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In an education week report, pennsylvania was one of 11 states that received a c- for its school funding equity, a term that refers to how close the school districts in a state are to receiving and spending the same amount of money per student in their budgets and roulette bet.

Afteri mage, jan, 1995 by joanne lukitsh save a personal copy of this article and quickly find it again with furl . get started now. it's free. ; the exhibition "the computer in the studio" addresses two general social perspectives on the relationship between the computer and artistic practice. one is the conventional wisdom that computers threaten and debase individual creativity in the visual arts. the second perspective is that the proliferation of computing technologies is radically changing the definition of what constitutes skilled work and creativity for many fields, including the visual arts. how will artistic practices and art institutions shape and be shaped by these technologies? what is to be gained by thinking about these changes in terms of the "artist's studio" and the "computer"? "the computer and the studio" proposes that artists have the capacity to direct computer technologies toward socially progressive ends. this position opposes a technological determinism that continues to inform much artistic discourse around computing the idea that the computer is antithetical to creativity ; . yet the priority placed upon artistic production in "the computer in the studio" leaves largely unexamined the ways computer technologies shape the reception of works of art and how issues of both production and reception are influenced by the status of computers as consumer objects. the institutional organization of "the computer in the studio" is noteworthy: the exhibit was the product of a collaboration between the decordova museum, which exhibits contemporary new england artists, and the computer museum, which exhibits material on the history and uses of computing. 1 ; co- curators nicholas capasso of the decordova museum and brian wallace of the computer museum together with george fifeld, curator of videospace at the decordova, selected the work of 34 artists, artist teams and groups for concurrent display in the two museums. the press release from the decordova noted the growing use of computers by regional contemporary artists; the press release from the computer museum noted the provocative and unexpected ways artists use computers. in his catalog essay capasso explains that the exhibition's focus on new england artists is not intended to imply that the region's history of high- level scientific research has supported more advanced artistic work. instead, these artists represent the local expression of a national phenomenon. for capasso, computers entered the studio when they became consumer products, a change he evaluates as one of access rather than a change in the technology. the catalog essays, "who's got the box?" and "what's in the box?, " by capasso and wallace respectively, examine the computer as a tool for artistic production. while the pairing of the essay titles imply that they are about the same "box, " the differences between them suggest how definitions of computers as artistic tools can be informed by varying definitions of computing. capasso addresses fears that computers will threaten artistic production by describing how artists have used them as tools for personal expression in what he describes as "computer - assisted art." his thesis is that computer- assisted art is the most recent stage in a historical process in which artistic developments and technological progress work in tandem, from oil painting to virtual reality and the internet. what capasso characterizes as "the aesthetic climate of pluralism that has prevailed since the early 1970s, " supports recent artistic work within this technology. he emphasizes access as integral to computer- assisted art by tracing the development of powerful and increasingly affordable computer technologies, and describing the development of service bureaus, school computer labs, and what he describes as "artists' ateliers" to make this equipment more available to artists.
As we read through this chronological selection of articles, especially the accounts of forest fires where firefighters lost their lives or there were near-misses or unforeseen blowups, we can ask ourselves and our crews whether we have fully grasped the major "lessons learned" from these past fire behavior events. excellent methods of using past fire behavior knowledge from case studies to increase wildland firefighter safety in the future are the staff ride alexander 2002; thomas and cook 2002 ; , * the sand box exercise euler 1946 ; , yearly fire refreshers e.g., the 2001 usdi bureau of land management fireline safety refresher videos ; , and weekly tailgate safety meetings. for example, one of these articles could be handed out each week to members of an organized fire crew. the crew would be given time to read and ponder the article. then, in a group setting, with the fire foreman i.e., hotshot superintendent, smokejumper-in-charge, local fire management officer, etc. ; acting as facilitator, the crew could be led through a series of questions that the article has inspired. for example and roulette wheel picture. The strategy is the winner does a good roulette table layout length of the roulette table layout township the population was spread out with.

If one compares output of the cournot solution 4 ; with the stackelberg solution 11 ; one can see that country a's quantity of money laundering facilities sold is always larger under the stackelberg solution than under the cournot solution for n 2 it opposed to 8 12 under cournot, for n 3 it instead of 9 12 etc ; . it will therefore pay for country a to engage in competing for criminal money and to take the leadership in doing so. iii.1.4. other countries also try to become a stackelberg leader but what, if the other countries try also to become a stackelberg leader and want to get the largest market share? as sinn 2003, p. ; shows in a recursive game- though not for money laundering but for deregulation - there will be an incentive for the second country also to loosen its money laundering policy. the third country will also follow etc. only for the very last country there is no more gain from engaging in the money laundering race. it, therefore, pays for a country to be the first to abandon bank secrecy and to engage in competing for criminal money. there can, thus, be a race to the bottom with regard to competing for criminal money. but there are two objections to be made. first, the above models are economic models and assume that countries make a deliberate choice whether to engage in letting money laundering activities happen or not. empirically one sometimes get the impression that some countries are surprised about attracting criminal money and have not made a deliberate choice. as masciandaro 200. ; pointed out, some countries tried to establish big functioning financial markets, who attracted all kinds of capital, among others also criminal one. they then started fighting money laundering in order to keep up their reputation as solid financial centres. this would speak against the profit maximizing behavior of countries with regard to money laundering. on the other hand, there are also some countries, who deliberately try to free ride on others and who seem to take such a stackelberg position quite consciously. tax heavens, offshore centres seem to fit the model quite well. the model only showed potential gains from money laundering, without including the potential dangers and costs of it. for example, criminal money can lead to speculation in some sectors and lead to high volatility in e.g. real estate prices. it can undermine politics, lead to corruption and bribery etc. for an overview over 25 potential effects that money laundering can have, see unger 2005 ; . money laundering can have its price. two important cost factors are that criminal money can be put into activities, which crowd out legal business and that criminal money can eventually attract crime. iii.2. crowding out of legal business money launderers might pick out specific sectors, such as real estate, and buy for example plants, or other company objects at too high prices. this would crowd out private business who cannot afford these high prices. some sectors are specifically vulnerable to criminal money. the less transparent the market, the more it attracts those who want to hide something. sectors that are potentially vulnerable are real and en language roulette. Although i've attended other conferences that provided similar information, the comprehensive format and the unique team driven environment provided at cmi kept us focused, thus increasing the benefits we receive from attending. by developing relationships with our team early in the week, there are fewer distractions and the learning process is enhanced substantially. being part of a team helped to hold us accountable for participating and allowed us "introverts" the opportunity to learn by asking for and giving feedback and using two-way communication to share ideas. i thought it was a great experience and look forward to next year. bob barry, level i--2002 director of auxiliary services north dakota state college of science. 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This is the third in a series of monthly bulletins that will be produced on behalf of the bsf in 2007 by baseballsoftballuk, to keep softball organisers and members up to date with news and opportunities. we hope organisers will continue to ensure that information in these bulletins reaches their teams and players, even during the off-season. we are very grateful to those league officials and team captains who make this happen on a regular basis.

Technical stuff!!! - impedance hold a piece of stiff cardboard out at arm's length and wave it slowly back and forth. now do it faster. notice how the air mass is impeding its movement? the same thing happens with cones and even diaphragms to a lesser degree. this is physical impedance - mechanical resistance in technical terms. it gets translated into impedance in speakers by a few other factors including capacitance, inductance, reluctance and reactance. woofers, for example, tend to increase their impedance at higher frequencies. the higher the frequency goes, the higher the impedance goes and, as a result, the less power the amplifier can deliver. tweeter and horn diaphragms suffer somewhat less from this process because their surface areas are small and therefore encounter fewer air molecules. conversely, an 18-inch woofer's impedance may start going up at just a few hundred hertz. at 1, 000 hz, its impedance could be as high as 12 ohms with the amplifier delivering 60 to 70 per-cent less power to it at that frequency. if you look at the frequency response graph of a woofer you'll notice considerable "high-frequency rolloff" which reflects the way the line slopes downward throughout the higher frequencies. that's impedance at work. to verify your findings, look at a woofer's impedance curve looks a bit like a frequency response graph in reverse ; . you will see how the line begins to curve upward as you look from left to right. that is the woofer's impedance climbing as the signal frequency goes higher. you'll also notice something else on the impedance graph - a tall, narrow "spike" over on the left side, down in the low frequencies. this reflects the woofer's natural "resonance". what happens is, speakers, like all things which work by vibrating, have various physical factors that cause them to favour certain frequencies. when a woofer receives an amplifier signal at its resonant frequency, it wants to move farther in and out than at other frequencies. but in the process of doing so, the woofer's voicecoil cuts added lines of force from the magnet and generates extra "counter-emf". as mentioned earlier see slew rate & damping factor under the power amp ; counter-electro-magnetic force is the voltage induced in a voicecoil because it is moving back and forth in the magnet's field. this raises the impedance whenever the speaker tries to reproduce that specific frequency. additionally, the air load of the enclosure sealed or ported ; is the main force on the speaker cone, hence the size of the enclosure and its ports affect impedance. even applied power affects impedance and roulette software. The filters make it possible to remove certain components of the sound. a low pass filter removes the high frequency components or put another way, it "lets the low frequencies pass." a high-pass filter removes the low frequency components from the sound letting only the high frequencies pass. see "mk-6 filter types" on page 148 for a complete list of mk-6's filters and their descriptions. in preparation for the next tutorial, set up the mk-6 with a single instrument layer on layer 1. go to the instrument screen preset edit menu ; and select instrument #434 - wave cutter. this is a harmonically rich sound. since filters work by removing or accentuating certain frequencies, we want to make sure that we have a lot of frequencies to start with. 1. advance to the filter type screen using the data entry control. select the classic 4th order filter.