text:
GREEN TWP. -- A town that isn't going to jump off the Wayne County map to the eye of perusers anymore is Georgetown. This village, well known to 19th century residents, has all but disappeared from the 21st century landscape, and it takes a little knowledge and research even to locate what remains of it.
Georgetown was a pioneer town located in the Little Chippewa Valley between Egypt Road and Stuckey's Corners on the historic Portage Trail, which ran from the Cuyahoga River Valley to Killbuck Creek.
Georgetown was named in honor of pioneer farmer George Starn who built several houses in the community, as well as the schoolhouse, in 1875. The location that was Georgetown encompasses the area where Egypt Road, Fox Lake Road, Blough Road and Akron Road (585) come together. In the mid-1800s, it was a thriving area that anticipated even better economic times when the railroad came through.
In fact, a railroad right of way was surveyed from Orrville down along Little Chippewa Creek. This route, however, had to be canceled with the discovery of deep deposits of peat and quicksand. Due to the lack of a railroad, Georgetown ultimately died and Smithville grew after receiving the nod for rail transportation.
But while it existed, Georgetown was a bustling place. The town -- actually the location of the second settlement in Green Township -- was anchored by the Midway House Inn stagecoach stop. It was so named because it stood about halfway between Doylestown and Wooster and made a good place to stop for refreshments.
In addition, there was a grist mill on Little Chippewa Creek, a general store, brickyard which made bricks for a number of residential and commercial structures in the vicinity, the Martin Blacksmith Shop, D.H. Harter Tannery, a sawmill, two stone quarries, ice house, mail stop, Green Township School District No. 2 and the Union Church built in 1864. One of the most unique features of the town was the Georgetown Seminary, which in 1875 boasted more than 100 enrolled students.
Just outside of Georgetown stood the Egypt Farm stone house built in 1833. Egypt Road actually derives its name from the bank barn which still stands on this farm. Inside the barn is a threshing apparatus that longtime owner the late Ervin Martin said replicated a device commonly used in Egypt. A pivoting pole about 12 feet in length extended from the center beam of the barn downward through a hole in the floor directly underneath it.
To this pole was hitched a heavy wooden sledge equipped with rollers, which was drawn by horses around and around over the sheaves of grain piled on the barn floor. The rollers and horse thus separated the grain from the chaff, saving the farmer from the laborious chore of flailing.
Source: "History of Smithville & Surrounding Area" by Joseph Irvin
Monday: William Long was builder extraordinaire
Reporter Paul Locher can be reached at _PHONE_ or _EMAIL_.


How to Improve G10
G10 provides the ability to enter data into various registers within the control, including offset data and parameters. For CNC users, having the ability to enter data into offsets can play an important role in improving a machine's performance.
Columns From: 10/1/2012 Modern Machine Shop,
Editor's Commentary
From the monthly column CNC Tech Talk.
G10 has one severe limitation (at least on FANUC controls): It can only write data into registers; it cannot read from them. If a machine is equipped with custom macro B, it is possible to read data from offset registers using a series of system variables. However, system variables are difficult to work with because the numbering differs among FANUC control models and can even vary within one control model based on the offset option.
An easier way to read offset data with system variables is to create a user-defined G code. In order to leave the G10 function intact, we need to pick a different G-code number, say G110. The value 110 will be placed in the parameter for the first (of 10) available user-defined G codes. Look in the custom macro B section of your programming manual to find the parameter numbers for user-defined G codes. This parameter will correspond to a program number (like O9011). Once this parameter is properly set, whenever the control reads a G110, it will automatically execute the related program (we'll use O9011).
The calling command could look something like this: N050 G110 T1.0 R10.0 V101.0
G110 will make the control execute program O9011. The T argument will specify the type of data being read. For our example, T1.0 will be for tool offsets and T2.0 will be for fixture offsets. R will specify the offset register number (10, in our example). V will specify the common variable number into which the offset value will be placed. In this example, the value of offset number 10 will be placed in common variable #101. So V lets us specify the common variable into which we want the value stored, enabling easy access to multiple offset values with more G110 commands. And since common variables are retained until at least the M30 of the main program, this common variable will be available for whatever purpose we require after the G110 command has been executed.
Here is our first attempt at program O9011. It can only access tool offsets and is not even referencing the T argument (yet).
O9011 (Data reading custom macro)
(T:#20, R:#18, V:#22)
#[#22] = #[2000 +#18] (Place offset value into common variable)
We're assuming the system variables related to tool offsets are in the #2000 series, meaning the value of offset number 10 will be in #2010. The (only) command in this custom macro places the value of #2010 (again, offset 10) in common variable #101. If you have more than one machine, and if they use a different series of system variables to access tool offsets, you will need a different custom macro for each machine. The calling command will remain the same from machine to machine.
To gain additional access to fixture offsets, we will need to add more G110 arguments. We'll add X, Y and Z to correspond to the various fixture offset registers. This will enable us to specify which fixture offset registers will be read. Consider this new command: N050 G110 T2.0 R3.0 V101.0 X1.0 Y1.0
If included, X, Y and/or Z specify which registers we want to read. If any are left out, the corresponding register value will not be read. In our example, we want to read the X and Y register values of fixture offset number three. The X register value will be placed in common variable #101. Though it is not specified, the Y value will be placed in common variable #102 (one variable number higher that the variable number specified with V. If Z is included in the G110 command, it will be placed in variable #103 (two higher than the value of V).
Here is the completed custom macro program.
O9011 (Data reading custom macro)
(T:#20, R:#18, V:#22, X:#24, Y:#25, Z:#26)
IF [#20 EQ 1.0] GOTO 10 (Tool offset)
IF [#20 EQ 2.0] GOTO 20 (Fixture offset)
#3000 = 100 (BAD VALUE FOR T)
GOTO 99 (Exit)
N20 (Begin fixture offset access)
#33 = 0 (Initialize flag to missing input)
IF [#24 EQ #0] GOTO 22 (Test for X)
#[#22] = #[5201 + 20*#18] (Read X register)
#33 = 1.0 (Missing input flag is satisfied)
N22 IF[#25 EQ #0] GOTO 24 (Test for Y)
#[#22+1] = #[5202 + 20*#18] (Read Y register)
#33 = 1.0 (Missing input flag is satisfied)
N24 IF [#26 EQ #0] GOTO 26 (Test for Z)
#[#22+2] = #[5203 + 20*#18] (Read Z register)
#33 = 1.0 (Missing input flag is satisfied)
N26 IF[#33 EQ 1.0] GOTO 99 (Test if XYZ are not missing)
#3000 = 101 (MISSING X, Y, OR Z)
N99 M99
We're assuming that system variables range in the 5200 series for this machine. If your machines use a different set of variables, reference the custom macro section of your programming manual.
This technique enables your main program to remain consistent from machine to machine. If each machine has an appropriate O9011 program, a given G110 command will work the same on all machines. Once this program is verified for each machine, you won't have to rummage through programming manuals to find the appropriate system variables every time you need to read an offset value.
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straight tin snips to cut the 5-point star out of your metal sheet.[12]
 - Roses have really distinct, pointy sepals. You can skip this portion of the process if you want, but the final product will look more like a tulip than a rose.
 2. 2
 Add a divot and drill a hole through the center of the star. Grab the center pin you used to punch the divot in the circles and use the same process to punch a divot into the middle of the star. Then, drill through the divot the same way drilled through the centers of your circles. Use the same titanium drill bit to do this.[13]
 3. 3
 Repeat the hammer and striking process with your star. Set the star down on the face of an anvil and hammer it the same way you hammered the petals. Then, set each point of the star on the table where it meets the face of your anvil. Hit the point 4-5 times to bend it inwards with your hammer. Do this for each point. Finish by striking the edges with your drywall or cross pin hammer.[14]
 - The table is the smaller platform that sticks out from the face of the anvil. Hitting each length of the star against this curved portion will bend the edges in.
 4. 4
 Use a vice to bend each point inward to finish the sepal. Slide the first point of the sepal in between the jaws of a vice. Close the jaws to squeeze the edges together like you're folding a piece of paper in half. Repeat this process with each point of the star to bend the edges in and form your sepal.[15]
 - Do not bend the middle of the star. Only bend the points that extend out from the center.
Part 4 of 4:
Assembling the Petals, Sepal, and StemDownload Article
 1. 1
 Fabricate a stem with a metal rod and a disc sander. Grab a metal rod that is at least 18 in (0.32 cm) thicker than the holes in the middle of your sepal and petals. Turn on a metalworking disc sander and hold the top 2–3 inches (5.1–7.6 cm) of the rod against the sander. Rotate the rod as it grinds against the sander to remove layers of metal. Continue sanding the rod until the thickness of the rod's tip is slightly smaller than the holes in sepal and petals.[16]
 - The petals and sepal will slide over the top that you sanded down but they'll get caught on the portion of the rod where it gets thicker.
 - The length of the rod determines the length of the stem. You can use any size you'd like, but something roughly 6–8 inches (15–20 cm) will work well if you don't have a strong preference.
 2. 2
 Assemble the rose with the sepal on the bottom and the petals on top. Slide the rod through the hole in the middle of the sepal to attach it to the stem. Make sure that the bent points are facing up. Then, slide your biggest circle on to the rod. Put the remaining petals on top of the first circle so that the smallest petal is on top and each subsequent circle is smaller than the one beneath it.[17]
 - A 12–3 in (1.3–7.6 cm) portion of the rod should be sticking up past the top set of petals. If it isn't, take everything off and remove another 1 inch (2.5 cm) of the metal rod to continue sanding and extend the portion that holds the petals and sepal.
 3. 3
 Use a blowtorch and pliers to fold the top of the rod down. Place the stem in a vice and close the jaws to keep it from moving. Then, turn on your torch and hold the flame against the portion of the rod that's sticking out at the top. As it heats up, use a pair of slip-joint pliers to bend the tip of the metal rod in any direction so that the petals can't slide off of the top. Continue heating the tip of the rod down until it melts a little so your petals don't slide around.[18]
 - You can typically bend the metal once it gets to the point where it starts glowing slightly orange.
 4. 4
 Continue shaping the rose with your blowtorch and pliers. Once the petals and sepal are locked on top of the rose, you can begin shaping it. Hold the torch 3–4 inches (7.6–10.2 cm) away from the top of the rose and move it slowly in a circle around the petals to heat them up. Then, use your slip-joint pliers to pull your top layer of petals up at an 80-degree angle. Lift the next layer up at a 75-degree angle so the petals rest just outside of the first layer. Continue working the lower layers up to raise them around the rose.[19]
 - Be careful while you're doing this. You have to keep heating the petals while you work so just go slowly and keep your working hand away from the flame.
 5. 5
 Fold the petals around the center of the rose. Once all of the petals are pointing up, grab a pair of needle-nose pliers. Continue heating the tips of the petals and use your needle nose pliers to shape the edges of the petals in a circle around the center. Bend each vertical petal into a circular shape so that the petals on each disc form a small circle around the center. Pull the innermost petals close to one another to cover up the tip of the rod you bent in the middle of the rose.[20]
 - This requires a bit of hand-eye coordination. Just be patient and take your time to craft the petals into a shape that looks good to you.
 - You may find it helpful to look at a picture of a rose on your phone while doing this.
 6. 6
 Bend an outward lip into the edge of each petal. Continue heating the tips of the petals with your torch. Use your needle nose pliers to bend the top 14 in (0.64 cm) of each petal out away from the center of the rose. Bend it downwards and out a little bit to give the rose its distinct shape.[21]
 - You are done once you've shaped all of the petals.
 - If you want, you can bend the points on the sepal down or up. You can also leave them where they are. It's entirely up to you.
 7. 7
 Polish the metal carefully using an orbital sander and polish pad. Grab a buffing polish pad and attach it to an orbital sander. Turn the sander on and run the pad around each portion of the rose to remove any dust from your torch or workspace. This will clean the rose up and give it a beautiful texture.[22]
 - You can use a wire brush instead of an orbital sander if you don't have one.
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 Thanks for submitting a tip for review!
 - Wear thick, cut-resistant gloves and protective eyewear while you make your metal rose. This process can be quite dangerous if you don't take the proper safety precautions.
 - This isn't a safe project if you don't have any experience cutting metal and working with a torch. Start off with something simpler if you're still learning.
 Things You'll Need
 - Metal sheets
 - Spring divider
 - Cut-resistant gloves
 - Protective eyewear
 - Tin snips
 - Curved tin snips
 - Center punch
 - Ball-peen hammer
 - Drywall or cross pin hammer
 - Erasable marker or scriber
 - Drill
 - Titanium drill bit
 - Slip-joint pliers
 - Needle-nose pliers
 - Anvil
 - Vice
 - Disc sander
 - Polishing pad
 - Orbital sander
 About This Article
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 Updated: July 24, 2020
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- Does vacuum sealing increase weight?
- Does air weigh anything experiment?
- How can you tell if a gas is heavier than air?
- Does air weigh anything?
- How much does a room full of air weigh?
- What is air and its uses?
- Does a football weigh more with air?
- Does AIR make things heavier?
- Does air give shape to things?
- How much weight of air is always over your head?
- What is air and its importance?
- How do we measure the weight of air?
- What gases are heavier than air?
- Does air have mass?
- Is a balloon heavier with air or without?
- Is an inflated balloon heavier?
- Does air fill space?
- What happens when air has weight?
Does vacuum sealing increase weight?
Trying to save weight can be tricky, but the thing everyone try's out is Vacuum Storage Bags.
When you pack with these storage bags, you can see the bag getting smaller and smaller as you suck out the air.
Vacuum storage bags will not reduce any weight – but instead will make things heavier..
Does air weigh anything experiment?
The experiment is supposed to show that air has weight. You first make a balance by tying a piece of string around the center point of the yardstick and then tying the other end of the string to something like a shower rod, so that the yardstick balances. … A balloon full of air weighs more than an empty balloon.
How can you tell if a gas is heavier than air?
The density of a gas is roughly proportional to its molecular weight. Air has an average molecular weight of about 29 g/mol, so any gas with a molecular weight heavier than that will be denser than air.
Does air weigh anything?
It might not seem like it, but air has weight. Anything with mass has weight, and we know air has mass because (for example) we can feel it when the wind blows. The total weight of the atmosphere exerts a pressure of about 14.7 pounds per square inch at sea level.
How much does a room full of air weigh?
600 kilogramsSo you need to know the density of air. As is turns out, the approximate density of air at sea level (and at 20 C) is 1.2 kilograms per cubic meter. m = 600 kilograms. So, the air in your room weighs approximately (depending on how wet it is, what temperature, etc) 600 kg.
What is air and its uses?
VIEW MORE. The atmosphere is the protective air envelope around the earth. IAir contains oxygen that we breathe and protects us from the harmful UV rays of the sun. Air is a mixture of different gases and is all around us. We cannot see it but it is essential for all living organisms.
Does a football weigh more with air?
Similarly, a properly inflated football has a pressure of 13 pounds per square inch and thus the air inside it exerts an outward force of 13 pounds on each square inch of surface inside the ball.
Does AIR make things heavier?
A bag full of air The second one will weight a bit more, and also have more mass. The effect of the air is the same for both, as they have the same volume.
Does air give shape to things?
Air fills space. Air gives shape to things. Get a weighing machine. Put the deflated ball on the machine first then fill air and put the blown up ball on the machine.
How much weight of air is always over your head?
1000 kg1000 kg of weight of air is always over your head. Even though air molecules are too small to observe or to see all the molecules of air in the atmosphere above your head weight something. This combined weight of the air resembles a pressure on your body which is approximately equals to 1000 Kg/m.
What is air and its importance?
Air is important for living things. Breathing is part of a process called respiration. During respiration, a living thing takes in oxygen from the air and gives out carbon dioxide. This process gives animals and plants the energy to eat, grow, and live life!
How do we measure the weight of air?
It is measured as weight of the atmosphere for a given area. Or, the amount of weight on a small area, such as a centimetre. In 1643, Evangelista Torricelli, an Italian mathematician, invented an instrument to measure atmospheric pressure. It is called the barometer.
What gases are heavier than air?
The ratio of the gases molecular weight compared to air is called its vapor density. With air being equal to 1, gases with vapor densities below 1 are then lighter than air and gases with vapor densities greater than 1 are heavier than air….GasMethanesAmmonia0.8Benzene1.9Butane1.7Carbon Monoxide1.117 more rows
Does air have mass?
Matter is anything that has mass and takes up space. … Although air has mass, a small volume of air, such as the air in the balloons, doesn't have too much. Air just isn't very dense. We can show that the air in the balloon has mass by building a balance.
Is a balloon heavier with air or without?
A balloon full of air at ambient pressure will have more mass, but it will weigh the same as an empty balloon (i.e. if you put it on a scale): the buoyant force of the surrounding air will be equal and opposite to the increased gravitational force due to the extra mass inside the balloon.
Is an inflated balloon heavier?
Answer: Inflated balloon is heavier because it has the weight of the balloon skin and the air inside. This makes it heavier because air has mass. … The pressure caused by stretching the balloon envelope increases the density of the air inside, thus adding to the weight.
Does air fill space?
Air is all around us, and air is a gas. … As the air enters the balloon from your lungs, the air (which is a gas) takes up space in the balloon. The balloon expands because the air inside needs to take up more space. So that is how you can see that air takes up space.
What happens when air has weight?
Air is not just empty space—it has substance, or mass. … Because air has mass, Earth's gravity attracts it and gives it weight. Because it has weight, and the air molecules are constantly bumping into things, it exerts pressure. The Earth's atmosphere is an extremely thin layer of air.

source: openbmb/Ultra-FineWeb


Useful Glossary of Coal Mine Terms
We came across a useful glossary of coal mining terms a while ago, here it is:
A Glossary of Mining Terms used in mid 1800's
AFTERDAMP. After an explosion the mine was filled by the products of the burning gas. These were mainly carbon monoxide (CO) which is poisonous and carbon dioxide (CO2) which is suffocating.
BALANCER. The person, usually a boy, who operated the balance.
BALANCE. A slope with a pulley at the top where empty tubs pulled full tubs up the slope.
BLOWER. Large amounts of methane gas is trapped under pressure in the coal and will seep out. If a large reservoir is broken into then it will blow out of the coal.
BRATTICE. Fresh air was directed to the ends of the workings by constructing wooden frames down the centre of the tunnel and covering the frame with thick canvas brattice cloth that was nailed to the frame
by large headed brattice nails. BROW. See downbrow and upbrow.
BANKSMAN The man at the surface who was in charge of the or pit bank. He was responsible for the loading and
BROWMAN unloading the cage and signalling to the engineman responsible for winding the cage.
CAGE. A crude lift that was wound up and down the shaft carrying men and materials. Some cages had more than one deck. The one in use at Wood Pit had two decks.
COAL FACE. The place where the coal is exposed and the colliers "win" it.
COLLIER. The skilled man who worked at the coal face and actually got the coal.
COLLIERY. The site at the surface that includes all the buildings, railways and headgears.
COUPLER. A man or boy who worked on the haulage system coupling tubs together.
CUT THROUGH a short tunnel connecting two roads.
DATALLER A man employed to do service work in the mine and paid by the day.
DELF A Lancashire term to describe a seam of coal e.g. or Ravenhead Main Delf.
DOOR See ventilation door.
DOWNCAST The main shaft of the colliery up and down which
SHAFT men and materials were wound. The fresh air for the ventilation of the main is drawn down this shaft.
DRAWER The person who is employed by the collier to take full tubs from the workplace to the haulage and bring back empty tubs.
DRAWING The act of removing props and allowing the roof to
PROPS fall behind the coal face.
DROP PIT A side tunnel into the shaft. Usually part of the ventilation system.
DUMB PIT A short rising tunnel from the furnace into the upcast shaft. See Ventilation.
ENDLESS A long rope or chain that is driven by an engine
ROPE round two pulleys, one at each end of an incline.
ENGINEMAN The man in the engine house who is in charge of the winding engine and takes his instructions from the banksman.
FACE. See coal face.
FALL. A fall of the roof.
FIREDAMP Methane gas that comes naturally from the coal and is inflammable but when mixed with air becomes explosive.
FIREMAN An official who is in charge of a district in the mine.
FURNACE A coal fire in an iron grate at the bottom of the upcast shaft. The hot air created by the fire rose up the upcast shaft and cold fresh air was drawn into the workings down the downcast shaft. See ventilation.
GOB or GOAF The area behind the coal face where the props have
been drawn and the roof allowed to fall in. HEADING A tunnel driven into the coal.
HEADGEAR The main frame that stood over the shaft on which are fixed the pulleys and guides for the cage.
HAULAGE The system by which the coal is transported from the coal face to the bottom of the shaft. See Endless Rope Haulage.
JIG A pulley wheel in the haulage system, usually at top of an incline.
JIGGER The person, usually a lad, who operated the jig. KNOCKING A system of signalling used to control the cage and the haulage system.
LEVEL A horizontal road in the mine. LASHER ON See hooker-on.
LOWER SIDE The downward-sloping side of the workplace.
METALMAN A man employed to service the tunnels and rails in the haulage system.
MINE The name given in Lancashire to a coal seam. PACK A column of stones built to support the roof.
PIT The shaft from the surface down to the workings. PIT EYE The area around the bottom of the shaft.
PLACE The work place at the coal face where the collier won the coal. Each collier had his own place.
PONY DRIVER A boy who had charge of a pony which pulled the tubs along the haulage roads.
PONY TENTER See tenter.
PROP TAKER See drawing props.
RETURNING A tunnel through which air passes from the
GALLERY. workings to the upcast shaft.
RIB CUTTING A tunnel cut through the coal, usually at right angles to a road.
ROAD A tunnel from the workings to the pit eye. SHAFT. The hole from the surface to the pit eye.
SINKER. A skilled man who contracted to sink new shafts. SPLIT. A branch in the ventilation system.
STEAM JETS Nozzles at the bottom of the upcast shaft through which steam was passed to cause convection currents for the ventilation. They were considered safe since there were no naked flames to ignite inflammable gas.
STOPPINGS Walls built across the roads and tunnels that would seal off an area of the mine.
TAKER-OFF Someone, usually a boy, who unhitched tubs from
TAKER-IN the endless rope.
TENTER Someone who looked after something e.g. furnace tenter, door tenter and pony tenter.
TOP DECK The upper floor of the cage.
TIMBER The wooden beams and props used to support the roof. See Props and Drawing Props.
TUNNEL. See Road.
UNDERLOOKER An official in charge of a mine and responsible to the undermanager and supervising the fireman.
UPBROW A road driven uphill to the seam.
UPCAST The ventilation shaft that carries the foul air away from the workings.
VENTILATION DOOR A wooden door that directs the flow of fresh air around the workings of the mine.
The above is taken from the book 'Weep Mothers Weep' (ISBN 9780950769240).
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A-6. Portfolio Review
Target Group: Basic BSN and RN-BSN Students
Policy Type: Revision
To establish a mechanism for assessing, validating and evaluating prior learning in order to award course credit or exemption for undergraduate nursing courses. The portfolio provides evidence that students have acquired the content and skills through prior learning and/or practice experiences.
- Students may validate prior learning (academic work or professional experience) by preparing a portfolio to demonstrate acquisition of content and skills commensurate with outcomes, competencies or objectives of a specific course.
- The portfolio option may be used for a course(s) as long as it does not interfere with other university or school course/credit hour policies related to progression or graduation.
- Portfolio courses are graded as satisfactory (S) or Failure (F). Students who are successful in the portfolio process will be awarded "special credit" for the course in question through the Indiana University Special Credit process.
- To receive portfolio credit, students must be in good academic standing and demonstrate satisfactory progression toward degree requirements.
- Undergraduate students must complete a minimum of 30 credit hours on the campus awarding the degree. Courses/credits which are reviewed for portfolio credit do not count toward undergraduate residency requirements.
- Faculty reserve the right to determine if the student is eligible for the Portfolio alternative. This option will not be entertained when, in the faculty's expert judgment, student learning might be compromised.
- The success of the portfolio depends on the students' ability to present sufficient related materials that meet course objectives/competencies and critical learning experiences.
- The student is responsible for discussing the portfolio option with the nursing advisor prior to contacting the faculty teaching the course for which they are seeking portfolio review. The advisor will assist the student to identify the appropriate instructor.
- Complete the portfolio review form that can be obtained from the Academic Advisor.
- Students pursuing the portfolio option must register for the one credit hour NURS-Z480 BSN Portfolio Review for Course Substitution the semester before the course is required to be taken.
- During Z 480 the faculty and student will determine the feasibility of pursuing the portfolio option. Students will be informed of:
- the portfolio process, the required outcomes, portfolio content.
- the faculty role in assisting the student through the portfolio review process.
- the time frame for completing the portfolio, conducting the review, and making the decision to accept or deny the portfolio.
- Students are required to submit a completed portfolio to the assigned faculty in a three-ring binder and clearly labeled. If more than one course is involved; the documentation for each course should be bound separately.
- Specific documentation materials are required for portfolio validation. Additional supporting data may be provided as appropriate to the course. Required documentation includes:
- A cover page indicating the course for which the portfolio is prepared.
- Content from prior course(s), work experience and professional experience used for validation. If previous academic work is used, the following should be included: course objectives/outcomes, course content outline, assignments (including required readings), number of didactic and clinical hours and performance evaluations if course grade was pass/fail. Dates of experiences must be included.
- If previous work and/or professional experience is used as part, indicate how information on the vitae relates to validation of specific course objectives. Date(s) of experiences must be included. Possible experiences to consider include:
- Level of participation in committees (unit/department, professional, and community); level of participation in professional organizations and other activity which reflects the course outcomes.
- Professional development activities; e.g., workshops attended for CE credit, staff development offerings, professional organization conferences, independent study.
- Professional presentations, e.g., keynote, panelist, poster, etc. Indicate if data based and selection was referred.
- Level of participation in projects including role, specific responsibilities and funding source if applicable.
- Publications including information regarding data based and refereed articles.
- Certifications and other honors.
- Copies of documents that relate to philosophy, goals, objectives, job descriptions, policies, etc., may be submitted as evidence. Date(s) of experiences must be included.
- Letters from colleagues, administrators, supervisors and faculty documenting experiences. Date(s) of experiences must be included.
- A written narrative describing how all materials submitted support the achievement of the course objectives.
NOTE: The list above does not represent an exhaustive list of acceptable documents. Students may submit other supporting evidence.
- The portfolio will be reviewed by content experts associated with the designated course. The individual(s) reviewing portfolio materials may request a personal interview or more materials to gather additional information.
- Portfolio decisions will be formally documented in the student's record. Students who are successful in the portfolio process will be awarded "special credit" for the course in question through the Indiana University Special Credit process.
- The portfolio will be reviewed by faculty with teaching expertise in the practice area(s) to be validated. The faculty will make a recommendation for approval to the Admission, Progression, Graduation (APG) committee. The process should be completed in a timely fashion.
- The APG committee may:
- Award special credit for the course petitioned based on the evidence provided.
- Request that the course be approved with minor additional requirements.
- Deny special credit because the evidence presented was not strong enough to validate course objectives/outcomes. The student will then be informed that he/she must register for and successfully complete the designated course.
- Require the student to register for the course or for independent credit and complete, with the assistance of the faculty, outcomes/objectives not met in the portfolio.
- The portfolio review decision is forwarded to the Dean of the School of Nursing.
- The Academic advisor will facilitate the awarding of special credit on the student's transcript.
Effective Date: Spring 1987
Approved by: Admission, Progression, Graduation Committee: February 8, 2010
Approved by: Council of Nursing Faculty: March 15, 2010
- A-1 Academic Standing for Students Enrolled in the Nursing Major
- A-2 Baccalaureate Admission Policy
- A-3 Calculating Grade Point Averages for Students Applying to the BSN Program
- A-4 Academically At-Risk Students
- A-5 Admission and Readmission Practices
- A-6 Portfolio Review
- A-7 Special Credit / Advanced Standing


Dodge Journey: Installation
FOOT OPERATED PARKING BRAKE LEVER
Brakes
Fig. 234: FOOT LEVER MOUNTING
1. Position the parking brake lever (1) over the mounting studs, against the left lower cowl (3).
2. Install the three mounting nuts (2). Tighten the nuts to 28 N.m (21 ft. lbs.).
Brakes
Fig. 235: WIRING AT PARKING BRAKE LEVER
3. Connect the wiring connector (2) at the parking brake indicator lamp switch on the parking brake lever (1).
Brakes
Fig. 236: CABLE HOUSING RETAINED IN LEVER
4. Insert the lever end of the front parking brake cable through the mounting hole in the parking brake lever (2). Slide it through until the cable retainer fingers on the end of the housing (1) lock in place. Make sure all fingers are engaged preventing removal of the cable from the bracket.
Brakes
Fig. 237: CABLE BUTTON LOCATED IN LEVER
5. Pull the button on the end of cable strand out of housing and route the strand around the cable guide, then rotate the cable strand up and align the cable with the slot in lever mechanism (1). Slide the cable button (2) into the slot and rotate the cable down into mounted position with the cable inserted into the guide on the mechanism.
6. Slide any extra cable back into the cable housing. This can be easily done by pulling on the trailing end of the front cable strand that is now under the vehicle.
7. Install the front parking brake cable floor pan seal into the access hole in the floor pan.
8. Reposition the carpeting back down on the floor.
Brakes
Fig. 238: STEERING COLUMN COVER REINFORCEMENT
9. Install the steering column cover reinforcement (1) using the four mounting screws (2).
10. Install the steering column opening cover.
11. Install the lower cowl trim.
12. Install the left front door opening sill scuff plate.
13. Raise and support the vehicle.
Brakes
Fig. 239: PARKING BRAKE CABLE EQUALIZER
14. If the original parking brake lever is being reinstalled, reconnect the parking brake cable equalizer (4) and reset the cable tension.
15. If a NEW parking brake lever is being installed, connect the parking brake cable equalizer to the cables, then remove the pin locking the lever mechanism spring tension at the lever.
16. Lower the vehicle.
17. Apply and release the parking brake lever (pedal) one time. This will seat the parking brake cables.
18. Check operation of parking brake lever and parking brakes.
HAND OPERATED PARKING BRAKE LEVER
Brakes
Fig. 240: HAND LEVER MOUNTING
1. Position the parking brake lever (1) on the shifter bracket (4).
Brakes
Fig. 241: HAND LEVER MOUNTING VERTICAL BOLT
NOTE: When installing the vertical mounting bolt in the following step make sure to capture the ground strap (2) with the mounting bolt (1) before installation.
Brakes
Fig. 242: HAND LEVER MOUNTING
2. Install the two horizontal (5) and one vertical (2) mounting bolts. Tighten the nuts to 20 N.m (15 ft. lbs.).
Brakes
Fig. 243: HAND LEVER PARKING BRAKE SWITCH
3. Connect the wiring connector (2) at the parking brake indicator lamp switch (1).
Brakes
Fig. 244: CABLE MOUNTING TO HAND LEVER
4. Install the mounting screws (3) fastening the front cable (4) to the side of the parking brake lever (1). Tighten the mounting screws to 28 N.m (21 ft. lbs.).
5. Route the cable strand around the lever cable guide and start the adjusting nut (2) on the end of the cable stud. Do not install the nut any further than having the threads flush with the top of the nut before the next step is performed.
Brakes
Fig. 245: CABLE EQUALIZER/TENSIONER
6. Make sure the cables (2, 3, 5) are connected to the cable equalizer/bent nail tensioner (4) at the intermediate bracket (1) under the vehicle.
7. Reset the hand lever cable tension and verify check operation of the parking brake.
Brakes
Fig. 246: HAND LEVER COVER MOUNTING
8. Install the cover on the side of the parking brake lever.
Brakes
Fig. 247: CENTER CONSOLE
9. Install the floor center console.
 Removal
 FOOT OPERATED PARKING BRAKE LEVER 1. Release the parking brake. 2. Raise and support the vehicle. 3. Manually release the parking brake cable tension. 4. Push the front cable strand into ...
 See also:
 Installation
 NOTE: LHD model shown in illustrations. RHD model similar. RIGHT FRONT FLOOR DUCT Fig. 71: Duct-Right Front Floor PM NOTE: Illustration shown with instrument panel removed for clarity. ...
 Adjustments
 ADJUSTMENT - LATE PRODUCTION TYPE ONLY Two unique brake lamp switches are used in this vehicle, depending upon whether the vehicle was built during early or late production. These switches are not ...
 Installation
 CAUTION: Be certain to adjust the refrigerant oil level when servicing the A/C refrigerant system. Failure to properly adjust the refrigerant oil level will prevent the A/C system fro ...
 0.0086


text:
23. Welsh Rare Plants
A major conservation project is being carried out at the Garden. Working with the National Museum of Wales and the Countryside Council for Wales, the Garden is collecting the seeds of, and propagating, some of Wales's rarest plants. In a display behind Theatr Botanica you can find a selection of these plants. Here you'll find one of Britain's rarest and most critically-endangered trees, the Ley's Whitebeam (Sorbus leyana) and a hawkweed that only grows naturally on rocks around a single waterfall in the Brecon Beacons.

source: HuggingFaceFW/fineweb-edu


wanted to know what a character would have to do to learn the Draconic language. Her answer was, you may choose Draconic as one of the languages your PC gains from a high Intelligence score. So, just like you can choose Goblin or Giant, you can choose Dragon (or Draconic).
Does anyone else see the problem? How is this language any more difficult or complex than any other? If I am a Human/Fighter, 1st level, and I have an Intelligence of 12, that means I can speak one additional language. I pick Draconic. Why not?
Here's how it works in D&D-But-Not:
First, you need to spend three Language Slots (a Slot is what we call a Language gained per Intelligence Bonus) in order to speak Dragon. Three.
If your class is Wizard, or you are playing an Elf, or a Dwarf, it takes two.
If you are an Elven or Dwarven Wizard, you need only spend one.
The language is difficult, physically and mentally. You need a long time to learn it and practice it in order to do it properly. Therefore, it takes up Intelligence bonus points that might have gone elsewhere, to the learning of other languages. Dwarves and Elves have an advantage because they are much longer lived. They have the time to learn something this complicated. Furthermore, Wizards would be one of the few professions with access to books and information on the subject.
Dragons don't exactly go around giving tutorials on their grammar.
Lastly, if you are a normal Human or Wilder (the Halflings of my setting), you must also provide a backstory of how you learned this language. As I noted, there is no Rosetta Stone: Draconic program going around teaching Dragon-Speak to blacksmiths and midwives in their spare time.
The beauty of my little house rule, and it's pretty minor I assure you, is that it directly effects your character.
It does not effect them in a major way, and it doesn't effect a character who doesn't choose to learn Draconic, but it makes an element of my fluff a choice you can make during character creation.
If Orcs are pig-like instead of green and burly, how does it effect me?
If we called Wizards in this setting Spell-Tamers, how does it effect me?
If there are not Clerics in your setting, how...Wait. That matters! I, the player in your setting, care about that!
Fluff is great. I love fluff? Where would a fluffer-nutter sandwich be without the fluff? OK, it would be an all peanut butter sandwich, which honestly I'm fine with, but, NOT THE POINT!
We need fluff. Yet, how can I put this delicately, um, it doesn't really make that game all that different and memorable. If the fluff has no effect on the characters and the game world in a interactive, experienceable way, the game, regardless of your unique story, will feel like any other game in that genre and/or system.
Remember, cotton candy is tasty, but not filling.
Barking Alien
Wednesday, June 18, 2014
Mystery Incorporated
A large number of RPG subjects have been on my mind lately. Not the least of which is my 'What Other GMs Do Wrong' series. However, before I address anything else, I wanted to say a little more about mysteries in RPGs.
Some additional thoughts came to me after a Superhero game I participated in this past Friday night. This was a game in which an opening investigation was the key to starting each of the mini-adventures that made up our session, and yet that proved the most difficult element to incorporate into the various scenarios.
In order to facilitate a better understanding of what I am talking about, I am going to use the specific example of the aforementioned Superhero game. While that may be the context, it should be noted that what I am discussing here can apply to practically any game of any genre.
A friend of mine runs a homebrew Superhero RPG, very rules-lite and narrative, set in either the Marvel or DC universe. We switch off. One week we're the Justice League of America facing off against Amazo in downtown Metropolis, the next we're the X-Men trying to prevent Sentinels from destroying Xavier's School for Gifted Youngsters.
The typical format is to have four or five short missions during our roughly 4 to 4 1/2 hour sessions.
This past Friday, the theme was Batman: The Brave and The Bold.
We mutually agreed during the first adventure that the style and tone of our game was actually a cross between the Batman: The Brave and The Bold animated series (especially its more surprisingly serious episodes) and the first Batman: The Animated Series show.
Now, the way each mini-adventure began, the GM would describe some situation going on, and before long, wouldn't you know it, it would attract the attention of Batman, Robin, Batgirl or all three.
The fellow playing Batman would then attempt to use the Batcomputer, his own knowledge and experience with Gotham's criminal element, his contacts with Commissioner Gordon or what-have-you, to figure out what was happening.
Translation: He would ask the GM a load of questions.
The GM would answer the questions, though very often in a very vague way. Most of the time, after Batman's initial investigation, it would be no clearer as to who, or what, was behind the situation than it was before doing his detective work.
The reason for this was two-fold (later explained by both the GM and Batman's Player in our post-game discussion):
From The GM's side:
First and foremost, he felt it was hard to run a true mystery in an hour, and also include a good comic book/animated series style fight and a guest star.
Second, the GM felt that stylistically, Batman would do more footwork in the thematic 'era' we were playing in. Yes, Batman has a Batcomputer, a communicator/phone to call Robin, Batgirl or Alfred back at the Batcave, and a remote control for the Batmobile. At the same time, Batman still looks at things with a magnifying glass, or comparable device. He takes samples while at the crime scene. He punches thugs and they let something slip.
He doesn't use the the Batcomputer, and the Internet, to just Google the answers.
From The Player's side:
I was very impressed when my friend said, "I'm playing Batman tonight, but I'm not Batman."
He admitted that he doesn't have that level of deductive reasoning. Yet, I ask you, who does? Batman is ridiculously astute. Almost superhumanly good at solving riddles, and puzzles of a variety of types. He is a character written to outwit the craftiest of criminal minds. That has little to no baring on a player playing him being able to discern what a GM running the Riddler, or Two-Face is thinking.
So was this an impossible experiment? Can running mysteries simply not be accomplished in RPGs? Well, as with my last post on the subject, I don't think it's impossible at all. I think it's tricky, and I think we need to alter how we think of RPG mysteries in the first place.
Remember that the point of a mystery in an RPG, especially a mystery that leads you to the rest of the adventure, is to have it solved. What I mean by that is, if you, the GM, create an unsolvable mystery, be content in spending the next few hours in a room full of people who are either frustrated, or bored, or both. If you're cool with that, we're done here. Go play a video game.
If on the other hand you get where I am coming from, keep reading.
In essence you are trying to design a solvable mystery. A challenging one, but a solvable one. You want a mystery that gets the players thinking. Not necessarily thinking exactly what you are thinking, but just thinking.
So let's say you are looking to use Catwoman in an adventure. You are thinking maybe she has a partner these days, a younger cat-themed sidekick like Robin is to Batman. You mention a series of crimes, all thefts of cat-oriented items, but some of the burglaries occur at the same time in two different parts of town.
You've planned out the scenario, and even a bunch of clues to indicate it might be Catwoman and an accomplice.
After a brief but thorough investigation involving talking to museum and jewelry store staff, checking the Batcomputer, etc., the PCs are convinced that the culprit is...not Catwoman. The idea of a partner of hers doesn't even come up. No, it's obviously someone trying to frame Catwoman!
You, the GM, have a problem. You prepped for Catwoman and Kittengirl (or whomever). You have their stats. You know where they're hiding out, and who their thug/henchmen are. The clues you gave, and the answers to the questions you were asked, should have told them it was Catwoman and Kittengirl. ARGH! What are you going to do?!
They are basically three ways to handle this.
1) Tell the players that they are idiots, that it's Catwoman and a sidekick named Kittengirl, and move on.
Not my favorite choice.
2) Continue throwing clues and hints at them until they change their minds about it being an impostor trying to make Catwoman look


text:
The project is supported by the National Science Foundation of China.
Rheological behavior of ultrahigh molecular weight polyethylene semidilute solutions. I. Solvent effect†
Article first published online: 9 MAR 2003
Copyright © 1989 John Wiley & Sons, Inc.
Journal of Applied Polymer Science
Volume 38, Issue 7, pages 1369–1375, 5 October 1989
How to Cite
Zhang, A., Chen, K., Zhao, H. and Wu, Z. (1989), Rheological behavior of ultrahigh molecular weight polyethylene semidilute solutions. I. Solvent effect. J. Appl. Polym. Sci., 38: 1369–1375. doi: 10.1002/app.1989.070380715
- Issue published online: 9 MAR 2003
- Article first published online: 9 MAR 2003
- Manuscript Accepted: 5 DEC 1988
- Manuscript Received: 11 JUL 1988
The rheological behavior of ultrahigh molecular weight polyethylene (UHMWPE) semidilute solutions with different solvents has been studied. In a temperature range of 150–185°C, the viscosity of a UHMWPE semidilute solution with paraffin oil as solvent (soln 1) is more temperature-independent and viscosity-stable than that with decalin as solvent (soln 2). Usually the reduction of the molecular entanglement density in solution causes a rapid reduction in viscosity. Apparently soln 1 has a different entanglement density compared with soln 2. The activation energy of UHMWPE semidilute solutions changes with both shear stress and shear rate. The regressive equations for both solutions in between Eσ and σ or Eṙ and have been obtained from a least-squares method. Finally, there is a discontinuity in the non-Newtonian flow region of η vs. curve, no matter which temperature or solvent was used. The discontinuity occurs at a shear rate of about 70 s−1, where a transformation from a qualitative change in entanglement in the solution takes place.

source: m-a-p/FineFineWeb


text:
File image (Photo: Toby Talbot, AP)
Obese drivers are more likely to die in collisions than people of normal weight, a new study has found.
The risk of death increased the more obese the driver was, according to the study released online Monday in the BMJ Group's Emergency Medicine Journal.
The researchers examined data from the U.S. Fatality Analysis Reporting System from 1996 to 2008. In that period, 57,491 collisions in the nation were submitted.
The study used the World Health Organization definition of obese, which is a body mass index (BMI) of 30 or higher.
The study's authors pointed to previous research that showed that an obese driver's lower body is propelled farther upon impact before a seat belt engages the pelvis. The driver's additional tissue prevents the belt from fitting snugly, but the upper body is held back.
The authors suggest that while obese people may have underlying health problems, vehicle design may need to change to provide better protection.
"The ability of passenger vehicles to protect overweight or obese occupants may have increasingly important public health implications, given the continuing obesity epidemic in the USA," the authors said in a statement.
More than a third of U.S. adults - 35.7% - are obese, according to the Centers for Disease Control and Prevention. Some 16.9% of U.S. children and adolescents are obese.
Keshia Pollack, associate professor with the Center for Injury Research and Policy at the Johns Hopkins Bloomberg School of Public Health in Baltimore, says more testing is needed to understand the biomechanics of how bodies react in collisions. For example, there have been discussions about using larger crash-test dummies, says Pollack, who was not involved in the study.
Pollack says research also shows that obese individuals, particularly morbidly obese ones, are less likely to wear seat belts and to use them properly. More research can look at how to design seat belts to fit better and to be more comfortable.
She adds, "We also need to be focusing more on encouraging people to wear their seat belts because they are an effective technology."
Cathy Payne, USA TODAY


text:
Answer: Even better! A lot of ag research stations have investigated the application of chemicals through irrigation systems. Typically they find that fertigation provides the following advantages compared to ground application:
Question: What about chemicals other than fertilizers?
Answer: Most of the above advantages extend to pesticide injection. In addition, researchers report:
Question: How does all this fit together with some of the newer irrigation technologies?
Answer: Two technological advances offer us examples of the perfect fit between injectors and irrigation systems:
Low Energy Precision Application (LEPA) heads make pivots even more effective as application devices. LEPA heads are usually arranged to deliver water beneath the crop foliage canopy. Several LEPA head designs have multiple operating modes including the capability to convert between down-spray and up-spray. This feature further improves the flexibility of chemical application by center pivots.
Sub-surface drip irrigation is a technology that couldn't exist without injectors. All crop nutrients are delivered directly to the plant roots through the irrigation lines while the search continues for new systemic pesticides that are well-suited for root uptake. Chemicals must also be injected to keep irrigation lines free of slime that would plug the drip emitters.
This article is reprinted from ChemIndustrial Systems, Inc.; CSI INFO/UPDATE #8 Oct 21, 1994


Ohio Debt Limitations, Issue 4 (1977)
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The Ohio Debt Limitations Amendment, also known as Issue 4, appeared on the November 8, 1977 ballot in Ohio as a legislatively-referred constitutional amendment, where it was defeated.[1] This amendment revises limitations on state government indebtedness.
Election results
Ohio Issue 4 (1977)
Defeatedd No1,999,79172.48%
Yes 759,327 27.52%
Election results via Ohio Secretary of State.[2]
Text of measure
The language appeared on the ballot as:[3]
Proposed Constitutional Amendment
To adopt Section 1 of Article VIII and repeal Sections 1, 2, 2b, 2d, 2e, 2f, 2g, 2h, 3, 7, 9, and 10 of Article VIII and Section 6 of Article XII of the Constitution of Ohio
 1. To repeal the general state constitutional debt limit of $750,000 and replace it with authority to incur debt from capital improvements by a two thirds majority vote of each house of the general assembly within specified limitations directly related to state revenues.
 2. To permit the state to contract debt without limitation on amount of purpose, in addition to the authority specified above, if that debt is submitted to a vote of the electors by a 3/5 majority vote of each house of the general assembly and approved by a majority of the electors voting on the question.
 3. To require the general assembly to retire at least 4% of the state's indebtedness each year.
 4. To permit the state to borrow funds to meet a current year's appropriations if any such loan is repaid out of that year's revenues.
 5. To repeal part of the constitutional requirements relating to a sinking fund and to require that the general assembly provide for the repayment of state debt.
 6. To enumerate purposes and amounts for which the first $640 million of capital improvement that would have to be appropriated.
Shall the proposed amendment be adopted?
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text:
The phrase Grand Cross is used to describe the highest grade in many types of knighthood. Sometimes the person with the highest grade are called "knights grand cross" or just "grand crosses". Sometimes the actual medallion or ribbon is called "the grand cross" and not the person.
In some orders, the highest grade may be called the "grand cordon", "grand collar" or something like this. In those cases the rank of grand cross may come after another rank, but before the highest grade.
As an example:
- for the Portuguese Order of Saint James of the Sword, the Grand Cross is the 5th highest award, with the Grand Collar being a higher award above the Grand Cross.


Fix laptop not getting mouse sure success with 2 steps
Fix laptop not getting mouse sure success with 2 steps. Windows does not recognize the mouse is one of the errors that often appear on different computer lines. Although not very serious, this error often causes discomfort and inadequacies when users manipulate. So, how to fix Windows not receiving mouse? Let's find out in this article.
Fix laptop not getting mouse sure success with 2 steps
Fix laptop not getting mouse sure success with 2 steps
How to fix a computer that does not recognize USB
Convert mouse USB port
The USB port that does not recognize the mouse may be the cause of the computer mouse not working. In this case, you should change the USB port plug mouse to fix.
If the USB ports still do not recognize the mouse, use a cotton swab to clean the dirt on these ports. Prolonged use may lead to dirty USB ports that prevent them from receiving the mouse. Cleaning will help you fix the error in the simplest way.
Fix computer not receiving USB laptop port by checking Human Interface Device Service
One of the causes of Windows not receiving a mouse is a known error from the USB ports. In this case, you can use the Human Interface Device Service feature to check and fix errors. When this feature works, the computer error that does not recognize the mouse will be quickly fixed.
Step 1: Right-click the "Taskbar" bar located at the bottom of the screen. In the menu, select the "Task Manager" tab.
Step 2: In the new Task Manager window that appears, select the "Services" tab. In this part, click on the words "Open services text" at the bottom of the screen.
Step 3: Scroll down the screen and find the tab "Human Interface Device Service". If the feature setting is "Automatic" then the software is running normally. If not, reset the Automatic status for this tab.
Step 4: Right-click on the "Human Interface Device Service" tab and select "Restart".
Step 5: Check if the mouse on the computer is working normally or not. If you have used the "Human Interface Device Service" feature and the computer still has not received the mouse, try updating the Driver or checking the USB connection port.
Fix Windows not accepting USB mouse by starting Safe Mode
Starting Safe Mode is the best solution to fix Windows not receiving mouse. If you have tried other methods but failed, you should try turning on Safe Mode.
When Safe Mode is turned on, all applications, drivers, and computer features are disabled. Therefore, you can find the cause of the error of not receiving the mouse and have a timely solution.
Step 1: Press the "Windows + R" key combination on the computer to open the Run dialog box and type in the search box "msconfig" and press Enter.
Step 3: A new window called "System Confoguration" will appear on the screen. In this window, select the "Boot" tab and press the "Safe Boot" button and click "OK" button.
When Save Mode runs, all computer features will be stopped. Therefore, you can detect errors that do not recognize the mouse on the computer. If this error is caused by a mouse driver, uninstall the driver and restart it. Then, visit the Microsoft website to reinstall the new Driver.
If the above method does not work, please create a Windows 10 installer on usb to reinstall Windows, which will surely fix the situation.
Turn on and turn off the Mouse Driver on laptop
Driver may be the cause of the mouse not accepting error. In this case, you should restart the Driver to check if the Driver is faulty or not. If you are lucky, this can help you reconnect to the computer mouse normally without encountering a freeze. This method is also applicable to wireless mice.
Step 1: Right-click the My Computer icon on the laptop. In the menu that appears, select "Manage".
Right click and select "Manage"
Step 2: In the new window, select the "Device Manager" tab. select the tab "Mice and other pointing devices". At the bottom select the words "HID Complaint mouse". Right click here and select "Disable device".
You choose "Disable device"
Step 4: At this time, the computer mouse will be turned off. Use your tablet on your laptop to right-click on the words "HD Complaint mouse" and select "Enable device" to reopen the mouse.
Select "Enable device" again
Above are the easiest ways to fix Windows not receiving mouse. Win 10 is an incomplete version, so in the update often occurs conflicts between applications so often encounter error status. To avoid conflicts between applications, you should turn off update Windows 10 during use, to avoid encountering the worst possible scenario.
If you've done all these steps and the computer mouse is still not working, then the most likely is that your mouse is broken. In this case, you should consider buying a new mouse!
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text:
Miss Margaret Dryburgh _PHONE_
A Dutch woman sparked off a far-reaching chain of events when she donated a collection of music manuscripts to California's Stanford University ten years ago. For the meticulously handwritten manuscripts were far removed from any usual musical composition.
They were choral arrangements sung by 30 Dutch, British and Australian woman imprisoned by the Japanese during the Second World War. To cope with captivity the woman formed a choral group in their prison camp on Sumatra, Indonesia. The inspiration for this was Margaret Dryburgh.
Margaret was born in Sunderland, the daughter of the Reverend and Mrs. W. Dryburgh. The family moved to Swalwell in the 1900's where he was the minister at the Presbyterian Church at the Ebeneezer Chapel in Market Lane. The family was very well liked in the village and they were all keen and talented musicians. Margaret became a qualified teacher and taught for a short time at the village school before going to China in 1919 as a missionary.
Soon she began arrangements of classical works for a 'Voice Orchestra', where types of humming sounds were used for each instrument. She taught the other inmates how to produce these sounds and concerts were put on to raise morale. From memory Margaret Dryburgh wrote down pages of music from baroque to contemporary with the help of Norah Chambers, a graduate of the Royal Academy of Music in London.
With only their memories to guide them they reproduced musical scores for over 30 orchestral and piano works by composers, which included Handel, Brahms, Chopin and Beethoven. Even the Japanese soldiers were amazed at the women's talent and used to listen at the door when they sang their services. The Saturday night gatherings grew so large and loud, that the guards peering in at the windows and climbing on to the dustbins, for a better view could not ignore them. They took to inviting themselves, sitting in the front row on cane chairs while the woman sat on the ground.
One of the pieces written by Margaret was the 'Captives Hymn', which was sung every Sunday at worship in the camp.
Its main feature was the absence of bitterness or hatred of their captors, despite the dreadful conditions they endured.
Together the two women rearranged the scores for choral singing, condensing a 15-minute movement of a symphony into a 5- minute choral work without losing its sense of balance and flow. Unless needed for vocal ease, the new scores remained faithful to the original keys.
The choice of syllabuses to be sung was left to Norah Chambers. To keep the programme a surprise for the other captives, she rehearsed the orchestra in a sooty shed behind the kitchen, without so much as a pitch pipe for an aid.
Constant hunger and disease took their toll and Margaret died on April 21st 1945 after reciting Psalm 23, a matter of months before the war ended. She was buried on 23rd April 1945 among the rubber trees of "Belau Camp on Sumatra. On March 2nd 1951 Margaret was reburied in the Dutch War Grave Cemetery in Java.
A year after the compositions were handed over to Stanford University, a women's chorus in California performed them in a series of concerts.
The first picture below is a drawing by Margaret Dryburgh of the kitchen at Muntok Camp; the second a drawing of the Men's Camp. (Thanks to Neil McGregor for these two drawings)
The story of the women and their music captured the audiences' imagination. It is thanks to a Dutch survivor, Helen Colijn, that their amazing spirit and Margaret's story lives on in her book which was later made into a film. The film -makers contacted Bill Fletcher, who played the organ in the Swalwell Chapel where her father was minister, to find out about her Tyneside background. The film,' Song of Survival', was shown in Britain on Channel Four.
In December 1997, a film, called 'Paradise Road', was released that showed the women's struggle to survive a horrific time in a Japanese Prisoner of War Camp in Sumatra during the Second World War, Margaret Dryburgh, was played by Pauline Collins.
Wards 9 and 10 at Dunston Hill Hospital were renamed 'The Margaret Dryburgh Ward' because of the hospital's connection with the Far Eastern Prisoners of War Association.
WWW::: Can your group direct me to the burial poem featured in the recent film:"Paradise Road"?
The burial was that of the young girl who traded persoanl possessions for medicines::: she was killed for her kindness ::; and the poen was read by Ms. Dryburugh::: Peace Only good Things Robert
Posted by: Rv. Mr. Robert Lackney at January 5, 2008 9:38 PM
The burial poem read by Pauline Collins playing Margaret Dryburgh in the film Paradise Road is as follows:
"How silent is this place,
The brilliant sunshine filters through the trees,
The leaves are rustled by a gentle breeze,
A wild and open space by shrubs pink-tipped,
Mauve-blossomed, did all grow.
A hush enfolds me, deep as I have known,
Unbroken, save by distant insects lone*,
A jungle clearing, a track through which we bear our load to Him,
It is our Paradise Road, how silent is this place, how sacred is this place".
*I am not sure about this word.
Author unknown, it may even have been written for the film, or the film may have taken its title from the poem.
You may also be interested in The Captives Hymn, written by Margaret Dryburgh while imprisoned, and also featured in the film at another burial service when the first two verses are spoken.
Father, in captivity,
We would lift our prayers to Thee,
Keep us ever in Thy love,
Grant that daily we may prove
Those who place their trust in Thee
More than conquerers may be.
Give us patience to endure.
Keep our hearts serene and pure,
Grant us courage, charity,
Greater faith, humility,
Readiness to own Thy will,
Be we free or captives still.
For our country we would pray,
In this hour be Thou her stay,
Pride and sinfulness forgive,
Teach her by Thy laws to live,
By Thy grace may all men see
That true greatness comes from Thee.
For our loved ones we would pray,
Be their guardian night and day,
From all danger keep them free,
Banish all anxiety,
May they trust us to Thy care,
Know that Thou our pains dost share.
May the day of freedom dawn,
Peace and justice be reborn,
Grant that nations loving Thee
O'er the world may brothers be,
Cleansed by suffering, know rebirth,
See Thy kingdom come on earth.
There are several websites which mention Margaret Dryburgh.
I hope this is of help.
Whickham Web Wanderers
Posted by: Whickham Web Wanderers at January 8, 2008 10:38 AM
The word in the burial poem you are not sure of is "drone."
"Unbroken, save by insects distant drone"
I just saw the movie last night and had to find out about the poem. Very moving in any context but especially following the immolation of Wing.
Posted by: Ed Giblin at January 24, 2008 7:06 PM
Thanks for supplying the'missing' word in the Margaret Dryburgh poem. Paradise Road is an interesting film and Pauline Collins is very good in the Margeret Dryburgh role even if she hasn't quite got her north east England accent right, except once or twice.
Posted by: Whickham Web Wanderers at January 27, 2008 11:19 AM
WWW : for some reason i have been negliant in expressing my deepest appreciation for the use of Captive's Hymn in my work as chaplain.
The Burial Poem, remains [at least for me]
::: one of the most beautiful of expression of that sense of:
::: inner splendor, simplicity, and silence
::: that many hope to accopmlish in
::: time of personal trial.
my deepest appreciation for your post on my request.
Peace and Only good Things
Society of Sacred Art and Architecture, Inc.
Posted by: rv robert r. lackney at December 5, 2008 10:52 PM
The word you are not sure may be "drone"?
safe by distant insect's drone
Posted by: Franco at August 25, 2009 6:24 PM
Thanks for the correction to the Margaret Dryburgh poem.
Posted by: Whickham Web Wanderers at August 26, 2009 9:23 AM
According to the film's credits, the burial poem was written by Margaret Dryburgh herself.
Posted by: Dangles at August 27, 2011 5:59 AM
Thanks for that information Dangles.
Posted by: Whickham Web Wanderers at August 28, 2011 3:02 PM
I would like to send you a copy of a drawing which is in my possession here in Australia. My mother was a Sylvia Muir who was in the POW camps along with Margaret. Apparently Margaret gave my mother this drawing before she died in 1945. My mother often spoke about Margaret as we were growing up and how the concerts helped them survive the atrocities of the camp. I cannot attach it to this email so if you would like a copy please let me know.
Neil McGregor PhD.
Posted by: Dr Neil McGregor at April 22, 2012 3:05 AM
This article


STP1157: Mechanical Properties of Amorphous and Roll-Drawn Polypropylene
 McCammond, D
 Professor, associate professor, and research associate, University of Toronto, Toronto,
 Sinclair, AN
 Professor, associate professor, and research associate, University of Toronto, Toronto,
 Sinclair, LA
 Professor, associate professor, and research associate, University of Toronto, Toronto,
 Pages: 20 Published: Jan 1992
 Abstract
 Mechanical properties of both amorphous polypropylene and roll-drawn polypropylene sheet are examined using four experimental techniques: creep, transverse vibrating cantilever beam, axially resonating rod, and ultrasonic time-of-flight. Variations of the principal dynamic moduli were determined over 14 decades of frequency, at a single temperature. The ultrasonic time-of-flight technique yielded the dynamic and shear moduli at 5 MHz for all three principal axes of the roll-drawn sheet; the results indicated the material to be transversely isotropic. The three-dimensional stiffness matrix was populated at 5 MHz; its two-dimensional counterpart was then compared to the 0.01 Hz stiffness matrix of Sinclair and McCammond.
 Keywords:
 advanced materials, roll-drawn polypropylene, oriented polypropylene, ultrasonic time-of-flight, orthotropic materials, resonance tests, creep tests, modulus measurement, viscoelasticity
 Paper ID: STP15346S
 Committee/Subcommittee: E08.09
 DOI: 10.1520/STP15346S
 CrossRef ASTM International is a member of CrossRef.


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Kindness in words create confidence Kindness in thinking creates profoundness Kindness in giving creates love
Social work is an integral part of our school education. It involves various social service activities which aim at developing compassion and helping attitude in children towards others. It gives them a chance to interact with people of different social work organizations, develop confidence and help the under Privileged and needy sections of our society. The INTERACT CLUB members render their services volantarily and the ECO CLUB helps in promoting environment awareness programmes amongst people. Places visited under our social drive:
- Old Age Home at Rajinder Nagar
- Goonj – NGO
Strive towards humanity
Charity is an integral part of every community as it brings harmony by bridging the gap between the fortunate and the less fortunate in life.To inculcate in students the feeling of generosity towards the poor and improving the lives of the economically challenged members of the community, our school has collaborated with Sarthak Prayas- a Delhi based NGOworking diligently in the field of child welfare. The green bins have been installed at various places in the school premises where the students collect the things like old clothes, worn out toys and the things of daily use for the underprivileged sections of the society. The school determines to make a significant effort for the development and welfare of children. It has great faith in the betterment of human civilization and is working in this direction. These activities also sensitize students about their duties towards the weaker section of the society.
Donations to Slum areas
The nursery department distributed apples to the weaker sections of the society aiming at the motto– 'An apple a day keeps the doctor away'. The little ones bubbled with joy as they went out to spread the message to the children dwelling in the slum areas around Shalimar Bagh. Feeling of generosity was also inculcated in the students as they distributed apples to the underprivileged section of the society.
Rally on Health and Nutrition
A rally was conducted by the students of class IV on Health and Nutrition. Students shouted slogans and spread the message that good diet and right amount of nutrition provides the raw material for the healthy body. Also to spread awareness regarding general cleanliness and hygiene, bacterial soaps were distributed to the workers and labourers so that they could understand that Cleanliness is next to Godliness.


Musicological Research Seminar
Lecture: Anna Wang
【Date】12/4(五) 14:30
【Date】12/4(五) 14:30
【Speaker】Anna Wang (Harvard Ph.D. candidate)
I research how intuitions about "musicality" are modulated by a listener's cultural commitments. That is, I consider the question: why are certain musical structures and performance practices considered "well-formed" or "expressive" by the standards of certain communities, while others are not? To address this question, I bring music analytical and ethnographic approaches together to delve into perceptions of musicality that have historically lain outside of the cultural purview of North American music theory. My dissertation centers around my fieldwork among huangmei opera and koa-a opera communities in China and Taiwan, respectively, from whom I study how notions of phrasal, tonal, and temporal logic can vary widely depending on one's sociopolitical bearings and philosophical disposition. I use my platform as co-chair of the SMT Analysis of World Music Interest Group to advocate for the disciplinary inclusion of a far wider breadth of cultural frameworks. I am also a guest editor of Engaging Students 8: Beyond Western Musicalities, a special volume which reflects on the ethics and logistics of diversifying music theory pedagogy and provides open-source teaching modules that foreground repertoires and frameworks from beyond the West. I am currently a doctoral candidate in music theory at Harvard University. Before that, I obtained my B. Mus from McGill University with majors in Piano Performance and Music Theory and Analysis.


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Speech with Milo: Verbs
"Speech with Milo" apps were created by a licensed Speech-Language Pathologist, and have been downloaded over 100,000 times. "Speech with Milo: Verbs" was created as a versatile and entertaining speech therapy tool for children. Milo is for speech therapists working with children, or parents who want to teach language skills to their children. The app offers an enjoyable tool used in therapy at a cheap price.
* Nominated for the Mobile Premier Awards as THE outstanding education app.*
See a demo here: _URL_
"Speech with Milo: Verbs" is centered on an adorable and energetic mouse named Milo. Milo performs over 100 actions, such as "bounce," "count," and "play". This provides an engaging way to build up an action word vocabulary in the child. Flash cards are typically used for this type of exercise, but the animation that comes with Milo will keep any child focused and attentive. And most importantit is fun!
The app comes with two sets of instructionsone for Speech Therapists and one for Parents. This app can be used for infants and toddlers, as well as children with language delays.
★★★★★ "Forget Micky Mouse; Milo is the most popular mouse in our house!" (AutismEpicCenter.com)
★★★★★ "Excellent for Speech Therapy" (Trisha C.- SLP)
★★★★★ "I look forward to future applications by Doonan Speech Therapy" (GA SLP)
(see more reviews under "All Versions")
-Used in therapy for children with special needs, such as: Autism / Asperger Syndrome, Down Syndrome, developmental delays, cognitive delays, speech and language delays.
-Fun and affordable
-Milo, an animated mouse, keeps children interested and motivated to learn.
-Instructions for Speech Therapists and Parents (in English only)
-Verb is spoken as the action is completed to reinforce action with auditory input. There is an option to turn this feature off.
-Written verb is displayed at the bottom of the screen to reinforce reading skills.
-Phrase button allows child to listen to a sentence using the verb.
-Milo takes a break every once in a while with some cheese and a dance. The child gets to feed Milo some cheese and watch him dance as a reward for his/her hard work.
-You may customize the actions that Milo performs. On List of Actions from the Home Page, you can do the following: random order, alphabetical order, or select your own custom set of verbs to work on by touching the word(s) in list of actions to activate/deactivate blue button.
-Background music can be turned off if it is too distracting for the child.
NOTE: THE APP IS ANIMATION INTENSIVE, WHICH MEANS IT MAY TAKE AS MUCH AS TWO MINUTES TO DOWNLOAD. IT IS WELL WORTH THE WAIT!
Doonan Speech Therapy is a member of Moms with Apps, a collaborative group of family-friendly developers seeking to promote quality apps for kids and families.
Recommended Ages: 1-3,4-7, Parents
Categories: Special Needs, Vocabulary
for support issues: _URL_
We have added the following:
- The app will remember your settings and words selected for each use
- Buttons are color coded so you can describe to the child which button so select
- Deselect all added
- You can turn off the text
- Added a'more Milo' link and a link to our newsletter
Share with Others
- Last changed:
- Sep 17, 2014
- Doonan Speech Therapy
- 86.5 MB
- Current Version Average Rating:
- 4.00 (148)
- All Versions Average Rating:
- 4.00 (175)
- Other Apps By This Developer
- (Spanish) Speech with Milo: Prepositions
- (Spanish) Speech with Milo: Verbs
- Feelings with Milo
- Language Lab: Adjectives
- Language Lab: ing Verbs + Prepositions
- Language Lab: Spin & Speak – Social Skills
- Speech Therapy Tool Kit
- Speech With Milo - Adjectives
- Speech with Milo Articulation Board Game
- Speech with Milo Articulation Board Game PRO
- Speech with Milo: Interactive Storybook
- Speech with Milo: Nouns
- Speech with Milo: Prepositions
- Speech with Milo: Sequencing


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May 21, 1992 - May 21, 2025
M. Magaritz Memorial Lecture: The storyline approach to the construction of useable climate information at the local scale.
Department of Meteorology
University of Reading
|Details||Show full text description of The standard approach to the production of climate informati...»|
The standard approach to the production of climate information is probabilistic in nature, with quantified uncertainties. There is a growing awareness of the limitations of this approach from the perspective of practical useability for decision-making, which has led to the emergence of more narrative-based or 'storyline' approaches. In this talk I will explain the rationale behind the storyline approach to the construction of useable climate information at the local scale, and discuss how it can be used to frame climate evidence in the context of adaptation.


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Unique Characteristics of Soviet Montage
Unlike Montage where by a combination series of short shots are edited into a sequence to condense space, time, and information, Soviet Montage on the other hand is a style of filmmaking that is evolved to immerse the audience in a story and disguise technique was turned upside down in order to create the opposite emotional effect to bring the audience to the edge of their seat, and in the case of the Odessa Steps sequence, to push the viewer towards a feeling of vertigo. In a simpler form, Soviet Montage combination series of short shots are edited into a sequence to create symbolic meaning. One main characteristic of Soviet Montage films is the downplaying of individual characters in the centre of attention whereby single characters are shown as members of different social classes and are representing a general type or class imitating Marxist Concept which believe more on society rather than individual.For Instance, in Eisenstein's Strike there is only one character named individually in the entire film. This proves the theory portraying collectivism rather individualism to propagate how united are the people against whatever political climate in Russia. The central aspect of Soviet Montage style was the area of editing. Cuts should stimulate the spectator. In opposition to continuity editing Montage cutting often created either overlapping or elliptical temporal relations. Elliptical cutting creates the opposite effect. A part of an action is left out, so the event takes less time than it would in reality. Elliptical editing was often used in the form of the jump cut. For instance, in Strike, Eisenstein cuts from a police officer to a butcher who kills an animal in the form of a jump cut. This is to indicate the butcher not being part of the story but should be able to create or make the viewer think about the relation and come to a conclusion as if the workers were slaughtered like animals in reality. 5 Methods of Montage:
1. Metric Montage – The editing work is done according to a specific number of frames, follows by cutting to the subsequent shot regardless of the event within the image. This is done to draw out the fundamental response of the audience. 2. Rhythmic Montage – this is done through cutting based on continuity, producing visual continuity from edit to edit. A very fine example of Rhythmic montage is from II Buono, il Brutto, il Cattivo where the protagonist and the two other antagonists face each other in a three-way duel. 3. Tonal Montage – This uses the emotional meaning of the shots, to emphasize a response from the audience in a more complicated manner than Metric or Rhythmic Montage. For instance, a sleeping baby would express his or her calmness and relaxation. The prime example for this montage method from Eisenstein's The Battleship Potemkin, where audience can witness the death of a revolutionary sailor Vakulinchuk.
4. Overtonal Montage – it is a collection of Metric, Rhythmic and Tonal Montage to create its effect on the audience for a more complex effect. It is best shown in a film called Pudovkin's Mother, where the men are seen as workers walking towards a protestation at their own factory and later in movie, the protagonist uses ice to escape. 5. Intellectual Montage – it is used as a bridge to connect and create meaning completely outside the depiction, unlike continuity editing, where images are created in a smooth space or time. In general, 'intellectual montage' is when the image is not represented by a particular idea. Basically, it uses shots which, combined, emphasize an intellectual meaning. The effect is shown through conflict such as juxtapose shots that have no direct relationship. The best example for Intellectual Montage is from a film called Strike. In this film, cut of shots include striking workers being assaulted and a bull being butchered. This is done as metaphor to show how workers...
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Publetariat Dispatch: Ebook Madness: Don't Confuse Ebook Conversion With Ebook Formatting!
Publetariat: For People Who Publish!
Today's Publetariat Dispatch is a post from April L. Hamilton, author of The Indie Author Guide: Self-Publishing Strategies Anyone Can Use, writing on the topic of the difference between ebook formatting and ebook conversion, and why the former generally costs much more than the latter.
I'm getting a lot of emails from authors who tell me this or that company or person is offering to convert their manuscripts into ebooks for some ridiculously low fee, like $50. What the authors don't know is that conversion of a manuscript to an ebook format takes fifteen minutes or less, is mostly an automated process, and will only deliver a quality ebook at the back end if the file being converted has already been properly formatted for the target ebook format. $50 doesn't seem like such a bargain when you realize how little work is actually being done for that fee, and when you know it doesn't include the most time-intensive, labor-intensive, and important part of the ebook creation process: formatting.
The conversion step is no big deal. You open a conversion program, click a button to import the (pre-formatted) manuscript, fill in a form with details about the book (e.g., title, author name, suggested retail price, etc.), click another button to add any required companion files to the project, then click one last button to output the ebook in your desired file format. If the manuscript file you've imported was formatted properly ahead of time, your ebook will look and perform great. If not, not.
The majority of time and effort that goes into creating an ebook is spent on preparing the manuscript for conversion, and creating any required companion files (e.g., Amazon's required active table of contents file for Kindle books). Where the conversion step is mostly automated, the formatting part is mostly manual. This is because every manuscript is different, and the process of formatting a manuscript for ebook publication is primarily a process of minimizing and standardizing formatting. Here's my Kindle book formatting to-do list, to give you some idea of what's involved:
* "Save As" to create Kindle file copy
* Insert cover image on first page
* Remove blank pages
* Remove headers
* Remove footers
* Set margins to 1" all around, remove gutter
* Replace section breaks with page breaks
* Insert page breaks before each chapter heading, if necessary
* Replace double spaces with single space between sentences
* Standardize body text style
* Set line spacing to 1.5, max 6pt spacing after paragraphs
* Standardize chapter headings
* Standardize section headings
* Remove/replace special characters
* Verify images are "in line" with text
* Insert page breaks before and after full-page images
* Modify copyright page to reflect Kindle edition verbiage
* Add correct ISBN to copyright page
* Insert hyperlinked TOC
I have a different to-do list for each different ebook format, since the requirements vary from one to the other. Obviously, if the author provides a file that already meets most of the requirements above, the job will take much less time and effort than it will with a file for which I must complete all of the items on my formatting checklist.
Just as obviously, it's impossible to know how much work is involved without actually seeing an excerpt from the manuscript. Anyone who's offering to do the job on the cheap without seeing any part of the manuscript is either not intending to do any formatting, or so new to the author services game that he doesn't realize the time and effort demands in creating ebooks are highly variable.
If you can find someone who will do the formatting AND the conversion for $50, and the resulting ebook looks great and functions properly, by all means HIRE HIM NOW! Otherwise, when you're comparison shopping among author service providers, be sure to ask if the price quoted for the provider's ebook conversion service includes formatting and creation of any required companion files.
This is a reprint from April L. Hamilton's Indie Author Blog.
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Learn new ways to teach science using examples from Hawaiian ecosystems. This course will cover the emergence of the Hawaiian Islands, native flora and fauna, and present day invasive species issues. Play with glo-germ, Google Earth, and a fast-paced forest bird card game. Workshop includes two days of hands-on activities and guest scientists with a half day field trip into The Nature Conservancy's Waikamoi cloud forest.
-Friday, August 16, 9-4 (Classroom)
-Saturday, August 17, 10-4 (Hike into The Nature Conservancy's Waikamoi Preserve)
-Saturday, August 24, 9-4pm (Classroom)
Registration Deadline: August 1, 2013 Register via this link: Hō'ike o Haleakalā Curriculum-35 million years of Hawaiian natural history over 3 days
Questions? Call MISC at _PHONE_.


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Action Team Approach: Each school's Action Team for Partnerships (ATP) is made up of parents, teachers, administrators and community members. This team meets monthly at each school to develop a One-Year Action Plan for School & Family Partnerships, ensures the activities in the plan happen, and evaluates the activities that take place. They also help to publicize events that involve families and gather ideas for new activities.
Six Types of Involvement: Parenting, Communicating, Volunteering, Learning at Home, Decision Making, and Collaborating with the Community
Parents or other family members are essential members of the Action Team for Partnerships. Parents and other family members contribute ideas on topics that will be important for families, design ways to involve all families, conduct activities on family friendly schedules, recruit families to lead and implement activities and encourage families to participate in activities.
Community Partnerships are a key element of the ATP. Community partners can contribute human and material resources, share innovative ideas and give perspectives that result in improved school programs and expanded learning experiences for students.
Teachers on the ATP contribute ideas for family and community involvement activities linked to academic goals for students. Teachers also work with the other teachers in the school to reinforce their own best practices to involve families and the community, and encourage other teachers to participate in schoolwide partnership events.
What is the National Network? Established at Johns Hopkins University in 1996, the National Network of Partnership Schools (NNPS) invites schools, districts, states, and organizations to join together and use research-based approaches to organize and sustain excellent programs of family and community involvement that will increase student success in school. More information at Johns Hopkins. You can also find more information about the district's ATP program on the district website.


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Sediment Transport Measurements in the Nile River at Bani Mazarby M. T. K. Gaweesh, Hydraulics & Sediment Research, Inst, Delta Barrage, Egypt,
M. M. Gasser, Hydraulics & Sediment Research, Inst, Delta Barrage, Egypt,
Document Type: Proceeding Paper
Part of: Hydraulic Engineering
Abstract: Measurements of sediment transport on the Nile River were conducted at Bani Mazar (200 km South of Cairo) during high and low water stages. Bed-load and suspended-load transport rates were measured at five locations in one cross section. Also the bed material was sampled and bed form tracking was performed. The bed-load and suspended-load transport rates were calculated based on the measurements carried out with the Helley-Smith and Delft Hydraulics pump sampler, respectively. The sediment transport rates were also estimated according to different transport prediction formulae. The measured suspended sediment concentrations were very low (maximum of 180 mg/L). In fact, the Nile River transport in Egypt, has become very small after the construction of the High Aswan Dam. The measured bed-load transport was uncertain as the calibration factor is not known, particularly for sand-bed rivers with very low transport. The most commonly relations have not been developed for the hydraulic and sediment conditions that exist presently in the Nile River.
Subject Headings: Sediment transport | Transport rates | Suspended loads | Bed materials | Bed loads | Rivers and streams | Hydraulic loads | Suspended sediment | Nile River | Africa | Egypt | Cairo
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Shifts in atmospheric circulation can explain anomalous trends in surface ozone levels over Hawaii since the 1980s, reports a study published online this week in Nature Geoscience. The findings suggest that decadal variability in climate should be taken into account when interpreting trends in ozone levels in the lower atmosphere.
Meiyun Lin and colleagues examined the link between decadal variations in climate and Hawaiian ozone levels over the past three decades, using a suite of climate model simulations. They find that the flow of ozone-rich air from Eurasia to Hawaii weakened during spring in the 2000s, lowering springtime ozone levels. In contrast, the flow of ozone-rich air to Hawaii strengthened in autumn from the mid-1990s onwards, raising autumnal ozone levels in the region.
In an accompanying News and Views, Guang Zeng writes that the authors show that "shifts in atmospheric circulation have helped shape season-specific trends in surface ozone levels in Hawaii since the 1990s."
Ecology: Wildfire may benefit forest batsScientific Reports
Environment: Levels of lithium in waterways of Seoul assessedNature Communications
Climate Change: Hot temperatures and early childbirthNature Climate Change
Climate science: Amazon fires may enhance Andean glacier meltingScientific Reports
Climate Change: Environmental stress negatively impacts women in climate hotspotsNature Climate Change


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From the blog of Dariusz Leszczynski:
In the Finnish news media, there is a complete silence (nobody dares to speak?) about the new law introduced in France, limiting the spread of the wi-fi networks (story in the French Le Monde) (for the translation in English, see below).
In fact, the situation in Finland is just the opposite to what is happening in France. In Finland wi-fi is allowed to be spread freely and everywhere, including daycare centers and schools.The justification for this "freedom" are the obsolete safety limits from 1998 (!) that were "reaffirmed" in 2009.
The freedom to spread the wi-fi is scientifically unwise in the situation when the research evidence on the effects of the wi-fi-emitted radiation is extremely limited but, at the same time, the wi-fi radiation is classified as a possible human carcinogen by the International Agency for Research on Cancer (IARC).
France dared to take a small step, which is in line with the European Precautionary Principle. In Finland, the situation is entirely different.Leave a reply →


Tourist Spots > Wildlife Destinations
Nameri National Park
Flora Most parts of Nameri are covered by 'Moist Mixed, Deciduous Forests' (3C/ 2.S.I.) and over 600 species of plants can be found in the area. Tropical evergreen and Semi-evergreen forests mingle here with the moist deciduous forests while cane and bamboo brakes and narrow strips of open grassland can be found along the many rivers. Key plant species include: Albizzia lucida, Albizzia procera, Amoora wallichii, Artocarpus chaplasha, Baccaurea sapida, Bischofia javanica, Bombax ceiba, Canarium strictum, Castanopsis indica, Cordia dichotoma, Cinnamomum cecicodaphnea, Dendrocalamus hamiltonii, Dillenia indica, Duabanga grandiflora, Duabanga sonneratoides, Dysoxylum procerum, Endospermum chinense, Lagerstroemia flos-reginae, Litsea sebifera, Mesua ferrea, Morus roxburghii, Premna bengalensis, Pseudostachyum polymorphum, Pterospermum acerifolium, Sapium baccatum, Shorea assamica, Sterculia hamiltonii, Syzygium cumini, Terminalia citrina, Terminalia myriocarpa, Trewia nudiflora and Vatica lanceaefolia.
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