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Kirk Herbstreit 'a lot more open' to future in NFL broadcasting
Dustin Schutte | 3 months ago
One of college football's most revered broadcasting teams has tested the NFL waters this fall. Due to some changes in ESPN's broadcasting schedule in 2020, Chris Fowler and Kirk Herbstreit have been on the call for a few Monday Night Football games on the network this year.
While Herbstreit still loves the college game, he admits that he's enjoyed calling NFL contests more than he expected. If there's a potential change in his future, the longtime College GameDay personality and Game of the Week analyst would be open to a change in his career.
"I had an absolute ball calling that game [Steelers-Giants] and it made me reflect a little bit differently toward my future and what I might want to do down the road," Herbstreit told The Big Lead. "Like I said, I hope to always do college football. But if NFL would be in my future, I'm a lot more open to that thought than I was maybe prior to that experience.
"Most people in my shoes are just looking to grow and grow, 'one day maybe I'll do the NFL.' I've never had that. With that being said, I was blown away by how much I enjoyed that game."
Herbstreit will be back on a Monday Night Football call in the NFL's Week 5, heading to Foxboro for Monday's meeting between the Denver Broncos and New England Patriots. Fowler will be the play-by-play voice.
Both Fowler and Herbstreit have received rave reviews about their ability to call Monday Night Football games, especially given how much attention they have to place on college football each week. But because they've been excellent in the MNF booth, there's some hope that the pair will soon be the primary broadcast duo for those games.
We can all agree that if that's the case, hopefully Fowler and Herbstreit are still working in college football, as well.
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Software Test Management | Testuff - Fearful of SaaS-based Software Test Management Tools?
Fearful of SaaS-based Software Test Management Tools?
Home/Blog, QA, SaaS/Fearful of SaaS-based Software Test Management Tools?
In the previous post, I extolled the virtues of software as a service (SaaS) for testing and development. When compared with on-site solutions (i.e. internal servers), SaaS consistently wins for its greater convenience and lower cost.
But the software testing process doesn't thrive on convenience or cost alone. Security is equally (if not more) important. After all, what good is an affordable software test management tool if hackers and bugs render it useless?
So how does SaaS stack up to on-premise software testing solutions when security is your primary criterion?
I can answer this question in two ways.
The short answer. If you use Google Apps (Gmail, Calendar, Docs, etc.) or SalesForce, you're already using SaaS software. Moreover, you use these to manage company emails and customer data – information that is often more sensitive than most software testing requirements.
Not satisfied with that response? Then let's look at the long answer.
Can SaaS Make the Software Testing Process Safer?
In a word "No." But if we ever did offer on-site solutions, it certainly wouldn't be to address security concerns – and here's why.
On-site test management solutions are not necessarily safer.
Perhaps in the old days when internal servers weren't connected to the Internet, you could potentially argue that they were relatively secure. But in most software testing environments today, there's almost always an access point to and from the Web.
And even if you had a team of on-site security professionals working around the clock to block every virus, hacker, or worm, you also face potential hardware failures. These are inevitable.
But does all this mean SaaS is any better?
Like most hosting solutions, we have numerous hardware redundancies to ensure that a physical breakdown of any component is localized, temporary, and insignificant.
The only way to access your database is through usernames and passwords. We don't even store your password on the server – just the hashes.
This means that even your team can neither accidentally nor deliberately compromise our servers.
In a nutshell, SaaS and our approach to the software testing process are supremely secure.
But don't take my word for it. Try it out yourself. Keep your current on-site solutions in place and take advantage of our 30-day free trial. Compare both solutions side-by-side.
I'm confident that you'll reach the same conclusion that thousands of clients have already reached – Testuff's SaaS-based software test management tools are not only more affordable and convenient than most on-site solutions, but they also offer a level security that is equal, if not superior, to most products in the market.


We propose here at first an itinerary which from the tourist and lake entrance of Cernobbio, slowly goes up to an interesting historic centre, up to the foot of Bisbino, and goes down up to the discovery of an interesting "Cittadella della Seta" typical of the Lario Region.
This route starts from the Peer of Cernobbio, enters the ancient centre of the village with the church of Saint Vincent, crosses the green oasis of the "Giardino della Valle" up to the Parish Church of S. Nicholas at Casnedo, coming down and ending with the beautiful villa in Liberty style, built between the year 1905 and 1906 by the silk manufacturer Davide Bernasconi.
This circular walk starts from the parish church of St. Nicholas in Casnedo, goes uphill on the old mule-track to the hamlet of Rovenna, and returns downhill to the starting point along the old road, now via Monte Santo, which connected the hamlet and the centre of Cernobbio, before the new carriage road was constructed between 1915 and 1917 (out of the need to quickly build a link with the Cadorna Military Line defense works), which took the name via della Libertà at the end of World War II. It is a pleasant and interesting alternative itinerary through the areas of Cernobbio which have preserved their old rural characteristics: the centre of Rovenna and the hamlets of Stomaino, Porgino and Toldino, which until 1929 represented a single separate Municipality.


Sometimes small bedrooms can feel congested and cluttered because of the furniture we need, the colors we use, and a general layout of the room. Luckily, there's plenty of space-saving tips that make our small bedrooms appear larger than they actually are.
Hang your curtains as close to the ceiling as possible. You only need to ensure that you have left the required inch for access but nothing more. Remember, you are not under any compulsion to choose between blinds and curtains.
You should be guided by your taste but also check out some great ways to treat your bedroom windows. If you are after a more formal appearance, go for shades and curtains. With blinds, blackouts are best for bedrooms. The heavier material is great for blocking out light.
Are you worried about your windows being too large? Don't change anything! There is nothing like windows being too large. Just like it is not possible to be too beautiful or handsome. If the curtains feel overwhelming due to the size of the windows, choose a fabric that blends in appropriately with the wall so there isn't any contrast visible.
The basic principle for decorating your bed is to find brightly-colored bedding that brings the most light into your room. Doing so will give your room a more open and radiant look. You can get some fantastic brightly-colored natural fiber bedding and eco mattresses delivered from Brentwood Home.
The first step to a bedroom overhaul is to remove any unnecessary furniture in order to create more space. Alternatively, you can bring in multi-functional furniture or furniture with many storage compartments in order to increase the amount of available free space. Another idea is to think "up" - take advantage of vertical space as much as you can. For example, instead of buying a freestanding bookshelf, build individual shelves above a desk or bed. Another space-saving tip is to build an elevated bed loft and then place your desk underneath it. Doing so will free up all the space your bed would've taken up!
Another option is to utilize storage containers that can be substituted for large pieces of furniture like a clunky wardrobe or dresser. Containers can then be placed underneath the bed or other pieces of furniture in order to save more space. After using this method, you'll have a few large pieces with many functions instead of many small pieces of furniture.
Opting for fewer but larger pieces brings a feeling of openness to a small bedroom and actually creates more storage space. For example, if you have a king of queen size bed, you'll have more room underneath for storage. It's also a good idea to place your bed adjacent to the longest sides of the wall. This puts the centerpiece of the bedroom in the most efficient spot, making the room feel less cramped. What you're always looking for is to create a sense that the room is more spacious than it really is.
Decorating for the walls revolves around color. For a small bedroom, light blues or greens create not only a calming effect but they also reflect lots of light, making the room appear larger. It's generally wise to avoid darker colors as they bring a dulling effect that makes everything feel constrained. In addition, ceilings and moldings should be painted in a lighter color to give an illusion of a high ceiling.
Lighting is a vital component to making a small room appear larger. Install soft colored, translucent curtains made from a light material in order to let in more light. Swag curtains also allow more light in.
Mirrors reflect light all around the room and create the illusion of depth. Place a few mirrors along the walls or on the back of your door, so long as they are visible and able to reflect indoor and outdoor light. Bedroom mirrors not only serve a decorative purpose - a full-length body mirror can be useful for getting ready in the morning.


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Neo Music Production provides live music entertainment for wedding and events, and composes music for movies, Cantonpop artistes, commercials, and games. In 2017, composer Yusuke Hatano won the Best Original Film Score at the 36th Hong Kong Film Awards, Los Angeles Golden Screen Awards, and Hamilton Behind the Camera Awards.
What we can offer you
Our aim is to to be a musical adventurer in today's music scene. We work closely with our clients to fulfill their desired needs in music. We are passionate in what we do and each project that we work on is important to us. You can expect a friendly, creative and productive working relationship every time.
Why Neo Music Production?
We are music enthusiasts dedicated to providing you with the best music you can find in town, whether it is musicians for your wedding, original songs specially made for you, or private music courses. We are here to make music enjoyable for you.
YUSUKE HATANO
Yusuke Hatano (波多野裕介) is the co-founder, pianist, composer, and arranger of Neo Music Production. Yusuke holds a Bachelors degree in Music Composition from the University of Queensland, Australia. Interested in a range of musical genres - from classical and jazz to contemporary and electronic music - Yusuke spent the formative years of his career as a jazz pianist in Brisbane, Australia, before relocating to Hong Kong in 2011. His feature film works include SOULMATE (七月與安生), THE GREAT DETECTIVE (大偵探霍桑), MAD WORLD (一念無明), FULL STRIKE (全力扣殺), HAPPINESS (幸運是我), LINE WALKER (使徒行者), ZOMBIOLOGY: ENJOY YOURSELF TONIGHT (今晚打喪屍). In 2017, Yusuke won Best Music at the Hong Kong Film Awards, Golden Screen Awards in Los Angeles, and Hamilton Behind the Camera Award.
JEAN KHO
Jean holds a Masters degree in Creative Production and Arts Management and a Bachelors degree in Entrepreneurship and Sound Studies from Queensland University of Technology, Australia. She was awarded the Dean's List for Academic Excellence for her Masters degree. As an active member of the Hong Kong Performing Artistes Guild since 1999, Jean participated in organising events and performances for the entertainment industry. Returning from Australia, Jean decided to fully dedicate her passion to the Hong Kong entertainment industry.

redpajama_set_name: RedPajamaCommonCrawl


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Cruis'n USA (Nintendo 64):Notes
Revision as of 00:58, 20 August 2017 by BoringPerson (talk | contribs) (BoringPerson moved page Cruis'n USA:Notes to Cruis'n USA (Nintendo 64):Notes)
1 Roadkill Collision
1.1 Codes
1.1.1 Force roadkill-type collisions
1.1.2 One sign in Iowa explodes into chunks (other models)
Roadkill Collision
In the arcade version of Cruis'n USA, there are cows and deer on the road that will explode into chunks if you hit them. This was removed from the Nintendo 64 version.
In the Nintendo 64 version, there are different collision types. There's one for objects that go flying like mailboxes, and another for road signs that flatten when you hit them. There is also an unused collision type 0xF0. When you crash into an object of this type, the object disappears and you spin out. As it turns out, this is the roadkill collision that was removed from the Nintendo 64 version of Cruis'n USA. There is also an explosion of chunks just like in the arcade version, but all the chunks are invisible.
Force roadkill-type collisions
The code below will turn many collisions (like with mailboxes, barrels, and orange-and-white signs) into roadkill collisions. The chunks will still be invisible.
Cruis'n USA (U) (V1.0)
Force many collisions to be roadkill collision
81040D08 0000
81040D0A 0000
81041A20 0000
81041A2C 0000
81041A2E 0000
The first two lines force 0xF0-type collision for those objects, and the last four keep the game from freezing.
One sign in Iowa explodes into chunks (other models)
The code below will make the first orange-and-white sign at the tollbooth in Iowa explode into chunks when you hit it. The chunks will be other models found in the stage. You must turn off racers and traffic before entering the race, and don't enable the codes until you can see the tollbooth in Iowa.
First orange and-white sign at Iowa tollbooth explodes into various models when hit
* Turn off Racers and Traffic before entering the race
* Don't enable these codes until you see the tollbooth
801FA36B 00F0
8104541A 8FC4
8104542A 8D5C
8104543A 8E58
8104544A 8DCC
The first line changes the collision type of that sign to 0xF0. The next eight lines turn the invisible chunk models into other models. As before, the last four lines keep the game from freezing. This code will not work on other stages because of how models and objects move around in memory.
When you run into the first orange-and-white sign in Iowa, the values for the roadkill chunk models are read from four places in memory:
80045410: 00000000 no model
As you see, all four of these places normally have a value of 00000000, which is why the roadkill chunks are invisible.
Using the addresses above, the game creates roadkill chunks in this order upon collision. (Only showing the last two digits of each address):
That's a total of 18 roadkill chunks. All of the chunks are created during the same frame except the last one (italicized above), which is created during the next frame.
Retrieved from "https://datacrystal.romhacking.net/wikid/index.php?title=Cruis%27n_USA_(Nintendo_64):Notes&oldid=40731"


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Dirty Rotten Scoundrels delivers the sexy fun we're all looking for
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Jan 9, 2023 | Business
This past December, after a few months of conversation and formalities, Hess handed over the keys to his Main Street establishment to Northport Village resident Denis Beyersdorf. When he spoke of the sale of the business, of…
New in town: Arlo brings a classic dining experience to Northport
Dec 22, 2022 | Business
The restaurant Arlo is exactly how you might want your neighborhood's new fine dining establishment to be: strikingly impressive yet warm and welcoming; the space is grand, high-class and cozy. Tucked up a hill off 25A,…
X-Golf brings indoor golfing closer to home, with 10K square-foot location in Commack
After the Covid-19 summer of 2020, which allowed him to play a great deal of golf while much of life remained shut down or restricted, Dix Hills resident Geoff Schwartz began looking to continue his game as the weather grew…
TOH business owners speak out against proposed metered parking in town lots, including Woodbine Marina
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Nest on Main celebrates five-year anniversary with a focus on community and giving
Nov 4, 2022 | Business
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Bits and pieces: Local business update
Oct 1, 2022 | Business
A new restaurant is coming to Main Street. Tap and Tapas will open at 487 Main Street in Northport Village, where Nina's Pizza was previously located. The restaurant will offer beer, wine and sangria on tap, along with…
Changing Tides: Helga's Choice Consignment gets new owner and name
Sep 21, 2022 | Business
A longtime consignor and professional organizer, Denise Glozek has made a new home on Main Street, in what was previously Helga's, the long-standing, well-loved consignment store in Northport Village. A Huntington resident…
New date and location for public hearing on Pulaski Road residential complex in Greenlawn
The date and location of the Town of Huntington public hearing to consider adopting a local law to allow for the construction of more than 200 residential units off Pulaski Road in Greenlawn has been changed to accommodate a…
Northwell opens multidisciplinary practice on Fort Salonga Road
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Public hearing set: Over 200 new residential units proposed for Pulaski Road in Greenlawn
Aug 22, 2022 | Business
A Town of Huntington public hearing has been scheduled for this fall to consider adopting a local law that would amend the town zoning map on the north side of Pulaski Road (east of Greenbrush Court) in Greenlawn from an R-40…


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The Last of Us 2 Is the sequel to a really bad game? | Games
During the Games-press "The Last of Us 2" with the best ratings has showered, the barrage of bad Reviews on the part of many players. How good or bad the game
29 June 2020 Monday 07:35
During the Games-press "The Last of Us 2" with the best ratings has showered, the barrage of bad Reviews on the part of many players. How good or bad the game really is?
"The Last of Us 2*" was expected this year of PS4 players with voltage. Of the press the game received top scores, but there are many players, there were negative reviews. How good the game really is?
After the first part of "The Last of Us" inspired the players of his time, were the expectations of the continuation of correspondingly large. A few days before the Release of the first reviews of the Games press, which awarded all of them excellent marks-mostly even the best of notes appeared. However, shortly after the game appeared, there was a wave of bad reviews from players - even if this not have a negative effect on the sales figures have been affected. How can the negative Reviews, explain?
"The Last of Us 2": this is Why the game gets so many bad reviews
Many sites have already set up with this huge gap between press and User reviews apart. For the negative Reviews are called for several reasons . Apparently, thousands of people have left conspired to a so-called " Review-Bombing " - that is, after consultation bad marks on the review website Metacritic. Currently, the User Score 4.6 out of 10 (Stand 26 is located. June).
That these poor grades were already made shortly after the Release, shows, however, that the negative Reviews written in well - of , as nobody had been able to in this short time, the game to play through. Furthermore, in the run-up to the leaked Spoiler* would have also helped. In addition, the poor working conditions* must have taken the developer Studio Naughty Dog influence.
But such Reviews are difficult to take Seriously, since they say little about the game itself. the good or bad The Last of Us 2 is "" really?
"The Last of Us 2": graphics and staging are terrific
+ "The Last of Us 2"©provides an atmospheric, apocalyptic game world.Naughty Dog
one thing most players agree On the graphics and staging from "The Last of Us 2" is nothing to suspend. The game doesn't need to hide at a distance in front of titles like "Red Dead Redemption 2". the Realistic facial features , animations and environments you will find in probably any other video game. The developers are creating a very oppressive and bleak post-apocalyptic atmosphere.
But the faint-hearted, players should be pre-warned: The depiction of "The Last of Us 2" is extremely brutal and can beat on the mind. In the staging of the cutscenes, the developers from Naughty Dog again deliver a cinematic presentation - this one is used to from "Uncharted 4".
Legitimate criticism there is on Gameplay . "The Last of Us 2" is a continuation of the gameplay from the predecessor. Main character Ellie is sneaking through a dangerous world where you must, against the so-called "Infected", as well as hostile people groups. For this you have to make do with objects and improvised equipment that you find on your way. the The big weakness of the AI the opponent is. Even on a higher difficulty this Ellie very much, although it is actually in their sight.
also read : "The Last of Us 2": The most important tips to Start.
"The Last of Us 2": Story and characters columns of the players
+ The motivations of the characters in "The Last of Us 2" are for critics to understand.©Naughty Dog
But the main reason for the negative reviews is clearly the Story, and the characters , such as the User Reviews on Metacritic to. The critics of "The Last of Us 2" that history is all around, Joel and Ellie was full of logic errors and motivation characters not traceable . Also the ending was highly unsatisfactory: "The end leaves Nothing behind, and worse yet, it tarnishes the legacy and the decisions of the first part," - said in a Review. Other players do not agree, in turn, this criticism and keep "The Last of Us 2" for a successful continuation.
conclusion : PS4 players, which is atmospheric and Story-like-driven title, they should play "The Last of Us 2" is definitely not. Whether the story appeals to you, is up to you, but graphically and dramaturgical there should be no doubt.
interesting : games for PS5: These titles appear to be for the Playstation 5.
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"Cyberpunk 2077", "Doom Eternal" and "Half-Life": This game Smashers appear in 2020
Updated Date: 29 June 2020, 07:35
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Paul Adrien Maurice Dirac (Bristol, 8 augustus 1902 – Tallahassee, 20 oktober 1984) was een Brits theoretisch natuurkundige en een van de pioniers van de kwantummechanica. In 1928 leidde hij het bestaan af van antimaterie.

Leven

Jeugd en studie
Dirac werd geboren als zoon van Charles Adrien Ladislav Dirac (1866-1936) en Florence Hannah Holten (1878-1941). Zijn vader was een Zwitserse immigrant van het kanton Wallis in Zwitserland die leraar Frans was. Zijn moeder, Florence Hannah Holten, kwam oorspronkelijk uit Cornwall en was de dochter van een zeeman. Paul had een oudere broer en een jongere zus. Zijn vroege familieleven lijkt redelijk ongelukkig te zijn geweest door de ongewoon strenge en autoritaire natuur van zijn vader. Hij ging naar de Bishop Primary School en later aan de Merchant Venturers Technical College. Deze laatste was verbonden met de Universiteit van Bristol en legde de nadruk op wetenschappelijke vakken en moderne talen; een ongewone regeling in een tijd waarin het secundaire onderwijs in het Verenigd Koninkrijk grotendeels was gewijd aan de klassieken. Dirac zou hier later veel dankbaarheid voor tonen.

Hij studeerde elektrotechniek aan de Universiteit van Bristol en studeerde af in 1921. Hij kon geen werk vinden als ingenieur, maar kon via een verkorte opleiding wiskunde studeren in Bristol. Hij haalde zijn diploma in de wiskunde in Bristol in 1923 en kreeg toelating om onderzoek te doen aan het St John's College te Cambridge, waar hij het overgrote deel van zijn carrière zou blijven. Aan de Universiteit van Cambridge raakte hij geïnteresseerd in de algemene relativiteitstheorie en in de kwantummechanica en hij werkte daarin onder het toezicht van Ralph Fowler.

Ontdekkingen
In 1926 ontwikkelde hij een versie van de kwantummechanica die het werk van Werner Heisenberg over de matrixmechanica en dat van Erwin Schrödinger over de golfmechanica met elkaar verenigde in een enkel mathematisch formalisme dat observabelen verbindt met operatoren die werken op vectoren in een oneindig-dimensionale Hilbertruimte, die de toestand van een fysisch systeem beschrijven. Hiervoor kreeg hij de titel Ph.D. (doctor) van Cambridge.

In 1928 publiceerde hij de Dirac-vergelijking, gebaseerd op het werk van Wolfgang Pauli over het niet-relativistische elektron met spin. Deze relativistische vergelijking beschrijft het elektron. Dit werk leidde tot Diracs voorspelling van het bestaan van het positron, het antideeltje van het elektron, dat hij interpreteerde als een gat in wat uiteindelijk de "Diraczee" zou worden genoemd; de oneindig diepe zee van elektronen met negatieve energie die het universum zou vullen en die ervoor zou zorgen dat de elektronen met positieve energie niet al hun energie zouden uitstralen, oneindig negatieve energie zouden krijgen en zo het einde van het universum zouden inluiden.

Het elektron met positieve lading, nu "positron" genoemd, werd in 1932 waargenomen door Carl Anderson, die daarvoor in 1936 de Nobelprijs ontving. Dirac droeg ook bij tot de natuurkunde door zijn uitleg van de oorsprong van de kwantumspin in het relativistische karakter van de wereld.

Diracs Principles of Quantum Mechanics (gepubliceerd in 1930) werd een van de standaard handboeken en wordt nog steeds gebruikt. Hij introduceerde de bra-ketnotatie, waarin |ψ>, een ket, een vector in de gewone Hilbertruimte representeert, en <ψ|, een bra, de duale hiervan is. <ψ|ψ> (de braket) staat dan voor het inwendig product. Dirac introduceerde ook de Diracdelta, Dirac-delta-distributie of Dirac-delta-functie.

In hetzelfde artikel van mei 1931 waarin Dirac zowel het bestaan postuleerde van het anti-elektron en het antiproton voorspelde hij een derde hypothetisch deeltje: de magnetische monopool. Hij bewees dat het bestaan van een enkele monopool in het universum zou volstaan om de kwantisatie van de elektrische lading te verklaren.

Aanvankelijk trok Diracs monopoolhypothese weinig aandacht, al kreeg hij van Pauli de bijnaam "Monopolean". Maar na de ontdekking van het positron in 1932 en nadat in 1955 het bestaan van het antiproton experimenteel werd bevestigd door Emilio Segrè en Owen Chamberlain begon men ook het idee van monopolen serieus te nemen. Hoewel er door vele fysici op allerlei manieren naarstig naar is gezocht, is het monopool tot heden (nog) niet gevonden.

Nobelprijs
Paul Dirac deelde een Nobelprijs natuurkunde in 1933 met Erwin Schrödinger "voor de ontdekking van een nieuwe productieve vorm van atoomtheorie". Dirac was een Lucasiaans Professor in wiskunde van Cambridge van 1932 tot 1969. De Diracprijzen wordt uitgereikt te zijner ere. Ook werd een constante naar hem vernoemd; de constante van Dirac (ħ - gedefinieerd als h/2π, met h de constante van Planck). Deze constante is een belangrijk hulpmiddel in de kwantummechanica. In 1952 kreeg hij de Copley Medal.

Naar Florida
Dirac bracht zijn laatste jaren door aan de Florida State University (FSU) in Tallahassee te Florida. Dr. Bruce Hellman (Diracs laatste Ph.D.-student) stelde in 1977 aan de FSU de Dirac-Hellman Award in, een studentenprijs voor een uitzonderlijk goede verhandeling in de theoretische natuurkunde. Dirac stierf in Tallahassee, waar hij is begraven. Om hem te eren werd een plaquette geplaatst in de Westminster Abbey te Londen.

Persoonlijk
Dirac was een bijzonder getalenteerd natuurkundige maar hij was ook erg verlegen en probeerde elke vorm van publiciteit te vermijden. Toen hij in 1933 de Nobelprijs won, wilde hij deze aanvankelijk afwijzen, maar toen men hem vertelde dat hij dan nóg meer aandacht zou krijgen, veranderde hij toch van gedachten. Voor de plechtigheid nodigde hij zijn vader niet uit (zijn moeder was wel aanwezig), vermoedelijk vanwege de gespannen verhoudingen na de zelfmoord van zijn oudere broer Reginald in 1925.

Hij trouwde in 1937 met Margit Wigner, een zus van de Hongaars-Amerikaanse fysicus Eugene Wigner en kreeg twee eigen dochters (Mary Elizabeth en Florence Monica), terwijl hij stiefvader werd van Margits zoon en dochter.

Anekdotes
Dirac was een overtuigd atheïst. Wolfgang Pauli reageerde op een zeldzame verklaring van Dirac met: "Als ik Dirac goed begrijp, bedoelt hij dit: er is geen god en Dirac is zijn profeet."

Dirac stond er bij zijn collega's om bekend zeer precies en stilzwijgend te zijn. Toen Niels Bohr eens klaagde dat hij niet wist hoe hij een zin in een wetenschappelijk artikel moest beëindigen, antwoordde Dirac: "Op school hebben ze me geleerd nooit een zin te beginnen zonder te weten hoe hij zal eindigen." Toen hij bij een bezoek aan de Sovjet-Unie werd uitgenodigd om een lezing over zijn filosofie over de natuurkunde te geven, stond hij enkel op en schreef hij op het bord: "Natuurkundige wetten moeten wiskunde, schoonheid en eenvoud bezitten." Toen hem, bij dezelfde gelegenheid, werd gevraagd naar zijn mening over poëzie, antwoordde hij dat: "In de wetenschappen probeert men iets te vertellen wat niemand nog weet op een zodanige manier dat iedereen het verstaat. Bij poëzie is het net omgekeerd."

Dirac viel ook op door zijn bescheidenheid. Hij noemde de vergelijking voor de tijdsevolutie van een kwantummechanische operator de "Heisenberg-bewegingsvergelijking" terwijl hij de eerste was die deze neerschreef. De meeste natuurkundigen spreken over Fermi-Diracverdeling voor deeltjes met halftallige spin en Bose-Einsteinstatistiek voor heeltallige deeltjes. Dirac gebruikte tijdens zijn lezingen steevast de oude benaming "Fermistatistiek". Die voor heeltallige spin noemde hij "Einsteinstatistiek" – "om symmetrieredenen", legde hij uit.

Volgens een anekdote van George Gamow zou Paul Dirac, na het observeren van de handenarbeid van zijn echtgenote, door loutere topologische analyse het averechts breien hebben heruitgevonden (George Gamow, "Biografie van de fysica", vertaling D. Burger, Arnhem 1962).

Zie ook

Publicaties

Artikelen
Onder meer
 Quantum Theory of the Electron, Proc. Royal Society A 117, 610-624, 1928

Boeken
 Principles of Quantum Mechanics (1930) - Een origineel werk dat de ideeën van de kwantummechanica samenvat met behulp van de moderne formalismen die grotendeels zijn ontwikkeld door de auteur zelf. Aan het einde van het boek legt Dirac ook de relativistische theorie van het elektron uit, die ook door hemzelf is ontwikkeld.
 Lectures on Quantum Mechanics (1966) - Het grootste deel van het boek gaat over kwantummechanica in gekromde ruimtetijd.
 General Theory of Relativity (1975) - Dit korte werk (slechts 68 bladzijden!) vat Einsteins algemene relativiteitstheorie elegant samen.

Bibliografie
  Helge Kragh, Dirac: A Scientific Biography (1990)
  Graham Farmelo, The Strangest Man: the Life of Paul Dirac, Faber and Faber, London 2009

Externe links

 Diracmedaille van het International Centre for Theoretical Physics
 Paul Adrien Maurice Dirac Biografie
 Diracmedaille van de World Association of Theoretically Oriented Chemists (WATOC)
 YouTube film: Deelnemers aan de Solvay Conferentie 1927 in discussie. Paul Dirac is in levendig debat met Max Born. Verder treden collega's als Marie Curie, Bragg, Lorentz, Hendrik Kramers, Peter Debije enzovoorts op als ze een gebouw aan de Grote Markt in Brussel verlaten.

Brits hoogleraar
Brits natuurkundige
Brits wiskundige
Theoretisch natuurkundige
Winnaar van de Nobelprijs voor Natuurkunde
20e-eeuws natuurkundige
20e-eeuws wiskundige

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text:
Curated by Lukasz Gorczyca & Michal Kaczynski
Raster Gallery and
Rafal Bujnowski, Aneta Grzeszykowska, Przemek Matecki and Jan Smaga in
RASTER HAIRCUT
Thursday, December 13, 2007 - Sunday, January 13, 2008
Opening: Thu., December 13, 2007, 7-9 PM
120 East Broadway, Fl. 6, New York, NY
Admission: $15, Tel: 212.608.6002
Hours: Wed.-Sun., 12-6 PM
"Raster Haircut" is the first presentation in New York City of the Warsaw-based Raster Gallery, one of the most influential contemporary art galleries in Poland. As the curators explain: "In contradiction to the Polish saying, "Don't split hairs in four", the exhibition is composed of works by four artists: Rafal Bujnowski, Aneta Grzeszykowska, Przemek Matecki and Jan Smaga. Most of them are most recent works, created or selected especially for this exhibition.
The exhibition does not have a subject - instead it has a main motif: hair. Hair as a characteristic, organic structure (often difficult to disentangle!), but also hair as a coiffure, a stylized form, a carefully designed shape, and also a sign of identity. "Raster Haircut", though, is not a proposal of yet another style or fashion, but rather an attempt to describe our artistic identity. "Raster Haircut" is not only a specific "hair-do", but above all it is our special way of seeing, which sometimes requires respectfully stooping down to examine every single "hair", whatever seems marginal and petty, and which at first glance is not always visible, even though - as with hair - we live with it every day. Thus "Raster Haircut" is simply a hair stylist's mirror, in which, as on the palm of the hand, one sees an unfolding process: sense slowly emerging from chaos, the promise of a new order."
Raster Gallery, which has been run since 2001 by curators and critics Lukasz Gorczyca and Michal Kaczynski, presents the best of the country's emerging young artists, and some from abroad. Located in top-floor quarters of a 19th-century apartment complex, it maintains its private, independent character as a meeting place while organizing a challenging, even subversive program of multidisciplinary activities, including screenings, discussions, and literary or musical events. Working both internationally and locally, Raster Gallery can combine the most progressive art achievements with the spirit of everyday social existence. It has become increasingly known abroad through its co-operation with foreign artists and galleries and through its presentations at such international fairs as Liste and Art Basel Miami Beach. Works by its artists are in several private and museum collections in Poland and abroad, including the U.S. Gallery artists: Azorro, Agata Bogacka, Michal Budny, Rafal Bujnowski, Oskar Dawicki, Zbigniew Libera, Marcin Maciejowski, Bartek Materka, Zbigniew Rogalski, Aneta Grzeszykowska & Jan Smaga, Wilhelm Sasnal.
To learn more about the gallery and the artists, please visit: www.raster.art.pl
More about Rafal Bujnowski
More about Aneta Grzeszykowska
More about Przemek Matecki
More about Jan Smaga


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Q: Getting (maybe manually) confidence interval of fits after using multi-way clustering package (multiwayvcov) I am interested in plotting fits with confidence intervals after using two-way clustering package (multiwayvcov).
Here is my reproducible data.
rm(list=ls(all=TRUE))
library(lmtest)
library(multiwayvcov)

dv<-c(1, 0, 0, 0, 1, 1, 0, 1, 1, 0, 0, 1, 1, 0, 0)
int1<-c(0.0123, 0.3428, 0.2091, 0.8325, 0.7113, 0.7401, 0.6009, 0.5062, 0.4841, 0.8912, 0.3850, 0.2463, 0.0625, 0.5374, 0.1984)
int2<-c(0, 0, 1, 1, 0, 1, 1, 1, 0, 1, 1, 0, 1, 0, 0)
cont<-c(3, 1, 2, 4, 6, 7, 1, 4, 3, 2, 4, 3, 6, 1, 3)
cluster1<-c(1, 1, 1, 1, 1, 2, 2, 2, 2, 2, 3, 3, 3, 3, 3)
cluster2<-c(1, 2, 3, 1, 2, 3, 1, 2, 1, 2, 1, 2, 3, 1, 2)

mydata<-as.data.frame(cbind(dv, int1, int2, cont, cluster1, cluster2))

This is my non-clustered model:
result_lm <- lm(dv~int1+int2+cont,data=mydata)

To get clustered results using "cluster1" and "cluster2", I use functions in the package of "lmtest" and "multiwayvcov" as follows.
cluster_vcov<-cluster.vcov(result_lm, ~cluster1+cluster2)
result_2c<-coeftest(result_lm, cluster_vcov)

Here, "cluster_vcov" is just a variance-covariance matrix and "result_2c" is just an atomic vector. Thus, I am not able to use "predict" function to plot fits on a new dataset ("datagrid") such as
grid <- seq(0,1,.2)
datagrid <- data.frame(int1=rep(grid,2),
                   int2=c(rep(0,length(grid)),
                          rep(1,length(grid))))
datagrid$cont<-mean(mydata$cont, na.rm=T)

Before moving to what I have done, here is something similar what I would like to have eventually.
fits <- predict(result_lm,newdata=datagrid,interval="confidence")
plotdata <- data.frame(fits,datagrid)
plotdata$int2 <- plotdata$int2==1
ggplot(plotdata,aes(x=int1,y=fit,ymin=lwr,ymax=upr,color=int2)) + geom_line(aes(linetype = int2)) + geom_ribbon(alpha=.2) + theme(legend.position="none") + scale_color_manual(values=c("red", "darkgreen")) + scale_linetype_manual(values=c("dashed", "solid"))

The result is

To address the problem that "result_2c" does not give a dataframe that can be directly used with "predict", I decided to construct a data by myself as follows.
d_twc_result<-data.frame(matrix(0, nrow =4, ncol = 4) )
colnames(d_twc_result) <- c("Estimate","Std. Error","t value", "Pr(>|t|)")
rownames(d_twc_result) <-c("(Intercept)", "int1","int2", "cont")

for (j in 1:4){
  for (i in 1:4){
    d_twc_result[i, j]<-result_2c[i,j]
  }
}

Then, using "d_twc_result$Estimate", I generate a vector that corresponds to "fits" that one could get after running "predict".
fits<-c(1:12)
for (i in 1:12){
  fits[i]<-d_twc_result$Estimate[1]+
    d_twc_result$Estimate[2]*datagrid$int1[i]+
    d_twc_result$Estimate[3]*datagrid$int2[i]+
    d_twc_result$Estimate[4]*datagrid$cont[i]
 }

Yet, I was still not able to construct vectors for "lwr" and "upr", which requires 'residuals' or 'standard error'. What I was actually stuck is that it seems impossible to get 'residuals' or 'standard error' because there is no observation on 'dv' in the dataset "datagrid".
Nevertheless, "predict" works with the dataset "datagrid", so I guess that I am poorly understanding how "predict" works or the concept of fit.
It will be highly appreciated if you could help me to get "lwr" and "upr" (if my understanding of the concept of fit is incorrect). Thank for any comment in advance.

redpajama_set_name: RedPajamaStackExchange


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text:
Speech van Eurocommissaris Rehn bij Economische raad (en)
Met dank overgenomen van Europese Commissie (EC), gepubliceerd op dinsdag 9 juli 2013.
Olli REHN
Vice-President of the European Commission and member of the Commission responsible for Economic and Monetary Affairs and the Euro
Vice-President Rehn's remarks at the ECOFIN
ECOFIN Press Conference/Brussels
Thank you, Rimantas.
Let me begin by saying that I look forward to working closely with you on the many important issues on the ECOFIN agenda in the coming semester, including at our next meeting in Vilnius in the middle of September.
But let me focus first on Latvia. From 1 January 2014, Latvians can begin making purchases in euros - at the conversion rate which has been formally agreed today of 0.702804 lats to the euro.
Today's decision is made possible thanks to Latvia's high degree of sustainable convergence with the euro area, in both quantitative and qualitative terms. Latvia convincingly meets the five Maastricht convergence criteria and its economic policy is on a sustainable path.
Of course, it will be essential to continue with sound economic and budgetary policies in order to ensure a smooth and successful performance in the eurozone to realise the full benefits of the monetary union and to minimize risks concerning the future.
Latvia will soon follow Estonia into the euro area. Lithuania aims to join in 2015. In other words, all three Baltic States are now either inside, or well on their way to, the economic and political core of Europe. This is a tribute not only to the determined policy action that all three took in the wake of the financial crisis, but also to their remarkable economic and democratic transition since regaining independence in that dramatic summer of 1991.
That is something we should never lose sight of and never stop reminding ourselves of. I wish Latvia now, and Lithuania in the future, the best of success as members of the eurozone.
Concerning other issues, as I outlined to Ministers today, with the culmination of the third European Semester of economic policy coordination, we have now entered the implementation phase. This means that the onus is now on the Member States to address the bottlenecks to growth and jobs in line with the Council's recommendations. I want to underline that, from today onwards, these are indeed the Council's recommendations. While they have been prepared by the Commission, they have now been formally adopted by the Council. The Commission will monitor very closely the implementation of this reform agenda, which is a blueprint for recovery, sustainable growth and job creation.
Yesterday, we received policy advice from the IMF on the basis of the article IV consultation, and I can say that these recommendations very clearly respond to the main points that Christine Lagarde substantially outlined to the Eurogroup, and subsequently in the press conference yesterday evening - focussing on consistent, but gradual, fiscal consolidation and on economic reforms that help boost growth and jobs. In that sense, these recommendations are in line with IMF policy advice to the eurozone.
origineel bericht: 'Speech - Vice-President Rehn's remarks at the ECOF...'
O.I. (Olli) Rehn


text:
Q: C++ array assistance I am getting an error in the word sum where it says average = sum / ARRAY_SIZE;. It is saying that the sum is undeclared. Even though I use sum previously in the getSum function, I only get the error here. I tried declaring it as a variable at the top but I am still getting that error. I do not know how else to declare it in a way that would stop this error.
#include <iostream>
#include <iomanip>
#include <fstream>

using namespace std;

// Function prototypes
int getHighest(int numbers[],int ARRAY_SIZE);
int getLowest(int numbers[],int ARRAY_SIZE);
int getSum(int numbers[],int ARRAY_SIZE);
int getAverage(int numbers[],int ARRAY_SIZE);

int main () {

// Variables
const int ARRAY_SIZE = 12; // Array size
int numbers [ARRAY_SIZE]; // Array with 12 integers
int count = 0; // loop counter variable
string filename;

        //  Open file
    cout << "Enter input filename:";
    cin >> filename;
    ifstream inputFile(filename);   // input file stream object

    // Read numbers from file into array
    while(count <ARRAY_SIZE && inputFile >> numbers[count])
        count ++;

    // Print results
    cout<<ARRAY_SIZE<<" numbers read from input file."<<endl;
    cout<<"The highest value is: "<<getHighest(numbers,ARRAY_SIZE)<<endl;
    cout<<"The lowest value is: "<<getLowest(numbers,ARRAY_SIZE)<<endl;
    cout<<"The sum of the numbers is: "<<getSum(numbers,ARRAY_SIZE)<<endl;
    cout<<"The average of the numbers is: "<<getAverage(numbers,ARRAY_SIZE)<<endl;
       }

int getHighest( const int numbers[], int ARRAY_SIZE)
{
    int highest;
    highest = numbers[0];

    for(int count = 1 ; count < ARRAY_SIZE; count++)
    {
    if (numbers[count] > highest)
        highest = numbers[count];
    }
    return highest;

}

int getLowest(const int numbers[], int ARRAY_SIZE)
    {
        int lowest;
        lowest = numbers[0];

        for (int count = 1; count < ARRAY_SIZE; count++)
        {
        if (numbers[count] < lowest)
            lowest = numbers[count];
        }
        return lowest;
    }

int getSum(const int numbers[], int ARRAY_SIZE)
 {
    int sum = 0;
    for(int count = 0; count < ARRAY_SIZE; count++)
    sum+= numbers[count];

    return sum;
 }

int getAverage(const int numbers[], int ARRAY_SIZE)
{
    int average = 0;
    for (int count = 0; count < ARRAY_SIZE; count++)
    average = sum / ARRAY_SIZE;

    return average;
}

A:
It is saying that the sum is undeclared. Even though I use sum previously in the getSum function, I only get the error here.

sum is only a local variable in getSum so it cannot be accessed from getAverage, and in fact that variable does not exist anymore when you leave getSum
Note also the for in getAverage is useless because you do all the time average = sum / ARRAY_SIZE; whose value is always the same, so you want :
int getAverage(const int numbers[], int ARRAY_SIZE)
{
    return getSum(numbers, ARRAY_SIZE) / ARRAY_SIZE;
}

Note your declarations and definitions do not correspond because in your definitions the array is const but not in your declarations. Put the array also const in the declarations :
int getHighest(const int numbers[],int ARRAY_SIZE);
int getLowest(const int numbers[],int ARRAYSIZE);
int getSum(const int numbers[],int SIZE);
int getAverage(const int numbers[],int SIZE);

may be also rename ARRAY_SIZE to size to not confuse with the global variable of the same name (even they receive its value), and SIZE to size because uppercase are generally not used to name a local variable/parameter.
Out of that, you are in C++, are you sure you want to use (C) arrays rather than for instance std::vector allowing to not give the size in argument to each functions and also to have iterators and predefined operations etc ?


text:
Audio Video Interleave (also Audio Video Interleaved and known by its initials and filename extension AVI, usually pronounced ), is a proprietary multimedia container format and Windows standard introduced by Microsoft in November 1992 as part of its Video for Windows software. AVI files can contain both audio and video data in a file container that allows synchronous audio-with-video playback. Like the DVD video format, AVI files support multiple streaming audio and video, although these features are seldom used.

Many AVI files use the file format extensions developed by the Matrox OpenDML group in February 1996. These files are supported by Microsoft, and are unofficially called "AVI 2.0". In 2010 the US government's National Archives and Records Administration defined AVI as the official wrapper for preserving digital video.

History
Publishers faced a predicament regarding how they should distribute videos on CD-ROMs. Thirty seconds of video displayed in 24-bit color and at thirty frames per second and Super VGA resolutions could take up 680 megabytes of space—the storage capacity of most CD-ROMs in 1992. Lossily compressing the videos would save a lot of space, but not without degrading the quality of the videos. Publishers who were more concerned about video quality instead were searching for an ideal compression algorithm that would compress the video files while still preserving the quality.

Microsoft recognized the problem and sought to develop a standard that would losslessly compress the video files. They also recognized that because of the hardware requirements for playing the videos in uncompressed quality, which at the time were demanding, it needed to allow users of low-end computers to play the videos in compressed quality. They developed and published the Audio Video Interleave format on November 10, 1992, as part of their Video for Windows, and included support for codecs to satisfy those users.

Format
AVI is a subformat of the Resource Interchange File Format (RIFF), which divides a file's data into blocks, or "chunks". Each chunk is identified by a FourCC tag.

An AVI file takes the form of a RIFF header, which is then divided into two mandatory chunks and one optional chunk. The first chunk is identified by the "hdrl" tag, which stores the information required by the codec to decompress the AVI file for viewing. The second sub-chunk is identified by the "movi" tag, containing the actual audio and visual data that make up the AVI video. The third optional chunk is identified by the "idx1" tag, which indexes the offsets of the data chunks within the file.

By way of the RIFF format, the audio and visual data contained in the "movi" chunk can be encoded or decoded by software called a codec, which is an abbreviation for (en)coder/decoder. Upon creation of the file, the codec translates between raw data and the (compressed) data format used inside the chunk. An AVI file may carry audio and visual data inside the chunks in virtually any compression scheme, including Full Frame (Uncompressed), Indeo, run-length encoding, and Microsoft Video 1.

Some programs, like VLC, complain when the "idx1" index sub-chunk is not found, as it is required for efficient moving among timestamps. They offer to "fix" the file by building an index temporarily or permanently.

Metadata
As a derivative of the Resource Interchange File Format (RIFF), AVI files are commonly tagged with metadata in the INFO chunk. In addition, AVI files can embed Extensible Metadata Platform. By design, any RIFF file can legally include additional chunks of data, each identified by a four-character code; software which does not understand that particular code should skip the chunk. As such, it is theoretically possible to expand any RIFF file format, including AVI, to support almost any conceivable metadata. Some of the limitations of AVI in modern use relate to a lack of standardization in this metadata (see Limitations below).

Limitations
Since its introduction in the early 90s, new computer video techniques have been introduced which the original AVI specification did not anticipate.

 The original AVI specification does not provide a standardized way to encode aspect ratio information, although the later OpenDML (AVI 2.0) specification does. Consequently, older players may not select the right aspect ratio automatically (though it may be possible to do so manually).
There are several competing approaches to including a time code in AVI files, which affects usability of the format in film and television post-production, although it is widely used. For WAV audio files, Broadcast Wave (BWF) extensions were designed to standardize post-production metadata, but an equivalent for AVI files has not emerged. Some parties are known to write BWF chunks into AVI for metadata.
 AVI was not intended to contain video using any compression technique that requires access to future video frame data beyond the current frame (B-frame). Approaches exist to support modern video compression techniques (such as MPEG-4) that rely on this function, although this is beyond the intent of the original specification and may cause problems with playback software which does not anticipate this use.
AVI cannot contain some specific types of variable bitrate (VBR) data reliably (such as MP3 audio at sample rates below 32 kHz).
Overhead for AVI files at the resolutions and frame rates normally used to encode standard definition feature films is about 5 MB per hour of video, the significance of which varies with the application.
 AVI files cannot contain attachments such as fonts and subtitles. Consequently, subtitles must be distributed in a separate file or hardcoded into the video stream.

More recent container formats (such as Matroska, Ogg and MP4) solve all these problems, although software is freely available to both create and correctly replay AVI files which use the techniques described here.

DV AVI

DV AVI is a type of AVI file where the video has been compressed to conform with DV standards. There are two types of DV-AVI files:
 Type 1: The multiplexed Audio-Video is kept in its original multiplexing and saved together into the Video section of the AVI file
 Does not waste much space (audio is saved uncompressed, but even uncompressed audio is tiny compared to the video part of DV), but Windows applications based on the VfW API do not support it.
 Type 2: Like type 1, but audio is also saved as an additional audio stream into the file.
 Supported by VfW applications, at the price of a small increase in file size.

Type 1 is actually the newer of the two types. Microsoft made the "type" designations, and decided to name their older VfW-compatible version "Type 2", which only furthered confusion about the two types. In the late 1990s through early 2000s, most professional-level DV software, including non-linear editing programs, only supported Type 1. One notable exception was Adobe Premiere, which only supported Type 2. High-end FireWire controllers usually captured to Type 1 only, while "consumer" level controllers usually captured to Type 2 only. Software is and was available for converting Type 1 AVIs to Type 2, and vice versa, but this is a time-consuming process.

Many current FireWire controllers still only capture to one or the other type. However, almost all current DV software supports both Type 1 and Type 2 editing and rendering, including Adobe Premiere. Thus, many of today's users are unaware of the fact that there are two types of DV AVI files. In any event, the debate continues as to which – Type 1 or Type 2 – if either, is better.

See also
 Comparison of video container formats
 List of video editing software

References

External links
John P. McGowan's AVI Overview
Microsoft's pages on the AVI file format
PVDTools' RIFF-AVI File Format Documentation
Dave Wilson's comprehensive list of FourCC codes
OpenDML (AVI 2.0) format specification
AVI file format documentation (pdf)
Type 1 and 2 DV AVI files
AVI file Structure

Computer-related introductions in 1992
Digital container formats
Microsoft Windows multimedia technology


By Joshua N. Weiss, Ph.D.
What is the Best Use of my Class Time?
That is the key question that scholars have been asking for decades. An innovative pedagogical concept called the Flipped Classroom may offer some new answers.
In simple terms, a Flipped Classroom is a teaching model where lectures are viewed remotely through watching videos on core concepts and lessons (supplemented by readings, etc…), while in-class time is used for deeper exploration and interactive exercises.
While many subjects may benefit from this format, little conversation has happened about how effective the Flipped Classroom approach is for teaching negotiation. I explore that area here.
To take this a step further, there are a variety of types of videos that are used in flipped classrooms. The most common videos are ones that the faculty member records him/herself and are typically content that they would deliver in a classroom setting. However, teachers do not need to be limited to their own creations. Some use TED talks and videos from Edu Tube or other websites, such as Khan Academy. A mixture of different types of videos has proven to be the most effective from my experience. However, it is really up to the faculty member and how they want to structure the sessions.
Finally, in-class pedagogy becomes a matter of emphasis, rather than a radical shift from traditional teaching approaches. Instead of the focus being on the lecture during class time, the shift is to more interactive exercises, problem based learning, and, for example, Socratic dialogues where the teacher and student can engage deeply in critical analysis and extensive exploration. Importantly, stress laden in-class sessions stemming from a feeling of having to 'get through' the material, is less of a problem in the flipped classroom format.
The Flipped classroom naturally forces students to become more active participants in their own learning. By having to watch videos at home, of their own volition, they have to take responsibility. When they come into the classroom and work in groups or with the professor they have ample opportunity to deepen their learning and understanding of difficult concepts.
The Flipped Classroom also helps students with different learning styles and ways of taking in information most effectively. John Hattie presented a framework in 2012 in his book called Visible Learning. In that book he talked about four styles of learning – visual, auditory, kinesthetic, and reading and writing. Many excel at one or more of these but not all. It is fair to argue that the traditional classroom setting is often geared toward those proficient at reading and writing. However, in the flipped classroom context the mediums that work best are auditory and visual. Individuals with this learning preference can watch a video a few times at home until they really understand the concept. If they watch the videos and still have questions they are able to come into class and ask very pointed questions about the areas of confusion. For students who learn better by reading and comprehending, they are still able to come in with questions and work through the material in class with the professor.
The Flipped Classroom gives the instructor the ability to hone in on problems and issues for each student and to work personally with them on those challenges. An instructor can quickly determine a problem or issue so that it does not fall through the cracks. Isolating ideas and issues that are unclear improves the overall learning process for students and ensures, as best as possible, that proper understanding is taking place.
Of course, the Flipped Classroom is not without issues and challenges. Designing a Flipped Classroom can be rather time consuming at the outset. While some faculty use preexisting videos from websites such as You Tube and Khan Academy, many choose to record their own lectures. The latter can be a new experience for faculty and difficult to get right.
The Flipped Classroom requires a shift in perspective on the part of faculty who are used to being in front of a class with the attention on them. In this model, faculty are more focused on developing plans for the in-class sessions that fit with the videos and helping the students with various sticking points.
As class size increases, the ability to focus one-on-one with students to help them improve on their problem areas becomes more difficult. With too many students a faculty member can't get to everyone.
The Flipped Classroom method also assumes that all students can understand the material with relatively few errors. This may be true to an extent initially, but the deeper the student delves into a subject the more potential problems may emerge. In other words, a student may exhibit a tangential understanding of a concept, but may miss other things that are not readily apparent or far more complex.
Related to this issue, the Flipped Classroom relies on students to do the work remotely. If they do not, the solution is often to have them use class time to complete the work. Sporadic occurrences do not present a significant problem but recurring infringements do defeat the purpose of the approach if enough students don't complete the required work remotely. This model may be really problematic in cultures and places where in-class lectures are still very much the norm.
Finally, not all subjects are suitable to a Flipped Classroom approach. Those disciplines that do not lend themselves to in-class activities or that are abstract in nature might be more effectively taught in a traditional classroom setting.
I became intrigued with the Flipped Classroom model because I have spent many years teaching online. As part of that experience I have recorded lectures and used many videos to aid in the learning process. I saw firsthand how people could learn exceedingly well, initially on their own, from these resources. Let me explain a little bit about the nuances of what I did.
I used a Flipped Classroom approach with 15 students at a small university in western Massachusetts. The students were a diverse group, both economically and culturally. The students were mostly mid career individuals who wanted to learn the basics of negotiation in this class. Given the nature of this group, I felt that by flipping the class I could restructure the workload and create more space in-class to engage in the rich interactive teaching tools, such as role-plays, and explore the tougher concepts students were struggling with.
I used a mix of TED talks and other pre-made videos from the web in conjunction with my own lectures that I created with a tool called Tegrity. Tegrity enables you to record a video of yourself, or capture a video of your desktop screen, while doing a voice-over explanation. I chose to use Powerpoint as the focus and to audibly take students through the concepts on the screen. The lectures were approximately 20 to 25 minutes in length and helped give the students guidance on what to focus on with regard to the other videos as well as guidance on the accompanying readings they also had to do for the class.
When we came together in class we spent the first 20 minutes in a question and answer session and then students often engaged in small group work with each other. After that we moved into one to two negotiation simulations or case analysis exercises. This gave us plenty of time to conduct longer debriefing sessions, arguably one of the most valuable parts of any interactive negotiation exercise.
I have also had students engage in negotiation role-plays outside the classroom via video conferencing. This also saves class time and enables the instructor to begin immediately with a debriefing of the exercise and a more detailed discussion. Students report that the negotiation role-plays via video conferencing feel as if they are being done in face-to-face manner. Dynamics often missing from online interactions are captured more effectively when engaging in this format.
1. Negotiation is a very suitable topic for this type of methodology.
In fact, what makes teaching negotiation unique and interesting for both the faculty and students is the interactive components involved. Instructors can take advantage of the many wonderful video resources and role-play exercises that have been developed by places such as the Program on Negotiation. Flipping allows more time in class for these exercises, and in particular a thorough debriefing, which enhances student's practical skills and abilities.
2. This approach helps students who are audio and visual learners.
Often these students struggle with reading comprehension and are not learning or retaining the material. This model gives these students an opportunity they don't have in traditional classrooms – to slow things down and go at their own pace in a stress free environment. I had a number of students report that they watched the videos at home a few times until they really grasped the concepts at a deeper level. They reported not feeling the pressure of a typical classroom environment.
3. The in-class one-on-one time allows instructors to really work with students on specific problems and challenges.
According to the evaluations from my class this aspect of a Flipped structure helped reduce frustration when students did not understand something and made the class a more fulfilling experience overall.
4. Class size may present a challenge to some classes and instructors.
How this methodology would work with more than 25 or 30 students in a class, given the lack of personal attention that can be given to each student, needs further exploration and creative thinking. This limitation was reinforced to me during my experience. Perhaps employing technology to collect and aggregate negotiation results (both qualitative and quantitative) would allow instructors to identify and address students, and issues, with the greatest need.
So much of negotiation is about learning to be creative, agile, adaptive, and to have confidence in yourself. As an instructor I often feel I don't have enough time to teach these skills in a traditional classroom format. By empowering students to engage with content remotely I have found that I can clear the space to help students develop these critical personal skills in a safe environment in class. Without time to really develop their personal skills many students of negotiation have negative experiences early on, which can, in the worst case, cause them to shy away from the field. The Flipped Classroom model gives them a much better chance for success in this regard.
† In general, if students do not watch the videos at home they use the in-class time to watch the videos and catch up. If they have questions as they are doing so, they can ask the faculty members.
‡ See http://faculty.up.edu/vandegri/facdev/papers/research_flipped_classroom.pdf for full article.
§ Bishop, J. L. and D. Verleger. "The Flipped Classroom: A survey of the Research" Presented at the American Society of Engineering Education, 2013. Can be found at: http://faculty.up.edu/vandegri/facdev/papers/research_flipped_classroom.pdf Pg. 2.
Dr. Joshua N. Weiss is a Senior Fellow at the Harvard Negotiation Project and the co-founder of the Global Negotiation Initiative at the Program on Negotiation at Harvard Law School. He received his Ph.D. from the Institute for Conflict Analysis and Resolution at George Mason University in 2002.
More information, articles and videos can be found on Josh's blog.
I was with the PON/HLS as a Fulbright Scholar in the year 1992-93. Most fascinating year…Roger Fisher, William Ury, Deborah Kolb…I have tried similar experiments in teaching negotiations where the first few sessions are devoted to concept/method development and then the rest of the course revolves around offline simulations followed by small group debriefing for gaining deeper insights into the concepts/method in negotiations engagements of varying structures. There is a relatively better impact of a lasting nature when transferring the method to real life negotiations situations.


ethics of teaching bottle feeding, again.
Evidence for not fortifying donor milk?
Re: Evidence for not fortifying donor milk?
Need research articles ASAP to save a marriage and a baby.
Re: sero conversion for infants.
Re: Teaching how to prepare powdered formula?


text:
Review: JC Brooks & the Uptown Sound with Escort
by Joe Kellen
Remember how I asked you if you wanted to funk? If you were at the Triple Rock on Sunday night, there's no debating what your answer was.
When I first arrived, the frizzy-haired, shotgun blast of a vocalist Adeline Michèle was walking onstage to front her band Escort. The crowd was spotty at this point, but they didn't seem to mind. In fact, they were all smiles as Escort began to lay down some thick-bassed, '70s style funk. It was as if all the heads in the club turned when their set popped off. I walked down into the pit and watched them deliver luxurious grooves and participated in an ever-expanding dance pit. Seriously, the boogie was real. Photo evidence courtesy of their Facebook page (I'm the pit-stained one waving at the camera):
Their set met expectations for loud and technically tight dance music. When the skill of the musicians coincided with Michèle's powerhouse vocals and charm, Escort transformed the room into an undulating disco ball. I almost felt like I should've sported bell bottoms, but it was clear that all Escort cared about was that the crowd got down.
After they left the stage, the audience was anxious for JC Brooks & the Uptown Sound to make their appearance. Once they did, however, the energy deadened for the first two songs. There were two solid rows of dancing patrons, but the rest of the Triple Rock almost seemed bored. Then this bad boy hit. Brooks busted out some impressive dance moves. His limbs flew around the stage with grace and energy, and he did some classic call-and-response antics. He won over the crowd and the Uptown Sound delivered a phenomenal set, a varied collection of foot thumpers like their cover of "No Diggity" and ballads that showed off Brooks' silky smooth vocals.
Even though the night had its missteps (the Uptown Sound's guitars were two cents flat for their new single "Rouse Yourself"), there was no shortage of footwork or joy at the Triple Rock.
Grade: A-


This guide will show you how to enable SSL to secure websites served through Apache on Debian and Ubuntu.
Complete our Hosting a Website guide, and create a site that you wish to secure with SSL.
Follow our guide to obtain either a self-signed or commercial SSL certificate.
If hosting multiple websites with commercial SSL certificates on the same IP address, use the Server Name Identification (SNI) extension of TLS. SNI is accepted by most modern web browsers. If you expect to receive connections from clients running legacy browsers (like Internet Explorer for Windows XP), you will need to contact support to request an additional IP address.
If troubleshooting issues, a system reboot may be required.
After configuration, some browsers may display the site correctly although errors still exist. Test your SSL configuration using the test page at your certificate issuer's website, then perform the following steps.
You should now be able to visit your site with SSL enabled.