Core Curriculum Content Standards

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Science Standards Learning Progressions

C. Interdependence: All animals and most plants depend on both other organisms and their environment to meet their basic needs.
Preschool By the end of Grade 2 By the end of Grade 4 By the end of Grade 6 By the end of Grade 8 By the end of Grade 12
Content: Investigations and observations of the interactions between plants and animals form a basis for young learners’ understanding of interdependence in life science.

Content: Organisms interact and are interdependent in various ways; for example, they provide food and shelter to one another.

Content: Organisms can only survive in environments in which their needs are met. Within ecosystems, organisms interact with and are dependent on their physical and living environment.

5.3.4.C.1 Predict the biotic and abiotic characteristics of an unfamiliar organism’s habitat.
Content: Various human activities have changed the capacity of the environment to support some life forms.

5.3.6.C.1 Explain the impact of meeting human needs and wants on local and global environments.
Content: Symbiotic interactions among organisms of different species can be classified as:
  • Producer/consumer

  • Predator/prey

  • Parasite/host

  • Scavenger/prey

  • Decomposer/prey

5.3.8.C.1 Model the effect of positive and negative changes in population size on a symbiotic pairing.
Content: Biological communities in ecosystems are based on stable interrelationships and interdependence of organisms.

5.3.12.C.1 Analyze the interrelationships and interdependencies among different organisms, and explain how these relationships contribute to the stability of the ecosystem.
Content: A habitat supports the growth of many different plants and animals by meeting their basic needs of food, water, and shelter.

Content: Some changes in ecosystems occur slowly, while others occur rapidly. Changes can affect life forms, including humans.

5.3.4.C.2 Explain the consequences of rapid ecosystem change (e.g., flooding, wind storms, snowfall, volcanic eruptions), and compare them to consequences of gradual ecosystem change (e.g., gradual increase or decrease in daily temperatures, change in yearly rainfall).
Content: The number of organisms and populations an ecosystem can support depends on the biotic resources available and on abiotic factors, such as quantities of light and water, range of temperatures, and soil composition.

5.3.6.C.2 Predict the impact that altering biotic and abiotic factors has on an ecosystem.
Content: Stability in an ecosystem can be disrupted by natural or human interactions.

5.3.12.C.2 Model how natural and human-made changes in the environment will affect individual organisms and the dynamics of populations.
Content: Humans can change natural habitats in ways that can be helpful or harmful for the plants and animals that live there.

5.3.2.C.3 Communicate ways that humans protect habitats and/or improve conditions for the growth of the plants and animals that live there, or ways that humans might harm habitats.
Content: All organisms cause changes in the ecosystem in which they live. If this change reduces another organism’s access to resources, that organism may move to another location or die.

5.3.6.C.3 Describe how one population of organisms may affect other plants and/or animals in an ecosystem.


Dance event explores the structure of improv

Published June 13, 2012 1:53 pm

Dance • Five choreographers' works represent their artistic process at Rose Wagner shows.

Feeling spontaneous? Why not try some improv dance?

This weekend's "Daughters of Mudson" performance presents the artistic process of five young women: Leah Nelson, Kitty Sailer, Rachael Shaw, Emily Haygeman and Ashley Anderson.

A lot of people are hesitant about attending a stuffy, formal dance concert, said Anderson, who is producing the event as well as choreographing one work for the program. Anderson's event "Daughters of Mudson," is out to break that preconception. That's why the dancers will perform in a relaxed, come-as-you-are setting at the Rose Wagner Performing Arts' Studio Theater. No fancy theatrics, just white floors and work lights. One piece won't even have music.

Ishmael Houston-Jones, who is a celebrated New York improviser, curated the performance. What does that mean? He watched videos of twelve works-in-progress from the Masonic Temple "Mudson" series by Movement Forum. From these, he chose five pieces to be expanded for "Daughters of Mudson."

Each work is different. Two are solos by the choreographers, while the others use students and dancers from Movement Forum performing the choreographers' work.

Anderson describes her "Don't Be Cruel" piece as highly structured improvisation. Its humor arises as seven dancers, conforming to movement structure, explore the nuances of the song as recorded by three different artists. "It's like giving a dance to Elvis or The Judds," or Billy Swan, Anderson said.

Forget stuffy.

Shaw dances a solo in "Transitions." The choreographer received a master's of fine arts from the University of Utah, and for her thesis, she used the concept for this dance. She tried experiments, Anderson said, to explore reaction to dance. "She was interested in people's expectations, about getting them into the theater and what it's like for them to watch a performance," Anderson said.

Shaw dances in silence, which is somewhat uncommon. You can hear her breathing, and her feet landing on the floor. "Dance to no music is a trend that's coming back around," Anderson said.

Haygeman's piece uses props, which is also unusual. Haygeman earned a bachelor of fine arts from the U. and is entering the doctorate program in psychology. She uses psychology as a framework for her choreography about family in "Memory." Not to reveal the plot, but one woman dances in a large wooden frame that becomes a focal point in the piece.

Sailer's work uses 10 dancers to address the theme of how space can be intertwined. "It involves some shuffling of spaces," Sailer said. "It's about the audience space and the performance space," Sailer said. "We're also playing with the dead zone between the stage and the audience."

Nelson dances the other solo. "Wow, Utah" is a structured improvisation that tells the story of her friends' reaction to the news that Nelson was moving from New York to Salt Lake City.

Nelson describes her process as improvising solos to "allow myself to get the feeling of what I'm talking about and how that affects the way I move."

And she literally means talking. Instead of music, Nelson moves as she speaks.

"The speaking part is pretty much set. The story about the differences between New York and Salt Lake City is set," she said. "The movement is improv."

Talk about spontaneous.

Dance this way

LoveDANCEmore presents the works of five female choreographers in "Daughters of Mudson" dance concert.

When • Saturday, June 16, at 8 p.m. and Sunday, June 17, at 3 p.m.

Where • Rose Wagner Performing Arts Center's Studio Theater, 138 W. 100 South, Salt Lake City

Tickets • $10 general, $5 students


Rho Motion Test

Random Science Quiz

Can you name the motion, force, and energy?

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Find the momentum given a velocity of 5 m/sec and a mass of 9 grams.
_____ _____ is speed that changes.
An object traveling in circular motion is constantly changing _____.
_____ is a change in position in certain period of time.
_____ is the rate at which an object moves.
10 meters/second measures _____
_____ = distance/speed
_____ is the rate of change in velocity.
_____ is the most common frame of reference.
_____ = speed x time
2.8 grams-meters/second measures _____
10 meters/second/second measures _____
_____ = (final velocity - original velocity)/time
_____ is speed in a given direction.
_____ _____ ____ is the background or object that is being used for comparison.
Find the speed given a distance of 100 meters and a time of 10 seconds.
Find the acceleration if the original velocity is 8 m/sec west, the final velocity is 16 m/sec west and the time is 4 seconds.
_____ _____ is speed that does not change.
_____ = mass x velocity
100 meters measures _____
_____ is how hard something is to stop or how much force something will have when it hits something.
_____ is negative acceleration.
_____ = distance/time

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Tags:energy, force, motion, rho, test


#########** ### ###***######### # # # ## # # ## *## *##** ## *## ## # ## ** ## ### ## ## #### ### ## ##* ** ### ## ## ## ## ## ## ### ##### ## ## ## ## #### ### # ## ## ## ## ## #### ### ## ## ## ## ## ## # #### ####### ###*### ##### ## ### ##### #*####* ### # ## ## ## ## ## ##* ** ** ** ######** ### ### #### * ** ## ** ## *### ## ** ## ## ## ## ## ##** # ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ###* ## ## ## ## ## ## * ## ** ## **# # ## # ##### ##** ##*## ## ### * ## ### #* ## # The Knight of Lodis Version 1.0 By Chris Hayes, "Sudzi" Attention: This is a Japanese game. Therefore, this gaming guide is meant to help people who do not speak Japanese and would not understand how to play this great game to its highest peak. I would still persuade you to go and get this game. It is far worth the money and you can play it on an American Gameboy Advance. If you do speak Japanese, the walkthrough in this guide will help you greatly. Thank you. Table of Contents I. Control Figuration II. Battle System III. Edit System IV. Classes V. Walkthrough VI. Secrets Copyright: This FAQ is copyright 2001 to Chris Hayes. It may not be stolen, altered, or used for any type of profit. It may be reproduced electronically, and printed for private, personal use. It may not be placed on a CD, printed in a magazine or any type of publication. This game is copyrighted to Quest and Nintendo of Japan. If you would like to contribute to this FAQ (you will be credited!), or have any questions, comments, or corrections, please feel free to e-mail me at phkhctd@aol.com. I will try to respond to your e-mail. I. Control Figuration The basic controls of this game are as follows: A - The A button is the accept command. It is used throughout the game to buy items at the shop and to send a command in a battle or a training mission. You can also use the A button to speed through the text. B - The B button is used to deny a command that you sent. When you make a mistake and need to go back to another screen or command, press the B button. Start - The Start button is only used at the start screen in the very beginning of the game. This screen will lead you to four commands: New Game, Load Game, Quest Mode, and Sound. Select - The Select button can be used on anything. In English it would give you information on the thing you selected, but because the game is in Japanese, this command is worthless unless you can read Japanese. R - The R button is probably the most used button in the game. On the Field Map, the R button is used to bring up a string of commands: * The first box looks like a bunch of dots and an arrow. This is the Edit Party command. If you choose this command, you can edit your team's items, change their class, and check what their current level is. * The second box shows two clashing swords against a halved red and blue flag. This is your training icon. Here you can train your characters to increase their levels and earn some new medals as well. * The third box shows a picture of a scale. This is the shop of that town. In here you can buy and sell equipment and magic, as well as recruit some new characters. See how to shop in the walkthrough section of this guide. The final command looks like a box with a different colored sphere on each corner. This option command leads you to yet another string of commands: * This first box looks like a Red arrow coming towards a square of some sort. This is the save command. When you click on it using the A button you can save your current progress throughout the game. * The second box looks very similar to the first box, except that the arrow is blue and it comes toward you. This is the load command. Here you can load previously saved games in case you make a mistake and need to do something over. * The third box looks somewhat like a pumpkin on a napkin. This is actually here to teach you the basics of the game, but because it isn't in English you won't understand any of it unless you know how to read Japanese. * The fourth box shows a peculiar design. I don't know how to explain what it looks like, but I do know that it is the options menu where you can change different commands throughout the game. For example, you can change the text speed and the sound of the game. This option was also available at the opening scene. Because it is not in English, I recommend that you leave all the options alone, therefore you won't mess up anything that you didn't intend to do. * The last box looks very similar to the first two boxes, except this arrow curves and goes more towards the left. This is the reset button. Pushing this will lead you back to the opening screen. Make sure to save first. It doesn't do it automatically. L - The L button is even more useless than the start button, because the only real purpose it would be used for is to scroll through your characters in the battle mode. But why use that when you can do it manually? You would also use it to remove equipment off of a character. II. Battle System Training Start: To get to the training mission, press the R button on the field map and click on the command that looks like two clashing swords against a red and blue flag. Clicking on this will lead you to a training mission. In training, you start the battle with a huge box to the left that shows all of your party members. This will be the blue team in the training mission. First you must select whom you want to put down onto the map. Push the A button on a character's to do this. A hand will be pointing above the character's head and you can position him anywhere on the blue tiles. Push the A button when you have decided where you want him. A message will come up asking you to decide what direction you want the character to start at. Push the A button to decide. The character screen will come up again and you can add some more characters onto the map. To put characters on the opposing team, the red team, push the R button on the character select screen during the Blue Team's character select phase. This will lead to three commands: * The first box shows a red flag with a B underneath it. This will change your attention towards the red team, where you can place characters the same way you did for the blue team. * The second box has the same design as the edit character screen. If you click on it, you can change the character's class and equipment right there and then (an amazingly good thing...trust me) and then continue on in the training battle. You cannot edit a character that is already on the map. * The last box is the same as the option command on the field map. All the commands inside of it are the same as the options on the field command. When you are all set to battle (both blue and red teams have the characters that you wanted), push the R button again and click on the box that has the same design as the training symbol. A question will come up. Choose the top command to start the battle. Battle Commands: Now that you have done everything to prepare for the battle, you can attack. If you're playing in a real battle, a screen will come up and tell you whether or not you have to kill the leader or defeat all enemies to end the battle. Now you start the battle. Click on the character that you want to move and (hopefully) attack first. The tiles will come up again across the screen. This is the movement range of that character. He can only move in the area of those squares. Choose a tile where you want the character to be. The character will move there and a bunch of options will come up. * The first square shows a picture of a sword. This is the button to press if you want to attack a character. Both direct and in- direct attacks can be used when you press this button, unlike Tactics Ogre on the Playstation. * If your character knows how to use magic, a command that shows a picture of a wand will come up right next to the attack command. This is the use magic command. On the first turn, a character cannot use magic. Everyone starts out with 0 MP and it increases by 10 after every one of your turns. This is also the command that will allow your character to use a technique that they have learned. * The next square shows a pouch and a hand reaching for it. This is the Item Usage button. If you have wounded or dead characters, you can heal or revive them with this command. All items are put together into one inventory and you cannot equip individual items to characters, making the game a lot easier. * If one of your characters is standing right next to an enemy character, a fourth command will come up that has a picture of a bubble with three dots in it. This is the persuade command. If the character is below at least 5 Hit Points, you can use this command to try and persuade someone to join your team. Unlike the PS version, any character can persuade an enemy character, not just the leader. * The final box shows a picture of a pair of shoes. Oddly, this is the wait command. Pushing this button allows your character to wait when he can't attack and there is no need to use an item. Pressing this button ends that character's turn. For a last minute note, here are some other commands you should know: When you are ready to attack, and have all the characters you want on the battlefield, press the R button. This will bring up some more commands. * The first box is a blue arrow pointing towards the left. This is a team wait command. All of the people in your party will lose their turn and it will automatically go to the other team. * The next box looks like a bag. This is the Inventory check command. You can't use items here, but you can check to see how many items you have and what an item does. * The third box shows an icon that looks like one clipboard over another. This will bring up the edit screen, but it will show both teams and you can't edit them. The final box is again the design that leads to the option menu, except a few commands can now be used. * The first box is a new design that shows two upside down golden swords against a red and blue flag. This is the exit training command. This will end the whole training mission and lead you back to the field map. * The final box shows a pixilated design of a Gameboy Advance. This icon leads you to an option that allows you to set whether a team is manually controlled or computer controlled. III. Edit System When you press the R button on the field map, another grouping of commands will appear. The Edit System command on the field map is the first box with the icon that looks like a thousand dots and a green arrow. This will lead you to a screen showing all the characters in your battalion and what their equipment is. Equipping an item: You can only equip items to a character that can use them. To equip an item, highlight the character that you would like to equip the item to and press the A button. A screen will appear showing the status of the character and his/her equipment, spells and their special attacks that the character has. Press the R button to again see a list of commands that you can choose from: * The first box looks like a hand holding a sword. This is the equip item icon. Push the A button to see a character's equipment. A character that doesn't have equipment will only have four boxes shown underneath the status screen. Push the A button on the box that you want the item equipped on. A bunch of equipable items will appear in a column. These items are organized by type (Weapons, Armor, Helmets, etc). Push the A button on the item you want to equip and that character will have equipped that item. To unequip an item, highlight the item you want to remove and press the L button. That item will be unequipped. * The second box looks like a hand wielding a staff. This is the Equip magic icon. The same thing that you did for equipping an item is the same for equipping some magic. Highlight the place you want to put the Magic and push the A button. A screen will appear showing the magic that you have organized by the type of magic it is. Select the magic and push the A button. That character will have equipped the spell. To remove the spell, highlight the spell you wish to unequip and push the L button. That magic will be unequipped. Try to use the same magic type as the character type. You can see your character's type to the left of the character's picture. * The third box shows a black character behind an orange background. This is the Evolve a character icon. This icon will allow you to see what your character class can evolve to and what it takes for your character to evolve. To evolve your character, select the class that you want your character to evolve to and push the A button. Your character will automatically evolve into that class. * The final box shows a white skull. This is the omit icon. Pushing this button allows you to remove a character from your team. I advise that you stay away from this icon unless you really don't need that character. As soon as you enter into the Edit screen, you can press the R button to bring up another string of commands: * The first box shows a picture of a hand holding a sword again. This is an inventory check for the items that you have in your inventory. Clicking on one of these items will show you who can equip the items and who can't. The lightened people are the ones that can equip them and the shadowed ones cannot. If you click on one of the lightened people, you can equip that weapon then. * The second box shows a picture of a person holding a staff. This is an inventory check for your spells. As with the weapons, clicking on one of these will show you who can equip the spells and who cannot. * The third box shows a picture of a black character with an orange background. Clicking on this will bring up a box showing all the character classes that our changeable. To the right of each class they have the words "Now" and "Max". The word "Now" is telling you how many people are using that class at that time. The "Max" tells you how many people thus far can be changed into the class. It also tells you the movement range and whether they float in water, walk in water, sink or fly. Clicking on one of these classes will show you who can turn into these classes and who can't. If you click on one of the people that can change into this class, you can automatically change their class. * The next box is the Omit box, something that you don't want to do anyhow. * The box after that is the organization box, where you can switch the order of the classes in your party. * The last box is the inventory check. You can view how many items you have left or need to get. Basically the last three icons aren't that important. IV. Classes The following are the classes that you can get in the game. It is not complete, unfortunately, as I have not currently gotten them in my game. Any help would be appreciated. NOTE: Some of the classes in the game can only be acquired by Medals. Medals come up above a person's head in battle when they have done a certain requirement. Some of these medals can change a certain character into a new class, and others increase (or decrease) some of your stats as you level up. I know how to get some of the medals, and there are others I don't have a clue about what they help or hinder. I do know about the classes that are changeable by status. Any help that you offer me to complete this class guide would be greatly appreciated. Also, I have included a rating for each class. This is my own personal feeling for the class and I'm sure that others have their own opinion about that class as well. It just helps you decide what classes are good and whether or not it is worth changing into them. Omni-gender Classes: Class: Soldier Alignment: L, N, C Requirements: None Preferred Weapons: Sword, Bow Magic: None Rating: * * * The starting class for both a Male and Female warrior. They aren't that good as fighters, yet their stats improved from the last game. It only gets a three rating because all the classes have to come from this one. Class: Archer Alignment: L, N, C Requirements: AGI 37 Best Weapons: Bow, Crossbow Magic: None Rating: * * The Archers are a class that have decreased stats from the last game. Unlike their PS cousins, they have horrid defense and a below average attack. Sorry Archer lovers, but this class stinks. Class: Cleric Alignment: L, N Requirements: MP 18, INT 28 Best Weapons: Staff Magic: Three Healing Spells Rating: * * * * * A must have for any team. Yes, they are weak and need a little boost of defense more than the others, but the ability to heal anyone on the battlefield is amazing. I would recommend using a female one more than a male one because the male classes are better fighters than female ones, but it's up to you. Class: Wizard Alignment: N, C Requirements: MP 16, INT 26 Best Weapons: Staff Magic: Three Offensive spells Rating: * * * * Ah, one of my favorite classes. If only their defenses were as high as others, you could play a whole team of these guys and win. I would recommend playing with only a male wizard, unless you're trying to get a Siren, then I'd use a female. Class: Knight Alignment: L, N, Requirements: STR 51, AGI 53, and Knight's Helmet Medal Best Weapons: Sword Magic: One Healing Spell Rating: * * * An improvement over the last game because they can equip at least one spell, but their hitting accuracy is horrendous. I recommend not playing with this class at all, since there are so many other classes that are a lot better. You could use one as your healer, but I think a Cleric is better. Class: Ninja Alignment: L, N, C Requirements: STR 36, AGI 37 Best Weapon: Sword, Katana Magic: One Offensive Spell, Special Skill: Shuriken Rating: * * * * The Ninja is another great class. They are wonderful with a sword, their Shuriken attack is better than a bow, they can use one spell (which is usually the attack that I use most of the time) and they can walk on water. A Ninja deserves a spot on anyone's team. Male Classes: Class: Beast Tamer Alignment: L, N, C Requirements: HP 142, STR 34 Best Weapon: Whip Magic: None Rating: * * Unless you're playing with a ton of monsters on your team, a Beast Tamer isn't all that worth it. Sure, their whip is a two-panel attack and their hit points are high, but you can do better with a lot of other classes. Instead, try persuading a Bezerker. They are found early on in the game, and have good Hit Points and Attack. Class: Sword Master Alignment: L, N, C Requirements: STR 95, AGI 111, and the Scroll Medal. Best Weapons: Sword, Katana Magic: 1 Offensive Spell Rating: * * * * This is your basic Ninja which needs more speed attack to change into class. It's about as good, and the technique it learns is pretty top notch. I recommend putting one of these on your team as soon as possible. Female Classes: Class: Dragon Tamer Alignment: L, N, C Requirements: HP 140, MP 14 Best Weapon: Rapier Magic: One Offensive Spell or One Healing Spell Rating: * * * Hmm, I think I like Valkyrie's better, only because I like the spears and their stats are better. Of course, if you're playing with a lot of dragons, then play with a Dragon Tamer by all means. They can use healing spells as well, so you may want to play this character. It's up to you. Class: Siren Alignment: L, N, C Requirements: MP 60, INT 60, and the Dagger on a Red Book Medal Best Weapon: Staff, Fan Magic: Three Offensive Spells Rating: * * * * * An upgraded Wizard for the female class only, and can equip just about any spell. I recommend having two on your team, but I guess that's because I attack my enemies from a distance most of the time. Still, you should play with this class. Class: Valkyrie Alignment: L, N Requirements: STR 48, INT 41, and the Spear Medal. Best Weapon: Spear Magic: One Offensive Spell Rating: * * * * Great attack power and speed, and they can use a spear, which is a two- ranged attack. On top of that, they can use one offensive spell, which doesn't do much damage. They're about as good as a Ninja. S Sized Monsters: Class: Hawk Man Bast Weapon: Bow, Hammer Magic: None Rating: * * * * * The rating is totally my own opinion, but I think that if you try one of these guys out early in the game, you'll see what I mean. Not only can they fly on top of a house during a battle and bomb people with arrows, they have pretty decent stats, which helps out a lot. They also will learn a technique later in the game, so you can unequip their bow and add something with a little more power. A Hammer does nicely. Some people will love them, and others may think they are a waste of Goth. It's up to you. Class: Fairy Best Weapon: Bow Magic: None Rating: * I can't stand this class. Terribly weak stats and their weapon of choice will only do, at most, 15 damage in the middle of the game. That's nothing. Most people have about 200 Hit Points by then. I think they can learn a technique later on, but even that isn't much of a threat. Class: Goblin Best Weapon: Bow Magic: None Rating: * I should actually write "See Fairy" because they're almost identical in stats and weapon damage. In fact, they even learn similar skills. Enough said. Class: Mermaid Best Weapon: Spear Magic: No Rating: * * * You can recruit Mermaids later in the game at a store, and one of the Mermaid leaders may ask to join your battalion. They are decent fighters with a spear and have a technique that usually puts a character to sleep. That's all I use them for. L Size Monsters: Class: Griffin Rating: * * * High Hit Points and high Defense, but lousy Attack. They can fly. That's somewhat of a bonus, I guess. I like Dragons better. Class: Dragons Rating: * * * * High hit points, wonderful defense and attack and they have a technique that has an above average attack power. I recommend playing with a couple of these and a dragon tamer, and you'll have a monstrous team. They can evolve, but I don't know what they need as far as stats go. V. Walkthrough Here is the walkthrough of the game. It isn't the complete game, though, as the entire walkthrough will be added while I go through the game again. It covers battle strategy, answers to questions, and what to buy and not to buy. Good Luck: Opening Scene: The opening scene starts with the main character and what looks like a Paladin Knight walking through a town that is currently holding their annual market place of the year. After a long chat, the main character walks towards a hooded man with a magic globe, and the questioning for Tactics Ogre begins. The first question the man asks you is what is your name. A panel with four different options will come up. * The first option allows you to write your name in Japanese, and for Japanese players this is the choice for you. * The second option allows you to write in another language (unknown to me, unfortunately...) so if you know how to read and write in that language, go right ahead and choose that one. * The third box is the one to choose for people that can read and write English. You can only write your character's name in English, (no, the whole game will still be in Japanese) but at least you will be able to identify what your character's name is throughout the game. * The last box has the option of the computer choosing you a Japanese name. If you don't care about writing your own, go ahead and press this button and a random name will be chosen for you. After choosing the name of your character, you will be able to set your birth date. Just choose the numbers that match your birthday or leave the date as what it starts with. Now the questions come up. There are six questions, all in Japanese. On the bottom of the screen, there are four coins. These little coins are the answers to the questions. I didn't pay much attention to the questions, so I have no answers to any of them. Just choose the one that suits you fine. After answering all the questions, the opening scenarios will commence. It shows the main character that you just named and the Paladin Knight heading onto a ship, the town that you just went through being massacred and burned to the ground, and some old men that you see later in the game signing a peace treaty. Nothing that great, but it will make sense later in the game. After that short clip, you find the main character on his ship ordering his soldiers. One runs off while the other goes into the ship to get out of the rain. The Paladin Knight comes by, probably to wish you luck on your journey. After a short discussion, one of your soldiers runs to tell you some bad news. As far as I can interpret it, bandits have entered the town to take your ship. The leader seems to be a Bezerker that has a grudge against you and your first battle starts. Enemies: Bezerker (Leader), 2 Male Soldiers, and a Female Solder Guests: Paladin Knight, Archer, Male Soldier, Female Soldier Winning Condition: Defeat the Leader Treasure: Axe Battle Strategy: This battle is extremely easy because the only character that you command is the main character. So have your fun watching as the others beat up on the troops that the Bezerker leads. At the end of the battle, you win the Bezerker's Axe. After the battle, the Hero and the Paladin Knight have a little conversation, while another Bezerker with a crossbow arrives. He takes a shot at the Knight, but the Hero jumps in front of him, taking the blow. The Bezerker is killed instantly by a soldier, and the Knight screams out to the Hero, who has been lost in the water off the docks. The screen shifts over to a little girl skipping out of her house towards the shore, only to find a half-drowned Hero with an arrow in his shoulder. She takes him in, bandages his wounds and they have a little chat. The door opens, revealing a Female Knight in Red Armor. She chats with the Hero about something, leaves, and calls for the little girl to come. The screen shifts and you are now on the field map for the first time. You can't do anything at the moment as far as training and editing your party, so save it (see how in the control figuration section under the R button) and move on to the red castle on the screen. Any destination in red shows that there is a battle there that will make you move on in the story. Of course, there are some secret battles that you can trigger that aren't in red on the map, so I'll keep you informed on those. As you enter into this town, the Red Knight chats with you a little, and a female Wizard comes in with her group to take you on. The Red Knight says a little bit, then asks you a question. You can choose from answer A or answer B. Depending on the answer you choose you can get a random version of two basic teams. You can see what classes you get after you beat this battle. If you like the classes that you received, continue on in the game with that team. If you're curious to see what the other class is, reload the file that you saved before the game and see if you like that one better. I got a Male Ninja and a Male Cleric when I answered my question, and yet my father got a Male Wizard and a Female Archer. There is no correct answer and it is all based on choice. After you make the choice that you want, the battle will start. Enemies: Archer (Leader), 2 Male Soldiers, Female Soldier Guest: Red Knight, Paladin Knight, and Archer from beginning of game Winning Condition: Defeat the Leader Treasure: Lightning (Spell) Battle Strategy: At the start of the battle, it's only you and the Red Knight versus their entire team, so I suggest that you wait the first turn and have the enemy come towards you. Usually the Red Knight will come and position herself next to the leader. On the start of the third turn, the Hero will say something, and the Paladin Knight and the Archer from the beginning of the game will come out of nowhere from the right and begin to help your party. Now the battle is even. As with the last battle that you played, stay put and let the Computer Controlled Allies do most of the fighting for you. Use this time to experiment with the controls. At the end of the battle, you win the Lightning Spell. At the end of the battle, the Paladin Knight will speak with you privately, give you 3500 Goth, and a team to play with. This team is determined by the answer you chose in the last battle. After their little discussion, you move back to the Field Map. Now you can edit your team and do a little training, as well as go to the shop of the town. The shop button is the scale icon when you press R on the field map. Click on it and the screen will shift to a screen where the shop owner welcomes you in. A box with four different commands appear on the left of the screen: * The first option is the buy command. After you press this button, two more commands will come up. The top command is the equipment, and the lower command is magic. Therefore you can buy equipment and magic. * The second option is the sell command. As with the buy command, after choosing that option, two more commands will come up. The first one is again equipment and the bottom command is magic. Therefore you can sell equipment and magic. * The third option is the recruit command. Here you can recruit a male or female soldier and a random character. The soldiers always cost 1000 Goth and the third character depends on whether or not it is a S or L size character. I recommend that you purchase a new character to add to your party at this point of the game, as the more characters you have in the party, the easier the game will be. Plus you just received 3500 Goth from the Paladin Knight. Trust me, the more characters the better. I bought a Hawk Man, my most favorite class in the game. They can fly anywhere and are awesome with a bow, a weapon that you can purchase at the very beginning of the game at a reasonable price. A new soldier of either gender would be a nice addition as well. Remember that a new character does not come equipped, so make sure you purchase some materials for him to use. * The final option allows you to leave the store. You can also leave the store by simply pressing the B button, so you can use either command. Level your characters up to level three and buy some spells that will help your characters. Save your game, then move onto the next stage. Enemies: Archer (Leader), 2 Male Soldiers, 2 Female Soldiers, 2 Bezerkers Guest: Red Knight Winning Condition: Defeat the Leader Treasure: Balder Bow Battle Strategy: The Leader of this battle is an Archer who has a Balder Bow, very good if you're playing with an Archer or a Hawk Man. The enemy starts at the very top of the hill working downwards, as you are trying to kill them moving up. I recommend advancing slowly and letting the enemies come to you. The Bezerkers are the only ones with a bow that advance and the Female Soldiers seem to stay behind with the leader. By the second turn, try to attack at least one Bezerker if you can. In fact, get him below five Hit Points and try to persuade him. (If a character stands next to an enemy character, a command with a design that looks like a bubble with three dots will appear. This is the persuade command. The chances of persuading characters are slim, but it can be done and in the end are worth more than the effort you put in.) Advance and kill the foolishly advancing forces and you should have their front line killed in about six turns (more if you try to persuade someone). After you're done killing them, advance and kill the characters at will. Go ahead and kill the leader if you want! When you kill her, you get the Balder Bow for any of your Archers. After the battle, the Red Knight comes out of a tent to talk to you. You chat a bit, and then she asks you a question: * Choice A will make the Red Knight join you permanently, something that I think you want. * Choice B will make the Red Knight temporarily leave your party. I do not know if you will be able to recruit her later in the game. You are back on the field map, so you can edit your team and equip that new bow that you received in the last battle. You should level up your people to level 4, then move on to the next battle. NOTE: The walkthrough will be paused at this point. I have progressed further into the game, but it takes a while to write this stuff and I want to make sure I get this submitted. Look back here once in a while for the upgrades to see the rest of this walkthrough. Thank you. VI. Secrets The only secret that I have for you now is this: After you beat your first team battle versus the Archer, you can return to the location one space lower on the map. Save it, then return back to the location where you fought the Archer. You are now taken to a non-story battle. Enemies: 2 Fairies, 2 Gremlins, and 2 Griffins Guest: Blue Haired Fairy Winning Condition: Defeat all enemies Treasure: None Battle Strategy: In this battle you are destined to save a Blue-Haired Fairy, who is having a little trouble with her Aerial friends. This battle is fairly easy, as your fairy friend is smart enough to retreat behind the flanks and a majority of the Monsters have weak defense. Use the Red Knight as your healer, and you should finish this battle in record time. After the battle, the fairy will thank you and ask if she may join your comrades in your army. Choose the first option and she will join you. VII. Credits - My Father, for going out and purchasing this game. Also, for inspiring me to write this walkthrough. It was only supposed to help him, but I think submitting this will help others as well. - My Mother, for proofreading this and attempting to find all the errors that I missed. I would be the laughing stock of the internet if it weren't for her. - Others who have written an Ogre Battle and Tactics Ogre walkthrough on GameFAQs (both the PS, N64 and Gameboy Advance). I have copied some of your styles of writing and I think you deserve credit for writing a walkthrough on these great games. And thank YOU for reading this walkthrough. Remember, if there is any question you would like to ask, feel free to e-mail me at the address in the beginning of this walkthrough. I love helping people with these games. - Chris Hayes, "Sudzi"


Wiccan Leads Panel on Supernatural in Bengali Cinema

THE TIMES OF INDIA: "Chandreyee Ghosh had played a student of Wicca in " Parapaar", a show that used to be aired on a private Bengali channel, Anjan Dutt's telefilm "Mannequin", based on one of Ipsita's stories is almost ready to be aired while Rituparno Ghosh's involvement with the Wicca had started as early as when he was just 12 years old. The discussion was moderated by Ipsita and was directed towards how people have started opening up to the supernatural and the inexplicable." … [Read more...]


Data Warehouse Check-Up

Jun 25, 2004 (10:06 AM EDT)

Read the Original Article at

It's human nature to resist visiting a doctor for periodic check-ups. Generally, we'd prefer to avoid being poked and prodded, having our vital signs taken, and then being told that we need to quit smoking, exercise more, or change our lifestyle habits in some fashion. However, most of us are mature enough to realize that these regular check-ups are critical to monitor our health against conventional and personal norms.

Similarly, it's critical to conduct regular check-ups on your data warehouse and business intelligence (DW/BI) environment. It's less invasive to just keep doing what you've grown accustomed to in your DW/BI environment, but it pays to regularly check its weight and blood pressure, as well as the pulse of the business community.

Just like the assortment of health guides available in your doctor's office, we'll describe the most common disorders encountered when performing DW/BI check-ups. For each malady, we'll then discuss the telltale symptoms to watch for, as well as prescribed treatment plans.

This column is pertinent to anyone with a maturing (dare we say "graying"?) data warehouse. Those of you just getting started should also watch for these warning signs to nip any disorder in the bud before it takes hold and spreads within your environment.

Business Sponsor Disorder

One of the most common, yet potentially fatal disorders involves the sponsorship of the DW/BI environment. A business sponsor disorder is often the contributing factor to data warehouse stagnation.

Symptoms. Organizations are most vulnerable to this disorder when the original sponsor moves on either internally or externally. Even though someone will ultimately fill the job or assume the title, the new person likely isn't as zealous for the data warehouse effort as the original sponsor. If the original sponsor left under somewhat negative circumstances, many of the assumptions concerning the data warehouse effort may be at risk, including tool selection, identity of trusted vendors, and choice of application development topics. The political winds at the moment of such a transition can be especially turbulent.

Even if the sponsor hasn't changed jobs, he or she may mentally abdicate sponsorship duties. Newly formed data warehouse teams are especially susceptible. Once the team gets approval to proceed with the DW/BI initiative, it turns its complete attention to building the new environment as promised. In the meantime, another hot issue distracts the business sponsor (who potentially suffers from attention deficit disorder).

Another warning sign is if IT is the primary sponsor of the DW/BI program, establishing priorities and driving the development plan. Finally, if you find DW/BI funding suddenly coming under intense scrutiny, you're likely suffering from sponsorship disorder.

Treatment plans. The first step to treat this disorder is to identify and recruit a business sponsor. An ideal business sponsor visualizes the potential impact of the DW/BI environment on the business, which empowers the sponsor with enthusiasm to ensure that the larger business community embraces the DW/BI deliverable. If the sponsor isn't engaged and passionate about the cause, then it's tough to convey that to the rank and file. Effective sponsors often face a compelling problem that they're trying to address. Good sponsors are able to leverage this compelling problem to provide the project with momentum by insisting the organization can't afford not to act.

We look for business sponsors who are influential within their organizations, both in terms of hierarchical and personal power. DW/BI sponsors need to be politically astute and understand the culture, players, and processes. Because neither the business nor IT communities can effectively construct the DW/BI world independently, business sponsors should be realistic and willing to partner with IT.

The most obvious way to find a business sponsor is to conduct a high-level assessment of the business requirements. Likely sponsor candidates will rise to the top of the surface as a result of this process. Another approach is to conduct a demonstration proof-of-concept, presuming viewer expectations can be realistically managed.

If no one emerges as a potential willing and able sponsor, then the project team should seriously reconsider moving ahead. You absolutely need someone high in the business to champion the cause. Otherwise, you'll suffer from chronic business sponsor disorder. The estimated lifespan of a DW/BI environment plummets without strong business sponsorship.

Your work isn't done once you've identified and recruited a single sponsor. Given the never-ending nature of the DW/BI program, sponsorship needs to be institutionalized with a steering committee or governance group of senior business and IT representatives. Clearly, you don't want to put all your sponsorship eggs in one basket.

One of our favorite tools for working with business sponsors is the prioritization quadrant. This technique is used in the early stages of a data warehouse to align business and IT priorities, resulting in a program roadmap for the enterprise. On an ongoing basis, perhaps every six months to a year, the DW/BI sponsorship or governance group should review progress to date and revisit the prioritization quadrant to queue up subsequent projects balancing business value and feasibility.

You need to establish a "care and feeding" program for the DW/BI sponsors. Business sponsors are highly experienced and respected businesspeople, however, they may not be highly experienced in the organizational culture change often required for an analytic initiative. They may need some coaching on their new roles and responsibilities.

Never take your sponsors for granted. It's certainly not safe to rest on your laurels. You need to constantly communicate, feeding constructive, realistic, and solution-oriented feedback to the sponsors, while listening to stay abreast of sponsors' hot buttons. Communication is also critical to continually build bridges with other business leaders in the organization. Lastly, you should actively convey what the DW/BI world has done for them lately. You can't afford to wait until someone's scrutinizing expenditures to inform them of your successes. As uncomfortable as it may seem, you need to market the DW/BI environment. Enthusiastic business users typically deliver the most effective commercials.

Data Disorder

Accessing good data is one of the two pillars of the data warehouse. (The other is addressing the right business problems). The most serious and common data disorders are poor quality data, incomplete data, and late data.

Symptoms. One of the key indicators of a data disorder is the degree of data reconciliation happening across the organization because the data's inconsistent or not trusted. Data disorders are often blurred with business acceptance shortfalls when the real underlying issue is the data is irrelevant or overly complex.

Treatment plans. The initial treatment for data disorders requires drafting an enterprise data warehouse bus matrix. This technique is thoroughly discussed in the Sept. 17th column referenced earlier. The matrix establishes a blueprint for enterprise integration by identifying the core business processes and common, conformed dimensions. After the matrix is developed, it should be communicated and "sold" up, down, and across the organization to establish enterprise buy-in. If you already have a slew of disconnected analytic data repositories, you can embellish the bus matrix by cataloging the "as-is" environment prior to developing action plans for your longer-term data strategy.

While the bus matrix identifies the links between core subject areas in the data warehouse, it also highlights "opportunities" for extract-transform-load (ETL) processing. Like the overall technical architecture, the back room ETL architecture is often created implicitly rather than explicitly, evolving as data profiling, quality, and integration needs grow. You may need to rethink the staging and ETL architecture to ensure consistency and throughput at acceptable costs.

You should preface the DW/BI project with a comprehensive data profiling task to confirm that the data is what it's advertised to be. During the production phase, you must continuously monitor the data for quality glitches and omissions. Finally, you should carefully examine whether you need to go to a streaming real-time architecture to deliver the data to decision makers within their "sweet spot" time window for affecting the business.

Data disorders often result when data is irrelevant, noncomprehensible, or otherwise difficult to use. Review your existing data schemas for potential improvements.

Finally, if you've invested a lot of time and resources to develop an atomic, normalized data warehouse but the business users complain about ease-of-use issues, you can leverage that existing investment by creating complementary dimensional models to address ease of use and query performance, while also boosting your chances of business acceptance.

Business Acceptance Disorder

Here's another critical disorder affecting data warehouse mortality rates. If the business community doesn't accept the DW/BI environment to support decision-making processes, then you've failed. Sorry to be so blunt, but it's a harsh reality. The business must be engaged if you're to stand any chance of DW/BI acceptance. Unfortunately, business engagement is often outside our comfort zones; we may be unsure about techniques for ensuring their engagement, plus there are typically no incentives in place for mastering this domain.

Symptoms. There are some strong indications of business acceptance disorder. Are the business users simply not using the data warehouse like you think they should? Do the number of BI tool licenses greatly exceed the number of active users? Do the number of trained users greatly exceed the number of active users? Are the prime targeted beneficiaries of the DW/BI environment turning their attention to a different analytic platform, independent of the DW? Do the business users make requests like "just give me a report with these three numbers on it" because they're loading the report into Excel where they're building their own personal data warehouse? Does the business community perceive a legacy of disappointment when it comes to IT's ability to address their requirements? Did the DW/BI project team focus on data and technology, presuming they understand the business's requirements better than the business does?

Treatment plans. Your mission is to engage, or reengage, the business. Talking to users about their requirements is an obvious place to start. The DW/BI environment is supposed to support and turbo-charge their decision-making. Given this mission, distributing surveys or reviewing entity/relationship diagrams are ineffective tools for gathering business requirements. Put yourself in their shoes to understand how they currently make decisions and how they hope to make decisions in the future. Obviously, you need to have the right attitude, listen intently, and strive to capture their domain expertise.

It's important that you engage business folks across a vertical span of the organization. It's not enough to merely speak with pseudo-IT power analysts that can make data jump through hoops. We need to talk to their peers who aren't so empowered, plus speak with middle and upper management to better understand where the organization is going. You're vulnerable to falling into the trap of creating a better mousetrap for today's problems if you spend all your time in the trenches. It's highly beneficial to have relationships with all levels of the business organization — executives, middle management, and individual contributors.

Of course, you're more likely to successfully engage the business when you have a strong business sponsor with a powerful ability to influence the organization. A strong, committed business sponsor can significantly affect the organization's culture. Conversely, if you suffer from a sponsorship disorder, it's even harder to obtain business acceptance. These two disorders often go hand in hand.

As previously discussed, one size doesn't fit all when it comes to analytic capabilities. You need to acknowledge the range of usage requirements and institutionalize a strategy to address the spectrum.

Similar to our discussion about business sponsor care and feeding, you need to establish a comparable program for the rest of the business community. Care and feeding commonly occurs with the initial deployment, but then we often quickly turn our attention to the next project iteration. You need to proactively conduct ongoing checkpoint reviews to remain engaged with the business. In addition, you should help the business users understand their shared responsibility for a healthy DW/BI program.

Education is a key component of deployment, but it isn't a one-time event. You need to consider ongoing needs for tool, data, and analysis education. We've worked with some organizations that include DW/BI training as part of their new hire orientation because information is a fundamental part of their culture. Not surprisingly, the DW/BI environment is broadly accepted in these companies; it's part of the way they do business.

Finally, as we described with the sponsorship disorder, communication is critical. You can't rely on the project documentation tools to communicate with all your constituencies. You need to concentrate on what's in it for them, marketing successes while managing expectations.

Infrastructure Disorder

Contrary to popular opinion, infrastructure disorders are seldom fatal. There's often room for improvement, but it's usually an elective procedure. Despite our personal interests in this disorder, it usually doesn't warrant the attention due the others.

Symptoms. Are the DW/BI systems slow or is the data late? Is the DW/BI environment commonly described as a bundle of technical bells and whistles? Are there tool overlaps and/or voids? What about performance concerns? Performance covers a gamut of potential underlying problems: ETL processing time to get the data loaded, query result time lags, and the DW/BI development cycle time to deliver new functionality.

Treatment plans. Every DW/BI environment is based on an architectural foundation; however, it may be time to revisit your overall architecture plan. The question is whether your plan was explicitly developed, or whether it just implicitly occurred. A well thought out plan facilitates communication, minimizes surprises, and coordinates efforts.

Revisiting your technical architecture doesn't mean going out and buying all the latest, greatest technology. You need to understand the business's needs and determine the associated implications on the technical architecture in terms of the required ETL services, access/analysis services, infrastructure, and metadata. The drive toward more real-time data warehousing is a prime example of the translation from business needs into architectural requirements. Some organizations have made poor technology choices in the past. It takes courage to unload that baggage to enhance the DW/BI environment going forward.

Cultural/Political Disorder

Unfortunately, DW/BI environments aren't immune to cultural or political disorders, and there's no vaccine in development on the research horizon.

Symptoms. Symptoms of this disorder are fuzzier to articulate, especially because they typically transcend more than the DW/BI environment. Organizations with cultural/political disorders may be stymied by conflicting priorities of "doing it fast" vs. "doing it right." Similarly, they often struggle to reach consensus on tough issues, such as data standardization and process changes. Finally, more specifically related to DW/BI, many organizational cultures aren't poised to embrace analytic decision-making, especially when decisions have traditionally been based on gut feelings or intuition. Do the business users currently manage by the numbers? There's often a lack of recognition and/or willingness to champion a culture shift to more fact-based decision-making.

Treatment plans. When dealing with cultural and political disorders, you can't just duck them, much as we would like. You need to be courageous, while understanding that these disorders are difficult to overcome with trench warfare. Now is the time to call in your support group: IT management, business sponsors, and the business community. If the support group doesn't recognize the need and assume accountability for treating these disorders, then the DW/BI team is in for a long, uphill struggle. Senior business and IT management must accept its fiduciary responsibility for handling information and analytics as corporate assets. Finally, actions speak louder than words. The organization will easily see through a veil of verbal commitment if management doesn't exhibit reinforcing behaviors.

Early Detection

As touted by cancer experts worldwide, early detection is the best prevention. Proactively monitoring your data warehouse and business intelligence environment is the best method of ensuring its health. It's tough to prescribe a remedy if you don't know what you're suffering from. As a student commented recently, thinking about common disorders and alternative treatment plans is a "shot in the arm" for anyone who's trying to rescue a failing data warehousing project. The metaphor lives on.

Finally, remember there's nothing wrong with having a check-up and learning that you're in perfect health. In fact, that's the optimal outcome!

Ralph Kimball founder of the Kimball Group, teaches dimensional data warehouse design through Kimball University and critically reviews large data warehouse projects. He has three best-selling data warehousing books in print, including The Data Warehouse Toolkit, 2nd Edition (Wiley, 2002).

Margy Ross is president of the Kimball Group and instructor with Kimball University. She cowrote The Data Warehouse Lifecycle Toolkit (Wiley, 1998) and The Data Warehouse Toolkit, 2nd Edition.


Adams: Son of Chamber Symphony; String Quartet - review

4 / 5 stars
St Lawrence Quartet/International Contemporary Ensemble/Adams

Just as John Adams's 1992 Chamber Symphony was written in the shadow of Schoenberg's Op 9 work of the same name, so, as the title suggests, Son of Chamber Symphony from 15 years later takes Adams's own previous work as its starting point. That familial relationship seems strongest in the first movement, where the tangy sonorities, jostling instrumental lines and sudden changes of direction recall the similarly muscular opening of its predecessor. As the work goes on, the music moves into territory that Adams has explored in his more recent work, but the virtuoso lightness of the instrumental writing remains, and with its self-references to earlier works (Nixon in China and Harmonielehre) it is a real jeux d'esprit, genuinely approachable and wittily engaging. By contrast, the 2008 String Quartet, a rare example of Adams using a traditional title, not only seems as introspective as Son of Chamber Symphony is outward-looking, but also harks back to an earlier, more obviously minimalist phase in his development, even if from time to time the churning textures give way to kernels of more lyrical writing. Both works are given exactly the kind of high-octane performances that Adams's instrumental music demands.


miércoles, 31 de julio de 2013

Humpback whale-watching season starts in Costa Rica

Bottlenose dolphins in Golfo Dulce, photo by CEICAt the very bottom of Costa Rica, the placid blue waters of the Golfo Dulce shine like a mirror most days, reflecting occasional clouds and the immense cerulean sky. Its calm surface is broken by the odd small, local boat cruising along, but the most action is caused by dolphins frolicking or fishing, sea turtles swimming, fish jumping out of the water, and marine birds diving for those fish.
This time of year, the Gulf gets even busier with visiting migrating Humpback Whales. The "inner sea" of Golfo Dulce, known as a tropical fjord, on Costa Rica's southern Pacific Coast by the Osa Peninsula is a critical habitat for Humpback Whales and is key to the species' survival, according to the Center of Cetacean Investigation of Costa Rica (CEIC). Whales arrive to reproduce and give birth in the warm waters of Costa Rica's South Pacific Coast, from the Ballena National Marine Park just south of Dominical down to the Golfo Dulce.

Humpback Whales migrate to Costa Rica's warm Pacific watersThe annual migration of Pacific Humpback Whales is one of the most remarkable journeys by any creature on the planet. The cetaceans travel between 3,000 and 5,000 miles each way, from both the Northern and Southern Hemispheres, making them one of the farthest-migrating animals on Earth. Northern Hemisphere Humpbacks travel from Alaska and British Columbia to Mexico, Hawaii and Central America, for the months of December to March. Southern, Antarctic-based Humpback Whales spend their winter months near Australia and as far north as Costa Rica from June to November. They are most likely to be seen in Costa Rica between August and October.

Humpback Whale mother & baby in Golfo Dulce, Costa RicaThe southern whales are more abundant in Golfo Dulce, according to research by the CEIC. Females swim into the shallow waters of the Gulf's interior to birth their young and breastfeed them. Males concentrate in the outer area of the Gulf waiting to breed with available females.

"A large part of the Gulf is used by Humpbacks to rest, give birth to their young, and nurse them for a week until they are able to get out to the Pacific to continue with their migration," notes research by the CEIC.
The CEIC and other environmental organizations, including Earthwatch, are lobbying for the creation of a Marine Protected Area within Golfo Dulce to safeguard the whales' reproductive and feeding grounds, and to establish buffer areas surrounding these critical habitats.

"(There is an) urgent need to create connectivity between different marine protected areas to maximize the effectiveness in the protection of species and resources," note CEIC researchers.
Humpback Whale breaching in Golfo Dulce, Costa RicaHumpback whales are an endangered species with international government-protected status. They are easy to spot since they live at the ocean's surface, both in the open ocean and in shallow coastline waters. They swim slowly and are known as the "acrobats of the sea" for their aerial antics, which makes them perfect stars for whale-watching tours. Humpbacks also are known for their "songs" – long, varied, complex and beautiful sequences of squeaks, grunts, and other sounds. Only males have been recorded singing and they seem to produce the complex songs only in warm waters – thought by scientists, therefore, to be mating calls. Listen to recorded Humpback Whales singing off the coast of Maui at www.whalesong.net.

Golfo Dulce also is home to important resident and migratory communities of Bottlenose Dolphins, Spotted Dolphins, Spinner Dolphins, and the occasionally seen False Killer Whales.
Visit Golfo Dulce
Playa Nicuesa Rainforest Lodge, Golfo Dulce, Costa RicaStay right on the inner Golfo Dulce at Playa Nicuesa Rainforest Lodge, and see these gentle giants in person. The award-winning eco-lodge offers boat tours of the Gulf to see marine life such as dolphins, sea turtles and whales.

Playa Nicuesa Rainforest Lodge is located on a 165-acre private preserve bordering the Piedras Blancas National Park. A TripAdvisor Certificate of Excellence winner, the sustainable lodge is a unique adventure travel destination for its remote, pristine wilderness location.
By Shannon Farley

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Plunge in CO2 put the freeze on Antarctica

December 1st, 2011 in Earth / Earth Sciences

Plunge in CO2 put the freeze on AntarcticaAtmospheric carbon dioxide levels plunged by 40% before and during the formation of the Antarctic ice sheet 34 million years ago, according to a new study. The finding helps solve a long-standing scientific puzzle and confirms the power of CO2 to dramatically alter global climate.

The study by an international team, published in the journal Science, is the first multidisciplinary research of its kind to show that CO2 was tracking at that time. It confirms that significant falls in the result in global cooling, just as rises result in global warming.

Previous studies had suggested that atmospheric CO2 over the Southern Ocean was climbing during the Eocene to Oligocene climate transition, when ice first formed over Antarctica. This presented a conundrum, suggesting the climate was warming at the same time as Antarctica was freezing.

But when the vastly different ancient Southern Ocean currents and temperatures of that period were factored in, it quickly became apparent that Antarctica's big freeze followed a fall in CO2 levels.

The paper, "The Role of Carbon Dioxide During the Onset of Antarctic Glaciation", reinforces carbon dioxide's place as a primary driver for . It was lead authored by Mark Pagani, of Yale University, and co-authored by University of NSW Climate Change Research Centre researcher Dr Willem Sijp.

"Our research recognised that the flows of deep ocean currents at the end of the Eocene were dramatically different from those of today because of the altered position and shape of continental masses," said Dr Sijp.

"Previous research relied on different temperature estimates and had also not taken these different currents into account. This led to significant upward biases in calculated CO2 which made it appear that carbon dioxide was actually increasing around the Southern Ocean as the Antarctic ice sheet formed. We can now see the reverse was true.

"We found a 40 percent CO2 decrease over a three million year period, in agreement with global cooling during that time.

"This decline was a critical condition for global cooling and the emergence of the . In short, the apparent increase of CO2 during Antarctic is refuted."

The nature of ocean currents is vital in calculating atmospheric CO2, because the estimates of atmospheric carbon dioxide are derived from measurements of molecules from algae deposited on the ocean floor at six ocean sites millions of years ago.

The fundamentally different circulation of the Southern Ocean during the directly affected the algae by changing the temperatures of these ocean currents and significantly lowering the nutrient load. This had a direct impact on the inferred CO2.

Provided by University of New South Wales

"Plunge in CO2 put the freeze on Antarctica." December 1st, 2011. http://phys.org/news/2011-12-plunge-co2-antarctica.html


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A traditional meal as served to guests at a funeral in Luang Prabang

This may sound like a macabre title for blog post, but anybody who’s been to a Buddhist funeral in Southeast Asia knows the events take a decidedly different form here. For starters, funerals in this part of the world are more like family reunions, and are generally festive, rather than dour in atmosphere. They can often last several days, depending on the family’s budget. And most importantly, like much of life in Southeast Asia, they tend to revolve around food.

I learned this firsthand while walking the streets of Luang Prabang, in northern Laos. I was searching for images to illustrate an article on Lao food, when I came across a funeral entering its fifth day. A man of 82 had died, and directly in front of the house in which he grew up, his relatives and people who knew him had erected a tent and were busy cooking.

It truly was a communal affair, at least among the women, and everybody pitched in, including neighbours, neighbours’ relatives visiting from America, and sometimes people who just happened to walk by:

Woman preparing a funeral meal in Luang Prabang

Those not able to help in the more physical parts of preparation simply dished out the final product:

Serving up bowls of khua kai, a thick chicken curry, at a funeral in Luang Prabang

in this case, a thick coconut curry called khua kai.

When a meal, usually consisting of four different dishes, sides of fresh herbs and veggies, and sticky rice, was completed, the dishes were put on trays then laid out to be consumed:

Setting up for a funeral meal, Luang Prabang

Between meals everybody snacked on miang laao:

Miang laao, Lao-style crudites, as served at a funeral in Luang Prabang

A variety of toppings ranging from pork crackling to garlic that are put in a leaf, topped with a salty/sour sauce, and popped in the mouth.

Among the dishes made in the three days I visited the funeral were an herb-filled omelet, a laap-like pork dish, and because it was in season, several dishes revolving around bamboo, including a clear soup (pictured at the top of this post), and a delicious stir-fry of crispy bamboo, egg and ground pork:

An stir-fry of bamboo, egg and ground pork, as prepared at a funeral in Luang Prabang

Below is the recipe for saem, an eggplant and pork dish that I was able to watch being made from beginning to end. I was told by the people making it that the dish can only be found in Luang Prabang, and is among a repertoire of dishes often served at funerals and other occasions.

I’ve failed to include amounts here simply because the women themselves didn’t measure anything; like most recipes in this part of the world the cooking was done entirely by taste, feel and experience. The dish is pictured at the top of this post at about 4 o’clock, and below.

Saem: Pork and eggplant ‘salad’

Two women making saem, a pork and eggplant 'salad' at a funeral in Luang Prabang

Making saem

-Boiled pork liver and belly, sliced thinly
-Lao fish sauce (paa daek)
-Rice cakes (khao khop)
-Young, round purple eggplants (ideally w/out seeds), boiled until soft and peeled
-Ground pork, boiled
-Salt, MSG, dried chili powder
-Green onion and cilantro, sliced finely
-Sides: fresh mint, watercress, leafy pak boong, long beans, chilies and small purple eggplants.

Slicing pork liver for saem, a pork and eggplant 'salad' at a funeral in Luang Prabang

Slicing pork liver for saem

1. Simmer fish sauce with some of the broth left over from boiling the pork liver and belly until reduced and fragrant. Strain and reserve.
2. Pound rice cakes in mortar and pestle until very fine. Remove.
3. Pound eggplant and ground pork in mortar and pestle until well blended.
4. Season to taste with Lao fish sauce, salt, MSG and chili.
5. Add pounded rice cake powder, liver and belly. Blend well.
6. Garnish with green onion and cilantro.
7. Serve with sides and sticky rice.

Comment for Things I like about Laos #3: Funerals in Luang Prabang

“-Lao fish sauce (paa daek)”

I love that you refer to it as Lao fish sauce…lol.

Wanna say something?


BBC - Culture - Private View 2015-01-31T12:08:30+00:00,2010:/culture BBC The scourge of the selfie Museum visitors now turn away from works of art to snap photos of themselves. Jason Farago investigates this invasive trend. 2015-01-21T12:50:48+00:00 Can this art bend time? As life seems to get ever faster, several artists are slowing things down to a snail’s pace, producing works that unfold over days, years and even centuries. 2015-01-07T11:59:29+00:00 ‘Great artists steal’ A new exhibition at MoMA features meticulous copies of famous artworks. It raises the question: is originality really that important? Jason Farago investigates. 2014-11-12T17:35:13+00:00 How to depict the death penalty A new exhibition aims to humanise condemned prisoners. From the sword to the electric chair, the death penalty has inspiredpowerful art, writes Jason Farago. 2014-10-14T12:43:17+01:00 Marquis de Sade: Still shocking? The radical 18th Century libertine left a profound mark on our culture. He’s everywhere – but why does he still scare us? Jason Farago explains. 2014-10-07T08:28:31+01:00


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My preschooler loves drawing, coloring and listening to stories, but he doesn't write alphabet letters like the rest of his classmates. What would you suggest?

If your son really enjoys being creative, try to introduce letter-writing activities that build on his love of drawing and coloring. Invite him to make animals or other fun drawings from basic letter shapes. For example, after he writes an uppercase B, encourage him to add black and yellow stripes and a pair of wings to turn that B into a bumble bee. Or, help him create an ABC book that has a page for each letter. After he writes the uppercase and lowercase letter on the top of a page, he can draw pictures of things that begin with that letter sound. For example, on the Kk page, he might have a picture of a kangaroo flying a kite. You can spice up opportunities for even more letter-writing practice by making letters with sidewalk chalk, painting letters on chart paper, or writing letters with crayons, markers or colored pencils. He can have fun making an alphabet rainbow using an array of bright colors for all the letters.

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Learners will construct a mock-up of planetary surface rover. They begin by exploring the importance of engineering in our society and work as a team to build a prototype of the team’s rover using student science notebooks and team sketches as a... (View More)

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The Traffic Accident Reconstruction Origin -Article-

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Pedestrian Accident Reconstruction:Review and Update

by Luis Martinez

Pedestrian accident reconstruction has become a critical, important aspect of the field of motor vehicle collision reconstruction. The dynamics, methodology, and principles involved are somewhat different than those routinely used to reconstruct vehicle collisions. The field is one quickly becoming highly specialized. This paper presents a background of the problem, a limited summary of the work available in the field, and discusses the current reconstruction methodologies as they refer to pedestrian walking speeds, impact orientation, and determining impact speeds.

The Pedestrian Problem

In the United States alone approximately 7,000 pedestrians are killed as a result of motor vehicle crashes every year, and approximately 119,000 are injured. Table1 shows a breakdown of yearly pedestrian death figures, since 1975, separated by gender. This data was obtained from the U.S. Department of Transportation's Fatal Accident Reporting System (FARS).

During the 19-year period from 1975 through 1993 pedestrian fatalities peaked at 8,070 deaths in 1980, and appear to be steadily declining ever since. The Table to the left depicts the data in table I using a line-area graph.

Since 1975, between 14 and 17 percent of motor vehicle deaths have been pedestrians. Pedestrians accidents are exceeded only by falls and motor vehicle accidents as a cause of accidental deaths. The annual cost of pedestrians accidents to society exceed one billion dollars.

Once the pedestrian statistical picture is examined closely, it has been determined that older adults and young children face the greater risk on our roadways. Pedestrian death rates among older adults have been decreasing since 1950, but people 65 years of age and older have the highest pedestrian death rates.

This rate is more than twice as high as it is for younger people. Thirty-three percent of all motor vehicle deaths of 1-9 year old victims are pedestrians. Sixty-six percent of pedestrian deaths among children younger than 13 occur between 3 and 9 pm. A peak in pedestrian deaths is usually reached between 6 pm to 9 pm. This is no doubt partially the result of pedestrians being struck on high speed roadways during hours of darkness.

TableII is a summary of the distribution of pedestrian deaths during 1993 by time of day, and TableIII shows the deaths according to the day of the week. The same information is also presented in an line-area graph format, in the figures to the left. Fatalities appeared to be over represented during Fridays and Saturdays.

Sixty percent of pedestrians 16 years and older killed in night time crashes have very high blood alcohol concentrations (0.10 percent or more). Thirty-four percent have no alcohol in their blood. Among 16-20 year old, forty-two percent have blood alcohol concentrations of 0.10 percent or more.

The percentage of pedestrians 16 years and older with blood alcohol concentrations of 0.10 y percent or more who were killed in night time crashes remained about the same (about 60 percent) between 1980 and 1993, while the percentage of fatally injured passenger vehicle drivers with blood alcohol concentrations of 0.10 percent or more decreased by 16 percent during the same period. This may be the net effect of active drunk driver campaigns by law enforcement and the media in general. There has been an active renewed interest in walking as a form of exercise and transportation in recent years. This increase in pedestrian traffic along with an ever-increasing traffic volume has resulted in increased sharing of trafficways by vehicles and pedestrians alike.

Pedestrian accident reconstruction

A collision involving the death of a pedestrian can be one of the most difficult, yet rewarding, tasks facing any reconstructionist today. There are many issues facing the investigator(s) for which the answers are not easy to reach.

Pedestrian Walking speed

One of the issues critical to the investigation, particularly when attempting to determine time and distance problems, is that of pedestrian speed. Next to perception/reaction time, there is probably no other area of collision investigation where there is such a disparity on what a specific value ought to be. Well known publications have established specific walking speeds, primarily for purposes of highway design and sign placement, at 4 feet per second and from 2.5 to 6 feet per second. In addition, many other publications and technical papers carry tables on pedestrian walking velocity based on empirical data. TableIV is such an example, obtained from Jerry Eubanks recently published textbook on pedestrian accident reconstruction. The figure above presents the same data in a bar graph format.

Eubanks concluded that men under 55 years of age have a walking speed of 5.4 feet per second while those over 55 slow to 5.0 feet per second. Women generally walk slower than men and those under 50 years of age have a walking speed of 4.5 feet per second, women over 50 walk at about 4.3 fps. According to Eubanks, women with small children walk at about 2.3 feet per second. He recommends continued testing and observation of pedestrian behavior under various circumstances.

A 1989 paper by S.J. Ashton included results of research performed in the United Kingdom in 1965, presented here as TableV. The results of this testing is very similar to those presented in the earlier table.

Pedestrian impact orientation

Another critical issue to be determined and researched on every pedestrian collision is that of pedestrian impact kinematics, or how the pedestrian moved at and through the impact phase of the collision event. Ravani classified the different pedestrian impact orientations into five distinctive groups (wrap, forward projection, fender vault, roof vault, somersault). These five distinctive styles of pedestrian kinematics have become defacto standards when describing impact dynamics. Understanding these impact orientations in relation to the vehicle position helps the investigator in determining how injury causation occurred.

In the wrap trajectory, the pedestrian is struck in the lower legs by the front of a decelerating vehicle. The striking portion of the vehicle must be lower than the height of the pedestrian. Upon impact the legs buckle and the torso bends over the hood and the chest impacts the top of the hood. The head impacts the hood in a whipping motion. After initial impact, the pedestrian tends to stay on the hood of the car and rides to a stop, sometimes sliding off the hood at stop.

The next impact orientation is the forward projection. In this configuration the pedestrian is struck by a flat faced vehicle, such as a truck or van, and the force applied is well above the center of gravity of the pedestrian. This can also occurred when passenger vehicles strike small children. The pedestrian is quickly accelerated to the speed of the striking vehicle and then drops to the roadway surface ahead of the vehicle .

The fender vault involves pedestrians struck near a front corner of the vehicle. First contact is usually made at the legs, with the torso pivoting towards the hood. Due to the position of the pedestrian (near the vehicle's edge) he falls off the edge and does not impact the hood, striking the roadway. The pedestrians head may or may not impact the vehicle.

The fourth impact orientation is the roof vault, which begins initially like a wrap trajectory but in this case the pedestrian's legs do not stay ahead of the vehicle. Due to the impact forces the legs continue to rotate upward, with the pedestrian essentially standing on his head on or near the roof line. The vault maneuver is completed when the pedestrian leaves the vehicle, over the roof, and tumbles to the ground.

The last impact orientation is the somersault, which is similar in its initiation to the roof vault. During a somersault the vehicle is typically decelerating at impact and this causes the pedestrian to be thrown ahead of the vehicle. One would expect serious or even fatal head injuries as a result of this impact type. The impact orientations discussed here are applicable primarily to adult pedestrians. They may not always be applicable to small children due to their height

Impact speeds

The subject of impact speeds is one of common importance to investigators of pedestrian collisions, particularly with those personnel tasked with determining violations of the law. Estimating vehicle speeds, as it relates to negligence and civil liability, is also crucial in civil cases. There are a number of different approaches to the speed question when dealing with pedestrian impacts. Ashton presented the various available techniques in descending order of accuracy, although the order can certainly be subject to interpretation:

1. Skid Mmarks;

2. Pedestrian Throw Ddistance;

3. Vehicle Damage;

4. Pedestrian Injury;

5. Witness/Ddriver Sstatements.

From skid marks

The easiest and most commonly used method for determining the speed of a vehicle striking a pedestrian is by using skid marks. of course, this presumes the striking vehicle was braking and the total distance the vehicle skidded to a stop can be estimated. There will be some speed loss as a result of the impact with the pedestrian but this is an insignificant loss, around 1-2 miles per hour in most cases due the large difference in mass between the vehicle and pedestrian. The standard dissipation of energy equation, in one of its various forms, can be used to determine the vehicle's initial speed:

From pedestrian throw distance

The second best alternative to the speed question is by using the pedestrian's total throw distance to estimate an impact speed for the striking vehicle. Many times striking vehicles do not brake and throw distance is the only available evidence to estimate impact speed. When a pedestrian is struck by a moving vehicle he is accelerated in the direction of the velocity vector of the striking vehicle. The distance that the body is thrown forwards is an indicator of the speed of the vehicle at impact.

A simple and better known approach to estimate impact speed of the striking vehicle is to use the sliding distance the pedestrian body skidded to a stop (not throw distance) and apply an energy dissipation equation. This is an easily defended approach but the investigator must determine the first impact point:

Where: S=pedestrian speed after impact,mph

d=sliding distance of body

f=coefficient of friction for sliding body

This method is a "safe" tactic to use when the pedestrian's first impact point along the roadway can be established, as the speed calculated will logically represent only a fraction of the vehicle's impact speed, that is, it will be on the "low" side.

Some of the earliest work along the lines of calculating speed from throw distance was done by H. Appel in 1975, and G. Sturtz in 1976. Appel deduced that throw distance increased as the square of the impact speed. This was as a result of an analysis of 137 real accidents in which the victims were struck directly by the front of the striking vehicle. His analysis further noted that children tended to be thrown further than adults, and that pedestrians struck by high fronted vehicles tended to be thrown further than those struck by low fronted vehicles. TableVI details Appel's results.

Later analysis by Sturtz of essentially the same data as Appel, yielded a slightly different result. Sturtz found that a linear plus cubic method produced the best fit. His results are presented in TableVII.

Schmidt and Nagel also developed an equation to relate impact speed to throw distance. However, their approach required the user to know the maximum projectile height of the center of mass. This is not something the investigator routinely knows, or can easily determine outside the testing lab.

Another approach to the speed from throw distance problem was first presented in a 1983 paper by Searle and Searle. They derived a formula that included the total trajectory of the pedestrian after impact, including the bouncing and sliding after it first contacts the road surface:

Where: V=launch velocity, fps

q =launch angle

F =acceleration due to gravity, 32.2

s=throw distance, ft

Since the angle of projection or launch is usually not known, Searle & Searle derived a set of equations that gives upper and lower bounds by considering those values of the projection angle that will maximize and minimize the expression:

Pedestrian coefficient of friction is another area of considerable debate within the accident reconstruction, and a critical part of any throw distance formula. Searle & Searle reported friction coefficients of .66 on asphalt and .79 on grass, regardless of whether the surface is wet or dry, and these are the values they used in their equation.

Another speed-from-throw-distance equation making the rounds in this field can be found in Dr. Rudolf Limpert's 1989 book. Limpert's formula is based on data from test impacts where the vehicle was braking during and after the impact:

Where: Vc=collision speed, mph

a=vehicle acceleration, in g-units

S=throw distance, ft

In Nortwestern's 1990 reconstruction textbook, an alternate method to determine speed from throw distance was discussed by Fricke, to be used with large trucks, vans, and other blunt front end vehicles. He used a fall velocity equation to calculate an initial vehicle velocity when the total throw distance is known but the first touchdown location of the pedestrian is not known. To utilize Fricke's method, the fall distance must be calculated first, then either the fall equation and the slide-to-stop equation can be solved for initial vehicle velocity:

Where: Df =fall distance

F =body drag factor

H=vertical distance body center of mass fell

ds=horizontal distance body traveled while sliding

d=total distance from impact to final rest

Finally, an excellent textbook on pedestrian accident reconstruction, published in 1994 by Jerry Eubanks, proposed a quadratic equation approach to solving the speed from throw distance problem. Eubanks' approach requires some additional information over other methods. Investigators wishing to utilize this technique should review the discussion in his book. A quadratic equation is a formula where there are two unknown values, but can be solved using A, B, and C coefficients:

The values to be applied to the above quadratic equation, to replace the A-B-C parameters, are:

fp= coefficient of friction of pedestrian

q = angle between vehicle's pre-impact path and pedestrian's direction of travel

dhood= the distance the point of initial contact on the vehicle to the side of the vehicle the pedestrian exits

Vped= velocity of pedestrian pre-impact

hhood= highest point of contact on vehicle

dt= throw distance From vehicle damage/pedestrian injury

From Vehicle Damage

Vehicle damage is another, albeit less reliable, method for estimating impact speed. The higher the impact speed of the vehicle the further back from the front end of the vehicle the damage will tend to be, and the more severe. This is a general rule and, as all such rules, should be applied judiciously and with massive amounts of common sense. The pedestrian's position at impact, his position in relation to the front of the vehicle, as well as the height of the pedestrian are factors that will influence the location of impacts.

During the author's attendance at the Institute of Police Technology and Management's Pedestrian Accidents and Human Factors course on September 1993, information was provided on the correlation of head strike location and vehicle impact speeds. Prospective users of this information are cautioned that in in-line collisions (pedestrian facing directly at or directly away from vehicle) bodies tend to "sit" on the vehicle's hood and slide towards the windshield. No referential or empirical information was provided during the course to validate this approach.

The author's research and review of two SAE papers,, where both dummies and cadavers were used in a laboratory setting to replicate real-world pedestrian accidents, would seem to validate the correlation to a very limited degree. In order to fully validate this approach expanded testing would be required.

From Pedestrian Injury

The area of correlating pedestrian injury to vehicle impact speed, although researched in the past, is somewhat imprecise. Fatalities have been noted at relatively low speeds, with minor injuries at high speeds. Thus, determining speed from injuries is highly speculative and not as reliable as the other methods described above.

Witness and Driver Statements

Determining impact speeds from witness and driver statements is notoriously unreliable for many obvious reasons.

The investigation and reconstruction of pedestrian traffic collision in the United States has progressed to a point where it now stands on its own as a specialized field within collision investigation. Although the number of pedestrian deaths appears to be at its lowest level and decreasing annually, continued research and analysis of these types of collisions is crucial. Essential to a complete reconstruction of a pedestrian collision are the issues of pedestrian walking speed, impact orientation, and impact speeds. A thorough investigation must address these in order to be able to answer all necessary questions, or as many as possible with available data, arising out of a pedestrian collision.

Luis Martinez is a Sergeant with the Eloy (AZ) Police Department and teaches accident investigation and criminal justice courses at Central Arizona College. He holds a B.A. in management and is nearing completion of a Master Degree in Education at Northern Arizona University. Luis holds ACTAR accreditation number 38. Sgt. Luis Martinez can be reached at luisem@primenet.com

1 "Fatality Facts 1994", Insurance Institute for Highway Safety, 1994.

2 "Manual On Uniform Traffic Control Devices", Federal Highway Administration, U.S. Department of Transportation, 1988.

3 "A Policy On Geometric Design Of Highways And Streets", American Association of State Highway and Transportation Officials, 1990.

4 Eubanks, J., "Pedestrian Accident Reconstruction", Tucson:Lawyers & Judges Publishing, 1994.

5 Ashton, S.J., "Pedestrian Accident Investigation and Reconstruction", Seminar on Special Problems in Traffic Accident Reconstruction, IPTM, 1989.

6 Ravani, B., Broughham, D., and Mason, R.T., "Pedestrian Post-Impact Kinematics and Injury Patterns", Society of Automotive Engineers Paper No.811024, 1981.

7 Guenther, D.A., Wiechel, J.F., "Review of Pedestrian Safety Research in the United States", Society of Automotive Engineers Paper No.890757, 1989.

8 Appel, H., Sturtz, G., and Gotzen, L., "Influence of Impact Speed and Vehicle Parameters on Injuries to Children and Adults in Pedestrian Accidents", IRCOBI, 1975.

9 Schmidt, D.N., Nagel, D.A., "Pedestrian Impact Case Study", Proceedings 15th Conference, American Association for Automotive Medicine, 1971.

10 Searle, J.A., Searle, A., "The Trajectories of Pedestrians, Motorcycles, Motorcyclists, etc., Following a Road Accident", Society of Automotive Engineers Paper No.831622, 1983.

11 Limpert, R., "Motor Vehicle Accident Reconstruction and Cause Analysis", Charlottesville:The Michie Company, 1989.

12 Fricke, L.B., "Traffic Accident Reconstruction", Evanston:Northwestern University Traffic Institute, 1990.

13 Appel, H., Heger, A., "Reconstruction of Pedestrian Accidents with Dummies and Cadavers", Society of Automotive Engineers Paper No.806069, 1980.

14 Ashton, S.J., Cesari, D., and van Wijk, J., "Experimental Reconstruction and Mathematical Modelling of Real World Pedestrian Accidents", Society of Automotive Engineers Paper No.830189, 1983.

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