text:
My own personal opinion - the chapter on Bluetooth, the appendix on CAD installation, and the Design chapter are worth the price of the book alone. And wait until you see the CAD building instructions - IMO they are some of the best CAD renderings around and many of us think they will set a new standard for the publishing industry :)
We hope you like the book - the sheer amount of work that went into creating it is unbelievable and the team is to be congratulated. We feel very honored to be able to add yet another piece to the LEGO MINDSTORMS NXT community and hope to do more in the near future.
link to download the Table of Contents PDF file
Introduction - standard stuff, really.
Part I - Beyond the Basics
Chapter 1 - LEGO MINDSTORMS NXT system - written by Jonathan Daudelin and covers the 2 MINDSTORMS systems (RIS and NXT), parts, electronics, etc. If you're a kid, this is a great chapter to let your parents read... if you're a parent, this is a great chapter to help you get your kids excited about what they can do with the kits.
Chapter 2 - Grammar of NXT - Brian Davis wrote this chapter, and if you really want to gain a better understanding of the software, NXT-G, works, this is your chapter. He covers MyBlocks, loops, switches, wires, and more. Even if you're experienced with NXT-G,
it's a great chapter to read because of the commentary included.
Chapter 3 - NXT-G Problems and Solutions - and the follow-up chapter, also written by Brian, is a great little summary of some of the more common problems beginners (and advanced users) find with NXT-G. Pay special attention to his discussion on variables - a great little discussion.
Chapter 4 - Debugging - written by me, Jim Kelly, I realized early on that the debugging ability of NXT-G was limited, but there are workarounds. I show you how to use some of the programming blocks as troubleshooting tools (WAIT, SOUND, DISPLAY blocks) as well as
discuss the value of proper commenting in a program.
Chapter 5 - Making sense of sensors - Fay Rhodes and Jonathan Daudelin co-authored this chapter, and it's a nice discussion of the included sensors and their configuration panels. Also
discussed are the WAIT and SWITCH block variations of the sensor configuration panels. There's also a nice table showing all the data plug symbols and their data type (number, logic, text) along with an easy-to-follow summary of how they are used.
chapter 6 - Design - Lou Morris has written one very thorough chapter on Design Theory. This is a "must read" chapter and has some great stuff in it on how to start planning, testing, and
developing a robot from beta to final version (design cycle). He includes some worksheets, too.
Chapter 7 - Bluetooth on NXT - Another chapter by Brian Davis,this is THE CHAPTER TO READ if you are confused or having trouble with Bluetooth or just want to understand more about how it works. Bluetooth seems to give people a lot of trouble, but this chapter
will clear all that up.
Bluetooth) and discusses the sometimes confusing READ MESSAGE and SEND MESSAGE blocks.
Part II - The Robots
Chapter 9 - RaSPy - The robot that sort of started the collaboration idea for our book. RaSPy plays rock-scissors-paper and every robot chapter, including this one, comes with complete
building and programming instructions that are easy to follow, easy on the eyes, and easy to understand with good commentary. This chapter was created by Jim Kelly, Matthias Paul scholz, and Brian Davis.
Chapter 10 - Beach Buggy Chair - based on a real-life product, Fay and Rick Rhodes have provided you with the plans to build a robot that will get moving over some sandy terrain.
Chapter 12 - CraneBot - seen on the cover of the book, Martijn Boogaarts has provided plans for one of the most interesting and complex robots in the book. If you follow the plans, though, you can build and program this thing with no problems. It's amazing to see when it's completed.
Chapter 13 - Slot Machine - Matthias Paul Scholz has provided very detailed plans for the only robot in the book that requires an additional NXT kit. But if you have access to a friends NXT kit or a second kit at school, this is one project to try. Take your time building it and it will work like a charm.
Chapter 14 - BenderBot - created by Christopher Smith, this little bot will have you making your own music (of sorts). The best part is how easy you'll find to modify this robot to do your own twists on sounds.
Chapter 15 - ScanBot - Jonathan Daudelin has provided plans for building another fairly complex robot that can scan in an image (small drawing or other sketch) and recreate it on the screen. A fun robot to play with, but you'll also learn a LOT about programming from Jonathan's project.
Chapter 16 - Marty: Performance Art Robot - created by Rob Torok, you are not going to believe some of the complex drawings this robot can handle. Rob includes plenty of photos of actual drawings that Marty can do, and you'll find this robot also fun to modify.
Appendix A - Differences between Retail and Education kits - Jonathan has created a nice comparison here for those needing more detail on the differences and why one might favor one kit over another.
Appendix B - This is another one of those "MUST READ" sections of the book. Christopher Smith has created a tutorial/walkthrough for installing the CAD programs that were used to create the building instructions used in this book. If you want to create BIs like the ones you see in the book, this is your starting place. Chris has done an excellent job in clearing up some of the confusion and complications involved in getting CAD installed and working properly.


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SC Senate defeats effort to expand Medicaid
COLUMBIA, S.C. (AP) — South Carolina senators defeated another attempt by Democrats to extend Medicaid coverage under the federal health care law.
The Senate's 23-19 vote Tuesday rejected inserting the expansion into its 2013-14 budget proposal. It represented supporters' closest vote yet.
Republican Gov. Nikki Haley has remained steadfast in her opposition of the expansion. The U.S. Supreme Court decision upholding the health care law made the Medicaid provision voluntary. But the decision ultimately is up to legislators.
House Republicans defeated attempts during that chamber's budget debates along party lines. The Senate Finance Committee's budget plan advanced to the floor after Democrats voted "present" to protest it not including the expansion.
The Senate budget debate is in its second week.
Another issue expected to bring prolonged debate is private school choice.
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said on Wednesday, May 22 at 12:18 PM
Thank you Governor Haley and Senators of the SC legislature....legal law-abiding, intelligent South Carolinians do NOT WANT freebies/government take care of me RULES. That destructive generational behavior will always exist in our fair State but not due to South Carolina's elected legislature/Governor. Again, SC Senate AND Govenor Haley....JOB WELL DONE...continue fighting for our State's people!!!!!!!!!!!!!!122079582
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Flexible Sigmoidoscopy Center - Riverside, CA
Riverside Gastroenterologist Doctors for Flexible Sigmoidoscopy
Type of Physician: Gastroenterologist
What is a Gastroenterologist?
A subspecialty certification by the Board of Internal Medicine; practitioners focus on the stomach, intestines, colon, liver, and gallbladder (digestive organs). The gastroenterologist treats conditions such as abdominal pain, ulcers, diarrhea, cancer, and jaundice and they consult with surgeons when abdominal operations are indicated.
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NEW ORLEANS (AP) — One of the most popular fish in the Gulf of Mexico has rebounded enough to allow a second season this year for red snapper, scientists say.
The Gulf of Mexico Fishery Management Council meets in
"This is a real pivotal moment in fisheries management. We've got a population that's rebuilding in impressive fashion," said Libby Featherston, deputy director of fish conservation for the environmental nonprofit Ocean Conservancy.
Options on the agenda include leaving the quota and the federal season that ended June 28 untouched. But nobody expects that. After all, the council has a regularly scheduled meeting next month in
"I think everyone's in favor of increasing the quota and allowing the stock to rebuild," Featherston said.
She said the only other time she could remember the council setting a supplemental season was in 2010, when the BP PLC oil spill kept much of the
Scientists assess the stock every few years. The latest assessment became final in May, too late to use it to set this year's quota of 8.46 million pounds. But it indicates that the total could be set higher.
The council will consider whether to let this year's current quota stand or increase it to 10 million, 11 million, 11.5 million or 12.1 million pounds.
A 12.1-million-pound quota would require scaling back quotas for subsequent years, said Emily Muehlstein, the council's outreach specialist.
Scientists believe the lower quotas would stand for several years, she said, and the council wants to keep the quota stable through 2015.
"I would absolutely go for that. You don't want to set expectations up and then crank it down," said Assistant Secretary Randy Pausina, head of fisheries for the Louisiana Department of Wildlife and Fisheries. He said he wants the highest sustainable quota.
Each commercial fishing boat is assigned its own quota. Those boats don't have a set season but must stop taking red snapper when their quotas are met. Recreational anglers, including chartered fishing boats, have daily catch limits and set seasons in federal and state waters.
If the council increases this year's quota, it must decide whether a supplemental recreational season should begin in September or October, for how many days, and whether those should be consecutive or weekends-only.
Anglers, guides and commercial boat captains have posted a variety of suggestions at the council's website; additional comments there will be accepted until noon Wednesday.
"I think the Council should start a tagging system for snapper," wrote Richard Meyers of
Many recreational anglers want a weekend-only season, saying weather and the work week left them able to fish only a few days out of the 28-day federal season in June. Mathew Dillahunty of
Michael Short, a charter captain from
Richard Arguelles of
Fishery management council: http://www.gulfcouncil.org/
To file comments: http://www.gulfcouncil.org/fishery_management_plans/scoping-thru-implementation.php
Ocean Conservancy: www.oceanconservancy.org
Louisiana Department of Wildlife and Fisheries: www.wlf.louisiana.gov/


text:
|Sommaire de 2 commentaires :
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A winner of 2012 world luxury hotel awards, the prestige contemporary Thai style all villa resort,
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text:
Reporter Ryan Gabrielson covers issues concerning for the California Watch, which is founded by the Center for Investigative Reporting. On Saturday, I interviewed Gabrielson and asked him about the use of databases for his last story about mishandled sexual abuse cases in California development centers.
Gabrielson said that the investigation started with a tip that there was overtime abuse by the police force at the development centers. He said he wanted to examine the police force's caseload to understand how they operate.
One of the difficulties was that he could not request all of the criminal investigation files or a log of the criminal investigation files. He said that they are confidential in California and that he had to find an outside source to find information.
"The department of developmental services that runs the police force is a nightmare to deal with in terms of public records," Gabrielson said. "They stall, they deny, and they go to law. It's a mess."
This department also prohibited its employees from speaking to the press, Gabrielson said. He said that all of the records about the internal cases came from people in the system and that they risked their jobs to provide him with the data.
The main difficulty with using large sets of data is to clean them, Gabrielson said. Sometimes this process takes a couple of weeks and he said that it takes far longer to clean the data than analyze it.
Gabrielson said that students who want to become reporters should take a statistics class in college. He said that it was important to understand the method that the data follows. Students also need to learn the software, Gabrielson said. They should definitely know excel, he said, and a statistics analysis package would help as well.


text:
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Julie Heithecker / 8/25/2014 - 12/18/2014
This course will provide students an overview of computer hardware, operating systems and Office software applications. This course meets the computer literacy graduation requirement if passed with a 70% or better. Students earning a D grade will receive credit for the class but will need to either repeat the class or complete the CSA exams to meet graduation requirement.
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Aug 31, 2008
PnP - a simple "industrial" robot
It started as part of a challenge that involved building LEGO using only LEGO - a hard challenge in the first place, but we were trying to do it with only the parts available in a NXT kit. A lot of folks commented that this would be "very difficult" without some easy mechanism for linear motion, like gear racks... but I wasn't convinced. First, there were other ways to generate linear motion (lead screws, or certain mechanical linkages). And second, I wasn't sold that linear motion was required... so I set out to do it without linear motion, and using only three motors. I didn't finish (close, but no cigar), but what I did come up with was an elegant, and very simple way of manipulating 2x4 elements... or other parts. PnP is a two-degree-of-freedom arm, with a static mechanically leveled "finger" at the end. It can pick up and place 2x4 elements (or larger) and place them somewhere else, as well as activate levers, triggers, or slides. It could push elements together, measure element size (by pushing them against something hard, and seeing how far the arm has traveled), or it's shape (for elements of a certain size, it could be used to actually "feel" the upper profile, or determine where it balances). Since it can position the "finger" to a high accuracy and precision, the motions can be both precise and repeatable - & it's all programmed in NXT-G, with a fairly simple program (one My Block is used to move a specified joint to a specified location, with the speed as one of several variable parameters). Yes, it will maintain it's accuracy over a couple hours... in fact, the LEGO pieces very slowly separating in the framework are a bigger problem.
In this case PnP is set up as a simple color sorter - that's nothing new, there have been lots of those, many perhaps better done than this one. The difference is that PnP is much more general purpose - it could study the sequence of bricks in a pallet, and replicate that pattern from "raw materials" pallets (even unsorted ones), or determine if the pieces it's lifting were 2x4 bricks, or 2x4 plates. Since it uses only one sensor (to determine initial placement), it is free to incorporate several other sensors (like the HiTechnic color sensor here)... and it still has a motor port unused, to perform still other actions (moving the entire PnP arm along a track? Running a "brick press" or conveyor? Use your imagination). It would be very easy to set up more than one PnP arm in a row with their workspaces overlapping, allowing a robotic "assembly line" as items were passed down the row... or have a mobile pallet move along a line of PnP's to have things added on or stacked for transport.
Most LEGO robots have terribly narrow ranges of function - they are designed to do one thing, and only one thing, very well. But that doesn't have to be the case. It will be interesting seeing what EOAT's ("End Of Arm Tools") I can come up with for PnP as well, and just how far I (or you!) can take this.
Anybody want to build an assembly line?
Brian Davis
16 comments:
- Micah E. said...
I'm literally astonished at the utility you've proven the NXT to have... this is... wow!
- Sep 1, 2008, 2:59:00 AM
I really like this one. Beautiful work. Good video, too.
- Sep 1, 2008, 4:02:00 AM
- Guy Ziv said...
Well done Brian! Can PnP 'sense' if it has a brick on it? Maybe if you coast the motor for a short time and immediatly brake it you can find out if there is a weight or not?
- Sep 1, 2008, 5:34:00 AM
- Brian Davis said...
Guy: perhaps you could, but there are a couple of easier ways. For this implementation, PnP uses the color sensor. When it waves in front of it, if it sees only 'black', it assumes no brick, and advances to the next pallet. The other way takes no (additional) sensors at all. Have a "test stand" that the arm can press the brick up against, like a ceiling. The height it "stalls out" at determines how tall the object on the "finger" is. Very simple, very reliable... and it doesn't take any additional sensor.
- Sep 1, 2008, 5:58:00 AM
- Jared said...
Wow. What an amazing and elegant robot! Any plans to post building instructions and/or the program you're using? Also, how many parts in addition to the retail NXT kit are you using there? I'm slowly building up my technic assortment, but right now only have the Dirt Bike and the NXT kit... although I did just order the Motorized Bulldozer... muhahahaha.
- Sep 1, 2008, 7:03:00 AM
- Matthias Paul Scholz said...
Impressive work (robot, video and programming), in particular the elegance of your solution(s).
It's always nice to see how the combination of "simple" mechanical elements and "simple" routines creates "beings" that bread the illusion of deliberate behavior of their own.
Any associated web page or bulidng instructions?
- Sep 1, 2008, 5:53:00 PM
- Robotica said...
Brian do you plan to work with Dave parker to get this in a NXT-kit model ?
- Sep 1, 2008, 6:22:00 PM
That is just amazing... The nice thing is that you can build a four-step assembly line with only two NXT's.
- Sep 1, 2008, 11:51:00 PM
- Brian Davis said...
OK, clearly I'm going to have to post some building instructions... :) . I'm fairly certain the PnP arm can be done with just a stock NXT kit, except uses some half-width elements. I can probably redesign it without them, but it will be bulkier. I'm not sure how much of the associated "infrastructure" you can simultaneously construct out of just the retail kit as well, I'll have to see.
Yes, I've got to admit, it's kind of fun making a descent video... there's a lot of creativity there as well as in the creation itself.
- Sep 1, 2008, 11:53:00 PM
- Damien Kee said...
Absolutely love it!
So simple and elegant.
- Sep 2, 2008, 2:25:00 PM
- bazmati said...
Brian, To answer your question, YES i am interested in building an assembly line. This would be an awesome project to work with a class or workshop team, The colored brick could be Lego boxes that need to be placed by color on shipping crates on an NXT train or NXT vehicle that follows a black line to a warehouse where they are then placed in storage by another robot. This Industrial Robot of yours is marvelous and is an inspiration to me. Thanks
- Sep 3, 2008, 2:10:00 AM
- Brian Davis said...
bazmati: I've got the LDD and .rbt files coming. Stay tuned...
- Sep 4, 2008, 11:25:00 AM
- Brian Davis said...
Huh, revisting this, I guess I should add the comment that I've put PnP up on NXTlog, so others can build it if they so desire:
- Nov 20, 2008, 4:48:00 AM
- mark said...
- This comment has been removed by a blog administrator.
- Dec 11, 2008, 6:17:00 PM
- Jane said...
- This comment has been removed by a blog administrator.
- Dec 12, 2008, 2:44:00 PM
- Steve Putz said...
I recently found Brian's great PnP video. I did build a version from just retail NXT kit parts. I can share a ldraw file if anyone's interested. email@example.com
- Feb 13, 2009, 3:17:00 PM


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Topic Page
Nation Topics - Journalists and Journalism
News and Features
For more than three decades, he was perhaps the most prominent establishment voice for the antiwar, human rights and civil rights movements.
The New York Times's new ombudsperson keeps the Gray Lady honest.
Andrew Sullivan garners much attention for his bold moves as a blogger. But what about the quality of his judgments?
News organizations thrilled to exploit the information Manning uncovered are deeply afraid of being associated with the brave whistle-blower himself.
While neglecting the real issues—and ignoring the radicalization of the Republican Party—reporters obsess over made-up "gaffes" and meaningless campaign moments.
The Wikileaks founder has been in Ecuador's London embassy for six weeks awaiting a decision on his request for asylum.
The WikiLeaks cables not only uncovered extensive Washington influence in the region, it also ushered in a new age of investigative journalism.
The Nation's longest-running columnist was a witty, brilliant, coruscating presence in our pages for almost thirty years.
For what the ancients called avarice and iniquity, Alex's hate was pure. No writer had a deadlier sting against the corruptions of empire.
Cablegate did not just reveal secrets, it inspired a new culture of investigative journalism.


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Linking nutrition programs with Safe Routes to School's focus on physical activity is enabling schools in Orange County, Fla., to target school wellness with a holistic approach designed to reduce childhood obesity.
Orange County Public Schools, the 11th largest school district in the nation, requires that each of its schools form a Healthy School Team. Dr. Toni Moody, founder of the non-profit Health Masters Club, viewed Safe Routes to School as the physical activity component of health promotion among schoolchildren. She used SRTS to complement the Team Nutrition Initiative, a U.S. Department of Agriculture's program. Her efforts resulted in the Health Masters Club Step Up to School TM wellness program.
Moody, a pediatrician, founded Health Master's Club in 2003 with the primary goal of reducing childhood obesity. In 2007, the Florida Department of Health and Health Masters Club applied for a SRTS grant that would complement the existing school wellness curriculum.
The Florida Department of Health was awarded a $50,000 non-infrastructure grant from the Florida Department of Transportation to pilot the Step Up To School TM wellness initiative at Ivey Lane Elementary School and Wheatley Elementary School, both of which serve about 400 children each from pre-kindergarten to fifth grade. Health Masters Club has a contract with the Orange County Health Department, which reimburses costs for some of the services offered under agreement with Health Masters Club.
"A key factor in the success of our program was establishing linkages with the Florida Department of Health and Orange County Health Department to promote Safe Routes to School as a gateway to making communities healthier," Moody says.
Before beginning the program, the Healthy School teams surveyed parents to identify the top three reasons why they did not allow their children to walk to school. The primary cause was concerns about neighborhood safety. Teachers conducted in-class hand tallies at Wheatley Elementary and Ivey Lane Elementary to determine how many students walked to school both before the program began and at the end of the program's first year. In addition, as part of on-going childhood obesity studies sponsored by the Centers for Disease Control and Prevention, staff and students from a local university measured the Body Mass Index (BMI) of Wheatley Elementary students.
Health Masters Club coordinated a comprehensive education plan at four schools (Ivey Lane Elementary, Wheatley Elementary, Lake Silver Elementary and Apopka Elementary) to promote physical activity among students and to encourage parents' support for walking and bicycling to school. Activities included PTA presentations, letters to families from principals, Wellness Wednesdays on Wheels, a 10-day countdown to Walk to School Day, safety lessons for students and other school arrival options for parents such as "Park and Walk" locations and walking school buses. A 10-lesson safety curriculum was provided to second- and fourth-graders, and Epilepsy Foundation of Central Florida provided bike helmets for every student who completed a bike safety and helmet-fitting module. Healthy School Team teachers were provided mini-grants to become certified in Florida Elementary Traffic Safety Education.
To address parents' concerns about neighborhood safety, the Healthy School team reached out to community partners to involve them in the efforts. A county-wide mapping assessment completed by the Orange County Traffic and Engineering Department identified potential minor infrastructure improvements, such as signage and flashers, and a Pedestrian Safety Committee was formed to link the health, transportation and neighborhood stakeholders. Parents participated in a letter-writing campaign to request the safety improvements.
Results from the in-class tallies showed a 37 percent increase in students walking to school at Ivey Lane Elementary and an 18 percent increase at Wheatley Elementary during the program's first year. Crossing guards help keep count of students who walk or bicycle to school. The number of Orange County schools participating in Team Nutrition Challenge has tripled, and plans are underway to expand the program to Osceola County.
"The mission of the SRTS program awesomely complements those of Team Nutrition," Moody says. "It was a good fit to incorporate and promote the healthy eating message along with the importance of physical activity by walking and biking to school."
For these Central Florida communities, combining Safe Routes to School and Team Nutrition has opened new paths to wellness.
"We can do so much more (for obesity prevention)," Moody says. "And the best way to begin, of course, is in your own back yard."
Dr. Toni Moody
Pediatrician and Founder of Health Masters Club
(407) 342-0303 (cell)


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The Technical University of Crete (TUC)
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The purpose of the institution is to conduct research, to provide under-graduate and graduate educational programs in modern engineering fields as well as to develop links with the Greek industry. The Department of Environmental Engineering is the youngest depart-ment of the Technical University of Crete. It started its activities in the fall of 1997. It is located in a ...
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Team Kilimanjaro have always endeavoured to keep our climb costs accessible to all prospective climbers by ensuring near full-
The primary causes of the increases have been the sharp rise in fuel costs and the loss in value of the US Dollar. These two factors have resulted in substantial increases in the costs of transfers and purchases of provisions -
We understand that these increases may mean that some of those needing to maintain more stringent control of their budgets may be disappointed and feel they need to look elsewhere to book their proposed climb. To assist in such situations we have created a new booking system that allows solo individuals or small groups to publish their proposed dates on an open forum so as to attract others to their booking, thereby reducing their per person climb costs.
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Will this product affect the resolution?
I am thinking about getting this to protect my iPod but I am held back by the awesome display it has. Will this affect it in ANY way?
- Asked by Michael B from Elmira
Power Support HD Anti-Glare Film Set for iPod touch (4th Gen.)
Product No Longer Available
4 Answers from the Community
Best Answer:
I did not notice a decrease in quality AT ALL when I installed the protector. Still looks great, plus it feels better and reduces glare. Win win win situation!
- Answered by Justin W from Lexington
Instead of being crystal clear, the screen now has a shimmery layer. Everything still looks very sharp. It's a trade-off, what clinched it for me was not seeing my stupid reflection on the screen any more. Also I find my finger slides more easily and without sticking. The film is easy to keep super-clean and it resists oils.
- Answered by Beroe M from Berkeley
Defiinitely does. Mine looked foggy even after all the bubbles were gone.
- Answered by Aliza M. H from Los Angeles
If u wanna have ur ipod protected go with this ....obviously u cant enjoy the retinal display to the maximum while the flim is on.
- Answered by Vignesh V


text:
Center for Aviation Safety Partners with Jet Airways
Saint Louis University's Center for Aviation Safety Research has entered into a 5-year partnership with Jet Airways (India) Ltd., called the Safety Management System (SMS) Advantage Program.
The SMS Advantage Program creates a customized safety management system by providing a detailed assessment of the organization and creating training solutions tailored specifically to the organization. The SMS Advantage Program goes beyond current SMS solutions by developing an integrated system that is more sustainable, achieves higher safety performance results and provides greater organizational safety culture development.
The SMS Advantage Program presents training that provides employees with valuable safety assessment skills, leading to better risk identification and management, resulting in greater financial performance.
The SMS Advantage Program not only enables Jet Airways to meet the International Civil Aviation Organization's SMS requirements, but also develops the organization's ability to analyze their current state of safety and how to leverage SMS as a business management tool to improve cost controls and financial results.
Saint Louis University (SLU) has a long history of providing aviation organizations with world-class safety initiatives. SLU has worked with some of the world's largest airlines and is proud to have been selected to partner with Jet Airways. The SLU team consists of professionals with many years of industry, research and academic experience.
To learn more about SLU's Department of Aviation Science, Center for Aviation Safety Research, or news and upcoming conferences, visit: http://parks.slu.edu/.
Saint Louis University's Parks College of Engineering, Aviation and Technology is the first federally certified flight school in the nation. Rooted in a tradition of hands-on learning, Parks College has earned a worldwide reputation for its aviation and aerospace engineering programs and has emerged as a leader in biomedical, electrical, mechanical and other engineering disciplines.


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Disneyland Park
Kids, Tweens, Teens, Adults
Dark, Loud, Small Drops, Thrill Rides
Accessibility and Other Information - Opens Dialog
FASTPASS, What's New, Rider Switch
Race along the railroad tracks in a runaway mine car—and watch for new surprises along the way! This classic Disneyland attraction is back, and better than ever before.
Amid rugged bedrock and desert cactus, venture inside a barren mountain to the Big Thunder Mining Company, established in the early days of America's Gold Rush. Traipse down and discover a mysterious 5-car locomotive waiting to take you on a journey inside an abandoned mine shaft.
Hurl forward into the darkness of a tunnel as the train's wheels chug back and forth across a winding track. Swoop around sharp turns and dip and drop into canyons and caves, darting through the ghost town of Big Thunder.
Peel under a booming waterfall, past rock formations, and dodge a rumbling boulder from an unexpected landslide. Glimpse the remnants of an earthquake and behold a bevy of local critters—including bats, opossum and a goat with a stick of dynamite in his mouth—before hastily making your way back to the safety of the railroad station.
Legend has it that a supernatural force dwells within the mountain. When gold was first discovered in the 1850s, a mining company was established. But soon, eerie things began to occur. Miners heard ghostly sounds, cave-ins became frequent and equipment mysteriously failed. Trains would take off and race through the mine and around the mountain driverless! Word got out that the mine was haunted and Big Thunder became just another ghost town.
Years later, when eyewitness accounts had faded into folklore, new prospectors resurrected the mining company and began blasting into the spooky mountain once again. But as you may soon discover, some legends turn out to be true.
Big Thunder Mountain Railroad is a speedy rollercoaster-type attraction designed with your entire family in mind. However, some parts of this attraction are bumpy and, in some instances, take place in the dark.
The miniature town of Big Thunder that you roll past at the end of the attraction predates Big Thunder Mountain Railroad. Originally named Rainbow Ridge, the town is one of several elements from the Rainbow Caverns Mine Train (later called Mine Train through Nature's Wonderland) that transported Guests around Frontierland from 1956 to 1977.


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Reed Shuldiner
Alvin L. Snowiss Professor of Law; Co-Director, Center for Tax Law and Policy
Reed Shuldiner is one of the nation's top experts on the Federal income tax. He is best known for his seminal work on the taxation of financial products.
- Tax Policy
- Income Taxation
Articles and Book Chapters
Comment on Does the United States Tax Capital Income, in TAXING CAPITAL INCOME (Henry J. Aaron, Leonard E. Burman, C. Eugene Steuerle, eds., 2007).
Lessons From the Limitation on Itemized Deductions, 93 TAX NOTES 673 (2001) (with David Shakow).
A Comprehensive Wealth Tax, 53 TAX L. REV. 499 (2000) (with David Shakow).
Index the Code, Not Capital Gains, 79 TAX NOTES 225 (1998).
Indexing the Tax Code, 48 TAX L. REV. 537 (1993).
A General Approach to the Taxation of Financial Instruments, 71 TEX. L. REV. 243 (1992).
Consistency and the Taxation of Financial Products, 70 TAXES 781 (1992).
Corporate Integration: Do the Uncertainties Outweigh the Benefits?, 47 TAX L. REV. 653 (1992).
More publications can be found here.
Research Areas
- Federal Income Taxation
- Wealth Taxation
- Taxation of Financial Products
Yale - Visiting Professor (1994-95)
Cadwalader, Wickersham & Taft - Counsel (1989-90)
Attorney/Advisor to the Assistant Secretary for Tax Policy, Office of Tax Legislative Counsel, U.S. Treasury Dept. (1986-89)
Wilmer Cutler, & Pickering - Associate (1984-86)
Penn Law - Alvin L. Snowiss Professor of Law (2005- ); Associate Dean (2000-02); Professor of Law (1995-2005); Assistant Professor (1990-94); Center for Tax Law and Policy at Penn - Co-Director (2007- )
Harvard - William K. Jacobs, Jr. Visiting Professor of Law (Spring 2005)
- Federal Income Taxation
- International Taxation
- Taxation of Financial Products
- Tax Policy


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Nude Dancers (Nackte Tänzerinnen)
Ernst Ludwig Kirchner (German, 1880–1938)
Collection work meeting criteria specified in Introduction.
Ernst Ludwig Kirchner Estate (Erna Schilling), Davos-Frauenkirch, June 15, 1938; to Kunstsammlung Basel, 1946-1947; sold through Gutekunst & Klipstein, December 3, 1949 (lot 140); to William S. Lieberman, New York, 1949; to The Museum of Modern Art, New York, 1951
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Topic Page
Nation Topics - Journalists and Journalism
News and Features
All too often, the most prestigious perch in journalism—the New York Times op-ed page—is given to those who flatter the powerful.
As the old journalism dies, what does the Bezos era portend?
Why, to Beltway reporters, Glenn Greenwald is no Bob Woodward.
A portrait of the journalist and intellectual who championed the caboclos of the young Brazilian republic.
How did a journalist whose career was devoted to exposing injustice end up writing a film like Zero Dark Thirty?
Reports of President Obama's demise turn out to be greatly exaggerated.
The war between democracy and aristocracy in Janet Malcolm's Forty-One False Starts.
Media observers horrified at the thought of a Koch takeover of the Tribune Company are more sanguine about Murdoch. What are they thinking?
Mira Nair's latest film includes a character who's a journalist and CIA agent. Is this responsible filmmaking?


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i really love this thread too. victorias secret is my lifesaver. one time i tried to buy a bra online and they sent it in my size but it felt about two cups too small. i will never buy bras over the internetz again.
i really love this thread too. victorias secret is my lifesaver. one time i tried to buy a bra online and they sent it in my size but it felt about two cups too small. i will never buy bras over the internetz again.
'03 '04 '05 '06 '07 '08 '09 '10 '11 '12 '12 '13 '13 '14 '15
The only thing I've ever had from Victoria's Secret is one pair of underwear that I got for free with a voucher that came in the mail.
My very favorite underwear came from Express, but they closed the one here when I was like fifteen.
funny story about express underwear...
years ago, they used to send out those postcards that were $15 towards a purchase at express, excluding accessories. they wanted you to spend more than $15, but i was poor. so i figured that i could get a couple of pairs of underwear with the $15.
i went to the counter and the sales lady said i couldn't use the coupon cause it wasn't good on accessories. i was like "ummm, i don't know what you do with your underwear, but underwear is not an accessory". and she argued with me. i kept saying "what am i going to do, wear this on my wrist?!"
we went back and forth and i was like "i understand if y'all aren't going to take the coupon, but you have to realize how crazy it is to call underwear an accessory." they never admitted it and i didn't shop at express for years after that, lol.
Steak. Or pretty much anything with iron.
Makes sense.
Omg that sounds good Ivy. I rarely eat red meat, but on Friday I had this amazing amazing amazing Argentinian-style steak stuffed with a roasted garlic/ caramelized jalapeno mixture and topped with chimichurri sauce. I am still thinking about it four days later.
Can't you just use any thick-bottomed pot to pop popcorn? That's what I have done in the past.
What I do is get a really thick-bottomed saucepan or pot. The fill the bottom with a thin layer of oil (I really like olive oil for the taste, but use whatever you like). Heat on medium heat for a couple of minutes until the oil is viscous and you can tell that it's hot. Then, add corn kernels. But the trick is that you can only have one layer, so don't add too much. You can shake it a bit so they sit evenly across the bottom of the pot but they should all be touching the bottom. Then, cover the pot and let it sit on medium-low heat until the popping has stopped (or nearly stopped). No stirring should be required, although sometimes I pick up the pot and give it a few quick taps onto the burner with the lid still on, halfway through popping, just to make sure all the unpopped kernels have gotten to the hot bottom.
Wait, I don't mean viscous. What's the opposite of viscous?
2015 Collaborative Playlist on Spotify.
I get really horny just before my period and when I'm ovulating. My husband always knows where I'm at in my cycle.
Naw, I'll keep the horny.
I feel so left out in this thread.
I sometimes crave chocolate when I'm premenstrual but mostly I just want to maim everyone.


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July 22, 2013
Links: Australian Glass and the Pacific Northwest at Museum of Glass
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The Shape of Things by Neil Labute at Dukesbay Theater
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Action/Adventure, Animation, Comedy
Fearless optimist Anna sets off on an epic journey-teaming up with rugged mountain man Kristoff and his loyal reindeer Sven-to find her sister Elsa, whose icy powers have trapped the kingdom of Arendelle in eternal winter. Encountering Everest-like conditions, mystical trolls and a hilarious snowman named Olaf, Anna and Kristoff battle the elements in a race to save the kingdom.
Rated PG for some action and mild rude humor.
Visit the official site
Cast: Kristen Bell, Idina Menzel
Produced by:
Directed by: Chris Buck
Written by:
Running time: 1hr 48min
Opens: Nov 27, 2013 Nationwide


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I know I know, Im crazy! I know what you are thinking; you have already seen a project life spread from me. So, heres the scoop after I uploaded my project life page I had a craving to keep scrapping until it felt just right to me. So after multiple attempts at various templates I found this layer works and it well, just worked! I rotated it vertically and started playing with a design I have always wanted to try, an 8.5 x 11 layout! I know Amy is trying to keep it simple too and try this size. So, now I can say Im happy with this new size, and Im ready to dive in and share my weeks with everyone in the project life gallery!!
*Designer Digitals*
Katie Pertiet
This Life Layered Templates No. 01 (used this week)
Grunged Up Alphabet No. 01 Brushes and Stamps
Countable Seals Brushes and Stamps
Wood Shop Paper Pack No. 01
Sun Porch Element Pack (twig)
Pocket Cards: 4x6 Vintage No. 01
Classic Cardstock: Details Paper Pack (neutral background)
Always and Forever Brushes and Stamps
Andrea Victoria
Journalist No. 03
Pattie Knox
Staple Its!
Ali Edwards
Twenty Thirteen Brushes and Stamps
This Is Love Brushes and Stamps
Studio Double-D
Readymade Blocks: Photography No. 01
Layer Works No. 025


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Drawing is a visual art that makes use of any number of drawing instruments to mark a two-dimensional medium. Common instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, chalk, pastels, markers, stylus, or various metals like silverpoint. An artist who practices or works in drawing may be referred to as a draftsman or draughtsman.
A small amount of material is released onto the two dimensional medium which leaves a visible mark—the process is similar to that of painting. The most common support for drawing is paper, although other materials such as cardboard, plastic, leather, canvas and board, may be used. Temporary drawings may be made on a blackboard or whiteboard, or indeed almost anything. The medium has also become popular as a means of public expression via graffiti art, because of the easy availability of permanent markers.
The word 'drawing' is used as both a verb and a noun:
In simplistic terms, drawing is distinct from painting, perhaps more so in the Western view; East Asian art, which generally only uses brushes, has historically made less distinction between the two. Critics may praise a painter's ability to draw well, meaning that the shapes, especially of the human body, are well-articulated, or a drawing may be considered painterly.
Adding confusion, similar tools and media may be used in both tasks. Dry media normally associated with drawing, such as chalk, may be used in pastel painting. Drawing may be done with liquid media applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support. Drawing is generally concerned with the marking of lines and areas of tone onto paper, but watercolor painting uses a paper support. Traditional drawings were monochrome, or at least had little colour, while modern coloured-pencil drawings may approach or cross the boundary (if there is one) between drawing and painting.
The term drawing suggests a process and intent that is distinct from the traditional act of painting. While there are drawings that are finished artworks, drawing is often exploratory, with considerable emphasis on observation, problem solving and composition, often as a means of preparation for a painting. In contrast, traditional painting is often a means of execution or finishing an artwork. It is fair to note that modern painters often incorporate methods of drawing in their painting process, particarly in the early stages of a painting.
Drawings may be representational, depicting objects, living beings, or scenes which the artist views, remembers, or imagines. They may be realistic to the point of lifelike resemblance (e.g. traditional portraits), architectural drawing or looser approximations of reality (e.g. sketches), and highly stylized (e.g. cartoons, caricatures, manga), or abstract (e.g. automatic drawing, entoptic graphomania). Drawing may also be a form of heraldic art, with a range of formality from finished works of heraldic art to tricking.
The medium is the means by which ink, pigment, or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or water-based (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencil, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink.
For pen and ink work, typing paper is often used for practice drawings, but heavier paper holds up better. Bristol board makes a hard surface that is especially good for ink or fine detailed graphite drawing. Coldpressed watercolor paper is sometimes favored for ink drawing due to its texture. Tracing vellum is often used for experimenting on top of a pencil drawing, prior to committing a technique to the final page. True vellum produces very finely-detailed painting or drawing.
Various tools are routinely used in the process of drawing. These include a pencil sharpener, sandpaper, kneaded eraser, blending stumps, and chamois. Other tools that sometimes prove useful are tracing paper, a circle compass, ruler, frisket, fixative, and drafting tape. The use of an easel or slanted table reduces the distorting effects of perspective. Metalpointing can include silver, platinum, copper, bronze, and even gold. Some of these metals can change color over time through oxidization and produce interesting results.
One new tool for drawing is the computer's 'drawing option'. Contemporary artists have broadened the sphere of associations the term 'drawing' encompasses to a number of unconventional drawing media, including performance and multimedia work, employing the branches of trees as drawing instruments, and fashioning images with carbon deposit from smoke.
Prior to working on an image, the artist will likely want to gain an understanding of how the various media will work. The different drawing implements can be tried on practice sheets in order to determine value and texture, and how to apply the implement in order to produce various effects.
The stroke of the drawing implement can be used to control the appearance of the image. Ink drawings typically use hatching, which consists of groups of parallel lines. Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, is used to form lighter tones, and by controlling the density of the breaks a graduation of tone can be achieved. Stippling, uses dots to produce tone, Texture or shade.
Sketch drawings use similar techniques, although with pencils and drawing sticks continuous variations in tone can be achieved. For best results the lines in a sketch are typically drawn to follow the contour curves of the surface, thus producing a depth effect. When drawing hair, the lines of the sketch follow the direction of the hair growth.
Typically a drawing will be filled in based on which hand the artist favors. A right-handed artist will want to draw from left to right in order to avoid smearing the image. Sometimes the artist will want to leave a section of the image blank while filling in the remainder of the picture. A frisket can be used for this purpose. The shape of the area to be preserved is cut out of the frisket, and the resulting shape is then applied to the drawing surface. This will protect the surface from receiving any stray marks before it is ready to be filled in.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This will hold loose material more firmly to the sheet and prevent it from smearing. However the fixative spray typically uses chemicals that can negatively affect the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows, and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. There are a number of other methods for producing texture in the picture: in addition to choosing a suitable paper, the type of drawing material and the drawing technique will result in different textures. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture will be more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones in close proximity; a light edge next to a dark background will stand out to the eye, and almost appear to float above the surface.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness.
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a "two-point perspective". Converging the vertical lines to a point in the sky then produces a "three-point perspective".
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart will appear slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the amount of contrast of more distant objects, and also by making the colors more pale. This will reproduce the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans the placement of elements in the art in order to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
People have made rock and cave drawings since prehistoric times. By the 12th-13th centuries AD, monks preparing illuminated manuscripts on vellum or parchment in monasteries throughout Europe were using lead styllii to draw lines for their writings and for the outlines for their illuminations. Soon artists generally were using silver to make drawings and underdrawings. Initially they used and re-used wooden tablets with prepared ground for these drawings. When paper became generally available from the 14th century onwards, artists' drawings, both preparatory studies and finished works, became increasingly common. Since that time, each century has produced artists who have created great drawings.
Drawing may also be done as computer art. Computer illustration or digital art is the use of digital tools to produce images under the direct manipulation of the artist, usually through a pointing device such as a tablet or a mouse. It is distinguished from computer-generated art, which is produced by a computer using mathematical models created by the artist. It is also distinct from digital manipulation of photographs, in that it is an original construction "from scratch". (Photographic elements may be incorporated into such works, but they are not the primary basis or source for them.)


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NYU has always sought to use best practices in pedagogy to deliver a very high-quality education to its students. A growing body of data supports the fact that certain technologies, especially when combined with in-person classroom interactions, may enhance learning. In the context of a rapidly changing world that is less tolerant of increased costs of education, and in which various technologies are rapidly improving, NYU, like other institutions, must stay competitive as it strives to provide the best possible education.
Over the past year there has been extensive discussion internationally about "massive open online courses" (MOOCs). These online courses provide a way of reaching significantly larger numbers of students, of extending the global reach of academic programs, and of providing a showcase for institutions' scholarly and teaching excellence. But as technologies and institutions' priorities evolve, what is understood by the term "MOOC" is changing rapidly. In addition, this represents only one part of the broad continuum of technology-enhanced education, which stretches from in-person lecture courses and seminars with digital enhancements, to "flipped" classes, to "hybrid" or "blended" courses, to fully online courses (see question #4 below).
The University's long-term goal is to deploy technology-enhanced approaches that improve the quality of education, enable students to take full advantage of opportunities provided by the Global Network University, increase access to NYU, and preserve the ideals of scholarship and research that have contributed to our success in the past and will fuel our progress in the coming decades.
Decisions about technology-enhanced education at NYU will always reflect the University's commitment to shared governance. As evidenced by the recently established inventory of over 600 technology-enhanced courses and programs across the various NYU schools, curricular decisions are made at the school level, using their existing faculty governance and course - or curriculum-approval mechanisms. At the University level, a standing committee of faculty and administrators, the Teaching Technology Committee (TTC), was established in 2010 to make recommendations to the University leadership regarding institutional investments in instructional technology. One of the first and most consequential recommendations made by the TTC was that the University move from Blackboard to a new learning management system, NYU Classes; this transition was successfully accomplished this past year. In addition, in January 2013, the Faculty Committee on the Future of Technology-Enhanced Education at NYU was created to set forth principles and parameters that can guide the University in using technology to support its academic mission and further its commitment to innovation in teaching and learning, pedagogical practices, and research. In July 2013, the committee issued an interim report, available here. The committee will begin consultations with faculty in the fall 2013 semester and will issue its final report shortly thereafter. Finally, the Board of Trustees has a technology subcommittee that is also considering these issues.
Some (though not all) schools at NYU offer such help for their faculty. At the University level, a new service model has been put in place, beginning in fall 2013. Over the spring and summer of 2013, a collaborative team of representatives from the Libraries, Information Technology Services (ITS), Global Technology Services (GTS), and the Center for the Advancement of Teaching (CAT) worked on the new model. This new approach aims to coordinate, augment, and streamline the instructional technology support services that the various units provide, in order to provide faculty with a simpler means of finding and receiving support for using technology in their teaching. This enhanced service model, which is currently being piloted, involves the following components:
• a new single, user-friendly website (www.nyu.edu/instructional-technology-support) has been created to facilitate access to services and also to provide answers to common questions;
• a new, common intake process, wherever faculty enter the system—e.g., via the website; by calling the ITS Service Desk (212-998-3333; push prompt 4 for "instructional technology support"); or by visiting a facility, such as as the Digital Studio on the 5th floor of Bobst, or the CTE;
• Online text-, animation-, and video-based tutorials—e.g., on how to upload videos into NYU Stream; how to access survey software; and how to create an online test;
• a new workflow, to enable the relevant University units (Libraries, ITS, GTS, the CAT, and interested schools) to direct faculty to the most appropriate resource in the shortest amount of time; and
• new facilities for collaboration and consultation between faculty and instructional technologists.
User feedback will be essential to improving and developing this system over the coming months, and faculty and instructors (including graduate students who lead recitations) are therefore encouraged to submit comments via the new website.
The term "online" is used throughout these FAQs. This is a shorthand convention that encompasses a broad range of technology enhancements to courses. These run from, e.g., course-level tools, exercises, websites, and other activities that students do outside of their in-person courses, to extensive use of video and audio content accessed via the Internet and used in "flipped" classrooms, to materials for hybrid/blended courses, to fully online courses. Where greater precision is necessary, the term "online" has been modified—e.g., "fully online," "online components."
A learning portfolio, also known as an "ePortfolio," is a set of artifacts, in a variety of media, that are collected and presented online and that provide direct evidence of an individual's learning, mastery (e.g., of a skill or a discipline), and/or accomplishments over time. A number of accrediting bodies have begun requiring that student learning data be collected and shared via some kind of Learning Portfolio system, and (partly as a result of this) these technologies have already been adopted by approximately 50 percent of colleges and universities. Over the past several months, many groups at NYU have expressed interest in Learning Portfolios to collect, track, and showcase content to specific audiences. In response, in summer 2013 the Learning Management System (LMS) subcommittee of the University-wide Teaching Technology Committee began a three-phase project to guide NYU from research and planning to implementation of an Learning Portfolio solution.
A "flipped" class refers to a course that has a regular meeting pattern but in which lectures or other content are delivered online and in-class time is devoted entirely to discussion.
The term "hybrid" or "blended" refers to courses that incorporate both online and in-person components. As with most terms used in technology-enhanced education, the definition of terms is evolving. To many, hybrid or blended means that the online and in-person components are more or less in equal proportion. But there are myriad ways, beyond this roughly equal proportion, in which courses can blend online and in-person education—e.g., synchronous online video or audio, with multiple participation points; intensive use of in-person instruction over limited periods of time; or multi-site, multi-time in-person sessions that rotate between sites and online. Given this variety, the terms "hybrid" and "blended" may eventually take on new meanings that depend more on pedagogy than upon preconceived units of time.
At NYU there are currently over 75 credit-bearing courses that fit the accepted description of "hybrid" or "blended" courses; a list of these courses (and the programs through which they are offered) is available in the inventory of technology-enhanced courses on the website of the Faculty Committee on the Future of Technology-Enhanced Education at NYU.
A fully online course is one in which instruction is delivered exclusively via the Internet, using video-, animation-, and/or text-based materials. It may or may not include some the following components: exercises, evaluation tools, and interactive features linking the students to the faculty and to one another. In addition, it may or may not be offered for credit.
At NYU, four schools (Dentistry, Law, NYU-Poly, and SCPS) currently offer credit-bearing online courses, and a list of over 200 such courses (and the programs through which they are offered) can be found in the inventory of technology-enhanced courses on the website of the Faculty Committee on the Future of Technology-Enhanced Education at NYU. In addition, over 200 courses are offered on a non-credit basis, as part of the continuing and professional education programs located in SCPS (view the list of non-credit courses).
"Open education" (OE—also known as "open courseware") describes the concept of sharing educational resources freely around the world to anyone who is interested and has an Internet connection. Over the past few years, several colleges and universities have mounted OE courses in a variety of formats; most often, lecture capture technology has been used to produce video recordings of faculty as they teach their in-person courses on campus.
In 2010, NYU was among the first institutions to launch an Open Education pilot. Like most institutional OE initiatives, NYU's program is tuition-free and does not award any certificates, diplomas, credits, or grades to students who complete an OE course.
The University is in the final stage of a five-year, $9.7 million classroom upgrade. Over 90% of general purpose classrooms now meet the "smart classroom" standard, which includes the following features: wireless internet access; a computer with standard software (and, where appropriate, specialized software); inputs for additional devices; built-in A/V capability; and a centralized media control system. These classrooms are scheduled by Room Assignments.
Videoconferencing (VC) capacity is available in 28 general purpose classrooms and proprietary (i.e., school or departmental) classrooms on the Square and throughout the GNU. All VC rooms have lecture-capture capability, a feature that is also available in a number of non-VC-equipped proprietary classrooms. A list of the VC rooms that are available this fall can be found here, together with information on how to schedule them. (Please note that over 15 new VC rooms will be added to this list by fall 2014.)
There is no University-wide policy about offering fully online courses for credit; rather, individual schools decide whether and how to award credit for such courses, using their existing faculty governance and course- or curriculum-approval mechanisms. At present, credit-bearing courses are offered in an online format in the following schools: Dentistry, Law, NYU-Poly, and SCPS. These courses, which number over 200, are included in the inventory of technology-enhanced courses and programs that is available on the website of the Faculty Committee on the Future of Technology-Enhanced Education at NYU (click here to access this page, for which you will need your NYU Net ID and password).
In their effort to build and market online courses, institutions have been entering into two types of relationships: (a) joining a so-called "MOOC consortium" (e.g., Coursera, which is for-profit, and edX, which is non-profit); or (b) partnering with a full-service online provider (e.g., 2-U, Pearson Embanet). NYU will not make an institution-wide commitment to either type of arrangement at this time; before making such a commitment, we need to identify or develop a clear set of strategic institutional objectives. Doing so would involve extensive consultation with schools, departments, faculty, and students—consultation that places the question of MOOCs and partnerships in the broader context of NYU's commitment to excellence in education and the use of technology to serve that commitment. The Faculty Committee on the Future of Technology-Enhanced Education is engaging in such consultation throughout the fall 2013 semester.
The term "platform" refers to the undergirding technology that supports the University's teaching and learning needs. NYU Classes, the University's new learning management system (LMS), is a flexible, open-source platform that facilitates faculty innovation at multiple points along the technology-enhanced education (TEE) continuum. Integrated with the University's login services and its student information system (SIS), the NYU Classes platform serves as a user-centered "front-door" to a wide range of digital teaching tools that can either be developed or hosted there. The University's partnership with Amazon EC2 cloud services, for example, will allow for future innovation in TEE tools that can be scaled and deployed globally. The range of activities that the NYU Classes platform could potentially support is vast. Faculty could, for example, engage students in web chats or synchronous video, adaptive assessments, or interactive animations and simulations. A model could potentially be manipulated in 3D space, tagged with notes and discussions, all during a real-time web video chat. Further along on the continuum of TEE, the University is also exploring how to extend the NYU Classes platform to develop the kinds of technological enhancements that can support fully online courses.
Faculty who are interested in developing online courses should first approach their department chair (or equivalent). Proposals should then be developed in consultation with the relevant Dean and should ultimately be reviewed through the existing faculty governance and course- or curriculum-approval mechanisms within the school. Resources, including instructional technologists, exist for faculty whose proposals for online courses have successfully gone through the applicable school and University approvals process.
Like all courses taught at NYU, decisions about whether and how to offer online courses are made within the schools, using their existing faculty governance and course- or curriculum-approval mechanisms.
The issue of ownership of rights to an online course is determined on a case-by-case basis and is governed both by NYU's IP Policy and by any agreement between the faculty member(s) and NYU regarding the creation of the course. As NYU's IP Policy makes clear, ordinarily faculty members own the copyright to materials they generate for their courses, including materials they generate for online courses, when those materials do not utilize significant investments of University resources. The policy makes clear, however, that when the University commissions a faculty member to generate materials for a course, including an online course, and where the University invests substantial resources in staff time, compensation, technology infrastructure, and/or other capital outlays, such works are owned by the University. Under such commissioned work agreements, the University ordinarily offers the faculty member an equitable share of revenues received from the commercial exploitation of such works, should they ever be offered to non-NYU students. The terms for royalty sharing are specified in the agreement between the faculty member and the University. Moreover, the University will work directly with faculty members to ensure that the materials generated are used in ways consistent with the faculty member's original commission. Further, the commissioned work agreement will ordinarily grant to the faculty member a license to use the materials in his or her own work without a fee. Finally, should the faculty member depart the University, she or he is ordinarily free under the agreement to create other materials, leaving only the original performance as owned by NYU.
Yes. Issues of compensation and course release involve a discussion between the involved faculty member(s) and the relevant department(s) and/or school(s). Such compensation and/or course release vary by department or school, and from course to course, and not all uses of technology enhancements will lead to compensation or course release. A faculty member should consult with his or her department or school to determine whether she or he is eligible for compensation or course release in developing an online course.
As with developing such courses, compensation or release decisions rest with the faculty member's department and/or school.


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Welcome! You have found your way to career opportunities at CROSSMARK. As a leader in consumer goods sales and marketing, we are the home for over 30,000 hard-working, dedicated and talented people. Together we help some of the largest and most powerful consumer brands with their most important interaction - the interaction with their customers. From corporate positions to in-store product demonstrations to product wall-sets, we are the way to your opportunity.
CROSSMARK currently has the following openings in San Diego. San Diego jobs vary from time to time based on our current openings. Please check back often for new San Diego job openings to find a career that is right for you. Thank you for considering a career in San Diego at CROSSMARK.


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