And then the minutes from the last meeting were sent out to everyone. If you had comments, show us what you think. Okay. And we have one item outside of the agenda. Is that right? You have your end-of-the-report. I need you to save me shoes on. Okay. We'll now get to the public hearing. And we're starting with DHE-23F2, which is 410 North Street. Do we have the opponent here? I'll swear you in, but since this isn't a deal, we'll have the city go first. Attach the review. The basis for the staff denial was multi-faceted. It was based largely on the definition of a duplex. This is on page 5 of your staff report. That a duplex is a single structure containing two separate dwelling units, regardless of the type of construction. The structure with an accessory apartment shall not allow this encroachment. However, we'll be back also on page 5 of the staff report. It says what makes it something a single building. What, trauma to attend to. Yeah, a single structure. Well, how much of a substantive relation is there? Yeah. I, in background, I can tell you similar requests. If you don't have much slides, I don't know if I want to share these, or is that something that people use to do? You're welcome to do that. If it was on? No, it's all, I'll try to keep it brief. I'm sure you've all read the staff report. So yeah, essentially, I wanted to just connect the two units. And I don't know why Mary keeps using pergola. It's going to have a group, so it kind of looks like a pergola, I guess, but it will be a solid group. And it also kind of serves two purposes. I also do want to, obviously, want to try to make this a duplex, but I also have snow plowing issues. So it would, that was also part of the intent. Second page, you can kind of see the picture of what it looks like currently and what I propose it to look like. And then, so you have my reasoning for why I think the definition would grant me approval is the definition makes a point of saying regardless of type of construction, which to me implies a group does not substantially transform the two detached buildings into one single structure. If the duplex definition wanted to limit what would constitute a single structure, like the stats now suggest, it would need to opt to the language of regardless of type of construction. There's no language in the audience that also excludes from achieving a definition like Brad just mentioned. And I also just wanted to bring up the last applicant that tried submitting this. He never fully submitted his permit, so it was never formally denied. I don't know if that matters. And also if you just kind of know this doesn't matter, but I put this in here. If you Google the cat structure, it pretty much says a structure or building joined or fastened to another structure or building by any means. The only one I could find that didn't say that was a Pakistanian block that popped out. And then going to the Eve issue, I agree with Mary that by article 13 the definition of Eve doesn't apply here. And it also would have extended to the side of your setback. But the route was designed with the same intent as the Eve to throw water away around the definition of Eve says to throw water away from the wall. This one, since there's no wall, it's to throw it away from the cars in this case. And then also per section 5.25B, side of your setbacks, it does say Eve overhangs and then to have Mary that ran. It also says similar features. So to me, yes, it doesn't have a wall, but it's pretty much the same thing as an Eve. To me it would be a similar feature. Then next also section 5.25. Parking areas are setbacks and 5.25B, the A8 and 5.35. The route does not increase the degree of non-compliance in this case as the current left setback. It's a weird setup, but my neighbor's house and my house is built right next to each other. They're touching the setback there at zero. So it would not be increasing the degree of non-compliance. And the board doesn't agree with any of these set-up exceptions. I'm willing to make it 1.4 feet narrower so it wouldn't be able to comply without any of the exceptions. And then just summary, I guess I've already countered everything, so I can skip that part of the question. Yes, sir. Why do you want this to be a good plan? So it's pretty much the owner occupancy. I was, when I first constructed this place, it was kind of my dream to do it. I was planning on living there for a while, but then an opportunity came up where I'm now building a house that I'm sure a lot. It's kind of an even more ideal dream situation, so I'm planning on living there afterwards. And I built the accessory dwelling. I put a ton of effort into it, and I would hate to sell it. I have a question for Mary. There's no definition in the CDO for type of construction, right? I mean, that was part of the appellant's argument was regardless of the type of construction, but is there a definition of what that phrase means to us? Not that I'm familiar with.  I know. I mean, typically, in the building code, there's lots of definitions of type of construction, and I would think that might be what it refers to. Construction, techniques, and materials more than anything. Yeah, we're firing in different classes of construction of different types of construction that you're firing. It seems that you're still going to have almost the same snow plowing issue, even with this roof, and that you're still going to have to back-drag that area or a snow blower or something like that to be able to plow snow. Well, yes. The problem with the snow plowing is... So it's kind of just a driveway that goes right down the middle, so right now the plow will push all the way in, but my neighbor's fence is right there. So if you... And it's already like, pretty much you have to park right up to that fence for you to not back into my neighbor's property, which she was here, she would make a strong point that you can't do that. So the fact that the cars have to be pushed all the way, if you push snow up to that fence, then you would create a buffer of then having the snow in between the fence, and then that would push the cars even further back to make the turning radius smaller. Should have to back-drag it. What's that? You have to back-drag the snow right now with the plow. Well, yes. Right now we pretty much... You have to shovel.  More Canadian. Put it that way. Thanks. We have no definition for type of construction within the CDO. Any other questions? Remaining comments that you wanted to make? Okay. And then I guess I'll make one more point, too. So when it says it's in a definition exist, and the... I don't have this in front of me, but it says like you can use... If there's no definition exist, pretty much in the Brownington Orient, then you default to the American Insurance Association's definition, and the FEMA definition of a structure is something with two bridge of walls and a roof. But I think Mary found that as adverse findings. So. Thank you. With that, we'll close this public hearing and move on to the next item on our agenda. We may deliberate tonight. Well, thank you, everyone. The next item is the AP-23-325 Oakledge Road. We have the appellant here. I am. Is anyone else here to speak on this item? No. Okay. I will start by swearing you in. Do you swear to tell the whole truth and nothing but the truth under opinion and penalty of perjury? I do. Okay. And then since this is an appeal, same as the last one, we'll have the city go first. Is this yours as well, Mary? It is. I've got a handout if I can. We'll have the city go first. Wonderful. I just did. I just did it. 25 Oakledge. This is essentially, essentially it was a request for a parking, to establish a parking area in front of a single family home.  It's an unusual lot with irregular boundary lines. Zoning amendment a few years ago provided a footnote for waterfront properties to establish a front yard setback. So that setback now is the maximum is 50 feet from the front property line. So on page three of the staff report, those red annotations are mine, showing the front property line in front of the house for the 50 foot setback. And the proposed parking area falls right within the front yard setback. So that's one prohibition within the zoning ordinance from article eight, that there shall be no parking in the front yard setback unless it's within a driveway, a driveway leading to parking spaces or parking in front of a garage. So the next issue is a limitation and location of use of facilities and also the description of the zoning ordinance says parking spaces in all residential zoning districts shall be located in the side or rear of the principal residential structure. So as the parking area is proposed in front of the residential structure, it's contrary to the standard. And again, parking is located within the front yard setback, which is also a prohibition. So the permit was administratively denied. The appeal was filed in a timely fashion. And that's the question before you tonight. So there's no provisions, Mary, for the garage in this case is in the front of the house. So the remedy is that they have parking separate from the garage. The illustrations that are provided as guidance within Article 8 allow parking in front of a garage access. As in you may park in front of your garage. Your garage may in fact be converted to living space if you're parking in the driveway in front of it. Those parking spaces are allowed. But this is the creation of an additional parking area off of the driveway in front of the house. And that's because of the description of that area. Whereas in my view, this could also be viewed as a turnaround area. The application was for a parking area. Any other questions from the board? As the driveway currently stands, they can park on any part of it. As it currently exists? Or at least any part of it that is on their property? Well, again, if you were to look at the diagram that I've included that the applicant has provided on page three of the staff report, it's a very senuous access. There are at least three drives coming up to this house. It's an existing situation. The drive area on the immediate south goes right to the garage. I can't explain how the other paved areas were created. Certainly not under this ordinance. And I did meet with the applicant in February to discuss design options. They chose not to revise the plan because they like what they're asking for. So isn't in the current plan the only quote-unquote legal approval space would be right in front of the garage? That would be an approval parking space. And the rest there is not really approved for parking because it's all within the front yard setback. So they have whatever the width is there for parking spaces. I guess I want to follow up on Leo's question. I am confused by the current proposed, the current layout has the sort of circular drive or maybe multi-pronged drive. They could drive up right now and park in any part of that driveway. Well, it's pre-existing. I don't know how it became what it is now, but under today's ordinance, they could drive up and park right in front of their garage. I'm confused by, I guess what I'm confused by is the Article 8 definition. There are some guidance illustrations within the Article 8 itself. I did not include those, but you can imagine a driveway accessing, say, a two-car garage.  I'm confused by what they're asking for. In front of the garage, whether it was a garage or whether it was enclosed for more habitable space. And so the real issue, though, is a little buttress to the left, if I'm looking at the site plan. There's already a curve and a pad generally in front of the driveway. I mean, there's a northern prong of the driveway which seems to remain in existence. Then that comes to a pad in front of the garage, both in proposed and existing. The real issue is variation from the creation of that extra sort of squared-off pad area to the south of the south sort of east, right? Correct. Can I ask that in a different way? They left the existing driveway in an exact configuration but just took off portion of the driveway that goes down to the road. So they had, like, a little tail. Could they still park in that? That alteration is creating front yard parking. Because it's no longer a driveway. It's only parking. But let's try this the different way. If they took off the northern prong and left the southern prong, they could park there. Because that's now a driveway. Right. I think it's still near as interpreted. Right. I think. And I would remind you, the request itself is driveway layout modification to accommodate parking. And they're clearly adding to the existing. Right. That's right. Okay. Now the appellant has forwarded to me and I have uploaded. The last image is new, was just uploaded yesterday morning. And I would direct you to look at that. The site photos? No, no. Submission together. I have to find my way. I have that in paper if it's easier to find. It is called an appellant submission.  The desire is to, from the homeowner as I understand, the desire is to add additional landscaping to screen the house and the drive area from the public way. Yeah. Is Oakledge Drive public way or is it just Austin Drive? No. No, no. It's South Cove down there. And Oakledge is private. I believe this property owner owns and our appellant may confirm that. So, but the setback is measured from Oakledge Drive. From the property line. Any other questions for staff? We can turn it over to you now if you want to pass out. I do have a specific knowledge about some of the things that or that specific knowledge I guess I should say about some of the things that came up and I try to clarify them. Well, those property records. Do you guys want to have one? Do you want one, Brad? Sure. Yeah. All right, good. I guess I would like to clarify the language in the application doesn't ref in no way coming from me referenced putting in a parking spot. Our submission to the city and we could probably dig through the records suggest that we wanted to change the driveway layout. We wanted to remove hard surfaces and replace that with plantings. The homeowner of this property has been in residence for quite some time and she has always felt exposed on that rise of ledge and has wanted to be able to provide herself a little buffer from the traffic on Austin Drive and Oak ledge inner center Austin Drive and South Cove intersection as landscapers. I don't often have to defend our our projects because generally they're viewed as quite acceptable. We're trying to make things better. In the case for you, we have tried to meet the homeowner's intention of reducing impervious surface, increasing vegetation, removing lawns and reconfiguring the driveway. The current driveway, as you can see in the picture leads you right to the garage and from the street side, it's in our view we would say exposing the garage door and that's not the most interesting thing you can look at. This is my perspective as the landscaper and so if the customer is asking us for screening options so she feels a little more secure in her courtyard, she specifically wants to reduce the hard services and we've done some incredible plantings there in the past and she wants us to keep doing our good work. When I applied for the permit, I didn't say we were putting a parking spot in, although that parking spot, as Mary describes it, is the egress and you can see on the third page there is a little demonstration of how a car might want to pull out of that driveway or out of the garage. In order to meet her goal not, well one of her goals is preserving the trees she's got, mature oak trees that are there that are contributing to wildlife and contributing to shade and contributing to moisture management so in order to put a egress in that we need to, she needs to be able to back out of her driveway comfortably she's not a young lady and so we wanted to provide her with the most reasonable way to back out and go forward.  So those were the, that's a description of the project from my perspective. In terms of the setbacks and the road, she does own the road if you were to measure from the closer side in this picture she's outside of the setback area there is no where to put parking on her property other than closer to the lake which doesn't make any sense and she's not looking for parking she's in her age she's not entertaining she's not looking to have people over she just wants her private place. Were there other questions that I didn't address in that description? There's an entrance that comes up to the driveway right now. We are overall in the project removing hard surfaces we have changed due to the traffic turning studies that we've done we've changed the orientation of that we call it a hammerhead in our business and so when she backs out of the driveway she'll engage the turn so she can then get herself out the new route. So that's why that configuration changed. So I guess I'll ask it this way would it be used as a parking space or not? She parks in her garage but is it a desire to create a hammerhead turning space or parking? The project description that we submitted to the town the city said that we were reconfiguring the driveway that we're considering to be a reconfiguration that is not intended to be a parking spot if somebody parks there she often has a garage door open and if somebody parks there they could park in front of the garage which would then lead them say the lady with the vacuum cleaner could go right in through the garage door which is her typical way of doing it. If someone said that that if like the permit were approved on the condition that there is no parking there she would accept that. I guess I Mary I guess I'm confused by one thing here a couple of things. Usually we are happy when people move towards more compliance when they have something that's non-compliant like the amount of driveway that different radiuses and axes and everything else and as in this current driveway just because somebody can park somewhere doesn't mean that the parking space you know I mean that's well that's how we have to count somebody has to have a legal parking space even if they have little places to park that are not complying parking spaces. So in this case the only parking space they have that's legal right now is in front of the garage. No in front of the garage parking the front yard set back in front of the garage right in the driveway that's a legal space. Well the garage spaces are also legal. Right but I'm on the So Brad you just said it's illegal to park in front of the garage? No no I said it's legal. It's legal okay. And so in the so they have all this pavement and there's only one area they can actually park in on the pavement that's legal and that's in front of the garage. So why doesn't that apply to the new one where they can have all the pavement they have which is less than they have right now and the legal space is the same one they have now in front of the garage. Why worry about this other space just because somebody could park there? Because the specific request before me to review administratively was the creation of a parking area which is identified on the site plans in front of the house in front of the garage. So what identifies it as a parking area and like maybe are we missing something from the original application? I'm reading the cover letter and it says application for a zoning permit on behalf of the applicant Marisha Taylor to approve a revised driveway layout and associated site features. On the appeal. I'm reading the February 2nd 2023 driveway modification application that was submitted on February 13th. The description of the proposed project is driveway layout modification to accommodate parking for residents. So if the applicant is going to accept a condition that says there's no parking in that area. If this is the deliberate creation of parking in front of a single family residence. If not this owner resident then how would we ever follow this subsequent residence? The owner got a email of support recently they didn't share the details but a neighbor effectively was pulling their hair out to see that she had to defend the project on her neighboring property to the south. What's that little call that has got a few houses on it directly south of hers there's a little south cove Eastmenway that's it.  That is true.  We appreciate that. I can say in project review for other properties on the street where they have proposed something similar we have guided them under the ordinance regulations and said this is front yard parking it can't be approved so that doesn't even come before you when our staff is working with applicants during project definition. Other questions from the board? Okay with that we'll close this public hearing and move on to the next item on the agenda which is ZP-23-141 80 Archibald Street cannabis home occupation and I'm going to pass it over to AJ. Great. Is the applicant here? Yes. Okay great. So would you raise your right you haven't sworn in yet I imagine you raise your right hand just where to give that the testimony in the matter under consideration is true and correct under the pains and penalties of perjury? I do. I do. Is there anybody else here to speak on this application? No? All right. So just seems like a very narrow permit request just you want to use 54 square feet of your basement to cultivate. It's correct. It's my house and that's correct. Legal cannabis? Yeah. Have you seen the staff conditions? Have you seen the staff report? I don't under what they don't understand what you're asking. So on the staff report on what? This is the staff report? Yeah that's the the city staff before our hearings puts together a staff report. Okay. And yep. And I had forwarded a link to that on two occasions prior to the hearing. So there are some particular conditions in there and I was wondering if the board had any specific questions before I asked this anybody from the board have any factual questions? I guess just to know who's who would be and you are do you live there? Yeah I'm having trouble with the contacts. I think part of this whole process is that I'm familiar with it. Just to know who lives in the house. Oh we both do. Okay that was my question. That's my occupant. That's my residency also. What I'm trying to ask is do you have any issues with the staff report from a random you have in front of you? Um I'm not too sure what particular issues you're speaking of but I know there are some questions that you all have for me. Maybe. Maybe. On page 8 and 9 there's a list of conditions as recommended by staff and that's what AJ is specifically asking about if you're okay with all of those conditions as listed. Let's see, let about a quarter to sewer capacity have that in progress of getting the state licensing. Of course that's also dependent on information that they get from the city of Burlington. So we're in a bit of a chicken and egg situation here. Let's see, expansive with a whole lot of vacation. Yep, any expansion. That makes sense. Yes, residence occupancy outside storage. None planned. No exterior signage. No plan for special delivery vehicles. Um Yeah, I can't see anything in there that that uh and Mary, this is a question for you just to be clear this is the state separates cultivation and packaging from sale, right? At least I will tell you that there is a state process that is entirely separate from us. Okay, then maybe I'll ask it this way. The city of Burlington under the home occupation, at least in this application is separating the cultivation, drying and packaging from the sale thereof. Because I think with the home occupation it's not customer facing. You don't have customers coming to the business. There will be no retail sales there. Okay, that's correct. I wanted to confirm that. It's not stated as a condition, but I would add that as a condition if we improved it. Just so that we're clear that there will be no retail sale of cannabis from this location. Because I think that would require a different level of review from us. That would require a different level of review from you and from the state. I just want to state that because we'll be getting a few of these over time and we want to be clear with people the difference between cultivation and sale licenses. That is written into the law though. Sometimes it needs to be stated twice. Understood. Under the special use regulations, AJ number 11 is exactly that question and he has defined it in his home occupation submission that there will be no retail sales. Great, thank you for that. You're welcome. Any members of the board have any questions on this one? Yeah. You say that there will be no ventilation in this space. The plants need a certain amount of fresh air. Correct. So if you're getting fresh air you're going to be exhausting air also, right? Right back into the dwelling. Fresh air from outside? No. No plants need carbon dioxide, water and sunlight, right? And also oxygen depending on the time of the day that they're growing. So they can all get that from the same air that we're breathing. I guess my question is, do you have any sort of intake fan into the house anywhere in the... Other than the kitchen? No. So what do you say... What are you just setting up like a tent with a light system? Pretty much, yeah. That's the idea. So it's just whatever air is in your garage circulating we'll just feed those? In the basement. Oh, basement, okay. Yeah, we'll feed those, exactly. So there's, yeah, there's no exterior changes to the property whatsoever. And I noticed someone in the the questions, there was questions about potential light pollution coming from the tents themselves. Those are all, I mean, they're inside the tent with the idea of being that the light is contained, so that's not going to be an issue, so to speak. So I think there was another one where I'll put potential combustibles or other things that might be a fire issue. And I would be more interested to know what those actual questions were or concerns were, because my brain starts to go sideways, especially with my name Ishmael Amman. I think public, I don't know how the fire safety review is done. The building official has specific authority for the safety and fire code. There is a specific standard for cannabis review and there is an excerpt in there from a response from the building official. So he waits for it, this application to go through our process and then he has the authority to review the application himself. This is not the place to resolve these questions. No, the fire marshal will do that with you. This is wonderful. This is like new for everyone. We're all learning here. I'm glad I can help in that. Any other questions? No. It's twice. Very sold. With that, we'll close the hearing. We'll talk about it after our hearings concluded tonight and we'll vote on it and then get a decision out quickly. I guess I do have a question. Okay. Thank you for your time. So this is specifically for cannabis production. If I want to use the same space for growing other... Don't do that. Don't go down that road. Just say you applied for cannabis cultivation. We close the hearing. Let us make that decision. Then I'll ask my questions later. That makes perfect sense. I just want to say something. So if we... Let's just ask questions later. Yeah. We've come to the point. We've gotten through the procedure and this is a good place to stop. Get up off the table. Yep. We're done. Well, you just might see me back. Any other requests? So next on our agenda. 7173 Peru Street. Great. Thank you. 1093 North Ave. ZP 23 116. A request by the City of Burlington Department of Public Works. Is the applicant here? Yes, I am. Okay. Okay. I'm going to recuse. I wouldn't go far. I won't. So before I swear you in, I have a question for the board. Is there anyone else here to speak on this application? No? I was wondering... This seemed relatively minor and I was wondering if the board would have any objection to treating it as a consent agenda item. I don't feel like we really need testimony from the applicant on this one. It seems pretty small. All right. So what that means, unless you have questions for us and have read the staff report and are okay with it, is we would just not open up public hearing and approve it on the consent agenda. That works for me. I'm fine with everything on the staff report. Okay. A.J., I'm going to be admonished. No, you're not going to be admonished. Real quickly, this did go to Conservation World last time. They unanimously supported it. So that was an open end in the staff report. So now it's closed. I was about to say that you unanimously did not approve it. Okay. Can I get a motion? So moved. All right. All those in favor, second? Second. All those in favor of approving ZP23116 1093 North Avenue? Aye. That's everybody. When does this start construction? Well, hopefully within this month we've got our contractor hired for this. So another break in the bike path. Yes, yes. We'll be detouring everybody through the parking lot there. We'll be building a little side. We usually bike through the bus six in the morning. Well, you won't be interfering with construction. It'll be perfect. Thank you. And with that, I believe that concludes our public hearing agenda for tonight and our meeting.


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If you're not on our website already on the bottom link to our website to this particular car on our website so check out all that stuff and we look forward to helping you with the super clean 2013 Ford C-Max hybrid. Thanks again.


Okay, so we've seen for the one-dimensional particle in a box, this is one-dimensional particle in a box problem, that the solutions to the Schrodinger equation have this form. Some constant times the sign of some n pi x over a where n has to be an integer and x has to be confined to this box we've defined somewhere between zero and a is what we've defined to be the boundaries of our one-dimensional box. So that's the particle in a box problem. We've arrived at the solution by thinking about what values are allowed inside of the constants inside of the sine function in order to make the function be continuous but we haven't talked at all about this value of a. So let's see if we can understand what these wave functions look like. So here's a box where x ranges from zero to a and I've drawn walls of the box here that the wave function is going to be zero only inside non-zero only inside this box representing the fact that we've confined the particle inside this box. So if I take let's say the n equals one solution, sine of one pi x over a goes up comes down when n is one and when I plug in x the value of x is equal to the edge of the box a. So x over a cancels and if n is one I just have sine of pi and so that's the first time this sine function has come back down and hit zero. So that would be a graph of size of one. If I plug in n equals two I'll get a different function it's still going to be a sine function that's just going to oscillate twice as fast so it's going to go down and hit zero halfway through the box and then it's going to oscillate back upwards and hit zero at the far edge of the box. So each of these constants inside the sine function are engineered so that the function always comes back in at zero maybe after one half an oscillation maybe after a full oscillation maybe after one and a half or two halves or four halves and so on. So each of these wave functions is just a different number of oscillations fitting inside the box. That's the meaning of this constant n. The meaning of the constant a that's just a constant that multiplies the entire function. So let's say for this size of one function with a particular value of a we get this function if I were to choose a different value of a I can make it taller or even taller still or even shorter. If I choose different values of a so some value of a or a different value of a or a different value of a different values of this constant a just change the height of this function. So which of these functions is right which ones are wrong which values of a make the function better or worse. Remember as always when you're confused about what the wave function means let's go back to our requirement that the wave function squared has to represent the probability of finding a particle somewhere. So again let's say for this top function if we have this wave function I've got a high probability of finding the particle in the middle of the box zero probability of finding the particle at the edges of the box. With a different a that just changes the size of the probability but we know I have a hundred percent probability of finding the particle somewhere somewhere between negative infinity infinity if I add up all the probabilities of finding the particle at all of those places inside the box I have to get a hundred percent. So since probability is equal to the square of the wave function and since I don't have any complex numbers anywhere I don't have to worry about the complex conjugate in the square squaring the wave function if I integrate that everywhere I have to get one so that's going to end up being how we determine the value of a. So let's see what that looks like I want to require that one is equal to the integral of wave function squared from negative infinity to infinity. The wave function looks like this in the place we're interested in inside the box outside the box the wave function is just zero so this wave function that I'm plotting is zero outside the box so I can break the integral up into three pieces I can integrate psi squared from negative infinity to zero so I integrate this portion of the curve the area under this green line when I square it is just going to be zero because the wave function is zero so wave function zero so this whole piece goes away this whole piece goes away because the wave function is zero outside the box so the only part of the integral I care about is the part inside the box and what psi squared looks like inside the box if psi is this function psi squared is going to be a squared sine squared not k but n pi x over a and I have to integrate with respect to dx so that's the integral I want to do I want to do let's move that I guess over here I want to make sure that when I integrate sine squared n pi x over a between zero and a I want to make sure I get one there's only going to be one value of a that allows this integral to come out and have that value so how do we do that integral let's integral of sine squared doesn't look too tough but to get rid of this messy stuff inside the trig function let's use use substitution so if I let u be n pi x over a so the du is n pi over a times dx and dx is du I'll move the a and the n pi to the other side that lets me rewrite my integral so I want one to be equal to the integral of a squared sine squared n pi x over a I chose my u so that that's n pi x over a would simplify and just become a u dx has now become a little more complicated dx is a du multiplied by some constants a over n pi and because I have a definite integral I have to remember and transform the limits as well so the integral used to go from x equals zero to x equals a now my integral needs to go from u equals something to you equals something when x equals zero if I plug into this expression if I put a zero in here the value of u is n pi times zero over a so that's still zero when x equals a n pi times a over a the a's cancel and I'm on the upper side upper limit just integrating up to n pi so let's pull all the constants out of this integral so I've got a squared a over n pi and now I'm integrating from zero to n pi the quantity sine squared u du all right so what do I do with that probably realistically probably what you do that is ask your calculator what it is or look it up in an integral table and that's fine that will give you the right answer we can in fact let me leave a little room and tell you that in fact the answer if I integrate sine squared from zero to n pi what I'm going to get is n pi over two and there's a nice reason that's true so I can draw a picture that will show you exactly why that's true if I so the quantity I'm integrating is sine squared so here's a graph of sine squared so sine squared looks like a sine except instead of dropping below the axis it bounces back above the axis because I've squared the sine wave so here's u the graph I've drawn there is sine squared of you I want to know the area under that curve as I go out to n pi that's what sine squared look like looks like it starts at zero and oscillates from that point on if I draw and let me say that's sine squared if I were to draw cosine squared that looks very very similar it just starts high and oscillates exactly the same but starts at one drops to zero goes back to one drops back down to zero and so on so that the second drop graph I've drawn there that's the graph of cosine squared and we know if I add those cosine squared and one squared together I get one right that's one of the tree identities almost nobody can forget so if I add the area under the green curve the sine squared curve if I add that to the area under the orange curve then what I'm getting is the area under one the area under this flat line one so the area under one if I go from zero out to n pi that's just a rectangle with height one and length n pi so that tells me that what I get from integrating just the sine squared part from just one of these two equal pieces is the the rectangle n pi divided by 2 so that's a way to remember if you want to remember how to do this definite integral of sine squared that's remember a way to remember how you get it but again the answer your calculator gives you is certainly just fine there's some cancellation that happens n pi over 2 the n pi in the numerator cancels this n pi in the denominator so we find that what we want to be true is that the one on the left side is equal to a squared times a little a over 2 we are solving for the value of a remember we're looking for the specific value of capital a that allows this integral to be equal to one so when I rearrange and solve for capital a a squared is 2 over a a is equal to the square root of 2 over a right so what that means is that the value of a that we've solved for in this wave function our actual particle in a box wave function we know the value of a now it's square root of 2 over a times sine of n pi x over a with the same requirement that this is only true inside the box and that n has to be some positive integer value so the process that we've just gone through taking the wave function squaring it integrating it everywhere and finding the value of this constant out front that guarantees that I have a hundred percent probability of finding the particle at some location that's a pretty common process that will go through any time we want to find the constant out in front of an integral but often we don't need to bother to do that notice that we got this far without having to discuss the value of a because this value of a didn't change whether or not this wave function solved the shorting equation whether I use this value of a or some different value of a it's still a solution to the shorting equation it still reaches zero at the edge of the box no matter how large the function is the only thing it affects is whether the probability integrates to one the way it's supposed to supposed to so if I truly want the full wave function including the value of this constant out front I need to go through this process which is often a little bit tedious to find this constant that we call a normalization constant this process that we just went through is called normalizing the wave function to find the normalization constant so it's give that a name and once I've normalized the wave function that's a good thing but if all I care about is is whether the wave function solves shorting there's equation or not or whether it has the right value at the boundaries of the box then I don't need to bother with the wave function so sometimes we'll solve quantum mechanical problems without bothering to think too hard about the normalization constant so the next thing we'll talk about normalization this this idea of normalization it turns out to be very closely related to another idea called orthogonalization and that's what we'll talk about in the next lecture


We are here at the World Telecommunication Development Conference 2014 in Dubai in the United Arab Emirates and I am very pleased to be joined by Mr Tarik Sultan who is a member of Finance for the Pakistan Telecommunication Authority. Mr Sultan, thank you very much indeed for being with us today. Thank you. Now, this conference happens every four years, it is a very important conference in the telecommunication development calendar. I wanted to find out from you why is this conference important to you? Well, first of all it is my first time that I am attending any ITU event. So it was very, very informative for me and it is so exciting to see that there is an opportunity of meeting so many people from so many different countries in one place. Then I think the WTDC is important because it gives an opportunity to the representatives from all the member countries to raise various issues that they are facing in their countries on various telecom matters and even make suggestions, comments and the working papers that are there to be discussed in the WTDC. They have an opportunity to contribute to that and the WTDC 14 is particularly important because the theme it has selected this time, the sustainable development, broadband for sustainable development. I think it is very important for those countries which have not yet achieved significant proliferation in the broadband segment that they can learn from the experiences of other countries and from the outcomes of WTDC and also for those countries which have achieved significant growth in broadband but still they are facing various issues on which they want the deliberation to be taken place at WTDC. What kind of challenges and opportunities are there in Pakistan at the moment with regards to broadband? In the broadband segment of Pakistan although we have achieved very good growth in the last two, three years but the absolute number is still very little but with the auction of 3G and 4G spectrum or the spectrum for next generation mobile services that Pakistan is currently in the process of doing. The auction is scheduled to be held on the 23rd of April and the last date for receiving applications for that from the prospective bidders is 14th of April. More spectrum will be available to the operators and mobile broadband will be available and new services will be offered and with that I think the growth will take place, a lot of growth will take place. I was reading a paper TD 43 for this particular conference and in that paper the Arab states have made a proposal to WTDC to add three items in the next one of the resolution 9 which included one of the three items was spectrum, efficient use of spectrum and in there they mentioned two items one was spectrum trading and the other was dynamic spectrum access. Now I think it's a very important topic that should be deliberated at the WTDC level that whether spectrum trading would be beneficial overall for the telecom companies and the governments all over the world because it might also offer an arbitrage opportunity to an investor who may not be into the telecom business and may not be really looking to roll out networks and offer services but may just want to you know get the spectrum and trade it because it will be suboptimal use of the spectrum because in that case the roll out of the services, offering of services will be delayed. The real objective of the efficient use of the spectrum is to provide services to the public and who I think in my view are the real owners of the spectrum, it's a public resource. And finally very briefly what outcomes you hope will come from this conference? My understanding is that the WTDC does not come out with any final acts, its conclusions are in the form of resolutions and submissions or decisions which then you know are used in the development of a program, work programs of WTDC for the next four years for the development of the telecom sector. So I although I didn't have any specific expectation in mind but I am hoping and I am sure that from these deliberations and this conference all these issues that have been raised by various countries and which I mentioned in the working papers that certain solutions will come out which will help the member countries resolve some of their issues. Sultana, thank you very much and you have been with us today. Thank you. And thank you for watching too.


My name is Mitch Goldstein and I am an assistant professor at Rochester Institute of Technology in upstate New York. And you can find my various Mitchisms sort of on the Internet at designcrit.com and on Twitter, like everybody else. And one other thing I wanted to mention specifically to you guys today was that I have started co-hosting a podcast called Through Process. And we're really talking a lot about design education, design pedagogy, and really kind of how we teach and things like that. So you might find that sort of fairly interesting, we've got about a dozen episodes up by now. So today I'm going to talk to you about delightful confusion. And this is a way that I think we can approach teaching design by embracing instead of avoiding confusion. And I'm going to kind of explain this idea. And then I'm going to show you some work that really shows you how it can be applied. So many of you in this room have spent about 20 years in school, some less, some more. But in the United States at least, we start when we're about four or five years old. Elementary school, junior high school, high school, eventually we go on to college. Those of us who have an MFA, we do another two or three years. So that 20 years of education is very well-structured. It's very goal-oriented. It's always looking forward to kind of finishing what you're doing now and then on to the next thing. And when we use education as a means to an end, you get educated and then you can get a job. And there's a level of predictability to that. And I think that in today's economy, getting a job is great. I'm not faulting anybody for that. I think that it's a very noble and it's a very worthy goal of education. But I think as designers we want maybe more than just a job. So therefore I think that this kind of structure, it presents a really big issue once we actually get into college. And specifically when we look at art and design education. And I think that issue is this. Students have been taught to expect clear goals with somewhat predictable outcomes. And they're basically taught to know kind of what's next. And this doesn't really change when you get into design school. Students want to learn how to get to the end and re-reward this idea in how we structure design education. We talk in terms of final grades, final projects, senior capstone, thesis, senior shows, all that stuff. And we teach students the rules. And we teach students the tools. And then we teach them kind of how to iterate based on sort of how we iterated. And really the thrust of most design education seems to be driving students to the realization that making this finished thing is kind of where it ends. Now we're all kind of getting to the finish line. And I really think we should consider a different idea as educators. Something that is equally important to getting things done, and that is not getting things done. Not driving to the finish, but driving to the inquiry. Teaching students how to ask instead of just how to answer. And I think to do this, we need to have a stronger consideration for what the students are doing before they actually get to the end. And to think about teaching and critiquing not just in the context of the final outcome, but in the context of now. In the context of what the student is doing at this current moment. I think we need to stop worrying so much about whether the direction they are heading in might be good or bad. Or if like a tangent is right or wrong. But I think students need to appreciate the work they are doing today. Not just as a step to the final in a month or two. And we tend to dismiss interesting tangents and distractions because we keep driving towards the end. I think that the tangents, the distractions, I think these things are extremely valuable. And Grace Paley was an American writer who wrote this essay called The Value of Not Understanding Everything. Which is just like wonderful. And she talked about how the common advice that you give to writers is to write about what you know. But then she argues really for the exact opposite. She thinks that writers should not write about what they know, but about what they don't know. Specifically because that will lead them to learn more. They will come to something with fewer preconceptions, fewer expectations with a fresh perspective. Which means writers and designers should spend more time being confused about what they're working on. Because that allows the outcomes to be unpredictable. And the discoveries have yet to be discovered. So I think with this knowledge and information we acquire, one of the most useful things to learn is learning what you don't know. I think that you should learn to be confused. And that you should learn to know that you don't know more than you do know. Because confusion opens us up to making wrong decisions. And it allows for more opportunities to make interesting mistakes. And when we delight in confusion, we can move to new ideas. We can revel in new methods, new ways of creating meaning in our work. Instead of just iterating again kind of in a way we've been taught. And this is a thing. Just scary, right? That is not me photoshopping, that is a thing. So it feels like an awful lot of design education is about trying to remove confusion, right? This is how you use the tools, this is how you use type, this is a baseline grid, all that stuff. This is the right way to do X or the right way to do Y. I think there's an important place where we need to embrace and encourage confusion to be able to allow students to discover new things. And that means allowing students to be confused. So I have just an example of this. This is a poster by Nancy Scolos and Tom Waddell, which honors Matthew Carter for the AIGA award a little while back. And Tom tells this great story about how they had been given the poster assignment, they'd been given the project, but they really didn't have any ideas. And they were kind of like walking through a hardware store one day. And Tom kind of turned a corner and saw this display of magnifying glasses in a stand. And through it he saw the text. And guess what, there was the poster. Like it was pretty much waiting for him in that discovery. They were not looking for the magnifying glasses. They did not go to the hardware store thinking how we're gonna do this Matthew Carter poster. They just happened to look, they happened to discover it. And they all kind of allowed the poster to be discovered. We need to really synthesize the clear with the confusing. I think that students need to learn about working with confusion as much as they need to learn about working with grids. Confusion is not something we should try to minimize. It should be something we should exploit. We should teach confusion to live with understanding and clarity. They should be roommates, not bitter enemies. I believe that when students do the kind of work that I'm gonna talk to you about today, alongside more traditional design education ideas, it will give them a much rounder, a much fuller, and a much more open idea of how they can relate to design. So I wanna show you some examples of this in and out of the classroom. This is not just theory. This is an applied way that we can kind of think about approaching how we teach. And this is the film, The Five Obstructions, which I'm not gonna show right now. But this is a Danish film. If you have not seen it, I strongly, strongly recommend you do see it. And in the film, the director Lars von Trier challenges his mentor, this guy named Jorgen Leth, to remake one of Jorgen Leth's short films five times.  And I really use this film a lot, because I think it's a great way to teach kind of a framework of confusion. I use it in a lot of different assignments in a lot of different ways. Because it forces students to confront confusion and to learn to deal with it. They have no option but to be confused and to not know where the work is going. So I have variations on how I use this idea. But students either choose content or are given content. They then pick three limitations literally like out of a Ziploc bag on a piece of paper, which is a really fun hour. Everybody gets irritated, it's great. They pick a formal limitation, a methodological limitation, a conceptual limitation. And then we really work with the content in any way they see fit. So some examples of this. This student had to work with recursion and 101 layers. And she made a series of prints by remaking and reusing each print into the print that came after it. And she originally started with a project she did about geology when she was like a sophomore. And these kind of just evolved into a series of covers for a bunch of essays that she was interested in. This student took a single photograph from a project she did about Dutch architecture and she worked in her limitations of cutting, making it happy, and using a light. So she cut up the photo, she painted on the photo, she cut it into strips, she wove them together, she kind of put them on a light table and shot them. And she ended up with this beautiful accordion book you can see on the bottom here that spelled out a sentence from a book that she was really interested in that she thought was appropriate. This next student had to work with random numbers, sculpture, and black and white. And he started with a foundation project that used ink and pen, ink and brush on water on paper. And he explored making sculptures out of the black and white forms and he ended up creating a zoetrope, which is like an old school animated thing that spins around, right? And he ended up using these photographs to make the typeface you can see in the lower right. So clearly these students had no clue where they were going with this. They could not know where they were going with this. They had to let the process just go with and let them do kind of what they were doing. So the next set of work is basically the same sort of assignment, but this is graduate students. And now these students are working in a framework specifically to create a poster, which was for a project about the future of cities, where cities were going to go in the future. So this student had to use Flickr. She had to use her opposite hand and she had to make it fun. So she started with, I was going to say I don't make up these rules, except I totally make up these rules, so never mind. She started with these abstract drawings with her wrong hand. And then she rendered these drawings on the computer using Rhino, using 3D software, posted them to Flickr and took photos. And then to make it fun, she used a kaleidoscope that she used to enjoy using when she was a little kid. So she sort of held the kaleidoscope up and shot these images with her phone. And she eventually got to this idea of the city in the cloud. So the poster became this really tangible like applied treatment of these ideas. Another student had to use a hundred mouse clicks, only circles, and he had to make it personal. So his rather clever take on using the limitations was to literally use the pieces of paper I wrote the limitations on.  Whoops, skipped one there. So he set up his camera on his desktop and the camera was kind of pointing behind him at this window. The window had little kind of circles that kind of helped to screen the sunlight. And he set his camera on a timer to randomly take photos of himself as he worked. And he eventually got to this poster about online versus real identity and how we identify ourselves in the future of the city. And then this last student project I want to show, she had to work somewhere new. She had to make it stop motion and she had to make it laugh.  And then she experimented taking photos of these strings kind of moving around the stool and stopping the motion, the photos. And this led to some really gorgeous images that reminded her of like network diagrams and connectivity. She added in some vector shapes. And eventually she got to this idea about like the new global neighborhood. So next I want to talk about using this kind of framework outside of the classroom into client work, into applied work. And this is client work that my partner Ann Jordan did recently. And this is the cover design for a book called Convulsing Bodies, which is a book about the philosopher Michelle Foucault and his thoughts on the human body and religion. And so I'm going to show you a whole bunch of options that Ann went through to kind of get to the final piece. And Ann designs a lot using cameras, lots of exploration with like scanners and cameras and things like that, tons of different materials like papers and inks and brushes. And her process, it's really not about I want it to look like this. The process is what could this look like? And she goes from there. And she uses the design process to discover form and meaning. This means that there's a lot of confusion and a lot of inquiry in the work because it is not heading towards a predictable place. But instead it goes in lots and lots of different directions that are very, very roughly grouped conceptually. So ultimately for one cover she will create hundreds of different compositions, almost all of which will not be used. In fact, all except one will not be used. But that eventually lead to the final cover that you see here. And what I've learned working with Ann is that nothing is garbage. All of these ideas that she generated, it's not kind of for waste because she kind of puts them away, she keeps them, puts them into her drawer. Sometimes literally puts them into a drawer. And it likely percolates up later. It becomes other things down the road. So then I want to show a project that I did. And this is a project that promotes a class I taught about music video. And it uses the same ideas of confusion and discovery in the process to kind of lead me along here. So first I looked at some unused work that I had not really touched many months before. These happened to be photographs of a music video playing on my computer. These really kind of pixely grainy images that I actually really liked. And then I created a quick little animation in After Effects with an image or two, some of the main information typeset. The whole thing is at 90 degrees because I knew this was going to go vertical down the road. And I looped this movie. And I projected it onto some big sheets of paper. I was waving around in front of a digital projector. And I then shot those projections with a long exposure on a still camera. And what this did was it generated a lot of still images, most of which did not work at all. But I was kind of seeing where the process was leading me. Eventually some of the compositions started working. And I ended up with hundreds of almost posters, hundreds of things that were kind of going somewhere but weren't there yet. But eventually I found the final poster. It was as a result of discovery. So in my head I had an initial very broad idea of where I was going. And then I worked through the process to see what came of it. And I spent 99% of this project being confused out of my mind and not knowing where stuff was going to go. But I kind of trusted the confusion. And it eventually led me somewhere good. So to kind of come back full circle to school, I think that those applied projects I just showed are synthesizing the confusion and the discoveries alongside type, image, form, all the things we learned in school. But I've also taken this idea of inquiry and discovery to its kind of most extreme conclusion, which is simply making. Making with no assignment, making with no brief, no form, no content, no direction, no nothing. Again, my partner Ann and I, we spent about a half hour a day doing what we call an inside walk. And we just make to make. We discover what happens along the way. And then we post the results online at this website that you guys can take a look at. And this is really about us kind of going back to the classroom. So I'm just going to show you, we've got hundreds and hundreds of things up there. This is just a few examples. We change tools and materials on a whim. Sometimes we do the same thing for a few days. Sometimes we do it once and never touch it again. But the goal is to encourage confusion and to learn the habit of making. And really, this is kind of like walking the talk, basically, that I talked to my students about. I'm now kind of doing it myself. And it's resulted in what we feel is some really great stuff. And it's also resulted in some what we feel is absolute garbage as well. But that's kind of how it works. That's part of the game that we're playing here. So we make the work, we post it, we document it. It's all online in this visual archive. We can kind of look at and see where it goes. Any originals we make, any physical pieces, which is 95% of it is physical, goes into a drawer somewhere. And working this way really sparks new ideas, new methodologies, new ways of making form and meaning. And it infuses itself into our other work. It infuses it into our client work. It very much infuses into how I teach about process and methodology in my classes. And it's 30 minutes a day that pretty much always starts with confusion and sometimes irritation and annoyance. But from that confusion, all of these really interesting things kind of happen. And again, the work is online. Feel free to take a peek if you like. It's updated very regularly, usually a few times a week. So in conclusion, I think a very important part of what we should be teaching students is to have a sense of self in their work. The students should develop a voice and a vision as creators. And I think that delightful confusion is a way to encourage that. Because students need to understand that design is about inquiry. And they also understand that part of what they are learning in school is how to ask. And then apply those questions to their work. Thank you very much.


With thoughtful planning and clear explanation to participants, Moodle's workshop activity can provide a very powerful peer assessment tool. Participants may assess each other anonymously, they can practice with examples to review, they may have a chance to evaluate their own work and the peer reviews can be random or teacher-defined. In case of any conflicts, the teacher can retain overall control. In this workshop activity, taken from the Learn Moodle Basics MOOC, participants must submit information about their home region and then evaluate the submissions of other participants, according to set criteria. You can see that the workshop has four different phases and then it is closed. Let's explore these one at a time, from the teacher and student point of view. Setup phase, teacher view. Our teacher adds a workshop to his course by turning on the editing, clicking Add an activity or resource and selecting workshop. He then gives it a name and description which can be displayed on the course page by ticking the box. Other settings can be expanded by clicking their links. Grading settings. Here you can decide how you want the submissions to be graded. There are four standard methods and clicking the Help icon gives more information. We'll use the simple number of errors which is good for a basic workshop. Note workshops have two grades. The grade students get from submitting and the grade they get for the quality of their assessment and as a teacher you can change the ratio here and also set pass grades. Submission settings. Here is where teachers add the instructions and decide how many, if any, files may be uploaded and the types and size of these files. You can also decide to allow submissions after the deadline if this is important to you. Assessment settings. Give basic instructions for the peer assessment here. Tick the box if you want students to have a chance to assess their own work. This is not a certainty it just means their submissions will be included during allocation. Feedback. Teachers can choose to add an overall conclusion and or file attachments at the end of the workshop activity. Example submissions can be useful especially if your students are new to a workshop and need practice assessing. You can add examples of good and less good work for students to review and decide how and when you want these example submissions to appear. Availability allows you to set opening and closing times for the submissions and assessments. You can also choose to start the assessment phase that is the time when students are peer reviewing automatically at the end of the submission phase. We'll look into that shortly. Other settings are similar to other Moodle activities but it's worth knowing that in activity completion students need to have only one of the two grades to complete the activity. Clicking save and display shows two items are done but there are still two tasks remaining. One is to edit the assessment form. This workshop is using a simple number of errors so we can write a short phrase explaining what the student must look for and choose our word for wrong or correct. Some items can have more weight than others if desired. Setup phase student view. While the teacher is preparing the workshop here's what our student sees. She can't access the workshop until the teacher switches to the next phase so make sure as a teacher you remember to do this. Submission phase teacher view. When our teacher switches to the submission phase students will then be able to submit their work. We check the green arrows to ensure all our tasks are done and see that we must allocate the submissions to the assessors. We'll do this shortly. Submission phase student view. Now is the time for students to submit work. In our workshop based on the Learn Moodle Basics MOOC they must write three sentences about their home area, add a link to a relevant website and upload an image and then wait until the next phase is available. Assessment phase teacher view. During the assessment phase students will review each other submissions but before they can do this our teacher must decide how the submissions will be allocated. Manual allocation means we decide who assesses whose submission which is fine if it's a small class or you know your students well and want to control certain allocations. We can use the drop downs to choose the reviewers and reviewes. Random allocation is useful if you have large classes or don't want to be personally involved in the selections. You can choose either a number per submission or a number per reviewer. We can also allow students to assess without having submitted anything. As only one grade is required for activity completion this at least would allow them to complete the activity. Scheduled allocation means that as soon as the deadline for submissions has passed the workshop will send out the submissions to be assessed. Again there are settings to choose from for the submission allocations. Now it's time to move to the assessment phase and this is where the peer assessment becomes really valuable because the students are doing the work and our teacher can simply monitor the process. Assessment phase student view. Note if you want to make assessing or reviewing anonymous read the workshop FAQ for instructions on which permissions to change to do this. With the assessment phase open our student clicks into the workshop and must then scroll down and click to open and view her allocated submissions. Now she sees the assessment form set up by the teacher before. Note it is essential the assessment criteria are easy to understand and unambiguous. Much of the success of the workshop activity depends on students understanding of the peer assessment criteria and their ability to correctly implement them. This grading strategy is number of errors. Moodle's documentation on workshop gives information about the other methods. Grading evaluation phase. Teacher view. Here's where teachers check the grades. The assessment grade is calculated by comparison with the best assessment which means the grade for assessment is determined by comparing the grade a student gave for each submission with the grades other participants gave. If everyone agrees and gives exactly the same grades then everyone gets an assessment grade of a hundred percent. If not everyone agrees the amount that they disagree is reflected in a lower grade for the assessment and this comparison can range from very strict to very lax. If you're not sure leave it as the default. Fair. Here too after the calculation is where our teacher is able to edit any grades if needed. Perhaps one student was over generous or too unkind. The overridden grades appear in a different color. During this phase also we can publish that's make visible selected submissions at the end of the workshop. These could be good examples or poor examples but are useful for students to peruse and submissions can be published by clicking into them and ticking the publish submission box. Grading evaluation phase. Student view. During this time which can be a few minutes or a few days depending on our teacher's workload and the number of students students are prompted to be patient and come back later. Close. Teacher view. When the workshop is closed the two grades will appear in the grade book and if activity completion is used the activity will be marked complete. Close. Student view. Here our student can see any conclusion that was added. She can check how others assessed her and she can view any published submissions. To summarise workshop is an advanced peer review activity which empowers learners.


A former minister of education, Obie Ezekwisli, has ranked Peter Obie of the Labour Party higher than other leading presidential candidates for the 2023 elections. Her comment is coming on the heels of recent massive rallies held by Obie's supporters in several parts of the country to mobilize support for the Labour Party man. She said Obie possesses what others do not have, even as the country suffers from poor leadership. She also lamented the country's leadership problem, adding that the country has recorded stunted growth as a result of it. However, she acknowledged that the current political awakening in the country, especially among youths, will alter the landscape.


Dear students, in this topic we shall discuss the non-tropic hormones of adenohypophysis. Adenohypophysis secretes three hormones that act directly on their target tissues. These include melanocyte-stimulating hormone MSH, prolectin-ERL and growth hormone GH. It is also called as Sumetotrophin. The melanocyte-stimulating hormone or MSH is a peptide hormone. In lower vertebrates, large amounts of MSH are produced from the intermediate lobe of pituitary. In humans, MSH is produced from par's intermediate of anterior pituitary in extremely low quantities. The MSH regulates the activity of pigment-containing cells, that is, melanocytes. That is why its name is Melanocyte-Stimulating Hormone. These melanocytes are found in the skin of many vertebrates. This hormone stimulates the synthesis of black pigment melanin by melanocytes. In these melanocytes, not only this is synthesized, but its dispersion is also controlled by MSH within the melanocyte. If this disperses inside the melanocyte, then the skin's color becomes black. If it is concentrated, then the skin's color becomes lighter. That is why it affects the melanocyte. This leads to the darkening and lightening of the skin color. Melanocyte-Stimulating Hormone is not produced that much in humans. That is why the pigmentation of the skin is mostly controlled by ACTH, adenocorticotropic hormone. MSH plays some roles other than controlling the melanocytes. For example, in mammals, it also affects the hunger and inhibits the act of hunger by acting on some neurons in the brain. It is also involved in fat metabolism, prolectin. Prolectin has diverse effects in different vertebrates. In birds, it regulates fat metabolism and reproduction. In amphibians, it delays the process of metamorphosis. In freshwater fishes, it regulates salt and water concentration while in mammals, it stimulates memory gland growth and milk production. Students, now we shall discuss growth hormone in detail. The growth hormone is also known as somatotropin and somatotropic hormone. It is a protein that contains 191 amino acids in a single chain. The production and release of growth hormone is under the control of two hypothalamic hormones. One is the growth hormone, releasing hormone that is GHRH and the other is the somatostatin that is growth hormone inhibiting hormone GIH. The growth hormone exerts both metabolic and developmental effects. First we shall discuss the metabolic effects of growth hormone. Growth hormone induces mobilization of stored fat for energy metabolism. It stimulates fatty acid uptake by the muscles. It also decreases the rate of glucose utilization. As a result, it causes elevation of glucose in blood. Growth hormone also increases the rate of protein synthesis in most cells of the body. It also stimulates insulin secretion. Insulin secretion is directly or indirectly caused by growth hormone. Directly this way, it acts directly on beta cells of pancreas and stimulates insulin secretion. This is the only trophic effect of growth hormone. Otherwise, all other effects are non-trophic but this is the trophic effect. Indirectly, insulin secretion increases glucose levels in blood. Overall, growth hormone enhances body proteins. It uses up fat stores and conserves carbohydrates. Now we shall discuss the developmental effects of growth hormone. It causes growth of almost all tissues of the body. It stimulates RNA and protein synthesis and promotes the growth of tissues. Particularly, cartilage and bone growth. The growth of tissues due to growth hormone is because of cell division. That is proliferation. Increase in the number of cells. There are two ways of growth. 1. Increase in the number of cells and 2. Increase in the size of cells. This increases the number of cells. Growth hormone works synergistically with thyroid hormones and promotes tissue growth during development. Growth hormone also stimulates liver to produce growth-promoting factors. Insulin-like growth factor, IGFs act directly on cells to promote growth. Growth hormone produces such factors. Dear students, growth hormone is very important in the developmental processes of animals and humans. Its undersecretion or oversecretion has drastic effects which lead to abnormal growth and development of the body. There are three such major human factors which produce due to the level of growth hormone. 1. Gigantism. It is a very big risk. Excessive size, excessive stature. If growth hormone is more secreted in the amount of childhood before puberty, it increases the risk. This is called gigantism. 2. Acromegaly. If growth hormone secreted in the amount of childhood before puberty, it increases the risk of head bones and extremities. This is called acromegaly. If the secretion of growth hormone is less than the age of development before puberty, it produces dwarfism. In which stature is short. We call it bone-up in common language. That is because of the deficiency of growth hormone.