In addition, there is evidence that the association of BMI with PTB may vary by parity, with some suggestion of a stronger association of obesity with SPTB among nulliparous women and of different associations of underweight with SPTB and MPTB among nulliparous and parous women, although the numbers of women with underweight in these studies have been small. While the detrimental effects of MPTB are a trade off with detrimental effects of continued pregnancy in the presence of such conditions, SPTB is a major concern obstetrically because of its unpredictable nature.Įvidence from systematic reviews suggests an increased risk of PTB with both maternal overweight/obesity and underweight, with some studies indicating that underweight might be a greater factor than obesity in SPTB. Known risk factors for SPTB include infection and inflammation, genetic factors, and some lifestyle factors such as stress, smoking and alcohol intake, although the cause is often unknown. MPTB is driven by obstetric interventions (induction of labour or planned caesarean section) related to pregnancy complications such as pre-eclampsia or gestational diabetes and thus may be higher in women with overweight or obesity. PTB can be medically indicated (MPTB) or spontaneous (SPTB). Recent increases in PTB may be, in part, related to the obesity epidemic, with other possible factors including increased maternal age at pregnancy and changes in obstetric practice resulting in increased rates of preterm caesarean delivery It is the leading cause of perinatal mortality and morbidity, and of childhood death up to 5 years. Preterm birth (PTB birth before 37 completed weeks gestation) affects around 10% of pregnancies worldwide. ConclusionsĬonsistency of findings across different populations, despite differences between them in terms of the time period covered, the BMI distribution, missing data and control for key confounders, suggests that severe under- and overweight may play a role in PTB risk. In the meta-analysed data, the lowest risk of any PTB was at a BMI of 22.5 kg/m 2 (95% CI 21.5, 23.5) among nulliparous women and 25.9 kg/m 2 (95% CI 24.1, 31.7) among multiparous women, with values of 20.4 kg/m 2 (20.0, 21.1) and 22.2 kg/m 2 (21.1, 24.3), respectively, for MPTB for SPTB, the risk remained roughly largely constant above a BMI of around 25–30 kg/m 2 regardless of parity. The adjusted risk of any PTB and MPTB was elevated at both low and high BMIs, whereas the risk of SPTB was increased at lower levels of BMI but remained low or increased only slightly with higher BMI. We found non-linear associations between BMI and all three outcomes, across all datasets. The estimated BMI at which risk was lowest was calculated via differentiation and a 95% confidence interval (CI) obtained using bootstrapping. The results were combined using a random effects meta-analysis. Fractional polynomial multivariable logistic regression was used to examine the relationship of maternal BMI with any PTB, SPTB and MPTB, among nulliparous and parous women separately. We used three UK datasets, two USA datasets and one each from South Australia, Norway and Denmark, together including just under 29 million pregnancies resulting in a live birth or stillbirth after 24 completed weeks gestation. Our aim was to compare associations of maternal pre-pregnancy BMI with any PTB, SPTB and medically indicated PTB (MPTB) among nulliparous and parous women across populations with differing characteristics, and to identify the optimal BMI with lowest risk for these outcomes. Previous studies have largely explored established body mass index (BMI) categories. Evidence suggests an increased risk with both maternal underweight and obesity, with some studies suggesting underweight might be a greater factor in spontaneous PTB (SPTB) and that the relationship might vary by parity. Preterm birth (PTB) is a leading cause of child morbidity and mortality.
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However, such instruments are increasingly rare, and you can always buy a USB-to-MIDI adapter if the need arises. MIDI connectors: If you use an older keyboard, sampler, or drum machine that doesn’t have a USB connection, you’ll probably want a USB audio interface that has five-pin MIDI connections.If you’re planning to use your audio interface only with a computer in your home studio, this feature is less important. Using a USB audio interface with an iPad, other than those equipped with a USB-C jack, requires the purchase of an extra adapter. But iPads have become a popular tool to capture performances and recordings, so we considered iOS support to be a valuable feature. iOS support: All audio interfaces should support both macOS and Windows, as long as you download and install the appropriate driver.Research shows that the benefits of higher-resolution audio recording (such as 24-bit/192 kHz) are “small and difficult to detect.” You can read more in our article about audio resolution. High-resolution recording: Most USB audio interfaces available today are capable of recording at 24-bit depth with a 96 kHz sampling rate or higher, so we considered that a minimum requirement for our music-oriented picks.It’s important for you to be able to see and read the meters easily. Setting it too low can produce excessive noise and make a recording more difficult to mix. If the level is too high, distortion (often called “clipping”) will result. These meters are critical for setting gain, or record level.
RPG elements, such as experience points, allies, a complex plot and variety of fictional races, were reduced. įrom Paper Mario: Sticker Star, Paper Mario: Color Splash, and Paper Mario: The Origami King, the Paper Mario games were aimed more towards the action-adventure genre. In addition, allies known as Pixls, which grant abilities for combat and traversing levels, can be summoned and used. Although Mario does not fight alongside unique partners, Luigi, Princess Peach, and Bowser are playable and a part of Mario's party. XP is still awarded for defeating enemies. Unlike the previous two games, which use a turn-based combat system, Mario does not enter a combat phase and instead fights the enemy in the overworld in real-time. Super Paper Mario, the third game in the series, deviates from the RPG genre and plays more as a platform game instead. Upgrades to special attacks can be found in the overworlds. When defeating an enemy, experience points (known in-game as Star Points, or SP) are awarded, which makes Mario and his allies more powerful as they progress. The player can either perform a regular attack, where they time a button-press on the controller to deal more damage, or use a special attack, which is more powerful but consumes flower points (FP)-an in-game statistic-when used. Mario encounters multiple allies that join him on his journey, who can help complete tasks in the worlds and fight in combat, the latter of which is similar to other RPG games. The first two games, Paper Mario and Paper Mario: The Thousand-Year Door, feature elements similar to that of a typical role-playing video game (RPG). Turn-based combat against one of many original fictional races as seen here in Paper Mario: The Thousand-Year Door All games except Super Paper Mario feature a turn-based combat system, where Mario and one or more opponents take turns attacking one another. There are also non-player characters (NPCs) which Mario can talk to. The locations are designed to look as if they are made out of paper, and contain coins and other collectibles, such as hidden trophies. Each game divides the world into several explorable areas that contain puzzles and interactive elements, such as obstacles that Mario has to hit with his hammer, that need to be completed to progress in the story. In the series, Mario is tasked with a quest to explore either the Mushroom Kingdom or a similar world. Numerous Paper Mario elements have also been included in the Super Smash Bros. The games, mainly the first two titles, have inspired various indie games including Bug Fables: The Everlasting Sapling. The Origami King was nominated for 3, the most at once for the series. The series has collectively sold 12.54 million copies.Įxcept for Paper Mario and Paper Jam, each game was nominated for at least one award The Thousand-Year Door won "Role Playing Game of the Year" at the 2005 Interactive Achievement Awards, Super Paper Mario won " Outstanding Role Playing Game" at the 12th Satellite Awards in 2007, and Sticker Star won "Handheld Game of the Year" at the 16th Annual D.I.C.E. Super Paper Mario is the best-selling game in the series, with 4.3 million sales as of 2019. When Paper Mario: Sticker Star was released in 2012, the series began to receive a myriad of complaints about its change in genre, removal of original fictional races, and less unique character designs, but continued to garner praise for its writing, characters, music, and enhanced paper-inspired visuals. The first two games in the series, Paper Mario and The Thousand-Year Door, received critical acclaim, and were praised for their story, characters, and unique gameplay. This led the series to slowly move genres from role-playing to action-adventure, though some role-playing elements are still present later in the series. Although the early games in the series were well-received, Kensuke Tanabe wanted each one to have different genre and core gameplay elements. Changes in development resulted in the game becoming a standalone game titled Mario Story in Japan. The original Paper Mario began as a sequel to Super Mario RPG (1996), developed by Square for the Super Nintendo Entertainment System. The series consists of six games and one spin-off the first, Paper Mario (2000), was released for the Nintendo 64, and the most recent, Paper Mario: The Origami King (2020), for the Nintendo Switch. Players control a paper cutout version of Mario, usually with allies, on a quest to defeat the antagonist, primarily Bowser. It combines elements from the role-playing, action-adventure, and puzzle genres. Paper Mario is a video game series and part of the Mario franchise, developed by Intelligent Systems and produced by Nintendo. In identifying their ‘red pills’ male supremacists identify “trigger points” for why they began to align themselves with their extremist beliefs. Today, the ‘red pill’ is used, by a variety of groups, to describe an awakening to previously hidden ‘truths’ about the world. This ‘red pill’ terminology is derived from a scene in the 1999 film The Matrix, where the character Neo is given the choice to take a blue pill, and remain ignorant, or the red pill, and awaken to the truth of how the world really works. In their online forums, male supremacists identify the experiences and mechanisms that led them to accept these shared beliefs as ‘red pills’. My field sites are male supremacists’ online forums, YouTube videos, and other digital sources that can lead individuals down the radicalization rabbit hole. Thanks to the F.A.G.’s funding, I am able to research, and begin to understand, why individuals radicalize into male supremacism. While there is a growing interest in male supremacist identities, and more broadly gendered approaches to understanding extremism, there is little understanding of why or how individuals radicalize into male supremacists identities. United in their reduction of women to their sexual or reproduction function, and in their belief that that they are the victims of an increasingly female-centric society in which men have lost power, male supremacists have perpetrated several deadly attacks across North America since 2009. Though male supremacists existed before widespread internet access, the internet and various social networks have facilitated the expansion of male supremacist ideology and spurred the creation of a variety of male supremacist identities. While the internet has been a mechanism for positive change, it has also allowed for identities and movements to form around hate, violence, and extremism. Since the advent of the internet, people have been able to connect with others who share their interests, discover new communities, and ideas about the world around us. It was a cool, gray morning Neil wore a hoodie. On the second day of the trip, the group visited Kimura’s garden, in a rural area some thirty miles northwest of Tokyo. Neil signed up for the tour of Japan during his sophomore year, and took a short leave from school. While other students were partying, he stayed home looking at bonsai blogs, or drove his pickup truck to remote mountain locations in search of wild miniature trees. He helped take care of the university’s bonsai collection and travelled around the West Coast to attend master classes with renowned practitioners. Neil went to college at California Polytechnic State University, in San Luis Obispo, where he majored in horticulture and studied Japanese. At the time, some fifty people had begun working under Kimura, but only five had completed the apprenticeship, all of them Japanese. Bonsai apprenticeships could last anywhere between five and ten years. Neil knew that the work would not be easy. Near the end of high school, Neil laid out a meticulous long-term plan that would culminate in his travelling across the Pacific to apprentice under Kimura, who was considered the toughest bonsai master in Japan. As Neil saw it, Kimura had given the tree not just a new shape but a soul. A scruffy, shapeless plant had become a cantilevered sculpture. (Kunio Kobayashi, one of Kimura’s chief rivals at the time, called him “the kind of genius who comes along once every hundred years, or maybe more.”) The article described how Kimura had transformed and refined a small juniper tree that had been collected in the wild. One day, after seeing bonsai for sale at a local fair, he rode his bike to the library, checked out every book on bonsai, and lugged them all home.Ībout a month later, he got his hands on a trade magazine, Bonsai Today, which featured an article about Masahiko Kimura, the so-called magician of bonsai, who is regarded by many enthusiasts as the field’s most innovative living figure. Miyagi, practices the art of bonsai, and in Neil’s young mind it came to represent a romantic ideal: the pursuit of perfection through calm discipline. In the films, the wise karate instructor, Mr. He was especially fond of the third movie in the series, which features dreamy shots of characters rappelling down a cliff face to collect a miniature juniper. Like many Americans of his generation, Neil had discovered bonsai through the “Karate Kid” films. When a battery is inserted into the Badaptor, the clip mechanism ensures it cannot be easily removed from the tool until the battery has been removed. Once attached, simply slide the 18V battery into the Badaptor until a click is heard. Simple to use and easy to attach, the DeWalt to Milwaukee Badaptor clips securely into any Milwaukee 18V tool with no movement. Now you dont have to compromise when it comes to battery packs or buy duplicate tools. This adapter allows you to use selected DEWALT 20V MAX Lithium Ion slide pack batteries with DEWALT 18V power tools. We believe it’s better to use one battery consistently than buy three or four that may barely see any use throughout their lifespan. Add versatility to your toolbox with the DEWALT DCA1820 20V MAX to 18V tool adapter. In some cases, buying a Badaptor can be less than a third of the price of buying a new battery and charging station.Īlong with the cost-saving benefits, Badaptors enable you to get more from your batteries that may otherwise never see the light of day. Whether you’re a tradesman, DIY fanatic, or you just have different branded tools in your garage the Badaptor is something that will make your life easier, and save you money. Do not use with premium DEWALT batteries in DC970 or DC759 tools. Power tool battery adapters are a useful and important accessory for those who own battery-operated power tools. This adapter allows you to use selected DEWALT 20V MAX lithium ion slide pack batteries with DEWALT 18V power tools. Allows for use of 20V MAX Liithium Ion batteries in most 18V DEWALT tools. The DeWalt to Milwaukee Badaptor allows you to convert your existing 18-20V DeWalt batteries for use with Milwaukee 18V power tools, allowing you to use the Milwaukee power tool range without having to buy a whole new battery system. The Model 1900s had a snap-on/off forearm and their serial numbers were in the 300,000 range, often preceded with a stock letter Q. Pederson, was introduced in 1909 and produced through 1936. The K- and KE-Grades had Remington Steel barrels. The Remington Model 12 is a slide-action, solid-breech, hammerless, takedown, side-ejection rifle. The Model 1900s were all K-Grades, with E added to the designation if the gun had ejectors and D if it had Damascus barrels - K-, KE-, KD-, or KED-Grades. Remington Model 1900s are a simplified, cheaper, version of the Model 1894, built on the same patents - No. Simply use Remington’s online serial number lookup tool on their official website. 22 Caliber Rimfire and accepts Short, Long, and Long Rifle cartridges, with a tubular magazine capacity of 14, 11, and 10 rounds respectively. If you’re wondering about the manufacturing year of your Remington 7600 rifle, you can easily find out by checking the serial number. catalogue they added 16-gauge guns to their offerings. The Remington Model 12 is a slide-action takedown rifle designed by John Pedersen and produced by the Remington Arms Company from 1909 to 1936. If you have the barrel, the barrel should tell you the manufacture date. Remingtons manufactured after 1921 have a code located on the left side of the barrel near the frame that identifies the year and month of manufacture. Ordnance Steel barrels were the same price as the Damascus barrels on the higher grade guns - CO-Grade, CEO-Grade, DO-Grade, DEO-Grade, EO-Grade and EEO-Grade. Ordnance Steel barrels were a higher quality steel barrel and cost extra over the standard Damacus barrels on the A and B quality guns, and they were called AO-Grade, AEO-Grade, BO-Grade and BEO-Grade. Remington Steel barrels were a lower priced barrel and were offered on the entry level gun at the same price as the standard Two-Stripe Damascus barrels, and the guns were known as the AR-Grade or AER-Grade. To determine the year of manufacture, you can check the barrel code or use the Remington Serial Number Decoder. catalogue steel barrels were added to the line up. Many people often wonder about the production year of their Remington 742 rifle. There are two letters above the serial number, being R.W. These early Remington Hammerless Double Barrel Shotguns were all fitted with varying qualities of Damascus Barrels. Posted: Fri 4:31 pm I was wondering if someone could tell me what the date of manufacture is for my Remington 12A. catalogue in Grades A to E with extractors and AE to EE with ejectors. The gun known as the Model 1894 is the original Remington Hammerless Double Barrel Shotgun, introduced in 10- and 12-gauges in the October 1894 Remington Arms Co. Remingtons last hammer double was the Model 1889. The top-selling pump-action sold in 2019, according to volume of purchases on, is actually no longer in production.It’s a classic last produced in 1936the Remington Model 12. 647 Best Instagram Captions to Copy for Your Next Post One-word Instagram captions You can also use an Instagram Hashtag Generator to find relevant hashtags to include in your caption, which can help increase the reach of your post. This tool generates captions based on keywords you provide. If you’re struggling to come up with ideas for your Instagram captions, try using our Instagram Caption Generator. Use puns: Punny captions are a great way to make your followers smile and engage with your post. Use humor: Add a bit of humor to your caption to make it more engaging and relatable. Share a joke: Include a funny joke in your caption to make it light-hearted and entertaining. Share a quote: Share an inspirational or thought-provoking quote in your caption to provide a new perspective. Keep it short and sweet: Keep your caption concise and to the point. Include emojis: Use emojis to add personality to your caption and make it more fun and engaging. Tell a story: Create an engaging and captivating story with your caption to draw people in. Share a call to action: Encourage your followers to take action by including an actionable item in your caption. Use relevant hashtags: Include relevant Instagram hashtags in your caption to draw more attention to your post and increase your reach. How to Write Engaging Instagram CaptionsĪsk a question: Spark conversation with your followers by asking them a question in your caption. Captions can also be used to add humor, create engagement, or even show appreciation. Captions can be used to give more information about the post, add context to the photo, or add a call-to-action. All that hassle and time of thinking of the perfect caption is gone thanks to our best Instagram captions to copy page! What is an Instagram Caption?Īn Instagram caption is a brief sentence or phrase that accompanies an Instagram post. Simply pick the category your post is related to, and then select from the list of options the caption you like best. There are all different types of categories to choose from, like captions for product launches, wise captions or even captions for bad boys. How many of us have spent hours thinking of the perfect caption for our Instagram posts? Wondering about the right tone, length, or style? Well, stress no more because we have got the perfect list of Instagram captions for you to copy and use directly on your posts. Once completed, students can trade their card in for a different one. Each student gets a different card, and they follow the directions, playing the melody as given and then transposing it to the two other keys starting on the given pitch. These are color-coded by clef, which makes for easy sorting. Next, I bring out the laminated transposition cards. The opening to "Frere Jacques" is the melody we work through together. We talk through a worksheet together (I usually don't take the time to have students write out all the transpositions on the worksheet, though at least they have the sheet if they'd like a reference or to fill it out on their own later), and we use the solfege Velcro scales as a visual to move from one key to another. At the end of the year, we make connections between the three keys by transposing melodies from one key to another. Students play scales, write compositions, and perform pieces in each of those keys throughout the school year. Here are the openings for the different violin parts for comparison.ĭuring sixth grade orchestra, students study the keys of D, G, and C Major. And then the advanced parts come from Bizet's original, just transposed to D Major.The different voices would be regular parts (vln/vla/cello basically in unison), challenge parts (vln/vla/cello basically in unison), bass part. The "B" section is the same between the regular and challenge parts. I also included "challenge" intermediate parts which include more finger work, more eighth notes, and a slightly wider range to sound more like the original melody. The elementary (second-year) parts have the same simplified rhythms but an expanded range-mostly notes from the D Major scale plus the bass part gets some 2nd finger notes and a fun chromatic passage. The beginning students get a simplified unison version with limited range-mostly D string notes plus a section with hopping 2nd finger notes (B on the G string and C# on the A string) and open G.I did transpose it to D Major from its original A Major to make it friendlier for the beginners, and I shortened the movement to a simple ABA form. My solution this year has been to arrange sections of "Les Toreadors" from Carmen by Georges Bizet in a multi-level format. This grand finale piece has to be playable for first-year string players but still interesting to high school musicians. Each grade level orchestra is featured for a piece or two, and then everyone plays a combined piece as the grand finale. My district has an annual String Fest, where all the orchestra students in the district get together for a day of rehearsing and listening with a big concert that evening in the field house. Intermediate melody (first 4 lines only), which I used when introducing the piece:Īgain, I like to use clip art instead of labeling parts "beginning" and "intermediate," so you'll see matching images within the beginning and intermediate parts and scores. A few kids partnered up and tried the dance together, while everyone else was content to just try the steps themselves.Īudio (WAV files) to preview or for students to play along with to practice: Students also learned how to dance a waltz-"forward-side-together, back-side-together" starting on left foot for the leader or "back-side-together, forward-side-together" starting on right foot for the follower. Many students had heard it before and were excited to be learning this piece in orchestra. I introduced this piece to my sixth graders by listening to a recording of this famous Strauss waltz. While the intermediate arrangement can stand alone, the beginning orchestra arrangement needs the addition of the intermediate arrangement to fill it out (and to provide a melody for the B section). The A section is a simplified melody with notes on the D and A strings, and the B section is mostly open strings. I've also written parts for a beginning orchestra. All intermediate parts (except basses) include slurs. Violas and cellos have to play C# on the G string, while violins go up to F# on the E string. Harmony parts are either "boom" or "chick-chick," intentionally simple so we can spend more time working on the melody parts in small groups. I've included two sections plus a DC al Fine to end up with an ABA form for "Blue Danube Waltz." The intermediate parts give the melody to violas and cellos in the A section and to violins in the B section, while the basses get a more traditional bass part. Here's another arrangement I've written for this year's String Fest. #GK#, in the middle, is equal to #DC# because #DE# and #CF# are drawn perpendicular to #GK# and #AB# which makes #CDGK # a rectangle. The large base is #HJ# which consists of three segments: V A x H gives us the Volume of the prism. Once we have this area, we can then multiply it by how high (or how long for sideways prisms). Since we have to find an expression for #V#, the volume of the water in the trough, that would be valid for any depth of water #d#, first we need to find an expression for the large base of trapezoid #CDHJ# in terms of #d# and use it to calculate the area of the trapezoid. For a prism which has Trapezium shaped ends, we need to first find the area of the Trapezium using A 1/2 (top + bottom) x height of trapezium. The volume of water is calculated by multiplying the area of trapezoid #CDHJ# by the length of the trough. This change affects the length of the large base of the trapezoids at both ends. The water in the trough forms a smaller trapezoidal prism whose length is the same as the length of the trough.īut the trapezoids in the front and the back of the water prism are smaller than those of the trough itself because the depth of the water #d# is smaller than the depth of the trough.Īs the water level varies in the trough, #d# changes. The water level in the trough is shown by blue lines. The volume of prism is calculated by multiplying the area of the trapezoid #ABCD# by the length of the trough.īut we are asked to figure out the volume of the water in the trough, and the trough is not full. The trough itself is a trapezoidal prism. The front and back of the trough are isosceles trapezoids. In the next article, we get stuck into trigonometry and its applications.The figure above shows the trough described in the problem. When we need to determine the volume of a prism, we use the formula: \(V_ \times \pi r^2 (6)+ \pi r^2 (10) \\ Examples of prisms are shown below: Cylindrical prism Knowledge of how to determine the area of composite shapes that may be broken down into special quadrilaterals, triangles and circles/semicircles will also be required.Ī prism is defined as a solid geometric figure that has the same plane shape for its cross-sectional face across its entire height. Students should be familiar with the conversion between units of volume as well as conversion between units of length: Conversion of Volume Units In addition, to the cylinders, cones, and spheres we looked at in the previous article, we shall also be looking at how to calculate the volume of prisms. These Outcomes will, like Surface Areas, equip you to be able to evaluate the volumes of real-world objects so you can discuss them accurately. Find the volume of spheres and composite solids that include right pyramids, right cones and hemispheres.Develop and use the formula to find the volumes of right pyramids and right cones.Stage 5.3: Solve problems involving the volumes of right pyramids, right cones, spheres and related composite solids (ACMMG271).
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