text:
Worker killed, 3 injured in bridge collapse
October 30, 2008 | Staff | Defective Products
NEW ORLEANS — A construction worker was killed and three others were injured when a portion of the new Twin Span Bridge over Lake Pontchartrain collapsed Thursday.
Emergency officials at the scene tell WDSU that dive crews have found the body of a man missing in the collapse. A crane to lifted a girder, which had trapped the body under water, before the body was able to be moved.
As dusk fell over Lake Pontchartrain, an ambulance rolled away with the body of the deceased worker found by St. Tammany Parish divers beneath debris from the new bridge that broke off and fell into the water.
In all, 10 workers from Boh Brothers Construction fell into the lake, and nine of them were quickly rescued. The accident happened at about 12:30 p.m. Thursday on a portion of the new bridge about 3 miles from the St. Tammany Parish side of the lake.
"The 10 men that were on the girder fell about 30 to 35 feet," St. Tammany Parish Sheriff Jack Strain said. "Nine were recovered pretty quickly from the water using Boh Brothers equipment and St. Tammany Parish rescue boats."
Police tell WDSU that the workers were standing on a girder already in place on the newly constructed bridge. That girder, which was about 135 feet long and weighed 70 tons, somehow fell into the water.
"Of all the workers I've spoken to, no one has seen anything like this before," St. Tammany Parish Sheriff Jack Strain.
Vic Gremillion of Boh Brothers said an investigation into the cause of the accident is underway.
Two of the workers were taken to Slidell Memorial Hospital and one was taken to Lakeview Hospital. The other six refused medical treatment.
"Obviously they don't want to flood one hospital with all the victims," Strain said. "The most serious of the triage that they did at the time was determined to go to the Western side of the parish, and he is the one that we believe had the broken arm."
None of the injuries were considered to be life-threatening.
The water is about 8 to 10 feet deep where the accident happened, police said. Investigators aren't sure whether the missing worker was tethered to the construction equipment at the time of the accident.
The Twin Span project broke ground in July of 2006 and is scheduled for completion in 2011. However, the westbound span — from Slidell to New Orleans — is set to open to traffic in mid- to late 2009.
The $800 million project is funded by the federal government. When complete, the new spans will each carry three lanes of traffic on a 5.5-mile journey across the lake.
The old Twin Span, which has been in use since the 1960s and sustained major damage during Hurricane Katrina, will be dismantled.
"All construction work on the project has ceased until we do an investigation to find out what happened," said Gordon Nelson of the State Department of Transportation.
State and federal authorities were investigating the deadly accident Thursday night.
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I would highly recommend this law firm to handle any of your legal needs.


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Halictus stachii är en biart som beskrevs av Blüthgen 1923. Halictus stachii ingår i släktet bandbin, och familjen vägbin. Inga underarter finns listade i Catalogue of Life.

Källor

Bandbin
stachii

redpajama_set_name: RedPajamaWikipedia


An event is a reaction to a trigger on a web page. For example, the user clicks a button, a web page has loaded, etc. An event can be triggered by the user and by the browser. The common HTML events are onclick, onchange, onmouseover, onmouseout, onkeydown, onload, onunload, onmousedown, onmouseup, etc. You can take a look at a longer list of HTML events here.
You can easily add an event handler function to an HTML element. In the following code, the showMessage() function is called when the <p> element is clicked.
In the following code, when the text field is changed, the clearText() function is called and the text field is cleared.
See the Pen gWBVLO by XO PIXEL (@xopixel) on CodePen.
In the code below, when the user moves the mouse over the <p> element, the showMessage() function is called and the message "Good morning" is shown. And when the user moves the mouse out of the <p> element, the showMessage1() function is called and the message "Hello" is displayed.
In the following code example, when the mouse button is pressed down on the element, the showMessage() function is called and the message "Mouse down" is shown. And when the mouse button is released on the element, the showMessage1() function is called and the message "Mouse up" is displayed.


Pre-owned 2006 Shmack Clothing Co. "Choose your weapon" t-shirt in a men size 2XL. This t-shirt is in very good condition, there are no signs of stains, holes or tears. The screen-printed design shows no sign of wear and is in very good condition as well. This is a very nice shirt for someone who has unique style and likes to wear Shmack clothing. Made in Bangladesh. 100% Cotton.


text:
Q: Why are some "-ist" suffixed words used as the adjectival form over the more common "-istic"? Generally speaking, for any kind of "-ism", the suffix "-ist" produces the nominal form and "-istic" produces the adjectival form.  But there are some "-ist" suffixes that are acceptable or even more commonly used as an adjective.  Examples include fascist, humanist, racist, socialist, absurdist, etc.
Why do these adjectives not take the usual derived form, i.e. fascistic, humanistic, racistic, socialistic, absurdistic?

A: The suffix -istic is generally equivalent to the suffixes  -ist and  -ic but in some cases it suggests a different connotation. Since every term has its own etymology  and usage it is difficult to find a general rule.

*

*equivalent to a combination of -ist and -ic but in some words having a less specific or literal application and sometimes a mildly pejorative force, as compared with corresponding adjectives ending in -ist: communistic; impressionistic. (from TFD)

-istic:(Etymonline)

*

*adjectival suffix, from French -istique or directly from Latin -isticus, from Greek -istikos, which is adjective suffix -ikos (see -ic) added to noun suffix -istes (see -ist).

redpajama_set_name: RedPajamaStackExchange


These tiny pieces of plastic have been used in lots of personal care products from haircare to cosmetics, baby products and skin care. They give products texture and can also be used as an exfoliant.
The reason they're so harmful is that when they're washed down the drain, they're a persistent polluter in our seas and can also be consumed by sea life.
Microbeads have already been banned in the US and several other countries are underway with the process. Many companies are also voluntarily phasing them out.
It's great that the New Zealand government has introduced a ban that will come into effect in May 2018, but we encourage everyone to choose microbead-free products now to make our oceans healthier.
We're really glad that people can make this choice when they buy from us.


If you're an Information Technology (I.T.) professional, you're likely familiar with the stereotypes associated with those who work in the I.T. field.
The media and a large group from the general public view I.T. professionals as geeks, hovered over a computer in the back corner of an office somewhere, always working and rarely engaging in conversation.
While this description of I.T. professionals may be true for some people, it doesn't do justice to the wealth of knowledge and greater skillsets I.T. professionals should possess in order to be successful in their careers.
It's true that our team of I.T. professionals at BrightPlanet prides itself in our work with Deep Web search, Dark Web search, and open source intelligence tools. However, we also believe that having strong speaking and professional conduct skills gives I.T. professionals the opportunity to grow and develop their careers.
In this episode of I.T. Career Energizer podcast with Phil Burgers, learn from Will Bushee, BrightPlanet's Vice President of Development, as he discusses his passion for developing the underrated soft skills of speaking and professionalism in the field of I.T.
The skills of speaking and communication are rarely emphasized in the world of I.T. Many I.T. professionals learn the importance of working diligently to uncover technology issues or to make processes more efficient.
While working hard and solving technology issues are definitely important for I.T. professionals, there are other soft skills such as speaking and professional development that can help I.T. professionals grow and challenge themselves in their careers.
In this I.T. Career Energizer podcast episode, Will emphasizes the need for I.T. professionals to be good speakers.
Being a good speaker can mean giving a speech on Deep Web search and Dark Web search before hundreds of people, but more important, this skill translates to your everyday work with coworkers and clients as an I.T. professional.
We all interact with people on a daily basis, even I.T. professionals. Being able to effectively and efficiently communicate your beliefs and ideas to others will allow you to make better progress in some projects when you know what to say and how to say it.
The more that I.T. professionals develop these speaking skills, the more others will realize the variety of strengths in this field, not limited to technology knowledge!
So what can you do to improve your speaking skills? While you may not be giving presentations in front of hundreds of people any time soon, start small and talk to your coworkers and friends about topics that bring out your passions.
I.T. professionals have a wealth of knowledge that can benefit the greater I.T. community. The more we communicate with each other, the more we can collectively improve our speaking skills while advancing the field of I.T.
Professionalism in the workplace, no matter your career, goes hand in hand with being a good speaker and communicator.
Will notes in the episode that it may be easy to complain about other businesses or clients when something goes wrong or people are acting difficult. However, understanding that complaining and trash talking never resolve conflict is essential to maintaining a professional character.
No matter the situation, try to see past the negative aspects right in front of you, and work to take the steps needed to solve the greater issue at hand.
The importance of speaking and professionalism are two topics that Will discusses in the episode. Within these topics, Will also shares his worst I.T. moments and what he's learned from those difficult events.
Listen to the episode to hear Will share what excites him about the future of I.T. professionals, as well as how learning to better communicate through speaking and professionalism has the ability to take your I.T. career to the next level.


Our oldest daughter's favorite Christmas gift in 2012 was The Big Picture Story Bible, by David R. Helm.
Lots of children's Bible story books do a good job telling individual Bible stories, but few do a good job telling the "big picture" of our promise-keeping God–redeeming his people, to live in his place, in his presence, under his kingship, obeying his word, forever. This Bible story book tells the big story well. It also has large, colorful pictures that skilfully reinforce connections between key events of the biblical story. And it comes with 2 well-produced, reasonably-pleasant audio CDs (one OT, one NT), so children's listening is not limited by parent's reading time.
This book has been one more tool to help our children form a mental timeline of biblical history, tracing the "spine" of redemptive history. With this spine in place, we can attach all the other "ribs"–the individual stories that a book like this can't include (such as Cain and Abel, Esau, Gideon, Samson, Ruth, Saul, Elisha, Isaiah, Jeremiah, Jonah, Esther, Daniel, etc.). Highly recommended!
"No child is too young to begin learning about the greatest love story of all—God's love for his people, as portrayed in the Bible. David Helm and Gail Schoonmaker have together created a colorful book of Bible stories written especially for children ages 2–7. Rather than simply retelling portions of the Bible, this book presents the big picture—the unified story running through the Old and New Testaments. Twenty-six stories together form parts of this big picture.
Simply written and beautifully illustrated, this book teaches children the Bible's whole story so they can begin to appreciate the fulfillment of God's promise to his people. The Big Picture Story Bible is perfect for parents to read to their children and for older children to read on their own.
A lot of rather careless biblical interpretation is happening today. (By God's grace, thankfully much of the time the truth is still being taught, even if by using questionable or haphazard exegetical methods.) On the other hand, there are a lot of really helpful books out there on how to interpret the Bible–books like Grasping God's Word that I do highly recommended.
What I've rarely seen, however, are books and interpreters that consciously try to determine from the Bible itself how the Bible should be interpreted. Usually lots of helpful methods are imported from the disciplines of literature and history into the practice of biblical interpretation. All truth is God's truth, so these importations can be very useful. But rarely do we ask: How did the Bible authors interpret the parts of the Bible that already existed in their day?
For the student who wants to seriously investigate that question and then apply the results to shape their own interpretive methods, I know of know better place to begin than this brief, information-packed book by G. K. Beale: Handbook on the New Testament Use of the Old Testament. It's only 173 pages, but it distills the very best on this topic that has been written in over 100 years.


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What's on in Bridlington?
What's on in Beverley?
What's on in the Yorkshire Wolds?
Beverley Market
Markets in East Yorkshire
Relax & Indulge
East Yorkshire Beaches
Stately Homes & Gardens
shopping, Beverley
Shop Local Online
Antiques in East Yorkshire
The Yorkshire Coast
Hotels in East Yorkshire
Hotels in Beverley
Hotels in Bridlington
Caravan and Holiday Parks
Patrington Haven
Country Cottages
Restaurants in Beverley
Restaurants in The Wolds
Restaurants in Bridlington
Country Pubs
Pubs in Beverley
Craft Beer/Micro Breweries
Cafes and Teashops
Local Producer
Buy local produce
Seaside food
Brochures and Maps
Beverley Coach Campaign
You are here: Things to Do > Art Trail
Type:Walking Route
Book Tickets Online
An exciting art trail has been created by Sally and Chris Brealey and Maureen Holmes. A magnificent 25ft mosaic dragon, giant fruit bowl, William Morris painted life sized sheep, wildflower pigs, fairy ring, remains of the Wicked Witch of the East and a teddy bear's picnic are some of the sights to be viewed.
There is also a trail of some 30 hidden faces throughout the two courtyards and woodland walk. The art trail has been on the cards for many years but at last has come to fruition and there are plans to add more in the months and years to come.
Art trail leaflets are available in the gift shop.
Wheelchairs available
Booking & Payment Details
Credit cards accepted (no fee)
On-site light refreshments
Meeting, Conference & Wedding Facilities
Facilities for conferencing
Facilities for corporate hospitality
Property Facilities
Regional Tourist Board Member
Situated on one corner of the roundabout at the junction of A614, B1248 AND B1246, Five miles west of Driffield.
Accessible by Public Transport: Driffield station is 6 miles away.
Wolds Village, The Roundabout, Bainton, Nr Driffield, YO25 9EF
Yorkshire Wolds Cookery School
The Yorkshire Wolds Cookery School offers a wide range of courses for all ages and levels…
Vista Arts
'Inspiring courses in the arts.' Rose and Robin Horspool offer art courses, workshops,…
All Saints Church, Lund
The church, with its prominent Perpendicular tower, dominates the centre of this…
St Mary's Church, Little Driffield
This interesting, old church in Little Driffield can be found in the Domesday Book,…
Colemans Cider Company
Founded October 2014, Colemans Cider Company is a collaboration of a group of friends…
Fimber Picnic Site
Situated at the junction of the B1251/B1248 near Wetwang, the picnic site is situated on…
Yorkshire Wolds Heritage Centre
Warter is a village and civil parish in the East Riding of Yorkshire. Situated…
St Mary's Church, Etton
St Mary's Church is home to a group of people of all ages who share a faith in Jesus…
Southburn Archaeological Museum
See 6000 years of local history. Southburn Archaeolohgical Museum allows you to…
Laurel Vines Vineyard and Winery
We are an award-winning vineyard and winery based near Driffield. We supply local…
Kiplingcotes Chalk Pit Nature Reserve
Kiplingcotes Chalk Pit nature reserve lies on this ten mile footpath between Beverley and…
All Saints Church, Nafferton
All Saints' Parish Church is in the centre of the lovely East Yorkshire village of…
All Saints Church, Driffield
The town of Driffield, known as 'Capital of the Wolds', has long been associated with…
Tophill Low Nature Reserve
The reserve is an active Yorkshire Water Treatment Works supplying Hull from two huge…
Sledmere House
One of Yorkshire's most beautiful houses, with some of England's finest plasterwork,…
Warrendale Wagyu
Warrendale Wagyu is a Yorkshire Company established in July 2017.We run an online store…
Wolds Village, DriffieldLovingly restored Georgian farmhouse and outbuildings incorporating a craft and gift shop plus a tearoom and restaurant. The Wolds Village also houses 7 ensuite bedrooms, a gallery and a function room.
Currently nothing planned yet in your itinerary. Have a browse through the site and begin to add products you're interested in.
© East Yorkshire. All Rights Reserved

redpajama_set_name: RedPajamaCommonCrawl


All of DENON's headphones feature an Acoustic Optimiser that achieves exceptional acoustic performance, but the AH-NC732 also feature a noise cancelling function that minimises unwanted external noise, allowing listeners to enjoy high-quality sound in a peaceful environment.
Newly-developed ear cushions and a compact, lightweight design facilitate hours of listening comfort.
Denon AH-NC732 can also be folded into a compact size for easy carrying.
The cable can be detached to effectively boost concentration during work or study.
40 mm drive units with powerful neodymium magnets, delivering wide dynamic range and a rich, expansive sound.
Newly-developed ear cushions combining low-repulsion urethane and high-grade protein leather. Supporting a comfortable listening environment with a gentle fit and superior sound insulation even on long flights and during other extended listening periods.
Compact folding construction for easy storage, and a light weight of just 146 grams.
Low power consumption permitting continuous use over 40 hours. Uses only one AAA battery, easily available on the go.
Comes with detachable 0.7/1.5 meter cables for flexibility to meet any listening situation. The cable can be conveniently detached from the headphone housing.


text:
A Soul-searching set in a holy place: Beth Hart live
The lady sings the blues – and brings the house down.
By Jamie Hailstone published 23 February 16
ISLINGTON'S UNION CHAPEL has seen its fair share of preachers over the years – but none of them could match the passion of Beth Hart as she takes over the venue for a solo show.
While she's never been one to just go through the motions, you can tell as Hart bounces up on stage, full of nervous energy, that she's putting everything on the line for this one. She grabs the microphone and immediately starts telling the sold-out venue how nervous she is. This is the night she is either going to go big, or go home. And by heck, does she deliver the goods.
Like all good church services, she starts with a bit of hushed reverence in the shape of Saint Teresa. Given the gothic splendour of the Union Chapel, it's a perfect way to start, and by the end of the song, she has the audience in the palm of her hand. It's fair to say that the crowd stays there for the next two hours, utterly mesmerised.
As the evening progresses, Hart switches from wallflower troubadour to ballsy blues mama, and then back again. She raises the roof with Spirit Of God and The Ugliest House On The Block, before bringing proceedings back down to earth with ballads like Leave The Light On. Hart also proves to be a dab hand on the bass, too. This woman has a bad case of being funky – who knew?
If they gave out awards for being honest, Hart would win every year. As she switches from instrument to instrument, Hart uses the changeover to chat to the audience about issues in her life, from abusive relationships to her relationship with her mother. Towards the end of the evening, Hart breaks down in tears while talking about her struggles with alcohol. Even the most cynical gig-goer has something in their eye at that point; is a group hug in the works? No, the audience is British – of course it's not. But the assembled crowd does manage a standing ovation or three. This might have been Hart's first solo show in the UK, but on this showing, it won't be her last.
Listen to emotive new Scorpions single Rock Believer
Tracks of the Week: new music from Blacktop Mojo, John Sloman and more
Detroit Cobras singer Rachel Nagy has died
Heart's Ann Wilson finally launches "maggots and war" video for cover of Alice In Chains' Rooster
Eddie Vedder releases emotional new single Brother The Cloud


Help Barbie celebrate her 60th anniversary.
Since 1959, Barbie has inspired girls to be anything. From princess to president, astronaut to zoologist, there isn't an obstacle Barbie hasn't overcome.
To join in with Barbie's celebrations we have 6 Barbie career dolls and a Barbie bundle worth £500 to give away.
Runner up/other prizes: 6x Barbie career dolls up for grabs!


text:
The Galaxy Backbone Evolving Story
Galaxy Backbone is the information technology and shared services provider of the Federal Government of Nigeria. It is over a decade since its inception. During these past years, technology has changed significantly across Nigeria and the world. This can be seen and felt not just in the private sector, but across the public sector agencies and institutions for which Galaxy Backbone was set up to enable and deliver technology services to.
Our initial major directive when we commenced operations in 2006 was to help reduce and completely eradicate the silos that had been in existence in government as a result of the diverse and expensive manner in which technology operations were delivered across the Ministries, Departments and Agencies. We were also charged with the responsibility of building a common services platform consisting of in-country and offshore VSAT hubs, a data center, a Federal Capital metro fiber backbone and multiple redundant internet gateways. A substantial amount of work has been done in this regard and recognizable impact noticed across the federal government agencies. While we can state there has been a lot of improvement in the way government communicates with government; with businesses, the international community and the entire citizenry, we believe there is still a lot more to be done.
Being part of a global community in which technology changes almost at the speed of light, and considering that Galaxy Backbone plays a key role in the development and deployment of technology initiatives and services in government, we had to evolve with the changing trends in technology which has also led the Nigerian government to develop a master plan for e-Government in Nigeria to be achieved by the year 2020. The overall purpose of this agenda, being to, 'strengthen the transparency, the efficiency and quality of public administration service in Nigeria'. In reaching this vision for the nation, Galaxy Backbone plays a pivotal role in its implementation and the thought leading drive that would eventually see it come to fruition.
The investments being made in building a shared services platform across the nation, the converged infrastructure aimed at cost reduction and enhancing government efficiency and managing the Government Cloud infrastructure by Galaxy Backbone are efforts being made to strengthen and deliver on the e-government initiatives of the country.
We are changing the way we conduct our operations and becoming more service oriented and customer focused. We believe we are better positioned to help the public agencies and institutions we serve attain their technology objectives.
In recognition of some of the notable work we have done across government institutions in Nigeria over the past years, Galaxy Backbone was in 2013 recognized by the United Nations with the public service award for Promoting Whole Of Government Approach in the Information Age. An award which we share with similar organizations like ours operating in more technologically enabled countries of the world.
As we look into the future, we are championing the digitization of government processes and institutions and working through our focused team of service professionals and visionary leaders to create a smarter government which would in turn create smart communities, cities and a more vibrant technology enabled nation. We have commenced the march into the future as we have built a world class Uptime Institute certified tier III data center in Abuja, with a disaster recovery site located in Enugu (with more coming across the Nigerian geopolitical zones). We have also built an extensive optical fibre metro network in the FCT and backbone that runs across Nigeria.
Welcome to Galaxy Backbone!
Our Corporate Goals & Objectives
Vision: To become the leading enabler of digital inclusion in Nigeria and Africa
Mission: We drive national development through the provision of pervasive ICT infrastructure and services to public institutions, under-served communities and other stakeholders
Our Strategic Goal: To facilitate the realization of Nigeria's e-government vision.


The 2976 Chelsea boot has been refreshed this season with soft, tumbled, chestnut brown Carpathian leather. With an elasticated panel for ease of entry, plain Goodyear welting, yellow side stitch and tonal heel loop this style still features Dr Martens trademark DNA. The bouncy AirWair sole is oil and fat-resistant, hard wearing and offers good abrasion and slip resistance. This is a Goodyear-welted product which means that the upper and sole are heat-sealed and sewn together.


text:
Euceros annulicornis är en stekelart som beskrevs av Barron 1978. Euceros annulicornis ingår i släktet Euceros och familjen brokparasitsteklar. Inga underarter finns listade i Catalogue of Life.

Källor

Brokparasitsteklar
annulicornis


We have many grades of copper wire in stock, but if you cannot find what you are looking for, please contact us and we will do our best to find it for you.
Copper wire is offered in Alloy C10200 (060 soft anneal) and C11000 (060 soft anneal). All wire is supplied on spools.


text:
Il De institutione musica (500-507 ca.) di Severino Boezio è un'opera importante per diversi campi di studio che vanno dalla musica alla filosofia medievale fino alla letteratura scientifico-musicale medievale e rinascimentale; gli scritti di Boezio ebbero ampia diffusione durante il Medioevo.

Questo trattato influenzò il processo di evoluzione della dottrina cristiana e la concezione della musica per quasi otto secoli, diventando la prima base su cui fondare e confutare nuove teorie e successivamente porle in discussione. Uno dei meriti di Boezio è quello di impostare il suo lavoro sulla cultura classica e di fornire un'idea ed una testimonianza importante di opere altrimenti a noi sconosciute; questa scelta proviene dall'esigenza dell'autore di recuperare quella che era considerata la vera cultura in un momento di crisi della cultura latina.

Struttura e temi dell'opera
L'opera è divisa in 5 libri (l'ultimo incompleto) ed espone le teorie classiche di Pitagora, della scuola platonica e post-platonica, di Aristosseno e di Tolomeo discutendo della loro validità e creando una specie di pensiero ibrido capace di contenere ed unificare le difformi tradizioni, dai pitagorici agli armonisti. Forte è inoltre l'eredità dell'opera di Censorino De die natali alla quale Agostino con il De musica e successivamente Boezio con il De Institutione si rifaranno per giustificare la loro concezione di musica come scienza razionale.

Le fonti principali del De Institutione Musica sono: lOpus maius, il Manuale di Armonica (Ἐγχειρίδιον ἁρμονικῆς) di Nicomaco di Gerasa e gli Ἁρμονικά (Armonici) di Tolomeo. Il trattato di Nicomaco è la fonte dei primi tre libri del De Institutione, il quarto libro ha come punti di riferimento diversi trattati (oltre alle già citate opere anche la Sectio canonis di Euclide,<ref>FLORA R. LEVIN, Unity in Euclid's 'Sectio Canonis, Stuttgart, Franz Steiner Verlag, 1990. Cfr., anche, LUISA ZANONCELLI, La manualistica musicale greca, Milano, Guerini Studio, 1990, pp. 29-70.</ref> e un trattato perduto di Albino sulla musica) ed infine il quinto libro (incompleto) si fonda sul primo libro degli Ἁρμονικά di Tolomeo.

L'ethos
Il punto di partenza di Boezio è la dottrina dell'ethos ideata da Pitagora e sviluppata dai platonici, dalla scuola peripatetica e dai filosofi di età posteriore. Lo scopo di questa dottrina era quello di evidenziare la capacità della musica di influenzare lo stato d'animo dell'uomo.

Partendo da questo presupposto e dallo sviluppo di questo concetto, Boezio prende in esame il Quadrivium (Aritmetica, Geometria, Astronomia e Musica) ideato da Marziano Capella nel suo De nuptiis Philologiae et Mercurii e alla musica dà enorme valore poiché unica disciplina riguardante non solo la ratio ma anche il sensus. Questo duplice aspetto è alla base di quelle che saranno le deduzioni boeziane: solo la ragione può comprendere il reale significato della musica, la percezione sensibile è un semplice tramite; di conseguenza viene fuori la categorica distinzione tra musico ed esecutore, il primo capace di comprendere appieno e profondamente la musica mentre il secondo semplice interprete privo di potere speculativo.

Le specie della musica
Strettamente collegata e altrettanto fondamentale è la divisione della musica in tre specie: mundana, humana e instrumentalis.

La musica mundana si rifà al concetto classico di musica delle sfere e si fonda perciò sul concetto dell'armonia e non del suono. Questo primo genere è il più importante dei tre, in quanto rappresenta il campo dell'indagine speculativa del teorico che indaga sull'armonia cosmica perfetta. Il fatto di non poter essere udita dall'uomo indica ulteriormente la sua perfezione.

La musica humana introduce una concezione inedita della musica e viene descritta da Boezio come udibile da "chiunque discenda in sé stesso". Essa rappresenta la metafora dell'unione tra razionale e irrazionale, l'unione armoniosa dell'anima con il corpo raggiungibile solo tramite un atto di introspezione. All'interno del De institutione Boezio non dà molto spazio a questo genere. Pur ripromettendosi di chiarirne il concetto in un altro capitolo, non vi sono tracce di ulteriori argomentazioni.

L'ultimo genere, la musica instrumentalis, è il più basso e rappresenta la musica eseguita dagli strumentisti. All'interno del trattato in questione Boezio si concentra sulla regolarizzazione di tale pratica e sposta la sua indagine sul sistema acustico poiché riteneva necessario capire come la musica effettivamente prodotta colpisca i nostri sensi prima ancora che la nostra ragione e la nostra capacità di comprensione. Questa necessità dimostra ulteriormente la tendenza di Boezio a non declassare del tutto la dimensione del sensus dell'uomo. Il primato della ragione sui sensi e l'importanza di conoscere la musica in modo profondo sono concetti ribaditi più volte in questo primo libro.

Il secondo e il terzo libro si concentrano sull'aspetto scientifico-matematico della musica, richiamando come archetipo filosofico quello di Pitagora, ma risentendo comunque dell'influenza nicomachea. Partendo dal concetto pitagorico di "essenza" intesa come qualcosa di "immutabile" finché non a contatto con la realtà materica, Boezio mira a dimostrare i fondamenti matematici della musica come scienza. Per quanto riguarda invece i concetti di consonanza e classificazione degli intervalli, riveste sostanziale importanza il capitolo otto del Manuale di armonica di Nicomaco, dal quale Boezio prenderà il metodo pitagorico e, basandosi specialmente sull'esame delle proporzioni, le basi per la definizione quantitativa del semitono smentendo le teorie di Aristosseno.

Si sofferma dunque su ragionamenti di natura aritmetica e, in contrasto con le teorie di Aristosseno, dimostra l'infondatezza della divisione precisa del tono in due semitoni dimidietates tonorum. Le tesi esposte in questi due libri sono ampiamente confutate dalla moderna fisica acustica, ma il fine ultimo era in effetti quello di dimostrare come la ragione fosse l'unica strada per dare alla musica consistenza scientifica. Da un altro punto di vista vennero però spazzati via i timidi tentativi di Aristosseno di creare un seppur minimo compromesso tra ragione e percezione uditiva.

Nel quarto libro Boezio si concentra fondamentalmente su due aspetti: la notazione alfabetica greca (rifacendosi alle Tavole di Alipio  e alla Introduzione all'armonica di Gaudenzio) e la classificazione dei modi. Il primo argomento viene trattato senza approfondimenti particolari, mentre la questione dei modi e delle complesse numeriche relative alla divisione del monocordo in tre generi sono ampiamente argomentate e dimostrate.

Il quinto libro non ci è giunto per intero (solo diciannove dei trenta capitoli previsti) e si basa in gran parte sugli Armonici di Tolomeo. Gli argomenti toccati in questo ultimo libro riguardano perlopiù la fisica acustica, ma le premesse espresse dal filosofo romano aprono le porte a diverse riflessioni e commenti. Come già fatto in precedenza all'interno del trattato, "attacca" le posizioni di Aristosseno, che metteva quasi sullo stesso piano il senso e l'intelletto, in favore di quelle della scuola pitagorica, discutendo sul ruolo di sensus e ratio nella determinazione dell'altezza precisa di un suono (facultas) e affermando per l'ennesima volta l'impossibilità di porre sullo stesso piano il senso e la ragione tutto a favore della seconda capacità. Da quanto detto è intuibile l'importanza che ebbe questo trattato in epoche successive, specialmente durante la rinascita carolingia, come base speculativa. Inoltre, fu successivamente di fondamentale importanza anche per la creazione dei modi gregoriani e di conseguenza per la sistematizzazione della pratica vocale e dell'organizzazione dei canti dal IX secolo in poi.

Note

Bibliografia
 Fonti
 Gottfried Friedlein, A. M. T. S. Boethii De Institutione Arithmetica libri duo, De Institutione Musica libri quinque, Leipzig, Teubner, 1867.
 Martin Gerbert, Scriptores ecclesiastici de musica sacra potissimum, Sankt Blasien, Tip. St. Blasien, 1784 (rist. anast. Hildesheim, G. Olms, 1963-1990).
 Karl Jan, Musici Scriptores Graeci, Leipzig, B.G. Teubner 1895-1899 (rist. anast. Hildesheim, G. Olms, 1962).
 Giovanni Marzi, A. M. T. Severini Boethii De Institutione Musica, (traduzione italiana), Roma, Istituto Italiano per la Storia della Musica, 1990.
 Marcus Meibom, Antiquae Musicae Auctores Septem: graece et latine, 2 voll., Amsterdam, apud Ludovicum Elzevirium, 1652 (rist. New York, Broude bros., 1977).

 Studi
 Calvin M. Bower, "Boethius' De institutione musica. A handlist of manuscripts", Scriptorium, 1988 XLII, pp. 205–251.
 John Caldwell, "The De Institutione Arithmetica and De Institutione Musica", in Boethius. His Life, Thought and Influence, edited by Margaret Gibson, Oxford, Blackwell, 1981, pp. 135–155.
 Giovanni Comotti, "La musica nella cultura greca e romana", in Storia della musica, a cura della Società Italiana di Musicologia, vol. 1, Torino, EDT, 2011.
 Antonio Crocco, Introduzione a Boezio, Napoli, Liguori, 1975.
 Ugo Duse, Il De Institutione Musica. Un aspetto dell'utopia boeziana della restaurazione, vol. I, n. 4, Ferrara, Pubblicazioni della Facoltà di Magistero dell'Università di Ferrara, 1974.
 Marco Galdi, Saggi boeziani, Pisa, Giardini, 1938.
 François Auguste Gevaert, Histoire et théorie de la musique de l'antiquité, 2 voll., Gand, Librairie generale de A. Hoste, 1875-1881 (rist. anast. Hildesheim, G. Olms, 1965).
 Claudio Leonardi, (a cura di), "Boezio"  in Dizionario Biografico degli Italiani, vol. XI, Roma, Istituto dell'Enciclopedia Italiana, 1969.
 Giuseppe Massera, Severino Boezio e la scienza armonica tra l'antichità e il Medioevo, Parma, Studium Parmense, 1976.
 Maria Chiara Paparelli, Saggio di Commento a Boezio. De Institutione Musica, I, 1-8, Tesi di dottorato in Poesia e Cultura Greca e Latina in Età Tardoantica e Medievale (XXIV ciclo), Università degli Studi di Macerata, Anno Accademico 2010/11.
 Maria Alessandra Petretto, Consonantia e dissonantia nel De Institutione Musica di Boezio, «Sandalion», vol. 26-18, 2007, pp. 215–237.
 Ubaldo Pizzani, "Studi sulle fonti del De Institutione Musica di Boezio", Sacris Erudiri, XVI, 1965, pp. 5–164.
 Sergio Prodigo, La trattatistica musicale nella latinità medievale, Roma, Edizioni Aracne, 2014.
 Roberto Verti (a cura di), "Boethius Anicius Manlius Torquatus Severinus",in Dizionario Enciclopedico Universale della Musica e dei Musicisti, vol. 1 (Biografie), a cura di Alberto Basso, Torino, UTET, 1983.
 Luisa Zanoncelli, La manualistica greca, Milano, Guerini Studio, 1990.

Opere di Severino Boezio
§
Patristica


text:
You can count on Dirichlet
Counting the divisors of an integer turns out to be a rather hard problem
by James Cann. Published on 13 March 2016.
In the days before email, mathematicians relied upon pen, paper and the postman to share ideas and communicate fiendish numerical taunts. An excited Dirichlet wrote to Kronecker in 1858:
… that sum, which I could only describe up to an error of order $\sqrt{x}$ at the time of my last letter, I've now managed to home in on significantly.
A plot of the divisor function, $d(n)$
Dirichlet's sum is associated to the divisor function $d(n)$: the number of distinct divisors of the natural number $n$. The number six is divisible by 1, 2, 3 and 6, so $d(6)=4$. Four has divisors 1, 2 and 4, so $d(4)=3$.
It might seem odd that a great mathematician was troubled by a quantity whose description amounts to a good grasp of 'times tables' – still odder that he was confessing to a distinguished contemporary that the damned thing had caused him grief.
It is not hard (although perhaps time-consuming) to work out the value of $d(n)$ for any given natural number $n$. But what if we want to provide a formula to describe it? Where to begin?
Mean values
The trouble is, the divisor function is not at all well-behaved. In fact, it jumps significantly in value infinitely often. The adjacent integers $d(200560490130)=2^{11}$ and $d(200560490131) = 2$ provide one such example, but you can happily construct as large a jump as you fancy. Try it.
The divisor function is one of many interesting arithmetic functions; understanding their asymptotic behaviour as $n\to\infty$ is a key question in multiplicative number theory. However, as we saw above, the value of these functions can be erratic.
To try to smooth this wildness, you could instead consider certain types of 'average'. Dirichlet's sum was one such average.
He began by accumulating a sum from the divisor function on adjacent naturals:
D(x) = d(1) + d(2) + \cdots + d([x]) = \sum\limits_{n \leqslant x} d(n),
where $[x]$ indicates the largest integer less than or equal to $x$.
Upon dividing the sum $D(x)$ by $x$, we get the mean value of the divisor function up to $x$.
Taking the mean has the effect of 'smoothing out' the jumps in the divisor function. But just how well-behaved is this average? Do we get some sort of regular behaviour as $x$ becomes very large?
Plots of the sum of the divisor function, $D(x)$ (left), and it's mean value, $D(x)/x$ (right)
Hyperbolæ
Estimating the divisor mean comes more naturally if we take a different perspective on the divisor function. Instead of viewing $d(n)$ as the number of divisors of $n$, we think of it as the number of natural-valued pairs $(a,b)$ such that $n=ab$. The number 6 may be written 1 × 6 = 2 × 3 = 3 × 2 = 6 × 1, giving us the four pairs (1,6), (2,3), (3,2) and (6,1). If we wanted to see the divisors, we could just look at the first number in each pair. For 4 we have the three pairs: (1,4), (2,2) and (4,1); again showing $d(4)=3$.
Why not treat these natural-valued pairs, from here on called lattice points, as coordinates in the plane? The question of counting the number of divisors of $n$ turns into that of counting the lattice points lying on the hyperbola $XY=n$. If $n$ is not a natural number, then the hyperbola contains no lattice points. If $n$ is a natural, then the hyperbola contains exactly $d(n)$ lattice points.
The hyperbolæ $XY = 1$ and $XY = n$. Imagine increasing $n$.
Let us picture the $XY=1$ hyperbola given by setting $n=1$.
If we now let $n$ be real-valued and increase it continuously, the hyperbola sweeps through the upper quadrant of the plane. The only time that the curve passes through lattice points is when $n$ hits a natural number.
By the reasoning above $d(1) + d(2) + \cdots + d([x])$ is a count of all of the pairs that the hyperbola sweeps
through as we run $n$ from 1 through to $x$. Dirichlet's sum $D(x)$ counts the number of lattice points lying below the hyperbola $XY=x$.
Perhaps the simplest way of summing up these lattice points is to group them into vertical towers. For each natural-valued $X$-coordinate we look vertically, counting $\lbrack \frac{x}{n}\rbrack$ for the number of lattice points lying directly above $X=n$, but below the hyperbola. So
D(x)= \sum\limits_{n \leqslant x}\left\lbrack \frac{x}{n}\right\rbrack.
Keeping track of errors: big-O notation
Our count above is still exact and depends upon the precise value of the divisor function, which we know to jump suddenly in value. If we are happy to settle for trying to determine the dominant behaviour of $D(x)$, then we can afford to be a little less precise: allowing for some small deviation can make it easier to provide a more useful formula whose value is easy to calculate. This deviation from the precise value of the function is usually called error, and provided that we don't introduce too much, we can get a good idea of the dominant behaviour.
For instance, say we want to get an idea of the size of the function $f(x) = [x^2]$ for large $x$. It makes sense to resign ourselves to an error of at most 1, taking just the larger and larger $x^2$ term. To keep track of our neglected error we write $f(x) = [x^2] = x^2 + O(1)$. The symbol $O(1)$ means that we are allowing an error that is at most constant with respect to $x$.
If our function were more complicated, we might wish to keep track of an error that varies with respect to $x$, instead of remaining constant. Big-O notation gives us this flexibility: we write $r(x) = O(g(x))$, for some positive function $g(x)$, to mean that there is a constant $K$ and a positive number $x_0$ such that whenever $x \geqslant x_0$ we have that $|r(x)| \leqslant K g(x)$.
"No, you fool, I said 89.1FM!": Dirichlet never missed an episode of Steve Wright's Sunday Love Songs
Let us lend flavour to this slightly knotty definition. For the longevity of this article and for our younger readership, we define an analogue radio to be an obsolete cuboidal object with a knob, which ingests radio waves and—subject to correct knob position and alignment of the clouds—excretes a melody of questionable taste.
One day—not too cloudy—you twizzle the knob and your favourite tune blares out. At least, you think it is your favourite tune… There is some distractingly apparent white noise, rendering it a challenge to make out the precise melody. You try turning up the volume, but this only helps up to a certain point. From some volume onwards, the white noise remains proportionally loud.
We can return to big-O notation by thinking of the $x$ variable in the definition above as the volume of the radio's excretion, the white noise as the error $r(x)$ from your favourite tune. Then $r(x) = O(g(x))$ is to say that: whenever the volume $x$ is greater than some $x_0$, the radio's deviation $r(x)$ from your favourite tune is at most proportional to some function $g(x)$.
Now for a more mathematical example: $f(x) = x^7 + 5x + \sin(x)$. If $x$ is large then $x^7$ is very large. If you were to plot a graph of $f(x)$, the $5x$ and $\sin(x)$ terms would seem less and less significant. We could make use of big-O notation to indicate the dominant behaviour: $f(x) = x^7 + O(x)$.
For Dirichlet's sum we can now write
D(x) = \sum\limits_{n \leqslant x}\left(\frac{x}{n} + O(1)\right) = x\sum\limits_{n \leqslant\ x}\frac{1}{n} + O(x).\label{D1}\tag{1}
The sum $\sum_{n \leq x}\frac{1}{n}$ is (up to a constant) the same as the integral of $\frac{1}{t}$ over the interval $[1,x]$. This
integral is $\log(x)$. The constant in question approaches the Euler–Mascheroni constant, $\gamma \approx 0.57$, at a rate of $O\left(\frac{1}{x}\right)$. As $x$ gets large this error vanishes, so that the sum $\sum_{n \leqslant x}\frac{1}{n}$ is close in value to $\log(x) + \gamma$. Substituting into \eqref{D1} gives
D(x) = x\left(\log x + \gamma\right) + O(x) = x\log x + O(x).
Phrased differently, the mean value of the divisor function does behave well for large $x$: it grows like $\log(x)$ with some fixed constant error:
\frac{1}{x} \sum\limits_{n\leqslant x} d(n) = \log x + O(1).
Exploiting symmetry
This was not good enough for Dirichlet. He wanted to pin down the constant—that number floating around in the $O(1)$ envelope above. With some rather clever counting he exploited a natural symmetry of the hyperbola $XY=x$ so as to make fewer than the $x$ lots of $O(1)$ approximations we made in \eqref{D1}.
By symmetry, the pink and cyan areas contain
the same number of points.
If we swap the $X$ and $Y$ axes the hyperbola is left unchanged: there is a reflective symmetry about the line $X=Y$. Counting the lattice points lying below the hyperbola but vertically above the $X$-axis coordinates $1, 2,\ldots, [\sqrt{x}]$ is exactly the same as counting the lattice points lying below the hyperbola but horizontally to the right of the $Y$-axis coordinates $1, 2, \ldots, [\sqrt{x}]$. Combined, these counts cover all of the lattice points under the hyperbola. Except that we have over-counted the $[\sqrt{x}]\times[\sqrt{x}]$ lattice points lying in the square below the hyperbola which is sent to itself under the symmetry. In symbols:
\begin{align*}
D(x) = 2 \sum\limits_{n \leqslant \sqrt{x}} \left\lbrack \frac{x}{n} \right\rbrack – \left\lbrack \sqrt{x} \right\rbrack ^2.
\end{align*}
Arithmetic along the lines of \eqref{D1} transforms this into:
D(x) = x \log x + (2\gamma – 1)x + O(\sqrt{x}).
Dirichlet had pinned down the constant. Upon dividing both sides above by $x$, the $O(\sqrt{x})$ turns into $O(\frac{1}{\sqrt{x}})$, which vanishes as $x$ becomes large. We have shown that the mean value of the divisor function $d(n)$ taken over $n\leqslant x$, for large $x$, is $\log(x) + 2\gamma – 1$.
Dirichlet's divisor problem
Well, I feel content. Don't you? But not Dirichlet. Never Dirichlet. Despite a decent amount of work, a rather sneaky argument and answering all of the questions that he had asked, he wanted to further dissect the $O(\sqrt{x})$. He was convinced that he was being far more imprecise than he needed to be: like approximating $[x^2]$ by $x^2+O(x)$, when in fact we can be sure that it is $x^2 + O(1)$.
\mathit{\Delta}(x) = D(x) – x\log x – (2\gamma – 1)x,
our efforts so far have shown that $\mathit{\Delta}(x) = O(\sqrt{x})$. In his letter to Kronecker, Dirichlet hinted that he could replace $O(\sqrt{x})$ by something significantly more precise. Nothing in all of Dirichlet's notes has been found to back up this claim. Perhaps it was a simply a taunt aimed at Kronecker? Perhaps he made a mistake. In any case it gave birth to the Dirichlet divisor problem:
The "ε condition" is a neat way of saying that we are only interested in determining the smallest possible $\alpha$ up to a
fixed power of $\log(x)$. The logarithm grows more slowly than any positive power of $x$. So for instance $x^2(\log(x))^7 = O(x^{2+\varepsilon})$ for every $\varepsilon> 0$.
The other end up
The first fifty years after Dirichlet's letter saw little improvement. Progress was slow and the going was tough. Together with Littlewood, Hardy decided to take a different tack to the 'O' approach. Noting the difficulty of containing the error in a big-O envelope, their idea was to "attack the problem from the other end", introducing the notion of 'Ω' results. They sought to display positive functions $g(x)$, for which there exists a constant $K$ such that the multiple $Kg(x)$ is exceeded by $|\mathit{\Delta}(x)|$ for arbitrarily large values of $x$.
By finding such a $g$ of as large an order of magnitude as they could, they were proving that the divisor sum error $\mathit{\Delta}(x)$, was at best $O(g(x))$. In this way, they could install the lower bound of an interval for possible $\alpha$. The year 1915 saw Hardy prove an 'Ω' result showing that $\alpha \geqslant \frac{1}{4}$. When read alongside Dirichlet's hyperbola result we surmise that $\alpha \in \lbrack \frac{1}{4}, \frac{1}{2}\rbrack$.
Hot oscillations
Since around 1922, the sharp end of research has involved playing with a daunting representation of the error:
\mathit{\Delta}(x) = \frac{x^{1/4}}{\mathrm{\pi}\sqrt{2}}\sum\limits_{n=1}^{\infty}\frac{d(n)}{n^{3/4}} \cos \left(4\mathrm{\pi}\sqrt{nx} – \frac{1}{4}\mathrm{\pi} \right).
Deriving such an expression is no mean feat. As illustration: we can encode the divisor function in a Dirichlet series, which turns out to equal the square of the Riemann-zeta function. As a meromorphic function, the techniques of complex analysis can be put to work. Mellin transforms, asymptotic formulæ for Bessel functions and contour integration all feature in the derivation of the equation for $\mathit{\Delta}(x)$ above.
Because of the oscillatory nature of the cosine, researchers have used this handy expression to provide both lower bounds and upper bounds for $\alpha$, turning that infamous phrase: "it's not the size, it's what you do with it" on its head. Here, it's what you do with it that indicates its size: 'Ω' or 'O'.
In the form above, the representation is not very useful. Far better is a truncation of the sum at some carefully chosen $n = N(x)$, together with a big-O error for the remainder of the terms. There is an art to deciding the truncation point so as to reveal dominant behaviour of the expression whilst keeping the error in check.
Closing in on α
Where does the problem stand? Thanks to Hardy we have a lower bound $\alpha \geqslant \frac{1}{4}$. In fact, from computational evidence and heuristic arguments this is expected to be exactly on the money—we believe that $\alpha = \frac{1}{4}$. If true, the first person to show an upper bound that is also $\frac{1}{4}$ will have solved Dirichlet's divisor problem.
However, 150 years of dedicated work on the upper bound can be read in the decelerating sequence of improvements: $\frac{1}{2}$, $\frac{1}{3}$, $\frac{33}{100}$, $\frac{27}{82}$, $\frac{15}{46}$, $\frac{12}{37}$, $\frac{346}{1067}$, $\frac{35}{108}$, $\frac{7}{22}$. The current best has stood since 2003, when a contribution by Martin Huxley showed that $\alpha \leqslant \frac{131}{416} \approx 0.3149$.
The upper bound (blue) on $\alpha$, slowly getting closer to $\frac{1}{4}$ (red).
We have confined $\alpha$ to the interval [0.25, 0.3149]. At the current rate of progress, we are still a long time from squeezing this interval to one number, thus pinning down the precise value of $\alpha$. Well over a century on, Dirichlet's challenge is still to be met.
James Cann
James Cann is a PhD student at UCL and is attached to the London School of Geometry & Number Theory. He likes maths best when explained with pictures.
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Munitibar is small, but it has ambition. My uncle and aunt showed me a new energy park that is being constructed in the open fields just a bit south of the plaza. The park, Bengola Natural Energy Park, is dedicated to renewable energy and is meant to be a center that demonstrates how different forms of renewable energy work and can contribute to our energy production systems, including wind, solar, and more. There are exhibits, so to speak, of different types of windmills, for example, in an open meadow overseen by the village cemetery (in an interesting contrast of old and new traditions).
The site of the center and museum is on an old iron works site, which was later converted into a mill. In the excavations for the main building, they uncovered some of the foundation and stone work of that original iron works, which have since been incorporated into the building as an example of using water to power industry. They are diverting water into a collecting pool that will feed into the building to drive, I believe, a new water wheel to demonstrate how energy can be extracted from water.
There are multiple scupltures and other features with quotes highlighting the ecological nature of the park. Some of those quotes are in the photos posted here — I would be very grateful if anyone was interested in translating them to English so I can better understand what the message is. There is a stage, a sort of ampitheater, for lectures and concerts dedicated to ecological themes. There is also a very large stone sundial, though local kids have already defaced it by popping wheelies with their motorcycles on it. I guess it's impossible, no matter where you are, to prevent that kind of stuff.
The park is still being finalized and the main building was under active construction when I was there. It was quite extensive, with some large exhibition rooms and what seemed to be possibly some conference rooms. It was originally expected to be completed sometime this summer, but with the crisis, it isn't clear that the funds will be available to finish it off. But, if not now, I'm sure it will be in the near future. Whenever it is finished, I look forward to seeing how they present renewable energy and the ways it can be used to enhance the way we interact with our environment.
I welcome every initiative that tries to make a better world through renewable energyThis is a nice initiative. People ought to be made aware that the energy they consume everyday is harming the world and the right way ahead is opting for renewable energy.


The extra we know about your request, the better we can join you to the correct person or info. The growth of e-commerce and Wi-Fi has created excellent job opportunities for those who can handle business and know-how successfully. I also imagine that I must read and observe my Core standards for know-how in 2nd grade. The spread of paper and printing to the West, as on this printing press , helped scientists and politicians talk their ideas easily, resulting in the Age of Enlightenment ; an example of technology as cultural drive.
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text:
Ingerid Svendsdatter de Danemark également nommée Ingrid, ( – morte après 1093) est une princesse danoise et une reine de Norvège comme épouse du roi .

Biographie
Ingerid Swensdatter est la fille du roi  on ignore laquelle des épouses ou concubines du roi est sa mère.

Elle épouse le roi Olav Kyrre de Norvège en 1067/1068. c'est un mariage arrangé dans le cadre d'un traité de paix entre les deux royaumes elle devient reine de Norvège et la même année le demi-sœur du roi Olaf Ingegerd Haraldsdatter, épouse le futur roi Olaf de Danemark, qui est son frère ou son demi-frère.

Ingerid Svendsdatter est l'épouse officielle d'Olaf Kyrre mais on ne dispose d'aucune information sur sa personnalité ou ses actes comme reine
Ingerid ne donne pas d'enfant à  Olaf. Après la mort du roi en 1093, la reine douairière Ingerid, se retire selon une tradition à
Sogn et épouse Svein Brynjulfsson d'Aurland, avec lequel elle a une fille, Hallkattla. Elle semble alors vivre une existence retirée de veuve et rien n'indique qu'elle joue un rôle politique quelconque dans le royaume.

Notes et références

Liens externes
   Terje Bratberg  Ingerid Svendsdatter – (Store norske leksikon)
  ,

Sources secondaires
  Alf Henrikson: Dansk historia (1989) .
  Sven Rosborn:  När hände vad i Nordens historia (1997).

Princesse danoise du XIe siècle
Maison d'Estridsen
Reine consort de Norvège
Date de décès incertaine (XIe siècle)
Ingerid


text:
Researchers Determine That Family History May Determine Success of RA Treatment
Written by Ashley Boynes Shuck — Updated on July 27, 2015
Rheumatoid arthritis (RA) may be linked to family history, but a recent study showed that family history may predict lack of response to RA treatments, too.
For decades, the possibility of rheumatoid arthritis having a genetic or hereditary link has been explored.
Many studies indicate that RA may have a familial component, with family history being a potential predictor of disease risk or development.
Now, researchers have found that family history may predict not only the illness itself, but also if patients will respond to — or stick with — treatments.
Get the Facts: What Are the Types of Rheumatoid Arthritis? »
Scouring Family Histories for Clues
A Swedish study, published in the Annals of the Rheumatic Diseases, concludes that, when it comes to RA, treatment response and/or compliance may indeed be familial.
The study's goal was to assess whether or not a family history of rheumatoid arthritis had an effect on the clinical presentation and treatment response of the patient.
Authors of this study, including lead author Dr. Thomas Frisell of Karolinska University Hospital, Stockholm, scoured the Swedish Multi-Generation and Patient Registry to look for RA patients who had a first-degree relative who also had the ailment.
These patients had early-stage RA and were studied from 2000 to 2011 for response to methotrexate (MTX) and anti-TNF treatments (TNFi), as well as for clinical presentation.
The study concluded that the clinical presentation was not affected by the familial link to another patient with RA. They also were not able to predict how effectively MTX or TNFi would work in these patients.
However, they did conclude that the lack of response to these medications or discontinuation of the medications may in fact be linked to familial factors, but more work would need to be done to examine this link.
Read More: Vaccines Could Be the Answer for Conquering RA »
Trying to Determine How Behavior Is Linked
It's unclear how or why these behaviors and responses (or lack thereof) are linked.
Certified health and wellness coach Lauren Bines of Beaver Falls, Pennsylvania, stated that she sees similar behaviors in clients who are related and living with the same diseases.
"If a patient or client is diagnosed with, for example, RA or fibromyalgia, and her daughter is, too, if the mother is lax about sticking to treatments, the daughter will likewise often be less compliant with managing her conditions," said Bines, who is an arthritis patient herself.
Bines noted that patients obviously won't respond to treatments if they discontinue them. However, patients often discontinue treatments because they feel the treatment isn't working.
"So it's hard to say if lack of compliance caused them to stop or slack on treatments, causing inefficiencies, or, if the inefficiency of the medication is what caused them to give up on it, in a sense," Bines said.
Regardless of the reason, the results of the Swedish study remain clear: Having a first-degree relative with RA who discontinued anti-TNF treatment within a year increased the odds of related patients doing exactly the same.
This fact stands even in the midst of a lack of hereditary correlations in disease activity. Studies like this one will likely be just one part of a long line of research based on familial involvement in RA disease activity and biologic treatments.
Read More: RA Patients Bear Heavy Burden for Biologic Drug Costs »
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text:
\section{Introduction}
\label{sec:intro}

\IEEEPARstart{T}{he} problem of automatic environmental sound classification has received increasing attention from the research community in recent years.
Its applications range from context aware computing \cite{chu:EnvironmentalSoundRec:TASLP:09} and surveillance \cite{radhakrishnan:AudioSurveillance:WASPAA:05} to noise mitigation enabled by smart acoustic sensor networks \cite{Mydlarz:AcousticMonitoring:AA:16}.

To date, a variety of signal processing and machine learning techniques have been applied to the problem, including matrix factorization \cite{Mesaros:SEDNMF:ICASSP:15,Benetos:AED:ICASSP:16,Bisot:AcousticSceneNMF:ICASSP:16},  dictionary learning \cite{Salamon:UnsupervisedUrban:ICASSP:15,Salamon:ScattteringUrban:EUSIPCO:15}, wavelet filterbanks \cite{Geiger:AEDGabor:EUSIPCO:15,Salamon:ScattteringUrban:EUSIPCO:15} and most recently deep neural networks \cite{Cakir:SEDDNN:IJCNN:15,Piczak:EnvSoundCNN:MLSP:15}. See \cite{giannoulis:AASPChallenge:WASPAA:13,Stowell:AEDreview:TMM:15,Sigtia:AEDPerformanceVsComp:TASLP:16} for further reviews of existing approaches.
In particular, deep convolutional neural networks (CNN) \cite{Lecun:CNN:IEEE:98} are, in principle, very well suited to the problem of environmental sound classification: first, they are capable of capturing energy modulation patterns across time and frequency when applied to spectrogram-like inputs, which has been shown to be an important trait for distinguishing between different, often noise-like, sounds such as engines and jackhammers \cite{Salamon:ScattteringUrban:EUSIPCO:15}. Second, by using convolutional kernels (filters) with a small receptive field, the network should, in principle, be able to successfully learn and later identify spectro-temporal patterns that are representative of different sound classes even if part of the sound is masked (in time/frequency) by other sources (noise), which is where traditional audio features such as Mel-Frequency Cepstral Coefficients (MFCC) fail \cite{cotton:SpectroTemporal:WASPAA:11}. Yet the application of CNNs to environmental sound classification has been limited to date. For instance, the CNN proposed in \cite{Piczak:EnvSoundCNN:MLSP:15} obtained comparable results to those yielded by a dictionary learning approach \cite{Salamon:UnsupervisedUrban:ICASSP:15} (which can be considered an instance of ``shallow'' feature learning), but did not improve upon it.

Deep neural networks, which have a high model capacity, are particularly dependent on the availability of large quantities of training data in order to learn a non-linear function from input to output that generalizes well and yields high classification accuracy on unseen data.
A possible explanation for the limited exploration of CNNs and the difficulty to improve on simpler models is the relative scarcity of labeled data for environmental sound classification. While several new datasets have been released in recent years (e.g., \cite{Salamon:UrbanSound:ACMMM:14,Piczak:ESCdataset:ACMMM:15,Mesaros:TUT16dataset:Zenodo:16}), they are still considerably smaller than the datasets available for research on, for example, image classification \cite{Krizhevsky:Imagenet:NIPS:2012}.

An elegant solution to this problem is \emph{data augmentation}, that is, the application of one or more deformations to a collection of annotated training samples which result in new, additional training data \cite{Simard:CNNBestPractices:ICDAR:03,Krizhevsky:Imagenet:NIPS:2012,McFee:Augmentation:ISMIR:15}. A key concept of data augmentation is that the deformations applied to the labeled data do not change the semantic meaning of the labels. Taking an example from computer vision, a rotated, translated, mirrored or scaled image of a car would still be a coherent image of a car, and thus it is possible to apply these deformations to produce additional training data while maintaining the semantic validity of the label. By training the network on the additional deformed data, the hope is that the network becomes invariant to these deformations and generalizes better to unseen data. Semantics-preserving deformations have also been proposed for the audio domain, and have been shown to increase model accuracy for music classification tasks \cite{McFee:Augmentation:ISMIR:15}. However, in the case of environmental sound classification the application of data augmentation has been relatively limited (e.g., \cite{Piczak:EnvSoundCNN:MLSP:15,Parascandolo:RNNSED:ICASSP:16}), with the author of \cite{Piczak:EnvSoundCNN:MLSP:15} (which used random combinations of\linebreak time shifting, pitch shifting and time stretching for data augmentation) reporting that ``simple augmentation techniques proved to be unsatisfactory for the UrbanSound8K dataset given the considerable increase in training time they generated and negligible impact on model accuracy''.

In this paper we present a deep convolutional neural network architecture
with localized (small) kernels
for environmental sound classification. Furthermore, we propose the use of data augmentation to overcome the problem of data scarcity and explore different types of audio deformations and their influence on the model's performance. We show that the proposed CNN architecture, in combination with audio data augmentation, yields state-of-the-art performance for environmental sound classification.

\section{Method}
\label{sec:method}

\subsection{Deep Convolutional Neural Network}

The deep convolutional neural network (CNN) architecture proposed in this study
is comprised of 3 convolutional layers interleaved with 2 pooling operations, followed by 2 fully connected (dense) layers.
Similar to previously proposed feature learning approaches applied to environmental sound classification (e.g., \cite{Salamon:UnsupervisedUrban:ICASSP:15}), the input to the network consists of time-frequency patches (TF-patches) taken from the log-scaled mel-spectrogram representation of the audio signal. Specifically, we use Essentia \cite{bogdanov:Essentia:ISMIR13} to extract log-scaled mel-spectrograms with 128 components (bands) covering the audible frequency range (0-22050 Hz), using a window size of 23 ms (1024 samples at 44.1 kHz) and a hop size of the same duration. Since the excerpts in our evaluation dataset (described below) are of varying duration (up to 4 s), we fix the size of the input TF-patch $X$ to 3 seconds (128 frames), i.e.~$X\in\mathbb{R}^{128\times 128}$. TF-patches are extracted randomly (in time) from the full log-mel-spectrogram of each audio excerpt during training as described further down.

Given our input $X$, the network is trained to learn the parameters $\Theta$ of a composite nonlinear function $\mathcal{F}(\cdot|\Theta)$ which maps $X$ to the output (prediction) $Z$:
\begin{equation}
Z = \mathcal{F}(X|\Theta) = f_L(\cdots f_2(f_1(X|\theta_1)|\theta_2)|\theta_L),
\end{equation}
where each operation $f_\ell(\cdot|\theta_\ell)$ is referred to as a \emph{layer} of the network, with $L=5$ layers in our proposed architecture. The first three layers, $\ell\in\{1,2,3\}$, are convolutional, expressed as:
\begin{equation}
Z_\ell = f_\ell(X_\ell|\theta_\ell) = h(W \ast X_\ell + b),\quad\theta{}_l=\lbrack W,b\rbrack
\end{equation}
where $X_\ell$ is a 3-dimensional input tensor consisting of $N$ \emph{feature maps}, $W$ is a collection of $M$ 3-dimensional kernels (also referred to as filters), $\ast$ represents a valid convolution, $b$ is a vector bias term, and $h(\cdot)$ is a point-wise activation function. Thus, the shapes of $X_\ell$, $W$, and $Z_\ell$ are $(N, d_0, d_1)$, $(M, N, m_0, m_1)$ and $(M, d_0-m_0+1, d_1-m_1+1)$ respectively. Note that for the first layer of our network $d_0 = d_1 = 128$, i.e., the dimensions of the input TF-patch.
We apply strided
max-pooling after the first two convolutional layers $\ell\in\{1,2\}$
using a stride size equal to the pooling dimensions (provided below),
which reduces the dimensions of the output feature maps and consequently speeds up training and builds some scale invariance into the network. The final two layers, $\ell\in\{4,5\}$, are fully-connected (dense) and consist of a matrix product rather than a convolution:
\begin{equation}
Z_\ell =  f_\ell(X_\ell|\theta_\ell) = h(WX_\ell+b),\quad \theta_\ell=\lbrack W,b\rbrack
\end{equation}
where $X_\ell$ is flattened to a column vector of length $N$, $W$ has shape $(M, N)$, $b$ is a vector of length $M$ and $h(\cdot)$ is a point-wise activation function.

The proposed CNN architecture is parameterized as follows:
\begin{itemize}
\item $\ell_1$: 24 filters with a receptive field of (5,5), i.e., $W$ has the shape (24,1,5,5). This is followed by (4,2) strided max-pooling over the last two dimensions (time and frequency respectively)
and a rectified linear unit (ReLU) activation function $h(x) = \max(x,0)$.
\item $\ell_2$: 48 filters with a receptive field of (5,5), i.e., $W$ has the shape (48, 24, 5, 5). Like $\ell_1$, this is followed by (4,2) strided max-pooling and a ReLU activation function.
\item $\ell_3$: 48 filters with a receptive field of (5,5), i.e., $W$ has the shape (48, 48, 5, 5). This is followed by a ReLU activation function (no pooling).
\item $\ell_4$: 64 hidden units, i.e., $W$ has the shape (2400, 64), followed by a ReLU activation function.
\item $\ell_5$: 10 output units, i.e., $W$ has the shape (64,10), followed by a softmax activation function.
\end{itemize}
Note that our use of a small receptive field $(5,5)$ in $\ell_1$ compared to the input dimensions $(128,128)$ is designed to allow the network to learn small, localized patterns that can be fused at subsequent layers to gather evidence in support of larger ``time-frequency signatures'' that are indicative of the presence/absence of different sound classes, even when there is spectro-temporal masking by interfering sources.

For training, the model optimizes cross-entropy loss via mini-batch stochastic gradient descent \cite{Bottou:SGD:COMPSTAT:10}. Each batch consists of 100 TF-patches randomly selected from the training data (without repetition). Each 3 s TF-patch is taken from a random position in time from the full log-mel-spectrogram representation of each training sample. We use a constant learning rate of 0.01. Dropout \cite{Srivastava:Dropout:JMLR:14} is applied to the input of the last two layers, $\ell \in \{4,5\}$, with probability 0.5. L2-regularization is applied to the weights of the last two layers with a penalty factor of 0.001. The model is trained for 50 epochs and is checkpointed after each epoch, during which it is trained on random minibatches until 1/8 of all training data is exhausted (where by training data we mean all the TF-patches extracted from every training sample starting at all possible frame indices).
A validation set is used to identify the parameter setting (epoch) achieving the highest classification accuracy, where prediction is performed by slicing the test sample into overlapping TF-patches (1-frame hop), making a prediction for each TF-patch and finally choosing the sample-level prediction as the class with the highest mean ouptut activation over all frames.
The CNN is implemented in Python with Lasagne \cite{Dieleman:Lasagne:ZENODO:15}, and we used Pescador \cite{McFee:Pescador:ZENODO:15} to manage and multiplex data streams during training.

\subsection{Data Augmentation}
\label{sec:method:augmentation}

We experiment with 4 different audio data augmentations (deformations), resulting in 5 augmentation sets, as detailed below. Each deformation is applied directly to the audio signal prior to converting it into the input representation used to train  the network (log-mel-spectrogram). Note that for each augmentation it is important that we choose the deformation parameters such that the semantic validity of the label is maintained. The deformations and resulting augmentation sets are described below:
\begin{itemize}
\item \textbf{Time Stretching (TS):} slow down or speed up the audio sample (while keeping the pitch unchanged). Each sample was time stretched by 4 factors: $\{0.81, 0.93, 1.07, 1.23\}$.
\item \textbf{Pitch Shifting (PS1):} raise or lower the pitch of the audio sample (while keeping the duration unchanged). Each sample was pitch shifted by 4 values (in semitones): $\{-2, -1, 1, 2\}$.
\item \textbf{Pitch Shifting (PS2):} since our initial experiments indicated that pitch shifting was a particularly beneficial augmentation, we decided to create a second augmentation set. This time each sample was pitch shifted by 4 larger values (in semitones): $\{-3.5, -2.5, 2.5, 3.5\}$.
\item \textbf{Dynamic Range Compression (DRC):} compress the dynamic range of the sample using 4 parameterizations, 3 taken from the Dolby E standard \cite{Dolby:DolbyEstandard:MISC:02} and 1 (radio) from the icecast online radio streaming server \cite{Icecast:MudaDRCSettings:MISC:16}: \{music standard, film standard, speech, radio\}.
\item \textbf{Background Noise (BG):} mix the sample with another recording containing background sounds from different types of acoustic scenes. Each sample was mixed with 4 acoustic scenes: \{street-workers, street-traffic, street-people, park\}\footnote{We ensured these scenes did not contain any of the target sound classes.}. Each mix $z$ was generated using $z=(1-w)\cdot{}x + w\cdot{}y$ where $x$ is the audio signal of the original sample, $y$ is the signal of the background scene, and $w$ is a weighting parameter that was chosen randomly for each mix from a uniform distribution in the range $\lbrack0.1,0.5\rbrack$.
\end{itemize}

The augmentations were applied using the MUDA library \cite{McFee:Augmentation:ISMIR:15}, to which the reader is referred for further details about the implementation of each deformation. MUDA takes an audio file and corresponding annotation file in JAMS format \cite{Humphrey:JAMS:ISMIR:14,McFee:JAMS:TECH:15}, and outputs the deformed audio together with an enhanced JAMS file containing all the parameters used for the deformation. We have ported the original annotations provided with the  dataset used for evaluation in this study (see below) into JAMS files and made them available online along with the post-deformation JAMS files.\footnote{\url{https://github.com/justinsalamon/UrbanSound8K-JAMS}}

\subsection{Evaluation}
\label{sec:method:evaluation}

To evaluate the proposed CNN architecture and the influence of the different augmentation sets we use the UrbanSound8K dataset \cite{Salamon:UrbanSound:ACMMM:14}. The dataset is comprised of 8732 sound clips of up to 4 s in duration taken from field recordings. The clips span 10 environmental sound classes: air conditioner, car horn, children playing, dog bark, drilling, engine idling, gun shot, jackhammer, siren and street music. By using this dataset we can compare the results of this study to previously published approaches that were evaluated on the same data, including the dictionary learning approach proposed in \cite{Salamon:UnsupervisedUrban:ICASSP:15} (spherical k-means, henceforth SKM) and the CNN proposed in \cite{Piczak:EnvSoundCNN:MLSP:15} (PiczakCNN) which has a different architecture to ours and did not employ augmentation during training.
PiczakCNN has 2 convolutional layers followed by 3 dense layers, the filters of the first layer are ``tall'' and span almost the entire frequency dimension of the input, and the network operates on 2 input channels: log mel-spectra and their deltas.

The proposed approach and those used for comparison in this study are evaluated in terms of classification accuracy. The dataset comes sorted into 10 stratified folds, and all models were evaluated using 10-fold cross validation, where we report the results as a box plot generated from the accuracy scores of the 10 folds. For training the proposed CNN architecture we use 1 of the 9 training folds in each split as a validation set for identifying the training epoch that yields the best model parameters when training with the remaining 8 folds.

\section{Results}
\label{sec:results}

\begin{figure}[!t]
\centering
\includegraphics[width=1\columnwidth,clip=true,trim=0.4cm 0.3cm 0.8cm 0.6cm ]{figs/accuracy_comparison_narrow.pdf}
\caption{Left of the dashed line: classification accuracy without augmentation -- dictionary learning (SKM \cite{Salamon:UnsupervisedUrban:ICASSP:15}), Piczak's CNN (PiczakCNN \cite{Piczak:EnvSoundCNN:MLSP:15}) and the proposed model (SB-CNN). Right of the dashed line: classification accuracy for SKM and SB-CNN with augmentation.}
\label{fig:accuracybox}
\end{figure}

\begin{figure}[!t]
\centering
\includegraphics[width=1\columnwidth,clip=true,trim=1.8cm 1.0cm 1.8cm 1.2cm]{figs/confusion_both_horizontal_r.pdf}
\caption{(a) Confusion matrix for the proposed SB-CNN model with augmentation.
(b) Difference between the confusion matrices yielded by SB-CNN with and without augmentation: negative values (red) off the diagonal mean the confusion is reduced with augmentation, positive values (blue) off the diagonal mean the confusion is increased with augmentation. The positive values (blue) along the diagonal indicate that overall the classification accuracy is improved for all classes with augmentation.}
\label{fig:confusion}
\end{figure}

\begin{figure}[!t]
\centering
\includegraphics[width=0.97\columnwidth,clip=true,trim=0 0.3cm 0 0.4cm]{figs/accuracy_delta_withall.pdf}
\caption{Difference in classification accuracy for each class as a function of the augmentation applied: Time Shift (TS), Pitch Shift (PS1 and PS2), Dynamic Range Compression (DRC), Background Noise (BG) and all combined (All).}
\label{fig:accuracydelta}
\end{figure}

The classification accuracy of the proposed CNN model (SB-CNN) is presented in Figure \ref{fig:accuracybox}. To the left of the dashed line we present the performance of the proposed model on the original datast without augmentation. For comparison, we also provide the accuracy obtained on the same dataset by the dictionary learning approach proposed in \cite{Salamon:UnsupervisedUrban:ICASSP:15} (SKM, using the best parameterization identified by the authors in that study) and the CNN proposed by Piczak \cite{Piczak:EnvSoundCNN:MLSP:15} (PiczakCNN, using the best performing model variant (LP) proposed by the author).
To the right of the dashed line we provide the performance of the SKM model and the proposed SB-CNN once again, this time when using the augmented dataset (all augmentations described in Section \ref{sec:method:augmentation} combined) for training.

We see that the proposed SB-CNN performs comparably to SKM and PiczakCNN when training on the original dataset without augmentation (mean accuracy of 0.74, 0.73 and 0.73 for SKM, PiczakCNN and SB-CNN, respectively). The original dataset is not large/varied enough for the convolutional model to outperform the ``shallow'' SKM approach. However, once we increase the size/variance in the dataset by means of the proposed augmentations, the performance of the proposed model increases significantly, yielding a mean accuracy of 0.79.
The corresponding per-class accuracies (with respect to the list of classes provided in Section
\ref{sec:method:evaluation}) are 0.49, 0.90, 0.83, 0.90, 0.80, 0.80, 0.94, 0.68, 0.85, 0.84.
Importantly, we note that while the proposed approach performs comparably to the ``shallow'' SKM learning approach on the original dataset, it significantly outperforms it ($p = 0.0003$ according to a paired two-sided t-test) using the augmented training set.
Furthermore, increasing the capacity of the SKM model (by increasing the dictionary size from $k=2000$ to $k=4000$) did not yield any further improvement in classification accuracy.
This indicates that the superior performance of the proposed SB-CNN is not only due to the augmented training set, but rather thanks to the combination of an augmented training set with the increased capacity and representational power of the deep learning model.

In Figure \ref{fig:confusion}(a) we provide the confusion matrix yielded by the proposed SB-CNN model using the augmented training set, and in Figure \ref{fig:confusion}(b) we provide the difference between the confusion matrices yielded by the proposed model with and without augmentation.
From the latter we see that
overall the classification accuracy is improved for all classes with augmentation.
However, we observe that augmentation can also have a detrimental effect on the confusion between specific pairs of classes. For instance, we note that while the confusion between the air conditioner and drilling classes is reduced with augmentation, the confusion between the air conditioner and the engine idling classes is increased.

To gain further insight into the influence of each augmentation set on the performance of the proposed model for each sound class, in Figure \ref{fig:accuracydelta} we present the difference in classification accuracy (the delta) when adding each augmentation set compared to using only the original training set, broken down by sound class. At the bottom of the plot we provide the delta scores for all classes combined. We see that most classes are affected positively by most augmentation types, but there are some clear exceptions. In particular, the air conditioner class is negatively affected by the DRC and BG augmentations. Given that this sound class is characterized by a continuous ``hum'' sound, often in the background, it makes sense that the addition of background noise that can mask the presence of this class will deteriorate the performance of the model.
In general, the pitch augmentations have the greatest positive impact on performance, and are the only augmentation sets that do not have a negative impact on any of the classes. Only half of the classes benefit from applying all augmentations combined more than they would from the application of a subset of augmentations. This suggests that the performance of the model could be improved further by the application of class-conditional augmentation during training -- one could use the validation set to identify which augmentations improve the model's classification accuracy for each class, and then selectively augment the training data accordingly. We intend to explore this idea further in future work.

\section{Conclusion}
\label{sec:conclusion}
In this article we proposed a deep convolutional neural network architecture which, in combination with a set of audio data augmentations, produces state-of-the-art results for environmental sound classification. We showed that the improved performance stems from the combination of a deep, high-capacity model and an augmented training set: this combination outperformed both the proposed CNN without augmentation and a ``shallow'' dictionary learning model with augmentation. Finally, we examined the influence of each augmentation on the model's classification accuracy. We observed that the performance of the model for each sound class is influenced differently by each augmentation set, suggesting that the performance of the model could be improved further by applying class-conditional data augmentation.

\section*{Acknowledgment}
The authors would like to thank Brian McFee and Eric Humphrey for their valuable feedback, and Karol Piczak for providing details on the results reported in \cite{Piczak:EnvSoundCNN:MLSP:15}.
This work was partially supported by NSF award 1544753.

\ifCLASSOPTIONcaptionsoff
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\fi

\bibliographystyle{IEEEtran}

redpajama_set_name: RedPajamaArXiv


text:
Mariana Chiesa Mateos
Mariana Chiesa Mateos was born in La Plata in 1967, where she studied at the Faculty of Fine Arts at the University of Plata and graduated in 1992. She worked as an illustrator for the Argentinian newspaper »Clarin« and other periodicals from 1993 before moving to Barcelona in 1997. Her work is extraordinarily diverse and covers various media, from embroidery through painting to comics.
Mariana Chiesa Mateos has illustrated various books which have not yet been translated into English or German. She contributed to the anthology »Mis Primeras 80,000 Palabras« (2002; t: My First 80,000 Words), for which 231 illustrators from 20 countries were asked to illustrate their favourite word, using at most two colours. The resulting book can be seen as an impressive snapshot of the current state of the international illustration scene. Mariana Chiesa Mateos also had the honour of providing the cover illustration for »Mis Primeras 80,000 Palabras«.
She illustrated »No Hay Tiempo Para Jugar – Relatos de Niños Trabajadores« (2004; t: No Time to Play – Working Children Talk About Their Lives), by the Mexican writer Sandra Arenal Huerta. The book confronts the terrible living conditions of working children and youths, who were interviewed by Sandra Arenal Huerta about their lives and dreams. The interviews gathered in the book present a shocking panorama of the horizons of the children and young people, which shift between rational analysis, pure desperation and deluded blindness to the realities of their own situation. Mariana Chiesa Mateos's illustrations for »No hay tiempo para jugar« are expressive, starkly contoured linocuts, which form a strong and cohesive whole with the dramatic content of the book. Her pictures for the book were exhibited at the 2003 Bologna International Children's Book Fair.
In the book »Migrando« (2010; t: Migration), which she developed in collaboration with Amnesty International, her stark and greatly reduced images tackle another pressing problem of our times – the treatment of people who flee their home countries for political reasons and seek asylum in a foreign country. In »Migrando«, the illustrator relies entirely on the imaginative, suggestive function of her images and discards all supporting text. She thus succeeds in creating a portrait of people who seem to be unable to find a home, an approach which is as radical as it is thoughtful.
Mariana Chiesa Mateos has been awarded the »White Raven«, as well as an »Special Mention« (2005) by the International Children's Library in Munich. She lives with her partner and daughter in Bologna.
© internationales literaturfestival berlin
Argentina, Italy, Spain
Mis primeras 80.000 palabras
[Hg.: Vicente Ferrer]
Media Vaca
Valencia, 2002
No hay tiempo para jugar
Relatos de niños trabajadores
[Text: Sandra Arenal Huerta]
Tipos ilustrados
Cromotex
Madrid, 2005
Migrando
Orecchio Acerbo
Rom, 2010
www.marianachiesa.blogspot.com


Increase and enhance your School Sport offer with a PE Apprentice!
Potential 2 year programme where young person is trained to TA level.
Apprentices work 4 days a week in School and 1 day a week they undergo training to complete their qualification. Additional training is given in the delivery of PE and School Sport to compliment the NVQ.
Running Change for Life Clubs.


In "War for the Planet of the Apes", Caesar (Andy Serkis) and his apes are forced into a deadly conflict with an army of humans led by a ruthless Colonel (Woody Harrelson). After the apes suffer unimaginable losses, Caesar wrestles with his darker instincts and begins his own mythic quest to avenge his kind. As the journey finally brings them face to face, Caesar and the Colonel are pitted against each other in an epic battle that will determine the fate of both their species and the future of the planet. Directed and written by Matt Reeves, "War for the Planet of the Apes" stars Andy Serkis as Caesar, Woody Harrelson, Steve Zahn, Amiah Miller, Karin Konoval, Judy Greer and Terry Notary.


Ray Rice started fast in the 2006 season and never slowed down. He rushed for 201 yards in Rutgers' 21-16 win over North Carolina and he just kept going, rolling up 1,794 yards, fourth best in the nation, and earning Most Valuable Player honors in the Scarlet Knights' 37-10 win over Kansas State in the Texas Bowl.
Rice carried the ball 24 times for 170 yards, including a 46-yard touchdown, in the victory over Kansas State. It was the first bowl victory in Rutgers' history and Rice celebrated by wearing a white cowboy hat onto the stage as he accepted the MVP trophy.
Rutgers was one of the best stories of the 2006 season, finishing with an 11-2 record and climbing as high as seventh in the national rankings. Rice was a key performer in the Scarlet Knights' success as he topped 100-yards rushing in 10 of the team's games, including the Texas Bowl. His performance earned him the Maxwell Club's 6th annual Tri-State Player of the Year Award.
Rice is a 5-9, 195-pound sophomore from New Rochelle (N.Y.) High School who originally planned to attend Syracuse but changed his mind when the Orangemen made a coaching change after the 2004 season. Rice enrolled at Rutgers instead and teamed with senior Brian Leonard – "my big brother," Rice calls him — to give the Scarlet Knights a formidable one-two punch in the backfield.
Rice had five 100-yard games as a freshman, but he really blossomed in the 2006 season when he earned second-team All-America honors from the Associated Press. In the opener, he had 31 carries for 201 yards against North Carolina, a performance that set the tone for the Scarlet Knights remarkable season.
Illinois coach Ron Zook was among those who marveled over Rice's combination of quickness, instinct and power.
Rice's MVP performance helped the Scarlet Knights win the Texas Bowl. He said winning a bowl game would only fuel Rutgers' rise as a national football power.


Welcome to the LoveTestPro removal instructions. Section 1 contains steps on how to remove the LoveTestPro extension from your Chrome browser. Section 2 contains steps on how to remove the LoveTestPro extension from your Firefox browser. Section 3 contains steps on how to remove the LoveTestPro extension from your Safari browser.
Step 2: Go to the Extensions tab and click on "Uninstall" in the LoveTestPro extension listing.


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Miniboone Debuts New Video / Self-Titled Debut out 9/17
Christopher Anthony | September 3, 2015 September 3, 2013 | News, Videos
Ernest Jenning Record Co. is excited to release the video for Miniboone's "I Could, I Could," off their self-titled debut album, out September 10th. "I Could, I Could," directed by Pat Breen, is available for viewing below. Miniboone is also touring this summer, including an album release party on September 6th at New York's Mercury Lounge.
Miniboone "I could I could" from GARBAGETOWN on Vimeo.
PLACEBO Announce U.S. Shows; New Album Out Sep 17
Spineriders: Hello Future Tinglies [Album Review]


Thor: Ragnarok is hilarious. But do you know what would have made it even funnier? '80s-style flashbacks. Annoyingly, we were oh-so-close to seeing what surely would have been one of the funniest scenes in MCU history – a flashback involving a rotund Thor and an emo Loki in their own high school movie. Canon-breaking? Sure. Brilliant? Absolutely.
Even though the movie has some great non-sequiturs – that play, anyone? – this would have been amazing. After seeing what Waititi pulled off with Sakaar, an '80s-style Asgard would've been unbelievable. Think San Junipero mixed with Game of Thrones and you're on the right track.
But what about emo Loki? Mwah. Perfection. I hope we get Thor 4 just for that scene, to be perfectly honest.
Thor: Ragnarok has just launched in theaters in the US, so what better time to read about the movie's big cameo scene, as well as 5 questions we had after watching Thor: Ragnarok?