Other Constructions
This section contains detailed discussion of particular linguistic constructions that fall outside (or cut across) the main categories of simple clauses, complex clauses, and nominal phrases.
- Coordination
- Ellipsis
- Multiword expressions
- Comparative constructions
- Paratactic constructions
- Punctuation
Coordination
As discussed in the section on complex clauses, we treat coordinate structures asymmetrically by attaching all non-first conjuncts to the first conjunct via the u-dep/conj relation. Coordinating conjunctions and punctuation delimiting the conjuncts are attached to the immediately following conjunct using the u-dep/cc and u-dep/punct relations respectively. This analysis is applied to all cases of coordination at the clause, phrase or word level.
He came home , took a shower and immediately went to bed .
conj(came, took)
conj(came, went)
punct(took, ,-4)
cc(went, and)
He read the newspaper and a good book .
conj(newspaper, book)
cc(book, and)
He read one or two books .
conj(one, two)
cc(two, or)
Ellipsis
The UD approach to ellipsis can be summarized as follows:
- If the elided element has no overt dependents, we do nothing.
- If the elided element has overt dependents, we promote one of these to take the role of the head.
- If the elided element is a predicate and the promoted element is one of its arguments or adjuncts,
we use the
orphan
relation when attaching other non-functional dependents to the promoted head.
Ellipsis in Nominals
If the head nominal is elided, we promote dependents in the following order: amod
> nummod
> det
> nmod
> case
.
Examples:
Er kauft sich ein grünes Auto und sie kauft sich ein rotes . \n He buys himself a green car and she buys herself a red .
nsubj(kauft-2, Er-1)
det(Auto-6, ein-4)
amod(Auto-6, grünes-5)
obj(kauft-2, Auto-6)
conj(kauft-2, kauft-9)
nsubj(kauft-9, sie-8)
obj(kauft-9, rotes-12)
det(rotes-12, ein-11)
She saw every animal at the zoo but he saw only some .
nsubj(saw-2, She-1)
det(animal-4, every-3)
obj(saw-2, animal-4)
conj(saw-2, saw-10)
advmod(some-12, only-11)
obj(saw-10, some-12)
She saw three monkeys and he saw two .
nsubj(saw-2, She-1)
nummod(monkeys-4, three-3)
obj(saw-2, monkeys-4)
conj(saw-2, saw-7)
obj(saw-7, two-8)
Ellipsis in Clauses
If the main predicate is elided, we use simple promotion only if there is an aux
or cop
, or a mark
in the case of an infinitival marker.
Example:
Sue likes pasta and Peter does , too .
nsubj(likes-2, Sue-1)
obj(likes-2, pasta-3)
conj(likes-2, does-6)
nsubj(does-6, Peter-5)
advmod(does-6, too-8)
Sue is hungry and Peter is , too .
nsubj(hungry-3, Sue-1)
cop(hungry-3, is-2)
conj(hungry-3, is-6)
nsubj(is-6, Peter-5)
advmod(is-6, too-8)
They will do it if they want to .
nsubj(do-3, They-1)
aux(do-3, will-2)
obj(do-3, it-4)
advcl(do-3, want-7)
nsubj(want-7, they-6)
xcomp(want-7, to-8)
In more complicated cases where a predicate is elided but no aux
or cop
is present, simple promotion (without orphan
deprels) could lead to very unnatural and confusing relations. For example, in the following sentence, you would be the subject of coffee, suggesting that the second clause contains a copular construction rather than an elided predicate.
Of course, one may decide to promote you instead of coffee, but suggesting that coffee is a direct object of you is no better:
To avoid confusion and signal that the dependency structure is incomplete, we use the special relation orphan
to connect the non-promoted dependents with the promoted dependent. Orphaned dependents are considered for promotion in the following order:
nsubj
> obj
> iobj
> obl
> advmod
> csubj
> xcomp
> ccomp
> advcl
> dislocated
> vocative
.
If it is necessary to select among several orphans of the same type (e.g., there are just two orphans and both are advmod
),
the orphan occurring first (closer to the sentence start) is promoted.

I want her to win and him to lose .
nsubj(want, I)
obj(want, her)
xcomp(want, win)
conj(want, him)
cc(him, and)
orphan(him, lose)
Note that the orphan
relation is only used when an ordinary relation would be misleading (for example, when attaching
an object to a subject). In particular, the ordinary cc
relation should be used for the coordinating conjunction,
which attaches to the pseudo-constituent formed through the orphan
dependency.
In German the grammar requires that non-finite verbs are at the end of the clause, which may mean that they are far away from
their finite auxiliary verbs, possibly with intervening conjuncts. In the following example we do not try to keep wurde geschieden
in one constituent. Instead, the auxiliary verb wurde is promoted as the head of the first conjunct, and the content participle
geschieden heads the third conjunct. There is no verb in the middle conjunct and the orphan
relation is used instead.
See also issue 522.
Der Genuß wurde von der Arbeit , das Mittel vom Zweck , die Anstrengung von der Belohnung geschieden . \n The pleasure was from the work , the means from-the goal , the effort from the reward distinguished .
nsubj:pass(wurde, Genuß)
obl(wurde, Arbeit)
conj(wurde, Mittel)
orphan(Mittel, Zweck)
punct(Mittel, ,-7)
conj(wurde, geschieden)
nsubj:pass(geschieden, Anstrengung)
obl(geschieden, Belohnung)
punct(geschieden, ,-12)
In verb-final languages the verb occurs in the last conjunct and gapping may occur in the earlier conjuncts; unlike German, not even an auxiliary occurs in the first conjunct. Note that coordination, being a non-dependency relation, must go left-to-right even in these languages. As a result, the first conjunct (clause with gap) may have to be headed by a non-verb, as the overt verb belongs to the last conjunct clause.  PUNCT _ PunctType=Peri 1 punct _ Translit=.|LTranslit=.|Gloss=.
Multiword Expressions
Multiword expressions (MWEs) are combinations of words that (in some respect and to different degrees) behave as lexical units rather than compositional syntactic phrases. The UD taxonomy contains three special relations for analyzing MWEs:
- u-dep/fixed are used to analyze fixed grammaticized MWEs like in spite of (see above)
- u-dep/flat are used to analyze exocentric semi-fixed MWEs like Barack Obama
- u-dep/compound are used to analyze (endocentric) compounds like noun phrase
Structures analyzed with u-dep/fixed and u-dep/flat are headless by definition and are consistently annotated by attaching all non-first elements to the first and only allowing outgoing dependents from the first element.
By contrast, compounds are annotated to show their modification structure, including a regular concept of head:
Comparatives
The syntax of comparative constructions poses various challenges for linguistic theory. For English, many of these are discussed in Bresnan (1973) and Huddleston and Pullum (2002, chapter 13). We give a discussion of equality comparisons (That car is as big as mine) and inequality scalar comparisons (Sue is taller than Jim).
In constructions of the form as X as Y or the same X as Y, X and Y can be of a range of syntactic types, leading to surface forms such as those exemplified below:
- Commitment is as important as a player’s talent.
- Get the cash to him as soon as possible.
- I put in as much flour as the recipe called for.
We note that the head of the whole construction appears to be the head of the X phrase. We can simply say:
- Commitment is important.
- Get the cash to him soon.
- I put in flour.
We then say that the first as is an independent modifier in the comparative, modifying something in the X phrase, in part because the following as Y is fairly optional:
- Commitment is (just) as important.
- ?Get the cash to him (just) as soon.
- I put in (just) as much flour.
However, this first as may not modify the head of X, it may modify an existing modifier of the head of X. Its role is adverbial (u-dep/advmod) consistent with other kinds of degree modification:
Commitment is as important as a player ’s talent .
advmod(important, as-3)
I put in as much flour as the recipe called for .
advmod(much, as-4)
amod(flour, much)
We then take the complement of the comparative as an oblique dependent of the first part. It is clear that the material in the complement as Y can be clausal. It is also usually optional, as indicated above. For that reason, we usually make the complement an u-dep/advcl, with the second as analyzed as a mark. That gives us:
I do n't hear from my brother as often as I previously heard from him .
nsubj(hear, I-1)
aux(hear, do)
advmod(hear, n't)
case(brother, from-5)
det(brother, my)
obl(hear, brother)
advmod(often, as-8)
advmod(hear, often)
mark(heard, as-10)
nsubj(heard, I-11)
advmod(heard, previously)
advcl(often, heard)
case(him, from-14)
obl(heard, him)
punct(hear, .)
We take the as Y clause as a dependent of the content-word whose degree is being assessed (here often). We take its head to be the head of the clause, here heard. An initially plausible alternative analysis would be to make the clausal dependent headed by as a dependent of the comparative modifier as, more, or less, and indeed this is the analysis which Huddleston and Pullum (2002) argue for in English. However, there are several reasons to doubt this analysis. One is the general principles of UD in favoring content words as heads. A second argument is motivated by a desire for crosslinguistic adequacy: in languages such as Finnish and Japanese, this functional element is not present.
“Y” より “X” が 面白い 。 \n Y than X NOM interesting .
nsubj(面白い, “X”)
case(“X”, が)
case(“Y”, より)
obl(面白い, “Y”)
punct(面白い, 。)
Since the first as is a functional element, the dependent can be understood to modify the whole phrase as often, and therefore is attached to the head of that phrase. Additionally, it might be noted that comparatives without a comparative word occur in certain varieties of English. For example in Indian English you find usages such as So don’t worry if you think that you have a girl-friend, who is intelligent than you. One further argument from morphological comparatives is discussed below.
The same basic analysis is given for inequality scalar comparatives, with more or less or a comparative adjective and than, parallel to the two uses of as above, except that more can also directly modify a noun, and more is then taken to have the u-dep/amod relation to the noun. In this case, we take the comparative complement as directly depending on more, roughly seeing it as elliptical for more numerous. In general, the comparative complement always depends on an adjective or adverb, and is usually an advcl except when it is directly analyzed as an obl (as discussed at the end of this section).
more problems than you thought of last week
amod(problems, more)
advcl(more, thought)
mark(thought, than)
more important than you thought
advmod(important, more)
advcl(important, thought)
mark(thought, than)
more rapidly than you thought
advmod(rapidly, more)
advcl(rapidly, thought)
a more difficult problem than you thought
advmod(difficult, more)
amod(problem, difficult)
advcl(difficult, thought)
In addition to crosslinguistic adequacy, we can see here another possible advantage of not attaching the than clause to more: This analysis then means that the dependency structure is more parallel between cases with a periphrastic comparative like more intelligent and a morphological comparative like taller (even though in bound morpheme cases, the -er could be argued to be the comparative head).
smarter than you thought
advcl(smarter, thought)
mark(thought, than)
fiksumpi kuin luulit \n smarter than you_thought
advcl(fiksumpi, luulit)
mark(luulit, kuin)
a smarter boy than you thought
amod(boy, smarter)
advcl(smarter, thought)
mark(thought, than)
If the head is elided, then the functional element can be promoted.
Wheat raises blood sugar even more than sugar does .
advcl(more, does)
Very commonly the complement clause in a comparative undergoes various amounts of partial reduction or ellipsis, sometimes to a quite extreme extent:
I put in as much flour as the recipe called for .
nsubj(put, I)
compound(put, in)
advmod(much, as-4)
amod(flour, much)
obj(put, flour)
mark(called, as-7)
det(recipe, the)
nsubj(called, recipe)
advcl(much, called)
obl(called, for)
punct(put, .)
He plays better drunk than sober
nsubj(plays, He)
advmod(plays, better)
advcl(plays, drunk)
mark(sober, than)
advcl(better, sober)
In general, we treat whatever remnant that remains as still an u-dep/advcl, as above.
However, a limiting case of this is that only a nominal is present:
- as important as a player ‘s talent
- more important than a player ‘s talent
The analysis in this case is unclear: Should the comparative complement still be analyzed as an extremely reduced complement clause or analyzed as simply a nominal modifier? There are arguments for both positions. For English, there is a long discussion of the arguments in section 2.2 of chapter 13 of Huddleston and Pullum (2002). We err on the side of minimizing the postulation of unobserved structure and opt to treat these cases as just an oblique nominal complement:
as important as a player 's talent
advmod(important, as-1)
case(talent, as-3)
obl(important, talent)
more important than a player 's talent
advmod(important, more)
case(talent, than)
obl(important, talent)
More than as a multi-word expression
In certain contexts the comparative complement combines both the action or adjective that is being compared and the quantity it is compared to:
- more than 90 percent (= over 90 percent)
- more than likely
- Home prices have more than doubled in the past decade.
In these cases we consider more than to be a fixed multi-word expression because the two words are inseparable. One cannot say *more percent than 90.
That is more than likely .
nsubj(likely, That)
cop(likely, is)
advmod(likely, more)
fixed(more, than)
punct(likely, .-6)
If the expression modifies a counted noun phrase, it attaches directly to the modified number:
more than two years ago
nummod(years, two)
fixed(more, than)
advmod(two, more)
If there is no number (because the indefinite article functions as the number “one”), it attaches directly to the head noun:
more than a year ago
det(year, a)
fixed(more, than)
advmod(year, more)
Sufficiency and Excess
Also involving degree semantics are constructions conveying a consequence/result of that degree. Like the as much flour as the recipe called for example above, we treat the degree-qualified adjective as the head of the additional clause that is licensed by the construction (as advcl):
It was so dusty that I sneezed
advmod(dusty, so)
advcl(dusty, sneezed)
You are too young to get a job
advmod(young, too)
advcl(young, get)
You are old enough to get a job
advmod(old, enough)
advcl(old, get)
Even if the thing measured is provided by a noun, it is the adjective that heads the additional clause:
We have enough/sufficient/ADJ flour to get started
obj(have, flour)
amod(flour, enough/sufficient)
advcl(enough/sufficient, get)
We had so much flour that I sneezed
obj(had, flour)
advmod(much, so)
amod(flour, much)
advcl(much, sneezed)
The that-clause is licensed by the sufficiency construction: *There was much flour that I sneezed is not possible. Sometimes multiple clauses are licensed, one by the adjective (as ccomp) and one by the sufficiency construction (either can be omitted):
I was so happy that you won that I cried
ccomp(happy, won)
advcl(happy, cried)
The adjective expressing sufficiency or excess may also occur on its own, without being headed by a noun:
1 bag of flour is enough to get started
nsubj(enough, bag)
advcl(enough, get)
Paratactic Constructions
The parataxis relation is used to analyze a number of constructions where clauses are combined by relations that are looser than standard coordination.
Side-by-side sentences (“run-on sentences”)
The parataxis relation is used for a pair of what could have been standalone sentences, but which are being treated together as a single sentence. This may happen because sentence segmentation of the sentence was done primarily following the presence of sentence-final punctuation, and these clauses are joined by punctuation such as a colon or comma, or not delimited by punctuation at all. In a spoken corpus, it may happen because what is labeled as a sentence is more commonly an utterance turn. Even if the treebanker is doing the sentence division, it may happen because there seems to be a clear discourse relation linking two clauses. Sometimes there are more than two sentences joined in this way. In this case we make all the later sentences dependents of the first one, to maximize similarity to the analysis used for conjunction.
Bearded dragons are sight hunters , they need to see the food to move .
parataxis(hunters, need)
This relation may happen with units that are smaller than sentences:
Divided world the CIA
amod(world, Divided)
parataxis(world, CIA)
det(CIA, the)
Paired clauses with non-conjunction connective (“X so Y” etc.)
The relation is also used for clauses connected by a word like so, then, therefore, or however if neither clause is interpreted as modifying the other, and there is no coordinating conjunction:
He claimed to be a wizard ; however/ADV , he turned out to be a humbug .
parataxis(claimed, turned)
advmod(turned, however)
I 'm hungry , so/ADV I 'm getting a bagel .
parataxis(hungry, getting)
advmod(getting, so)
The following, by contrast, are advcl modifiers:
Eat now so/ADV you wo n't be hungry later .
advcl(Eat, hungry)
advmod(hungry, so)
If/SCONJ you build it , then/ADV they will come .
advcl(come, build)
mark(build, If)
advmod(come, then)
Note that if-clauses should almost always be analyzed as subordinate, even when then is present.
Reported speech
When a speech verb interrupts reported speech content, the interruption is treated as a parenthetical parataxis:
The guy , John said , left early in the morning
parataxis(left, said)
punct(said, ,-3)
punct(said, ,-6)
See further discussion of reported speech at ccomp.
News article bylines
We have used the parataxis relation to connect the parts of a news article byline. There does not seem to be a better relation to use.
Washington ( CNN ) :
parataxis(Washington, CNN)
punct(CNN, ()
punct(CNN, ))
punct(CNN, :)
Interjected Clauses
Single word or phrase interjections are analyzed as discourse, but when a whole clause is interjected, we use the relation parataxis.
Calafia has great fries ( they are to die for ! )
parataxis(has, are)
punct(are, ()
punct(are, ))
Just to let you all know Matt has confirmed the booking for 3rd Dec is OK .
parataxis(confirmed, let)
In the second example, we treat the second half as the head of the dependency because the first half feels like a whole clause interjection, not like the main clause of the utterance.
Tag questions
We also use the parataxis relation for tag questions such as isn’t it? or haven’t you?.
It 's not me , is it ?
parataxis(me, is)
punct(is, ,)
Feedback words
In a sentence starting with a feedback word such as yes or no and continuing with a main clause, we take the predicate of the main clause to be the root of the sentence and attach the feedback word to this predicate with a discourse relation:
yes , we should apply for membership .
discourse(apply, yes)
However, when the feedback is expressed by a full clause instead of a feedback word, the predicate of this clause is taken as the root and the predicate of the following clause is attached with a parataxis relation:
I agree , we should apply for membership .
parataxis(agree, apply)
Punctuation
Tokens with the relation u-dep/punct always attach to content words (except in cases of ellipsis) and can never have dependents. Since punct
is not a normal dependency relation, the usual criteria for determining the head word do not apply.
Instead, we use the following principles:
- A punctuation mark separating coordinated units is attached to the immediately following conjunct.
- A punctuation mark preceding or following a dependent unit is attached to that unit.
- Within the relevant unit, a punctuation mark is attached at the highest possible node that preserves projectivity.
- Paired punctuation marks (quotes and brackets) should be attached to the same word unless that would create non-projectivity. This word is usually the head of the phrase enclosed in the paired punctuation.
See also examples at parataxis.


Use the StreamExt.delay function to delay delivering events from the source stream to the output stream


874_venico19.py
class Solution:
def eatenApples(self, apples: List[int], days: List[int]) -> int:
res = 0
n = len(apples)
heap = []
for i in range(n):
if apples[i] != 0 and days[i] != 0:
heapq.heappush(heap, (i + days[i], apples[i]))
while heap and heap[0][0] <= i:
heapq.heappop(heap)
if heap:
res += 1
day, apple = heapq.heappop(heap)
if apple > 1:
heapq.heappush(heap, (day, apple - 1))
i = n
while heap:
while heap and heap[0][0] <= i:
heapq.heappop(heap)
if heap:
res += 1
day, apple = heapq.heappop(heap)
if apple > 1:
heapq.heappush(heap, (day, apple - 1))
i += 1
return res


Taught by
Alexandra Ackerman
Code available at
https://github.com/newschool-webfundamentals
Presentations available at
newschool-webfundamentals.github.io
We've discussed how the web works: servers, requests, HTTP and beyond.
We've also covered how to make files and folders on a computer to upload to GitHub.
Now we need to figure out how to structure the content in our files to make webpages.
Hyper Text Markup Language
Webpages act like electronic versions of the documents we see in everyday life.
Documents all have a structure. How is a newspaper structured?
Webpages are structured the same way. There is a hierarchy of information.
HTML describes the markup of pages.
What's this called?

These tags are like containers and tell the browser information about what is in between the tags.
 A head element contains information about the page, such as a title. A body element displays its contents to the browser.
The metadata and resources
What the user sees.
Let's go over some of the typical tags you migth use when building a web page.
Structural markup are the elements that describe the structure of a document, such as headings and paragraphs.
There are six levels of headings.
Unordered and ordered
Some elements have "attributes"
Attributes have a name and are followed by an equals sign with a value in quotation marks.
They give more context about what the element is.Have a "src" (source) attribute, to designate image location.
Tags can have other attributes, which give extra info on the element.
This image is displayed at 50% height and width, and it has a url source.Divs are tags that create "divisions" between other elements. You group them together, most often for styling purposes.
These elements define the structure of your webpage.
There are also elements that give extra information about the meaning of the text they surround. This is called "semantic" markup.
One is structural, one is semantic. What do you think?
Italics are structural, they define how the word looks.
Emphasis is semantic, they describe how the words feel.
Same with strong and bold tags.
Divides pages with a line. Does not have a closing tag
There are also tags that embed video, audio and other content
CSS next class, but try playing with style attributes to change text color, font-size, background color, etc
Allows you to write CSS for the entire file.
Before we continue to my demo and lab, let's talk about usability
Most rules are common sense, you just need to be aware of them.
When we talk about usability, we are referring to how quickly a user can reach their goals.
If a site is usable, they can navigate and perform actions (shop, chat, etc) without getting lost
People don't read websites (unless they're reading an article)
We scan them.
Important things should be important.
Things that are similar, should be shown similarly
Let's try to recreate the structure of a webpage together.
Create at least 5 html files that connect to one another and tell a short choose your own adventure story.
Create and add it to a web-fundamentals GitHub repository by the end of class.


Rapid development and deployment of software is the primary means of competitive advantage.
Why PAAS ?
Self Provisioning for developers
Faster software development
Automation
Continuous Integration
Containerize applications
DevOps
Devops
Change in mindset + New Tools = Preparation for new fast paced world
Automation
Automated Code testing
Automated deployment
Automated Infrastructure
Automated Everything
Teams working on software developments
Linux/Unix
Windows
Database
Storage
Security
Networking
Developers
Management
Each discipline comes with its own certified professionals.
Devops will help break boundaries and silos
Openshift is the industry’s most secure and comprehensive enterprise-grade container platform based on industry standards, Docker and Kubernetes.
Features
Self service On-demand application stack
Set-up a complex and stable environment in less than 5 minutes and then move on to the actual app development.”

Features
Streamline the Delivery Process
OpenShift enables more than just deployment - it also gives you the tools you need to manage your entire development lifecycle
Simplified user experience and powerful workflow automation
New application delivery pipelines based on Jenkins.
New dashboard that aggregates application pipeline information into one comprehensive view.
New bandwidth utilization visualization alongside CPU and memory consumption for a more comprehensive view of application resource usage
New debugging utility that provides tools and options for application troubleshooting
Features
Heavy duty tools
Developers can create and manage applications utilizing a rich set of command-line tools, a powerful multi-device web console, or an Eclipse-based Integrated Development Environment such as JBoss Developer Studio.
Support and Services
Everything you need to become an expert with OpenShift
Product Help
24 x7 support
Training
Professional Service
OpenShift and native .Net
OpenShift will be providing a .NET runtime distributed and supported by Red Hat and Microsoft
Will start with version 5 of the core framework
Version parity goal of 60 days.
Openshift features
Value
Customers
Customers
Customers
###Moving from DIY Projects to Production Applications
* How do we continue to drive costs out of our IT systems?
* How do we keep up with the frequency of updates from the Kubernetes/Docker community? The innovation vs. stability debate.
* How do we manage multi-tenancy and security for all of our production applications?
* How do we manage the day-to-day operational elements like networking, logging, monitoring, etc?
* Do we really want to maintain the various pieces of software that we had to build to make the platform work?
Useful Links
https://developers.openshift.com
https://commons.openshift.org
https://openshift.com
https://hub.openshift.com/
Using Kubernetes instead of Docker Swarm would allow Edgeverve to leverage features like:


To create manual indicators, instantiate an indicator with its constructor. To view all of the available indicators and their constructors, see Supported Indicators.
// Create an indicator private Delay _delay; _delay = new Delay(20); // Create a candlestick pattern private TwoCrows _twoCrows; _twoCrows = new TwoCrows();
# Create an indicator self.delay = Delay(20) # Create a candlestick pattern self.two_crows = TwoCrows()
You can track indicators by their name. To name a manual indicator, pass a string as the first argument to the constructor.
// Name an indicator _delay = new Delay("AAPL Past Price", 20); Log(_delay.Name); // Name a candlestick pattern _twoCrows = new TwoCrows("Two Crows Pattern"); Log(_twoCrows.Name);
# Name an indicator self.delay = Delay("AAPL Past Price", 20) self.Log(self.delay.Name) # Name a candlestick pattern self.two_crows = TwoCrows("Two Crows Pattern") self.Log(self.two_crows.Name)
If you don't name an indicator, it's given a default name. For example, the default name for a Delay
indicator is "Delay(period)".


This site was inspired by a project from the Javascript Algorithms and Data Structures Certification program on freeCodeCamp.
There a few ways to enter a valid phone number (with/ without parentheses, "1" at the beginning, etc).
Try entering a number in the text area below to see if the phone number is formatted correctly.


http://action.vday.org/site/R?i=ww8biyPFJTQK9bawWoC_LA
http://action.vday.org/site/R?i=-98HzORUH085quHEbfwhGg
http://action.vday.org/site/R?i=9RLRi68d6vSpeWdcJJroew
http://action.vday.org/site/R?i=ZyaYk-7LCbjxKJbHmJ1CWQ
http://action.vday.org/site/R?i=J-mvSCGuXCDIGegJo5xTAQ
http://action.vday.org/site/R?i=qfIvIXfynCTouflUMI3c_g
RISE 4 REVOLUTION Through Art, Music & Voices - Share YOUR Revolution!
What does your REVOLUTION look like? How do you think change can
happen? How will you create a radical shift in consciousness?
http://action.vday.org/site/R?i=o7GF-v_bQvZjggiRBUqB6w
As ONE BILLION RISING REVOLUTION brings this global discussion to the
forefront, we want to hear from YOU. SHARE your revolution through
art, video, photos and words.
SHARE Your Revolution >
http://action.vday.org/site/R?i=_wQhBDi14ugQhnwrukdRmA
Check Out New Videos from Eve, Thandie Newton, One Billion Rising
Tunisia and Climbing PoeTree!
* Eve Ensler at The National Bioneers Conference
On 17 October, Eve delivered the keynote speech at the National
Bioneers Conference. Her talk deconstructs the tale of Adam and
Eve from a feminist perspective and calls on all of us to drum
up the Revolution in 2015.
http://action.vday.org/site/R?i=HI0lCGOvSjLrQHwtxMAZUg
* My Revolution: Thandie Newton
V-Board member, actor and activist Thandie Newton shares her
revolution. Will you join her?
http://action.vday.org/site/R?i=S2_JW7sbhbkEPm106HZlGQ
WATCH >
http://action.vday.org/site/R?i=PJgcC55Yd1TB7rNMmwR0XQ
*sing Tunisia
One Billion Rising Tunisia created this fantastic graphical
interpretation of the campaigns global call to action.
http://action.vday.org/site/R?i=lQVd8X7a_3HWFpD04kFK_g
WATCH >
http://action.vday.org/site/R?i=Od5McxmW7W-4d464GvtPWg
* Climbing PoeTree: “Heart Led Rebellion”
Climbing PoeTree’s new ballad about the unstoppable power of the
people features a myriad of activists, educators, and radical
artists in NYC, Seattle, and the Bay Area.
http://action.vday.org/site/R?i=dOW0p0wmRF8fnRp_dd386g
WATCH >
http://action.vday.org/site/R?i=18oQg6SoV3pAnC1giSb8xQ
http://action.vday.org/site/R?i=73FI9LZl7GmMTndJtIrmmQ
http://action.vday.org/site/R?i=TGjuIr7bLYiLB6vrFGhtyQ
http://action.vday.org/site/R?i=iboFFC9FVKPk0kaoaLT-5g
http://action.vday.org/site/R?i=pPytavjgmE2f_epkAgalrg
http://action.vday.org/site/R?i=YcKHPQ5iitim9CLhbBC2aA
http://action.vday.org/site/R?i=yD_trMsrxnlD91Eb4yfLXA
http://action.vday.org/site/R?i=wc5uXtKv5SuoL_7YBcB8-A
http://action.vday.org/site/R?i=CluTXHZfYPQ-PYcqPMgZMA
unsubscribe
http://action.vday.org/site/CO?i=B_O2bIaox-QgIkUvXlowsS20SNhp_yXh&cid=1062
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PythonCard Dialogs
Common Dialogs and Their Use
General Notes
Alert
Color
Directory
File
Find
Font
Message
Multiple Choice
Scrolled Message
Single Choice
Text Entry


@(user : models.users.User, queryForm : Form[models.supportQueryForm]) @import helper._ @main("User Support", user) {
Well Below you can choose the type of query you have for us and enter it into the text area,We Are here to help Queries may take up to 48 Hours before reply has been sent to your email.
@helper.form(action = routes.HomeController.submitQuery(),'class -> "form-horizontal",'role -> "form") {


Here table to create a Random Arrays and calculate Median, Mean, Mod and Standard Deviation....
Scatter Plot....


Patrick van Broeckhuijsen
Hi there!
My name is Patrick.
I'm a mechatronics engineer by day,
and a web developer by night.
Find me reading about productivity,
or spot me playing tennis or running.
How to escape the space bias
28 Mar 2021Every empire has a bias either towards space or towards time. This bias is highly influenced by the most dominant medium, as Innis explains in “The Bias of Communication”.
Time-biased media includes clay or stones. They are durable yet tend to reach limited audiences. Space-biased media are more volatile. They include paper, electronic and digital communication. This form of media is capable of conveying information to many people over long distances, but has short exposure times.
For an empire to last, a balance has to be reached between the spatial and temporal biases. If such a balance is not achieved, a society is doomed to eventually fall apart. Whether this will happen to our modern society depends on our ability to escape the space bias.
Read more


THE WIND WILL CARRY US (Bad ma ra khabad born)
Reviewed by Harvey Karten New Yorker Films Director: Abbas Kiarostami Writer: Abbas Kiarostami, idea by Mahmoud Ayedin Cast: Behzad Dourani, the Inhabitants of the Village of Siah Dareh
Political hacks who are appointed by repressive governments are not generally known to be intellectuals, so that if writers, or playwrights, or filmmakers want to get something critical past the censors, they'd better disguise their allegorical works as non-political. A good example of Jean Anouilh's 1943 adaptation of Sophocles' tragedy, "Antigone," about a young woman who rebels against her uncle, the king. Assumed by Nazi officials to be simply a retelling of an old legend, this French drama was known by every intelligent person in the audience to be critical of the German occupation during the War. When a oppressive theocracy was set up in Iran during the 1960s there was some question about the role of cinema and how the movies could fit in with the fundamentalist Islamic society. Abbas Kiarostami has so far been able to pass muster with the censors who presumably consider his films of no threat to the regime.
However Kiarostami's latest work, "The Wind Will Carry Us" (whose title is taken from a poem about the beauty of nature and the wonder of life), can readily be taken as a parable about the regime currently in power in Iran, but its political meaning is dwarfed by a more philosophic meditation about nothing less than life and death. At the same time the filmmaker even deprecates his own arrogance by setting up a character who can probably be taken for his stand-in.
This slow-moving, deadly serious morality tale which in a stretch could remind theater-lovers of a Christian parable, "The Road to Damascus," has been filmed on location in the Kurdistani village of Siah Dareh, built into a mountain 450 miles from Tehran and about 450 years from modern technological civilization. A man known simply as "The Engineer" (as though this were a German expressionist drama) is traveling with a crew of two by Land Rover to this remote area presumably to look for treasure, or at least that's the impression he gives to the villagers. His squad is never shown, allowing photographer Mahmoud Kalari to focus our attention quite strictly on the Engineer, particularly on his ambiguities and complexities. A tall, lean fellow dressed informally in blue jeans, a plaid shirt, and fashionable eyeglasses, he is welcomed by the villagers almost as though he were the Ayatollah himself, despite their lack of information on his mission--which is, actually, not to look for treasure but to record an ancient ritual set to take place when an old woman dies. Unbenownst to the locale, he is looking out for his own career in Tehran (though we're not clear how the photos he takes of a funeral procession can be so important to his employers). Despite his self-absorption, he seems also to have a genuine interest in the townspeople, and regularly pumps a young schoolboy, Farzad, for information.
The film is as spare and as studied as previous works of Kiarostami, such as his best-known "A Taste of Cherry," about a man contemplating suicide. The audience gets a good look at the women of the village, most of whom are old, with one in particular who has no problem shooting her mouth off when an auto's fumes are polluting her tea salon while another, have just given birth to her tenth child, is back at work on the farm one day later.
The village, ostensibly not atypical of the areas in which many Iranians live and eke out a living, is backward both physically and politically. The cell phone brought into the town by the engineer might just be the first such contraption of its kind ever seen by the people--who may be alien to the concept of telephones altogether. Politically, the government seems to have buried the burg in its medieval ways, symbolized plainly and literally by a man who is digging a hole to set up telecommunications (or so he says) but who, in an accident is buried alive and rescued just in time, taken to a hospital for an administration of oxygen--which in Kiarostami's allegory is what the whole country needs to sweep away the dominance of fundamentalism. Even the young girlfriend of the digger, from whom the Engineer mooches a jug of milk taken directly from her cow, is living in a cave not unlike the cavity described by Plato--a residence devoid of love, beauty and truth. As for the central character played by Behzad Dourani, the filmmaker leaves one loose end untied. While the Engineer may choose to be of more service to the villagers than he had been so far, he also unethically takes pictures of the funeral procession despite the feeling of the townspeople that photographs are a violation of privacy and respect for the dead.
"The Wind Will Carry Us" is loaded with metaphoric baggage, a somber, heavy, piece slow to the point of ponderousness. The film moves along like the turtle spotted by the Engineer moving along at its own pace, kicked gently on its back only to right itself up and continue its daily journey to nowhere because any sort of life is preferable to death. This is a film not simply for an audience of foreign-film enthusiasts but for a highly specialized cadre of buffs who will appreciate the work as an effective antidote to the current crop of MTV-ish, special effects action-adventure creations that dominate the American screen.
Not Rated. Running time: 118 minutes. (C) 2000 by Harvey Karten<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Browse the web, find media you want to share, then add it to the session.
Having trouble with a website?
Please
let us know on GitHub.
Browse the web, find media you want to share, then add it to the session.
Having trouble with a website?
Please
let us know on GitHub.


| Timeframe: | Update |
Moose |
Bear |
0 |
0 |
UP |
UP |
DN |
DN |
| SUBMIT |
| Are you sure you want to submit this sighting? | |
| YES | NO |


A window is any tab or floating object you see with a title bar. What truly defines a window element are the controls to navigate forward and backward, and to reload the current page.
Stages are locations that can contain windows. You can direct a page to a given stage using the attribute 'windowStage'.
Simply put, a stage is an area that can contain windows. By default there are two stages you can use; the 'defaultStage' which is the stage this tutorial is loaded into and the 'floatingStage' that contains floating windows. There is also a third stage loaded called the 'SuperStage' in which all of the Technology Explorer content is loaded into. You should NEVER send content to this stage.
As an aside there is a stage loaded in the right panel of the tutorial that is the default stage for tutorial content. A stage is also used in the bottom panel of the Ad Hoc query to display the results within.
To actually display content you need to define a 'panel'. Panels have the ability to load and display data from the server, and refresh themselves. Panels can also load other layouts, or raw data. They will can page titles, and build and promote menus for a given page. Basically, panels take care of getting your content on the screen.


Ruby Vs. Javascript
The Final Battle
December 7, 2015
Going from Ruby to Javascript felt a little bit like trying to pick up French as a casual Spanish speaker. There are some overlaps, to be sure. Enough to make sense of basic things. But, each is its own language with its own grammatical rules. Fortunately, I like both of them!
Javascript Objects are similar to Ruby Hashes in that they are data sets organized by key/value (or property/value) pairs. In Javascript, an object must be declared as a variable, like so:
I've declared 'myObject' as a variable, and filled it with two property/value pairs. These properties are separated by commas, and a trailing semicolon completes the object. In Ruby, I could create a hash like so:
The Ruby syntax is just a bit simpler, since I don't need to declare the hash as a variable, nor end with the semicolon. In Ruby, I can use either symbols (key:) or strings ('string') -- or really ANY object -- as a key value.
Accessing values is slightly different in Ruby and Javascript as well. In Javascript, I use the .propertyName call on the object name, whereas in Ruby I use the [key] to access the value.
There is another way to access the values in both languages, using square bracket notation and strings.
To create a new value in a Javascript Object, you simple use the .propertyMethod name on the Object and the property and value will be added to the end of the list inside the Object. In Ruby, you can add to a hash using the square bracket hash[key] = value notation.
Ruby and Javascript blissfull overlap, but are still each their own animal. I look forward to learning more about these languages.


Boost Mailing Lists (A.K.A. Discussion Groups)
The mailing lists are the heart of the Boost community. You may read the lists via full-content email or email digests.
Before Posting
Read the Discussion Policy and Guide to Effective Posting. Doing so will help you to ensure that your post is read by the people who can help you and received in the spirit in which it was intended.
Subscribe your posting address. As an anti-spam measure, postings to most Boost mailing lists will only be accepted if the posting's "From:" header contains an email address that is subscribed to the list. If you try to post from an address that isn't subscribed, you will probably get a message that says:
You are not allowed to post to this mailing list, and your message has been automatically rejected. If you think that your messages are being rejected in error, contact the mailing list owner at list administrator's email address.
If you need to post from multiple email addresses, you should subscribe to each one separately. You can configure your subscription settings for any address to disable mail delivery via each mailing list's web interface.
Boost Users mailing list
This list is oriented toward casual users of the Boost libraries. It is a good place to start if you are having trouble getting started with Boost or its individual libraries. Feel free to post both "newbie" and more challenging questions, but please check first to see if there's an appropriate Project-Specific list; you'll often get better answers in a forum dedicated to your problem area. This list is relatively low volume (less than 500 per month). Subscribe or unsubscribe at the Boost Users list home page.
Boost developers mailing list
This is the main Boost mailing list. It is high volume (over 1000 messages per month), very technical, and oriented toward Boost library developers. It is also read by many other members interested in watching the Boost library development process. Virtually all Boost decisions, major or minor, technical or otherwise, are reached via public discussion on this mailing list. It is where the formal reviews of proposed libraries take place. Subscribe or unsubscribe at https://lists.boost.org/mailman/listinfo.cgi/boost.
When we talk about the "members of Boost", we are talking about those signed up for this main mailing list.
Archives for Boost developers list
Archives of Boost messages include the MailMan Archive on our home page.
Boost Announce mailing list
This is an announce-only list for notification of upcoming software releases and formal reviews of proposed libraries. One to three messages per month. Subscribe or unsubscribe at the Boost Announce list home page.
Boost Interest Mailing List
This list is a moderated low-traffic announcement-only list of interest to the Boost community. On-topic messages will include announcements of books, magazine articles, papers, talks, seminars, products, tools, events, or conferences on advanced uses of C++, generic/generative/meta-programming, and, of course, the Boost libraries. Off-topic will be discussion of any kind. Job postings are accepted at the moderators' discretion. Subscribe or unsubscribe at the Boost-Interest home page.
Project-Specific lists
Several mailing lists have been established for specific Boost projects:Boost.Build list
The mailing list for the Boost Build System is located here.
Boost CMake list
Development of the experimental CMake build system is being coordinated on the Boost CMake mailing list. Any questions about CMake should be asked here and not on the main Boost.Build list.
Python C++-Sig (for Boost.Python)
The Python C++-sig is not strictly Boost-specific, but nearly all the traffic concerns Boost.Python. See also the Language Binding list below. You can join the mailing list. There are also searchable archives at ASPN.
Language Binding
The Language Binding list is for discussion of a generalized framework for binding C++ to other languages and systems based on the technology of Boost.Python and Luabind. The plan is to provide a single front-end for describing bindings with runtime-pluggable back ends for binding to specific languages.
Boost.MPI Development
A separate developer mailing list for Boost.MPI specific topics is located here.
Boost.Spirit lists
Spirit has two additional mailing lists. Spirit-general for Spirit users and Spirit-devel for Spirit developers (open to anyone who wishes to hang out with Spirit coders).
Boost.Documentation list
The mailing list for the Boost Documentation System is located here.
uBLAS development (ublas-dev) list
A separate user and developer mailing list for Boost uBLAS specific topics is located here.
Thread development (threads-devel) list
A separate developer mailing list for Boost Thread specific topics is located here.
Important: This mailing list is for the discussion of the specification and implementation of Boost.Threads only â€” questions regarding usage should be directed to the Boost Users list, or the main Boost developers list.
Testing list
The setup, procedures and tools necessary for running Boost regression tests are discussed on this list. The list's main participants are regression runners - people who run Boost tests on a variety of compilers and platforms, and the maintainers of tools for collecting and processing test results.
Important: questions relevant to a wider audience, including questions about Boost.Test framework or test results for a particular library, should be posted to main development list.
Translation Groups
Boost doesn't have the resources to translate the documentation itself, but there is at least one separate group translating the documentation. If you have formed another, tell us on the documentation list and we'll add a link.
#boost IRC channel
In addition to the mailing lists presented above, a #boost IRC channel on freenode is frequented by Boost developers and users. As usual with IRC channels, one should not necessarily expect that his questions will be answered right away. The channel is not strictly moderated.


Hello-Books
About
Contact Admin
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Overview
Account Settings
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Modify Info
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--- layout: page title: About header-img: "img/about-bg.png" ---
Entrepreneur, student, linguist, and failure... with a sprinkling of success.


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{% load otree staticfiles %}
#} {# This is a game with 2 players.#} {#
#}
To start, each player begins with an individual endowment.
{# Player 1 (P1) receives an endowment;#}
{# Player 2 (P2) receives a different endowment.#}
Player 1 (P1) chooses how much of their endowment to send to Player 2 (P2).
This amount will be multiplied by the multiplication factor and added to P2’s endowment.
{# P1 can send some or all of their endowment to P2.#}
{# Before P2 receives these points they will be multiplied by some number.#}
At the same time,
P2 decides how they would respond to each possible action from P1, and their responses are matched to
P1's actual choice to determine payoffs for that round.
{# At the end of the game, one round will be chosen at random to determine a player's winnings.#}
{# Each point corresponds to $0.40.#}


SkyForce
Score
0
Health
1000
Up:
Move forward
Left:
Move left
Right:
Move right
Down:
Move downward
f:
Fire
Game Over


Place your Orders
First Name:
Last Name:
Email:
Brand:
Model:
Serial No/IMEI:
Phone:
Alternative Phone:
Fault Details:
Pick Up Address:
Pick Up Date:
ORDER


I’m made a major modification to the power I’m running to the electronic sensors in our 2 beehives.
I recently made an automatically refilling water supply for our two beehives.
In this post I’ll show you how I made scales to take regular electronic measurements of the weights of our soon-to-be-occupied beehives using a load cell and an Arduino.
Today I installed another temperature and humidty sensor in the broodbox of our beehives.
Today I ran solar power to our two beehives to run the Raspberry Pi’s, Arduinos, and environmental sensors.
I’ve been working up to this for a while, and it’s finally coming together, and not a moment too soon. The bees will be arriving in a little over a month and I’ve still got a lot of work to do.
After figuring out how to create a custom wound RFID antenna for the ID-3LA RFID reader connected to an Arduino, I gave a shot at designing a 3D printable bobbin to wind the antenna onto. I was hoping for more range than I got, but otherwise, it worked.
Increasing the number of digital outputs on an Arduino, on a massive scale, is a lot easier than you might think. In these two videos I go through to process of wiring up the chip and writing code to activate the new outputs, and then I daisy chain 5 shift registers together to individually control 40 different digital outputs.
This is our holiday lightshow for 2015. I worked on this off and on for the better part of the year, and managed to get to all working just in time for Thanksgiving.
If you have access to an oscilloscope, calibrating an RFID antenna is pretty easy. To find out how to make an RFID antenna first, see my previous post on the subject.
Making an antenna for the ID-3LA RFID chip is surprisingly easy. Here I demonstrate how I did it. I hope it helps with your RFID project.
I’m made a major modification to the power I’m running to the electronic sensors in our 2 beehives.
I recently made an automatically refilling water supply for our two beehives.
In this post I’ll show you how I made scales to take regular electronic measurements of the weights of our soon-to-be-occupied beehives using a load cell and an Arduino.
Today I installed another temperature and humidty sensor in the broodbox of our beehives.
Today I ran solar power to our two beehives to run the Raspberry Pi’s, Arduinos, and environmental sensors.
I’ve been working up to this for a while, and it’s finally coming together, and not a moment too soon. The bees will be arriving in a little over a month and I’ve still got a lot of work to do.
After figuring out how to create a custom wound RFID antenna for the ID-3LA RFID reader connected to an Arduino, I gave a shot at designing a 3D printable bobbin to wind the antenna onto. I was hoping for more range than I got, but otherwise, it worked.
Increasing the number of digital outputs on an Arduino, on a massive scale, is a lot easier than you might think. In these two videos I go through to process of wiring up the chip and writing code to activate the new outputs, and then I daisy chain 5 shift registers together to individually control 40 different digital outputs.
This is our holiday lightshow for 2015. I worked on this off and on for the better part of the year, and managed to get to all working just in time for Thanksgiving.
If you have access to an oscilloscope, calibrating an RFID antenna is pretty easy. To find out how to make an RFID antenna first, see my previous post on the subject.
Making an antenna for the ID-3LA RFID chip is surprisingly easy. Here I demonstrate how I did it. I hope it helps with your RFID project.
I’m made a major modification to the power I’m running to the electronic sensors in our 2 beehives.
I recently made an automatically refilling water supply for our two beehives.
In this post I’ll show you how I made scales to take regular electronic measurements of the weights of our soon-to-be-occupied beehives using a load cell and an Arduino.
Today I installed another temperature and humidty sensor in the broodbox of our beehives.
Today I ran solar power to our two beehives to run the Raspberry Pi’s, Arduinos, and environmental sensors.
I’ve been working up to this for a while, and it’s finally coming together, and not a moment too soon. The bees will be arriving in a little over a month and I’ve still got a lot of work to do.
After figuring out how to create a custom wound RFID antenna for the ID-3LA RFID reader connected to an Arduino, I gave a shot at designing a 3D printable bobbin to wind the antenna onto. I was hoping for more range than I got, but otherwise, it worked.
Increasing the number of digital outputs on an Arduino, on a massive scale, is a lot easier than you might think. In these two videos I go through to process of wiring up the chip and writing code to activate the new outputs, and then I daisy chain 5 shift registers together to individually control 40 different digital outputs.
This is our holiday lightshow for 2015. I worked on this off and on for the better part of the year, and managed to get to all working just in time for Thanksgiving.
If you have access to an oscilloscope, calibrating an RFID antenna is pretty easy. To find out how to make an RFID antenna first, see my previous post on the subject.
Making an antenna for the ID-3LA RFID chip is surprisingly easy. Here I demonstrate how I did it. I hope it helps with your RFID project.


Originally, Xorg provided only bitmap fonts. Later, some scalable Type1 fonts were added, but the desktop world moved on to using TrueType and Open Type fonts. To support these, Xorg uses Xft, the X FreeType interface library.
These fonts can provide hints, which fontconfig uses to adjust them for maximum readability on computer monitors. On linux you should always prefer the hinted versions, if available (in general the latin, cyrillic and greek alphabets can use hints, most other writing systems do not use hinting).
A few fonts are provided as collections (TTC or OTC) where font data is shared between different fonts, thus saving disk space. Treat these in exactly the same way as individual TTF or OTF files.
If a font provides both TTF and OTF forms, prefer the OTF form in linux, it may provide more features for programs which know how to use them (such as xelatex).
For some scripts pango is required to render things correctly, either by selecting different glyph forms, or by combining glyphs - in both cases, according to the context. This applies particularly to arabic and indic scripts.
Standard scalable fonts that come with X provide very poor Unicode coverage. You may notice in applications that use Xft that some characters appear as a box with four binary digits inside. In this case, a font with the required glyphs has not been found. Other times, applications that don't use other font families by default and don't accept substitutions from Fontconfig will display blank lines when the default font doesn't cover the orthography of the user's language.
The fonts available to a program are those which were present when it was started, so if you add an extra font and wish to use it in a program which is currently running, then you will have to close and restart that program.
Some people are happy to have dozens, or even hundreds, of font files available, but if you ever wish to select a specific font in a desktop application (for example in a word processor) then scrolling through a lot of fonts to find the right one is slow and awkward - fewer is better. So, for some font packages you might decide to install only one of the fonts - but nevertheless install the different variants (italic, bold, etc) as these are all variations for the same font name.
In the past, everybody recommended running fc-cache as the root
user after installing or removing fonts,
but this is no-longer necessary on linux, fontconfig will do it automatically if needed
and if its caches are more than 30 seconds old. But if you add a
font and want to immediately use it then you can run that command
(as a normal user).
There are several references below to CJK characters. This stands for Chinese, Japanese and Korean, although modern Korean is now almost all written using the phonetic Hangul glyphs (it used to sometimes use Hanja glyphs which are similar to Chinese and Japanese). Unicode decided to go for Han Unification and to map some Chinese and Japanese glyphs to the same codepoints. This was very unpopular in Japan, and the result is that different fonts will render some codepoints in quite different shapes. In addition, Simplified Chinese will sometimes use the same codepoint as Traditional Chinese but will show it differently, somewhat analogous to the different shapes used for the letters 'a' and 'g' in English (single-storey and two-storey), except that in a language context one will look "wrong" rather than just "different".
Unlike most other packages in this book, the BLFS editors do not monitor the versions of the fonts on this page - once a font is good enough for general use, the typical additions in a new version are minor (e.g. new currency symbols, or glyphs not for a modern language, such as emojis or playing cards). Therefore, none of these fonts show version or md5 information.
The list below will not provide complete Unicode coverage. Unicode is updated every year, and most additions are now for historic writing systems. For almost-complete coverage you can install Noto fonts (about 180 fonts when last checked) but that number of fonts makes it much less convenient to select a specific font in a document, and most people will regard many of them as a waste of space. We used to recommend the Unicode Font Guide, but that has not been updated since 2008 and many of its links are dead.
Rendered examples of most of these fonts, and many others, with details of what languages they cover, some examples of latin fonts with the same metrics (listed as "Substitute latin fonts") and various files of dummy text to compare fonts of similar types, can be found at this font comparison page. That site also covers other current writing systems.
Fonts are often supplied in zip files, requiring UnZip-6.0 to list and extract them, but even if the current release is a tarball you should still check to see if it will create a directory (scatterring the contents of a zipfile or tarball across the current directory can be very messy, and a few fonts create odd __MACOSX/ directories. In addition, many fonts are supplied with permissions which do not let 'other' read them - if a font is to be installed for system-wide use, any directories must be mode 755 and all the files mode 644, so change them if necessary. If you forget, the root user may be able to see a particular font in fc-list but a normal user will not.
As a font installation example, consider the installation of the
Dejavu fonts. In this particular package, the
TTF files are in a subdirectory. From the unpacked source
directory, run the following commands as the root
user:
install -v -d -m755 /usr/share/fonts/dejavu && install -v -m644 ttf/*.ttf /usr/share/fonts/dejavu && fc-cache -v /usr/share/fonts/dejavu
If you wish, you can also install any licenses or other
documentation, either alongside the font or in a corresponding
directory under /usr/share/doc/
.
A few fonts ship with source as well as with the completed TTF or OTF file(s). Unless you intend to modify the font, and have the correct tools (sometimes FontForge-20170731, but often commercial tools), the source will provide no benefit, so do not install it. One or two fonts even ship with Web Open Font Format (WOFF) files - useful if you run a webserver and want to use that font on it, but not useful for desktops.
To provide greater Unicode coverage, you are recommended to install some of the following fonts, depending on what webistes and languages you wish to read. The next part of this page details some fonts which cover at least latin alphabets, the final part deals with come CJK issues.
You are strongly recommended to install the Dejavu fonts.
Caladea (created as a Chrome OS extra font, hence the 'crosextrafonts' tarball name) is metrically compatible with MS Cambria and can be used if you have to edit a document which somebody started in Microsoft Office using Cambria and then return it to them.
Cantarell fonts – The Cantarell typeface family provides a contemporary Humanist sans serif. It is particularly optimised for legibility at small sizes and is the preferred font family for the GNOME-3 user interface.
Carlito (created as another Chrome OS extra font, again the 'crosextrafonts-' prefix in the tarball name) is metrically compatible with MS Calibri and can be used if you have to edit a document which somebody started in Microsoft Office using Calibri and then return it to them.
DejaVu fonts – These fonts are an extension of, and replacement for, the Bitstream Vera fonts and provide Latin-based scripts with accents and punctuation such as "smart-quotes" and variant spacing characters, as well as Cyrillic, Greek, Arabic, Hebrew, Armenian, Georgian and some other glyphs. In the absence of the Bitstream Vera fonts (which had much less coverage), these are the default fallback fonts.
GNU FreeFont – This set of fonts covers many non-CJK characters, in particular some of the variants of latin and cyrillic letters used in minority languages, but the glyphs are comparatively small (unlike DejaVu fonts which are comparatively large) and rather light weight ("less black" when black on white is used) which means that in some contexts such as terminals they are not visually pleasing, for example when most other glyphs are provided by another font. On the other hand, some fonts used primarily for printed output, and many CJK fonts, are also light weight.
Gelasio is metrically compatible with MS Georgia and fontconfig will use it if ever Georgia is requested but not installed.
The Liberation fonts provide libre substitutes for Arial, Courier New, and Times New Roman. Fontconfig will use them as substitutes for those fonts, and also for the similar Helvetica, Courier, Times Roman although for these latter it can prefer a different font (see the examples in the 'Substitutes' PDFs at zarniwhoop.uk).
Many people will find the Liberation fonts useful for pages where one of those fonts is requested.
The Microsoft Core fonts date from 2002. They were supplied with old versions of Microsoft Windows and were apparently made available for general use. You can extract them from the 'exe' files using bsd-tar from libarchive-3.4.2. Be sure to read the license before using them. At one time some of these fonts (particularly Arial, Times New Roman, and to a lesser extent Courier New) were widely specified on web pages. The full set contains Andale Mono, Arial, Arial Black, Comic Sans MS, Courier New, Georgia, Impact, Times New Roman, Trebuchet MS, Verdana and Webdings.
Please note that if you only want to use a font with the same metrics (character size, etc) as Arial, Courier New, or Times New Roman you can use the libre Liberation Fonts (above), and similarly you can replace Georgia with Gelasio.
Although many old posts recommend installing these fonts for better-looking output, there are more recent posts that these are ugly or 'broken'. One suggestion is that they do not support anti-aliasing.
The newer fonts which Microsoft made their defaults in later releases of MS Windows or MS Office (Calibri and Cambria) have never been freely available. But if you do not have them installed you can find metric equivalents (Carlito, Caladea) above.
The Noto fonts ('No Tofu', i.e. avoiding boxes with dots [hex digits] when a glyph cannot be found) is a set of fonts which aim to cover every glyph in unicode, no matter how obscure. These fonts, or at least the Sans Serif fonts, are used by KF5 (initially only for gtk applications). If you want to cover historic languages, you can download all the fonts by clicking on the link at the top of that page.
People using languages written in Latin, Greek or Cyrillic alphabets need only install Noto Sans itself, and perhaps Noto Sans Symbols for currency symbols. For more details on the CJK fonts see Noto Sans CJK below. There are also separate fonts for every other current writing system, but these too will also require Noto Sans (or Noto Serif) and perhaps Noto Symbols.
However, you should be aware that fontconfig knows nothing about Noto fonts. The 'Noto Sans Something' fonts are each treated as separate fonts (and for Arabic there is not a specifically Sans name), so if you have other fonts installed then the choice of which font to use for missing glyphs where 'Noto Sans' is specified will be random, except that Sans fonts will be preferred over known Serif and Monospace fonts because Sans is the fallback for unknown fonts.
When KDE Frameworks 5 was first released, it used the Oxygen fonts which were designed for integrated use with the KDE desktop. Those fonts are no-longer actively maintained, so KDE made a decision to switch to Noto fonts, but for the moment they are still required by 'startkde'.
Originally these fonts were only supplied as source, needing
CMake-3.17.0 and FontForge-20170731 to create the TTF
files. But for a while the source has also included the prepared
TTF. The only unusual feature is that each TTF file is in its own
subdirectory (oxygen-fonts/{*-?00}/
)
with the source in further subdirectories. You could just install
the whole tarball if you prefer, although that will waste space.
This set of fonts from Adobe (seven different weights) includes what is now the preferred monospace font for those applications which use gsettings-desktop-schemas-3.36.0. The github release source-code-pro contains OTF (preferred) and TTF as well as the source and WOFF fonts.
To use this in terminals, you probably only want the Regular font.
There is also an older TTF version of this available from Google fonts but that has very limited coverage (adequate for most European languages using a latin alphabet).
As indicated earlier, usage of a combination of Chinese, Japanese and Korean can be tricky - each font only covers a subset of the available codepoints, the preferred shapes of the glyphs can differ between the languages, and many of the CJK fonts do not actually support modern Korean.
Also, by default fontconfig prefers Chinese to Japanese. Tuning that is covered at Prefer chosen CJK fonts.
Although Unicode has been extended to allow a very large number of CJK codepoints, those outside the Base Plane (greater than U+0xFFFF) are not commonly used in Mandarin (the normal form of written Chinese, whether Simplified (PRC) or Traditional (Taiwan)), or Japanese.
For Hong Kong, which uses Traditional Chinese and where Cantonese is the dominant language, the Hong Kong Supplementary Character Set was added to Unicode in 2005 and revised in 2009 (it is part of CJK Extension B and contains more than 1900 characters). Earlier fonts will not be able to support either Cantonese or use of these characters where local names are written in Mandarin. The UMing HK, Noto Sans CJK HK and WenQuanYi Zen Hei fonts all seem to cover Hong Kong usage (fontconfig disagrees about Noto Sans CJK HK).
The Han glyphs are double-width, other glyphs in the same font may be narrower. For their CJK content, all of these fonts can be regarded as monospaced (i.e. fixed width).
If all you wish to do is to be able to render CJK glyphs, installing WenQuanYi ZenHei may be a good place to start if you do not already have a preference.
In Chinese, there are three font styles in common use: Sung (also known as Song or Ming) which is the most-common ornamented ("serif") form, Kai ("brush strokes") which is an earlier ornamented style that looks quite different, and modern Hei ("sans"). Unless you appreciate the differences, you probably do not want to install Kai fonts.
Noto Sans CJK – Sans-Serif sets of all CJK fonts in a ttc – as the link says, you can choose to install the TTC and cover all the languages in all weights in a 110MB file, or you can download subsets. There are also Monospace versions.
A copy of version 1.4.2 of the opendesktop-fonts is preserved at Arch. This was a later development of fireflysung which BLFS used to recommend, adding Kai and Mono fonts. The name of the Sung font remains 'AR PL New Sung' so they cannot both be installed together.
At one time there was a 1.6 release, and more recently some versions at github, which also included a Sans font (Odohei), but those have dropped off the web and it is unclear if there was a problem. Fontconfig does not know anything about the later fonts (AR PL New Kai, AR PL New Sung Mono) and will default to treating them as Sans.
UMing fonts
– sets of Chinese Ming fonts (from Debian, use the '.orig'
tarball) in a ttc which contain variations of Simplified and
Traditional Chinese (Taiwanese, with second variant for different
bopomofo, and
Cantonese for Hong Kong). This ships with old-syntax files which
you can install to /etc/fonts/conf.d/
but see Editing Old-Style conf files.
WenQuanYi Zen Hei provides a Sans-Serif font which covers all CJK scripts including Korean. Although it includes old-style conf files, these are not required: fontconfig will already treat these fonts (the 'sharp' contains bitmaps, the monospace appears not to be Mono in its ASCII part) as Sans, Serif, and Monospace. If all you wish to do is to be able to render Han and Korean text without worrying about the niceties of the shapes used, the main font from this package is a good font to use.
In Japanese, Gothic fonts are Sans, Mincho are Serif. BLFS used to only mention the Kochi fonts, but those appear to now be the least-preferred of the Japanese fonts.
Apart from the fonts detailed below, also consider Noto Sans CJK.
The IPAex fonts are the current version of the IPA fonts. Click on 'English' at the link and then click on the Download icon to find IPAex Font Ver.003.01. Unfortunately, fontconfig only knows about the older IPAfonts and the forked IPA Mona font (which is not easily available and which apparently does not meet Debian's Free Software guidelines). Therefore if you install the IPAex fonts you may wish to make it known to fontconfig, see Prefer chosen CJK fonts for one possible way to do this.
The Kochi Substitute fonts were the first truly libre Japanese fonts (the earlier Kochi fonts were allegedly plagiarized from a commercial font).
The VL Gothic font is a modern Japanese font in two variants with monotonic or proportional spacing for the non-Japanese characters.
In Korean, Batang or Myeongjo (the older name) are Serif, Dotum or Gothic are the main Sans fonts. BLFS previously recommended the Baekmuk fonts, but the Nanum and Un fonts are now preferred to Baekmuk by fontconfig because of user requests.
A convenient place to see examples of these and many other Korean
fonts is Free Korean Fonts. Click on
'Gothic Fonts' or 'All Categories -> Myeongjo Fonts', then click
on the font example to see more details including the License, and
click on the link to download it. For Nanum, you will need to be
able to read Korean to find the download link on the page you get
to. For Un there are direct links and you can find the
un-fonts-core tarball in the releases/
directory.
Alternatively, consider Noto Sans CJK (all of the variants cover Hangul) or WenQuanYi ZenHei.
Last updated on 2020-03-22 03:34:34 -0500


`Keeping the Faith' – Praiseworthy by Homer Yen (c) 2000
`Keeping the Faith' is a charming and entertaining romantic comedy about friendship, fellowship, and forgiveness. The warmth that emanates from this film lies within its message of ‘love-one-another-and-love-thyself.' But the real appeal stems from the sunniness radiated by cast members Ed Norton, Ben Stiller, and Jenna Elfman who play three old friends that reunite and who become funnily entangled in a love triangle.
Brian Finn (Ed Norton) and Jake Schram (Ben Stiller) have been close friends since the 8th grade, and as they grew up, they answered similar callings.  Things are going well for the both of them. They are now powerful spiritual leaders in their New York West Side community. Affectionately known as the `God Squad,' these two give sermons in front of standing-room-only audiences.
One of Brian's and Jake's fondest memories was that of Anna Reilly, another 8th grader who was the coolest and hippest girl that they had ever known. She had moved away that year, but is now returning to New York for a job. Anna is all grown up now. She's a single, sexy, business professional. The three reunite and they are enraptured by her indomitable wit and erotic power.
She's a tremendously busy woman who has no time for a relationship. She's great at what she does, but she works 100 hours a week and misses the emotional satisfaction of being touched and held. Yet, she doesn't say this as some kind of empty confession. There's a soft smile and an inviting wink that accompanies her statement. Perhaps she's developed an attraction for either Brian or Jake. This development creates a problematic situation. As friends, it causes an awkward tension. Even worse, Anna's magnetism is taxing Brian's vows of celibacy while Jake realizes that dating someone outside his faith would jeopardize his standing among his congregates. This issue is made all the more salient by Jake's mom (Anne Bancroft) who seems adamant against interfaith marriages. When their desires finally play out, we can only hope that these three lifelong friends will continue to remain close because they are so likeable.
The movie also provides additional comical nuggets of the two clerics' lives. The beginning sequence charts Brian's and Jake's earlier days with their houses of worship. We laugh when Jake faints during a circumcision or when Brian accidentally sets his cassock on fire. Another funny sequence involves a shopping trip for a karaoke machine. The salesperson uses every dishonorable tactic to get them to buy the machine, unaware that he's lying to a man of God. There's also an ongoing story about the elder Jewish women in Jake's congregate, who continually try to introduce him to their daughters. One introduction results in the date from Hell. Upon arriving back at her apartment in a taxi, she openly invites Jake inside and tells the taxi driver to leave. He seems very afraid but when she becomes overly insistent, Jake virtually has to push his aggressive date onto the sidewalk as he frantically commands the taxi driver to leave as quickly as possible.
The real surprise of the film is Jenna Elfman, the star of TV's `Dharma and Greg.' I've never seen her television show, but I'll be sure to make an effort now. To watch her is to love her. The success of the drama rests squarely on her shoulders, but she effortlessly rises to the occasion. Her portrayal was pleasing, balancing coltish femininity with a hint of loneliness. Meanwhile, Norton and Stiller are equally affable. The film moves along at a good pace and there are plenty of lighthearted moments to keep the audience smiling. `Keeping the Faith' is a sweet film that showcases cheery performances, a likeable cast, and a sustained comical energy.
Grade: B
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The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
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Related links: index of all rec.arts.movies.reviews reviews


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Overlay API
This API allows overlay components to be controlled from the PrimeNGConfig. In this way, all overlay components in the application can have the same behavior.
Options
Mode
It has two valid values; overlay and modal. In overlay mode, a container element is opened like overlaypanel or dropdown's panel.
In modal mode, the container element behaves like popup. This behaviour is similar to a dialog component.
import { PrimeNGConfig, OverlayOptions } from 'primeng/api';
@Component({
selector: 'app-root',
templateUrl: './app.component.html'
})
export class AppComponent implements OnInit {
constructor(private primengConfig: PrimeNGConfig) {}
ngOnInit() {
this.primengConfig.overlayOptions: OverlayOptions = {
mode: 'modal'
};
}
}
Responsive
It is the option used to determine in which mode it should appear according to the given media or breakpoint.
import { PrimeNGConfig, OverlayOptions, ResponsiveOverlayDirectionType } from 'primeng/api';
const responsiveOptions: ResponsiveOverlayOptions = {
// style?: any; // Style of component in given breakpoint or media query
// styleClass?: string; // Style class of component in given breakpoint or media query
// contentStyle?: any; // Style of content in given breakpoint or media query
// contentStyleClass?: string; // Style class of content in given breakpoint or media query
// breakpoint?: string; // Breakpoint required to show component in modal mode. Exp: '640px', '10rem' etc.
// media?: string; // Media query required to show component in modal mode. Exp: '@media screen and (max-width: 640px)', '@media screen and (min-width: 640px) and (max-width: 900px)' etc.
// direction?: ResponsiveOverlayDirectionType; // Direction in which the component will be displayed in modal mode.
// hideOnEscape?: boolean; // Hides overlay when escape key pressed.
}
this.primengConfig.overlayOptions: OverlayOptions = {
responsive: responsiveOptions
};
Valid values of the direction property would be;
- center (default)
- top
- top-start
- top-end
- bottom
- bottom-start
- bottom-end
- left
- left-start
- left-end
- right
- right-start
- right-end
AppendTo
Overlay can be mounted into its location, body or DOM element instance using this option.
import { PrimeNGConfig, OverlayOptions } from 'primeng/api';
this.primengConfig.overlayOptions: OverlayOptions = {
appendTo: 'body'
};
Target
The target is used to detect the element that will be used to position the overlay. Valid values would be;
- @prev (default)
- @next
- @parent
- @grandparent
- Use CSS selector
- Use () => HTMLElement
Style and StyleClass
The style and styleClass are used to define styles that will be added to all overlay components. In addition, it can be used in contentStyle and contentStyleClass classes.
AutoZIndex
The autoZIndex determines whether to automatically manage layering. Its default value is 'false'.
BaseZIndex
The baseZIndex is base zIndex value to use in layering. Its default value is 0.
HideOnEscape
The hideOnEscape determines to hide the overlay when escape key pressed. Accepts boolean, default value is 'false'.
ShowTransitionOptions and HideTransitionOptions
Transition options of the show or hide animation. The default value of showTransitionOptions is '.12s cubic-bezier(0, 0, 0.2, 1)' and the default value of hideTransitionOptions is '.1s linear'.
Events
import { PrimeNGConfig, OverlayOptions, OverlayOnBeforeShowEvent, OverlayOnShowEvent, OverlayOnBeforeHideEvent, OverlayOnHideEvent } from 'primeng/api';
import { AnimationEvent } from '@angular/animations';
this.primengConfig.overlayOptions: OverlayOptions = {
onBeforeShow: (event?: OverlayOnBeforeShowEvent) => {}; // Callback to invoke before the overlay is shown.
onShow: (event?: OverlayOnShowEvent) => {}; // Callback to invoke when the overlay is shown.
onBeforeHide: (event?: OverlayOnBeforeHideEvent) => {}; // Callback to invoke before the overlay is hidden.
onHide: (event?: OverlayOnHideEvent) => {}; // Callback to invoke when the overlay is hidden.
onAnimationStart: (event?: AnimationEvent) => {}; // Callback to invoke when the animation is started.
onAnimationDone: (event?: AnimationEvent) => {}; // Callback to invoke when the animation is done.
};
Component
Overlay is a container to display content in an overlay window. All the options mentioned above can be used as props for this component.
Import
import { OverlayModule } from 'primeng/overlay';
Getting Started
<button (click)="toggle()">Show Overlay</button>
<p-overlay [(visible)]="overlayVisible" [responsive]="{ breakpoint: '640px', direction: 'bottom', contentStyleClass: 'h-20rem' }" contentStyleClass="p-4 surface-overlay shadow-2 border-round">
Content
</p-overlay>
import { Component } from '@angular/core';
@Component({
templateUrl: './overlaydemo.html'
})
export class OverlayDemo {
overlayVisible: boolean = false;
toggle() {
this.overlayVisible = !this.overlayVisible;
}
}
Templating
Content can be customized with the content template.
<button (click)="toggle()">Show Overlay</button>
<p-overlay [(visible)]="overlayVisible" [responsive]="{ breakpoint: '640px', direction: 'bottom', contentStyleClass: 'h-20rem' }" contentStyleClass="p-4 surface-overlay shadow-2 border-round">
<ng-template pTemplate="content" let-option>
Content - {{option.mode}}
</ng-template>
</p-overlay>


The Extensible Agent Behavior Specification Language XABSL is a very simple language to describe behaviors for autonomous agents based on hierarchical finite state machines. XABSL was developed to design the behavior of soccer robots. Behaviors specified in XABSL proved to be very successful during RoboCup since 2004. The GermanTeam has won the competitions in the Standard Platform League (using Sony Aibo robots) in 2004, 2005, and 2008. The Darmstadt Dribblers have won the Humanoid Kid Size competition in 2009 and 2010. However, the usage of the language is not restricted to robotic soccer. XABSL is a good choice to describe behaviors for all kinds of autonomous robots or virtual agents like characters in computer games.
To start using XABSL for your agent you need only three things:
The behavior is described by a set of .xabsl files. These have to be compiled to an intermediate code using the XABSL-Compiler. At the start-up of the agent this intermediate code is read by the XabslEngine which executes the behavoirs during run-time.
Within options, the activation of behaviors on lower levels is done by
state machines. Each state has any number of subsequent options basic
behaviors. Note that there can be several states that have the same subsequent
option or basic behavior.
The chart to the right shows the internal state machine of the option
"goalie-playing". Circles denote states, the circle with the two horizontal
lines denotes the initial state. An edge between two states indicates
that there is at least one transition from one state to the other. The
dashed edges show which other option or basic behavior becomes activated
when the corresponding state is active.
Each option has an initial state. This state becomes activated when the
option was not active during the last execution of the option graph. Additionally,
states can be declared as target states. In the options above
it can be queried if the subsequent option reached such a target state.
This helps to check if a behavior was successful.
Additionally, each state can set special requests (output symbols),
that influence the information processing besides the actions that are
generated from the basic behaviors.
Each state has a decision tree with transitions to other states at the
leaves. For the decisions the agent's world state, other sensory information
and messages from other agents can be used. As timing is often important,
the time how long the state is already active and the time how long the
option is already active can be taken into account.
The chart to the right shows the decision tree of the state "get-to-ball".
The leaves of the tree are transitions to other states. The dashed circle
denotes a transition to the current state.
The execution of the option graph starts from the root option
of the agent. For each option the state machine is carried out once,
the decision tree of the active state is executed to determine the next
active state. This is continued for the subsequent options of the active
state.
During behavior execution, the options and basic behaviors that are activated at a specific time step form a rooted tree which is a subtree of the option graph, the so called option activation tree. The diagram to the right shows an example option graph from a simple two-player robot soccer behavior. It depicts the decomposition of the task of playing soccer into several options and a basic behavior. Boxes represent options, ellipses represent basic behaviors. The edges show which options might get activated from another option. The highlighted options, basic behaviors and edges show an example of a possible option activation tree, showing which behaviors are activated during one specific time step.
Agents following this layered state machine architecture can be completely described in XABSL. There are language elements for options, their states, and their decision trees. Boolean logic (||, &&, !, ==, !=, <, <=, > and >=) and simple arithmetic operators (+, -, *, / and %) can be used for conditional expressions. Custom arithmetic functions (e.g. distance-to(x, y)) that are not part of the language can be easily defined and used in instance documents.
Symbols are defined in XABSL instance documents to formalize the interaction with the software environment. Interaction means access to input functions and variables (e. g. from the world state) and to output functions (e. g. to set requests for other parts of the information processing). For each variable or function that shall be used for conditions a symbol has to be defined. This makes the XABSL architecture and programming language independent from specific software environments and platforms.
As basic behaviors are implemented externally, prototypes and parameter definitions have to be specified in an XABSL document so that states can reference them.


Hello. I am Ncunge Kenin Muchui. A teacher by profession. I yearn to
become a professional web designer and web developer too.
Designing and creating websites eminating from unique creativity is
one of my lacking skills but I'm convinced I will teach myself to the point of teaching others.


17 May 2003
Eight years ago today, my life was fundamentally changed by a single sentence. Ten simple, unexpected words were the gateway to several months of anger, confusion, and grief. And regret, so much regret. In the end, it really was all for the best, but it certainly didn't feel like it at the time. I learned a great deal, and changed in ways I never would have believed possible. In retrospect, the benefit was worth the cost, even if I hadn't been aware I was going to be paying.
One month ago today, my life was fundamentally altered by a single event. It was somewhat expected, of course, and had been for sixteen months. That didn't make it any less final, but it did make it less difficult in many ways. There was very little unresolved by the end, so there was very little to regret. Whatever needed to be said was said; whatever needed to be done had been done. We gave as much love as we could, and had no doubt she knew how much we all loved her. If there is anything that can ease the path from this world, I have to believe that it's love.
There will be regrets to come—words and events and feelings we can't share, tiny pangs when we wish we could tell her what's happening in our lives and hear the pride in her voice; a feeling of absence when we want to turn to her for comfort or advice and know that it isn't there. These are selfish desires, I suppose, but not ones easily put away. Perhaps the process of healing is really one of substitution, as we find other sources for the same feedback. Perhaps it's a slow process of forgetting the details of what we miss so dearly, so that it becomes blurry and shrouded in a haze of elapsed time. The edges soften, and stop cutting quite so deeply.
I'm just guessing, of course. It's only been a month. Ask me again in eight years, and I might know something. For now, I just keep moving and keep doing my best to make her proud of me.


text:
select with 4 option:
First
Second
Third
Fourth
select with 8 option in 2 groups:
First-first
Second-first
Third-first
Fourth-first
First-second
Second-second
Third-second
Fourth-second
3 checkbox:
first :
second :
third :
4 radio buttons in 2 groups:
first group :
first :
second :
second group :
third :
fourth :
datepicker:
colorpicker:
textarea:
email:
range:
submit buttonTe:


The Vaccines’ Justin Young and Timothy Lanham announce new project Halloweens
The band was born out of a love for John Cale and Harry Nilsson
The Vaccines frontman Justin Young and Timothy Lanham have launched a new side project, Halloweens.
The band have shared two new tracks – ‘Hannah You’re Amazing’ and ‘Ur Kinda Man’ – which you can listen to below.
They’ve also shared the video for ‘Hannah You’re Amazing’, which you can also view below.
Hannah, You’re Amazing
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Young and Lanham decided to team up for the project – which was born out of their shared love of classic songwriting – after they wrote The Vaccines’ 2018 album ‘Combat Sports’ together.
The pair wrote a series of tracks in Paris before they recorded an album in Oakland, California with Luke Temple, who has previously worked with Here We Go Magic and Adrianne Lenker.
Speaking about Halloweens, Young said: “The record came from a period of writing without consequence or compromise where the only requisite was ‘do we love this?’. Being able to write and record a record that nobody expects is an incredibly empowering and exciting process, free from the fog of ambition or fear.”
Earlier this year, Young teamed up with Kylie Minogue for new song ‘Lazy’ for the soundtrack to the new Shaun The Sheep movie Farmageddon.


Game Analysis Script
Narrative Architecture
Project:
Presentation
Unit:
Games and Play
Tools:
Powerpoint?
Release:
April 2016
That project seemed as if it was going to be yet another essay being written by me. I mean, the thing is about what I usually do. And I do enjoy writing by some mere sequence of consequence. But truly, my experience from Digital Arts? I wrote the essay threefold and it still didn't get as good as I wanted it to be. Yet, now it was a different pair of shoes.
I already mentioned that I enjoy taking the ambitious approach, right? Well, I took it once again. Our tutor introduced the idea of us actually doing a video essay and it was not necessarily what was required of us, a regular essay would perfectly suit, though. As with the video essay there was presumably a fair extra workload required from the students. I decided that it could be a fairly great idea. And after having brainstormed for a little bit, out of all the games I have chosen Life is Strange.
Unfortunately I do have a fair bit against, though I was burnt out, but then I could have made the extra effort of making the video essay as clear as possible. What actually took place was: I have written the essay and read it out, as requested by the tutor. What I read, was meant to correspond with what happend in the video. It did in some lengths and was relatively spoiler-free. That said, despite my reservations, the video essay was well perceived and reviewed by the tutor. Nevertheless, you're the expert, right? So, take a look!