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First, r effect size reflects the magnitude of the effect on each score of the participants' assignment to particular conditions, with membership in the conditions represented by lambda (λ) weights based on predictions or theoretical hunches. The special characteristic of r effect size is that any disagreement between the predicted and obtained values of the means is considered to be noise or error and is added to the level of the noise or error found within conditions. Next, r alerting reflects the aggregate relationship between the group means and λ weights; it takes its name from the idea that it may “alert” the researcher who routinely calculates omnibus F tests (i.e., F with numerator df > 1) not to be too hasty in embracing the null hypothesis just because the omnibus F failed to reach p =.05. The special characteristic of r alerting is that it regards as noise or error only the disagreement between the predicted and obtained values of the means. That is, the level of noise or error found within conditions is simply set aside. Finally, r contrast reflects the partial correlation between the outcome scores and λs after removal of all the noncontrast variation. In certain specifiable instances (discussed later), r contrast may be the only effect size correlation we can compute from other people's data in designs with more than two groups. The special characteristic of r contrast is that it regards as noise or error only the level of noise or error found within conditions.

To recap these three correlational indices of effect size, we can describe all three in terms of what each regards as noise or error: (1) for r contrast , only within group noise contributes to error; (2) for r alerting , only between group noise contributes to error; and (3) for r effect size , both within and between group noise contribute to error. These three indices, and other aspects of the correlational approach, are discussed more fully in Rosenthal, Rosnow, and Rubin ( 2000 ); other related discussions can be found in Rosnow and Rosenthal ( 1996 ) and Rosnow, Rosenthal, and Rubin ( 2000 ).

To illustrate the use of these procedures, suppose a pediatric researcher is interested in evaluating two theories, A and B, each of which implies a specific prediction about how many counseling sessions it will take to improve the psychological functioning of parents of children with serious illness. Theory A predicts a minimum of four sessions to produce any benefit and implies that fewer than four sessions will be fruitless. Theory B predicts small benefits as early as the first session, with gradual improvement continuing throughout all four sessions. To assess these competing predictions, the researcher designs a fully randomized experiment consisting of four groups, corresponding to 1, 2, 3, or 4 sessions of counseling, with 3 participants in each group. Table I shows the participants' scores (higher scores implying beneficial effects), the group means ( M ), the variance ( S 2 ) in each group, and the number of participants ( n ) in the group. Table II shows the overall analysis of variance computed by the researcher and the reported omnibus F .

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The reason I pursued the CHIDexam was to have tangible evidence confirming my knowledge of healthcare and hospitals. It’s one thing to say that I’ve spent 30 years inside a hospital and have worked with over 70 different departments within the hospital, but it’s another to have my clients write letters on my behalf and endorse my efforts! It has served me well, especially when a potential client asks what I had to do to achieve those letters beside my name.

If a designer is interested in standing out their career, I suggest taking the exam.

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What I love about Interior Design is the capacity of the built environment to shape perception and behavior. That is the ability to positively influence the human condition.

What I love about my practice in Healthcare Interior Design is that through providing relief to the requirements of caregivers in their routines, in shaping perceptions to alleviate concerns of visitors as to the wellbeing of their loved ones and by addressing patient comfort, dignity and recovery, I provide services that enhance basic human needs for the greater good of mankind.

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As a healthcareinterior designerI feel strongly thatoursis one of the most complex specialties within the design field. My CHID credentialallows me to easilydemonstrate to my clients just how committed I am to understanding their industry. AAHID membership has helped me not onlywith clientsbut has also allowed me to make connections with like-minded peers.

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Q: One of our acquaintances yesterday mentioned that they were under the impression that when you close on a house technically everything inside the home technically becomes yours as well. Is that actually how things technically work by default? You close and everything inside the home changes ownership?

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A: With regard to your question: if the Seller moves out and delivers possession and they left behind a couch or a barbeque or something like that, then yes, it become yours. I say could, because obviously a Seller could have left a car in the garage or something else by accident and that wouldn't necessarily "make" it yours just because it was there. YOU would claim that it is yours because they were to have removed all their personal belongings from the homeTHEIR attorney would claim that they did not remove all their personal belongings from the home as per the contract and that your only remedy or complaint is on the breach of that line in the contract.

Another argument is that the contract specifically "includes" items of personal property that are to the Buyer. (Section 1.1 "Included Items"). Therefore, articles simply left behind by mistake (say a wedding ring or something) wouldn't necessarily automatically become your property simply because they were left in the home.In reality, I personally have acquired a barbeque, a workbench, and numerous other things that were left behind by the Seller when I purchased my first home. Other clients have "inherited" other items that have been left behind when a Seller moved. In most of these cases the Seller did not want to take the items with them (for whatever reason) and left them for the Buyer. Not always has there been a bill of sale.I have also seen where a Seller has left behind some personal property that the Buyer did not want. For that same reason, I have often used the "Excluded Items" section of the contract to specifically exclude something from the Sale, thereby requiring that the Seller remove it from the property. (Just last month we excluded a snowmobile from a sale for that reason. It was obviously not working and the home was a "flip". Fearing the Seller would leave it behind for us to deal with, we excluded it from the sale. It wasn't being offered as part of the sale, but as your friend suggested, it become yours at possession and then you would have to dispose of it.At any rate, the simple answer is YES and NO. If the Seller has not yet delivered physical possession to you (which they could also breach) their property doesn't automatically become yours just because the home has closed. Once physical possession has been delivered, in most cases it is assumed and presumed by all parties that anything left in the home is now the Buyer's responsibility (or property).Still, if you have any particular items in mind, it is best to . Going that route saves the ambiguity and makes lawsuits and small claims much less likely.

Future Present

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László Moholy-Nagy , 1933–34. Oil and incised lines on aluminum, 60 × 50 cm. IVAM, Institut Valencià d’Art Modern, Generalitat © 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York
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As far as Western modern art pedigrees go, it’s hard to beatLászló Moholy-Nagy: born in Hungary1895,Moholy-Nagy spenthis early years in BudapeststudyingImpressionism, Cubism, and Futurism. He thentraveled to Berlin where heencountered Dada and Constructivism. He was at the Bauhaus from 1923 to 28,in Amsterdam for De Stijl during the 30s, then finally London and Chicago where he founded Institute of Design (later part of IIT). He dabbled in every medium imaginable: painting, film, sculpture, typography, graphic design, theatrical setdesign, and architecture. Butwhat’s most remarkable aboutMoholy-Nagy—and what shines through in theexhibit Moholy-Nagy: Future Present —is how consistently he explores the same themes across the breadth of his lifetime.

László Moholy-Nagy,, 1939–45. Oil and incised lines on Plexiglas, in original frame. Plexiglas: 63.2 × 66.7 cm; frame: 88.6 × 93 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, 47.1064© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

Moholy-Nagy was clearly enthralledwith light, transparency, planes, anddepth—in the words of curator Karole P. B. Vail, who spoke at the exhibit’s presspreview, he wasconstantly trying to “materialize light” and “use light to dematerialize matter.” As the exhibition moves up theGuggenheim’s spiral, chronologically displaying his work,you can see him play with light in countless ways across multiple mediums, starting with painting and concluding with plexiglass (a materialinvented 1934, three years before he arrived in the US). Over 300 works, some from rarely-seen private collections, are on view. Despite their number, the works never feel densely packed. The Guggenheim spiral also has a natural affinity toMoholy-Nagy: one of his drawing/photomontages depictsa spiraling space not dissimilar from the Guggenheim itself.

László Moholy-Nagy,, 1926.Gelatin silver photogram, 23.8 x 17.8 cm. Los Angeles County Museum of Art, Ralph M. Parsons Fund© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York. Photo: © Museum Associates/LACMA

Moholy-Nagy was fascinated with photography, not least because photography’s chemical process turns light intoa physical image. Photography also plays with the idea of reproducibility and authenticity. Like putting a urinal into an art gallery, Dadaists love to play with conventions and challenge shared definitions of what constitutes art. That desire manifests throughoutMoholy-Nagy’s work. In what he called “photoplastics,” he would collage photographs, draw over them, then photograph the ensemble anew—where does one photograph begin, the other end? Some of these pieces are genuinely absurd, and I even laughed out-loud at their Monty Python-levels of irrationality.

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