text:
WASHINGTON — Flying Dog Brewery, Maryland's largest craft brewer, has partnered with the University of Maryland's College of Agriculture and Natural Resources on a project to find out which hops varieties do the best when grown in Maryland.
Flying Dog is providing equipment and funding a major portion of the research project.
The experiments are part of a larger, long-term partnership between the school and Flying Dog working on the future of beer-centric agriculture in the region.
"As craft beer has become more popular there has been a lot of research into new hops varieties that give us a broader range of flavors and aromas, but most of that work is being done in the Pacific Northwest and in Germany," said Flying Dog COO Matt Brophy.
"What we've found here in Maryland with the few established growers that there are, we're seeing that certain varieties do very well. What we're doing with the University of Maryland is to see what other varieties might work well and in the long-term what the sustainability of these crops looks like," he said.
The university has established a variety trial using 24 varieties of hops at the Western Maryland Research and Education Center in Keedysville, Maryland, and will collect information on how Maryland's unique climate affects harvest dates, levels of acids and oils in the hops and any special aspects of profile.
The hops project will be a three- to five-year process, so researchers can get a few growing seasons' worth of results. The ultimate goal is to print a guide for Maryland growers and to get growers to interact with brewers to provide what they want.
Beer drinkers will get a chance to judge the results of the research as well.
"We're looking to partner with farms in Maryland primarily and maybe in New York, and do some collaborative brews and basically come out with a variety pack (of beers) next spring with at least three different beers that tell the story of some of these re-emerging hops farmers on the East Coast," Brophy said.
The post Flying Dog Brewery partners with U.Md. to find the best hops appeared first on WTOP.


Andé Restaurant 767 5th Avenue,
New York 10021, USA
+00 01 23 456 789
 / Uncategorized / What is European Food Like?
What does a European Breakfast Taste Like
What is European Food Like?
People want to know the ins and outs of something before they try it and so, it's no surprise people ask what is European food like. While we're all familiar with things like fish and chips or various kinds of pasta, there is a whole world of European foods. Remember that European food goes from Britain to Russia, that's a lot of dishes that could be on a menu.
If you're unsure as to what is European food is like, let's go over some of the differences and why there is not a totally clear cut answer. Remember though, reading about food is always different than experiencing it.
The Differences
Every region has its thing and European food is no different. The dishes tend to be heavier on meats, flour, and starches. Bread, beef, lamb, noodles, butter, potatoes, all things common in European foods that aren't as prevalent in others. Salad is also a major part of the cuisine, as is a particular order to the meal. While many cultures have an order to their meal, European cuisine was very much about appetizers being served one way and needing to have a particular sense of flavor to dessert being the same. It is now common practice for appetizers before meals, as you well know.
Things like rice and corn have become part of European foods but, they aren't traditionally nor are they staple. It comes from cultures moving around the globe and trading cooking tips. Overall though, that is the core of European food.
Every Place is their Own
What is European Food LikeJust because European cuisine tends to have ingredients in common doesn't mean it is all the same everywhere. Asian foods have similar spices and ingredients but, Korean and Chinese foods are wildly different. The same goes for European cuisine.
Italian food is different than Greek and French food is dissimilar from the British. Every country and culture has its own history, developing their own cuisine over the centuries. So, asking what European food is like can be rather difficult. You'd have to ask what each country's food is like, though there may be similarities as noted above.
The best way to find out what European food is like is to try authentic European food. You can travel the world from your plate, tasting the history of each culture and what they've brought to the table. Quite literally.
More than a Continent
Counties like Germany and Poland have their own dishes as does Spain and Italy. Europe is more than a continent, it's a land filled with dozens upon dozens of histories. Each has its own flavors and while some areas have more in common than others, each has its specialties as well. The French, for example, are known for their rich desserts. The Germans for their sausages, and the Italians for their pasta.
It's all European cuisine.
There are Central European cuisines, Eastern European cuisines, Northern European cuisines, and Southern European cuisines. That would give you a closer taste evaluation but, Serbian foods would still be different than Albanian. That's like saying food in New England is just the same as food in Kentucky. Different regions have their own spin, though they may come from similar roots.
If you're really curious as to what is European food like, treat yourself to a few dishes and see it does taste like. That is what we're most proud of at the Old European, offering people the chance to taste the other side of the world. Authentic and across Europe is what we offer.
So, come on in and find out for yourself what is European food like. We'll be happy to talk you through the menu, offer suggestions as to what you may like. Some things may be wildly different than what you're used to and that can be the best surprise. Tasting something entirely new.
Reading about food is one thing but, it's always different when it hits your tongue. Let's solve that curiosity for you. Come on in and taste Europe.
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text:
The 1919-D Walking Liberty Half Dollar (Buy on eBay) does not have a particularly low mintage, however gem graded examples represent a great rarity for the series.
There were a total of 1,165,000 half dollars struck at the Denver Mint in 1919. The coins subsequently saw heavy circulation, narrowing the survival rate for pristine examples. Furthermore, consistently weak strikes and subsequent melting have contributed to the low availability of uncirculated examples.
On a combined basis, the coin grading firms PCGS and NGC show fewer than 400 pieces graded MS60 or higher. The number of coins graded MS65 or higher drops to only 15 examples. There is only a single MS-66 graded example known. This coin has sold for more than $250,000 on two separate occasions.
- Designer: Adolph A. Weinman
- Composition: 90% Silver, 10% Copper
- Weight: 12.50 grams
- Diameter: 30.6 mm
- Edge: Reeded

source: openbmb/Ultra-FineWeb


text:
Let us know what you think about this website by sending us feedback
Structural Engineering Intern
Engineering, Architecture, ＆ Planning with NYC Department of Parks & Recreation (NYC Parks)
$51,413 - $59,125 per year
Last updated on Mar 13, 2023
NYC Parks is an award-winning city agency that builds and cares for public spaces for New Yorkers to connect, play and enjoy. These public spaces, encompassing over 5,000 properties, 14% of the city's land and 31% of the city's coastline, include seawalls and waterfronts, pedestrian bridges, beaches and boardwalks, parks and playgrounds, historic houses, recreation centers and pools.
Under direct supervision of in-house engineering staff, selected candidates will perform the following:
- Develop designs, drawings, and specifications for structural engineering projects including construction and reconstruction of all types of Parks facilities, with a focus on retaining walls, historic sites and unusual or emergency conditions.
- Perform mathematical and engineering calculations, including quantity and cost estimates.
- Perform field investigations, inspections, document conditions and produce reports.
- Technical review of consultant engineering designs for quality and conformity with Parks standards.
- Draft and edit project scopes, presentations, contracts and other documents.
1. A baccalaureate degree in civil engineering from an accredited college. A degree in any other engineering area or in civil engineering technology is not acceptable.

source: m-a-p/FineFineWeb


text:
Here are the top 10 comparisons for What Is An Insurance Broker Vs Agent based on our research.
1. Insurance Broker vs. Agent: What's the difference …
Dec 16, 2020 — Insurance brokers represent you, while insurance agents represent one or more insurance companies. The services these two types of What Is the Difference Between an Insurance Agent and a Broker?What Is an Insurance Broker?What Is an Insurance Agent?… Insurance Broker Vs. Agent: What's >>
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2. Insurance Agent vs. Broker: What's the Difference?
Generally speaking, agents work as salespeople on behalf of specific insurance companies, while brokers offer more generalized insurance services to … Insurance Agent Vs. Broker: What's >>
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3. Insurance Agents Versus Brokers: How They Make Money
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5. Benefits of Working with an Insurance Broker vs Agent
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Aug 10, 2017 — One charges a commission on top of the insurance rate. While working with an insurance broker ultimately gives you the flexibility to work with … Insurance Broker vs. Agent: What's the Difference?


Mola Ram
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For the Indiana Jones villain, see List of Indiana Jones characters#Mola Ram.
A painting by Mola Ram: Abhisarika nayika, "the heroine going to meet her lover". She turns back to look at a golden anklet, which has just fallen off. There are also snakes below and lightning above.
Mola Ram (1743–1833)[1] was an Indian painter, who originated the Garhwal branch of the Kangra school of painting.[2] He was also a poet, historian and diplomat.[3] Much research about him was done by Mukandi Lal.[4]
Life and Career[edit]
He was born in Srinagar, and worked for the Garhwal Kingdom from 1777 until its annexation in 1803.
It is said[5] that two miniature painters of the Mughal imperial court at Delhi, Sham Das and his son Har Das (or Kehar Das[3]), accompanied Sulaiman Shikoh, the son of Dara Shikoh, when he escaped from his uncle Aurangzeb in 1658 and sought refuge from Prithvi Shah of the Garhwal kingdom, which had its capital in Srinagar. The painters remained in Srinagar as the royal tasbirdar (picture-makers), and developed the Garhwal style of miniature painting. Mola Ram was one of their descendants.[5] The inception of the Garhwal school of painting is also sometimes credited to him. His son Jwala Ram and grandson Atma Ram continued the tradition, but further descendants suspected a curse and gave up painting.[3] However, one of his descendants, Tulsi (often confused with Tulsi Mistri, another contemporary painter) was also a painter.[1]
Mola Ram himself initially painted in the Mughal style until visiting Kangra,[6] e.g. his painting Mastani is in the Mughal idiom,[7] while his later paintings, e.g. Vasakasajja Nayika,[8] are in the Garhwal style. Some of his paintings are signed.[2]
He wrote the historical work Garharajavansh ka Itihas (History of the Garhwal royal dynasty) which is the only source of information about several Garhwal rulers.[9][10] He starts with Sham Shah and goes on to describe Dula Ram Shah, Mahipati Shah, Pritam Shah, Medini Shah, Lalit Shah, and Jayakrit Shah.[11] He also wrote Ganika Natak or Garh Gita Sangram in 1800.[12] Mola Ram himself played a part in politics, helping Jayakrit Shah obtain help from Raja Jagat Prakash of Sirmaur to quell a rebellion at the battle of Karparoli.[13][14]
 1. ^ a b Kamboj 2003, p.119
 2. ^ a b Coomaraswamy 1969, pp.75–76
 3. ^ a b c Kamboj 2003, p.25
 4. ^ Chaitanya, p. 77
 5. ^ a b Hāṇḍā 2002, p.129
 6. ^ Kamboj 2003, p.28
 7. ^ Chaitanya, p. 80
 8. ^ Chaitanya, p.32
 9. ^ Hāṇḍā 2002, p.120
 10. ^ Hāṇḍā & Jain 2003, p.21: "Mola Ram was witness to the collapse of dynastic rule, rise and fall of the tyrannical Gurkha hegemony through which he could steer well, and the British dominance in Garhwal. The upheavals through which the Garhwal kingdom passed during those days are most authentically recorded in his Garh Rajvansh ka Itihas. This work of Mola Ram covers the history of Garhwal from the period of Sham Shah (AD _PHONE_) to the tyrannical days under the Gurkhas and British rule."
 11. ^ Hāṇḍā 2002, pp. 120–144
 12. ^ Rawat 2002
 13. ^ Hāṇḍā 2002, p.144
 14. ^ Chaitanya, p.78
External links[edit]


text:
- (latitude, longitude) points $P_1, P_2,\ldots, P_n$.
- Presumably, all the points should form a dense cloud. However, noise is possible.
- The virtual center of the points.
For instance, 99% of the points may lie within a circle with 1km radius, except for 1% scattered outside that circle at a distance larger than 1km from any point inside the circle. Then this 1% is noise.
Unfortunately, I do not know how to define the noise properly. But the virtual center I am looking for should be close enough to most of the points. If most of the points are close to it, then I do not mind that some be far away.
If it is not too hard, I would like to be able to recognize more than one dense cloud amongst the points. In which case, each cloud could be reduced to its virtual center and thus I will have to find the new virtual super center of the virtual center cloud. That super center is the final result.
I am not a mathematician, so my descriptions are vague. But I am pretty sure that this is a well known problem and it probably has a trivial solution.
This question is similar to Detect Abnormal Points in Point Cloud, however, my space is two dimensional, which probably does not matter. Still.
The points are indeed on the surface of a sphere, a spheroid actually, Earth more precisely. However, the distance between them is not large enough to take the Earth curveture into account, so it may be safely assume that the surface is flat and longitude is X and latitude is Y.

source: HuggingFaceFW/fineweb-edu


text:
In Hogwarts Legacy, Merlin Trials are spell-based challenges that are scattered throughout the game's magical open world. These puzzles are abundant, and you'll find them almost everywhere you go. Completing these trials is crucial as it unlocks extra gear inventory slots, allowing you to carry more items to sell or use.
The first Merlin Trial is unlocked during the "Trials of Merlin" quest, which occurs shortly after you meet Natty near Lower Hogsfield. Nora Treadwell will provide you with an introduction to the basic concept of the trial, including placing Mallowsweet on an altar and solving the ensuing puzzle. However, there are various types of Merlin Trials throughout the game, and each requires a particular spell to solve.
If you're looking to complete every type of Merlin Trial, look no further. Our guide provides detailed instructions on how to solve each type of challenge and how to obtain enough Mallowsweet to begin them. With this guide, you'll be able to conquer every Merlin Trial you encounter and unlock all the extra inventory slots.
Hogwarts Legacy Merlin Trials Solutions
The nine different sorts of Merlin Trials that are found in various ways throughout the map can be discovered while exploring the magical world of Hogwarts Legacy. Each trial has unique spell requirements that may not be available until they have been learnt, so keep that in mind.
- Light torches: Use either Incendio or Confringo spells to ignite all the torches surrounding the trial before they sink into the ground. Begin by locating their positions and prioritize lighting the tallest first. If possible, use Confringo as it allows you to light the torches from a distance.
- Smash orbs: Break all the orbs located on top of the pillars using the Accio spell. Each trial will have multiple orbs that need smashing.
- Standing stones: Reach the other end of the Standing Stones by running and jumping across the standing stones without touching the ground.
- Symbol cubes: Align each side of the cubes with the plinth it rests on by using the Flipendo spell. The cubes typically have arrows on some faces to guide you in the correct direction.
- Gather moths: Find hollow cubes with crystals inside and use Lumos to attract floating moths. Then, bring them back to each cube crystal in turn to light them up.
- Small stone balls: Move sets of five small stone balls into nearby plates with ball-shaped openings using movement spells like Accio. Finish all sets to complete the challenge.
- Explode stones: Blow up the greenish cracked rocks around the trial area using the Confringo spell. Although Repulso could theoretically work, Confringo is easier to use for range purposes.
- Repair statues: Fix the statues around the trial area by using Reparo to complete the challenge.
- Spell ball: Get the ball into the nearby bowl-shaped goal set into the ground by using yellow and purple movement spells. It's possible to cheat and take it there manually using Wingardium Leviosa.
How to get Mallowsweet
In case you're running through your Mallowsweet supply quickly, there are a couple of options to consider. You could purchase Mallowsweet from the Magic Neep in Hogsmeade, or you could buy the seeds and cultivate your own supply. If you choose to grow it yourself, start by planting the seeds in a Greenhouse planter. Alternatively, you can wait until the Room of Requirement opens up to establish your own Mallowsweet farm with plant tables. Each plant table yields up to five Mallowsweet when harvested, and you can have up to seven plant tables, providing you with a bountiful supply of Mallowsweet.


text:
Extracting taxonomic information from ConTax data sets.
1 2 3 4 5 6 7 8
A vector of texts, typically the
The ConTax data sets are
Fasta objects, where the
Header line follows
a strict format.
The Header always starts with a short text, a Tag, which is a unique identifier for every sequence.
getTag will extract this from the
After the Tag follows one or more tokens. One of these tokens must be a string with the following format:
where <...> is some proper text. Here is an example of a proper string:
getGenus extract the
corresponding information from the
combines all taxonomy extractors, combines these in a data.frame
and imputes missing taxa with parent taxa.
A vector containing the sub-texts extracted from each
1 2 3 4


UX Research
LightApp is an app designed to make home electricity consumption a transparent act rather than a black box. By using LightApp, we will be able to control and manage our electricity usage.
The app connects to the different power outlets in the house, monitors each device, and provides recommendations for better usage and savings of electricity.
Context: Graduate Project
Tools Used: Sketch, Illustrator, XD, Photoshop
The Problem
Unlike other financial aspects of our lives, the electricity budget remains a black-box that is almost impossible to control and predict. With so many variables in the equation the average user finds themselves surprised by the end of every month.
Additionally, for many young adults who share apartments with others, splitting the electricity bill evenly course an out of control reality and a fair living situation.
The Goal
To create an application that allows users to monitor their electricity consumption and improve their practices. To allow users to manage and control their budget .
User Research
For this project, I conducted qualitative research that involved user interviews in order to learn better about their habits and pain points. This part involved a small sample of 10 participants. Each of the 10 pre-screened participants was 1:1 interviewed for about 30 min. The interview included both closed quotations (mostly for demographics information) and open-ended ones.
From the thematic data analysis, five themes have emerged:
- The Black Box: All of the participants, whether if they expressed interest in their electricity consumption, had more assumptions than actual knowledge when it comes to how much they consume and how it affects their bill or sustainability efforts.

-Why do we care: For this theme, I came up with two primary motivations -money and sustainability
All of the five participants mentioned money as a motivation to pay attention to electricity consumption. Even the only participant that said she does not care about it mentioned she would like to save money on it if will be possible.
The other reason that was mentioned continuously is sustainability. Even that wasn't the primary motivation; they expressed a will to do better in that domain.
-Consuming X paying Y: The participants with roommate mentioned that they don't know how much each roommate is using electricity, and they split the bill evenly. Some of them said that they actually barley at home; hence they are not using it as much as their friends.
-Practices for saving electricity: Most of the participants mentioned turning off the lights as the first action they do, but more important – wish not to forget to do. A/C and dryer also were mentioned as devices that people can control and limit their consumption if possible. All of them said that they assume it saves electricity, but don't really know if that affects and with what amount.
- Knowing leads to save: When asked if they are budgeting other life activities, all of the participants mentioned that they are trying to keep and be responsible for spending. They also said their habits when it comes to it.
Key Takeaways
"I never know how much the bill will be..."
"I'm trying to save electricity mostly because of the money..."
"I know it helps keeping the Earth..."
"Before i buy something i make research"
" I keep forgetting turning the lights off..."
Flow Chart


text: The dismantling of disused industrial facilities such as nuclear power plants or refineries is an enormous challenge for the planning and control of the logistic processes. Existing control models do not meet the requirements for a proper dismantling of industrial plants. Therefore, the paper presents an approach for the control of dismantling and post-processing processes (e.g. decontamination) in plant decommissioning. In contrast to existing approaches, the dismantling sequence and depth are selected depending on the capacity utilization of required post-processing processes by also considering individual characteristics of respective dismantling tasks (e.g. decontamination success rate, uncertainties regarding the process times). The results can be used in the dismantling of industrial plants (e.g. nuclear power plants) to reduce dismantling time and costs by avoiding bottlenecks such as capacity constraints.


text:
Economic Concepts Poster Contest
Economics Concepts Poster Contest
A Picture is Worth a Thousand Words
Teachers of grades 1-8 use the Poster Contest to stimulate students' interest in the fundamentals of our economic system. The program also helps students learn about the economy and have fun doing it, while creatively demonstrating their understanding of the economy.
On average, 3,000 students participate in the program each year, gaining a better understanding of basic economic concepts by depicting them as artwork!
Students represent in a color drawing, one of six basic economic concepts. Teachers submit their entries to a regional contest in which twelve winners are selected, along with at least twelve honorable mention entries. Entries are judged on accuracy of concept representation and originality.
See the list of regional contests, and find out which one you should enter, on the How to Enter page.
The top twenty-four entries from each regional contest advance to the state competition from which twelve drawings are selected as state winners. Each year, a twelve-month color calendar is produced from the twelve state winners' drawings, and distributed in the fall of the year.
At both the regional and state levels, winning students receive monetary awards and certificates. Teachers also receive recognition. Regional contests may culminate in a reception for students, teachers and family.


text:
- Americans have different words for soft drink depending on which region of the United States they're from.
- The three most popular terms are soda, pop, and coke, according to data collected by the site Pop Vs. Soda.
- Linguists have noted other terms people from certain regions use for soft drinks, including tonic and cocola.
People in the United States have different ways of saying things from region to region, from what they call the night before Halloween to how they pronounce the word "crayon."
One of the things Americans can never seem to agree on is what to call fizzy, carbonated beverages: soda, pop, or coke?
That's exactly the question cartographer Alan McConchie sought to answer with his web project, the aptly named Pop Vs. Soda. The site invites visitors to fill out a brief questionnaire asking where they are from and which term they use for soft drinks. To date, more than 400,000 users have submitted answers.
The resulting maps illustrate what linguists have long known:
- Soda is the preferred term in the Northeast, most of Florida, California, and pockets in the Midwest around Milwaukee and St. Louis
- Pop is what people say in most of the Midwest and West
- And coke, even if it's not Coca-Cola brand, is what people call it in the South
Previous research reveals even more regional divides. According to Jason Katz, the graphic artist who wrote "Speaking American: How Y'all, Youse, and You Guys Talk," there are even more regionalisms that most Americans may not have heard of. Among them:
- A solid 6% of Americans simply call them soft drinks, especially in Louisiana and North Carolina
- In small pockets of the Deep South, cocola is the preferred term
- And in Boston, tonic is what a decent amount of older residents grew up saying, although that term is quickly falling out of favor
Whether you call it pop, soda, coke, or something else entirely, there's no question that Americans won't be agreeing on its name any time soon.


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The ST_length() function returns the length of a linestring but not in meters.
Is there a function like ST_Length() but in meters?.
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up vote 7 down vote accepted
St_Length() returns the length in the units of its Spatial Reference System. If you want to get meters, you will need to transform your feature to a different SRS that uses meters as units. This can be done on-the-fly, so don't worry about writing out another data set.
SELECT ST_AsText(ST_Transform(the_geom,26915)) from my_table;
In this example, SRID 26915 is UTM Zone 15 N, NAD83.
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Or simply add your own field and manage the calculation yourself. NOTE you have to write your own trigger or recalculate it on changes in your lengths. – Brad Nesom Oct 11 '12 at 4:12
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Examples of SQL request: how-to-calculate-length-of-polyline-geometry-for-several-tables-in-postgis
SQL request (length in km (/1000 -delete for meters)):
sum(ST_Length_Spheroid(the_geom,'SPHEROID["WGS 84",_PHONE_,298.257223563]'))/1000 AS km_roads
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Remapping Connections in a DSS Instance
Often a project is initially created on a DSS instance that uses a connection available only on that instance. If you later want to import the same project into a second DSS instance, you may have to remap the connection if an identical connection name is not found on the second DSS instance.
This article will show how to remap a connection in Dataiku DSS. For illustration, we'll remap a PostgreSQL connection defined in the import archive of a project to an existing connection on a different DSS instance.
Technical Requirements
Note
While we'll be using a PostgreSQL connection, the process described here will be very similar for other database connections.
Import an SQL-based Project
To import a project that uses an SQL connection, follow the general steps for importing a project into Dataiku DSS. From the Dataiku homepage, click +New Project and select Import project from the list.
Alternatively, you could create a project from one of the existing SQL-based tutorials in DSS. For example, from the Dataiku homepage, click +New Project and select DSS Tutorials from the list. Choose Advanced Designer from the left, and select Plugin Store (SQL-based Tutorial).
No Identical Connection Name in the Second Instance
Suppose the project to be imported was created on a first instance having a connection called postgresql to a PostgreSQL database. When importing into a second DSS instance that doesn't have a connection with the same name (postgresql), Dataiku DSS will display errors alerting you to a missing connection.
../../../../_images/project_remap_errors.png
To resolve these errors, simply follow these steps to remap the connection name postgresql to an existing connection in the second Dataiku DSS instance.
 - Click Add Remapping in the "Connection remapping section."
 - Remap postgresql to an existing PostgreSQL connection on your instance. In the following screenshot, this connection is named "PostgreSQL_tshirt."
../../../../_images/project_remap_connection.png
Once you've remapped the connection and addressed any other errors or warnings, Dataiku DSS will finish importing the project.
Identical Connection Name in the Second Instance
Suppose the second DSS instance has a PostgreSQL connection with the same name postgresql as the connection on the first instance. For example, this could happen if your DSS design node has a connection to a design database, and the automation node has a connection, with the same name, to a production database. In this example, you would not have to remap connection names.
However, if the second DSS instance must be connected to the same database as the first instance (where the project was created), and the connection names are identical, be sure to remap your connection in the second instance to a different one.
In general, you should avoid connecting the second DSS instance to the same database used in the first instance. Otherwise, you can encounter an undesirable situation where both the original project (in the first DSS instance) and the imported project (in the second DSS instance) will write to the same SQL tables. Therefore, computing a dataset in one instance would overwrite the identically-named dataset in the other instance because both datasets read from the same table. For more information, see Export/Import Project Options.


text:
Coin Silver Teaspoon, Henry Biershing of Hagerstown, MD
A lovely American coin silver teaspoon by watchmaker and silversmith Henry Biershing of Hagerstown, Maryland. Biershing was born about 1789 and was working in Hagerstown between about 1809 and 1843, the year of his death. This spoon measures about 5 13/16 inches in length, and weighs about 16 grams. The spoon has an engraved period script monogram of "MF" and a clear maker's mark of H.BIERSHING in a serrated rectangle. Biershing's work is rarely seen, despite his relatively long career. A fine piece of Western Maryland silver, and some would argue Southern coin silver, given the sympathies of many of the inhabitants of that territory leading up to and during the Civil War.


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Skill concentration.png Concentration (Constitution)
Allows you a chance to continue casting a spell after being damaged or otherwise interrupted. When you take damage you roll a D20 + your Concentration score against a difficulty class of 10 + one tenth of the damage received + the level of the spell you are trying to cast. This check occurs when either casting from spellpoints or using a scroll.
The Quicken metamagic eliminates the check when casting a spell from spellpoints while it is active, however, as scrolls cannot be quickened and Quicken costs spellpoints, the skill is still useful even with the Quicken metamagic.
Even if you succeed on the Concentration check, your spell can still be interrupted, for example if you are tripped or held.
This skill is also important for monks as their ability to retain Ki is tied to Concentration.


text:
October 16, 2011
- arrears (noun)
- What does it mean?
- 1 : the state of being behind in the paying of debts2 : unpaid or overdue debts
- How do you use it?
- After a couple months of being in arrears with the rent, the roommates finally got caught up and started paying rent on time again.
- Are you a word wiz?
Don't get behind on answering this one; start right away! Which of the following words do you think shares a common ancestor with "arrears"?We won't hold back the answer! It's B, "retroactive." Both "arrears" and "retroactive" have as a Latin ancestor the word "retro," meaning "back." "Arrears" traces back through French to the Latin phrase "ad retro," meaning "backward." "Retroactive," which means "intended to apply or take effect at a date in the past," also traces back through French to its Latin ancestor. It derives from the Latin word "retroagere," meaning "to drive back, reverse," a combination of "retro" and "agere," meaning "drive."


text:
November 14, 2011
DSBN Students to Compete in Hunger Games Challenges
In the post-apocalyptic world depicted in Suzanne Collins' novel "The Hunger Games", the ruling government forces young people to compete against each other in a battle for survival. At the District School Board of Niagara, students taking part in challenges based on "The Hunger Games" will be working cooperatively to complete a number of different tasks and improve their literacy skills. Through the week of November 14-18, students will be engaged in a broad range of different outdoor activities based on the novel at the Woodend Conservation Area.
The event involves students from schools across the DSBN. In the challenges, students will be asked to build shelters from fallen logs, trees and branches, navigate the paths of the conservation area using orienteering skills and participate in interactive, cooperative novelty sports and activities.
Literacy Support Teacher Krista Kiemele says the games "provide students with an engaging opportunity to make connections to the novel and extend their understanding of the events that unfold throughout the plot through active participation."
Each day is scheduled to begin at approximately 10:00 a.m. and will conclude at 2:00 p.m. Woodend Conservation area is located near Niagara College's Glendale Campus on Taylor Road in Niagara-on-the-Lake.
Lakeview Public School
St. Catharines and Thorold
Power Glen Public School
Port Weller Public School
Richmond Street Public School
St. Catharines Collegiate
Gordon Public School
Plymouth Public School
James Morden Public School
Fort Erie and area
Garrison Road Public School
Ridgeway-Crystal Beach High School


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I need to display some charts in my PyQt application, so I write down these code. It is works, but sometimes, draw a chart will spend a lot of time, it will "freeze" the main window.
I think do it in another thread should resolved it. But how can I do it? Or, there is another way to draw a chart in "non-block" mode?
from PyQt4 import QtGui
from matplotlib.backends.backend_qt4agg import FigureCanvasQTAgg as FigureCanvas
from matplotlib.figure import Figure
class MplCanvas(FigureCanvas):
 def __init__(self):
 self.fig = Figure()
 self.axes = self.fig.add_subplot(111)
 # do something...
 FigureCanvas.__init__(self, self.fig)
 FigureCanvas.setSizePolicy(self, QtGui.QSizePolicy.Expanding, QtGui.QSizePolicy.Expanding)
 # do something...
 def draw(self):
 # do something...
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2 Answers
The basics of Python threading for simple uses like this are really easy.
You'll need to
import threading
and then, instead of just calling x.draw(), create a thread and run it as follows:
draw_thread = threading.Thread(target=x.draw)
That will probably get you 90% of the way at least. You can read the docs to detect things like still-running threads, waiting for threads, and so on. But at heart, it's not difficult and if ti's just simple interactive graphics this might even suffice.
Be aware, though, that if draw() references globals, there is the potential for race conditions to occur,making your program unreliable. This is a further advantage of writing code with good coupling, clean interfaces and no references to mutable globals (unless locking is used to protect those resources).
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You should us QThreads in your Qt application (to make the frame work do all of the hard work for you)
 1. put your time consuming work in a worker class (that is derived from QObject)
 2. In you class that is caling the plotting add something like
 self.thread = QtCore.QThread(parent=self)
 self.worker = Worker(parent=None)
and communicate with your worker via signals/slots. If you call it directly (as in self.worker.do_slow_stuff()), it will run on the thread you call it from, which will block the main event loop making the interface freeze.
A good explanation of how to (and not to) do threading with QThread (read both..the first one now describes the default behaviour)
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bastard + -ize
Alternative formsEdit
bastardize (third-person singular simple present bastardizes, present participle bastardizing, simple past and past participle bastardized)
 1. To claim or demonstrate that someone is a bastard, or illegitimate.
 The law is so indulgent as not to bastardize the child, if born, though not begotten, in lawful wedlock. — Blackstone.
 2. To reduce from a higher to a lower state; to debase.
 The simplified word processor is a less-functional, bastardized version of the full program.
 3. To introduce debased elements into.
 4. To beget out of wedlock.


text:
By a student of grade 6Everyone has ever seen himself in a distorting mirror. In some mirrors you are very fat, the other just makes you super long and another makes you get a big head! In this art class, the children draw themselves as if they are in front of a disorting mirror. Each drawing has to contain three persons: one in normal size, one as if you are bfore a disorting mirror that makes you thin, and one that makes you very fat.
- white drawing paper A4 size
- colour pencils
The constant height is very important in this drawing. If children draw themself in front of a disorting mirror, all limbs have to be on the same height as in the usual mirror. The thin figure should not be longer, and the fat one should not be shorter than the middle drawing.
Guide the children in dividing their drawing sheet. Thin is 1/6 part of the sheet, normal is 2/6 part of the sheet and fat is 3/6 part. Tell students to start with the normal person. The fat and thin person have to be drawn after this. Colour the drawing with colour pencils.


text:
A Review of Team Psychological Capital Research
Download as PDF
Suqin Shen, and Hui Tian
Team psychological capital reflects the consistency level of individual psychological capital. It is a collective positive psychological state formed by team members in coordination and interaction, and a collection of positive psychological capabilities that promote team development. This paper defines the connotation of team psychological capital through the study of related literature, and introduces the structure of team psychological capital: common vision, team effectiveness, team resilience, team optimism, and team belonging. Three measurement methods of team psychological capital are proposed: individual psychological capital sum method, individual evaluation average method, and overall discussion method. On this basis, this paper analyzes the antecedent and outcome variables of team psychological capital from the level of individual variables and organizational variables. Based on the theory of social infection and cognitive convergence, the formation mechanism of team psychological capital is analyzed, and the development and management measures of team psychological capital are finally put forward.
Psychological capital, Team, Competitive advantage


Radius of Turn
Definition
The horizontal distance that an aircraft uses to turn is referred to as the radius of turn. It varies as a function of bank angle and the square of the airspeed.
Description
Radius of turn is dependent on both airspeed and bank angle. The radius of turn at any given bank angle is directly proportional to the square of the airspeed. Doubling the airspeed results in a radius of turn that is four times greater while tripling the airspeed would result in a radius that is nine times greater. Conversely, if the aircraft speed remains constant, increasing the bank angle will decrease the turn radius.
These relationships are the opposite of those found in Rate of Turn where increasing the speed decreases the rate of turn and increasing bank angle also increases the rate of turn.
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text:
Bringing a historic castle back from obscurity
Henry VIII ordered the building of Sandsfoot Castle – and its partner across the water, Portland Castle – in around 1539, to jointly protect the waters of Portland Roads against the threat of foreign invasion. Standing on the cliff edge, the castle has been under attack from coastal erosion ever since it was built. Most of the ashlar stone has been lost to local building projects and thieves, and the castle has been closed to the public since the 1930s, when it was deemed unsafe.
With the aim of re-opening the castle up to the public, this project was part-funded by the Heritage Lottery Fund and consisted of conservation treatment to the stonework and the insertion of a new lightweight walkway around the interior.
The stone conservation work was carried out in lime mortars, with small-scale reinforcement and supporting interventions to conserve the castle as found. Soft cappings were installed on the wall tops as an alternative to the existing cement cappings.
The walkway is designed to be a lightweight element, sitting elegantly within the ruined castle at the level of the former floor. It touches the castle fabric in as few places as possible, with fallen ashlar stones used as padstones. The continuous timber handrail provides a comfortable place to lean, and interpretation panels along the way tell the history of the castle.
As a result of the work, Sandsfoot was taken off English Heritage's Buildings at Risk Register and is now open to the public.
Winner of the Weymouth Civic Society Special Award 2013.
Photographs: Jim Potter and Levitate


text:
We're starting with these issues, which were postponed from D6 as they're present in D7 only:
- Find an Active, unassigned "Variable to config:" issue
- Assign it to yourself when you start work on it
- Convert it, write a test and submit
- Your guidelines are config/migrate.migration.d6_system_site.yml, lib/Drupal/migrate/Tests/MigrateSystemConfigsTest.php, lib/Drupal/migrate/Tests/Dump/Drupal6SystemSite.php
Note: There's a not-quite-finished D7 example patch at. Note: The drupal6_variable source plugin is being re-used, so the script will create a file that says:
source: plugin: drupal6_variable variables: - mail_system
That drupal6 label is correct.
You'll also re-use Drupal6DumpCommon so:
correctly references Drupal6.
- Copy paste the update_variables_to_config call into the provided converter script and run it from your Drupal root. It will create the migration entity for you.
- Create your Dump class based on the source variables and any values you like. It's preferred to use the default values for the variables from D7 but if that's too much work, we are good with any values.
- If your module does not already have a MigrateModuleNameConfigsTest.php, create it. Now add a method for this specific config file based on the testSystemSite method which should be self explanatory: you need to change:
- the second argument of the entity_load to the id found in the yaml (both file name and inside as id:),
- the dump path,
- the name of the config()
- all the asserts
Note that the test you are writing is a simpletest; full integration tests can't be done in phpunit (or not well). To execute simpletests from the command line, see _URL_


A global distributor of precision measurement tools
What kinds of applications are there for using a ruby ball probe tip?
A ball-tipped probe is most often used to assess the flatness of a surface, also known as scanning. By using a ruby ball probe, you are harnessing each of the advantages of ruby as a material—sphericity, hardness, smoothness, and resistance. Scanning is used in order to identify any flaws that a material might have. A ruby ball probe is used to measure the individual imperfections that are found during the scanning process. By running the probe across the surface of interest, you can find and measure the size of any flaws that exist. Ensuring smoothness and perfect sphericity of the ball on your probe is pivotal to successful scanning. Ruby is the best choice for this purpose since it is reliably spherical and smooth, as well as difficult to damage.
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The Bird That Clung To The Nest - PDF Preview
The Bird That Clung To The Nest
The Bird That Clung To The Nest
This is a comical children's book written to enhance one's vocabulary. It is a story about a birdie named "Eddy" that comes into the world as a little different and has troubles tweeting like the other birds.


A Split-Apply-Combine strategy to apply common R functions to a Filebacked Big Matrix.
big_apply(X, a.FUN, a.combine = NULL, ind = cols_along(X),
 ncores = 1, block.size = block_size(nrow(X), ncores), ...)
Arguments
X
A FBM.
a.FUN
The function to be applied to each subset matrix. It must take a Filebacked Big Matrix as first argument and ind, a vector of indices, which are used to split the data. For example, if you want to apply a function to X[ind.row, ind.col], you may use X[ind.row, ind.col[ind]] in a.FUN.
a.combine
Function to combine the results with do.call. This function should accept multiple arguments (...). For example, you can use c, cbind, rbind. This package also provides function plus to add multiple arguments together. The default is NULL, in which case the results are not combined and are returned as a list, each element being the result of a block.
ind
Initial vector of subsetting indices. Default is the vector of all column indices.
ncores
Number of cores used. Default doesn't use parallelism. You may use nb_cores.
block.size
Maximum number of columns (or rows, depending on how you use ind for subsetting) read at once. Default uses block_size.
...
Extra arguments to be passed to a.FUN.
Details
This function splits indices in parts, then apply a given function to each subset matrix and finally combine the results. If parallelization is used, this function splits indices in parts for parallelization, then split again them on each core, apply a given function to each part and finally combine the results (on each cluster and then from each cluster).
See also
Examples
X <- big_attachExtdata() # get the means of each column colMeans_sub <- function(X, ind) colMeans(X[, ind]) str(colmeans <- big_apply(X, a.FUN = colMeans_sub, a.combine = 'c'))
#> num [1:4542] 1.32 1.59 1.53 1.63 1.09 ...
# get the norms of each column colNorms_sub <- function(X, ind) sqrt(colSums(X[, ind]^2)) str(colnorms <- big_apply(X, colNorms_sub, a.combine = 'c'))
#> num [1:4542] 33.6 38.4 37.5 39.2 29.6 ...
# get the sums of each row # split along rows: need to change the "complete" 'ind' parameter str(rowsums <- big_apply(X, a.FUN = function(X, ind) rowSums(X[ind, ]), ind = rows_along(X), a.combine = 'c', block.size = 100))
#> num [1:517] 6243 6168 6242 6249 6212 ...
# it is usually preferred to split along columns # because matrices are stored by column. str(rowsums2 <- big_apply(X, a.FUN = function(X, ind) rowSums(X[, ind]), a.combine = 'plus'))
#> num [1:517] 6243 6168 6242 6249 6212 ...
## Every extra parameter to 'a.FUN' should be passed to 'big_apply' # get the crossproduct between X and a matrix A # note that we don't explicitly pass 'ind.col' to 'a.FUN' body(big_cprodMat)
#> { #> check_args() #> assert_lengths(ind.row, rows_along(A.row)) #> if (length(ind.row) > 0 && length(ind.col) > 0) { #> big_apply(X, a.FUN = function(X, ind, M, ind.row) { #> crossprod(X[ind.row, ind, drop = FALSE], M) #> }, a.combine = "rbind", ind = ind.col, ncores = ncores, #> block.size = block.size, M = A.row, ind.row = ind.row) #> } #> else { #> matrix(0, length(ind.col), ncol(A.row)) #> } #> }
# get the product between X and a matrix B # here, we must explicitly pass 'ind.col' to 'a.FUN' # because the right matrix also needs to be subsetted. body(big_prodMat)
#> { #> check_args() #> assert_lengths(ind.col, rows_along(A.col)) #> if (length(ind.row) > 0 && length(ind.col) > 0) { #> big_apply(X, a.FUN = function(X, ind, M, ind.row, ind.col) { #> X[ind.row, ind.col[ind], drop = FALSE] %*% M[ind, #> , drop = FALSE] #> }, a.combine = "plus", ind = seq_along(ind.col), ncores = ncores, #> block.size = block.size, M = A.col, ind.row = ind.row, #> ind.col = ind.col) #> } #> else { #> matrix(0, length(ind.row), ncol(A.col)) #> } #> }


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Suppose now that the objects in question are abelian topological groups $G$ so that morphisms are continuous group homomorphisms. Given an exact sequence of abelian topological groups $0 \to G''\to G \to G''$ is the functor $\textrm{Hom}(H,-)$ a left-exact functor? $H$ is an abelian topological group.
We know that if we only care about group homomorphisms then $\textrm{Hom}(H,-)$ is left-exact, but will the condition of continuity now change anything? It seems there is a problem because to prove exactness at $\textrm{Hom}(H,G)$ requires defining a map from $H \to G''$ which may not be continuous.
Edit: PinkElephants has shown us that this functor may fail to be exact. However if we consider a specific case which is the exact sequence
$$0 \to \Bbb{Z} \to \Bbb{R} \stackrel{e^{2\pi i x}}{\longrightarrow } S^1 \to 0$$
then is the functor $\textrm{Hom}(S^1, -)$ left-exact? What about the contravariant functor $\textrm{Hom}(-,S^1)$, is it still right-exact?
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If $\textrm{Hom}(G, -)$ fails to be left exact then you have defined exact sequence incorrectly. – Zhen Lin Dec 10 '12 at 23:35
Continuity, in any case, cannot solve anything, for you always put the discrete topology on groups! – Mariano Suárez-Alvarez Dec 10 '12 at 23:36
_USER_-Alvarez What if I consider $S^1$ as a topological group the topology on here is the Euclidean topology? – user38268 Dec 10 '12 at 23:38
_USER_ I made an edit above. – user38268 Dec 10 '12 at 23:43
Let me just mention the amazing fact that if you consider only compact abelian groups, then this category actually turns out to be abelian. In particular, Hom(S^1, -) is left-exact as long as you restrict to compact groups. – Piotr Pstrągowski Dec 11 '12 at 2:23
2 Answers 2
up vote 3 down vote accepted
$\DeclareMathOperator{Hom}{Hom}$Given a short sequence $$0 \to A \xrightarrow{f} B \xrightarrow{g} C \to 0,\tag{$\ast$}$$ in an additive category, the sequence of abelian groups $$ 0 \to \Hom(G,A) \xrightarrow{f_\ast} \Hom(G,B) \xrightarrow{g_\ast} \Hom(G,C) $$ is exact for all $G$ if and only if $f$ is a kernel of $g$ and, dually, $$ 0 \to \Hom(C,G) \xrightarrow{g^\ast} \Hom(B,G) \xrightarrow{f^\ast} \Hom(A,G) $$ is exact for all $G$ if and only if $g$ is a cokernel of $f$.
This can be interpreted as follows: Since we want $\Hom$ to be left exact, the minimal requirement that a short sequence $(\ast)$ in an additive category should satisfy in order to deserve to be called exact is that $f$ be a kernel of $g$ and that $g$ be a cokernel of $f$.
From this point of view, the example in Pink Elephant's answer is not a good one: the identity $G \to H$ is a monomorphism and an epimorphism, but it is not an isomorphism and a fortiori neither a kernel nor a cokernel.
The trouble of calling all kernel-cokernel sequences $(\ast)$ exact is that they lack the closure conditions you need in order to prove the diagram lemmas necessary for homological algebra. A particularly convenient (hence convincing) approach to exact sequences (albeit not intrinsic as in abelian categories) is usually attributed to Quillen, see exact categories. In a nutshell what this means is that you have to think about what sequences you want to call exact.
Outside of the additive setting exactness can be dealt with in various ways but it gets even more complicated. See e.g. Borceux-Bourn's book.
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Let $H$ be an abelian topological group whose topology is not discrete, and let $G$ have the same underlying group as $H$ but with the discrete topology. Consider the short exact sequence $0\to G\to H\to 0\to 0$ where $G\to G$ is the identity on sets.
Now the sequence $0\to \mathrm{Hom}(H,G)\to \mathrm{Hom}(H,H)\to \mathrm{Hom}(H,0)$ is not exact at $\mathrm{Hom}(H,H)$, as $\mathrm{Id}_H$ is in the kernel but not the image.
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Thanks for your answer. However if the topologies are all inhereted from the euclidean topology (e.g. $G''= \Bbb{Z}$, $G = \Bbb{R}$ and $G'= S^1$) then will the functor be left-exact? – user38268 Dec 11 '12 at 0:31
You may see my edit in the question above for further queries. – user38268 Dec 11 '12 at 0:34
Your Answer


text:
Get firsthand accounts of simulation experiences, including benefits and lessons learned, presented by those familiar with simulation training in Illinois.
Simulation training recreates real-life conditions to prepare child welfare workers and students for interactions with families and critical partners in child welfare work.
Explore the videos on this site for firsthand accounts of simulation experiences, its benefits, and key considerations based on lessons learned. The videos present perspectives from program developers, trainers, participants, agency leaders, and other individuals familiar with simulation training in Illinois.
Consult the series publications for more detailed information and tips on simulation training:
This site features videos and interviews with representatives from the Illinois Department of Children and Family Services, the Child Protection Training Academy at the University of Illinois at Springfield, the Children and Family Research Center, and simulation training actors and community professionals. (Find out more about the Illinois simulation training program and its evaluation.
The need for training continues across child welfare, but students and new caseworkers still can benefit from practicing the skills required for casework after their classroom sessions have ended. This podcast discusses a virtual reality-based home visiting training currently being used by the university's B.S.W. students —Virtual Home Simulation (VHS))— which was developed by the University of Utah College of Social Work in partnership with the university's games and applications lab
In FY 2015 the Illinois Department of Children and Family Services partnered with the University of Illinois Springfield to develop the Child Protection Training Academy in order to redesign the six-week classroom training for new investigators and create an experiential component. This paper chronicles the goals of the partnership and the planning and implementation of the Academy.


text:
Difference between revisions of "Referencing AVI Files in MIRCdocuments"
|Line 37:||Line 37:|
Revision as of 16:28, 26 January 2011
This article describes how to insert AVI, MPEG, or other video files into MIRCdocuments using the File Service and Author Service of the RSNA MIRC implementation. This article applies only to MIRC T36b or later. It has only been tested with Internet Explorer.
There are two steps in referencing an AVI file in a MIRCdocument:
- Store the file in your file cabinet.
- Reference the file in a paragraph.
To store the AVI file in your file cabinet:
- Log in on the query page.
- Select My Files in the My Stuff menu.
- In the left pane of the File Cabinet page, select a file folder in which to store the AVI file.
- In the File menu, select Upload file.
- The Add File window will then appear. Click the Browse button.
- A file chooser will then appear. Navigate to the video file, and click Open.
- The file chooser will disappear. Click Submit File on the Add File window.
- Note the full path to the file folder in which the video file is stored. This is shown at the right end of the menu bar.
To reference the AVI file in a MIRCdocument:
- Create a new MIRCdocument or edit an existing one in the Author Service.
- Select a section in which to insert the reference to the AVI file and click its tab.
- Insert a paragraph or click on the text box of an existing one.
- Enter text as shown in the box below, replacing path with the path to the folder, and movie.avi with the name of the video file in that folder.
- Click the Save button in the toolbar to save the document.
Here is a movie.
This will present a link to the AVI within the paragraph. When clicked, the user's AVI viewer will launch and display the AVI in a separate window.
For example, if the path to the folder is Personal/Files/Misc_Files and the video filename is video.mpeg, the text would be:
Here is a movie.
It is also possible to make the video play within the paragraph itself. To do so, use the following paragraph contents:
- Video files are supported only in paragraphs in normal section elements, not in image-section elements.
- In the example above, the AVI file is called movie.avi.
- You can also insert WMV files in the same way.
- The square brackets in the reference to the video file are required.
- After copying the file into the file cabinet when the document is saved, the Author Service removes the bracketed reference from the source and replaces it with the filename of the video file, possibly modified to replace spaces in the name with underscores.


text:
b. ? d. ?
DATE OF EM ACTION: 03/03/1908 Seven Sisters Colliery, Neath, South Wales.
Very little is known about the life of coal miner Morgan Howells, other than his actions at the Seven Sisters Colliery in Neath, South Wales on 3rd March 1908.
On 3rd March, 1908, an explosion took place at the Neath Colliery, by which five men were killed and others injured. Morgan Howells and a boy, whose lamps were extinguished, began to make their way out, but the boy became almost insensible and was dragged and carried by Howells 500 yards to a place of safety.
BURIAL LOCATION: UNKNOWN.
LOCATION OF MEDAL: UNKNOWN.


text:
Publication Date: November 25, 2011
Source: Ivey Publishing
The marketing manager for Canadian Blood Services (CBS) is concerned about a growing demand for blood - 2 per cent per year - driven by a number of factors, including the decrease of wait times in local hospitals, new operating procedures and increased use or requirements of an aging population. Peak demand seasons coincide with low supply seasons, such as summer and winter holidays. Two issues require attention: the first involves increasing the absolute number of donors, currently in the 400,000 range. Indications are that the percentage of Canadians (four per cent) who donate blood is lower than other countries such as Sweden (five per cent). The second need is to retain more donors and increase the number of donations per donor, per year. The CBS still faces issues stemming from the tainted blood scandal of the 1980s and the subsequent Krever inquiry. They are working to rebuild the trust of the public. The crux of the issue is understanding consumer behaviour toward blood donation. The manager needs to understand the consumer decision process, examine segments, determine a target segment and develop communications to increase both the absolute number of donors and the repeat donations of identified donors.


Oxytocin definition - Medical Dictionary definitions of popular medical terms easily defined on MedTerms
Definition of Oxytocin
Oxytocin: A hormone made in the brain that plays a role in childbirth and lactation by causing muscles to contract in the uterus (womb) and the mammary glands in the breast. Animal studies have shown that oxytocin also has a role in pair bonding, mate-guarding, and social memory.
Oxytocin is a peptide (a compound consisting of 2 or more amino acids) that is secreted by the hypothalamus and transported to the posterior lobe of the pituitary gland at the base of the brain. Oxytocin is related to another hormone called vasopressin.
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St Joseph College_London
We embarked on a journey of defining the role of the modern man through embroidery.
Flour studio collaborated with 20 boys (age 11 to 13) and their teacher to completely transform one area of their school. Together a site-specific hand embroidered digital mosaic was created to cover all the walls and ceiling telling a story which represented their interpretation of who the modern man is. The aim was to create a contemporary space of contemplation within the school for all pupils and staff to relish.
St Joseph College asked flourStudio to develop a new body of work re-interpreting contemporary catholic values in collaboration with 20 of their most talented arts students and their art teacher. Together we questioned and investigated these notions and looked for their meaning today.
With that in mind, we tried to understand and define who is the modern man in our contemporary society.
St Joseph's College is a catholic secondary school for boys situated in south London.
Jointly we focused on illustrating these values through two traditional catholic aesthetic narratives: tapestry and mosaic. We also explored chapels as typical spaces of contemplation rich of storytelling and narrative typologies.
Through group discussions, contextual exploration and drawing we decided that
we wanted to re-design the school stairwell as a new type of space for the school. Just as in catholic chapels we wanted to create
a space of that tells a story – a new type of story.
We wanted to transform how the space felt. We worked on many ideas to improve the space from a very ordinary school stairwell to an extraordinary place that felt unlike any other space at the school.
We embarked on a journey examining the role of the modern man through embroidery. By making together, having ideas and discussing them we realised that the modern man shares many of St Joseph attributes. The modern man, for the students, can carve his space in the word with his hard work and skills just as St Joseph did as a carpenter. The modern man should have respect for human dignity and the environment aligned with St Joseph trajectory as an immigrant. And more importantly the contemporary man should be able to love, care and have compassion as St Joseph did by loving his pregnant wife and her new born son as his own child.
The site-specific work at the school encapsulates the ideas shared between flourStudio, the school pupils and staff. Each embroidered cell made by the participants were brought together by Fabiane Lee-Perrella to tell the students story via an exceptional digitally printed embroidered mosaic. St Joseph's stairwell is now filled with a collective narrative told by a digital tapestry that is now enjoyed by the whole school community.
St Joseph's College


text:
FUTURE Foundation Sustainable Design Robot Construction Challenge
The FUTURE Foundation exists to advance robotics and technology through education.
With the Autodesk Sustainability Workshop as inspiration, build a VEX robot or robotically-controlled machine that achieves one or more sustainability goals. You may construct either a full-size VEX robot or a VEX model of a larger machine.
Sustainability is about using engineering and science to reduce human environmental impact. This can mean producing renewable energy, using less energy, replacing high-environmental-impact materials with low-impact alternatives, recycling, reusing, and designing upgradeable products that can meet future needs without having to be replaced. Learn more about sustainability, and specifically sustainable design, at the Autodesk Sustainability Workshop website at _URL_


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A number of protocols for working with Indigenous communities and Indigenous culture and heritage have been developed. The protocols provide a best practice model for artists.
It is important to be aware that Indigenous protocols cannot answer all the questions you may be faced with, as every Indigenous community, organisation and individual is different. However, Indigenous protocols are an excellent resource as they provide:
- a starting point for solving problems,
- a set of guidelines and principles to help you think about a project or the nature of collaboration,
- questions to ask the Indigenous participants, and
- legal and non-legal issues to be considered.
There are a number of different types of Indigenous protocols:
- Protocols for artists and those working with them
- Protocols for arts dealers
- Protocols and information for consumers
- Protocols for cultural institutions
- Protocols for the media
- Protocols for language projects
The Australia Council for the Arts published a set of Indigenous protocol guides in 2002, written by Indigenous lawyers Robynne Quiggin and Terri Janke. Those protocols provide information and advice on respecting Indigenous culture and heritage.
There are five sets of protocols specific to the following Indigenous art forms:
Arts Tasmania - Respecting Cultures, Working with the Tasmanian Aboriginal Community and Aboriginal Artists
This publication provides a specific Tasmanian perspective as a companion text for the Australia Council's protocols. Respecting Cultures promotes greater awareness of the protocols needed to ensure that Aboriginal artists are acknowledged and their intellectual property and culture is respected and protected.
National Association for the Visual Arts – Valuing Art, Respecting Culture: Protocols for Working With the Australian Indigenous Visual Arts and Craft Sector
This document sets out protocols both to guide non-Indigenous people in their relationships with Indigenous artists and communities, and assist Indigenous artists to define their rights.
The IAACCC is a voluntary code to regulate the conduct of participants in the Indigenous art industry. Its main aims are to ensure fair and ethical trade with artists, transparency with the promotion and sale of artwork as well as a fair and equitable dispute resolution system for disputes arising under the code. The Indigenous Art Code Limited, a public company, was founded to administer the IAACCC.
The City of Melbourne has developed a code of practice for galleries and retailers of Indigenous art. The code is a guide outlining ethical and appropriate ways to display and sell authentic Indigenous art and work with Indigenous artists.
National Indigenous Consumer Strategy - Taking Action, Gaining Trust: National Indigenous Consumer Strategy – Action Plan 2010-2013
The National Indigenous Consumer Strategy (NICS) was developed by the Standing Committee of Officials of Consumer Affairs (SCOCA), who represents all the Commonwealth, State and Territory government consumer protection agencies. The NCIS aims at improving the consumer outcomes of Indigenous Australians by encouraging consumer protection agencies to share information and education materials, collaborating in the enforcement of consumer rights and laws, and co-ordinating research, policy development and consumer education initiatives. The NCIS was originally created in 2005 as a three year strategy. However an updated action plan for 2010-2013 has recently been developed.
Australian Government, Department of Environment and Heritage – Welcome to Country: Respecting Indigenous Culture for Travellers in Australia
This information brochure is aimed at providing travellers in Australia with some key protocols to follow in order to ensure respect for Indigenous culture. It is framed around three main principles:
- Relationship – Recognise Indigenous people's relationship and connection to the land.
- Responsibility – Acknowledge the ongoing responsibility Indigenous people have to their country, and recognise your own responsibility to travel thoughtfully.
- Respect – Respect Aboriginal beliefs associated with country and culture. As a visitor, respect the wishes of your hosts and and restrictions that you have been asked to observe.
These resource guidelines are aimed at assisting cultural institutions in developing links with the broader community. They are intended to be used to support non-Indigenous cultural heritage workers in small museums throughout Australia who wish to work with culturally diverse communities, including Indigenous communities.
Aboriginal and Torres Strait Islander Library and Information Resources Network (ATSILIRN) – Aboriginal and Torres Strait Islander Protocols for Libraries, Archives and Information Services
The ATSILIRN Protocols are intended to guide libraries, archives and information services in appropriate ways to interact with Aboriginal and Torres Strait Islander people in the communities which the organisations serve, and to handle materials with Aboriginal and Torres Strait Islander content.
They are a guide to good practice which will need to be interpreted and applied in the context of each organisation's mission, collections and client community.
Intellectual Property Research Institute of Australia (IPRIA) - Cultural Institutions, Law and Indigenous Knowledge: A Legal Primer on the Management of Australian Indigenous Collections
This document examines some of the legal issues which arise for cultural institutions and other bodies in the acquisition, use and reproduction of Aboriginal and Torres Strait Islander cultural material. The term 'cultural material' is used broadly to refer to collection items that reproduce, record or depict Indigenous people, cultures, knowledge and experiences; in some cases, this is highly sensitive of restricted information. It includes artistic outputs and archival research material.
Australian Institute for Aboriginal and Torres Strait Islander Studies (AIATSIS) - Guide for Ethical Research in Indigenous Studies
The AIATSIS guidelines provide recommendations and suggestions for achieving the best standards of ethical research in Indigenous studies. The document is laid out with a series of principles, which are accompanied by a brief definition and some practical applications.
Australian National Maritime Museum (ANMM) - Connections: Indigenous Cultures and the Australian National Maritime Museum
The ANMM's Indigenous protocols provide guidance on Indigenous issues that can impact on museum programs and procedures. It aims to help the ANMM and other institutions interpret Indigenous cultures authentically and respectfully.
Museums Australia – Continuing Cultures, Ongoing Responsibilities: principles and guidelines for Australian Museums working with Aboriginal and Torres Strait Islander cultural heritage.
The Continuing Cultures, Ongoing Responsibilities document is intended to guide museums and galleries in framing their own procedures for dealing with Aboriginal and Torres Strait Islander peoples and the management of their cultural heritage.
The Collections Australia guide provides a practical tool for land developers, land users and managers, cultural heritage professionals and many others who may have an impact on Indigenous heritage. This title – 'Ask First' is intended to highlight the guides focus on consultation and negotiation with Indigenous stakeholders as being key to addressing heritage issues.
Screen Australia (Terri Janke) – Pathways and Protocols: A filmmaker's guide to working with Indigenous people, culture and concepts
Screen Australia's guide provides comprehensive information for all filmmakers working with Indigenous content and communities, providing advice about the ethical and legal issues involved when transferring Indigenous cultural material to the screen. The guide includes information on documentary and drama productions, including short dramas, feature films and television drama. Drawing upon real case studies as practical examples, the guide assists and encourages recognition and respect for the images, knowledge and stories of Indigenous people.
This protocol is for Aboriginal and Torres Strait Islander communities and their consultants working together to produce language materials, for example linguists, schools and ICT (Information and Communication Technologies) specialists. The FATSIL guide covers protocols for producing language materials at a local level, rather than through one of the major publishing houses.
The aim of this protocol is to encourage positive working relationships between Aboriginal and Torres Strait Islander communities and their consultants. Any language materials produced should recognise the cultural and intellectual property rights of the language community. The FATSIL protocol accompanies, and should be read in conjunction with, the model language agreement prepared by the Arts Law Centre of Australia


0
About a year ago, I built a simple ray tracer in Java, and now I'm trying to port it to c++, but I can't figure out how to get a couple of my classes to work together. It should be fairly strait forward, but its not working. Here is a very simple example.
// main.cpp
#include <iostream>
#include "Vector.h"
#include "Camera.h"
using namespace std;
int main() {
 Vector X (1, 0, 0);
 return 0;
}
The main.cpp file just imports the header files and declares a new Vector. No big problem there.
// Vector.h
#ifndef _VECTOR_H
#define _VECTOR_H
class Vector {
 float x, y, z;

 public:

 // consructor function
 Vector (float,float,float);
 // method functions
 float getVectorX() { return x; }
 float getVectorY() { return y; }
 float getVectorZ() { return z; }
};
Vector::Vector (float a, float b, float c) {
 x = a;
 y = b;
 z = c;
}
#endif
The Vector.h file declares a super simple Vector class. So far so good.
// Camera.h
#ifndef _CAMERA_H
#define _CAMERA_H
#include "Vector.h"
class Camera {
 Vector campos, camdir, camright, camdown;

 public:
 // consructor function
 Camera (Vector,Vector,Vector,Vector);
};
Camera::Camera (Vector pos, Vector dir, Vector right, Vector down) {
 campos = pos;
 camdir = dir;
 camright = right;
 camdown = down;
}
#endif
The Camera.h file creates the Camera class, which as you can see, REQUIRES the Vector class. The four input arguments of the Camera class are all Vectors. But no matter what I do, c++ doesn't want to let me use the Vector class in my Camera class. In Java all this is solved with packages, but I don't know enough about c++ to figure it out on my own.
The compiler is telling me:
In constructor 'Camera::Camera(Vector, Vector, Vector, Vector):
error: no matching function for call to 'Vector::Vector()'
note: candidates are: Vector::Vector(const Vector&)
note: Vector::Vector(float, float, float)
Any help would be appreciated.
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Last Post by gerard4143
0
Note that C++ doesn't use references for objects by default, so Vector campos; in C++ is equivalent to Vector campos = new Vector(); in Java. With that in mind, it should be obvious that your Vector class doesn't have a default constructor even though you try to call one.
0
Note that C++ doesn't use references for objects by default, so Vector campos; in C++ is equivalent to Vector campos = new Vector(); in Java. With that in mind, it should be obvious that your Vector class doesn't have a default constructor even though you try to call one.
Thanks. So basically all my c++ classes need to have a default constructor like ...
#ifndef _VECTOR_H
#define _VECTOR_H
class Vector {
 float x, y, z;

 public:

 // default constructor, no arguments
 Vector ();

 // consructor function
 Vector (float,float,float);
 // method functions
 float getVectorX() { return x; }
 float getVectorY() { return y; }
 float getVectorZ() { return z; }
};
Vector::Vector () {
 x = 0;
 y = 0;
 z = 0;
}
Vector::Vector (float a, float b, float c) {
 x = a;
 y = b;
 z = c;
}
#endif
0
You should get into the habit of initializing data member like so
Vector::Vector ()
:x = 0,y = 0,z = 0
{}
Vector::Vector (float a, float b, float c)
:x = a,y = b,z = c
{}
In some situations its more efficient.
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Synonyms for incumbent
1. incumbent, officeholder, official, functionary, holder
usage: the official who holds an office
1. incumbent, superjacent (vs. subjacent)
usage: lying or leaning on something else; "an incumbent geological formation"
2. incumbent, necessary (vs. unnecessary)
usage: necessary (for someone) as a duty or responsibility; morally binding; "it is incumbent on them to pay their own debts"
3. incumbent, current (vs. noncurrent)
usage: currently holding an office; "the incumbent governor"
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Seminar Abstract
Geoffrey Boynton
Measuring Threshold Performance in Behavioral Experiments
Time: 12:30 pm on Wednesday, February 1, 2012
Place: Savery 409
A primary tool for the experimental psychologist is the use of 'psychophysics', which is the quantitative measurement sensory experience as measured with behavioral responses. A common psychophysical measure is the 'threshold', which is the weakest stimulus needed to be reliably detected. Psychophysicists have standard methods for measuring thresholds which involves concepts and procedures including signal detection theory, maximum likelihood model fitting and bootstrapping. I will provide a general overview of the psychophysical methods for threshold measurement, hopefully in a context that a statistician might find interesting.


text:
Algebra Seminar talk
Antoine Mottet (Univerzita Karlova)
Cores of structures with a Ramsey expansion
A core is a relational structure whose endomorphisms behave locally as automorphisms. Cores are objects that appear naturally in the study of constraint satisfaction problems, and in this context it is an important question to determine which classes of structures can be reduced to the study of the cores inside them. The class of finite structures is a trivial such example, and the class of countably categorical structures is another (Bodirsky, 2003). In this talk, I will show that the same holds for structures admitting a countably categorical Ramsey expansion. This is joint work with Michael Pinsker.


Take the 2-minute tour ×
Just a quick question I have the following system: $$\frac{dx}{dt}=x\left(2-x-\frac{y}{1+x}\right),\qquad \frac{dy}{dt}=3y\left(\frac{x}{1+x}-4y\right)$$ It asks which variable represents the predator and which the prey, write down the long term size of the prey in the absence of predators.
I approached this by considering that $\frac{dy}{dx}= \frac{y(3x-12y-12yx)}{x(2+x-x^{2}-y)}$, hence when y=o we have that $\frac{dy}{dx}$=0 and therefore we have that our predator is represented by $\frac{dx}{dt}$ and prey by $\frac{dy}{dt}$. Additionally in the absence of prey our prey will tend to $\infty$.
Many thanks in advance.
share|improve this question
Made some corrections to your post. I hope this is indeed the system you are interested in. – Did Oct 20 '12 at 13:49
1 Answer 1
up vote 1 down vote accepted
If $x(0)=0$ and $y(0)\gt0$, then $x(t)=0$ for every $t$ and $y(t)\to0$ when $t\to\infty$. If $x(0)\gt0$ and $y(0)=0$, then $y(t)=0$ for every $t$ and $x(t)\to2$ when $t\to\infty$. Hence $x(t)$ describes the amount of preys (which can survive without predators) and $y(t)$ describes the amount of predators (which die out without preys).
To show that $x(t)\to2$ when $t\to\infty$ when $y(0)=0$, one can use a phase diagram: since $x'(t)=x(t)(2-x(t))$, the function $t\mapsto x(t)$ decreases at times $t$ such that $x(t)\gt2$ and increases at times $t$ such that $0\lt x(t)\lt2$.
share|improve this answer
Note that the amount of preys does not grow to infinity in the absence of predators, rather it converges to 2. – Did Oct 20 '12 at 13:54
Your Answer


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Read more information about yacht charter in Germany on the following tabs: About Germany, Germany weather. Get some inspiration from the Germany itineraries tab and start planning your next sailing itinerary, read detailed descriptions of Germany sailing destinations, or read our Germany sailing article.
Find sailing routes in Germany or choose another yacht charter in Atlantic Europe.
Germany is a huge country so it has considerable climate variety. The Northwestern and coastal areas have a maritime influenced climate. In these regions, the summer is warm and the winter mild and cloudy. Being exposed to both mild air masses from the Atlantic Ocean and cold air masses from Russia or the North Pole, Germany's climate can experience remarkable changes.
Being exposed to both mild air masses from the Atlantic Ocean and cold air masses from Russia or the North Pole, Germany's climate can experience remarkable changes. The northern area is slightly milder, but also rainier and windier, because of the influence of the Atlantic Ocean. On the Baltic coast, the climate is similar to that of the North Sea coast. The wind blows less frequently and less intensely. The western region along with the Rhine River corridor is exposed to air masses of Atlantic origin because of the proximity to France.
The German summer brings pleasant temperatures, with highs ranging on average about 21 °C in the northern coast, to 25 °C in the rest of the country. In autumn the weather becomes progressively colder and rainy. In spring, temperatures rise slowly. Winters in Germany are generally mild temperatures of about 1 °C or even higher, but can sometimes be harsh with heavy snowfall and temperatures below zero.
If you want more accurate/detailed information about the weather and wind conditions, select a region from the yacht charter in Germany destinations tab. Please search for the desired holiday destination within the region and you can find the weather tab under the city tab.
Rent a boat in Germany, and cruise around Germany
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We have access to a lot more boats than what we have listed on our site.
Send us this form and we will find the perfect boat for you. We offer only boat rentals, 1-day cruises NOT!


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Famers In Bugisu Sub-region Can't Differentiate Genuine And Counterfeit Agro-inputs
By Melanie Aanyu
Research by the Anti-Counterfeit Network Africa has revealed that 72 percent of the farmers within the Bugisu sub-region cannot differentiate between genuine and counterfeit agro-inputs.
The study conducted in March and April 2022 was driven by common narratives about farmers' experiences with fertilizers, seeds, and other agricultural inputs.
The survey also revealed that 71 percent of the farmers who acquired the counterfeit products, especially seeds, bought them from mobile shops or vans as opposed to permanent suppliers.
According to Ronnet Atukunda from Makerere Business School and lead researcher, to test the quality of agricultural inputs, researchers focused on seeds and on fertilizer in the districts of Mbale and Sironko.
She said key among their findings was that the vast majority of fertilizers and seed samples were substandard which led to losses by farmers.
Hussein Kaguje, a small-scale farmer in Mbale city says that the increasing agro input counterfeits on the market have affected their yields. He says this is caused by the failure of farmers to differentiate between the fake and genuine.
Samuel Khauka, the Acting Mbale City Agriculture Officer says that the input dealers aim at maximizing profits and don't mind about the health of the consumers. He notes that most of the counterfeits are seen in livestock feeds, fertilizers, and chemicals which would translate into poor performance of crops and animal products.


Stock Image: Steve Johnson.
Geography students discover the healing power of art
September 15, 2020
By Pam Lim
From natural disasters and food shortages to systemic racism and legal inequities, geography students tackle some of our most pressing global challenges. But seeking solutions and grappling with complex issues can take its toll on a student's mental health.
"Students are inundated with dire facts about the state of our planet," says SFU geography instructor Sharla Stolhandske. "In classrooms, we talk about these huge issues, but we don't address the effect it takes on our mental health."
So last semester, in an unconventional departure from traditional geography tools such as mathematics and theories, Stolhandske asked students to create drawings, paintings, poetry or music to express their ideas for how to make sense of our changing world. She wanted them to discover that art could not only help them engage on topics in a different way, but could also improve how they manage their mental and emotional well-being.
"Mental wellness is a hard conversation to have," says Stolhandske. "On top of that, across all disciplines, but especially science, creativity is not something we focus on as a learning outcome."
Stolhandske says the assignment generated apprehension as students wrestled with the switch from numbers and theories to creativity and vulnerability. But by the end of the semester, they gave overwhelmingly positive feedback on the art assignment. They had discovered the value of flexing a different muscle, and they went above and beyond in demonstrating their understanding of course materials.
"Academics are important to so many students," says Stolhandske. "Some feel like there's little room for error. Add a global pandemic to the mix and it can become very challenging.
"Art offers a way to connect, to express ourselves and to process complex feelings in ways that move beyond traditional methods."
Stock Image: Giovanni Calia.
Work by geography student Myles Peeters.


text:
Many considerations come into play when constructing timber frame houses. There are the environmental impacts, ongoing maintenance, aesthetic appeal, flexible design options, and overall strength of the home. However, another piece of the puzzle is the actual lifespan of a timber frame house. In choosing to move forward with building a timber frame home, the lifespan is definitely a major component to keep in mind.
What Is the Typical Lifespan of a Timber Frame House?
Generally speaking, a timber frame house lifespan is 100 years or more. Many of the timber frame homes first built in North America in mid 1700 still stand and function today. There are many timber frame structures still in use throughout Europe that date back to early 1100's.
The Importance of Quality Construction
There is the familiar adage that the best defense is a good offense, so focusing on the initial build is pivotal. It is during these early stages that most of the potential success of the timber frame house lifespan is established. The builders and designers are well aware of the responsibility they have to ensure building timber frame houses is done with exacting detail, taking into account any and all potential pitfalls. Obviously, once the timber frame house is built, much of what determines how long timber frame houses last depends upon the owner. It is up to the individual to take steps to maintain the home. Ongoing upkeep and maintenance can extend the lifespan significantly, assuming the owner knows what issues to prioritize.
Protecting Against Moisture Damage
One of the most pressing concerns to keep in mind is moisture damage. Prior to inhabiting the home, the way the timber frame house is built sets the stage for how protected the timber frame house is from moisture damage. When the actual build takes place, you want to ensure the timbers used have a moisture content no higher than 19 percent. Higher concentrations of moisture in the wood of timber frame houses can easily lead to early development of mold and wood rot. Another point to note is that during construction of a timber frame house, the builders are cognizant of keeping the framing as dry as possible. If the frame constructed is wet, it can result in nails popping out and issues with drywall. These issues can lead to significant moisture damage down the road.
During construction, another major concern is proper sealing of the home exterior. By ensuring the sealing is handled correctly, air can't escape through the cracks. This prevents moisture from becoming trapped in wall cavities, which in the long run, can truly impact the lifespan of a timber frame house. By being meticulous with the sealing of the home, the insulation can then be installed without worry that air will get in and cause unnecessary condensation problems.
It is also helpful, if not essential, to strengthen the exterior of timber frame houses with UV protection. The lifespan of a timber frame house can be extended this way by fortifying the wood against the potential deterioration caused by the sun's rays.
Another way to protect timber frame houses, thus increasing a timber frame house lifespan, is to include a humidifiers and ventilators to maintain the air quality indoors. This is particularly important if incorporating a forced-air heating system in your home. During the summer, however, dehumidifiers can also be beneficial, depending on the outside environment.
Modern day Heat Recovery Ventilation systems are highly recommended . Simply using fans will also help to regulate airflow. How much humidity allowed in a timber frame house is ultimately going to be based on the owner's comfort level. Typically, though, the recommendation is that a home is kept roughly between 30-50% humidity. These levels are adequate for minimizing mold growth and excessive condensation.
Pest and Insect Infestation
Another concern that often arises is that of pest and insect infestation. Yearly inspections on the exterior of any home is always recommended to insure there is no evidence of insect or water damage.Fortunately, if the builders are sure to effectively seal the home around its foundation and the base of the siding, this should not cause a homeowner to worry.
Properly Insuring a Timber Frame Home
Insurance is obviously another way to protect a timber frame house. These days, finding affordable insurance for timber frame houses is typically as easy as finding insurance for a traditional brick or hybrid home. Most people start with their own agents, although it is recommended that a person investing in a timber frame house do their research. Speak to the builders and designers. Ask the owners of other timber frame houses for their opinions. Seek out the most recent data on rates and options.
In conclusion, extending the lifespan of a timber frame house starts as soon as the decision is made to actually proceed with building a home. Research your options when it comes to builders. Ensure the team you use to build a timber frame home has a solid reputation and integrity. While it's true that timber frame houses are built more quickly than other styles of homes, this speed should not come at the expense of a sloppily constructed building. If you have any questions, do not hesitate to reach out to our customer service team at Hamill Creek. Our agents would be happy to discuss plans you have for your timber frame house and answer any questions on products and processes used during installation.