text:
Rumors è un singolo della cantante statunitense Lindsay Lohan, il primo estratto dal primo album in studio Speak; venne pubblicato il 21 settembre 2004 dalla Casablanca Records.

La canzone
In un primo momento intitolato Just What It Is, il brano è stato scritto e prodotto da Cory Rooney (il quale si occupò anche delle parti di tastiera e dei cori) insieme alla stessa Lindsay Lohan, Tarryle Jackson e Tito Jackson. Peter Wade Keusch ha collaborato nella produzione, ed è stato sovrintendente insieme a Chris Avedon della registrazione vocale della Lohan che si è verificata nei Poolhouse West e The Village Recorder situati a Los Angeles. Il missaggio è stato operato da Keusch nei Sony Music Studios di New York. Christopher J. Warner ha invece suonato la chitarra presente nei sottofondi del brano.

Il brano dance contempla influssi della musica electropop e teen pop, oltre a presentare un pesante basso R&B. I testi invece alludono all'implacabile persecuzione dei paparazzi nei confronti della stessa Lohan, come concentrato nelle righe del ritornello, nel quale Lohan denuncia di essere stufa delle menzogne che hanno scatenato contro di lei: "sono stanca delle voci che partono, sono stufa di essere seguita, sono stanca delle bugie della gente, dicono quello che vogliono su di me. Perché non mi sostengono? Perché non mi lasciano vivere? Io voglio costruire la mia strada. Prendi questo solo per quello che è".

Critiche
Spence D. da IGN ha affermato che la voce dell'artista è "condotta da ringhi, parole sospirate e angoscia controllata non pienamente sfogata". John Murphy da musicOMH l'ha definita "una lamentosa antifona dance con parole intelligenti che attaccano i paparazzi e i media in generale."

Rumors ha ricevuto recensioni miste dai critici musicali. Charles Merwin da Stylus Magazine ha ribattuto che il lancio di Rumors come singolo non fosse stata una buona scelta scrivendo che "infatti per una ragazza che è stata bollata come la prossima piccioncina d'America da alcuni giornalisti sarebbe la scelta peggiore come prima esposizione da una ragazza che deve dare automaticamente maggior prova del suo talento al pubblico. Sfortunatamente il meglio che c'è, meglio di così non si può". Erik Missio dal sito ChartAttack ha considerato che il brano "presenti il potenziale per un'opera di debutto quasi appetitosa", ma ha poi concluso sostenendo che "è uno schifo a livello straordinariamente non spettacolare". Matthew Wilkening da AOL Radio ha annoverato Rumors alla numero 67 nella graduatoria delle 100 canzoni più brutte di sempre, scrivendo "con tutte le storie che circolano sulla Lohan in questi giorni, questo brano sembrerebbe quasi profetico. Oh, scusate... patetico". Il giornalista Nicholas Fonseca dall'Entertainment Weekly ha definito Rumors un piacere perverso, mentre Stephen Thomas Erlewine da AllMusic ha definito il brano un momento prezioso nella sua recensione di Speak.

Rumors ha riscosso uno successo mondiale mediocre, raggiungendo posizioni nella top trenta in Australia, Austria, Germania e Svizzera. Negli Stati Uniti arrivò alla sesta posizione della Bubbling Under Hot 100 di Billboard, e ha raggiunto la numero ventitré nella classifica componente, la Mainstream Top 40. Tuttavia la Recording Industry Association of America certificò il brano disco d'oro, in quanto riuscì a vendere oltre  copie.

In Australia, ha esordito alla numero 19 nell'ARIA Charts raggiungendo la numero 10 sei settimane dopo.

Video musicale
La Casablanca Records ha commissionato un video musicale di Rumors a Jake Nava, che aveva lavorato nello stesso anno con Britney Spears per il video di My Prerogative. Il video è stato presentato il 14 ottobre 2004 su MTV.

Il video si apre con l'attrice che semina i paparazzi a bordo di un'automobile. Si scopre tuttavia che la ragazza è solo una sosia dell'artista perché la vera Lohan è salita su'altra auto per recarsi in una discoteca. La cantante si fa strada dunque in un ascensore sottoponendosi allo sguardo di una telecamera a circuito chiuso mentre si scatena a ritmo della prima strofa. Percorre poi un lungo corridoio disseminato di telecamere che sbocca in una discoteca, in cui balla confusa fra la folla e scatta un paio di fotografie come risposta alle pressioni dei giornalisti. Nella scena seguente Lindsay percorre lentamente un altro reparto della discoteca sino ad incontrare un ragazzo seduto su un divano, con cui si bacia e amoreggia sotto l'inesorabile sguardo delle microcamere. Si intravede poi l'artista dondolarsi su un'altalena all'interno di una gabbia al centro della discoteca sotto gli sguardi dei presenti. Infine Lindsay e alcune amiche salgono sul ciglio di un grattacielo ed eseguono un balletto mentre un gruppo di elicotteri svolazza loro intorno.

Questo video ricevette una nomination agli MTV Video Music Awards 2005, nella categoria miglior video pop.

Live
Lindsay Lohan ha cantato dal vivo Rumors a Good Morning America nel dicembre 2004. Secondo un reporter dello staff di MTV News, "Lohan si era dimenticata le battute della canzone da cantare in playback, e ha spinto le telecamere ad allontanarsi quando la sua bocca rimaneva chiusa, ed è andata avanti nella performance solo grazie al brano lasciato in sottofondo". Un rappresentante della Lohan ha difeso la cantante dalle accuse e ha rivelato che lei sa cantare dal vivo, sottolineando che ha usato il brano di sottofondo "per fare in modo che il brano sembrasse uguale alla versione del suo album".

Tracce
CD

Maxi CD

iTunes EP

Classifiche

Note

Collegamenti esterni

Singoli certificati disco d'oro in Australia
Singoli certificati disco d'oro negli Stati Uniti d'America

redpajama_set_name: RedPajamaWikipedia


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text:
Q: What determines the continous ratings of electric motors? I've seen variations of this torque-speed curve for brushless DC motor performance, and I'm curious what criteria determine the rated torque and speed of permanent magnet DC motors in general.
Does thermal dissipation of joule heating limit the max continuous torque? Do mechanical limitations (max bearing speed due to friction, mechanical stress, etc.) limit the max continuous speed? Are there any "rules of thumb" for predicting the max continuous torque and speed of electric motors?

A:
Does thermal dissipation of joule heating limit the max continuous torque?

Yes. Auxiliary cooling or enhanced self cooling can extend the max continuous torque, but that is generally only economically practical with large motors.

Do mechanical limitations (max bearing speed due to friction, mechanical stress, etc.) limit the max continuous speed?

Yes. Bearing friction is usually the limiting factor, but better bearings can extend the maximum speed to the point that mechanical stress can become a factor. Aerodynamic drag (windage) can also become a factor. The size of any self cooling fan or rotor fins could get to be a major consideration.
There is also a minimum continuous speed / torque limitation imposed by the self cooling limits.

Are there any "rules of thumb" for predicting the max continuous torque and speed of electric motors?

I have seen some "rule of thumb" on this site that I believe was stated for very small DC motors. I believe it was stated as a percentage of the maximum calculated joule heating.

A: In the continuous torque  zone, the torque is limited because the current is limited. And the current is limited because it gives rise to power dissipation in the wingdings. This is due to winding resistance. The power dissipation is I^2 * R. In many types of motors, including induction and BLDC motors, torque and current are proportional.
Before I go on, I need to explain something. For the most part, induction motors try to rotate at a speed proportional to the supplied AC frequency (minus a little bit of slippage). BLDC motors are synchronous to commutation frequency. For both, along the constant torque line, from low speed to rated speed, the built-in assumption in the graph you have shown is that the voltage and frequency are ramped up together. Said another way, on the constant torque line, V/f is held constant.
It is further assumed that from the rated speed to the maximum speed, the voltage is held constant at the rated voltage, while the frequency is ramped upward to increase motor speed. Since the motor is an inductive load, the increasing frequency at fixed voltage results in decreased current, and thus decreased torque.
Hopefully that explains everything.

redpajama_set_name: RedPajamaStackExchange


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Join us for this popular end-of-season luncheon event at the Kathy's Gazebo Café. In addition to a beautiful lunch with Friends, you'll have an opportunity to celebrate the newly-elected Friends' officers for 2019-2020.
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I didn't want anything to do with the other little human in the house when she was screaming. I was not a particularly thoughtful child. But when sweet Cal, just a little tyke himself, sees his sister crying, he goes above and beyond to make her feel better. He pulls himself up onto the bed just to snuggle up next to her.
Cal says "cuddly baby, cuddly baby" in a sing-song voice until his sister is happy again. What a great brother!
These two have such a cute relationship. Just wait until they get older, though — there are sure to be a few tussles along the way! Until then, let us bask in their preciousness.


In the state of Illinois, a person is said to have committed burglary when he enters and remains within a building without permission or authority , with the intention of a theft or felony. Use of force or assault is implied in the burglary charges as well.
Penalties include jail time, probation and steep fines. Burglary can be classified into commercial and residential burglary. Burglary is one of those criminal offenses that can be classified either as a felony or a misdemeanor.
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text:
Top Stories of 2020: Hugh Marks quits Nine– should he have stayed?
Radio consumption rises in Australia as smart speakers enter the audio space
The latest research into what audio technology Australians are using.
Global firm Edison Research has released the second annual comprehensive Australian study of the digital audio, social media, mobile, smart speaker and podcast habits of Australians.
The latest research into what audio technology Australians are using includes for the first time the newcomers to the sector, smart speakers.
Key findings show a rise in radio consumption across multiple platforms in the marketplace, with 88% (up from 85% in 2017) of people having listened to an AM/FM/DAB+ either via free-to-air broadcast or online in the last week, three times as many people than the second highest audio platform.
The Australian Infinite Dial Study, commissioned by Commercial Radio Australia (CRA), Southern Cross Austereo (SCA) via its PodcastOne subsidiary, and Triton Digital, provides updated insights into what Australians are consuming online. The Infinite Dial research for Australia is patterned on the longest-running survey (1998) of digital media consumer behaviour in the USA and provides a unique profile of the 2018 Australian digital consumer.
"The Infinite Dial Australia study explores the usage of technology in the market and, as has been the case in the USA, we believe The Infinite Dial Australia is set to become the authoritative source in the understanding of the online audio space," said Edison president Larry Rosin.
CRA chief executive officer Joan Warner said: "It's an exciting time for radio in Australia. Audio innovation and development across the world have provided radio with another way of reaching audiences, whether it is via a traditional AM/FM radio, on a DAB+ device, via a podcast or on a smart speaker. Australian radio listeners interact with their radio station across social media, on the mobile and in the car. The Edison Study is an essential tool informing the industry on the technology habits of Australians."
Key Australian Infinite Dial findings include:
• Radio is the leading audio platform consumed by Australians with 88% of people having listened to an AM/FM or DAB+ station in an average week.
• After just 17 months, awareness of the Australian radio industry's free mobile app with access to more than 250 stations, RadioApp, is 15%, compared to the long established TuneIn 20% and iHeartRadio 37%.
• Radio continues to dominate listening in the car with 89% of people (over 18 years) having listened to AM/FM radio in the car in the last month.
• 13% of Australians have listened to a podcast in the last week, with 16% of 25-54 year olds listening to a podcast weekly. An average of five podcasts are listened to each week by those who are weekly podcast listeners. 14% of weekly podcasts are by Australian radio stations or Australian radio personalities.
• Overall social media usage by Australians is up 2% to 82% in 2018, with 94% of 12-24 year olds using some form of social media. However, the social media used most often finds Facebook use down to 60% from 73% in 2017 and Instagram up to 14% from 8%.
• Smartphone ownership in Australia continues to outstrip the US with 90% of Australians owning a smartphone and the 25-54 year olds have the highest ownership with 96% owning a smartphone.
• Brand awareness of smart speakers in Australia shows Google Home leading with 61% awareness, compared to Amazon Alexa at 28%. Smart speaker ownership is 5% in Australia compared to the USA at 18% but the US ownership more than doubled from 7% in 2017.
• Netflix remains the most popular on-demand video service, with 41% of Australians subscribing. Foxtel Play, Go or Now is up in 2018 to 18%. In the last week in Australia 49% of people have used Netflix, Foxtel Play, Go or Now, Stan or Amazon Prime.
Edison president Larry Rosin is in Australia this week presenting the second Australian study to commercial radio stations and media agencies in Sydney, Melbourne and Brisbane.
The Australian Infinite Dial study was conducted in the first quarter of 2018 and uses a nationally representative survey of 1,009 people and is a random probability telephone sample, comprising both mobile phones and landlines, of all Australians aged 12 and older.
The Infinite Dial study can be downloaded at radioalive.com.au.
Related Items:Commercial Radio Australia
Showpony sweeps Round 2 of Siren Awards with campaign tackling domestic violence
Radio industry fast-tracks new survey methods as diaries shutdown
Commercial radio reports record high audience in 2019
TV Ratings May 1: Not so much scandal, but double elimination a winner for MKR
Hootsuite and Facebook making it easier to share your brand's content

redpajama_set_name: RedPajamaCommonCrawl


Charles was active in community civic and arts associations. He was a member of both the Steuben County Magistrates Association and a member of the the New York State Magistrates Association for 55 years, where he was highly regarded and continued to contribute even after he was no longer serving as a judge. He held multiple offices in each, and served as President of the NYSMA in 1986. He was also a member of the Stephens Mills Grange (since 1933), and a member of two area Masonic Lodges, where he also served as an officer.


text:
typedef struct _SRT {
 USHORT sampleRate;     // 00 (was ULONG)
 UCHAR  clockSelect;    // 02
 UCHAR  rsv3;           // 03 reserved (can be used as multiplier flag for freq if need freq > 65535)
} SRT;

// This table holds all the sample rates the CS4232 can operate at and the data required
// in bits 0-3 of the FS and Playback Data Format Reg, (indexed register 8) to set them up

static SRT srt[] = {
  5512,0x01,0,  6615,0x0f,0,  8000,0x00,0,  9600,0x0e,0, 11025,0x03,0,
 16000,0x02,0, 18900,0x05,0, 22050,0x07,0, 27428,0x04,0, 32000,0x06,0,
 33075,0x0D,0, 37800,0x09,0, 44100,0x0B,0, 48000,0x0C,0};

#define SRT_COUNT (sizeof(srt)/sizeof(SRT))

// the following 3-D array defines the subtypes for DATATYPE_WAVEFORM
// The array is 4x2x2 and is indexed using frequency index, bits per
// sample being 8 or 16 represented by 0 or 1 resp. and mono or stereo
// mode represented by 0 or 1 respectively. For eg. to find out the
// subtype for 22050Hz sampling frequency, using 16 bits per sample
// and stereo mode, we use waveSubtypes[FREQ22KHZ][BPS16][1].

static USHORT waveSubtypes[NUMFREQS][BPSTYPES][MONOSTEREO] = { // was ULONG
 WAVE_FORMAT_1M08,    // 11.025kHz, 8-bit  Mono
 WAVE_FORMAT_1S08,    // 11.025kHz, 8-bit  Stereo
 WAVE_FORMAT_1M16,    // 11.025kHz, 16-bit Mono
 WAVE_FORMAT_1S16,    // 11.025kHz, 16-bit Stereo
 WAVE_FORMAT_2M08,    // 22.05kHz , 8-bit  Mono
 WAVE_FORMAT_2S08,    // 22.05kHz , 8-bit  Stereo
 WAVE_FORMAT_2M16,    // 22.05kHz , 16-bit Mono
 WAVE_FORMAT_2S16,    // 22.05kHz , 16-bit Stereo
 WAVE_FORMAT_4M08,    // 44.1kHz  , 8-bit  Mono
 WAVE_FORMAT_4S08,    // 44.1kHz  , 8-bit  Stereo
 WAVE_FORMAT_4M16,    // 44.1kHz  , 16-bit Mono
 WAVE_FORMAT_4S16,    // 44.1kHz  , 16-bit Stereo
 WAVE_FORMAT_8M08,    //  8.0kHz  , 8-bit  Mono
 WAVE_FORMAT_8S08,    //  8.0kHz  , 8-bit  Stereo
 WAVE_FORMAT_8M16,    //  8.0kHz  , 16-bit Mono
 WAVE_FORMAT_8S16     //  8.0kHz  , 16-bit Stereo
};

// the following 2-D array defines the subtypes for DATATYPE_ALAW  it is indexed by the
// sampling rate ordinal (from _usfind_matching_sample_rate) and the number of channels

static USHORT aLaw[NUMFREQS][MONOSTEREO] = { // was ULONG
 ALAW_8B11KM,      // 8bit 11kHz mono
 ALAW_8B11KS,      // 8bit 11kHz stereo
 ALAW_8B22KM,      // 8bit 22kHz mono
 ALAW_8B22KS,      // 8bit 22kHz stereo
 ALAW_8B44KM,      // 8bit 44kHz mono
 ALAW_8B44KS,      // 8bit 44kHz stereo
 ALAW_8B8KM ,      // 8bit 8kHz mono
 ALAW_8B8KS        // 8bit 8kHz stereo
};

// the following 2-D array defines the subtypes for DATATYPE_MULAW it is indexed by the
// sampling rate ordinal (from _usfind_matching_sample_rate) and the number of channels

static USHORT muLaw[NUMFREQS][MONOSTEREO] = { // was ULONG
 MULAW_8B11KM,     // 8bit 11kHz mono
 MULAW_8B11KS,     // 8bit 11kHz stereo
 MULAW_8B22KM,     // 8bit 22kHz mono
 MULAW_8B22KS,     // 8bit 22kHz stereo
 MULAW_8B44KM,     // 8bit 44kHz mono
 MULAW_8B44KS,     // 8bit 44kHz stereo
 MULAW_8B8KM ,     // 8bit 8kHz mono
 MULAW_8B8KS       // 8bit 8kHz stereo
};

// sampleRates[] used by _usfind_matching_sample_rate() to determine sampling rate ordinal

USHORT sampleRates[] = {11025, 22050, 44100, 8000};  // all that's supported!? (yes, weird order)

#define SR_COUNT (sizeof(sampleRates)/sizeof(USHORT))

// following takes positive arguments and returns the absolute difference between the two args

#define DELTA(x,y) ((x > y) ? x - y : y - x)

// --------------------
// in: devCapsPtr -> audio caps structure passed from IoctlAudioCapability() call (was PAUDIO_CAPS, in audio.h)
//out: n/a
//nts:

VOID waDevCaps(MCI_AUDIO_CAPS __far *devCapsPtr) {

 USHORT sampleRate;
 USHORT sampleRateIndex = 0;
 USHORT tbps, tch, isFD;

 if (devCapsPtr->ulOperation == OPERATION_RECORD) {
    isFD = war.flags & FLAGS_WAVEAUDIO_FULLDUPLEX;
 }
 else if (devCapsPtr->ulOperation == OPERATION_PLAY) {
    isFD = wap.flags & FLAGS_WAVEAUDIO_FULLDUPLEX;
 }
 else {
    devCapsPtr->ulSupport = UNSUPPORTED_OPERATION;      // (since can't record+play on SAME stream)
    return;
 }

 if (devCapsPtr->ulChannels > 2) {
    devCapsPtr->ulSupport = UNSUPPORTED_CHANNELS;
    return;
 }

 if (devCapsPtr->ulBitsPerSample != 8 && devCapsPtr->ulBitsPerSample != 16) {
    devCapsPtr->ulSupport = UNSUPPORTED_BPS;
    return;
 }

 sampleRate = (USHORT)devCapsPtr->ulSamplingRate;
 if (1) {
    USHORT i, diff, minDiff = 65535;
    for (i=0; i < (sizeof(sampleRates)/sizeof(sampleRates[0])); i++) {
       diff = DELTA(sampleRate, sampleRates[i]);
       if (diff < minDiff) {
          minDiff = diff;
          sampleRateIndex = i;
       }
    }
    sampleRate = sampleRates[sampleRateIndex];
    if (sampleRate != (USHORT)devCapsPtr->ulSamplingRate) {
       devCapsPtr->ulSamplingRate = sampleRate;                      // yup, update original
       devCapsPtr->ulFlags = devCapsPtr->ulFlags | BESTFIT_PROVIDED; // ugh!

// !!!
//ddprintf("waDevCaps: using BESTFIT sampleRate\n");

    }
 }

 // get ulDataSubType and update any format-specific flags
 // note: all data types have more than one value

 tbps = (devCapsPtr->ulBitsPerSample-8)/8;      // 0 or 1 (for 8 or 16)
 tch  = devCapsPtr->ulChannels - 1;             // 0 or 1 (for mono or stereo)

 switch (devCapsPtr->ulDataType) {
 case DATATYPE_WAVEFORM:
 case PCM:
    devCapsPtr->ulDataSubType = (ULONG)waveSubtypes[sampleRateIndex][tbps][tch];
    //if (tbps) devCapsPtr->ulFlags = devCapsPtr->ulFlags | TWOS_COMPLEMENT | SIGNED; //16-bit is alway 2's-comp
// !!! see if this matters
    if (tbps) devCapsPtr->ulFlags = devCapsPtr->ulFlags | TWOS_COMPLEMENT;
    break;

 case DATATYPE_ALAW:
 case DATATYPE_RIFF_ALAW:
 case A_LAW:
    devCapsPtr->ulDataSubType = (ULONG)aLaw[sampleRateIndex][tch];
    break;

 case DATATYPE_MULAW:
 case DATATYPE_RIFF_MULAW:
 case MU_LAW:
    devCapsPtr->ulDataSubType = (ULONG)muLaw[sampleRateIndex][tch];
    break;

 default:
    devCapsPtr->ulSupport = UNSUPPORTED_DATATYPE;
    return;
 }

 // original had this overwrite the ulFlags above! (TWOS_COMP and BESTFIT_!)
 // also, original (tropez) sets TWOS_COMP for 8-bit! data, in WAVESTREAM constructor
 // also, original sets BIG_ENDIAN (4232 says 16-bit is little endian)
 // ... not sure if this is saying what should be used, or what -can- be used (as in BIG_ENDIAN supported)

// !!!
 devCapsPtr->ulFlags = devCapsPtr->ulFlags |
                              BIG_ENDIAN |      // !!! that's what tropez has
                              FIXED        |  // fixed length data
                              LEFT_ALIGNED |  // left align bits on byte (always is if 8/16 bps)
                              INPUT        |  // input select is supported
                              OUTPUT       |  // output select is supported
                              MONITOR      |  // monitor is supported
                              VOLUME;         // volume control is supported

 // full-duplex info:
 // The number of resource units is described in the MMPM2.INI -- this can be thought of as
 // the number of active streams the driver can manage at one time.   Use 2 (one play, one rec).
 //
 // Tell MMPM how many of these units THIS stream will consume.  If full-duplex allowed, this
 // stream consumes 1 stream unit.  If not allowed, indicate that this stream consumes 2 units
 // (or all the available units).
 //
 // Along with the resource units, 2 resources classes are defined:  one for playback and one
 // for capture.  Tell MMPM (in the MMPM2.INI) that driver can deal with 1 playback and 1 capture
 // stream, OR 1 capture and 1 playback stream, at the same time. This is indicated in the
 // valid resource combos in MMPM2.INI
 //
 // So, check if this is a playback or capture and set the correct resource class
 // (playback = 1, capture = 2)
 //
 // no longer have WAVEAUDIO.usDmaChan/usSecDmaChan, but instead just WAVEAUDIO.flags bit0=1 is F-D

 if (isFD) {
    devCapsPtr->ulResourceUnits = 1;
 }
 else {
    devCapsPtr->ulResourceUnits = 2;   // full-duplex not allowed so allocate both resource units
 }

 if (devCapsPtr->ulOperation == OPERATION_RECORD) {
    devCapsPtr->ulResourceClass = 2;
 }
 else {
    devCapsPtr->ulResourceClass = 1;
 }

 devCapsPtr->fCanRecord = 1;
 devCapsPtr->ulBlockAlign = 1;
 devCapsPtr->ulSupport = SUPPORT_SUCCESS;

// !!!
//ddprintf("@waDevCaps: devCapsPtr->ulFlags=%lx\n", devCapsPtr->ulFlags);

 return;
}

// ---------------------------------
// in: wsPtr -> wavestream structure
//out:
//nts: also reinits dma hardware (esp. for logical dma buffer size, interrupts/buffer)

VOID waConfigDev(WAVESTREAM *wsPtr) {

 ULONG i, count, consumeRate;
 USHORT tbps, tch, tBytesPS, tIs16, tIsST;
 USHORT bufferInts;
 USHORT dmaType;

 WAVECONFIG *waveConfigPtr = &wsPtr->waveConfig;
 WAVEAUDIO *waPtr = wsPtr->waPtr;

// !!! new dma stuff

 waPtr->ab.bufferSize = wsPtr->audioBufferSize; // dma buffer size for this stream (def=0, 16KB)
 if (waPtr->ab.bufferSize < 1024) waPtr->ab.bufferSize = 0x4000;

 bufferInts = wsPtr->audioBufferInts;           // interrupts per dma buffer (def=0, two per buffer)
 if (bufferInts < 2) bufferInts = 2;            // at least two (must be a power of 2)

// !!!
bufferInts = 8;

 tbps = waveConfigPtr->bitsPerSample;
 tBytesPS = tbps/8;
 tIs16 = tBytesPS >> 1;

 tch  = waveConfigPtr->channels;
 tIsST = tch >> 1;

 // set clock select bits, using first SRT with sample rate >= requested rate
 // eg, if req=44000 then uses 44100 (if req=2000 then uses 5512)
 // this was done in a call to _vset_clock_info(ULONG freq)

 for (i=0; i < SRT_COUNT; i++) {
    if (srt[i].sampleRate >= waveConfigPtr->sampleRate) {
       waPtr->clockSelectData = srt[i].clockSelect;
       break; // out of for
    }
    waPtr->clockSelectData = srt[SRT_COUNT-1].clockSelect;  // requested is > last srt, so use last
 }

 // set up WAVEAUDIO.formatData, set silence data, set mono/stereo

 switch (waveConfigPtr->dataType) {
 case DATATYPE_WAVEFORM:
 case PCM:
    if (tIs16) {
       waPtr->formatData = FORMAT_BIT0;
       waveConfigPtr->silence = 0x0000;
    }
    else {
       waPtr->formatData = 0;
       waveConfigPtr->silence = 0x8080;
    }
    break;

 case DATATYPE_ALAW:
 case DATATYPE_RIFF_ALAW:
 case A_LAW:
    waPtr->formatData = FORMAT_BIT0 | CL_BIT;
    waveConfigPtr->silence = 0x5555;
    break;

 case DATATYPE_MULAW:
 case DATATYPE_RIFF_MULAW:
 case MU_LAW:
    waPtr->formatData = CL_BIT;
    waveConfigPtr->silence = 0x7F7F;
    break;
 }

 if (tIsST) waPtr->formatData = waPtr->formatData | STEREO_BIT;  // set stereo bit

 count = waPtr->ab.bufferSize/bufferInts;// bytes per interrupt
 waveConfigPtr->bytesPerIRQ = count;    // grab it while it's still bytes
 if (tIs16) count = count >> 1;         // if 16-bit then half as many as that in samples
 if (tIsST) count = count >> 1;         // if stereo then half as many as that in samples again
 waPtr->countData = count-1;            // samples per interrupt

// !!!
ddprintf("@waConfigDev:count=%lxh, bytes/IRQ=%lxh\n",count,waveConfigPtr->bytesPerIRQ);

 // calc PCM consume rate
 // The consume rate is the number of bytes consumed by this data format per second, based on:
 //    rate = sampleRate * bps/8 * channels
 // this is returned to the WAVESTREAM and used to calculate stream time

 consumeRate = waveConfigPtr->sampleRate;
 if (tIs16) consumeRate = consumeRate + consumeRate;
 if (tIsST) consumeRate = consumeRate + consumeRate;
 waveConfigPtr->consumeRate = consumeRate;

 // reinit dma
 // (dmaType has extra meaning: typeFdma is at bit8, so add it in (set in original dmaInit())

 dmaType = waPtr->ab.dmaCh.type | ((waPtr->ab.dmaCh.chInfo.typeFdma & 1) << 8);
 dmaInit(waPtr->ab.dmaCh.ch, dmaType, &waPtr->ab);

 return;
}

// ---------------
// in: n/a (maybe)
//out: 1 always
//nts: not used (use Stop stream instead)

USHORT waPause(VOID) {

 return 1;
}

// ---------------
// in: n/a (maybe)
//out: 1 always
//nts: not used (use Start stream instead)

USHORT waResume(VOID) {

 return 1;
}

#pragma code_seg ("_INITTEXT");
#pragma data_seg ("_INITDATA","ENDDS");

// -----------------------------
// in: dma channel = dma channel
//     waPtr -> WAVEAUDIO structure for this object
//out: 0 if okay, else error
//nts: called by wpInit() and wrInit(), each of which have their own, single WAVEAUDIO structure
//     and then only once, at driver init
//     sets up:
//      1. audioBuffer allocation and init
//      2. dma init
//     on entry, waPtr->flags:
//      FLAGS_WAVEAUDIO_FULLDUPLEX  1   // can do full-duplex (has separate DMA for play/rec)
//      FLAGS_WAVEAUDIO_DMA16       2   // dma channel is 16-bit (and waPtr->dmaPtr->ch itself)
//      FLAGS_WAVEAUDIO_FTYPEDMA    4   // hardware support demand-mode dma
//     passing dmaChannel to simplify
//     was _vSetup()

USHORT waSetup(USHORT dmaChannel, WAVEAUDIO *waPtr) {

 USHORT rc = 0;
 USHORT typeDMA = DMA_TYPE_ISA; // will be OR'ed with DMA_TYPE_PLAY(dma-read)/CAPTURE(dma-write)
 ULONG  sizeDMA = DMA_BUFFER_SIZE;  // physical size, will be xxKB always (after testing)
 ULONG  sizePage = 0; // 0 because...dunno, not used I suppose

 rc = abInit(sizeDMA, sizePage, dmaChannel, &waPtr->ab);
 if (rc) goto ExitNow;

 if (waPtr->devType == AUDIOHW_WAVE_PLAY) {
    typeDMA = typeDMA | DMA_TYPE_PLAY;
 }
 else {
    typeDMA = typeDMA | DMA_TYPE_CAPTURE;
 }

 if (waPtr->flags & FLAGS_WAVEAUDIO_FTYPEDMA) {
    typeDMA = typeDMA | DMA_TYPE_FTYPE;
 }

 rc = dmaInit(dmaChannel, typeDMA, &waPtr->ab);
 if (rc) goto ExitNow;

 waPtr->irqHandlerPtr = (NPFN)irqHandler;  // assign near function pointer to IRQ handler (always CS:offset)

ExitNow:
 return rc;
}

redpajama_set_name: RedPajamaGithub


text:
Program Coordinator for Diversity & Inclusion
Bridgewater College
Bridgewater, Virginia
Student Affairs, Other Student Affairs Jobs
Four-Year Institution
Job Summary: The Program Coordinator will support campus initiatives that foster diversity and inclusion in service to Bridgewater College's goals for an equitable environment. The program coordinator will be responsible for student programs and other initiatives that retain students, especially those who identify with traditionally marginalized populations. This position operates under the direct supervision of the Associate Dean of Students for Diversity and Inclusion.
• Advise, coordinate and train the Eagle Success Peer Mentoring program, including direct oversight of the peer mentor leaders. This includes developing a comprehensive training component that extends throughout the academic year. Additionally, the program coordinator will co-manage the budget for the mentoring program.
• Create, develop and administer cultural awareness, identity exploration and social justice programs. This includes administering the Safe Zone program for LGBT education.
• Provide support and guidance in an advocacy role for student organizations affiliated with the Center for Diversity, Education and Advocacy.
• Collaborate with student life colleagues and campus partners to identify creative strategies to support students who may come from traditionally underrepresented populations.
• Assist with marketing and outreach efforts for the Center for Diversity, Education and Advocacy.
• Support and enhance the campus climate for students across identity understandings.
• Works with the Associate Dean to examine climate studies, demographic data, policy analyses, and other data to develop, support, advocate for and assess social justice and inclusion initiatives.
• Evaluates programs to provide ongoing and annual feedback based on outcomes from data.
• Provide intercultural interventions, mediation and support services to students.
• Conduct useful benchmarks and other research to learn best practices and to develop ideas to enhance current initiatives.
• Serve as an advocate for traditionally underrepresented and first generation students ensuring that they connect with appropriate campus resources.
• Maintain healthy communication with the Associate Dean to provide weekly updates about pertinent information in regards to Eagle Success, Safe Zone and other initiatives that impact the department and students.
• Master's degree in Cultural Studies, Higher Education/Student Affairs or related field required.
• Demonstrated success working with a culturally diverse community of students and staff, including traditionally underrepresented and international student populations.
• Experience developing and implementing programs and activities designed to promote cultural diversity, access, inclusion, awareness, and equity.
• Proficient computer skills to include Microsoft Office Word, Excel, PowerPoint, etc.
Required Skills and Abilities
• Demonstrated experience in advancing equity, diversity, inclusion and multiculturalism within a complex organization.
• Experience with coordinating peer mentoring programs, especially managing training efforts.
• Sense of diplomacy, sensitivity and objectivity.
• Above average interpersonal and intercultural communication skills.
• Demonstrated judgment, analysis and decision-making skills.
• Demonstrated ability to cross organizational and cultural boundaries with ease, adapting language and style to the context both in person and at a distance.
• Experience working effectively in interdisciplinary teams.
• Excellent written and oral communication skills.
Bridgewater offers Bachelor of Arts and Bachelor of Science degrees in more than 60 majors and minors, along with multiple areas of emphasis and concentrations, pre-professional programs such as medicine and law, dual degree programs and teacher certification. The college is a member of NCAA Division III and the Old Dominion Athletic Conference, with 22 intercollegiate athletic teams. The vibrant 300-acre residential campus includes an equestrian center and is located in the town of Bridgewater, Virginia, near the city of Harrisonburg in the center of the Shenandoah Valley. An excellent school system, healthy business environment, numerous arts and cultural events, one of the state's lowest crime rates, and a variety of outdoor opportunities and historic attractions draw many to the region.
Additional Information: Email [email protected]
Apply: Please complete the online application at www.bridgewater.edu/careers. Include (upload) a cover letter, resume and the names and contact information (email and mobile phone) for three references.
Deadline: Review of applications will begin immediately and continue until the position is filled.
Bridgewater College is an equal opportunity provider, committed to employing a diverse faculty and staff, and actively seeks applications from women, minorities, and other persons from traditionally under-represented groups.


text:
Orlando to test weekly recycling, garbage pickup
By Jeff Weiner
Feb 21, 2016 | 4:38 PM
Orlando is testing a new solid waste calendar, increasing recycling pickups and decreasing garbage collection to one per week, each.
Call it junk science: Orlando is launching a garbage experiment.
During a six-month pilot program starting Monday, several city neighborhoods will have one garbage pickup day and one recycling pickup day a week. The city currently collects trash twice a week, and recycling once every other week.
Officials say the test was prompted by residents who said their recycling bins are overflowing because those trucks aren't coming often enough. It was a gripe that rang true for Mayor Buddy Dyer.
"I know, from my own personal experience, that my recycling bin is always full long before two weeks get here and my garbage is rarely halfway full for either of the two [weekly] pickups," Dyer said.
City staff have selected seven neighborhoods for the upcoming test: Audubon Park, Fairway Cove, Westchester, Carver Shores, Timberleaf, New Malibu and Baldwin Park.
If the pilot's results are good, the entire city could make the switch.
The change is being tested as a possible way around increasing fees to pay for extra recycling pickup. Officials say their studies have shown many homes don't need the second trash pickup.
The pilot's launch comes just weeks after Orange County revamped its garbage collection, which led to tens of thousands of customer complaints about homes being skipped and trash piling up.
Mike Carroll, manager of Orlando's Solid Waste Division, said Orange's service switch and the city's pilot program are "apples and oranges" different.
The county, he noted, totally revamped its service, In addition to reducing garbage pickup, Orange switched contractors for many of its routes and adopted automated trucks and county-issued roll carts.
Orlando has been using mechanized trucks and standardized carts for years. And the city's haulers won't be changing routes, so missed houses shouldn't be an issue, Carroll said.
Jim Becker, director of Orange's Solid Waste Division, said the county has received "a few complaints about once-a-week pickup for garbage," but most of the issues have stemmed from the other changes.
[Popular on OrlandoSentinel.com] Deal expected to speed up construction of Habitat homes in south Apopka »
"[Residents] got new contractors that had to learn their routes, they had new collection days," Becker said. "That was all together in one big ball ... That lent itself to a lot of issues and a lot of complaints."
It remains to be seen how Orlando's pilot will be received.
"We're affecting several thousand houses, and I've probably not gotten 30 emails about it," Carroll said.
Anecdotally, Dyer said the change seems welcome. He informally surveyed people at a series of public meetings the city held on its sustainability programs last year and said support for the idea was "overwhelming."
"For the most part, it has been everybody saying, 'Yeah, do that,'" he said.
Among the few who emailed the city about the program, the response has been mixed. Some praised the shift, saying their recycle bins are always full. Others expressed concern that trash will pile up instead.
Scott Bridgman, a Baldwin Park resident, said he's happy to have weekly recycling pickup, but worries that for some once-weekly garbage service won't be enough.
"I don't think my family's at that point, but I think families with multiple children … could run into an issue," he said, noting Baldwin Park's homeowners association fines for trash left outside a receptacle.
Carroll said the city will study how the switch affects families of different sizes, and also whether special events and holidays are too much for one garbage pickup to handle.
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"The week of Easter, we're going to pay attention to how many people have overflow," he said.
But Carroll said the city is ready to help residents make the switch. Anyone who participates in the recycling program can get a third bin for free, and haulers will make extra trips for residents who miss their pickup.
"They're going to call us, and we're going to come pick it up," he said.
jeweiner@tribune.com or 407-420-5171
Most Read • Orange County
For 'unclaimed' veterans, strangers become family at burial services: 'We let them know that they're not...


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Joe Machens Volkswagen is proud to provide the new 2019 Volkswagen Passat to Jefferson City and Sedalia, Missouri area drivers. This new mid-size sedan boasts an available Adaptive Cruise Control, Rear-View Camera System, NHTSA 5-Star Safety Rating, and Intelligent Crash Response System. Protect your precious cargo with Automatic Post-Collision Braking System and Tire Pressure Monitoring System.
When you want to give your daily commute an upgrade, climb into a new Passat with R-Line interior, R-Line exterior, and LED Headlights. Step up to the Passat SE R-Line to enjoy an interior that boasts a Fender® Premium Audio System, paddle shifters, and unique carbon fiber accents. Don't forget the new car smell. Walking around the exterior, your eye will catch the sporty front end, 19-inch twin 5-spoke alloy wheels, and performance design elements.
To give your drive a significant upgrade, take a look at the Passat Wolfsburg Edition. Here, you'll find 17-inch, ten-spoke alloy wheels, advanced driver assistance features, and leatherette seats. The 2019 Passat is designed for the entire family to enjoy. Rear seat passengers will appreciate having more than three feet of legroom. You'll appreciate the hands-free easy-open trunk the next time our hands are full. Follow these directions to Joe Machens Volkswagen in Columbia, MO and enjoy an informative test drive.
For 2019, the new Passat arrives in the Wolfsburg trim and the SE R-Line. The Wolfsburg is performance-oriented and motivated by a 2.0L Turbo engine. Enjoy such standard features as Blind Spot Monitor and Front Assist, VW Car-Net® App-Connect, and V-Tex leatherette seating surfaces. The SE R-Line comes with LED headlights, Touchscreen navigation system, and an Adaptive Cruise Control. Which new mid-size sedan will provide the family-fun you're after? When you're ready to make your purchase or find out if it's better to buy or lease, our finance associates will help with your Volkswagen auto loan. We look forward to seeing you at Joe Machens Volkswagen.


text:
University of Gloucestershire students Heading to Help Malawi
Posted by Brandon | Jun 23, 2010 | Uncategorised
With the power of sport to effect change highlighted by the World Cup, eight students and four staff from the University of Gloucestershire are heading to Africa on Wednesday to make a difference of their own.
After months working preparing workshops to meet the needs of partners in Malawi, and raising £5000 to allow us to subsidise conference attendees, they will be hosting seven conferences up and down Malawi entitled "The Power of Sport".
Each conference has around 80 to 100 attendees, and a selection of 10 workshops will be on offer to the Malawi participants, covering themes of sport and outreach, sport for development, sport within an education curriculum, and the application of sports programmes in the community, such as HIV/AIDS education.
Elizabeth Annett, trainee chaplain at the University of Gloucestershire, said: "Sport Malawi is an initiative centred on a partnership between the University significant actors and agencies within the church, sport, education, and development in Malawi. The initiative focuses on the promotion of sport for the purposes of indigenous outreach and development, an aim currently facilitated through annual regional conferences in Malawi involving students and staff. All of our work is planned to maximise participation, dialogue, and creative and experiential co-learning, and we're planning to send back a short update of our work throughout the trip."
Malawi is a small nation in southern Africa with a population of about 13 million. It is one of the least developed countries with very low life expectancy. Two thirds of the population live below the national poverty line and more than one in five people live in ultra poverty – unable to afford basic minimum food requirements.
Population growth, fertility, maternal and child mortality rates are among the highest in Africa and 46% of children under the age of five are chronically malnourished. Families and communities are grappling with HIV and AIDS, malaria and other diseases, dependent upon increasingly unpredictable rains to support subsistence farming on severely depleted soils in a deteriorating natural environment. 85% of the population lives in rural areas on landholdings of diminishing size. Anyone who would like to support this trip please visit www.justgiving.com/sportmalawi2010.
Source: University of Gloucestershire
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You can buy the Canon 5D Mark IV and have it shipped to anywhere in the world with Shop2Ship's door-to-door package Forwarding Service.
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The EOS 5D Mark IV camera has a full-frame, high-speed CMOS sensor that delivers beautiful images of weddings, wildlife, sports and more. Measuring approximately 36.0mm x 24.0mm, the same size and ratio as a 35mm film frame, it records approximately 30.1 Megapixels at normal ISOs of up to 32000. It also captures tremendous still and 4K video clips suitable for significant post-processing, retouching and cropping. This brilliant sensor adds Dual Pixel CMOS AF capabilities as well, enabling the EOS 5D Mark IV to focus quickly and accurately during live-view shooting, capturing the action as it unfolds.
Featuring Dual Pixel CMOS AF and Touch AF, the EOS 5D Mark IVcamera delivers quick, smooth AF throughout 80% of the picture area for excellent subject tracking while shooting video. Used in conjunction with the camera's touch screen, it's easy to select the location and size of the AF frame, which can be especially useful when the subject is off center or for dramatic focus shifts.
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Northup's organization usually clashes with the anti-abortion activists who convened Monday morning at the Supreme Court in the wake of the killing Sunday of Wichita, Kan., physician George Tiller. Both sides, though, agree that Sotomayor's abortion-related views have yet to be fleshed out.
Unlike race and gender, abortion apparently hasn't inspired her to offer any out-of-courtroom commentary. In her legal opinions, she's largely confined herself to observations such as those in a 2007 Chinese asylum case, in which she noted the "unique biological nature of pregnancy and special reverence every civilization has accorded to child-rearing and parenthood in marriage."
Sotomayor is Roman Catholic, as are five other members of the Supreme Court. With the exception of Justice Anthony Kennedy, who in a key 1992 case helped sustain a woman's right to choose abortion, the court's other Catholic members are staunch opponents of abortion.
Sotomayor hasn't had to rule on the reach of Roe v. Wade, the 1973 Supreme Court case that linked abortion rights to the constitutional right to privacy. Neither has she considered more recent variations, such as bans on late-term abortions or parental-consent requirements.
Instead, Sotomayor has faced ancillary issues, including the complaints of abortion clinic protesters, requests for asylum from women fleeing forced abortions and the power of a president to limit abortion-related spending.
In 2002, for instance, a New York-based organization that then was called the Center for Reproductive Law & Policy challenged the Bush administration's so-called "Mexico City Policy." The policy, first adopted by President Ronald Reagan in 1984, required foreign family-planning organizations, as a condition of receiving U.S. funding, to refrain from performing or promoting abortions.
Some organizations, including the International Planned Parenthood Federation, forfeited U.S. funding rather than accept the restrictions. Sotomayor dismissed claims that the policy violated free-speech rights.
"The government is free to favor the anti-abortion position over the pro-choice position, and can do so with public funds," Sotomayor wrote, noting that the 2nd Circuit appellate court had dismissed nearly identical free-speech claims in 1990.
Northup of the Center for Reproductive Rights, the new name for the organization that filed the lawsuit, said that Sotomayor "and the others felt the precedents were against us." She added, though, that Supreme Court justices can rewrite precedents in a way that appellate judges cannot.
In 2004, an anti-abortion group called Amnesty America won a procedural victory as well as a tongue-lashing from Sotomayor. That case, though, shows more about Sotomayor's impatience with sloppy lawyering than it does about her views on abortion.
Amnesty America claimed that police had treated its members brutally during protests in 1989 in West Hartford, Conn. Sotomayor agreed that the case appeared strong enough to go to trial, but she also warned Amnesty America's attorney that he faced eventual disciplinary action if he didn't shape up.
"The sheer number of cases in which his unprofessional conduct has been cited indicates that judicial expressions of disapproval alone have not succeeded in convincing him to alter his behavior," Sotomayor cautioned.
In a similar vein, Sotomayor's occasionally combative approach colored a 2nd Circuit decision in 2007 involving Chinese asylum seekers. She wrote separately and emphatically to say that the asylum rules also should protect spouses.
"I fail to understand how the majority can claim that the harm caused by a spouse's forced abortion or sterilization is not a personal harm to both spouses," Sotomayor wrote.


Tomorrow I am venturing off into the sunset and basically buggering off on holiday for a lovely two weeks in the sun. I cannot wait to spend precious time with family and of course I am very excited about the beaches, shops and bars that await us too! I wanted to write this quick little post basically to let you all know that I will be absent from the blogging world for a good two weeks and to stay posted as I have some great guest posts that will be cropping up on the blog while I'm away. After working my bum off for my exams and dealing with applying for uni (trust me, it's more complicated than it looks - I've been signing forms for days), making major life decisions and basically deciding what I want to do in the future, I feel like a good holiday is in order and just what I need. I've just finished packing, which is quite a task in itself, and have managed to reduce all my essentials down to ten kilos. When you actually think about all of the products and items you use each day, its very hard to minimise these down to just the bare essentials. I've held off on the straighteners and have decided to leave them at home - I'll really be embracing that beach babe look! I don't use my straighteners too often anyway, but giving my hair a good break will hopefully do it lots of good. If I'm just going to be thrown into a pool, why spend hours on my hair?
While I'm away I'm going to be writing a diary of everything I do and experience, which will be up on my blog as soon as I'm back! I'll miss ya!


text:
El Diccionario español de ingeniería (DEI) es un diccionario, editado por la Real Academia de Ingeniería de España, con 50 000 voces sobre materias técnicas e ingenieriles como astronáutica, agropecuaria, telecomunicación, química industrial, biomedicina, informática, etc.

Escrito entre 2004 y 2014, tanto por lingüistas como por académicos científico-técnicos, se trata de un lexicón en línea de consulta abierta y gratuita.

Ramas

El Diccionario Español de Ingeniería abarca las ramas de:
Astronáutica, naval y transportes
Agroforestal
Construcción
Tecnologías de la información y las comunicaciones
Seguridad y defensa
Química industrial
Energía
Ingeniería biomédica
Ingeniería general

Referencias

Enlaces externos
Diccionario español de ingeniería

Diccionarios de español
Real Academia de Ingeniería de España


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    {% trans 'Please confirm your selection.'%}
    [[help]]

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If you read my previous post and decided you would like to go with WordPress.com for your site, here's a basic explanation of which plan will suit your needs the best. Let's assume that you are an author named Silo Brickers and you want to use your name as your website.
Also understand that WordPress.com offers what's considered managed hosting. You don't upload and install the WordPress code. It's already there. No fiddling with databases or troubleshooting bandwidth requirements. You just manage your theme and content.
The trade-off is if you want control over more of the process, you won't have it. If that's the case, this post is not for you. Otherwise, read on.
First of all, nothing is free. Really. Somewhere along the line, somebody pays for it. In the case of the free plan, your site is paid for with advertising. The free plan includes ads and a domain that will look like silobrickers.wordpress.com.
Be aware you will have a limited choice of themes and you cannot install plugins. If you're happy with the stock WordPress and the basic features of Jetpack … and if you don't mind ads you can't control and a non-optimal domain name, this is the plan for you.
$5/month removes WordPress branding and lets you use your own domain. Now you can use silobrickers.com. You also get more storage space.
If you're happy with stock WordPress and the basic features of Jetpack, this is the plan for you.
$8/month adds premium themes, advanced design customization (extra theme options, CSS, etc) and additional storage.
You still can't install plugins.
I don't know why WordPress.com decided to go from $8 to $25, but that's what they did. There is nothing in between. The $25/month plan includes all the features of the $8 plan. In addition, it removes storage limits and finally gives you the ability to install plugins. If you need to be able to install plugins and use whatever theme you like, this is the plan for you.
On the other hand, you can get all of this from many other hosting companies at a much lower price.
All of these plans include the Jetpack plugin, which is maintained by WordPress. It also has multiple tiers and you can sign up for more features if you like. It's outside the scope of this post, but you can see their offerings at jetpack.com.
Tune in for the next in this series where I will present some other hosting options for those of you who want more control over your site.


text:
Coming Together Around Distance Learning
By William McCallum
I can't imagine what it must feel like right now to be a teacher facing the uncharted territory that is the coming school year. Will I be teaching 100% online, or have some face-to-face interaction with my students? Will I be teaching synchronously or asynchronously for most of the school year? How will I get to know my students and how will they engage in one another's ideas? How will I get to know my students' families? How can I give them manageable guidance to support students this year? Most of all, where can I get help with all these questions?
I've heard a lot of talk about the digital tools needed to solve such problems, such as learning management systems and online curriculum platforms. But these things, as useful as they may be, are just tools. Tools don't solve peoples' problems; people solve their problems with tools. At IM we have been thinking not so much about which digital tools to choose—there are plenty of them out there, from simple to complex—but about how to support teachers in managing the content they put into the digital tools. We believe it is the arrangement of content that will give us the opportunity to reimagine what virtual instruction looks like, in ways that will continue to be useful after things return to whatever the next new normal will look like.
So what is IM doing right now?
First, if there is a positive side to the chaos of the last three months, it is that teachers bring a wealth of experience. We have heard teachers share what tools worked for them or didn't, what materials engaged students or didn't, and how they built community and connected with families. So our first step in supporting distance learning is to create a national virtual collaboration hub, where IM curriculum users will be able to connect with each other, find resources, and share their learning.
Second, we are developing resources to help teachers think about how to arrange the content in our curriculum in a distance learning environment. When we think about how to structure time for distance learning, we think in terms of groups of lessons around a coherent topic rather than individual lessons. (Technically, these are sections in the units of our curriculum.) This makes it possible to organize each section's activities according to whatever hybrid schedule a particular school has adopted, while maintaining the coherence of the curriculum. It allows us to think about which activities will engage families, which activities students might be able to engage with on their own, and when it would be desirable to have students working together with a teacher, whether in the classroom or online.
To support this work, we are producing guidance documents for each section that will help teachers think about these issues. In addition, we are producing video summaries of each section for 6– 12 that will help teachers, and possibly caregivers, quickly get the gist of the mathematics and make sense of the activities within the section. For K–5 we are thinking about which activities promote open math discussions at home, so that families can support without being expected to help or teach to their child. What encourages students to see math in the world around them?
Distance Learning: Three Guiding Principles
More details to come in future blog posts, but for now I want to emphasize three guiding principles in our work on distance learning.
First, engagement. Without student engagement, not much learning will happen, no matter what tool you are using. The problem-based design of our curriculum was premised on the need for student engagement. That normally happens inside a classroom. The challenge will be to figure out how to make it happen at a distance. Everything we are producing is guided by that overarching need.
Second, community. The learning teachers and families have gained over the last few months, and the knowledge and wisdom they have about what works for their students, are precious resources not to be wasted. The virtual collaboration hub will be a place to amplify that learning and share that knowledge. As the year rolls by we will learn together.
Third, permanence. What we do this coming year should sustain us beyond that year. Knowledge about how to engage students and their families, and about how to help students with unfinished learning, will always be useful. A permanent community of teachers and coaches sharing insights and resources will continue to sustain us on our journey towards a world where all learners know, use, and enjoy mathematics.
Keep an eye on our new distance learning page, and watch this blog for more posts about new resources for the 2020–2021 school year.
You can also sign up to receive updates and be the first to know when you can access the IM Community Hub, where you can create, share, and get resources for unfinished learning, distance learning, and family supports.
William McCallum
CEO & Co-Founder at Illustrative Mathematics
Bill McCallum, founder of Illustrative Mathematics, is a University Distinguished Professor of Mathematics at the University of Arizona. He has worked in both mathematics research, in the area of number theory and arithmetical algebraic geometry, and mathematics education, writing textbooks and advising researchers and policy makers. He is a founding member of the Harvard Calculus Consortium and lead author of its college algebra and multivariable calculus texts. In 2009–2010 he was one of the lead writers for the Common Core State Standards in Mathematics. He holds a Ph. D. in Mathematics from Harvard University and a B.Sc. from the University of New South Wales.
The Structure is the Standards
Ways of thinking and ways of doing
Truth and consequences: talking about solving equations