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America: Addicted to War, Afraid of Peace
June 11, 2015 Topic: Security Region: United States Tags: WarDefenseAmerica
After decades of being at war, the United States has come to the point where it can't live without it.
by Gregory A. Daddis
EARLIER THIS year, West Point's Defense and Strategic Studies Program invited me to participate in a panel discussion on the future of warfare. For historians, and particularly for Vietnam War students like me, such requests seem fraught with peril. Given the contentious debate that continues to surround America's involvement in Vietnam, now fifty years after Lyndon Johnson's fateful decision to send ground combat troops to Southeast Asia, commenting on the future of warfare obliges conjecture without much evidence. Yet for uniformed officers considering strategic issues and the use of military force, these questions surely are as sensible as they are unavoidable. How can soldiers prepare for future war without thinking about its latest incarnations?
The guidance for the panelists underlined two questions: "What will be the dominant trend in warfare from 2015–2035?" and "How should the U.S. military and government prepare for this trend?" Perhaps shying away from such an imposing query, I found myself dissecting the question itself. The prompt contained a host of assumptions and deeper questions. Would there be, for instance, only one dominant trend over the next twenty years? Could one find in the United States' last thirteen and a half years of war a certain trajectory of technological or political developments hinting at the future of warfare?
Most importantly, the question seemed to assume, almost reflexively, that the United States would be at war over the next twenty years. (Peace, apparently, was not likely to be a dominant trend.) Such assumptions should give us pause. Yet preparing for war—even engaging in war—without asking why war is necessary has arguably become part of our national psyche. In a large sense, the United States has been at war for so long that, collectively, its citizens and leaders have become uncomfortable with, if not frightened by, the very idea of peace. After decades of being at war, we have come to the point where we can't live without it.
This willing acceptance of perpetual war offers a congenial (and lucrative) market for national-security visionaries who glance into the future and offer advice on defense-related topics ranging from cyberwarfare to the use of drones. Pundits offer advice on the "militarization of cyberspace" and the likely arms race that will ensue given the United States' reliance on drone technology in counterterrorism operations. Other oracles, such as David Kilcullen, have placed their forecasts within an operational environment they see as increasingly crowded, urban and connected, much different from the remote and rural Afghanistan in which Americans have been bogged down for over a decade. Still others, like former British Army officer Robert Johnson, have highlighted Western military officers' concerns over the legal aspects of wars in which they "will be too constrained to maneuver at all in the future."
Of course, we should not conflate war and defense. Arguably all nations require a defense strategy, even in times of peace. Yet too few of the predictions on war's future offer meaningful explanations of the necessity of perpetual war. Rather, they content themselves with statements about national vulnerabilities, the need to meet impending threats (real or hypothetical), or military requirements to keep the country safe. The 2015 National Security Strategy, published in February, offers a case in point. While acknowledging America's growing economic strength and the benefits of moving beyond the large ground wars in Iraq and Afghanistan, the document stresses the "risks of an insecure world." Despite its global power and reach, the United States, we are told, faces a "persistent risk of attacks." The escalating challenges are manifold—threats to the nation's cybersecurity, aggression by Russia, rising violent extremism and an evolving danger posed by the catchall menace of "terrorism." We live in a dangerous world, the document's authors say, one in which only vigilant nations—led, naturally, by the United States—preemptively rooting out evil can survive.
Perhaps unsurprisingly, explanations of the necessity of war have tended to downplay the economic aspects of global engagement. Americans traditionally have been uncomfortable with the word "empire," even if its current form suggests securing economic access abroad rather than promoting traditional colonialism. Andrew J. Bacevich's diagnosis that the purpose of American grand strategy, since at least the early 1990s, has been to create "an open and integrated international order based on the principles of democratic capitalism, with the United States as the ultimate guarantor of order and enforcer of norms" can seem jarring. Rather more appealing to most are President George W. Bush's remarks on the fifth anniversary of the September 11, 2001, attacks. In three paragraphs alone, the president employed the word "freedom" ten times. Terrorists feared freedom. Evil enemies, we were told, hated freedom, rejected tolerance and despised dissent. Americans, however, were "advancing freedom and democracy as the great alternatives to repression and radicalism." War meant liberty triumphing over evil rather than promoting the nation's economic interests abroad. And so on.
IF OUR compulsion for war cannot be explained fully using the lofty terms of liberty and freedom, some scholars highlight the potential consequences of a growing divide between civilian policy makers and a professional military caste. The volunteer armed forces of the United States, increasingly professional and isolated from civilian Americans, have become, in the words of Peter D. Feaver, Richard H. Kohn and Lindsay P. Cohn, "more alienated from, disgusted with, and even hostile to civilian society." Sentiments such as these preceded more than a decade of war in which U.S. soldiers increasingly have defined themselves as a special, if not exceptional, community apart from, or even superior to, the larger population they have been entrusted to defend. The implications of this civil-military gap on the propagation of war are not inconsequential.
The Atlantic's James Fallows, for example, argues, "America's distance from the military makes the country too willing to go to war, and too callous about the damage warfare inflicts." Wastefully spending money on weapons unrelated to "battlefield realities," our military-industrial complex instead purchases hardware based on an "unending faith that advanced technology will ensure victory." In collaboration, an uninformed public, estranged from the soldiers who ostensibly protect it, instinctively throws its support behind policy makers harping for increased military spending and an interventionist foreign policy. To do otherwise puts one at risk of being branded weak, cowardly or even un-American.
As the distance between soldiers and civilians has grown, Americans have become less troubled with the idea of permanent war. As early as 1995, the historian Michael Sherry documented the militarization of American life, a decades-long trajectory originating before World War II in which "war defined much of the American imagination" and "the fear of war penetrated" American society. Though Sherry ended on a guardedly hopeful note—that Americans might "drift away from their militarized past"—more recent critics, like Bacevich, have denounced our society's increasingly comfortable relationship with war. Extending Sherry's analysis beyond the events of September 11, Bacevich persuasively maintains that the seduction of war overpowers rational thinking on the possibilities and, more importantly, limitations of military power abroad. Instead, we instinctively equate American superiority with military superiority.
Arguments asserting America's political and cultural superiority based on its military might surely make for gripping reading. Yet within this line of reasoning rests a good deal of hubris. How many U.S. soldiers recently returned from war convinced they were exceptional, not just from the American public sending them to war, but from the Iraqis and Afghans among whom they fought? Lost in the political debates surrounding Clint Eastwood's retelling of Chris Kyle's American Sniper is the similitude of soldiers' attitudes toward "the other." Was Kyle representative of his peers when he deemed his adversaries in Iraq a "savage, despicable evil"? Did most veterans return home believing the world was a "better place without savages out there taking American lives"? It is likely that even soldiers traumatized by their experience in war arrived back in the United States with a renewed sense of superiority for American culture and values.
In this sense, our national infatuation with war can be partly explained by how it appears to ennoble us, even—perhaps especially—on a personal level. This conviction is hardly novel. As Kristin Hoganson has recounted of the Spanish-American War, martial endeavors overseas were seen as a way to "vitalize" American manhood. The nation would profit as tested veterans evolved into model citizens and leaders. Little room was afforded to countervailing views on war's capacity to build robust men for a strong, globally minded republic. Thus, according to Hoganson, "Imperialists benefited from the widespread tendency to construe opposition to war as a sign of cowardice, weakness, or other supposedly unmanly attributes."
This seemingly anachronistic rendering of gender norms perseveres within American society. We still believe, based more on conviction than evidence, that war fosters masculine values while promoting freedom at home and abroad. Sebastian Junger, who spent over a year chronicling an American infantry platoon serving at a remote outpost in eastern Afghanistan, found that war remains a rite of passage for some teens searching for the surest path to manhood. "An extremely compelling endeavor for a lot of young men," war supposedly gives their lives meaning. Thus, the powerful narrative of war draws us in, captivates our imagination and offers opportunities to prove our worth. "We all want peace," Junger asserts, "but we're all fascinated by the drama of war."


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NKF to build $12m mega dialysis centre in Jurong
Patients at the Thong Teck Sian Tong Lian Sin Sia NKF Dialysis Centre in Woodlands. PHOTO: THE NEW PAPER
http://str.sg/Zvqa
It will offer 24-hour dialysis, boosting access for patients and easing load of other centres
Linette Lai
Political Correspondent
linettel@sph.com.sg
To cope with rapidly rising kidney failure numbers here, the National Kidney Foundation (NKF) is building its largest dialysis centre - a $12 million complex in Jurong with 24-hour dialysis, dedicated to kidney care.
The new facility, 10 times the size of regular centres, is expected to have 200 dialysis stations and will cater to 2,000 patients a week, taking the load off the foundation's 29 other centres - particularly those in the west that are nearly full.
Adding a night dialysis slot enables centres to expand capacity, and also makes going for dialysis more convenient for patients with busy day jobs.
NKF introduces night dialysis for kidney patients
NKF is the main dialysis provider here, and nearly all of its 3,800 or so patients have high blood pressure, while three-quarters have diabetes. Both conditions are on the rise in Singapore, and are also leading causes of kidney failure here.
According to the latest Singapore Renal Registry Report, there were 5,521 people on dialysis in 2013, up from 5,244 the year before. It is the only option apart from a transplant, and patients must undergo the procedure for life.
Apart from dialysis, the Corporation Road complex, likely to open in phases starting next year, will teach patients how to carry out peritoneal dialysis - a special form of dialysis that can be done at home.
Plans for the centre were announced by Deputy Prime Minister Tharman Shanmugaratnam yesterday, at the opening of the NKF's first 24-hour dialysis centre in Jurong West, which gives patients more flexibility to choose when they want treatment.
Of the yet-to-open facility, he said it "will greatly expand access to subsidised haemodialysis services to the renal patients in the western region".
He noted, too, that NKF must go beyond offering dialysis services and tackle the problem at its root, through better education and prevention programmes to curb the onset of kidney diseases.
Peritoneal dialysis, which is more convenient and just as effective as dialysis done in the centres, is not common in Singapore, according to NKF chief executive Edmund Kwok, and the new centre will try to change that.
"One of the reasons that people have shied away from it is that they are not very confident they can do it themselves," he said.
"Those who are not very sure, you can come to the (new) centre and we will train you for as long as you need. As you get better, more independent, you will be able to do it yourself."
A third of the funding for the new centre will come from the Sirivadhanabhakdi Foundation, which is based in Thailand and supports medical, religious and educational causes.
The centre will also focus on preventing kidney failure.
"We must redouble our efforts on preventive care," Mr Tharman said. "One in nine adult Singaporeans has diabetes, and the number is growing."
A version of this article appeared in the print edition of The Straits Times on March 30, 2016, with the headline 'NKF to build $12m mega dialysis centre in Jurong'. Print Edition | Subscribe
KIDNEY DISEASES

redpajama_set_name: RedPajamaCommonCrawl


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After preparing the discs and the buffer/amplifier in Part 2 of this series, I looked around for different instruments that could effectively be amplified and recorded with the use of piezo elements.
I also tried a few inexpensive commercial piezo contact mics, like these:
The top one (Cost: approx £1.50) has quite a large piezo disc inside a plastic cover and a sticky pad to fix it to the surface which is to be amplified; the bottom one (Cost: £1.25) is built into a (not-too-strong) plastic clip, with a foam pad to protect the disc.
The more solidly the piezo is connected to the sound-producing surface, the better the sound obtained. In other words, it's best if the disc can be glued to the surface. I did this with some of the non-valuable items:
However, I wasn't keen on making this permanent addition to my instruments, and looked for different ways of making temporary connections. Each of these could be useful in different circumstances:
This double-sided tape is described as 'removable', and is less likely to damage either the piezo element or the instrument it's stuck to, so is a good choice – although, at about £7.00, was rather expensive. I hope to make use of it elsewhere in the house! It's also more suitable for a one-off performance or recording. I've also read that Blu-Tac works in a similar way, although my experience is that it can leave marks; elsewhere I've read that insulating tape can be used – that might also be less sticky than conventional sellotape, but unlike the double sided tape, would have to go over the top of the piezo disc.
I also bought some clamps of different sorts:
The spring clips were very strong, so I would guess I'd have to be careful using them so as not to damage the piezos. I have read of people using soft pads – made of felt or foam rubber, for example – to put over the piezos when using them with strong clips.
In this way I had a variety of different methods of attaching the piezos to items I wanted to amplify or record. The items themselves could be either acoustic instruments that just needed appropriately amplifying; or items that were not musical instruments, but which could be amplified – perhaps changing their sound, or revealing a hidden sound in the process – by attaching a piezo.
As they are used to pick up sounds from vibrations in solid surfaces, the best acoustic instruments to work on would be those with sounding boards, such as guitars, zithers or other stringed instruments, several of which I had in my collection; as for non-musical instruments, this would be a matter of experimentation! The advantage of using a piezo contact mic in these examples would be that, unlike a conventional microphone which picks up airborne sounds, the contact mic wouldn't easily be affected by the nearby sounds of the player, other instruments, or external noises in the recording environment – e.g. traffic or the people next door.
First of all, the more conventional instruments. These are just a few of the various things I tried the piezo mics with. At the top are bells and a rainstick; at the bottom are a rattle (not perhaps, strictly speaking, an instrument!) and a zither.
The following sound file illustrates how these sounded:
In these experiments only the zither was recorded in stereo by using two piezos, but a stereo effect would certainly bring something to some of the others – for example the rainstick.
Next, some uses of the piezos that created new instruments in themselves. Both of these made sounds that, when picked up by the piezos were very different from the way they sounded in the room.
The first one uses a small snare – normally used for a snare drum. This was purchased very cheaply (about £1.30) and attached to a wide, flat tin. A 50mm piezo disc was superglued to the middle of the tin.
The second one is just a 50mm piezo disc with 4 lengths of piano wire soldered to it. I'm not 100% certain of the diameter of the wire: it said 'G0' (i.e. 'G zero') on it, and was bought from a (classical) music shop about 30 years ago. If it means Music Wire gauge 0, this would make it about 0.009″, something like a thin top E guitar string, which is about what it seems to be. The 4 lengths are approximately 6″, 9″, 12″ and 18″.
This sound file illustrates first the 'snare' instrument, then the 'string' instrument:
It's surprising how different the sound through the piezo is, compared to the natural sound, especially the one with the soldered strings, which makes hardly any noise at all. The small preamp also plays a part in preserving the lower frequency sounds.
The picture below shows, on the left, the three – I don't know what to call them – strikers or activators, which I used to make the sounds from the snare instrument: the one on the left is a home made beater or mallet, made from a length of dowel and a wooden bead; the middle one is a wooden coffee stirrer, much more delicate; and the one on the right is a small cleaning brush.
It's a good idea to make a collection of these if you're going to make piezo instruments, as the way you interact with the instrument can make a big difference to how it sounds. The picture on the right shows some more things I use, as well as pipe cleaners, fire-lighting spills and small emery boards. This writer has a very impressive collection: https://skoglosa.wordpress.com/2015/05/06/contact-mic-guidelines/!
The instruments required quite a bit of physical construction, since a framework was needed to support the sounding parts. I bought some small square trays to serve as the bases, and cut lengths of 2x2cm wood for the uprights.
After glueing and screwing these together, I was able to attach the sounding parts:
The two on the right are the ones described earlier; the one on the left is simply a sandpaper disc with a 35mm piezo glued to the back. The narrow space underneath the base can be seen in this picture. The batteries and electronics would have to fit in this space.
After the physical construction, it was time to add the electronics. I'll describe this in the next part of the series.
Categories: Construction and General
After starting my recent piezo project, I decided to look into electret microphones – there are many situations in which a piezo-type contact mic is less suitable than a mic which detects sounds in the air.
Electret capsules are very cheap, and need just a few additional components to get them to work. I bought a number of these for about 10p – 11p each:
It's possible to get them without any wires – long or short – attached, but I preferred these. The smaller ones, illustrated at the top, were very small – 4mm in diameter; the larger ones were 10mm. I also bought a few that were in between, at 6.5mm.
Most people working in electronic music will be aware of the importance of microphones, and I have some quite expensive ones for different amplifying and recording purposes; but there are various situations in which a very low-cost method of picking up and amplifying sometimes quite small sounds can be all that's needed.
One renowned electronic music composer for whom the microphone became extremely important for a time was Karlheinz Stockhausen.
In summer 1964, Stockhausen said, 'I searched for ways to compose – flexibly – also the process of microphone recording. The microphone, used until now as a rigid, passive recording device to reproduce sounds as faithfully as possible, would have to become a musical instrument and, on the other hand, through its manipulation, influence ALL the characteristics of the sounds . . .'
At the same time, he had been experimenting with a large tam-tam (a percussion instrument very similar to a gong), 'using a great variety of implements – of glass, cardboard, metal, wood, rubber, plastic – which I had collected from around the house.'
'One day', he continues, 'I took some equipment from the WDR Studio for Electronic Music home with me. My collaborator Jaap Spek helped me. I played on the tam-tam with every possible utensil and during this, moved the microphone above the surface of the tam-tam. The microphone was connected to an electrical filter whose output was connected to a volume control (potentiometer), and this in turn, was connected to amplifier and loudspeaker. During this, Jaap Spek changed the filter settings and dynamic levels, improvising. At the same time, we recorded the result on tape.
'The tape recording of this first microphony experiment constitutes for me a discovery of utmost importance . . . Actually, this moment was the genesis of a live electronic music with unconventional music instruments. On the basis of this experiment I then wrote the score of Mikrophonie I. Two players excite the tam-tam using a great variety of implements, two further players scan the tam-tam with microphones . . . Two further players – seated in the auditorium at the left and right of the middle – each operate an electrical filter and two potentiometers. They, in turn, reshape the timbre and pitch . . . dynamic level and spatial effect . . . and the rhythm of the structures . . .'
The score includes instructions for the placing and movement of the microphones, just as it includes instructions for the tam-tam players and the filter operators, so the microphones can be regarded as essential instruments in the performance of the piece.
One of the interesting features of the use of microphones in the piece is, as Stockhausen wrote: 'normally inaudible vibrations (of a tam-tam) are made audible by an active process of listening into [them with a microphone].' The reviewer Albrecht Moritz (http://home.earthlink.net/~almoritz/mikrophonie1.htm) states: 'There are several passages in Mikrophonie I where this process is exclusively employed, foregoing stronger excitement of the tam-tam which would produce the commonly heard sounds. A result is that, if you would play back these passages to persons whom you would leave in the dark about the source of the sounds, probably most or even all of those listeners – including musicians – would not be able to guess it.'
Elsewhere Moritz says that 'the audibility of most sounds that are created on the tam-tam in Mikrophonie I appears to strictly depend on the microphonic amplification. Among these are scratching noises, produced by treating the surface with not only metallic, but also other kinds of objects. Strangely "rolling" sounds can be generated on the surface, sounds evocative of rustling of silver paper, and many other astounding sounds . . . Quite frequently there are dark, roaring, sometimes growling, yet in volume often rather soft, undercurrents of sound that appear to stem from only local resonances of the tam-tam plate, generated by gentle use of a beater or as a result of other treatment, a sound phenomenon most likely audible only because of microphonic amplification as well.'
These electret capsules won't work, however, just by connecting them to a mixer or amplifier – they have a small built-in preamp inside them which needs power to operate it. This means the positive lead to the capsule must have a few volts of power running to it – 3v to 9v, typically – for the capsule to work. An interesting article on this topic can be found at http://www.epanorama.net/circuits/microphone_powering.html.
The minimum circuitry required to get a sound from the capsule is this:
Using a prototype of this circuit with the Taurus amplifier, the level of the signal was perfectly good enough without any additional circuitry.
Sometimes, however, more output is needed, and I found a suitable circuit which was simple but effective at http://www.instructables.com/id/Pre-amp-to-electret-mic/. It was based on a single transistor, a 2N3904, obtainable at less than 5p each by buying a bag of 50, plus 3 resistors and 2 capacitors. The circuit for one channel looked like this:
I made up a batch of them all at the same time on a spare piece of veroboard. These 12 circuits cost no more than about £2 – £2.50 altogether.
I took some of these and made up some stereo circuits, adding an output socket, 9v battery clip and volume control pot to each one:
With this I was able to experiment with different microphone combinations. No other components were needed, except the electret capsules themselves. In some cases I connected the two wires from the capsule directly to input and ground on the board, at other times I attached input sockets.
In all cases I was surprised at the quality of the sound I was able to get for such a low cost. The circuit also worked with the piezo mics/pickups I had made earlier, although the output didn't seem to have as much lower frequency content.
In the next article in the series I'll describe some of the practical applications for which I used these electrets.
The Blue Cow
Categories: Circuit Bending and Modification
Having just finished a couple of projects designed for automatic control via the Bigfoot sequencer, I was looking for a similar toy that could be played manually.
The Blue Cow seemed to be exactly the kind of thing I was looking for. which could be worked on with a combination of modification and circuit-bending.
There are buttons which make the sounds of a cow, cowbell, cat, dog and pig; two switches – the ducks' beaks – which play a short musical sequence and light up the 6 LEDs; and three mechanical controls. One, a snail which moves slowly across the cow's back, makes no electronic sound, but there are two others which do: a rotating ball which makes the cowbell sound as it turns, and a rotating control with finger-holes, which moves the cow's tail and plays a tune with a bell-like tone.
I opened the back of the device and took a close look at the PCB inside.
The first thing I noticed was an extra switch which hadn't been used. It had the word 'sheep' next to it, so I eagerly connected a pair of wires to it and, sure enough, a baa emerged. So the first thing I did was add an extra switch on the front of the cow to produce this new sound.
After that I searched for the resistor which would affect the pitch of the sounds. It took a while, but I found it, removed it from the board, and attached two wires in its place, running to a potentiometer so that the pitch could be varied.
In this view of the circuit board 1 indicates the previously unused switch, and 2 indicates the position of the pitch/timing resistor. The wires now connected to these two sections are on the underside of the board.
It took a little experimentation to find the correct value for the potentiometer, to ensure sufficient pitch variation, but not to increase or decrease the resistance so much that the device crashed. This is the normal thing when replacing a timing resistor. In this case, a 250k potentiometer was the best value, with a 100k trimmer to adjust the minimum resistance.
The potentiometer went on the front of the cow.
I unscrewed the sections behind the 4 main sound buttons, and checked the additional circuit boards which were connected to the main board by a series of red wires. There were 14 of these these wires, which went directly to the sound-producing chip.
Some of these wires went to LEDs beneath the buttons, so I tested the others by connecting them in pairs, and found various combinations which would produce almost all available the sounds, including the newly-discovered sheep. If I included one of the connections of the switches under the ducks' beaks, all the sounds were available, and I began thinking of extra ways to access them.
First of all I added four tilt switches, so different sounds would be produced as the device was moved around. These were a simple and cheap type – about 10p each – but very effective. Constructed in a small can with two legs, not unlike an electrolytic capacitor in appearance, an internal connection is made when the can is tipped from horizontal to vertical.
I glued the switches inside, left, right, top and bottom, with a different sound connected to each. The arrows in the following picture indicate two of the switches in situ.
One awkward thing about the circuit – especially with the tilt switches in place – was that there was no on/off switch: the power was on – and the device ready to make noises – as soon as batteries were inserted.
So, I decided to add one. I found a nice one, described as an SPST illuminated rocker:
The odd thing about it, as an SPST, is that it has 3 contacts. It took me some time to work out, but its normal function is to switch +v from one outside contact to the centre; the other outside contact – not connected to the switch – is for a 0v connection to the internal LED. In this case, the power lead from the batteries connects to the 'off' side of the switch, the lead to the circuit board connects to the centre, and the 0v lead connects to the 'on' side of the switch. In this way, when the switch is turned to the 'on' position, power is connected to the circuit board and the switch lights up – very attractive!
I liked these switches so much, I bought several of them at about 30p each. They were labelled as suitable for 12v – their origin is for use in the automotive industry – but lit up fine from the Blue Cow's 4.5v.
There's quite variety of illuminated switches available, all of which would beautify a project where a +V switch was required. There were also square ones:
although I always find these more difficult to mount than round ones. The one on the right looks interesting, as it's a centre off with a latching switch one way and a momentary switch the other.
One UK outlet has a whole variety of these, including toggle switches, push switches and pull switches:
At this time I also added a small SPDT switch to change the output from the small internal speaker to 4mm external speaker sockets or to an audio out socket.
In the following picture 1 = the internal/external speaker select switch; 2 = the speaker select switch inside; 3 = the external speaker sockets; 4 = the audio out socket.
Here's a short demo of the Blue Cow. In this case it was connected to an external speaker and the sound recorded via microphones.


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Acceptance of the 'Assessment of Physiotherapy Practice (Chinese)' as a standardised evaluation of professional competency in Chinese physiotherapy students: An observational study
Jia Hu, Alice Y.M. Jones, Xuelian Zhou, Hua Zhai, Shirley P.C. Ngai, Ka Chun Siu, Megan Dalton
School of Health & Kinesiology
Health Promotion, Social, & Behavioral Health
Background: Development of an entry-level physiotherapy curriculum in China currently follows the World Confederation for Physical Therapy (WCPT) guidelines, however there is no standard, validated, assessment tool for physiotherapy practice in use in China. This article reports the process of translation of the "Assessment of Physiotherapy Practice" (APP), a validated assessment instrument adopted by all universities in Australia and New Zealand, into Chinese (APP-Chinese) and its implementation by Chinese physiotherapy clinical educators (CEs) and students during clinical placements. Methods: The process of forward and backward translation of the APP was undertaken by a team of academics from universities in Shanghai, Hong Kong, United States and Australia. An APP-Chinese version was produced and used for assessment of the clinical performance of 4th year students at a university in Shanghai. Feedback on the implementation of the APP-Chinese was solicited from students and CEs using the same two questionnaires employed to assess implementation of the original APP. Results: All CEs agreed that the rules used to score the APP-Chinese were helpful in assessing student performance. Over 90% of the CEs considered the APP-Chinese was pragmatic for use in the clinical environment in China. All students agreed with the rating of their performance on the APP-Chinese marked by their educators, and that the performance indicators were useful in guiding their expected performance behaviour. Conclusion: The APP-Chinese is the first standardised assessment tool for evaluation of clinical performance of physiotherapy students in China and was shown to be well accepted by both students and CEs in the clinical education unit and university involved in this study.
Competency-oriented assessment tool
Physiotherapy practice assessment
Dive into the research topics of 'Acceptance of the 'Assessment of Physiotherapy Practice (Chinese)' as a standardised evaluation of professional competency in Chinese physiotherapy students: An observational study'. Together they form a unique fingerprint.
acceptance Social Sciences 100%
evaluation Social Sciences 64%
educator Social Sciences 37%
China Social Sciences 24%
performance Social Sciences 23%
university Social Sciences 18%
performance behavior Social Sciences 14%
Hu, J., Jones, A. Y. M., Zhou, X., Zhai, H., Ngai, S. P. C., Siu, K. C., & Dalton, M. (2020). Acceptance of the 'Assessment of Physiotherapy Practice (Chinese)' as a standardised evaluation of professional competency in Chinese physiotherapy students: An observational study. BMC Medical Education, 20(1), [108]. https://doi.org/10.1186/s12909-020-02026-3
Acceptance of the 'Assessment of Physiotherapy Practice (Chinese)' as a standardised evaluation of professional competency in Chinese physiotherapy students : An observational study. / Hu, Jia; Jones, Alice Y.M.; Zhou, Xuelian; Zhai, Hua; Ngai, Shirley P.C.; Siu, Ka Chun; Dalton, Megan.
In: BMC Medical Education, Vol. 20, No. 1, 108, 09.04.2020.
Hu, J, Jones, AYM, Zhou, X, Zhai, H, Ngai, SPC, Siu, KC & Dalton, M 2020, 'Acceptance of the 'Assessment of Physiotherapy Practice (Chinese)' as a standardised evaluation of professional competency in Chinese physiotherapy students: An observational study', BMC Medical Education, vol. 20, no. 1, 108. https://doi.org/10.1186/s12909-020-02026-3
Hu J, Jones AYM, Zhou X, Zhai H, Ngai SPC, Siu KC et al. Acceptance of the 'Assessment of Physiotherapy Practice (Chinese)' as a standardised evaluation of professional competency in Chinese physiotherapy students: An observational study. BMC Medical Education. 2020 Apr 9;20(1). 108. https://doi.org/10.1186/s12909-020-02026-3
Hu, Jia ; Jones, Alice Y.M. ; Zhou, Xuelian ; Zhai, Hua ; Ngai, Shirley P.C. ; Siu, Ka Chun ; Dalton, Megan. / Acceptance of the 'Assessment of Physiotherapy Practice (Chinese)' as a standardised evaluation of professional competency in Chinese physiotherapy students : An observational study. In: BMC Medical Education. 2020 ; Vol. 20, No. 1.
@article{1ac607f70ed0423895ddb21f1a3251e4,
title = "Acceptance of the 'Assessment of Physiotherapy Practice (Chinese)' as a standardised evaluation of professional competency in Chinese physiotherapy students: An observational study",
abstract = "Background: Development of an entry-level physiotherapy curriculum in China currently follows the World Confederation for Physical Therapy (WCPT) guidelines, however there is no standard, validated, assessment tool for physiotherapy practice in use in China. This article reports the process of translation of the {"}Assessment of Physiotherapy Practice{"} (APP), a validated assessment instrument adopted by all universities in Australia and New Zealand, into Chinese (APP-Chinese) and its implementation by Chinese physiotherapy clinical educators (CEs) and students during clinical placements. Methods: The process of forward and backward translation of the APP was undertaken by a team of academics from universities in Shanghai, Hong Kong, United States and Australia. An APP-Chinese version was produced and used for assessment of the clinical performance of 4th year students at a university in Shanghai. Feedback on the implementation of the APP-Chinese was solicited from students and CEs using the same two questionnaires employed to assess implementation of the original APP. Results: All CEs agreed that the rules used to score the APP-Chinese were helpful in assessing student performance. Over 90% of the CEs considered the APP-Chinese was pragmatic for use in the clinical environment in China. All students agreed with the rating of their performance on the APP-Chinese marked by their educators, and that the performance indicators were useful in guiding their expected performance behaviour. Conclusion: The APP-Chinese is the first standardised assessment tool for evaluation of clinical performance of physiotherapy students in China and was shown to be well accepted by both students and CEs in the clinical education unit and university involved in this study.",
keywords = "Clinical education, Competency-oriented assessment tool, Physiotherapy practice assessment",
author = "Jia Hu and Jones, {Alice Y.M.} and Xuelian Zhou and Hua Zhai and Ngai, {Shirley P.C.} and Siu, {Ka Chun} and Megan Dalton",
note = "Funding Information: Funding to support publication costs and additional resources such as stationery and staff time to facilitate the project was supported by the "Research Projects of Education and Teaching Reform (1500104500-01)", Tongji University, Shanghai, China. Publisher Copyright: {\textcopyright} 2020 The Author(s).",
journal = "BMC Medical Education",
T1 - Acceptance of the 'Assessment of Physiotherapy Practice (Chinese)' as a standardised evaluation of professional competency in Chinese physiotherapy students
T2 - An observational study
AU - Hu, Jia
AU - Jones, Alice Y.M.
AU - Zhou, Xuelian
AU - Zhai, Hua
AU - Ngai, Shirley P.C.
AU - Siu, Ka Chun
AU - Dalton, Megan
N1 - Funding Information: Funding to support publication costs and additional resources such as stationery and staff time to facilitate the project was supported by the "Research Projects of Education and Teaching Reform (1500104500-01)", Tongji University, Shanghai, China. Publisher Copyright: © 2020 The Author(s).
N2 - Background: Development of an entry-level physiotherapy curriculum in China currently follows the World Confederation for Physical Therapy (WCPT) guidelines, however there is no standard, validated, assessment tool for physiotherapy practice in use in China. This article reports the process of translation of the "Assessment of Physiotherapy Practice" (APP), a validated assessment instrument adopted by all universities in Australia and New Zealand, into Chinese (APP-Chinese) and its implementation by Chinese physiotherapy clinical educators (CEs) and students during clinical placements. Methods: The process of forward and backward translation of the APP was undertaken by a team of academics from universities in Shanghai, Hong Kong, United States and Australia. An APP-Chinese version was produced and used for assessment of the clinical performance of 4th year students at a university in Shanghai. Feedback on the implementation of the APP-Chinese was solicited from students and CEs using the same two questionnaires employed to assess implementation of the original APP. Results: All CEs agreed that the rules used to score the APP-Chinese were helpful in assessing student performance. Over 90% of the CEs considered the APP-Chinese was pragmatic for use in the clinical environment in China. All students agreed with the rating of their performance on the APP-Chinese marked by their educators, and that the performance indicators were useful in guiding their expected performance behaviour. Conclusion: The APP-Chinese is the first standardised assessment tool for evaluation of clinical performance of physiotherapy students in China and was shown to be well accepted by both students and CEs in the clinical education unit and university involved in this study.
AB - Background: Development of an entry-level physiotherapy curriculum in China currently follows the World Confederation for Physical Therapy (WCPT) guidelines, however there is no standard, validated, assessment tool for physiotherapy practice in use in China. This article reports the process of translation of the "Assessment of Physiotherapy Practice" (APP), a validated assessment instrument adopted by all universities in Australia and New Zealand, into Chinese (APP-Chinese) and its implementation by Chinese physiotherapy clinical educators (CEs) and students during clinical placements. Methods: The process of forward and backward translation of the APP was undertaken by a team of academics from universities in Shanghai, Hong Kong, United States and Australia. An APP-Chinese version was produced and used for assessment of the clinical performance of 4th year students at a university in Shanghai. Feedback on the implementation of the APP-Chinese was solicited from students and CEs using the same two questionnaires employed to assess implementation of the original APP. Results: All CEs agreed that the rules used to score the APP-Chinese were helpful in assessing student performance. Over 90% of the CEs considered the APP-Chinese was pragmatic for use in the clinical environment in China. All students agreed with the rating of their performance on the APP-Chinese marked by their educators, and that the performance indicators were useful in guiding their expected performance behaviour. Conclusion: The APP-Chinese is the first standardised assessment tool for evaluation of clinical performance of physiotherapy students in China and was shown to be well accepted by both students and CEs in the clinical education unit and university involved in this study.
KW - Clinical education
KW - Competency-oriented assessment tool
KW - Physiotherapy practice assessment
JO - BMC Medical Education
JF - BMC Medical Education
M1 - 108


← L'Oréal Miss Manga Mascara & model's blog!
After reading comments on KPOP stars 'gummy smiles' on various forums such as 'I can't believe they don't like gummy smiles…' and 'Oh this guy criticized Hyosung's gummy smile too' I was like 'wtf is a gummy smile?' All I could imagine were little Haribo bears under someones top lip – weird I know.
But it turns out it's exactly what the name suggests. A 'gummy' smile. A smile where you show a lot of your gums. Trust Korea to come up with another name for it. Written in Hangul it's 거미스마일 (geo-mi seu-ma-il) but apparently it can be referred to as 잇몸웃음 (meaning laughter/laughing gums) or 함박웃음 (meaning toothy smile).
Hyosung from Secret (yep again, she's got everything baby!) has been known to have a gummy smile. And er unfortunately has been criticized for it. Not too harshly but apparently she was told that "showing your gums excessively like that can actually be a negative for advertisements'.
Regarding Korea as a whole, I'm certain that this 'gummy smile' business isn't a massive deal across the public, but in media I suppose it can be treated as a small flaw like having a crooked nose that 'needs' to be fixed. To be honest, who really cares about 'gumminess'. It's a cute asset. But since the KPOP industry most likely rolls with striving for near perfection, of which a 'gummy smile' is not, differences will be pointed out if they don't fit the set image. It's not a matter of personal opinion really when it comes to this sort of industry which can be both a good and bad thing.


WOW! The opening night of Anything Goes was absolutely brilliant. The stellar cast of students (and a very cute puppy) sing and dance their way through this classic funny Coel Porter musical. It is unmissable.
We hope everyone enjoyed the production as much as we did, and look forward to what 2019 will bring to the stage.
A quick recap of the Mother's Day Luncheon 2018 held at Seasons 5 Resort in Point Cook organised by Westbourne Parent Auxiliary. We are looking forward to next year's event!
Enjoy a short highlight reel of the Presentation Ball 2018.
What an amazing community event enjoyed by all! A quick video recap of the evening for your viewing pleasure.


Fall protection and confined space, perhaps more than any other area of safety, tends to seem overwhelming. There is no room for error and miscalculations are most often fatal. The pull of gravity cannot be underestimated.
Fall protection, however, doesn't need to be so frightening if some basic principles are applied and some basic rules followed. The purpose of this paper is to try to make fall protection as simple as hand protection or head protection.
CN ForkLift Training Centre provides training and certification programs.
Get Forklift Training in Brampton, Toronto, Mississauga. Our Forklift Courses include Refresher Courses,Pre operation checklist training, Practical training, theoretical training, WHMIS training, Fall Prevention/Protection Training.
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Canadian National Forklift has earned its place as a respected contributor in the field of industrial safety. Fall Arrest training is also provided to keep you safe at your work place.


text:
How caterpillar-damaged plants protect themselves by attracting parasitic wasps
T C Turlings, J H Loughrin, P J McCall, U S Röse, W J Lewis, and J H Tumlinson
PNAS May 9, 1995 92 (10) 4169-4174; https://doi.org/10.1073/pnas.92.10.4169
T C Turlings
J H Loughrin
P J McCall
U S Röse
W J Lewis
J H Tumlinson
Parasitic and predatory arthropods often prevent plants from being severely damaged by killing herbivores as they feed on the plants. Recent studies show that a variety of plants, when injured by herbivores, emit chemical signals that guide natural enemies to the herbivores. It is unlikely that herbivore-damaged plants initiate the production of chemicals solely to attract parasitoids and predators. The signaling role probably evolved secondarily from plant responses that produce toxins and deterrents against herbivores and antibiotics against pathogens. To effectively function as signals for natural enemies, the emitted volatiles should be clearly distinguishable from background odors, specific for prey or host species that feed on the plant, and emitted at times when the natural enemies forage. Our studies on the phenomena of herbivore-induced emissions of volatiles in corn and cotton plants and studies conducted by others indicate that (i) the clarity of the volatile signals is high, as they are unique for herbivore damage, produced in relatively large amounts, and easily distinguishable from background odors; (ii) specificity is limited when different herbivores feed on the same plant species but high as far as odors emitted by different plant species and genotypes are concerned; (iii) the signals are timed so that they are mainly released during the daytime, when natural enemies tend to forage, and they wane slowly after herbivory stops.
You are going to email the following How caterpillar-damaged plants protect themselves by attracting parasitic wasps
T C Turlings, J H Loughrin, P J McCall, U S Röse, W J Lewis, J H Tumlinson
Proceedings of the National Academy of Sciences May 1995, 92 (10) 4169-4174; DOI: 10.1073/pnas.92.10.4169


Katia cofounded Birchbox in 2010, driven by a fascination with the business dynamics of the beauty industry and a mission to redefine the way people discovered and shopped for beauty online. Today she is more passionate than ever about building the beauty destination for the average woman who is not passionate about beauty. Birchbox, which is best known for its monthly subscription of personalized samples, now has more than 1 million subscribers, 4 million total customers, 800 beauty and grooming brand partners, operations in six countries, and stores in New York City and Paris.
Katia holds an M.B.A. from Harvard Business School and a B.A. in International Studies & Economics from Vassar College. Prior to graduating business school, she worked in structured finance and commercial real estate. She has been honored with accolades including Advertising Age Women toWatch, CEW Achiever's Award, Fortune 40 Under 40, Inc. 30 Under 30, and WWD Digital Innovator ofthe Year in the Prestige Beauty Category, among others. Katia was recently featured asan investor onthe first season of Lifetime TV's series, "Project Runway: Fashion Startup."
A native Texan, Katia lives in New York City with her husband and two sons.


text:
Le Musée d'histoire des chemins de fer mongols est situé Narny Zam, sous le pont de la Paix, dans le district de Sukhbaatar, à Oulan-Bator, capitale de la Mongolie. Il présente une collection  qui retrace l'histoire des locomotives du chemin de fer mongols sur une période de 65 ans.

Sont exposés les modèles suivants :
 Stream Loco Série P-36
 Stream Loco Série  Е
 Stream Loco Série  Су
 Série Diesel Loco ТEM-1. Modèle de locomotive à vapeur produit en Russie, entre 1958-1980
 Série Diesel Loco  ТЭ2-522
 Stream Loco Série  159. Modèle de locomotive à vapeur produit en Russie, et utilisé entre 1938-1958.

Stream Loco Série P-36
La classe des "Stream Loco Série P-36" en () est la série d'une production de  251 locomotives à vapeur construites en Union soviétique entre 1950 et 1956. Ces locomotives, surnommées « Général » en raison de la bande rouge sur leur flanc, avaient la même puissance que les locomotives de classe IS. La charge par essieu de 18 tonnes permettait leur utilisation sur la grande majorité des lignes de chemin de fer de Russie. Elle remplacèrent progressivement la classe de locomotive russe Su 2-6-2 et en augmentant quantitativement le nombre des voyageurs. Le P36 fut le dernier type de locomotive à vapeur principale construite en Russie, dans les ateliers Kolomna Works.

Stream Loco Série Е
La classe des locomotives russes  Ye, et les sous-classes Yea, Yek, Yel, Yef, Yem, Yemv et Yes (russe: Паровоз Е; Еа, Ек, Ел, Еф, м, Емв et Ес) sont une série de type 2-10-0. Ces locomotives furent construites par les constructeurs américains pour les chemins de fer russes durant la Première Guerre mondiale et pendant la Seconde Guerre mondiale. Elles étaient équipées de moteurs légers, leurs essieux ne pouvant supporter que des charges relativement légères.

Lors de la révolution bolchevique en 1917, l'exportation  de 200 locomotives, vers la Russie, fut été bloquée. Les locomotives, surnommées « décapodes russes », furent adaptées aux normes américaines, en les équipant de roues plus larges pour qu'elles puissent circuler sur les chemins de fer aux États-Unis. Certaines locomotives ont été acquises par les chemins de fer finlandais (classe Tr2) [1] et par le China Railway (classe DK2)

Stream Loco Série Су
Dans le classement des machines, l'appellation "Whyte" désigne les locomotives à vapeur, 2-6-2 équipées de deux roues directrices, de six roues motrices accouplées, et de deux roues arrière. Cet arrangement est communément appelé Prairie.

Locomotive soviétique IS
La classe de locomotive soviétique IS (russe: ИС) est un type soviétique de locomotives à vapeur du nom du nom de Joseph Staline (russe: Иосиф Сталин). La conception du contrat a été préparée en 1929 à V.V. Usine de locomotives Kuybyshev à Kolomna. Les locomotives de la série IS ont été fabriquées entre 1932 et 1942.

Notes et références

Liens externes
   RBC Rating: 50 plus grandes entreprises technologiques en Russie
  Kolomensky Zavod

Histoire des chemins de fer mongols
Oulan-Bator
Musée ferroviaire

redpajama_set_name: RedPajamaWikipedia


text:
Тома̀р (, произнася се по-близко до Тумар) е град в Португалия, окръг Сантарен. Градът е разположен около бреговете на река Рио Набао. Население около 42 000 жители (2008 г.)

Бележки

Градове в Португалия


Founding Principles - Responsible Photography - photography, education and culture.
Responsible Photography is a tiny, independent collaborative and participatory photography, cultural and educational organisation founded in 2002 by Gail Ward.
To share Responsible Photography guidelines for taking and using photographs that respect local etiquette, cultural and religious sensitivities, restrict social media use, and, most importantly, the wishes of the people we work with and meet.
Responsible Photography raises awareness of the implications of photographing children and discourages the photography of children unless with prior agreement and permission of parents.
Responsible Photography raises awareness of photography copyright, 'rights grabbing' issues, and competitions that do not respect photographer's rights or exploit the use of photographs entered into a competition.
Responsible Photography do not post photographs of their participants, partners, associates or friends on Facebook or other social media without their permission.
Responsible Photography encourage respect, understanding and positive experiences between people of different ages, backgrounds and cultures.
Try to always make sure that local people, businesses, grass roots organisations, communities and projects are involved with Responsible Photography, and benefit either economically, from shared experiences or through skills and knowledge sharing.
Share knowledge and experience to help develop and promote income generating, community, conservation and educational projects.
Responsible Photography cultural holidays, photography workshops and photo-study activities contribute to income-generating initiatives of communities and conservation, educational and photo projects. Participation is usually restricted to between two/three to five/six like minded participants.
Responsible Photography collaborate with UK and 'in country' partners, independent people, families, helpers and small or 'grass roots' businesses, communities and projects.
Responsible Photography participants enjoy sharing experiences and hospitality from people who have chosen to share their skills and way of life, not only as their livelihood, but because they want you to really experience their homelands, lives and traditions.
Responsible Photography uses accommodations, workshop spaces and venues that are locally or privately owned and/or managed.
Responsible Photography partners, photographers, helpers and friends are all encouraged to participate with everything we do - you'll see that some of our partners, helpers and friends have become, or are becoming, talented photographers, are developing their tourism and business skills, or are building sustainable, income generating projects.
Responsible Photography guidelines for taking and using photographs respect local etiquette, cultural and religious sensitivities, discourage social media use, and, of course, respect the wishes of our hosts and the people we work with and meet.
Responsible Photography raises awareness of the implications of photographing children and discourages the photography of children on location unless in agreement with hosts and parents.
Responsible Photography - statement about Social Media.
We are careful and responsible with 'people' photography. We try to make sure that anyone who is happy to be photographed, especially from the communities we stay in, receive copies of any photographs taken by Responsible Photography participants. We do not encourage sharing photographs of people, on Facebook, Flickr, Snapchat, WhatsApp or other Social Media websites, unless you have express permission to do so. Please check Terms and Conditions of websites, forums or competitions to make sure your copyright is recognised and your photographs are protected. Please check very carefully the photography policy of competitions and websites before posting photographs as many operate 'rights grabbing' terms and conditions which allow the competition or website to use and distribute your photographs.
All photographs are reduced to low resolution for display on all Responsible Photography websites.


Around 50% of the cat population shows some signs of obesity. To help fight obesity, it is advisable to ration your cat's food portions and provide some form of physical activity. SlimCat will do just that. SlimCat is an interactive feeding ball that increases feline activity, decreases excessive eating and improves behavioral problems such as excessive meowing, scratching or aggression.
In a perfect world, cats would eat a diet that has a moisture content of 70-80%. However, it's not uncommon for this to be difficult for many households. In this case, it's still beneficial and important to add in any wet food possible to your kitty's diet. Weruva is a high quality option for picky eaters or cats with sensitivies. Available in many different flavors and textures, your kitty will thank you for the healthy, tasty meals! All Weruva canned foods are high in protein, low in fat, and high in moisture. All products are acceptable for all breeds and all life stages (you should consult your vet if you have any questions). Most products are grain, gluten, starch, and carrageenan free.


text:
Michigan Sportsman - Online Michigan Hunting and Fishing Resource
Forums > General Discussions > Sound Off > MoTownTeams.com > High School and College Football >
Parochial School Advantage
Discussion in 'High School and College Football' started by walleyerick, Nov 30, 2014.
walleyerick
Fenton, S.Lake Leelanau
As a public school coach who is limited to players only who live in my district. I find it has really become a huge disadvantage to be able to compete for titles with the parochial schools. If you look at the state titles won this weekend, 7 of the 8 were won by schools with no boundries. They wont admit it, but recruiting is rampant at these schools. Watch the basketball finals in March, Country Day, Orchard Lk., Lansing Catholic, Flint Powers, ect.... will be well represented. These schools represent less than 15% of the high schools in Michigan but win better than 75% or more of the state titles.
walleyerick, Nov 30, 2014
Riva Banned
A lonesome area, other Kansans call "out there".
walleyerick said: ↑
"Satietas uero prospere successus."
Translated: "Success breeds success."
In another thread, I picked 8 teams from each division that I thought had a good chance of getting to Ford Field and winning a state championship. I did that in AUGUST! All 8 made it to the final game and 4 won!
Now, did I have some sort of profound insight as to making these selections? Heck no. All one has to do is scour over the MHSAA record books to see which teams have historically been the top of the division and either won or came close to winning a title. The same schools appear year after year. Some of them are public, some of them private.
The operative word here is "historically". Regardless of what sport it is, boys or girls, public or private, children today have many more options than they did 30-40 years ago. If a program is good at one location at a particular sport, students that play sports, often want to go to that has been successful. It's that simple.
And, behind virtually every historically successful program, you will typically find a coach that is really, really good at what he/she does and, has been there for many, many years. Moreover, this fact is not limited solely to private schools either.
If there is "recruiting", it because the program, the school, the student and parents are drawn to a particular location because of its success in the past. There are schools that underachieve both academically and in athletics. Bad teacher. Bad coaches. Good students and good athletes typically steer well clear of those schools if given a choice. The bottom line...they go to where they have a chance to be successful. If that is "recruiting", then I call it a good thing, not a bad thing. "After all, we're not communists!"
Riva, Dec 1, 2014
MERGANZER
I went to one of your mentioned schools and they do not recruit but they take kids who want to transfer no different than schools of choice. Kids transfer because of the success. Look at Ithaca football, kids go there for football cause they can if it is a school of choice.
MERGANZER, Dec 1, 2014
DEDGOOSE
North of GR South of The Bridge
MERGANZER said: ↑
I agree with this.. School I went to was mid tier student wise in the conference.. Historically better academics, athletics and school of choice now the largest school in the conference.. Football program regressed however..
DEDGOOSE, Dec 1, 2014
-Axiom- Premium Member
For many of these Parochial schools the sports programs and the money they generate are vital to operating the school.
These schools usually offer a much better education for the students, which is also a big draw.
-Axiom-, Dec 1, 2014
Riva said: ↑
Really?? you did? you picked some games and got them right? never would have guessed...
Bomba, Dec 1, 2014
-Axiom- said: ↑
Axiom...being somewhat close to these programs I respectfully disagree with some of your comments.
Specifically: no sports program at ANY private school is vital to operating the school. The revenue generated from gate receipts, advertising, concessions etc., is miniscule compared to the costs to pay for that program. If it were, players would still be wearing leather helmets. High school football, public or private, still operates under a $10 cost / $2 revenue business model. Revenue comes from tuition or, in the case of public schools, a tax millage.
To your latter point, private schools do not necessarily offer a "better"
education. More specifically, these schools offer an education that will produce a student with more "career options". By this, I mean that, at this juncture of their young lives, they are given the skills and choices to continue or, to not to continue toward higher education. Most private schools in Michigan have a 98% college matriculation. At the end of the day, THAT is what most parents want for their son/daughter, irrespective of their individual sports talent/interests.
I have stated this many times.." There is nothing wrong with a public school education. However, for some, there is something very right about a Catholic (private) school education!"
Over the last 20 years, I have probably shelled out $400,000 to have my 2 children attend Catholic schools; elementary, high school, college, graduate school. I did it for two reasons , expecting no financial payback for this outlay, specifically:
1. To give them the foundation in Faith that nourishes both their mind and soul--forever.
2. To give them the skills, knowledge and commitment to go forward to lead extraordinary lives, long after my big, fat ass is dead and buried.
Bomba said: ↑
Bomba...it was my thread. I can say whatever I want in MY thread.
That stated...I want to share three words with you. Ready? I mean really ready? Okeee Dokeee, here we go....
"I forgive you!"
Last edited by a moderator: Jun 30, 2015
You mean his 27 "Look at me ! Look at what I'm doing !" posts went unnoticed by you ?
L & O
Liver and Onions, Dec 1, 2014
BVW
I know that some of these schools do in fact do their own form of " recruiting". A family member of mine was asked by a coach to transfer to a local catholic school because he was a stand out receiver. Not sure if the subject of him not being Catholic ever came up lol.
In defence of these parochial schools, transfering from school to school is very common even in public schools. Like riva said, success does breed success, but its really difficult to get this success started if the best players all go to a certain few schools because they can offer more to them.
I think things have changed and its not like the old days when kids had pride and honor to represent their city or town. Many of The kids that were on my team in high school way back in the 90s all played together since we were 10 years old. I'm not sure it would of been the same experience if the best players all left for better schools once we reached high school, even if we would of won more games.
BVW, Dec 1, 2014
Honkkilla59 Banned
Outback of Michigan
Don't forget number 3
3 Post on a sportsman forum how great I am at every chance as God would command me to do so and also lead by example and show the poor how to acquire more material possessions!
Honkkilla59, Dec 1, 2014
Honkkilla59 said: ↑
Generally speaking, I would agree to the first part of your comment. However to the latter part, I have never provided financial advice to any member(s) of this forum, irrespective of their financial status, rich or poor. Not my space.
Frankly, if you are breaking in to a cold sweat because I happened to pick 4 out of 8 winners in the high school football championship games in August, and pump up my projections in my own thread during the season, then I suggest that you stop eating peanut butter, because obviously, peanut butter upsets you.
BVW said: ↑
Very insightful post.
Steve Staff Member Admin
Goodness, discipline, and knowledge in that order.
Steve, Dec 1, 2014
Generally speaking, I would agree to the first part of your comment. However to the latter part, I have never provide financial advice to members of this forum, irrespective of their financial status, rich or poor. Not my space.
Pretty easy to pick winners when the deck is stacked as others have stated. Please answer what percentage of Catholic schools take non paying students based solely academic performance versus those with special athletic abilities?
But I will point out your predicting of Notre Dames success ssure fell short!
Also how many receive assitance to be able to attend thier school whether thru financial help or rate reduction?
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Willows Old Style
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Team Camo replied Jan 15, 2021 at 6:19 PM
Weight Distribution Hitch
Barothy replied Jan 15, 2021 at 6:17 PM
Baldwin area ice???
burnstmike replied Jan 15, 2021 at 6:17 PM
Lund on Jefferson
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DAGUPAN CITY – In its bid to deliver more efficient service, the city government under the stewardship Mayor Belen T. Fernandez, conducted a two-day seminar on the Revised Implementing Rules and Regulations (IRR) of Republic Act 9184, otherwise known as the Government Procurement Reform Act, for city hall employees at CSI Stadia on May 29-30.
Among those who attended the seminar were members of the Bids and Awards Committee (BAC), its technical working group and secretariat and the city's department heads and division heads, focal persons and key personnel of the city.
"We have to practice good governance. We want to do everything right. Oftentimes there's fear on how we could deliver the government services faster to the people without violating the law on procurement. Doubts on procurement hamper us. This is an opportune time to introduce change," said Mayor Fernandez.
She challenged everyone in the seminar to prepare their budget through good planning applying what they have learned from the two-day seminar and make good programs of the city as it observes its platinum year.
Topics discussed in the seminar included an overview of the revised IRR of R.A. 9184, standardized bidding procedures for goods and infrastructure projects, bidding documents for the procurement of goods and infrastructure projects, procedures for consulting services; penal, civil and administrative provisions; protest mechanism, blacklisting guidelines; and alternative methods of procurement.
Executive Director V of the Government Procurement Policy Board – Technical Support Office (GPPB-TSO) lawyer Dennis S. Santiago reminded everyone that on procurement it is "what you need, not what you want" that should be given utmost consideration.
Santiago was invited by the city government as among the resource speakers. The others are lawyer Tareeq Yahya Timhar A. Radjaie, Procurement Management Officer V, GPPB-TSO and Ryan A. Milanes, Budget and Management Specialist, Department of Budget and Management Regional Office 1.
Mayor Fernandez believes that for the city to deliver more efficient services, it is important that the city must practice efficient procurement, thus the theme of the seminar "Efficient Procurement=Efficient Services".
"We have delivered and implemented the most number of programs and projects in our city, which is more than what had been implemented by the previous administration, because of cost efficiency minus corruption. We are still targeting the delivery of more services and we want it at the right time. This is why, it is important that we equip our employee with the knowledge and know-how in observing efficient procurement," said Mayor Fernandez.


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Toronto's Mayweather vs McGregor world press tour event touches down July 12
BoxingExtranewsUFC
Floyd Mayweather (49-0-0, 26 KOs) and UFC lightweight champion Conor McGregor (0-0-0, 0 KOs, 21-3-0, MMA) will be in at Toronto's Sony Centre for the Performing Arts July 12 for a press conference on their upcoming August 26 boxing showdown.
The doors open at 4:30 p.m ET, with the live show to begin at 6 p.m. ET.
McGregor, 28, who is making his professional boxing debut, has captured the attention of the sports world by challenging Mayweather who is considered the best boxer of his generation. Despite being an underdog by most, "Notorious" has not toned down his trash talk and has posted his training regimen on his Twitter and Instagram accounts.
Exclusive Video: @John_Kavanagh discusses training adjustments for McGregor vs Mayweather | https://t.co/YZShGCtc2V pic.twitter.com/c4rKR5NyQG
— TheMacLife (@Maclifeofficial) July 5, 2017
Mayweather, 40, whose last fight was against Andre Berto in 2015, is looking to break Rocky Marciano's undefeated record with a 50th consecutive victory.
https://t.co/MS7Oosjl9C pic.twitter.com/IqEBbEcv5W
— Floyd Mayweather (@FloydMayweather) June 29, 2017
The fight is scheduled for August 26 at the MGM Grand Garden Arena in Las Vegas. The press tour also stops in Los Angeles, Brooklyn, and London.
UPDATE: Toronto's event has been moved to the Budweiser Stage to help accommodate the approximate 30,000 tickets that have been snapped up. The UFC has stated that complimentary tickets will be made available on Monday July 10 at 10 a.m. EST at Ticketmaster.
Previous articleWBO reverses stance, will "re-score" Manny Pacquiao-Jeff Horn fight but will not alter decision
Next articleUFC 213: Romero vs Whittaker predictions
Toronto's Mayweather vs McGregor world press tour event touches down July 12 is highly popular post having 664 Facebook shares


A fine piece which looks great in the nursery/bedroom and will encourage the idea of saving.
High quality silverplated construction. Great to give as a keepsake gift.
Access to money from "stopper" at base.
Measures approximately: 10cm (4") tall x 11cm (4¼") wide x 7cm (2¾") deep.


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Tomi Ungerer : All In One
The Drawing Center, 35 Wooster Street, New York
January 16th, 2015 – March 22nd, 2015
Please join us Thursday, January 15 from 6-8pm for the opening reception
Untitled, 1966 (drawing for The Party, first published 1966 at Paragraphic Books, Grossman Publishers, New York) Ink and ink wash on paper 18 x 18 inches (45.8 x 45.6 cm) Collection Musée Tomi Ungerer – Centre international de l'Illustration, Strasbourg © Tomi Ungerer/ Diogenes Verlag AG Zürich Musées de la Ville de Strasbourg / Mathieu Bertola
Tomi Ungerer is delighted to announce his first career retrospective in America which will open this January at the Drawing Center. The Drawing Center is the only fine arts institution in the U.S. to focus solely on the exhibition of drawings, both historical and contemporary. It was established in 1977 by curator Martha Beck (1938-2014) to provide opportunities for emerging and under-recognized artists; to demonstrate the significance and diversity of drawings throughout history; and to stimulate public dialogue on issues of art and culture. The Drawing Center has been called "one of the city's most highly respected small art museums" by The New York Times. Attracting more than 55,000 visitors annually from the local area, across the country, and around the world, The Drawing Center has presented more than 230 exhibitions, published over 85 catalogs, and has been recognized internationally through prestigious awards such as the International Art Critics Association/USA award for Best Show by a Non-Profit Gallery or Space.
Tomi Ungerer: All In One begins with his childhood drawings depicting the Nazi invasion of Strasbourg, through his work in New York and Canada, and concludes with Ungerer's most recent political and satirical campaigns as well as his illustrations for the 2013 children's book Fog Island.
Tomi Ungerer: All in One will re-introduce this wildly creative individual to New York City and the world. The exhibition will occupy the entire Drawing Center, with a spotlight "exhibition" of Ungerer's erotic drawings in the Drawing Room and animations in the lower-level Lab gallery.
Work in this exhibition has been provided by the Tomi Ungerer Collection in Ireland, The Tomi Ungerer Museum in France and the Philadelphia Free Library.
PUBLIC EVENTS RELATED TO THE EXHIBITION:
* Conversation and Book Signing with Tomi Ungerer and Steven Heller at the Drawing Center
Saturday, January 17 from 3 – 4:30pm Book signing from 4:30 – 5pm.
Conversation between Ungerer and art director/writer Steven Heller, moderated by Claire Gilman, curator of Tomi Ungerer: All in One.
* Reading and Book Signing with Tomi Ungerer at the Drawing Center
Sunday, January 18 from 11am to 12:00pm Book signing from 12:00 to 12:30pm. (Co-produced by Books of Wonder.)
Ungerer will read from his 2013 children's book, Fog Island, and share his drawing process. (This is a workshop aimed at a younger audience!)
* Screening of Far Out Isn't Far Enough: The Tomi Ungerer Story at the IFC
Monday, January 19 at 8pm
Stranger Than Fiction hosts Tomi Ungerer and director Brad Bernstein for a Q&A and screening of Far Out Isn't Far Enough: The Tomi Ungerer Story at the IFC
Here is some of the press that the show has garnered so far:
ARTnews Co-Executive Editor Andrew Russeth interviews Tomi Ungerer on his upcoming exhibition January 2015
Art in America Brooks Adams and Lisa Liebmann feature Tomi Ungerer and The Drawing Center December 2014 More to come so watch this space…
Bomb! interview with Natalie Frank
Artspace Interview with Andrew. M. Goldstein
LIMITED EDITION PRINT IN COLLABORATION WITH ARTSPACE:
We are delighted to have teamed up with the Drawing Center and Art Space to create this limited edition print of the iconic poster Eat! Click here for more information or to buy a print. All profits go to support the Drawing Center which is a not-for-profit organization.
Curated by Claire Gilman, Curator.
Tomi Ungerer: All in One is made possible by the support of Phaidon Press, Lisa Silver and Jean Castelli, an anonymous gift in honor of Frances Beatty Adler, the Maurice Sendak Foundation, EDF Group, Philippe Castagnet, HarperCollins, Dominque Formhals, Fiona and Eric Rudin, the French Embassy, and L'école des Loisirs.
Special thanks to the Musée Tomi Ungerer-Centre international de l'illustration
This entry was posted on Thursday, January 8th, 2015 at 11:01 pm, is filed under News
« Tomi Ungerer exhibition at Zurich Kunsthaus and Museum Folkwang, Essen.
Je Suis Charlie »
Untitled, 1966 (drawing for The Party, first published 1966 at Paragraphic Books, Grossman Publishers, New York). Copyright Tomi Ungerer.


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Bits | Twitter Turns Five
Twitter Turns Five
By Nick Bilton
March 21, 2011 5:13 pm March 21, 2011 5:13 pm
Just 1,825 days ago, Jack Dorsey sent a five-word message using a new service he had just finished building with a team of programmers: "just setting up my twttr." If you saw this message back then, you might have thought Mr. Dorsey was starting a pet shop that specialized in exotic birds. In fact, he was sending the first-ever Twitter message.
On Monday, Twitter celebrated its fifth birthday, proudly noting that it had come a long way since that first tweet. Biz Stone, one of Twitter's co-founders, said in a blog post that more than 140 million messages are sent across the network each day; that's up to 1 billion every eight days. Mr. Stone also said Twitter was adding nearly 500,000 new users each day.
To celebrate its birthday, Twitter has set up a new Web site called Discover Twitter, which tries to showcase how people have grown to use the service, including a number of well-known celebrities and government leaders.
Over the last five years, Twitter has changed the way many communicate online, offering a concise way to interact with large crowds of people. It has become an invaluable tool for spreading breaking news and played a major role in the recent uprisings in the Middle East.
The service has also had an effect on the English language. Twitter-related words have been entered into a number of major dictionaries over the last few years. Twitter also gave rise to the "@" symbol online, which is used when replying to someone on the service. (Twitter said the first @ reply was sent in late 2006 by Neil Crosby, a Web programmer.)
Of course, Twitter has run into its fair share of bumps on its trek up the social networking hill. In its early days, the service was so unreliable it was almost unusable. Several Web sites were set up that poked fun at the site's lack of dependability. The Web site also faced pressure from corporations and the United States government when it suffered a number of security attacks.
Sizing Up the Silicon Problem After the Quake
Sprint Adds Google Voice Tie-In


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"Christ has no body now on earth but yours, no hands but yours, no feet but yours. Yours are the eyes through which to look out Christ's compassion to the world." - St. Theresa of Avila
The inspiration for the service pillar was drawn from the social teaching of the Catholic Church, Vatican II documents, and the parish survey. The goals of the service pillar encourage a broadening of service opportunities and an increase in participation by members of our community. As a parish rooted in Christ, we hope to truly live out and embody these words from Gaudium et Spes: "Whoever in obedience to Christ seeks first the Kingdom of God, takes from there a stronger and purer love for helping all his brethren and for perfecting the work of justice under the inspiration of charity."
General Goals
St. Augustine Church and Catholic Student Center will be a community attuned to the needs of Gainesville.
We will provide regular service opportunities for parishioners.
We will better communicate service opportunities to parishioners.
Short-term (1-2 year) goals
Create an online database and sign-up for parishioners who are interested in service opportunities
Create a process for evaluating and recording the experiences of service volunteers
Offer and publicize a list of service opportunities through various forms of media
Promote and publicize the annual "You Got Served" volunteer fair to communicate opportunities for short-term, long-term, and community service events to parishioners
Offer a volunteer fair once per semester to promote local service opportunities to all parishioners
Offer the "Protecting God's Children" class at least once per semester
Write an environmental action assessment and plan for St. Augustine's Parish
Participate in service opportunities with other faith communities once per year
Explore an annual parish-wide domestic mission trip during the summer
Recruit a volunteer coordinator to work with the parish council to implement the service goals
Medium-term (3-5 year) goals
Expand the number of service listings by 15 percent
Increase the number of service volunteers by 15 percent
Update, maintain, and expand the database of parishioners interested in service opportunities
Review, evaluate, and, if needed, revise the process for evaluating the experiences and recording the number of volunteers
Launch an annual survey of parishioners to adjust the various service opportunities to meet their interests or personal situations
Review, evaluate, and, if needed, revise the procedures for publicizing the service opportunities to parishioners
Organize ongoing training sessions for specific volunteer experiences, as needed
Review, evaluate, and, if needed, adjust the semester volunteer fair
Evaluate, promote, and expand the "You Got Served" event to once per semester
Implement the environmental action plan
Increase the number of service opportunities with other faith communities to at least twice per year
Implement an annual parish-wide domestic mission trip during the summer
Long-term (5-10 year) goals
Expand the number of service opportunities by an additional 15 percent
Increase the number of service volunteers by an additional 15 percent
Evaluate, expand, and update the database of volunteers
Continue to record and evaluate the experiences of volunteers
Review, evaluate, and, if needed, revise the implementation of the environmental action plan
Conduct a survey to evaluate the various service opportunities available to parishioners


With full swing festivals knocked our doors and today when we started celebrating Navratri to workship Goddess Durga for 9 days, dressing up in ethnic wear is mandatory.
When it comes to ethnic wear I always prefer lehenga's over saree, tell you the reason why…It looks stylish, traditional and easy to carry.
We celebrate Navratri every year with a full swing, fun and devotion basically there are many stories behind this festival but if in short, I have to tell it's about the victory of Good over Evil.
Since childhood what I have learned stories behind these nine days festival one of which is when Ravan kidnapped Sitaji and these nine days is a celebrated enactment of the epic 'Ramayana' and the tenth day when Ram kill Ravan to celebrate victory over evil.
The other one which my mom tells that Maa Durga is also called as Nav Durga and so we celebrate and workship these all nine avatars of Goddess Durga.
Other than workship we play dandiya, garba for all nine days across India and show our happiness and for that, we dress up in traditional attire and flaunt daily with one particular color as decided.
I am planning to make each special with 9 colorful lehenga's and how to get that was really a great challenge for me and then my search ends to Homeshop18.
I have selected 9 colorful lehengas from HomeShop18 and you too can explore options there of your choice.
Why Lehenga for this festival?
No age bar to wear lehenga: lehenga is for everyone..yes for each age group. When your 1-year-old is flaunting her lehenga trust me your 90-year-old grandmom can also do the garba in lehenga.
It gives vibrant vibes: Yes, I agree saree gives elegant look but lehenga bring out your vibrant side and you feel much younger than your age.
Give a new twist: Now, you can look more stylish and trendy giving a little fusion touch to your lehenga. Wear it with a crop top and some funky jewelry you will be the star of the evening.
You can turn it for any occasion: Not only for these festive season lehenga's are best but also for weddings and other family function you can always go for lehenga.
Above all this ethnic wear is most comfortable to carry and goes well on any occasion. It will never fail you.
I have shared my love for lehenga and going to flaunt in this festival season. What is your style statement this festival? Do share in the comments below.
I agree with you about lehengas. They are versatile, they are forgiving as they hide the parts you want to hide and they accentuate the parts you want to flaunt. Above all they are super comfortable and you can dance and move around freely in them!
I have always loved wearing Lehanga for celebrations and festivities . As Diwali is around the corner, I was looking for a new stylish yet with a minimal look Lehanga this time.
Lehangas are my first choice when it comes to festive clothing. Navratri is a perfect time to go shopping for them. Home shop 18 has good collection.
Such jazzy clothes! I am already imagining myself in one of them. Love the colours and designs of these lehngas. Lehngas not only add to the ferver of the festivity but also make you look gorgeous.
I love wearing lehengas and these are so versatile to wear in different ways. Love your detailed post on navratri.
Wow! This is a such a perfect post with all the festivals happening…I would love to wear lehenga on my next special occasion. It's perfect to wear and looks amazing.


Wattie's Chilli Beans – now with a Great New Look!
Our Wattie's Chilli Beans just had a makeover! Whether you love them mild, medium or hot, we have the right chilli beans to suit all tastebuds.
Wattie's and The Salvation Army are thrilled with the result and want to extend a heartfelt thank you to all who attended.
At Wattie's we have sealed in the goodness of our new range of legumes, packing them in springwater and ensuring they are low in fat.
For the first time ever the Wattie's unique SuperRed tomato seedling is available for purchase for you to grow at home!
It's time again for the Wattie's Can's Film Festival, Monday the 2nd of November! Support the Salvation Army Food Banks by swapping a can of food for a movie ticket. It's a great cause and a fun night out!
Help the Salvation Army Christmas Appeal this year by swapping a can for a movie ticket!


A joint team prepares for a raid inside the New Bilibid Prisons in Muntinlupa City in December 2014.
MANILA, Philippines — The Department of Justice will look into reports that utilities have been cut off around the New Bilibid Prison and that the Bureau of Corrections has given area residents a 15-day notice to vacate.
Kalipunan ng Mamamayan na Pinagkaisa sa NBP Inc. (Kampina) said in a statement that some 600 residents of the area around the prison held a picket in Muntinlupa City to assail the NBP Master Development Plan that Bureau of Corrections chief Nicanor Faeldon is pushing.
The plan is meant to privatize the NBP for mixed-use projects in its almost 366.7 hectares of land, said Kampina.
But Justice Secretary Menardo Guevarra said that they are yet to decide on the transfer of the national penitentiary and where to put it.
He said that there are at least three options for the transfer of the NBP.
The transfer of the NBP to Nueva Ecija was pushed during the administration of President Benigno Aquino III.
With the transfer, the new national penitentiary is expected to be bigger with modern facilities.
The proposed penal complex could accommodate 26,880 prisoners and would have facilities for staff housing and administrative buildings, as well as areas for sports, work and religious activities.
Rep. Ariel Casilao (Anakpawis party-list) warned that BuCor officials may be held accountable to violation of the "human right to water and sanitation," recognized by the International Covenant on Economic, Social and Cultural Rights and United Naitions General Assembly of July 2010.


The mission of the department of Electrical and Computer Engineering is to fulfill the needs of the region and state by providing an undergraduate technical education in electrical engineering and computer engineering to a diverse group of students. Additionally, the department strives to continually update its program of study in order to qualify its graduates for positions in industry located in the region and beyond while providing sufficient breadth and depth in its program to assure its graduates a successful practice in the profession.
At the same time, students are grounded in the rigorous scientific and theoretical foundations of the discipline, in order to enable graduates to enter and be successful in advanced level educational program of their choosing, but also to be able to build upon this strong foundation and extend it to new depth.
On behalf of the Electrical and Computer Engineering (ECE) Department at California State University, Fresno, I would like to welcome all prospective domestic/international students, current students, and alumni who are visiting this site. The department is housed in the Lyles College of Engineering, which is located in the rich, diverse Central Valley in the city of Fresno – the sixth-largest city in California. The ECE department is comprised of a team of highly competent faculty and staff committed to motivating and inspiring students to reach their potential. Faculty are also committed to the continuous improvement of our programs to help ensure students success. Our faculty's pledge is to equip students with excellent academic skills and prepare them for the professional world and advanced graduate studies. We take great pride in our leading-edge programs, which feature hands-on experiences and technological innovations in areas such as digital signal processing, communications, electromagnetics and RF, photonics, renewable energy, computer architecture, FPGA/RTL design, VLSI, and soft-core/hard-core embedded system design.
We are dedicated to the economic development and economic growth of our region. We value and hold highly regarded relationships with regional industry professionals. Our partnerships and collaboration with area experts have opened doors for Electrical and Computer Engineering students to get involved with industry-verified projects and practices. We look forward to strengthening current partnerships and building new partnerships with industry organizations and alumni. Our hope is for organizations to consider developing new opportunities, scholarship funds, and sponsorships for senior design student projects. With regards to organizational partnerships, I would like to extend my personal invitation to technology companies in the Central Valley to reach out to the Electrical and Computer Engineering Department and explore possibilities of involving our students with their industry and mission. The success of our students depends on faculty support, student opportunities at Fresno State, and "real-world" experience with industry partners – which will ultimately lead to economic growth for the Valley.
We offer two rigorous and challenging complementary Bachelor of Science (BS) degrees in Electrical Engineering and in Computer Engineering. Both Electrical Engineering (EE) and Computer Engineering (CPE) degree programs are fully accredited by the Accreditation Board for Engineering and Technology (ABET). The Lyles College of Engineering's Valley Industry Partnership for Cooperative Education (VIP) Program, provides internships and co-operative opportunities for students, enabling them to work off-campus in their respective fields for competitive wages. The department also offers graduate programs leading to the Master of Science in Engineering (MSE) with options in Electrical Engineering or Computer Engineering. The ECE department is enrolling nearly 500 undergraduate and 50 graduate students during 2016/17.
The department main office is located at EE254 in Engineering East building. The office is open Monday - Friday, 8AM to 5PM PDT (closed 12-1PM).
The Engineering East building is located at the south-east corner on Barstow and Jackson Avenue.


Due to the post-and-beam construction of Eichler homes, the architectural design of Eichlers permitted extensive use of floor-to-ceiling windows throught the entire home. This liberal use of glass throughout the home is one of the main features of Eichlers that owners and homebuyers enjoy the most.
For most owners of Joseph Eichler Homes, the preference is to leave the windows completely uncovered with the exception of sleeping areas or other areas of the home requiring additional shade or privacy.
Eichler window treatment pictures are provided below to give fellow Eichler owners ideas for their window projects. If you have recently installed window treatments & coverings in your Eichler or mid-century modern home and would like to share them with others, please e-mail them to Team@EichlerForSale.com.
While protective or safety film for windows is typically not the first thing that comes to mind when thinking about window coverings, the use of these films is very popular with Eichler owners. Their use in Eichler homes is common because it permits a generous amount of sunlight into the home while reducing UV-rays which can fade furniture, flooring, and other items in the home. Additionally, thicker window films can add an element of safety by providing protection against breakage of the single-pane glass found in most Eichlers. The photo above shows the installation of a clear, 4mm safety film on a great Eichler window (seamless installation).
A wonderful alternative to pole or cord mounted curtains and blinds, sliding shoji screen panels can add a simple yet sophisticated look to any Eichler or mid-century modern home. These timeless slider panels are also convenient in that they can easily be adjusted on wall or ceiling mounted tracking system to allow for as much light (or privacy) as desired.
Similar in design to a sliding Japanese Shoji screen, window or curtain panels can easily be installed on an easy-to-mount, tracking panel which blends easily into an Eichler home. Window and curtain panels come in a variety of styles and thicknesses, from a full range of privacy to open weave designs. Price points for panels can vary greatly from inexpensive designs found at Ikea to very high-end window panels available thru speciality window treatment shops.
Window blinds can serve as a clean-lined, contemporary alternative to curtains in an Eichler or other mid-century modern home. There are many styles of blinds to choose from and owners should take proper care to properly size blinds prior to purchase since many "off the shelf" blinds are not tall or wide enough to accomodate the large windows found in Eichlers and other midcentury modern homes.
While typically found in modern commercial buildings, a number of manufacturers have designed motorized window treatment solutions which can also work well in residential applications. These automated window treatments range from basic, remote control shade or blind systems to more sophisticated, 'sun-sensing' systems which will automatically raise and lower the blinds or shades based on the position and intensity of the sun. Many of the newer systems designed for residential use are very low-profile, quiet and easy-to-operate. Two of the leading manufacturers of automated window treatment solutions are Lutron (manufacturer of the Sivoia QED™ line of controllable shading products) and Mechoshade.


Cubic is a diversified systems and services company in transportation and defense markets worldwide. We are a leading technology and specialized services company with a worldwide presence in nearly 25 countries. Cubic employs more than 8,700 people on five continents.