text:
Guidecraft Beehive Lacing, Manipulative Preschool Toy for Kids
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The beehive lacing set combines a classic lacing activity while inspiring dramatic play. Set includes a solid rubber wood beehive with holes for the three bees on multi-colored lacing strings to lace through it. These manipulatives are easy for little hands to grasp and are for developing essential and cognitive skills including dexterity, hand-eye coordination, as well as visualization and process. Suggested age: 3+.
- Beehive lacing set encourages children to lace the colorful bee strings through the beehive block
- Includes beehive, and three bees on multi-colored strings, with bead Stoppers
- Various holes run through the chunky wooden beehive block to lace each bee in and out in various directions
- Strengthens fine-motor skills and sequencing capabilities
- Suggested age: 3+


text: In this study, an impact strength measurement method based on high speed photography, that has been developed for testing porous concrete, was introduced. In the experiments, a drop weight impact test setup instrumented with a high speed camera was used. The impact strength analyses were conducted using impedance mismatch method, where the wave reverberations were investigated in detail. The measurement configuration carries the advantage of being a fast, non-contact and accurate experimental method where only the known material properties and particle velocity data of the drop weight are required. The target cementitious material itself is not actually involved in the measurements or the subsequent analyses. The method also facilitates the observation of the crack patterns throughout the experiment. The measurement method was verified to be accurate and consistent by testing different types of porous concretes and by comparing the results with those from other dynamic monitoring techniques, such as laser Doppler velocimetry and direct stress gauge measurements. (C) 2018 Elsevier Ltd. All rights reserved.

source: m-a-p/FineFineWeb


Getty Images
The History of Pointe Shoes: The Landmark Moments That Made Ballet's Signature Shoe What It Is Today
Pointe shoes, with their ability to elevate a dancer both literally and metaphorically to a superhuman realm, are the ultimate symbol of a ballerina's ethereality and hard work. For students, receiving a first pair of pointe shoes is a rite of passage. The shoes carry an almost mystical allure: They're an endless source of lore and ritual, with tips, tricks and stories passed down over generations.
The history of pointe shoes reveals how a delicately darned slipper introduced in the 1820s has transformed into a technical tool that offers dancers the utmost freedom onstage today.
1730s: Marie Camargo Invents the Ballet Slipper
A lithograph of Camargo in a floral gown and heeled shoes with one leg lifted
Marie Camargo
Courtesy Jerome Robbins Dance Division, The New York Public Library
During ballet's creation in the courts of Europe, dancers wore heeled shoes in line with the era's aesthetic. In the 1730s, Paris Opéra Ballet dancer Marie Camargo was the first to remove her shoes' heels, forging the way for the soft slipper we know today. "Camargo is the transitional point between a heeled shoe and pointe shoe. She is the ballet slipper," says Linda Murray, curator of the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts. The slipper allowed Camargo to perform leaps and fast allégros that were not possible in heeled shoes, expanding movement vocabulary for ballerinas.
1790s: Charles Didelot's Flying Machine
In the late 18th century, Charles Didelot, a Paris Opéra Ballet dancer-turned-choreographer, invented a wire rigging that allowed dancers to "fly" onstage. The apparatus lifted dancers up onto their toes before they flew. "His ballet Flore et Zéphire introduced the idea of weightlessness," says Murray. "From a choreographic perspective, this is the first notion of what it means to dance on pointe."
1820s–1830s: Marie Taglioni and the Romantic Ballerinas
Lithograph of Taglioni in a dress covered in flowers and pearl jewelry and wings, standing on pointe in a low arabesque
Marie Taglioni in La Sylphide
Courtesy Jerome Robbins Dance Division, The New York Public Library
In 1823, the Italian dancer Amalia Brugnoli introduced pointework to ballet audiences, rising up to the tips of her toes in Armand Vestris' La Fée et le Chevalier. Brugnoli wore lightly stitched square-toed satin slippers, and had to use her arms and a visible amount of effort to get up on her toes. Nevertheless, she inspired the other dancers of the day, including Marie Taglioni, to practice the technique. In 1832, Taglioni became the first to dance a full-length ballet on pointe when she premiered La Sylphide, choreographed by her father, Filippo Taglioni. "Marie Taglioni gets the credit and the blame for introducing pointework," says Eliza Gaynor Minden, the head of design behind pointe shoe company Gaynor Minden. For Taglioni, rising up on pointe was more than just a stunt; she used her shoes—tight-fitting, darned, leather-soled satin slippers tied with ribbons—to convey character and emotion. Other Romantic-era ballerinas, particularly Fanny Elssler, who excelled at fast footwork, pushed pointework even further in the years that followed.
1870s–1890s: Italian Shoes Set the Imperial Standard
Sarah Lane in pink Aurora costume in a pass\u00e9 with one arm in the air onstage
American Ballet Theatre's Sarah Lane in Alexei Ratmansky's reconstruction of The Sleeping Beauty
Rosalie O'Connor, Courtesy American Ballet Theatre
Later in the 19th century, Italian shoemakers developed reinforced pointe shoes with stiff boxes made from newspaper, flour paste and pasteboard. The shoes' cardboard insoles were reinforced with leather. "The Italian ballerinas were able to do more bravura steps on pointe, including sustained balances and multiple pirouettes," says Minden. Italian dancers traveled to Russia, where ballet was extremely popular in the imperial courts, and ultimately influenced Marius Petipa to incorporate pointework into his ballets. He used it to help define his characters, such as Princess Aurora in The Sleeping Beauty, whose long balances demonstrate her poise.
1910s–1930s: Anna Pavlova and Capezio
Black and white photograph of Anna Pavlova in a white swan tutu standing in fifth position on pointe with her arms crossed at her heart
Anna Pavlova in 1905
Herman Mishkin, Courtesy the Museum at FIT
Early-20th-century prima Anna Pavlova had very high, unstable arches, so she put leather soles inside her pointe shoes and hardened the box for more support. When she made her first trip to the U.S. in 1910, Pavlova had her company outfitted in shoes made by the Metropolitan Opera shoemaker Salvatore Capezio, thereby launching the first international pointe shoe brand. While Pavlova helped bring pointe shoes into the modern era, her shoes still had a very rounded toe and narrow vamp, making them much less stable than those worn today. "Footage of Pavlova even shows that she's sort of rocking on her toes the entire time she's on pointe," says Murray.
Close up photo of old heavily darned pointe shoe
Anna Pavlova's heavily darned shoe
Courtesy The Museum at FIT
1920s–1980s: The Shoe Adapts to Abstraction
Reichlen, in pink tights and a black leotard with a black belt, stands in a wide fourth position with her arms in the air.
New York City Ballet's Teresa Reichlen dancing Balanchine's 1946 The Four Temperaments
Paul Kolnik, Courtesy NYCB
Throughout the 19th century, the main purpose of the pointe shoe was to serve a ballet's narrative, distinguishing the mortals from supernatural fairies and sylphs. "But in the 20th century, particularly with the emergence of the Ballets Russes and then George Balanchine, you start to see an interest in pushing the vocabulary of ballet instead," says Murray. Over the next several decades, innovators from Bronislava Nijinska to William Forsythe expanded the physical limitations of ballet technique, leading to a demand for a stronger, more supportive shoe. Designs like the flat, platform box we are familiar with today were developed to give dancers more control.
1990s–Today: New Materials and Methods
Full page ad of two photos of Gillian Murphy with a quote below, and pink Gaynor Minden logo
Gillian Murphy in an early Gaynor Minden ad
Courtesy Gaynor Minden
In recent years, scientific approaches to pointe shoe construction and training have helped the shoe adapt to contemporary choreographic demands. In 1993, Gaynor Minden launched a shoe inspired by the shock-absorption found in athletic footwear, opening the door for other designers to experiment with modern materials to improve shoes' durability and fit. Emerging research in dance medicine has also made pointework safer. Dr. Sue Mayes, director of The Australian Ballet's pioneering Artistic Health program, collects data on all musculoskeletal complaints in the company, and she advises that proper fit for shoes is paramount to injury risk reduction. "The foot needs room to expand and contract to allow the shoe to act as a spring," she says, "We encourage dancers to be reassessed every year, even as adults." Mayes also stresses that proper preparation, gradual reintroduction of pointework after a break from dancing, and full leg strengthening can allow a dancer to perform on pointe without fear. "The last thing we want is for a dancer to feel cautious onstage."
Mayes adjusts the foot of a dancer sitting on a massage table in a studio.
Dr. Sue Mayes working with dancers at The Australian Ballet
Kate Longley, Courtesy The Australian Ballet
Beyond "European Pink"
Two Black dancers in silver tutus put on satin pointe shoes
Ballet Black dancers Cira Robinson and Marie Astrid Mence model Freed's line.
Tyrone Singleton, Courtesy Ballet Black
In the early 1970s, Dance Theatre of Harlem began customizing the company dancers' tights, pointe shoes and ribbons in shades of brown to match their skin tones. The effect was revolutionary for classical ballet. But it isn't until recently that pointe shoe manufacturers have started releasing shades that reflect the diverse skin tones of the ballerinas wearing them. Gaynor Minden released a collection of inclusive satin shades in 2017. The following year, Freed of London followed suit, in collaboration with the London-based dance company Ballet Black. And in the midst of June 2020's nationwide protests demanding racial justice, brands Bloch, Russian Pointe, Capezio, Nikolay, Grishko and Suffolk jumped on board, promising expanded lines released within the year. These options have helped free dancers from pancaking their shoes to match their skin tones, which can be costly and time-consuming. Most importantly, redefining what a pointe shoe looks like breaks down a long-outdated construct and makes ballet more accessible and welcoming to all


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A few days ago, I saw a report that many women in Shanghai expressed their minds of marrying foreign men, and some clever people started to do the business of introducing Chinese ladies to foreign men. Why these Chinese women are proud of marrying foreign men and consider it as a fashion. I think there are several reasons:
1. In Chinerse women's mind, foreign men are richer, so marrying foreign men means a lot of money. At present, China is still a developing country and not rich, so finding a foreign husband is like marrying a purse. Many Chinese women try to marry foreigners, if they can not go abroad, at least they want to marry men from Hong Kong, Macao and Taiwan.
2. Marrying a foreign man means good social status. China now is always trying to attract foreign investors and many Chinese worship all foreign things; So marrying foreign man is naturally followed by the rise in status.
3. Marrying foreign man can meet Chinese woman's vanity. All Chinese women have vanity, marrying foreign men can achieve their own goals and please their vanity.
4. Marrying foreign man is a springboard to achieve their purpose of going abroad. Many Chinese people want to go abroad, but have few opportunities, so some marrying a foreign man can achieve their purpose of living abroad easily.
5. Chinese women think foreign men are more gentlemanly. They often learn from movies that foreign men are very polite and gentle; naturally these gentlemen attract a large number of Chinese women.
6. Marrying foreign men can meet their own freshness and curiosity. They already get used to Chinese men and are too familiar with their style, so they want to make some changes.
7. Some Chinese women build up relationships in their daily life, naturally they will marry foreign men. Some Chinese women study abroad or work in foreign-funded enterprises, so they often have chance to communicate with foreign men. Of course, women will marry foreign men after they have affections.
8. They like foreigners' living habits and customs; they want to pursue foreign life ways through international marriage. Some Chinese women begin to like foreign life style from childhood through literature or media, so they would like to achieve their purpose through marrying foreign men.
9. Chinese women think foreign countries can achieve the equality between men and women, and Chinese always have concept that men are superior to women, so they marry foreign men and hope to have equal life and work opportunities.
10. Some foreign countries put forward preferential policies to attract Chinese talents; naturally some talented Chinese women also have chances. If they move and work abroad, usually their first choice is to marry foreign men.

source: openbmb/Ultra-FineWeb


text: Phytolith carbon (C) sequestration has been identified to be a relatively stable and efficacious mechanism to securely reduce atmospheric carbon dioxide (CO 2 ) concentration. As a fast-growing and Si-accumulating plant, moso bamboo (Phyllostachys pubescens) can produce large quantities of phytolith-occluded carbon (PhytOC). In this study, we sampled the mature leaves, leaf litter and soils from moso bamboo stands located in Qingshan (30°13′N, 119°47′E; Lin'an, China) to study topographic effects on phytolith and PhytOC production in moso bamboo ecosystems. Our results showed that the phytolith contents of mature leaves and leaf litter in moso bamboo stand decreased with the slope steepness as follows: 2–5° > 5–15° > 15–35°, and showed an increasing tendency with the slope position as follows: lower slope < middle slope < upper slope. The PhytOC production flux also showed the same trend as that for phytoliths and ranged from 10.32 to 16.16 kg CO 2 ha − 1 year − 1 . Our data indicate that topography, especially slope position and slope steepness, should be considered as some key factors to enhance bamboo phytolith C sequestration during future bamboo afforestation and reforestation.


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Soft Set Theoretic Approach for Dimensionality Reduction
A reduct is a subset of attributes that are jointly sufficient and individually necessary for preserving a particular property of a given information system. The existing reduct approaches under soft set theory are still based on Boolean-valued information system. However, in the real applications, the data usually contain non-Boolean values. In this paper, an alternative approach for attribute reduction in multi-valued information system under soft set theory is presented. Based on the notion of multi-soft sets and AND operation, attribute reduction can be defined. It is shown that the reducts obtained are equivalent with Pawlak's rough reduction.


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From a recent newspaper article in the USA Today:
"If you've ever had blood drawn from your arm, you know the drill: Tourniquet in place around your upper arm, you clench your fist a few times to get the blood flow going.
That might not be such a good idea, says a new study in the Annals of Clinical Biochemistry, Fist clenching seems to be one of the main reasons for falsely high potassium levels, a situation called pseudohypercalemia.
Fist clenching does improve blood flow and make veins stick out, lead author Vanessa Thurlow told the BBC. But a lot of good that does if it results in a high potassium level that really isn't, because that finding could mistakenly lead to further tests or treatment for impaired kidney function.
A phlebotomist, someone who draws blood, told the BBC that a better technique is to ask patients to gently close their hand when the needle is being inserted and then open it. Oh, and tourniquet should be loosened once the blood starts flowing."


In the Player's Handbook, it is pretty clear that reactions normally interrupt the thing that they are reacting to.
Xanathar's Guide to Everything, however, has explicitly changed all reactions to occurring after their triggers have finished resolving unless the ability specifies otherwise, and is reliant on that implicit assumption for several reaction abilities already.
This leads to contradictory interpretations of reactions that take implicit timing. How should this be resolved?
I'm particularly interested in how to resolve this in Adventurers League games, where players show up with perfectly legal characters reasonably expecting their abilities to work either way on account of owning or not owning XGE.
Reactions come after their triggers, except when they don't
If the timing is specified in the ability, use that timing. Otherwise, reactions occur after the trigger.
This entire thing is a matter of specific over general. In 5e, when a specific rule and a general rule conflict, the specific rule wins.
Xanathar's Guide to Everything outlines the general rule for the timing of reactions:
If you're unsure when a reaction occurs in relation to its trigger, here's the rule: the reaction happens after its trigger completes, unless the description of the reaction explicitly says otherwise.
So, if the timing of the spell/ability you are using does not specify a timing then the reaction will come after whatever triggered it.
This is essentially just rephrasing what was already in the DMG since its release:
Various spells and features give a creature more reaction options, and sometimes the timing of a reaction can be difficult to adjudicate. Use this rule of thumb: follow whatever timing is specified in the reaction's description. For example, the opportunity attack and the shield spell are clear about the fact that they can interrupt their triggers. If a reaction has no timing specified, or the timing is unclear, the reaction occurs after its trigger finishes, as in the Ready action. (D&DB)
Thus, nothing has changed in the way reactions are handled since the DMG was released. Even with the rule being in the DMG and XGtE, you may (and probably will) still meet players who misunderstand how reaction timing works. There is not too much you can do to prevent this, but having a thorough understanding of the basics yourself will allow you to talk them through the issues with confidence that you are correct. Thus, I have prepared an extensive analysis below to hopefully help you accomplish this.
Dealing with Adventurers League and false expectations
Firstly, it is simply a fact that a DM is going to have to teach/correct that players that don't know or misunderstand the rules. It is one of the DM's primary jobs. There is not much you can do at the table to fix a character built on a misunderstanding of a rule whether it was based on not owning a particular reference material or not.
So how do you deal with it when it comes up? Well, as an AL DM, you are bound to follow the rules as written for all cases in which the rules are clear. However, if there was a case of a reaction ability that you found unclear lean on the general rule. If the ability is unclear then just assume it comes after the trigger. If assuming this seems to break the ability or make it useless then it is probably incorrect. In short, either go with the reaction happening after the trigger or go with what allows the ability to work.
Reaction spells
Below, I go through every currently published spell with a casting time of reaction and show how it either follows or is an exception to the general rule above. Remember, each one of these spells is analyzed using this same rule. As long as you understand it, there should be minimal issues with adjudicating most reaction timing abilities.
Shield - interrupts trigger
Trigger: when you are hit by an attack or targeted by the magic missile spell.
So, shield explicitly says that it takes effect before the triggering attack resolves (and before the triggering magic missile spell hits). That means it is an exception and may take effect before the triggering effect resolves. This is an exception to the general rule because it's timing is specified by its effects.
The DMG also explicitly says that shield interrupts its trigger:
See this Q&A for more on the timing of shield: Do you have to cast Shield prior to your opponent's attack roll?
Absorb elements - interrupts trigger
Trigger: when you take you take acid, cold, fire, lightning, or thunder damage.
Again, the spell wording implies that it comes before the damage from the attack is resolved and thus it applies to the triggering attack as well. See this Q&A and this Crawford tweet for more.
Counterspell - interrupts trigger
Trigger: when you see a creature within 60 feet of you casting a spell.
Counterspell thus interrupts the spell being cast explicitly (also, if it did not it would literally be useless).
This post deals partially with the timing of counterspell: Can a readied spell be Counterspelled after it is cast, but before the trigger occurs?
Feather fall - interrupts trigger
Trigger: when you or a creature within 60 feet of you falls.
A falling creature's rate of descent slows to 60 feet per round until the spell ends.
The effect description says that it slows creatures that are in the process of falling. This means that it interrupts the falling and is thus another exception. Again this is also clear because if feather fall did not interrupt the falling creature's decent, it would be useless as the ground will have stopped the creature already with potentially deadly results.
Hellish Rebuke - occurs after trigger
Trigger: being damaged by a creature within 60 feet of you that you can see.
You point your finger, and the creature that damaged you is momentarily surrounded by hellish flames.
Hellish rebuke does specify timing, but it aligns with the normal rules of reactions. The trigger is being damaged and the reaction occurs after that damage is resolved. So, this spell is not an exception.
See here for further discussion: Hellish Rebuke reaction with zero hitpoints
Soul cage - occurs after trigger
Trigger: when a humanoid you can see within 60 feet of you dies.
This spell snatches the soul of a humanoid as it dies and traps it inside the tiny cage you use for the material component.
The trigger is a humanoid dying and the spell snatches the soul as soon as its death is complete. Thus, this reaction does not interrupt the trigger and happens after the trigger is resolved.
Non-spell reactions
I'll go over the two most commonly used non-spell reactions. There are many abilities and other effects that are reactions so it would be incredibly unwieldy to go through and analyze them all. However, knowing and understanding these two should cover a large portion of your reaction timing issues in most games (in my experience).
Ready action - occurs after trigger
Trigger: variable
The ready action can be difficult to adjudicate because it is up to the person readying the action what they want the trigger to be. What makes this especially tricky is that there are no real guidelines for how specific of a trigger you can set which leads to some confusion when it comes to, for example, the question of whether you can interrupt the casting of a spell with a readied action (also see this).
One thing is quite clear though, the readied action is always carried out after the triggering condition is met. No matter how clever the exact trigger is worded, the readied action can never precede the triggering condition.
Opportunity attack - interrupts trigger
Trigger: when a hostile creature that you can see moves out of your reach.
An opportunity is thus taken before an enemy's movement completes and thus interrupts the trigger. The enemy is free to continue moving after the resolution of the opportunity attack if they are able.
The DMG also explicitly says that the opportunity attack interrupts its trigger:
These are all the spells with a casting time of reaction that are currently published and a couple examples of non-spell reactions.
You don't have to look at this list though as long as you remember adjudicating every single one of these things can be done just by looking at the particular ability by following one simple rule: if a timing is listed or implied use that timing, and have the reaction resolve after the trigger for all the others.
 - \$\begingroup\$ Comments are not for extended discussion; this conversation has been moved to chat. \$\endgroup\$ – mxyzplk Mar 16 '18 at 5:41
Your Answer


Liquid Nitrogen Is Beautiful When It's Dancing Across Gasoline
Instead of mixing, it just spins a beautiful trail of gas.
Amber, Visual arts, Painting, Art paint,
Pouring liquid nitrogen on another liquid won't result in an instant block of ice, nor even a slushie. Ultimately, it'll have very little effect on the liquid below but, as YouTuber carsandwater illustrates, it will look very cool while it is busy having no effect.
In this random but mesmerizing video, you'll see a few spoonfuls of liquid nitrogen dance around on the surface of gasoline, rubbing alcohol, and water.
Because the liquid nitrogen is less dense than the water, it just floats on top instead of mixing in. And while it does, it sometimes forms a tiny bit of ice beneath it, which acts as an insulator and keeps the warm liquid somewhat separate from the cold nitrogen. In the meantime, the liquid nitrogen just floats around, spinning and emitting some really cool vapor shapes as it evaporates.
It's not quite as flashy as using liquid nitrogen to fight against a flamethrower, but it's probably a little safer.
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Local Architecture: Wayfarers Chapel by Lloyd Wright
Taking inspiration from the natural environment, Wayfarers Chapel in Palos Verdes is a beautiful architectural interpretation of Northern California's soaring redwood forests.
Designed by Lloyd Wright, the son of Frank Lloyd Wright, the small glass and wood enclosure seamlessly connects to its beautiful site, perched above the Pacific Ocean on the California Coast.
Constructed in 1951, the 'tree chapel' highlights the relationship between nature and spirituality through the considerate use of form and massing, as well as transparency of materials and scale.
A celebration of space, spirituality and the natural world, the small structure is a beautiful and timeless work that embodies an appreciation of space, connectedness and the natural environment.
Find more information on the architecture, history and how to visit Wayfarers Chapel online.


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Warehouse management has changed through the year with the introduction of automation software that makes every process within the warehouse more efficient. This includes the movement, weighing and storage within the warehouse. For big warehouses that handle huge volumes of packages, advanced automated cubing systems are necessary. Here are some of the best cubing systems for warehouses.
This package scanning cubing system leaves no room for inaccuracies; the laser technology is designed to provide accurate dimensional data, regardless of the speed of the conveyor belt. The scanner allows the warehouse to handle large numbers of packages at a much faster speed thanks to its high-speed lasers.
When it comes to installation costs, this cubing system will save you money because of its relatively small size. The IMPS dimensional system can be integrated into the conveyor configurations without having to alter the existing configurations.
Many warehouse managers have remarked at how efficient the warehouse is running since they installed this dimensional scanner, there is no more need to use tape measures which take a lot of time, such information can be established within seconds, saving time and money. To learn more about the in-motion package scanner, one of the most advanced cubing systems, visit DimensionalWeighing.com.
The most unique and impressive feature of the Walz Cube cubing system is its ability to connect directly to the courier systems like DHL, Fedex, TNT and the like. This makes the recording system and transfer of data seamless as the information is shared directly using the internet.
The advanced technology enables a warehouse to simply connect the PC to the internet and the software will enable the easy exchange of data. The Walz Cube offers the option of using it as a standalone dimension system or it can be integrated into the conveyor belt system for faster processing at busy warehouses.
This static cubing system will provide accurate dimensional weighing and scanning for even the most busy warehouses. Customers who have used it say it has completely changed the way they manage packages for shipment and they did not have to worry a lot about installation since it was very easy.
This conveyor-based cubing system from WalzEQ.com can be used either for cartons or pallets. The warehouse can choose between 3 different dimensions for this cubing system.
For a busy warehouses, the 4010 inline is the best as it is able to handle high-speed in-motion scanning, meaning work will be done faster in with more volumes scanned. The 3000 cubing system is for a budget warehouse with not so much activity. All three cubing systems from WalzEQ.com will provide weight and dimension data for packages. They can also be easily integrated into the existing systems.
All three of these cubing systems will be able to deliver certain general advantages to the warehouse. These include.
These are proven cubing systems that offer the best functionality and performance for all levels of dimensioning, package weighing, and other warehousing automation needs.


text:
Ambient light, ophthalmic artery blood flow velocities and retinopathy of prematurity
Exposure to bright light was recently proposed as a possible risk factor for the development of retinopathy of prematurity. A semi‐longitudinal Doppler ultrasound study was conducted of ophthalmic artery flow velocities at normal and increased ambient light in 22 preterm infants, at post‐menstrual ages from 28 to 37 weeks. The aim of this study was to obtain relationships between ophthalmic artery blood flow velocities at various post‐menstrual ages and lighting conditions and the occurrence of retinopathy of prematurity. A gradual increase in average blood flow velocities was seen between 28 and 37 weeks. A stepwise increase in flow velocity was seen in all cases when ambient light was increased from moderate to intense. Five of the 22 infants developed retinopathy. No association could be established between ophthalmic artery flow velocities or light‐induced changes in flow velocity and the occurrence of retinopathy.
No Supplementary Data
No Article Media
Document Type: Research Article
Affiliations: 1: Rotterdam, The Netherlands 2: Department of Pediatrics. Division of Neonatology, Erasmus University/Sophia Children's Hospital and Rotterdam Eye Clinic
Publication date: October 1, 1993


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The National Piping Centre receives many requests for filming and visits by journalists throughout the year. We are happy to accommodate these requests where possible, however availability is limited, so if you would like to arrange a media visit, the following charges will apply:
- Print journalists, with a group of 2 or less – Free of charge. These visits must be planned around our tour times and days, and agreed in advance with the management
- Film crews with 2 or more people. Where possible we will organise a 3 hour media slot in our venue with a piper. This allows you access to the Museum of Piping to film general shots. Many of the items in our collection are on loan from National Museums Scotland (NMS). For permission to film close ups of these objects you need to also obtain permission from NMS. The cost for this visit is £250 for a 0 – 3 hour visit.
On your visit we will provide:
- Up to three hours of filming permission.
- Access to our Museum of Piping or Auditorium (if available) for your filming.
- A bagpiper in full day dress, who can speak knowledgeably about the history of piping, conduct a tour of our museum and will guide you through the basics of playing the bagpipes as you try them out.


kids encyclopedia robot
Dominic O'Brien facts for kids
Kids Encyclopedia Facts
Quick facts for kids
Dominic O'Brien
Dominic O'Brien.jpg
Dominic O'Brien (right)
Born August 10, 1957 (1957-08-10) (age 63)
Known for Author of memory-related books
Dominic O'Brien (10 August 1957) is a British mnemonist and an author of memory-related books. He is the eight time World Memory Champion and works as a trainer for Peak Performance Training.
He began developing his mnemonic techniques in 1987 when he saw Creighton Carvello memorise a pack of 52 playing cards in less than three minutes on the BBC television programme Record Breakers. To memorise numbers, O'Brien developed the mnemonic Dominic system, which is similar to the Major System. He has written books about memorisation techniques such as How to Develop a Perfect Memory, Quantum Memory Power, Learn to Remember, How to Pass Exams, The Winning Hand, and The Amazing Memory Box.
He gives lectures, and has been seen on television programmes such as The Human Body.
Dominic O'Brien had an entry in the Guinness Book of Records for his 1 May 2002 feat of committing to memory a random sequence of 2808 playing cards (54 packs) after looking at each card only once. He was able to correctly recite their order, making only eight errors, four of which he immediately corrected when told he was wrong.
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Dominic O'Brien Facts for Kids. Kiddle Encyclopedia.


text:
A cable ferry (known as chain ferry, swing ferry, floating bridge, or punt) is a ferry that is guided (and in some cases propelled) across a river by cables connected to both shores. Early cable ferries used either rope or steel chains, with the latter resulting in the name "chain ferry". Both of these were replaced by wire cable in the 19th century.
Gallery[change | change source]
Malgas Ferry on the Breede River, Western Cape, South Africa
Other websites[change | change source]
- Twyford chain ferry Archived 2006-05-29 at the Wayback Machine on the River Trent,UK, 1899
- Cable ferries operating in New Brunswick, Canada Archived 2008-11-15 at the Wayback Machine


text:
SAFE THERMAL LOADS
The evaluation of a railway car wheel design should include studies of the wheel's response to thermal and mechanical loadings. The damage caused by these loadings is a major indication of the value of a given wheel design. Due to the complexity of the problem, there certainly does not appear to be a unique procedure for this analysis. At the University of Illinois we have proposed a simple model which retains the sophistication necessary to reasonably represent the problem. The method includes an elastic-plastic thermal stress analysis using material properties as a function of loading rate and temperature. Residual stress changes from the thermal loading are considered along with the oscillating stresses developed from the rail load that are conducive to fatigue damage. Experimental results are presented for comparison with theory.
- Supported in cooperation with the Association of American Railroads, Federal Railroad Administration and Railway Wheel Association. Sixth International Wheelset Congress, October 22-26, 1978, Colorado Springs, Colorado.
American Iron and Steel Institute230 North Michigan Avenue
Chicago, IL United States 60601
- Wetenkamp, H R
- Kipp, R M
- Publication Date: 1978-10
- Features: Figures; References; Tables;
- Pagination: 29 p.
- TRT Terms: Braking performance; Cracking; Finite element method; Stresses; Structural analysis; Thermal degradation; Thermal stresses; Wheel loads; Wheels
- Old TRIS Terms: Thermal cracks; Tread braking; Wheel stresses; Wheel thermal stresses
- Subject Areas: Railroads; Vehicles and Equipment;
- Accession Number: 00184166
- Record Type: Publication
- Source Agency: American Iron and Steel Institute
- Report/Paper Numbers: Volume 2 Tech Paper
- Files: TRIS
- Created Date: Dec 29 1978 12:00AM


of playing Urza's Saga?
The biggest drawback of the card is the space it takes in your list. It is good in multiples and good early, so playing just one is ok but probably not optimal. So then you have to think about how many colorless lands you can really play, and what you'll have to cut. Different answers have been given to that question – see the decklist section for more discussion.
The other drawbacks are that (1) it sends itself to the graveyard; (2) it is an enchantment; and (3) it is somewhat mana intensive. Sending itself to the graveyard means that it puts you down a land when it dies. You can often find Mox Diamond with it so that you don't lose mana, but that's not always an option and you don't always have Loam to get it back. As an enchantment, it is a prime target for opposing Force of Vigors, which can be a bit back-breaking when they tag your Mox and your Saga. It also enables your opponents to turn things like Disenchant into land destruction (though does anyone play Disenchant anymore?).
The card is also quite mana-hungry. To get the full two constructs, you need to spend effectively 6 mana over two turns. Six mana over two turns for a pair of constructs and a 1 mana artifact isn't a bad deal, but it can be clunky when you want to cast other spells and have to choose between constructs or Sylvan Library, for example. In the early turns when you want to drop lock pieces or be porting your opponent, your mana can be somewhat strained.
These drawbacks are far from making the card unplayable, but they're things to keep in mind.
How does Urza's Saga interact with Thespian's Stage?
When Saga was spoiled, I was blowing up my judge friend's phone with questions. Every interaction was more confusing than the last, but to answer the main question – yes, you can end up with a land that can create constructs forever and will not die to being a saga.
To explain how this works, imagine Thespian's Stage as a troupe of actors, and the play they're learning is the story of Urza's Saga.
When Stage first copies Saga, the actors have just started learning and can't actually do anything except be actors. In real magic terms, this means that you will have an Urza's Saga with 0 chapters and thus with no abilities (except the Thespian's Stage ability). At this point, the actors can't even figure out how to tap for mana. Note that this is true no matter how many chapters are on the Saga you're copying. Stage copies only the text printed on the card, not any abilities the card may have gained. Thus it will always be a blank saga to start out with – your actors don't have any clifnotes.
Then, when you hit the first main phase of your turn, the actors learn the first chapter of the Saga. At this point, your land will gain a lore counter and, in the process, gain the ability to tap for mana. Good job, actors!
In the next first main phase, your actors are really getting into it and now they can build constructs just like Urza used to! Like the original Saga, the Stage-Saga will gain another lore counter at the start of the main phase and thus gain the ability to make constructs just like a normal Saga could.
But now here comes the tricky part. When your Stage-Saga hits your first main phase for the third time, your actors are so engrossed in the Saga that they are willing to die to stay true to the story. In the game, this means that if you don't copy a new land, the Stage-Saga will get its third counter and go the graveyard just like a normal Saga would.
But you don't have to do this. Instead, while the third chapter trigger is on the stack (or at any point before it resolves), you can use Stage's copy ability to copy another land that is not a saga. If you do this, you will now have a land that has (1) all the abilities of the land you copy; (2) the usual Stage ability to copy other lands; and (3) the abilities Stage gained while it was a Saga. Because of how layers work, Stage will have 'gained' abilities, not just copied them, and thus it will keep those abilities as it turns into other lands. Your actors are now a traveling troupe, playing Urza's Saga at different locations. If you choose to copy a fresh land with the third chapter trigger on the stack, you will even get to search up an artifact for your troubles, all without sacrificing your Stage (since it will not be a saga when the third chapter ability resolves). The result is that you could well have a basic forest that can make constructs. Kinda neat!
Does Urza's Saga replace Field of the Dead?
Urza's Saga could replace Field of the Dead if you want it to. Because of the interaction with Stage, Saga can be used to create a creature every turn and thus provide the same kind of threatening inevitability that Field does, all while being available a lot earlier and asking much less in the way of setup. Plus Saga's creatures are just bigger – 4/4s and 5/5s vs 2/2s. For more arguments in favor of cutting Field for Saga, watch Jarvis Yu's stream.
That said, I'm not personally 100% sold on the idea of cutting Field. Unlike Saga, Field can create multiple creatures in a single turn, which can often be the difference in bailing you out of a bad board position. Field also has the potential to make zombies the turn you draw it, requires no mana investment, and does not ask you to have a free Stage for it to be effective. Copying Saga with Stage and then copying a fresh land means taking several turns and a minimum of 6 mana to get a permanent source of constructs; that's a lot of mana in the early game and a lot of time in the late game where every top-deck can matter. So while I would probably play 3 Sagas before the first Field, I think the potential upside of one Field is worth not playing the 4th Saga.
How does Urza's Saga interact with Blood Moon?
Urza's Saga has an odd interaction with Blood Moon, Spreading Seas, and other effects that turn a land into a completely different land. When these effects hit Saga, it turns into an Enchantment Land – Saga Mountain (or Island, or what have you). But it also loses all its other relevant saga abilities. This means that its max chapter is no longer determined by the text of the card, but instead defaults to zero. Then, since its number of lore counters is greater than or equal to the max chapter number, it goes to the graveyard as a state-based effect.
The details may be a bit tricky, but the bottom line is – Blood Moon destroys Urza's Saga upon resolution.
What does a list with Urza's Saga look like?
Ok, so maybe you're sold on the card, maybe you're not, but at the very least you've heard enough to need some actual lists. The crucial question for these lists is: what do we cut for Saga? To this there are more or less 2 different answers. You can cut Rishadan Port, since it is another colorless land. Or you can cut nonland threats like Sylvan Library/Valakut Exploration since Urza's Saga increases your threat density and thus makes those kinds of threats less necessary. Below are a series of decklists to give you a sense of what people are trying (apologies for the differing formats, but people like to post their lists in different places). If necessary, open the images in a new tab to make them bigger.
Here are some examples of the first school of thought, where we shave a few Valakut Exploration but ultimately still play a decent suite of value enchantments alongside Sagas:
from the 5-0 deck dump, vod here
thanks to Neoshinji for this list
thanks to alli for this list
The common theme in these lists is that you don't really get to play Port. Some are playing a single extra Ghost Quarter instead, which is an interesting alternative.
Next we also have the Library-less lists like the semi-experimental one Jarvis Yu played on his stream:
thanks to Jarvis Yu for this decklist
And this other option from Monroe on the Lands discord:
thanks to heymonroe of Turn Zero Games for this decklist
These lists are going harder on Saga (playing the full set) and leaning on it together with the traditional Lands package to carry them. They don't have value enchantment engines, but the thinking is that with Saga, you don't need them.
I'd be remiss if I didn't also mention another super cool piece of technology due to alli – BUG Saga Lands, a list that leans heavily on artifact synergies and Academy Ruins along with Urza's Saga!
thanks to alli for this list
The interaction between Academy Ruins and Baleful Strix is pretty great, and Saga can find Nihil Spellbomb here for what is likely the best 1cmc graveyard-hate artifact there is.
Wrapping up – where does Urza's Saga fit?
Of course, none of these lists are definitive or set in stone. What is clear is that Urza's Saga is a powerful effect and one that Lands is uniquely suited to take advantage of. That said, I've played maybe 30 or so matches with the card, so I can hardly claim to


text:
Hartford Hospital has recently discovered an original "Mrs. Chase"… (STEPHEN DUNN, Hartford…)
Long before there was "Annie," the iconic doll used for CPR-training classes, there was "Mrs. Chase."
Created in 1911, the lifesize Mrs. Chase doll is the first known doll to have been designed specifically for training health care workers. The original was built in Rhode Island for Hartford Hospital, which — to the surprise of just about everyone at the hospital — still has it.
A few weeks ago Steven Donahue, director of the hospital's Center for Education, Simulation and Innovation, was putting together a brochure about the hospital's training mannequins. A Google search he did revealed that simulation mannequins began with the Mrs. Chase doll and that Hartford Hospital had the very first.
It was the first that Donahue ever had heard of Mrs. Chase, and he doubted the doll was still in the hospital after 101 years.
"I figured, no way could we still have it around," he said, but he mentioned it to Steven Lytle, the hospital's archivist. Lytle confirmed that there was a Mrs. Chase in the hospital's archives and retrieved it, which was wearing an original, hand-stitched Hartford Hospital gown.
Aside from a few paint chips, the mannequin is surprisingly well-preserved. It will be part of an exhibit at the hospital on the history of medical training mannequins. Rebecca Stewart, spokeswoman for the hospital, said the exhibit is tentatively scheduled for May.
The mannequin was created by Martha Jenks Chase, of Pawtucket, R.I., who went into business making dolls as children's toys in 1901. Her dolls were popular because they were lightweight and sturdy but still had some of the realistic features of porcelain dolls sold in stores. Within a few years, Chase's dolls were advertised nationally and sold at Macy's and FAO Schwartz.
At the request of A. Lauder Sutherland, principal of the Hartford Hospital Training School, Chase made an adult-sized mannequin for nurse training in 1911. Sutherland, who had gotten tired of the makeshift, straw-filled dummies her nurses had been using, was impressed by Chase's lightweight and durable dolls.
Chase jokingly named the doll Miss Demon Strator, but eventually the handful of training dolls she made became known as "Mrs. Chase." In 1914, Chase created "Arabella," an upgraded version that allowed nurses to practice arm injections. Chase died in 1925, but the M.J. Chase Co. continued in business until 1981.
Most of what is known about the origins of Mrs. Chase is from the research of Eleanor Krohn Herrmann, a professor emeritus of nursing at UConn. She started researching the doll about 15 years ago after she happened to mention Mrs. Chase to a nursing student.
"She looked at me like I had four foreheads," said Herrmann, who lives in Wallingford. Although the Mrs. Chase doll was once ubiquitous in nurses' training classes, Herrmann said very little was known about the doll or her creator.
"So I wanted to know where this Mrs. Chase came from, and began looking," she said.
Mrs. Chase was used to train nurses how to dress a patient, turn her over and transfer her from bed to bed. Outfitted with movable joints at the hips, arms and legs, the dolls were designed with some help from Chase's husband, who was a doctor.
Next to today's simulation medical dolls, Mrs. Chase is decidedly low-tech. You can't give her CPR or injections. Compare that to SimMan 3G, better known to Hartford Hospital staff as "Tommy," who can sweat, bleed and have seizures. In the next room is "Jennifer," another state-of-the-art mannequin who "delivers" a simulation of a newborn baby. The robotic mother-to-be even screams to make the scenario more realistic. Donahue said the next-generation software might include cursing as well, "although we're trying to be sensitive about it."
These medical training mannequins all were made by Laerdal, a Norwegian company, which has dominated the market for decades. Jon Laerdal, a strategic marketing manager for the company, got a chance to see the Mrs. Chase doll when he visited Hartford Hospital last month to present some new software. As amedical mannequin cognoscente, Laerdal long had known of Mrs. Chase but had never seen one of the dolls.
"It was unbelievable how good look she looked for a 100-year-old doll," he said.
The Laerdal company began in the 1940s, with the creation of Resusci Annie, now the well-known CPR doll. Legend within the small community of CPR historians has it that Annie's likeness was based on the death mask of a young woman from Paris who drowned herself in the Seine River after a love affair went sour.
"My grandfather, the founder of the company, saw the death mask hanging on the wall of his parents-in-law when he was searching for the face of Resusci Annie," Laerdal said. "Now she's referred to as the mannequin that went from the mask of tragedy to the kiss of life."
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source: HuggingFaceFW/fineweb-edu


Developer
Additional Logging and Tracing Code Samples
These examples illustrate how to include code in your apps for uploading logs and traces for Store apps and .NET applications.
These examples illustrate basic implementations, and as a result the upload process cannot be canceled. To cancel the upload, create a CancellationTokenSource and pass its CancellationToken as the last parameter of the SendAsync method of the netclient's instance. Then you can show a button, for example "Cancel" and then you can signal the CancellationToken. The cancellation of the upload process is then handled by the Networking and Supportability libraries.
Windows Store app uploader example code
class UploadResult : SAP.Supportability.IUploadResult {
 public int ResponseStatusCode { get; set; }
 public string Hint { get; set; }
}
class SupportabilityUploader : SAP.Supportability.IUploader {
 SAP.Net.Http.HttpClient clientRef = null;
 Uri serverUri= null;
 public SupportabilityUploader(SAP.Net.Http.HttpClient client, Uri host, bool uploadBtx = true) {
 if (client == null) throw new ArgumentNullException("client");
 if (host == null) throw new ArgumentNullException("host");
 this.serverUri = new UriBuilder(host.Scheme, host.Host, host.Port, (uploadBtx ? "btx" : "clientlogs")).Uri;
 this.clientRef = client;
 }
public IAsyncOperation<SAP.Supportability.IUploadResult> SendAsync(IReadOnlyDictionary<string, string> headers, Windows.Storage.Streams.IInputStream payload) {
 return Task.Run<SAP.Supportability.IUploadResult>(async () => {
 var result = await this.clientRef.SendAsync(() => {
 var request = new HttpRequestMessage(HttpMethod.Post, this.serverUri) {
 Content = new StreamContent(payload.AsStreamForRead())
 };
 foreach (var header in headers) {
 request.Content.Headers.TryAddWithoutValidation(header.Key, header.Value);
 }
 return request;
 });
 return new UploadResult() { ResponseStatusCode = (int)result.StatusCode,
 Hint = await result.Content.ReadAsStringAsync() };
 }).AsAsyncOperation();
 }
}
Windows .NET application uploader example code (only the method which is different from the Store app)
public async Task<SAP.Supportability.IUploadResult> SendAsync(IReadOnlyDictionary<string, string> headers, System.IO.Stream payload) {
 var result = await this.clientRef.SendAsync(() => {
 var request = new HttpRequestMessage(HttpMethod.Post, this.serverUri) {
 Content = new StreamContent(payload)
 };
 foreach (var header in headers) {
 request.Content.Headers.TryAddWithoutValidation(header.Key, header.Value);
 }
 return request;
 });
 return new UploadResult() { ResponseStatusCode = (int)result.StatusCode,
 Hint = await result.Content.ReadAsStringAsync() };
}
Log creation upload example code for Store Apps and .Net applications
var logManager = SAP.Supportability.SupportabilityFacade.Instance.ClientLogManager;
logManager.SetLogLevel(SAP.Supportability.Logging.ClientLogLevel.Info);
logManager.SetLogDestination(SAP.Supportability.Logging.ClientLogDestinations.FileSystem | SAP.Supportability.Logging.ClientLogDestinations.Console);
var logger = logManager.GetLogger("testLogger");
logger.LogWarning("sample");
logger.LogError("sample error message");
logger.LogError("sample log 2");
string message = null;
try {
 await SAP.Supportability.SupportabilityFacade.Instance.ClientLogManager.UploadClientLogsAsync(new SupportabilityUploader(httpClient, serverUri, false));
} catch (Exception ex) {
 var supportabilityException = ex as SAP.Supportability.ISupportabilityException;
 message = ex.Message + ((supportabilityException != null) ? ("(" + supportabilityException.UploadResult.ResponseStatusCode + ")") : "");
}
BTX generation and upload example for Store apps and .Net applications
var traceManager = (SAP.Supportability.Tracing.E2ETraceManager)SAP.Supportability.SupportabilityFacade.Instance.E2ETraceManager;
traceManager.ClientHost = "WinDemo-Client";
traceManager.TraceLevel = SAP.Supportability.Tracing.E2ETraceLevel.Low;
var transaction = await traceManager.StartTransactionAsync("NewTransactionWin");
var step = transaction.StartStep();
var request = step.StartRequest();
request.SetRequestLine("GET _URL_ HTTP/1.1");
request.SetRequestHeaders(new Dictionary<string, string> {
 {"SAP-PASSPORT",request.PassportHttpHeader} ,
 {"X-CorrelationID","correlationID0101"}
});
request.SetByteCountSent(100);
request.EndRequest();
step.EndStep();
transaction.EndTransaction();
string message = null;
try {
 await SAP.Supportability.SupportabilityFacade.Instance.E2ETraceManager.UploadBtxAsync(new SupportabilityUploader(httpClient, serverUri));
} catch (Exception ex) {
 var supportabilityException = ex as SAP.Supportability.ISupportabilityException;
 message = ex.Message + ((supportabilityException != null) ? ("(" + supportabilityException.UploadResult.ResponseStatusCode + ")") : "");
}


text:
|Origin:||From the sound|
1 also chatter away/on
to talk quickly in a friendly way without stopping, especially about things that are not serious or important:
She chattered away happily until she noticed I wasn't listening.
She chattered excitedly like a child.
We were chattering about the events of last night.
if birds or monkeys chatter, they make short high sounds
if your teeth are chattering, you are so cold or frightened that your teeth are knocking together
4 British English
educated middle-class people who like to discuss and have opinions about recent events and situations in society
—chatterer noun [countable]


text: One of the most useful techniques in astronomical instrumentation is image slicing. It enables a spectrograph to have a more compact angular slit, whilst retaining throughput and increasing resolving power. Astrophotonic components like the photonic lanterns and photonic reformatters can be used to replace bulk optics used so far. This study investigates the performance of such devices using end-to-end simulations to approximate realistic on-sky conditions. It investigates existing components, tries to optimize their performance and aims to understand better how best to design instruments to maximize their performance. This work complements the recent work in the field and provides an estimation for the performance of the new components.


text:
The separation of coal and gangue is an important process of the coal preparation technology. The conventional way of manual selection and separation of gangue from the raw coal can be replaced by computer vision technology. In the literature, research on image recognition and classification of coal and gangue is mainly based on the grayscale and texture features of the coal and gangue. However, there are few studies on characteristics of coal and gangue from the perspective of their outline differences. Therefore, the multifractal detrended fluctuation analysis (MFDFA) method is introduced in this paper to extract the geometric features of coal and gangue. Firstly, the outline curves of coal and gangue in polar coordinates are detected and achieved along the centroid, thereby the multifractal characteristics of the series are analyzed and compared. Subsequently, the modified local singular spectrum widths
of the outline curve series are extracted as the characteristic variables of the coal and gangue for pattern recognition. Finally, the extracted geometric features by MFDFA combined with the grayscale and texture features of the images are compared with other methods, indicating that the recognition rate of coal gangue images can be increased by introducing the geometric features.
This is an open access article distributed under the Creative Commons Attribution License
which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited


IBM Support
Floating license behavior when multiple Rational products are installed in the same Eclipse shell
Technote (FAQ)
If an individual installs multiple Rational products in the same Eclipse shell, and if the floating license for one of them is not available, can the other products, or the base Eclipse, or both another product and the base Eclipse be used?
No, all licenses need to be available at product launch for both Eclipse and the products to be used. This document explains the basic current behavior, along with the workaround if the user prefers the old behavior (that is, running a disabled product without a license).
There is a common misunderstanding about the licensing behavior when multiple products are installed into the same Eclipse shell. It is wrongly believed that only when a product is used will it consume a license.
For example, a customer reported when Rational Software Architect v7.0 and Rational Data Architect v7.0 are installed in the same shell, they see licensing errors when starting Rational Data Architect 7.0 by clicking on the shortcut to run Rational Data Architect v7.0. The customer is running Rational Software Architect v7.0 and Rational Data Architect v7.0 and does not have a license for Rational Software Architect. So Rational Software Architect plugins will not run. This is by design for all products and why there is licensing enforcement in the first place. There are multiple reasons it could be requiring a Software Architect license, such as startup plugins, builders, etc. It is incorrect to believe that a product in a shell sharing situation can be completely separate and you cannot load it by loading "knowing" plugins which are product specific. So the Rational Software Architect license failures should be no surprise.
The key to this is the following statement by the customer, "Since no Rational Software Architect specific functionality is apparently being invoked this surprised me." This implies the assumption that Rational Software Architect functionality is somehow separate enough and partitioned to specific perspectives and views. This is a false assumption and is not how Eclipse works. Eclipse loads plugins as needed. If a request for a Software Architect plugin happens underneath the covers (for example Rational Data Architect having an optional plugin dependency on Rational Software Architect to provide enhanced function and Data Architect proceeding to request that plugin get loaded since it was installed) then a Rational Software Architect license will get consumed.
The particular set of errors in version 7.0 prompted a change to the startup behavior in products such as Rational Software Architect v7.5 and Rational Performance Tester v8.0, based on the following four points:
1. If there is no license for one product in the shell then the choice is to remove the product or license it.
2. It is impossible to have two products sharing the same shell and being able to know that licensed content will not be loaded and what will.
3. IMPORTANT: Customers can install two products into the same shell and only when a product is used will it consume a license. This is correct in the sense that only when a product is used will it consume a license. It is incorrect to think running one product in the shell will not consume a license of the other product in the same shell, because once products are installed in the same shell, there is no guarantee it will not consume a license because what action in the user interface or build or gesture could trigger a license to be needed cannot be guaranteed. Shell sharing products are intimately connected. It will require all the products to change their architecture in order to enable this behavior. That kind of architecture will remove the seamless nature of the product integrations that now occur since it requires that products be logically separate and not integrate with each other.
4. Shell sharing products are basically running as a single unified product from the perspective of Eclipse. In order to not have continual errors and random dialogs asking for licenses to pop up all the required licenses to run, the content in that shell needs to be available upon product start.
Thus, in products releases since v7.0, the launch of a product, including Eclipse, will be blocked if it cannot acquire a license for all the products running in the shell.
Most of the issues around the added complexity are related to customers not wanting to consume a license when two products are installed together. The products are not architected for that scenario. They are architected to install two products together to get the combined function of the two products in a seamless scenario. Therefore you need two licenses for two products running in the same shell.
Licensing block workaround
Note: this is not recommended; use it only as last resort.
A product such as Rational Software Architect 7.5 or Rational Performance Tester v8.0 will block the launch of a product if it cannot acquire a license for all the products running in the shell. To work around this blocking behavior:
Add a line to existing \configuration\config.ini:
These changes were made
In the presence of this system property, the "License Cannot Be Found" error dialog now provides an "Ignore" button which will allow users to continue execution of the product.
Licensed plugins will still fail to load and potentially display further error dialogs (that is, if they load sometime after startup).
There is now a "Done" button in the "Manage Licenses" dialog (when there is a license error and where Exit Workbench formerly was the only choice):
There now is a "Manage Licenses" toolbar button with an error icon when executing in unlicensed mode (similar to Manage Licenses toolbar button with warning icon added during last 14 days of a trial license, except this uses an error icon):
Document information
More support for: Rational License Key Server
Software version: 7.0, 7.1, 7.5, 8.0
Operating system(s): Linux, Windows
Reference #: _PHONE_
Modified date: 2009-11-03


This guide will show you how to use the Nreal Light controller and Nreal phone controller. The tutorial will demonstrate how to create apps using Nreal Light controller as an interaction model.
Controllers provide a simple way for users to navigate in mixed reality. In the latest version, NRSDK supports two types of controlling methods: Nreal Light controller and Nreal phone controller. The Nreal Light controller can be paired with a Nreal Light computing unit or a mobile phone through Bluetooth. The Nreal phone controller is only available when using the phone as Nreal Light's computing unit.
Currently, only the Nreal Light controller (available in the Nreal Developer Kit) is available to developers. The Nreal phone controller will serve as a second input choice for users in the future.
How to Use the Nreal Light Controller
The Nreal Light Controller
 - On the front
Controller Features Description
3DoF Tracking 3 degrees of freedom
Touchpad Press = Trigger Button. Can detect touching and clicking. Customizable for your app, e.g. scrolling.
App Button Press and hold to recenter your controller. Press can be customized for your app, e.g. opening an in-app menu or performing a special action. ( Pay attention: For Nreal Light Controller, pressing the App Button equals to pressing the Touchpad Button)
Home Button Press and hold to open Exit App Window. Press can be customized for in-app action, e.g. return to the previous step.
LED Light Display controller status
 - On the back
Controller Features Description
Charging pins The three bottom-facing charging pins connect the controller with the computing unit. It is also used to send data from the computing unit to the controller.
Power Switch The Nreal Light controller on/off switch is below the charging spots. Green means the power is on, and red means the power is off.
 - Nreal Light Controller LED Guide
See LED demo below:
 - Connecting the Nreal Light Controller
 1. Make sure the Bluetooth on your Neal Light computing unit/or Android mobile phone is on. (The Bluetooth on Nreal Light computing unit is on as default.)
 2. Turn the Nreal Light controller power switch on. Long press the touchpad until the green light starts blinking.
 3. Put the Nreal Light controller on the computing unit, and they will be paired automatically.
 4. If pairing is successful, the LED will stop blinking and become solid green. If you cannot complete this step, remove all other controllers in the Bluetooth record list and try again.
 - Charging the Nreal Light Controller
Magnetically attach to the Nreal Light computing unit. Battery power will be shared between the two whether the controller is on or off.
The lithium battery in the controller is not removable. Please do not attempt to open the controller. Damage caused this way cannot be fixed.
How to Use Your Phone as a Controller
Controller Features Description
3DoF Tracking 3 degrees of freedom
Home Button Press and hold to open Exit App Window. Press can be customized for in-app action, e.g. return to the previous step.
Tutorial： Nreal Light Controller
Input in Unity
These following points will help you better understand the Input from NRSDK in Unity.
ControllerProvider: This provides various controller state information to NRInput, including rotation, button press, button up, battery, and gyro. There is a default provider for Nreal controllers. You can also write a custom controller provider.
EventSystem: Integration with Unity's standard EventSystem supports user interaction with GUI and other physical objects. NRIput will automatically generate an EventSystem when the application runs.
Visualizations: Default visualizations, such as controller visual, ray visual, and reticle visual, are already included. There is also an interface for you to reskin visualizations.
Enabling NRInput
To enable NRInput, simply drag the NRInput prefab into your scene hierarchy. If you already have a Main Camera set up, drag it onto Override Camera Center in the NRInput prefab. Otherwise, the prefab will find the Main Camera. Users can now interact in the app using Nreal Light controllers.
Raycast Modes in NRInput
There are two raycasting modes included in the NRInput: the Gaze Mode and the Ray Mode.
The Ray Mode is the default raycasting mode most apps will be based on. In this mode, the ray will start from the center of the controller.
When in Gaze Mode, the raycast will start from the center of the user's forehead and emanate in a forward direction. Thus, the ray will be invisible.
Current Controller Features
Since NRSDK supports multiple types of controllers, a method was scripted to help you understand the features your current controller supports.
 - Sample Use Case:
bool supportsPosition = NRInput.GetControllerAvailableFeature(ControllerAvailableFeature.CONTROLLER_AVAILABLE_FEATURE_POSITION);
bool supportsGyro = NRInput.GetControllerAvailableFeature(ControllerAvailableFeature.CONTROLLER_AVAILABLE_FEATURE_GYRO);
Some Common Usage of NRInput
 - Sample Use Case:
void Update()
 //returns a int value of how many available controllers currently
 //returns true if a Trigger button is currently pressed
 //returns true if a Trigger button was pressed down this frame
 //returns true if a Trigger button was released this frame
 //returns if controller is 3DoF, otherwise returns the position of the domain controller
 //returns the rotation of the domain controller
 //returns the ControllerType of the domain controller
 ControllerType controllerType = NRInput.GetControllerType();
 //returns true if the touchpad is being touched
 //returns a Vector2 value of the touchpad, x(-1f ~ 1f), y(-1f ~ 1f)
 //returns a Vector3 value of gyro if supports
 //to get what hand mode is using now, left-hand or right-hand
 ControllerHandEnum domainHand = NRInput.DomainHand;
 //the same as NRInput.GetRotation()
 //returns the rotaion of the left hand controller
Get Frequently Used Anchors
The NRInput provides an easy way to get frequently used anchors quickly.
 - Sample Use Case:
Transform gazeAnchor = NRInput.AnchorsHelper.GetAnchor(ControllerAnchorEnum.GazePoseTrackerAnchor);
Transform leftRayAnchor = NRInput.AnchorsHelper.GetAnchor(ControllerAnchorEnum.LeftRayAnchor);
Raycasters in NRInput
Three raycasters are included in the NRInput prefab. One of which for Gaze Mode, and the other two for Ray Mode. The raycaster class inherits from Unity's BaseRaycaster class. A chosen raycaster's farthest raycasting distance can be modified directly from the Inspector window. You can also define which objects are interactable by changing the parameter of its Mask.
Building a Project with User Input
To help you get started with integrating control into your own app, we have prepared a sample case study.
By reading the study you will be able to:
 1. Select a range of appropriate inputs to use with the controller.
 2. Write code in C# to receive user inputs such as the Home, Bumper, Trigger and Touchpad.
 3. Activate, rotate, and move a GameObject by using the input.
 4. Interact with physical objects and UGUI in the unity environment.
 1. When pointing the controller at the cube, its color will change to green.
 2. The color of the cube will randomly change when you press the trigger button.
 3. The cube will rotate with the controller.
 4. Activate or deactivate the cube for rotation by pressing the UGUI button.
 1. Drag NRCameraRig and the NRInput prefab to the scene hierarchy.
 1. Create a cube. In the Inspector window, set its position to (0, 0.1, 3), and scale to (0.3, 0.3, 0.3).
 1. Create a script named "CubeInteractiveTest.cs" as follows and add it to the cube.
 public class CubeInteractiveTest : MonoBehaviour, IPointerClickHandler, IPointerEnterHandler, IPointerExitHandler
 private MeshRenderer m_MeshRender;
 void Awake () {
 m_MeshRender = transform.GetComponent();
 void Update()
 //get controller rotation, and set the value to the cube transform
 transform.rotation = NRInput.GetRotation();
 //when pointer click, set the cube color to random color
 public void OnPointerClick(PointerEventData eventData)
 m_MeshRender.material.color = new Color(Random.Range(0f, 1f), Random.Range(0f, 1f), Random.Range(0f, 1f));
 //when pointer hover, set the cube color to green
 public void OnPointerEnter(PointerEventData eventData)
 m_MeshRender.material.color =;
 //when pointer exit hover, set the cube color to white
 public void OnPointerExit(PointerEventData eventData)
 m_MeshRender.material.color = Color.white;
 2. Add a DirectLight to brighten the cube.
 1. Add a Canvas and delete the EventSystem.
 1. Set the Canvas RenderMode to WorldSpace, and then set its position and scale to an appropriate value such as that listed below.
 1. Remove the "Graphic Raycaster" component from it and add Canvas Raycast Target.
 1. Add two buttons to the Canvas as its children. Name one button activeBtn and the other deactive. Remember to also change the


text:
Does Cultural Sensitivity Matter to Maintaining Business Relationships in the Export Markets?: An empirical investigation in the Norwegian seafood industry
MetadataShow full item record
The aim of this study is twofold. The first aim is to develop the cultural sensitivity concept. A review of literature, including literature focusing on international business, marketing, and adaptive selling, has provided the basis from where the cultural sensitivity concept has been developed. This study proposes a model of the concept as multi-dimensional. Cultural sensitivity is perceived as a competence, held by a person responsible for sales in the export markets. Experience is viewed as essential to advance a salesperson's cultural sensitivity. The dimensions, and thus the variables composing cultural sensitivity, are as follows: international experience, country experience, open-mindedness, adaptive business style, and ongoing business experience. The measurement scales were adopted from previous research, but were accommodated to the context studied. The second aim of this study is to investigate the extent to which the various dimensions of cultural sensitivity are important to the maintaining of business relationships in export marketing channel contexts. The empirical setting is the Norwegian seafood export industry with selected business partners in the export markets. The sample consists of 111 cases, and regression analyses were conducted to test 12 hypotheses. The conceptual model proposes that the five variables that compose cultural sensitivity have different roles. International experience, country experience and open-mindedness are hypothesised to have an impact on relational qualities (trust between exchange partners and exchange of information) indirectly through adaptive business style. The findings give support to this view. These three variables do not have significant effects on trust and exchange of information directly. The findings show that country experience and open-mindedness have positive and significant effects on an adaptive business style. The findings show that adaptive business style does not have a significant impact on trust between exchange partners. Adaptive business style has a significant impact on exchange of information, though only at a p <.10 level. Ongoing business experience is viewed as a moderator variable. It is expected to strengthen the relationship between adaptive business style and trust, and the relationship between adaptive business style and exchange of information. The results show that the former relationship is strengthened from a non-significant to a significant relationship. The significance is though only at a p <.10 level.
SeriesSeries of Dissertations


text:
Purpose: The aim of this study was to evaluate the significance of intensive surgery combined with intraoperative radiation therapy (IORT) in advanced neuroblastoma. Methods: Clinical features and outcome were reviewed in 33 advanced neuroblastoma patients (24 with INSS stage 4, 9 with stage 3), who had surgery (total excision 29, subtotal excision 4) with IORT (10 to 15 Gy) against the primary tumor site. Results: Three patients (8.8%) had relapse at the primary site, all of which arose from the unirradiated area after stem cell transplantation. Among 29 patients with total excision, disease-free survival was obtained in 15 (51.7%) for an average of 6.9 years, which included 5 survivors of 9 patients (55.9%) with amplified N-myc. In contrast, none of 4 patients with macroscopic residual survived. The Kaplan-Meier analysis showed significantly longer survival rates in the patients with total resection compared with those with macroscopic remnants. Conclusions: The intensive surgery with IORT dramatically increased the local eradication and improved the outcome even in advanced neuroblastoma with N-myc amplification. However, long-term survival was not obtained in patients with unresectable residual disease. These results may indicate the key role of surgical eradication in advanced neuroblastoma.
- Intraoperative radiation therapy
- Surgical eradication
ASJC Scopus subject areas
- Pediatrics, Perinatology, and Child Health


text:
TikTok has become one of the most popular social media platforms in the world, with millions of users creating and sharing short videos every day. One of the platform's most popular features is its text-to-speech function, which allows users to add voiceovers to their videos without actually speaking. However, did you know that you can also change the voice to that of SpongeBob SquarePants? In this article, we will show you how to do just that.
Step 1: Open the TikTok app To get started, open the TikTok app on your smartphone.
Step 2: Create a new video Tap the "+" icon at the bottom of the screen to create a new video.
Step 3: Add text to your video Add the text you want to use for your video. You can do this by tapping the "Text" icon at the bottom of the screen and typing in your text.
Step 4: Choose the text-to-speech option Next, tap on the "Text-to-Speech" option, which is represented by a speaker icon. This will bring up a menu of different voice options.
Step 5: Select the SpongeBob voice Scroll through the different voice options until you find the SpongeBob voice. Tap on it to select it.
Step 6: Preview and save your video Once you have selected the SpongeBob voice, you can preview your video to see how it sounds. If you're happy with it, tap "Save" to save your video.
Benefits of using SpongeBob voice in TikTok videos Using the SpongeBob voice in your TikTok videos can be a fun and unique way to stand out on the platform. It can also make your videos more entertaining and engaging, especially for younger audiences who are fans of the beloved cartoon character.
Monetizing your TikTok videos If you have a large following on TikTok, you may be able to monetize your videos through brand partnerships, sponsored content, or by becoming a TikTok creator fund recipient. By creating unique and entertaining videos, you can grow your following and potentially earn money from your content.
In conclusion, changing the text-to-speech voice on TikTok to SpongeBob is a fun and simple way to add a unique twist to your videos. By following the steps outlined in this article, you can easily change the voice and create engaging content that stands out on the platform.


Healthcare Seminar Overview
Cultural Diversity Seminar for Healthcare Leaders
Designed for hospital executives, administrators, medical department directors, physicians, nurses and other healthcare leaders, this seminar titled, "Developing Cultural Competency: Healthcare for the Muslim Patient" provides valuable information and resources for enhancing understanding and cultural competency skills that improve healthcare delivery for Muslim patients.
"Cultural competence training for healthcare professionals… increases their ability to provide care to diverse populations… It should be an on-going, life-long education." A Manager's Guide to Cultural Competence Education for Healthcare Professionals, The California Endowment
Healthcare Seminar: Developing Cultural Competency: Healthcare for the Muslim Patient
The purpose of this diversity seminar is to provide healthcare providers with a picture of the challenges faced by Muslim patients in the current environment and suggestions for better serving this population. This seminar begins with a description of the impact of anti-Muslim bigotry, including on Muslim patients. The seminar then provides a better understanding of the faith and practices of American Muslims as well as the implications of these beliefs and practices for healthcare delivery. Topics include Islamic perspectives towards illness and healthcare, family systems, decision making processes, dress codes, privacy and gender issues, dietary guidelines, women's healthcare including reproductive issues and labor and delivery, views on death and dying, end of life issues, emergency treatment, life support, terminal illness and palliative care.
 - Improved awareness and understanding of the current environment and its impact on Muslims generally and Muslim patients specifically.
 - Reduction in misunderstandings and barriers to accessing healthcare.
 - Cultural awareness and development of cultural competency skills as it relates to working with the American Muslim patients and their families.
 - Increased healthcare provider capacity for addressing growing diversity, persistent disparities, and the promotion of health equity.
 - More culturally appropriate responses to the needs of Muslim patients based on understanding of and respect for their cultural and ethnic backgrounds.
 - Fulfillment of requirements for professional development and medical education, including those that comply with CLAS and other healthcare training standards.
Hospital and healthcare executives and administrators; medical directors, physicians, nurses and other healthcare service leaders; deans, department chairs and faculty in medical and nursing schools.
Workshop Length: 1-3 hours
Number of Participants: 20 or more
Available: onsite or via webinar
For More Information
Contact us at [email protected] or call _PHONE_, extension 160. To schedule a seminar, please complete the form below.
Use This Form to Schedule a Cultural Diversity Seminar


text:
5: Steel House
Background: Artist and architect Robert Bruno has been at work on his steel home since 1974. Bruno has said that he wants the shape of the structure to be somewhere between animal and machine.
Why Its Unique: Most homes have an initial skeleton that is built upon throughout the construction process, but Bruno has approached this home like a sculpture, building it on the fly and making constant modifications. Koliopoulos points out that the four legs and cantilevered design minimize the structures impact by not disrupting the earth as much as a typical home design would have. Estimated weight of the structure is 110 tons.


Month-over-Month data in Splunk
Image icon 9-2-2015 9-39-06 AM.png24.56 KB
I've been working with Splunk Enterprise a lot lately (and it's very powerful and easy to use!). In many situations, it is useful to show some metric compared to the same metric a month ago (or some other time period).
One way to accomplish this is with the community-supported Splunk app, Timewrap. I couldn't get Timewrap to output the data as I wanted, so instead here's the approach that I used.
Here's my goal:
Splunk Screenshot
Before we compare data from the current period to the previous period, we need to ensure the dates are consistent. This example compares data from the current day to a previous day. If you want to compare current month/year to previous month/year, refer to the Splunk documentation for the bin command.
index=foo | bin _time span=1d
Now we use the stats command to perform the comparison.
| stats count(eval(relative_time(now(), "_USER_")=_time)) as "Current Period" count(eval(relative_time(now(), "-30d@d")=_time)) as "Previous Period" by category
 - For "Current Period", count the events where the _time field is equal to midnight today. Remember, we just standardized all events to equal midnight of the respective day.
 - For "Previous Period", count the events where the _time field is equal to midnight 30 days ago.
If this is useful to you, or you have any more suggestions, please let me know in the comments below.


Quick Answer: Do Quarterbacks Lift Weights?
Is 225 bench press good?
How long do football players workout a day?
What muscles make you throw a football farther?
Muscles Involved in Throwing These muscles include the pectoralis major and the rotator cuff muscles. Other muscles involved are those of the upper arm, the triceps and biceps; the muscles of the forearm and wrist; and the latissimus dorsi to a lesser extent.
Who has the weakest arm in the NFL?
Matt CasselMatt Cassel. The weakest arm among the starting NFL quarterbacks belongs to Kansas City Chiefs' passer Matt Cassel.
How do football players get big?
What muscles do quarterbacks use?
Football Quarterback – Core Strength: Not only does a football quarterback need a strong upper body for throwing and sustaining hard hits but he must also have a strong core. The back, abs, hips, and glutes are essential for a football quarterbacks durability as well as throwing velocity and speed.
Does Aaron Rodgers lift weights?
Poli says of Rodgers, "his strength is already off the chats." He estimates that Rodgers can bench press over 300 pounds.
Why do QBS lift their leg?
Some teams have a center look between his legs and then they go off the foot. So all the leg-raising is snap count in the shotgun when you're on the road." Quarterbacks also lift their legs to signal for a player to go in motion.
How often do football players lift weights?
On both the college and professional levels, most teams have at least two lifting regimens a week during the season. NFL players are weighed weekly to make sure they maintain their ideal playing weight, and pumping iron is a key component to ensure their hard-earned muscles aren't wasting away.
Should quarterbacks bench press?
When it comes to strength training, you might not think that one of the quarterback's most essential lifts would be the bench press exercise. However, it is absolutely essential for them to do some form of bench press because the improved development of the chest muscles will protect the collar bone and the sternum.


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How to: Add a Hyperlink to a URL (Reporting Services)
Add a hyperlink to a URL when you want your users to be able to click a link in a report and open a browser to the URL you specify. You must ensure that the user has access to the URL that you provide.
You can also specify URLs to reports on any report server that you and your users have permission to view using URL requests to the report server. For example, you can specify a report and hide the document map for the user when they first view the report. For more information, see URL Access.
You can add a hyperlink to a URL to any item that has an Action property, for example, a text box, an image, or a calculated series in a chart. For more information, see the Action page topics in Report Designer F1 Help.
To add a hyperlink
 1. In Design view, right-click the text box, image, or chart to which you want to add a link and then click Properties.
 2. In the Properties dialog box, click Action.
 3. Select Go to URL. An additional section appears in the dialog box for this option.
 4. In Select URL, type or select a URL or an expression that evaluates to a URL.
 5. Click OK.
 6. To test the link, run the report and click the report item that you set this link on. For text boxes, it is helpful to change the color and effect of the text to indicate that the text is a link. For example, change the color to blue and the effect to underline by setting the corresponding Font properties in the Text Box Properties dialog box.
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© 2016 Microsoft


Advanced vibration management™ - Using Orica's Monte Carlo Blast Vibration Model An Orica Blast Based Service (BBS)
Författare / Author
Företag / Affiliation
Konferens / Conference
År / Year
2006
Nyckelord / Keyword
Sammanfattning / Summary
EN
The combination of innovative mine planning, blast hole design, accurate timing and
some novel mining techniques will be used to reduce the blast-induced vibration by a
massive 80% at points of interest outside a European quarry's boundary. This will then allow the quarry to access untouched reserves closer to houses and other significant points of interest, which otherwise would be effected by blast vibration. The key to achieving this reduction in vibration is being able to very accurately simulate the outcome of a number of mining scenarios without blasting. Known as Advanced Vibration Management™ (AVM™), Orica's Blast Based Services business has developed a process by which actual blast waveforms from the quarry can be used with the various mining scenarios and computer modelling to simulate, with a high degree of confidence, the actual outcome of the blasts in the area specified. Many blast designs and techniques can be modelled, and the most effective vibration outcome is then adopted as the new blasting design. Using this design, the quarry will be able to demonstrate that they are able to mine with significantly lower vibration levels and satisfy their regulatory requirements. As this paper goes to print the quarry is preparing to fire the screen blast and test holes to validate the study's predicted outcome.
« Tillbaka


Building a syntax tree from a chart BuildTree(Chart,Words[0.. K]) { N := make a node for the root of the tree; ExpandTree("S",Chart,Words,N,0,K) } ExpandTree(Symbol,Chart,Words,N,START,END) { label node N with Symbol; if (Symbol is a part of speech) then { make a leaf node labelled WORDS[END]; make an arc from N to the leaf node; ] else { find an edge E in Chart of the form [START, END, Symbol -> Sym[1], Sym[2]... Sym[p] *]; for (j := p downto 1) do { find two edges E1 and E2 in Chart such that (E1 == [SS1, END, Sym[j] -> String]) and (E2 == [START,SS1, Symbol -> Sym[1]... Sym[j-1] * Sym[j]... Sym[p]); /* That is, E was formed by applying the extender to E2, E1 */ make a new leftmost child NC of N; /* Note that the tree is built from right to left */ ExpandTree(Sym[j],Chart,Words,NC,SS1,END); END := SS1; } /* end for loop */ } } To find all the parse trees, you have to consider all the options at the two statements "find an edge" and "find two edges" above.


text:
Langdon Bay, Kent
Langdon Bay is a bay in east Kent, England. It is two miles east of the town of Dover, and is named after the nearby villages of Langdon, East Langdon and West Langdon. The cliffs around it are known as the Langdon Cliffs, there is a prominent zig-zag path that leads from the cliff top to the beach, this is visible from the sea.
The bay is known for the Langdon Bay Hoard - a collection of Bronze Age scrap metal found nearby in 1974. This includes bronze axes of a French type and is thought to represent the cargo of a boat that was caught in a storm just after leaving the English coast, either jettisoned to lighten and save the boat or sunk with it (if there was a wreck, it is now lost). This demonstrates that cross-channel trade was already occurring in the Bronze Age, if not earlier. It is owned by the British Museum but on long-term loan and display in Dover Museum in Market Square, Dover.
Three searchlight batteries - known as the Langdon Lights - were built into the base of the bay's cliffs during World War II, so that any ship trying to enter the bay could be illuminated while it was checked, though one has been destroyed by a cliff fall.
The area above the cliffs is now a chalk downland nature reserve owned by the National Trust, looking down on Dover Harbour and the Channel, and centred around the 'Gateway to the White Cliffs' Visitor Centre. Large parts of this reserve, and of this section of clif ftop in general, is an SSSI, AONB and Heritage Coast. Another nearby historic site is the South Foreland Lighthouse, also an NT property.
- Hourly Met office weather observations from the Bay
|This Kent location article is a stub. You can help Wikipedia by expanding it.|


text: We propose a stochastic modelling framework to simulate the spatially lumped sediment and vegetation dynamics in a flood plain of a braided gravel bed river as an alternative to detailed morphodynamic modelling. The idea is that floods intermittently erode the river bed and expose sediment on gravel bars, while riparian vegetation continuously recolonises the exposed area. The exposed sediment and water stochastic dynamics can be analytically solved in terms of their probability density function (pdf), and later used to force a vegetation model, together forming a so-called coupled "Master-Slave" stochastic dynamical system in continuous time. We apply and validate the master model by using a historical record of aerial photographs of the Maggia River (Tessin, Switzerland) and daily streamfiow measurements. This approach is useful to statistically quantify the amount of sediment that is reworked by flood events, as well as the effects of changes in the flood disturbance regime on flood-plain dynamics.


GSvit documentation
open source FDTD solver with GPU support
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GSvit in a nutshell
GSvit is an open source software for electromagnetic field propagation calculations via Finite Difference in Time Domain method (FDTD). In this numerical technique, electric and magnetic field values (vectors) in some computational volume are calculated iteratively, solving Maxwell equations, step by step. In order to do this, computational volume needs to be discretized very densely, which affects computational demandness of FDTD, being very large both in processor time and in memory.
Original motivation for writing GSvit was to explore parallelization possibilities offered by graphics cards in the field of numerical electromagnetics. By successive improvements it became rather universal software that can be used in different fields of physics and engineering and we continue in improving the applicability for different tasks. Already now, GSvit features both command line and graphical user interface, can be run on different operating systems and can be used with many different geometries, materials, source conditions, boundaries, etc.
To start your work with GSvit, follow the instructions on Gettng started page.
If you find GSvit valuable for your work, you can cite some of our articles describing its core parts:
motivation/gsvit_in_a_nutshell.txt · Last modified: 2018/01/24 08:14 (external edit)