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Could occur in practice. such imprecisions play an adversarial role enhancing the non-deterministic behaviour of the system. we present a symbolic analysis technique that is "robust" w.r.t such imprecisions. in particular, we propose an extension to the zone-based fully forward algorithm for pta [6] in order to deal with the effects of infinitesimal clock-drift. our robustness notion is weaker than the classical definition for ta [8, 9], in the sense that the robustness margin in case of a certification of robust safety ; could potentially decrease with the iteration depth. given a pta with clock-drift parameterized by 0, 1 with slopes in the range [ 1 + , wish to compute q minprob i n i reachi l, b . i here, q is the minimum probability of avoiding the target state l, b ; while considering drifting clocks, such that at any given iteration depth i, there exists a strictly positive value of the perturbation i , for which the corresponding perturbed reach-set reachi at that iteration depth entirely i avoids l, b ; . we conjecture that the computation of q above may be performed by simply replacing the time-successor of a zone by a form of zone-enlargement, called its "driftneighbourhood", in the fully-forward zone-based algorithm of [6]. this results in an enlarged zone-graph consisting of states that are reachable with non-zero probability under the smallest clock-drift, and is obtained from the standard i.e., non-robust ; zone-graph by widening all closed difference constraints defining the zones by 1, to the next higher open constraints.2 the computation of the minimum probability q of "robustly" avoiding the target state may then be performed by solving a system of linear in-equations as in the computation of p for the non-robust case, with q p always. furthermore, the difference between the minimal probabilities p and q may be computed from the strict-inequalities of the zone-graph. this provides for a precise quantification of the change in the system behaviour owing to the additional non-determinism imposed by drifting clocks. this paper thus attempts to address the interplay of robustness w.r.t drifting clocks ; and randomness w.r.t transition probabilities ; in the quantitative analysis of real-time systems. we are presently working on the correctness proof of our algorithm, by induction over the iteration depth. following this, we intend to implement our algorithm in a practical pta model-checker, with applications to case-studies such as the bounded re-transmission protocol and the ipv4 zeroconf protocol [10]. acknowledgements joost-pieter katoen is supported by the dutch research council nwo under grant 612.000.311. mani swaminathan and martin.
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Description helicopter flight instructor helicopter pilot mapping pilot military pilot navigator - air transport pilot - air transport pilot - military pilot instructor pilot, airline pilot, remote sensing pipeline air patrol pilot power line air patrol pilot remote sensing pilot second officer second officer - air transport spray pilot supervisor, air pilots and flight engineers survey pilot test pilot topographic survey pilot water bomber pilot : stds atcan english soc 2001 nocs01-exampsearch ?cretaria c171, accessed february 25, 2004. this unit group includes workers who classify and catalogue museum and gallery artifacts, construct and install exhibits and displays, restore, maintain and store museum and gallery collections, frame artwork, and perform other functions in support of curatorial and conservation activities. they are employed in museums and galleries. picture framers and taxidermists may also be employed in retail settings or may be selfemployed. this unit group also includes museum and other interpreters who conduct guided tours. they are employed at art galleries, museums, parks, aquariums, zoos, interpretive centres, botanical gardens, cultural centres, nature sanctuaries, historic and heritage sites and other locations. exclusions - museum exhibit designers are classified in unit group f143 - theatre, fashion, exhibit and other creative designers - conservators, curators and assistant curators are classified in unit group f012 conservators and curators example titles: aircraft restoration technician museum; aquarium interpreter; archaeological technician; art gallery preparator; art gallery registrar; art objects preparator; art restoration technician; assistant registrar museum; botanical garden interpreter; cataloguer museum; cataloguer, museum objects; chief display officer museum; chief exhibit officer museum; chief preparator; chief preparator museums and art galleries; communications equipment restoration technician museum; community museum technician; conservation and restoration technician; conservation technician; conservation technician museums and art galleries; curatorial assistant; dinosaur museum interpreter; diorama maker museums and art galleries; diorama technician display officer - museums and art galleries; document restoration technician; exhibit officer museum; exhibit preparator; exhibit technician; fossil recovery and reparation technician; frame fitter - museums and art galleries; framer - museum and art gallery; framing technician; head preparator - museums and art.
59 92 the result, however, has been a loss in community-oriented media and a decline in the diversity of voices heard. the united states needs to reclaim the views that the founding fathers had of media being a necessary component for a strong and vibrant democracy, a tool for public debate and discussion and medium for public education. the precedents can be found in james madison's writings, in the mayflower doctrine and the fairness doctrine. the fairness doctrine was upheld in court, most notably in the 1969 red lion broadcasting co., inc. v. fcc decision mbc, 2006 ; . a return to the roots of democracy and the important role that media has to play in that would be a good place to begin. another step in the solution process is to examine where the shift towards consumerism occurred. effectively, what has happened is that resources from community-oriented meso-media have been taken over by macro and mega media. the only level which is still relatively free from the consumption-based model is micromedia. in order to get more peace-oriented content, the dop needs to help shift resources back to meso media by re-regulating the media ownership and offering other protections for community and local media. this will help communities address their media needs and will ensure a plurality of voices that more accurately reflects each community. while there are many indications that media structure impacts media content, more research is necessary to understand fully the nature of this relationship. the current model of media as consumer good is not reflective of american democratic ideals. american history, in james madison's writings and the fairness doctrine, as well as the current practices in western europe provide relevant examples of media which support and protect a diversity of voices and educate the public. we now turn to research and policy themes the future dop will pursue. 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Ten steps from the 125 street stop 2 3 train ; , at 288 lenox avenue sits the legendary lenox lounge. amid the restored faades of a newly renovated harlem, this gem stands out in all its art deco splendor. when you enter the establishment, you can feel the history that has come through the doors. when you walk through the back swinging doors to the zebra room, you are no longer in 2007 -- your imagination takes over. you can picture smartly dressed men and elegant women enjoying an evening out to hear music. current owner, alvin reed, sr., shared about the history of the venue. "the lenox lounge opened in 1939 and was owned by an italian family named greco, from west virginia. they built it but couldn't open it up, so it was a speak easy for a couple of years. the el morocco said they had a patent on the zebra interior, but they put up the wallpaper anyway. the opening was grand, with the likes of ed sullivan and walter winchell -- it was a lot of society people. back then, it was a club for the elite and had mostly white patrons, unless there was a black celebrity or unless you played here! laughs ; . it was very similar to the cotton club. back in the day, it was a pretty expensive place. beer was 15 cents a bottle. the lenox lounge didn't book big acts, but the big acts came and jammed. this was their hang-out after they finished their gigs downtown." i noticed the billy holiday booth directly to the left as i entered. "yes, that was billie's favorite booth, " shared reed, "and she sat there every time she came in." the venue stayed in family and over the years it went from brother, to cousin -- back and fourth. i purchased the lounge from dominick greco back in 1988. the place had gotten pretty run-down and it wasn't like this. they weren't doing jazz no more." reed's passion for jazz didn't start in the normal route one takes, like being inspired by a song or some extraordinary solo. "my passion for jazz started with the ladies! you know, you were supposed to be cool and sophisticated and all, and jazz seemed sophisticated, so i started bringing ladies to jazz clubs. laughs ; . back then jazz was intimate. i don't care for jazz in a big arena. it wasn't made for that; it was made for a setting like this. back in those days, everyone got so dressed up. it was so romantic. when you went to hear other music, you'd have eight or ten couples go out together, but for jazz, it was just you and a lady. so, it just grew on me. i came to the lenox lounge when i was 18 years old, but it was a much more mature crowd then. my friends and i used to dance at the savoy, small's paradise and the baby grand. alvin reed, sr., was raised on 133 st. eight raised blocks away. "harlem was great back then -- nobody to advertise call: 212.889.0853 went downtown. we had our own little world up here and besides, the best nightlife was uptown." reed, sr. has the youthful enthusiasm of someone fifty years younger, and his entrepreneurial spirit is magnetizing. bored with high school, reed dropped out and enlisted in the service. he joined the 369th armory and was assigned to fort dix. after serving his active duty, he did odd-jobs to make ends meet. reed went from being a shipping clerk in the garment district, to working for the post-office. "i just wanted to see what i can do. how far i can go in this life. my grandparents were slaves down south and my mother marveled at me. i saw people sitting around who could do better, but just didn't. even in the post-office, i always surrounded myself with people who were talking about business." that led reed to becoming a policeman in harlem in the late 60's. "i became a policeman because of the early retirement after 20 years. i had a family to look after and i was always just lookk ing at what was next." reed went on to produce some and images in its heyday. he found a zebra wallpaper to match that of the original. the floor was re-tiled to match the original hexagonal pattern of black and burgundy tiles. the booths were reupholstered and re-padded; the ceiling and lighting have changed, but keep true to the feeling of the room. the chairs and formica tables clothed in the evening ; are the original deal. the mirrors were left over from a movie shoot and reed kept them. the piano sits in the corner ready to be tickled. ever the entrepreneur, reed rents out the lounge for movies, photo shoots and the like. "madonna shot in here.luther vandross. they filmed a scene of malcom x, here. dead presidents, shaft. x nyc & co. just did a shoot. it's been really exciting. the only thing we don't film in here is music videos. when people perform, i want the audience not to be bothered by video cameras. it is about their experience and the music." a large part of maintaining the legacy of the lounge is keeping the high quality of music being offered. jazz pianist extraordinaire, danny mixon, is the musical director for the lenox lounge. "mr. reed has been very generous in allowing me to program the jazz and never second guessed me on anything, " shared mixon. "i have established a format here -- i want music that people can identify with. original music is great, but when people come here to listen to music, i want them to hear the standards that they can identify with. i ask that all the musicians wear a suit and tie. that's how all the cats used to dress photo: bernard mills, sr. when i was coming up and it's a sign of respect. an artist never wants to music events blues and doo wop ; , that were mainly look like the audience. if someone doesn't want for a black audience, but learned the ropes about deal- to adhere to the dress code, they don't have to play ing with artists and production. at the lounge." when you sit in the zebra room an ad for a "landmark club" in the amster- to hear jazz, you get the full experience: art deco, dam news caught reed's attention and he imme- standards, mood lighting, world-class jazz, wonderdiately went over to check it out. he purchased the ful food which includes jumbo, creole shrimp and lenox lounge in 1988, "much to my late wife's cha- red snapper ; . the only thing missing from the old grin." my whole thing is to bring something back to days, is the smoke! my community when i can. we used to go out on the "i used to think that all or most of the patrons town. i want the young people of today to experi- were tourists, " said reed, "but when i started to put ence a piece of history -- the harlem that i knew. the mailing lists together, i see that more than half jazz brings all people together and that was and is my come from downtown in manhattan. we do get a intention for this place." lot of tourists and we have gotten more clips in the the first few years were tight because jazz had news in countries all around the world. i get emails taken a back seat to other types of music such as rock, from all around the world telling me that the club is pop and r&b. "the japanese were keeping a lot of famous -- it brings tears to my eyes." mr. reed, you the doors open for many jazz clubs in harlem." are living your dream. reed wisely renovated the zebra room -- the for more information on the lenox lounge, visit jazz room at the rear of the club in 1999 and painstakingly re-created the room from various photos lenoxlounge or call 212-427-0253. october 2007 and poker chip tray or poker pictures.
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