A Multimedia Interactive Environment Using Program Archetypes: Divide-and-Conquer

As networks and distributed systems that can exploit parallel computing become more widespread, the need for ways to teach parallel programming effectively grows as well. Even though many colleges and universities provide courses on parallel programming [1], most of those courses are reserved for graduate students and advanced undergraduates. There is a demand for ways to teach fundamental parallel programming concepts to people with just a working knowledge of programming. By using the idea of a software archetype, and providing a learning environment that teaches both concept and coding, we hope to satisfy this need. This paper presents an overview of the multimedia approach we took in teaching parallel programming and offers Divide-and-Conquer as an example of its use

Learning and teaching projects 2013/14 – final report : accounting for numeracy

The overall aim of this project was to look at how to improve numeracy skills in students at the University of Bedfordshire. It focused on the diagnostic testing of students at levels 4, 5 and 6 and suitable interventions to improve skills that could be built into the curriculum. It also considered how maths is taught in schools to seek to understand more about why some students have poor scores in their tests so interventions can be more targeted at HE level

The Actions and Reactions of Trajan and Decebalus: A Brief Reconsidering of the Causation of the Dacian Wars

While one camp of historians have followed the words of Cassias Dio, that Trajan began the war to avenge the defeats of his predecessor Domitian and put down the ever growing power of the Dacians and subsequently was forced to fight a second war which was inevitably for conquest, the other camp argues that Trajan aimed for military glory and sought to conquer Dacia from the onset of hostilities. Neither camp has yet to conclusively utilize Decebalus’ and Trajan’s actions as a way to definitively prove their argument. By analyzing these two military leaders’ orders and strategies, it becomes clear that Trajan always intended for a large war of conquest and fabricated or at least distorted the truth to place the blame on the Dacians

We Are Not GIL

Cultural practices and events are an occasion to reflect on the space they come to occupy and inhabit\u2014even if temporarily. As it is often the case in Rome, the architecture becomes an overwhelming element to deal with. This year the new location granted by the Region to the performative art festival Short Theatre was the rationalist building of the ExGil\u2014literally former Fascist Youth. After its restoration and reopening the space was renamed as WeGil by the Regione Lazio administration, and is currently used as polyvalent cultural space and venue for exhibitions, arts and culture. Luigi Moretti\u2019s building was inaugurated in 1937, as the space for the fascist organization Giovent\uf9 Italiana del Littorio, and used as such until the end of WWII. This cohabitation couldn\u2019t but trigger a reflection about the building itself and the city at large, their symbols and history. The artistic production of today has the power\u2014and duty\u2014of reshaping and resignifying the matter of collective memory, through its contemporary theories, influences and gestures. Indeed, the considerations that came about necessarily tackled the colonial fascist past of Italian history and geography inasmuch as their tendency to remain incomplete, often laboriously countered by feminist decolonial artistic and educational practices. This issue unfolds through their collective intervention (We) are not Gil, Ilenia Caleo, Isabella Pinto, Federica Giardini and Serena Fiorletta attempt to \u201ccomplete\u201d the historical traces embedded in the ExGil building

The concept of love in Elizabeth Barret Browning's poems: "Sonnets from the Portuguese"

http://tartu.ester.ee/record=b2659762~S1*es

Religious exemption and global history before 1300 – closing comments

No abstract available

Conflicts among Civilizations: The Influence behind War and Art

Why war or conflicts are fought between civilizations is a subject that could be debated with no end. The complexity of how our species reacts with each other and generates conflict exceeds the limitations of a single concept. There is not one answer to the question, but often the combination of the need for economic and political authority along with the thrill of victory, power, and nationalism joining together to create the motivation to fight and conquer