text:
Just-in-Time Audio Files to Facilitate Student Learning Beyond the Classroom
Spring 2012: Emerging Pedagogies for the New Millennium
University of Puerto Rico, Rio Piedras and University of the Sacred Heart
Susan Prion, University of San Francisco
For thousands of years, the human voice has been an essential instructional tool. Teachers talked to students and students responded with questions and comments. This content-?focused conversation has been the basis of almost all subsequent teaching and learning approaches. More recently, technology has permitted the recording of the human voice, and both live and recorded audio has been used for instruction.
Research has demonstrated that audio can be a very effective tool for student learning under the right conditions (Moreno, & Mayer, 2000; Mayer, Sobko, & Mautone, 2003; Mayer, 2005, Prion & Mitchell, 2008). Recorded audio files have been used as historical records of a live event, class or discussion, and to provide rich feedback to students about projects such as term papers. A more recent use of audio files is to offer "just-in-time" instructional support to students as they master difficult and complex content, or to provide remedial or enrichment content outside of the classroom (Prion & Mitchell, 2007a and 2007b).
The effectiveness of audio for learning is explained by the Dual Coding Theory (Paivio, 1985) and Mayer's Theory of Multimedia Learning (2001). Paivio's theory of dual processing proposed that humans collect instructionally-?related sensory input via two distinct but interrelated systems: a visual system for processing still and moving picture, diagrams, illustrations and written text, and an audio system for spoken word, music and other types of sound input. Subsequent research on working memory (Badderly, 1992) and cognitive load (Sweller, 1994) identified the importance of planned sensory input through both channels and cautioned about the problems caused by cognitive overload. Mayer's theory (2001) integrated working memory and cognitive load with the advances in instructional technology to describe ways to maximize learning through the thoughtful use of the wide variety of technological adjuncts available (Mayer & Moreno, 2003). Mayer's theory predicts that audio explanations will be more effective than text because text-?based explanations compete for limited cognitive processing space with the visual information because both used the same image coding system.
Just-in-time audio
This term is borrowed from business colleagues to describe relatively short audio files (typically under 10 minutes) that address specific student learning issues at the moment that these issues arise. Instructionally significant is that these audio files are created in response to a clear learning need identified by the instructor through student questions in the classroom, student email or online discussion board questions, or conceptual difficulties experience by previous students in the same type of class. These audio files provide timely and targeted conceptual scaffolding for students that can be easily downloaded from the course website and referenced as often as the student needs to master the content or concept.
Three types of audio narratives have been used to facilitate student learning:
Audio for known conceptual difficulties
Audio for unexpected conceptual difficulties
Audio for enrichment and supplementation
Audio narrative for known conceptual difficulties
In this instructional situation, audio narratives were developed in advance of the classroom discussion to address an especially difficult or confusing concept of which the instructor was aware from previous semesters. These were known challenging topics and it was expected that the students would have difficulty mastering the information after only one exposure. The file was made available on the course management site immediately after the class discussion was completed. Students first participated in the classroom explanation and then had unlimited access to an additional resource to review and reinforce their understanding. These files are formatted in MP3 or MP4 files so they can be played on any computer or mobile computing device. There is often one visual, usually a flowchart or a color-coded image or diagram that accompanies this audio file. An example of this type of audio narrative content would be the differences between statistical and practical significance calculations.
Audio narratives for emerging conceptual difficulties
The second type of just-in-time audio was used in situations when students unexpectedly struggled with a concept during class. Although the idea was explained it during class, it was very clear from student questions and demeanors that there was continued confusion about the content. The audio narrative provided at least one alternate explanation and directed students towards potentially useful resources that could be used to master the content. This type of audio reinforced the classroom content but also allowed the student to review the material at his or her own pace. This is very helpful when the classroom discussion flows too quickly for a student's understanding. These audio files were recorded and edited within 24 hours of the class conclusion and uploaded to the course management site as MP4 files for maximum student accessibility. There was often one visual, usually a flowchart or a color-?coded image or diagram that accompanied this audio file. An example of this type of audio narrative content would be a review of research reliability and validity threats for entering doctoral students.
Audio narratives for conceptual enrichment and supplementation
Often, students demonstrate an interest in a topic that is not directly relevant to the course or does not justify a time-consuming classroom explanation. In this situation, a just-in-time audio narrative can serve as a fulfilling cognitive enrichment that supplements the classroom content but does not take extra classroom time. Like the other audio files, these narratives are made available on the course management website within two-three days of the classroom discussion and are formatted as MP3 or MP4 files for maximum accessibility. There is usually a resource list that accompanies these types of supplementary audio files. Examples of this type of audio narrative content include information about different types of effect size calculations, and a detailed description of post hoc statistical comparison techniques.
Identification of student learning needs
To maximize the effectiveness of these just-in-time audio files, the identification of student learning needs should be quick, precise and ongoing. The professor's teaching diary from previous iterations of the course was useful in identifying "difficult" topics that might require an audio narrative. Review of student performance on test items, coupled with student questions from individual emails, class discussion boards, and office hours, all provided rich information for the creation of audio files. Student behavior during class, including the content and pattern of questions, also provide good information about the content for possible audio files.
Creation of the audio narratives
The instructor has an important opportunity for a 'teachable moment" in response to these learning situations. Just-in-time audio narratives can provide key instructional support at the precise time that the student requires additional assistance in mastering the concept. Just-in-time audio narratives need to be prompt in responding to an identified learning need; precise in addressing the specific content for review; concise and complete but not overwhelming with too much information; professional quality because students listening to these files through high fidelity equipment will be annoyed by poor audio and distracting vocal habits; and personal, meaning that the students know that the audio narrative was made by their instructor in response to their identified learning needs.
Student reaction has been extremely positive to the instructional use of just-in-time audio narratives. A summative survey of student perceptions about the course collected affirmative comments ("extremely helpful" and "helpful") from over 95% of the students enrolled in the class over five semesters (n = 92). Students reported "relief" knowing that an audio narrative would be available for difficult topics.
Students also reported that the audio files increased and enhanced their learning of the specific content. They rated the topics for the audio narratives as "well-chosen." The audio quality was judged "high" or "extremely high" by respondents. The rapid availability of a high-quality audio narrative in response to an identified learning need was also rated highly.
Just-in-time audio files offer personalized study opportunities as students self-select which materials to review and how often to use the audio files. Audio narratives provide the instructor with alternate methods to encourage review of prerequisite knowledge and to offer enrichment with information that extends the textbook and course assignments. The human voice remains an effective teaching tool, both inside and beyond the classroom.
Baddeley, A. D. (1992). Working memory. Science, 255(5044), 556-559.
Mayer, R. E. (2001). Multimedia Learning. New York: Cambridge University Press.
Mayer, R. E. (Ed.). (2005). The Cambridge Handbook of Multimedia Learning. Cambridge, U.K.: Cambridge University Press.
Mayer, R. E., & Moreno, R. (2003). Nine ways to reduce cognitive load in multimedia learning. Educational Psychologist, 38(1), 43-53.
Mayer, R.E., Fennell, S., Farmer, L. and Campbell, J. (2004). A personalization effect in multimedia learning: students learn better when words are in conversational style rather than formal style. Journal of Educational Psychology, 96 (2), 389-395.
Mayer, R.E., Sobko, K., and Mautone, P.D. (2003). Social cues in multimedia learning: role of speaker's voice. Journal of Educational Psychology, 95 (2), 419-425.
Moreno, R. and Mayer, R.E. (2000). Engaging students in active learning: the case for personalized multimedia messages. Journal of Educational Psychology, 92 (4), 724-733.
Paivio, A. (1986). Mental representations: a dual coding approach. Oxford, England: Oxford University Press.
Prion, S., & Mitchell, M. (2007a). Audiobooks for meaningful learning. Paper presented at the Proceedings of E-Learn 2007 World Conference on E-?Learning in Corporate, Government, Healthcare, and Higher Education, Quebec City, Canada.
Prion, S., & Mitchell, M. (2007b). Just-in-time audio for effective student learning. Paper presented at the Proceedings of the Ed Media World Conference on Educational Multimedia, Hypermedia & Telecommunications, Vancouver, Canada.


text:
package org.jbpm.workbench.es.client.editors.errorlist;

import java.util.ArrayList;
import java.util.Arrays;
import java.util.LinkedList;
import java.util.List;
import javax.enterprise.context.Dependent;
import javax.inject.Inject;

import com.google.gwt.cell.client.CompositeCell;
import com.google.gwt.cell.client.HasCell;
import com.google.gwt.core.client.GWT;
import com.google.gwt.dom.client.Style;
import com.google.gwt.event.dom.client.ClickEvent;
import com.google.gwt.user.cellview.client.Column;
import org.gwtbootstrap3.client.ui.AnchorListItem;
import org.gwtbootstrap3.client.ui.Button;
import org.gwtbootstrap3.client.ui.ButtonGroup;
import org.gwtbootstrap3.client.ui.DropDownMenu;
import org.gwtbootstrap3.client.ui.constants.IconType;
import org.gwtbootstrap3.client.ui.constants.Styles;
import org.gwtbootstrap3.client.ui.constants.Toggle;
import org.jbpm.workbench.common.client.list.AbstractMultiGridView;
import org.jbpm.workbench.common.client.list.ExtendedPagedTable;
import org.jbpm.workbench.common.client.util.BooleanConverter;
import org.jbpm.workbench.common.client.util.ConditionalButtonActionCell;
import org.jbpm.workbench.common.client.util.DateTimeConverter;
import org.jbpm.workbench.es.client.i18n.Constants;
import org.jbpm.workbench.es.client.util.ExecutionErrorTypeConverter;
import org.jbpm.workbench.es.model.ExecutionErrorSummary;
import org.uberfire.client.views.pfly.widgets.ConfirmPopup;
import org.uberfire.ext.widgets.table.client.ColumnMeta;

import static org.jbpm.workbench.es.model.ExecutionErrorDataSetConstants.*;

@Dependent
public class ExecutionErrorListViewImpl extends AbstractMultiGridView<ExecutionErrorSummary, ExecutionErrorListPresenter>
        implements ExecutionErrorListPresenter.ExecutionErrorListView {

    private static final String EXECUTION_ERROR_LIST_PREFIX = "DS_ExecutionErrorListGrid";
    protected static final String TAB_ALL = EXECUTION_ERROR_LIST_PREFIX + "_0";
    protected static final String TAB_ACK = EXECUTION_ERROR_LIST_PREFIX + "_1";
    protected static final String TAB_NEW = EXECUTION_ERROR_LIST_PREFIX + "_2";

    private final Constants constants = Constants.INSTANCE;

    @Inject
    ConfirmPopup confirmPopup;

    @Inject
    ExecutionErrorTypeConverter executionErrorTypeConverter;

    @Inject
    DateTimeConverter dateTimeConverter;

    @Inject
    BooleanConverter booleanConverter;

    @Override
    public List<String> getInitColumns() {
        return Arrays.asList(COL_ID_SELECT,
                             COLUMN_ERROR_TYPE,
                             COLUMN_PROCESS_INST_ID,
                             COLUMN_ERROR_DATE,
                             COLUMN_DEPLOYMENT_ID,
                             COL_ID_ACTIONS);
    }

    @Override
    public List<String> getBannedColumns() {
        return Arrays.asList(COL_ID_SELECT,
                             COLUMN_ERROR_TYPE,
                             COLUMN_PROCESS_INST_ID,
                             COLUMN_ERROR_DATE,
                             COL_ID_ACTIONS);
    }

    @Override
    public String getGridGlobalPreferencesKey() {
        return EXECUTION_ERROR_LIST_PREFIX;
    }

    @Override
    public String getNewFilterPopupTitle() {
        return constants.New_ErrorList();
    }

    @Override
    public void initSelectionModel(final ExtendedPagedTable<ExecutionErrorSummary> extendedPagedTable) {
        extendedPagedTable.setEmptyTableCaption(constants.No_Execution_Errors_Found());
        extendedPagedTable.setSelectionCallback((error, close) -> presenter.selectExecutionError(error,
                                                                                close));
        initBulkActions(extendedPagedTable);
    }

    private void initBulkActions(final ExtendedPagedTable<ExecutionErrorSummary> extendedPagedTable) {
        extendedPagedTable.getRightActionsToolbar().clear();

        final AnchorListItem bulkAckNavLink = GWT.create(AnchorListItem.class);
        bulkAckNavLink.setText(constants.Bulk_Ack());

        final ButtonGroup bulkActions = GWT.create(ButtonGroup.class);
        final Button bulkButton = GWT.create(Button.class);
        bulkButton.setText(constants.Bulk_Actions());
        bulkButton.setDataToggle(Toggle.DROPDOWN);
        bulkButton.getElement().getStyle().setMarginRight(5,
                                                          Style.Unit.PX);
        bulkActions.add(bulkButton);
        final DropDownMenu bulkDropDown = GWT.create(DropDownMenu.class);
        bulkDropDown.addStyleName(Styles.DROPDOWN_MENU + "-right");
        bulkDropDown.getElement().getStyle().setMarginRight(5,
                                                            Style.Unit.PX);
        bulkDropDown.add(bulkAckNavLink);
        bulkActions.add(bulkDropDown);
        bulkAckNavLink.setIcon(IconType.BAN);
        bulkAckNavLink.setIconFixedWidth(true);
        bulkAckNavLink.addClickHandler((ClickEvent event) -> {
            confirmPopup.show(constants.Bulk_Ack(),
                              constants.Acknowledge(),
                              constants.Bulk_Ack_confirm(),
                              () -> {
                                  presenter.bulkAcknowledge(extendedPagedTable.getSelectedItems());
                                  extendedPagedTable.deselectAllItems();
                                  extendedPagedTable.redraw();
                              });
        });

        extendedPagedTable.getRightActionsToolbar().add(bulkActions);
    }

    @Override
    public void initColumns(final ExtendedPagedTable<ExecutionErrorSummary> extendedPagedTable) {
        final ColumnMeta<ExecutionErrorSummary> checkColumnMeta = initChecksColumn(extendedPagedTable);

        final List<ColumnMeta<ExecutionErrorSummary>> columnMetas = new ArrayList<ColumnMeta<ExecutionErrorSummary>>();

        columnMetas.add(checkColumnMeta);
        columnMetas.add(new ColumnMeta<>(createTextColumn(COLUMN_ERROR_ID,
                                                          errorSummary -> errorSummary.getErrorId()),
                                         constants.Id()));
        columnMetas.add(new ColumnMeta<>(createTextColumn(COLUMN_ERROR_TYPE,
                                                          errorSummary -> executionErrorTypeConverter.toWidgetValue(errorSummary.getType())),
                                         constants.Type()));
        columnMetas.add(new ColumnMeta<>(createTextColumn(COLUMN_ERROR_ACK,
                                                          errorSummary -> booleanConverter.toWidgetValue(errorSummary.isAcknowledged())),
                                         constants.Ack()));
        columnMetas.add(new ColumnMeta<>(createTextColumn(COLUMN_ERROR_ACK_AT,
                                                          errorSummary ->
                                                                  dateTimeConverter.toWidgetValue(errorSummary.getAcknowledgedAt())),
                                         constants.AckAt()));
        columnMetas.add(new ColumnMeta<>(createTextColumn(COLUMN_ERROR_ACK_BY,
                                                          errorSummary -> errorSummary.getAcknowledgedBy()),
                                         constants.AckBy()));
        columnMetas.add(new ColumnMeta<>(createNumberColumn(COLUMN_JOB_ID,
                                                            errorSummary -> errorSummary.getJobId()),
                                         constants.JobId()));
        columnMetas.add(new ColumnMeta<>(createTextColumn(COLUMN_PROCESS_ID,
                                                          errorSummary -> errorSummary.getProcessId()),
                                         constants.ProcessId()));
        columnMetas.add(new ColumnMeta<>(createNumberColumn(COLUMN_PROCESS_INST_ID,
                                                            errorSummary -> errorSummary.getProcessInstanceId()),
                                         constants.Process_Instance_Id()));

        columnMetas.add(new ColumnMeta<>(createNumberColumn(COLUMN_ACTIVITY_ID,
                                                            errorSummary -> errorSummary.getActivityId()),
                                         constants.ActivityId()));
        columnMetas.add(new ColumnMeta<>(createTextColumn(COLUMN_ACTIVITY_NAME,
                                                          errorSummary -> errorSummary.getActivityName()),
                                         constants.ActivityName()));
        columnMetas.add(new ColumnMeta<>(createTextColumn(COLUMN_ERROR_DATE,
                                                          errorSummary ->
                                                                  dateTimeConverter.toWidgetValue(errorSummary.getErrorDate())),
                                         constants.ErrorDate()));
        columnMetas.add(new ColumnMeta<>(createTextColumn(COLUMN_DEPLOYMENT_ID,
                                                          errorSummary -> errorSummary.getDeploymentId()),
                                         constants.DeploymentId()));
        columnMetas.add(new ColumnMeta<>(createTextColumn(COLUMN_ERROR_MSG,
                                                          errorSummary -> errorSummary.getErrorMessage()),
                                         constants.Message()));

        Column<ExecutionErrorSummary, ExecutionErrorSummary> actionsColumn = initActionsColumn();

        extendedPagedTable.addSelectionIgnoreColumn(actionsColumn);

        ColumnMeta actionsColumnMeta = new ColumnMeta<>(actionsColumn,
                                                        constants.Actions());
        columnMetas.add(actionsColumnMeta);

        extendedPagedTable.setColumnWidth(checkColumnMeta.getColumn(),
                                          38,
                                          Style.Unit.PX);
        extendedPagedTable.setColumnWidth(actionsColumnMeta.getColumn(),
                                          340,
                                          Style.Unit.PX);

        extendedPagedTable.addColumns(columnMetas);
    }

    private Column<ExecutionErrorSummary, ExecutionErrorSummary> initActionsColumn() {
        List<HasCell<ExecutionErrorSummary, ?>> cells = new LinkedList<HasCell<ExecutionErrorSummary, ?>>();

        cells.add(new ConditionalButtonActionCell<ExecutionErrorSummary>(
                constants.Acknowledge(),
                errorSummary -> presenter.acknowledgeExecutionError(errorSummary.getErrorId(),
                                                                    errorSummary.getDeploymentId()),
                presenter.getAcknowledgeActionCondition()));

        cells.add(new ConditionalButtonActionCell<ExecutionErrorSummary>(
                constants.ViewJob(),
                errorSummary -> presenter.goToJob(errorSummary),
                presenter.getViewJobActionCondition()));

        cells.add(new ConditionalButtonActionCell<ExecutionErrorSummary>(
                constants.ViewProcessInstance(),
                errorSummary -> presenter.goToProcessInstance(errorSummary),
                presenter.getViewProcessInstanceActionCondition()));

        cells.add(new ConditionalButtonActionCell<ExecutionErrorSummary>(
                constants.ViewTask(),
                errorSummary -> presenter.goToTask(errorSummary),
                presenter.getViewTaskActionCondition()));

        CompositeCell<ExecutionErrorSummary> cell = new CompositeCell<ExecutionErrorSummary>(cells);
        Column<ExecutionErrorSummary, ExecutionErrorSummary> actionsColumn = new Column<ExecutionErrorSummary, ExecutionErrorSummary>(cell) {
            @Override
            public ExecutionErrorSummary getValue(ExecutionErrorSummary object) {
                return object;
            }
        };
        actionsColumn.setDataStoreName(COL_ID_ACTIONS);
        return actionsColumn;
    }

    @Override
    public void initDefaultFilters() {

        super.initDefaultFilters();

        initTabFilter(presenter.createAllTabSettings(),
                      TAB_ALL,
                      constants.All(),
                      constants.FilterAll(),
                      EXECUTION_ERROR_LIST_DATASET);

        initTabFilter(presenter.createNewTabSettings(),
                      TAB_NEW,
                      constants.New(),
                      constants.UnacknowledgedErrors(),
                      EXECUTION_ERROR_LIST_DATASET);

        initTabFilter(presenter.createAcknowledgedTabSettings(),
                      TAB_ACK,
                      constants.Acknowledged(),
                      constants.AcknowledgedErrors(),
                      EXECUTION_ERROR_LIST_DATASET);
    }
}

redpajama_set_name: RedPajamaGithub


text:
'Tis the season for food poisoning: a Christmas warning
News National 'Tis the season for food poisoning: a Christmas warning
10:29pm, Dec 23, 2016 Updated: 10:31pm, Dec 23
Australians have been warned of potential food poisoning this Christmas. Photo: Getty
James Ried Reporter @JamesRied9
Australians have been advised to be careful with food hygiene in the lead up to Christmas after an unexplained rise in food poisoning.
One person has died and six others have been taken to hospital in Victoria during the past three weeks with cases of listeriosis, as the state's Department of Health issued a word of caution for high-risk groups on Wednesday.
"Listeriosis is an illness usually caused by eating food contaminated by the bacterium Listeria monocytogenes. Listeria monocytogenes is widely distributed in the environment, and can grow in food at refrigeration temperatures," Victorian acting chief health officer Dr Finn Romanes said.
"The Department of Health and Human Services has observed an increase in notifications of listeriosis … although these cases have not been linked to each other or to a particular food, health professionals should be aware of the risk of listeriosis over summer."
Groups most at risk are pregnant women, newborns, older adults and people with weakened immune systems.
The surge in food poisoning prompted Victorian Health Minister Jill Hennessy to remind those at risk to avoid certain foods this Christmas.
Christmas Day scorchers for Victoria, South Australia as BoM warns of heatwave
Brothers accused of Christmas Day bomb plot
"Pregnant women should remain vigilant and avoid eating salads prepared well in advance of consumption, cold seafood and cold deli meats, soft cheeses, soft-serve ice cream, dips and any unpasteurised dairy products," Ms Hennessy told Ten Network.
"Food-borne illnesses typically increase during the summer months, when bacteria can multiply quickly. With a recent rise in listeriosis notifications it's particularly important pregnant women take extra precautions this Christmas."
The seven cases are among 25 reported in Victoria this year. In 2015, there were 22 cases.
How to avoid food poisoning this Christmas
With just one day until Christmas, the combination of hot weather and celebration feasts could be dangerous, experts warned.
"Especially in Australia and at Christmas time we are looking at heat being a factor and an increasing number of food poisoning (cases)," nutritionist Tracey Hyam Connor told The New Daily.
"A lot of food that we eat, if it's left out in the heat for too long can actually form bacteria and can make us extremely sick."
Hot weather and celebration feasts are a dangerous combination, experts say. Photo: Getty
Ms Hyam Connor says a lot of people don't follow simple food preparation guidelines to avoid food poisoning.
"Food preparation is a very big thing – that involves everything from making sure hands are clean when preparing any sort of food, designating different chopping boards for different foods for meat, bread and vegetables, and to make sure the food that we are eating is kept at a good temperature for it to be stable without forming that bacteria," she said.
"A lot of people don't do this. It is crucial to take it into consideration and provide adequate safe food preparation."
Ms Hyam Connor said the warning signs of food poisoning are hard to distinguish, until it's too late.
"Unfortunately if you can see signs of food poisoning by looking at it it's well passed the use-by date," she said.
She said any meat left out needs to either be refrigerated immediately or thrown away, while wilted vegetables are a clear sign of potential risk.
"Disposal of foods, it seems like it's not very important, but when dealing with fresh or cooked seafood it must be disposed of properly and quickly so no one eats it later on," Ms Hyam Connor said.
The Department of Health has provided tips to avoid food poisoning this festive season:
Wash your hands with soap and water before handling food
Keep your utensils, cutting boards, dishes and containers clean and dry
Store food at the correct temperatures. Cold food should be stored at less than 5 degrees Celsius
Cook food thoroughly
If in doubt throw it out
Separate raw and cooked foods
Use different utensils, cutting boards and containers for raw and ready-to-eat food
Check your fridge and freezer temperatures
Keep salads, spreads, dips and other perishable products in the fridge or a cooler until needed
Rinse all fruit and vegetables in clean water
Rod Culleton's political future in doubt after bankruptcy decision

redpajama_set_name: RedPajamaCommonCrawl


To color the concrete for the driveway on the Kuppersmith Project house, powdered colorant was poured into a paper grocery sack and dropped into the concrete truck. The colorant was thoroughly mixed into each load of cement before it was poured. Since the powdered colorant made the concrete stiffer, additional water had to be added to the mix.
Another option for coloring concrete is to apply a color hardener to the top layer of concrete after it has been poured. While a color hardener can produce more vibrant colors than adding colorant to the mix, any dings or edges in the finished slab will show, since the color is only on the surface of the concrete.


Good morning! The sun is finally shining here, tulips are in bloom, and I have my cup of tea in hand. Oh, and Mother's Day is coming up! We have an exciting weekend planned, and I can't wait to help my family celebrate. It's going to be a great week.
My mom likes to go out to dinner on Mother's Day. So, since there isn't any menu planning to do, I'm spending some time making a bunch of meals to freeze for the coming weeks. What's on the menu? Among other things, how about a big batch of sweet potato gnocchi!
I absolutely LOVE making gnocchi. Pasta is one of my favorite dishes, but sometimes it's nice to mix it up a little bit. Gluten free gnocchi can sometimes be on the pricey side. With an average of only two servings per container, each serving ends up being about $3 (that's the price of the gnocchi in my grocery store).
I know I have to buy gluten free food, but why pay that much more for something I can make myself! So, how much does it cost to make yourself? With the ingredients I bought at my local grocery store, my dough made about 5 servings and cost just about $3.50 to make the whole batch… that's about 0.70 cents a serving! I'm all for a good deal. Plus, I just got a potato ricer for my birthday to make the whole gnocchi-making process that much easier. Hey, priorities change as you get older! But I'm telling you, go out and get yourself a potato ricer if you don't already have one. You'll thank me later, and your gnocchi will thank you too.
If you don't already know, I've had an obsession with mascarpone cheese lately. I've been adding it to everything I can, including brownies. It just makes everything a little bit better…Like with this gnocchi. Sweet potato gnocchi hasn't always been my gnocchi of choice. But this recipe completely changed my mind. The gnocchi is delicate and smooth, with a hint of sweetness from the mascarpone. It's not always the cheapest ingredient to find, but it's definitely worth it! I've also been using Bob's Red Mill gluten free 1:1 flour in my recipes. It has a little a xanthan gum in it, which I think helps hold gluten free gnocchi together, and I find my recipes always turns out great with this flour!
If using an oven, cook your potatoes at 400℉ for about 40 minutes or until they are tender. Once they have cooled slightly, just enough for you to handle them, peel the potatoes and run the inside through a potato ricer. Place the riced sweet potato into a medium bowl and set aside.
Mix the egg, salt, and mascarpone cheese until smooth. Stir in the nutmeg if you choose to use some, then add the wet mixture into the potatoes and stir until totally combined. Using a wooden spoon or your hands, work in 1 1/2 cups of flour (1/4 cup at a time). Continue to add flour until your dough comes together and is no longer tacky. If your dough is still too soft or tacky, slowly sprinkle in another 1/4 cup (mine used 1 3/4 cup). If your dough starts to crack a little, it's ok – don't add any more flour and just work the dough until it's all combined. The dough should be soft enough to roll into logs, but not too soft that it smushes when you roll it. It also should be able to hold its shape when rolling on the gnocchi board. Once the dough comes together, form into a ball and cut into 4 equal pieces. I eventually cut mine into eights for easier rolling.
Using one piece of dough at a time, roll onto a floured surface until dough forms a log shape (about 1/2-1 inch thick, depending how thick you like it). Use a knife to cut the log into small "pillows" or squares, then roll each gnocchi piece on a gnocchi board. You can also press lightly with a fork to indent instead, or skip the ridges completely and leave as pillows. Whatever your heart desires! I usually portion them out to have about 25-30 gnocchi in a serving.
I cook my gnocchi in a smaller pot with about 10-15 pieces at a time. This ensures that the pot is not too crowded and that the gnocchi will not stick to each other. If you have a large stock pot, you could cook one batch of 25-30 at a time. I only cook them for about 30 seconds or so until they float. Use a strainer or spider (yep it's called a spider!) to scoop out the gnocchi and place aside in your serving bowl. Repeat with the remaining gnocchi you are cooking, then toss them all in the sauce of your choosing! You can also place them in a pan with melted butter over medium-low heat, and cook them for an extra few minutes until the outsides crisp slightly.
Go through step 6 of making the gnocchi (cutting your pieces of gnocchi and rolling them on the gnocchi board), then lay the cut gnocchi out on a baking sheet lined with parchment paper, spreading them out so they do not touch. Place in a freezer and freeze until they are firm enough to handle without smashing when picked up (about 30min-1hr). Then, section out your gnocchi into desired portions and place each portion in a freezer-safe bag. Place back into the freezer until ready to use. When you're ready, cook 10-15 gnocchi at a time in a pot of lightly boiling water for about 3-4 minutes or until they float. If your water stops boiling after adding in the gnocchi, turn up the heat slightly until the light boil starts again. Remove the cooked gnocchi and repeat with the remaining gnocchi. Toss with your favorite sauce.
EXTRA TIP: make sure you let your water come back to a light boil after cooking each small batch. Frozen food drops the temperature of the water, and if the water isn't hot enough the gnocchi will cook on the outside before the inside cooks – leaving you with a gummy texture or gnocchi that falls apart.
Sweet potato gnocchi goes with a variety of sauces. Try it with a cream sauce, marinara, pesto, or even a simple brown butter and sage sauce. Or try my recipe with spinach and garlic butter sauce. However your decide to serve them, they will definitely leave you feeling satisfied!
Once your cooked potatoes have cooled slightly, peel and run them through a potato ricer. Place them into a medium mixing bowl.
In a small bowl, whisk the egg, salt, and mascarpone cheese until smooth. Stir in the nutmeg if you choose to do so.
Add wet ingredients into the large bowl with potatoes, stirring until combined.
Using a wooden spoon or your hands, work in 1 and 1/2 cups of flour (1/4 cup at a time). Continue to add flour until your dough comes together and is no longer tacky. If your dough is still too soft or tacky, slowly sprinkle in another 1/4 cup (mine used 1 and 3/4 cup). If your dough starts to crack a little, it's ok - don't add any more flour and just work the dough until it's all combined. Once the dough comes together, form into a ball and cut into 4 equal pieces. I eventually cut mine into eighths.
Using one piece of dough at a time, roll onto a floured surface until the dough forms a log shape (about 1/2-1 inch thick, depending how thick you like it). Using a knife, cut the log into small "pillows" or squares.
Gently roll each piece of gnocchi onto a gnocchi board, or take a fork and lightly press onto each piece. Set aside.
Cook about 10-15 gnocchi at a time in a pot of lightly boiling water, making sure not overcrowd the pot. Cook for about 30 seconds to 1 minute, just until they start to float. Strain out the gnocchi and repeat with the rest of your desired portion. Serve with sauce of choice, or sauté in a pan of butter over medium-low heat for an extra few minutes before serving.
Not all gluten free flour blends are created equal. Depending on the ratio of different flours in your blend, you may need to add more or less flour. I would asses your dough after 1 1/4 cups of flour, then add each additional 1/4 cup if needed until the correct consistency is there. I've found that a little extra flour, as long as the dough doesn't break or crack when rolling, works better. Because of the mascarpone in this recipe, more flour doesn't necessarily create a tougher dough, but is needed to better hold gluten free gnocchi together.
Freezing gnocchi: When making a large batch ahead of time, you can store leftover dough in the fridge (wrapped in plastic wrap) for a few days. When ready to cook, roll out your dough and repeat steps 5-7. If freezing, go through step 6 (cutting your pieces of gnocchi and rolling them on the gnocchi board). Lay the gnocchi on a baking sheet lined with parchment paper, spreading them out so they do not touch, and freeze just until firm (about 30min-1hr). Then, section out your gnocchi into portions (I do about 25-30 for a single portion) and place each portion in a freezer-safe bag. Place back into the freezer until ready to use. When ready, cook 10-15 gnocchi at a time in a pot of lightly boiling water for about 3-4 minutes or until they float. If your water stops boiling after adding in the gnocchi, turn up the heat slightly until the light boil starts again. Remove the cooked gnocchi and repeat with the remaining gnocchi. Toss with your favorite sauce. TIP: make sure you let your water come back to a light boil after cooking each small batch. Frozen food drops the temperature of the water, and if the water isn't hot enough the gnocchi will cook on the outside before the inside cooks - leaving you with a gummy texture or gnocchi that falls apart.


This week we enjoy the evening with Telluksen Seireenit and special guest djs K3 & Mari.
Spectral Wednesdays presents new futuristic sounds; Spectral brings to mbar terrace a fresh finninsh twist on spaced in disco & synthetisizer symphonies. Straktobeam and it's 8 synthezisers fuse analogical and digital sounds, creating a cosmic atmosphere that reminds you of the hazards of space as well as the good old 8-bit world from the past. It's electronic game space music.
Spectral Wednesday is an early evening club, hosted by Telluksen Seireenit (Bassoradio). The evening combines live djing with lively visuals from animation to film remix production. Spectral Wednesdays is an evening of electronic music and friendly athmosphere.
Spectral Wednesdays is an evening of electronic music and friendly atmosphere. Free entrance!


Designing and developing a clean, professional, and easy to navigate website is paramount in this industry. The Venta team worked relentlessly to ensure every type of user could use and enjoy The Callaway Bank website purposefully. Developing websites for financial institutions requires in-depth knowledge of how those institutions operate both internally and for the public.
Some unique challenges faced for The Callaway Bank website include creating an easy online banking experience for users. Increasing cross selling products and services while providing a secure and trustable platform. They aimed to gain and retain customers by increasing online visibility.
Banking customers expect to manage their accounts online, and often on the go. The Callaway Bank website feels and operates the same on any size screen, allowing customers to switch between devices and still understand how to navigate and seek information or services.
The Venta design team used color and drop-down menu styles to help users understand information and navigate quickly to the user portal they need.
To better guide the user experience, we developed a visually appealing and informational area that can be seen throughout the website to target users and gain interactions.
Using large family-oriented photography across the website and implementing a unqiue timeline feature on the "About Us" page creates a more trustworthy and familial feeling for The Callaway Bank customers.
Created a visually recognizable website by incorporating SEO strategies.
The Callaway Bank website project included optimizing their website to rank well in search results. The Venta SEO team sets high goals, plans out strategy, and executes until visions are met. This project included keyword researching to see how users were trying to find banking services in the target area (Columbia, MO) and plotting content to help search engines, like Google, find The Callaway Bank and place it more relevant than their competitors.


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We're giving away 10 codes for MisBits
Being stuck indoors sucks, we know. But what if we were to tell you that we've got some codes to giveaway for a new multiplayer Steam game that's just gone into early access? That's right, we're giving away ten codes for MisBits, a colourful action-driven sandbox that has competitive modes like Playhouse, Deathmatch, and Kickbrawl.
The codes, which are for PC players only, will give you access to 3BlackDot's game, where you can battle to take the top spot in king-of-the-hill inspired modes, use your imagination and build your own maps and modes, and create fun moments with family and friends with the game's extensive customisation menu.
You can watch the trailer for the game below, but what's not to love about a good old multiplayer game that has something for everyone. Don an absolutely ridiculous mask, grab a pickle and go to war. If that won't cheer you up in these troubling times, we don't know what will.
To be in with a chance of winning one of the codes, complete the actions required via the Gleam widget below. We don't need too much from you, but we do need your full name and email address so we can contact you if you're one of the lucky winners next week. Don't worry though, we promise we won't send you spam.
You're also going to want to check out our full terms and conditions before you enter here.
TL – MisBits giveaway
While we've got your attention, drop us a like on Facebook, follow us on Twitter or Instagram, and sign up to our newsletter to keep on top of all the latest gaming, esports, and streaming news.
Jess Wells Editor
Jess is in charge of The Loadout, but don't let that scare you. Originally a local news hound, Jess fell in love with esports and decided to make the switch. She previously wrote for Astralis, PC Gamer, Eurogamer, and PCGamesN.
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League of Legends ranks


The cool project I mentioned yesterday? I'm interviewing Open Studios artists. I'll pick artists from around the city, most of whom I've never met (I'll let you know when I'm interviewing friends) and I'll attempt to choose artists of different styles, but I'm focusing on painting. I wish I'd thought of this earlier, so I could have gotten a head start on it – ideally, I would post the interview the week before the individual artist has the open studio event. But I may not be able to get any completed before this coming weekend. Next year I'll be more organized. I'm contacting artists now, and I'll let you know more soon.
Permanent Link to this entry.
The survey will be online through October 11, 2004. I'll post a few of the more interesting findings when the survey is complete. For more info go to: Todd Gibson at From the Floor.
And there I was with that gigantic glowing bird. It stood there.
This can't be true, I thought. This isn't the way it is supposed to happen. No, this isn't the way it is supposed to happen.
Then, as I watched, the Sparrow slowly opened its beak. A huge void appeared. And within the beak was a vast yellow vortex, more dynamic than the sun, unbelievable.
This isn't the way it happens, I thought again.
The beak opened wide, the Sparrow's head moved closer and the blaze and the blare of yellow swept over and enveloped me.
Don Felton of Almac Camera , doing what he does best.
I saw Cosi fan tutte this weekend, at the San Francisco Opera. It was a beautiful, funny, thoroughly engaging performance. It reminded me of a Marx Brother's movie, with better music. The stage setting was a Mediterranean resort town around the time of the first world war. It was Claudia Mahnke's resemblance, as Dorabella, to a young Lucille Ball, that first made me think of the Marx Brothers. Frederica von Stade stole the show as the scheming maid, Despina. This role is usually played as a young airhead, but von Stade's Despina is a crafty, mature woman who knows more than she lets on.
Alexandra Deshorties, as Dorabella's sister Fiordiligi, did a terrific job with her aria, Come Scoglio, in spite of the fact that her dress had ripped open in the back, from waist to neck. She kept her composure and managed to move about the stage without turning, and without losing the dress entirely. She was off stage for only a few minutes before the next scene – the hilarious mock-death of the soldiers. The two sisters came out with Red Cross aprons over their dresses, which allowed the audience to forget about Deshorties' costume and focus on von Stade's performance as the wacky military doctor with a wild electric revival procedure which brings the men back to life.
The orchestra was small, but sufficient, and I was close enough to watch the bass players line up some little red candies along the sheet music stand. Then, during a lull in their section, they would lean forward, pop a piece in their mouth, and chew furiously. One of the viola players seemed to be having a problem with his bow, and the string players next to him examined it, with one of them exchanging hers for his. Before the second act, I could see down the stairs under the stage, to the hallway that the orchestra uses. The conductor, Michael Gielen (who also played harpsichord during the performance) stood down there waiting for his entrance cue, reading a typical employee bulletin board which was papered with a mix of official notices and ragged clippings.
It got me to thinking about how so much of the art world is a parallel working-class universe. The general public has no clue how much they have in common with artists.
I'm still struggling with that painting that was giving me trouble on Tuesday. It has to be finished this weekend if I'm going to enter it in the Open Studios show. I got some advice from a friend, painter Dale Erickson. He helped me see a few things I was missing, so here's hoping… I can certainly empathize with Elise Tomlinson's feeling of being a half hour from disaster.
And what about the impact of artists working in art supply stores? (Thursday's entry.) Rachael Balduffington worked in an art store, too. She's wondering if the experience changed our work. In my case, not really. I did experiment with materials quite a bit, but eventually went back to my main thing: acrylic on canvas, representational style. She also mentioned the attitude so prevalent in art store staff in urban areas. Small town art stores tend to have a friendlier vibe. Why is that? I don't know, but it's one of the reasons I buy most of my supplies by mail.
Read the full report here – highly recommended.
The New York Times ran a story yesterday about artists working in an art supply store.
I used to work in an art store, too. It was a little like this one. Staffed by artists, it was a big place, with an inconceivable number of weird, hard to find items. Unfortunately it was often hard to find the normal everyday items in the chaos of this place. Each department was supervised (ruled) by an artist with a specialty in that field. They each had an idiosyncratic organizational scheme and supervisory style. As you wandered from drawing to painting to sculpting to crafts, it felt like you were crossing international boundaries. The management attempted to place employees in the department where they had the most knowlege – I was in the painting department. This was a pretty good deal as an employee. We got free samples from the product reps, got to try out the new product lines before they hit the shelves, and spent a lot of time standing around talking to people about painting. I'm less sure if it was good deal for customers. We didn't know diddly about sales. Sometimes a beginning hobby painter would come in and ask something like, "What's better, acrylic or oils?" Depending on who they were talking to, they might get an anti-acrylic diatribe, a lecture on the history of painting, or an eye-rolling bum's rush toward the watercolors. We did, however, know the product – if someone asked about the difference between Cad Red and Pyrrole Red, they'd get an accurate (if not always coherent) answer. Eventually the downside of working retail got to me – the crazy, cranky customers who would roll into view, pulling box cars full of entitlement, screech and hiss for a while, then chug away, leaving us in a cloud of hot steam.
California's rank in number of arts-related businesses, among 50 U.S. states: 1st.
California's rank in per-capita arts spending, among 50 U.S. states: 50th.
San Francisco's rank in per-capita support to the non-profit arts, among U.S. cities: 1st.
Percent increase in the number of works in the San Francisco Museum of Modern Art's collection over the past decade: 100 percent.
Percent by which the California Arts Council's budget was decreased in 2004: 94 percent.
Amount in state funding now budgeted to the council: $1 million.
Estimated amount nonprofit arts add to the California economy annually: $5.4 billion.
Amount nonprofit arts generate in state and local taxes: $300 million.
Percent change in revenue generated from nonprofit art taxes since 1994: +279 percent.
Minimum number of California jobs supported by nonprofit arts: 160,000.
Percent change in arts and cultural organization worker income since 1994: +89 percent.
Percent change in arts and cultural organization admissions and on-site sales since 1994: +141 percent.
This is the last week to finish up my paintings, etc before Open Studios month. I have an appointment at Almac next week and then need to work on the other aspects of the show. Tonight is the big artists shin-dig down at Pier 28, so as soon as I get this stuff uploaded, I have to buckle down and get enough painting done to justify taking the evening off.
I was talking to a painter who showed this past weekend at the Marin Art Festival – he said there were about 120 booths and only 16 of them were painting. The rest were crafts. He came to the same conclusion I came to several years ago – forget those outdoor festivals – they're not the place to sell original paintings, unless the paintings are small, cheap, and cute.
At "Thinking about Art" J.T. Kirkland gave space to artist James W. Bailey for a very, very long essay about… well, mostly about the state of the contemporary art world. I don't usually read 3,500-word blog entries, but this one held my interest all the way through.
"The modern art system is one with a historic parallel. Being from Mississippi, I know all about the share-cropping system. My mother who holds every educational degree under the sun was raised on a sharecropping plantation. What exists today in the art world, especially in this country, is an art version of the post-Civil War Mississippi Delta plantation. The plantation owners are the so-called leading art museums. The plantation foremen are the museum curators. The sharecroppers are the emerging artists. What you have to do as an artist sharecropper, and as a human being, to elevate your self through the plantation system to artistic independence, to that coveted position of celebrated international artist superstar, is almost unspeakable. Selling out doesn't even begin to describe it.
Gallery owner, Mark Wladika (in red shirt at right) introduced these two very different photo-based painters, by noting that as he watches gallery visitors review work by these two artists, he is struck by the fact that most people express a strong preference for one or the other, but only the rare "elite viewer" appreciates them both.
Recently someone asked me if I made a distinction (on my "About Realism" page) between photo-based realists and observational realists. I would add self-generated realism to that mix, but the answer is no, I think those kinds of categories are interesting for artists and art academics to chew over, but not particularly useful for viewers in enjoying the art. David and Larry both paint from photographs while another Newmark Gallery artist, Mary Proenza paints from observation. David and Larry's work is more different from each other than either of them are different from Mary. I guess by Mark's standards I'd be considered an elite viewer, because I like the work of all three of them.
LM – When I paint, it's an unconscious process, but David has to think.
DH – The danger (with my style) is in getting stale – sometimes I need to get away from it.
LM – When I was very young I saw Caillebotte's " Paris" at the Chicago Art Institute. It was one of the first quality works of art I remember seeing. I was very nearsighted as a child and literally saw the world as a blurry place. I was initially attracted to impressionist paintings – they seemed completely realistic to me. But when I tried to paint like that, with those little brushes, I just got lost in small areas of the painting. It was discouraging. Then one day I saw how Bischoff used these huge brushes… I tried it and it was a real breakthrough for me. I work the whole canvas at once. That's why it's hard for me to paint a work larger than I can reach.
DH – Does your eyesight still affect the way you paint?
DH – Do you wear them when you paint?
LM – Sometimes… depends… first I look for overall shape, then I tighten up. When it starts getting tighter, I have to stop because it feels like I'm losing the unity of the piece.
LM – This painting of yours, David, is my favorite ("Mission Street", see above right.) I like the way you backed off on the colors and focused on the tonality. And this subtlety in the background trees… they're really abstract shapes. Every painter is an abstract artist – it's just a matter of levels – of when you make the decision to stop – of when you have enough information.
LM – I like this painting of yours, too ("Say Hey Willie", © 2003 Acrylic on canvas, 20″ x 16″, at left.) You've been able to add detail without losing gesture. You can see these little stories taking place between the people. My style means a loss of that narrative detail.
LM – Yes, I do… I try to find a rhythm. Sometimes I work upside down. I start with an image the way a jazz musician starts with a melody and then I improvise from there. Each session has its own mood. That's why sometimes I paint the same image over and over – to work on different moods. Sometimes I have to set a piece aside and let it percolate for awhile. What's your process?
Question from audience: Which is better – abstraction or realism?
LM – You just need to do whatever your nervous system dictates. There's bad realism and there's a whole lot of bad abstract art. Arnheim helped me with that – he said you could take a slide of the most perfect neo-classicist, say someone like David, and if you blurred it until the objects were unrecognizable, you would still be able to see the abstract beauty of the piece.
DH – Gerhard Richter blew me away with his range from most realistic to most abstract.
LM – And another artist with a large range is David Hockney… and of course the first was Picasso. I love seeing this kind of schizophrenic painter. I like more styles now than I used to.
DH – I was conservative as a kid and didn't like Picasso, but I grew to understand him in art school and now I think he was a genius. You need context to really appreciate art.
LM – It's more personal and visceral for me.
Question for David – What can you tell me about your painting surfaces?
DH – I just started painting seriously two years ago, and I started with canvas, but now I'm working on panel. It's smoother. I like it for the greater control it gives me. Right now I'm working on a door (sanded and gessoed.) It's a big painting with 40 people, 18 identifiable faces… you can go to my website to see a preview of this work.
Question for Larry – When you say you paint the same thing over again, did you mean literally on the same canvas?
LM – Sometimes. Like say, if this piece here ("City Canyon", ©2003, 24″ x 30″, Oil/Canvas, at left) was still in my studio, I might grab it one day and starting painting over it. Again. My work is getting more abstract over time. I want less and less in an image.
Question for both artists – I'm curious about your use of color – what can you tell me about that?
LM – People always ask me about that… the night scenes are definitely about color, but I try to draw first. Drawing is the most important to me. Color is like the sirens, and they will lead me to the rocks rather quickly, so I need to draw and get a good composition first.
DH – My colors are muted, due to the fact that I mostly do cityscapes, so black and white and brown are my most dominant colors.
Question for both artists – What about details? How do you decide what to keep?
DH – There are certain key elements in each painting that I have to get right because I know people will focus on them. If I get those right, if I can convince the viewer there, then I can let other parts slide, so to speak.
LM – I do the same thing – focus on a few elements that need to be convincing in order to sell the idea to the viewer.
Years ago, I used to work in a flatter and more symbolic style. (At left, "Digging", ©1995, 24″ x 30″, acrylic) I didn't explain these images. Sometimes people would ask what the painting meant, and I would usually ask them what they thought. I got some fascinating explanations. I might comment on what I was thinking while I was painting the piece, but usually the viewer's interpretation was close enough, and even if it wasn't, it's fine with me if the viewer has a different experience with the painting than I do.
Later, after I had begun painting more "realistically" (right and left: "Cold Potato", "Hot Potato", both ©2002, 10″x10″, acrylic) I began to get even more questions about "what it means." I don't always know why I choose certain images, but the pressure to come up with some kind of explanation can be intense.
Then last year I did a complex narrative series about the Trickster. – (left: "Through the Veil", ©2003, 24″ x24″, acrylic) – I went all-out with the explanations. Spent almost as much time explaining as I did painting. It was less than satisfying. The percentage of people who are befuddled and want explanations remained about the same. And the folks who like to figure it out for themselves wanted to argue with me, because they felt that their ideas about the images were more correct. And you know what? They're right.
A painting, like a person, can reveal different aspects to different people. My relationship with a piece of my own work usually ends after I have finished making it. The painting is then free to go out and have a completely different relationship with someone else.
Several years ago I wandered into the Contemporary Realist Gallery (now Hackett-Freedman) and saw some paintings that have haunted me ever since. They were by a guy I'd never heard of: Robert Schwartz. No one I talked to had heard of him either, so I dragged a few friends to his (rare) shows. In between shows, every once in a while, I'd get up the nerve to ask the gallery if I could see one of his paintings from the back room (they always obliged.) I had just started to work in gouache at that time, and his work had the the small scale, the intense colors and the narration of the gouache Persian miniatures at the Asian Museum. But Schwartz used perspective and contemporary scenes & symbols. It was exciting to see contemporary painting in gouache. The craftsmanship was the best I'd ever seen, and the narratives were so compelling it was difficult to leave one and move on to the other.
The San Jose Museum of Art has put together a retrospective of Robert Schwartz's work, and boy, have they got a great show catalog! ("Dream Games" – photo above, left.) It's 10″ x 10″, 200 pages, lots of illustrations, and due to the small scale of his work, many of the reproductions are the same size as the original, if not larger! The painting used on the cover, "Painted On A Leaf", is about four times larger than the original.
The artist is dead. He didn't leave any written explanations about the "hidden" meanings in his paintings. So can we all just give it a rest, and let the viewers figure things out for themselves? Please? Or, at the very least, make the explanations available to those who want things figured out for them, but don't shove the explanations into the field of vision for everyone who sees the painting.
More Schwartz images at artnet.
Roberta at artblog wrote about one of my favorite topics – "Looking and Seeing." She showed examples of photos taken by two people of the same subject, at the same time – obviously seeing different things. A couple of my friends (photog John Wall and painter Pam Heyda) just returned from a trip to the southwest and both posted photos on their web sites (John here, Pam here) – same places, same times, same views – seeing different things.
Charles at ionarts mentions the new Brassaï book. My husband just picked up a similar monograph. It was remaindered for $25 at CWLPB (I haven't had a chance to really study it yet – Bullfinch Press, 2000, 308 illustrations, 10″ x 12″.) It looks great: Paris after dark, dock workers, prostitutes, artists, landscapes, still-life, peeling paint, graffiti, plus sculptures and drawings. The man obviously loved life and loved to see.
OK, I'm back. It's been a rough couple of weeks. My friend is very ill, but doing a little better. Other friends are stepping in to help out, so I can get back to painting. I have another show coming up in less than three weeks and still have a lot of work to do.
What is it about songs of sorrow and misery, when they're done so beautifully, so artfully, that they feel like a good massage after a hard day's work? This album was the perfect balm for me. "Sinners Prayer" with RC, BB King, and Billy Preston is flawless. The guitar, piano and organ ebb and flow like a single, living, breathing entity. Now, that's art.
Sorry, but my posting here is going to be a bit sketchy for the next couple of weeks – I'm spending most of my time helping a friend in need.
many years. She has, I believe, a gift for self-promotion.


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Q: How to change UI of kibana I am using kibana 4.5.1 .
I am visualizing my data in kibana.  Its very nice . Now we want to customize kibana UI like replace kibana logo with our company logo and disable some features of kibana and many more…. and want to add some more buttons also...

A: This link discusses how to do it. It's important to remember that after you replace the logo file that you need to get kibana to "rebundle" with the new logo which requires something major like a restart of the service or installation of a plugin like:
/kibana plugin --install elastic/sense

A: Your company logo should be width:252px heigh:45px.
please copy the image into the following folder
/opt/kibana/optimize/bundles/src/ui/public/images/logo.png
Change kibana.svg to logo.png in following files.
/opt/kibana/optimize/bundles/kibana.bundle.js
module.exports = webpack_require.p + "src/ui/public/images/kibana.svg"
To
module.exports = webpack_require.p + "src/ui/public/images/logo.png"
/opt/kibana/optimize/bundles/webpack.records: "node_modules/file-loader/index.js?name=[path][name].[ext]!src/ui/public/images/kibana.svg":
To
"node_modules/file-loader/index.js?name=[path][name].[ext]!src/ui/public/images/logo.png":
/opt/kibana/src/plugins/kibana/public/kibana.js:14:const kibanaLogoUrl = require('ui/images/kibana.svg');
To
/opt/kibana/src/plugins/kibana/public/kibana.js:14:const kibanaLogoUrl = require('ui/images/logo.png');

redpajama_set_name: RedPajamaStackExchange


As part of the Product Development Engineering team you play a key role in the design and development of our Inspection and Metrology tools. In your role you will work on the integration, automation and optimization of the handler with the optical and SW building blocks and will hence work closely together with Mechanical design, Hardware, Optics and SW teams.
• Make sure to test the total system before delivering it.
MS degree + 3 years of experience or BS degree + 5 years of experience with outstanding skill in electro-mechanical, opto-mechanical, electronics, software or mechanical engineering.


In a ruling that's likely to heat up the campaigns in election-bound Punjab, the Supreme Court Thursday declared as unconstitutional a law enacted by the Punjab government in 2004 to wriggle out of its liability of constructing the Satluj-Yamuna Link (SYL) canal and share the Ravi-Beas waters with neighbouring states.
"We are of the view that the Punjab Act cannot be considered to be legal and valid and the State of Punjab cannot absolve itself from its duties/liabilities arising out of the Agreement in question," ruled a five-judge Constitution Bench while answering a Presidential Reference of 2004.
The order by the bench, headed by Justice Anil R Dave, also restores and revives the decree passed by the Supreme Court in 2004 whereby the central government was directed to mobilise a central agency to take control of the canal works from Punjab immediately and complete it expeditiously.
Execution of the decree and completion of the canal work would mean allocation of 3.50 MAF (million acre-feet) water to Haryana whereas the existing Bhakra Main Canal has the capacity of supplying only 1.62 MAF of water to that state.
The bench, also comprising Justices P C Ghose, Shiva Kirti Singh, Adarsh K Goel and Amitava Roy, was critical of the fact that by seeking to terminate its 1981 agreement with Haryana and Rajasthan, the Punjab government also sought to nullify two Supreme Court judgments of 2002 and 2004, and the consequent decree passed by it whereby Punjab was asked to construct the canal on its territory.
It shot down Punjab's argument that the bench did not have to answer the Presidential Reference and that the Reference was not maintainable since the law enacted by Punjab was within its statutory powers.
It said that Punjab could not have unilaterally terminated the agreement, which would mean depriving Haryana and other states of their share of river waters despite court orders directing Punjab to carry out its obligation.
"The Punjab Act cannot be said to be in accordance with the provisions of the Constitution of India as well as the provisions of the Inter State Water Disputes Act… there is a legal sanction to the said arrangement and once a binding decree has been passed by a court of law, a party to the litigation cannot unilaterally act in a manner which would nullify the effect of the decree," the bench said in a concurring judgment.
On Punjab's contention that the entire matter could be referred to the Inter-State Water Tribunal since circumstances regarding availability of water has changed over the years, the top court said that Punjab, being a party to the water-sharing agreement, could not be allowed to withdraw on its own to the disadvantage of other parties.
The bench also called it "unwarranted" that while it was hearing the Reference, the Punjab legislature brought in a Bill to de-notify land meant for construction of the canal and sought to return it to original landowners.
The Central government, during the course of the hearing, maintained that it was taking a "neutral stand" on the issue.
Writing a concurrent judgment, Justice Shiva Kirti Singh asserted that all stakeholders must remember the supremacy of the Constitution, essential features of federalism and the fact that judgments and decrees, which are the end product of exercise of judicial power, cannot be set at naught by the process of legislative declaration in respect of facts and circumstances.
Protesting against the court judgment, Congress MLAs resigned en masse. Party state president Amarinder Singh also resigned as Member of Parliament and called for a press conference at 4.30 pm today. The judgment is a huge setback for the SAD-BJP alliance ahead of the upcoming Punjab Assembly elections. SAD MP In Rajya Sabha, Sabha Naresh Gujral, however, said the party would study all the legal options available instead of resorting to drama like the Congress. Haryana Chief Minister Manohar Lal Khattar hailed the court's decision, saying the judgment has brought a smile on every Haryanvi's face. In March this year, the Punjab Assembly passed a resolution not to share a single drop of water with Haryana.


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Vietnam floating market struggles to stay above water
A vendor sells vegetables to a house boat owner in a canal off the Song Hau river at the floating Cai Rang market in Can Tho on July 17, 2017.PHOTO: AFP
A resident of a house boat yawns as he swings on a hammock on the vessel in a canal off the Song Hau river at the floating Cai Rang market in Can Tho on July 17, 2017. PHOTO: AFP
A vendor selling food and drink in search of customers in a canal off the Song Hau river in the floating Cai Rang market in Can Tho on July 17, 2017. PHOTO: AFP
A vendor selling vegetables in a canal off the Song Hau river in the floating Cai Rang market in Can Tho on July 17, 2017.PHOTO: AFP
http://str.sg/4VeB
CAN THO, VIETNAM (AFP) - Fixing weighing scales used to be good business on Vietnam's floating Cai Rang market, but the last repairman on the river now makes just a few dollars a month as modernity pushes traders to land.
Surrounded by dusty old scales on his cluttered houseboat, Nguyen Van Ut says vendors are giving up their boats for better lives on terra firma where supermarkets draw the traders who once thronged the waterway.
"I don't have many customers now. In the past, it was alright, but now many boats have left the floating market... people on vessels have switched to vehicles," the 71-year-old told AFP.
He got into the repairs business 30 years ago on the Can Tho river to support his surviving children after his wife and two of his sons drowned in an accident.
For a time life was good, but now he relies on handouts from his children - three of them work in nearby Can Tho city.
Once reportedly two kilometres long, the Cai Rang market is a shadow of its former self. There are about 300 boats on the water now, down from 550 in 2005, according to the local tourism office.
It has fallen victim to the economic rise of the Mekong Delta, which has rapidly developed over the last decade.
Industrial and construction sectors have created nearly 570,000 jobs, hauling many from poverty.
But people like Ut have been left behind, unable to afford a life on shore.
Scales repairman Nguyen Van Ut sits inside his house boat in a canal off the Song Hau river in the floating Cai Rang market on July 17, 2017. PHOTO: AFP
Even vendors making a decent wage from the tourists who flock to the market yearn for the perks of living on land: better housing, better jobs and modern amenities.
Scales repairman Nguyen Van Ut stands at the entrance of his house boat in a canal off the Song Hau river in the floating Cai Rang market on July 17, 2017. PHOTO: AFP
Nguyen Thi Hong Tuoi started working on the water when she was a child, just like her mother and grandmother before her.
Though she earns decent money, she doesn't expect her daughter to carry on the family tradition.
Nguyen Thi Hong Tuoi walks on a boat where she lives with her daughter and her mother in a canal off the Song Hau river in the floating Cai Rang market in Can Tho on July 17, 2017. PHOTO: AFP
"In the future, I will let my daughter live on land so she can study and have a proper job," the 34-year-old told AFP, as her elderly mother rested in a hammock surrounded by sacks of tapioca on their boat.
It's a common aspiration for young people in Vietnam, where more than half the country's 93 million people are under the age of 30 and eager to move to fast-growing cities for work.
The origins of Cai Rang market reach back to when Vietnam and neighbouring Cambodia and Laos were occupied by the French, who readily exploited the natural resources of the colony previously called Indochina.
The Mekong Delta's web of canals - both natural and man-made - were used to transport goods and people in the absence of a reliable road network.
There are about a dozen surviving markets in Vietnam's Mekong Delta today, though like Cai Rang, many have shrivelled.
"The local government is trying to keep the floating markets alive to (preserve) the culture and attract more tourists," said Nguyen Thi Huynh Phuong, a lecturer at nearby Can Tho University who has researched the market's history.
It still functions as a wholesale market, with vendors waking each day before dawn to load boats with watermelons or radishes and advertising their products by spearing them to a bamboo pole on the bow of the ship.
But its charm also draws millions of visitors each year who buy noodles, fruit and coffee from water traders, making it a well-established pit-stop on the Mekong tourist trail.
Recognising the market as a tourism hot spot, the government designated Cai Rang as a national heritage site last year.
For vendors like Ly Hung, who has lived on the water for 26 years, visitors have helped to maintain a traditional way of life.
"Without tourism this floating market would disappear," he said.


With the draft only ten days away, NBA teams are scrambling to get a final look at as many prospects as possible in order to put the finishing touches on their draft boards. At the same time, agents are trying to give their clients' draft stock a final boost, by getting them in front of as many decision makers as possible.
With that in mind, 24 NBA teams came together this weekend in East Rutherford, New Jersey at the Nets' practice facility, to take in 36 players in six separate workouts. The prospects ranged from late lottery candidates such as Austin Daye, to likely undrafted players such as Jimmy Barron, with many borderline first rounders scattered in between. Players that were on the initial list and decided not to attend include Terrence Williams, Sam Young, Jrue Holiday, B.J. Mullens, Marcus Thornton, Tyler Hansbrough and Jon Brockman.
Besides working the players out and having them compete in three-on-three action, the players were also measured (height, wingspan, reach, hand-size) and again asked to participate in athletic combine style testing.
"Paul Harris may have helped himself the most I thought here. He plays so hard. He got in everyone's face. No one wanted to go against him. On offense and defense. On top of that, his measurements were ridiculous. He came up a bit shorter than expected—only 6-3 in shoes, but his wingspan is outrageous—6-11 ½. He's also absolutely jacked at 237 pounds, all 100% muscle. On top of that, he measured a no step vertical of 36 inches, which is off the charts. He's like Ron Artest.
"Dajuan Summers had probably the best workout here. Then again, he was going up against Connor Atchley, so that's somewhat to be expected. He absolutely killed him off the dribble. He was blowing by him, dunking on him. He had a bunch of really nice dunks. He looked good in the full-court stuff too. He was very good shooting off dribble, but not so good on the catch and shoot. He probably helped himself, but it might have impressed more people had he done it against Damion James like originally scheduled rather than Connor Atchley. You can see that he really thrives in these up-tempo settings, which is something we weren't able to see too much of at Georgetown.
Nick Calathes was average. He did not shoot or finish well around the basket. Defensively he had problems—he has very little strength or length. He is obviously more of a 5 on 5 guy, even though in the 3 on 3 his court vision was very obvious. There wasn't a whole lot to get excited about here. His conditioning probably isn't where it needs to be with all the hoopla he's been through lately.
*Nick Calathes measurements: 6-4 ½ in shoes, 193 pounds, 6-4 ½ wingspan. Hand size 9 ¼, Standing reach 8-3, No step vert 10-1 ½, with step 10-4.
This was a good workout. Greivis Vasquez did a very nice job. He's had strong workouts in most of the places he's been I hear. He struggled defensively a bit, especially guarding real physical guys like Jermaine Taylor, or quick guys like Teague. He competed, though, was very vocal. He raised the level of intensity. He grabbed rebounds. He shot the ball OK.
Jeff Teague didn't say a word the entire workout. He was happy to just stand around. He didn't talk to his big men, instructing them, telling them where to go. He looked a bit disinterested. If that's the leadership your point guard is showing, then I don't know. On the other hand he's obviously a phenomenal athlete. He blew by Vasquez at will. He didn't shoot that well, though.
Ellington had a really good showing, doing what he normally does. He may have been the best of the bunch actually. He's so advanced offensively. Jermaine Taylor started the workout on fire. He was hitting crazy shots, and was really helping himself. Unfortunately he hurt his hamstring and that really slowed down. His basketball IQ looked average to me. In the transition drills he was throwing passes at people's feet.
"B.J. Mullens pulled out of the workout, and he was replaced at the last minute by Luke Zeller. His agent says he has a promise I heard.


In the spring I stumbled upon this inexpensive clothing line called Joe Fresh. They were trying to get an online storefront but have not yet. But what they are doing is selling their clothes through JC Penny 🙂 I recently purchased some of the colored crop jeans (only $16.99) and their workout clothes which seem to be of pretty good quality considering the price. You can always search and get free shipping so why not get a pair? Wanted to pass this along to all of you. Also for those of you that know me well I am obsessed with J.CREW and just got this flannel baseball hat that is really cute for winter for only $39.50.


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Equivalence partitioning or equivalence class partitioning (ECP) is a software testing technique that divides the input data of a software unit into partitions of equivalent data from which test cases can be derived. In principle, test cases are designed to cover each partition at least once. This technique tries to define test cases that uncover classes of errors, thereby reducing the total number of test cases that must be developed. An advantage of this approach is reduction in the time required for testing software due to lesser number of test cases.

Equivalence partitioning is typically applied to the inputs of a tested component, but may be applied to the outputs in rare cases.  The equivalence partitions are usually derived from the requirements specification for input attributes that influence the processing of the test object.

The fundamental concept of ECP comes from equivalence class which in turn comes from equivalence relation.
A software system is in effect a computable function implemented as an algorithm in some implementation programming language.
Given an input test vector some instructions of that algorithm get covered, ( see code coverage for details ) others do not.
This gives the interesting relationship between input test vectors:-
 is an equivalence relation between test vectors  if and only if the coverage foot print of the
vectors  are exactly the same, that is, they cover the same instructions, at same step.
This would evidently mean that the relation cover  would partition the domain of the test vector
into multiple  equivalence class. This partitioning is called equivalence class partitioning of test input.
If there are  equivalent classes, only   vectors are sufficient to fully cover the system.

The demonstration can be done using a function written in C:

int safe_add( int a, int b )
{
    int c = a + b;
    if ( a > 0 && b > 0 && c <= 0 )
    {
        fprintf ( stderr, "Overflow (positive)!\n" );
    }
    if ( a < 0 && b < 0 && c >= 0 )
    {
        fprintf ( stderr, "Overflow (negative)!\n" );
    }
    return c;
}

On the basis of the code, the input vectors of  are partitioned. The blocks we need to cover are the overflow in the positive direction, negative direction, and neither of these 2. That gives rise to 3 equivalent classes, from the code review itself.

To solve the input problem, we take refuge in the inequation

we note that  there is a fixed size of Integer (computer science) hence, the z can be replaced with:-

and

with  and

The values of the test vector at the strict condition of the equality that is   and  are called the boundary values, Boundary-value analysis has detailed information about it. Note that the graph only covers the overflow case, first quadrant  for X and Y positive values.

In general an input has certain ranges which are valid and other ranges which are invalid. Invalid data here does not mean that the data is incorrect, it means that this data lies outside of specific partition. This may be best explained by the example of a function which takes a parameter "month". The valid range for the month is 1 to 12, representing January to December. This valid range is called a partition. In this example there are two further partitions of invalid ranges. The first invalid partition would be ≤ 0 and the second invalid partition would be ≥ 13.

         ... -2 -1  0 1 .............. 12 13  14  15 .....
       --------------|-------------------|---------------------
  invalid partition 1     valid partition    invalid partition 2

The testing theory related to equivalence partitioning says that only one test case of each partition is needed to evaluate the behaviour of the program for the related partition. In other words, it is sufficient to select one test case out of each partition to check the behaviour of the program. To use more or even all test cases of a partition will not find new faults in the program. The values within one partition are considered to be "equivalent". Thus the number of test cases can be reduced considerably.

An additional effect of applying this technique is that you also find the so-called "dirty" test cases. An inexperienced tester may be tempted to use as test cases the input data 1 to 12 for the month and forget to select some out of the invalid partitions. This would lead to a huge number of unnecessary
test cases on the one hand, and a lack of test cases for the dirty ranges on the other hand.

The tendency is to relate equivalence partitioning to so called black box testing which is strictly checking a software component at its interface, without consideration of internal structures of the software. But having a closer look at the subject there are cases where it applies to grey box testing as well. Imagine an interface to a component which has a valid range between 1 and 12 like the example above. However internally the function may have a differentiation of values between 1 and 6 and the values between 7 and 12. Depending upon the input value the software internally will run through different paths to perform slightly different actions. Regarding the input and output interfaces to the component this difference will not be noticed, however in your grey-box testing you would like to make sure that both paths are examined. To achieve this it is necessary to introduce additional equivalence partitions which would not be needed for black-box testing. For this example this would be:

         ... -2 -1  0 1 ..... 6 7 ..... 12 13  14  15 .....
       --------------|---------|----------|---------------------
  invalid partition 1      P1         P2     invalid partition 2
                        valid partitions

To check for the expected results you would need to evaluate some internal intermediate values rather than the output interface. It is not necessary that we should use multiple values from each partition. In the above scenario we can take -2 from invalid partition 1, 6 from valid partition P1, 7 from valid partition P2 and 15 from invalid partition 2.

Equivalence partitioning is not a stand-alone method to determine test cases. It has to be supplemented by boundary value analysis. Having determined the partitions of possible inputs the method of boundary value analysis has to be applied to select the most effective test cases out of these partitions.

Limitations
In cases where the data ranges or sets involved approach simplicity (Example: 0-10, 11-20, 21-30), and testing all values would be practical, blanket test coverage using all values within and bordering the ranges should be considered. Blanket test coverage can reveal bugs that would not be caught using the equivalence partitioning method, if the software includes sub-partitions which are unknown to the tester. Also, in simplistic cases, the benefit of reducing the number of test values by using equivalence partitioning is diminished, in comparison to cases involving larger ranges (Example: 0-1000, 1001-2000, 2001-3000).

Further reading
 The Testing Standards Working Party website
 Parteg, a free test generation tool that is combining test path generation from UML state machines with equivalence class generation of input values.
 https://books.google.com/books/about/Software_Testing_Techniques.html

References

Software testing

redpajama_set_name: RedPajamaWikipedia


MotoGP, Morbidelli: "My Yamaha like Rossi's? More or less."
Franco is cryptic about his M1: "Ask the engineers. I was really satisfied with the tests. Expectations for this season are high."
After an excellent season of winter tests, Franco Morbidelli is ready to get serious in Qatar where, for the first time, he'll be racing with the Yamaha M1, which was able to put a smile on his face from the very first meters he rode in Valencia. On the eve of the start of this adventure, Morbido appears calm, aware of having great potential and confident of being able to prove that he deserves the great opportunity Yamaha has given him through the new Petronas team.
As was already repeated several times, this partnership has allowed Morbidelli to have a fully official bike for the 2019 season, aligned with the same specifications as those of Valentino Rossi and Maverick Vinales. A rather serious responsibility that Franco is, however, ready to face.
The wait is over. How do you feel now that we're very close to the start of the world championship?
"It's a great challenge for me," Franco began. "It will be the first race with the new team, with the new bike. The feelings were always good. We went well in the tests, especially on the last day. We were in the top positions, so this makes it all more interesting. It seemed as if the Yamahas were all having some trouble but, on the last day of testing, we were all very strong, so it'll be interesting."
A 2019 that starts differently compared to your MotoGP debut season, with much higher expectations.
"My expectations are definitely different. Thinking about the level we held in the tests, let's say we were really satisfied. So we must respect these expectations that we're setting for ourselves, and for which we'll fight for some interesting positions. Then, to say what these positions are and what they'll be for most of the championship, we'll have to wait at least three or four races. There's always talk about being in the first seven or eight. I hope to be able to do a good job over the race weekend as compared to what I did in the tests."
Now you're also on an official bike. Is your M1 the same as Rossi's and Vinales'?
"Yes, the bike is similar to that of Vale's and Maverick's. More like Vale's than the other. I don't know if it's entirely the same or if there's some small difference. You want more details? You'll have to ask them!" (He laughs pointing at the guys on the team).
We know that you're already looking at Rossi's data from Valencia. Is it useful to analyze this information?
"Vale is a great rider. I was able to see him from the telemetry, and I realized that there is a lot to learn. Actually, there is a lot to learn also from Maverick, but I also keep an eye on Fabio. There is something to be learned from everyone, also since all three of them were faster than I was at the end of the tests, so..."
Have you understood in what you already are perhaps faster than the others?
"It's hard to see a trend and understand what my strengths are on average since, in the end, we did only three tests, and so it's hard to say now. There is no trend, yet. We have to see how the championship continues, then we'll see. I'd be saying something stupid, now. I still don't."
What do you expect from this first race of the season?
"We went well in the tests, but let's say that the tests are never exactly the same as the races, so we'll have to see how things will go. We certainly know that we can be fast on this track. I don't know how fast, but we'll see. I'll react according to what I'll find when I'm there. But at least we know our potential. This will be a difficult race because many riders are fast. So, I think it'll be more of a Moto3 type race. I hope to be in the front group, maybe to be able to take advantage of it."
The M1 seems to have grown a lot. Do you think the gap has been closed as compared to the stronger rivals?
"We have to wait for the first three races, and I think that, when we come back to Europe, we'll really know the real potential of this bike."
Is there a particular track that you're looking forward to? One where you think you'll be very strong this year?
"I hope to be comfortable in all the circuits because that's what a strong rider should do. With the MotoGP, I know that this is not very feasible, precisely because among the different manufacturers, there are tracks that are more suited to some motorcycles than others. But the prerogative of a strong rider is to be fast on all the tracks, and I want to be a strong rider, so I'll have to be comfortable on all the tracks."


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Home | Aerodynamics | Jets | Rockets | Helicopters | Aircraft | |Books | Links | About
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Left, top is the Me 263 rocket interceptor of 1945. The Russian I-270 rocket aircraft below it was designed by German designers in Russia. Seven were built and flown in 1947.
The German leaders in Sawjolowo, Russia. From left is Dr. Ferdinand Brandner, whose team designed the 12,000 shp, NK-12M turboprop engines, Prof. Dipl.-Ing. Bruno Baade whose team designed the Tu-95 bomber and Prof. Dr.-Ing. Bock. 1950.1
The Junkers Ju 287 bomber with four Jumo 004 engines and JATO assist take-off rockets. The Ju 287 led the design of the EF131 which also had 25 deg. forward swept wings. The EF131 was test flown in Ramenskoje, Russia in 1946.
Baade's EF140 with swept back wings was a follow-on design to the Ju 287and EF131. It is shown here in in Kuibyshev, Russia. Baade's next design was the EF150 (Type 150) with 45 degrees of aft wing sweep. The aircraft was clocked at a speed of 680 mph at 1,200 feet alt. which equates to supersonic speeds at design altitude.2
The NK-12M is world's most powerful engine with 12,000 shp. It was designed and built by German scientists in Russia. It powered the Tu-95 bomber and the Tu-114 transport. It was also used on the Antonov AN-22 military transport. Later versions were upgraded to 15,000 shp for take-off. The design was based on the Jumo 12/022 engines.1
The Tupolev Tu-95 (NATO code name "Bear") was designed by Baade's team of Germans and it was powered by four NK-12M turboprop engines. First flight was in the Summer of 1954.3
Ferdinand Brandner, "Life Between Fronts, an Engineer in the Battlefield of World Politics," Contact Scientists and Friends. 1973.
Andrew Brent, "TYPE 150," Flying, November 1952.
John W.R. Taylor, "Jane's All The World's Aircraft, 1974-1975," Franklin Watts, Inc. New York. 1974.
David Myhra, "Secret Aircraft Designs of the Third Reich," Schiffer Publishing Ltd. 1998.
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