text:
Program Evaluation: Reading, Math, Science, and Technology Initiatives
Technology-Based Supplemental Instruction Pilot Program in Rural School Districts (R-TECH)
R-Tech is intended to finance technology-based supplemental instruction to students at the sixth through twelfth grade levels at participating campuses. Additional information about can be found at TEA's R-Tech page.
The Student Success Initiative (SSI)
Created by the 76th Texas Legislature in 1999 and modified by the 81st Texas Legislature in 2009, the purpose of the Student Success Initiative (SSI) is to offer a system of academic support programs to help ensure that every student in Texas performs on grade level in reading and mathematics. Please see TEA's SSI page for more information.
Accelerated Reading/Accelerated Math Instruction (ARI/AMI)
ARI/AMI provided funding to be used by school districts to provide accelerated instruction to students in Kindergarten through Grade 6 who were performing below grade level in reading and math. The funding provided to school districts and charter schools each fiscal year was based on the number of students who did not meet the state standard on the Grade 3 reading TAKS and the Grade 5 math TAKS the previous year. The evaluation of ARI/AMI for the 2006-2007 school year was included in the Student Success Initiative (SSI) Report.
Intensive Reading Instruction/Intensive Math Instruction (IRI/IMI)
IRI and IMI Program funds were designated to serve those schools exhibiting the most difficulty in improving reading and/or math achievement, beginning in 2006-2007 school year. IRI and IMI funding was non-competitive and provided to schools with students enrolled in Grades 4-6 that failed to improve student performance in reading and/or mathematics. This funding was to be used to provide immediate, targeted instruction programs for students who were struggling in these two key areas so they would be able to meet the grade advancement requirements of the Student Success Initiative (SSI) and master grade level curriculum expectations. Texas Education Code (TEC) Section 28.0211, requires districts to provide accelerated (intensive) instruction to a student after he or she has not met the passing standard after the second administration of the reading or math TAKS tests in Grade 5, and the reading TAKS in Grade 3.
Texas Reading First Initiative (TRFI)
TRFI is intended to enable the selected eligible applicants to implement scientifically-based reading programs that help all students achieve reading mastery by the end of Grade 3. TRFI places specific emphasis on the importance of scientifically based reading research – research that applies rigorous, systematic, and objective procedures to obtain valid knowledge relevant to reading development, reading instruction and reading difficulties. The evaluation focuses on activities that occurred primarily during the 2005-2006 school year. For additional information about TRFI please see TEA's Reading First page.
Technology Immersion Pilot (TIP)
The purpose of TIP is to explore the impact of technology immersion on student progress by providing students in grantee campuses with a wireless mobile computing device and other appropriate learning technologies that have been shown to improve student achievement. The primary goal of TIP is to increase the academic progress of participating students by immersing the campus with appropriate innovative technologies including, but not limited to, wireless mobile computing devices, integrating software, online formative assessment tools, and online resources. Evaluation reports were delivered to the agency in December at the conclusion through the 2007-2008 school year. For additional information, please see TEA's TIP page.
Career and Technology Education (CTE) Grant Program
The Texas Legislature established Career and Technology Education goals for all Texas students in secondary schools. Texas Education Code (TEC) Section 29.181 mandates that each public school student shall master the basic skills and knowledge necessary for: 1) managing the dual roles of family member and wage earner; and 2) gaining entry-level employment in a high-skill, high-wage job or continuing the student's education at the postsecondary level. For additional information about CTE in Texas, please see TEA's CTE page.
Page last modified on 2/28/2011.


Interval Struct
struct QMediaTimeRange::Interval
The QMediaTimeRange::Interval class represents a time interval with integer precision. More...
Public Functions
Interval(qint64 start, qint64 end)
bool contains(qint64 time) const
qint64 end() const
bool isNormal() const
QMediaTimeRange::Interval normalized() const
qint64 start() const
QMediaTimeRange::Interval translated(qint64 offset) const
bool operator!=(QMediaTimeRange::Interval lhs, QMediaTimeRange::Interval rhs)
bool operator==(QMediaTimeRange::Interval lhs, QMediaTimeRange::Interval rhs)
Detailed Description
An interval is specified by an inclusive start() and end() time. These must be set in the constructor, as this is an immutable class. The specific units of time represented by the class have not been defined - it is suitable for any times which can be represented by a signed 64 bit integer.
The isNormal() method determines if a time interval is normal (a normal time interval has start() <= end()). A normal interval can be received from an abnormal interval by calling the normalized() method.
The contains() method determines if a specified time lies within the time interval.
The translated() method returns a time interval which has been translated forwards or backwards through time by a specified offset.
See also QMediaTimeRange.
Member Function Documentation
[explicit constexpr noexcept] Interval::Interval(qint64 start, qint64 end)
Constructs an interval with the specified start and end times.
[constexpr noexcept] bool Interval::contains(qint64 time) const
Returns true if the time interval contains the specified time. That is, start() <= time <= end().
[constexpr noexcept] qint64 Interval::end() const
Returns the end time of the interval.
See also start().
[constexpr noexcept] bool Interval::isNormal() const
Returns true if this time interval is normal. A normal time interval has start() <= end().
See also normalized().
[constexpr] QMediaTimeRange::Interval Interval::normalized() const
Returns a normalized version of this interval.
If the start() time of the interval is greater than the end() time, then the returned interval has the start and end times swapped.
[constexpr noexcept] qint64 Interval::start() const
Returns the start time of the interval.
See also end().
[constexpr] QMediaTimeRange::Interval Interval::translated(qint64 offset) const
Returns a copy of this time interval, translated by a value of offset. An interval can be moved forward through time with a positive offset, or backward through time with a negative offset.
Related Non-Members
[constexpr noexcept] bool operator!=(QMediaTimeRange::Interval lhs, QMediaTimeRange::Interval rhs)
Returns true if lhs is not exactly equal to rhs.
[constexpr noexcept] bool operator==(QMediaTimeRange::Interval lhs, QMediaTimeRange::Interval rhs)
Returns true if lhs is exactly equal to rhs.
© 2024 The Qt Company Ltd. Documentation contributions included herein are the copyrights of their respective owners. The documentation provided herein is licensed under the terms of the GNU Free Documentation License version 1.3 as published by the Free Software Foundation. Qt and respective logos are trademarks of The Qt Company Ltd. in Finland and/or other countries worldwide. All other trademarks are property of their respective owners.


Blaneys on COVID-19
Stay Informed
March 31, 2020 DOWNLOAD PDF
Wills and Powers of Attorney in a Social Distancing Environment
Concern over COVID-19 and its potential impact has given many people concern over whether they "have their affairs in order." Lawyers and financial advisors are getting inquiries about how to deal with wills and powers of attorney, often from those who are the most vulnerable or their loved ones. In an era of imposed social distancing, and total shut down of access by visitors to hospitals and care facilities, there are many challenges if it is considered urgent that a new will or power of attorney is to be signed.
Ontario law has strict rules regarding the proper signing of Wills and powers of attorney. Both types of documents must be signed in the physical presence of two witnesses with all persons seeing each other sign. Also, there are restrictions on who can witness Wills and powers of attorney.
You need to be at least 18 to make a Will and have the required legal capacity. No one can provide Will instructions on your behalf. Wills cannot be witnessed by the following persons: any beneficiary or spouse/partner of a beneficiary; any person who is under the age of 18. The estate trustee can be a witness, but it is not recommended.
You need to be at least 18 to make a power of attorney for property and 16 to make a power of attorney for care, and have the required legal capacity in both cases. No one can provide instructions on your behalf.
Powers of attorney cannot be witnessed by the following persons: the grantor; children of the grantor or persons the grantor has treated as his/her child; persons appointed as attorney or their spouse/partner; persons whose property is under guardianship or who have a guardian of the person; any person who is under 18 years of age.
In all of these scenarios, physical presence is required and video conferencing, remote document signing and other methods available for distance execution of contracts are not available. To create a valid will or power of attorney, even in times of social distancing, physical presence is needed.
There are ways to achieve a validly executed will or power of attorney, with witnesses present but separated by glass windows or doors, extra measures used to sanitize pens and desks and telephone and/or video phone connections to make sure that the necessary steps are followed, but these need to be considered in each individual case. The take away needs to be "use caution" and "get professional advice."
Note: The information provided is based on Ontario law, and the laws of Canada applicable therein. However, it does not constitute legal advice or create a solicitor-client relationship. Readers are encouraged to consult a member of Blaneys' Wills and Estates practice group for advice specific to their circumstances. We are available by telephone and electronically during the COVID-19 crisis.


text:
A: Parent letters print in Spanish if the "primary language" of that student is set to Spanish when you add the student to the class list.
If it is set incorrectly, you can click "edit" next to the student's name to change their Primary Language.
**NOTE: If your district is importing students, your students are automatically added to your class list by the district, including the Primary Language. You are unable to edit them. Please contact your district office if you need to request a change of Primary Language for a student.
If you edit the English template, it will NOT update the Spanish template. You must update the Spanish template in Spanish.

source: openbmb/Ultra-FineWeb


Click to Hear It
purse, bag
Green Corn Ceremony
 Iti Fabvssa
 To the folks at Iti Fabvssa: I was wondering when the last Luak Falaya / Green Corn Ceremony was held in the Choctaw Nation and if there is or has been a movement to reinvigorate this ceremony among our people.
Sincerely, Brandon
 Dear Brandon, Over the last few months, Iti Fabvssa has received several inquiries about the Choctaw Green Corn Ceremony. In an attempt to effectively respond to these, we're going to give you the long answer to your question:
 The "Green Corn Ceremony," is the most important social and spiritual event in the traditional seasonal round of the Choctaw and other Tribes that are Indigenous to what is now the Southeastern United States. Held at the ripening of the corn crop in late July, it was and is a time of community building, rekindling friendships, reconciliation, purification, restoring balance, making new beginnings, and giving praise and thanksgiving to God.
 It appears that in the Choctaw language, Okissa, or "fast," was probably the term most widely used in the past to refer to the "Green Corn Ceremony" (see Byington 1915:296), although Tanchushi Hilha "young corn dance" (Wright 1937:378) may have been used to describe the accompanying dances.
 The specific elements of the Green Corn Ceremony varied between Choctaw communities, but they share basic parts that date back unknown centuries in what is now the Southeastern United States. Even as early as the mid 1700s, James Adair noted that the Green Corn Ceremony was no longer being practiced in the Choctaw communities that he observed (1775:325). This was likely because of the population loss and stress these communities were facing at that time as a result of being pulled into an ongoing military conflict between the French and English (Pesantubbee 2005:126-127). Still, the Green Corn Ceremony survived among some Choctaw communities, and in the 1830s, it was carried from Mississippi, over the Trail of Tears and reestablished it in Oklahoma.
 The Choctaw Green Corn Ceremony has received much less written attention than the equivalent ceremonies of other Southeastern Tribes, like the Muscogee (Creeks). This is because Choctaw practitioners made a concerted effort to protect it from outside observation and interference, sometimes stopping the entire proceedings if they felt threatened by an observer (Bushnell 1909:22). Today, just as in the past, some of the parts of the Choctaw Green Corn Ceremony are private in nature and not intended for publication. The following respectfully excludes these details and draws mostly from published sources.
 The best written description of a Choctaw Green Corn Ceremony comes from an account by Lucy Cherry, a Choctaw born in Skullyville, OK, in 1869 (Cherry 1937:382-385). Her words portray a Green Corn Ceremony held at Cavanal in the Sugar Loaf Mountains, probably in the late 1800s:
 Preparations began a week before the event, with men hunting deer, squirrels, and bear, and killing hogs and cattle; green corn was also harvested from the fields. The families gathered up the food they had obtained, along with many of the household furnishings and headed for the Dance Grounds.
 The Green Corn Ceremony lasted four days. The first day was filled with setting up camp and re establishing connections with old friends who had come for the occasion. Food was cooked and eaten in common. On the second day, everyone fasted, while the Choctaw doctor, Alikchi, administered herbal drinks to participants that purged their bodies. Afterwards, males and females were bathed separately in a purifying herbal solution. That night, participants went to sleep without eating. Sometime during the third day they broke their fast with a feast. That evening, the main part of the Stomp Dance was held. Its beginning was announced by a beating drum. A man took a place on the dance ground near a central fire and prayed in the Choctaw language, thanking God for the blessings that the community had received. Then, the dance began, around the fire. A male caller led the vocal portion of the dance, and was echoed by the other male dancers. Females danced with a skillful double step, keeping the rhythm using turtle shell rattles fastened to their lower legs (according to Cherry the men also had the shells fastened to their upper legs). The dance lasted until sunrise. The fourth day of the Green Corn Ceremony was spent in visiting friends and relatives and in breaking camp.
 In the traditional Choctaw way of thinking, every part of the Green Corn Ceremony has spiritual significance. As mentioned by Cherry, the dances for the Green Corn Ceremony, as well as some others held during different parts of the year are traditionally conducted on a Dance Ground. A Dance Ground is a special area prepared by an Alikchi who beseeches God to bless it. A new Dance Ground can only be started with the assistance of the staff from a previously established Dance Ground.
 At the center of the Dance Ground is a fire, considered sacred by practitioners. Some early Choctaws apparently called it Luak Hashtahli Itichapa, or "Fire, the friend of God" (Wright 1828: 179-180). Around the central fire, is the dance area, usually cleared free of brush and debris by fasting individuals before or during the early part of the Green Corn Ceremony. Outside of the dance area, are four brush arbors, set in four cardinal directions, to form a square. Each of these is assigned to representatives of one of the Tribes of the Four Mothers Society (see below). Camp houses may be located beyond the arbors for family to prepare food.
 At the Green Corn Ceremony, dances are usually done in parts of four, and proceed counter-clockwise around the fire. Through the night, new callers arise to lead dances until the sun comes up. Two early commentators / participants, stated that the dances used by the Choctaw were basically the same as those of the Cherokee, Creek, and Chickasaw (Cherry 1937:382; Wright 1937:377). One writer has succinctly drawn together how practitioners view all of the above: "Southeastern People believe that the Stomp Dance grounds is analogous to a church, the songs being prayers, and that those prayers travel with the smoke up to the Creator" (Sharp 2007:3).
 In the past, it appears that at least some Choctaw communities made their laws during the Green Corn Ceremony, and that leaders preached to their people about appropriate moral conduct (Swanton 2001:225-226). Many of the Tribes that host equivalents of the Green Corn Ceremony extinguish all of the fires in camp during the event. After rekindling the fire at the center of the Dance Ground, practitioners use its coals to re-light all of the other fires, focusing on forgiveness and renewal. That the same practice was followed by at least some Choctaw communities in the past may be evidenced in Hashi Luak Musholi, the name of a summer month in the Traditional Choctaw calendar, which means "fires extinguished" (Byington 1915:146-147).
 In the late 1800s, at the same time Cherry was participating in the Green Corn Ceremony described above, traditional Choctaw people were facing increasingly forceful pressure to assimilate into surrounding Euro-American society. Seeking support, some Choctaw traditionalists joined with their counterparts in the Cherokee, Creek/Seminole, and Chickasaw Tribes to organize the Four Mothers Society. The purpose of the society was to hold onto traditional Tribal life ways and values, expressed in part through the Green Corn Ceremony. At roughly the same time, Choctaw communities residing in Mississippi and Louisiana were also holding onto their traditional dances and Dance Grounds. However, by the early 1900s, the Choctaw Green Corn Ceremony largely fades from written reference, with one exception.
 This community was made up of a group of Choctaws who left Meridian, MS on December 14, 1902. They were lead by James, Arnold, a resident of Ardmore, who, through deception, intended to sell them as slaves once they reached Oklahoma. That winter, 10 of these Choctaw people died as a result of mistreatment. An ensuing investigation by the Department of the Interior freed the survivors and saw them given land allotments near Ardmore (Levine 1993:393-394). This community opened the Yellow Hills Dance Ground, which remained active until 1937.
 In 1951, Murial Wright, herself a Choctaw, wrote, "Choctaw tribal dances are no longer held in Oklahoma" (Wright 1951:118). However, beginning in the 1970s, elders who had participated at Yellow Hills Dance Ground formed the Choctaw-Chickasaw Heritage Committee and revitalized many of the old dance styles that they had enjoyed as youths. At roughly the same time, similar initiatives to revitalize Choctaw traditional dances were underway near Idabel, OK, and Philadelphia, MS (Howard and Levine 1990:15). Through this, traditional Choctaw dances were taken out their original contexts of the Green Corn Ceremony, or the stickball game, or the celebration at the return of a war party, and transformed into


The Cowboy Philosopher on the Peace Conference
Front Cover
Oklahoma State University Press, Jan 1, 1975 - Paris Peace Conference - 47 pages
0 Reviews
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Review: The Cowboy Philosopher on the Peace Conference
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There are things that I love that Will Rogers did. This is not one of them. This is a book of his aphorisms about the peace talks. Read full review
Common terms and phrases
About the author (1975)
Born in Oolagah, Indian Territory (now Oklahoma), Will Rogers's parents were Clem Vann Rogers and Mary American Schrimsher, who were each one-quarter Cherokee, or true Native Americans. This parentage is quite appropriate because Rogers himself was the embodiment of the real people of America, the "average man." He was the last of the "crackerbox philosophers" to reach a national audience, and his words and reputation as the symbol of the "common man" and of common sense have continued to grow, even though his books and films are seldom read or watched today. He has, as it were, transcended himself to become a folk legend. Rogers's rise from an Oklahoma cowboy to a world-famous humorist and philosopher is in itself a particularly American phenomenon. He began his career performing for Texas Jack's Wild West Show as a trick rider and roper. Later he performed for the Wirth Brothers Circus and then for the Mulhall Wild West Show. Eventually, he joined the Ziegfeld Follies as a regular, where he starred for 11 years. By the 1920s Rogers had become a popular speaker. He had already published two books, The Cowboy Philosopher on the Peace Conference (1919) and The Cowboy Philosopher on Prohibition (1919), both of which are collections of miscellaneous writings featuring the humorous social and political commentary that would eventually make him famous. In 1926 he began writing a syndicated column for the Saturday Evening Post, which became extremely popular and continued until his death. During the 1920s he also moved to California and began making films for Hal Roach Studios, in which he played characteristically unassuming roles and made sage and witty remarks. He made his first talking picture, They Had to See Paris, in 1929, which established him as a film star. Among Roger's other published collections of humor are The Illiterate Digest (1924), Letters of a Self-Made Diplomat to His President (1927), and There's Not a Bathing Suit in Russia (1927). An aviation enthusiast, Rogers died in a plane crash at Point Barrow, Alaska, in 1935 while flying with famous aviator Wiley Post. A selection of his writings, titled The Autobiography of Will Rogers (1949), was published posthumously.
Bibliographic information


Researchers develop smart 'Chesma' that tracks eye movements
New York, August 21 (IANS) Scientists, including one of Indian-origin, have developed smart eyewear to track eye movement and cardiac data without compromising users comfort.
The eyewear known as 'Chesma' provides accurate measurements in an everyday environment for physiological and psychological studies.
"Our mask can track people's eye movement as they're shown images, so you can start to understand what they're paying attention to, for how long, whether they keep finding other places to look," said senior author Trisha L Andrew from University of Massachusetts Amherst in the US.
Current technology for eye movement tracking relies on electrooculography (EOG), a technique designed over 50 years ago to measure the eye's electrical potential changes.
"The problem is that you have to stick those adhesive electrodes on your face. But people tend to be a little finicky about stuff put on their face, unsurprisingly," Andrew said in a paper published in the journal Matter.
One challenge in designing smart wearable is developing products that provide both accuracy and comfort.
To achieve that, the research team developed a novel hydrogel electrode by growing polymers on fabrics.
Reaching the nooks and cranny of the fibre pattern, the hydrogel polymer bonds to and covers the fabric's topology, resulting in a mechanically stable coating that is imperceptible to one's eye and touch, the team said.
They then combined these hydrogel electrodes with a pulse sensor to create an eye mask that can track eye movements and collect cardiac signals from the artery located at the brow bone.
"Our team was able to really address that core problem to create a garment that you would be willing to wear and give you clinically accurate results when you use it," Andrew said.
One clinical use of the mask might be to monitor sleep.
One of the biggest classifiers between sleep stages is how radically you move your eyes," she said.
"We could correlate some of these sleep stages and also start to understand whether you have sleep disorder problems or if you have some underlying heart rate issues," Andrew informed.
Besides performing as well as the adhesive clinical electrodes currently in use, the hydrogel electrodes used in 'Chesma' are extremely durable.
The hydrogel can resist long-term build-up from makeup, pollution, and skin waste that may fault the electrodes, as well as withstand 15 laundry cycles.
The researchers found that Chesma's signal did not display any degradation after six hours of continuous use without rehydrating the hydrogel, suggesting that it could be worn for long periods of time.
The research team now aims to reduce the power demand of the device, which would allow users to charge the device once every three nights instead of every 8 hours.


text:
Monday, January 22, 2007
Why Did the Chicken Cross the Road?
Agee, Jon. 2006. WHY DID THE CHICKEN CROSS THE ROAD? New York: Dial. ISBN _PHONE_ [Suggested Grade Levels 1 – 6]
Although this eclectic picture book will amuse anyone, it holds special appeal for fans of contemporary children's picture book art. In it, fourteen of today's most successful picture book artists visually answer the perennial question: Why did the chicken cross the road?
The scenarios depicted range as widely as the artists' recognizable styles. Marla Frazee begins by contrasting a chicken coop beneath gloomy wet skies against a colorful chicken palace on the sunny side of the street. A single word--"duh"--hovers above the chicken. Later, David Shannon shows a chicken at the wheel of a red convertible filled with barnyard animals. The caption reads "because the light was green!" In contrast, Harry Bliss says that to answer the question we should "ask the mutated zombie chickens from Mars!" He then pictures a chicken hot footing it across the road with a legion of bug eyed, sharp-toothed, green-tongued chickens in pursuit.
Children will enjoy identifying the various artists and associating this art with familiar books. As with anything, they will likely appreciate the style and humor of some inclusions more than others. Sharing this book presents a great opportunity to talk about varying tastes and points of view.
Encourage children to brainstorm other ideas about why the chicken crossed the road and to illustrate their ideas in their own unique artistic style.
Jokes and riddles for beginning readers:
Hall, Katy. DINO RIDDLES. ISBN 9780142501795, _PHONE_
Helmer, Marilyn. CRITTER RIDDLES. ISBN 9781553374459, _PHONE_
For older readers:
Brewer, Paul. YOU MUST BE JOKING! ISBN 9780812626612, _PHONE_
Thomas, Lyn. HA! HA! HA!: 1000+ JOKES, RIDDLES, FACTS AND MORE. ISBN _PHONE_, 9781897066126
By Suzy Parchman

source: HuggingFaceFW/fineweb-edu


Huddersfield Functional Index
Original Editor - Your name will be added here if you created the original content for this page.
Top Contributors - Mandy Roscher
Introduction[1]
The Huddersfield Functional Index (HFI) is an outcome measure that measures progress in Rebound Therapy. It was originally designed by Richard Wattreson in Huddersfield, West Yorkshire. It was then reworked in collaboration with Paul Kaye and Eddy Anderson to be follow grades 1, 2 and 3 of the Winstrada Trampoline Development Programme.
The movement progressions of the Winstrada Trampolining Programme were designed so that students are simply scored on whether they can or cannot complete a movement. This model is not appropriate for individuals with disabilities. For a person with physical or intellectual challenges it may take a significant amount of time to achieve a single movement or they may never be able to achieve a movement independently.
Purpose of HFI[1]
In the HFI, each movement, of the Winstrada Trampoline Programme, is scored on a scale from 0-4. A score of 0 means they are unable to complete it and 4 means they can complete it competently and independently. A total for each section is scored and progress is tracked on a graph found within the manual.
By scoring each movement out of 4, it allows one to track small progressions. In a severely disabled person these may be significant milestones. For some individuals, they may never achieve a 4 for an activity. For example, a child with Cerebral Palsy may not be able to "sit and initiate movement by pushing hands into the bed independently" (Exercise 19) but they "could initiate the movement independently for short periods". They would then score a 3 on the HFI and move on to the next movement.
Intended Population[1]
The Huddersfield Functional Index was designed to track progression in Rebound Therapy for individuals with physical or intellectual disabilities.
Evidence
To date there have been no formal studies carried out to assess the psychometric properties of the HFI.
Links
Revised Huddersfield Functional Index Manual
Resources
[2]
References
 1. 1.0 1.1 1.2 Kaye P. Huddersfield Functional Index. 2018-19 Edition. West Sussex: Winstrada.com, 2018.
 2. Paul Kaye, Huddersfield Functional Index for Rebound Therapy. Available from _URL_


text:
PCFF is committed to nurturing the work of budding young filmmakers. We launched the first Youth Filmmaker Showcase at the 2014 Festival. Curated under the supervision of the Director of Programming, this now annual, international collection of youth-produced short film presents creative and inspiring tales from the next generation of storytellers. Following the showcase screenings, attending filmmakers participate in a post-film Q&A sharing their project inspiration and the challenges they faced during their production process. Young filmmakers may apply as an individual or as a team. (e.g. Youth organizations, film clubs, etc.).
Filmmaking Workshops: Looking for learning opportunities for aspiring young filmmakers? Join the PCFF mailing list, to learn about workshops planned during the Festival and at other times during the year. To see a list of past workshops, and to check out the PCFF Vimeo channel, click here.
Selections from past Youth Filmmaker Showcases:
Click here to view full list of past YFS film collections.
YOUTH FILMMAKER SHOWCASE (YFS) GUIDELINES:
- Films created and produced by young people ages 6 to 17 are considered "youth-produced". An adult supervisor is allowed; however, the entire film MUST be conceived and created by the youth(s) submitting with minimal adult input.
- Youth-made films within a school setting or with a community organization are eligible.
- Maximum film length is 15 minutes. PCFF accepts films of all genres.
- Films submitted to the YFS are not eligible for Festival Awards. The YFS is designed to be a non-competitive category of the Festival.
- Ready to show us what you've got? The film submission window is open May – November. Click here for details!

source: m-a-p/FineFineWeb


text:
LED vs. UV Nail Drying Lamps
The Main Distinctions Between UV and LED Nail Lamps
1 . UV nail lights cure all gel shine brands, LED lamps just cure LED specific solution polish brands
2 . LED lamps to cure polish quicker (30 seconds vs. two minutes that UV requires)
3. LED lamps can be more expensive
4. LED bulbs last way longer
Should You Purchase a LED or UV Lamp?
LED is more expensive but if you act like you have the extra money it is worthwhile because it cures more quickly and provides you less exposure to Ultra violet rays. The majority of Gel polishes tend to be formulated for LED so that they will work with LED as well as UV. It depends on your financial budget and your brand name choices for the gel nail dryers. If you buy a UV lamp, you can not go wrong because it will function system gel polishes and it is less expensive.
Why Are UV and LED Distinct?
Gel nail polish is cured through ultraviolet (UV) wavelengths striking the molecules called photoinitiators within the gel and activating all of them. UV lamps release broad UV wavelengths, so it requires longer to cure but effects all gel. LED technologies to use more small UV wavelengths that spot particular photoinitiators in the gel polish, so the gel cures quicker.
How Harmless are Nail Lamps?
Many people are concerned about the actual damage or side effects through exposure to the UV rays through nail lamps. In reality, the actual UV exposure from nail lamps is minimal in contrast to other activities people engage in daily such as walking outside, having out at the pool, utilizing tanning beds, etc . Most of the UV light that nail lamps emit is UV-A which is more secure for your skin than UV-B. Given that there is an issue about UV exposure LED lamps are viewed as safer compared to UV lamps because they need less cure time – thus less UV direct exposure. There are also basic safety guidelines you can take in your own home by using sun screen on the surfaces of your hands, or unique Anti-UV Gloves that are just $6, which is a pretty low cost to protect your skin!
Can You Use Gel Polish Without having a UV or even LED Lamp?
No . The gel will not cure without the UV light to activate the actual molecules in the gel. In case you don't cure your solution under a lamp after that buying gel polish is pointless because you won't obtain any of the large benefits of gels, like going chip entirely free for two weeks.
Can You Utilize LED Polish with a UV Lamp?
Yes! Because the UV Light produces broad UV wavelengths, it cures LED polish and UV polish. You will need to reduce the time you cure the LED Polish. Numerous companies list on their sites how long to cure the polish under LED Lamp and just how long to cure under the UV lamp.
Can You Utilize UV Polish with a LED Light?
No, it is not advised. LED lamps centers on specific wavelengths, and these wavelengths don't usually activate UV polish.
Does UV or LED really make a difference in how long the solution manicure lasts?
No . The size of how long your manicure continues chip-free depends on the quality as well as the brand of the gel shine, how well you apply it and just how much daily wear your nails endure.


24 hand grenade.
How to defuse the grenade? Carefully screw off the handle from the casing. Take out the detonator. Wrap it in paper, cotton, or a rag, and put it in your bag so it is safe from being hit or falling out. Reconnect the handle with the grenade.
Always transport the grenades unloaded. Store and transport the detonators separately.
Model 1939 Egg-shaped Hand Grenade
This is an offensive timed hand grenade. It weighs 220 grams.
To prepare this grenade for throwing, extract the fuse with the protective cap from the grenade (shown in figure 112 in the left hand) and inspect the fuse housing. Make sure that it is free from debris. Screw off the safety cap from the distance cylinder (fig 112). Replace it with a detonator. The open part of the detonator may contain wood shavings, cloth fibers, etc. In this case, turn the detonator so that they fall out. If they do not, discard the detonator, as it is unusable. Do not attempt to extract debris from the detonator with any object.
If you have a functioning detonator, slide it on the distance cylinder carefully (fig 113). Then, screw the fuse into the grenade and tighten the nut (fig 114). The grenade is ready for use.
Fig. 112. How to remove the safety cap.
Fig. 113. How to put on the detonator.
Fig. 114. How to tighten the fuse with a nut.
Screw off the safety cap, which remains attached by a cord. Take the grenade in your right hand. Grip the cap with your index and middle fingers, and throw the grenade. Remember that it will detonate 4 seconds after you throw.
Some grenades already have a detonator inserted. Know how to disarm them. Pull the fuse out of the grenade. Carefully take the detonator off and wrap it in a rag. Put the safety cap back on and screw the fuse back into the grenade.
Transport grenades separately from the detonators.
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There is a rumour of a lost family treasure. When and where the rumour started, I have no idea, but I heard tell that there was a fortune in silver and gold coin buried somewhere on Fazakerley land.
Actually, at the risk of starting a plague of folk with metal detectors and spades creeping around the family heritage, it is not unreasonable to suppose that the family may
have hidden some of it's assets at the time of the civil war in around 1642. The family knew trouble was on the way. It is easy to understand why Nicholas or Robert would bury the family cash. Both of them died in the war, which would have left no one with any clue where the money had been buried.. hmm!
If you did find anything, then perhaps it would be a bag containing silver shillings, like the one pictured here. Minted around the time of the civil war, and depicting the King the family defended ( Charles the first ), today this one coin is worth a small fortune. Just imagine, finding an entire bag! Think it is an unlikely find? Well, just such a bag was found by workmen digging in the the grounds of Walton Hall, a few miles away from Fazakerley Hall.
One item of treasure that the family did own was "a large silver chalice to be seen in Fazackerley Hall Chapel". This was recorded in 1716.


An undercover investigation by Animal Liberation NSW
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Home / Womens Secretariat / Iran, Islamic Republic Of / Articles / Lesbians in Iran: Stories of Persecution and Torture
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anonymous contributorWritten anonymously. (English)
Iranian Woman flogged as punishment for her lesbianism
Lesbians in Iran: Stories of Persecution and Torture
The Iranian Railroad for Queer Refugees (IRQR) documented cases of Iranian lesbians being forced into marriage, persecuted, become victims of extortion, "persuaded" to undergo hormone treatment and/or sex reassignment procedure, take unnecessary medication for serious mental disorders, raped and tortured.
Iranian lesbians, like their gay brothers, are not allowed to have an existence in Iran. Many are forced by society and by their family to live a lie and marry a man. Women convicted of lesbian sex face flogging or, after conviction for a fourth time, the death penalty. Lesbians have no security of person vis-à-vis the government. Each time they are arrested, they risk being raped, whipped, persecuted or even tortured to death. If they are raped by strangers or acquaintances, they and their family members are often reluctant to file a formal complaint because being raped is itself a matter of shame and disgrace. Even when complaints are filed, they do not prosper as the law pertaining to the crime of rape requires four male witnesses to prove the legitimacy of the accusation.
Those forced into marriage by their families experience the trauma of rape every night as a wife's first duty is to serve her husband's sexual needs. Under Iranian law, it is lawful for a man to rape his wife. The only unlawful rape of a woman is zena or adulterous rape. Many of these women suffer from depression and other mental and spiritual problems. If their sexuality is discovered by their family members, they are likely to be beaten and abused if not abandoned. Abandonment often means drug abuse and prostitution. Sometimes, lesbian women are forced by their families to consult a doctor, a process which can involve agitation and trauma. There have been cases where a lesbian required hospitalization after being prescribed a dangerous pill used typically for serious mental illnesses. They may even be persuaded to undergo sex-change operation, which can lead to depression, various mental and physical conditions and even suicide.
For lesbians and bisexual women, family and institutional social control may be the greatest threat to their safety and well-being. Research conducted by IRQR in last few years with Iranian lesbians indicates that their families and communities pressure them to repress their sexuality in myriad ways. Their fear of discovery is well-founded.
Lesbians whose families suspect them of homosexuality may be punished. A university student in her mid-twenties in Tehran told us that she was barred from leaving their home for there months when her mother discovered she was a lesbian. After which she was under constant supervision and was prevented from communicating outside the family.
Maryam is a 29-year-old Iranian lesbian refugee whom we were able to help get an early legal interview with the UNHRC in Turkey. She had a terrible life in an abusive situation. Her family forced her to marry one of their relatives. The husband raped her every night. She could do nothing about it because one of the first duties of women in the Islamic Republic of Iran is "sexual delivery" to their husbands. This poor girl went to a doctor after the repeated brutal marital rapes. The doctor told her, "You appear to have been raped by an animal and you need urgent health care now." However, her family ordered her to be patient and stay at her husband's home. She was then repeatedly beaten by her husband but she eventually escaped and went to a friend's house. While she was there, her brothers came when she was out and told her friend they were going to kill their sister to save the family's honour. She allegedly had dishonored the family because she had left her husband and has suspicious connections with other women. That was when she fled Iran to Turkey, where she was put in touch with us by one of our members in Iran. She cried when she told her story and I lost control too. I told her, "Don't go back to Iran. We don't want to lose any more members of our queer family."
As part of the routine pressure on Iranian women, lesbians are forced into marriages. Sanaz, 32, explained that her mother forced her to marry a man after discovering she was a lesbian. Had she refused, her parents would have disowned her. She had no means of supporting herself. She continues to live in fear of her husband discovering her sexuality and thus might become abusive or publicly "out" her in a shameful divorce. She also described a pattern of forced sex with her husband.
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text:
Client:The Solomon R. Guggenheim Foundation
Team: Atelier mfmaarch
Mission: Museum of Art and Design
Total Floor Area: 12,500 m² Global costs:€130M Excluding Taxes
Status: Competition lst phase
Location: Helsinki, Finland
Our proposed Guggenheim Helsinki sets out to be an innovative, multi-disciplinary
museum of art and design with bio-economy based building design, sustainable
contemporary design and the landmark museum in conjunction with other civic facilities in Helsinki, Finland.
The development site is located in the port city precisely at the edge of the cultural assets
with long history and the natural ones such as the isles, the seas, green areas and the
Ellipsoid space with cutting planes and voids at different angles are visually
characteristic design components in a location where multi directional forces come
together, conglomerate and dissipate a spectra of the elements and multidisciplinary
for a museum.
The project itself is in the frame of the port regeneration project of helsinki and so planned
in consideration of the site constraints gleaned from such a regeneration.
Urbanistically,it connects and reinforces the procured urban elements such as cycling and
pedestrian transport system by securing the routes for them.
Furthermore,by creating the new pedestrian bridge between museum and park,the safe
route from other civic and cultural facilities to a museum is secured disregards of
Historic waterfront setting for a project can be transformed into vivid gatepoint forming new kind of clusters for the port functions.
Thus, our proposed plan can connect existent routes and creates a pedestrian itinerary
from the harbour to historic city center and parks with the proper setback and open space.
Bio-economy type sustainable design is visually characterized by the plentiful use of
locally sourced timbers in many parts of the museum from external finishes to interior
finishes and other components as well as non-toxic and Eco-friendly materials with low
Also, the reduction of the energy consumption in operation is achieved in consideration
of the climatic design and the potential of energy sources in the locality.
As such, the ecological footprint is minimized and local economy expects to be boosted as
well as the social integration for Eco-responsible civic place is ensured.
The proposed plan of 3 storey without the basement allows the cost effective
On the other hand, the cityscape is sensitively looked upon in that the height of the entire museum is around 23m or 26m(if other engineering equipment is included) and
The roof contours are inclined and uneven, and the zinc roofs with the erosion can give
the sense of time passing in tune with the historical buildings on the back.
Largely, so far landmark or symbolic buildings have gathered in the inner urbanized area in Helsinki.
This project is itself new kind of regeneration and open more visually to any parts of the
city than that in the inner parts.
As in the exterior, the interior features of the museum proposed are characterized by ''the
white ellipsoid spaces'' with a mixture of sand witched plates and the raked walls.
Furthermore, the interior lighting can be located linearly on the ceiling in order for building
users to have the sense of direction together with LED spot lights for illumination of


text:
Here is a transcript from a recent 60 second science report from the Scientific American:
Groups with Good Social Skills Outperform the Merely Smart
Groups of two to five members who interacted with each other best outperformed groups whose individual members had higher intelligence scores.
Karen Hopkin reports:
If Alice is smart, and Bob's even smarter, working together they would A) be twice as smart, B) be half as smart or C) form a task force and get nothing done. According to new research, the answer is none of the above. It would actually depend on how well they get along.
What makes a group good at what it does? A team of scientists put their collective heads together and divided volunteers into groups of two to five. And they asked these groups to perform a variety of tasks, from brainstorming answers to questions like "What can you do with a brick?" to team typing blocks of complicated text.
What the researchers found is that the intelligence of individual group members was not a good predictor of how well the group as a whole performed. The teams that did best rated high in social sensitivity: their members interacted well, took turns speaking and included more females than groups that did poorly. The study is in the journal Science. [Anita Woolley et al., citation to come.]
So if you're looking for a recipe for group smart, don't automatically reach for the biggest brains. Try adding some heart. And at least one person who knows what to do with a brick.
Thank you Frédéric Domo for sharing this via Linked In.


Dissertation >
The Narrative Art of Presentation of the Inward Life in the Rainbow
Author KangJunLi
Tutor JiShengLei
School Hebei Normal
Course English Language and Literature
Keywords Perspective Internal monolog Free Indirect Discourse Free association Symbol and imagery
Type Master's thesis
Year 2010
Downloads 136
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Lawrence is a twentieth century history of English literature's most original, one of the most controversial and most forward-thinking writers. Despite his literary works boldly explore sex was talked about the importance of life, even a few Ministry was closed down or prohibits the publication. However, he made great contribution to world literature eventually won the recognition and admiration of the world. In his short life, he has been practicing his own creative style, trying to better capture the spark of the human mind instantly burst out. Depiction of the famous for his innovative psychological awareness, and the formation of a unique narrative art, especially good to portray the inner world of the characters. \And more representative than the other works in the narrative style. This will be of narrative and the Rhetoric of Fiction theory is based on analysis Lawrence narrative to reveal the inner world of characters in \. The paper is divided into three chapters, the first chapter analyzes the Lawrence how to use the the two narrative point of view of the omniscient perspective and character perspective transform to show the characters' inner Rainbow Art. Omniscient narrative point of view is the narrator to exercise their full rights in the narrative, comprehensive, multi-angle, internal and external integration to narrate the story and its characters behavior and mental activity; character perspective narrative is fiction narrative fiction the point of view of one of the characters start to expand the story and narrative talk through the emotional experience of the characters and the degree of perception. On the one hand, Lawrence omniscient point of view the use of a large number of analysis and explanation of the story and the characters 'inner so works more breadth and depth; On the other hand, Lawrence through the characters' perspective appearance of the hero and heroine and mental activity description and comments making the characters more lifelike, more spiritual. This flexible narrative point of view, not only in close connection with the people and events and characters more vivid and profound, but the formation of a multi-view, multi-dimensional narrative style, to allow readers to get rich aesthetic experience. The second chapter discusses how Lawrence to reveal the characters' inner art interior monologue and free indirect discourse both narrative techniques intertwined. Inner monologue is a skill to depict the characters' inner awareness activities; free indirect discourse is a partial figures pass through the author's voice sound practices, the narrator commitments or in part, bear the words of the characters, the characters through the narrator's voice speak, perspective and character of the narrator's perspective mixed in one. Lawrence skillful use that both techniques describe the inner world of the Marsh Farm three generations, so that readers can either observe the character's inner, but also to ensure the narrator's words to be expressed, the novel's narrative is even more refined, more wealth dramatic, giving a deep micro-delicate, subtle and timeless aesthetic character. Chapter III focuses on Lawrence how the use of free association, symbolism and imagery to a variety of narrative technique the staggered to portray and contrast the characters' inner art. Free association is a sudden, without processing the writer, and therefore does not have time on the causal connection between the events, reflects the reality of the natural and authenticity. With this narrative, the character's inner world truly present in front of readers; symbol and imagery techniques use not only to achieve the purpose of digging the characters deep psychological and novel philosophical connotations, but also reflects the poetic quality of the aesthetic, the readers Utah into deep The situation Pushuo thin realized its deep imply. Lawrence psychological analysis and narrative techniques perfect cleverly together, showing its superb narrative skills and narrative art, especially the superb art that reveal the inner world of characters, breathtaking. The success of the \
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A Viennese forest in the heart of Rome
ROME - Airship.03, a temporary climate-landscape installation which invited visitors to immerse themselves in a so-called deep breathing experience, closed in fashion this weekend. Originally featured at the Austrian pavilion at Expor Milano 2015, the project has caused intrigue and amusement, and on hot days even been a source of refreshment for the public who are taken through the close relationship that links Austria to nature and the environment.
Airship.03 chose Rome as its host city to show itself in the setting of the Green and Landscape Festival, set up in the hanging gardens of the Auditorium Parco Della Musica, a perfect interlocutor to open a dialogue on the quality of life in the urban environment. The theme of the installation is precisely the essence and the essential. The breath, the environment, the unmistakable identity of a place and a territory perceived through colors and scents of the surrounding space.
Designed by the breathe.earth.collective (formerly co-author of the Austrian pavilion at EXPO 2015), Airship.03 is a prototype microclimate with different functions: a breathtaking oasis in the city, a model to purify the air , a stimulus to encourage the visitor to live an experience through the senses and at the same time to reflect on air and climate, vital resources of our time.
Airship.03 looks like a thick, damp and fragrant forest, a space available to the city, which offers a significant improvement in air quality. Thanks to ventilation and water vaporization technology, the perceived internal temperature is reduced by up to six degrees when compared to the outside. Mosses, ferns and lichens play a key role: inconspicuous by nature, they are important in the ecosystem, neutralizing carbon dioxide and producing oxygen.
The central water basin and the overlying opening to the sky act as a sort of clearing in the center of the city. The installation interacts directly with the local environment: in hot, dry days Airship.03 becomes a refreshing oasis. During rainy days, the water is collected on the roof and cleaned and absorbed in the central tank. In this way, the installation becomes an active part of the urban space in moderating the microclimate.
As one enters the green oasis of Airship.03, the delicate scent of musk and the more decisive scent of stone pine, enhanced by the micro drops of water with which the air is impregnated, will strike the nostrils. Between the walls of Airship.03, infinitesimal drops of nebulized water will give a pleasant sensation of fresh well-being.
Already from the outside, the Airship.03 cylinder leaves you speechless. Inside, the mirrored ceiling and the surface of the pond play with the sun and give a bright welcome. Without even perceiving it, the visitor finds himself at one with the environment and the atmospheres that surround it.
Air is a vital element in the project and in general life yet it is often neglected, perhaps because it cannot be seen or touched. However, inside AirShip.03 the air will no longer be invisible. Small quantities of drinking water are mechanically sprayed and spread through the air using nozzles. Thanks to a game of mirrors and lights, the micro-drops are 'magically' illuminated and made visible. A process that does nothing but summarize the natural water cycle on earth. Mosses and ferns retain water, until it evaporates and returns to the atmosphere in the form of moisture, refreshing the environment.
Covering the 30 square meters of the installation are over 500 plants. But the real peculiarity lies in the fact that the so-called lower plants have been chosen - mosses, ferns, lichens and lycopods - inconspicuous by nature and consequently little considered, if not neglected. With Airship.03 the role they deserve is finally returned to them. In fact, their contribution to the ecosystem is significant: they neutralize carbon dioxide, produce oxygen and, as pollution indicator plants, store important information on climate change and weather conditions at the local level. The experience of (re) discovering the forest with the whole body and especially with the senses starts right here.
The project has now drawn to a close, but more information on it and on Airship.03 more widely can be found here: _URL_


text: Modelling cotton production at the farm-scale provides insight into the importance of water management options in adapting to climate change, especially given the renewed focus of government policies on irrigation water access and allocations. Using an irrigated cotton farm in southern Queensland as a case study, we investigated two possible adaptation strategies in response to changes in water resources from projected climate change (CSIRO Mk3.5, A1FI scenario). The modelled farm produced irrigated cotton, wheat, maize, and non-irrigated sorghum. The adaptation Strategy 1 allowed the substitution of current (baseline) production system with a system of less intensive cotton (2 m row spacing) and a maximum of 2 in-crop irrigations instead of 4. Whereas Strategy 2 allowed for the production option of dryland cotton in the rotation and implied as much 2 m row spacing cotton planting as possible depending on the other cropping rules regardless of the state of water storages. These two strategies were examined using a bio-economic farm enterprise model by evaluating the effects of projected changes in yield, water use and farm profitability (gross margin, GM), which resulted from crops competing for resources (i.e. irrigation water). Results showed 14% less water available in the 2030 s and 2050 s compared to the baseline (1960–2010), as a result of climate change and water policy decisions, thereby reducing the input costs. Under Strategy 1 there were 12.1% and 4.4% yield decreases in 2030 and 2050, respectively; while under Strategy 2 the inter-annual yield variability and proportion of low yields (<5 bales/ha) increased over the same periods. Without adaptation GMs were reduced by 27% and 43% in 2030 and 2050, respectively. Strategy 1 resulted in 8.8% increase and 15.8% decrease in 2030 and 2050, respectively. However with Strategy 2, GM increases were observed (49% and 12%, respectively in 2030 and 2050). Moreover, without appropriate adaptation options, the enterprise would have to reduce the area of irrigated cotton, causing reductions in farm business gross margins. Our findings suggested that decreased water availability would not significantly impact the cotton production system and profitability if suitable adaptation options are available.


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The International Food Loss and Food Waste Studies group are organising a further session focused around food waste research at the 2016 Association of American Geographers conference, 29th March to the 2nd of April in Sanfrancisco, CA.
We welcome all contributions that touch centrally or tangentially on food waste through (but not limited to): – Consumption – Waste management – Prevention and/or reduction – Gender – Environment – Discourse – Materiality – Social justice – International development – Policy – Food systems – Other
Interested speakers should contact Isabel Urrutia at _EMAIL_ for questions or submissions. Submissions should include your AAG pin number and abstract. Please include use "AAG Food Waste" as the subject line of your email.
SUBMISSION DEADLINE EXTENTION TO THE AAG: 18th NOV
Session abstract: Food waste scholarship: Recent advances and perspectives from a fragmented field of study
As a relatively new field of study, food waste has seen engagement from a plethora of fields across multiple scales, and locations from differing perspectives. Its interaction between food studies, discard studies, and food security is one that reflects the increasing concern for the environmental impact of food waste and mitigation techniques that extend from preventative behaviour change to waste material maximization. At the same time, at the household level, studies have begun to address the the complex ways in which consumption and food waste interact with identity, care, and food safety. This session seeks to explore the study of food waste across such diverging perspectives of the local and global, farm to household, quantitative and qualitative, sociological to managerial, agentive and structural, prevention and reduction, etc.
Organised by the International Food Loss and Food Waste Study Group, this session will: 1) Provide a forum for food waste scholars to share their work, and 2) Create a space to begin a conversation between these varying perspectives on food waste.


text:
By Linda Harris, Center City District Philadelphia
Janet Echelman determined to create moving columns of atomized water for her public sculpture Pulse after delving into the history of Philadelphia's Centre Square, one of William Penn's original five squares. Echelman's unique work, to be showcased in the $50 million transformation of Dilworth Plaza adjacent to City Hall, is a direct reference to the site's long-standing association with water, especially the history-making pump house of the Centre Square Water Works, which began operating in 1801on the site where City Hall now stands. Echelman's atomized water, illuminated by colorful LED light, mimics steam mist, a tribute to the steam engines used to pump the water and, later, the steam-driven trains arriving at and departing from the Pennsylvania Railroad station located directly across the street.
In the late 18th century, Philadelphians were struggling with recurring bouts of Yellow Fever, especially the epidemic of 1793, which killed about 10% of the city's population. The disease and filth of the city caused the citizens to demand a solution, and leaders formed a "watering committee." Clean water for drinking and for cleaning had become a top priority.
British-born architect Benjamin Henry Latrobe was commissioned to create a way to distribute water to the city. Latrobe designed a handsome neoclassical pump house, to be built in Centre Square. The water pumps used steam engine technology, cutting-edge science at the time. The first pump moved water out of the Schuylkill River via a tunnel and the second helped distribute it throughout the city. Latrobe also created a network of wooden pipes that followed the street patterns so that residents could connect to the pipes to access the water. Philadelphia thus became the first city in the country to establish a comprehensive water-delivery system.
The steam engines proved expensive, temperamental and unreliable, often breaking down and disrupting the water supply. The Centre Square Water Works lasted only about a decade, but it was an important first step in the wholesale distribution of fresh water to the citizenry and was the forerunner of the more enduring Fairmount Water Works, still in existence, now as a museum, on the Schuylkill River. Latrobe went on to help engineer the building of the Chesapeake and Delaware Canal.
Janet Echelman's sculpture, with its reference to this historic turning point in the management of water to improve people's daily lives, will establish Dilworth Plaza among the great public places in the country. Well known for reshaping urban space with large suspended woven structures that respond to environmental forces, Echelman was inspired by Centre Square's historic narrative and charted a new path of expression.
Commissioned by the Center City District, Echelman's first work using moving curtains of illuminated atomized water will be integrated into Dilworth Plaza's new, 11,600-square-foot fountain. The moving five-foot-tall curtains of mist will trace above ground the real-time movement of the three transit lines that run beneath City Hall (more on this in the next blog), will create both a playful and animated embellishment on the fountain and highlight the existence of a transit system that brings 300,000 passengers into Center City each day. The installation of Pulse will ensure that the $50 million transformation of Dilworth Plaza will become a uniquely memorable public space, thanks to support from the John S. and James L. Knight Foundation.
The $400,000 grant to the Center City District, which will enable the installation of Echelman's sculpture, is part of the John S. and James L. Knight Foundation's Knight Arts Challenge, a $9 million initiative funding innovative projects that engage and enrich Philadelphia's communities.
Construction on Dilworth Plaza began in January 2012, and will be completed in spring 2014. The plaza will be transformed from an inaccessible, multi-level, unattractive, hard-surface plaza into a sustainable, well-maintained, green public space with no stairs or barriers from the street. The new plaza will have a large lawn, tree groves, a programmable fountain showcasing Echelman's artwork, and a café with outdoor seating.
The Center City District, a private-sector organization dedicated to making Center City Philadelphia clean, safe and attractive, is committed to maintaining Center City's competitive edge as a regional employment center, a quality place to live, and a premier regional destination for dining, shopping and cultural attractions.
Find us at _URL_, Facebook, and Twitter _USER_. For photos, videos, and more information about Dilworth Plaza and Janet Echelman's artwork, please click here.


text:
It is possible to add information into a HTML element in order to convey additional information. We can use this for various reasons, such as:
id) so we can locate it at a later point (for example to add some styling to it)
class) so we can apply styling to all elements that share that class
Attributes are added to the opening tag of a pair of tags, or to a self closing tag
Paragraph Text
The next example shows how it works in practice, firstly specifying an id, then a class, and then an element with both a class and an id.
Opening paragraph Some paragraph text Text for the last paragraph
When you set a value for
id on an element, ensure it is not used by any other tag on the page, as it is designed to be a unique reference
It is possible to create a link to an
id on a page (so the browser scrolls to that section) simply create a link that references the
id prefixed by a hash (#), e.g.
Later section
Alternatively you can link to a section on a seperate page by appending a hash and the div's id to the URL, e.g.
Education section on my webpage
It is possible for an HTML element to hgave multiple classes, simply seperate them with spacing, e.g.:
Some paragraph text


text:
In my opinion the primary cause of the ET302 accident lies in the take off roll, the final nose dive could have been caused due to structural failure of the elevator and in an extremely improbable case, the infamous MCAS would have had a role to play.
All aircrafts are loaded with passengers, cargo and fuel and maintained within limits of the centre of gravity so that a safe takeoff, airborne segment and landing is carried out. Based on the weight and balance of the aircraft and the airport/runway and environmental conditions, the flight crew calculate how fast the aircraft needs to roll on the runway (speed) and how much engine thrust needs to be generated in order to accelerate with the given mass and other conditions to allow the wings to generate lift from the air mass flowing over the wings. All these parameters have to keep the aircraft takeoff roll within the runway length and after getting airborne keep clear of the obstacles like hills, buildings etc. around the airport.
As per authentic fine granular data provided by Flightradar24, I have plotted the aircraft indicated airspeed and height above the runway. Please refer to the above snapshot of the takeoff roll.
- Initial acceleration is normal till 90kts
- Passing 90kts, the ADS-B data records a positive rate of climb of 128 feet/minute for 8 seconds and gained a height of about 50 feet.
- After the initial climb, she stopped climbing and flew level for 7 seconds at the same time kept accelerating.
- Again there was an attempt to climb as the aircraft speed increased but not more than 50 feet climb could be achieved.
- At the other end of the runway she was around 180 kts and 80 feet above the runway, which is extremely low and very high on speed as compared to a normal takeoff.
A comparison of the acceleration of the ill-fated ET302 and ET302 of other days show similar acceleration rate.
- The acceleration of ET302 is observed to be normal and the comparison with the flights on other days confirm the same.
- The segment to highlight is from the time she achieved the speed of 90kts and thereafter.
- Passing 90kts, a vertical rate of climb is recored for 8 seconds. This rate is similar to the normal takeoff action when the pilot lifts the nose of the aircraft to get airborne (off the ground/runway).
- The rate of rotation of aircrafts generally is 3 degrees per second from 0-15 degrees. It typically takes 5 seconds to get airborne.
- ET302 may have rotated for close to 5-8 seconds but at a much lower speed of 90-100 kts. The typical takeoff speeds at Addis Ababa would be in the range of 155-165 kts depending on a number of variables as explained in the beginning of the blog.
- The aircraft may have rotated due to a number of reasons:
- Incorrect loading of passenger and cargo. The aircraft balances on ground on the pivotal main landing gear wheels located under the winds, close to the belly. If there is too much weight in the rear of the aircraft as compared to the front, the nose could lift as it does on a see saw.
- On the contrary if the nose is too heavy with forward load or if the flap configuration is incorrect as per the calculated performance parameter, the aircraft may find it difficult to takeoff. Video of aircraft finding it difficult to takeoff.
On 23 Apr 2005 a Turkish B-737 was preparing for takeoff from Stuttgart, Germany. After the crew received take-off clearance and after the airplane had started the take-off run, the aircraft pitched backwards and the tail struck the runway. The pilot in command immediately aborted take-off. The airplane pitched back onto the nose gear, rolled out and came to a standstill on taxiway.During the occurrence a flight attendant was slightly injured and the aircraft severely damaged.
The investigation by the German authorities concluded as following: Contrary to the actual loading of the aircraft, the load and trim sheet showed that take-off weight and centre of gravity were within the permitted tolerance. Because of the remaining passengers on board for the destination Düsseldorf which were seated in the rear part of the aircraft, and the luggage stored in the aft cargo compartment, the centre of gravity was now beyond the permitted tolerance.
5. ET302 could have rotated early due to pilot input based on erroneous speed indication on the cockpit instruments. If the pilot's speed indication is unreliable due to a technical fault, the actual speed may be much lower than the ones displayed in the cockpit. The pilot rotates solely based on the indications from the cockpit.
6. Loss of Pitch Control on Takeoff was the cause of Emery Worldwide Airlines, Flight 17 McDonnell Douglas DC-8-71F accident California February 16, 2000. The National Transportation Safety Board determined that the probable cause of the accident was a loss of pitch control resulting from the disconnection of the right elevator control tab. The disconnection was caused by the failure to properly secure and inspect the attachment bolt.
ET302 rotated at a very low speed causing the tail portion to hit the runway. Since the aircraft continued to accelerate, unlike the Turkish Airline aircraft where the crew aborted the takeoff, there could have been substantial damage to the tail area where the elevator and stabaliser are located. These flight controls help the aircraft in the up and down pitch movement of the nose of the aircraft.
ET302 continued to accelerate towards the end of the runway achieving a speed of 180 kts which is a safe speed to get airborne and leave the ground. In the process, the aircraft was too low and fortunately the runway is like a table top with steep drop towards both ends.
ET302 continued to accelerate to flap retraction speed and reached the maximum operating speed of close to 330kts indicated before the data transmission ends.
Role of MCASMCAS is a software designed for the MAX series to prevent the aircraft nose pitching too high during flight thereby preventing a stall. The stall can lead to a loss of lift and a sharp nose dive. There have been accident of the B-737 stall in Rostov of Fly Dubai and Beirut of Ethiopian Airlines. The MCAS triggers when the flaps are retracted at speeds close to 200-220 kts depending on the aircraft weight and Flap configuration. In the case of ET302, the MCAS would have activated only when the flaps were retracted and if the pitch of the nose was very high or if the high pitch indication was falsely generated by a faulty sensor as was the case in the Lion Air JT610 accident.
There are media reports of part of a stabaliser found with a nose down setting. This is expected in a stall situation where the crew is reacting to a violent pitch up attitude. The Fly Dubai accident in Rostov had similar indications of a 12 seconds burst of nose don trim just before the aircraft nose dived.
In this accident I would focus more on the takeoff roll since the pilot had reported flight control problems soon after takeoff and as per eyewitness reports, there was debris falling and smoke seen from the rear end of the aircraft.
A tail strike always leave deep marks on the runway and if there was structural damage and separation of parts they would have been reported by the air traffic controller as found on the runway after the runway inspection.
ET302 may have impacted the tails due to the extremely low speed at which the rotation is though to have occurred. Thereafter, the crew may have tried to salvate the situation by flying level and increasing speed, as can be seen on the ADS-B data. There was an attempt to raise the nose but something prevented this to happen. This could be the flight control problem that the pilot reported. The crew managed to gain height slowly but there was a force preventing them from doing so since the graph shows increase and decrease of vertical speed but slow climb.
The spikes in green are the vertical climb rate and the gradual altitude increase is depicted in blue. The graphs are not similar to the Lion Air JT610 accident flight data.
In my opinion the primary cause lies in the take off roll of ET302, the final nose dive could have been caused due to structural failure of the elevator and in an extremely improbable case, the MCAS would have had a role to play.
Why is the world finding similarities between Lion Air and Ethiopian Air accidents
The data can be misrepresented if it is not plotted using the same variables.


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In an electric vehicle, power electronics plays a central role in managing the transfer and conversion of electrical energy between the battery and various other components.
The high voltage and current ratings at which the power electronics need to operate, together with fast switching speeds, pose significant design challenges such as thermal management, EMC compliance, and reliability.
This 22-minute e-seminar provides an overview of simulation solutions that address these challenges in the design of a three-phase inverter power module. In particular, it addresses the thermal management, EMC compliance, and parasitic extraction aspects. An audience Q&A follows the technical presentation.
An audience Q&A follows the technical presentation.
Why should people attend?
Attendees will learn about how diverse technologies such as circuit solvers, system solvers, CFD and electromagnetic solvers, co-simulation between 1D and 3D solvers, and a dedicated electric powertrain library can all be seamlessly connected to provide a single source of truth to address Power Electronics Engineering challenges.


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HD1527.O7 O74 2001
Although agricultural workers have played a significant role in Oregon's economic success for over 140 years, their contributions have gone largely unheralded. While farmworkers cannery workers, and tree planters are vital to the state's economy, few Oregonians know much about their occupations, their experiences, or the people themselves.
Combining extensive archival material with powerful personal accounts, scholarly commentary and an original sound track, The Oregon Story: Agricultural Workers relates the diverse history of agricultural work in this state from the late 1800s to the present day.
In the peak months, as many as 86,000 farmworkers and their families live in Oregon, often in substandard housing and with children struggling in school. This program explores how the issues of poverty, poor housing, and inadequate education affect agricultural workers, but with an optimistic, forward-looking spirit about the possibilities for change. Woven from the stories of individuals who have lived the farmworker's life, this program is, above all, about people. It is rich with wonderful characters who are likely to linger in viewers' memories for a long time.
Contact Us: _PHONE_,


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Addendum June 2017
About the document
The Murray–Darling Basin Environmental Water Knowledge and Research (MDB EWKR) project is a 5 year (to 2018–19), $10 million project to improve the science available to support environmental water management, and thereby contribute to achieving Basin Plan objectives. MDB EWKR will undertake research aimed at better understanding the:
- links between ecological responses to flow and medium and long-term changes in condition
- impacts of threats (hydrological, aquatic and terrestrial), which may reduce or prevent the ecological improvement expected through environmental flow regimes.
This document describes the proposed research approach and activities over the life of the project from 2015-16 to 2018-19. The approach and activities have been selected to address the priority research questions identified through Phase 1 consultation and endorsed by the Project Steering Committee (PSC). The Multi-year research plan is updated annually.
This Multi-Year Research Plan (MYRP) should also be read in conjunction with the Annual Research Plans (ARPs) that provide more detail on the research activities outlined in the MYRP for each financial year.
- Environmental Water Knowledge and Research
- Murray–Darling Basin Environmental Water Knowledge and Research Project: Annual Research Plan 2018-19
- Murray–Darling Basin Environmental Water Knowledge and Research Project: Annual Research Plan 2017-18
- Murray–Darling Basin Environmental Water Knowledge and Research Project: Annual Research Plan 2016-17


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A lot happens in a first impression: we make quick, subconscious assessments about people based purely on their physical appearance and behaviours. And in many social interactions – such as the partners we choose, relationships we make in business and friendship, for example – trust is a critical issue.
"If your face looks trustworthy, people (are) more likely to collaborate with you, exchange information, share resources and offer themselves as potential mates," says the study's lead author, Karel Kleisner of Charles University in Prague. "Our study shows that perception of trustworthiness may be indirectly affected by eye colour via its association with face shape."
Kleisner and his colleagues took photos of 40 men and 40 women and asked 238 students to rate the images on trustworthiness. Based on previous evidence linking eye colour to psychological and social factors such as shyness and extroversion, they ran two rounds of testing – one in which they presented photographs of subjects retaining their natural eye colour and another in which the images were retouched so brown-eyed subjects became blue-eyed and vice versa. Each time, the participants were asked to rate how much they would trust the men and women on a 1-to-10 scale, with a score of 1 representing the highest level of trustworthiness.
Most Trustworthy Eye Colour?
In the first round of testing, researchers discovered that brown eyes were deemed more trustworthy than blue, regardless of whether they belonged to a man or woman. Eye colour was trumped by face shape for men, however. When researchers showed participants pictures of men's faces that were similar except for their eye colour, both men and women saw round-faced men with larger mouths and wider chins as more trustworthy than those with longer faces, regardless of their eye colour. The same influence wasn't seen with women's face shapes.
Earlier studies on how facial features are perceived suggest that rounder faces with broader chins, wider mouths with upward-pointing corners, bigger eyes and eyebrows that are closer together tend to engender trust. These facial features also happen to be more common among brown-eyed people. Conversely, blue-eyed faces are typically smaller, pointier, and longer and with eyebrows situated farther apart, which people tend to interpret as less reliable.
"The longer chin of blue-eyed individuals makes them look less baby-faced. It has been shown that higher ratings for honesty are given to more baby-faced people with shorter chins and lower-positioned facial features," the authors write.
A Form Of Sexual Selection?
So why would supposedly shifty features endure in a population? They speculate that the connection could be linked to a form of sexual selection. It's possible, for example, that blue eyes were more of a novel physical characteristic many years ago. At the time, men may have preferred the newer, more exotic female feature over other facial traits that conveyed trustworthiness and familiarity, contributing to the perpetuation of the suite of facial features associated with lower trustworthiness.
"The faces of brown-eyed people would be seen as more trustworthy because they represent a biosocial adaptation that has been established for millions of years. Nevertheless, the blue-eyed phenotype must have provided its bearers with some kinds of advantage to offset the loss of perceived trustworthiness, the authors write. And while decisions about how reliable people may be aren't based on eye colour or face shape alone, they may establish a subconscious bias that's worth recognizing, they say.
The study is published in the journal PLOS ONE.
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Lexicographically largest possible by merging two strings by adding one character at a time
Lexicographically largest possible by merging two strings by adding one character at a time Given two strings S and T, the task is to merge these two strings by adding one character at a time from the beginning of either string to form a resultant string. The resultant string should be lexicographically the largest string that can be formed by merging the strings S and T. Examples:Input: S = "dbcbb", T = "cdbbb"Output : dcdbcbbbbbInput : S = "geeks", T = "forgeeks"Output : gforgeekseeksApproach: The simplest idea to solve the problem is to greedily select the first characters from the string which is lexicographically bigger than others. Therefore, Greedy algorithm and Recursion can be used to solve the problem. Follow the steps below to solve the problem: If either of the string lengths is 0, then return S + T as the answer.If S is lexicographically larger than T, then return S[0] + largestMerge(S.substr(1), T).Otherwise, take the first character of T and call the recursive function largestMerge(S, T.substr(1)).Below is the implementation of the above approach:C++ #include using namespace std; string largestMerge(string s1, string s2){ if (s1.size() == 0 || s2.size() == 0) return s1 + s2; if (s1 > s2) { return s1[0] + largestMerge(s1.substr(1), s2); } return s2[0] + largestMerge(s1, s2.substr(1));} int main(){ string s1 = "geeks"; string s2 = "forgeeks"; cout


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Part of Advances in Neural Information Processing Systems 31 (NeurIPS 2018)
Yuanzhi Li, Yingyu Liang
Neural networks have many successful applications, while much less theoretical understanding has been gained. Towards bridging this gap, we study the problem of learning a two-layer overparameterized ReLU neural network for multi-class classification via stochastic gradient descent (SGD) from random initialization. In the overparameterized setting, when the data comes from mixtures of well-separated distributions, we prove that SGD learns a network with a small generalization error, albeit the network has enough capacity to fit arbitrary labels. Furthermore, the analysis provides interesting insights into several aspects of learning neural networks and can be verified based on empirical studies on synthetic data and on the MNIST dataset.


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Nana shares a video of the very few, simple supplies for chalk pastel art!
There aren't many. Plus, don't miss the bonus fall tree tutorial at the end of this short, less than three minute long video!
–> Be sure to check out our A Simple Start in Chalk Pastels Art for All Ages bundle
- A note on chalk pastels: Pastels are an easy, forgiving medium. Fun for children and adults alike! Details on the pastels and paper we use, how and where to purchase, and links to all of Nana's other pastel lessons (100+ free lessons now) are all contained in the post Pastels plus links to tutorials. A simple set is very affordable. Nana also teaches acrylic lessons.
- The practical aspects of a mess: Pastels are blessedly messy. We always have baby wipes close by to wipe hands. We wear something we don't mind getting stained or don a smock.
- Encouragement: You Can Be an Artist! 10 Day series
Be sure to visit all the Must Haves for Homeschool from iHomeschool Network!
Have you subscribed to Hodgepodge on YouTube? We are working on more video art tutorials for the future!


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This paper intends to show how Pope Francis' ecclesiology and environmental consciousness are intimately related. Pope Francis calls on the church as a community to come together to preserve important environments like the Amazon rainforest from human devastation. This communal call is similar to how Pope Francis uniquely calls on the local church to be involved in general ecclesial matters.
Maty, Alyssa. 2018. Amazonian Reform. Obsculta 11, (1) : 159-163. _URL_


gr_poly.h – dense univariate polynomials over generic rings
A gr_poly_t represents a univariate polynomial \(f \in R[X]\) implemented as a dense array of coefficients in a generic ring R.
In this module, the context object ctx always represents the coefficient ring R unless otherwise stated. Creating a context object representing the polynomial ring \(R[X]\) only becomes necessary when one wants to manipulate polynomials using generic ring methods like gr_add instead of the designated polynomial methods like gr_poly_add.
Most functions are provided in two versions: an underscore method which operates directly on pre-allocated arrays of coefficients and generally has some restrictions (often requiring the lengths to be nonzero and not supporting aliasing of the input and output arrays), and a non-underscore method which performs automatic memory management and handles degenerate cases.
Type compatibility
The gr_poly type has the same data layout as the following polynomial types: fmpz_poly, fq_poly, fq_nmod_poly, fq_zech_poly, arb_poly, acb_poly, ca_poly. Methods in this module can therefore be mixed freely with methods in the corresponding FLINT modules when the underlying coefficient type is the same. It is not directly compatible with the following types: fmpq_poly (coefficients are stored with a common denominator), nmod_poly (modulus data is stored as part of the polynomial object).
Weak normalization
A gr_poly_t is always normalised by removing leading zeros. For rings without decidable equality (e.g. rings with inexact representation), only coefficients that are provably zero will be removed, and there can thus be spurious leading zeros in the internal representation. Methods that depend on knowing the exact degree of a polynomial will act appropriately, typically by returning GR_UNABLE when it is unknown whether the leading stored coefficient is nonzero.
Types, macros and constants
type gr_poly_struct
type gr_poly_t
Contains a pointer to an array of coefficients (coeffs), the used length (length), and the allocated size of the array (alloc).
A gr_poly_t is defined as an array of length one of type gr_poly_struct, permitting a gr_poly_t to be passed by reference.
Memory management
void gr_poly_init(gr_poly_t poly, gr_ctx_t ctx)
void gr_poly_init2(gr_poly_t poly, slong len, gr_ctx_t ctx)
void gr_poly_clear(gr_poly_t poly, gr_ctx_t ctx)
gr_ptr gr_poly_entry_ptr(gr_poly_t poly, slong i, gr_ctx_t ctx)
slong gr_poly_length(const gr_poly_t poly, gr_ctx_t ctx)
void gr_poly_swap(gr_poly_t poly1, gr_poly_t poly2, gr_ctx_t ctx)
void gr_poly_fit_length(gr_poly_t poly, slong len, gr_ctx_t ctx)
void _gr_poly_set_length(gr_poly_t poly, slong len, gr_ctx_t ctx)
Basic manipulation
void _gr_poly_normalise(gr_poly_t poly, gr_ctx_t ctx)
int gr_poly_set(gr_poly_t res, const gr_poly_t src, gr_ctx_t ctx)
int gr_poly_get_fmpz_poly(gr_poly_t res, const fmpz_poly_t src, gr_ctx_t ctx)
int gr_poly_set_fmpq_poly(gr_poly_t res, const fmpq_poly_t src, gr_ctx_t ctx)
int gr_poly_set_gr_poly_other(gr_poly_t res, const gr_poly_t x, gr_ctx_t x_ctx, gr_ctx_t ctx)
int _gr_poly_reverse(gr_ptr res, gr_srcptr poly, slong len, slong n, gr_ctx_t ctx)
int gr_poly_reverse(gr_poly_t res, const gr_poly_t poly, slong n, gr_ctx_t ctx)
int gr_poly_truncate(gr_poly_t res, const gr_poly_t poly, slong newlen, gr_ctx_t ctx)
int gr_poly_zero(gr_poly_t poly, gr_ctx_t ctx)
int gr_poly_one(gr_poly_t poly, gr_ctx_t ctx)
int gr_poly_neg_one(gr_poly_t poly, gr_ctx_t ctx)
int gr_poly_gen(gr_poly_t poly, gr_ctx_t ctx)
int gr_poly_write(gr_stream_t out, const gr_poly_t poly, const char *x, gr_ctx_t ctx)
int gr_poly_print(const gr_poly_t poly, gr_ctx_t ctx)
int gr_poly_randtest(gr_poly_t poly, flint_rand_t state, slong len, gr_ctx_t ctx)
truth_t _gr_poly_equal(gr_srcptr poly1, slong len1, gr_srcptr poly2, slong len2, gr_ctx_t ctx)
truth_t gr_poly_equal(const gr_poly_t poly1, const gr_poly_t poly2, gr_ctx_t ctx)
truth_t gr_poly_is_zero(const gr_poly_t poly, gr_ctx_t ctx)
truth_t gr_poly_is_one(const gr_poly_t poly, gr_ctx_t ctx)
truth_t gr_poly_is_gen(const gr_poly_t poly, gr_ctx_t ctx)
truth_t gr_poly_is_scalar(const gr_poly_t poly, gr_ctx_t ctx)
int gr_poly_set_scalar(gr_poly_t poly, gr_srcptr c, gr_ctx_t ctx)
int gr_poly_set_si(gr_poly_t poly, slong c, gr_ctx_t ctx)
int gr_poly_set_ui(gr_poly_t poly, ulong c, gr_ctx_t ctx)
int gr_poly_set_fmpz(gr_poly_t poly, const fmpz_t c, gr_ctx_t ctx)
int gr_poly_set_fmpq(gr_poly_t poly, const fmpq_t c, gr_ctx_t ctx)
int gr_poly_set_coeff_scalar(gr_poly_t poly, slong n, gr_srcptr c, gr_ctx_t ctx)
int gr_poly_set_coeff_si(gr_poly_t poly, slong n, slong c, gr_ctx_t ctx)
int gr_poly_set_coeff_ui(gr_poly_t poly, slong n, ulong c, gr_ctx_t ctx)
int gr_poly_set_coeff_fmpz(gr_poly_t poly, slong n, const fmpz_t c, gr_ctx_t ctx)
int gr_poly_set_coeff_fmpq(gr_poly_t poly, slong n, const fmpq_t c, gr_ctx_t ctx)
int gr_poly_get_coeff_scalar(gr_ptr res, const gr_poly_t poly, slong n, gr_ctx_t ctx)
Arithmetic
int gr_poly_neg(gr_poly_t res, const gr_poly_t src, gr_ctx_t ctx)
int _gr_poly_add(gr_ptr res, gr_srcptr poly1, slong len1, gr_srcptr poly2, slong len2, gr_ctx_t ctx)
int gr_poly_add(gr_poly_t res, const gr_poly_t poly1, const gr_poly_t poly2, gr_ctx_t ctx)
int _gr_poly_sub(gr_ptr res, gr_srcptr poly1, slong len1, gr_srcptr poly2, slong len2,


Unit templates
Repeating containers
To include a repeating container in a display you must use the tag. Without tags a repeating address container would look like this:
Address Line 1 A; Address Line 1 B
Address Line 2 A; Address Line 2 B
Address Line 3 A; Address Line 3 B
Although of course we'd like it to look like this:
Address Line 1 A
Address Line 2 A
Address Line 3 A
Address Line 1 B
Address Line 2 B
Address Line 3 B
To achieve the ideal layout above a tag is used to define the format of each discrete block, which then repeats as many times as the container does.
Let's say you're pulling this address into a "Related entities" bundle, so as to display the address with the entity name. The display template would look like this:
^ca_entities.address.address1,
^ca_entities.address.address2,
^ca_entities.address.city,
^ca_entities.address.stateprovince,
^ca_entities.address.postalcode,
In the above code the unit delimiter (,) is used between instances of the full address container. The code is used between lines of the individual container placement. It ensures that if no data has been catalogued you won't get a string of empty spaces and commas.
Relative to relationships
The tag also supports a relativeTo setting which is used to shift the frame of reference of a display to a specified target. This is vital for interstitial record displays, hierarchical displays and indirect relationships (see below).
Hierarchical relationships
The tag allows users to organize and display metadata for hierarchically related records. For example, you might have a hierarchy within the Collections table, wherein one parent collection houses smaller child collections. Without the tag, you would only be able to display the preferred label of each child, and you wouldn't be able to specify delimiters such as line breaks. With the tag, however, you can break the child records up into discrete chunks, and you can include additional metadata about each. If you want to display child records along with their idno's, for example, you could do this:
^ca_collections.preferred_labels,
In which relativeTo specifies the table in question and asks the display to find child records. Once the relativeTo frame has been set, however, you can drop the.children and simply reference the collections table, wherein the child records live. If you were to continue including children, (i.e. ca_collections.children.preferred_labels) you would essentially be looking for child records within child records. To use this template in the opposite direction, to display the immediate parent of the record at hand, you would simply format it as . To display all parents, you can format the template with respect to the entire hierarchy: . If you are dealing with multiple records, either as children or as hierarchy, you'll want to enclose the entire template within a , so that each record's metadata can be displayed in an organized manner. For example,
 ^ca_collections.preferred_labels,
would display records like this:
Mini Collection X, 100.1
Mini Collection Y, 100.2
instead of this:
Mini Collection X, Mini Collection Y, 100.1, 100.2
You can also nest additional layers of tags within the syntax discussed above by following the directions in the following section.
Indirect relationships
One use of the tag is to allow cataloguers to display metadata with some relative distance to the chosen record. We could call this the Six Degrees of Kevin Bacon for CollectiveAccess.
Let's say you're creating a Collection summary and you'd like to display metadata about Entities, but Entities aren't related directly to Collections. Perhaps they are related to Objects related to the Collection. Never fear! Just as Bruce Willis is 2 degrees away from Kevin Bacon (thanks to Brad Pitt, "The Hamster Factor" and the movie "8"), Entities are also 2 degrees away from Collections thanks to their relativity to Objects.
How does this look in practice? Here's a display template that is used on the object bundle (through the GUI) or object placement (in a profile). It pulls statement metadata from a container on each Entity record related to each Object.
^ca_entities.preferred_labels
The result is a list of artwork titles, artist names and their statements for the works in the collection. Note that in the Falling Water example entity John Smith has two repeats of the statements container:
Restricted indirect relationships
You can further restrict indirect relationships by including restrictToTypes and/or restrictToRelationshipTypes. For example to restrict the relationship included in the display to just individual entities linked as artist you'd use the following:
You may sort the order in which units are output by adding sort and optionally sortDirection to the unit. For example to sort output by the name of a the related object do something like this:
Notice that the sort direction is ASC. Sort direction may be either ASCending or DESCending. If you omit a value, ascending is assumed. You may sort on more than one bundle value by listing each bundle value in sequence separated by semi-colons.
Skipping units
(From v1.5) You can skip records selected by unit tags using the skipIfExpression attribute. It takes an Expression as parameter. Note that the skipIfExpression attribute is evaluated on record level, so while you can use it if your relativeTo spec is a container or an attribute, it doesn't really make sense to do so. Below is a simple example that would skip all entities where the idno had the sequence test in it.