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1888 Press Release - E3 continues its expansion with the appointment of Dr. Michael Green to Chief Technology Officer and the opening of its research and development center in California. Water remediation and recovery technologies will be the key focus of this R&D.
Thanks to the synergy of Ricoh's optical design and image-processing technology, our new industrial cameras have roughly three times the depth of field of previous models. Each RICOH Extended Depth of Field Camera comprises of a specialized lens and camera with a built-in image processor. We married the unique optical technology of Ricoh lenses to Ricoh image-processing technology, applying a special optical system and new algorithm to triple the depth of field. Ricoh is an expert in optical design technology and in the image-processing technology used in cameras, which is why we are able to create these new Extended Depth of Field Cameras. Thanks to an integral FPGA processor, image processing is tailored to the image capturing task in hand. Area of Interest (AOI*) Scan Mode enables efficient scanning whilst enhancing inspection quality and speed. * “Area of interest” is a user-defined portion of the full scanning range. When the scan is limited to the area of interest, fewer images are created, so the data can be read and transferred more rapidly. Image captured with conventional camera QR code in foreground is unreadable. Image captured with RICOH Extended Depth of Field Camera QR codes in foreground and background are both readable. With a RICOH Extended Depth of Field Camera, even complex scanning tasks can be handled with ease. Usage scenario 1 Thanks to a depth of field roughly three times that of conventional cameras, objects can be captured in sharp focus even when moving along a production line at varying distances from the camera.
The first AF compatible rear converter which is specially optimized for PENTAX lenses. PENTAX lens users can readily obtain the telephoto effects . ■Features ・Optical systems optimized for APS-C sensors ・ Compatible with both in-lens AF(SDM,DC) and in-body AF ・ Dust & Water proof constitution（AW） ・ HD coating ■Specification Compatible (AF-enabled) lenses for HD PENTAX-DA AF REAR CONVERTER 1.4× AW (as of January 2014) smc PENTAX-DA 12-24mmF4ED AL[IF] smc PENTAX-DA★16-50mmF2.8ED AL[IF] SDM smc PENTAX-DA 17-70mmF4AL[IF] SDM 1* HD PENTAX-DA 20-40mmF2.8-4ED Limited DC WR smc PENTAX-DA★50-135mmF2.8ED[IF] SDM smc PENTAX-DA 55-300mmF4-5.8ED 3* HD PENTAX-DA 55-300mmF4-5.8ED WR 3* smc PENTAX-DA★60-250mmF4ED[IF] SDM smc PENTAX-DA 14mmF2.8ED[IF] smc PENTAX-DA 35mmF2.4AL smc PENTAX-DA 35mmF2.8 Macro Limited HD PENTAX-DA 35mmF2.8 Macro Limited smc PENTAX-DA 40mmF2.8 Limited HD PENTAX-DA 40mmF2.8 Limited smc PENTAX-DA 50mmF1.8 smc PENTAX-DA★55mmF1.4 SDM 2* smc PENTAX-DA 70mmF2.4 Limited HD PENTAX-DA 70mmF2.4 Limited smc PENTAX-DA★200mmF2.8ED[IF] SDM smc PENTAX-DA★300mmF4ED[IF] SDM HD PENTAX-DA 560mmF5.6ED AW 3* smc PENTAX-D FA MACRO 50mmF2.8 smc PENTAX-D FA MACRO 100mmF2.8 WR 1* Could be out of focus with contrast AF 2* Maximum aperture from F2.4 3* Could be out of focus with phase matching AF Note: The lenses not seen in this list are not compatible with the rear converter. We will keep checking the compatibility of new lenses introduced in the future.
• Stanley D. Saperstein, Master – 30 Years Experience; Woodcarver, Joiner, Finisher, Designer, Cabinet & Furniture Maker, Antique Conservationist. – Formal Seven Year Apprenticeship w/ C.N. Grinnell – Founder Artisans of the Valley, 1973. – Director of Preservation for The Swan Foundation, NJ National Guard Museum, Camp Olden Civil War Round Table. • Eric M. Saperstein, Journeyman – 15 Years Experience; Woodcarver, Joiner, Finisher, Designer, Cabinet & Furniture Maker, Antique the Valley Artisans of www.artisansofthevalley.com Conservationist. • Artisans of the Valley - Hand Crafted Custom Woodworking – Founded 1973 in Ewing, NJ and Moved to Pennington in 1979 – Transferred to Eric in 2001. – Specializing in Antique Restoration, Period Reproductions, Woodcarving, and Furniture & Cabinetmaking. Artisans of the Valley www.artisansofthevalley.com
Curriculum Vitae Because your resume or curriculum vita (CV) is usually the first and sometimes the only thing an employer will see about you, it is often the most critical item in determining whether or not you will obtain an interview. These essential elements of the job search serve as an advertisement of your skills, knowl dge, and relevant experience. e Tips for preparing a resume can be found on page 22. What Is the Difference between a Resume and a Curriculum Vita? Resume Curriculum Vita Purpose Outlines your personal, edu ational and work related c experiences Length One- or two-page document Focus Strengths and qualifications for a particular position Yes Comprehensive summary of your educational and professional experience, including publications, presentations, professional activities, honors, and additional information Generally three or more pages in length, depending on your qualifications and level of experience Comprehensive biographical statement Objective Statement Included? Used in application for these types of positions Business, non-profit, other nonacademic positions No Faculty, research, clinical, or scientific positions If you are uncertain whether to use a resume or vita, ask yourself “Am I sending this document to other Ph.D.s? Is my Ph.D. required for this position? Is my scholarship relevant for this position?” If the answers to those questions are yes, you are proba ly going to use a b vita. As a general rule of thumb, unless a vita is requested, you should send a resume.
Curriculum Vitae Laura Mooneyham White Professor of English 336D Andrews Hall University of Nebraska-Lincoln Lincoln, Nebraska 68588-0333 (402) 472-1851; e-mail: firstname.lastname@example.org EDUCATION: 1980-86, Ph.D, English, Vanderbilt University, Nashville, Tennessee Dissertation: "The Rhetoric of Education in Jane Austen's Novels"--John Halperin, advisor 1984, M.A., English, Vanderbilt University 1976-80, B.A., English, Yale University, New Haven, Connecticut. PROFESSIONAL EXPERIENCE: 2010-present, Professor, English, University of Nebraska-Lincoln 2000-2010, Associate Professor, English, University of Nebraska-Lincoln 2001-present, Director, Nineteenth-Century Studies, University of Nebraska-Lincoln 2004-2005, Associate Dean, College of Arts and Sciences, University of Nebraska-Lincoln 2002, Interim Director, UNL Humanities Center, University of Nebraska-Lincoln 2001-2002, Assistant Director, UNL Humanities Center, University of Nebraska-Lincoln 2000-present, Graduate Faculty Fellow, University of Nebraska-Lincoln 1996-2000, Assistant Dean, College of Arts and Sciences, University of Nebraska-Lincoln 1995-96, Assistant to the Dean, College of Arts and Sciences, University of Nebraska-Lincoln 1994-98, Visiting Associate Professor of English, University of Nebraska-Lincoln 1992-94, Associate Professor of English, Trinity University, San Antonio, Texas 1986-92, Assistant Professor of English, Trinity University 1985-86, Lecturer, Vanderbilt University, Nashville, Tennessee 1980-1984, University Graduate Fellow, Vanderbilt University
The tumor node metastasis (TNM) staging system for breast cancer is an internationally accepted system used to determine the disease stage. This disease stage is a measure of the extent of disease, which is used to guide management and determine prognosis. The 7th edition of the TNM staging system and the evidence supporting it are described here (table 1). The 6th edition of the TNM staging system is included for comparison (table 2). The initial evaluation, clinical manifestations, diagnosis, treatment, and prognosis of breast cancer are reviewed elsewhere. (See "An overview of breast cancer and treatment for early stage disease" and "Initial staging work-up for women with a diagnosis of breast cancer" and "Clinical decisions in systemic adjuvant therapy for early breast cancer".) TNM STAGING SYSTEM — The tumor node metastasis (TNM) staging system for breast cancer is based upon a retrospective analysis of survival in diverse samples of patients representing all stages of disease. It reflects the clinical evaluation methods and treatments that are applied to the particular study population. Periodic revisions are necessary because advanced imaging techniques and treatments evolve and impact survival. The 7th edition of the TNM staging system is the most recent version (table 1) . It replaces the 6th edition of the TNM staging system (table 2) . REVISIONS IN BREAST CANCER STAGING — Observed survival rates for 211,645 breast cancer cases diagnosed in years 2001-2002 and entered into the National Cancer Data Base (Commission on Cancer of the American College of Surgeons and the American Cancer Society) were used to reevaluate the prognostic value of the TNM descriptors.
The following outline shows a basic format for most academic papers. No matter what length the paper needs to be, it should still follow the format of having an introduction, body, and conclusion. Read over what typically goes in each section of the paper. Use the back of this handout to outline information for your specific paper. The introduction should have some of the following elements, depending on the type of paper: Start with an attention grabber: a short story, example, statistic, or historical context that introduces the paper topic Give an overview of any issues involved with the subject Define of any key terminology need to understand the topic Quote or paraphrase sources revealing the controversial nature of the subject (argumentative papers only) Highlight background information on the topic needed to understand the direction of the paper Write an antithesis paragraph, presenting the primary opposing views (argumentative paper only) The introduction must end with a THESIS statement (a 1 to 2 sentences in length): Tell what the overall paper will focus on Briefly outline the main points in the paper. Clearly present the main points of the paper as listed in the thesis Give strong examples, details, and explanations to support each main points If an argumentative paper, address any counterarguments and refute those arguments If a research paper, use strong evidence from sources—paraphrases, summaries, and quotations that support the main points. Restate your thesis from the introduction in different words Briefly summarize each main point found in the body of the paper (avoid going over 2 sentences for each point) Give a statement of the consequences of not embracing the position (argumentative paper only) End with a strong clincher statement: an appropriate, meaningful final sentence that ties the whole point of the paper together (may refer back to the attention grabber) Additional Tips Decide on the thesis and main points first You do not need to start writing your paper with the introduction Try writing the thesis and body first; then go back and figure out how to best introduce the body and conclude the paper Use transitions between main points and between examples within the main points Always keep your thesis in the forefront of your mind while writing; everything in your paper must point back to the thesis Use the back of this handout to make an outline of your paper
In this Data Point we present the results of several analyses of consumers’ use of payday loans. The focus of the analyses is loan sequences, the series of loans borrowers often take out following a new loan. Key findings of this report include: Over 80% of payday loans are rolled over or followed by another loan within 14 days (i.e., renewed). Same-day renewals are less frequent in states with mandated cooling-off periods, but 14-day renewal rates in states with cooling-off periods are nearly identical to states without these limitations. We define loan sequence as a series of loans taken out within 14 days of repayment of a prior loan. While many loan sequences end quickly, 15% of new loans are followed by a loan sequence at least 10 loans long. Half of all loans are in a sequence at least 10 loans long. Few borrowers amortize, or have reductions in principal amounts, between the first and last loan of a loan sequence. For more than 80% of the loan sequences that last for more than one loan, the last loan is the same size as or larger than the first loan in the sequence. Loan size is more likely to go up in longer loan sequences, and principal increases are associated with higher default rates. Monthly borrowers are disproportionately likely to stay in debt for 11 months or longer. Among new borrowers (i.e., those who did not have a payday loan at the beginning the year covered by the data) 22% of borrowers paid monthly averaged at least one loan per pay period. The majority of monthly borrowers are government benefits recipients. Most borrowing involves multiple renewals following an initial loan, rather than multiple distinct borrowing episodes separated by more than 14 days. Roughly half of new
JOSEPH DUMBACHER Born in Indianapolis; live and work in Los Angeles EDUCATION University of Southern California – Los Angeles, CA MBA 1984 SELECTED SOLO AND TWO-PERSON EXHIBITIONS CULT | Aimee Friberg Exhibitions – sharp corners – San Francisco, CA 2014 (forthcoming) Curator’s Office – elsewhere – Washington, DC 2011 BackroomNY – Cut – New York, NY 2010 Patricia Faure Gallery – Pivot – Santa Monica, CA 2005 Fusebox – one to one – Washington, DC 2004 Corcoran Gallery of Art – Primary Properties – Washington, DC 2001 Fusebox – Joseph Dumbacher John Dumbacher paintings – Washington, DC 2001 Patricia Faure Gallery – Negotiating Boundaries – Santa Monica, CA 2000 Contemporary Art Center of Virginia: Missing Warp - Weft. A site installation collaboration with Sheila Hicks. Virginia Beach, VA 1999 SELECTED GROUP EXHIBITIONS Nan Rae Gallery Exhibitions at Woodbury University – In Direct Light – Burbank, CA 2013 Schema Projects – Drafted – Brooklyn, NY 2013 The Foggy Bottom Association – Arts in Foggy Bottom Outdoor Sculpture Exhibit – Washington, DC 2012 Shoshana Wayne Gallery – Chain Letter – Santa Monica, CA 2011 Curator’s Office – Mixology II: Photography – Washington, DC 2010 Civilian Art Projects – craigslist – Washington, DC 2008 Curator’s Office – 15 for Philip: Fifteen Artists Look at Arts Patron – Washington, DC 2008 California State University, Los Angeles – Chromaluxe – Los Angeles, CA 2006 Fusebox – Landscaping – Washington, DC 2005 The Brewery Project – Good Clean Fun – Los Angeles, CA 2005 Patricia Faure Gallery – Pink – Santa Monica, CA 2005 Gallery Four – ” I really want to see….” – Baltimore, MD 2005 1708 Gallery – Align – Richmond, VA 2004 Patricia Faure Gallery – Summer Camp – Santa Monica, CA 2004 The Mint Museums – Revelation – Charlotte, NC 2004 Patricia Faure Gallery – White on White – Santa Monica, CA 2004 Domestic Setting –Tinseltown – Los Angeles, CA 2003 Fusebox – The Three Phases of Fusebox: An Unstable Group Show – Washington, DC 2003