#Orthographic Processor

[joelmichaelmurphy]

The Reading Rope Unwound: Translating Science into Special Education Strategies

The challenges of imparting proficient reading skills are amplified in a middle school special education setting. With the insights gained from the LETRS training, the task of blending theory with practical instructional strategies becomes a promising venture. The objective is clear: to build a bridge from the foundational theories of reading to actionable teaching strategies that cater to the…

[skyfire85]

FLIGHTLINE: 115 - EC-121 WARNING STAR

PO-1W (WV-1 after 1952) #2 at Barbers Point NAS in Hawaii in 1952. The WV-1 was the forerunner of the EC-121 Warning Star. | Photo: US Navy

In 1949, the US Navy began investigating the use of a suitably modified C-69 (the USAF designation of the Lockheed Constellation passenger/transport) as a patrol and airborne early warning craft. Two L-749 (the longer ranged variant of the L-649) were acquired and modified with a large dorsal radome and a smaller ventral unit. Due to the aerodynamic effects of these radar, the vertical stabilizers were enlarged. These two aircraft, designated PO-1Ws, proved that the concept worked, and were retained by the Navy for use in training crews for the production model PO-2W, which was based on the L-1049 Super Constellation. The PO-1W, redesignated WV-1s after 1952, were eventually transferred to the FAA in the late 1950s. The PO-2W (redesignated the WV-2) were initially built with the same dorsal AN/APS-45 height finder and ventral AN/APS-20 search radar as the WV-1, but they were eventually upgraded to AN/APS-103 and AN/APS-95 units respectively. The crew of a WV-2 normally numbered 18: 6 officers (2 pilots, 2 navigators, 2 weapons controllers) and 12 enlisted (2 flight engineers, 1 radio operator, 2 crew chiefs, 5 radar operators, 2 radar technicians), but could be increased as high as 31, depending on the mission.

Orthograph of a PO-2W/WV-2/EC-121. | Illustration: Lockheed Aircraft

I CAN SEE FOR MILES AND MILES...

Beginning in 1954 and running until 1965, US Navy Warning Stars participated in the "barrier" force, an extension of the Distant Early Warning (DEW) line of radar posts. Five picket stations off each coast were manned by radar equipped destroyer escorts, while WV-2s patrolled at altitudes ranging from one thousand to four thousand feet on missions lasting from 6 to 20 hours at a time, watching for a sneak attack from Soviet bombers or missiles. Aircraft on the Atlantic Barrier (BARLANT) flew from NAS Argentia in Newfoundland to the Azores and back, though beginning in 1961 the course was shifted to cover the Greenland-Iceland-UK gap. The Pacific Barrier (BARPAC) aircraft flew from NAS Agana on Guam, NAS Barbers Point on Hawaii and NAS Midway. Additional aircraft flew from NAS Rota in Spain and NAS Atsugi, Japan. Nine of the WV-2s were converted to WV-3 weather reconnaissance aircraft (the famed "Hurricane Hunters"), based at NAS Jacksonville in the Atlantic and NAS Agana in the Pacific. Thirteen other aircraft were converted to WV-2Q electronic intelligence (ELINT) aircraft. In 1962, with the tri-service consolidation of designations, the WV-2 were now EC-121Ks, while the WV-2Q became EC-121M and the WV-3 were now WC-121N. Four aircraft were modified under Project BLUE EAGLE in to NC-121 during the Vietnam War to act as airborne transmitters for American and Vietnamese TV and radio programs. Navy WV-2/EC-121s were commonly called Willy Victors, regardless of variant.

A WV-2 of Early Warning Squadron 15 (VW-15) flies over USS Sellstrom (DER-255) off the coast of Newfoundland in March 1957. The next year, the aircraft disappeared north of the Azores, with all crew presumed dead. | Photo: US Navy

An EC-121K Warning Star from electronic warfare squadron VAQ-33 "Firebirds" with an EA-4F Skyhawk and an F-4B Phantom II off the coast of Virginia in April 1973. This was the last EC-121 in service, being retired in June of 1982. | Photo: US Navy

A WC-121N assigned to VW-4 "Hurricane Hunters" at Naval Air Station Jacksonville, Florida (USA), August 1967. The plane was scrapped on 16 September 1976. Photo: US Navy

BIG EYE, COLLEGE EYE, RIVET TOP, KINGPIN, GOLD DIGGER, DISCO, BATCAT...

The USAF operated various marks of the EC-121 from 1954 through 1978, and the aircraft was used extensively during the Vietnam War. Like their Navy cousins, the USAF Warning Stars mainly flew early warning missions to compliment the Navy patrols, generally confined to orbiting 300 miles offshore. Declared operational on 21 December 1954, the 551st Airborne Early Warning & Control Wing at Otis AFB in Massachusetts started with EC-121Cs, and was subsequently upgraded through EC-121D and -H models. On 1 July 1955 the counterpart 552nd AEWCW became operational, based at McClellan AFB in California, with administrative control over the 966th AEWCS in Florida, which was tasked with monitoring activity over Cuba, including tracking of U-2 missions under the code name 'Gold Digger'.

View of the radar operators in an U.S. Air Force Lockheed EC-121D Warning Star aircraft of the 552nd Airborne Early Warning & Control Wing. | Photo: USAF

In order to bolster the US Navy's 'Crown' radar ships monitoring for North Vietnamese aircraft, four EC-121Ds were deployed to a forward operating base at Tan Son Nhut Air Base under the code name 'Big Eye'. Two aircraft were airborne at any given time, flying orbits approximately 30 miles offshore, which provided coverage of the main N. Vietnamese MiG base at Phúc Yên and the South Vietnamese capital of Hanoi. An F-104 provided MiGCAP to defend the Big Eye aircraft against interloping fighters. Flying these missions was decidedly uncomfortable, as the radar and other electronics produced copious amounts of heat, which, coupled with the heat and humidity of Vietnam, overwhelmed the aircon systems of the EC-121s. There was also the ever-present threat of being shot down, despite the MigCAP aircraft. Despite these challenges, the Big Eye scored on 10 July 1965, vectoring a pair of USAF F-4C onto a flight of North Vietnamese MiG-17s, resulting in two of the enemy aircraft being shot down. In February of 1967, the Big Eye forward base came under threat of Viet Cong attack, and the -121s were moved to Thailand.

Two F-104A Starfighters in formation with an EC-121D. Photo: USAF

EC-121 operations in Thailand were renamed to 'College Eye', and after temporarily flying from Ubon RTAFB were permanently moved to Korat RTAFB in October 1967. College Eye aircraft acted as directors for MiGCAP flights over the Gulf of Tonkin, as well as enforcing a "no-fly zone" over the North Vietnam-China border after a USAF F-105 strayed into China while chasing down a NVAF MiG. In 1967 an EC-121 was modified under the name 'Quick Look' with the QRC-248 Identification Friend or Foe (IFF) transponder interrogator, which allowed US aircraft to identify Soviet MiG radar transponders, vastly improving the detection range and ability to discriminate aircraft from ground-clutter.

In August 1967 another EC-121 variant began operating out of Thailand. Known as 'Rivet Top', it was a former USN EC-121K modified with the QRC-248, as well as interrogators capable of pinging two other Soviet IFF transponders. The aircraft, designated the EC-121M, was also fitted with stations capable of monitoring voice comms between NVAF MiGs and their ground controllers. These stations, manned by intel specialists fluent in Vietnamese, were known as 'Rivet Gym', and were eventually all College Eye aircraft were refitted with the equipment. The Rivet Top aircraft remained in Thailand throughout the war, flying missions over the Gulf of Tonkin. Due to spotty communications, an inability to correlate the voice comms with radar plots of specific MiGs, and secrecy rules surrounding the existence of Rivet Top and its IFF interrogators, the effectiveness of the EC-121M and the Rivet Gym installations on College Eye aircraft afterwards was questionable.

The EC-121M 'Rivet Top' at Korat RTAFB in 1967 or '68. | Photo: USAF

In October of 1970, two newly converted EC-121T, the last USAF variant, were flown to Korat to take part in the Operation KINGPIN phase of Operation IVORY COAST, a raid on the North Vietnamese POW camp at Son Tay Prison. The Kingpin EC-121s were to provide early warning of interloping MiGs and direction of USAF F-4s providing MiGCAP. The two aircraft call signs Frog-01 and -02, took off on 20 November 1970 and began heading towards their orbit points. Frog-01 suffered a ruptured oil line in flight, forcing it to divert to Danang for an emergency landing. Frog-02, now the primary Kingpin aircraft, continued on to its orbit, but once on station was beset with issues in its new equipment. Ground stations in Danang were unable to receive data from the plane, and its IFF processors, despite attempts to reset, would not display properly. The radar monitors were swamped with noise from Navy EKA-3 Skywarriors, who were jamming NVAF radar. Nevertheless, 02 remained on station to provide what data the crew could glean with the Rivet Top/Gym equipment. In any event, Ivory Coast was a failure, as the POW had been moved out prior to the raid.

An EC-121T, similar to Frog-01 and -02, at Korat RTAFB, circa 1971. Note the lack of the dorsal height-finder radome, a distinguishing characteristic of the type. | Photo: Jim Chandler

In October 1971 a number of EC-121T aircraft returned to Thailand under the callsign 'Disco' to provide support to USAF B-52s, who found themselves under threat from North Vietnamese SAMs and MiGs in the wake of Rolling Thunder. The Disco EC-121s took up orbits over Laos and the Gulf, though ongoing communications issues and the dated nature of their radar sets limited their effectiveness. All-in-all, Big Eye, College Eye and Disco aircraft flew nearly 14,000 missions by the time they were withdrawn in 1974, assisting in the downing of 25 MiGs and the rescue of 80 US and allied pilots. The EC-121s in the Southeast Asia theatre completed more than ninety-eight thousand accident-free flight hours, with zero losses.

Approximately four dozen ex-USN WV-2 and WV-3 Warning Stars were modified as part of Operation IGLOO WHITE, the deployment and monitoring of remote acoustic and seismic sensors along the Ho Chi Minh Trail through Vietnam and Laos. The Warning Stars were modified to collect and relay data from the sensors to Nakhon Phanom where the data would be collated and compiled for use in localizing and monitoring PAVN movements. The aircraft, designated EC-121Rs and nicknamed Batcats, were painted in the tricolor SEA camouflage, unlike the USN and other USAF Warning Stars. Concerns over the vulnerability of the Batcats led to their replacement in 1969 and '70 by QU-22Bs (unmanned modified Beech Bonanzas), though issues with those planes led to specially modified C-130Bs being introduced in 1971.

An EC-121R Batcat from the 553rd Reconnaissance Wing over Vietnam in 1969. | Photo: USAF

The EC-121 remained in USN and USAF service after Vietnam, being retired in 1978 by the USAF and 1982 by the Navy. The various Warning Stars were replaced by faster, more modern aircraft like the E-3 Sentry and models of the C-135 in the USAF, and by the E-2, S-3 and EA-6 in Navy service. A number of USAF Warning Stars are on display around the country, including EC-121T s/n 53-0555 at the USAF Museum in Dayton. Nicknamed "Triple Nickle" for its serial number, 555 recorded the first successful attack directed by an AEW aircraft on 24 October 1967.

[hengehengehenge]

κεντρικός εκτελεστικός επεξεργαστής

Η θεωρία της μνήμης εργασίας επινοήθηκε για να εξηγήσει τα αποτελέσματα ενός ταυτόχρονου φορτίου μνήμης σε διάφορες πειραματικές καταστάσεις από την άποψη της λειτουργίας ενός κεντρικού εκτελεστικού επεξεργαστή και ενός buffer φωνημικής απόκρισης. Εξηγεί επίσης τα αποτελέσματα της φωνημικής ομοιότητας, της αρθρωτικής καταστολής, του μήκους της λέξης και της ομιλίας χωρίς παρακολούθηση. Το πείραμα 1 έδειξε ότι ένα ταυτόχρονο φορτίο μνήμης μείωσε σημαντικά το φαινόμενο φωνημικής ομοιότητας στην άμεση σειριακή ανάκληση, η οποία ελήφθη για να υποστηρίξει την ιδέα μιας προσωρινής μνήμης φωνητικής απόκρισης περιορισμένης χωρητικότητας. Μια πιο λεπτομερής ανάλυση των αποτελεσμάτων πρότεινε ότι ένα ταυτόχρονο φορτίο μνήμης μπορεί να επηρεάσει την ικανότητα αποθήκευσης του κεντρικού εκτελεστικού επεξεργαστή και τη μετάφραση ορθογραφικών ερεθισμάτων σε φωνολογικές αναπαραστάσεις, καθώς και την ικανότητα αποθήκευσης του buffer φωνημικής απόκρισης. Το πείραμα 2 έδειξε ότι μια ταυτόχρονη εργασία ελεύθερης ανάκλησης μείωσε το φαινόμενο φωνημικής ομοιότητας στην άμεση σειριακή ανάκληση, αλλά μόνο στην περίπτωση οπτικά παρουσιαζόμενων ακολουθιών στοιχείων. Επιπλέον, η ομιλία χωρίς επίβλεψη βρέθηκε να μην έχει καμία επίδραση στην απόδοση στην άμεση ελεύθερη ανάκληση. Αυτά τα αποτελέσματα ελήφθησαν για να υπονοήσουν ότι το buffer φωνημικής απόκρισης συμβάλλει μόνο στην απόδοση σε γνωστικές εργασίες που απαιτούν την ακριβή διατήρηση των πληροφοριών σειριακής σειράς.

The theory of working memory was devised to explain the effects of a concurrent memory load in various experimental situations in terms of the operation of a central executive processor and a phonemic response buffer. It also explains the effects of phonemic similarity, articulatory suppression, word length, and unattended speech. Experiment 1 demonstrated that a concurrent memory load markedly reduced the phonemic similarity effect in immediate serial recall, which was taken to support the concept of a limited-capacity phonemic response buffer. A more detailed analysis of the results suggested that a concurrent memory load may affect the storage capacity of the central executive processor and the translation of orthographic stimuli into phonological representations, as well as the storage capacity of the phonemic response buffer. Experiment 2 showed that a concurrent free-recall task reduced the phonemic similarity effect in immediate serial recall, but only in the case of visually presented sequences of items. Moreover, unattended speech was found to have no effect upon performance in immediate free recall. These results were taken to imply that the phonemic response buffer contributes only to performance in cognitive tasks that require the accurate retention of serial-order information.

[teachinginfields]

Taking Notes - 4

On the other hand, this style of detailed note-taking method does have its own benefits. After months and semesters of this french “dictation exercise”, I realized how much it helped me improve my french. In terms of grammar, my sentences are becoming more complexly structured. I realized I was subconsciously imitating the professors’ ways of speaking as I took notes. My syntax also improved as my sentences flow more smoothly. I’m using more higher level vocabulary, and I started to adopt the lexical patterns of my professors. I’m making less orthographic errors, as I learn to spell more of the jargon and terms the professors used (with the help of spell corrector, thank you word processor!). 

Clearly, this type of note-taking strategy is not all bad, with such benefits mentioned above and other small perks such as improved typing speed, better listening skills, and improved multi-tasking skills (answering my friend’s question, fixing a typo on my laptop, during the 5 seconds pause the professor gave). But I still find myself more concentrated and more capable of active/critical thinking, (the importance of which is repeatedly accentuated in my American education) when I could take notes more selectively and listen more closely.

[kelsusit]

New HP Workstation Will Hold Up To 512GB Of Memory

New HP Workstation Lets You “Z” Things Your Way

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After upon a time, a workstation was a radically various notion to a common Computer. In their earliest incarnations, workstations have been single-user minicomputers. The laptop can run up to 13 hours even although operating CPU throttling CAD applications. Occasionally when you set up applications in Windows, the system also set up further applications in Windows called solutions. Really, with AutoCAD, you’ll only be restricted by your hardware, specifically when functioning with complicated styles. Regardless of becoming smaller sized customers will still be in a position to cram up to 36 processors into this machine. Although accessing the challenging disk, a disk controller reset was needed, but even that failed. Then I went to Tomshardware, and 1 guy advised Windows 7 Ultimate Item essential ( ) to me. Their price did attract me. So I decided to try soon after a number of emails to Windows 7 Ultimate Solution key.

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Filed under: General Tagged: cad workstation specialists, hp workstation z440 datasheet, hp workstations xeon from KelsusIT.com – Refurbished laptops, desktop computers , servers http://bit.ly/2mFBLvB via IFTTT

[jsabbott]

Blender Basics – Tutorial 06: Cameras and Rendering

Welcome to the sixth tutorial of the Blender Basics tutorial series. In this tutorial we will be looking at cameras and rendering in Blender.

Blender Reference Manual – https://docs.blender.org/manual/ja/dev/index.html

Blender Hotkeys Reference – https://wiki.blender.org/index.php/Doc:2.4/Reference/Hotkeys/All

Working with Cameras

Let’s start by looking at the basic Camera that is part of the default scene.

If we select the Camera we can now go into the Data tab (video camera icon) we can access the properties associated with this Camera. Let’s look at the Display options first.

The Display options show the limits of the camera. We can turn on or off showing how far the mist comes from the camera. If we put a checkmark next to Mist we now see a line being drawn through the Cube.

We can turn on Title Safe Areas by checking the box next to “Safe Areas.” When we go into Camera Mode (0 on the Numpad) we can now see our Safe Areas within the dotted borders.

We can turn on and off the Name of the Camera. If we turn this option on we see the Name of the Camera in the lower-left corner of the Camera View.

The Size parameter grows or shrinks the size of the Camera icon. If we go back out of Camera View (0 on the Numpad) and change the size to 1.0 notice that the Camera has now become larger and if we change it back to 0.5 the Camera becomes smaller.

The Passepartout option sets the amount of gray on the outside of the Camera when in the Camera View. If we go back into Camera View (0 on the Numpad) and change the Alpha to 1.0 we now see black outside the Camera View and if we change it back to 0.5 we get a dark gray color in the background.

Now let’s look at the Lens options.

In the default Blender Render we have two Lens options – Perspective (which is the default) and Orthographic. Let’s quickly look at the Orthographic Lens first. This Lens type flattens the perspective and makes the render flat. The Orthographic Scale controls the apparent size of the objects in the Camera. If we change the Orthographic Scale to 10 the Cube looks smaller and further away from the Camera but if we change it to 5.0 the Cube looks larger and closer to the Camera.

Let’s look at the Perspective Lens which is the Lens we will use most of the time. This Lens acts like a real-world Lens.

The Focal Length parameter controls the amount of zoom or the amount of the scene which is visible. Longer Focal Lengths result in a smaller Field of View and shorter Focal Lengths result in a larger Field of View.

By default the Focal Length is set to 35 millimeters which is the same as a 35-millimeter lens. This is basically a wide-angle lens. If we change the Focal Length to 135 we notice how the Camera zooms in and we get a smaller Field of View. If we change the Focal Length back to 35 we zoom out and now have a larger Field of View.

Shift allows us to shift the Camera up or down. If we change the X value to 0.2 and the Y value to 0.2 notice how the Cube shifts to the lower-left corner of the Camera View.

Clipping is “the interval in which objects are directly visible.” This is a useful option when doing special effects within Blender. If we change the Start to 10 for example we notice a gray bar across the bottom of the Camera View and part of the Cube is disappearing. If we do a quick render you can see that the Camera will only render beginning at the Start point.

Depth of Field

Let’s go back to the 3D View and change the Start Clipping option to 0.1.

Let’s go into Top View (7 on the Numpad) and then use the shortcut SHIFT+A > Mesh > Cylinder to bring in a Cylinder. Then move the Cylinder so it is off to the left of the Cube. Then using the shortcut SHIFT+A > Mesh > Cone add a Cone to the scene and move it to the right of the Cube.

Select the Cube and add a material to it. Go to the Materials tab and change the Diffuse color to red. Select the Cylinder and give it a material by changing its Diffuse color to blue. Select the Cone and give it a material by changing its Diffuse color to green.

Go into Front View (1 on the Numpad) and using the shortcut SHIFT+A > Mesh > Plane add a Plane to the scene. Move the Plane below the Cube and size it using the S key and the number 6. Then give it a material and change the Diffuse color to purple.

Let’s then select the Lamp and change it to a Hemi Lamp. If we render this scene we notice that all the objects are in focus. This is because we don’t have a Depth of Field.

Let’s select the Camera and go back into the Data tab. If we go to the Display options and turn on Limits you notice that we have a cross at the Camera. This is the Depth of Field distance. If we change the Distance to 3.0, notice that this cross moves closer to the Cube. This is telling the Camera where it is going to focus.

In order to actually use the Depth of Field we need to work with Nodes. Let’s split the 3D Viewport into two horizontal areas and change the top area to the Node Editor and the bottom into a UV Image Editor. We need to use Composite Nodes so click on the Compositing Node icon (pictures) and then click on Use Nodes.

We have two Nodes – Render Layers and Composite. We can now add any filter to this Node setup to make changes to the scene. Since we want to add Depth of Field let’s add a Defocus filter by going to Add > Filter > Defocus. Once we place this Node in between the other two notice that the Image inputs and outputs are automatically connected. Now we need to connect the Z-Buffer output from the Render Layers Node to the Z-Buffer input of the Defocus Node.

The fStop is related to the Depth of Field an fStop of 128 means and infinite Depth of Field. What this means is that the higher the number the less Depth of Field and the smaller the number the more Depth of Field. Let’s change the fStop to 2.0 and if we render the scene we see a distinct defocus effect. The Maximum Blur changes the blur of the scene and we will just leave that at the default.

The Threshold determines how wide the focal area is – the larger the number the more stuff is in focus. If we change the Threshold to 10 for example and render the scene, we notice that the Cube and Cone are in focus but the Cylinder and part of the Plane are still out of focus compared to everything being out of focus when we had the Threshold set to the default of 0.2.

Creating Camera Targets

Let’s now look at setting up the constraints of a Camera. Let’s start with a clean scene by going to File > New > Reload Startup File.

If we select the Camera we notice that we can move it like any other object in the Scene. However, there are times where we want the Camera to be pointing at a specific object and be able to move the Camera while keeping the object centered. This is where Constraints come into play in Blender.

Select the Camera and go into the Constraints tab (link icon). The easiest way to focus the Camera on a specific object is to use the Damped Track. Click on Add Object Constraint and then Damped Track under the Tracking option.

We can select a target object by clicking in the Target field and selecting Cube. We can now see that the Camera is pointing in the wrong direction. This can easily be fixed by selecting an Axis – in this case, the -Z-Axis so the Camera is pointing in the right direction. Now if we move the Camera we can see that it is always pointed toward the Cube.

Often times we don’t want to point to a specific object but rather to a target in the scene. We can do this by using a helper object and in this case we will be using an Empty object. Use the shortcut SHIFT+A > Empty > Plain Axes to add an Empty to the scene. Use the Manipulator and move the Empty above the Cube. This is a simple cross-hair target that will not render in the scene.

Select the Camera and go into the Constraints tab and click on Add Object Constraint and then Damped Track under the Tracking option. Choose Empty from the Target list and now notice that the Camera is focusing on the Empty instead of the Cube. This is very useful when doing animation in Blender.

Render Properties

Let’s now look at the Render properties.

Click on the Render tab (camera icon) to open the Render properties. In any scene that we may have there is always the Render properties option.

The first option we see is the Render properties. We can render the scene. We can render animation. We can also render audio. We can also choose how we want to display the Render. We have the option of displaying the Render full screen, in the image editor, in a new window, or we can keep the existing UI.

We have a number of Render Presets available to us. When we select a Preset it changes the Resolution settings, Aspect Ratio settings, and the Frame Rate. If we choose NTSC 4:3 notice that the Resolution changes to 720px by 486px, the Aspect Ratio is now 10 for X and 11 for Y , and the Frame Rate changes to 29.97.

Anti-Aliasing smooths out the edges as it Renders the scene. The higher the number the longer it will take to Render the scene. Shading is an option we have already seen and it deals with the Shadows and Ray Tracing.

Performance tells us how much of the computer will be used to Render the scene. Auto-detect will detect how many processors you have in your system. You can adjust the number of Threads to limit the resources used for Rendering.

[joelmichaelmurphy]

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