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|Kristin Cardinale||JIST Publishing||ePub|
Every successful company has a credo; it’s a set of fundamental beliefs or guiding principles. Credo is a Latin word that literally translates to mean “I believe.” For example, if you visit the corporate Web sites of either Johnson & Johnson or Walmart, you’ll see that they devote a page to spelling out what they proclaim to believe. These simple statements are meant to guide the daily operations of the business, shape policies, and so on; they spell out the guiding beliefs of the business.
Along those same lines, this chapter is devoted to spelling out the eleven guiding beliefs of the Patchwork Principle.
The following guiding beliefs of the Patchwork Principle are designed to inspire, guide, and motivate you as you go forth to create your own business:
P is for Purpose. Life matters; work on purpose.
A is for Access. Access is power.
T is for Time. Own your time, own your life.
C is for Choice. Choose your company wisely.
H is for Happiness. Happiness is the key to success.
W is for Work. You will always have more work than you need.See All Chapters
|Christian Mehrwald||Rocky Nook-IPS||ePub|
Access to data targets with physically available data meets only part of the requirements demanded from an OLAP engine. During data analysis, it may be just as important to put several physical InfoProviders into context or even to get data from totally different sources.
For this purpose, BW offers different virtual InfoProviders—that is, metadata objects that are displayed as full InfoProviders but do not have individual data structures to store data. The data from a virtual Info-Provider is instead read from defined data sources at the time of the data analysis.
Depending on the goal to be achieved with the use of a virtual Info-Provider and the data sources to be referenced for the analysis, different types of virtual InfoProviders can be used:
MultiProviders to consolidate data from other InfoProviders and to bring it into context
InfoSets to relationally link data from BasisCubes, DataStore Objects, and InfoObjects
Service InfoCubes to implement specific analysis requirements that can be met only with a user-defined program logicSee All Chapters
|Sheryl Nussbaum-Beach||Solution Tree Press||ePub|
Using Tools to Support Connected Learning
Technology as an enabler of learning…and of creating connections. The Internet has revealed that large fields of knowledge are given value when connected. Technology in communities is essentially just a means of creating fluidity between knowledge segments…and connecting people.
—George Siemens, researcher
Tools have always been an important part of my life as an educator. I am a project-, problem-, passion-based teacher who believes students need both hands-on and visceral learning. I believe knowledge construction comes from experiencing or building something yourself or collectively as a team using tools. The more powerful the tools, the better, whether power tools used to construct a Swiss Family Robinson-type tree house or Web 2.0 tools used to create a Think Quest (www.thinkquest.org) competition piece. However, I feel it is a disservice to children when educators become so enthralled with the tools that they lose sight of what is most important—the learning. Our focus should always be on what we can do with the tool. Tools should be used to serve the learning. Blink, and online tools change, so be careful where you invest your time.See All Chapters
|Robbie Allen||O'Reilly Media||ePub|
The Dynamic Host Configuration Protocol (DHCP) is prevalent within most organizations. If you have more than three or four client computers, statically configuring IP addresses and network settings can be a support burden. DHCP makes the job of assigning IP addresses much easier because instead of manually configuring each computer on your network, DHCP does it for you. Dynamically assigning IP addresses and reclaiming them when they are no longer being used also makes more efficient use of your address space.
DHCP is a simple yet effective protocol that allows a computer booting up with no prior TCP/IP network configuration to obtain an IP address, called a lease, and various network settings, called options, such as the default router, DNS servers, and default domain name. For details on how DHCP works, see RFC 2131: http://www.ietf.org/rfc/rfc2131.txt.
The Microsoft DHCP Server is one of the most popular DHCP servers available. It's included with the Windows Server operating system and is simple to configure and maintain. In this chapter, I'll cover several recipes that walk you through the setup and configuration of DHCP Server.See All Chapters
|Nicholas Baragwanath||Indiana University Press||ePub|
The Italian musical tradition was not a unified whole but an aggregate of diverse regional traditions. There were a number of recognized musical centers and institutions, within which individual maestros passed on their own compilations and interpretations of earlier teachings to successive generations. Although the distinctions between them became increasingly blurred during the period of the Risorgimento, it is nevertheless possible to identify specific lineages in pedagogy, theory, and practice throughout the nineteenth century. These traditions were proud to trace their origins back to the Renaissance, post-Josquin, as Padre Giovanni Battista Martini (1706–84)—pedagogue, antiquarian, maestro di cappella at the church of San Francesco, and prominent member of the Accademia Filarmonica in Bologna—noted in his overview of the main Italian “schools.”1 There was the Scuola Romana deriving from Giovanni Pier-Luigi da Palestrina (1525–94), Giovanni-Maria Nanini [sic] (ca. 1543–1607), his younger brother Giovanni-Bernardino (ca. 1560–1618), Orazio Benevoli (1605–72), and Francesco Foggia (1604–88). Developing in parallel was a Scuola Napolitana involving Rocco Rodio (ca. 1535–1615), Alessandro Scarlatti (1660–1725), Leonardo Leo (1694–1744), and Francesco Durante (1684–1755). The Scuola Veneta (called Scuola Veneziana by later authors), which encompassed Padua and Verona as well as Venice, could boast a similarly exalted heritage in Adriano Willaert (ca. 1490–1562), Giuseppe [sic] Zarlino da Chiozza [sic] (1517–90), and Antonio Lotti (1666–1740). The Scuola Lombarda included musicians not only from Milan and the surrounding towns of Lodi, Brescia, Cremona, and Vigevano, but also, according to Martini, from the cities of Modena and Parma in neighboring Emilia-Romagna. It traced its foundations to Costanzo Porta (1528–1601), Pietro Ponzio [sic] (1532–96), Orazio Vecchi (1550–1605), and Claudio Monteverde [sic] (1567–1643). Martini sought the origins of his own Scuola Bolognese in Andrea Rota (1553–97), Girolamo Giacobbi (1567–1628), Giovanni Paolo Colonna (1637–95), and his former maestro, Giacomo Antonio Perti (1661–1756). These historical lineages were taken up and elaborated in Lichtenthal’s influential music dictionary of 1826, which divided their memberships into separate lists of composers and singers and added a Scuola Fiorentina that ended with Boccherini.2 Building upon the foundations of both Martini and Lichtenthal, Francesco Florimo provided more detailed descriptions of the six Italian schools as they were conceived at the end of the nineteenth century and put forward specific dates: the first and most ancient school, la Napolitana, was formed in 1480; the second, la Bolognese, began in 1482 and lasted until Mattei (1750–1825) and Cherubini (1760–1842); the third, la Veneziana, stretched from 1527 to the Russian-based maestro and singing teacher Catterino Cavos (1775–1840); the fourth, la Lombarda, was founded in 1485; the fifth, la Romana, which included Boccherini and Clementi, traced its origins to 1540; and the sixth, la Fiorentina, lasted only from ca. 1580 to the career of Giovambattista Doni (1593–1647). The schools were distinguished, he claimed, not so much by their approaches to counterpoint as by their sentiments, expression, and effects.3See All Chapters
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