text:
Q: How can I make not select text for "Copy/Paste" UITextView I want to have a UITextView in my code that you can scroll up and down, but I DO NOT want to be able to:
1) Edit it.
2) Select any of the text for "Copy/Paste".
I'm able to solve 1). I just uncheck "Editable" in the Interface Builder.
But I can't for the life of me work out how to stop the user from being able to highlight and select text.
I would imagine the solution could be along the lines of inheriting a class from UITextView and overriding one of the functions.  But I'm not sure which one and how.  Can anyone help?
Thanks,
- Rich

A: Indeed, just subclass it and rewrite:
- (BOOL)canBecomeFirstResponder {
    return NO;
}

A: Without subclassing
- (void)textViewDidChangeSelection:(UITextView *)textView {
    [textView resignFirstResponder];
}

redpajama_set_name: RedPajamaStackExchange


text:
Biden warns Putin of strong economic and other measures - White House
Богдан Петришин
U.S. President Joe Biden has warned his Russian counterpart Vladimir Putin that the United States and its allies will respond with "strong economic and other measures" in the event of military escalation by Russia.
The White House said this in a statement issued after a two-hour secure video call between the two countries' presidents.
"President Biden voiced the deep concerns of the United States and our European Allies about Russia's escalation of forces surrounding Ukraine and made clear that the U.S. and our Allies would respond with strong economic and other measures in the event of military escalation," the statement said.
Biden also reiterated his support for Ukraine's sovereignty and territorial integrity and "called for de-escalation and a return to diplomacy."
"The two presidents tasked their teams to follow up, and the U.S. will do so in close coordination with allies and partners," the statement added.
The two leaders also discussed the U.S.-Russia dialogue on Strategic Stability, a separate dialogue on ransomware, as well as joint work on regional issues such as Iran.
Tuesday's video call between Biden and Putin lasted a little over two hours. President Biden intends to discuss the results of the talks with his European allies and Ukrainian President Volodymyr Zelenskyy.
Політика Світ
#Russia #Байден #міжнародна політика #політика #Путін #світ #США

redpajama_set_name: RedPajamaCommonCrawl


Calling all Merlot lovers—Hunter Hill has released its 2013 estate Merlot ($25)—and a superb one it is, too.
Crikey! Here comes another great wine from expert winemaker Randall Grahm—a Gravitas 2014 that will thrill your palate.
A good way to experience Twisted Roots' wine is with a stay at Vendange Inn & Suites in Carmel.


New Orleans Firefighters responded to a two-alarm fire on Franklin Avenue Sunday morning.
NEW ORLEANS (WVUE) - New Orleans Firefighters responded to a two-alarm fire on Franklin Avenue Sunday morning.
Officials say an off-duty firefighter passing through the area on his way home spotted the fire in the 1500 block of Franklin Ave. around 7:35 a.m. When firefighters arrived at the location, they found a vacant one story wood framed double with fire coming from the rear of the home. As the fire spread to neighboring structures, a second alarm was called. After, firefighters quickly got control of the fire.
The fire destroyed a trailer and damaged structures and vehicles at a nearby auto repair shop in the 2600 block of North Robertson Street. Radiant heat from the fire also damaged the siding of an exposed home.
Neighbors told firefighters that they have frequently reported vagrants inside of the home.


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News > Spokane
After questioning of Portland comedian, Spokane Mayor David Condon says city can't stop Border Patrol agents
UPDATED: Tue., Jan. 29, 2019
Mohanad Elshieky, a Portland-based stand-up comedian, shared a photo of U.S. Border Patrol agents in Spokane taken on Sunday, Jan. 27, 2019. Elshieky said he was traveling home from a show in Pullman when immigration authorities forced him off a Greyhound bus at the Spokane Intermodal Center and falsely accused him of being in the country illegally. (Mohanad Elshieky / Twitter)
By Chad Sokol chadso@spokesman.com(509) 459-5047
Spokane Mayor David Condon weighed in Tuesday on the detainment of a Portland comedian at the Spokane Intermodal Center, again insisting city leaders don't have the authority to prevent federal agents from operating at the downtown bus station.
In a statement posted on the city's Twitter page, Condon reacted to the Sunday incident in which U.S. Border Patrol agents detained and questioned comedian Mohanad Elshieky, an immigrant from Libya who was granted asylum last fall. The incident made national headlines and reignited a debate over federal law enforcement powers. Elshieky was ultimately released.
The mayor has refused to enforce an ordinance the City Council passed in October, which attempts to compel federal agents to get written permission from the mayor before entering portions of the Intermodal Center.
U.S. Customs and Border Protection argues that under federal law, agents don't need warrants to search privately owned buses, rail cars and aircraft within 100 miles of the country's border.
The Intermodal Center is about 93 miles from Canada, and so the Border Patrol considers it a prime location to catch undocumented immigrants as they pass through on trains and Greyhound buses.
"Spokane is affected differently than many other communities when it comes to such detainments," Condon's statement said.
He contended that even if the city tries to enforce the ordinance, "these agents won't seek permission or consent from a local elected official or municipal employee to complete their assignments."
"Ultimately that means I don't have the authority – as the mayor of the city of Spokane – to try to circumvent that federal law or somehow attempt to impede federal officials," the statement said. "Implying otherwise just provides a false sense of security for individuals who are particularly vulnerable."
Some City Council members have argued the city could prohibit federal agents from parts of the Intermodal Center that are generally inaccessible to the public, thus preventing them from boarding buses and demanding riders' proof of citizenship.
Councilman Breean Beggs, an attorney, has cited a 1973 case in which the Border Patrol used the legal rationale behind the 100-mile zone to justify a warrantless search of a Mexican citizen's car; the Supreme Court ruled that incident violated the Fourth Amendment.
Separately, lawyers for a California woman asked a state judge in November to order Greyhound to stop allowing agents on its buses. And U.S. Sen. Patty Murray, D-Wash., introduced a bill last summer that would shrink the border zone to 25 miles. That would put the dividing line a few miles north of Bonners Ferry and near Ione, Washington.
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In the previous century, laser beams were used in dentistry in certain cases, although its use on a broader platform started only in the 21st century. Using the light beams for causing reactions on the surface is going to change certain steps like bloodless surgeries. Along with other instruments, the laser dentistry procedures can provide bloodless and painless surgeries. Also, the methods of dental procedures can become convenient and quick for the patients as well as the doctors. Post surgical hospitalisation is decreased to a great extent and many procedures are nowadays possible to be completed in a day or even as outdoor settings. Healing time is reduced when laser dentistry treatments are provided in dental clinic in Delhi.
When dental lasers are being used, people get apprehensive about their safety. Research protocols in the field have not yielded any significant signs as untoward effects and patients do not complain of any immediate problems. As a result of such positive feedback, many dental clinics in Delhi are opening up their laser dentistry centres, for a wide range of processes. Patients are also gradually getting a change in their mind sets, accepting laser therapies by the dentist in Delhi.


The Council looks after and is responsible for a number of formal amenity areas, public open spaces, playgrounds, allotments etc. throughout the Town.
1. We are in a very fortunate position to live and work in the New Forest area, with thousands of visitors flocking to the region each year to appreciate the lush, picturesque landscapes that surround us. New Milton, Barton On Sea and District also benefit from many specimens of tree that have been standing for hundreds of years, far outdating some of the housing in the town.
2. The Town Council is a major landowner in the town which incorporates approximately 20,000 trees. As landowners responsible for trees, we have a duty of care to take reasonable steps to prevent foreseeable harm to people or property. To fulfil this, Town Council trees are proactively assessed on a cyclical basis through a Tree Management contract with New Forest District Council. We have prioritised categories of sites as below (para 8) and their Arboculturist inspects the sites and advises us of the work necessary.
The presence of trees can add 5-15% to the value of property, up to 27% to the value of undeveloped land.
To prevent foreseeable injury to persons (assessed by Town Council with NFDC).
To prevent foreseeable damage to property (i.e overhanging roof of house/outbuilding. Subsidence concern must be first addressed to your house insurance company who will contact us directly).
To reduce or prevent the spread of disease or other works in the interests of good tree management.
5. This policy supersedes any previous arrangement of tree maintenance of Town Council land. If the advice is to fell a tree for one of the above reasons, the Town Council will adhere Replacement Policy.
Neighbours must seek consent for the work from the local Planning Authority. The Tree Team for the whole of New Milton is based at the New Forest National Park Authority, contactable on 01590 646620.
Neighbours have a right in common law to prune overhanging growth back to the boundary line. Please see next paragraph regarding the arisings from such pruning.
Although the land we own is public open space, residents cannot enter the land to carry out works to trees without Town Council consent. If employing the services of a contractor for pruning, the tree surgeon will only be able to prune from your side of the boundary. If they require access to the Town Council side, they must contact us to provide a copy of their Public Liability and Health and Safety policy documents, as we have a duty to safeguard others using the land. If a residents actions/instructions leave a tree in such a condition that works are needed to make it safe, or damage or injury is caused, they are likely to be liable. Any works should be kept to an absolute minimum. Arisings remain the property of the tree owner and by law should be offered back. It is the Town Council's policy to decline their return and therefore any arisings should be disposed of appropriately and not be deposited over the boundary. This can damage trees (preventing root access to air and water), can make tree assessment more difficult (important defects may be invisible beneath piled up arisings) and can also lead to damage of boundary fences. In most cases, it is acceptable to appropriately dispose of arisings, by being taken off site to the green waste area at your local amenity site or removed by your contractor.
The highest risk areas as assessed by our contractor, will be subjected to annual inspections. This means that there will be partial inspection i.e War Memorial – Recreation Ground – the trees near the children's play park will be inspected annually, the rest of the trees are inspected within the regime below.
Click here to view the land parcels map. The numbers on the plan refer to the deed numbers on the table below.


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Alasdair Day
2014 Independent Bottlers Challenge Gold Award
The Tweeddale single cask Lowland Single Grain Scotch Whisky aged 16 years has received a Gold Award in the 2014 Independent Bottlers...
The Tweeddale hat trick a 3rd Liquid Gold Award
The Tweeddale blended Scotch Whisky batch 4 Aged 14 Years has received a Liquid Gold Award in Jim Murray's whisky Bible 2015...
Tastings Gold Award 2014 The Tweeddale blended Scotch Whisky 94 Points "Exceptional"
The 2014 International Review of Spirits award TASTINGS GOLD MEDAL to The Tweeddale blended Scotch Whisky 94 Points "Exceptional". http://www.tastings.com/scout_spirits.lasso?id=206612 "Golden yellow color. Complex...
The Tweeddale 3rd release retains a Liquid Gold Award scoring 95 in Jim Murray's Whisky Bible 2014
The Tweeddale Limited Edition small batch blended Scotch Whisky 3rd release has received a Liquid Gold Award in Jim Murray's Whisky Bible...
Available from ALDI TODAY… The Tweeddale 12 year old.
From today Sunday 2nd June The Tweeddale 12 year old is available from Aldi stores in Scotland. Yet an other great way...
Tasting room review The Tweeddale batches 2 and 3 by Laura Foster for Imbibe.com
We meet Laura Foster at the Whisky Lounge Festival in London when she came to our stand to try The Tweeddale batch...
A Whisky Bible Liquid Gold Award for The Tweeddale 12 year old… "a triumph!"
With a score of 94.5 The Tweeddale 12 year old made it into the Liquid Gold Awards in Jim Murray's Whisky Bible...


UW-Extension Master Gardeners must acquire ten hours of continuing education each year to retain Master Gardener certification. Most months, an hour of education is offered prior to our monthly business meetings. In September, our speaker was Patrick Lake from the Oshkosh office of the National Resources Conservation Service. He was an enthusiastic and entertaining speaker. As part of the NRCS, he interacts mostly with farmers, but he conveyed a very important message for home gardeners who are concerned about the health of their soil and the environment.
Mr. Lake listed five practices that lead to soil health, which lead to plant health, less need for supplemental water and fertilizer, reduced runoff, increased drought tolerance, reduced pest and disease problems, less work!
Here are the NCRS's five tenets for soil health starting with the easiest.
Don't be intimidated by the list, especially the last item. Each gardener should do as many of the practices as they can and not worry about what they can't do.
Minimizing disturbance is important because when soil is tilled or turned, soil microbes release a short-term flood of nutrients into the soil – something you need neither at the end of the season nor in spring before seeds even break germination. Another way to minimize disturbance is to cut plants off at the soil line at the end of the season rather than pulling them up. The roots will decompose in place and feed the soil.
The benefits of keeping the soil covered with mulch is something I've covered here many times before. If you'd like a review, please see http://garden.iam4pack.com/no-bare-soil.
Keeping living roots in the soil year-round is another way to keep soil covered and goes hand-in-hand with maximizing plant diversity. Perennial fruits, vegetables, and flowers along with trees and shrubs have living roots, even when they are dormant in winter. A larger variety of plant roots in the soil leads to more diversity of soil microbes, and if those microbes can feed the soil year round, that's all the better.
Organic matter increases in the soil when tilling is eliminated and when plants and plant residues cover the soil. Here are some interesting statistics from the NRCS: Organic matter holds 18-20 times its weight in water and recycles nutrients for plants to use. Just one percent organic matter in the top six inches of soil can hold approximately 27,000 gallons of water per acre!
Retaining water in the soil reduces the need for supplemental watering, helps plants tolerate drought, and reduces evaporation and erosion of soil and nutrients.
Animals such as chickens, cows, goats and pigs provide many services: fertilizer in the form of manure, pest control, soil aeration and overall ecological improvement of the landscape. Not everyone has the space or desire for animals, but if you can at least access some animal manure you get five stars!


text:
Funding for Alberta communities moving to low-carbon economy
Published by Nicholas Woodroof, Editor
World Coal, Tuesday, 20 November 2018 09:48
The Canadian government has announced its first investment of CAN$257 664 in the Canada Coal Transition Initiative (CCTI), designed to promote the transition to a low-carbon economy.
This first round of funding is to be used to convert two existing office spaces into transition centres that will support entrepreneurship and employment services in Forestburg and Castor in east-central Alberta.
These economic transition centres will provide former coal miners, generating station workers and community members with new employment and business support, training programmes and entrepreneurial development services.
In February 2018 the Canadian government announced amendments to regulations to phase out traditional coal-fired electricity generation by 2030 and committed CAN$35 million over five years for skills development and economic diversification to support communities affected by the phase out of coal-fired electricity. Western Economic Diversification Canada and Atlantic Canada Opportunities Agency will implement the Canada Coal Transition Initiative. The initiative will support communities and workers in the transition to a low-carbon economy in Alberta – which produces approximately 50% of its electricity from coal-fired electric generation – Saskatchewan, New Brunswick and Nova Scotia.
Navdeep Bains, Minister Innovation, Science and Economic Development and Minister responsible for Western Economic Diversification Canada, said: "The transition to a low carbon economy is about ensuring we leave our kids with good jobs on a healthy planet. This is why the funding announced today is so important. It will help Albertans develop the skills they need today in order to succeed and have good quality jobs in our transitioning economy."
Read the article online at: https://www.worldcoal.com/power/20112018/funding-for-alberta-communities-moving-to-low-carbon-economy/
Canada coal news


text:
An Integrated Project Bibliography
Prefatory Material
Introduction to the Edition
Edition Guide
The Project Team
Spectral Images and Texts
Images & Transcriptions of the 1870 Field Diary
Images & Transcriptions of Select 1870-1871 Texts
Three Versions of the 1870 Field Diary
Livingstone Spectral Image Collection
Livingstone, Central Africa, 1870
Creating the 1870 Field Diary
Structuring the 1870 Field Diary
The Diary Across Hands, Space, & Time (1)
History & Chronology of the 1870 Field Diary
Livingstone's Composition Practices
Livingstone's Global Sources
Key Terms in Livingstone's Manuscripts, 1870-71
An Integrated Bibliography
Prototyping Animated Spectral Images (ASIs)
Project History and Documentation
Adrian S. Wisnicki, with Megan Ward, Beta version: 2016, First edition: 2017
Cite page (MLA): Wisnicki, Adrian S., and Megan Ward. "Project History." In Livingstone's 1870 Field Diary. Adrian S. Wisnicki and Megan Ward, dirs. Livingstone Online. Adrian S. Wisnicki and Megan Ward, dirs. University of Maryland Libraries, 2017. Web. http://livingstoneonline.org/uuid/node/c91df526-2079-4a89-888a-313ba71cb600.
This essay set outs the history of our work to develop a multispectral critical edition of Livingstone's 1870 Field Diary and select 1870-71 manuscripts. It provides an overview of all significant periods of project endeavor and for each period describes all key project activities.
Groundwork (2010-13)
Year One (1 Dec. 2013 to 30 Nov. 2014)
Year Two (1 Dec. 2014 to 30 Nov. 2015)
Year Three (1 Dec. 2015 to 31 Dec. 2016)
Introduction Top⤴
This essay provides a narrative of our collaborative, interdisciplinary research process and complements the documentation related to the development of the critical edition of Livingstone's 1870 Field Diary and select 1870-71 manuscripts. Livingstone would eventually revise the 1870 Field Diary into a segment of the Unyanyembe Journal (1866-73). In creating and editing the Last Journals (Livingstone 1874), however, Horace Waller focused on the 1870 Field Diary as his base text because the diary offered more detail for the period in question than the Unyanyembe Journal (1866-72). In describing our process in working with the original 1870 Field Diary and the related texts, the essay extends our efforts to conduct publicly-funded research in a transparent manner that promotes knowledge transfer and that opens all aspects of our research to critical review.
Groundwork (2010-13) Top⤴
The first phase (2010-13) of the Livingstone Spectral Imaging Project demonstrated that spectral imaging could recover faded nineteenth-century text written over the pages of a newspaper. Image capture work in 2010 produced not only all the images of Livingstone's 1871 Field Diary required for the first phase, but also all the images of the 1870 Field Diary, five 1871 letters, and the 1870 "Retrospect" necessary for a separate, second phase project on these texts.
However, since the latter three texts appeared fairly legible under natural light, Adrian S. WisnickiAdrian S. Wisnicki (Assistant Professor, University of Nebraska-Lincoln). Director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project., the director of the Livingstone Spectral Imaging Project, gradually decided to turn the work of the second phase in a new direction by investigating whether spectral imaging could help scholars study the material features of these manuscripts.
(Top) The National Library of Scotland, Edinburgh, Scotland. Copyright Livingstone Online. Creative Commons Attribution-NonCommercial 3.0 Unported. (Bottom) The David Livingstone Centre, Blantyre, Scotland. Copyright Angela Aliff. Creative Commons Attribution-NonCommercial 3.0 Unported. With one small exception, all the surviving fragments of the 1870 Field Diary reside at these two institutions.
Specifically, this approach raised a series of questions. Could spectral imaging reveal the history of these texts over the last century and a half? Could we use the technology to learn about a) the sequence in which Livingstone composed his works, b) the effect of the many individuals who had handled the texts before and after Livingstone's death, and c) the impact of the multiple environments through which the manuscripts circulated?
To take up these questions, the project team, led by Wisnicki, submitted proposals to the Wellcome Trust, the Mellon Foundation, and Google in order to fund the development of this second phase. All these proposals proved unsuccessful. Yet despite time otherwise lost on such applications, the proposals did allow the team to hone their research objectives and refine the proposed project narrative.
Adrian S. Wisnicki and Megan Ward in London, 2015. Copyright Adrian S. Wisnicki. Creative Commons Attribution-NonCommercial 3.0 Unported
The fortunes of the project team decisively turned for the better when Megan WardMegan Ward (Assistant Professor, Oregon State University). Co-director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project., also a Victorianist, joined the project (after reading about the project's first phase on the NEH website) and when the team made a grant application for the NEH's Scholarly Translations and Editions Grant on 6 December 2012. Ward brought a much-needed theoretical frame to the application of spectral imaging for studying material history.
The new application noted that the team hoped to use spectral image processing to "enhance illegible portions of Livingstone's text, reveal manuscript topography, highlight environmental traces on the manuscript pages, and differentiate the inks used by Livingstone and others in correcting and marking up the text" and noted that "These features tell their own story about the construction and history of the manuscripts." The team received news of the positive outcome of this application on 24 July 2013. A few months later, on 1 December 2013, the project launched.
Year One (1 Dec. 2013 to 30 Nov. 2014) Top⤴
The funded project, as designed, brought together a core set of four individuals for the main work – scholars WisnickiAdrian S. Wisnicki (Assistant Professor, University of Nebraska-Lincoln). Director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. and WardMegan Ward (Assistant Professor, Oregon State University). Co-director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project., and two imaging scientists who had also played a key role in the first phase of the Livingstone Spectral Imaging Project, Roger L. Easton Jr.Roger L. Easton Jr. (Professor, Chester F. Carlson Center for Imaging Science, Rochester Institute of Technology). One of the lead scientists for both phases of the Livingstone Spectral Imaging Project. and Keith KnoxKeith Knox (Early Manuscripts Electronic Library). One of the lead scientists for both phases of the Livingstone Spectral Imaging Project..
This core team, in turn, engaged a handful of people to provide strategic support, including TEI encoding specialist James CummingsJames Cummings (IT Services, University of Oxford). TEI specialist for Livingstone Online and the Livingstone Spectral Imaging Project. and data manager Doug EmeryDoug Emery (Programmer, Schoenberg Institute of Manuscript Studies, University of Pennsylvania). Data manager for the first phase of the Livingstone Spectral Imaging Project; honorary team member of the second project phase., although the latter left the project before it began in order to take a full-time position at the University of Pennsylvania. It was envisioned that the UCLA Digital Library would publish the materials of this phase, as it had of the previous phase.
The NEH grant narrative called for two principal deliverables:
1) [A c]omplete, interoperable electronic edition of Livingstone's 1870 Field Diary and select 1871 manuscripts that reflects the scholarly, scientific, archival, and documentation standards established by the NEH funded electronic edition of Livingstone's 1871 Field Diary.
2) All proposed edition underlying TIFF images, XML transcriptions, and metadata provided separately as "flat" files and integrated into the Livingstone Spectral Image Collection.
In other words, this new phase of the Livingstone Spectral Imaging Project would publish the relevant digital materials in a manner consistent with and at a level of quality comparable to the first phase.
The Google docs version of the program plan used to guide the development of the present critical edition. Copyright Livingstone Online. Creative Commons Attribution-NonCommercial 3.0 Unported. The plan, in this excerpt, tracks the development of critical materials over the span of a year (Aug. 2015-Aug. 2016).
To guide the work, in the first year of the project the team used the workplan provided in the NEH grant narrative. As a first step, WisnickiAdrian S. Wisnicki (Assistant Professor, University of Nebraska-Lincoln). Director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. and WardMegan Ward (Assistant Professor, Oregon State University). Co-director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. converted this plan into a streamlined program plan and, in doing so, determined to outline the work of the project on a yearly basis so as to be as responsive as possible to actual project progress. The two scholars then reviewed the first-year plan with the two scientists, finalized the plan, and the project formally got underway.
The first year of the project intermingled a series of foundational activities. To begin, Wisnicki and Ward examined existing spectral images of the 1870 Field Diary, the 1871 letters, and the 1870 "Retrospect" to identify regions of interests (ROIs) for new processing. They first linked the broad, grant narrative-defined processing objectives to multi-page segments of the manuscript. Then, as they began to transcribe the manuscript, they used the initial review to guide the identification of specific ROIs on each page. Finally, they extracted this data to spreadsheets that they shared and reviewed with the scientists in order to develop a prioritized spectral image processing task list.
A histogram of ink spectra from the 1870 Field Diary that tracks the response of the ink under various wavelenghts of light. Copyright Keith Knox. Creative Commons Attribution-NonCommercial 3.0 Unported
(For an overview of the processing methods used by the scientists, see the project history of the first phase of the Livingstone Spectral Imaging Project.)
Once the scientists began processing the raw spectral images of the manuscripts, they used the task list as their guide for sequencing research. The workflow soon settled into a regular pattern. The scientists selected one or more prioritized tasks, then applied a variety of algorithms in an effort to address scholar needs. When ready, the scientists shared the results with the scholars who provided feedback.
Feedback took the form of written commentary as well as discussion during what soon became regular meetings. In other words, the workflow assumed an iterative and highly collaborative character that persisted till the end of the processing work in year two of the grant and became the basis of the project's continuing momentum.
As image processing developed, WisnickiAdrian S. Wisnicki (Assistant Professor, University of Nebraska-Lincoln). Director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. and WardMegan Ward (Assistant Professor, Oregon State University). Co-director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. worked on transcribing, encoding, and annotating Livingstone's manuscripts using the TEI P5 guidelines. The drafting of a detailed Livingstone manuscript coding manual through another NEH-funded project (LEAP: The Livingstone Online Enrichment and Access Project, 2013-17) considerably enhanced and facilitated this work, as did input from James CummingsJames Cummings (IT Services, University of Oxford). TEI specialist for Livingstone Online and the Livingstone Spectral Imaging Project. on thorny coding questions and the assistance of Ashanka KumariAshanka Kumari (Doctoral Student, University of Louisville). Research assistant for Livingstone Online., Wisnicki's graduate research assistant. Additionally, the work benefited from preliminary TEI transcriptions of the 1871 letters created by Wisnicki and Kate SimpsonKate Simpson (Research Associate, Queen's University Belfast). Associate project scholar and UK outreach coordinator for Livingstone Online. in the first phase of the Livingstone Spectral Imaging Project.
Transcription of a segment of the 1870 Field Diary in XML TEI P5. Copyright Livingstone Online. Creative Commons Attribution-NonCommercial 3.0 Unported
Thanks to these combined efforts, the scholars (Wisnicki, Ward, and now Kumari) succeeded in completing fully encoded and edited transcriptions of all relevant manuscripts by the end of the first year of the grant – a full six months ahead of schedule. (Note: The headers of individual transcription files for the 1870 Field Diary and 1870-71 texts provide additional detail about the stages of transcription and encoding for each item and the individuals involved in the process.) Transcription also resulted in initial research on the structure and composition of the 1870 Field Diary, although this research did not get fully underway until the second year of the grant.
As a result, the first year of the grant was quite productive. Although some unforeseen complications outside of the project's purview delayed a handful of project tasks (most notably, image processing), the team nonetheless made solid and demonstrable progress towards realizing overall project objectives.
Year Two (1 Dec. 2014 to 30 Nov. 2015) Top⤴
The project team began the second year of the grant like they did the first, by using the NEH grant application workplan to develop a program plan for the coming year. With the plan in place, the core team carried on with its regular meetings and continued to address spectral image processing objectives.
The image processing work produced excellent results and by the end of the second project year, the team had completed nearly all objectives set out in the grant. KnoxKeith Knox (Early Manuscripts Electronic Library). One of the lead scientists for both phases of the Livingstone Spectral Imaging Project. and EastonRoger L. Easton Jr. (Professor, Chester F. Carlson Center for Imaging Science, Rochester Institute of Technology). One of the lead scientists for both phases of the Livingstone Spectral Imaging Project., in consultation with WisnickiAdrian S. Wisnicki (Assistant Professor, University of Nebraska-Lincoln). Director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. and WardMegan Ward (Assistant Professor, Oregon State University). Co-director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project., produced a broad assortment of spectral images that ultimately facilitated detailed study of manuscript elements such as composition, handling, and preservation (see the six-part State of the Manuscript essay).
Animation of a plot of ink spectral curves from a segment of a single page of the 1870 Field Diary manuscript (Livingstone 1870i:XXXI). Copyright Keith Knox. Creative Commons Attribution-NonCommercial 3.0 Unported. The curves, as indicated at left, cluster around three slopes: the paper (top) and two kinds of inks. As the animation plays, a yellow vertical line moves across these curves and the corresponding colors and values of the curves appear on the graph at right.
Moreover, the ongoing and extensive discussions between the scholars and the scientists resulted in additional benefits. The discussions enabled the team to examine the production history of Livingstone's manuscript in a robust, detailed, and highly interdisciplinary manner that, later, considerably influenced critical analysis (again, as exemplified in project's six-part State of the Manuscript essay). Regular meetings also kept the project on point, helped clarify both scholar research questions and scientists processing capabilities, and, ultimately, led to the introduction of new processing techniques that significantly enhanced project work.
Alongside such research, Wisnicki, Ward, KumariAshanka Kumari (Doctoral Student, University of Louisville). Research assistant for Livingstone Online., and Erin CheathamErin Cheatham (Graduate Student, University of Nebraska-Lincoln). Research assistant for Livingstone Online. (another of Wisnicki's graduate research assistants at UNL) continued with their critical encoding of Livingstone's manuscripts and the development of critical materials. In the second year, the scholars encoded the portions of Agnes Livingstone's transcription of the 1870 Field Diary for which original pages did not survive and encoded the sections of the Last Journals (1874) corresponding to the 1870 Field Diary.
Erin Cheatham and Adrian S. Wisnicki at the University of Nebraska-Lincoln, 2016. Copyright Angela Aliff. Creative Commons Attribution-NonCommercial 3.0 Unported
Through LEAP, their other NEH grant, the scholars also transcribed the portion of Livingstone's Unyanyembe Journal (1866-72) that corresponded to the 1870 Field Diary. As a final step in the encoding process, Heather F. BallHeather F. Ball (Project Cataloger, The Morgan Library & Museum). Coordinating Associate Project Scholar for Livingstone Online., associate project scholar for Livingstone Online, integrated all transcriptions to overall site standards.
These collective encoding accomplishments would enable the team to publish the most complete version of the 1870 Field Diary possible and would also allow for comparative study of the Livingstone's original manuscript with the revised versions from his journal and the posthumously edited, published version of the text.
Additionally, the scholars undertook extensive work on a glossary of key terms cited in Livingstone's 1870-1871 manuscripts, ultimately identifying and/or defining some 500 distinct people, groups, places, and geographical features. Research for the glossary helped enhance the existing encoded transcriptions, clarified geographical details, and facilitated the scholars in understanding some of the complex social relationships among the many African and Arab individuals cited in Livingstone's texts.
PowerPoint slide of the 1870 Field Diary with regions of interest (ROIs) circled - stains in this case. Copyright Livingstone Online. Creative Commons Attribution-NonCommercial 3.0 Unported. The team used such slides, first, to guide spectral image processing and, second, to support critical analysis.
The scholars pursued this research while completing an essay on Livingstone's composition methods during the period in question, writing the first two parts of what would eventually become the six-part State of the Manuscript essay, and commencing research on an essay on Livingstone's sources. Additionally, Alex MunsonAlex Munson (Graduate Student, University of Nebraska-Lincoln). Research assistant for the critical edition of Livingstone's 1870 Field Diary and select 1870-71 manuscripts., another graduate research assistant, provided research support for the State of the Manuscript essay.
As a means to disseminating research, the second year of the project included a week-long visit to stakeholder institutions in the UK, and a presentation on the project at the annual North American Victorian Studies Association conference (NAVSA, July 2016). WardMegan Ward (Assistant Professor, Oregon State University). Co-director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. also delivered an invited talk to P19, the Philadelphia Nineteenth-Century Studies Group.
The UK trip created the opportunity for in-person consultation of the 1870 Field Diary and another diary related to the project (Livingstone 1869) at the National Library of Scotland and to engage in dissemination activities in the form of meetings with David Livingstone Centre staff and meetings and lectures at the National Library of Scotland and the British Library.
Team and stakeholder meeting over lunch at the David Livingstone Centre, 2015: (from left) Megan Ward, Adrian S. Wisnicki, Angela Aliff, Anne Martin, and Kate Simpson. Copyright Angela Aliff. Creative Commons Attribution-NonCommercial 3.0 Unported
The NAVSA paper, which WisnickiAdrian S. Wisnicki (Assistant Professor, University of Nebraska-Lincoln). Director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. delivered on behalf of the project team, became one of nine such papers selected to represent the conference in a special 2016 issue of Victorian Studies – a recognition of the project preliminary results.
Finally, during the project's second year, the team began to plan publication of the critical edition. When the team submitted its original NEH application in December 2012, it did not anticipate that this project and the team's other application to the NEH (for LEAP) would both be funded, as they were. This turn of events had significant positive implications in the context of the proposed critical edition.
For instance, the redevelopment of Livingstone Online through LEAP eliminated the need for an independently developed edition interface for 1870 Field Diary and 1870-71 manuscripts because the edition could now be embedded in Livingstone Online. Moreover, since both NEH projects ran concurrently, the project team not only had the chance to draw on other capabilities developed for LEAP, such as the Livingstone Online coding manual, but also to develop core spectral image data in line with Livingstone Online practices, a fact that would later enable the straightforward addition this image data to Livingstone Online's digital collection.
'Funeral of Dr. Livingstone in Westminster Abbey.' Illustration from a review of Livingstone's Last Journals in the Illustrated London News, 64 (1874): 401. Copyright National Library of Scotland. Creative Commons Share-alike 2.5 UK: Scotland. Livingstone carried the 1870 Field Diary with him until his death in central Africa in 1873. The diary then accompanied his body to Britain where Livingstone received a burial in one of Britain's most important churches, while his heirs distributed the diary to a number of Britain's leading archives.
Such collaborations gave the team a significant head start on edition interface development for the 1870 Field Diary and select 1870-71 manuscripts. This also enabled WisnickiAdrian S. Wisnicki (Assistant Professor, University of Nebraska-Lincoln). Director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. and WardMegan Ward (Assistant Professor, Oregon State University). Co-director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. to turn their attention – during the last months of 2015 and the beginning of 2016 – to transitioning Livingstone Online (and, by default, the second phase of the Livingstone Spectral Imaging Project) from the UCLA Digital Library to the University of Maryland Libraries.
This transition resulted from complications in the collaborative relationship with UCLA to be discussed in the final part of the LEAP project history. The immediate results of these complications, beyond the shift to the new hosting institution, entailed the addition of programmer Nigel BanksNigel Banks (Independent programmer). Lead developer for the critical edition of Livingstone's 1870 Field Diary and select 1870-71 manuscripts. to both project teams to replace UCLA for Islandora development and, separately, a decision by Wisnicki (in collaboration with core team members on both projects) to extend each of the two grants by a year in order to ensure that both grants met all application narrative commitments in full.
Spreadsheet recording feedback from Adrian S. Wisnicki and Megan Ward on a series of spectral images produced by Roger L. Easton Jr. Copyright Livingstone Online. Creative Commons Attribution-NonCommercial 3.0 Unported
Consequently, despite the need for an extension, the spectral imaging project team continued to make solid progress during the second year of the grant, especially in areas such as image processing, critical encoding, developing critical materials, building core data, and disseminating results to stakeholders and specialists. This work both advanced project goals considerably and, in all cases, met or exceeded the standards of scholarship set by the first project phase on Livingstone's 1871 Field Diary.
Year Three (1 Dec. 2015 to 31 Dec. 2016) Top⤴
By the beginning of the third project year, the team had successfully developed nearly all the most important core data, including required spectral images and critically encoded versions of all relevant manuscripts.
In the third year, therefore, project scholars WisnickiAdrian S. Wisnicki (Assistant Professor, University of Nebraska-Lincoln). Director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. and WardMegan Ward (Assistant Professor, Oregon State University). Co-director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. (with assistance from KumariAshanka Kumari (Doctoral Student, University of Louisville). Research assistant for Livingstone Online.) turned to the written analysis of this data. Working at a steady pace, the scholars completed in succession:
1. the essay, Livingstone's Global Sources;
2. the last four parts of the State of the Manuscript essay;
3. final research on the glossary;
4. the addition of tags to the transcriptions that allowed all glossary entries to appear as tooltips when the transcriptions were published online;
5. a manuscript citation and file naming guide;
6. a comprehensive bibliography for both phases of the Livingstone Spectral Imaging Project; and
7. an introduction to the second phase of the Livingstone Spectral Imaging Project as a whole.
In addition, Wisnicki developed the XSL and CSS files needed to display all edited and encoded texts online, assembled all project documentation, and worked with Ward to write an introduction to the documentation and to draft the present project history. During this time, Anne MartinAnne Martin (Archivist, David Livingstone Centre). Associate director of Livingstone Online. (David Livingstone Centre) and Alison MetcalfeAlison Metcalfe (Manuscripts Curator, National Library of Scotland). Institutional contact for Livingstone Online. (National Library of Scotland) also helped the team with questions related to the documented archival history of the 1870 Field Diary and 1870-71 manuscripts.
Twitter posts on Ashanka Kumari and Adrian S. Wisnicki's presentation at DH2016 in Krakow, Poland. Copyright Ashanka Kumari. Creative Commons Attribution-NonCommercial 3.0 Unported
KumariAshanka Kumari (Doctoral Student, University of Louisville). Research assistant for Livingstone Online. and Wisnicki also delivered talks on the project at DH2016, the major conference in the field of digital humanities. These talks set out project results to a broad range of digital humanists and introduced the animated spectral image production methodology that Kumari had developed and subsequently wrote up for the current edition.
Concurrently with this stream of critical activity, EastonRoger L. Easton Jr. (Professor, Chester F. Carlson Center for Imaging Science, Rochester Institute of Technology). One of the lead scientists for both phases of the Livingstone Spectral Imaging Project. and KnoxKeith Knox (Early Manuscripts Electronic Library). One of the lead scientists for both phases of the Livingstone Spectral Imaging Project. completed the vast majority of processing tasks and collaborated with the scholars on an extensive, annotated enumeration of all processed spectral images produced for the two phases of the Livingstone Spectral Imaging Project plus the pilot project on Livingstone's Letter from Bambarre (2010-12).
As spectral image data came in, Wisnicki led the integration of all spectral images and transcriptions, added detailed metadata to image headers, and built downloadable archival packets that would allow users to interact with this data independently of the project. In this work, Wisnicki received key assistance from Doug EmeryDoug Emery (Programmer, Schoenberg Institute of Manuscript Studies, University of Pennsylvania). Data manager for the first phase of the Livingstone Spectral Imaging Project; honorary team member of the second project phase. (who continued to advise the project despite having formally left it) and was also aided by Jessica DussaultJessica Dussault (Programmer/Analyst II, Center for Digital Research in the Humanities, University of Nebraska-Lincoln). Data developer for the critical edition of Livingstone's 1870 Field Diary and select 1870-71 manuscripts. who developed a series of scripts to refine and manipulate the metadata.
Excerpt of the Ruby script created by Jessica Dussault to add Dublin Core metadata to the headers of the TIFF spectral images. Copyright Jessica Dussault. Creative Commons Attribution-NonCommercial 3.0 Unported
Finally, WisnickiAdrian S. Wisnicki (Assistant Professor, University of Nebraska-Lincoln). Director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. and WardMegan Ward (Assistant Professor, Oregon State University). Co-director of Livingstone Online, LEAP, and the Livingstone Spectral Imaging Project. and, separately, Wisnicki and BanksNigel Banks (Independent programmer). Lead developer for the critical edition of Livingstone's 1870 Field Diary and select 1870-71 manuscripts. turned to development of the interface. Ward, working with Wisnicki, first converted all critical materials to Drupal while embedding them in the Livingstone Online site. Wisnicki then selected and added all illustrative materials, with an eye to highlighting the complex, intercultural legacy of Livingstone's 1870-71 manuscripts from the nineteenth century to the present day. The illustrative images included many created by Angela AliffAngela Aliff (Graduate Student, Indiana University of Pennsylvania). Research assistant and interface designer for Livingstone Online. for the Livingstone Online project as a whole. Once the scholars had finalized individual webpages, Lauren GeigerLauren Geiger (Graduate Student, University of Nebraska-Lincoln). Research assistant for the critical edition of Livingstone's 1870 Field Diary and select 1870-71 manuscripts., another of Wisnicki's graduate research assistants, conducted a final review of each page.
Through detailed discussion, Wisnicki also collaborated with Banks on planning the technical creation of the edition in Islandora. The subsequent development, led by Banks, entailed creating a special content type to accommodate critical editions within Livingstone Online, implementing a spectral image content model on the back end of the site, and enabling the batch uploading and replacing of spectral image files.
Nigel Banks (foreground) and Megan Ward (background) at the Weston Library, Oxford with Livingstone manuscripts, 2016. Copyright Adrian S. Wisnicki. Creative Commons Attribution-NonCommercial 3.0 Unported
Banks also built a dynamic image viewer for Livingstone Online, then enhanced this viewer to facilitate user review of multiple spectral images for each page of the manuscript. As a last step, Banks created a Drupal page that would enable comparative study of encoded versions of the 1870 Field Diary and the corresponding segments of the Unyanyembe Journal (1866-72), and the Last Journals (1874).
Thanks to these efforts over the three-year period of the grant, the beta version of the critical edition of Livingstone's 1870 Field Diary and select 1870-71 was released by the project team on 16 November 2016. To mark the release, US-based members of the team traveled to the UK to meet with UK-based collaborators and to deliver a series of presentations on the project at stakeholder institutions. These included lectures at the University of Edinburgh (14 November 2016), the University of Oxford (16 November 2016), and Queen's University Belfast (18 November 2016).
(From left:) Justin Livingstone, Adrian S. Wisnicki, Kate Simpson, Keith Knox, Megan Ward, and Roger L. Easton, Jr. after presenting at Queen's University Belfast on 18 November 2016. Copyright Justin Livingstone. Creative Commons Attribution-NonCommercial 3.0 Unported
The beta release "tour" gave team members from alternate sides of the Atlantic a chance to review the project face-to-face, to discuss results with representatives from these institutions as well as the David Livingstone Centre, the National Library of Scotland, and the Royal Geographical Society, and, finally, to explore the possibility of applying advanced spectral image processing to other UK-based Livingstone manuscripts as well as objects collected during Livingstone's travels. (Read the blog post on the "tour" here). During the tour, the team also planned for the release of the formal first edition of the project (which would include additional critical materials and would correct site bugs, typos, and other such minor issues). Finally, the team released the first edition in April 2017, thereby formally bringing the project to an end.
Conclusion Top⤴
The project to produce a multispectral critical edition of Livingstone's 1870 Field Diary lasted just over three years. Given the scale and complexity of the endeavor, the project ran exceptionally smoothly end-to-end. We attribute this to three factors. First, the commitment of our team members, which resulted in consistent, incremental development throughout the project's life span. Second, Wisnicki and Ward's joint directorship brought different critical frameworks to the project that enriched the final edition. And finally, our project's multigenerational, interdisciplinary approach resulted in insights that could only emerge from scientists and literary critics, junior and senior scholars, working truly collaboratively.
Editor's Note: In 2018, the project team submitted the edition to the Modern Language Association (MLA) for peer review and to be considered for a seal from the Committee on Scholarly Editions. Edward Whitley (Lehigh University) kindly agreed to serve as the edition vetter on behalf of the MLA, while Noelle A. Baker (Independent Scholar) took the role of review manager; Laura Kiernan (MLA) facilitated the inspection as the Committee's staff liaison.
Whitley delivered his report in late February 2019 and recommended the edition be awarded the MLA seal in the following terms:
"Livingstone's 1870 Field Diary and Select 1870-1871 Manuscripts is an excellent contribution to the already superb Livingstone Online project. The Livingstone Online team should be commended both for their scrupulous attention to best practices in electronic scholarly editing and for their innovative use of spectral imaging technologies. This is a masterwork of scholarly editing for an important text that presents numerous challenges to conventional editorial methodology. Livingstone's 1870 Field Diary and Select 1870-1871 Manuscripts should, without question, be recognized for having lived up to the highest standards put forward by the MLA Committee on Scholarly Editions. I recommended that the edition be awarded the CSE seal."
The project team was, of course, delighted with this assessment. Whitley also recommended that a handful of minor enhancements be made to improve the edition. The project team soon implemented these enhancements and submitted a formal response to the MLA outlining the site changes made based on Whitley's feedback. Finally, on 18 April 2019, the team learned that the edition had been awarded the seal designating the edition as an MLA Approved Edition. The seal now appears on the home page of the edition.
Animated spectral image (ASI) of a page of the 1870 Field Diary (Livingstone 1871a:LXXVI [v.1]) created by Adrian S. Wisnicki for testing purposes. Copyright National Library of Scotland. Creative Commons Attribution-NonCommercial 3.0 Unported. In a nod to the present multispectral critical edition, the image cycles through the colors of the visible light spectrum and, in doing so, reveals different layers of text and staining on the page.
Return to top ⤴


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Largest hailstone ever to hit Hawaii confirmed
Record-setting hailstone from the Hawaii 'supercell' thunderstorm that hit the Hawaiian island of Oahu on March 9, 2012. (NOAA)
A grapefruit-size hailstone that pummeled Oahu during a hailstorm this month has now been confirmed as the largest on record for the state of Hawaii, announced officials with the National Oceanic and Atmospheric Administration (NOAA).
A final measurement of the hailstone, which dropped from the skies on March 9, places it at 4.25 inches long, 2.25 inches tall and 2 inches wide (10.8 by 5.7 by 5 centimeters).
"According to hail report records for Hawaii kept back to 1950, the previous state record hailstone was 1 inch in diameter," Michael Cantin, warning coordination meteorologist at NOAA's National Weather Service (NWS) in Honolulu, said in a statement. The NWS, along with NOAA's State Climate Extremes Committee confirmed the new state record.
The record-setting hailstone was dropped by a so-called supercell thunderstorm on the windward side of Oahu that also produced large hail in Kaneohe and Kailua. Perhaps the most violent of all thunderstorm types, supercell thunderstorms can generate damaging winds large hail, and even tornadoes, according to NOAA. They are most common during the spring across the central United States.
NOAA received several reports of hail with diameters of 2 to 3 in. (5 to 7.6 cm) and greater in Hawaii during the storm. One such report, the new record breaker, came from a resident in the Aikahi neighborhood of Kailua, who reported a hailstone larger than 3 inches in diameter. Inspection by the NWS revealed the chunk was much larger, and has now been confirmed the largest on record.
In fact, since records began, there have been no reports of hail larger than an inch in diameter; penny-size (just under an inch) or quarter-size (1 inch in diameter) hailstones, have been reported just eight times in Hawaii. Conditions needed to produce supercell thunderstorms, and thus to form large hailstones, the size of golf balls and baseballs, are rare in Hawaii.
To form, supercells need warm, most air to rise, forming progressively colder and drier air; at the same time, winds that change direction and increase in speed with increasing height off the ground are needed. Both sets of conditions existed on March 9, an ideal day for a supercell storm, it seems.
The same hail-spawning supercell also gave Hawaii another rarity — a tornado. The NWS confirmed an EF-0 tornado on the tornado damage scale with winds of 60-70 miles per hour (about 97-113 kilometers per hour) in Lanikai and Enchanted Lakes on Oahu that day. [The Tornado Damage Scale in Images]
A hailstone that hit Vivian, S.D., on July 23, 2010, holds the U.S. record for the largest diameter, reaching 8 in. (20 cm), and heaviest weight (1.938 pounds, or 0.879 kilograms). A hailstone that hit Aurora, Neb., on June 22, 2003, holds the U.S. record for the largest circumference, at 18.75 in. (47.63 cm).


One of the most critical accessories of a digital camera is perhaps its batteries. There are some digital cameras where the battery life is so limited that it drains with only a couple of hours' shooting. Yet there are also digital cameras which are famous for its batter life which simply goes on and on. Thus it is important to know your camera usage methods which can then lean you on to the type of battery you will need for your camera. There are basically two types of digital camera batteries. One is the standard AA type and the other is rechargeable.
The latter is also known as a proprietary battery as it made by the same manufacturer. A proprietary type of battery is comparatively more expensive, lighter in weight and more tight and compact. The cost makes the purchase of one or two back-ups slightly prohibitory. The standard alkaline AA size batteries usually have a very short life – at times even less than an hour, when used in a digital camera. These batteries make good back-ups, especially if you are traveling.
A better option would be to use the Nickel Metal Hydride (NiMH) batteries for digital cameras, with a charger. This rechargeable option has a longer life and comes at an affordable price. The other two types of AA size batteries are : the Lithium batteries, which can not be recharged and the rechargeable Nickel Cadmium (NiCD) batteries. The Lithium digital camera batteries last longer than mere alkaline batteries, as well as have a good performance in cold weather. Yet their price and non-chargeability reduce the appeal in comparison to NiMH batteries. It is important to ensure that your digital camera can load a lithium battery. The advantage of a NiCD battery is that it can retain charge when not in use while the disadvantage is that the battery needs to be fully discharged before you can recharge it. This can be very cumbersome and inconvenient. If you wish to conserve battery life, it is prudent to make judicious use of the LCD screen of your digital camera, s this element consumes maximum power when in use. If you going to stay away from a power source for a long time, it is always wise to take at least one set of back up.
The standard alkaline AA size battery is good enough for this purpose, in case your usual digital camera battery packs up.


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Quick Answer: How To Calculate Employment Population Ratio?
1 How is unemployment ratio calculated?
2 How is employment calculated?
3 What are 4 types of unemployment?
4 What are the 3 main types of unemployment?
5 What is worker population ratio Why is it calculated?
6 Which degree of worker population ratio is better for country?
7 How do you calculate total population?
8 When was the highest employment rate?
9 What is the most serious type of unemployment?
10 How is full employment measured?
11 What are three negative effects of unemployment?
How is unemployment ratio calculated?
The unemployment rate is calculated by dividing the number of unemployed people by the number of people in the labor force. The logic is that it is the government's job to try and find employment for all the able bodied laborers in the economy who are willing to work.
How is employment calculated?
The employment-to-population ratio is a macroeconomic employment metric that shows the number of people employed as a percentage of the total working-age population. The employment-to-population ratio can be applied to any size area or region but is most commonly calculated for whole countries.
What are 4 types of unemployment?
There are four main types of unemployment in an economy—frictional, structural, cyclical, and seasonal—and each has a different cause.
Frictional unemployment.
Structural unemployment.
Cyclical unemployment.
Seasonal unemployment.
What are the 3 main types of unemployment?
There are three main types of unemployment: cyclical, frictional and structural. Cyclical unemployment occurs because of the ups and downs of the economy over time. When the economy enters a recession, many of the jobs lost are considered cyclical unemployment.
You might be interested: Quick Answer: How Many Years Of Employment Should Be On Resume?
What is worker population ratio Why is it calculated?
What Is the Employment-to-Population Ratio? It is calculated by dividing the number of people employed by the total number of people of working age, and it is used as a metric of labor and unemployment.
Which degree of worker population ratio is better for country?
Moderate degree of workers population ratio is better for country.
How do you calculate total population?
It can be calculated by dividing the population 0-14 years and 65 years and older by the population that is in the 15-64 year age group. Example: A community has 41,650 children under age 14 and 6,800 persons age 65 and over. The total population is 85,000.
When was the highest employment rate?
Employment Rate in the United States averaged 59.22 percent from 1948 until 2021, reaching an all time high of 64.70 percent in April of 2000 and a record low of 51.30 percent in April of 2020.
What is the most serious type of unemployment?
Structural unemployment is the most serious kind of unemployment because it points to seismic changes in an economy. It occurs when a person is ready and willing to work, but cannot find employment because none is available or they lack the skills to be hired for the jobs that do exist.
How is full employment measured?
BLS defines full employment as an economy in which the unemployment rate equals the nonaccelerating inflation rate of unemployment (NAIRU), no cyclical unemployment exists, and GDP is at its potential.
What are three negative effects of unemployment?
Concerning the satisfaction level with main vocational activity, unemployment tends to have negative psychological consequences, including the loss of identity and self-esteem, increased stress from family and social pressures, along with greater future uncertainty with respect to labour market status.


I ABSOLUTELY LOVE silhouette shots!
I LOVE that shot! The love between a momma and her boy!
Amberleigh – thank you SO MUCH! I hope to see you guys again soon!
I've taken their engagement photos – wedding photos – announcement photos – and most recently – their little guy!
HONESTLY! Isn't he JUST THE CUTEST!!
Autumn – THANK YOU for asking me to capture your little man! See you SATURDAY for his FIRST BIRTHDAY!!
Yeah yeah yeah – I know – 24 months – 2 years – same thing!
Enoch turned TWO on November 19th!
He is LOUD and silly and sweet and goofy. He loves his brother. He loves puppies and cows. And kittens and pigs.
He loves to dance and give hugs. He loves to blow kisses. He loves to ask questions.
We love to love him!
He LOVES Star Wars – mostly because his brother LOVES Star Wars!
Little (not so little) Enoch guy – you are SO loved!
I've taken family pictures and wedding pictures and maternity pictures and back to FAMILY pictures – a little bit of everything!
Her little glasses – DARLING!
And those sweet chubby boys!!
Thank you SO much for coming out – it was chilly and windy – but you guys were AWESOME!
I've been photographing this family for several years now!
Heather & Jillian – you guys are AWESOME! Can't WAIT to see you again!!
This little guy *M* – ADORABLE!
There is NOTHING like a momma's kiss!
Cierra – thank you SO much for asking me to capture your family! I can't wait to see you Saturday for his ONE year pictures!
I've been taking pictures for Lauren and Dan for almost FIVE years! That's CRAZY!
Lauren & Dan – thank you so much for being AWESOME!
Myrana's family was SO much fun!
These were their first family photos in YEARS!
You guys were GREAT! I hope to see you again soon!
I LOVE taking pictures for Miranda and her family!
Isn't he JUST THE SWEETEST!!
Miranda – I cannot WAIT to photograph you next – when you'll be a family of FOUR!
I LOVE this family! Their twins are the same age as Fitzy!
Father and son. BE STILL MY HEART!
Thank you SO much for coming over to the farm! I'm looking forward to next year!


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text:
Spatial discretization of discrete dynamical systems
Mustard, Jamie. 2001, Spatial discretization of discrete dynamical systems, Ph.D. thesis, School of Management Information Systems, Deakin University.
Mustard, Jamie.
School of Management Information Systems
Differentiable dynamical systems - Computer simulation
Discriminant analysis
Artin's conjecture
Investigates what can go wrong when dynamical systems are modelled with a computer. Number theoretic techniques were used to detail the effects "discretization" errors caused by computer round-off had on characteristics of a system. In particular, a relationship was established between the occurrence of long cycles in a system and the classical result known as Artin's conjecture. Algorithms were then developed which eliminated discretization errors.
Description of original
iv, 184 leaves ; 30 cm.
School of Information and Business Analytics
Higher degree theses (citation only)
Thu, 01 Apr 2010, 16:09:01 EST Mon, 07 Feb 2011, 14:36:15 EST Mon, 07 Feb 2011, 14:36:56 EST Filtered Full
Thu, 01 Apr 2010, 16:09:01 EST


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May 10, 2010 [LINK / comment]
Perfect game by Dallas Braden
Not in Dallas (or Fort Worth or Arlington), but rather by Dallas. The game was played in Oakland, and the home team's starting pitcher, Dallas Braden, went a full nine innings without allowing any opponent batter to reach base: 27 up, 27 down. It was the 19th perfect game in major league history. The last such feat was accomplished by Mark Buehrle (of the Chicago White Sox) in July 2009. The article at MLB.com notes that the game was on Mother's Day, and Braden's grandmother was there to witness the event. Braden's own mother passed away when he was in high school, and perhaps somewhere up in the Great Beyond, a maternal spirit is beaming with pride.
Coincidentally, Tampa Bay was the losing team in both those perfect games, but this year the Rays are vying with the Yankees for the lead in the American League Eastern Division. (Right now, they're in first, in fact.) Thanks to Buehrle, the A's won by a score of 4-0, and remain in a neck-and-neck race with the Texas Rangers for the top spot in the AL West.
Nats keep winning close games
The Washington Nationals clung to a thin lead and beat the New York Mets at Citi Field this evening, thereby claiming sole possession of second place in the NL East, a game and a half behind the Phillies. Adam Kennedy and Ryan Zimmerman had back-to-back home runs in the third inning, and the Nats threatened with more base runners later in the inning, without scoring. They wasted a couple other scoring opportunities later on, which is not a good sign. Young starting pitcher Luis Atilano had a quality outing, however, and he was credited with his third win. For once, Brian Bruney didn't falter in his role as relief pitcher. Miguel Batista filled in as closer, and gave up a home run, but got the job done anyway. Final score: 3-2.
Likewise, in the weekend series at home against the Florida Marlins, all three games were decided by one or two runs. The hero in Sunday's game, Josh Willingham, hit a solo home run in the eighth inning to retake the lead. The team has a new custom of making the player of the game wear a plastic silver "Elvis" costume hairpiece. It looks great on TV interviews. Josh hit two homers on Mother's Day last year, and his wife wanted to know if he was going to do it again this year. Yep! In the Nationals' only loss to the Marlins, on Friday, Brian Bruney gave up two runs in the eighth inning. He has been a weak spot in the Nats' bullpen, but manager Jim Riggleman seems to want to give him a chance to prove himself.
The Nationals have scored 132 total runs so far this year, against 148 by their opponents. How is that possible, with a record of 18-14? Eight of their 18 victories have been by one-run margins, while only three of their 14 losses have been by one-run margins -- and all three of those were in extra-inning games! The Nats have won four of their last five games, and yet they only scored more than three runs in one of those games. The Nats sluggers are starting to come alive, as Adam Dunn, Ryan Zimmerman, and Josh Willingham now have six homers each. Ivan Rodriguez still has the lead in the major league batting average among regular players, at .393. The Nats were unbelievably lucky to get him in the off-season.
Better pitching
Obviously, the key difference compared to last year is that the Nats' pitching staff is vastly improved. The pitching staff as a whole isn't that remarkable, ranking 20th out of 30 teams with a collective ERA of 4.45, but what is special is their ability to perform in clutch situations. Matt Capps leads the majors with 13 saves. Livan Hernandez is steady as a rock in tense situations, and gave up just one run on Sunday. His ERA is 1.04, second best in the majors. Credit for the win went to Tyler Clippard, who joined Roy Halladay and Ubaldo Jimenez in reaching the six-win mark, the most in the majors right now. Not to disparage Clippard's great achievements, but to me, this illustrates the shortcomings of the win-loss standard for judging pitching performance. My own personal yardstick is Innings Pitched Minus Earned Runs (IPMER), which highlights cumulative performance -- "going the distance," which is what Livan is famous for. Here are the current rankings:
Earned runs
"IPMER"
Roy Halladay PHI 56 9 47
Ubaldo Jimenez COL 48.1 5 43.1
Adam Wainwright STL 52 12 40
Tim Lincecum SFG 48.1 10 38.1
Livan Hernandez WSH 43.1 5 38.1
R.I.P. Ernie Harwell
Long-time announcer for the Detroit Tigers, Ernie Harwell, passed away on May 4 after battling cancer. He was 92. Like Jack Buck, Harry Carey, and others of his generation, he was loved by millions of fans in his home team's region. They had a special tribute to him before the game in Detroit on Sunday; see MLB.com. When I saw a game at Comerica Park in August, 2004, I took a photo of the gate with Harwell's image on it.
Posted (or last updated or commented upon): 11 May 2010, 1: 39 AM


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oh look it's my #nanowrimo novel
NANOWRIMO IS IN...3 DAYS AND I HAVEN'T FINISHED PLANNING YET. procrastination is not a friend.
This year, I sat myself down and me and myself had a nice little talk. It involved half of me screaming at the other half to: WRITE ANOTHER FREAKING FANTASY. And the other half screaming: NO. YOU FOOL. CONTEMPORARY.
The fool receded back into my system and I decided on CONTEMPORARY. I'm going to try to write happy things! Just kidding, outlining this book made me cry tears of non-fantasy sorrow.
Psh. I don't hate it. But I don't love it. I write and read fantasy to escape the depths of shrinking reality. But writing realistic fiction means I have to face the horrors of reality. It's dark and twisted. And definitely not happy.
Nonetheless, I'm writing it, and I'm kind of excited. I'm actually really excited, because I finally think I have an outline that works for me, even though I haven't actually.. finished... it.. yet. heh.
I'm linking up with the Beautiful Books meme to introduce my NaNo novel to you!
also quickly, ADD ME AS A FRIEND ON NANOWRIMO!! do it.
1. What inspired the idea for your novel, and how long have you had the idea?
I was actually inspired by a Grey's Anatomy episode?? It's one of my favorites, and it's about this girl who was kidnapped at a young age, who's found and shares some disturbing secrets about her kidnapping and her capture. It's creepy and dark and sparked my imagination when I watched it a couple of months ago.
I REALLY REALLY wanted: a POC main character, some representation of mental health, just lots of representation, enchiladas, and an Arctic Monkeys loving hiker secondary character. Of course, all the things a normal teenage girl wants in a book.
2. Describe your novel.
Sav Mills is found at the side of the river at exactly 5:09 AM in nowhere town, New Jersey. Plot twist! She's been missing for 7 years. Plot twist! She acts like a normal person and is educated up to the college standard. Plot twist! She won't tell anyone anything.
6 months later, Sav starts school, and meets Kat(herine) Brawksi. Call her Katherine, and she'll rip your head off. Throughout her time with Kat, Sav learns more about adjusting to her new life and coming to terms with what happened to her.
Plot twist! Her captor is found, and the memories come flooding back.
3. What is your book's aesthetic?
Here. Have my Pinterest board.
4. Introduce us to each of your characters.
SAV - the main character who means well but sometimes (always) lets things get into her way. Doesn't know what she's doing yet, but she'll figure it out.. eventually. She has spirit, which comes from her mom, and she will never pass up on a plate of enchiladas. All she wants is to stop feeling weak, and to just forget.
KAT - secondary love interest who is short (don't bring it up or she will fight you) but feisty. She takes pride in her Russian Indian heritage and cares the most about her little brother, who she will protect to her death. She secretly not so secretly wishes she had lived for more of the 90s, and her ultimate idol is Scary Spice.
TASHA - Sav's kind and gentle therapist who has a love for jazz and sewing with her boyfriend. Her only priority is to make others feel good, which can be the downfall of her own health. Her holy grail fashion item is mom jeans, which she always pairs with a good striped sweater. Her guilty pleasure is Oprah, although she doesn't really feel guilty for it, Oprah is a true queen.
SARAH - the woman no one knows about, but Sav feels like she knows too much about. Our villain of the story, although she doesn't feel like one. She feels like she was doing her duty to herself, to make herself feel better, but Sav has some other ideas about that.
5. How do you prepare to write?
A pep talk in the mirror, index cards, and the biggest cup of tea I can make. You want more? fine.
I talked a little bit about my loose outline last year, and while it has changed a bit to better fit my needs, it basically contains it all. I am a self proclaimed #planster, or a Mama Bear, not too much, not too little.
i just compared myself to a bear.
I also create a schedule for the entire month of November because with school, violin, and soccer, I can't just go at it and hope it works. That's where the plan part of planster comes in.
The tea thing is most definitely not a lie. Coffee is gross, hot chocolate doesn't give me a kick. so. tea.
6. What are you looking forward to about this novel?
THE ENDING. Act III is so dope, I just can't wait. I also can't tell you about it. I should probably choose something else.
- #KatSass. Kat is sassy, she's funny, she banters with just about everything that moves. It's hilarious.
- REALITY. No monsters, no magical powers besides Tasha's soothing voice, just straight realness.
- Sadistic villains. Sarah isn't a villain who lives in a booming tower, but that doesn't mean she's not evil. I'm super excited for her character, and to see how I make her wicked without magic.
7. List three things about your novel's setting.
- It reminds me of my home town! I based Patter, NJ a lot on my town. Nowhere Ville, USA. Where nothing ever happens, but when it does, it's freaking crazy.
but its sooo boring.
- There are a lot of beautiful settings. Kat takes Sav to this one part of the neighborhood that's a string of old houses covered in vines, and in the backyard, there's a gorgeous patio surrounded in flowers. Finding pictures on Pinterest for that was a stunning experience.
- There's a lot of deja vu besides a river. That's all I'll say.
8. What's your character's goal and who (or what) stands in the way?
Sav's goal is to adjust to her life again, and try to forget about everything that happened to her. She thought she would leave it all behind, but then Sarah is found, and she's forced to relive it, every excruciatingly painful moment.
9. How does your protagonist change by the end of the novel?
She overcomes her demons and is able to face her fears. She may or may not find love. She will dye her hair purple with the help of Kat's mastery hair techniques and much to the discontentment of her father.
10. What are your book's themes? What do you want your readers to feel when the story is over?
The main themes are: life can change with time, the truth is harsh but we must face it, and we must let go.
There are two endings: one that can I can sort of hint, and one that I want to keep a secret because it's evil and I hate it but I AM SO EXCITED FOR IT.
ahem. The reader should initially feel content, like she achieved what she needed to achieve, and all is well. but then. BUT THEN. it's so evil i feel so sneaky hehehe.
ARE YOU DOING NANO? Describe your lovely novel to me! And if not, are you working on anything else? It doesn't even have to be writing related! Also... happy early Halloween! Stay safe out there <3
peace out y'all,
the ninth grader's love hate relationship with shakespeare: interviews with kids in my english class
I'm currently delving through Shakespeare's Taming of the Shrew for English, and let's just say I love it and I hate it. Shakespeare was a great writer, there's no doubt about it.
But in the modern time, we have to ask ourselves: What is so special about Shakespeare? What makes people love him? What makes people never want to pick up one of his plays ever again after they leave high school?
SO FOR FUN. and for extra credit. I asked every kid in my English class if they liked or disliked Shakespeare, why they do, and if they plan on reading more of his plays in their spare time.
this. was. fun.
"I don't hate Shakespeare, but it is a strong dislike. The strongest of dislikes. It's just... boring."
"I would rather chug vinegar than read another one of Shakespeare's plays." (graphic..)
"Why should I have to read a play set in the 16th century? It's 2017, no one talks like that!"
"I don't think I've ever heard someone say "How now!" or "Fie" in my entire 14 years of existence."
"This one [Taming of the Shrew] is super sexist. It's basically saying that girls can't stand up for themselves and they have to be quiet and reserved."
"I don't really have an opinion but Shakespeare was a mysterious dude. We don't even know if he was one person. Fishy."
"It's not that I don't like his plays it's that we're expected to find a literary device in every line of the play! I don't think it's that deep."
"The first thing that comes up when you type 'Why do ninth graders' on google is 'Why do ninth graders read Romeo and Juliet' and I think that says it all."
"There's nothing special about a dead guy who wrote about people dying." (harsh)
"His plays are just so predictable. That might just be because people from Elizabethan times were stupid uneducated and they wouldn't have understood such a complex play." (again. harsh.)
"Our teacher refuses to let us use translators so how are we even supposed to understand it?"
"The kids who said they like it are lying to themselves."
"I'd rather watch the Romeo and Juliet movie with Leonardo diCaprio than read the actual play, thank you."
"I haven't found a single character in any of the plays that doesn't make me want to strangle them. Except for Mercutio. He's chill." (MY CLASSMATES ARE SO WILD)
"Once you understand them, you realize that Shakespeare's plays are extremely complex and well done. Barely anyone can develop such a perfect plot."
"Okay some of them may be kind of lame but some of them are super interesting. Like Julius Ceaser, that one's my favorite."
"You can apply so much of it to real life! Juliet picking the wrong guy, Katherina not getting a suitor just because she's not like the average girl, it all fits in with our modern life in a way."
"He captures the human condition exquisitely. He understands human flaw, human pain, and how that affects our actions."
"It's all so very romantic and poetic. Especially the balcony scene in Romeo and Juliet, I cry every time."
"The man invented words. Like he made up his own slang. Enough said."
Ninth graders really aren't a fan of Shakespeare. To us, it's hard to understand, and with all the work our teachers give us on it, it doesn't really make it fun? But we're able to recognize the genius of Shakespeare, and how his work was truly great.
also my classmates are truly brutal. and hilarious. ah.
Have you read Shakespeare? IF YOU HAVEN'T, are you currently living under a rock? IF YOU HAVE, did you read it for school or for fun? Are you a Shakespeare hater or a Shakespeare lover?
peace out,
Labels: books, lifestyle
five book genres that i will never be able to read
this picture is so sad but hey its me
My personal favorite genres are fantasy and contemporary, and I tend to not read outside of those genres.... IT'S BAD. I KNOW.
Occasionally I'll pick up another book that's sci fi or historical fiction but there's a few genres I will NEVER touch.
Of course, it's not like these books aren't good or well written, it's just that I personally don't find them interesting or fun to read. SO PLEASE PLEASE DON'T TAKE OFFENSE FROM THIS LIST <33
I HATE BEING SCARED. More importantly, I would not willingly scare myself. I don't watch horror movies either because I don't want to pay to lose my dignity in a theater. No thanks.
When I pick up a horror book and the first page says "based on a true story", I lose all of my sanity. I can just look at the demon clown on the cover and not be able to sleep for a week. I don't care HOW good It and Steven King novels are, I will not read It.
I don't care if it's Halloween, I don't care if "it's not so scary" (because it usually is), I don't want to "face my fear", and I really don't care if there's a happy ending because THAT DOESN'T MAKE THE THINGS IN THE MIDDLE LESS SCARY.
the classic boy and his dog stories
THEY'RE CUTE. YES I LOVE DOGS. YES I LOVE KIDS AND DOGS. but they're all the same story. The boy finds a lost dog, it becomes his best friend, and then it runs away or dies. AND THE BOY GETS OVER IT SO FAST? like did he ever have a dog? I don't think he seems to remember.
AND MY HEART IS IN PIECES ON THE FLOOR. I remember reading Shiloh in the fourth grade and petting every dog I saw on the street for months because I was just so heartbroken.
there's also always something about summer?? My next post is going to be all the similarities of dog books. The list will be ENDLESS.
They're too.. short? YES I KNOW THEY'RE SHORT STORIES. But there's just not enough time to fit everything in? I've only read a few short story collections and I honestly did not finish half of them because I got bored and there was just too much story for one book but not enough story for each story.
HOW DOES ONE NOT WANT TO WRITE MORE. I mean you see my blog I just have so many words and so many things to say I couldn't possibly fit an entire story in 10 pages. Plus I am so obsessed with character development that THERE JUST WOULDN'T BE SPACE. ugh.
Surprisingly there aren't that many western YA books out there or maybe I don't know because I've only read one. And it was basically people on horses saying y'all. I'm not being stereotypical it was literally about a lost horse and it was set in 1845. There was actually a gun fight at the end over the horse.
And I'm not even sure how entirely accurate half the things are? If you're not American, please do not rely on Westerns for information on American history in the 18th and 19th century, people were not running around having fights with guns. actually i'll get back to you on that..
I used to LOVE LOVE LOVE dystopia novels, it was everything I read as a 10/11 year old, especially because dystopias were extremely popular at the time.
But honestly, I don't think I've read a dystopia in FOREVER, the current series I'm reading is the first dystopia I think I've read since 2015. Because like the dog/boy stories, they're all the same.
Same teenage girl, same world in terror, same love triangle, same evil ruler, same rebel force, same "symbol of the rebellion status" it's old, it's boring, and I get serious deja vu. Didn't I just read this book? Nope. That was Divergent.
What are some of your least favorite genres? What's your GO TO genre? How do you feel about switching it up to reading a COMPLETELY different book?
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cozy covers : ten autumn themed book covers
Let's be real. How many of you have judged a book by its cover?
GASP. YOU FIENDS. kidding kidding. I sometimes... am guilty.... of choosing books.... because of the pretty cover........ ooPS. #sorrynotsorry (is this a blog post or a demi lovato song, the world may never know)
Today I am linking up with The Broke and the Bookish for their weekly Top Ten Tuesday and today's prompt is ten books with fall themes and covers.
I went basic and simply chose ten books I own that have covers that remind me of fall :D (spoiler alert: there's a lot of red... sorry to .... bulls)
wish you were here - rita mae brown
This cover features a cat and for some reason I associate cats with fall. DO YOUR BRAINS EVERY MAKE .. strange.. CONNECTIONS. like cats with fall??? or am i crazy. Probably the latter.
harry potter and the sorcerer's stone - jk rowling
This is one of the only books on the list that actually relates to fall. Because back to Hogwarts? And the halloween chapter? IT MAKES SENSE OK.
the seven dials mystery - agatha christie
LIKE I SAID. LOTS OF RED. basically the red just sold it for me. But for real, I literally grew up on mysteries. My mom owns every single Agatha Christie, Anne Perry, Georgette Heyer novel EVER. crazy.
the book of saladin - tariq ali
OK I ACTUALLY HAVEN'T READ THIS BOOK YET.. but this book cover screams fall. the colors. drool.
linger - maggie stiefvater
Because it's kind of set in fall?? Right?? Yes? Also peep my obsession with Bath and Body Works lingering (AHAH THE PUNS) in the background.
queen of attolia - megan whalen turner
dark skies??? fall?? right. Except it's been sunny here for the past week and I really miss fall :')
the copper gauntlet - holly black/cassandra clare and the kill order - james dashner
RED AND ORANGE COVERS. and ps i will never stop using the fuzzy blanket and orange fairy lights in my pictures. NEVER.
the book thief - markus zusak
While this isn't exactly a ... cozy book.... the cover does give me a warmish feel and there's some parts that are set in the cold? I'm reaching here.
a court of thorns and roses - sarah j. maas
RED. ALL THE RED. i own way too many red books. I don't think I buy them for their colors, but who knows maybe it's another weird brain connection.
Do you buy/read books by their covers? YES I KNOW YOU DO. What are some weird connections your brain makes? WHAT ARE YOUR FAVORITE "fall" BOOKS? Let's talk!
the ninth grader's love hate relationship with sha...


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A powerful 7.3 magnitude earthquake near the Iraq-Iran border killed over 400 people across both countries, sent residents fleeing their homes into the night and was felt as far away as the Mediterranean coast, authorities said Monday. Iran's western Kermanshah province bore the brunt of the temblor Sunday night, with authorities saying the quake killed 407 people in the country and injured 6,700. Kermanshah is a rural, mountainous region where residents rely mainly on farming. In Iraq, the earthquake killed at least seven people and injured 535, all in the country's northern Kurdish region, according to Iraq's Interior Ministry. The earthquake struck 23.2 kilometers (14.4 miles) below the surface, a shallow depth that can amplify damage. Magnitude 7 earthquakes can be highly destructive. Iran sits on many major fault lines and is prone to near-daily quakes. In 2003, a magnitude 6.6 earthquake flattened the historic city of Bam, killing 26,000 people. The last major casualty earthquake in Iran struck in East Azerbaijan province in August 2012, killing over 300 people.


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Q: Cómo crear una página web dentro de otra página web Quiero generar y editar una página web dentro de otra página web, de momento solo para el html. Quiero escribir el código html en un textarea y que la página en html se visualice en un área situada al lado del textarea.
¿Podrías darme alguna pista para poder hacer esto?

A: Aquí tienes un ejemplo de cómo capturar el evento onchange y onupkey del <textarea> para actualizar el área de vista previa cada vez que ésta se actualice o se suelte una tecla tras escribir en ella:

function actualizar(obj) {
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.mitad {
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#html {
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#previo {
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Básicamente lo que hace la función es obtener el contenido tecleado en el <textarea> e inyectarlo como HTML en el contenido del
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Dairy worker's body recovered from waste pond
HAZELTON, Idaho (AP) -- Police say a farm employee's body has been recovered from an Idaho dairy waste pond about 10 hours after he went missing.
The Times-News reported that the Minidoka County Sheriff's dive team recovered the body at Sunrise Organic Dairy Farm on Tuesday.
Jerome County Sheriff's Lt. Dan Kennedy says the farm employee was last seen early Tuesday morning, but it wasn't until later in the morning that someone saw his truck submerged in the pond and called police.
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