It's taken me until now to see that the steering works via caster as I could never get a good view of it in other pictures and videos. For any given corner you set the lean that is required for the speed you are going by pulling up /pushing down on the immovable bars and then you add in the amount of steering needed for that corner by pushing forward or pulling back on the bars and thus altering caster which equals steering due to the lean. Steering is completely separate from leaning with the exception that it can't steer at all without leaning which is of no importance. The more the upright is away from vertical the more a given amount of lean will steer. When the upright is vertical the lean induces no steering at all. The two silver bits at the ends of the main axle tube are linked through the tube so the both swivel together or not at all. The bars both either go forward together or back together. It's the ability to change the caster that allows this to steer. This effectively gives the option to change the caster. The silver ends to the axle boom are free to rotate. There's only so many ways you can move a bar mechanism (up / down and fore / aft in my example) and a twist cable adds another potential control function. As I intimated above perhaps a cable steered tilter is doable powered by a nuvinci shifter. Many people have made things I wouldn't and it doesn't necassarily make them wrong. It's not a path I'd do again (I tried this with the MK1). There is always the self-balanced option path to go down which may open other options up or shut some down. The only reason the steering link went ahead of the axle on the Mk2 was the tilting left zero room for it behind. There's just to much variation when you add suspension into the mix for steering linkages to cope with. Going upside down means suspension has to be forgone anyway. It's the forgoing of suspension that makes a tilter possible if you want the ability to control lean via a mechanism. This is very important as the bars coming towards you are a limiting factor and the bar pivot to backside distance must be as small as possible. Doing this reduces the amount the bars come in at you as you lift up / push down on them to tilt. I'd upside down the whole system to bring the handlebar pivot closer to my backside. The wishbones are replaced with a large upper member and a simple rod ended link at the bottom to enable the wheel tilt. Essentially the same system but upside down.
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Here is some care advice that should help.In the future, take a special medicine ahead of time to prevent it.It is not related to emotional problems or any physical disease.Caused by increased sensitivity of the inner ear.Motion sickness is a common normal reaction that occurs in 25% of people.What You Should Know About Motion Sickness:.You think your child needs to be seen, but the problem is not urgent.Motion sickness symptoms last more than 8 hours.You think your child needs to be seen, and the problem is urgent.When to Call for Motion Sickness Call Doctor or Seek Care Now Motion sickness symptoms are often worse in children.The child cannot control it with will power. It is not related to emotional problems.Strongly genetic: If one parent has it, 50% of the children will have it.Under extreme conditions (e.g., high seas) over 90% of people have symptoms. As a car passenger driving on winding roads, 25% of people will have symptoms.The cause is a sensitive center in the inner ear.Also seen during travel by train, aircraft and even car. The Tilt-a-whirl is a good example of a ride to avoid. Fun-park rides that spin or whirl are some of the main causes. Sea sickness or amusement park sickness are the most common types. Symptoms are mainly triggered by motion.After age 12, the main symptom is nausea (feeling sick to the stomach).Before age 6, the main symptom is dizziness and the need to lie down.Dizziness or nausea from spinning or rolling motions. In August, Kokomo gets 86.01mm of rain and approximately 8 rainy days in the month. The table below displays max and min temperature and rain data for the whole year as an average taken from last 12+ years of historical data for Kokomo. July is the most humid month, though humidity is low for most of the year. Based on annual weather averages for Kokomo, the best month to go for holiday is September and May. January is the snowiest month in Kokomo with 9.9 inches of snow, and 6 months of the year have significant snowfall. Temperature hovers around 27°c and at night it feels like 17°c. July is the hottest month for Kokomo with an average high temperature of 83.7°, which ranks it as cooler than most places in Indiana. More Racing and Evening Program Awaited at Fair, Humboldt Times, AugFastTrack, Good Weather Mark Opening of Race. If you would just like to know what the weather was for a past dates for research or education or you are just curious then visit our historical weather of Kokomo section. Kokomo, IN 12 hour by hour weather forecast includes precipitation, temperatures, sky conditions, rain chance, dew-point, relative humidity, wind direction. For the longer term, we have forecasts for the next two weeks based on an analysis of many different possible forecast outcomes that will give you a sense of. Travelling to Kokomo? Check out our Weather averages of Kokomo to better plan your holiday or travel. May and June receive most rainfall with precipitation count of 120.79mm. Which months receive most rainfall in Kokomo? January and February are the coldest months with temperature at around -7°c. The weather averages gathered from Kokomo weather forecast and Kokomo weather history also forecast these months temperature to be around 24°c and average of 221.3571 hours of sunshine in a month. September and May are the best month to go for holiday or travel to Kokomo. Kokomo, United States of America Holiday Weather Overview Best months to visit Kokomo? The National Weather Service Indianapolis is projecting the Kokomo area to receive 12-18 inches of snow in total from winter storm Landon, with 8-12 of those inches coming after 7 p.m. “I am passionate about feeding those in need. At a production cost of $1.40 per meal, Chef Doherty specially crafted recipes to include wholesome ingredients while remaining flavorful and nutritious. Utilizing the latest food technology that applies heat rather than preservatives in order to keep meals fresh, the packages contain at least 20 grams of protein each, in addition to high levels of iron, calcium, and vital nutrients such as Vitamins A and C. Years of research led Chef Doherty to develop high quality dishes that can be safely stored at room temperature for up to 18 months without the use of artificial ingredients and that exceed USDA nutritional recommendations. A total of 50,000 meals, beginning with a carefully designed Red Beans & Rice and Three Bean Chili recipe, have been now been passed out to families in New York City, Boston, and Chicago. Van den Abeelen L (1999) The persistent dream – soviet plans for manned lunar missions.| New York, NY - Octo| Owner/Chef of BLACKBARN restaurant, John Doherty, has channeled his lifetime of cooking experience into the creation of delicious, shelf stable meals for his Heavenly Harvest Foundation, which has officially began distribution in partnership with Feed the Children. Government Printing Office, Washington, DC Report of the synthesis group on space exploration. Stafford T (1991) America at the threshold. Sowerby P (1954) Structural problems of the lunar base. Ryan C (ed.) (1953) Conquest of the moon. 1 & 2 (in German) ECON Verlag, Düsseldorf, Germany Ruppe HO (1980/82) Die grenzenlose Dimension – Raumfahrt. Journal of the British Interplanetary Society 8:180–192 Ross H (1949) Astronomy and astronautics. Rinehart J (1959) Basic design criteria for moon building. Ride S (1987) Leadership and America’s future in space. Paine T (ed) (1986) Pioneering the space Frontier. Ordway F et al (1988) Project horizon: an early study of a lunar outpost. O’Neill G (ed) (1979) Space resources and settlements. In: Proceedings of the Lunar and Planetary Exploration Colloquium NASA (1989) Report of the 90-study on human exploration of the moon and mars. NASA (1967) MIMOSA: study of mission modes and system analysis for lunar exploration. Missiles & Rockets (1957) Moon cities planned by Red Civil Defense Chief. Mendell W (1992) 2nd conference on lunar bases and space activities of the 21st century, vol 1 & 2. Mendell W (1985) Lunar bases and space activities of the 21st century. Mansfield J et al (1971) Lunar base synthesis study – final report. Kumagai H (1958) A proposal for a village on the Moon. In: IAA 5th Cosmic Study, International Academy of Astronautics, Paris, France. Koelle HH, Stephensen DG (1999) Preparing for a 21st century programme of integrated, lunar and Martian exploration and development. Koelle HH (1993) Lunar development, past and future. International Academy of Astronautics, Paris Koelle HH (ed) (1990) The case for an international lunar base. Iguchi C (1992) International cooperation in lunar and space development. Journal of the British Interplanetary Society 9:105–107 Gillings W (1950) The Effects of interplanetary flight. ESA SP-1150ĮSA (1994) A moon programme: the European view. Lunar bases and space activities of the 21st century, pp 827–855ĮSA (1992) Mission to the moon. Los Alamos Laboratory, Los AlamosĮhricke K (1985) Lunar industrialization and settlement – birth of a polyglobal civilization. J Br Interplanet Soc 15:17–28ĭuke M et al (1984) Report of the lunar base working group. Astronaut Acta 12:345–351ĭouglas J (1956) Farming on the Moon. J Br Interplanet Soc 9:261–267Ĭulbertson P (1966) Lunar base concepts and operational modes. J Br Interplanet Soc 13:166–169Ĭlarke AC (1950) Electromagnetic launching as a major contribution to spaceflight. Īwdry G (1954) Development of a lunar base. Advanced Programs Office, NASA Johnson Space Center, HoustonĪrtemis (2022) NASA’s lunar exploration program overview. In: 43rd IAF Congress, IAA-92-0189Īlred J et al (1989) Lunar outpost. Allen R (1992) Early Lunar base concepts of the U.S. Pillars of Eternity, Pillars of Eternity II: Deadfire, and Pillars of Eternity logos are trademarks or registered trademarks of Dark Rock Industries Limited. And with that comes a level of roleplaying that you just won't find in other D&D streams. It's a show where a bunch of voice actors play D&D with Matt Mercer being the DM. Obsidian and the Obsidian logo are trademarks or registered trademarks of Obsidian Entertainment, Inc. What is this 'critical role' anyway Never heard of it. Developed under license by Obsidian Entertainment. Upgrade your ship and crew and choose what skills you improve in order to survive dangerous encounters along the way. Captain your ship across the seas – as your stronghold on the seas, your ship is much more than simply a vessel for exploring. Obsidian Entertainment has announced a partnership between Pillars of Eternity 2: Deadfires publisher Versus Evil and Critical Role (who, if you dont know.Witness their personal relationships and interactions unfold with the addition of the new companion system. Build your party and customize your companions – choose from 7 different companions to join you on your quest and assign multiple classes and deeper abilities for each.Discover the new region of the Deadfire – plot your own course by ship and explore the rich and exotic islands of the archipelago region, discovering new places interacting with their inhabitants and engaging in a variety of quests at every port.Critical Hit or Crit is a Combat mechanic in Pillars of Eternity 2: Deadfire. A Crit on effects with a duration (typically afflictions like Sickened or Paralyzed) will increase the duration by 25. A Crit that does damage increases the total damage done by 25 and the Penetration of the attack by 50. You, Watcher, have received a missive from the isle's residents: worshipers of Rymrgand, the god of entropy and disaster. A Crit is any attack roll that is above 100. Immerse yourself in a deeper single player RPG game experience - enriched with cutting edge technology and features, Deadfire builds on the foundation of classic D&D gameplay with vastly improved graphics, deeper game mechanics and a whole new hand-crafted adventure where choices truly matter. Released on Far in the southernmost reaches of the Deadfire Archipelago, frost and death have encroached upon the land of the living.Bend the world to your will, as you explore the depths of infinite possibilities, including detailed character customization, total freedom of exploration, and more meaningful choices at every turn. Pillars of Eternity II: Deadfire is an isometric, party-based RPG, that improves upon the rich narrative, beautiful environments, and intricate, tactical combat from the original. Captain your ship on a dangerous voyage of discovery across the vast unexplored archipelago region of the Deadfire. 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Many of the most common slime moulds are brightly coloured, with yellow or orange ones being most conspicuous. What we see of a slime mould is in fact a mass of microscopic protists, but yet amazingly at one stage in their life cycle they are capable of coordinated amoeba-like movement across decaying wood or plants. There are, for example, fungus-like protists known as Myxomycota or slime moulds they are capable of absorbing nutrients from other living or dead plants, just as fungi and animals do. Algae live either in freshwater or in sea water and are capable of creating their own food by photosynthesis, but not all protists are able to synthesise their food. Protists are minute organisms, such as protozoa and algae. (There is some evidence that the Eukaryota may have evolved not just by mutations from primitive single-celled organisms but as new organisms created by the fusion of material from Bacteria and Archaea - suggesting tree branches that are able to rejoin.)įor our purposes here, we will ignore the Bacteria and Archaea but look in some detail at the third domain, the Eukaryota, because nearly all of the life forms that we can see, comprising four Kingdoms: the plants, animals, fungi and protists. At some time in the past these separations must have stemmed from single-celled, very primitive types of life form more akin to the Archaea than anything else known today. Recent genetic research based on RNA has led to a general acceptance of top-level domain groupings that separate out Bacteria, Archaea and Eukaryotes. DNA sequencing data have resulted in revisions that align these groupings with Darwin's theory of common descendants - the theory of evolution - but in essence Linnaean classification is still used today.Ĭharles Darwin arranged all life forms into just two Kingdoms, the plants (Plantae) and the animals (Animalia). Modern biological classification is based on pioneering work by Swedish Botanist Carolus Linnaeus, who grouped species with similar physical characteristics. Cladistics has already raised questions about many accepted classifications, several of which have indeed been found to be incorrect and have had to be revised. Nodes cannot be observed today, of course, as they are a hypothetical diverging event - a viable mutation - in the distant past nevertheless, DNA and RNA sequencing data and special computer programs are helping scientists to create cladograms with increasing confidence.īecause we have so few fossil records to help date the branching nodes on plant cladograms, and given the computational limitations of even the most powerful computers available today, cladistics cannot yet unravel all of Life's evolutionary mysteries however, allied with traditional taxonomy this new science is certainly helping to improve our understanding of the evolutionary process that produced the biodiversity of species found on Earth today. In some of the resulting trees, called cladograms, the branch length from a branching node, representing the most recent common ancestor of two or more successors, is a measure of time. Cladistic trees - a 20th century concept - focus on evolutionary changes rather than current similarities between extant species. Not all trees use the same convention, however. Taxonomy is another term for the study of the physical or morphological relationships, and taxa (the singular is a taxon) are the various kinds of living things that are organised into hierarchical groupings based on the degree of similarity of various features, or 'characters'. The tree of life, reproduced from Darwin’s On the Origin of Species by Natural Selection, published in 1859 The traditional way of illustrating such relationships is a tree, where the branches stem from a common origin, splitting again and again until twigs terminate either in an extinct species or one existing today (an extant species). In biology, the term systematics refers to the scientific study of life on Earth, how it has evolved, and the relationships, physical and genetic similarities and differences between organisms existing now and those that existed in the past. Systematics, Evolution, and the Relationships between Living Organisms It is about responses to the enormous threat to the Western community of values posed by the war in Europe initiated by Putin.Įspecially in this situation, we need people who stand for humanistic values and who can participate in the development of civil society in Russia. This is not in the least about relativizing or even justifying the war. For this reason, we are struggling on many levels to find an appropriate attitude towards Russia. It is undisputed that many areas of life, from economy to science to culture, are closely connected between Russia and Europe. This may appear to be an act of solidarity with those who are suffering, but it is not justified, because such an attitude also closes the doors to musicians who stand for humanistic values with their artistic activities. Russian musicians, ensembles, orchestras and also repertoire of Russian composers are suspected of sympathizing with the injustice, especially in social media. These emotions and the attempt to classify them do not stop at the Russian cultural institutions and musicians. The inhuman aggression and war crimes trigger strong emotions. However, this attack on the territorial integrity of Ukraine must also be understood as an attack on the foundation of values of democratic, pluralistic and free Europe. In the face of this dramatic situation, our attention must be focused primarily on the people whom we are called upon to help immediately. This suffering will strain relations between countries for generations and will change Ukraine, Russia and Europe as well. The immense suffering caused by the destruction and unimaginable atrocities of the war against Ukraine is shaking the world. We’ll start at page 1 of the camera Icon (camera settings) MENU → Camera Icon → page 1 of 5 (also called the Rec menu) This setting is necessary, as all images captured will have a timestamp, making it easy to find your favorite pictures in the future.Īfter this is setup, press the MENU button. When you switch on your Panasonic Lumix G9 you’ll be asked to enter a date, time and timezone. I’ll be going over the entire Menu structure in this post, and giving you tips, pointers, and tricks along the way. Assortment of 4K and 6K Photo modes and in-camera focus stacking.Dual UHS-II card slots supporting new high-speed ‘V’-rated cards.Magnesium body designed to be dust/weather-sealed.80MP Raw and/or JPEG files using High-Resolution mode.9 fps burst w/continuous AF using mechanical shutter (for 600 frames).20 fps burst w/continuous AF using the e-shutter (for ~50 frames).5-axis in-body image stabilization with Dual I.S.1.04M-dot 3″ articulating touchscreen display. 3.68M-dot electronic viewfinder w/ 0.83x equivalent magnification.20.3MP Live MOS sensor with no AA filter (same as GH5).I know it is a lot of information, but you’ll get the hang of it soon, I promise.Īs opposed the the video centric Panasonic GH5, the G9 is more stills oriented camera, but it can still shoot 4K/60p video and offers both headphone and microphone jacks. This guide starts from your Menu settings and goes through all aspects of this interesting camera. Welcome to my Panasonic G9 advanced manual with tips and tricks. Panasonic Lumix G9 settings, tips and tricks You can see these color channels by going to the “Channels” tab next to your “Layers” tab in the “Layers, Channels, Paths, Undo History” area (denoted by the red arrow in the image above). This means that your image is comprised of three color channels – Red, Green, and Blue (which is why we use the acronym “RGB”). The most commonly used color space, and the default color space in GIMP, is the RGB color space. These channels make up what’s called the Color Space. The next important concept when it comes to transparency is something called an Alpha channel.Ĭompositions in GIMP always contain some sort of channels to determine how colors will be displayed in the composition. My layer opacity can never be less than 0% or more than 100% – it will always fall within this range.įor the next part of this tutorial, I am going to set the opacity of my layer back to 100% (you can either drag the opacity slider all the way to the right or manually type in the value “100”). Note:when my layer opacity is set to 0%, it will no longer be visible because it will be totally transparent. If I click the up arrow twice, my layer opacity will be 24%. So, if I click the down arrow once, my layer’s opacity will now be 22%. I can also use the arrows on the right side of the opacity slider (denoted by the red arrow) to increase or decrease the opacity by 1 percentage point. If my layer is 40% transparent, then the opacity must have been set to 60%. So, if my opacity for my layer is set to 65%, my layer is 35% transparent. On this note, I’d like to point out that there is an inverse relationship between opacity and transparency – or in other words the value of one of these measurements is always the value of the other measurement subtracted from 100. For example, I’ll type 23 to set my opacity value to 23% and my transparency value to 77% (as shown in the area highlighted in green in the photo above). To do this, I just need to use my mouse to highlight the current value (it is set to 50.0 right now), then type my new number and hit the enter key. I can also manually type in a value in my opacity slider if I want a precise number here. This is why we can somewhat see through this layer, revealing the white background behind it (which consequently makes our image look a bit lighter, since adding white to all your pixels will lighten those pixels up). If I drag the slider until it reaches a value of 50 (as demonstrated in the photo), that means the image layer now is 50% opaque and 50% transparent. If I drag the slider to the left, the number becomes less than 100, which means the image layer now contains a percentage of transparency. By default, the slider is set to 100 – which means it has 100% opacity or is totally opaque. For example, if I click on the Model in Red Chair layer (denoted by the green arrow), I can use the opacity slider at the top of the Layers panel (red arrow) to adjust the overall opacity of this layer. There are a couple of ways to tinker with the transparency of a layer, with the results depending on how you are interacting with a layer’s transparency. Adjusting Layer Transparency with the Opacity Slider This layer also does not contain transparency. The third layer is our Background layer, which is also totally opaque but is filled with the color white. The second layer is an image – titled “Model in Red Chair,” which is totally opaque and does not contain transparency (more on that in a second). The first layer is Layer 1 – which is at the top of my layer stack and is a totally transparent layer. To better understand this concept of transparency, I have three layers open in my composition (highlighted in green in the photo above). This is an important concept because transparent layers allow designs to be more intricate and contain more depth, and also allow compositions to be saved without backgrounds. As has already been discussed briefly in this series, layers can contain transparency to a varying degree, or they can be totally opaque. |
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