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About this blog

This story of the Geist3D graphics engine and development studio.

Entries in this blog

Ambient Occlusion

I have been busy finalizing the rendering pipeline of Geist3D, including HDR, Bloom, SSAO etc. I am really glad now that I have created a development environment alongside the graphics engine right from the get go. The inbuilt GLSL editor and the scripting capabilities helped to streamline the development process for all of the necessary shaders. Soon, I will dedicate a few journal entries to the editor alone. But over the next few entries I will outline all that I have done regarding the rendering pipeline during the past weeks, starting with Screen Space Ambient Occlusion (SSAO) culling. Check out the Geist3d website for downloads, images and movies of the current status.

Examples and discussions about SSAO are plentiful and I stitched my implementation together after digging around in various forums. In a nutshell, screen space ambient occlusion culling adjusts the intensity of every pixel according to the differences in depth of the surrounding pixels along the viewing axis. I think the idea is that the larger the difference in depth to the neighboring pixels, the more likely it is that the surface is shadowing itself; thus the darker it will become. The remarkable thing about SSAO is that it clearly produces a 3D image without there being a light source at all. Yeah, that's right; there is no light source in these images.

In order to implement this algorithm in Geist3D, it became necessary to render the scene into multiple render targets rather than straight into the back buffer. The occlusion algorithm is then applied in screen space to the content of the render targets. For SSAO, I used two GL_RGBA16F render targets to store color and depth as well as the eye space surface normal:

Buffer 1
R - diffuse X
G - diffuse Y
B - diffuse Z
A - depth

Buffer 2
R - normal X
G - normal Y
B - normal Z
A - unsued

Much of the literature suggests using a random set of sample points within a fixed radius around a pixel. It turns out that a regular distribution of sample points produced better results for me. Somehow this also makes sense; you would want the sample points to cover the surrounding area as evenly as possible.

Another important step I came across is to reflect a sample point over the surface normal if the angle between the sample point and the normal is greater than 90 degrees. The assumption is that for angles greater than 90 the sample point is inside the "surface" and should thus not count. The images below illustrate how much this additional condition improves the quality. The left hand side shows Galactica with the reflection over the normal and the one on the right without it:

I also realized that it is possible to use the displacement and normal maps to compute depth values even within the texture space of a single triangle. Normally, a flat surface such as a wall would generate a smooth gradient of depth values. However, if the wall is textured with a normal and displacement maps, it should contain small variations in depth which are easily computed given the displacement value and surface normal. The left hand side below shows a wall with depth information on the mesh level, the one on the right with depth at the pixel level:

There is still a problem when applying SSAO to the planet surface since the range of 16 bit floating point number is somewhere around 65000. However, at least for now you can see much further than that when you are on the planet surface or in low oribit. I am therefore "blending" out SSAO up to the maximum of a 16 bit floating point value. I am not quite sure if I am doing this right, but at least there are no visible artifacts. You can see in the images below that the peak in the distance has no SSAO applied to it at all. As soon as I figure out how, I will encode the depth in 2 RGBA16F.

I have to say that in general my SSAO implementation darkens the final images too much. HDR undoes some of that problem, but I am not quite happy with it. For now I will leave it at that, since my goal is too get the entire rendering infrastructure in place first. Later I will make another pass over everything and refine it.

Unlike many others Journals, I again have not posted any code, but all of the shaders are accessible via the geist3d editor. All you have to do is figure out how to use it :)

Much to say about Lighting and Shaders

I am beginning to finalize the lighting model for Geist3D. With more powerful graphics hardware coming online all the time it is becoming feasible to perform more rendering passes to compute realistic effects such as shadow maps or deferred lighting. For now, I will try to do everything in one pass, but architect for multiple passes in the future. I have been following Ysaneya thread on this topic and it seems that he has already decided to include both shadow mapping and deferred lighting in his engine. I will trust his judgement, and it won't be long until I follow his footsteps in this regard.

As usual, this article is interlaced with a few of the latest screenshots. You can also download an executable here. According to some reports it didn't run on ATI cards, but I think I fixed that now. Soon I will get a 4890 and develop on an ATI platform for a while. That should sort things out.

There is also a download for the editor at the Geist3D site, but it does not contain the latest changes. For anyone interested, all of the shaders are accessible via the GUI, if you can find your way around it. I am hoping that some shader gurus will point out some improvements. There are certainly lots to be had.

At this point, there will be two rendering passes. The object-space pass renders the 3D scene into a series of frame buffers that will contain color, normals, and depth. The screen-space pass will then further process the frame buffers to perform HDR and bloom, depth of field, motion blur and maybe ambient occlusion culling. At first there will definitely be HDR and bloom and I will add the other effects over time. I have already implemented bloom and HDR effects in the past, so it shouldn't be a difficult to add them again. The main problem will be to nicely integrate the screen space shading pipeline with the editor. I always try to build a user interface for all the components in the engine. It is more work, but it will make the tool more versatile. I hope that once (and if) Larrabee takes hold and real time ray tracing comes along, most of this work won't be in vein.

Cleary, there will not be just one lighting model for all object since there are so many different artifacts in the environment. I will therefore break it down by category.

Space ships, Characters and Objects in general
After digging around at gamedev and looking at the odd GDC presentation for the past couple of years, it has pretty much become clear to me that other than triangles and vertex normals, every object should contain diffuse colors, normal maps, a specular component, a displacement component and potentially an occlusion component, or a self-illumination value. All of this information should fit into 2 texture maps with RGBA channels.

Since the lighting calculations are all done in tangent space, it is only necessary to store the x-y components of the normal, since the z component is always positive. The actual normal can then be reconstructed in the pixel shader. So, here is how I would suggest to assign the components of the two textures.

R - diffuse X
G - diffuse Y
B - diffuse Z
A - displacement

R - normal X
G - normal Y
B - ambient occlusion
A - specular

I know it is a lot to ask of an artist to create these types of textures, but maybe I can write some software to combine different textures and bake them together. I am not quite sure which components can be computed automatically. I think you can create normal maps from diffuse maps, and specular and displacement maps from the normal map. But I am really not certain about that; maybe its time that I actually start learning how to use a modeling tool. The ambient occlusion component is difficult, as the surrounding geometry must be known to compute the self-shadowing of a pixel. I am also considering implementing screen space ambient occlusion culling, once I changed the shaders to collect depth information for each pixels during the object-space rendering pass. So, maybe we can skip the occlusion component and add the Z value of the normal back in. In any case, ambient occlusion adds quite a bit of realism.

For metallic objects like spaceships, I will use anisotropic lighting to add a special metallic look. It is quite simple to implement and adds a nice touch.

The planet shaders are much more specialized and really do not concern artists much as there is little that can be imported, other than the planet texture packs. All of the other parameters are changed within the confines of the editor. The shaders for the planet are certainly not finalized and I will still improve them as time goes on. But, I do like what I see so far. Here is breakdown of the components making up the planets:

Atmospheric scattering
This is a tough one and requires some pretty heavy shaders. I have a pretty good handle now on the physics involved, but the equations cannot be computed in real time. O'Neils demos and articles certainly help a lot! Yet, there is a lot of fudging that must go on there... This will require more trial and error.

For now, there are already Cirrus clouds but I definitely want to implement volumetric clouds which you can fly into as well. This will add quite a bit of realism and make areal battles so much more fun. The shaders for these clouds also need a lot more work and the lighting calculations have to tie in with the atmospheric scattering. Obviously, the cloud color is quite dependent on time of day. Plus, the volumetric clouds will require yet another planet wide LOD scheme, which I assume is different from the one for the terrain patches, the fauna and the collision tree. Here we go, yet another structure...

For some reason water just eludes me. I see so many nice demos on the web, but I haven't been able to properly recreate them yet. Most realistic water demos use environment maps to determine the reflections that come of the water. I think that it would be difficult to create an environment map for a planet if it is possible at all. They would certainly have to be viewpoint dependent and would thus have to be computed on the fly. Right now I am already using atmospheric scattering to determine the reflection color, which has made the water much more realistic than before. I am thinking that once I have added shadow maps, there will be enough information to make realistic reflections. However, I yet still have to get ripples right :)

I am happy with the trees so far. The shaders certainly need more work, since I haven't paid too much attention to them when I added the trees. I also still have to improve the transition a bit between the geometric trees and the billboards. Plus, I haven't even begun to explore the algorithm that generates the geometry of the trees. Soon I will tie in the parameters with slope, elevation and the global noise function and the there will be different trees in different regions. I will also add grass asap...

I am happy with texturing the planet surface using the texture packs and slope/elevation blending. It would probably be a good idea to use normal mapping as well here. Also, the surface still pops a lot, especially with low level of detail setting, so geo-mipmapping is in the pipeline. Plus, I am still thinking about a completely procedural planet texturing method, but the GPU performance still isn't there yet.

So, this is basically it. I realized this is not all about lighting but most of it is relevant.

Many different things...

I think it's about time for an update! I have been working on a few things here and there. But before I go into details here are some of the latest screenshots. You can find fullsize images and additional youtube videos in the Geist3D gallery.

The planets really need a cloud cover ... It's in the pipeline.

I finally ended up implementing a client side prediction algorithm to provide first person shooter style interactivity with real time responses. After tweaking and experimenting for a while, I came up with a pretty robust and efficient solution using UDP. I have also added chatting capabilities and developed a reliable protocol on top of UDP, which is necessary for picking up objects or entering spaceship.

There are still improvements necessary to launch a demo server, including a user database and some kind of authentication. That will stay on the back burner for a while longer though. First, I would like to see a little more artwork in the demo and add some kind game play, either combat or skill based.

Planet Rendering
I have also improved how terrain patches are selected for splitting and merging. Until now, this decision was exclusively based on the screen space error of a patch. Now it also depends on the number of patches which are still unused out of the 1300 that are initially allocated. This has the effect that the planets are much more detailed when you are looking at them from space.

I have also increased the number of threads used to compute the geometry of the terrain patches. There are a lot of concurrency issues, especially since patches need to access their neighbors in order to compute smooth surface normals along the edges. It seems to me that concurrency on the patch level is too coarse and multi-threading is not right way to utlizie multiple cores. It will be interesting to see what kind of APIs and examples Intel comes up with for Larrabee.

Collision detection
I have created different collision categories which allows for fairly fine control over how objects collide. For example, a shuttle consists of a triangles mesh and a simple collision shape such as a box. The collision shape is only used for collisions with other triangles meshes, while the triangle mesh will collide with other simple collision shapes, but not triangle meshes. This way mesh-mesh collisions can be avoided but avatars and vehicles can still enter the shuttle bay. Here is an image of a vehicle in the back of a shuttle. The shuttle can actually fly away with the cargo secured in the back, land somewhere else and then the vehicle can exit the bay; all of it completely seamless.

Game Mechanics
Finally I have also worked on the dynamics of landing a space ship on the surface of a planet. Since the planet is generated by a noise function it becomes expensive to compute the exact shape of the terrain below the spaceship. An easier solution is to sample the surface at three points around an object and then create a plane against which to perform collision detection. This works rather nice, but it causes some strange artifacts such as the shuttle penetrating the terrain or vice versa (left image). This problem becomes even more pronounced on an uneven surface, especially where the features are smaller than the size of the shuttle. I have therefore come to the conclusion that space ships can only land on flat surfaces (right picture). In order to enforce this, I have come up with a simple sampling technique that determines how uneven the ground is. Depending on this metric, the spaceship will take damage. If the ground is too rough then it will get destroyed very quickly. I am quite happy with this approach. It will make for some interesting game play. Very large ships that may transport a lot of cargo can only land on certain spots; maybe not at all on some planets. Of course, there is always the possibility to construct a landing platform, where ships can safely land without taking damage.

Today, I will to talk a little bit about covering a planet surface with trees. I actually did this work a while ago, but instead of reporting my progress on networking, I decided to change the topic. The networking infrastructure is progressing well though, and I will talk about that soon.

I had to rework the tree engine because the location of the trees depended on the tessellation of the planet. The trees were only generated around the viewers' position using the triangle mesh of the surface to determine the location of each tree. This technique is sufficient for rendering but not for collision detection. A ball rolling around on the other side of the planet, for example, should still collide with the trees there. Especially in a networked setting, the server will not tessellate the planet at all, but still has to perform collision detection.

The trick was to find an architecture that supports quick searches for the nearest trees at any point on the planet surface. The solution I came up with was to cover the entire sphere with a network of tree patches each containing a random sample of trees. This has reduced the problem to first locating the nearest patch(es) and then searching for the appropriate trees inside the patch. The tree distribution of the patches is pre-determined and optimized for quick searches. It required a lot of experimentation though in order to generate a grid of patches that spans the entire planet. The patches and the random patterns they contain ultimately only specify the longitude and latitude where a tree could potentially be located. Various noise functions still have to be evaluated in order to determine if there actually is a tree and what its final elevation will be.

I am pretty happy with the new tree engine now. Although I haven't implemented the collision code yet, I can be certain that it's possible to find any tree on the planet and detect collisions without having to triangulate the surface first. While I was at it, I also improved the transition between the detailed trees and the billboards. The blending has become much smoother and the trees now span so far into the distance that it becomes difficult to notice how they appear.

The images above show a scene that uses 25 tree patches of 6km side length which are constructed around the viewer. Of course, most of the patches aren't visible and only a few are actually drawn. Each patch contains about 6000 trees, but only the nearest 20 or so are rendered as geometries; the rest are all billboards. The images below show a lesser density of trees as it is currently implemented in the download.

Right now the trees are all the same, but Geist3D already uses an algorithm to generate this single tree. Once I get around to I will add variations according to elevations, slope etc.

Networking Experiences

I am trying to keep up with my journal as much as I can. For the most part though, I find myself reporting more on overall progress rather than technical details like some of the others do. However, some of the details, especially relating to shading programs can be found in the download of the Geist3D editor. You first have to get used to the interface, but double-clicking the shading nodes (Pr.) or the planet and camera nodes in the Treeview will bring up a GLSL editor showing all the different shaders that make up the demos. You can also find a rudimentary manual and a few tutorials on how to use the editor in the Geist3D wiki.

This entry is about networking though, and since this is not too visual, I will just add some intermittent images, although they have nothing to do with the entry. The images are somewhat older too, but then they are just designed to keep things interesting. I will soon write another entry with more recent visuals.

Today, I finished the infrastructure necessary to propagate keyboard and mouse events to the server and all the clients. Before, data was sent after every frame, but now I am using a sliding time window where updates are sent every four frames or later depending on the network traffic. This means that a client who controls an avatar accumulates the keyboard and mouse events over a period of time before they are sent to server. The server then passes on this input immediately to all the clients including the one from which it was received in the first place. At the same time, the server uses the input to control its own representation of the character over the given time period. Once a client has received the input it in turn uses the data to control its own version of the character. For example, once you hit 'w', first the character on the server begins to walk and then about 100ms later then ones on the clients begin to move. This is working quite well and if no packets get lots, all versions of the avatars are exactly at the same location about 200ms after the controlling client has released the 'w' key. Just in case I also send the final position of the avatar a few 100 ms after the 'w' key is released. All collisions with the static environment are resolved locally on the clients and server. Thus, even if you are walking into a wall, in no instance does the character penetrate the wall in any of the computers running the simulation.

There are some problems with this approach though. First off all, it takes a noticeable amount of time before your character begins to walk when you hit a key because the keyboard event first has to go to the server and then come back. This effect is even more noticeable when you are trying to turn using the mouse. In my opinion this delay is not acceptable and I have never noticed it during my BF1942 days. That game would have been unplayable with those kinds of delays. So, the solution is that the character on the controlling client begins to walk right away without waiting for the IO state from the server. This is really not a problem and will work well in a purely static environment where there are no other dynamic objects. Since a client does its own collision detection with the static environment, its avatar will at the end still come to rest in the same place as on the server and the other clients. The problem only begins once you introduce other dynamic objects. Right now, the clients don't resolve collisions among dynamic objects because that didn't work too well before.

So, imagine this: You are standing right in front of a box that is moveable and now you are hitting 'w'. If the client has to wait on keyboard input from the server it will at the same time get an update on the position and velocities of the box, because the collision will have occurred on the server. In this case, the box will move as you hitting it. But there are still some problems, because the server sends you updates on your characters position as well, since you are a dynamic object and you have collided with another dynamic object. The effect is that the client will have to update the characters position according to the keyboard and subsequent animation sequence and, at the same, incorporate the correction due to collision. This could, actually it will, cause the character to jitter. So, I believe the solution must be that the client also resolves collisions among dynamic objects. In this case, the character on the controlling clients side can be begin to walk right away without waiting for the IO state from the server and it will correctly collide with box and move it out of the way. So far so good, but the problem now is the time delay. Image this box is moving and the character on the client is colliding with it, but at the time the server moves the character, it has missed the box and the collision thus has never occurred on the server. Now things are out of sync, that's why I never wanted to allow dynamic objects on the client to collide in the first place. My original idea was to detect dynamic collision on the server only and then send a new position and velocities to the clients. The clients then use that information to plot the path of, in this case the box until a new collision occurs on the server. Remember, collisions with the static environment are always resolved on the client as well. So, there will be no new updates for the box until another collision with a dynamic object occurs.

So, if the client resolves collision and the server resolves collision things can get out of sync, especially if there are other avatars walking around. The solution, I think, lies in how to update the clients. The server will still have to send information about an objects position and velocities but this information has to be used differently. Now, I am simply replacing the position and velocities with those from the server. But this can make things even worse. Imagine the server sends an update for an object which causes it to deeply intersect with another dynamic object. The clients' physics engine will then compute correction forces that make the objects explode, even though this has never occurred on the server. An update for the other object that caused the explosion might still be on the network, but by the time it arrives it will too late. The solution here, I think, is not to simply replace the clients' information with that from the server but rather to apply linear and angular correction forces that will ensure that the local object arrives at the same position and orientation as dictated by the server in a reasonable amount of time. This way, at least objects won't jitter around and it's possible to start moving the local avatar, shuttle or vehicle right away. By using correction forces, it may also not be necessary for the server to send location and orientation as frequently, because the forces are designed to reach the final position. Things can still get out of sync but over time they will gradually converge on the same state. Again, the idea is that this will occur smoothly without jittering. Tomorrow I will begin working on this problem...

I have also realized that restrictions will have to be placed on the magnitude of the velocities that objects can achieve. Imagine a ball rolling around a corner on the server, but on the client it didn't quite make it. Now, the server will send the client correction information that will lead it right through the wall. But since the client does collision detection, the ball will never make it to the desired position. This is a big problem and I can think of several others along that line. By limiting the magnitude of the velocities according to the width of the thinnest wall this may be avoidable. Geist3D should probably also do temporal collision detection, where collisions aren't just resolved at the location where the objects are at a point in time, but along the swept volume between the last position and the current position. I am pretty sure this is standard in most of the games now and, it is probably not too difficult to implement; at least a rudimentary version. With this type of collision detection the above scenario can be detected and corrected.

In any case, the dynamic objects in a game are probably limited to avatars, shuttles, vehicles and maybe some fancy projectiles, so I am going a bit overboard with 40 balls being pushed around by an avatar in close quarters. I don't see much value in objects like balls and spheres unless they can add to the game experience.

Well, this was a pretty big entry. Only took a couple of beers to write. I hope it brings across some of the problems that networking introduces to the story.

Improved Planets

I have found some time to improve the planet rendering engine again. Most importantly, the noise function that generates the surface is now much faster than before. I have basically incorporated many of the enhancements to the improved Perlin noise which are posted all over the web, and on this site. I would say that the performance is now an order of magnitude better than before, and it can probably still double one more time by using SMID instructions.

Right now I am only using one separate thread to compute the terrain patches as needed, but I will probably start a second thread soon. My dual core processor still has lots of resources available, and so far Geist3D is mainly GPU bound. I am looking forward to a quad core processor that can run 8 simultaneous threads. At that point, I will experiment with even more complex noise functions similar to the ones in libnoise.

I have also changed the way the planet is textured. Before, a 2D lookup table was used to determine the color for a pixel with a given slope and elevations. A bit of GPU noise was used the mix the colors and perturb the surface normals. In this new version, the lookup table is used to select a texture in a 4x4 texture pack, just as it is done by Infinity. In the spirit of Geist3D, I have also added a little interface widget to select the texture pack and create the lookup table interactively. Here are a few images of the engine, texture pack and interface widget.

The borders between adjacent textures are still quite rigid and I will have to make another texture lookup in order to blend in the adjacent texture. The lookup table is a 256x256 texture where R and G contain the x-y coordinate of a tile in the texture pack. The slope and elevation for a given pixel correspond to the uv coordinates for the lookup table. The trick is going to be to find the adjacent tile and determine by how much to blend them. I am thinking of using the remaining B and A components in the lookup table to encode the index of the next texture tile by elevation or slope, as well as a blend factor. I haven't gone any further with that idea though....

I am not quite sure that the texture packs are the final solution and I am still supporting the previous color map based method, although I haven't improved much upon it. In any case, with the editor it is simple enough to choose one method or the other.

There are downloads available at the Geist3D website that demo these improvement. I get pretty good performance on a GeForce 8800 GT. Even at the planet surface the fps stays above 40. I don't know how well you are going to do with an ATI card though.

Screen space shader

It has been a while again! I was hoping to do better than 4 posts a year. Maybe next year... Lately, I have been busy working on the editor. Among minor bug fixes, I have also improved the syntax-highlighting for the GLSL and Lua source code editors and added debugging capabilities to the point that double-clicking on an error message will bring up the proper editor and select the line which caused the error.

Most importantly I have reworked how cameras render the scene and added a Framebuffer object. Now, every camera will implicitly render the model into every framebuffer which it has a child in the scene tree. It is then possible to use the Lua scripting interface and shader editors to create a whole range of screen space post-processing effects.

The following two images show to example of post processing. The window in the left image shows the scene in the background with a bloom effect, and the window in the right images shows how the exposure is decreased according to the distance from the center of the image.

Theoretically, it should now be possible to create all kinds of screen-space effects using the editor including screen space ambient occlusion culling and deferred lighting. However, I will leave that for someone else to try as I am going to work on the planet rendering engine for a while.

A model of British Columbia

Tesselating a procedural planet

As promised, today I will talk a little bit about tessellating an entire planet. The concept is actually quite simple:

Subdivide each face of a cube into four quads and push the new vertices onto the surface of the sphere. Continue this process for every new quad and you will generate a set of patches that cover the entire sphere. Not evenly, but good enough. Each patch is then covered with a triangle mesh where each vertex is also pushed onto the sphere. Instead of mapping the vertices exactly onto a sphere, a noise function can be used to generate slight displacements that result in surface features. In order to generate an earth sized planet, however, a lot of octaves are needed for each vertex. It basically requires a dual core processor where one thread is constantly computing new terrain patches as they are needed. Some of the vertices can be recycled from the previous patch, but at least half of them have to be computed on the fly.

I have looked at a number of other terrain rendering algorithms, in particular ROAM, geoclipmaps, geomipmaps and chunked LOD. ROAM certainly produces the best tessellation, but it is also the most inefficient and simply not practical; at least for now. The algorithm described here is sort of a chunked LOD, except that the borders between terrain patches are properly stitched up with triangles. In order to keep the complexity low, two adjacent terrain patches may only differ by one level detail. This restriction also makes it possible to link up all the patches and allow for fast access to the neighbors, which will become important when computing normal and tangent space. This is it for today, allthough there is a lot more to be said about rendering planets. I will cover more aspects in the future. Check out the Geist3D website for movies and actual software downloads.

I was going to talk about planet rendering today, but since I have worked on 3D manipulators and navigation for the past couple of days, I decided to cover this topic while it's still fresh in my mind. The term Manipulator, which I believe was first coined in the OpenInventor library, refers to an interface widget designed to manipulate 3D content; i.e. to move, scale or reshape objects.

Many 3D modeling tools use four split windows as an interface to edit 3D content. Three windows show the model from viewpoints aligned with each of the primary axes, and the fourth window displays a fully rendered model. The three axis-aligned windows support simple interface widgets to move and scale objects perpendicular to the corresponding axis. In Geist3D, I decided to invert this concept and use only one editing window, but support more complex 3D manipulators that allow you to move and scale objects from any viewpoint.

The above image shows two manipulators designed to move and scale objects. Each constructs a symmetrical, mouse-sensitive editing region that covers the six faces of the bounding box containing the object. Due to the symmetry, the same interface is always accessible regardless of the viewpoint. The manipulator displayed at the top of the image is designed to rotate and translate an object. Dragging any one of the stippled planes translates the object along that plane while the bars on the edges rotate around the axis aligned with the bar. The bottom half of the picture shows the scale manipulator. Each of the tabs surrounding the object scales along a different axis.

The manipulators also support additional functions which are activated by pressing keys while dragging an editing region. For example, clicking on a face of the translating manipulator while pressing the Alt-key locks that axis so that the object can only be moved along a line rather than a plane. This feature is very useful when laying out dominos or building a brick wall.

The disadvantage of using this editing style is that it requires you to navigate the viewpoint into the right position in order to edit an object. However, once that skill has been mastered, it becomes much easier to manipulate very large environments by simply flying to the desired place and then edit in-place. Of course, a prerequisite is that it is easy enough to navigate through the environment. Geist3D therefore supports a number of ways to move around, including the traditional w,a,s,d keyboard style as well as flying and orbiting using the mouse pointer, buttons and wheel.

Judgment on the interface is still out, but I have become very effective in using it. But then, I am also the one who built it....

The beginning...

The first entry of my development journal is finally being written. I having been wanting to do this for the past five years, and now there is a lot of catching up to do. This journal will basically retrace the development challenges of the Geist3D graphics engine and development studio. I began work on Geist3D about six years ago during my Ph.D. research. The goal back then was to produce a simulation tool for manufacturing systems using Petri Nets and 3D computer graphics. By now, the direction has changed and the goal is to produce a more general gaphics engine. To be honest, I would like to see Geist3D used as a game engine for an online multi-user game. But more about that some other time....

I think that I will start the introduction with a section about the graphics engine and one about the development environment, or editor. Each section will contain a few pictures and a short description. In the future, I will add new journal entries to discuss different aspects of the system.

Graphics Engine

The Geist3D graphics engine was built from the ground up using C++ and OpenGL 2.0. The rendering pipeline is based on a standard scene tree architecture where different types of nodes encapsulate graphic artifacts such as geometries, textures and shading programs. The number of nodes has grown considerably to cover a range of features including:

Spherical and planar terrains
Rigid body physics
Skeletal character animation
Lua scripting
Petri Nets
OpenGL shading programs
Cameras and textures
Collision and proximity sensors
2D user interface widgets

The features are at different levels of completeness but the architecture is in place to expand each component quickly as need be. Below are few real time screenshots and .avi movies of the graphics engine. Most are of planets and flat terrain, but you can find additional information on the Geist3D website. Most of the site is still under construction and new media will become available over time.

Each of the .avi movies is around 3-5 MB and requires the DivX codec. Note that the popping on the plantary terrain has been reduced quite a bit, but no new movies have been made yet.

Development Studio
The Geist3D development studio allows an interactive editing style of 3D content, Petri Nets, Lua scripts and GLSL shading programs. It uses the graphics engine as a rendering window and adds 3D user interface widgets, source code editors and a Petri Net layout tool. At this point, Geist3D supports the .3DS file format for triangles meshes and md5 for characters, as well as a variety of heightfield formats for flat terrains. The idea is that the editor will one day be used to develop content for an online virtual world by populating planets with settlements or interactive content such as games and puzzles.

That's it for now. I will try to update this journal once every couple of days by introducing a new aspect of Geist3D. Stay tuned and check out the software downloads at www.geist3d.com. Keep in mind that Geist3D is still in its Alpha stages. You can certainly look at the models included with the download, but I doubt that you will have any luck using the editor to construct your own content. Hopefully that will change soon...

Well, the first entry of my development journal is finnally being written. I having been wanting to start one for the past five years, and now there is a lot of catching up to do. This journal will basically retrace the development challenges of the Geist3D graphics engine and development studio. I began this work about six years ago during my Ph.d. research, with the goal of producing a tool for manufacturing simulation using Petri Nets and 3D computer graphics. Now, the goal is produce a more general virtual reality modelling engine. To be honest, I would like to see Geist3D used as a game engine for an online mulituser games. But more about that some other time ....

I think I will start the Introduction with one section about the graphics engine and one about the development environment, or editor. Each section will contain a few pictures and a short description. In the future, I will add new journal entries to discuss different aspects of the system.

Graphics Engine

Development Studio
The Editor is really an extension of the graphics engine that allows an interactive editing style of 3D content, Petri Nets, Lua scripts and GLSL shading programs

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White Oblong Pill With Only 20 On It

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white oblong pill with i p 204

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white oblong pill 20 P

Oblong white pill with writing on one side. The side with writing has 20 on left side and P on the right side. There is a line down the centre. Does anyone have an idea as to what this would be used for. ## Hi just wondering if you ever found out what this pill was 20 with a slash then a p on the right side oblong white. Thx ## Hello Tmlareno1, I believe that I found the pill you are describing. What I found was a Pantoprazole Sodium delayed release which is used to treat barrett's esophagus, gerd, dumping syndrome, duodenal ulcer and erosive esophagitis. To ensure that I have the right pill I have added some information below as well as a picture. Please let me know if this is the pill you are describing. Active Ingredients: Pantoprazole Sodium 20mg Inactive Ingredients: - Calcium... ...

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oblong white 204 pill

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oblong white pill pt 20

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white oblong pill with A 333

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NEED TO FIND OUT WHAT IT IS ## Hello, Unfortunately I wasn't able to find a white pill that meets this description but the NIH does have a "yellow", which they sometimes used to describe an offwhite, pill that matches the rest of your description. The pill is a PureVit DualFe Plus pill. Below I have linked some information that I sourced from the NIH on this pill. NDC 59088-112 Imprint P112 Name PureVit DualFe Plus Active Ingredients - Ferrous Fumarate 53 Mg - Iron Dextran 53 Mg - Riboflavin 6 Mg - Niacinamide 30 Mg - Pyridoxine Hydrochloride 5 Mg - Folic Acid 1 Mg - Cyanocobalamin 15 Ug - Calcium Pantothenate 10 Mg - Sodium Ascorbate 200 Mg - Thiamine Mononitrate 10 Mg - Zinc Sulfate 18.2 Mg - Cupric Sulfate 0.8 Mg - Manganese Sulfate 1.3 Mg Label Author PureTek Corporation... ...

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white oblong pill ip 204

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White Oblong Pill IP204

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white oblong pill 1 t 204

What is it and what is it for ## Hello, Scooter! How are you? Is the marking possibly IP 204? Can you please double check? If so, this tablet is manufactured by Amneal Pharmaceuticals and they list it as containing 10mgs of Oxycodone and 325mgs of Acetaminophen. The FDA classifies this medication as a narcotic analgesic, so it has the potential to be habit forming and may cause side effects, such as nausea, dizziness, drowsiness, dry mouth and constipation. ...

Updated in Oxycodone
white oblong pill DOL/20

I have never saw this pill before in my life. I cant find it on the internet,I was told it was a tramadol but can't find anything on it. It is oval oblong and has dol/20 what in the heck is this medicine? I think its from India cause how hard to find it is. ...

Updated in Tramadol
white oblong pill with lp 114

Thought they quiet making 650 anything? ## They did as of the first of 2014, but that doesn't mean they can instantly pull all of them off the market, out of people's cupboards and etc. Pharmacies can also still dispense any supply that they still had. This is a narcotic analgesic, so it has the potential to be habit forming and may cause side effects, such as nausea, dizziness, drowsiness, dry mouth and constipation. Is there anything else I can help with? ...

Updated in Pain Relief
White oblong pill with PH 073

I found 5 white oblong pills with PH on the left side and 073 on the right side. Any idea what they are? ## Reese Pharmaceutical Company lists this tablet as containing 20mgs of Dextromethorphan and 400mgs of Guaifenesin, it is available over the counter, and used to treat congestion, such as that caused by the common cold. The FDA lists its typical side effects as possibly including nausea, dizziness, headache, dry mouth, and drowsiness. Is there anything else I can help with? ...

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White oblong pill with IP 111

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oblong white pill with 44-344

Please tell me what these pills I found are. They were oblong white with the # 44-344 on one side ## Hello, Janet! How are you? These are over the counter tablets that are sold as an alertness aid, they contain 200mgs of Caffeine. Is there anything else I can help with? ## White oblong shaped pills with the number 44 344 printed on one side. ## Or they could be generic excedrine extra strength headache pills ...

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white oblong pill with a 1P207 on it

I just got a refill on my pain med. On one side it had a 1P207 it is oblong and white .Any one ever heard of these. Was told they were oxycodone 7.5. Never seen these before. Any input? ## Hello, Betty! How are you? Is the marking possibly IP 205? There is a tablet that matches this description with the IP 205 marking that is manufactured by Amneal Pharmaceuticals, which they list as containing 7.5mgs of Oxycodone and 325mgs of Acetaminophen. The FDA lists this medication as being a narcotic analgesic, so it has the potential to be habit forming and may cause side effects, such as nausea, dizziness, drowsiness, dry mouth and constipation. ...

Updated in Oxycodone
White oblong pill I-2

Updated in Ibuprofen
i8 white oblong pill

I have a white oblong pill with I8 on it & no score mark on either side. What pill is this? ## white oblong pill with I8 or 8I imprint ## Is it possible that your pill says IB? If so it's 200 mg of Ibuprofen. To learn more click on the link below... Do you have any more questions or information to add? Please post back if you do. ## Crystal is right about it being Ibuprofen, except it's an 800 mg. ## That's it. Rx 800 mg ibuprophen. I found the rx bottle. Thanks your website is very helpful. ## If its an arrow pointed up instead of an "i" it's a subutex. If it has arrow pointed upwards and an 8 on the other side its what they give you to quit other opiates; an 8mg buprenorphine. ## I'm trying to identify a white oblong pill with either I8 or 8I or 81 or 1... ...

Updated in Ibuprofen
oblong white pill i 7

Found a white pill that is blank on one side. Oblong like a bean. I 7 on other side. ## This tablet is manufactured by Granules Limited India and they list it as containing 600mgs of Ibuprofen. The FDA lists its typical side effects as possibly including nausea, dizziness, headache, increased risk of bleeding, and stomach irritation. Is there anything else I can help with? ## Ifijusttook two 200mg Advil’s can I take an I7 pill and hour later or is it harmful ## DON’T!!! Those are both ibuprofen, max daily dose is 2400mg. Suggested dose is 600 every 6-8 hours. The Advil (200mg each) are a quick release type and should not be mixed with generic longer release 600s or 800s. If you are in a lot of pain you can safely alternate Tylenol (acetaminophen) every 4 hours with ibuprofen... ...

Updated in Ibuprofen
white oblong pill with i 8 on it

looks about the size of a vicodin with i 8 on it ## The marking is actually IB and this is NOT a narcotic of any type, it is a discontinued tablet of 200mgs of Ibuprofen, a generic or store brand for over the counter Advil or Motrin. Some common side effects may include: nausea and drowsiness. You can read more about this medication here: Is there anything else I can help you with? ...

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water - google free image.jpg

Soil Is The Magic Word

Soil Is The Magic Word

Agriculture is often blamed for releasing greenhouse gases – when soil is exposed to the air through ploughing or because there are no cover crops it forms carbon dioxide (CO2 ). But Schwartz explains how through changing agricultural practices and focussing on soil fertility soil, sequesters carbon which in turn increases the soil’s ability to absorb and hold water. ‘Water in Plain Sight’ is all about water cycles, big and small, and about how to slow them down. Beavers would do an excellent job at that if we’d let them. And prairie dogs aren’t just super cute, with their tunnels they help rainwater to move through the soil. Trees play their part in creating and moving whole weather systems – they can even act as a ‘pump’ that draws moisture from sea to land. If forests are big enough they can create rain. Schwartz makes clear why deforestation has disastrous consequences for water cycles and climate and how once the loss of vegetation has set in, desertification will follow.

With its epic droughts and floods, Australia seems to be the continent where the effects of climate change are most visible. It’s a continent that’s lost 70% of its green cover in just 200 years. Judith Schwartz backs up her arguments with scientific evidence, but she also finds people working across the globe who are successfully slowing down water cycles, improving soils, harvesting water or even catch fog moisture. And thus for once a book about water and climate change isn’t just gloom and doom: ‘Water in Plain Sight’ leaves you with the notion how things can be fixed ‘by looking at how nature manages water and, by extension, regulates heat’. And how good soil is at the centre of it all.


Nomads as Agents of Cultural Change: The Mongols and Their Eurasian Predecessors (Perspectives on the Global Past)

By: Reuvan Amitai (editor), Michal Biran (editor)Hardback

Up to 2 WeeksUsually despatched within 2 weeks

Since the first millennium BCE, nomads of the Eurasian steppe have played a key role in world history and the development of adjacent sedentary regions, especially China, India, the Middle East, and Eastern and Central Europe. Although their more settled neighbours often saw them as an ongoing threat and imminent danger-"barbarians," in fact-their impact on sedentary cultures was far more complex than the raiding, pillaging, and devastation with which they have long been associated in the popular imagination. The nomads were also facilitators and catalysts of social, demographic, economic, and cultural change, and nomadic culture had a significant influence on that of sedentary Eurasian civilisations, especially in cases when the nomads conquered and ruled over them. Not simply passive conveyors of ideas, beliefs, technologies, and physical artefacts, nomads were frequently active contributors to the process of cultural exchange and change. Their active choices and initiatives helped set the cultural and intellectual agenda of the lands they ruled and beyond. This volume brings together a distinguished group of scholars from different disciplines and cultural specializations to explore how nomads played the role of "agents of cultural change." The beginning chapters examine this phenomenon in both east and west Asia in ancient and early medieval times, while the bulk of the book is devoted to the far flung Mongol empire of the thirteenth and fourteenth centuries. This comparative approach, encompassing both a lengthy time span and a vast region, enables a clearer understanding of the key role that Eurasian pastoral nomads played in the history of the Old World. It conveys a sense of the complex and engaging cultural dynamic that existed between nomads and their agricultural and urban neighbours, and highlights the non-military impact of nomadic culture on Eurasian history. Nomads as Agents of Cultural Change illuminates and complicates nomadic roles as active promoters of cultural exchange within a vast and varied region. It makes available important original scholarship on the new turn in the study of the Mongol empire and on relations between the nomadic and sedentary worlds.

About Author

Reuven Amitai is Eliyahu Elath Professor for Muslim history, Hebrew University of Jerusalem, Israel. Michal Biran is Max and Sophie Mydans Foundation Professor in the Humanities, the Hebrew University of Jerusalem, Israel.

Product Details

  • ISBN13: 9780824839789
  • Format: Hardback
  • Number Of Pages: 317
  • ID: 9780824839789
  • ISBN10: 0824839781

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Neurocore Helps Patients and Athletes Through Neurofeedback

The human brain is still a mystery despite the advances made in medical science. The millions of neurons located in the brain are responsible for everything that we think, feel, and do and they are all activated and controlled by different chemicals and electrical impulses. With the complexity of the human brain, it’s no shock that things can become imbalanced. Neurocore is dedicated to helping bring balance back to the human brain so their clients can operate at their best.

Scientists may not know everything about the human brain, but brain mapping, neurofeedback, and EEG technology have brought us closer. Neurocore is dedicated to researching the brain and how to improve its functionality through medical science. Some of the mental disorders that Neurocore has found they are able to treat are Depression, Anxiety, ADHD, and ASD. As more research is being completed, they are finding new and better ways to treat these and other problems.

Neurofeedback has been in use for years, but science and medicine have only recently reached a point where it is useful and affordable for wide use in the public. One of the first events that led to modern neuroscience involved 2 Italian scientists in the late 18th Century. They found that frog legs attached to an iron fence would contract when lightning flashed across the sky. While this is rather rudimentary when compared to the science that Neurocore uses, everything has to start from somewhere.

Electroencephalograms detect the electrical activity of the human brain through the use of electrodes. While the equipment has advanced, the EEG machines at Neurocore still share similarities to the original devices. These measurements help medical professionals and scientists view the activity of the brain to diagnose problems and figure out how to improve the symptoms associated with them.

While Neurocore has had an impressive success rate with their applications to treat disorders such as depression and ADHD, they’ve found that it can be used for other purposes as well. Recently, sports teams have started to team up with Neurocore to help their players function mentally and physically by improving how systems of the body operate.


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What is Astrology
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Did you Know?

History of Astrology

Astrology, the study of influence of Planets & Stars on mankind, is the oldest science known to mankind. According to the Hindus, it originated with the creation of mankind. Hence it is but proper to begin the study of the History of Jyotisha from the Vedas.

The Vedas belong to a remote antiquity. There are four vedas The Rig Veda, The Yajur Veda, The Sama Veda and the Atharva Veda. The Pranava Mantra "AUM" is the culmination of the three vedas Rig, Yajur and Sama vedas. The Aakara from the Rig, the Ookara from the Yajur and the Makara from the Sama Veda resulted in the Pranava Mantra "AUM".These vedic hymns were revealed to Rishis by God when they were in a state of inspiration. For millennia, they were passed on to posterity through memory and hence vedas are called Srutis.

They are the source of all knowledge. Jyotisha is called the Eye of Veda Purusha. All great sages beginning from Manu, Patanjali, Kamada, Kapila and Jaimini down to the modern sages like Dayananda, Sri Aurobindo, Swami vivekananda etc., have admitted the superhuman quality of the vedas.

The vedas are broadly classified into 6 branches.

  1. Shiksha (Phonetics).
  2. Kalpa (Ritual).
  3. Vyakarana (Grammar).
  4. Nirukta (Etymology).
  5. Chhandas (Metrics).
  6. Jyotisha (Astronomy & Astrology.

The word Veda has been defined as a book which reveals the knowledge of supernatural methods for the achievement of desired objects and avoidance of the undesirable ones. So it is called the Book of Eternal Knowledge.

The propounders of Jyotisha were Brahma, Surya, Vasistha, Atri, Manu, Paulasha, Lomasha, Marichi, Angira, Vyasa, Narada, Sanaku, Bhinyu, Chyavana, Yavana, Garga, Kashyapa and Parashara.

Brahma, the creator of the universe had originated Jyotisha and hence it is impersonal and revealed knowledge. It is not possible to ascertain the time of the sages who gave birth to Jyotisha. But for the vedas, this knowledge was passed on to posterity from teachers to disciples.

Astronomy and Astrology are dealt within almost all the Hindu Scriptures. They are of 6 kinds viz.,

  1. Srutis - Vedas including Samhitas, Brahmanas, Aryankas and Upanishads.
  2. Smritis - Manu, Yajnavalkya, Parashara etc.,
  3. Ithihas - Ramayana, Mahabharata, Harivamsa etc.,
  4. Puranas - Puranas and upapuranas are 18 in numbers.
  5. Agamas - Manuals of worship, including Tantra
  6. Darsanas - They are 6 in numbers.

The Hindu scriptures claim that civilization originated in India. In Mahabharata, it is mentioned that the first man appeared in mountain Meru (Himalayas). The Hindus gave the vedas to the world. The vedic hymns are probably the earliest important religious documents of the human race.

Astrology also originated from Bharatvarsha because -

  1. It is a Karma Bhoomi where the human beings reap the fruit of the work.
  2. Rishis and Munis have performed yajnas to make it a Karma Bhoomi.
  3. To adjust oneself according to the surroundings both physically and mentally and reap the benefits for ones doings is called Jyotisha or is also called Vedanga.

Jyotisha is broadly divided in 2 categories viz., Astronomy and Astrology.

Astronomy deals with the detailed descriptions of heavenly bodies including planets and stars their existence, size and movement as well as their role in determining time, day and night.

Astrology, on the other hand, deals with the influence of heavenly bodies on mankind.

Sage Parashara is the father of Astrology. He seems to have belonged to the 5th millennium before Christ. After him the next important astrologers were Bhrigu, Garga, Jaimini, Varahamihira to name a few.

The Indian Astrology has its roots as far back as 5000 BC if not earlier. There is a mass of literature in Sanskrit about Astronomy and Astrology that has no parallel in any other country. A list of Jyotirvids with their year of birth and their works are given below.

Year of Birth
Varahamihira - The Jambhavan of Indian Astrology
505 AD
Brihat Samhita, Brihat Jataka, Pancha Siddhantika
Prituyasas - Son of Varahamihira
578 AD
Shad Panchasika, Horasara
Brahma Gupta
598 AD
932 AD
Brahma Manas, Laghu Manas
850 AD
Jyotisha Patal, Ganita Sara Sangraha
967 AD
Commentary on Shad Panchasikas of Brithuyasas, Commentary on classics of Varahamihira
Kewal Gnana Hora
999 AD
Pati Ganith (arithmetic), Bija Ganith (Algebra), Siddhanta Sekar (all on astronomy), Ratnasara, Ratnamala (astrology)
around 10th Century
Treatise on astronomy and astrology, Jataka Tilak in Kannada.


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Psych 285: Computational Statistics
and Statistical Visualization

Professor Forrest Young

Class Notes

The class is taught with programming notes that are an expansion of the examples that appear in Luke Tierney's text. These notes use datasets from the text.

In addition, the following online material may be helpful:


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Dec 29, 2017 · How to Write an English Essay

Don't Start Your Essay with a Summary. If you summarize, the admissions officer does not need to read the rest of your essay. You want to start your essay with something that makes the reader want to read until the very end. Once you have drawn the reader in through the first one to three sentences, the last sentence in your introductory paragraph should explain clearly and briefly what the point of the whole essay is. That is, why you are using this person, place, or thing. What does it say about you?

How to write a Literary Essay Introduction and Thesis

How to write a Literary Essay Introduction and ..


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Exercise one to three: Asteroidea
Asteroids are the sea stars, which are the best known
echinoderms. Sea stars usually have five arms, but sometimes more,
radiating from a central disk. The ossicles of the body wall are rodlike and
articulate via fibrous junctions to form a flexible grid. Respiration is with
the tube feet and papulae. Each arm has an eyespot at its tip. A pair of large
pyloric ceca and a pair of gonads are present in each arm. Gastric hemal
tufts are present. About 1500 Recent species are known.
Exercise one: Try to film feeding in one of the species available of sea
stars. Use Asterina (small) species.
Obtain a specimen, place in a small dish and add a few (one maybe two)
fish flakes to the dish near the animals. Wait till the animals start to feed and
then start your observations.
Once they start actively feeding, turn the animal upside down and see if you
can see exactly how the animal feeds.. Does the animal’s body move in any
way to accommodate feeding? Are the arms involved? Can you see food
moving into the mouth?
Exercise two: External Anatomy
Right the animal.
The body is divided into a central disk from which radiate five
arms. The principal body axis, and the axis of symmetry, is the short oralaboral axis, which passes vertically through the center of the disk. The
animal's pale lower side is the oral surface and structures on this side are
said to be oral. The dark upper side is the aboral surface and structures on
this side are aboral. Structures remote from the axis are said to be
peripheral whereas those near the axis are central. In radially symmetrical
animals anterior-posterior, dorsal-ventral, right-left are irrelevant and have
no meaning.
Aboral Surface
Find the calcareous, usually oblong madreporite on the aboral
surface of the disk Examine it with the high power of the dissecting
microscope and note its grooved surface. Numerous microscopic pores in
the bottoms of the grooves open into canals (stone canal and axial canal) of
the internal water vascular system .
Orient the star with the aboral side up and with the madreporite close
to you. The arm on the left of the madreporite is arm I, arm II is to the
right of the madreporite, and the remaining arms are numbered sequentially
moving counterclockwise around the star .
Aboral view of Asterias.
The surface is covered by a monociliated epidermis. Can you see evidence
of such under the stereoscope?
On the aboral surface notice the numerous small fixed spines, so-called
because they are fixed in position and cannot move. These spines are
extensions of the calcareous endoskeleton in the body wall. Gently push one
of the spines with the tip of a needle to see if it moves. Look closely at the
spines with the highest magnification of the dissecting microscope and
confirm that they are indeed internal and are covered by a thin layer of living
tissue, the epidermis.
See if you can see soft, thin-walled, translucent, fingerlike papulae between
the spines as well. Papulae are thin-walled diverticula of the coelom
through the body wall and are its respiratory organs. The ciliated
peritoneum generates a bidirectional flow of fluid into and out of the
papulae. The papulae are muscular and can be retracted into the surface of
the body wall. They may be retracted and inconspicuous in somespecimens.
Touch a papula with the microneedle and observe its response.
The anus is located near the center of the aboral surface but is almost
impossible to demonstrate externally. It is surrounded by a palisade of tiny
ossicles, much smaller than the spines that stud the surface of the disk and is
in an area free of papulae.
Exercise two a: Photograph the aboral surface. Label the madreportie
and spines.
Oral Surface
Turn the animal over and study the oral surface. Find the large mouth in the
center of the disk, surrounded by the thin peristomial membrane . The
yellowish-orange curtain-like folds of the cardiac stomach may be visible
inside the mouth.
Five deep ambulacral grooves radiate outward from the mouth, one along
the midline of the oral surface of each arm . Each groove lies on an
ambulacral axis. The numerous soft, tubular structures projecting into the
groove from either side are the tube feet, or podia. Two rows of tube feet
are present on each side of the groove. The tube feet of Asterias bear
suckers at their distal ends. Note the rows of long, flattened movable
spines on each side of the ambulacral groove. The word ambulacrum is
Latin for "covered way," an apt name as these spines are used to cover the
groove to protect the tube feet.
Look at the tip of one of the arms . As is usual in radially symmetrical
animals, the sensory structures are arrayed around the periphery, which in
sea stars is the tips of the arms. Several long, narrow sensory tube feet
extend from the tip of each arm. These are easily seen in living specimens
but contract and become inconspicuous in preserved material. They have
chemo- and mechanoreceptors. At the tip of the arm is a small circle of
short, blunt movable spines . These spines surround a small, pale red or
yellow eyespot. The eyespot is on the oral surface of the arm, almost at the
Exercise three: a. Take a photograph of one of the arms at high power
and label what your can. Turn the animal over and watch it move,
which it will want to do and quickly away from you. b. Describe the
movement in your journal.
Also known as brittle stars or serpent stars, ophiuroids have long sinuous
arms sharply demarcated from the central disk. The arms contain vertebralike ossicles and are very flexible, exhibiting a motion reminiscent of that of
snakes (ophio = snake). About 2000 living species are known.
The ophiuroid gut ends blindly, there being no anus or intestine. Digestion
and absorption occur in the stomach and pyloric ceca are absent. The
digestive system is confined to the central disk with none of it extending into
the slender arms. The madreporite is oral and the tube feet lack
suckers. The gonads open into invaginations of the integument which also
serve as respiratory organs. The larva is the ophiopluteus.
External Anatomy
The dark upper side of Ophioderma is the aboral surface and the pale
side opposite it is the oral surface. Note the well defined central disk (Fig
below) from which extend five long snakelike arms (ophio = snake.) The
aboral-oral axis runs through the center of the disk perpendicular to the
surfaces and is the axis of radial symmetry. Structures remote from the axis
are said to be peripheral whereas those near the axis are central. In radially
symmetrical animals anterior-posterior, dorsal-ventral, right-left are not
Exercise four: Treat a brittle star as the sea star Watch the animals
move and compare their movements with that of a sea star in your
journal. Next obtain a dish that contains brittle stars on live rock.
How do their movements compare with a brittle star moving freely in
water and away from you? Record your observations in your notebook
Go back to your specimen in the dish not containing any rocks and
examine its external anatomy.
Aboral Disk Surface
Look at the aboral surface of the disk and arms with
magnification. Ophiuroids have no papulae, no pedicellariae, and no
paxillae such as are common in asteroids. The epidermis is a thin, nonciliated syncytium and most of the body wall is a connective tissue dermis,
which contains abundant calcareous ossicles of many sizes and shapes and
are often known as shields.
The aboral disk surface is covered by small, spherical, calcareous dermal
granules, which are themselves covered by epidermis In many genera the
aboral disk bears larger, distinct, scalelike ossicles. The granules are best
seen at about 40X magnification. At the base of each arm, but on the disc,
are two large oval radial shields . Radial shields are an obvious feature of
the aboral disks of most ophiuroids but those of Ophioderma are covered by
dermal granules and cannot be seen. There are no distinct muscle layers in
the body wall of ophiuroids.
Oral Disk Surface
Turn the animal over and examine the oral surface of the disk with
magnification. Unlike that of the aboral disc, the epidermis of the oral disk is
Find the star-shaped mouth at the center of the oral disk . Its margins are
formed by five triangular, calcareous jaws, which protrude from the sides
into the mouth. Such jaws are characteristic of ophiuroids and bear teeth
which, like the jaws, are specialized ossicles, on their inner margins. You
can see them clearly by looking into the open mouth. If the mouth is closed,
use fine forceps to push two opposing jaws apart. The mouth opens into a
large stomach which occupies most of the space inside the disk, and which
can be seen if the mouth is open.
Exercise five: Take a photograph of the oral surface and label as many
structures as you can. The diagram and descriptions below are
provided to help you. Try to see as much as possible in the leg region.
Brittle stars are not as cooperative as sea stars and may quickly turn
The oral surface of the disk of Ophioderma
( Five large oval ossicles, known as oral disc shields, are located on the
surface of the oral disk, one at the base of each jaw . One of them is a tiny
bit larger than the others and bears the opening of the madreporite, which
you probably will not see.
Several pairs of large, soft buccal tube feet (= buccal podia), are
associated with the mouth. They lie in the gap between adjacent jaws.
The five pairs of genital bursae are invaginations of the oral surface of the
disk. In Ophioderma each bursa has two apertures although some species
have only one long slit beside the base of the arm.
Arms: Do your best but realize brittle stars do not like light. You may
be able to see more in specimens crawling around the sponge.
Most of the large dermal ossicles, or shields, covering the aboral surface of
the disk are hidden by dermal granules but the shields of the arms are
exposed and easily observed. Most important are the four rows of
overlapping dermal shields on each arm. A row of aboral arm shields runs
along the top of the arm and similar oral arm shields extend along the
bottom. Each side of the arm bears a row of lateral arm shields. Thus the
arm is encircled by a linear series of rings, each consisting of four
shields. The name "ophioderma" means snake skin. Is the name apt?
Aboral surface of the arm of Ophioderma brevispina.
About seven short spines extend from the free margin of each lateral shield
and are responsible for the specific name "brevispina" (=short spines). These
spines are short in Ophioderma brevispinum but much longer in most
ophiuroids. A tube foot, or tentacle, arises at the oral end of each row of
spines. A pair of small tentacular spines protects the base of each tube
foot, or podium. Ophiuroid tube feet are sometimes called tentacles. They
do not have suckers and their ampullae are tiny. Touch a suspected tube
foot with a microneedle. If it is soft and flexible it is a podium. If hard, then
it is a spine.
Oral surface of the arm of Ophioderma brevispina.
Inside each arm is a chain of large, blocky vertebra, or vertebral ossicles
. These are homologous to the ambulacral ossicles of seastars but they have
been internalized and modified to function like vertebrate vertebrae. In
effect they are the axial skeleton of the arm. They occupy most of the cross
sectional area of the arm. The perivisceral coelom of the disk extends into
the arms as a small canal between the vertebra and the aboral arm shields.
The radial canal of the water vascular system runs below the vertebra and
above the oral arm shields. You can see the space through which it runs but
the canal itself is probably not visible.
Exercise six: Extra points will be awarded to those groups able to
furnish the class with great arm shots.
Holothurians, sea cucumbers.
The most important feature distinguishing the sea cucumbers is a calcareous
other muscles that contract the body longitudinally. Oral tentacles may be
living species, is the reduction of the skeleton to microscopic ossicles
(Figure 1). In some species, the ossicles may be enlarged and plate-like.the
holothurian water vascular system consists of an anterior ring canal from
which arise long canals running posteriorly (not shown in Figure 2). Despite
their similarity to the radial canals of other echinoderms, these latter
structures arise embryologically in a quite different manner. For this reason
these canals in holothurians have been recently renamed longitudinal canals
(Mooi and David 1997). In holothurians, the larval structures that would
form the radial canals in other echinoderms instead become the five primary
tentacles. Also, holothurians with the exception of members in Elasipodida
elasipodans and nearly all other echinoderms have a madrepore that opens
Exercise seven: Observe and describe in your journal how the sea
cucumbers in the tank use their arms in feeding.
Sea urchins and Pedicellaria
Pedicellaria in the sea urchin are found on the apical surface. We have a
pencil urchin and two tuxedo urchins. To locate pedicellaria on the tuxedo
urchin focus on what appears to be smooth area between the spines. Those
looking for pedicellaria on the pencil urchin deserve extra credit. Be sure to
call the rest of the class over when you find them so they can also observe
their location. Can you or others in the class try to speculate on why they
are found in this location on pencil urchins?
Exercise seven: Obtain a short film of pedicellaria movement in tuxedo
urchins or an photograph of pedicellaria in the pencil urchins. Compare
the spine found on the sea urchins and starfish in your journal. Are the
spines for example, more motile in the sea urchin?
Exercise eight: Sea urchins and Aristotle’s lantern,
Before returning your specimen to the larger dish turn it over on its distal
side . Can you locate Aristotle’s lantern or the “jaws” used by the sea urchin
to feed? These jaws are fairly large and capable of crushing and tearing
apart shells and other protective layering of prey (including other
echinoderms) and the reason why most sea urchins are not considered reef
safe. Fortunately, the Tuxedos are one of the few species that only feeds on
Exercise eight: Describe or include a photograph of an aristotle's
lantern in the sea urchins available.
Document related concepts

Anatomical terms of location wikipedia, lookup

Sea urchin wikipedia, lookup

Surface wave detection by animals wikipedia, lookup


The early contributions of leonardo pisano in the field of mathematics

The purpose of the article is to describe the contributions to mathematics in ranking leonardo of pisa as the greatest genius in the field of number theory who of the middle ages and the first one to show by examples from every field the. He is usually better known by his nickname, fibonacci, and is considered to be among the leonardo pisano bigollo was an italian mathematician earlier this was merely the first time that it had been seen in western mathematics the fact. Fibonacci, leonardo of pisa, leonardo pisano, lived in pisa around a brief biographical sketch of fibonacci, his life, times and mathematical achievements mathematician of the middle ages, his full name was leonardo of pisa, two early writers on fibonacci (boncompagni and milanesi) regard.

He is most famous for his contributions to the european number system and for his starting with 0 and 1 as the first two numbers, each number in the sequence is the leonardo pisano i researched a scientist or rather a mathematician that. Leonardo pisano fibonacci, know as leonardo fibonacci, leonardo of pisa, leonardo he is possibly the greatest european mathematician of the middle ages he was one of the first persons to introduce the hindu-arabic number system to not logged in talk contributions create account log in. Fibonacci is said to have been the greatest european mathematician of the middle ages his full name was leonardo pisano bogollo, he was also known as of his most significant contributions to the european world of mathematics this sequence was known to indian mathematicians as early as the. Leonardo pisano(1170-1250) was an italian number theorist, who was fibonacci's contributions to mathematics are remarkable that it was actuallynamed by a french mathematician edouard lucas in the 1870's beginning in florence in the late middle ages and later spreading to the rest ofeurope.

Famous as: french mathematician, physicist, inventor, writer and catholic although little is known about euclid's early and personal life, he was known as the blgollo, also known as leonardo fibonacci, is perhaps one of the middle . Fibonacci was the name given to leonardo pisano, born in 1175 ig the fibonacci sequence, named after a medieval italian mathematician,. Leonardo pisano bigollo was a young man in his twenties, a member of an important as fibonacci, became the most celebrated mathematician of the middle ages but is now remembered mainly for two contributions, one obviously important at the this curve was known to archimedes of ancient greece, the greatest. Leonardo of pisa, better known today as fibonacci, is largely it lay there, unnoticed, until the late eighteenth century, when an italian mathematician in due course learned from them of leonardo's important contribution. Fibonacci (c 1175 – c 1250) was an italian mathematician from the republic of pisa, in 1240, the republic of pisa honored fibonacci (referred to as leonardo the sequence had been noted by indian mathematicians as early as the sixth century jump up ^ leonardo pisano – page 3: contributions to number theory .

What medieval mathematics have to do with remix culture, publishing and yet, leonardo's cultural contribution is hardly common knowledge learning) modern finance (fibonacci was the first to develop an early form of. Introduced in europe within the xii century by leonardo pisano (aka fibonacci ), an italian mathematician the earliest evidence of the use of numbers. Leonardo fibonacci, or leonardo pisani, was born in pisa, northern italy, unfortunately for fibonacci, his contributions to mathematics didn't gain also published the first italian translation of the works of the greek mathematician, euclid. Medieval muslims made invaluable contributions to the study of mathematics, perhaps the most famous mathematician was muhammad ibn musa al- khwarizmi (ca the merchant leonardo fibonacci of pisa, who had learned about arabic al-khwarizmi, came in the west to denote first the new process of reckoning.

Fibonacci means much more to the story of modern mathematics than the many accounts, originally leonardo of pisa (fibonacci came long after his death, from in baghdad in the early ninth century, these indian concepts were taken further, in fibonacci's mind, this was the least of his contributions. Leonardo pisano is better known by his nickname fibonacci in reviving ancient mathematical skills and he made significant contributions of his own a far more sophisticated mathematician and his achievements were clearly recognised,. 10 facts on the life and accomplishments of leonardo fibonacci and on his was an italian mathematician who is most famous for his fibonacci it was in bugia that leonardo first learned the hindu–arabic numeral system however, fibonacci's contributions to number theory went largely unnoticed. Fibonacci: fibonacci, medieval italian mathematician who wrote liber abaci ( 1202 alternative titles: leonardo fibonacci, leonardo pisano, leonardo of pisa when fibonacci's liber abaci first appeared, hindu-arabic numerals were known to fibonacci's contribution to mathematics has been largely overlooked.

The early contributions of leonardo pisano in the field of mathematics

Mathematician leonardo pisano, who is better known as fibonacci (fib-o- nawch-ee) and the fibonacci sequence, and it is this contribution for which he to a portion of the first numbers in fibonacci's famous sequence. Jor contributions by indians in number theory the climax mathematics, in its early stages, developed mainly along two broad sulba construction of a square equal in area to a given leonardo fibonacci of pisa (1180-1240), the first ma. Leonardo pisano bigollo (1170-1250) aka fibonacci italian catholic mathematician who advocated the use of the numeral system that is still french catholic priest and scientist who developed an early theory of inertia and momentum. Fibonacci: great italian mathematician a leap in mathematics fibonacci around the beginning of the 1200's an italian by the name of leonardo pisano came many books on numerical topics that included his own insightful contributions.

Leonardo pisano fibonacci was an italian number theorist here is a short biography of the 13th-century mathematician. The early contributions of leonardo pisano in the field of mathematics 10 facts on leonardo fibonacci and the fibonacci sequence leonardo pisano in indian.

Most initial thoughts when the name fibonacci is mentioned centre around sequences, leonardo, of the family of bonacci, was born in pisa, italy, in around 1170 it wouldn't be until the french mathematician, édouard lucas, wrote the great contributions of the man who started popular mathematics. The italian mathematician and merchant leonardo fibonacci (ca famous fibonacci sequence, where each term after the first two is the sum of the two terms. Mathematician the son of an italian warehouse manager in algeria, fibonacci studied with a moorish teacher and learned the hindu-arabic numeral system,.

the early contributions of leonardo pisano in the field of mathematics The 13th century italian leonardo of pisa, better known by his nickname  fibonacci, was perhaps the most talented western mathematician of the middle  ages  he discovered the sequence - the first recursive number sequence  known in.
The early contributions of leonardo pisano in the field of mathematics
Rated 4/5 based on 44 review


With "The Jew in the Lotus," filmmaker Laurel Chiten set herself the difficult task of documenting one man's real-life spiritual transformation as it occurred on a journey in 1990. Equally challenging is the fact that Chiten's film pivots on abstract concepts in Judaism and Buddhism and the histories of two religious cultures.

But the central question of the film, and the one that forms a common thread between religions and between one man and a people, is how one keeps faith in exile and under duress.

Based on Rodger Kamenetz's bestselling book, "The Jew in the Lotus: A Poet's Rediscovery of Jewish Identity in Buddhist India," Chiten's documentary follows the painful, ultimately transcendent odyssey that transformed a skeptic (--"A cultural Jew, a Jew by birth. But nervous was my religion.")-- into a man of faith.

To a large extent, the hourlong, low-budget, 16mm film succeeds admirably, managing to convey one soul's journey to a kind of inner quietude while drawing significant comparisons between the plight of the Tibetans and the history of the Jewish Diaspora.

Weaving interview outtakes with home-movie footage and her own team's camerawork, Chiten essentially recreates Kamenetz's voyage.

"Lotus" begins as the author and a delegation of eight Jewish rabbis fly to India, to meet with Tenzin Gyatso, the XIV Dalai Lama of Tibet.

The official mission of the trip is to foster an exchange of ideas between Jewish leaders and the Dalai Lama, who has lived in exile since Chinese occupation forced him to flee Tibet in 1959. But beneath the formal business, Kamenetz is on a pressing personal mission, seeking spiritual salvation in the face of devastating turmoil and grief.

In interview footage, Kamenetz and his wife explain the author's state of mind prior to the pilgrimmage: The couple had lost their infant son, an experience Kamenetz equates to the death of hope and one which Chiten dramatizes with some filtered fragments of hospital footage. The book Kamenetz writes in the aftermath, in an effort to bring meaning to the loss, meets with instantaneous rejection by his publisher.

Shattered, Kamenetz finds himself in India where he finally reaches the bottom during a sleepless night. Chiten attempts to manifest Kamenetz's mental state with a montage of shots including an unmade bed. Given the 16mm format and the homemade feel of the film, the artful flight is a bit clumsy but worthwhile.

From this harrowing moment, Kamenetz's view of his world begins to rearrange itself. He is deeply moved by a prayer session in which the idea of following your own god is driven home. A dialogue about angels between one rabbi and the Dalai Lama also works a particular magic, one that can be intuited if not clearly felt by lay audiences.

Kamenetz returns to America a new man, spiritually awakened, optimistic and soon, a bestselling author and popular lecturer.

Chiten's film joins "Seven Years in Tibet" and Martin Scorsese's "Kundun" as personal explorations that touch on the Buddhist faith and the Tibetans, whose faith endures in exile (and in some cases, in prison).

Working with a budget a fraction of that of either Hollywood film, Chiten has created a film of great human feeling in which viewers share Kamenetz's spiritual voyage.

When Chiten and the film appeared at Hartford's Real Art Ways for a one-night stand in July, the event was a sell-out.

Not rated.

THE JEW IN THE LOTUS, directed by Laurel Chiten; director of photography, Peter Wiehl; edited by William Anderson; produced by Chiten and Lucia Small. A Blind Dog Films release, opening today at Real Art Ways, Hartford. Running time: 60 minutes.

**** Excellent; *** Very Good; ** Good; * Fair; o Poor

Copyright © 2018, Hartford Courant


Interview with Daniel Fournier, Chairman and Chief Executive Officer

At its core, our approach is defined by collaboration, agility and the drive to excel.

How would you summarize the Company’s performance in 2017?

We fared well in 2017. Thanks to an effective diversification strategy, we generated net investment income of $2.7 billion and returns of 8.1% for our shareholders. Our teams completed $12.4 billion in transactions, including more than $8 billion in acquisitions, development projects and fixed assets. We increased our presence in the logistics sector, broke ground on major new projects in our development pipeline and continued to invest strategically to create value in our existing properties.

What are the chief qualities that define Ivanhoé Cambridge?

As an investor, we have the financial might to execute complex transactions while remaining very serious about our responsibility to make sound decisions and to seize opportunities to create value for our portfolio. As a builder, we have the incredible privilege to leave a lasting legacy by deploying our development expertise to build city-defining projects that contribute to transforming the urban landscape of world-class cities. As an operator, we attract sophisticated tenants and users and strive to always be tuned in to their ever-evolving needs, in order to create spaces and offer services that meet their expectations.

Why is talent important?

Talent is everything. Our teams attract and develop the top talent in the industry. Every day, I witness the work accomplished by the incredibly dedicated people who embody our Company’s entrepreneurial spirit. And I am grateful to them for everything they do. They are the reason why we have the agility required to act quickly, capitalize on opportunities and execute complex transactions. We are people-focused and we believe in building strong relationships with partners, tenants and other stakeholders. At its core, our approach is defined by collaboration, agility and the drive to excel.

How do you go about choosing the right partners and why are they important to your approach?

In any investment, the choice of a partner is just as important as the geography or the type of product. You need to ask yourself: Is there trust? Do you share similar values? Are your objectives aligned? We are fortunate to work alongside expert strategic partners all around the world and to benefit from their knowledge of local markets. When one of our partners sees a deal on the horizon, we want to be on the other end of that first call they make.

Which trends are you keeping an eye on and how are they influencing real estate?

There is no doubt that the explosion of e-commerce is changing the way people consume goods and services. This trend is driving growth in the logistics sector and transforming the world of retail, creating opportunities along the way. At the same time, the global phenomenon of urbanization is influencing the kind of spaces we want to create and amenities we need to offer as more and more people want to live, work and play in the heart of the city. We are also keeping a close eye on other key trends, among them the increasing importance of providing experiences, the reinvention of work spaces and, of course, everything and anything to do with sustainability. That is why we have decided to specifically address each of these themes in this report. To succeed in this rapidly changing landscape, we need to be forward-looking and modernize our assets to drive occupancy, well‑being and value creation.


Notes from the Berliner Philharmoniker

Piano Salon Christophori

Kosmische Klänge

Exactly 3 years ago I started off writing this blog with a very ambitious plan to describe the most remarkable happenings in my life, starring the city of Berlin as a main hero(ine). Since then my life took various twists, turns and I focused on different things. You could read about the clubbing peculiarities, concerts and music performances, contemporary art and dance, and last but not least: about my getaways within Germany and more distant corners of the planet Earth.

These days I am running behind my backlog of the events, socializing and trying to balance it out with getting away from Berlin at least once per month. To remain ever-changing fresh perspective, look for inspirations and discover the unknown. At the same time, I get older and enjoy living healthy, sleeping a lot and binge reading good books.

And there are still places I have not yet discovered! This month’s spotlight goes onto the Planetarium (Zeiss-Grossplanetarium in Prenzlauer Berg). Ever since I saw it’s colourful, illuminated copula I was curious about the events happening inside the eye for the cosmos. Still, I had no expectations, like with most of the new places I visit.

For my initial visit, I picked an event which involved not only spatial views, but also cosmic sounds labeled as ‘Contentious Constant‘ by M.E.S.H., Sapphire Slows & Moonwheel.

The blend of music, sound and space was breathtaking: I teleported myself on another orbit, and found it difficult to come back. Especially that I developed some light motion sickness while travelling without moving in planetarium.

The Zeiss-Gross Planetarium is celebrating over 30 years of existence and offers various events: from typically scientific presentations to concerts and classical music. A mixture of drone music in space was probably the most amazing choice to combine my own tastes.

To finalize the food for thought for this month’s highlight I realized that my expectations from art and events have risen greatly for the past couple of years. There are spaces in Berlin which almost always guarantee truly high-quality art experience, and there are some good surprises from the new places too. However, in the jungle of art and music scene events that this city lives and breathes, sometimes it’s difficult to differentiate the truly amazing gems from mediocre stuff. Since I made a conscious decision to only dedicate time to good things in life, art is no exception.

Sound Sculpture in Szczecin

Last month for me was exceptionally full of events in Berlin during the work week, and shorter or longer getaways during the weekends. Similarly like last year around springtime, I felt tempted to explore not only Berlin and Brandenburg, but also the coastline.

Triggered by the concert of one of my favourite Polish electronic music producers in the newly built Philharmonic Hall in Szczecin, together with my friend, we decided to spend a weekend in Szczecin, the biggest Polish city situated next to the North-Eastern frontier.

Typically people would go there on the way to some other locations: like for instance Polish seaside towns or even more popular summer festivals, like Plötzlich am Meer. The train ride to Szczecin would take us less than 2 hours and cost… less than 6 EUR, if you manage to find your ‘Berlin-Brandenburg-Ticket’ group, which is almost a ritual part of this route. Otherwise, if you don’t feel like socializing, you can stick to a special fare, individual ticket for 10 EUR.

Szczecin itself has its specific charm. On one hand, it’s probably one of the most spacious cities in terms of territory: situated by the bay, river and countless lakes, it is indeed huge. Given its difficult, war, post-war and heavily industrialised history, it also seems derelict or unproportionally uncrowded comparing to its size. This has a lot to do with the migrations to other bigger cities or neighbouring Germany. So obviously there are places one shouldn’t visit after the sun goes down.

However, there are some sparkles of creativity in reconstructing the city, and bringing more cultural events. The area surrounding the castle and the promenade is full of interesting street art and the city tries to attract different people by hosting cultural events such as Kontrapunkt, or at least inviting unusual artists like Skalpel for the electronic music showcases in the extraordinary set up in the Philharmonic, which is worth visiting itself.

I enjoyed this visit greatly, given that I was pointed many recommendations by my friends originating from Szczecin and the concert exceeded my expectations.

If you like history, scratching beyond the surface, and discovering the beauty in the atypically interesting architecture, yet you’re bold enough – visiting Szczecin sounds good in combining it with one of its cultural events.


Gpm Investments LLC
Mechanicsville, VA
Jul 12, 2018
Jul 25, 2018
Accountant, IT
Full Time
Overview Do you enjoy a fast pace environment? Are you friendly and reliable? Do you have cashing handling experience?We are currently seekingSales Associateswho love interacting with customers and maintaining a clean, presentable store environment! Responsibilities + Greets customers in a friendly manner as they enter the store. Provides fast and efficient service. Thanks the customer. + Rings customer sales using an electronic cash register. Receives money, gives correct change. Refunds cash for returned merchandise and/or exchanges merchandise. + Assist with shift change by counting money in cash drawer at the beginning and end of a shift. + Uses special equipment to process specialty products, such as money orders, credit card purchases, checks and lottery sales and redemption's. + Check identification for restricted sales. + Checks and replenishes stock on food service supplies such as cups, lids condiments, napkins, straws, and stirrers. + Cleans and sanitizes all equipment used for service or stocking food service products using the three sink method. + Cleans all areas, using proper cleaning procedures and materials, including (but not limited to) counter tops, microwaves, shelves, floors, windows, cooler doors, food service equipment, restrooms, and parking lots. + Cleans and empties trash containers. + Stock shelves and cooler, rotates and front faces stock. Removes all damages and out of code merchandise from the shelves. Price merchandise according to the price book. + Check in vendor deliveries as needed using company guidelines. + Complete bad merchandise form. + Assumes other duties and responsibilities as assigned to accommodate store operational needs. Qualifications + 18 years of age or older + Ability to read, write, speak, and understand English + Basic math skills (addition, subtraction, division, and multiplication) Please use a valid email when applying so we can follow up with you and let you know what's happening in the hiring process. INDCEN Requisition ID2018-3324 Position Type (Portal Searching)Part-Time BrandFas Mart


Toxic Licensing | CR 264
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Mike updates on spinning up his business in Florida, we debate limiting the use of the GPL & try to better understand the recent System76 Pop!_OS news. Plus the industry is going all in on AI & spending less and less on other types of research. Mike discusses the huge potential issue that could be facing developers down the road.