Each yes increases the index score for a respondent. The dependent variable, domestic violence, is measured by an index taken from 22 yes/no questions about specific acts of violence. The first question is comparing instances of domestic violence with demographics like age (i have created both an interval measure and i grouped it into categories), community (nominal measure), source of income (nominal), level of education (ordinal), and marital status (nominal). I'm rusty with this and I am using SPSS, so any advice with some pointers for what to do in SPSS is really helpful. I'm trying to help out a friend who is finishing up a report on the results of a survey she conducted on domestic violence in a minority population, 200 respondents total, almost no missing cases as they were personal interviews.
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There are tons of nuances and tricks to bear in mind, both regarding the quality of the output image and the CPU load. If you manage to make a good implementation of such animation, it sure won't be a piece of cake. Basically, this type of animation works great for rendered cutscenes only. So, anyway, video animation is not for everyone and not always applicable, almost never, to be precise. The compromise between quality and efficiency can be achieved only in limited number of specific cases, like in above-mentioned Hidden Object games. Bad thing is a great load on the CPU when you're decoding and, of course, the image quality. What's good about this kind of animation is, of course, that you can create almost anything, from stage-managed scenes with real actors to rendered 3D-battles. Add to this codecs like theora or vp8, and you will be able to create quite nice video animation (even with alpha compositing) of your own. We've implemented something like this in Hidden Object games for bulky and complex animation, and also for cutscenes with a hint of realism. And yes, it still is applied and sometimes even rightly. Video animationīasically, video animation is an apotheosis of the frame-by-frame madness. Works only for small and few animation frames, perfect for pixel art and retro-style games like NES. For example, cutting in blocks can be only used in pixel art, background loading places an additional strain on the disk, takes a lot of space on this disk, thus increasing the size of the game itself, as well as the amount of data required for a user to launch or update it. But remember that all of these tricks have their own drawbacks, too. Certainly, you can use all kinds of tricks, such as cutting frames in blocks and then reuse of the repetitive blocks, background loading of frames from disk and removing the ones already shown, and so on. The main disadvantage is, of course, the amount of memory all this stuff requires. Any tools: almost anything can provide you with a sequence of frames that you can, if you need to, put together into one texture atlas. Any complexity and style of animation, you can even insert the whole movie frames (in theory, of course). In this animation, each frame is represented by an individual picture, and by changing those pictures really quickly, we get the illusion of movement.Įlementary implementation, usually available for any engine. Kicking-off our mini-review, the simplest and most ancient type of animation: frame-by-frame animation. Just as well, if you're here only to see the features of Flash animation, you will find them in the article below. Feel free to skip this section if you are well-versed in this matter (trust me, there are going to be no revelations or eye-openers). I will consider only 2D-animation, since 3D animation is a topic for a completely different conversation, with its own approaches and tools. Now, let's look at the most popular animation techniques in games. Thus, if you really, really need inverse kinematics, then it would be very weird of you to prefer non-skeletal animation. And the third variable is the tools' capabilities. Are there any third-party solutions and what is the quality of those? Do you have opportunity and ability to create your own solution? Of course, the efficiency and convenience of all of the above is crucial, too. The second variable is more technical one, and it's abou integrating the tools into your engine. So, basically, your project, whole or in part, will be stopped for an indefinite period, which can be very expensive, especially for a commercial product. In this case, if your employees leave for some reason (or get hit by a bus), it will be almost impossible to replace them. Sure thing, choosing an extremely specific product doesn't make much sense. First question you have to ask yourself is what tools are your animators used to (can work with), and which of those are easier for you to find. Now, there are a few variables which your choice will depend on. One of these components is, of course, the animation system. When you start working on any project, you always have to face the problem of choosing the technologies for most its components. You'll find all that inside! Introduction I also have lots of other fascinating stuff to tell about: internals of the SWF format, special features of the Unity editor extension and general matters of animation. In this article series, I will talk about how and why we decided to create our own solution for import of Flash animation to Unity, and about optimization techniques and internal workings of the plug-in. Into Action Gaming? Check out the popular Rise of the Tomb Raider Mac Game. 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Also another science experiment i would like to try is using a tuning fork and microphone and watching how sound waves travel through each pipe if i make them right all pipes should be in perfect harmony its just a theory because sound is just a pressure wave if i record it and watch it on a pc it will be like a pressure wave scope well see how this goes im not holding my breath for this to work.Īnd to make things a little easier i have access to a really nice engineering workshop and dyno. Thats about where im at so far ill probly put flanges on collectors where they get to 2.5" so i can take out the venturi and experiment with length, venturi size and taper for fine tuning. I would love to know the ex valve size anybody have this also has anybody actually degreed an alloytec i only need ex cam specs the error from the GM manual is the degreeing dosnt match the duration FAIL!Ĭalculations: Primary pipes 1.5"dia x 40" length for 4500rpm 38" for 5000rpm, Collector 6.17" length 2"dia venturi tapered out to 2.25" exit, secondaries 2.25"dia 37" lenght to crossover. all values at 0.150mm lift: Duration 238, opens -229btdc = 69bbdc, closes 9 atdc, centerline 111, overlap 0, cam lift 42.5mm, valve lift 10.8mm, Ecu controlled phasing upto +50 but my ex cam phase map shows +20 across the rev range at wide open throttle. Is there any engineers out there (not the welding or fabricating kind) or exhaust gurus that can help with some numbers i think iv got it right but this engine is a nightmare to calculate the ideal length for the pressure wave's due to cam phasing.ĭesign goals: Its a street car so broad torque curve with peak pressure wave efficiency at 4500rpm-5000rpm in theory about -3 to -5 psi at the exhaust valve.Įxtractor design: Mild steel material, laser cut flanges port matched, 3 into 1 primaries, custom made venturi style merge collectors, secondaries meeting at a siamese crossover pipe.ĭata: 594cc per cylinder, 94mm bore x 85.6 stroke, Exhaust cam specs that come from a GM workshop manual and i can tell there is an error in these and i cant be bothered degreeing my ex cam. But i can tell you there is not one set of properly made extractors for an alloytec 190 not even the pacemaker "tuned length" ones they dont even look close and what exactly are they tuned for? i have seen one nice set for a 335hp camaro but the dimensions are to big for alloytec190's ill add a pic at the bottom of post. So iv got a few weeks of holidays coming up and i know ill get board not working on cars all day so im going to make some extractors custom made for my engine to learn something new iv never really looked at the science behind extractors and iv spent 3h a night for the last 3 nights collecting raw data calculating and designing and its making my head hurt so i give up for tonight lol. Here’s how to do it in Safari for OS X Yosemite. If you need to run an older version of Flash in OS X for tasks like testing, application compatibility, or troubleshooting, you’ll need to circumvent Apple’s block. 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WarnerMedia How to Watch Every Harry Potter Movie Online But if you can’t wait to go on a nostalgic trip through the magical world of Harry Potter, here’s how to stream the entire film series for the upcoming Peacocktober Halloween term. It’s possible that the streamer could be making way for a potential live-action TV series, which is still in early talks from WarnerMedia. With the addition of the rest of the films this week, the adventures of Harry ( Daniel Radcliffe), Hermione ( Emma Watson), and Ron ( Rupert Grint) will finally be all in one place on Peacock. The final film, Harry Potter and the Deathly Hallows: Part 2 hit theaters in 2011, and was previously only streaming on Peacock (while the rest were already on HBO Max). 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and Mary Lou Hawkes, Kate and Ford O'Neil, Henry and Callie Brauer and Burt Adelman and Lydia Rogers provided generous support. Lynch and The Lynch Foundation, Jennifer and Andrew Borggaard, James B. Jacob Lawrence: The American Struggle is supported in part by the National Endowment for the Arts. The exhibition, organized by PEM, tours nationally through 2021. history by pairing image and text, quoting a range of voices and rendering figures from prominent Founding Fathers to underrepresented historical actors. Utilizing historical fact to underscore universal values, he created a broader narrative of U.S. Reunited for the first time in more than sixty years, the Struggle paintings revive Lawrence's way of reimagining American history as shared history. Created during the modern civil rights era, Lawrence’s thirty intimate panels interpret pivotal moments in the American Revolution and the early decades of the republic between 17 and, as he wrote, “depict the struggles of a people to create a nation and their attempt to build a democracy.” Jacob Lawrence: The American Struggle is the first museum exhibition of the series of paintings Struggle: From the History of the American People (1954–56) by the best known Black American artist of the 20th century, Jacob Lawrence (1917–2000). The Phillips Collection | JSeptember 19, 2021 The Metropolitan Museum of Art | AugNovember 1, 2020īirmingham Museum of Art | NovemFebruary 7, 2021 Peabody Essex Museum | JanuAugust 9, 2020 Thanks to a partnership between the Peabody Essex Museum, the Seattle Art Museum, and The Phillips Collection, Panel 28 has undergone conservation in order to join the final two stops of the national exhibition tour: The owner inherited the painting through family members who, like the figures depicted in the painting, were themselves immigrants to America. Panel 28 has generously been lent to the national exhibition tour by its owner, who wishes to remain anonymous. Against the backdrop of the recent attack on the Capitol coupled with the welcoming of a new Presidential administration, Lawrence’s work encourages us to look to history and to art so we may understand America as a cyclical project of struggle and hope.” “Lawrence created this body of work during the modern civil rights era to interpret pivotal moments in the American Revolution and early decades of the republic as ongoing struggles. “We are thrilled to share news of this important discovery, especially at a time when Americans are actively engaged with democracy,” said Lydia Gordon, PEM’s Associate Curator and the exhibition’s coordinating curator. Lawrence exaggerated the size of the hands to symbolize what it meant to arrive only with what could be carried. The gathered figures in Lawrence’s painting portray a message of hope and promise: a shawled woman cradles and nurses an infant baby while a brimmed hat man in the middle clutches a pot of a single rose-America’s national flower. Morris’s Encyclopedia of American History (1953), one of Lawrence’s sources of inspiration for the Struggle series. The painting, called Immigrants admitted from all countries: 1820 to 1840-115,773, was inspired by a table of immigration statistics published in Richard B. Any tips or information about the location of Panels 14, 20 and 29 may be sent to: its recent discovery in a New York City apartment, Panel 28 had not been seen publicly for decades and was known through a black-and-white reproduction. It is the Museums’ hope that the increased awareness of Jacob Lawrence’s work will help fully reunite this historic painting series for the first time since 1960. The location of three remaining paintings from Jacob Lawrence’s Struggle series, Panel 14, Panel 20, and Panel 29, remain unknown. This announcement follows the discovery of Panel 16 in October, 2020. Panel 28 is one of 30 that comprise Lawrence’s powerful epic series Struggle: From the History of the American People (1954–56), and it will be reunited with the series’ other works for the final exhibition tour stops at the Seattle Art Museum (March 5 - May 23, 2021) and The Phillips Collection in Washington, D.C. SALEM, MA – A painting by celebrated 20th-century American artist, Jacob Lawrence, that had been previously unlocated for more than sixty years has been discovered and will join the 5-stop national exhibition tour of Jacob Lawrence: The American Struggle, organized by the Peabody Essex Museum (PEM). Three Paintings Remain Missing, Museum asks for the Public’s Help to Locate these Historic Works Panel 28, unlocated since 1960 and discovered in NYC, joins final two stops of national exhibition tour. |
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