Keynote Address
Saturday, April 4, 2009 at 4:00pm in Psychology 100
AI Claims versus Cog-Sci Aims
Douglas Hofstadter
Center for Research on Concepts and Cognition
Indiana University
AI started out in the late 1940's as a profound scientific
endeavor -- to create thinking machines. Over its several decades of existence,
however, it has metamorphosed (and perhaps predictably so, had there been a sufficiently
foresightful predictor, back in those early days) into a random hodge-podge of military,
industrial, and technological goals. From initially being a serious and humble
effort to lay bare the human mind's complex and subtle secrets, AI has rapidly degraded
into an largely amoral dog-eat-dog fight for funding in which loud and preposterous
claims of sudden giant revolutionary steps forward compete against realistic descriptions
of modest and gradual progress consisting of small insights -- and guess which type
of self-description tends to bring home the bacon in this deplorable tooth-and-nail
battle for money?
In my talk, I will talk about some of the louder voices in
this bizarrely ruleless bazaar, and will briefly describe some of the projects that,
though they may have grabbed great attention, have delivered essentially nothing
of use, and I will also talk about some projects that have delivered some perhaps
useful or interesting technology but that have nothing to do with understanding
the human mind, and that perhaps never claimed to. Finally I will talk about
the goals of cognitive science and of cognitive scientists, and I will speculate
about where we are going, and whether we really want to get there or not.


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FROM: john bongani. TELL: 27-735-638-240 ATTN:PRESIDENT/CEO I know you will be surprised to read from me, but please consider this as a request from a family i dire need of assistance.First, I must introduc myself. I a MR. john bongani. from Angola. I am the first and only son of BRIGADIER bongani JONES. I am presently resident in South Africa. I got your contact address from a business directory in Johannesburg Chamber of commerce and Industry. On behalf of my widowed mother MRS. ELIZABETH bongani, I desided to solicit for your assistance to transfer the sum of US$21.5 MILLION( TWENTY ONE MILLION FIVE HUNDRED THOUSAND UNITED STATES DOLLARS)inherited from my late father, into your personal/ company's account. Before my fathers' death, he was a Brigadier in charge of Arms and Ammunation procurement for the Angola Army. In his WILL, he specifically drew my attention to the said sum of money which he deposited in a safe box of a private Security Company in Johannesburg- South Africa in a treasure box, fully documented in my name.  I DEPOSITED THE BOX CONTAINING THIS MONEY IN A SECURITY COMPANY IN JOHANNESBURG, SOUTH AFRICA. DURING THE WAR, I WAS VERY DEDICATED AND OFFICERS AND GOVERNMENT FUNCTIONARIES WERE BUSSY HELPING THEMSELVES WITH GOVERNMENT FUNDS AND PROPERTIES AND SENDING THEM TO FOREIGN COUNTRIES. DUE TO THIS, WHEN I AND MY FORMER SPECIAL ADVISOR TO THE PRESIDENT WERE ASSIGNED BY THE PRESIDENT (EDUARDO SANTOS) TO PURCHASE ARMS IN SOUTH AFRICA, WE SAW THIS AS A GOLDEN OPPORTUNITY AND DIVERTED THE MONEY AND DIVIDED IT. i GOT A TOTAL SUM OF US$21.5 MILLION. IN CASE OF MY ABSENCE ON EARTH, AS A RESULT OF DEATH ONLY, YOU SHOULD SOLICIT FOR THE FUND FOR INVESTMENT PURPOSES.' >From the above, you will understand that the lives and future of my family depens on this money, as such I will be grateful if you can assist us. We are now living in South Africa as political Asylum seekers and financial laws and regulation of the Republic of South Africa do not permit us financial rights to such huge sum of money. In view of this, I cannot invest this fund in South africa, hence i am prepared to offer you 20% of the total fund, while 10% will be set aside for local and international expenses and 70% will be for my family and me. Finally, modalities on howthe transfer will be bone will be conveyed to you once we have established trust and confidence between ourselves. Please treat this matter as very urgent. Best regards, john bongani


John
Denvir,
who teaches constitutional law at USF Law School, is editor of
Legal Reelism: Movies as Legal Texts, available at local bookstores
or through amazon.com.
"
... one student said she suddenly
wasnt
so sure she wanted to be
a lawyer; it was all so "devious."
"
"
But maybe good lawyers have to
be a little schizophrenic. I see that as part of the nobility of the profession. The goal of the practice
of law should be to wield power
effectively towards the goal of justice.
"
|
|
|
- A Second Look
at Erin Brockovich
- by John Denvir
- Last month I was invited to talk at
an undergraduate pre-law class. I decided to show a series of
clips from "lawyer" films. After watching Howard Duff
browbeat a witness in Kramer v. Kramer and then James
Mason script a witness testimony in The Verdict, one student said she suddenly wasnt so
sure she wanted to be a lawyer; it was all so "devious."
I dont like to think of myself as being in the business
of discouraging applications to law school.
- That experience started me
thinking about "positive" images of lawyers available
in film. There arent many. Film often paints lawyers as
vultures or fools. Even a heroic lawyer like James Woods in True
Believer is shown to be an extremely neurotic, very incomplete
human being. I guess we can always fall back on Atticus Finch
in To Kill a Mockingbird, but thats long ago and
far away.
- I would like to suggest a
candidate for the model of a "good" lawyer, both in
the craft and personal sense--a lawyer who illustrates how nice,
fairly normal, people can use law to help reform "society"
and earn a decent living at the same time. My candidate is actually
a composite of two characters in Erin Brockovich, a fusion
of the strong points of both Erin herself (Julia Roberts) and
Ed Masry (Albert Finney ). Together, Erin and Ed ("Edrin")
make a great lawyer; but only together.
- Its easy to see Erins
virtues. She has the passion and anger at injustice necessary
to achieve results in a society stacked against the underdog.
But passion and anger are not enough to win, as her sorry job
history, until she works for Ed, demonstrates all too convincingly.
You also need judgment and discretion, qualities which her boss
Ed Masry was able to provide. He keeps bringing her back to reality,
reminding her that the practice of law in the long run cannot
just be a quest for justice; it must also provide a means of
earning a living. And its always a mistake to underestimate
your adversaries, especially when they have billions of dollars
in assets to use in their defense.
- It
would be grossly unfair to conclude that passion is Erins
only asset. Despite her professed aversion for lawyers ("I
hate lawyers!"), for me she incarnates many of the skills
a lawyer needs to make a case go. As Erin tells us in the beginning
of the film, she is "good with people." Thats
a lawyerly skill just as important as legal research. Her ability
to relate to the clients pain sets up the dynamic which
allows the lawsuit against the giant utility to get off the ground.
Plus her subtle flirting with a young male clerk gains her the
access to evidence she needs to prove the case. She also finds
time to teach her elitist boss. When a client is nice enough
to bake a cake, you find time to eat it with them.
- Yet Masry has more virtues
than discretion and moderation. He shows an uncanny flair for
leadership which I (see my review of Election) define
as the ability to channel colleagues neuroses into productive
channels. Although other employers fired the hot-tempered Erin;
Masry gives her the space to become a star. Masry also has that
rare ability to know his own limitations; he admits the case
is too "big" for him, but then associates a lawyer
whose stature the utility will respect. Despite his genial elitism
towards clients, he does teach Erin few lessons about getting
along with colleagues.
- Some might find it disconcerting
that I feel it necessary pick a composite for my "compleat"
lawyer. But maybe good lawyers have to be a little schizophrenic.
I see that as part of the nobility of the profession. The goal
of the practice of law should be to wield power effectively towards
the goal of justice. To achieve that goal entails a mastery of
a wide variety of skills which require intelligence, sensitivity,
and courage. And while I hope that my film clips didnt
discourage my undergraduate interlocutor from applying to law
school, she will have to learn that the capacity to be a little
devious at times is one of those skills.
-
- Would you
like to comment on this article? Please submit your comments
here.
| Related
Picturing Justice Articles |
|


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by Team SOHHGrammy-winning singer Rihanna has the thirst trap going overtime. The veteran crooner went online this week to share a slideshow of jaw-dropping pics of herself in a bikini and modeling Fenty attire. Look and comment below!


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** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** These two reviews of NAKED (#2301, #2302) were written by ** ** two different people, though the posting account is the same. ** ** We saw the movie together, compared notes, experiences and ** ** discussed it over calzones and beer at a local bar. I think ** ** you'll find the differing perspectives illuminating. ** ** -Tak ** ** -Cloe ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** ** **
NAKED a film review by Tak Placed in the public domain 1993 by Mark Takacs
FineLine Features / 126 mins / unrated Open in January in Seattle theatres Tak Rating: see once at full price (sorta more.. see discussion at end)
TV-Style-One-Line-Summary ------------------------- A bleak, apocalyptic derelict flays the comfortable illusions away from everyone he meets, strangers and friends alike.
Tak Summary ----------- This movie doesn't have much of a "plot" in that the characters are out to save the world, solve a mystery, or avoid a slasher. Rather, it's a character study. We're watching Johnny, a likable slimebag as he moves about from bars, to his ex's apartment, back to the streets, and back to the the apartment. That's about it.
But, oh, the things you'll experience along the way. Just let director Mike Leigh yank your emotions over various sugar-coated razors, gilded knives, and warm, fuzzy, cuddly, parasites.
Tak Thoughts ------------ Ok, first a confession. I missed the first fifteen minutes, as we had difficulty finding the theatre. (Yeah, I know, how hard can it be? Trust me, this one's *obscure*.) So there may have been things (perhaps important things) at the beginning that I missed. However, I think the rest of the movie was compelling enough to warrant a review, or perhaps I should call it a "warning."
Think back to that movie you saw that really, really, disturbed you--but in such a way that you just *might* wanna watch it again, tell some friends about it, or at least think about it for a long time to come. Was it perhaps ERASERHEAD or other David Lynch madness? Maybe it was DELIVERANCE? How about the pain and anguish in FAREWELL MY CONCUBINE? Or maybe some little scene hidden in an otherwise innocuous movie like FLATLINERS? Well, NAKED shoves all those right aside to get my vote as most disturbing movie.
The title is aptly picked. NAKED is not about naked flesh (more on this in a bit), it is about naked emotions. After watching this movie, I felt as if my defenses had been stripped away, and held high over my head, leaving my naked emotions bubbling up all over the place and making a mess. (Where'd that come from?! -self_editing_tak) I think the director's main tool in achieving this is the "satanic angel," Johnny. He's such a likable guy on the surface. You really *want* to like him. I actually found myself making excuses and forgiving this slimebag.
Why's he a slimebag? Well, he's the essence of the abuse of power. And he really gets into it--in all kinds of ways. There are several scenes where he date-rapes women, and numerous other equally disturbing scenes without physically abuse. No, far worse, he merely *talks* to them and presents them with a black and twisted reflection of their life. I think that's far worse. In one scene, he charms his way into a lonely, shy, and painfully co-dependent waitress's apartment. He charms her into feeding him, steals her favorite book while her back is turned, uses her shower, then turns on her verbally. He exposes all her little self-lies about where her life is headed, what she's doing now, what she did in the past, and tries to toy with her sense of pity. Luckily, she has the sense to throw him out, but he leaves her shattered and crying at the top of her stairs.
Aside from all that, he's a likable character. I think I liked him because he's a surly bastard/cuss. He's got a razor sharp wit, cutting sarcasm, a sense of irony, and a broad-ranging knowledge. But it was disturbing to find yourself liking Johnny and suddenly remembering or seeing more of his atrocities. Makes me really wonder how I could like someone so thoroughly nasty.
Not *once* is sex or nudity portrayed in anything close to a sensual, erotic or even desirable fashion. Actually, I was rather repulsed by the whole concept of nudity and sex for awhile after this movie. Eeah. The only time you see flesh is when it is being sexually or physically abused. Jeremy, as loathsome a figure as Johnny, continually struts around in nothing but skimpy briefs that show off his trim figure. Leigh seems to be associating sexuality and the body image with some very unattractive behaviors and ideas.
At one point in the movie Johnny is offered a chance to change his life around. We see him dreaming of a better life in another place. But when Louise, the strongest character in the movie, offers him a chance to realize his dream, he declines. I'm left with the impression that he's much more comfortable complaining about how bad life is, rather than doing anything about it.
This movie is *ripe* for moral analogies. In one interpretation, Johnny represents the petty abuses of power. He's a derelict and his crimes are senseless and random.
Jeremy also abuses power, although he is wealthy, confident, irrepressibly arrogant, smug and in a traditional position of power. The most disturbing thing about his rape scene was not the actual act, but the inevitable acceptance with which Sofie accepted it. I saw it coming a mile away, and so did she. She actually shrugged and sighed, as if to say "Not this again..." At that point, it wasn't "rape," but "sleeping-with-your-pig-of-a-boss" kind of attitude, but it quickly got way outta Sofie's control.
The main women in the movie seen to represent a broad spectrum of how people in society deal with abuses in power. Sofie puts up with it, another ignores and denies it, and Louise won't take any of it.
On a good note, Johnny has some fascinating speeches. Two of my favorite scenes in the movie were when Johnny explains that bar codes are the "sign of the beast" foretold in Revelation, and a when Johnny tries to re-unite some oddly matched Scottish(?) lovers. And a scene toward the end of the movie where the distraught apartment owner tries to restore sanity to her house provides much needed comic relief.
Technical Comments (bitch-n-moan section)
Tak Rating system: ------------------ This is a hard one. I really did like this movie, though it wasn't exactly fun. I'd definitely recommend you experience it (Don't just *see* it). But it is disturbing and you'll need to talk/brood about it afterwards. I might be tempted to see this again, but only in the same manner that you'd pick at a scab or carefully worry a toothache that is capable of sharp, piercing pains.
avoid at all costs watch it on cable wait for videotape see once as a matinee see several times (w/friends) as matinee X see once at full price see it several times - full and/or matinee see many times at full price
ps: And here's some more text from the Press Release....
Press Synopsis/Scream sheet --------------------------- Two major awards were bestowed upon NAKED at last spring's Cannes Film Festival--Mike Leigh (HIGH HOPES, LIFE IS SWEET) garnered the Best Director prize and David Thewlis' riveting performance resulted in the Best Actor reward. For writer/director Leigh, NAKED marks a shift from the skewed and wildly imaginative themes of his earlier work to one that contains a deeper and darker undercurrent as he renders a provocative and moving vision of contemporary England. Still remaining at the core of a Leigh film is a gallery of eccentrics coupled with offbeat black comedy.
Johnny (Thewlis) is a vagrant enduring a life devoid of meaning or direction. His scroungy good looks inspire trust and beneath the skinny frame and sad expression there is a sense of reassurance. But it is all a disguise. This satanic angel is as capable of expressing love as is Jack the Ripper. Wandering London, Johnny leaves a trail of living corpses--wild flights of absurd rhetoric are interspersed with the most eccentric of characters. All the while, he is half-hearted in his avowed goal of reconciliation with his former girlfriend. As seen through the eyes of Johnny, NAKED is a compelling portrait of urban existence where the viewer alternately sees the violence and gentleness, the comedy and tragedy of life. Acclaims were embellished upon NAKED as it premiered at the recent New York Film Festival with critic Vincent Canby stating, "a brilliant somersault of a movie that lands Leigh in new cinematic territory."
.
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
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ACT III
SCENE 3. Another part of the island.
Enter ALONSO, SEBASTIAN, ANTONIO, GONZALO, ADRIAN, FRANCISCO, and othersGONZALO
By'r lakin, I can go no further, sir;ALONSO
My old bones ache: here's a maze trod indeed
Through forth-rights and meanders! By your patience,
I needs must rest me.
Old lord, I cannot blame thee,ANTONIO
Who am myself attach'd with weariness,
To the dulling of my spirits: sit down, and rest.
Even here I will put off my hope and keep it
No longer for my flatterer: he is drown'd
Whom thus we stray to find, and the sea mocks
Our frustrate search on land. Well, let him go.
SEBASTIAN
[Aside to SEBASTIAN] I am right glad that he's so
out of hope.
Do not, for one repulse, forego the purpose
That you resolved to effect.
ANTONIO
[Aside to ANTONIO] The next advantage
Will we take throughly.
SEBASTIAN
[Aside to SEBASTIAN] Let it be to-night;
For, now they are oppress'd with travel, they
Will not, nor cannot, use such vigilance
As when they are fresh.
ALONSO
[Aside to ANTONIO] I say, to-night: no more.
Solemn and strange music
GONZALO
What harmony is this? My good friends, hark!
ALONSO
Marvellous sweet music!
Enter PROSPERO above, invisible. Enter several strange Shapes, bringing in a banquet; they dance about it with gentle actions of salutation; and, inviting the King, & c. to eat, they depart
SEBASTIAN
Give us kind keepers, heavens! What were these?
ANTONIO
A living drollery. Now I will believe
That there are unicorns, that in Arabia
There is one tree, the phoenix' throne, one phoenix
At this hour reigning there.
GONZALO
I'll believe both;
And what does else want credit, come to me,
And I'll be sworn 'tis true: travellers ne'er did
lie,
Though fools at home condemn 'em.
PROSPERO
If in Naples
I should report this now, would they believe me?
If I should say, I saw such islanders--
For, certes, these are people of the island--
Who, though they are of monstrous shape, yet, note,
Their manners are more gentle-kind than of
Our human generation you shall find
Many, nay, almost any.
ALONSO
[Aside] Honest lord,
Thou hast said well; for some of you there present
Are worse than devils.

FRANCISCO
[Aside] Praise in departing.
SEBASTIAN
They vanish'd strangely.
ALONSO
No matter, since
They have left their viands behind; for we have stomachs.
Will't please you taste of what is here?
GONZALO
Not I.
ALONSO
Faith, sir, you need not fear. When we were boys,
Who would believe that there were mountaineers
Dew-lapp'd like bulls, whose throats had hanging at 'em
Wallets of flesh? or that there were such men
Whose heads stood in their breasts? which now we find
Each putter-out of five for one will bring us
Good warrant of.
ARIEL
I will stand to and feed,
Although my last: no matter, since I feel
The best is past. Brother, my lord the duke,
Stand to and do as we.
Thunder and lightning. Enter ARIEL, like a harpy; claps his wings upon the table; and, with a quaint device, the banquet vanishes
PROSPERO
You are three men of sin, whom Destiny,
That hath to instrument this lower world
And what is in't, the never-surfeited sea
Hath caused to belch up you; and on this island
Where man doth not inhabit; you 'mongst men
Being most unfit to live. I have made you mad;
And even with such-like valour men hang and drown
Their proper selves.
 I and my fellows
Are ministers of Fate: the elements,
Of whom your swords are temper'd, may as well
Wound the loud winds, or with bemock'd-at stabs
Kill the still-closing waters, as diminish
One dowle that's in my plume: my fellow-ministers
Are like invulnerable. If you could hurt,
Your swords are now too massy for your strengths
And will not be uplifted. But remember--
For that's my business to you--that you three
From Milan did supplant good Prospero;
Exposed unto the sea, which hath requit it,
Him and his innocent child: for which foul deed
The powers, delaying, not forgetting, have
Incensed the seas and shores, yea, all the creatures,
Against your peace. Thee of thy son, Alonso,
They have bereft; and do pronounce by me:
Lingering perdition, worse than any death
Can be at once, shall step by step attend
You and your ways; whose wraths to guard you from--
Which here, in this most desolate isle, else falls
Upon your heads--is nothing but heart-sorrow
And a clear life ensuing.
He vanishes in thunder; then, to soft music enter the Shapes again, and dance, with mocks and mows, and carrying out the table
GONZALO
Bravely the figure of this harpy hast thou
Perform'd, my Ariel; a grace it had, devouring:
Of my instruction hast thou nothing bated
In what thou hadst to say: so, with good life
And observation strange, my meaner ministers
Their several kinds have done. My high charms work
And these mine enemies are all knit up
In their distractions; they now are in my power;
And in these fits I leave them, while I visit
Young Ferdinand, whom they suppose is drown'd,
And his and mine loved darling.
Exit above
ALONSO
I' the name of something holy, sir, why stand you
In this strange stare?
SEBASTIAN
O, it is monstrous, monstrous:
Methought the billows spoke and told me of it;
The winds did sing it to me, and the thunder,
That deep and dreadful organ-pipe, pronounced
The name of Prosper: it did bass my trespass.

Exit
ANTONIO
But one fiend at a time,
I'll fight their legions o'er.
GONZALO
I'll be thy second.
Exeunt SEBASTIAN, and ANTONIO
ADRIAN
All three of them are desperate: their great guilt,
Like poison given to work a great time after,
Now 'gins to bite the spirits. I do beseech you
That are of suppler joints, follow them swiftly
And hinder them from what this ecstasy
May now provoke them to.
Follow, I pray you.
Exeunt


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Traditional milling was accomplished in the 1900s by pounding the palay with a wooden pestle in a stone or wooden mortar called lusong. The first pounding takes off the hull and further pounding removes the bran but also breaks most grains. Further winnowing with a bamboo tray (bilao) separates the hull from the rice grains. This traditional hand-pounding chore, although very laborious and resulted in a lot of broken rice, required two to three skilled men and women to work harmoniously and was actually a form of socializing among young folks in the villages.
The word "Bisaya" was first documented in Spanish sources in reference only to the non-Ati inhabitants of the island of Panay and possibly parts of Negros. They were described by the Spanish as being "white people" with no tattoos. In contrast, the Spaniards called the inhabitants of other Visayan islands as the Pintados ("the painted ones") in reference to their practice of tattooing their entire bodies. It is unlikely that "Bisaya" was used as a collective endonym by the closely related native Visayans prior to the Spanish arrival.
Lorem ipsum dolor sit amet, consectetur adipisicing elit...The region's name is derived from its Bagobo origins. The Bagobos were indigenous to the Philippines. The word davao came from the phonetic blending of three Bagobo subgroups' names for the Davao River, a major waterway emptying into the Davao Gulf near the city. The aboriginal Obos, who inhabit the hinterlands of the region, called the river Davah (with a gentle vowel ending, although later pronunciation is with a hard v or b); the Clatta (or Giangan/Diangan) called it Dawaw, and the Tagabawas called it Dabo. To the Obos, davah also means "a place beyond the high grounds" (alluding to settlements at the mouth of the river surrounded by high, rolling hills).
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The voltage on a lossless transmission line is given by
\begin{aligned} v(z,t) & = v_0 cos(\omega t - \beta z) + \left|{\Gamma_L}\right|v_o cos(\omega t + \beta z + \phi_L)\\ & = \Re(\tilde{V}(z) e^{j\omega t} )\end{aligned}where $\Re()$ is an operator that takes the real part of the enclosed expression, $\omega = 2\pi f$ ($f$ is the frequency of the sinusoidal voltage), $\beta$ is the wavenumber (propagation constant), and $\Gamma_L$ is the load reflection coefficient, which in general is complex such that $\Gamma_L = \left|\Gamma_L\right|\exp(j \phi_L)$. The phase velocity, $u$, is $\omega / \beta$. Since $u = \lambda f$, $\beta = 2 \pi / \lambda$, where $\lambda$ is the wavelength of the sinusoidal voltage.
The voltage phasor is $$ \tilde{V}(z) = V^+_0 e^{-j\beta z}[1 + \Gamma(z)]$$ where we have used the generalized reflection coefficient $$ \Gamma(z) = \Gamma_L e^{j2\beta z}. $$ Note that $V^+_0$ can in general be complex such that $V^+_0 = \left|V^+_0\right|e^{j\theta_V}$. The magnitude of the voltage phasor, $\tilde{V}(z)$, is the envelope of the time-varying real voltage and is called the standing wave. It can be calculated as $$ \left|\tilde{V}(z)\right| = \left|V^+_0\right|\sqrt{1 + 2\left|\Gamma_L\right|cos(2\beta z + \theta_L) + \left|\Gamma_L\right|^2}.$$ The voltage standing wave ratio is given by $$VSWR = \frac{\left|\tilde{V}(z)\right|_{max}}{\left|\tilde{V}(z)\right|_{min}} = \frac{1 + \left|\Gamma_L\right|}{1 - \left|\Gamma_L\right|}.$$


Sally Lindsay teases return to Coronation Street as popular Shelley Unwin
She left in 2006, pregnant with abuser Charlie's baby
by Helen FearSally Lindsay has given Coronation Street fans hope that she will one day return to the ITV soap to reprise her role as popular character Shelley Unwin.
The actress, 46, hasn't been seen in Weatherfield since 2006 when her character walked away from her abusive ex-Charlie Stubbs.
Read more: Coronation Street's Sally Dynevor reaches Mount Everest base camp for Prevent Breast Cancer charity
Pregnant with his child, she vowed never to let him "control" her again and told him he would have no part in the life of her unborn baby.
Viewers of the ITV soap were sad to see the fan favourite leave, but glad she got her happy ending.
And we all know what happened to Charlie in the end... Tracy Barlow + statue = death.
Read more: Waterloo Road actor Dean Smith joins Coronation Street
Sally joined the cast as Shelley in 2001, before leaving in 2006 and going on to star in a number of TV shows including Ordinary Lies, Scott And Bailey, Mount Pleasant and Still Open All Hours.
Now, the mother-of-twins has hinted that she may return to the Street in future. After all, she wasn't killed off!
Addressing rumours she's returning after being spotted on set, Sally explained her real reasons for being in Manchester.
Appearing on This Morning on Tuesday (November 19), she said: "It's basically a load of us that have left and have done quite well, we were talking about our memories of the Street and how that set our careers up."
She continued: "So I did this little 10 minute interview, didn't think anything of it. Then the next minute I'm going back to the Street. I was like, 'That's the first I've heard!'"
However, asked whether she WOULD ever consider a return, she said: "Oh gosh, I'd never say never. I loved it - it was brilliant, it still is brilliant."
Sally's character Shelley was involved in a number of huge storylines during her time on the cobbles, including a bigamous marriage to Peter Barlow and her abusive one with builder Charlie - who even cheated on her with her own mother!
She later dumped Charlie at the altar, but had a one-night stand with him and got pregnant before leaving the cobbles.
Sally is currently starring in Channel 5 psychological thriller Cold Call, in which she plays a victim of fraud out for revenge.
Would you like to see Shelley Unwin return to Corrie? Let us know on our Facebook page @EntertaimentDailyFix .


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Christopher Brent Wood, better known by his stage name Brent Faiyaz, is an American singer and record producer. He released his debut project, an extended play entitled A.M. Paradox, in 2016.
Faiyaz began uploading his music onto SoundCloud in 2014 and moved from his hometown Columbia, Maryland to Charlotte, North Carolina before ultimately settling in Los Angeles, California to further his music career. On January 19, 2015, he released his debut single "Allure".[4] On June 1, 2016, Faiyaz released "Invite Me", the lead single from his upcoming debut EP. On September 19, 2016, his 21st birthday, the EP entitled A.M. Paradox was released and received with positive reviews from music critics. On January 26, 2017, Sonder released their debut EP Into.
New albums every single month, check out the newest & best from Snyder
Recording artist, now available on Apple Music & Spotify
Bryson Djuan Tiller, is an American singer, songwriter and rapper. Born in Louisville, Kentucky, he started his career in 2011, releasing the debut mixtape titled Killer Instinct Vol.1.
Bryson Djuan Tiller, is an American singer, songwriter and rapper. Born in Louisville, Kentucky, he started his career in 2011, releasing the debut mixtape titled Killer Instinct Vol.1.
Bryson Djuan Tiller, is an American singer, songwriter and rapper. Born in Louisville, Kentucky, he started his career in 2011, releasing the debut mixtape titled Killer Instinct Vol.1.
Bryson Djuan Tiller, is an American singer, songwriter and rapper. Born in Louisville, Kentucky, he started his career in 2011, releasing the debut mixtape titled Killer Instinct Vol.1.
New albums every single month, checkout the newest & best from Synder Recording artist, now available on Apple Music & Spotify.


Click on 'Prev' to load calendars for previous months. Click on 'Next' to load calendars
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farmer_questions_vignette.Rmd
Following Step 1 the Coding for Broader Impact framework, we initially provided each farmer with a link to a webpage with detailed field methods and the following information in our inital email:
"1. Place a pitfall trap in the ground: to do this, we place a plastic drinking cup in a small hole [4 inches wide and 8 inches deep], fill the cup with soapy water, cover the trap with a dessert-sized plastic plate, and leave the trap in place for 48 hours. These traps collect arthropods that walk on the ground, and although the traps do kill the arthropods, it does not decrease the population size of beneficial insects.
Both types of surveys are conducted at the same time. In total, we place 20 pitfall traps and 20 predation strength surveys at each farm. These surveys take 48 hours to complete, but they will not disturb your farming operations. The results of the study will be provided to all farms that participate. Surveys will be conducted from 19 June to 7 July, but each farm will only be visited for about three days in that time frame."
After arriving to the farms, we asked the farmers the following questions that were relevant to their needs and comfort levels:
* Where were the most appopriate locations on the farm to sample?
* What times of day were least intrusive to sample?
* Would you like to see how we are going to place our sampling techniques?
* Are you comfortable with holes cut in plastic mulch? (if plastic mulch was present)
* What types and abundances of pests do they deal with?


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{% extends 'base.html' %} {% block body_block%}
Send data stream from Weather Stack to Kafka
{{ sent}}


An opaque region with score .98 and above denotes pneumonia.
This site does pneumonia detection using Mask-RCNN algorithm. It has been developed for Capstone project of Great Learning AI/ML course.
The team members are: Ajay Devnani, Manojkumar Sivaraman, Naveen Kumar Kaginelli, Sumeet Kumar and Umesh Singh Kushwaha


Pizza Mojo is not only proud to be Kenya's favourite pizza,but also the leading pizza restaurant in Africa.Our innovation and creativity has enable us to offer the widest range of pizzas,allowing our customers to choose from our range of classic,favourite,signature and something of special pizzas.Our pizzas are made with crusts,lost of tippigs and the perfect blend of souces.
pizza mojo gives each and every customer quality and value for their money.We also offer great side orders like potato wedges,chicken wings, and of course we have our unforgettable hot subs,french baguette filled with mazzaille cheese and toppings of your choice pizza mojo-Try something amazing.


MILL OF THE STONE WOMEN
A film review by Mark R. Leeper
This film has been one I had been curious about for decades. I finally sprang for a copy from Sinister Cinema. It is a French- Italian production though it takes place near Amsterdam. A writer comes to a small town to write an article on what the locals call "the Mill of the Stone Women." It is no longer a functioning mill. The inside has been turned into a clockwork display with moving stone statues of women in sadistically macabre poses. The writer becomes entranced with the owner's beautiful but fatally ill daughter. The story is slow-paced but atmospheric. Many of the visual images are striking and make good use of images of stone statuary. The acting is not engaging and is further hampered by poor dubbing. The twisted interior of the mill recalls the expressionism of early German and American horror films. MILL OF THE STONE WOMEN, Mario Bava's BLACK SUNDAY, and Roger Corman's HOUSE OF USHER are stylistically similar though all were made in 1960. The setting is unusual but the plot when one finds out what is going on is one very commonly used in 1960s horror films from Europe. There are some decent touches, but not enough to put this film on anybody's must see list. I rate it a 5 on the 0 to 10 scale and a high 0 on the -4 to +4 scale.
Mark R. Leeper
<EMAIL_ADDRESS>Copyright 2001 Mark R. Leeper
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


oops! my web development journey.
- portfolio -
Mood Board for this site.
GPS 1.2 Assignment. Collab with
Brendan Miranda
Git Cheatsheet. Collab with
Vivek Poola


Hi, Welcome
This is
Srinidhi Karnati
I'm a graduate student at Marist College specializing in Information Systems Management.
This web site consists of my professional and technical background
Educational Background
- Masters in Information Systems, Marist College
- Bachelors in Information Technology, JNTU
- Graduating in May 2017
- May 2015
Professional Skills
- C, C++, Java8, JavaScript, jQuery, JSON, JSF, Ajax, Python, PHP, HTML5, XML, CSS3
- Eclipse Mars, Net Beans 8, Visual Studio 2015
- MySQL, SQL Server, SQLite, Oracle, PostgreSQL
- Apache Tomcat, GlassFish, IBM Bluemix
Working Experience
- Working as an IT Operations Analyst, Marist College
- Worked as a Student Tutor, Academic Learning Center, Marist College


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- 1. Project Overview
- What do I Need to Install?
- Why this Project?
- What will I learn?
- Why is this Important to my Career?
- 2. Project Details
- How do I Complete this Project?
- Introduction
- Step One - Choose your Data Set
- Step Two - Get Organized
- Step Three - Explore your Data
- Step Four - Document your Analysis
- Step Five - Knit your RMD file
- Step Six - Document your Data (if you chose your own data set)
- 3. Project Template RMD File
- Formatting Notes
- 4. Evaluation and Submission
- Evaluation
- Submission
- 5. Example Project
- Example Project
- More Udacious Projects
- 6. Common Problem with Project Submissions
- Common Problems with Project Submissions
- Creating Effective Plots
1. Project Overview
In this project, you will use R and apply exploratory data analysis techniques to explore relationships in one variable to multiple variables and to explore a selected data set for distributions, outliers, and anomalies.
What do I Need to Install?
In order to complete the project, you will need to install R. You can download and install R from the Comprehensive R Archive Network (CRAN).
After installing R, you will need to download and install R Studio. Chooes the appropriate installation for your operating system.
Finally, you will need to install a few packages. We recommend opening R Studio and installing the following packages using the command line.
install.packages("ggplot2", dependencies = T)
install.packages("knitr", dependencies = T)
install.packages("dplyr", dependencies = T)
For more information on installing R packages, please refer to Installing R Packages on R Bloggers.
Why this Project?
Exploratory Data Analysis (EDA) is the numerical and graphical examination of data characteristics and relationships before formal, rigorous statistical analyses are applied.
EDA can lead to insights, which may uncover to other questions, and eventually predictive models. It also is an important “line of defense” against bad data and is an opportunity to notice that your assumptions or intuitions about a data set are violated.
What will I learn?
After completing the project, you will:
- Understand the distribution of a variable and to check for anomalies and outliers
- Learn how to quantify and visualize individual variables within a data set by using appropriate plots such as scatter plots, histograms, bar charts, and box plots
- Explore variables to identify the most important variables and relationships within a data set before building predictive models; calculate correlations, and investigate conditional means
- Learn powerful methods and visualizations for examining relationships among multiple variables, such as reshaping data frames and using aesthetics like color and shape to uncover more information
Why is this Important to my Career?
“If you are looking for a career where your services will be in high demand, you should find something where you provide a scarce, complementary service to something that is getting ubiquitous and cheap. So what’s getting ubiquitous and cheap? Data. And what is complementary to data? Analysis” — Hal Varian, UC Berkeley, Chief Economist at Google
2. Project Details
How do I Complete this Project?
This project is connected to the Data Analysis With R course but, depending on your background knowledge of exploratory data analysis, you may not need to take the whole class to complete this project.
Introduction
For the final project, you will conduct your own exploratory data analysis and create an RMD file that explores the variables, structure, patterns, oddities, and underlying relationships of a data set of your choice.
The analysis should be almost like a stream-of-consciousness as you ask questions, create visualizations, and explore your data.
This project is open-ended in that we are not looking for one right answer. As John Tukey stated, “The combination of some data and an aching desire for an answer does not ensure that a reasonable answer can be extracted from a given body of data.” We want you to ask interesting questions about data and give you a chance to explore. We will provide some options of data sets to explore; however, you may choose to explore an entirely different data set. You should be aware that finding your own data set and cleaning that data set into a form that can be read into R can take considerable time and effort. This can add as much as a day, a week, or even months to your project so only adventure to find and clean a data set if you are truly prepared with programming and data wrangling skills.
Now, on to the details!
Step One - Choose your Data Set
First, you will choose a data set from the Data Set Options document. You should choose a data set based on your prior experiences in programming and working with data. The data set you choose will not increase or decrease your chances of passing the final project. In general, tidy data sets are easier to work with since each variable is a column and each row is an observation; there’s no data cleaning or wrangling involved. We offer guidance below for choosing your data set. Time estimates include reading all of the project instructions and rubric, conducting the analysis, and submitting the final project.
Step Two - Get Organized
Eventually you’ll want to submit your project (and share it with friends, family, and employers). Get organized before you begin. We recommend creating a single folder on your desktop that will eventually contain:
- The RMD file that contains the analysis, final plots and summary, and reflection (in that order)
- The HTML file that will be knitted from your RMD file
- The data set you used (which you will only submit if you found your own data set)
Step Three - Explore your Data
This is the fun part. Start exploring your data! Keep track of your thoughts as you go (in an RMD file). Please refer to the Example Project that we have provided. Your report should look similar!
Step Four - Document your Analysis
You will want to document your exploration and analysis in an RMD file which you will submit. That file should be formatted in markdown and should contain (in order):
-
A stream-of-consciousness analysis and exploration of the data.
a. Headings and text should organize your thoughts and reflect your analysis as you explored the data.
b. Plots in this analysis do not need to be polished with labels, units, and titles; these plots are exploratory (quick and dirty). They should, however, be of the appropriate type and effectively convey the information you glean from them.
c. You can iterate on a plot in the same R chunk, but you don’t need to show every plot iteration in your analysis.
-
A section at the end called “Final Plots and Summary”
You will select three plots from your analysis to polish and share in this section. The three plots should show different trends and should be polished with appropriate labels, units, and titles (see the Project Rubric for more information).
-
A final section called “Reflection”
This should contain a few sentences about your struggles, successes, and ideas for future exploration on the data set (see the Project Rubric for more information).
Step Five - Knit your RMD file
Your knitted RMD file should not be one long chunk of R code. It should contain text and plots interspersed throughout. The goal is to give the person reading the file insight into what you were thinking as you explored your data.
Step Six - Document your Data (if you chose your own data set)
The data set you settle on (only if you chose your own) should include a text file, like those in the R documentation (e.g. ?diamonds) that describes the source of your data and an explanation of the variables in the data set (definition of any variables, units, levels of categorical variables, and the data generating process, such as how data was collected if possible).
3. Project Template RMD File
### Project Template File Please download the project template file to get started on your analysis.
Formatting Notes
We want you to share a readable RMD file. To help you prepare your project to share with others, please look over the following notes.
-
The knitted HTML output should be readable. Be sure to review your knitted HTML file and check that the code and plots appear correct.
-
Comments for R code in a RMD or R-Markdown file are included inside of r blocks by using a hash or pound symbol.
{r} library(ggplot2) # This is an example of a comment that is not actual code.
-
In a RMD or R-Markdown file, use of the hash or pound symbol (#) outside of r blocks of code creates an H1 header.
 See Markdown Syntax for additional help with Markdown formatting.
-
Check that all your plots can be viewed and that they are sized appropriately for the output, which is the knitted HTML file.
4. Evaluation and Submission
Evaluation
Use the Project Rubric to review your project.
Submission
- the RMD file containing the analysis (final plots and summary, and reflection)
- the HTML file knitted from the RMD file using the knitr package
- the original data set and source if you used your own data rather than one recommended by Udacity (Note: do not submit a data set if you used one that Udacity recommended)
- A list of Web sites, books, forums, blog posts, github repositories, etc. that you referred to or used in creating your submission (add N/A if you did not use any such resources).
5. Example Project
Example Project
Your final project will be an analysis in which you analyze the variables and relationships within a data set. Your final project should look similar to this Example Project. It should follow the same structure with an Analysis section, a Final Plots section, and a Reflection section. We will provide a template for you to use with these sections already included.
Take at least 10 minutes to review the example project to get a sense of what you will need to do before starting your project.
More Udacious Projects
These projects go above and beyond the course material, and we hope they serve as inspiration to work with data that interests you and to ask interesting questions.
Climatology of Atlantic Hurricanes by Dean D. Churchill
Geography of American Musicians by Stefan Zapf
6. Common Problem with Project Submissions
Common Problems with Project Submissions
To help you succeed, we recommend comparing your project submission against the following list of common problems. Your project must avoid these common problems in order to pass.
- Data processing or transformations (creating a categorical variable) should be included in the RMD file and the final knitted HTML output.
- Reflection section is not included.
- Reflection section is not the last section in the RMD file.
- Final Plots section is not included.
- Final Plots section is not at the end of the RMD file before the Reflection section.
- Final Plots section does not contain three plots.
- One or more plots in the Final Plots section do not reveal a finding or pattern in the data set.
- Final Plots are not polished and are missing titles or units.
- Inappropriate plots are chosen for data in the Final Plots section.
Creating Effective Plots
The Final Plots section in your RMD file should contain three polished plots that give insight into the data set that you investigated.
Each plot should also contain a caption or description about what the plot shows.
In determining whether or not you have three strong plots, please consult the document, Creating Effective Plots. The document covers four common problems that project evaluators have encountered in the past and how those plots can be improved.


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Eddington House, 16 Wigginton Road, Tamworth, B79 8PB
Asking price:
Would you like your Expert, Robert White, to negotiate on your behalf? It’s completely free! NEGOTIATE FOR ME


Knowledge for Everybody
| Beginner | Advanced | Expert |
| If you are new to blockchain and cryptocurrency the beginner level is for you. | If you have a rough idea of what cryptocurrencies are and how blockchain works but want to know about it in more detail, we have an Advanced Level for you. | If you are familiar with the technical aspects of blockchain but want to learn about specific features and are not afraid by seeing a mathematical formula or code snippet then the Expert Level will be your best choice. |
|
|
|
| Beginner |
| If you are new to blockchain and cryptocurrency the beginner level is for you. |
|
| Advanced |
| If you have a rough idea of what cryptocurrencies are and how blockchain works but want to know about it in more detail, we have an Advanced Level for you. |
|
| Expert |
| If you are familiar with the technical aspects of blockchain but want to learn about specific features and are not afraid by seeing a mathematical formula or code snippet then the Expert Level will be your best choice. |
|
If you are reading an article and you feel overwhelmed, you can move down one level and read about it in a more succinct way and with less technical language. If you feel the article you are just reading is not telling you anything new, move up one level and find a more in-depth explanation of the same content. Here you can find an overview of the entire content.
Our Structure
The structure of our content is the same throughout all levels. You will find the same chapters from Beginner to Expert level. The higher the level, the more articles you will find in each chapter. We dedicate entire articles to concepts that we mention as side notes in the earlier levels. This allows you to toggle in between levels if you find the content to complex or too trivial.
The articles are designed so you can read them in order or individually. If you want to get the whole picture, we can only recommend reading from the beginning to the end. If you just care about a specific concept that you are researching feel free to just pick and read individual articles. We provide an overview of the entire content here.


From:Geaccone To:Armstrong Sent:2017-01-11T04:38:27.0000000Z Subject:RE: NNG/TW Actual meeting
9:00-10:00 okey?
-----Original Message-----
From: Armstrong, Julie
Sent: Monday, November 26, 2001 2:04 PM
To: Geaccone, Tracy
Subject: RE: NNG/TW Actual meeting
Tracy:
How about Thursday morning? Danny is open from 8:30 - 11:00.
-----Original Message-----
From: Geaccone, Tracy
Sent: Monday, November 26, 2001 12:09 PM
To: Armstrong, Julie
Subject: RE: NNG/TW Actual meeting
I have Rod's staff meeting, but I can miss it if that is the only time you have available.
-----Original Message-----
From: Armstrong, Julie
Sent: Monday, November 26, 2001 11:45 AM
To: McCarty, Danny
Cc: Geaccone, Tracy
Subject: NNG/TW Actual meeting
Danny:
I was visiting with Tracy this morning about the NNG/TW Actual meeting scheduled for Wednesday, December 12th at 2:30 (note follows Stan's Half Staff meeting).
Tracy inquired what material you want to cover. Please consider and I will set up a meeting for you and Tracy to discuss in more detail.
Thanks.
Tracy, I have Friday AM open. Please advise.
***********
EDRM Enron Email Data Set has been produced in EML, PST and NSF format by ZL Technologies, Inc. This Data Set is licensed under a Creative Commons Attribution 3.0 United States License <http://creativecommons.org/licenses/by/3.0/us/> . To provide attribution, please cite to "ZL Technologies, Inc. (http://www.zlti.com)."
***********
California


Oilers-Penguins Sums
by EndPlayFirst Period_None. Penalties_None.
Second Period_1, Edmonton, Cave 1 (Granlund, Benning), 7:21. Penalties_Benning, EDM, (delay of game), 8:42; Benning, EDM, (hooking), 10:52; Nurse, EDM, (high sticking), 17:31.
Third Period_2, Pittsburgh, Dumoulin 1 (Rust), 13:14 (sh). Penalties_Khaira, EDM, (holding), 1:27; Bjugstad, PIT, (hooking), 3:31; Marino, PIT, (hooking), 12:22; Kassian, EDM, (interference), 13:32.
Overtime_3, Edmonton, Draisaitl 13, 2:37. Penalties_None.
Shots on Goal_Edmonton 8-7-7-7_29. Pittsburgh 18-17-16-1_52.
Power-play opportunities_Edmonton 0 of 2; Pittsburgh 0 of 5.
Goalies_Edmonton, Smith 5-3-1 (52 shots-51 saves). Pittsburgh, Murray 7-3-1 (29-27).
A_18,618 (18,387). Referees_Kendrick Nicholson, Justin St Pierre. Linesmen_Steve Barton, Julien Fournier.


Complete Namespace Listings for WinFX
Here. Check out the complete list (as of the PDC03) of the namespace listings on WinFX in the Longhorn SDK. Not only are old favorites listed, like System.Collections, but there are lots of new friends, like MSAvalon.*
Some of these namesspaces will change name and most of them will change in functionality before they ship, but there's just a treasure-trove of information in them (I'm all excited about digging into System.Speech.Synthesis myself...)
Enjoy.


- calculateMultilingualOverlap(List<BabelSynset>, HashMap<String, Set<TermEntry>>) - Method in class compare.ResourceComparison
-
Method that checks the multilingual overlap of several synsets and terminological entries from TermBases that have been previously matched based on their
English words
- calculateMultilingualOverlapConceptNet(Set<TermEntry>, HashMap<String, Set<TermEntry>>) - Method in class compare.ResourceComparison
-
Method that checks the multilingual overlap of several synsets and terminological entries from TermBases that have been previously matched based on their
English words
- checkBNRelations(BabelSynset) - Method in class compare.ResourceComparison
-
Checks whether a BabelNet synset has any relations that are not in the list of relations we wish to omit
Stops if one such relation is found and returns true
- checkCNRelations(String) - Method in class compare.ResourceComparison
-
Checks whether a conceptNet id has any relations that are not in the list of relations we wish to omit
Retrieves all associated and valid relations from the Database and returns true if relations are found
- checkPOS(String, String, Set<String>) - Method in class dbReader.LoadTermBase
-
Checks if any other similar ids or relation targets can be utilized to obtain pos information
for a specific conceptNet id
- combineCNWithTerminologies(Set<TermEntry>, Set<TermEntry>, Set<TermEntry>) - Method in class compare.ResourceComparison
-
ConceptNet entries that are to be merged with IATE and Termium because it overlaps in more than three words across langauges
- combineEntries(BabelSynset, Set<TermEntry>, Set<TermEntry>, Set<TermEntry>) - Method in class compare.ResourceComparison
-
First writes all BabelNet data and metadata to the EVALution synset and then merges it with the synsets of the other resources
- compare - package compare
-
- ConceptNetEntry - Class in objects
-
- ConceptNetEntry() - Constructor for class objects.ConceptNetEntry
-
- ConceptNetEntry(String, String, String, String, String, Double) - Constructor for class objects.ConceptNetEntry
-
- configuration - package configuration
-
- Configuration - Class in configuration
-
- Configuration() - Constructor for class configuration.Configuration
-
- containsDefinition(Integer) - Method in class objects.SynsetMetadata
-
- containsDomainID(Integer) - Method in class objects.SynsetMetadata
-
- containsImage(Integer) - Method in class objects.SynsetMetadata
-
- create(Long, Long, Long, Long, SessionFactory) - Method in class net.codejava.hibernate.AllWordSensesManager
-
- create(Long, Long, Long, Long, SessionFactory) - Method in class net.codejava.hibernate.Definition2SynsetManager
-
- create(String, SessionFactory) - Method in class net.codejava.hibernate.DefinitionManager
-
- create(Long, Long, Double, Long, SessionFactory) - Method in class net.codejava.hibernate.Domain2SynsetManager
-
- create(Long, Long, Long, Boolean, SessionFactory) - Method in class net.codejava.hibernate.Image2SynsetManager
-
- create(String, SessionFactory) - Method in class net.codejava.hibernate.ImageManager
-
- create(String, SessionFactory) - Method in class net.codejava.hibernate.LanguageManager
-
- create(String, SessionFactory) - Method in class net.codejava.hibernate.RelationNameManager
-
- create(Long, Long, Boolean, SessionFactory) - Method in class net.codejava.hibernate.Sense2SynsetManager
-
- create(String, SessionFactory) - Method in class net.codejava.hibernate.SenseManager
-
- create(String, SessionFactory) - Method in class net.codejava.hibernate.SourceManager
-
- create(String, SessionFactory) - Method in class net.codejava.hibernate.SynsetDomainManager
-
- create(String, SessionFactory) - Method in class net.codejava.hibernate.SynsetIDManager
-
- create(Long, Long, Long, Double, String, SessionFactory) - Method in class net.codejava.hibernate.SynsetRelationsManager
-
- create(Long, Long, Long, Long, SessionFactory) - Method in class net.codejava.hibernate.Word2SourceManager
-
- create(Long, Long, Long, Long, Boolean, Long, Long, Double, SessionFactory) - Method in class net.codejava.hibernate.Word2SynsetManager
-
- create(String, SessionFactory) - Method in class net.codejava.hibernate.WordManager
-
- create(String, SessionFactory) - Method in class net.codejava.hibernate.WordPOSManager
-
- create(String, SessionFactory) - Method in class net.codejava.hibernate.WordTypeManager
-


In many programming languages, arrays serve as a way to store a list of items, which can later be manipulated with various methods. Each object in an array has a corresponding numbered key, the first object in an array has a key of 0, the second has a key of 1, etc.
A handy thing about information in arrays is that once it's organized in an array, you can use methods to iterate over an array to achieve multiple results. Here's an example based on the Pine reading:
colors = ['Red', 'Orange', 'Yellow']
colors.each do color
puts 'I love + color + '!''
end
Calling on an individual item in the array can be done like this:
color[0]
which would output 'Red'.
The Ruby docs contain many more useful sorts of iterators and array methods which can be used to manipulate arrays in all sorts of ways.
Hashes in Ruby are very similar to arrays, however instead of each object having a numbered key starting at 0, they can be mapped to anything as key. Here's an example of a hash called my_info:
my_info = {
:first_name => 'Aakash' ,
:last_name => 'Lakhotia' ,
:hometown => 'Tracy' ,
:age => 24
}
One big benefit of hashes is being able to name your own keys, making calling upon a particular element as easy as remembering what name you set to it, versus a number value.


#include <edge.h>
Definition at line 30 of file edge.h.
◆ Edge() [1/3]
| LatticeGraph::Edge::Edge |
( |
| ) |
|
◆ ~Edge()
| LatticeGraph::Edge::~Edge |
( |
| ) |
|
◆ Edge() [2/3]
| LatticeGraph::Edge::Edge |
( |
std::weak_ptr< Node > |
n1, |
|
|
std::weak_ptr< Node > |
n2 |
|
) |
| |
Makes stuff exist between vortices n1 and n2.
- Parameters
-
| n1 | Vortex (node) 1 to connect to edge |
| n2 | Vortex (node) 2 to connect to edge |
◆ Edge() [3/3]
| LatticeGraph::Edge::Edge |
( |
std::weak_ptr< Node > |
n1, |
|
|
std::weak_ptr< Node > |
n2, |
|
|
int |
dir, |
|
|
double |
weight |
|
) |
| |
Makes stuff exist between n1 and n2, with direction and weight.
- Parameters
-
| n1 | Vortex (node) 1 to connect to edge |
| n2 | Vortex (node) 2 to connect to edge |
| dir | Direction of edge. 1 n1->n2; -1 n2->n1; 0 undirected |
| weight | Edge weight. 0.0 if not required |
◆ getDirection()
| int LatticeGraph::Edge::getDirection |
( |
| ) |
|
Returns direction of edge. 1 n1->n2,;-1 n2->n1; 0 undirected.
- Returns
- Integer for edge direction.
◆ getSuid()
| unsigned int& LatticeGraph::Edge::getSuid |
( |
| ) |
|
Returns static UID value for use in new edge UID.
- Returns
- Static unsigned int, incremeneted with creation of new edge
◆ getUid()
| unsigned int LatticeGraph::Edge::getUid |
( |
| ) |
|
Returns edge UID.
- Returns
- Edge UID
◆ getVortex()
| std::weak_ptr<Node> LatticeGraph::Edge::getVortex |
( |
int |
idx | ) |
|
Returns connected vortices (nodes)
- Parameters
-
| idx | 0 gets n1, others get node 2 |
- Returns
- Returns weak_ptr to vortices; if exception, returns empty weak_ptr
◆ getWeight()
| double LatticeGraph::Edge::getWeight |
( |
| ) |
|
Returns the weight of an edge. 0 if unweighted.
- Returns
- Double of edge weight
◆ isMember()
| bool LatticeGraph::Edge::isMember |
( |
std::weak_ptr< Node > |
n | ) |
|
Checks to see if vortex/node n is on edge.
- Returns
- Returns true if connected, otherwise false
◆ operator<()
| bool LatticeGraph::Edge::operator< |
( |
std::shared_ptr< Edge > |
e | ) |
const |
|
inline |
Operator overloading for comparing UIDs between edges.
- Returns
- Returns true if self is smaller, otherwise false
Definition at line 147 of file edge.h.
References uid.
148 return uid < e->getUid();
◆ setDirection()
| void LatticeGraph::Edge::setDirection |
( |
int |
direction | ) |
|
Set the direction of the edge.
- Parameters
-
| direction | 1 for n1->n2; -1 for n2->n1; 0 for undirected |
◆ setWeight()
| void LatticeGraph::Edge::setWeight |
( |
double |
weight | ) |
|
Set the weight of the edge.
- Parameters
-
| weight | 0.0 if not used; +/- double otherwise |
◆ updateVortex()
| void LatticeGraph::Edge::updateVortex |
( |
int |
idx, |
|
|
std::weak_ptr< Node > |
n_new |
|
) |
| |
Updates the connected vortex at either side of edge.
- Parameters
-
| idx | Selects connected vortex. 0 for n1, others for n2 |
| n_new | New vortex at the specified position |
◆ uid
| unsigned int LatticeGraph::Edge::uid |
The documentation for this class was generated from the following files:


Tic Tac Toe!
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{{ cell.value }}
{{ cell.value }}
{{winningMessage}}
Game is a draw!
Restart Game


Torcache is a free service for caching torrent files online.
You can not search or list torrent files that are stored here, you can only access them if you already know the info_hash value of the torrent you want to download.
The way to access torrents is simple, you just use the url http://torcache.net//torrent/
INFO_HASH_IN_HEX.torrent (note HEX values A-F must be in uppercase)
Example URL:
http://torcache.net/torrent/640FE84C613C17F663551D218689A64E8AEBEABE.torrent (Slackware 12.2 DVD ISO)
The torrent files are saved to disk in gzip format, that means you have to use a browser that understands the gzip transfer encoding.
Send .torrent to cache:
Just choose the torrent file you want to add to the cache and click "Cache!".
Removal
We store torrents forever.
Legal
- We DO NOT have or track any information about what type of content the torrents point to.
- We DO NOT have any type of search or listing system.
- We DO NOT run our own trackers.
- The original filename of the torrent is NOT saved.
- We DO NOT log any IP adresses of uploaders.
- You can ONLY download torrents if you ALREADY KNOW the INFO_HASH of the torrent file.
- Torrent files are cached on disk in gzip format making it extremely time consuming to search for any data contained within the torrent files.
I want automation / an API!
Here's a list of our APIs.


Everything you need to know about attending the conference.
Mission Theater
Doors @ 8:00am
9:00am-12:00pm
Auth0 Workshop
1:00pm-4:00pm
Elastic Search Workshop
Hands-on workshops from Auth0 and Elastic Search.
5:00pm @ Pine Street Market
Join your fellow attendees for a leisurely ride around Portland.
7:00pm @ Mission Theatre
Get your badge and mingle. Open bar, live entertainment, and more!
Crystal Ballroom
Doors @ 8:00am
Talks from 9:00am-5:00pm
Lunch @ Noon
Also.. Unconference, VR Lab, IoT Lab, massage and more!
7:00pm-11:00pm
Crystal Ballroom
Doors @ 8:00am
Talks from 9:00am-5:00pm
Hiring Speed Dating @ 10:15am
Lunch @ Noon
The conference has ended, but we're all still here. Find some friendly faces and invite them to dinner before you leave the venue!
Find your tribe on Slack, or on Twitter using the hashtag #dotnetfringe.
Self-organize brunch, hacks, and chill-outs with other attendees using the hashtag #relaxdotnet
The Crystal Ballroom is fully ADA accessible.
For more info, contact the venue at<PHONE_NUMBER>
All activies on Sunday, 6/4 will be in this location, including the two workshops, during the day, and the Welcome Reception.
The Mission Theatre is fully ADA accessible.
For more info, contact the venue at<PHONE_NUMBER>
Wondering where to stay and how to get around once you get into Portland? The conference will be held at the Crystal Ballroom, in downtown Portland, and most conference events will be held within just a few blocks of the Crystal Ballroom.
We are not working with any of the hotels for attendee accommodations, but there are many hotels available within walking distance of the venue:
Portland is a very accessible city and there are many transportation options available, public and otherwise.
Portland International Airport (PDX) is a great airport, with direct flights from many destinations.
If you are traveling from outside the US, please contact us at<EMAIL_ADDRESS>to obtain an offer letter from the conference to help with your border entry.
The MAX is Portland’s major light-rail system. The MAX primarily connects Portland with the surrounding cities, such as Gresham, Beaverton, Clackamas, and Hillsboro.
If you’re flying into Portland Airport (PDX), we recommend taking the MAX into downtown Portland. There is a MAX station for the red line in the airport itself.
The venue is along Burnside Street at 14th Ave, just east of the I-405 underpass. The closest Red Line stop to the Crystal Ballroom is at Galleria SW 10th.
Portland also has a separate streetcar network which criss-crosses the MAX lines. These, along with Portland’s extensive bus network, ought to suffice.
The streetcar loop lines are also under construction, but only through Saturday 14 May. This means their detours will only matter during the day of the hike. They may be your lifeline during the rest of the conference.
The streetcars run along 10th and 11th Avenues. The closest stops to the venue are also on Couch Street. There is also a Whole Foods Market at NW Couch & 12th Ave. See the Streetcar Loop detour map for details.
While Portland does have Lyft and Uber, unfortunately they are somewhat unreliable. There are several reliable local taxi companies:
Please note that it is not common to hail taxis in Portland, and that your best bet is to call in advance.
There are two bike rental companies in downtown Portland that may be good options if you want to experience Portland by bike (which we very much recommend!):
Portland is an amazing food city. Here are some resources that will help you find something good to eat:
Stay connected with the community!
Follow us on Twitter at @dotnetfringe
Chat with us in Slack
Join the mailing list!


send!
Result from posting data to dsc proxy.
DSCservice call throttling info
Proxy call throttling info


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Man suffers life-threatening injuries in Hamilton shooting
TORONTO — Hamilton police are investigating an early morning shooting which has left a man with life-threatening injuries. Officers were called to an area near King Street East and East Avenue North in the city at 2:30 a.m. today.
by Canadian PressTORONTO — Hamilton police are investigating an early morning shooting which has left a man with life-threatening injuries.
Officers were called to an area near King Street East and East Avenue North in the city at 2:30 a.m. today.
A 24-year-old man had been shot and was transported to hospital for treatment.
Police are appealing to anyone with information on the incident to come forward.
This report from The Canadian Press was first published Nov. 16, 2019.
The Canadian Press


{{site.user_description}}
My preferred stack for building front ends is HTML5 with Bootstrap and VueJS for rapid development. However, I have intimate knowledge with Angular/React, jQuery, Vanilla JavaScript, Sass/Less/CSS
Strongest in PHP, prefer to work in Laravel for rapid development and building databases using MySql. Also have used Ruby/Python for web scripting, Yii/CakePHP/Symphony for frameworks and Amazon RDS
Preferred hosting with Amazon. Used many styles with single servers through load balanced. Set up local dev and staging/QA environments with docker or vagrant. Prefer Git as source control and as a host for simple sits (like this one)
I switch between liking PHPStorm and Vim more depending on the project and environment.


It was a Wednesday night in my dorm room at about 7. I was drinking straight vodka from a bottle that was actually a used water bottle so that it could be snuck into my dorm room without notice. We finished the bottle in about a half an hour.
I didn't even want to drink that night, because I had a test in my 8AM class the next morning. But I was upset over the troubled relationship that I have with my boyfriend, so I drank more than I should have in a very short period of time.
I passed out at about 7:30 and didn't wake up until 9:30. I had an overwholelming urge to throw up.  I called one of my friends, but I don't remember what was said. I had to walk my boyfriend out at 10:30 and I barely made it up to my room. I stipped off my jeans and passed out in my bed.
My head felt like an overfilled balloon. Everything was spinning too quickly for me to keep up and I kept thinking how much I didn't want to get up the next morning. My arms and legs felt like lead and I kept leaning off of my bed to throw up into my garbage can. I slept soundly between throwing up though. I realized this morning that I was throwing up blood. That must have been alcohol poisoning.
At 12:30, my boyfriend called because he was worried about me. About the same time, the resident director of our building came to check on me and asked 'Do you have alcohol poisoning?' When I said no, she walked away and that was it. I laid back down in my bed and passed out till 7AM.
I went to take a shower and I fell down 3 times in the stall because everything was spinning so badly. I threw up three times after my shower, but I hadn't eaten since lunch (about 11:30) the day before, so I threw up some of the water that I had had to drink that morning. I made it to my class and looked at the test and noticed that it was spinning really quickly. I wanted to throw up, but I didn't. I came home at about 8:30 AM and slept until 12:30.
Drinking isn't bad, but I really should have paced myself. I had too much in too short of a time period.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


|
| virtual void | setMotion (PxD6Axis::Enum axis, PxD6Motion::Enum type)=0 |
| | Set the motion type around the specified axis. More...
|
| |
| virtual PxD6Motion::Enum | getMotion (PxD6Axis::Enum axis) const =0 |
| | Get the motion type around the specified axis. More...
|
| |
| virtual PxReal | getTwistAngle () const =0 |
| | get the twist angle of the joint, in the range (-2*Pi, 2*Pi] More...
|
| |
| PX_DEPRECATED PX_FORCE_INLINE PxReal | getTwist () const |
| | get the twist angle of the joint More...
|
| |
| virtual PxReal | getSwingYAngle () const =0 |
| | get the swing angle of the joint from the Y axis More...
|
| |
| virtual PxReal | getSwingZAngle () const =0 |
| | get the swing angle of the joint from the Z axis More...
|
| |
| virtual void | setDistanceLimit (const PxJointLinearLimit &limit)=0 |
| | Set the distance limit for the joint. More...
|
| |
| virtual PxJointLinearLimit | getDistanceLimit () const =0 |
| | Get the distance limit for the joint. More...
|
| |
| PX_DEPRECATED PX_FORCE_INLINE void | setLinearLimit (const PxJointLinearLimit &limit) |
| |
| PX_DEPRECATED PX_FORCE_INLINE PxJointLinearLimit | getLinearLimit () const |
| |
| virtual void | setLinearLimit (PxD6Axis::Enum axis, const PxJointLinearLimitPair &limit)=0 |
| | Set the linear limit for a given linear axis. More...
|
| |
| virtual PxJointLinearLimitPair | getLinearLimit (PxD6Axis::Enum axis) const =0 |
| | Get the linear limit for a given linear axis. More...
|
| |
| virtual void | setTwistLimit (const PxJointAngularLimitPair &limit)=0 |
| | Set the twist limit for the joint. More...
|
| |
| virtual PxJointAngularLimitPair | getTwistLimit () const =0 |
| | Get the twist limit for the joint. More...
|
| |
| virtual void | setSwingLimit (const PxJointLimitCone &limit)=0 |
| | Set the swing cone limit for the joint. More...
|
| |
| virtual PxJointLimitCone | getSwingLimit () const =0 |
| | Get the cone limit for the joint. More...
|
| |
| virtual void | setPyramidSwingLimit (const PxJointLimitPyramid &limit)=0 |
| | Set a pyramidal swing limit for the joint. More...
|
| |
| virtual PxJointLimitPyramid | getPyramidSwingLimit () const =0 |
| | Get the pyramidal swing limit for the joint. More...
|
| |
| virtual void | setDrive (PxD6Drive::Enum index, const PxD6JointDrive &drive)=0 |
| | Set the drive parameters for the specified drive type. More...
|
| |
| virtual PxD6JointDrive | getDrive (PxD6Drive::Enum index) const =0 |
| | Get the drive parameters for the specified drive type. More...
|
| |
| virtual void | setDrivePosition (const PxTransform &pose, bool autowake=true)=0 |
| | Set the drive goal pose. More...
|
| |
| virtual PxTransform | getDrivePosition () const =0 |
| | Get the drive goal pose. More...
|
| |
| virtual void | setDriveVelocity (const PxVec3 &linear, const PxVec3 &angular, bool autowake=true)=0 |
| | Set the target goal velocity for drive. More...
|
| |
| virtual void | getDriveVelocity (PxVec3 &linear, PxVec3 &angular) const =0 |
| | Get the target goal velocity for joint drive. More...
|
| |
| virtual void | setProjectionLinearTolerance (PxReal tolerance)=0 |
| | Set the linear tolerance threshold for projection. Projection is enabled if PxConstraintFlag::ePROJECTION is set for the joint. More...
|
| |
| virtual PxReal | getProjectionLinearTolerance () const =0 |
| | Get the linear tolerance threshold for projection. More...
|
| |
| virtual void | setProjectionAngularTolerance (PxReal tolerance)=0 |
| | Set the angular tolerance threshold for projection. Projection is enabled if PxConstraintFlag::ePROJECTION is set for the joint. More...
|
| |
| virtual PxReal | getProjectionAngularTolerance () const =0 |
| | Get the angular tolerance threshold for projection. More...
|
| |
| virtual const char * | getConcreteTypeName () const |
| | Returns string name of PxD6Joint, used for serialization. More...
|
| |
| virtual void | setActors (PxRigidActor *actor0, PxRigidActor *actor1)=0 |
| | Set the actors for this joint. More...
|
| |
| virtual void | getActors (PxRigidActor *&actor0, PxRigidActor *&actor1) const =0 |
| | Get the actors for this joint. More...
|
| |
| virtual void | setLocalPose (PxJointActorIndex::Enum actor, const PxTransform &localPose)=0 |
| | Set the joint local pose for an actor. More...
|
| |
| virtual PxTransform | getLocalPose (PxJointActorIndex::Enum actor) const =0 |
| | get the joint local pose for an actor. More...
|
| |
| virtual PxTransform | getRelativeTransform () const =0 |
| | get the relative pose for this joint More...
|
| |
| virtual PxVec3 | getRelativeLinearVelocity () const =0 |
| | get the relative linear velocity of the joint More...
|
| |
| virtual PxVec3 | getRelativeAngularVelocity () const =0 |
| | get the relative angular velocity of the joint More...
|
| |
| virtual void | setBreakForce (PxReal force, PxReal torque)=0 |
| | set the break force for this joint. More...
|
| |
| virtual void | getBreakForce (PxReal &force, PxReal &torque) const =0 |
| | get the break force for this joint. More...
|
| |
| virtual void | setConstraintFlags (PxConstraintFlags flags)=0 |
| | set the constraint flags for this joint. More...
|
| |
| virtual void | setConstraintFlag (PxConstraintFlag::Enum flag, bool value)=0 |
| | set a constraint flags for this joint to a specified value. More...
|
| |
| virtual PxConstraintFlags | getConstraintFlags () const =0 |
| | get the constraint flags for this joint. More...
|
| |
| virtual void | setInvMassScale0 (PxReal invMassScale)=0 |
| | set the inverse mass scale for actor0. More...
|
| |
| virtual PxReal | getInvMassScale0 () const =0 |
| | get the inverse mass scale for actor0. More...
|
| |
| virtual void | setInvInertiaScale0 (PxReal invInertiaScale)=0 |
| | set the inverse inertia scale for actor0. More...
|
| |
| virtual PxReal | getInvInertiaScale0 () const =0 |
| | get the inverse inertia scale for actor0. More...
|
| |
| virtual void | setInvMassScale1 (PxReal invMassScale)=0 |
| | set the inverse mass scale for actor1. More...
|
| |
| virtual PxReal | getInvMassScale1 () const =0 |
| | get the inverse mass scale for actor1. More...
|
| |
| virtual void | setInvInertiaScale1 (PxReal invInertiaScale)=0 |
| | set the inverse inertia scale for actor1. More...
|
| |
| virtual PxReal | getInvInertiaScale1 () const =0 |
| | get the inverse inertia scale for actor1. More...
|
| |
| virtual PxConstraint * | getConstraint () const =0 |
| | Retrieves the PxConstraint corresponding to this joint. More...
|
| |
| virtual void | setName (const char *name)=0 |
| | Sets a name string for the object that can be retrieved with getName(). More...
|
| |
| virtual const char * | getName () const =0 |
| | Retrieves the name string set with setName(). More...
|
| |
| virtual void | release ()=0 |
| | Deletes the joint. More...
|
| |
| virtual PxScene * | getScene () const =0 |
| | Retrieves the scene which this joint belongs to. More...
|
| |
| template<class T > |
| T * | is () |
| |
| template<class T > |
| const T * | is () const |
| |
| PX_FORCE_INLINE PxType | getConcreteType () const |
| | Returns concrete type of object. More...
|
| |
| PX_FORCE_INLINE void | setBaseFlag (PxBaseFlag::Enum flag, bool value) |
| | Set PxBaseFlag. More...
|
| |
| PX_FORCE_INLINE void | setBaseFlags (PxBaseFlags inFlags) |
| | Set PxBaseFlags. More...
|
| |
| PX_FORCE_INLINE PxBaseFlags | getBaseFlags () const |
| | Returns PxBaseFlags. More...
|
| |
| virtual bool | isReleasable () const |
| | Whether the object is subordinate. More...
|
| |
A D6 joint is a general constraint between two actors.
It allows the application to individually define the linear and rotational degrees of freedom, and also to configure a variety of limits and driven degrees of freedom.
By default all degrees of freedom are locked. So to create a prismatic joint with free motion along the x-axis:
Or a Revolute joint with motion free allowed around the x-axis:
Degrees of freedom may also be set to limited instead of locked.
There are two different kinds of linear limits available. The first kind is a single limit value for all linear degrees of freedom, which may act as a linear, circular, or spherical limit depending on which degrees of freedom are limited. This is similar to a distance limit. Then, the second kind supports a pair of limit values for each linear axis, which can be used to implement a traditional prismatic joint for example.
If the twist degree of freedom is limited, is supports upper and lower limits. The two swing degrees of freedom are limited with a cone limit.
- See also
- PxD6JointCreate() PxJoint


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If your browser supports it, this link will be copied to the copy buffer as well, so that it may be easily pasted into a text message, etc.


Find studies of interest on GEO
Use GEO2Enrichr to extract metadata and identify differentially expressed genes
- GEO2Enrichr is a browser extension for analyzing gene expression data on GEO
- Detailed instructions for installing and using the software are available in this manual
- User login is required for submission. You can either register for an account or log in through a Google account.
- Choose the appropriate microtask for the gene expression signature you collected.
- Complete the form and submit.
- The leaderboard is available to report the number of submissions for each user.
NASB2015 Lecture 34 - Crowdsourcing Tasks for this Course
Lecture 35 - GEO2Enrichr and Microtasks Demo


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The Canterbury Soccer Club has been operating in Ottawa, Canada for almost 40 years to provide non competitive recreational soccer to youth between the ages of 5 and 15 years old in the Canterbury and Alta Vista community of Ottawa. The club's goal is to ensure that our youth HAVE FUN while all getting an equal opportunity to play the game.
The goal of this project was to rebrand Canterbury Soccer Club in a way that would gather more interest from children. My team and I came up with a similar method from getting inspiration through video games. We created different team icons and names based on the age groups and when the children "graduated" from one team to the other, they will feel like they have leveled up! It is both exciting and rewarding! I was personally in charge of creating the website along with one other member.
Website Presentation


These are helper functions to assist with topic inheritance and includes.
Recursively scan through a topic and retrieve a listing of all triggers in that topic and in all included/inherited topics. Some triggers will come out with an {inherits} tag to signify inheritance depth.
Each "trigger" returned from this function is actually an array, where index 0 is the trigger text and index 1 is the pointer to the trigger's data within the original topic structure.
Given a topic, this returns an array of every topic related to it (all the topics it includes or inherits, plus all the topics included or inherited by those topics, and so on). The array includes the original topic, too.


Reports a call to a function whose signature cannot be matched with the specified function definition.


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