The CoSimulation Application contains the core developments in coupling black-box solvers and other software-tools within Kratos Multiphysics.
Overview
List of features
- Various features available for CoSimulation:
- Support for MPI parallelization. This is independent of whether or not the ued solvers support/run in MPI.
- Coupling of Kratos <=> Kratos without overhead since the same database is used and data duplication is avoided.
- The MappingApplication is used for mapping between nonmatching grids.
Dependencies
The CoSimulation Application itself doesn't have any dependencies (except the KratosCore
/ KratosMPICore
for serial/MPI-compilation).
For running coupled simulations the solvers to be used have to be available. Those dependencies are python-only.
The MappingApplication is required when mapping is used.
Examples
The examples can be found in the examples repository. Please also refer to the [tests](tests) for examples of how the coupling can be configured. Especially the Mok-FSI and the Wall-FSI tests are very suitable for getting a basic understanding.
User Guide
This section guides users of the CoSimulationApplication to setting up and performing coupled simulations. The overall workflow is the same as what is used for most Kratos applications. It consists of the following files:
- MainKratosCoSim.py This file is to be executed with python to run the coupled simulation
- ProjectParametersCoSim.json This file contains the configuration for the coupled simulation
Setting up a coupled simulation
For running a coulpled simulation at least the two files above are required. In addition, the input for the solvers / codes participating in the coupled simulation are necessary.
The MainKratosCoSim.py file looks like this (see also here:
import KratosMultiphysics as KM
from KratosMultiphysics.CoSimulationApplication.co_simulation_analysis import CoSimulationAnalysis
"""
For user-scripting it is intended that a new class is derived
from CoSimulationAnalysis to do modifications
Check also "kratos/python_scripts/analysis-stage.py" for available methods that can be overridden
"""
parameter_file_name = "ProjectParametersCoSim.json"
with open(parameter_file_name,'r') as parameter_file:
parameters = KM.Parameters(parameter_file.read())
simulation = CoSimulationAnalysis(parameters)
simulation.Run()
It can be executed with python:
python MainKratosCoSim.py
If the coupled simulation runs in a distributed environment (MPI) then MPI is required to launch the script
mpiexec -np 4 python MainKratosCoSim.py --using-mpi
Not the passing of the --using-mpi
flag which tells Kratos that it runs in MPI.
The JSON configuration file
The configuration of the coupled simulation is written in json
format, same as for the rest of Kratos.
It contains two settings:
- problem_data: this setting contains global settings of the coupled problem.
"start_time" : 0.0,
"end_time" : 15.0,
"echo_level" : 0, // verbosity, higher values mean more output
"print_colors" : true, // use colors in the prints
"parallel_type" : "OpenMP" // or "MPI"
- solver_settings: the settings of the coupled solver.
"type" : "coupled_solvers.gauss_seidel_weak", // type of the coupled solver, see python_scripts/coupled_solvers
"predictors" : [], // list of predictors
"num_coupling_iterations" : 10, // max number of coupling iterations, only available for strongly coupled solvers
"convergence_accelerators" : [] // list of convergence accelerators, only available for strongly coupled solvers
"convergence_criteria" : [] // list of convergence criteria, only available for strongly coupled solvers
"data_transfer_operators" : {} // map of data transfer operators (e.g. mapping)
"coupling_sequence" : [] // list specifying in which order the solvers are called
"solvers" : {} // map of solvers participating in the coupled simulation, specifying their input and interfaces
See the next section for a basic example with more explanations.
Basic FSI example
This example is the Wall FSI benchmark, see [1], chapter 7.5.3. The Kratos solvers are used to solve this problem. The input files for this example can be found here
{
"problem_data" :
{
"start_time" : 0.0,
"end_time" : 3.0,
"echo_level" : 0, // printing no additional output
"print_colors" : true, // using colors for prints
"parallel_type" : "OpenMP"
},
"solver_settings" :
{
"type" : "coupled_solvers.gauss_seidel_weak", // weakly coupled simulation, no interface convergence is checked
"echo_level" : 0, // no additional output from the coupled solver
"predictors" : [ // using a predictor to improve the stability of the simulation
{
"type" : "average_value_based",
"solver" : "fluid",
"data_name" : "load"
}
],
"data_transfer_operators" : {
"mapper" : {
"type" : "kratos_mapping",
"mapper_settings" : {
"mapper_type" : "nearest_neighbor" // using a simple mapper, see the README in the MappingApplications
}
}
},
"coupling_sequence":
[
{
"name": "structure", // the structural solver comes first
"input_data_list": [ // before solving, the following data is imported in the structural solver
{
"data" : "load",
"from_solver" : "fluid",
"from_solver_data" : "load", // the fluid loads are mapped onto the structure
"data_transfer_operator" : "mapper", // using the mapper defined above (nearest neighbor)
"data_transfer_operator_options" : ["swap_sign"] // in Kratos, the loads have the opposite sign, hence it has to be swapped
}
],
"output_data_list": [ // after solving, the displacements are mapped to the fluid solver
{
"data" : "disp",
"to_solver" : "fluid",
"to_solver_data" : "disp",
"data_transfer_operator" : "mapper"
}
]
},
{
"name": "fluid", // the fluid solver solves after the structure
"output_data_list": [],
"input_data_list": []
}
],
"solvers" : // here we specify the solvers, their input and interfaces for CoSimulation
{
"fluid":
{
"type" : "solver_wrappers.kratos.fluid_dynamics_wrapper", // using the Kratos FluidDynamicsApplication for the fluid
"solver_wrapper_settings" : {
"input_file" : "fsi_wall/ProjectParametersCFD" // input file for the fluid solver
},
"data" : { // definition of interfaces used in the simulation
"disp" : {
"model_part_name" : "FluidModelPart.NoSlip2D_FSI_Interface",
"variable_name" : "MESH_DISPLACEMENT",
"dimension" : 2
},
"load" : {
"model_part_name" : "FluidModelPart.NoSlip2D_FSI_Interface",
"variable_name" : "REACTION",
"dimension" : 2
}
}
},
"structure" :
{
"type" : "solver_wrappers.kratos.structural_mechanics_wrapper", // using the Kratos StructuralMechanicsApplication for the structure
"solver_wrapper_settings" : {
"input_file" : "fsi_wall/ProjectParametersCSM" // input file for the structural solver
},
"data" : { // definition of interfaces used in the simulation
"disp" : {
"model_part_name" : "Structure.GENERIC_FSI_Interface",
"variable_name" : "DISPLACEMENT",
"dimension" : 2
},
"load" : {
"model_part_name" : "Structure.GENERIC_FSI_Interface",
"variable_name" : "POINT_LOAD",
"dimension" : 2
}
}
}
}
}
}
Developer Guide
Structure of the Application
The CoSimulationApplication consists of the following main components (taken from [2]):
- SolverWrapper: Baseclass and CoSimulationApplication-interface for all solvers/codes participating in the coupled simulation, each solver/code has its own specific version.
- CoupledSolver: Implements coupling schemes such as weak/strong coupling with Gauss-Seidel/Jacobi pattern. It derives from SolverWrapper such that it can beused in nested coupled simulations.
- IO: Responsible for communicating and data exchange with external solvers/codes
- DataTransferOperator: Transfers data from one discretization to another, e.g. by use of mapping techniques
- CouplingOperation: Tool for customizing coupled simulations
- ConvergenceAccelerator: Accelerating the solution in strongly coupled simulations by use of relaxation or Quasi-Newton techniques
- ConvergenceCriteria: Checks if convergence is achieved in a strongly coupled simulation.
- Predictor: Improves the convergence by using a prediction as initial guess for the coupled solution
The following UML diagram shows the relation between these components:
Besides the functionalities listed above, the modular design of the application makes it straightforward to add a new or customized version of e.g. a ConvergenceAccelerator. It is not necessary to have those custom python scripts inside the CoSimulationApplication, it is sufficient that they are in a directory that is included in the PYTHONPATH (e.g. the working directory).
How to couple a new solver / software-tool?
The CoSimulationApplication is very modular and designed to be extended to coupling of more solvers / software-tools. This requires basically two components on the Kratos side:
The interface between the CoSimulationApplication and a solver is done with the SolverWrapper. This wrapper is specific to every solver and calls the solver-custom methods based on the input of CoSimulation.
The second component necessary is an IO. This component is used by the SolverWrapper and is responsible for the exchange of data (e.g. mesh, field-quantities, geomety etc) between the solver and the CoSimulationApplication.
In principle three different options are possible for exchanging data with CoSimulation:
- For very simple solvers IO can directly be done in python inside the SolverWrapper, which makes a separate IO superfluous (see e.g. a python-only single degree of freedom solver)
- Using the CoSimIO. This which is the preferred way of exchanging data with the CoSimulationApplication. It is currently available for C++, C, and Python. The CoSimIO is included as the KratosCoSimIO and can be used directly. Its modular and Kratos-independent design as detached interface allows for easy integration into other codes.
- Using a custom solution based on capabilities that are offered by the solver that is to be coupled.
The following picture shows the interaction of these components with the CoSimulationApplication and the external solver:
Interface of SolverWrapper
The SolverWrapper is the interface in the CoSimulationApplication to all involved codes / solvers. It provides the following interface (adapted from [2]), which is also called in this order:
- Initialize: This function is called once at the beginning of the simulation, it e.g .reads the input files and prepares the internal data structures.
- The solution loop is split into the following six functions:
- AdvanceInTime: Advancing in time and preparing the data structure for the next time step.
- InitializeSolutionStep: Applying boundary conditions
- Predict: Predicting the solution of this time step to accelerate the solution.\ iterate until convergence in a strongly coupled solution:
- SolveSolutionStep: Solving the problem for this time step. This is the only function that can be called multiple times in an iterative (strongly coupled) solution procedure.
- FinalizeSolutionStep: Updating internals after solving this time step.
- OutputSolutionStep: Writing output at the end of a time step
- Finalize: Finalizing and cleaning up after the simulation
Each of these functions can implement functionalities to communicate with the external solver, telling it what to do. However, this is often skipped if the data exchange is used for the synchronization of the solvers. This is often done in "classical" coupling tools. I.e. the code to couple internally duplicates the coupling sequence and synchronizes with the coupling tool through the data exchange.
An example of a SolverWrapper coupled to an external solver using this approach can be found here. Only the mesh exchange is done explicitly at the beginning of the simulation, the data exchange is done inside SolveSolutionStep.
The coupled solver has to duplicate the coupling sequence, it would look e.g. like this (using CoSimIO) for a weak coupling:
while time < end_time:
CoSimIO::ImportData(...)
CoSimIO::ExportData(...)
void ExportMesh(CoSimIO::Info &rInfo, const Kratos::ModelPart &rModelPart)
Definition: add_co_sim_io_to_python.cpp:53
An example for an FSI problem where the structural solver of Kratos is used as an external solver can be found here. The CoSimIO is used for communicating between the CoSimulationApplication and the structural solver
While this approach is commonly used, it has the significant drawback that the coupling sequence has to be duplicated, which not only has the potential for bugs and deadlocks but also severly limits the useability when it comes to trying different coupling algorithms. Then not only the input for the CoSimulationApplication has to be changed but also the source code in the external solver!
Hence a better solution is proposed in the next section:
Remote controlled CoSimulation
A unique feature of Kratos CoSimulation (in combination with the CoSimIO) is the remotely controlled CoSimulation. The main difference to the "classical" approach which duplicates the coupling sequence in the external solver is to give the full control to CoSimulation. This is the most flexible approach from the point of CoSimulation, as then neither the coupling sequence nor any other coupling logic has to be duplicated in the external solver.
In this approach the external solver registers the functions necessary to perform coupled simulations through the CoSimIO. These are then called remotely through the CoSimulationApplication. This way any coupling algorithm can be used without changing anything in the external solver.
def SolveSolution()
{
}
def ExportData()
{
}
CoSimIO::Register(SolveSolution)
CoSimIO::Register(ExportData)
def Run()
Definition: convection_diffusion_benchmarks.py:9
A simple example of this can be found in the CoSimIO.
The SolverWrapper for this approach sends a small control signal in each of its functions to the external solver to tell it what to do. This could be implemented as the following:
class RemoteControlSolverWrapper(CoSimulationSolverWrapper):
data_config = {
"type" : "control_signal",
"control_signal" : "InitializeSolutionStep"
}
self.ExportData(data_config)
def SolveSolutionStep(self):
for data_name in self.settings["solver_wrapper_settings"]["export_data"].GetStringArray():
data_config = {
"type" : "control_signal",
"control_signal" : "ImportData",
"data_identifier" : data_name
}
self.ExportData(data_config)
data_config = {
"type" : "coupling_interface_data",
"interface_data" : self.GetInterfaceData(data_name)
}
self.ExportData(data_config)
super().SolveSolutionStep()
for data_name in self.settings["solver_wrapper_settings"]["import_data"].GetStringArray():
data_config = {
"type" : "control_signal",
"control_signal" : "ExportData",
"data_identifier" : data_name
}
self.ExportData(data_config)
data_config = {
"type" : "coupling_interface_data",
"interface_data" : self.GetInterfaceData(data_name)
}
self.ImportData(data_config)
void InitializeSolutionStep(ConstructionUtility &rThisUtil, std::string ThermalSubModelPartName, std::string MechanicalSubModelPartName, std::string HeatFluxSubModelPartName, std::string HydraulicPressureSubModelPartName, bool thermal_conditions, bool mechanical_conditions, int phase)
Definition: add_custom_utilities_to_python.cpp:45
A full example for this can be found here.
If it is possible for an external solver to implement this approach, it is recommended to use it as it is the most robust and flexible.
Nevertheless both approaches are possible with the CoSimulationApplication.
Using a solver in MPI
By default, each SolverWrapper makes use of all ranks in MPI. This can be changed if e.g. the solver that is wrapped by the SolverWrapper does not support MPI or to specify to use less rank.
The base SolverWrapper provides the _GetDataCommunicator
funciton for this purpose. In the baseclass, the default DataCommunicator (which contains all ranks in MPI) is returned. The SolverWrapper will be instantiated on all the ranks on which this DataCommunicator is defined (i.e. on the ranks where data_communicator.IsDefinedOnThisRank() == True
).
If a solver does not support MPI-parallelism then it can only run on one rank. In such cases it should return a DataCommunicator which contains only one rank. For this purpose the function KratosMultiphysics.CoSimulationApplication.utilities.data_communicator_utilities.GetRankZeroDataCommunicator
can be used. Other custom solutions are also possible, see for example the structural_solver_wrapper.
References
- [1] Wall, Wolfgang A., Fluid structure interaction with stabilized finite elements, PhD Thesis, University of Stuttgart, 1999, http://dx.doi.org/10.18419/opus-127
- [2] Bucher et al., Realizing CoSimulation in and with a multiphysics framework, conference proceedings, IX International Conference on Computational Methods for Coupled Problems in Science and Engineering, 2021, https://www.scipedia.com/public/Bucher_et_al_2021a


---
layout: post
title: Aperture2 vs. Lightroom2 - Aperture Forum Post
tags:
- Adobe Lightroom
- Aperture
- Aperture 2
- Aperture vs Lightroom
- Apple
- Lightroom 2
status: publish
type: post
published: true
meta:
_edit_lock: "1225660549"
_edit_last: "2"
dsq_thread_id: "370593831"
---
RB
Name changed wrote:
well it was nice while it lasted, but Apple come on do you think nobody will try another software ?
I moved to Lightroom2, for the following reasons
1) Lightroom presets, finally i can select how i want a group of pictures to look like and replicate it later with 1 click
I use both applications both on almost a daily basis. If this is your number
one reason to switch I see you switching back and forth and to and fro
to just about anything that comes along. This functionality is
replicated using other Aperture features in a heartbeat. Good luck
saving a ton of time with this one.
2)Keyword synonyms, I have finally have a meaningful hierarchy and synonyms included without moving a finger
Keyword synonyms are nice I totally agree that this is really cool -
esp for multilingual photographers or publications. Bet you you will
see Keyword functionality beefed up in the next Aperture release it's
been about the same since v1 (long before LR was even a glimmer in
Adobe's eye)
3)working keywords. I can have my "work group"
keywords like what agencies i submitted my images too, what were the
sales etc. I can search and sort and create dynamic collections, but I
can choose those to be exportable or not exportable. Apple if you
position Aperture as "professional" software, give us tools that
professionals can use
Aperture can do the same thing with one caveat that there are several
scripts make work (namely putting the hierarchy in the exported version)
4)Non destructible editing. I can mask, edit,
correct, change exposure, sharpen, color, etc without creating a
rendered file. I do not get a concept of Aperture plugins, why do i
want to use or pay for plugins that render to a file? I want it in RAW,
otherwise i have photoshop
"Non Destructable" is this a new technology that I missed or didn't quite
fathom. Anywho - the localized adjustments are nice and Aperture's D+B
plugin is a joke but not a deal breaker for most folk especially with
tools like Viveza. and disk space is cheap anyway.
5)D@mn databases are getting corrupted all
the time. Apple get a note, use unique ID not visible to users, I don't
care if 2 files have the same name, make it work
I have 300,000+ images in my main library - no issues. Maybe it's you
or your hardware, or something. LR has a database - don't count your
chickens so fast.
6)Better B&W processing and NR
Agreed way better DNG support and the new camera profiles and profile
tools that not many people even know are out there are a game changer -
Apple needs to think about this and hopefully do something similar or
better yet open up the RAW processing engine and let other people do it.
As for noise - get a D3 or D700 all noise reduction *****.
Overall I liked Aperture UI and features much better then Lightroom 1x,
but when Lightroom 2.0 came out i gave it a try. The type of
productivity increase i got is just incredible comparing to Aperture.
The biggest "no go" for me was lack of support for second monitor and
proper compare tools. With Lightroom 2 I have it all
Now minor but noticeable differences between Aperture and Lightroom
- Aperture database keeps getting corrupted (did i mention it before?)
- Aperture keeps crashing
- At about 50,000 images Aperture is barely usable with MacbookPro with 4GB ram
- You can not take your processing changes with you, Lightroom export those into XMl
There are much more things regarding support of new camera's, support for bridge or CS, issues closed format
Overall I love Aperture look and feel and some functions, but if I need
to process, keyword and render 100 pictures in 10 minutes from Studio
shoot I choose lightroom
Bye bye
Have fun
Bye
We'll miss you over here, can't wait to see you in the LR forums.
RB
Ps. 100 shots? Save your self some time spent in learning a new app use bridge or finder.


All transactions are secure and encrypted, and we neverstor To learn more, please view our privacy policy.


The Little Dot MK VI+ is our flagship headphone amplifier/pre-amplifier in the Little Dot MK-series. A fully balanced architecture, the Little Dot MK VI+ has exceptional dynamic range and can produce clean amplitudes of 70Vp-p into 120 ohms! The balanced Class-A SEPP (single-ended push pull) OCL (output capacitor-less) circuit topology delivers rich tonality and brute force clean power for maximum dynamics and low frequency impact. We carefully selected quality components to make up the Little Dot MK VI+ circuit, and you will find Neutrik, ALPS, Vishay-Dale, WIMA, ERO, and CHEMI-COM among the critical circuit components used. The Little Dot MK VI+ also adds in user-tweaking options such as two gain settings to delivery maximum compatibility with your headphones!
The Little Dot MK VIII SE further specializes our Little Dot MK VI+ platform for no-compromise performance with high impedance headphones. Fully balanced architecture with single-ended headphone functionality as well, the Little Dot MK VIII SE is also dual-mono with independent amplifiers with their own isolated toroidal transformer power supplies. An output capacitor-less design minimizes components in the signal path, delivering a "pure" signal free from unwanted distortion and color. The Little Dot MK VIII SE's sound signature is designed to be provide a reference-level of transparency with a touch of tube warmth and tonal richness. With 60V p-p voltage swing, dynamic range and impact is both effortless and thunderous. Low frequencies extend deep with slam and authority, yet remains tight and musical. The Little Dot MK VIII SE is designed to be used with high impedance headphones like Sennheisers (HD600, HD650, HD800) and Beyerdynamics.
The Little Dot MK VII+ is a fully balanced, dual-mono headphone amplifier with single-ended compatibility. The circuit is composed of four independent channels with LME49710HA pre-stage and discrete BD139/BD140 transistor output stage. The four independent channels are fed by dual double-wound toroidal transformers with double rectification and four independent regulators which constitute a true “dual-mono” architecture. The input and output XLR jacks are Swiss-made locking Neutrik for superior conductivity and durability. The input RCA jacks are premium American CMC and the 6.35mm output headphone port is also a locking Neutrik jack. The volume control is a Japanese ALPS potentiometer for exceptional tracking and smooth rotation. Premium hand-selected resistors are used throughout the circuit alongside German WIMA / CHEMI-COM capacitors. The Little Dot MK VII+ is an OCL (output capacitor-less) design which provides an unmatched level of sound purity as components in the signal path are minimized to reduce distortion and imparting color to the sound. Extremely low output impedance and high damping factor coupled with immense power output ensures iron control of any headphone driver. The Little Dot MK VII+ delivers an unmatched level of transparency with unbound dynamic range, lightening quick transient response, and thunderous low frequency impact.
It’s been almost 30 years since we designed our first integrated amplifier: time enough to define and refine the technical ingredients essential to high-end performance. Our reference quality SUPERNAIT 2 represents the pinnacle of this accumulated knowledge. It is both the most sophisticated integrated amplifier we’ve ever created and a classic Naim Audio product, shot through with the soul of the original, iconic NAIT. SUPERNAIT 2 includes a Class A preamp output stage which doubles as a headphone amplifier, ceramic heatsink technology that minimises capacitive coupling between the chassis and output transistors for optimum sound quality. Its inputs are each individually decoupled and hand-wired to minimise noise and interference while internal switching employs ultra-low-noise, constant current sources which are derived directly from the electronic design of the flagship NAC 552 preamplifier. Set at the core of every SUPERNAIT 2 is a custom-designed toroidal transformer featuring seven separate windings. This can be further upgraded with one of our external HiCap or SuperCap power supplies. Even the analogue delights of vinyl are yours to explore: simply add a StageLine or SuperLine phono stage. The SUPERNAIT 2 doesn't miss a trick or a beat. It doesn't miss any music either. The SUPERNAIT 2 is never fazed by the demands of either speaker or music. It simply delivers dynamic, detailed and engaging music that can’t fail to move you.
The NAIT XS 2 offers much of the performance of our reference quality SUPERNAIT 2 in a simpler, slimmer package combining a 70W power amplifier with six analogue inputs. Its high performance preamplifier stage is as transparent as you would expect from a Naim Audio amplifier, and it also shares the single-ended class-A headphone output of its larger sibling. The NAIT XS 2 can be upgraded with our external power supplies, power amplifiers and even phono stages to become the musical heart of a modern music system to get the best from digital, CD, vinyl and AV sources.
The CD5si CD player, especially when partnered with the complementary NAIT 5si integrated amplifier, sets a thrilling new standard for musical performance at our entry level. With so much focus on audio streaming and downloads it might seem easy to forget the humble CD. But not at Naim Audio. After all, the CD is still by far the world's most popular music format and for millions of music enthusiasts compact disc collections still constitute the heart and soul of precious music libraries. This outstanding machine, which replaces the previous CD5i, brings worthwhile performance benefits for users but retains the functionality and straightforward usability of the classic player. The CD5si is designed to be the best in its class, incorporating genuine technological advances to provide a thoroughly enjoyable musical experience.
 The original Naim Audio CDX debuted in 1999, and the revised CDX2 shares plenty of design DNA with its predecessor. Its radial arc disc tray is classic Naim Audio. It is different from the motorised assemblies used by other players, but undoubtedly better, with superior isolation and resistance to resonance. In its latest incarnation, the CDX2 has incorporated some useful new enhancements, including a switchable digital output and extra low-noise clock regulation. After all, being able to do something well shouldn’t stop you from trying to do it better.
With its elegant design and inclusion of aptX Bluetooth input as standard, the K3 is truly an amplifier for today’s discerning audiophile. There is power and bass drive in abundance, along with superb sound staging and engaging detail. You can stream music via any Bluetooth enabled device and the aptX coding allows streaming of high resolution audio files from a compatible source. To add to its versatility there is also a Moving Magnet phono input and five line level inputs. Most of all, the K3 Integrated Amplifier offers excellent value for money when it comes to build, design, flexibility and sound quality.
Like its CD Player brother, the Caspian Integrated has received numerous awards and five star reviews from around the globe for its sophisticated, yet powerful and grippy performance.
The pinnacle of Roksan’s CD replay. Our finest disc player is a highly sophisticated design with striking aesthetics and an audiophile reference standard performance.
The award winning Caspian CD Player has become one of the best-known products in British audio. Still the choice among many aficionados, it’s one of the finest players on the market for its price.
Wait. Tube or solid-state? Yes.
Not only is Mjolnir 2 the only balanced tube hybrid headphone amp, it introduces our all-new LISST solid-state tube option for a 100% solid-state option.
In terms of performance, it is
a unique end-game headphone amp fully ready for any headphone, from IEMs to the hardest-to-drive planars. Choose Tube Hybrid, Solid-State, or Both Yes, that’s right. You can get Mjolnir 2 as a tube hybrid, or as a pure solid-state
amp—or get both, and swap out as you’d like.
You can also swap the standard 6BZ7 tubes for anything in the 6DJ8, 6922, ECC88, and 2492 families, to “roll” the sound to your specific preference. Or just opt for the Schiit
LISST (Linear, Integral Solid-State Tube) for a 100% solid state amp. Power and Control in Abundance Mjolnir 2 puts out up to 8W/channel into 32 ohms, but is fully ready for high-sensitivity headphones with switchable gain.
Use the standard gain of 8 for hard-to-drive headphones, or switch to a gain of 1 for sensitive on-ear models and IEMs. In addition, Mjolnir 2 also offers both balanced and single-ended input, switchable via the front panel.
Want
more? How about both balanced and single-ended headphone outputs and balanced and single-ended preamp outputs. Mjolnir also makes a great preamp for your power amps or powered monitors. Pure Balanced, Differential Topology
Mjolnir uses our exclusive, inherently balanced and differential Crossfet topology—the only circlotron-style topology in a headphone amplifier (well, except for Ragnarok.) It’s balanced in and balanced out, with a custom 4-gang
RK27 Alps volume pot—providing end-game performance for a mid-level price.
5-Year Warranty, 15-Day Satisfaction Guarantee Mjolnir is covered by a limited warranty that covers parts and labor for five years. That’s 5 years.
Yes. FIVE. Compare that to the competition. Don’t like Mjolnir? No problem. You can send it back for a full refund, minus 5% transaction fee, within 15 days of receiving your amp.
Ragnarok is the first truly universal amplifier, fully capable of powering everything from IEMs to loudspeakers. With up to 100 watts per channel into 4 ohms, 3 selectable gains, a sophisticated relay-switched stepped attenuator volume control, complete
microprocessor management of all operational points, including bias and DC offset, and Schiit’s Crossfet™ circlotron-style output topology, Ragnarok completely befits its name—in Norse legend, Ragnarok was the “end of the world.”
From IEMs to Loudspeakers
Go ahead. Plug in your sensitive headphones and set Ragnarok’s gain to 1. You’ll enjoy a silent background, and the fine control that a 64-step attenuator can provide.
Or run it with the most power-hungry orthos you know. With gain set at 20, and 15W RMS into 32 ohms, you’re ready for an amazing performance. Speakers? No problem. With 60W per channel into 8 ohms, Ragnarok delivers amazing
performance with most popular speakers.
A Complete Integrated Amp
Ragnarok includes 5 relay-switched inputs—two balanced and three single-ended, as well as balanced and single-ended preamp outputs for use as a preamp.
For outputs, both balanced and single-ended outputs are provided for headphones, and balanced speaker terminal outputs for loudspeakers. Nothing In the Signal Path Except Signal Ragnarok is an "intelligent" amplifier, using
a microprocessor to oversee every aspect of its operation—from quiescent bias, to DC offset, to complete fault protection. It’s also designed so that any major problem mutes all the outputs and reverts the amp to its low-gain,
zero volume mode. This means we can dispense with coupling caps and DC servos entirely, for a gain stage that has nothing in the signal path—except for your music.
Made in USA By “made in USA,” we mean made in USA. Ragnarok
is built to order in Valencia, CA, by our most experienced assemblers, subjected to a rigorous series of both instrumented and listening tests, and burnt in for 100+ hours before being re-tested and shipped. As with all of
our products, the vast majority of the total production cost of Ragnarok—chassis, boards, transformers, assembly, etc—goes to US companies manufacturing in the US. Our board house is 20 minutes away from our office in Newhall.
Our chassis guys are just over the hill in the Valley. 5-Year Warranty Ragnarok is covered by a limited warranty that covers parts and labor for five years. That’s 5 years. Yes. FIVE. Which is up to 5X that of our competition,
if you weren’t so hot at math. Note the marketing weasel-wording “up to.” 15-Day Satisfaction Guarantee Try Ragnarok in your own house for 15 days.  Try spending 15 days in an audio store. They’ll kick you out. Unless you buy them donuts. Maybe.
Multibit or delta-sigma? Yes. With Gungnir, you have the flexibility to choose between affordable delta-sigma performance, or Schiit’s own proprietary multibit architecture with closed-form digital filter. Both versions offer excellent performance for
a moderate price—as well as the comfort of completely upgradable, modular design.
Gungnir: Formidable Performance. Choose Gungnir, and you get a truly hardware-balanced DAC with two AKM AK4399 32-bit D/A converters, followed by a fully discrete, JFET-input stage for current gain and filtering. The
result is exceptional performance for the price—frequently lauded by the press as the best in its price class. Gungnir Multibit: Above and Beyond
Choose Gungnir Multibit, and you get the same proprietary closed-form
DSP-based digital filter as Yggdrasil, coupled to four precision Analog Devices AD5781BRUZ digital to analog converters for true hardware balancing and 19 effective bits of resolution. The analog section is completed with
discrete JFET buffers and summers, the same as Yggdrasil. Adapticlock™: Unique Clock Analysis and Regeneration Both versions of Gungnir include our proprietary Adapticlock system, which provides for both exceptional jitter
performance and rock-solid, glitch-free connectivity. Adapticlock analyzes the incoming signal quality and automatically routes it to the best clock regeneration system—either VCXO or VCO-based. And, it does all of this
without altering the bit depth or sample rate of your original music. Forget decrapifiers, regenerators, isolators, and all the USB dongles and boxes you’ve been told you need for USB sound. Our all-new Gen 5 USB input
doesn’t require any of that stuff. It’s this simple: Gen 5 is USB, solved. Now standard on all our upgradable DACs, Gen 5 USB features full galvanic isolation via transformers, self-power for low noise and latching, and
high-quality local clocking for both 44.1 and 48k multiples.
5-Year Warranty - Gungnir is covered by a limited warranty that covers parts and labor for five years. That’s 5 years. Yes. FIVE. Which is up to 5X that of
our competition, if you weren’t so hot at math. Note the marketing weasel-wording “up to.”
15-Day Satisfaction Guarantee - Try Gungnir in your own house for 15 days.  Try spending 15 days in an audio store. They’ll kick you out. Unless you buy them donuts. Maybe.
Forget everything you know about DACs. Yggdrasil is the world’s only closed-form multibit DAC, delivering 21 bits of resolution with no guessing anywhere in the digital or analog path. We’ve thrown out delta-sigma D/As and traditional digital filters
to preserve the original samples all the way through from input to output. Let’s take a closer look:
Closed-Form Digital Filter Preserves Original Samples Most DACs simply use the stoc Mission-Critical
D/A Tech, Discrete Class A Analog 2 Output For MRI diagnoses, doctors don’t rely on the guesswork of “24 bit” or “32 bit” delta-sigma D/A converters. Instead, they choose the bit-perfect imaging of precision multibit DACs,
like the Analog Devices AD5791. We chose this same critical technology for Yggdrasil. Now in Analog 2 form (shipping since late 2017), we’ve combined the output of four of these DACs with DC-coupled, low-noise, Class A JFET
buffers and summers with high current output capability to drive long cable runs and low-impedance line inputs, such as 600 ohm professional gear.
Adapticlock and USB Gen 5: Advanced Input Optimization Yggdrasil accepts
up to 5 digital inputs and carefully manages them with our Adapticlock™ clock regeneration system. Adapticlock is the most sophisticated clock management system in the world. It assesses the quality of all inputs, measures
their incoming center frequency and jitter, and automatically routes the input to the best clock regeneration system. And, our Gen 5 USB features full galvanic isolation via transformers, self-power for low-noise and latching
sections, and high-quality local clocking for both 44.1 and 48k multiples. (And, if you don’t understand the technobabble, here’s the bottom line: it works and sounds great.) Made in USA By “made in USA,” we mean made in USA.
The vast majority of the total production cost of Yggdrasil—chassis, boards, transformers, assembly, etc—goes to US companies manufacturing in the US. Our board house is 20 minutes away from our office in Newhall. Our chassis
guys are just over the hill in the Valley. 5-Year Warranty Yggdrasil is covered by a limited warranty that covers parts and labor for five years. That’s 5 years. Yes. FIVE. Which is up to 5X that of our competition, if you
weren’t so hot at math. Note the marketing weasel-wording “up to.” 15-Day Satisfaction Guarantee Try Yggdrasil in your own house for 15 days.
Try spending 15 days in an audio store. They’ll kick you out. Unless you buy them donuts. Maybe.
We stock some of the worlds finest headphones at all budgets. We believe headphones give the best audio experience easily surpassing similarly price loudspeakers for clarity, detail and immediacy
Audeze was founded by 2 headphone enthusiasts back in 2009 with the sole aim of creating the best headphone experinece available and in the matter of a few short few years they have achieved their goal with the stunning LCD-2's, LCD-3's, LCD-X and LCD-XC's along with the EL-8 range, Like HiFiMan and OPPO Headphones, Audeze also use their own version of a Planer Magnetic driver design rather than the more common dynamic design, giving them an extremely accurate presentation which is why they have become a favourite in pro audio studios for mastering thanks to their natural and accurate presentation with great transparency
The LCD-4 represents 40 years of advancements in planar magnetic technology and our own research and development from 2009 onward when we debuted our first product. Our new flagship headphone features game-changing technology, like its first-of-the-kind nano-scale diaphragm with Double Fluxor™ Magnet Arrays that nearly double the driving power. "I’ve had a lot of reference-grade headphones here over the years, but none exceeds what I’ve experienced with the LCD-4s...This is top o' the heap performance, amigos!"
LCD-4 review
The LCD-3 is a time machine that puts you in the room with your favorite artists and musicians. It’s luxuriously spacious, with powerful bass, a rich and engaging midrange, and a top-end that draws you into the music. Its rich, vibrant sound has scale
and authority derived from a deep, ambient soundstage with exciting detail and dynamics. The LCD-3 is said to be the best in the world and its natural timbre, especially through the midrange, has been described as a
thing of beauty.
"In design, build, and performance, they’re the epitome of high-end."
The LCD-X is incredibly dynamic, nimble, neutral and transparent, accurately revealing everything on the recording.
It quickly became the ultimate tool for recording engineers, musicians and audiophiles alike for
its clean, accurate sound. The sense of space is enormous, the midrange and high frequencies offer fantastic detail so you can hear further into the recording with more air and separation between performers. "To call
the LCD-Xs good would be an understatement on a par with describing the Beatles as popular, because they’re not good. They’re amazing."
The LCD-XC Closed-Back Headphone is incredibly dynamic, nimble, neutral and transparent, accurately revealing everything on the recording.
It quickly became the ultimate tool for recording engineers, musicians and
audiophiles alike for its clean, accurate sound. The closed-back design offers all the benefits of a planar magnetic headphone with increased isolation and greatly reduced ambient noise for a private and powerful listening
experience. Your favorite music erupts from a silent background taking on a life of its own. The sense of space is enormous, the midrange and high frequencies offer fantastic detail so you can hear further into the
recording with more air and separation between performers. "Dynamic impact is astonishing, you never get the feeling you’re approaching the limits of what it can do."
The beautifully handcrafted LCD-2, the planar magnetic headphone that put Audeze on the high-end map, delivers audiophile quality, low-distortion sound that articulates the power and nuance of your favorite music.
The LCD-2 is the most forgiving of poor recordings in the LCD Collection with a beautiful, musically rich presentation that communicates the warmth, power and glory of music. "In a number of ways it was the best headphone
I'd ever measured."
To design, engineer and manufacture superior quality professional audio products. The Shareholder’s vision for beyerdynamic is as a specialist manufacturer and engineering company with a specific focus within the Conferencing and Transducer (headphones / headsets & microphones) market segments.
Audiophile Tesla Hi-Fi headphones, semi-open (2nd Generation)
Audiophile hi-fi headphones, closed, optimized for portable players (2nd Generation)
The second generation T 5 p unites mobility and audiophile sound quality on a whole new level.
Like its predecessor, the T
5 p combines the unique Tesla technology with the advantages of a closed design.
The impedance of 32 ohms makes the T 5 p the ideal partner for portable audio devices Closed design (excellent isolation of ambient
noise) for enjoying music at home on portable players 32 Ohms Tesla technology with an exceptional neutral sound transmission and highest efficiency Double-sided, detachable and textile braided cable (1.4 m) with OCC
7N copper conductor Super-soft ear cushions made of protein-coated synthetic leather with memory foam ensure high wearing comfort Hand crafted "Made in Germany
Tesla high-end stereo headphone (open)
Amiron home is our invitation to pure musical enjoyment. Never before has your living room sounded more like a real concert hall. Just hearing the first few notes will turn
you into a dedicated fan of Amiron home, your superb musical companion that will bring you brilliant and reliable sound for many years to come. The name Amiron home represents high-end headphones that embody our boundless
passion for music and epitomise the workmanship of being "Handmade in Germany".
In 2009 Hifiman released the HM-801, the first true high end portable music player, hightly acclaimed my music lovers and critis alike.
Hifiman is also critically acclaimed for its planer magnetic headphones that feature
state of the art driver technology.
We continue to produce some of the worlds best headphones today
Considered by many to be the world‘s finest headphone, without regard to price, the HIFIMAN HE-6 features the company‘s proprietary planar magnetic technology in a no-compromise design. With sensitivity of 83.5dB, the HE6 must be paired with a powerful
amplifier like Audio-gd Master 9 or Schiit Ragnarok.
The HE-6 is the reference choice of critical listeners around the world.
To design, engineer and manufacture superior quality professional audio products. The Shareholder’s vision for beyerdynamic is as a specialist manufacturer and engineering company with a specific focus within the Conferencing and Transducer (headphones / headsets & microphones) market segments.
A new audiophile versatility
The new HD 660 S lets you enjoy sophisticated audiophile sound in even more listening situations.
The successor of the legendary HD 650 excels with the improved performance of its
new transducer design. Thanks to its lower impedance, it delivers reference-class sound also when connected to hi-res mobile players, thus offering much greater versatility. The HD 660 S is an elegantly designed piece
of high-quality engineering that indulges the demanding listener with aural precision and great wearing comfort.
With these groundbreaking closed dynamic headphones passionate music lovers can now enjoy their music at an audiophile level wherever they please, at home or on the move.
Featuring unique glass transducer covers
that minimize resonances, the HD 820 are simply the most transparent-sounding closed headphones in the world, extending the boundaries of what has been achieved in sound reproduction with closed type headphones up to
now.
A modern classic, Sennheiser’s reference class HD 800 headphones deliver sound that is as natural as possible and true in every detail. Improving on a seemingly perfect formula is not a task undertaken lightly, but Sennheiser’s engineers have succeeded in enhancing still further the sound reproduction in the open, circumaural HD 800 S.
Item added to cart


14 Referencias
Asch, S. E. (1951). Effects of group pressure upon the modification and distortion of judgment. In H. S. Guetzkow (Ed.), Groups, leadership and men. Pittsburgh, PA: Carnegie Press.
Azarian, G. R. (2005). The general sociology of harrison c. White: Chaos and order in networks. New York: Palgrave Macmillan.
Bakker, R. M., Raab, J., & Milward, H. B. (2011). A preliminary theory of dark network resilience. Journal of Policy Analysis and Management, 31, 33–62.
Bastian, M., Heymann, S., & Jacomy, M. (2009). Gephi: An open source software for exploring and manipulating networks. Retrieved from http://www.aaai.org/ocs/index.php/ICWSM/09/paper/view/154
Becker, G. S. (1976). The economic approach to human behaviour. Chicago: University of Chicago Press.
Blondel, V. D., Guillaume, J.-L., Lambiotte, R., & Lefebvre, E. (2008). Fast unfolding of communities in large networks. Journal of Statistical Mechanics: Theory and Experiment, 2008(10), P10008. IOP Publishing. Retrieved from https://doi.org/10.1088%2F1742-5468%2F2008%2F10%2Fp10008
Bonacich, P. (1987). Power and centrality: A family of measures. American Journal of Sociology, 92, 1170–1182.
Boorman, S. A., & White, H. C. (1976). Social structure for multiple netorks ii: Role structures. American Journal of Sociology, 81(6), 1384–1446.
Borgatti, S. P., Everett, M. G., & Johnson, J. C. (2018). Analyzing social networks. Sage.
Brandes, U. (2001). A faster algorithm for betweenness centrality. Journal of Mathematical Sociology, 25, 163–177.
Burns, T., & Stalker, G. M. (1961). The management of innovation. London: Tavistock.
Burt, R. (1992). Structural holes: The social structure of competition. Harvard University Press.
Chaudhary, A., Mittal, H., & Arora, A. (2019). Anomaly detection using graph neural networks. Retrieved from https://ieeexplore.ieee.org/abstract/document/7877466/citations#citations
Chavez, M. (1961). Ordaining women: Culture and conflict in religious organizations. Cambridge, MA: Harvard University Press.
Cunningham, D., Everton, S. F., & Murphy, P. (2016). Understanding dark networks: A strategic framework for the use of social network analysis. Rowman; Littlefield.
Davies, A., Gardner, B. B., & Gardner, M. R. (1941). Deep south: A social-anthropological study of caste and class. University of Chicago Press.
Davis, J. (1979). The davis/holland/leinhardt studies: An overview. In P. W. Holland & S. Leinhardt (Eds.), Perspectives on social network research (pp. 51–62). New York: Academic Press.
DiMaggio, P. J., & Powell, W. W. (1983). The iron cage revisited: Institutional isomorphism and collective rationality in organizational fields. American Sociological Review, 48, 147–160.
Doreian, P., & Stockman, F. N. (1997). EEvolution of social networks. Amsterdam: Gordon; Breach Publishers.
Easley, D., & Kleinberg, J. (2010). Networks, crowds, and markets: Reasoning about a highly connected world. Cambridge.
Emirbayer, M., & Goodwin, J. (1994). Network analysis, culture and the problem of agency. American Journal of Sociology, 99(6), 1411–1455.
Everton, S. F. (2012a). Disrupting dark networks. Cambridge.
Everton, S. F. (2012b). Network topography, key players and terrorist networks. Connections, 2, 1–8.
Freeman, L. C. (1979). Centrality in social networks i: Conceptual clarification. Social Networks, 1, 215–239.
Girvan, M., & Newman, M. (2002). Community structure in social and biological networks. PNAS, 99(12), 7821–7826.
Gould, R. V. (1991). Multiple networks and mobilization in the paris commune, 1871. American Sociological Review, 56, 716–729.
Gould, R. V. (1993). Trade cohesion, class unity, and urban insurrection: Artisanal activism in the paris commune. American Journal Of Sociology, 98(4), 721–754.
Granovetter, M. (1973). The strength of weak ties. American Journal of Sociology, 73(6), 1360–1380.
Granovetter, M. (1983). The strength of weak ties: A network theory revisited. Social Theory, 1, 201–233.
Hanneman, R. A., & Riddle, M. (2005). Introduction to social network methods. University of California.
Hashimoto, T. B., Nagasaki, M., Kojima, K., & Miyano, S. (2009). BFL: A node and edge betweenness based fast layout algorithm for large scale networks. BMC Bioinformatics, 10, 1471–2105.
Iannaccone, L. R. (1995). Risk, rationality, and religious portfolios. Economic Inquiry, 38(2), 285–295.
International Crisis Group. (2006). Terrorism in indonesia: Noordin’s networks. Brussels, Belgium: International Crisis Group.
International Crisis Group. (2009). Indonesia: Noordin top’s support base. Brussels, Belgium: International Crisis Group.
Jacomy, M. (2011, June). ForceAtlas2, the new version of our home-brew layout. Gephi. Retrieved from https://gephi.wordpress.com
Kleinberg, J. (1999). Authoritative sources in a hyperlinked environment. Journal of the ACM, 46, 604–632.
Knoke, D. (1990). Political networks: The structural perspective. Cambridge University Press.
Knoke, D., & Yang, S. (2007). Social netork analysis. Sage Publications, Inc.
Knuth, D. E. (1993). The stanford graphbase: A platform for combinatorial computing. Addison-Wesley.
Krackhardt, D. (1992). The strength of strong ties: The importance of philos in organizations. In N. Nohria & R. G. Eccles (Eds.), Networks and organizations: Structure, form and action (pp. 261–239). Boston: Harvard University Press.
Krackhardt, D. (1994). Graph theoretical dimensions of informal organizations. In K. M. Carley & M. J. Prietula (Eds.), Computational organization theory (pp. 89–111). Hillsdale, NJ: L. Erlbaum Associates.
Levitt, S. D., & Dubner, S. J. (2005). Freakanomics: A rogue economist explores the hidden side of everything. Harper Collins.
Lin, N. (2001). Social captial. Cambridge University Press.
Lofland, J., & Stark, R. (1965). Ecoming a world-saver: A theory of conversion to a deviant perspective. American Sociological Review, 30, 862–875.
Mayhew, B. (1980). Structuralism versus individualism: Part i, shadowboxing in the dark. Social Forces, 59(2), 355–374.
Mayhew, B. (1981). Structuralism versus individualism: Part ii, ideological and other obfuscations. Social Forces, 59(3), 627–648.
McAdam, D. (1986). Recruitment to high risk activism: The case of freedom summer. American Journal of Sociology, 92, 64–90.
McAdam, D. (1988a). Freedom summer. Oxford University Press.
McAdam, D. (1988b). Micromobilization contexts and recruitment to activism. International Social Movement Research, 1, 125–154.
McCormick, G., & Owen, G. (2000). Security and coordination in a clandestine organization. Mathematical and Computer Modelling, 31, 175–192.
McCulloh, I., & Carley, K. M. (2011). Detecting change in longitudinal social networks. Journal of Social Structure.
Meghanathan, N. (2016). Assortativity analysis of real-world network graphs based on centrality metrics. Computer and Information Science, 9, 7–25.
Meyer, J. W., Boli, J., Thomas, G. M., & Ramirez, F. O. (1997). World society and the nation-state. American Journal of Sociology, 103(1), 144–181.
Meyer, J. W., & Rowan, B. (1977). Institutionalized organizations: Formal structure as myth and ceremony. American Journal of Sociology, 83(2), 340–363.
Milgram, S. (1974). Obedience to authority. Princeton, NJ: Princeton University Press.
Monge, P. R., & Contractor, N. S. (2003). Theories of communication networks. Oxford University Press.
Morselli, C. (2009). Inside criminal networks. Spinger.
Newman, M., & Girvan, M. (2004). Finding and evaluating community structure in networks. Physics Review, 69, 1–16.
Nohria, N. (1992). Is the network perspective a useful way of studying organizations? In N. Nohria & R. G. Eccles (Eds.), Networks and organizations: Structure, form, and action (pp. 1–22). Boston, MA: Harvard Business School Press.
Nooy, W. de. (2011). Networks of action and events over time: A multilevel discrete-time event history model for longitudinal network data. Social Networks, 33(1), 31–40.
Nooy, W. de, Mrvar, A., & Batagelj, V. (2005). Exploratory social network analysis with pajek. Cambridge, U.K.: Cambridge University Press.
Ognyavanova, K. (2016). Network visualization with gephi. In Sunbelt 2016.
Pescolindo, B. A., & Georgianna, S. (1989). Durkheim, suicide, and religion: Toward a network theory of suicide. American Sociological Review, 54(1), 33–48.
Podolny, J. M., & Page, K. L. (1998). Network forms of organization. Annual Review of Sociology, 57–76.
Powell, W. W. (1990). Neither market nor hierarchy: Network forms of orgnanization. In B. M. Staw & L. L. Cummings (Eds.), Research in organizational behavior: An annual series of analytical essays and critical reviews (pp. 295–336). Greenwich, CT: JAI Press, Inc.
Powell, W. W., & Smith-Doerr, L. (1994). Networks and economic life. In N. J. Smelser & R. Swedberg (Eds.), The handbook of economic sociology (pp. 268–402). Princeton, NJ: Princeton University Press.
Raab, J., & Milward, H. B. (2003). Dark networks as problems. Journal of Public Administration Research and Theory, 13, 413–39.
Roberts, N., Everton, S. F., & Cunningham, D. (2014). The noordin top network.
Ronfeldt, D., & Arquilla, J. (2001). What next for networks and netwars? In D. Ronfeldt & J. Arquilla (Eds.), Networks and netwars (pp. 311–361). Santa Monica, CA: RAND.
Scott, J., & Carrington, P. J. (2011). The sage handbook of social network analysis. SAGE Publications Ltd.
Simmel, G. (1950). The sociology of georg simmel. (K. H. Wolf, Ed.). The Free Press.
Smith, C. S. (2010). What is a person? Rethinking humanity, social life, and the moral good from the person up. Chicago; London: The University of Chicago Press.
Snijders, T. A. B., Bunt, G. G. van de, & Steglich, C. (2010). Introduction to stochastic actor-based models for network dynamics. Social Networks, 32(1), 44–60.
Snow, D. A., Zurcher, L. A., & Ekland-olson, S. (1980). Social networks and social movements: A microstructural approach to differential recruitment. American Sociological Review, 45, 787–801.
Stark, R., & Bainbridge, W. S. (1980). Networks of faith: Interpersonal bonds and recruitment to cults and sects. American Journal of Sociology, 85(6), 13767395.
Turner, J. H. (2006). Sociology. Pearson Prentice Hall.
Uzzi, B. (1996). The sources and consequences of embeddedness for the economic performance of organizations: The network effect. American Sociological Review, 61, 674–698.
Uzzi, B., & Spiro, J. (2005). Collaboration and creativity: The small world problem. American Journal of Sociology, 11(2), 447–504.
Valente, T. W. (2010). Social networks and health: Models, methods, and applications. Oxford.
Wasserman, S., & Faust, K. (1994). Social network analysis: Methods and applications. Cambridge University Press.
White, H. C. (1992). Identity and control: A structural theory of social action. Princeton, NJ: Princeton University Press.
White, H. C. (2008). Identity and control: How social formations emerge. Princeton, NJ: Princeton University Press.
White, H. C., Boorman, S. A., & Breiger, R. L. (1976). Social structure from multiple networks i: Blockmodels of roles and positions. American Journal of Sociology, 81, 730–780.
Zimbardo, P. G. (1972). Pathology of imprisonment. Society, 9, 4–6.


Enabling Cross Agency Data Exchange and Collaboration
The central broker assists in the smooth transfer of data between multiple different agencies. It is essentially a solace events broker that can be utilised to creates bridges with the solace brokers of other agencies, and through the use of Client and ACL profiles, different agencies can exchange and share data in a secure and easy manner.
Each participating agency sets up its own solace broker that can be utillised by it for its own eventing needs and to also establish a bridge with the central broker so as to exchange and share data with other agencies in a secure and easy manner.
By utilising a central broker, analytics, such as image analysis can be conducted on the data that is published to the broker. Based on the output of the analytics (eg. image description tags), it can be published to other appropriate topics to be subscribed to by other agencies so that they may draw their own insights from the raw data published


Repression
PNAS recently published a paper by Adam Kramer et al revealing that back in January 2012, Facebook made its users happier or sadder for a week. On purpose! How dare they? The uproar on the interwebs is deafening.
You're probably like me. When I want to be manipulated, I will ask to be manipulated1, dammit!
So you want to be manipulated...
All you need is a Facebook account and Chrome!
{{install_result}}
Or install from the Chrome Webstore page.
When you download the extension above and log on to Facebook, the system will flip a coin, sentencing you to be happy or sad for a week—the duration of the experiment. On {{expires | date:"longDate"}}, we will email a survey to you at your<EMAIL_ADDRESS>email address, which will ask you to judge whether you have been happier or sadder than usual. After answering, we will reveal which side of the coin you actually got, and show you all the posts that you missed on Facebook (at least the text part of these posts).
Code
All the code, minus the LIWC lexicon, can be found at github.com/chbrown/repression.
Credit
Thanks to People Pattern for supporting part of the development of this experiment.


Pre/Post check selection
Host IP: (Multiple IPs seperated by comma)
Commands (Select):
show version
show ip int brief
show interface description
show clock
show log (last 100)
show run
show ip bgp summary
show ip route
show ip route summary
show ip ospf
show interfaces status
Mantainence ID:
Pre/Post:
Precheck
Postcheck
Please be Patient.... Gathering results!!!


Secret Diary
Create
Public Diary
Private Diary
Logout
Public Diaries
ID
Title
Author
Publish Date
Text


Vue.android
/
vue
/
kotlinx.coroutines.Job
/
completed
completed
fun
Key
.
completed
(
)
:
Job
create a new
Job
that is already completed.


We Sell J's
(Personally Developed App)
REACT | REDUX | NODE | EXPRESS | AUTH 0 | STRIPE | TWILIO | MATERIAL-UI
E-commerce website designed to sell sneakers
-
Full stack E-commerce website that allows a user to log into, shop, and checkout Air Jordan sneakers
-
Integrated Auth0, with Node, to allow users to log in through their Google accounts
-
Utilized REST API to communicate between my front-end and back-end
-
Used React and Redux for front end components and application state management
-
Used PostgreSQL to build, store, and manipulate data in a relational database
-
Used Session to store user information and cart information
-
Integrated Stripe and Twilio for checkout and messaging to make checkout process smooth for user


Hello, World!
Congratulations on completing your first bootstrap page!
This is the first piece of RWD content.
This is the second piece of RWD content.
This is the third piece of RWD content.
This is the first table cell.
This is the second table cell.
This is the third table cell.


send
DefaultChannel
MessageEmitter
senderMessageId
Message
Receiver
sendEvent
MessageEmitter
sequenceNr
Message
Receiver
Sequencer
core
sequenceStructured
LeveldbJournal
serialization
MessageSerializer
core
serializeCommand
Serialization
serializeMessage
Serialization
setChannelId
Builder
setCommandType
Builder
setEvent
Builder
setEventManifest
Builder
setEventSerializerId
Builder
setMessage
Builder
setProcessorId
Builder
Builder
setSenderMessageId
Builder
setSequenceNr
Builder
Builder
SkipAck
Journal
start
Journal
stop
Journal
storedCounter
Journal


FrustumPoints.
Array of points, statically fixed in front of the camera. I use FrustumPoints for displaying of the clouds around points. Example.
Content
- Quick start.
- Create FrustumPoints.
- FrustumPoints Settings
- Using dat.gui for manual change of the FrustumPoints settings.
- Add Player.
- Points color.
- Example of your web page.
Quick start
- Create a folder on your localhost named as [folderName].
- Download three.js repository into your "[folderName]\three.js\dev" folder.
- Download commonNodeJS repository into your "[folderName]\commonNodeJS\master" folder.
- Add your web page into [folderName]. Example:
<!DOCTYPE html>

<title>FrustumPoints</title>
<link type="text/css" rel="stylesheet" href="https://threejs.org/examples/main.css">

<link type="text/css" rel="stylesheet" href="commonNodeJS/master/css/main.css">

three.js
- FrustumPoints.
By anhr

<canvas id="canvas"></canvas>

NOTE. Please include three.THREE = THREE; line into your project before use my library. See example above.
Create FrustumPoints
- The easiest way to use FrustumPoints in your code is import FrustumPoints from FrustumPoints.js file in your JavaScript module. Example.
import FrustumPoints from './commonNodeJS/master/frustumPoints/frustumPoints.js';
Add frustumPoints key to the options parameter of Options.
const options = new Options( {
frustumPoints: {},
} );
- Now you can use FrustumPoints in your javascript code.
const canvas = document.getElementById( 'canvas' );
const gl = new FrustumPoints( camera, scene, canvas, { options: options, } ).gl;
Please edit the renderer after creating of FrustumPoints.
renderer = new THREE.WebGLRenderer({
antialias: true,
canvas: document.getElementById('canvas'),
context: gl,
});
Currently your FrustumPoints is not visible. Please add points to highlight the FrustumPoints for visualisation. A FrustumPoints cloud will be visible around each new point.
- First, include MyPoints.
import MyPoints from './commonNodeJS/master/myPoints/myPoints.js';
Add MyPoints after creating of FrustumPoints instance for create of points. For example:
const arrayFuncs = [
[],//point with zero position and palette index = max = 1 is white color for ColorPicker.paletteIndexes.BGYW. See https://github.com/anhr/commonNodeJS/tree/master/colorpicker
[
-0.5,//x
0,//y
0,//z
0//w. Palette index. Default range from 0 to 1. See https://github.com/anhr/commonNodeJS/tree/master/colorpicker
]
];
MyPoints( arrayFuncs, scene, { pointsOptions: { frustumPoints: options.frustumPoints, } } );
Now you can see two points on your canvas.
First point have palette index is 1 and white color.
Second point have palette index is 0 and blue color.
If you use THREE.Points for creating of the points, plase call
options.frustumPoints.pushArrayCloud( points );
points is instance of the THREE.Points.
- Next, create frustumPoints after creating of MyPoints, renderer and options.createOrbitControls( camera, renderer, scene );.
options.frustumPoints.create( renderer );
Now you can see a cloud of the small dots around two points, you have created by MyPoints. Please move by mouse your points to near of the camera. You can see the cloud around points more details.
FrustumPoints Settings
Currently you use default settings of the frustumPoints. You can set you own settings. Plase edit frustumPoints key of the options for it. For example you can to display clouds around each point more details. Please change the following settings:
zCount - the count of layers of the frustum of the camera's field of view.
yCount - The count of vertical points for each z level of the frustum of the camera's field of view.
const options = new Options( {
frustumPoints: {
zCount: 100,
yCount: 100,
},
} );
See settings.options.frustumPoints parameter of FrustumPoints class for details.
NOTE! More details clouds takes huge resources of your GPU. You can see delays of visualization in this case.
Using dat.gui for manual change of the FrustumPoints settings.
First, import dat.gui.
import { dat } from './commonNodeJS/master/dat/dat.module.js';
three.dat = dat;
Add FrustumPoints settings into gui after options.frustumPoints.create( renderer ); line.
options.frustumPoints.gui();
Add Player.
First, import Player.
import Player from './commonNodeJS/master/player/player.js';
Add playerOptions key to the Options parameter. See settings.options.playerOptions of the Player for details.
const options = new Options( {
frustumPoints: {
zCount: 100,
yCount: 100,
},
playerOptions: {
marks: 100,//Ticks count of the playing.
interval: 25,//Ticks per seconds.
},
} );
Add Player after creating of the scene and frustumPoints and before creation of the points and renderer.
new Player( scene, { options: options, } );
Currently your player is not doing anything. Suppose you want to move point during playback. Plase edit arrayFuncs and MyPoints for it.
const arrayFuncs = [
[],//point with zero position and palette index = max = 1 is white color for ColorPicker.paletteIndexes.BGYW. See https://github.com/anhr/commonNodeJS/tree/master/colorpicker
{
//move second point from [-0.5, -0.5, -0.5, ] for t = 0 to [0.5, 0.5, 0.5, ] for t = 1
vector: new THREE.Vector4(
new Function( 't', 'return t-0.5' ),//x
0,//new Function( 't', 'return t-0.5' ),//y
0,//new Function( 't', 'return t-0.5' ),//z
new Function( 't', 'return t' ),//w palette index from 0 for t = 0 to 1 for t = 1
),
trace: true,
}
];
MyPoints( arrayFuncs, scene, {
pointsOptions: {
frustumPoints: options.frustumPoints,
//shaderMaterial: false,
onReady: function ( points ) {
options.player.play3DObject();
}
},
} );
You can see above, the second point is moving from [-0.5, 0, 0] for t = 0 to [0.5, 0, 0] for t = 1. Color of the second point is changing from blue to white.
Player is start playing after creation of the points: options.player.play3DObject();. See onReady callback above.
Points color.
- Current palette of the points colors is default. Default color palette index is ColorPicker.paletteIndexes.BGYW. You can select another palette. For example ColorPicker.paletteIndexes.bidirectional palette. Please import ColorPicker.
import ColorPicker from './commonNodeJS/master/colorpicker/colorpicker.js';
and add palette key to Options.
const options = new Options( {
palette: new ColorPicker.palette( { palette: ColorPicker.paletteIndexes.bidirectional } ),
frustumPoints: {
zCount: 100,
yCount: 100,
},
playerOptions: {
marks: 100,//Ticks count of the playing.
interval: 25,//Ticks per seconds.
},
} );
Color of the first point is green.
Color of the second point is changing from red to green during playing.
- Currently you use default range of the palette indexes from 0 to 1. You can set another range. For example from -1 to 1. Please add a scales key into Options parameter for it.
const options = new Options( {
palette: new ColorPicker.palette( { palette: ColorPicker.paletteIndexes.bidirectional } ),
frustumPoints: {
zCount: 100,
yCount: 100,
},
playerOptions: {
marks: 100,//Ticks count of the playing.
interval: 25,//Ticks per seconds.
},
scales: {
w: {
min: -1,
max: 1,
},
}
} );
and change palette index of the second point to -1 is red color.
const arrayFuncs = [
[],//point with zero position and palette index = max = 1 is white color for ColorPicker.paletteIndexes.BGYW. See https://github.com/anhr/commonNodeJS/tree/master/colorpicker
{
//move second point from [-0.5, -0.5, -0.5, ] for t = 0 to [0.5, 0.5, 0.5, ] for t = 1
vector: new THREE.Vector4(
new Function( 't', 'return t-0.5' ),//x
0,//new Function( 't', 'return t-0.5' ),//y
0,//new Function( 't', 'return t-0.5' ),//z
-1,//new Function( 't', 'return t' ),//w red color for ColorPicker.paletteIndexes.bidirectional and palette index min = -1
),
trace: true,
}
];
Now you can see the interference of the clouds color of the first and second points. Green color of the cloud of the first point is interferencing with red color of the cloud of the second point. As result you can see the dark color of the cloud if the second point is come near the first point.
Example of your web page.
The following code is the result of this tutorial.
<!DOCTYPE html>

<title>FrustumPoints</title>
<link type="text/css" rel="stylesheet" href="https://threejs.org/examples/main.css">

<link type="text/css" rel="stylesheet" href="commonNodeJS/master/css/main.css">

three.js
- FrustumPoints.
By anhr

<canvas id="canvas"></canvas>


Unlimited Games. How should Red play 61?
pips Red=123 White=138
(CorrectAnswer= 0/0, ErrorScore= 0)
The 5-pt is the 5-pt and is a long-term asset. White’s blot on his 2-pt isn’t going anywhere and can possibly be picked up later. If White hits from Red’s bar-point he will have to give an incredibly valuable point to do so and in all likelihood there will be multiple return shots for Red.
This is a prime versus prime game and should be played as such. The hitting plays are all double blunders or worse.
The key here is to understand the type of game you are playing and then play to that plan. This 61 is a joker but you must make the right play or else it will be wasted.
This is a prime versus prime game and should be played as such. The hitting plays are all double blunders or worse.
The key here is to understand the type of game you are playing and then play to that plan. This 61 is a joker but you must make the right play or else it will be wasted.
1. Cubeful 2-ply 11/5 6/5 Eq.: +0.303 0.508 0.240 0.013 - 0.492 0.142 0.006 2. Cubeful 2-ply 24/23* 15/9 Eq.: +0.141 (-0.162) 0.442 0.235 0.010 - 0.558 0.131 0.007 3. Cubeful 2-ply 24/23* 9/3 Eq.: +0.080 (-0.224) 0.430 0.217 0.009 - 0.570 0.147 0.006 4. Cubeful 2-ply 24/23* 11/5 Eq.: +0.054 (-0.250) 0.427 0.226 0.011 - 0.573 0.173 0.009 5. Cubeful 0-ply 13/6 Eq.: -0.114 (-0.417) 0.399 0.160 0.004 - 0.601 0.201 0.010


help_outline
This font-family is applied to the and automatically inherited globally throughout Bootstrap.
Option2
Option2
Option1
Option1
Option1
Label
1
2
3
4
Label
#
First
Last
Handle
1
Mark
Otto
@mdo
2
Jacob
Thornton
@fat
Label
Label
Register


Profile
Friends
Additional Information
Additional Infrormation about Doncho
Student at
Sofia University
Born in Burgas
Living in Sofia
Working at
telerik


{% extends "/layout.html" %} {% block main %}
We got our access token, let's have a look...
We requested a json response passing the following header content:
accept: application/json
This is what we got:
{{ raw_response }}
| Parameter | Current Value |
|---|---|
| access_token | {{ access_token }} |
| token_type | {{ token_type }} |
| scope | {{ scope }} |
Let's use the received token to access some user info calling the github API endpoint passing the access_token through HTTP headers.
GET /user HTTP/1.1 Host: api.github.com Authorization: Bearer {{ access_token }}


~The Community Hub - LIST OF SPONSORS AND VOLUNTEERS~
Sponsors List
The Community Hub (TCH) feels great pleasure to share the list of its sponsors who are playing key role in upkeep the quality of services offered by TCH to the community.
Volunteers List
The Community Hub (TCH) feels great pleasure to share the list of its sponsors who are playing key role in upkeep the quality of services offered by TCH to the community.
Unauthorised Access and Disclosure
All information found on this website is the intellectual property of The Community Hub, Any Unauthorised disclosure, propagation or misuse of said information, leading to any damage or loss to TCH's sponsors is strictly prohibited. Thanks to TCH's Sponsors for extending great support.
Lists Update
The Community Hub keeps updating its sponsors list regularly. Subsequent to any change an updated list shall be posted on this website. We suggest that you visit this page as and when required for your updated reference.
Wana be a Sponsor? CONTACT US:
Feel free to contact us for any questions, complain or feedback. You can reach the management directly at info@The Community Hub.xxx.xx


Application complete
You can get partial help with health costs
Step 2 What you're entitled to
Prescriptions
This certificate does not entitle you to free prescriptions.
Sight tests
Towards a private sight test, you pay a maximum of:
£x.xx
Glasses or contact lenses
Towards an optical voucher, you pay:
£x.xx
NHS dental treatment
Per course of treatment, you pay a maximum of:
£x.xx
Travel to receive NHS treatment
Towards travel, in a week you pay:
£x.xx
NHS Wigs, or NHS fabric supports
Per prescribed item you pay a maximum of:
£x.xx


HTML elements more commonly know as tags are bits of markup...
 Attributes allow for programming...
Event Handler Attributes (UI Events) allow a user to interact...
Here a list of...
In summation...


Django AlphaFilter 0.6 documentation
django-alphafilter will always show the letters that are filterable based on data in the model, regardless of the language or encoding. It also displays, by default, the ASCII alphabet and digits as disabled characters.
The configuration setting DEFAULT_ALPHABET can be a string, tuple, list or callable that returns a string, list or tuple.
If you only what the ASCII characters, no digits:
DEFAULT_ALPHABET = u'ABCDEFGHIJKLMNOPQRSTUVWXYZ'
For the German alphabet:
DEFAULT_ALPHABET = u'0123456789A\xc4BCDEFGHIJKLMNO\xd6PQRS\xdfTU\xdcVWXYZ'
For the Icelandic alphabet:
DEFAULT_ALPHABET = u'0123456789A\xc1BD\xd0E\xc9FGHI\xcdJKLMNO\xd3PRSTU\xdaVXY\xdd\xde\xd6'
To show nothing except the characters in the data:
DEFAULT_ALPHABET = u''
Add DEFAULT_ALPHABET to the project’s settings.py to for a global change.
Add a DEFAULT_ALPHABET attribute on your model to change it on a model-by-model basis.


Welcome username
A pistol/stealth focused build.
| Health: | 100 |
| Action Points: | 100 |
| Carry Weight: | 250 |
| Damage Resistance: | 0% |
| Energy Resistance: | 0% |
| Poison Resistance: | 0% |
| Radiation Resistance: | 0% |
| Strength | 4 |
| Perception | 4 |
| Endurance | 4 |
| Charisma | 4 |
| Intelligence | 4 |
| Agility | 4 |
| Luck | 4 |
Level 2
Gunslinger
Rank 1
Your pistol damage receives a 40% bonus.
Level 3
Scrapper
Rank 1
You find uncommon components from scrapping weapons and armor.

Level 3
Scrapper
Rank 1
You find uncommon components from scrapping weapons and armor.

Level 3
Scrapper
Rank 1
You find uncommon components from scrapping weapons and armor.


{{Infobox prepared food | name = Biangbiang noodles | image = | caption = | alternate_name = | country = China | region = Shaanxi | creator = | course = | type = Chinese noodles | served = | main_ingredient = | variations = | calories = | other = }} {{chinesetext}} {{Chinese|s= 面|t= 麵|p=Biángbiáng miàn|w=Pien2-pien2 Mien4|s2=油泼扯面|t2=油潑扯麵|p2=Yóupō chěmiàn|w2=Yu2-p'o1 Ch'e3-mien4}}
Biángbiáng noodles ({{zh|s= 面|t= 麵|p=Biángbiáng miàn}}), also known as ({{zh|s=油泼扯面|t=油潑扯麵|p=Yóupō chěmiàn}}), are a type of noodle popular in China's Shaanxi province. The noodles, touted as one of the "ten strange wonders of Shaanxi" ({{zh|c=陕西十大怪}}), are described as being like a belt, owing to their thickness and length. The "Noodle King" chain in Beijing ({{zh|c= 面北京连锁店}}) serves biáng biáng noodles.
Contents |
The noodle is broad and hand-made. It was part of a poor-man's meal in the countryside, but has recently become popular in trendy restaurants due to its unique character name.{{Citation needed|date=October 2010}}
Dishes with this noodle are often topped with lots of red hot peppers for the cold winter in Shaanxi.
{{multiple images| | direction = horizontal | width = 100 | image1 = Biáng (regular script).svg | width1 = | alt1 = | caption1 = The character for biáng in calligraphic regular script. | image2 = Biáng.svg | width2 = | alt2 = | caption2 = The character for biáng in a Song font. }}
Made up of 58 strokes, the Chinese character for "biáng" is one of the most complex Chinese characters in contemporary usage, although the character is not found in modern dictionaries or even in the Kangxi dictionary.
The character is composed of {{lang|zh|言}} (speak; 7 strokes) in the middle flanked by {{lang|zh|幺}} (tiny; 2×3 strokes) on both sides. Below it, {{lang|zh|馬}} (horse; 10 strokes) is similarly flanked by {{lang|zh|長}} (grow; 2×8 strokes). This central block itself is surrounded by {{lang|zh|月}} (moon; 4 strokes) to the left, {{lang|zh|心}} (heart; 4 strokes) below, {{lang|zh|刂}} (knife; 2 strokes) on the right, and {{lang|zh|八}} (eight; 2 strokes) above. These in turn are surrounded by a second layer of characters, namely {{lang|zh|宀}} (roof; 3 strokes) on the top and {{lang|zh|辶}} (walk; 4 strokes) curving around the left and bottom.
The Chinese character for "biáng" cannot be entered into computers. Therefore, phonetic substitutes like {{zh|c=彪彪面|p=biāobiāo miàn}} or {{zh|c=冰冰面|p=bīngbīng miàn}}) are often used.
The character is described by the following ideographic description sequence:<ref name="irg">See Unicode Technical Report #45 and associated data File, UTC-00791. The file references this Wikipedia article as a primary source and a reason for inclusion.</ref>
⿺辶⿳穴⿲月⿱⿲幺言幺⿲長馬長刂心
The character has not been added to Unicode yet, but is being considered by the IRG for inclusion in the CJK Unified Ideographs Extension F block.<ref name="irg" />
There are a number of mnemonics used by Shaanxi residents to aid recall of how the character is written.
One version runs as follows:
| Traditional Chinese |
Simplified Chinese |
Pinyin | English translation |
|---|---|---|---|
| {{lang|zh-t|一點上了天}} | {{lang|zh-s|一点上了天}} | Yīdiǎn shàngle tiān | Apex rising up to the sky, |
| {{lang|zh-t|黃河兩道彎}} | {{lang|zh-s|黄河两道弯}} | Huáng hé liǎng dào wān | Over Two bends by yellow river's side. |
| {{lang|zh-t|八字大張口}} | {{lang|zh-s|八字大张口}} | Bāzì dà zhāngkǒu | Character "Eight"'s ({{lang|zh|八}}) opening wide, |
| {{lang|zh-t|言字往進走}} | {{lang|zh-s|言字往进走}} | Yán zì wǎng jìn zǒu | "Speech" ({{lang|zh|言}}) enters inside. |
| {{lang|zh-t|你一扭 我一扭}} | {{lang|zh-s|你一扭 我一扭}} | Nǐ yī niǔ, wǒ yī niǔ | You twist, I twist too, ({{lang|zh|幺}} 'tiny') |
| {{lang|zh-t|你一長 我一長}} | {{lang|zh-s|你一长 我一长}} | Nǐ yī zhǎng, wǒ yī zhǎng | you grow, I grow ({{lang|zh|長}}) with you, |
| {{lang|zh-t|當中加個馬大王}} | {{lang|zh-s|当中加个马大王}} | Dāngzhōng jiā gè mǎ dàwáng | Inside, a horse ({{lang|zh|馬}}) king will rule. |
| {{lang|zh-t|心字底}} | {{lang|zh-s|心字底}} | Xīn zì dǐ | "Heart" ({{lang|zh|心}}) down below, |
| {{lang|zh-t|月字旁}} | {{lang|zh-s|月字旁}} | Yuè zì páng | "Moon" ({{lang|zh|月}}) by the side, |
| {{lang|zh-t|留個釣搭掛麻糖}} | {{lang|zh-s|留个钓搭挂麻糖}} | Liú ge diào dā guà má táng | Leave a hook ({{lang|zh|刂}} 'knife') for Matang (sesame candies) to hang low, |
| {{lang|zh-t|坐著車車逛咸陽}} | {{lang|zh-s|坐着车车逛咸阳}} | Zuòzhe chēchē guàng Xiányáng | On our carriage, to Xianyang we'll ride (radical: {{lang|zh|辶}} 'walk'). |
Note that the first two lines probably refer to the character {{lang|zh|宀}} (roof), building it up systematically as a point and a line (river) with two bends.
The origins of the biang biang noodles and the character biáng are unclear. In one version of the story, the character biáng was invented by the Qin Dynasty Premier Li Si. However, since the character is not found in the Kangxi Dictionary, it may have been created much later than the time of Li Si. Similar characters were found used by Tiandihui.
In the 2007 season of the TVB show The Web ({{zh|c=一網打盡}}), the show's producers tried to find the origin of the character by contacting university professors, but they could not verify the Li Si story or the origin of the character. It was concluded that the character was invented by the noodle store{{clarify|July 20111|date=July 2011}}.
One theory is that there was no such character or meaning for this word in the beginning, and the word actually came from the sound people make from chewing such delicious noodles, "biang biang biang".
According to an article on China Daily, the word "biang" actually refers to the sound made by the chef when he creates the noodles by pulling the dough and slapping it on the table.<ref>{{cite web|title=China Daily: Biangbiang Shaanxi street food|url=http://www.chinadaily.com.cn/food/2012-11/18/content_15939056.htm|accessdate=19 November 2012}}</ref>
{{Reflist}}
{{Chinese noodles}} {{Shaanxi topics}}
{{DEFAULTSORT:Biang Biang Noodles}}


--- layout: post icon: whatshot title: Share-PSI 2.0 Lisbon Workshop - Encouraging open data usage by commercial developers detail: true lang: en ref: SharePSI-Lisbon ---
Share-PSI 2.0 network organizes a workshop "Encouraging open data usage by commercial developers." This workshop takes place on 3rd and 4th December 2014, in National Laboratory for Civil Engineering (LNEC), Lisbon, Portugal.
The workshop is open to anyone interested in Open Data, however the participants are required to submit a short position paper by 12 October 2014.
Topics include, but are not limited to:
Alongside the presentations this workshop will offer a lot of opportunities for discussion within a small groups meeting to discuss particular themes. There are several ways in which you can participate:
You can read the full call for participation on the Lisbon Workshop website.
At the workshop a separate LAPSI Track is being organized by LAPSI 2.0, the European Thematic Network on Legal Aspects of Public Sector Information. Participants will have an opportunity to discuss the legal aspects of PSI and its commercial exploitation with the LAPSI partners.
Share-PSI 2.0 is the European network for the exchange of experience and ideas around implementing open data policies in the public sector. It brings together government departments, standards bodies, academic institutions, commercial organisations, trade associations and interest groups to identify what does and doesn't work, what is and isn't practical, what can and can't be expected of different stakeholders. The impetus for the Share PSI 2.0 Thematic Network is the revised European Directive on the Public Sector Information. The main activity of the network is to organise a series of workshops examining different aspects of PSI. In each workshop, the network partners with direct experience will present their case studies. The output of the workshops will be offered as input to the W3C Data on the Web Best Practices Working Group.
Share-PSI 2.0 is co-funded by the European Commission under the ICT Policy Support Programme (ICT PSP) as part of the Competitiveness and Innovation Framework Programme; Agreement no. 621012.
For more information please visit the Share-PSI 2.0 website.