tradition and local food in a new way.
The City directly organized some important events with the collaboration of experts, professionals and artists to make the most of it. In particular the artist Daniele De Michele, well-known as "Donpasta", designed specifically for SAOR a live show where he merged stories, music and multimedia elements to explain the Venetian gastronomic cultural heritage. He interviewed some significant testimonials during the course of a normal day between the market and the kitchen, where the memories of a still alive city emerged among pots and spoons, even though covered with a slight patina of the past.
If the main objective of SAOR is to enhance the authentic gastronomic heritage of the city, the protagonists and visitors of the first edition have confirmed their success by asking the City of Venice to organize, as the curtain fell, another edition the next year.


text:
Ogni giorno offriamo programmi GRATUITI che altrimenti dovresti comprare!
Questo giveaway è scaduto. The Busy Lumberjack è adesso regolarmente disponibile.
This is a fun and engaging puzzle game. The goal of each level is to help the lumberjack cut down all the trees and get back to his truck.
- A tree falls only towards to the other side of the lumberjack.
- A tree falls only on empty tiles or river tiles, not other trees or stomps.
- A fallen tree occupy 1, 2 or 3 tiles depending on its height.
- The lumberjack cannot walk pass a flowing river or a tree (fallen or standing).
- A fallen tree stops river flow.
- A fallen withered tree serves as a bridge.
There are 70 fun levels. Some of them are simple yet tricky; some are very challenging and takes a lot planning to complete.
If you are stuck on a level, don't worry, we've got the solutions for you.


Take the 2-minute tour ×
I would like to make sure that I don't insert a message to the queue multiple times. Is there any ID/Name I can use to enforce uniqueness?
share|improve this question
2 Answers 2
up vote 6 down vote accepted
Azure queues doesn't ensure message order and either message uniqueness. Messages will be processed "at least once", but nothing ensures it won't be processed twice, so it doesn't ensure "at most once".
You should get ready to receive the same message twice. You can put an ID in the body of the message as part of your data.
share|improve this answer
vtortola pretty much covered it, but I wanted to add a bit more detail into why it's at least once delivery.
When you read a queue item, it's not removed from the queue; instead, it becomes invisible but stays in the queue. That invisibility period defaults to 30 seconds (max: 2 hours). During that time, the code that got the item off the queue has that much time to process whatever command was in the queue message and delete the queue item.
Assuming the queue item is deleted before the timeout period is reached, all is well. However: Once the timeout period is reached, the queue item becomes visible again, and the code holding the queue item may no longer delete it. In this case, someone else can read the same queue message and re-process that message.
Because of the fact a queue message can timeout, and can re-appear:
 - Your queue processing must be idempotent - operations on a queue message must result in the same outcome (such as rendering a thumbnail for a photo).
 - You need to think about timeout adjustments. You might find that commands are valid but processing is taking too long (maybe your 45-second thumbnail rendering code worked just fine until someone uploaded a 25MP image)
 - You need to think about poison messages - those that will never process correctly. Maybe they cause an exception to be thrown or have some invalid condition that causes the message processor to abort processing, which leads to the message eventually re-appearing in the queue. There's a property callded DequeueCount - consider viewing that property upon reading a queue item and, if equal to, say, 3, push the message into a table or blob and send yourself a notification to spend some time debugging that message offline.
More details on the get-queue low-level REST API is here. This will give you more insight into Windows Azure queue message handling.
share|improve this answer
Your Answer


text:
Date of Award
Master of Applied Science (MASc)
Sustainability considerations have placed increasing emphasis on the energy efficient operation and control of temperature control systems. It is estimated that the use of advanced control structures could lead to valuable savings in energy expenditure (up to 15-20 %). This work considers the problem of developing a model predictive control (MPC) algorithm for temperature control in buildings. To this end, a cascade control structure was designed to regulate the room temperature subject to heat load disturbances, such as outdoor conditions or changes in the internal gains (i.e., number of people in a room). The inner loop of the cascade control structure involved controlling key variables of a vapor compression cycle (VCC), namely the superheat and supply air temperature (from the evaporator), by manipulating the compressor speed and valve opening (components in the VCC). Linear inputoutput models were appropriately identified for the VCC using a detailed first-principles model (adapted from Thermosys) for eventual utilization in a predictive control design. Then, closed loop simulations were performed by interfacing the VCC model with EnergyPlus (developed by the U.S. Department of Energy), which was used to model realistic room temperature behavior. The control performance using a predictive controller (in the inner loop) was then evaluated against PI control.
Wallace, Matt, "Energy Efficient Model Predictive Building Temperature Control" (2011). Open Access Dissertations and Theses. Paper 5000.
McMaster University Library


Provided by: libax25_0.0.11-6.1_i386 bug
 axports - AX.25 port configuration file.
 Axports is an ASCII file that contains information about each of the
 physical AX.25 ports that are to be used. When dealing with an AX.25
 utility such as call, it takes an optional argument that is the port
 name. This port name is a reference to the line within axports, which
 has that name as its first argument. The information on each line
 contains enough information to bind the command to a particular
 physical AX.25 interface, this binding is done by matching the callsign
 on the line in axports with the callsign of the port set by kissattach.
 The lines within axports must either be a comment line, which starts
 with a # in the first column, or a port description in the following
 format, each field being delimited by white space:
 name callsign speed paclen window description
 The field descriptions are:
 name is the unique identifier of the port. This is the
 name given as the port argument of many of the
 AX.25 support programs.
 callsign the callsign of the physical interface to bind to.
 speed this is the speed of interface, a value of zero
 means that no speed will be set by kissattach(8).
 paclen is the default maximum packet size for this
 window the default window size for this interface.
 description a free format description of this interface, this
 field extends to the end of the line. This field
 may contain spaces.
 call(1), ax25(4), axparms(8), kissattach(8).


How many carbs are in a small plain bagel?
Asked By: Angelito Azcargorta | Last Updated: 3rd May, 2020
Category: healthy living weight loss
4.9/5 (82 Views. 23 Votes)
Nutrition Facts
Calories 120 (502 kJ)
Total Carbohydrate 24 g 8%
Dietary Fiber 0.5 g 2%
Sugars 3 g
Protein 4 g
Click to see full answer
Keeping this in consideration, how many carbs are in a plain bagel?
Nutrition Facts
Name Value Daily Percentage
Total Carbohydrate 53g 19%
Dietary Fiber 2g 7%
Sugars 6g
Protein 9g
Furthermore, what is the nutritional value of a plain bagel? A typical, medium-sized, plain bagel (105 grams) may contain the following ( 1 ): Calories: 289. Protein: 11 grams. Fat: 2 grams.
Additionally, how many calories are in a small plain bagel?
Nutrition Facts
Serving Size 2 bagels (86g)
Servings Per Container 5
Amount Per Serving
Calories 250
Calories from Fat 13.5
How much sugar is in a plain bagel?
A plain, average-size bagel (which contains approximately 7g of sugar ) is the equivalent in calories and sugar of five slices of white bread and sends your system into a sugar overload - setting you up to crash afterwards and reach for another unhealthy option.
36 Related Question Answers Found
Is a bagel high in carbs?
If there is a downside to bagels, it's that the average deli bagel can have up to 350 calories and 50 to 60 grams of carbohydrates—equal in carbohydrates to three or four slices of bread. Without fiber, the carbohydrates in a bagel digest quickly, convert to sugar, and then, very possibly, to fat.
Can you eat bagels on a low carb diet?
Depending on your personal carb tolerance, eating a sandwich, burrito, or bagel could put you near or over your daily limit. If you still want to enjoy bread, make your own low-carb loaves at home. Most grains, including rice, wheat, and oats, are also high in carbs and need to be limited or avoided on a low-carb diet.
Can I eat a bagel on a diet?
Most bagels lack vitamins, minerals and fiber. Without fiber, the carbohydrates in a bagel digest quickly, convert to sugar and then, very possibly, to fat. Dieters are better off eating a 100-percent whole grain English muffin or a slice of whole wheat bread that contains at least 5g of fiber per serving.
Are bagels healthier than bread?
In terms of carbs and calories, there are about 3.15 slices of bread in the average plain bagel (a bagel contains 245 calories, a slice of bread has 79 calories). Okay, so yes, bagels are more dense, caloric and potentially less healthy than a piece of bread, but would you stake your happiness on that?
What are the healthiest bagels?
Are bagels OK on keto diet?
Are low-carbs Bagels Good For You? Yes, at just 7.5 grams per bagel, almond flour low-carb bagels are a delicious low-carb alternative to bagels. They are great if you are trying to lose weight or on a KETO or PALEO diet.
How many carbs should you have each day?
How many carbs are in half a bagel?
Nutrition Facts
Calories 288 (1207 kJ)
Cholesterol 0 mg 0%
Sodium 561 mg 23%
Total Carbohydrate 56.1 g 19%
Dietary Fiber 2.4 g 10%
Do Bagels make you gain weight?
How many calories are in a plain bagel with butter?
Nutrition Facts
Calories 310 (1297 kJ)
Cholesterol 10 mg 3%
Sodium 630 mg 26%
Total Carbohydrate 55 g 18%
Dietary Fiber 4 g 16%
How many calories are in a plain bagel with peanut butter?
Although two tablespoons of peanut butter has 185 calories, the fat content has a better makeup with only 3 grams of saturated fat and just a trace of trans fat. Because of the protein, a peanut butter bagel should satisfy your hunger for a long time, too, while doughnuts probably won't.
How many calories does a bagel with cream cheese have?
A bagel alone is roughly 280 calories, with cream cheese clocking in at 51 calories per tablespoon.
How many calories should I be eating to lose weight?
Are multigrain bagels good for you?
Our delicious Multigrain Bagels are a good source of fiber, with 7 grams of total fat per serving, served toasted.
How many calories do I need?
How many calories are in a everything bagel?
Nutrition Facts
Serving Size 1 bagel (95g)
Servings Per Container 6
Amount Per Serving
Calories 290
Calories from Fat 32
How many calories are in a small cinnamon raisin bagel?
110 Calories
Fat 0.5 g
Carbs 23 g
Fiber 1 g
Protein 3 g


Meaning of Cheyenne
Pronunciation: (shī-en', -an'), [key]
— pl. -ennes, -enne
 1. a member of a North American Indian people of the western plains, formerly in central Minnesota and North and South Dakota, and now divided between Montana and Oklahoma.
 2. an Algonquian language, the language of the Cheyenne Indians.
 3. a city in and the capital of Wyoming, in the S part. 47,283.
See also:


Once you've selected which event you want to use for your animation, you need to select the Object that contains the Animator Component, then select Animator -> SetTrigger (string) as the function, and type the name of your Trigger Parameter in the text field.
Empty event
Object event
Function event
Full event
Once the event is setup, when it fires it will activate the trigger, which will activate the transition on your Animation Controller. If you want to setup controller events similar to VRChat gestures, you'll want to set a trigger to activate your transition on a press event, and another for the deactivation transition on a release event.
# Events
We've seen how to use events to make animations happen, but there's a lot more that you can do with them. First lets look at what an event looks like. There's 4 parts to an event that you have to worry about. First, what triggers the event. It can be any of the things in the Event Manager component, or the combo components, or even from a third party plugin, like CustomKeyEvents. Second, you need to drag a game object into the field that says None (Object), whatever object you pick will be the one affected by the trigger. Third, you have to select which function from that game object you want to use. Click on the field that says No Function and pick the function you want the event to use. Here you will see all the public methods with at most 1 argument that are available to the object or its components. Finally, under the function you just picked you will be able to set the argument to that function, if any.
We saw how to do this with the animator component on the previous section, but you can use this for many other things besides triggering events. You can make it play audio clips using the PlayOneShot function from an Audio Source component. You can start particle systems, or make them emit a certain number of particles. You can turn objects on and off. You can edit materials. There's endless posibilities, so go drag some objects in and see what you can get out of them.
# CustomKeyEvents
This plugin allows you to set event triggers to controller actions. You will need CustomKeyEvents.dll (Unity Asset) in your Unity project in order to add those to your avatar. The user will also need CustomKeyEvents.dll in their Plugins folder for them to work in game.
# Full Body Tracking: Ra Ra Rasputin~
If you want to create an avatar with Full Body Tracking support you'll have to add 3 more Objects, one for each of the Vive Trackers in your feet and hip. Place those Objects in the same level you placed the ones for the hands, and name them LeftLeg, RightLeg, and Pelvis.
Full body objects
These Objects work exactly the same way as the hand objects, you want to position them on the Avatar like they're positioned physically on your body. Make sure to pay attention to the orientation of the tracker.
Tracker object
Tracker axis
Now that they're in the correct place, you'll want to create the targets by navigating the Armature to the feet and pelvis bones, the ones the IK calls Left Foot, Right Foot, and Pelvis. Right click on those bones and select Create Empty. An Object called GameObject will appear as a child to the bones, you want to rename them into LeftLegTarget, RightLegTarget, and PelvisTarget and drag them into LeftLeg, RightLeg, and Pelvis respectively.
Once complete your hierarchy should look something like this:
Full body hierarchy
Now that all your Objects and Targets are ready, you'll have to add them to the IK Manager Advanced script. You also want to set the values of both leg's and pelvis' Position Weight and Rotation Weight closer to 1, but feel free to experiment with the values.
Full body IK Manager
# Unity 2018
So, you're probably wonder why now I'm telling you to use Unity 2018.1.6f1, when previously we said you shouldn't use any 2018 version. Well, the game has changed, figuratively, and literally. Beat Saber now uses Unity 2018 instead of Unity 2017, and as such the avatars need to be created with Unity 2018 to work correctly. You will need to set the Scripting Runtime Version to.NET 4.x Equivalent if it isn't already. For that you need to go to Edit -> Project Settings -> Player and in the window that appears open the Other Settings tab, and scroll down to the Configuration section.
Script runtime
You're going to need to use the new version of CustomAvatar.dll in your Unity project. Delete the old one if you have it; this project contains the correct one—and replace it with this one. Preferably in the assets folder while Unity isn't running. You might have to re-add your components. If the asset doesn't have the arrow that lets you see all the scripts, right click it and select Reimport.
New asset
# PureDark's avatar plugin?
PureDark's plugin has been integrated into the main plugin. A few things have changed. Make Children Visible is no longer needed, first person view is enabled by default, and is toggleable with the Home key on your keyboard. To add exclusions to the first person view, you can use the First Person Exclusion component. Avatar VRIK Fix is now called IK Manager Advanced, and since it's all in one plugin it's no longer needed to provide cross compatiblity, so only one of either IK Manager or IK Manager Advanced is needed. The controller events components were removed, and will appear on their own plugin.
# I can't find the IK scripts or the Avatar exporter
Make sure you're using Unity 2018.1.6f1, not 5.6.3p1, not 2017, and you've followed these directions. If your CustomAvatar.dll asset doesn't have the arrow that you click to show the scripts, try deleting and re-importing the CustomAvatar.dll Asset to Unity.
# I can export avatars but they're invisible in game. ↵
You can toggle first person view by pressing Home. If they're invisible in your desktop window, make sure that you used the correct Beat Saber shaders, and Unity 2018.1.6f1.
# Only my avatars are T-Posed
Well I'm very sorry, but this means that you did something wrong while creating your avatar. There's no way to know just what you did wrong, because so many things have the same effect. The only advice we can give you is make sure that you followed the guides exactly, and maybe watch a video to follow along.
# Videos
Here is a video of me making an avatar, narrated by Megalon. [5:57]
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I know nothing about making avatars or using either Unity or Blender, I just threw shit at the wall blindly for 3 days and this is what stuck. But until someone who actually knows what they're doing makes a guide, this is all there is.
# ♥ Special Thanks
 - ikeiwa, for creating this fantastic plugin.
 - xyonico, for rewriting this fantastic plugin.
 - PureDark, for making the fantastic plugin that fixes many issues.
 - Emma, for making the first guide that led me to figuring this out, and helping with this one.
 - Megalon, for providing the ASMR for the video.
 - Ella, for making fun of me until I got gud, helping with the website design, parts of this guide, and putting up with all my dumb questions.


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What does BCZ mean in Texting?
This page is about the meanings of the acronym/abbreviation/shorthand BCZ in the Computing field in general and in the Texting terminology in particular.
Find a translation for BCZ in other languages:
Select another language:
What does BCZ mean?
- For the reason (that).


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Presented by Equity Engineering
The American Petroleum Institute (API) conducts training classes that help attendees understand its new Recommended Practice (RP) 571, Damage Mechanisms Affecting Fixed Equipment in the Refining Industry.
Over the past decade, API has developed two major technologies to improve fixed equipment reliability in refining. They cover Fitness-For-Service (RP 579) and Risk-Based Inspection (RP 580/581). There are several common factors in both of these integral technologies, including:
- Identification of the operative damage mechanisms
- Assessment of future damage progression rates
- Selection of appropriate Non-Destructive Evaluation (NDE) techniques for detecting/ characterizing equipment damage
API RP 571 was created to help link these technologies and to provide better access to information that is located in one concise source covering damage mechanisms. This new recommended practice also aids in understanding damage being inspected for in API 510/570 and API Std. 653. Understanding damage mechanisms and the effect of process conditions is very important. Below are some of the main topics discussed.
Who Should Attend:
- Setting up effective inspection plans requires an in-depth understanding of what kind of damage to look for and how to identify it
- Methodologies for Risk-Based Inspection (RBI) and Fitness-For-Service (FFS) depend on the accurate prediction and determination of active mechanisms
- An effective Management of Change (MOC) process needs to consider the effect of proposed changes on future degradation
- Many problems can be prevented or eliminated if the precursors to damage are observed and monitored so that any potential damage is mitigated appropriate inspection and/or testing can achieve a proper balance between cost and effectiveness for the relevant mechanisms
- Plant inspectors, mechanical engineers, process engineers, and operators who are involved in inspection, RBI, FFS, and fixed equipment reliability programs, maintenance and operations
- Although refinery problems are the main focus of the classes, personnel from related industries (such as mid-stream companies, gas plants, and petrochemical firms) also benefit from the course content and exercises
To order API publications, please visit the Publications section of the API website.
For More Information
Contact Equity Engineering


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On Monday I had the chance to train with Nagato sensei and Oguri sensei and once again the complex simplicity (or the simple complexity) of their movements was amazing. I come to Japan three times a year and I still see the distance in levels between the Japanese Shi Tennô understanding and mine. The margin for progression seems huge (and I do not speak about Hatsumi sensei's level)…
Last Friday Hatsumi sensei made one of his usual puns speaking of "budô" and "mudô" and even if it was the title for my last post on this blog I forgot to explain its meaning.
The kanji for "bu" (武) used for "budô" can also be pronounced "mu". But "mu" (無) means "without, nothing, empty, emptiness"; like in Zen "mushin", the no spirit no thinking attitude.
So when sensei said "budô is mudô" he said that "the path of budô was the path of no path". This new pun playing with the sound emphasized once again the importance of listening to what he is actually saying in his teaching and understanding our budô from a much deeper perspective.
Budô being the path of no-path the bujinkan budô is the path itself and it cannot be expressed in words. The bujinkan arts beyond the mechanical aspect of the waza is simply a kankaku (感覚), a feeling. Training here at the hombu with Sôke is the only way to become able to "read between the lines" as he is pushing us to do regularly. The shidôshi not travelling to Japan to get their knowledge directly at the source, miss an extraordinary opportunity to develop themselves completely. Budô is more than a series of techniques, it is really a way of realization, a true art.
At lunch time on Sunday, sensei repeated his intention to build a jinja (神社), a shrine for the bujinkan and he was not speaking of religion here but of creating a place where the practitioners would find a training place building their taijutsu as well as their "shinjutsu" written 心術 (and not 針術 – acupuncture). If we see budô as the science of growing flowers, we can see the difference existing between learning to plant a seed, caring it, feeding the germ and making the flower blooming; and the art of Ikebana (生花) where the art is to express life through a special flower arrangement based on the tenchijin.
Moving from the physical world to the spiritual world is not the only possible through religions but also through budô.
"Budô is mudô" then makes sense. Our budô is nature and nature is without intention. Being is the solution and attending the classes with sensei transforms us into true human beings.
Nature is simplicity but a complex simplicity. This is exactly the same when you train here with sensei and the Japanese shihan. You watch their movements, you find them easy to reproduce and then you find yourself unable to reproduce them. This is the state of mind in which I was yesterday when training with Nagato sensei and Oguri sensei. One word to summarize that: "WYSINWG" (What You See Is Never What You Get.
Their movements yesterday were based on very simple basic techniques such as: omote gyaku, ura gyaku, katamune dori, ô gyaku but the way the expressed them were beyond the mechanical realm. They were "holistic"!
As I previously wrote it in my other entries on this blog, my words cannot express them correctly so this time I will not try to do so. Only if you were attending the classes can you have a slight chance of getting it. The classes in Japan are like the wind, you don't see it but you see the movements of the leaves on the trees. Maybe this is why we say: "bufû ikkan".
This trip I am becoming aware, more than usual, of the unicity of their movement. A way to express that could be: "bujinkan budô is unity in multiplicity". Natural movement deals with everything at the same time: uke, tori, the terrain, the feelings, the angles, the bones, the intentions. In fact you must get the general image in order to move simply and efficiently.
Let me state a few rules to make you understand what natural movement is (or should be):
- the technique is always adapted to the body type of uke,
- the body moves in one as the tenchijin is united,
- the angles of the bones of both uke and tori are in harmony,
- tori is never "doing it" uke is creating the conditions of his fall,
- strength is useless as softness triggers uke to react more,
- there is no technique only opportunities,
- a book will never fight.
So let's study ikebana and plant the seeds of our taijutsu to get into the world of shinjutsu. An remember that the meaning of this year's kihon happô speaks about a new germination, sprouting (happô – 八方).


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For this question, we are allowed to assume the following is true and has been proven:
Let A,B R and p R. Prove that p is an accumulation point of A B if and only if p is an accumulation point of A or p is an accumulation point of B: (A B)'=A' B'.
Now since we assumed the above is true,
Conclude that the closure of a union is the union of the closures:
(A B)^cl=A^cl B^cl. How would I go about proving this?


1. Home
 2. How do I get my phone number (MSISDN)?
How do I get my phone number (MSISDN)?
When you first download the eSIM service and connect to a network you will be sent an SMS with your phone number in it. Unfortunately you cannot choose your number and we only supply UK phone numbers.
You can also get your phone number at any time by dialing the shortcode *133# from your phone in exactly the same way that you would dial a telephone number. However you must make sure that the eSIM plan is selected as the plan used to dial the number ( see the screenshot below ).
The UK numbers are randomly assigned from a pool which means that you cannot choose your number.
Screenshot showing iPhone dialling pad and phone number short-code
You will then receive a message on the screen with your phone number. You will also receive an SMS text message with the same information.
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3rd Grade Oral Language Resources
Students will:• Learn about the concept of animal architects.
- Access prior knowledge and build background about animal architects.
- Explore and apply understanding of the concept of animal architects.
Students will:• Demonstrate an understanding of the concept of animal architects.
- Orally use words that identify different kinds of animal architects.
- Extend oral vocabulary by discussing why animals build their own homes.
- Use key concept words [architect, bee, hive, colony].
Explain• Use the slideshow to review the key concept words.
- Explain that students are going to learn about animal architects:
- An architect is somebody who designs buildings.
- An animal architect is a special kind of animal that builds its own home.
- There are many reasons why animals build their own homes.
Model• After the host introduces the slideshow, point to the photo on screen. Ask students: What do you see in this picture? (construction workers building a house).
- Ask students: Why do people build houses? (To have a place to live, to have a place for a family, to protect themselves against the cold, and so forth). • Say: Animal architects build homes just like humans do. An animal's home can give protection, help the animal to get food, and provide a place to raise a family. What are some examples of animal homes? (nest, beehive, etc.)
Guided Practice• Guide students through the next five slides, showing them different types of animal architects. Always have the students discuss how the animal made the home.
Apply• Play the games that follow. Have them discuss with their partner the different topics that appear during the Talk About It feature.
- After the first game, ask students to talk about different animal homes they may have seen. After the second game, have them discuss how they would build their ideal home.
Close• Ask students: Imagine your home was an animal home. How would it be different?
- Summarize for students that animals are also architects because they build their own homes. Some animal homes are nests, and beehives. Encourage them to think about why they should be careful around animal homes.


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Simple, effective Construction Phase Plans online
What is eCPP?
eCPP is the new template available through eRAMS helping contractors to coordinate, manage health, safety and welfare on site and their control measures for small to medium-sized and/or relatively simple construction activities. eCPP also allows you to outline the activity or project and identify the basic information, key dates and contact details.
- key dates including start and finish dates
- the welfare facilities
- the skills required on site
- who is the main/principal contractor
- who else will be working on site
- how health and safety information will be shared.
- identify the key dangers and hazards on site
- what controls you will use (this can be obtained from your risk assessment)
- how the controls will be monitored
- identify what PPE is required on site
- the key site rules
- first aid and fire procedures.
To access eCPP, please log on to eRAMS and click the eCPP option. A quick start guide is also available for download below.


View Full Version : [Eberron 3.5] Aberrant Adept [PrC]
lvl 1 fighter
2009-08-06, 10:31 PM
Aberrant Adept
You cling to your notions of purity. The day will come when the true power of my mark is revealed! - Kel
The dragonmarked houses of Khorvaire were founded by members of each race that were blessed with true dragonmarks. Over the years the houses grew to dominate society, their dragonmark powers giving them an edge over the unmarked masses. Most dragonmarks are found within the houses though occasionally a creature not of a house may develop that houses dragonmark and be accepted as part of the house.
Not so with those who possess Aberrant Dragonmarks. No one is sure what causes the wild mutations, but some aspect of their power got twisted as the dragonmarked bloodlines were extended down through the generations. Aberrant Dragonmarks are unpredictable both in selection of race and in power. Rumors are whispered that the mutated dragonmarks are impure and twist the mind of the creature who bears it.
It is perhaps the unknown quality of aberrant dragonmarks that causes the most fear among the populace. Never knowing where one will appear, or what powers the individual will possess puts people on edge. Kept in the fear of the unknown by a lack of understanding, society casts out individuals with aberrant dragonmarks and shun them. Raised in a world that fears and distrusts them, the bearers of aberrant dragonmarks face struggle and persecution all their life, from all peoples.
A few individuals that possess an aberrant dragonmark have been able to increase the power of their dragonmark. Whether fueled by a desire to understand their own nature or merely seeking a way to gain power over those who harass them, aberrant adepts have found a way to cause further mutations of the dragonmark. Through study of the nature of dragonmarks and their relationship with the three dragons of legend, aberrant adepts are able to gain mastery over their dragonmarks and achieve power with them that people thought was not possible.
To qualify to become an aberrant adept, a character must meet these requirements.
Race: Member of a dragonmarked race
Skills: Knowledge Arcana 3 ranks, 7 ranks in any other skill
Feat: Aberrant Dragonmark
Class Skills
The aberrant adept's class skills (and the key ability for each skill) are Appraise (Int), Bluff (Cha), Concentration (Con), Diplomacy (Cha), Gather Information (Cha), Intimidate (Cha), Knowledge (arcana) (Int), Perform (Cha), Profession (Wis), Ride (Dex), Sense Motive (Wis), Speak Language (n/a), and Spellcraft (Int).
Skill Points per Level: 4 + Int modifier.
Hit Dice: d8
Aberrant Adept
{table=head]Level|Base Attack Bonus|Fort Save|Ref Save|Will Save|Special
+2|Lesser Aberrant Dragonmark, Stigma of the Aberration
+3|Mark of Aberration, Improved Least Aberrant Dragonmark
+3|Improved Lesser Aberrant Dragonmark
+4|Greater Aberrant Dragonmark
+4|Improved Greater Aberrant Dragonmark[/table]
Class Features
All of the following are class features of the aberrant adept.
Weapon and Armor Proficiency: Dragonmark heirs gain no proficiency with any weapons, armor, or shields.
Lesser Aberrant Dragonmark: As Dragonmark Heir, replace Lesser Dragonmark with Lesser Aberrant Dragonmark
Stigma of the Aberration: An Abberant Adept uses her level in this class as a bonus on Intimidate checks against creatures who possess a true dragonmark.
Mark of Aberration: At 2nd level Aberrant Adepts may select as a bonus feat any feat that has Aberrant Dragonmark as a prerequisite. The Aberrant Adept must meet all other requirements of the feat.
Improved Least Aberrant Dragonmark: As Dragonmark Heir.
Improved Lesser Aberrant Dragonmark: As Dragonmark Heir.
Greater Aberrant Dragonmark: As Dragonmark Heir, replace Greater Dragonmark with Greater Aberrant Dragonmark
Improved Greater Aberrant: As Dragonmark Heir.
The basic idea of the PrC is to modify the Dragonmark Heir and make it available for characters with Aberrant Dragonmarks. Aside from two skill changes and the two minor special abilities the two classes are essentially the same. I can't reproduce the text of most of the abilities of the Dragonmark Heir as the text isn't OGL. The mechanics work the same as the Dragonmark Heir abilities.
It's not meant to be a great creative, original work. It's just a reflavoring of the Dragonmark Heir class. Thought I'd share it with the playground.
2009-08-07, 10:41 AM
I was unaware that Aberrant Dragonmarks came in multiple levels the way House Dragonmarks do. Must have been in an expansion.
lvl 1 fighter
2009-08-07, 10:57 AM
The Lesser Aberrant Dragonmark and Greater Aberrant Dragonmark are in Dragonmarked (_URL_
2010-06-08, 08:35 PM
there's already a class for this called child of Khyber.
2010-06-08, 09:03 PM
Please check the last date posted before responding :smallbiggrin:
Thank you!


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Filbert (Hazelnut) (Corylus sp.)
Little research has been done on the Filbert in California. Thus, we know little about its specific adaptability or productive capacity. Filberts are monoecious (separate female and male flowers are borne on one plant—like walnuts) and some cultivars are self-unfruitful; thus, two different varieties should be grown for cross-pollination to produce consistent crops. Trees reach a height of 18 ft. under ideal conditions. Filberts are almost pest free in California. Seedling is the only known rootstock.
- [PDF] Filbert Varieties for Planting in the Home Garden, Paul Vossen, Sonoma and Marin Co. UCCE


Seminario del Prof. Jérôme Dokic
«Narration, the self, and aestehtic immersion», Seminario que Jérôme Dokic (Institut Jean Nicod,EHESS-PSL) impartirá en la sede del Doctorado en Filosofía de la Universidad Nacional de San Martín (Edificio Volta, Av. Pres. Roque Sáenz Peña 832/844, Piso4) del lunes 27 al jueves 30 de noviembre de noviembre.
La actividad cuenta con el auspicio del Programa de Estudios en Filosofía del Arte del Centro de Investigaciones Filosóficas (UA CONICET).…/narration-the-self-a…/
Doctoral seminar
Narration, the self, and aesthetic immersion
Jérôme Dokic
(Institut Jean-Nicod, EHESS-PSL)
1) What is affective imagination?
The relationship between imagination and emotion is complex. Drawing from Peter Goldie's account of imaginings as "mental narratives", I suggest that affective imagination involves three distinct levels of epistemic and emotional perspectives, corresponding to the author (the imagining subject), the imagined character (if there is one) and what I call the "virtual narrator", who paints the imaginary world in a specific emotional light. I show how the present account of affective imagination can be used to shed light on the vexed notion of affective memory, which points to an emotional way of representing one's own past.
2) The sublime and the self
The sublime emerges in the history of philosophy as the object of an aesthetic experience contrasted with the aesthetic experience of the beautiful. In the light of recent psychological and neuroscientific studies, I suggest that the sublime gives rise to an aesthetic experience that, contrary to the experience of the beautiful, involves a diminished sense of the self. More precisely, sublimity experiences are immersive and blur the distinction between the self and the world. This claim has implications for a central question about the sublime, namely whether it is restricted to natural scenes or extends to artworks. I claim that in favourable conditions, art can elicit sublimity experiences.
3) Imaginative immersion I: pictures
What does it take to be imaginatively immersed in (static or dynamic) pictures? What is the relationship between imaginative immersion in pictures and Richard Wollheim's notion of seeing-in? I draw on previous work about so-called "noetic feelings" and sketch an account of imaginative immersion in terms of a belief-independent feeling of reality or presence. I contrast this account with various enactivist attempts to explain our special relationship with pictures by means of the notion of sensorimotor contingencies.
4) Imaginative immersion II: virtual reality and other devices
In this lecture, I take on the notion of imaginative immersion developed in the previous lectures and apply it to immersive devices used for either therapeutic or artistic purposes. I start with an account of sensory substitution devices based on the dualism between sensory content and the feeling of presence. I then turn to other immersive devices used by artists to provoke a specific type of experience. A taxonomy of immersive devices will eventually be offered.
Brady, Emily, The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Cambridge: Cambridge University Press, 2013.
Currie, Gregory, Narrative and Narrators, Oxford: OUP, 2010.
Dokic J. (2016), "¿La experiencia estética como un sentimiento metacognitivo? Una visión de aspecto dual", Boletín de Estética, 35 (2016): 35-65.
Goldie, Peter, The Mess Inside: Narrative, Emotion, and the Mind, Oxford: OUP, 2012
Saint Girons, Baldine, Le Sublime de l'antiquité à nos jours, Paris: Éditions Desjonquères, 2005.
Schaeffer, Jean-Marie, Pourquoi la fiction ?, París, Seuil, 1999.
Van Gerwen, Rob (ed.), Richard Wollheim on the Art of Painting: Art as Representation and Expression, Cambridge University Press, 2001
Wollheim, Richard, "What makes representational painting truly visual?", Supplement to the Proceedings of the Aristotelian Society 77:1 (2003): 131-147.
_____, Painting as an Art, London: Thames and Hudson, 1987.
_____, Art and its Objects, Cambridge: Cambridge University Press, 2nd edn, 1980
_____, "Pictorial style: two views", in Berel Lang (ed.), The Concept of Style, Philadelphia: University of Pennsylvania Press, 1979.
_____, On Art and the Mind, Cambridge, MA: Harvard University Press, 1973
Monday 27 to Thursday 30 November, 2017
16-20 hs
Edificio Volta
Av. Pres. Roque Sáenz Peña 832/844
Seminar organized under the auspices of the Centro de Investigaciones Filosóficas (UA CONICET)
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text: The principle of causation is fundamental to science and society and has remained an active topic of discourse in philosophy for over two millennia. Modern philosophers often rely on ''neuron diagrams'', a domain-specific visual language for discussing and reasoning about causal relationships and the concept of causation itself. In this paper we formalize the syntax and semantics of neuron diagrams. We discuss existing algorithms for identifying causes in neuron diagrams, show how these approaches are flawed, and propose solutions to these problems. We separate the standard representation of a dynamic execution of a neuron diagram from its static definition and define two separate, but related semantics, one for the causal effects of neuron diagrams and one for the identification of causes themselves. Most significantly, we propose a simple language extension that supports a clear, consistent, and comprehensive algorithm for automatic causal inference.


text:
Historic cemeteries provide rare opportunities to
study and honor our ancestors and our communities.
These memorials to past generations can tell us
about settlement patterns, family relationships,
religion, lifestyles and craftsmanship. Whether
your cemetery is well preserved or endangered, the
Alabama Historical Commission (AHC) helps preserve
these places for future generations.
list of cemeteries in the Historic Cemetery
Register is available alphabetically by county.
The Alabama Historical Commission's
cemetery program provides assistance in identifying,
documenting, registering, conserving, and protecting
Alabama's historic cemeteries. Through the cemetery
program, the Alabama Historical Commission:
- Informs the public about cemetery preservation guidelines
- Teaches individuals and groups how to document cemeteries
- Provides official historic designation for cemeteries through the Alabama Historic Cemetery Register
- Assists those interested in purchasing a historical marker or plaques for cemeteries
- Supplies free technical assistance on how to properly clean and repair cemeteries and grave markers
- Makes information on Alabamas cemeteries laws available
- Answers questions concerning the general history of Alabamas cemeteries.
For a list of Alabama Historical Commission cemetery historical markers & plaques in Alabama,
Please click on the following links for additional information, survey forms or applications.
Alabama Legislature amends Burial Law
Governor Bob Riley signed amendment into law on April 30,
Amended law provides equal protection under the law
for Native American burials.
text of bill
For more information, please contact
Lee Anne Wofford, Cemetery Program Coordinator, by
phone at _PHONE_ or by email at


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The Correct spelling is: phenomenal
Common misspellings of the word phenomenal are:
How do you spell phenomenal?. It is not phenomenonal
phenomenally pheÂ·nom'eÂ·nalÂ·ly adv.
- Of, relating to, or constituting phenomena or a phenomenon.
- Extraordinary; outstanding: a phenomenal feat of memory.
- Philosophy. Known or derived through the senses rather than through the mind.


_USER_{RAS:SourceID:8429, abstract = {This paper deals with the faunistic study of 27 species of sponges collected off Namibia during different Spanish expeditions. Most of the species are described and some taxonomic aspects are also considered. The name P. levi is proposed for the southern African specIes P. atlantica Levi, since this latter name has already been used for a North Atlantic species (Stephens 1917).}, author = {Uriz, M.J.}, journal = { Publications of the Sherkin Island Marine Station}, note = {Proceedings of the 1st Workshop on Atlanto-Mediterranean Sponge Taxonomy}, pages = {54-73}, title = {Sponges from the south-west of Africa: description of species. In: Jones WC (ed) European contributions to the taxonomy of sponges.}, url = {_URL_ volume = {1}, year = {1987} }


text: According to music pedagogue Randall Allsup (2003: 157), praxis is "not simply the capacity to imagine alternative scenarios, but is instead the slow burning fuse of possibility and action." This paper will examine the role of uncertainty and praxis in the creative writing classroom, paying particular attention to the role of prose workshopping. First, it will offer an overview of praxis and then it will argue that, when successful, creative writing pedagogy offers praxis: that is, students learn to imagine their writing in different ways through workshopping (possibility) and to enact those changes through the rewriting process (action). Then, it will explore practical ways of addressing authority in the workshop arena as well as the importance of supplementary readings. (Allsup, Randall Everett. 2003. 'Praxis and the Possible: Thoughts on the Writings of Maxine Greene and Paulo Freire' Philosophy of Music Education Review 11.2: 157-169).


text: This qualitative multicase study explored the process through which three student caregivers engaged in relationships with key infants in the context of an infant practicum course as a foundation for learning about infant development and practice. Focusing on caregiver–infant dyads, data sources included videotaped observations of caregiver–child interactions across three time points in a semester, and student caregivers' weekly reflective notebooks and assignments. Findings from this study revealed the power and value of relationships as an essential context for learning about infant development, infant care and education, and preparation of infant professionals. Ample time and supported opportunities to develop authentic relationships with infants and their families, and a framework for reflection on relationships and practice were provided through a well-constructed and supervised infant practicum, which is recommended for both early childhood preservice students and those preparing for related disciplines. Our findings suggest that infant caregiving provides valuable professional knowledge which can be applied across the early childhood continuum.