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5. taking the offense questions to set the offense overcoming reaction bodrero's model training building intelligence systems tips for building an intelligence system planning information sharing the inevitable failure of intelligence 6. the defensive role of law enforcement military surprise attacks and terrorism defending symbols and structures coordinating a menagerie of agencies responding to weapons of mass destruction responding to chemical and radiological threats law enforcement and the infrastructure planning infrastructure protection planning to prevent cyber attacks 7. understanding islam and violent sects islam is not the enemy islam 101 explicable frustration the ideology and theology of violent unitarianism the political theology of sayyid qutb 8. terrorism and the future of law enforcement al quaeda and violent wahhabism the al quaeda manual domestic extremists still remain future trends in international terrorism bibliography. What can also be called "feel." in fact, the learning of a physical action is totally a function of awareness, physical awareness of an action and feel, visual observation and feedback through awareness ; of the result. if you can't feel something, there will be little or no learning. you might, by accident, do an action perfectly and make a swish shot, for example, but if you didn't feel what you did, you probably cannot repeat it. my golf mentor put it this way: it's crazy to think you can correct or "fix" ; something you can't feel! golfers do that all the time, trying to fix slices or hooks, but rarely spending time on a practice range feeling how they actually swing. they're too intent on solving their swing problems and don't put in the time to feel and experiment and learn, thus the problems persist. telling a player what to do is one thing, but to "coach" a player to experiencing what she or he feels and seeing what happens to the ball is a much more powerful way to coach. for a coach, my suggestion for summer shooting is to ask your kids to spend a lot of time just observing how they shoot now. observe the flight of shots, the height, spin, where they land. do they land softly or are they "hot?" when they miss, where do most shots hit? is there consistency or are they all over the place? watch what you do to create and utilize power. is your shot more upper body or the upper & lower bodies working together? where is your set point shooting pocket ; for jump shots? is it in line with your shooting eye or left or right? is the back of the ball somewhere near the front of your head, or is it overhead a little or a lot or out front? what do your arm and hand do during the release and follow through? are your wrist and hand relaxed or tight? shoot this way a few dozen or a few hundred times and your shot will improve, probably dramatically. in fact, if you're employing awareness well, you can learn things in a fraction of the time that just more repetitions will ever teach you. and while you're learning, remember to keep your shots closer in, smaller in size and slower in speed, a lot of the time. we learn more effectively at slower tempos and with smaller degrees of energy. once a motion is learned, then you can move back and add more power and speed. if you're too anxious for results, you'll move beyond the comfortable, learning distance too quickly and lose the learning. put it this way: you can learn more from one shot, well felt, well experienced, than you can from a hundred poorly-felt shots. learning is like that. the quality of awareness is the key. so spend more time learning how to use the senses, especially the kinesthetic "feel" sense, and you will not have to shoot thousands of shots to improve. you'll need a good number, as old habits die slowly, but with increased awareness and a strong intention and commitment to learn and grow, development will come more quickly than you might think. i tell kids in my shooting clinics that they need to become responsible for their own. ![]()
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Suppose that a cash drawer at a bank contains 72 commemorative quarters, including twelve for each of the six states of arkansas, kansas, louisiana, mississippi, missouri, and texas. these coins are randomly mixed in the drawer. a student, emily, brings a set of smaller coins, totaling .50 in value, to the bank to be exchanged for six quarters. if these six quarters are randomly selected from the cash drawer, what is the probability that she will receive exactly one coin for each of the six states? in other words, what is the probability that quarter matches are averted? have the students predict the probability before they begin working on the problem. have students model this situation with coins or objects that represent coins and best casino gambling. The previous sections outline the case for private investment in human capital based on the significant rates of return from investment in education and training. there is, however, an economic justification for state intervention in the provision of education and training. the theoretical justification for intervention is outlined below and specific comment is made in relation to the preferred role of the irish state. in a hypothetical situation of perfect markets, there would be little or no need for state intervention in the provision of education and training. this is based on the assumption that individuals make economically rational decisions and that the demand for education is a function of the current and future benefits it provides to individuals i.e. through higher returns in the form of wages, reduced likelihood of unemployment etc. as outlined earlier in this chapter .1.2 ; . by extension, the optimal level of education and training for society as a whole would be determined by the aggregate, rational decisions of individuals regarding the quantity and quality of education and training which they would demand. such a scenario, however, is built on a number of notable and unrealistic assumptions outlined in section .2.2 ; that do not withstand close scrutiny. this results in a market failure, which requires a level of correction only feasible through state intervention. thus, the role of the state in the provision of education and training can be justified since the societal returns significantly exceed the private gain to the individual. the nature and degree of this intervention remains, however, an issue of debate. 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Faded into the zen of driving. he blew past the state line, passing boundary peak, in a quarter the time it had taken him to drive from mono lake to bishop. after about twenty miles, he grabbed for a random tape from the backseat. without looking, he shoved it into the tape deck. once he heard it, he instantly turned it up. once ruth heard it, she instantly woke up. "what in the hell are you doing with a rush tape?" "beats me. i don't think i've listened to this for years. every guy i knew who started college listening to rush ended up listening to frank fucking sinatra." "can we turn this down?" ruth asked. "no. i'm finally going a decent speed. i want good driving music." "good? you're listening to rush!" gib did his best to imitate a sunday speedway announcer. "you wanted to learn more about me, baby. welcome to the abyss-iss-iss-iss." ruth tried to ignore the tape and fall back asleep. gib turned it up some more and decided to see how well-tuned he'd kept the engine. he cheered when he hit 110. with a snarl, ruth turned the volume down. "what are you doing?" she demanded. "speeding." he turned the volume back up. "very fucking funny. do you know how much gas this cranks into the air?" gib didn't say anything for a second. "don't start in on the goat." "cars are the single most destructive thing for the atmosphere." "sometimes there's beauty in destruction." "what?" "take yesterday. it's shame la had to grab water from northern california, but if they hadn't, those tufas would still be hidden, wouldn't they? and you loved that sunset yesterday, didn't you? "the most beautiful sunset i've ever seen was in gary, indiana. it was the most amazing fire of purple and orange. you know why? all the crap spewed into the air from the steel mills." "that's your story? sunsets in exchange for emphysema?" "i guess that's it." ruth snorted. "all i'm saying is, i love this car. we don't have to listen to rush, though." gib turned the volume down and drove for a while. "you know, " ruth said after a while, "this music is kind of hypnotizing, once you get used to the voice." "sure." she turned the volume back up, just tiny bit. "so, what crawled up your ass and started decomposing back there?" gib smirked, tilted his head at her, and said, "would you like to get married for the weekend?" "oh, " ruth said. "that." soon, it was time for lunch. "grease! we need grease!" ruth decided as they saw a diner in the distance. This section discusses special rules that apply only to government officials who are paid on a fee basis, performing artists, and disabled employees with impairment-related work expenses. officials paid on a fee basis. certain fee-basis officials can claim their employee business expenses whether or not they itemize their other deductions on schedule a form 1040 ; . fee-basis officials are persons who are employed by a state or local government and who are paid in whole or in part on a fee basis. they can deduct their business expenses in performing services in that job as an adjustment to gross income rather than as a miscellaneous itemized deduction. if you are a fee-basis official, include your employee business expenses from line 10 of form 2106 or line 6 of form 2106 ez in the total on line 32 of form 1040. write "fbo" and the amount of your employee business expenses in the space to the left of line 32 of form 1040. expenses of certain performing artists. if you are a performing artist, you may qualify to deduct your employee business expenses as an adjustment to gross income rather than as a miscellaneous itemized deduction. to qualify, you must meet all of the following requirements. 1 ; during the tax year, you perform services in the performing arts for at least two employers. 2 ; you receive at least 0 each from any two of these employers. 3 ; your related performing-arts business expenses are more than 10% of your gross income from the performance of those services. 4 ; your adjusted gross income is not more than , 000 before deducting these business expenses. special rules for married persons. if you are married, you must file a joint return unless and free casino gambling. 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