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Pokémon/Pokédex/Arctibax. Description. A bipedal dragon pokémon. Base Statistics. A dragon and ice type Pokémon. How to Evolve. Evolves from Frigibax and evolves into Baxcalibur.

Pokémon/Pokédex/Baxcalibur. Description. A bipedal dragon pokémon. Base Statistics. A dragon and ice type Pokémon. How to Evolve. Evolves from Arctibax.

Pokémon/Pokédex/Iron Jugulis. Description. A three headed robotic dragonlike pokémon. Base Statistics. A dark and flying type Pokémon. How to Evolve. Does not evolve. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Iron Moth. Description. A robotic mothlike pokémon. Base Statistics. A fire and poison type Pokémon. How to Evolve. Does not evolve. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Iron Hands. Description. A robotic pokémon with floating hands. Base Statistics. A fighting and electric type Pokémon. How to Evolve. Does not evolve. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Iron Bundle. Description. A robotic penguinlike pokémon. Base Statistics. A Ice and Water type Pokémon. How to Evolve. Does not evolve. Notes. Introduced in "Pokémon Violet".

Pokémon/Pokédex/Dudunsparce. Description. A snakelike pokémon. Base Statistics. A dark and flying type Pokémon. How to Evolve. Evolves from Dunsparce Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Farigiraf. Description. A giraffelike pokémon. Base Statistics. A Normal and Psychic type Pokémon. How to Evolve. Evolves from Girafarig. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Flamigo. Description. A flamingolike pokémon. Base Statistics. A Flying and Fighting type Pokémon. How to Evolve. Does not evolve. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Maushold. Description. A pokémon consisting of two large mouselike creatures and two small mouselike creatures. Base Statistics. A normal type Pokémon. How to Evolve. Evolves from Tandemaus. Name. Appears to be a comination of the words Mouse and Household. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Smoliv. Description. An olive inspired pokémon. Base Statistics. A grass and normal type Pokémon. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Squackabilly. Description. A parrotlike pokémon. Base Statistics. A normal and flying type Pokémon. How to Evolve. Does not evolve. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Naclstack. Description. A quadriped blocky rocklike pokémon. Base Statistics. A rock type Pokémon. How to Evolve. Evolves from Nacli and into Gargancl. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Gargancl. Description. A bipedal blocky rocklike pokémon. Base Statistics. A rock type Pokémon. How to Evolve. Evolves from Naclstack. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Tadbulb. Description. A lightbulblike pokémon with a tail. Base Statistics. A electric type Pokémon. How to Evolve. Evolves into Bellibolt Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Bellibolt. Description. A froglike pokémon. Base Statistics. A electric type Pokémon. How to Evolve. Evolves from Tadbulb. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Wattrel. Description. A birdlike pokémon. Base Statistics. A Electric and Flying type Pokémon. How to Evolve. Evolves into Kilowattrel Name. References Watt, as well as Petrel. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Kilowattrel. Description. A birdlike pokémon. Base Statistics. A Electric and Flying type Pokémon. How to Evolve. Evolves from Wattrel Name. References Kilowatt, as well as Petrel. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Shroodle. Description. A small mouselike pokémon. Base Statistics. A poison and normal type Pokémon. How to Evolve. Evolves into Grafaiai. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Grafaiai. Description. A monkeylike pokémon. Base Statistics. A poison and normal type Pokémon. How to Evolve. Evolves from Shroodle. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Bramblin. Description. A tumbleweedlike pokémon. Base Statistics. A grass and ghost type Pokémon. How to Evolve. Evolves into Brambleghast. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Brambleghast. Description. A tumbleweedlike pokémon. Base Statistics. A grass and ghost type Pokémon. How to Evolve. Evolves from Bramblin. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Scovillain. Description. A bipedal pepperlike pokémon with two heads, one red and one green. Base Statistics. A grass and fire type Pokémon. How to Evolve. Evolves from Capsakid. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Capsakid. Description. A bipedal pepperlike pokémon. Base Statistics. A grass type Pokémon. How to Evolve. Evolves to Scorvillain. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Finizen. Description. A dolphinlike pokémon. Base Statistics. A water type Pokémon. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Cyclizar. Description. A lizardlike pokémon. Base Statistics. A dragon and normal type Pokémon. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Orthworm. Description. A wormlike pokémon. Base Statistics. A steel type Pokémon. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Greavard. Description. A quadriped doglike pokémon. Base Statistics. A ghost type Pokémon. How to Evolve. Evolves from Greavard. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Houndstone. Description. A quadriped doglike pokémon. Base Statistics. A ghost type Pokémon. How to Evolve. Evolves to Houndstone. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Varoom. Description. A englinelike pokémon. Base Statistics. A steel and poison type Pokémon. How to Evolve. Evolves to Revavroom. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Revaroom. Description. An ATVlike pokémon. Base Statistics. A steel and poison type Pokémon. How to Evolve. Evolves from Varoom. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Glimmet. Description. A gemlike pokémon. Base Statistics. A rock and poison type Pokémon. How to Evolve. Evolves to Glimmora. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Glimmora. Description. A gemlike pokémon. Base Statistics. A rock and poison type Pokémon. How to Evolve. Evolves from Glimmora. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Wiglett. Description. A eel-like pokémon. Base Statistics. A Water type Pokémon. How to Evolve. Evolves to Wugtrio. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Wugtrio. Description. A eel-like pokémon. Base Statistics. A water type Pokémon. How to Evolve. Evolves from Wiglett. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Bombirdier. Description. A birdlike pokémon. Base Statistics. A Flying and Dark type Pokémon. How to Evolve. Does not evolve. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Flittle. Description. A small pokémon. Base Statistics. A psychic type Pokémon. How to Evolve. Evolves into Espathra. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Espathra. Description. An ostrichlike pokémon. Base Statistics. A psychic type Pokémon. How to Evolve. Evolves from Flittle. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Tinkatink. Description. A small humanoid Pokémon. Base Statistics. A Fairy and Steel type Pokémon. How to Evolve. Evolves to Tinkatuff. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Tinkatuff. Description. A humanoid Pokémon. Base Statistics. A Fairy and Steel type Pokémon. How to Evolve. Evolves from Tinkatink and into Tinkaton. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Tinkaton. Description. A humanoid Pokémon. Base Statistics. A Fairy and Steel type Pokémon. How to Evolve. Evolves from Tinkatuff. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Rabsca. Description. A buglike Pokémon. Base Statistics. A bug and psychic type Pokémon. How to Evolve. Evolves from Rellor. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Rellor. Description. A buglike Pokémon. Base Statistics. A bug type Pokémon. How to Evolve. Evolves to Rabsca. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Xurkitree. Description. A humanoid treelike Pokémon composed of wirelike apendages. Base Statistics. A Electric type Pokémon. How to Evolve. Does not evolve

Pokémon/Pokédex/Arboliva. Description. An olive tree inspired pokémon. Base Statistics. A grass and normal type Pokémon. Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Miraidon. Description. A robotlike dragon pokémon. Base Statistics. A electric dragon type Pokémon. How to Evolve. Does not evolve Notes. Introduced in "Pokémon Scarlet and Violet".

Pokémon/Pokédex/Iron Thorns. Description. A robotic bipedal pokémon. Base Statistics. A rock and electric type Pokémon. How to Evolve. Does not evolve. Notes. Introduced in "Pokémon Violet".

History of video games/Platforms/Zuiki X68000 Z. History. The Zuiki X68000 Z is inspired by the X68000 computers of the 1980s.

History of video games/Platforms/Salora Playmaster. History. Finnish TV & Game console combo unit.

Canadian Refugee Procedure/109.1 - Designated Countries of Origin. IRPA Section 109.1. Section 109.1 of the "Immigration and Refugee Protection Act" reads: Country of origin is a term used to refer to a refugee’s country of citizenship or country of habitual residence. In immigration and refugee law, the term “country of origin” is used to refer to a refugee’s country of citizenship or country of habitual residence. The term is used in Article 3 of the "Refugee Convention" and the court has found that is is incorporated into the "IRPA" through this provision.

History of video games/Platforms/Pimoroni PicoVision. History. The system was announced "by" March 2023. Initially know as the Pimoroni DV Stick, with "DV" standing for "Digital Video", by late 2023 the system was known as the Pimoroni PicoVision. Technology. Production PicoVision. Compute. The system consisted of an original carrier board with an integrated RP2040 chip acting as graphics processor, as well as a Raspberry Pi Pico W board soldered on acting as CPU and offering wireless communications support. The system included 16 megabytes of memory in twin PSRAM chips, each with 8MB of capacity in addition to the 264 kilobytes of RAM included directly on the RP2040 chip. Audio. A PCM5100A DAC is included. As HDMI audio is nonfunctional on this device, a seperate 3.5mm line out is provided. Hardware. The system measured long by wide by thick. Early DV Stick. Compute. The system boasted twin RP2040 chips for compute, one acting as a CPU and the other dedicated to the display. Two PSRAM chips are included, each being deidcated to one of the RP2040 chips. Hardware. HDMI connectivity was included. A single USB port was included. A bluetooth radio was included for wireless accessories. Software. The system was designed to be a devkit for itself. The system is capable of booting to a MicroPython REPL environment. Games. The system was compatible with Pimoroni Picosystem games. One notable port was a version of "Doom" when used with a specific firmware and WHX file.

Canadian Refugee Procedure/IRPR s. 22 - Misrepresentation. IRPR s. 22. The text of the relevant section of the regulation reads: Commentary. Section 22 of the "Immigration and Refugee Protection Regulations" exempts refugee claimants whose refugee claims are pending and those recognized as refugees from being found inadmissible because of misrepresentation under section 40(1) of the "IRPA". Which see: Canadian Refugee Procedure/33-43 - Inadmissibility.

Kitchen Remodel/Cabinet selection. After you have a rough layout for your new kitchen and have chosen a manufacturer, cabinet selection can follow. It may even make sense to proceed with separate cabinet selection processes for two or more manufacturers, if you are undecided. Some important goals of cabinet selection are: Six steps of cabinet selection. Cabinet selection includes up to 6 steps: With conventional manufacturers such as KraftMaid, step 3 already includes steps 4+5. Only with modular cabinet systems (the most important example is probably Ikea's product line) all six steps require individual consideration. Step 1: Choice of a manufacturer/a product line. For our own kitchen, we chose Ikea's cabinet system ("Sektion"). There were multiple reasons for that decision, of which I will only name a few. The two most imperative were that we wanted to go frameless, with a European style modern appearance, and that we were on a tight budget. We were even considering installing the kitchen ourselves, which for sure is Ikea's strong point. Another very important reason was that this system allows a lot of flexibility. Hampton Bay for example also offer a line of frameless cabinets, but only with limited options, while Ikea take modularity to the max. On their web site they appear to mostly market pre-configured cabinets, but alternatively, you can literally start out with only a cabinet frame, and then configure it – with different kinds of drawers, pull-outs, doors, shelves, and appliances – any way you want. Flexibility was important to me not only because I was fussy with the visual design of my kitchen, but also because I wanted to max out the interior space of our cabinets. The new kitchen would not exactly be small, but we had recently moved from a much larger house into a smaller one, and I needed every cubic inch of usable storage space that I could possibly squeeze out of it. A third major reason why we decided on Ikea's "Sektion" was that those cabinets don't have traditional toe kicks but legs (Ikea's "toe kicks" are mere covers that are being clipped to the legs). We were planning to feed a number of electrical and water connections through under those cabinets, which would be much easier with no structural barriers in the way. A general downside of Ikea's "Sektion" system, in my view, is that they offer only "white" cabinet frames (this at least was the case in 2022/2023; in those parts in the world where Ikea market "Metod" instead of "Sektion", there are more color options) which is a disadvantage if you choose dark front elements. Even if you use filler panels, there will always be areas where the white shows. Another downside is that with Ikea D.I.Y. will probably be not just an option for you, but your "only" option. In my experience, contractors will – even in the U.S. where "Sektion" is a niche product – very eagerly assure you that they had done Ikea kitchens before and that they very expertly do so, but unless they show you pictures or even let you talk to their previous customers, I would be very careful believing that. The installation of an Ikea kitchen is fundamentally different from that of conventional, pre-assembled cabinets, and the craftspeople who end up being appointed with the work will possibly not have the first idea of what to do with the content of all those flat packs and with the included suspension rails, assembly kits and support brackets. As a lay person you have the tremendous advantage that you are humble to begin with, and willing and hungry to obediently study both Ikea's installation guides and relevant YouTube tutorials; this won't necessarily apply to a professional. Another disadvantage for us was that our next Ikea stores are hundreds of miles away from were we live; even if Ikea deliver your kitchen to your home (which you pay for), expect multiple trips that you do to the store in person, be it for a visual inspection of elements that you consider purchasing, be it for returns of elements that you decide not to use. Also, an Ikea kitchen is most certainly nothing for those who are either fretful or in a rush. Beginning with the pandemic, Ikea had major delivery chain issues, and for a number of products (which obviously permanently alternate) they are notoriously out of stock. In our case, it took more than half a year until we got everything delivered that we initially had signed up for. But at the end, there was not a single item that we couldn't get. Step 2: Taking measurements. If you haven't done so yet, now it is high time to take detailed measurements of your space: You will also need the exact dimensions of your sink and of your major appliances, including information about any clearance that those require (conventional refrigerators for example need clearance for ventilation; there may also lateral clearance be necessary for proper door opening). I find it extremely helpful to record measurements not on paper, but in a vector graphics software such as Inkscape, in true proportions. Even better if you have mastered something more specialized like Revit or AutoCAD. The reason is that the software will scream into your face if you overlook measurements that need to be taken or if you make mistakes. Step 3: Choice of cabinet frames. Based on the rough draft, the new floor plan, and a list of available cabinet frames, the space can now be (virtually) filled with cabinet frames. This will turn the rough draft into an intermediate floor plan. I say "intermediate", because depending on your layout and on decisions that you will make in later steps, it may become necessary to add a little spacing here and there, or a filler piece or two. Be prepared that any cabinet row that you compose in step 3 may or may not grow by roughly 1 inch (2-3 cm) for technical reasons. This section is not the place yet for details; only so much: For details see step 6. Ikea's cabinet frame line includes the following formats, among others: With the help of these data plus information about the available corner cabinet frames, I selected 22 cabinet frames for my kitchen (see image). In spite of the relatively large range of available formats, it may happen that for a specific place in your kitchen a fitting cabinet frame cannot be found. Be aware that in many cases it may be possible to convert an available frame to custom dimensions. The only requirements for such modifications are a (hand) circular saw and an idea for the modification of the corresponding front element. I will show an example in a later chapter. Alternatives are to omit that cabinet, to to chose something smaller, or to build a fitting custom element (open shelves: like a wine rack or a place for your cookbooks) from scratch, that is from filler panels. Step 4: Front view design. One characteristic of Ikea's current kitchen cabinet system is that the front elements can be arranged independently of what is behind them – to a certain degree at least: With such flexibility, a kitchen designer has a field day here. Four variations of one kitchen (the cabinet frames are the same in each): Like most cabinet manufacturers, Ikea offer a number of different front element styles. They don't market those under the name "Sektion", but as complementary product lines, each design with its own name. The range of available front element formats depends on the product line, some offer more choices than others. <br clear=all> Notice that, fundamentally, all of these elements can be mounted both horizontally and vertically. In addition, there is no set-in-stone distinction of doors and drawer fronts; any element can be used for both purposes. Although the possibilities are virtually endless and the system very much invites to use nested drawers (drawer nesting can have up to 3 tiers!) and drawers behind doors, I think those should be used wisely: Step 5: Cabinet interior fittings. Frame conditions of interior fittings. In congruence with the general idea of modularity, "Sektion" cabinet frames are mere frames that come without toe kicks, without doors, and without interior fittings. High cabinets come with one shelf that can be used to add structural stability; this is a specialty shelf which is a bit sturdier than regular shelves; it can be installed at any height or it can be omitted, whatever is convenient. Base cabinets don't have a top panel, because they will be covered with a counter top anyway. But all frames feature an array of predrilled holes that provides the structure for the mounting of all interior fittings: doors, shelves, and drawers. While planning the interior fittings of a cabinet, you need to be aware that door hinges, too, require their share of the available predrilled holes and may prevent the mounting of a shelf or a drawer hinge at a specific position. Depending on its height, a door has 2–4 hinges. Details can be found in the product description. A common position of a hinge midpoint is at ≈2½" (63 mm) below the top and above the bottom edge of a door. Since Ikea use concealed European hinges which latch into precast recesses in the door leaf, it would probably not be advisable to modify a door's hinge pattern. Shelves. The shelves are marketed under the name "Utrusta". They come in different widths (12", 15", 18", 21", 24", 30", 36") and two different depths, albeit some combinations of those two dimensions are not available. Regular shelves are ¾" (19 mm) thick, the material is Melamine foil covered particle board while the edges are plastic covered. Regular shelves rest on either 6 or 4 (the number depends on the depth of the cabinet) dowel pins that are being plugged into the predrilled holes. The pins come with the shelves; if you loose any, you can request free replacement ones. The load capacity of a shelf is 22–88 lb (10–40 kg), depending on the size. If you plan on heavier loads, you may want to add steel angles for additional support. There are also glass shelves in the "Utrusta" program, but only for 15" deep cabinets. High cabinet frames come with one shelf which is for structural support. These are specialty shelves that don't differ from regular shelves in dimensions and appearance, but are mounted slightly differently, that is with screws instead of dowel pins, and the cut-outs in the shelf that embrace the screws, are a bit deeper, which is why those shelves sit a fraction of an inch (a few millimeters) lower relative to the predrilled holes than regular shelves. The reason why I am stressing this minor height difference is that in some cases it can bring a shelf in conflict with a door hinge. Drawers and pull-outs. The drawers that Ikea offer for their kitchen cabinets are called "Maximera". This is a system of wide opening drawers which run on soft close slides. For customers who want to go without handles, there are also push-opening kits available that can be installed in addition to the standard drawer outfit. Customers have reported that push-opening will not work with drawers that are heavily loaded. The drawer material is epoxy/polyester powder coated steel, only the bottom is melamine coated particleboard. Notice that the inside of the drawers' side pieces is not quite vertical but slightly arched which probably adds to the stability. "Maximera" drawers are sold without a front piece and need to be completed with one. If a drawer is mounted as an exterior drawer (with the drawer front exposed), an element from a cabinet front product line (like Axstad) is used. In the case of nested drawers or drawers behind doors, the interior drawers can have "Utrusta" fronts, which are plain white and cheaper; they don't need a handle, because you will just grab over the upper edge (Utrusta fronts tend to be low and to leave a gap to the next drawer). They come obviously in different widths (15", 18", 24", 30", 36") and two different depths. If you need drawers for a 12" wide cabinet, you'll probably have to purchase a 12" pull-out interior fitting (simply omit the connector); you'll also have to buy an extra drawer (which you won't use) just to get the slides, since the pull-out interior fitting comes only with one left slide and one right slide, and Ikea don't sell those slides separately. The nominal load capacity of a "Maximera" drawer is 45–55 lbs (20–25 kg), depending on the drawer type (low, medium, high). So to insure that the slides are not overloaded, it may be preferable to choose a narrower cabinet for those drawers that you designate for your heaviest loads. Equally important to know is that the "Maximera" drawers also come in three different heights (high, medium, low). "High" is intended for drawer fronts that are +15" high, "medium" for 10", and "low" for 5". But technically any drawer front can be mounted to any type, as long as the front is not lower than the drawer. In the case of nested drawers it will be even unavoidable to use a lower type for the exterior drawer even though its front will be higher, or else there wouldn't be room left for the inner drawer(s). Notice that the medium and high drawers don't feature side pieces that go all the way up to the top of the rear piece, only braces that help to stabilize the drawer front. If you actually want to close those side gaps, you can use the add-on glass side pieces that Ikea also sell. If you are planning on a drawer with a very high drawer front, Ikea offer an additional fixture "for mounting door on drawer" ("Utrusta"). Talking about very high drawer fronts: My first trips to an Ikea store had left me with low expectations for the static qualities of such drawers, since in the store I found those fronts being rather floppy. Only later I figured that those were probably just incorrectly mounted. I later chose a one-drawer high-front configuration for our trash bins, installed it with the add-on fixture and found it surprisingly sturdy and trustworthy. The "Utrusta" program also comprises an "assembly kit for pull-out function" which can be used to join two drawers together. Although with the assembly kit only two drawers can be linked together, other drawers can be nested between those two. The advantages of a pull-out over a two-drawer solution may be that the simultaneous opening of two drawers will give you a better overview about the contents, and that the mounting of a high front element will be statically sounder on a pull-out than in a similar arrangement with nested drawers. An obvious disadvantage is that at least the bottom drawer will only be accessible from the side. Other interior fittings. The "Utrusta" product line also includes a "pull-out work surface", that is a flat drawer-like element with a load capacity of 40 lb (18 kg). I doubt that this element really is convenient as a work surface (unless the kitchen is so small that you are desperate for any square inch of work surface that you can get), but if installed into a high cabinet, put behind a door and supplied with an in-cabinet electric outlet, it would probably make a great permanent base for your most used stationary small appliance, like a KitchenAid, a blender, or a food processor (anything that won't involve heat). In addition, the "Utrusta" program includes a base and a wall corner cabinet carousel, a rather nifty corner base cabinet pull-out fitting and other such things and paraphernalia. Examples. The "Sektion" system is modular and cut out for custom solutions, but on their web site, Ikea tend to display preconfigured ensembles of cabinet frames, doors and drawers, probably to respond to their customers expectations and to offer some easy options. In this section, I would like to give another glimpse in the bandwidth of possible customization, beginning with a preconfigured example. Door hinges. To know a little about Ikea's door hinges is important a. because this knowledge will help to ensure full functionality of your cabinets and b. because it may be important for you to know how those hinges "behave" upon opening. The latter is crucial if you want to determine if there will any spacing be necessary between your cabinets. For "Sektion" cabinets, Ikea market three different door hinges – two for vertical (regular) doors and one for horizontal (flip-up) doors: Of the two different hinges for vertical doors, in most cases, both are possible. But: The hinges for horizontal door are recommended only for doors of max. 36"x15". They open up an estimated 110° angle, but if you have a low ceiling, you can set a lower maximum angle. Notice that these hinges are huge. All hinges go under the name "Utrusta"; the manufacturer is Blum in Austria. My project. The following drawings will show what I chose to do with my kitchen, in terms of front elements and interior fittings. My favorite interior fittings are definitely drawers. I use drawers and pull-outs for virtually everything: utensils, cups, glass tumblers, plates, bowls, pots, pans, cutting boards, baking sheets, small appliances, and food storage. Close to my cooktop, I even keep a drawer that is high enough to hold my cooking oils, vinegars and other bottled liquids, standing upright. With soft close drawer slides, they won't fall over. Unless there are small children in a household, I wouldn't even advice for pegboard drawer organizers or such; a simple grip shelf liner will probably do perfectly fine and is much cheaper. I don't even use an organizer for my spices; these just lay flat in a shallow drawer, labels up, firmly kept in position by their neighbors and the grip shelf liner on which they all rest. Step 6: Spacing; filler and cover elements. Spacing. As already mentioned above, any two "Sektion" cabinets that stand side-by-side may and should directly touch. There will never spacing or fillers be necessary between two flanking cabinets, regardless of hinge types. There are two specific restrictions though for cabinets that stand beside a wall. A spacing (or filler) is required if: A difference between the spacing mentioned in this section, and the spacing that we will be dealing with in the next section is that here the gaps can probably remain open.<br clear=all> Technical fillers. The need for a technical filler emerges, wherever a spacing between two cabinets becomes necessary. This will mostly happen in a corner where two rows of cabinets are linked together. Three examples: The product that is being used for technical fillers is the same that also serves for cover (next section). Cover elements. Cover panels can be used for/as… <br clear=all> How to select cover panels. If you order your kitchen with the assistance of an Ikea kitchen designer, they will select all cover panels that you may need for you. In my own case, they simply put a custom selection of cover panels into my order, without even mentioning that those would be necessary. Only later we realized what they were good for and that the sizes were well chosen. We got some, too, that turned out to be unnecessary, which wasn't a problem since we could return them. So unless you want to plan out your kitchen layout down to quarter of an inch, it may not really be necessary to think about cover panels before installation. But if you want to plan your fillers and covers ahead, there are some basic things to know: Ikea's web site doesn't make it overly obvious, but every product line of cover elements includes not just drawer fronts, doors, toe kicks, and "rounded deco strips", but also an array of cover panels. Specifically for white and for grey cabinet fronts, there is also a whole product line named "Förbättra". A good way to decide what to order is to make proportionally correct drawings of all pieces that you are planning to use; mark the edges that need to be "good" edges (because they will be exposed). I would do this in a graphic software like Inkscape, but it certainly can be also done on paper. Then make drawings of the available products, and see how your custom pieces best fit in.

UNO/UNO Attack. Uno Attack is a popular adaption of the original Uno game that involves an electronic card shooter. The shooter has a launch button, and when pressed, 0-12 cards can be shot out. Uno Attack is also known as Uno Extreme in Canada and the UK. Quite similar to the newer Uno Blast, Uno Attack combines the gameplay of Uno with the fun and unpredictability of a card shooter/launcher. Each set consists of 112 cards and a battery powered shooter or launcher. The shooter device itself has been updated by Mattel to a sleeker version and the number of cards and their types has been amended The old launcher has a “shelf” on its cover to enable the Discard pile cards to be placed. The new version though, does not have any shelf or space for that purpose. Its cover is also harder to open than the old one. Basically, you have to yank it open each and every time, so do take care not to break anything! The new shooter also tends to spit out more cards than the old version, thus prolonging the game, according to some people. What the new version has going for it though, is that its launching mechanism seems to be more powerful than the older version, besides being smaller and sleeker. It also plays a sound every time its launch button is pressed. Both shooters run on 3 “C” sized batteries. Discard All – When played, this card enables one to get rid of all his/her cards that are of the same color as it. You can also play it on top of another Discard All card. If the first card of the game happens to be a Discard All card, the first player begins play with a card of the same color (or another Discard All). Hit 2 – Play this card to force the next player to hit the Launcher button twice. If cards come out, that player must collect them all, but he/she cannot play anything and their turn is skipped. If this is the first card turned up, the first player must hit the Launcher twice. Wild Attack-Attack – If you play this card, you get to choose anyone to “attack”, as well as any color you desire. Turn the shooter towards the person that you are “attacking” and press the launcher button TWICE. That “attacked” person needs to collect all the cards that shoot out, and play then continues with the next player. The older version of Uno Attack is known for having a high number of Action cards (eight to be precise), while the newer version has done away with all of them, leaving only the Wild Attack-Attack card. The list below pertains to the unique action cards found in the older version: Trade Hands – Trade Hands card is a powerful card. Play it, and you must trade all your cards in hand with your opponent’s cards. So if you trade with a player who has a lesser number of cards (let’s say with two cards), you are closer to getting rid of all your cards! However, you are forbidden from going out of the round with this card. Wild All Hit – Anytime this card is played, everyone in the game (excluding the person who played the card) must hit the Launcher button once, and any cards that come out must be collected by the “lucky” person. If turned up at the start of the game, everyone including the first player must hit the Launcher button once. This is also a Wild card, so the person who plays it can choose whatever color he/she wants, and play it. Wild Hit Fire – This card is bad news for the next player, because if played, he/she needs to hit the Launcher button, repeatedly if necessary, until it spits out cards. The cards must be taken by that player, who then forfeits his/her turn. If turned up at the beginning, the first player must hit the Launcher button and collect the cards. Being a Wild card, whoever plays this card has the right to call out the color he/she wants to play, and play it. Gameplay for Uno Attack: 2-10 players may play the game at any one time. Gameplay is similar for both old and new versions, notwithstanding the different Action cards in both. Choose a Dealer using any method you desire (normally conducted by everyone picking a card and the Dealer is the one with the highest card number). The Dealer shuffles the cards and deals out 7 cards to every player. The remaining cards are placed inside the Launcher, and one card is taken out (Discard pile). The cover is closed, and the sole card is placed in the prepared space on the cover top as the Discard pile. The first player has to match a card in the Discard pile, either by color or number or symbol (Action card). Or else, he/she can play a “Wild” card to change the current color in play. If there is no matching card to play, the player needs to hit the Launcher button. If nothing happens, that player is safe, and play moves on to the next player in turn. If cards shoot out, that player must collect all the cards and add them to their hand (even for cards stuck halfway in the Launcher). Players must yell “Uno” when they first place down their second to last card. If an opponent catches them not saying “Uno”, the player has to press the Launch button twice. Once you discard all your cards before anyone else, you win the round. You get points for all the cards left in your opponent’s hands and the first person who scores 500 points (or whichever number is mutually agreed upon) is declared the winner. The scoring is as follows: All numbered cards – Face Value Reverse/Skip/Hit 2 – 20 points Discard All/Trade Hands – 30 points Wild/Wild All Hit/Wild Hit Fire – 50 points Rules in the case of two players In the case of just two players, Uno Attack is played with a slight change of rules: Reverse behaves like Skip, since there are only two players. Play Reverse, and you can have another turn. If you play a Hit 2 card, your opponent must the Launcher button twice and play goes back to you since there is nobody else. An alternative way to win the game as suggested by Mattel is to keep a running tally of the points each player is left with at the end of each round. When someone reaches 500 points (or whichever figure that is mutually agreed upon), the person with the least points is declared the winner instead.

UNO/DOS. If Uno means One, then Dos means Two. Welcome to the sequel for Uno, which is Dos. Dos was launched by Mattel in early 2018 and it’s a pretty interesting card game in itself. Although there is some slight similarity between Uno and Dos, you will quickly find out that both are very different card games. Let’s take an in-depth look at Dos. 2-4 players can play Dos which is far less than for Uno. Dos has 108 cards, which consists of 96 numbered color cards (Red/Blue/Green/Yellow) and 12 Wild Dos cards. Each color has three cards of the numbers 1, 3, 4, 5, and two cards of the numbers 6, 7, 8, 9, and 10. There are also two Wild # cards for each of the four colors. Notice that there is no number 2 card for each color, but instead, the 2s have been replaced by Wild Dos cards as we will see below. Objective The primary objective of Dos is to discard all cards in one’s hand before anyone else does (and earn points from the cards still left in other player’s hands). Like Uno, you have to discard your cards by matching the cards in the center, but here in Dos, you can only match them by number. The numbers need to be matched first, then only the color is noted. Colors only earn a bonus called a Color Match Bonus. The first player to reach a score of 200 points (or any number the players agree on) is the game winner. Special Wild Cards Besides the numbered cards, Dos has special Wild cards, but these are different from the ones in Uno. The Wild cards are the colored Wild # cards (which can represent any number), and the Wild Dos cards (which are “2” cards that can represent any color). Wild Dos card – The number 2 cards in Dos are represented by these Wild cards, which can take up any color as the player (whose current turn it is to play) sees fit. If a Wild Dos card is turned up from the Draw pile, the player whose turn it is to play can decide what color it should be. Wild # card – The Wild # card can represent any number for its own particular color. This can be used to make up any number from 1-10, as the player (whose current turn it is to play) sees fit. If a Wild # card is turned up from the Draw pile, the player whose turn it is to play can decide what number it should be. Gameplay Appoint a dealer to deal out 7 cards to everyone. A simple way to pick a dealer is by everyone drawing a card from the deck and the person who draws the highest face number shall be the dealer (put back any Wild cards). After dealing 7 cards to everyone, place the main deck in the center to form the Draw pile/deck, and turn up two cards to be the Center Row, while leaving space for a Discard pile. Remember there must always be a minimum of 2 cards face up in the Center Row. The person to the left of the dealer can now begin play in a clockwise direction. How do you match cards? Cards are matched by number. Cards can be matched by Single matches and Double matches for the two cards in the Center Row. For each card in the Center Row, you are only allowed a maximum of TWO cards to match (e.g., 3 with 3, or 1+3). If there are 4 cards in the Center Row, you can match cards to ALL four of them as long as you have matching cards in your hand, but only a maximum of two per Center Row card. Once the cards are matched, remove them and stack them into a Discard pile next to the Draw pile/deck. Turn up a new card from the Draw pile to replace the cards that just got matched in the Center Row. Here are the types of matches in Dos: Single Match – Match cards by number, although the color would be different. Example: Match a Red 3 with a Green 3. Double Match – Match cards by placing two cards that add up to the number of the Center Row card, although the color would be different. Example: Match a Red 5 with a Green 1 and Blue 4. Single Color Match – Match cards by number AND color. This earns you a Color Match Bonus, which entitles you to discard one card from your hand by placing it in the Center Row at the end of your turn. Example: Match a Red 3 with a Red 3 from your hand. Another example would be matching a Red 3 with a Wild Red # card that can take up any number. If you get two or more Single Color Matches on two Center Rows, you can discard cards from your hand by placing them in the Center Row for all of them. Double Color Match – Match cards by placing two cards that add up to the number of the Center Row card, AND are the same in color. Example: Match a Red 5 with a Red 1 and a Red 4. Another example would be matching a Red 3 with a Red 1 and a Wild Dos card which has the number 2 and can take up any color you want. Getting a Double Color Match entitles you to discard one card from your hand by placing it in the Center Row AND compels all other players to DRAW a card from the Draw pile. If you get two or more Double Color Matches on two or more Center Rows, you can discard cards from your hand by placing them in the Center Row for all the cards AND everyone else needs to draw two or more cards from the Draw pile depending on how many Double Color Matches you get. Note: For any cards that you are entitled to discard from your hand onto the Center Row (as a result of getting a Color Match Bonus or simply because you have nothing to match, put them out last, after any cards that should be refilled from the Draw pile are turned up there. In Dos, it is quite important to take note of the order of your actions (for each turn), so as to avoid potential confusion. Ending your Turn If you can have no cards to match, you must draw a card from the Draw pile. If you can match it, you can choose to do so. However, even if you cannot match it, you must still discard a card from your hand by placing it in the Center Row. This rule makes Dos a faster paced game compared to Uno as everyone will always be discarding at least a card on their turn even if they need to draw. Take the matched cards in the Center Row and put them all into the Discard pile. If there are fewer than two cards in the Center Row, you must refill them with cards from the Draw pile. Note: You are not allowed to match any of the new cards once they are refilled even if there are new matches available, as you have already done all your matches earlier. Winning the Game The first player who discards all his/her cards is the winner of the round. If the player earned any Double Color Match Bonuses during his/her turn, then all the other players should draw cards as well, before tallying up the points. The winner of the round gets to score points from all the cards in other player’s hands and become the dealer for the next round. Scoring All number cards – Face value Wild Dos cards – 20 points each Wild # cards – 40 points each The official rules state that the first player to reach 200 points is the winner of the game. But this number is not set in stone, and you can certainly increase or decrease the required points needed to win the game – as long as everyone agrees. Strategy for Dos In Dos, the strategy is mainly on preventing your opponents from going out too soon, while discarding as many cards as possible per turn. One strategy is to lay down cards with small numbers at the beginning when your opponent has many cards, as these are less likely to be matched with two cards. For example, a card with 1 can only be matched by another 1 or a Wild # card. A 10 can be matched more easily, for example with a 1+9, or a 5+5, or a Wild Dos (representing 2)+8, or a 3+# (representing a 7). Your opponent might even earn a Double Color Match bonus by playing two cards with the same color. So this is something you would try to prevent, or at least to reduce the odds. However when your opponent has few cards, it may be a better strategy to play big number cards like 9 or 10 if possible, since he/she might not have enough cards to combine and match with that big number card. How does Dos compare to Uno? Dos is certainly faster paced than Uno, and a little bit more complicated in its rules. This is reflected in the maximum number of allowed players, which is only 4 players. A lucky streak of matching cards can quickly end the round before the other players even manage to warm up. Hence, keeping a tally of the points earned after a round ends becomes even more important in Dos; one round surely won’t be enough! Dos has its own appeal, and it’s something that every true Uno fan should check out at least once. It might take a while to get used to its gameplay, but overall, Dos earns a solid recommendation from us.

History of video games/Platforms/Galaksija. History. Developed in 1983 in Yugoslavia. Technology. The CPU was a Z80, which also had to largely handle video generation. Notes. Shares similarities to later DIY & open consoles, though the primary motivating factors are different.

Chess Opening Theory/1. e4/1...e5/2. Bc4/2...Nf6/3. f3. Can also be reached via 1. e4 e5 2. f3 Nf6 3. Bc4 or 1. f3 Nf6 2. e4 e5 3. Bc4. Bishop's Opening: Walkerling. 3. f3?! The Walkerling variation of the Bishop's Opening is a chess opening that begins with the moves 1. e4 e5 2. Bc4 Nf6 3. f3!?. This move is considered an obvious error by chess experts, as it weakens White's pawn structure and hinders the development of the king's knight, as well as weakening the kingside. Black's main options are: 1. e4 e5 2. Bc4 Nf6 3. f3?!

Canadian Refugee Procedure/IRPR s. 13.1 - Authorized disclosure. IRPR s. 13.1. The text of the relevant section of the regulation reads: Commentary. The IRB has a "Policy on Disclosing Information Regarding the Conduct of Authorized Representatives to Regulatory Bodies". The Policy notes that s. 13.1 of the "Immigration and Refugee Protection Regulations" came into force in 2012 to facilitate the disclosure of information relating to breaches of professional or ethical obligations by authorized representatives to their regulatory bodies in accordance with paragraph 8(2)(b) of the "Privacy" "Act". See also: Canadian Refugee Procedure/166 - Proceedings must be held in the absence of the public#What are uses consistent with the purpose for which information is obtained in the refugee context?.

Chess Opening Theory/1. e4/1...e5/2. Bc4/2...Nf6/3. f3/3...d5. Bishop's Opening: Walkerling. 3...d5! This move is an aggressive response to white's passive 3. f3!? as it strikes in the center and opens up more lines for black's pieces. White's main options are: 1. e4 e5 2. Bc4 Nf6 3. f3!? d5!

Kitchen Remodel/Islands and peninsulas. Kitchen islands and peninsulas provide countertop space and are great options for large spaces. Depending on your electric and water connections (which in turn depend on your budget), an island or peninsula can also accommodate electric appliances (cooktop, oven, microwave oven, mini fridge, wine chiller) or a sink, and therefore become part of the work triangle. Types and possibilities. I this section, I would like to give a selection of types and of possibilities in pictures. Of the many options that there are, some make more sense than others. A particularly silly one in my opinion is an island or peninsula with a sink on one side and a bar on the other: who in the world would celebrate dish washing as a social occasion of such importance that even deserves its own designated theater? Anatomy. Although there is a wide selection of prefab islands on the market, most kitchen islands and peninsulas are custom built out of the same elements that also constitute a regular cabinet row. Some of the most common elements are (see image): A. Countertop. Depending on the material, the countertop can be quite heavy, so it is important to have a sound structure underneath. B. Full-depth cabinets. C. Empty space, which can either be filled with large appliances or left empty for legroom under a bar or a table-like structure. D. Filler panels can be added to cover cabinet surfaces or cabinet gaps that are not supposed to show. Furthermore, they can also be part of the structural support. E. Open shelves can be either prefab or custom-built. They make cute wine racks, too. In an angled island or peninsula, a custom-build open shelf can also fill a corner that due to its odd geometry wouldn't accommodate a standard cabinet. The biggest disadvantage of open shelves is that they are dust catchers. F. Some manufacturers offer a choice of full-depth (24 inch/61 cm) and reduced-depth base cabinets (15 inch/38 cm). Different depths allow additional flexibility for the width of the island or peninsula. They also allow more flexibility for the design of a bar (see image). Cabinets below a bar can provide precious storage space; even drawers are fine here, only they shouldn't go all the way to the top (see image). G. Apart from being eye-candy, a waterfall makes a great cover for the gap that appears between two back-to-back cabinets. Obvious downsides are that waterfalls will fall out of fashion eventually, without fail, and that they require huge amounts of countertop material and therefore add to the bill.

Chess Opening Theory/1. d4/1...d5/2. c4/2...e6/3. Nc3/3...Nf6/4. Nf3/4...c6/5. Bg5/5...dxc4. Botvinnik Variation. Welcome to the Botvinnik Slav, the highway of wild variations, where crazy tactical complications fill the board. Black boldly accepts the gambit pawn, but later black will be the one to be down a pawn. White almost always plays 6. e4 here to gain the entire Center. Play is very sharp here and if either player forgets the theory, they lose on the spot.

Chess Opening Theory/1. d4/1...d5/2. c4/2...e6/3. Nc3/3...Nf6/4. Nf3/4...c6/5. Bg5/5...dxc4/6. e4. Botvinnik Slav. 6. e4. White claims the entire Center, while revealing the f1 bishop's attack on the c4 pawn. Black must fortify the c4 pawn with …b5

Chess Opening Theory/1. e4/1...e5/2. Bc4/2...Nf6/3. f3/3...d5/4. exd5. Bishop's Opening: Walkerling, Main Line. 4. exd5. This move is the best as 4. Bb3 dxe4 5. fxe4 and white's kingside is awkward. Black must now play /4...Nxd5/ as other moves signifies that they are down a pawn. However, /4...Qxd5/ is just an obvious blunder that is only played to make jokes and memes. The best line according to Stockfish is 4...Nxd5 5. d3 Bc5 6. Bxd5 Qxd5 7. Nc3 Qe6 8. Qe2 Nc6 9. Kd1 Qg6 10. h4 h5 11. Nh3 Bf5 12. Nf4 Qg3 13. Nfd5 Nd4 14. Qf1 O-O-O 15. Ne3 Qg6 16. Nxf5 Nxf5 17. Ne4 Ne3+ 18. Bxe3 Bxe3 19. Qe2 Bf4 20. g3 Bh6 21. g4 Bf4 22. a4 Qc6 23. a5 hxg4 24. fxg4 g6 25. Qf3 f5 26. gxf5 gxf5 27. Nd2 Qh6 28. a6 e4 29. Qg2 Rhg8 30. Qf2 e3 31. Qf3 exd2 32. Ra4 Be3 33. Qxb7+ Kd7 34. Qd5+ Ke7 35. Qxf5 Kd6 36. c4 Rgf8 37. Qd5+ Ke7 38. Qe5+ Qe6 39. Ra5 Rxd3 40. Qxc7+ Rd7 41. Qe5 Rf6 42. Qxe6+ Kxe6 43. Ra3 Bh6 44. Ra5 Rdf7 45. Ra1 Rf1+ 46. Ke2 R7f2+ 47. Kd3 Rc1 48. Rd1 Rf3+ 49. Ke2 Re3+ 50. Kf2 Re1 51. Raxc1 Be3+ 52. Kg3 dxc1=Q 53. Rxc1 Bxc1 54. Kf3 Re3+ 55. Kg2 Rb3 56. Kf2 Kd6 57. Kg2 Kc5 58. Kf2 Bh6 59. Ke2 Kxc4 60. Kf2 Kd5 61. Ke2 Bf4 62. h5 Ke4 63. h6 Rxb2+ 64. Kd1 Bxh6 65. Ke1 Kf3 66. Kd1 Rh2 67. Ke1 Rh1#. 1. e4 e5 2. Bc4 Nf6 3. f3!? d5! 4. exd5

Chess Opening Theory/1. e4/1...e5/2. Bc4/2...Nf6/3. f3/3...d5/4. exd5/4...Qxd5. Bishop's Opening: Walkerling, Main Line. 4...Qxd5?? This move blunders the queen for no reason and is mostly played in fun games to look funny. After 5. Bxd5, Stockfish likes: 5...Nxd5 6. Nc3 Be6 7. Nh3 Nc6 8. O-O h5 9. Ng5 O-O-O 10. Nxe6 fxe6 11. d3 h4 12. Nxd5 Rxd5 13. Be3 h3 14. gxh3 Rxh3 15. c3 Bd6 16. Rf2 Kb8 17. Qe2 Ne7 18. b4 e4 19. dxe4 Rdh5 20. f4 Rh6 21. e5 Bxb4 22. cxb4 Nf5 23. Rd1 Rh8 24. Bc5 Re8 25. Qc4 Rhh8 26. Rfd2 Nh4 27. Rd7 Rc8 28. Qe4 Rhg8 29. b5 g5 30. fxg5 Rh8 31. Bf2 Ng6 32. Qxg6 with a forced mate in 9 for white! 1. e4 e5 2. Bc4 Nf6 3. f3!? d5! 4. exd5 Qxd5??

Sylheti/Devanagari script. The preservation and promotion of Sylheti in Devanagari script (syl-Deva), colloquially known as Nagari script, contribute to linguistic diversity and multiculturalism, fostering a sense of unity among communities with shared linguistic roots. Efforts to document and standardize the language in multiple scripts, including Devanagari, help to create a more inclusive linguistic landscape that celebrates the richness of Sylheti culture. Indian Sylheti, referring to the Sylheti spoken by the Indian diaspora, showcases the adaptability and resilience of the language. Communities in India, particularly in the states of Assam and Tripura, have retained and nurtured their Sylheti language and cultural practices over generations. Some Indian Sylhetis often use this combo on social media, making Sylheti more relatable to a wider audience. The use of the Devanagari script in text messages is also not uncommon amongst the Sylheti speakers in India. In the context of Sylheti, the use of the Devanagari script offers a visual representation of the language that is familiar to speakers of other Indic languages (inc). History. Use of Devanagari script in Sylhet Region during the academic year 1899-1900 was recorded. Interestingly Arabic-Persian and Sanskrit languages were taught in the schools. It's worth noting that Devanagari and Perso-Arabic scripts were practised by different classes of society for various purposes. Currently, Srihatta Sanskrit College of Sylhet is the only remaining Sanskrit-language college in Bangladesh. Interested groups. Under the slogan "One country, one script", there is a suggestion to write all Indian languages (inc) in Devanagari script. Sylheti in other scripts. According to Ethnologue, as of 2003, Sylheti, spoken by 3,000,000 people in India, exhibits a literacy rate of 10% in Bengali, but this is largely limited to men. The majority of Sylheti speakers in India adhere to Hinduism, forming the predominant religious group, while a minority follows Islam, contributing to the diverse religious landscape of the community. This religious distribution can be traced back to the partition of India between India and Pakistan based on religion. Historically, during this partition, populations were exchanged between the two countries along religious lines, shaping the demographic and religious composition of regions like Sylhet. This historical event has left a lasting impact on the religious diversity and cultural dynamics of the Sylheti-speaking community in both India and Bangladesh. It's worth noting that Sylhetis original literacy rate in its indigenous script is unknown, with other popular scripts being Devanagari and Latin, along with hundreds of writing systems in India. Sylo-Deva conversation table. Different conversion tools (such as Aksharamukha) are available that facilitate the conversion of text between various Indic scripts, which enables the transformation of content from one script to another. Using different script converters Sylheti speakers can convert text between scripts such as Syloti Nagari, Devanagari, Latin, Bengali, and others.

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...c6/3. Nxe5/3...Nf6. This move has a little trap in it. There is a move that lets 3. Nxe5 backfire. Some moves are: /4. d3/?? is out of the question as 4...Qa5+! wins the knight.

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...c6/3. Nxe5/3...Nf6/4. d3. This move completely loses to 4...Qa5+! as it forks the king and the knight and white is crying in the corner. Unfortunately, this is the second most popular move.

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...c6/3. Nxe5/3...Nf6/4. d3/4...Qa5. This move wins as it forks white's pieces. /5. Nc3/ 5 popular responses after black captures the knight are:

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...c6/3. Nxe5/3...Nf6/4. d3/4...Qa5/5. Nc3. This is the best and most popular block. Black's only move is /5...Qxe5/.

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...c6/3. Nxe5/3...Nf6/4. d3/4...Qa5/5. Nc3/5...Qxe5. This is black's only move that gains an advantage. The most aggressive response is /6. Be2/.

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...c6/3. Nxe5/3...Nf6/4. d3/4...Qa5/5. Nc3/5...Qxe5/6. Be2. = King's Knight Opening: Gunderam Gambit, Bishop Attack = 6. Be2. This aggressive response aims to develop a piece and castle. Black now has:

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...c6/3. Nxe5/3...Nf6/4. d3/4...Qa5/5. Nc3/5...Qxe5/6. Be2/6...Bb4. = King's Knight Opening: Gunderam Gambit, Bishop Attack = 6...Bb4. This is very good for black as it pins the knight and threatens to exchange it to ruin white's pawn structure. White now has: The Main Line (7. O-O) is better as it unpins the knight and moves the king to safety.

Sylheti/Translation and interpretation. Translation and interpretation services for the Sylheti language are available in different countries, particularly to support reporting violence and accessing government services in the First World countries. This availability is driven by the recognition of its importance in facilitating communication during crises and ensuring individuals in different countries can access essential government resources. These services contribute to breaking language barriers, aiding speakers in navigating legal and government-related matters effectively on an international scale. It is essential to have these codes handy, especially in case of emergencies, to ensure swift and accurate communication in critical situations.

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bc4/3...d5/4. Bxd5. 4. Bxd5. The Kirk Gambit Accepted is a specific line in the Kirk Gambit where White chooses to accept the pawn sacrifice offered by Black. This line occurs after the following moves: 1. e4 e5 2. Nf3 Nc6 3. Bc4 d5 4. Bxd5 In this line, White accepts the gambit by capturing the pawn on d5 with the bishop. Let's analyze this situation: e4 e5: Both sides are fighting for control in the center. Nf3 Nc6: White develops a knight attacking the e5 pawn, and Black defends this pawn. Bc4: White's bishop targets the f7 square, a weak point in Black's camp. d5: Black challenges White's center and offers a pawn, looking for rapid development and counterplay. Bxd5: White accepts the gambit, capturing the pawn on d5 with the bishop. At this point, after 4. Bxd5, several things happen: - Material: White is now a pawn up. However, this comes with certain risks, as White's bishop can become a target for Black's pieces. - Development and Center Control: By playing d5, Black is trying to accelerate development and contest the center. Accepting the gambit, White must be prepared for rapid development and attacks from Black. - Black's Response: Black will likely continue with moves like Nf6, targeting the bishop and trying to reclaim the pawn. Black aims to develop pieces quickly and create threats against White's position. The key for White after accepting the gambit is to maintain material advantage while dealing with Black's active piece play. For Black, the focus is on rapid development, regaining the pawn if possible, and exploiting any weaknesses in White's position. Overall, the Kirk Gambit Accepted is a sharp and aggressive line that leads to dynamic and complex positions. Both players must be precise in their play, as small mistakes can lead to significant disadvantages.

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bc4/3...d5/4. Bxd5/4...Nge7. Fischer Gambit (4...Nge7). The Fischer Gambit in the context of the Kirk Gambit is an aggressive and less conventional choice for Black. After White accepts the pawn sacrifice in the Kirk Gambit, the Fischer Gambit is initiated with the move 4...Nge7. This move aims to recapture the pawn on d5 with the knight, while also contributing to rapid development and maintaining pressure on White's position. Here's the progression of moves leading to the Fischer Gambit: 1. e4 e5 2. Nf3 Nc6 3. Bc4 d5 4. Bxd5 Nge7 In this line: - Nge7: This move prepares to recapture the pawn on d5 with the knight. The move Nge7 is less direct than Nf6 but offers some advantages. It avoids potential pins against the knight on f6 and keeps options open for Black's kingside pawn structure. - Black's Plan: The main idea for Black is to regain the pawn on d5 while rapidly developing pieces. The knight on e7, along with the knight on c6, creates pressure in the center. Black's next moves often involve g6 and Bg7, fianchettoing the bishop to add more control in the center and long diagonal. - White's Response: White needs to decide how to protect the bishop on d5 or whether to retreat it. White should also continue developing pieces, especially getting the kingside knight and bishop into play, and consider castling. The Fischer Gambit leads to dynamic and complex positions. Black's aggressive approach is balanced by the need for careful play, as over-aggression can lead to vulnerabilities. White, having accepted the pawn sacrifice, must navigate through Black's active piece play and seek opportunities to consolidate the material advantage or counterattack. This gambit is named after Bobby Fischer, known for his innovative and aggressive play. While it's not as commonly seen in high-level play due to its risky nature, it embodies the spirit of fighting chess, aiming for a rich tactical battle right from the opening.

Chess Opening Theory/1. e4/1...Nc6/2. Nc3. = Nimzowitsch Defense: Symmetrical Variation = 2. Nc3. This somewhat uncommon response to the Nimzowitsch transposes to the Vienna Game with /2...e5/ or the French Defense with /2...e6/. 1. e4 Nc6 2. Nc3

Chess Opening Theory/1. e4/1...Nc6/2. Nc3/2...e5. Vienna Game, Max Lange Defence (transpose from Nimzowitsch). White has a couple of good options here, see the theory table below. The Vienna Gambit /3. f4/ exf4 4. Nf3 g5 often leads to White sacrificing a knight on f3 or a bishop on f7. 3. Nf3 transposes to the Three Knights Game. Theory table. 1. e4 e5 2.Nc3 Nc6

Sylheti/Bengali-Assamese script. The utilization of the Bengali-Assamese script for writing Sylheti (syl-Beng) is indicated by anecdotal evidence. Proficiency in Bengali seems to lead some Sylheti speakers to employ the Bengali script when transcribing the Sylheti language. However, it is crucial to note that this practice lacks standardization and formal recognition as a dedicated Sylheti writing system. The absence of standardization raises questions about consistency in written Sylheti in Bengali-Assamese script, emphasizing the need for a recognized script that aligns specifically with the linguistic nuances of the Sylheti language. This insight, derived from the research by Comanaru and D'Ardenne, highlights the complex dynamics of script usage within the Sylheti linguistic community and underscores the importance of further exploration. Literacy rate. According to Ethnologue data from 2003, the literacy rates for Sylheti speakers in Bengali are documented as 10% in India and 35% in Bangladesh.

Sylheti/Latin script. While Sylheti is written in traditional indic scripts, there's a trend among some speakers to use the Latin script, especially in informal settings like social media and text messaging. In these contexts, individuals often resort to a phonetic representation, adapting the Latin alphabet to match Sylheti sounds. This practice allows for a more casual and user-friendly approach, simplifying communication for those accustomed to the Latin script. It's common to see modifications such as using English letters to represent distinct Sylheti sounds or employing a mixture of English and Sylheti words. This informal adaptation of the Latin script in digital communication reflects the dynamic nature of language use, showcasing how speakers creatively navigate between traditional and modern writing systems based on convenience and familiarity.

JavaScript/LocalStorage. Introduction. Localstorage is an option to store JSON in localstorage of the browser. This could be used to store a language setting (e.g. from english language to german language in the user profile) and when the user revisits the page the setting of pages are restored according to previous selection of the user (e.g. the selection of the language),

JavaScript/Cookies. Intoduction. Cookies are used to store small amount of date in the browser, e.g. used to identify the user or settings or preferences of the user,

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...c6/3. Nxe5/3...Nf6/4. d3/4...Qa5/5. Nc3/5...Qxe5/6. Be2/6...Bb4/7. O-O. = King's Knight Opening: Gunderam Gambit, Bishop Attack, Main Line = 7. O-O. /7...Bxc3/

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...c6/3. Nxe5/3...Nf6/4. d3/4...Qa5/5. Nc3/5...Qxe5/6. Be2/6...Bb4/7. O-O/7...Bxc3. = King's Knight Opening: Gunderam Gambit, Bishop Attack, Main Line = 7...Bxc3. /8. bxc3/

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...c6/3. Nxe5/3...Nf6/4. d3/4...Qa5/5. Nc3/5...Qxe5/6. Be2/6...Bb4/7. O-O/7...Bxc3/8. bxc3. = King's Knight Opening: Gunderam Gambit, Bishop Attack, Main Line, Exchange Line = 8. bxc3. Other moves lose material. Black can choose a variety of variations.

Chess Opening Theory/1. e3/1...e5. = Van't Kruijs Opening = 1...e5. 1. e3 e5 2. d4 Nc6 (2...exd4 3. exd4) 3. dxe5 Nxe5

Adventist Adventurer Awards and Answers/Germs. What Is a Germ? But germs are tiny organisms, or living things, that can cause disease. Germs are so small and sneaky that they creep into our bodies without being noticed. In fact, germs are so tiny that you need to use a microscope to see them. When they get in our bodies, we don't know what hit us until we have symptoms that say we've been attacked! Where do you find Germs? Germs also known as microbes can be found everywhere. In the soil, air we breathe, food we eat. pets and even in our bodies. What are some illnesses caused by bacteria? Ear infection, sore throat, pneumonia. What are good bacteria used for? Medicines, vaccines, used in certain foods, helps us digest our food, helps balance our immune system. Children are constantly playing in areas where they can be exposed to germs. They need to be made aware that even though there are germs just about everywhere, they can still have fun but need to make sure they wash up and clean toys after playing Make a germ craft.? You can also go to the following webpage and make a Germ Experiment

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bc4/3...Nf6/4. Ng5/4...d5/5. exd5/5...Na5/6. Bb5/6...c6/7. dxc6/7...bxc6/8. Be2/8...h6/9. Nh3/9...Bd6/10. d3/10...O-O/11. O-O. = Two Knights Defence:Steinitz Variation =

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bc4/3...Nf6/4. Ng5/4...d5/5. exd5/5...Na5/6. Bb5/6...c6/7. dxc6/7...bxc6/8. Be2/8...h6/9. Nh3/9...g5/10. d3. = Two Knights Defence:Steinitz Variation, Tartakower Variation =

Antenna Television/Safety Precautions. There are several risks to installing a television antenna, including electrocution or falling from a severe height. Hiring a professional installer is strongly recommended. If you are unable to find television antenna installation services, satellite installers often possess the same skill set. If you must undertake the task yourself, the following safety precautions are essential. Grounding Outdoor Antennas. Grounding an outdoor antenna is extremely important, as nearby lightning strikes can induce unwanted currents in the wiring. These can destroy electronics and can potentially result in fires. Grounding also prevents static buildup, which can impair reception. According to the National Electrical Code (NEC) in the USA, when grounding an antenna mast and the cable, you should use a minimum of copper 10 AWG or aluminum 8 AWG wire. The wire should be run in a reasonably straight path, and it is sufficient to ground only the outside of the cable. This can be achieved using a grounding block, which should be placed near where the cable enters the building, whether inside or outside. If you have a separate ground rod for your grounding system, it must be bonded to the same place as the electrical ground using a 6 AWG copper wire. This ensures that all grounding elements are connected together and share the same ground reference. Existing cable or satellite installations can serve as examples of how grounding can be done. In many cases, the existing grounding setup of these installations can be reused for the antenna mast and cable grounding, as long as it meets the NEC requirements. Mounting An Antenna. In addition to the risk of falling off the roof, television antennas are highly conductive. Ensure that the antenna does not come into contact with power lines, as this will result in electrocution.

Short guide to the use of laser cutting machines/Use of Adobe Illustrator for Laser Cutting. In this sections of the book will be described how to use Adobe Illustrator to create patterns to be used in laser cutting machines. Create a new file. Open Adobe Illustrator and create a new file. Change the units from pts to inches, and the colors from CMYK to RGB. Design of lines and objects. To create lines, draw images, create shapes or designs will be used Illustrator left menu, the options: Pen, pencil, text, shapes tools, etc. with them will be created lines, draw other images, make shapes such as rectangles, circles, etc. Or create new design. Draw a line. Draw a line with the pen tool (the icon of a pen), press left click on the canvas to draw the first point, then press the left click in other part of the canvas to trace or make a line. Even when a lines is easy to make and does not look to useful, can be use to cut pieces in a straight line (or curved line) in the cases we just want to cut a piece of material to reduce its form or make a new form. Creation of shapes. Choose the shape tool, select a shape and draw it to create a rectangle, circle, star, etc. A tool that is used to properly adjust the dots that form part of the lines or objects is the rule. Creation of more forms. New forms can be easily created with the pen tool, just draw 2 or more points, then adjust their position of each dot changing the value for x (diagonal point) or y (vertical point). x value of 0 is located at the beginning of the page in the left size and it increases towards the right side. y value of 0 is located at the beginning of the page in the top of the page and it increases towards the bottom of the page (canvas). The coordinates are written in the form (x, y), for example the first dot can be located in 2 inches beside the left corner of the canvas and 2 inches down of the top of the canvas, making the first dot (2, 2). For example: To create a triangle, can be used 3 points, to create a rectangle use four points. The shape tool can also be used. A tool that is used to properly adjust the dots that form part of the lines or objects is the rule. Round corners. The corners of created objects (with pen tool or shape tool) can be rounded selecting Effect menu, Stylize, Round Corners and choosing how rounded the shape is desired. Use of the rule. To see the rule in the canvas press Ctrl + R or select view, rulers, show rulers. A measuring tape can be used to measuring of physical objects, and the using these measures to draw them in the canvas using the rule to choose the dots. Use of the coordinates for each dot or object. The rule may not be necessary when using the x and y values, for example, drawing a straight line of 2 inches, the first dot can use the coordinate (2,2) and the second dot can use the coordinate (4, 2). If a object has more than one dot, they can be aligned in the same way, for example a rectangle with 4 dots, 2 inches long can have the following dots: (4, 4). The objects can also be aligned with the align tool, for this, click in the window menu and choose align (or press shift + F7) Changing the color of the lines or shapes. To change the color of a line or an object, click on the object, then in the properties window, appearance section, click on the square beside the fill option and in the filling space beside #, type the color number. RGB color model uses a system of 6 number and letters, the three more used colors in laser cutting to indicate what type of task will be done with the line or object are the following: Black, to raster etching (00000) Blue, to vector etching (0000FF) Red, to cut Cutting (ff00000) Choose the color palette icon and type ff0000, this will create a red color, this will indicate the printer that the line or object will be cut, or 000000 to raster etch, or 0000ff to vector etch. Cutting, vector etching and raster etching. Once you have designed an object use the color numbers to complete the desired task. Cutting. Use red color, ff00000, this will cut the object in the desired shape. Raster etching. Use black color, 00000, this will vector etch the design. Vector etching. Use blue color, 0000FF, this will vector etch the design. Print to sent the file to the laser cutting machine. To sent the document created to the laser cutting machine just press the keys Ctrl + p and choose the laser cutting machine, after this the file will be sent to the Universal Laser Systems control panel software, and from them the cutting can be started. See also. Short guide to the use of laser cutting machines/Use of Inkscape for Laser Cutting

Short introduction to the use of cutting plotter machines/Use of Adobe Illustrator for cutting plotter machines. In this sections of the book will be described how to use Adobe Illustrator to create patterns to be used in cutting plotter machines. Creation of a new file. Open Adobe Illustrator and create a new file. Design of lines and objects. To create lines, draw images, create shapes or designs will be used Illustrator left menu, the options: Pen, pencil, text, shapes tools, etc. with them will be created lines, draw other images, make shapes such as rectangles, circles, etc. Or create new design. Draw a line. Draw a line with the pen tool (the icon of a pen), press left click on the canvas to draw the first point, then press the left click in other part of the canvas to trace or make a line. Even when a lines is easy to make and does not look to useful, can be use to cut pieces in a straight line (or curved line) in the cases we just want to cut a piece of material to reduce its form or make a new form. Creation of shapes. Choose the shape tool, select a shape and draw it to create a rectangle, circle, star, etc. A tool that is used to properly adjust the dots that form part of the lines or objects is the rule. Creation of more forms. New forms can be easily created with the pen tool, just draw 2 or more points, then adjust their position of each dot changing the value for x (diagonal point) or y (vertical point). x value of 0 is located at the beginning of the page in the left size and it increases towards the right side. y value of 0 is located at the beginning of the page in the top of the page and it increases towards the bottom of the page (canvas). The coordinates are written in the form (x, y), for example the first dot can be located in 2 inches beside the left corner of the canvas and 2 inches down of the top of the canvas, making the first dot (2, 2). For example: To create a triangle, can be used 3 points, to create a rectangle use four points. The shape tool can also be used. A tool that is used to properly adjust the dots that form part of the lines or objects is the rule. Round corners. The corners of created objects (with pen tool or shape tool) can be rounded selecting Effect menu, Stylize, Round Corners and choosing how rounded the shape is desired. Use of the rule. To see the rule in the canvas press Ctrl + R or select view, rulers, show rulers. A measuring tape can be used to measuring of physical objects, and the using these measures to draw them in the canvas using the rule to choose the dots. Use of the coordinates for each dot or object. The rule may not be necessary when using the x and y values, for example, drawing a straight line of 2 inches, the first dot can use the coordinate (2,2) and the second dot can use the coordinate (4, 2). If a object has more than one dot, they can be aligned in the same way, for example a rectangle with 4 dots, 2 inches long can have the following dots: (4, 4). The objects can also be aligned with the align tool, for this, click in the window menu and choose align (or press shift + F7)

Chess Opening Theory/1. e4/1...e5/2. Nf3/2...c6/3. g3. = King's Knight Opening: Gunderam Gambit, Fianchetto Attack = 3. g3?! This offbeat response to the Gunderam Gambit aims to fianchetto the light-squared bishop, but ignores the free center pawn. 1. e4 e5 2. Nf3 c6 3. g3?!

Cherokee/Survey of Resources. There are several third party websites with Cherokee instructional materials. Unfortunately, these resources are incomprehensive and largely ignore key phonological distinctions such as vowel length and tone. Instead of these, I recommend the Cherokee Nation’s resources, downloadable from its website, including the preliminary course "See, Say, Write" and the beginners’ course "We Are Learning Cherokee". These resources have fewer inaccuracies, but they once again largely ignore vowel length and tone. Thus, my prescription is to use the PDFs and the recordings only for reference, as following the courses too closely would instill bad habits such as ignoring tone or having a myopic view of the conjugation system. Another such resource is Michael Joyner’s "Cherokee Language Lessons", but this should also be taken with a grain of salt, as I have been told by a Cherokee linguists student that there are concerning inaccuracies in the curriculum. For easy reference, I have uploaded the aforementioned three PDFs into the folder, and I recommend the learner start by "skimming" all three of these textbooks. "Do not spend longer than an hour doing this." After skimming these textbooks, I recommend reading the Wikipedia article for the Cherokee language: https://en.wikipedia.org/wiki/Cherokee_language. There are some issues in Romanization, and some of the information is too technical for the beginner, so do not force yourself to comprehend everything, for all of the information will be presented more accessibly in other resources, including the rest of this document. Next, I recommend spending some time familiarizing yourself with the "Cherokee English Dictionary" (CED). In the folder you will find a PDF of it. I highly recommend reading the introduction in its entirety. The author, the late Durbin Feeling (1946 – 2020), is undoubtedly the greatest contributor to the preservation and revitalization of Cherokee. He has helped with adding the Cherokee syllabary to Unicode, and he has published numerous other resources related to the language. The CED’s introduction is 12 pages long and is a primer on pronunciation, including tones, and an explanation of the layout of entries in the dictionary. One need not be able to produce the tones correctly yet, but it is important to develop a decently good understanding of Feeling’s conventions for marking them. Also pay attention to his conventions for indicating vowel length. Another important thing to understand is Feeling’s entries for verbs. The citation form is the third person singular present continuous form. In the introduction, Feeling explains that he includes five further subentries for each citation form to account for all stems of the verb. In reality, the specific subentries he chose are not the most efficient way of representing the principal parts of the Cherokee verb. Nonetheless, they suffice for now. A discussion on this issue will be found in the “5 Stems” subsection of this document under the “Basic Construction of the Verb” section. It has much to do with Feeling’s view of the language as a native speaker, which contrasts with a more analytical view adopted by linguists who are not native speakers. After reading the introduction, flip through the Cherokee-English portion of the dictionary and familiarize yourself with Feeling’s orthographic conventions by trying to read the entries. Also note that the example sentences lack any marking for vowel length and tone, which is quite annoying. Feeling left out these indications to save himself time. Nonetheless, the CED as it is is "crucial" to all other linguists’ understanding of the language, and great reverence for Feeling’s efforts is due. (I also must thank the editor William Pulte and the Cherokee Nation for publishing and disseminating this book.) You will find that the English-Cherokee section is smaller. This is a section merely to help you locate entries in the Cherokee-English section. In the back of the CED is a rather condensed grammar sketch of Cherokee. My scan is a subpar way to view this section. Instead, I recommend perusing the online version of this section at https://cherokeedictionary.net/grammar#239. This version makes for a much better reading experience. I would not recommend reading the entire grammar sketch as a learning tool. It is better suited as a quick reference. Much of the material is presented without enough explanation and will cause you to have more questions than answers. For a more thorough grammar of Cherokee, I would turn to Brad Montgomery-Anderson’s "Cherokee Reference Grammar" (2015). I do not have this particular edition, but in the folder I have included a PDF of the 2008 edition, "A Reference Grammar of Oklahoma Cherokee". This is an older edition and has some typos and other issues, but for the most part it is rather straightforward and comprehensive. I do not recommend reading the reference grammar cover-to-cover, but rather using it as just that, a "reference" grammar. The table of contents at the beginning will guide you to the desired section, and for each chapter there is a detailed table of contents that will pinpoint where a discussion of a specific grammatical feature can be found. Be aware that Brad Montgomery-Anderson (BMA) uses an orthography with significant differences from that of the CED, and it will take some time for you to become accustomed to it. Another indispensable resource for Cherokee learners and linguists alike is the Cherokee-English Dictionary Online Database at https://cherokeedictionary.net/. This project was initiated by Tim Nuttle and compiles words from nearly 2 dozen dictionaries and word lists, including the Cherokee English Dictionary. Be aware that if you search for a word, it is likely that the entry you are looking for will not show up on the first page, as the listing of entries containing the keyword is alphabetical, not by best match. Thus, you will have to be patient and use the “Next »” link to navigate to the desired entry. Also, since the database compiles entries from different sources, which have different orthographic conventions, you must mentally prepare yourself for the moderate diversity in spelling practices and often, the lack of tone or even vowel length indications. To summarize, I recommend that the new learner start learning Cherokee by following this plan:

Cherokee/On Tone. Isn't it exceptionally difficult to learn a tonal language? Yes, "if" you come into it with the mindset that the way intonation words in a tonal language like Cherokee is similar to how it works in another language, whether or not it is tonal. English, for example, has a stress system not considered “tonal” but that definitely has largely predictable changes in pitch. Each word has a stressed syllable usually pronounced with a higher pitch. Also, in English you can sometimes use a rising intonation to indicate that you are asking a question. These patterns of intonation "must" be thought of as characteristic of "English", not language in general. I cannot stress enough that you have to lose "all" preconceived notions of pitch movement before you tackle a language like Cherokee, which has a highly involved system of pitch. The tonal system of Cherokee is very logical but there are many rules that can take a "long" time to internalize. I say this even as a native speaker of Mandarin, another tonal language. In my experience, knowing Mandarin does not directly help with learning Cherokee tonology, at least in the long run, because the tonal system is so "different". Maybe in the short run I am able to better grasp certain concepts, but these concepts can all be learned by anyone capable of listening and logical reasoning. Learning Cherokee tonology is, matter-of-factly, quite difficult. Mentally prepare yourself for this, but do not be discouraged. I speak from experience that with time, you will internalize more and more of the pitch system to the point that you barely have to think about it if you persevere long enough to ride out the learning curve to the end stage.

Cherokee/On Polysynthesis. What's the deal with "polysynthesis"? As you may know, Cherokee is described as a polysynthetic language, which to the layperson means something like “verb inflection will be the bane of my existence.” I entreat you to approach this subject with all the curiosity you can lure out, and nuance. First, what is synthesis? Synthesis occurs in many languages and is essentially combining morphemes into a single word. Morphemes are units of meaning. In English, for example, one could analyze the word “wanted” as having two morphemes, “want” and “ed.” The first denotes the general meaning of the verb, i.e “to desire” or “to wish to have or obtain,” etc. while the second denotes that the action or state of wanting occurred in the "past". English doesn’t employ synthesis all that much in the grand scheme of things, so it is not considered synthetic enough to get the label “synthetic” slapped on the whole language. Polysynthesis In contrast, you have a so-called "polysynthetic" language like Cherokee. Polysynthesis refers to the fact that statistically speaking, words in Cherokee are composed of a higher number of morphemes than do those languages not considered polysynthetic. Fortunately, both in general and in the case with Cherokee, not all types of words are composed of multiple smooshed-together morphemes. Underived nouns in Cherokee, which make up a substantial chunk of Cherokee nouns, for instance, comprise only single morphemes and only undergo synthesis in the formation of locative constructions. Possession for underived nouns, for example, is simply accomplished the same way as in English, by using the noun in conjunction with a "separate word" indicating the possessor. Verbs, however, are the domain where polysynthesis is pervasive in Cherokee. In a typical Cherokee verb inflection, the first morpheme could indicate the subject (the doer of the verb), the second would be the verb root itself, and then you would have a morpheme indicating how the event of the verb fits into the timeline (e.g. “the action is taking place now,” or “the action just happened a moment ago”) and finally a suffix further specifying one of several subtypes related to time. So ... what exactly is the problem with polysynthesis? Why does this system trouble people so much? After all, if you’re combining morphemes together, why can’t you just memorize the individual morphemes "as if" they were standalone words (even though you know technically they can’t stand alone), like how you can do with an analytic—meaning “non-synthetic”—language? Then you could just say those little “words” in a specific order, and voilà!—you have a fully inflected Cherokee verb! And then, if this is indeed possible, perhaps you could even reason with yourself that the only reason these morphemes are considered word "parts" and not actual "words" may be that historically people just never "wrote" the word parts with spaces between them. If they "had" written these morphemes with spaces in between, then perhaps nowadays we would not be using “polysynthetic” to describe Cherokee. In other words, could the label of polysynthesis be a guise, essentially a just-so descriptor based on arbitrary historical conventions of thinking about and writing the language? There are two answers to this, first a practical one, and then a nerdier approach that associates the term “polysynthesis” with a rather specific phenomenon that happens to be in Cherokee, thus justifying its usage. First, the practical answer. While it is possible to have a language that is called polysynthetic arbitrarily, there are a couple of good reasons to consider Cherokee morphemes within verbs just word "parts". First, these morphemes always occur in a particular order. Words are typically understood to have at least "some" flexibility in positioning. However, this is not the case in Cherokee verb morphology. Rather, morphemes in the Cherokee verb strictly stay in their "one" allowable position relative to other types of morphemes in the verb. For example, the reflexive morpheme always follows the pronoun morphemes if it is used, and the verb root always comes after the reflexive morpheme. This inflexibility means that the “words” are essentially “glued” to specific slots in the verbal template. Since they cannot freely move in this template system, there is no strong incentive to analyze the morphemes as independent words. Secondly, almost certainly as a result of inflexible ordering, most parts of the Cherokee verb have multiple forms differing slightly based on which sounds (phonemes) are found around them, or based on the usage of the verb in the larger context of the clause. One can see that these sound changes entail “words” affecting the pronunciation of neighboring words, and hence it may be easier to make sense of the language’s structure by encapsulating all parts that affect each other as a single unit. This encapsulation allows a learner, speaker, or linguist to maintain the distinction between two levels of grammar—the nitty-gritty, lower-level, sound-change-abounding realm of "morphology", involving interactions between morphemes within the context of the word; and the higher-level arena of "syntax", which plays with choice, and notably, "order", between words. By calling the Cherokee verb a “word,” the morphological details of its inflection do not intrude into syntax, which helps keep the complexities of each system of grammar contained and thus contextualized within its own set of rules. Second, the "nerdier" answer. The second, “nerdier” answer to the usefulness of the polysynthetic label is that in linguist Mark Baker’s 1996 book "The Polysynthesis Parameter", he makes the case that so-called polysynthetic languages, identified at the surface level by such phenomena as “sentence words,” where seemingly whole clauses can be condensed into a single word, often have behind their deeper structure a "property" that would be useful to identify as the true origin of polysynthetic-like surface structure. This property is whether in general, a dependent unit of meaning is required to be marked (i.e. identified) on the structure that it "depends on". It will turn out that Cherokee grammar mostly aligns with this property being present. In a more concrete way as it pertains to the verb, the object of the verb is “dependent” on the verb, as is the subject. For context, in linguistics, it is generally taken that in any clause, the verb is the central element. The verb can have dependent arguments that further specify the meaning the speaker intends. For example, in the sentence “A boy sees a cat,” the central element is the verb “sees,” and this verb allows for two arguments, its subject “a boy” and its object “a cat.” In this English example, however, notice that only a reference to the subject is made on the verb through the use of the "-s" suffix to indicate a third person singular subject. English syntax then makes it clear that the subject is specifically the boy. Why isn’t the cat marked in some way on the verb? It seems that in English, it is simply not required for the verb to make some reference to its object. This is not the case in Cherokee, however. In the Cherokee sentence “achûja àgowhtíha weésa” (one formulation of “a boy sees a cat”), the "à-" prefix on the verb contains the meaning of a third person singular subject ("achûja", “boy”) "and" a third person singular object ("weésa", “cat”). This is an illustration, in plainer terms, of how requiring the marking of dependents results specifically in one characteristic of Baker’s conception of polysynthesis, polypersonal agreement. Stated most simply, in a polysynthetic language the verb marks for subject "and" object. The other characteristic of Baker’s polysynthesis is productive noun incorporation, which allows objects to actually fuse with the verb root. This might allow for a verb root that meant “cat-seeing.” In related languages like Mohawk, this process is indeed productive, but in Cherokee it is no longer productive, with only a small proportion of verbs displaying evidence of historical noun incorporation. As such, Cherokee doesn’t allow for “sentence words” containing the object beyond a few fossilized objects such as garments. However, because the language exhibits polypersonal agreement and "historical" noun incorporation, the polysynthetic label still makes sense. The Pros of Polysynthesis! With this context, I suggest that the reason so many learners fear the word “polysynthetic” is that they have not properly contextualized polysynthesis in the larger scheme of grammar, or that they see the details of the system, particularly the sound changes, too readily as difficult, complex, and unnecessary rather than phonetically "optimized", rich, and orderly. It’s both and neither, actually, but as a learner, which side would you rather dwell on? I’ll leave you one positive feature of polysynthesis as food for thought: the strict order of morphemes leaves little room for ambiguity in the construction of verbal inflections. The formula is unchanging and the slots are already set up for you, each in its allocated position waiting to be filled. If you follow the formula to the tee, there’s no room to err! Now, your job is to learn all the morpheme options for the individual slots and how they change their sound to blend in smoothly among their neighboring morphemes. Once you become proficient in this process, you will already be able to express so much of the semantic load of your thoughts using Cherokee! Do not fear polysynthesis—embrace it instead! Plain Version. People often say Cherokee is a "polysynthetic" language. Don't be afraid! Here is what is means. Every time you hear a Cherokee verb, you hear a string of word parts (morphemes) in a specific order. Sometimes only 3 morphemes are strung together, often more. The whole string of morphemes is the verb. Connecting multiple word parts inside one word is one trait of Cherokee that people say makes the language polysynthetic. The most common three parts in a Cherokee verb say, in order, (1) who is involved the action, (2) what the action is, and (3) when the action happens. Pay attention to the first part. In English, a verb only tells us who does the action (the subject), while in Cherokee, the verb can also show us whom or what the action is done to (the object). The fact that Cherokee verbs mark both subject and object rather than just subject is another reason people say Cherokee is polysynthetic. Now pay attention to the second part—what the action is (the verb root). For example, "eat," in English, refers to the action of eating. But eating what? In some languages, verbs can and often do include this information. In Cherokee, actions related to clothes, eating, giving, putting, and a few other actions each have a collection of different verb roots, each incorporating a different common object. Because some Cherokee verbs incorporate objects, people say the language is polysynthetic also for this reason. You have learned now that Cherokee verbs smoosh a lot of information together into one word. The three examples of this are (1) person, action, and time being strung together, (2) subject and object both being marked in the "person" part, and (3) action incorporating object in the "action" part. This may seem difficult, but remember that the system is overall very regular. The order of word parts is the same for every verb, for example. If you spend time to learn the rules well, you will be able to enjoy this unique aspect of the Cherokee language we call polysynthesis. Short Version. Cherokee is considered polysynthetic on the basis of its polymorphemic verb template, polypersonal agreement, and (limited) noun incorporation. The rigidity of the verb template makes verb morphology easier to learn, and the phonological changes at morpheme boundaries are regular and add richness to the language.

Bikol/Here and There. Bikol uses three words to represent the words "here" and "there": "digdi", "diyan" and "duman". "Digdi" means "here", while both "diyan" and "duman" mean "there", depending on the context.

Antenna Television/Market Listings. The following are a list of stations available over antenna by television market. Be warned that a number of factors can impact reception, including antenna height, distance from transmitter, topography, and building material.

Salom, Jonatan!/Mon 8. Monlari – Mon 7 – Mon 8 – Mon 9 Ocoyum mon (8yum mon). Fe nunya, Jonatan side in day wagon ton wagonyen. Wagonyen pala in daybon Doycisa, “Noce sen bardipul, misu Herr (senyor). Hay akwaviti, gluxey kreado of prumu. Am glu to eger yu vole na glu.” Jonatan le no glu, mas te le fikir ki to le sen bon ki te le hare akwaviti cel na glu. Jonatan intizar ji fikir tem turi. Wagon idi velosi. Xafe to, wagonyen jwan wagon (te le jwan to un mara), ji te jwan wagon – dua mara. Keto? Te jwan wagon…tiga mara! Te jwan to un maxpul mara, ji un maxpul mara. Jonatan fikir, “Kam imi no pasa sama dao un mara ji un maxpul mara? Daydenmo ajabu!” Mas Jonatan le no swal tas wagonyen, hu da sen dayday, ji daymo bala. Jonatan swal tas se ku to sen ke satu. Te oko tesu satumeter. Satumeter onexa watu: to sen satu des dua. A…satu des dua, to sen midinoce. Jonatan jixi ki person in Rumani nun le loga tas te tem midinoce, tem satu des dua, ji ete le loga ki satu des dua sen bur watu. Fe nunya, Jonatan ore soti, soti de multi bwaw. Soti sen dayday! Bwaw loga, “Haul! Haul!” Si, bwaw haulsa. Uma no suki ki bwaw haulsa. Xafe to, Jonatan ore haulsa de haul. Haulsa de haul sen hata maxmo day kom haulsa de bwaw. Uma day no vole ki haul haulsa. Wagonyen loga tas uma, “Am sen trankwilo.” Ji uma trankwilogi se. Uma sen trankwilogido, ji duregi na idi. Fe nunya, Jonatan oko drevolari: te oko multi drevo, ji jixi ki to sen drevolari. Ji te ore vento. Pia, vento loga: Haul! Haul! Hinloka in drevolari, hata vento haul. Jonatan no suki haulsa de vento. Fe nunya, Jonatan oko alo xey: taluji. To sen daymo bardipul! Ren oko taluji sol denwatu hu hay bardi. Wagonyen fale keto? Te xofer wagon. Te no pala tem haul, te no pala tem jabal, te sol xofer wagon. Mas un mara, Jonatan oko blue atexmon, ji wagonyen esto wagon ji idi cel na oko to. Xafe to, Jonatan oko atexmon, un mara, dua mara, multi mara. Jonatan no jixi ku blue atexmon sen keto. Ban mara, wagonyen esto wagon ji idi teli. Fe nunya, Jonatan sen solo ton uma. Te ripul oko haul. Haul no haulsa; ete sen sotikal. Jonatan oko Luna ji fikir, “Wagonyen sen keloka? Te no ata keseba?” Uma no suki sotikal haul. Fe na oko Luna, haul xoru na haulsa. Fe na ore haulsane haul, uma xoru na harka. Jonatan darbe wagon. Fe na darbe wagon, te loga, “Yu sen keloka, wagonyen? Yu le idi keloka?” Jonatan ore voka; to sen wagonyen. Wagonyen loga, “Am awidi, haul!” Ji haul awidi; fe nunya, haul sen awsenne, ji Jonatan no oko haul. Fe na oko harkane wagonyen, te fikir, “Wagonyen sen day, day bala.” Wagon fronidi. Fe nunya, ren no abil na oko Luna, koski hay megu. Jonatan side in fronidine wagon. Wagon idi max gao, ji max gao. Fe na oko megu, ji fe na fikir tem turi, fe nunya, Jonatan vole na somno. Fe nunya, Jonatan no haji jixi he banto. Te xoru na somno, ji no jixi ku wagonyen fale keto. Somnone Jonatan no oko ki wagon le preata cel kastilo de Drakula.

Pokémon Scarlet and Violet/Epilogue. Starting the Epilogue. To start the Epilogue, the major story events of the game and DLC should be more or less completed. Furthermore, a special berry item must be downloaded from the Internet via the Mystery Gift function to enable to Epilogue to be played. Exposition. Once the above is complete, visit the shop in Kitakami, and investigate the statue just to the right of the shopkeeper. This will kick off the events of the epilogue. Escalation. Following the battle, a cutscene will play where Arven calls the player and is cut off. Return to town and a new cutscene will play. Having consumed the mochi flung from the new Pokémon, Arven and Penny will begin to defend it. When the cutscene ends, the player will have an opportunity to heal their team at the Pokémon Center if needed, and can interact with Arven and Penny to start the a double battle alongside Kieran. This double battle offers more resistance then the others in the epilogue so far, but again, it's nothing compared to what was found earlier in the game. Keiran brings in a full team of 6 Pokémon, so as long If the player brings in a full battle ready team of similar level themselves and doesn't deliberately throw the match, the possibility of loss is next to nothing as the player will effectively have twice the number of Pokémon as the opposing team. A cutscene will play and Keiran will chase after the Pokémon through the orchard. Heal up at the Pokémon center if needed, and continue. on to the entrance of Loyalty Plaza for a cutscene encounter with Nemona. At the end of the cutscene, Keiran will guard the player from the villagers, freeing the player to dual with Neomna. The game does not force this battle afterwards, so it is possible to save, heal, change the party, or otherwise leave and come back if needed. When ready, interact with Nemona to start the battle. This is the most challenging match in the Epilogue. Lycanroc can start by using stealth rock, punishing swapping out Pokémon. Kommo-o will effectively counter leading with Skeledirge, having the soundproof ability to negate Torch Song. Most members of the opposing team have a move that is super effective against fire, meaning it may be best to lead with other Pokémon. Having a dragon or a fairy type can make this battle much easier. Her final Pokemon, Meowscarada, will terrastalize into a Dark type, negating the weakness to Fire, and offering an advantage against ghost types, further countering Skeledirge. After the battle, you'll have a chance to heal and save. Interact with the Pokémon to be given the option of challenging it. During the battle, the Pokémon can't be caught, so focus on using moves such as ghost type, which are supereffective against the Ghost and Poison typing used by the opposing Pokémon. It knows Shadow Ball and Nasty Plot. Once it's health is depleted fully, the game will prompt the player to catch it. Consider picking a ball that matches it thematically rather then worry about effectiveness. When caught the Pokémon is level 88 and knows the move Nasty Plot, Malignant Chain, Shadow Ball, and Toxic. A cutscene will play concluding the primary portion of the epilogue. The player character is transferred to the community center following this - Leave it to initiate another cutscene. The game then returns the player to the interior lobby of the Paldean academy, with an increase to the number of the people which can be invited to the clubroom at Blueberry Academy.

Pokémon Scarlet and Violet/Introduction. General Overview. What are Pokémon Scarlet and Violet? "Pokémon Scarlet" and "Pokémon Violet" are games released for the Nintendo Switch video game console. Considered the start of the Generation 9 Pokémon games, these games expanded on mechanics introduced in Generation 8 by making a near fully open and explorable 3D region based loosely on the Iberian peninsula. Players who know other owners of the game may choose to connect over wireless communications, allowing them to share a game world. What are Pokémon Scarlet and Violet DLC? The DLC to Scarlet and Violet adds two new locations to the game, along with two additional dexs to accompany them, as well as additional story arcs. "The Teal Mask" is accessible to lower level players and is highly story focused, while "The Indigo Disk" is aimed at players further along in the game and has more emphasis on double battles. Differences between the games. As usual both versions of the game feature different creatures to encounter. Both games feature a different ride Pokémon. The overall story between both games is mostly similar, though the Professor encountered in each is different, as is the name and uniform colors of the school the player character attends. "Pokémon Scarlet" has a thematic emphasis on the past and "Pokémon Violet" has a thematic emphasis on the future.