wbxml
Get Version
0.0.1→ ‘wbxml’
What
Wbxml converts messages for WAP mobile phones from XML to the compressed WBXML and back again. See http://www.wapforum.org for more information.
Installing
sudo gem install wbxml
Demonstration of usage
require 'wbxml' w = WBXML.xml_to_wbxml <<END <?xml version="1.0"?> <!DOCTYPE si PUBLIC "-//WAPFORUM//DTD SI 1.0//EN" "http://www.wapforum.org/DTD/si.dtd"> <si> <indication href="http://wap.yahoo.com"> m-Qube Msg </indication> </si> END => "\003\005j\000E\306\f\003wap.yahoo.com\000\001\003m-Qube Msg\000\001\001" WBXML.wbxml_to_xml w => "<?xml version=\"1.0\"?>\n<!DOCTYPE si PUBLIC \"-//WAPFORUM//DTD SI 1.0//EN\" \"http://www.wapforum.org/DTD/si.dtd\">\n<si>\n <indication href=\"http://wap.yahoo.com\">\n m-Qube Msg\n </indication>\n</si>\n"
How to submit patches
Read the 8 steps for fixing other people’s code and for section 8b: Submit patch to Google Groups, use the Google Group above.
The trunk repository is svn://rubyforge.org/var/svn/wbxml/trunk
for anonymous access.
You can fetch the source from:
- rubyforge: http://rubyforge.org/scm/?group_id=4333
Build and test instructions
cd wbxml rake spec rake install_gem
License
Development of this wrapper was generously funded by Mobiblast.com and is free to use under the terms of the MIT license.
Contact
Comments are welcome. Send an email to Clifford Heath
FIXME full name, 21st May 2008
Theme extended from Paul Battley


NEWS:
HOME
NEWS
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MAP
Welcome to CSA's official minecraft website!
PLAYERS ONLINE:
SERVER IP:
<IP_ADDRESS>:25582


Fabric type
The following fabric types can be processed:
linears, planes, U-stage axes, U-stage poles
Input of U-stage is possible only manually, because these data are converted to azimuth of dip / angle of dip during saving.


Featured Games
{% if page == 1 %}Featured games, are games which have been deemed unique in some way as an example of what ZZT has to offer. These game worlds generally show a higher quality than most, and have been given their place in the spotlight.
In the past, a Game of the Month award was given to worlds which were deemed the best released that month. A Classic Game of the Month award was given to a game released at any time. Eventually these awards ceased, until years later when Featured Games brought the idea of the Classic Game of the Month back.
Additionally, a renowned community member MadTom ran his own award series, MadTom's Pick, which filled the role of the Game of the Month.
All of these worlds that received these awards along with their reviews have been merged into the Featured Games list. If you would like to write about a game which showcases excellence in ZZT in some way, please do! This list is far from complete and could certainly use new additions.
With that said, here are the current Featured Games:
{% endif %} {% include "museum_site/blocks/file_page_block.html" %} {% for file in featured %} {% include "museum_site/blocks/file_block.html" %} {% endfor %} {% include "museum_site/blocks/file_page_block.html" %}


All Classes
AbstractNodeTupleWritable
CharacteristicSetWritable
CharacteristicWritable
NodeTupleWritable
NodeWritable
QuadWritable
SimpleBinaryComparator
ThriftConverter
TripleWritable


Welcome to the EARTH!
| Earth Profile: |
| Equatorial Diameter: 12,756 km |
| Polar Diameter: 12,714 km |
| Mass: 5.97 × 10^24 kg |
| Moons: 1 |
| Orbit Distance: 149,598,262 km (1 AU) |
| Orbit Period: 365.26 days |
| Surface Temperature: -88 to 58°C |
| Earth Profile: |
| Equatorial Diameter: 12,756 km |
| Polar Diameter: 12,714 km |
| Mass: 5.97 × 10^24 kg |
| Moons: 1 |
| Orbit Distance: 149,598,262 km (1 AU) |
| Orbit Period: 365.26 days |
| Surface Temperature: -88 to 58°C |
Earth (otherwise known as the world in Latin: Terra) is the third planet from the Sun, the densest planet in the Solar System, the largest of the Solar System's four terrestrial planets, and the only astronomical object known to harbor life.
According to radiometric dating and other sources of evidence, Earth formed about 4.54 billion years ago. Earth gravitationally interacts with other objects in space, especially the Sun and the Moon. During one orbit around the Sun, Earth rotates about its own axis 366.26 times, creating 365.26 solar days or one sidereal year. Earth's axis of rotation is tilted 23.4 Celsius away from the perpendicular of its orbital plane, producing seasonal variations on the planet's surface with a period of one tropical year (365.24 solar days). The Moon is Earth's only permanent natural satellite. Its gravitational interaction with Earth causes ocean tides, stabilizes the orientation of Earth's rotational axis, and gradually slows Earth's rotational rate.
The shape of Earth approximates an oblate spheroid, a sphere flattened along the axis from pole to pole such that there is a bulge around the equator. This bulge results from the rotation of Earth, and causes the diameter at the equator to be 43 kilometres (27 mi) larger than the pole-to-pole diameter. Thus the point on the surface farthest from Earth's center of mass is the summit of the equatorial Chimborazo volcano in Ecuador. The average diameter of the reference spheroid is about 12,742 kilometres (7,918 mi), because the meter was originally defined as 1/10,000,000 of the distance from the equator to the North Pole through Paris, France.
If Earth were shrunk to the size of a billiard ball, some areas of Earth such as large mountain ranges and oceanic trenches would feel like tiny imperfections, whereas much of the planet, including the Great Plains and the abyssal plains, would feel smoother.
Earth's mass is approximately 5.97x1024 kg (5,970 Yg). It is composed mostly of iron (32.1%), oxygen (30.1%), silicon (15.1%), magnesium (13.9%), sulfur (2.9%), nickel (1.8%), calcium (1.5%), and aluminium (1.4%), with the remaining 1.2% consisting of trace amounts of other elements. Due to mass segregation, the core region is estimated to be primarily composed of iron (88.8%), with smaller amounts of nickel (5.8%), sulfur (4.5%), and less than 1% trace elements.
Earth's interior, like that of the other terrestrial planets, is divided into layers by their chemical or physical (rheological) properties, but unlike the other terrestrial planets, it has a distinct outer and inner core. The outer layer is a chemically distinct silicate solid crust, which is underlain by a highly viscous solid mantle. The crust is separated from the mantle by the Mohorovicic discontinuity, and the thickness of the crust varies: averaging 6 km (kilometers) under the oceans and 30-50 km on the continents.
The mechanically rigid outer layer of Earth, the lithosphere, is broken into pieces called tectonic plates. These plates are rigid segments that move in relation to one another at one of three types of plate boundaries: convergent boundaries, at which two plates come together, divergent boundaries, at which two plates are pulled apart, and transform boundaries, in which two plates slide past one another laterally. Earthquakes, volcanic activity, mountain-building, and oceanic trench formation can occur along these plate boundaries. The tectonic plates ride on top of the asthenosphere, the solid but less-viscous part of the upper mantle that can flow and move along with the plates.
A planet that can sustain life is termed habitable, even if life did not originate there. Earth provides liquid water—an environment where complex organic molecules can assemble and interact, and sufficient energy to sustain metabolism.[190] The distance of Earth from the Sun, as well as its orbital eccentricity, rate of rotation, axial tilt, geological history, sustaining atmosphere and protective magnetic field all contribute to the current climatic conditions at the surface.
A planet's life forms inhabit ecosystems, whose total is sometimes said to form a "biosphere". Earth's biosphere is thought to have begun evolving about 3.5 Gya. The biosphere is divided into a number of biomes, inhabited by broadly similar plants and animals. On land, biomes are separated primarily by differences in latitude, height above sea level and humidity. Terrestrial biomes lying within the Arctic or Antarctic Circles, at high altitudes or in extremely arid areas are relatively barren of plant and animal life; species diversity reaches a peak in humid lowlands at equatorial latitudes.
Earth's rotation period relative to the Sun-its mean solar day-is 86,400 seconds of mean solar time (86,400.0025 SI seconds). Because Earth's solar day is now slightly longer than it was during the 19th century due to tidal deceleration, each day varies between 0 and 2 SI ms longer.
Earth orbits the Sun at an average distance of about 150 million kilometres (93,000,000 mi) every 365.2564 mean solar days, or one sidereal year. This gives an apparent movement of the Sun eastward with respect to the stars at a rate of about 1Celsius/day, which is one apparent Sun or Moon diameter every 12 hours. Due to this motion, on average it takes 24 hours-a solar day-for Earth to complete a full rotation about its axis so that the Sun returns to the meridian. The orbital speed of Earth averages about 29.8 km/s (107,000 km/h), which is fast enough to travel a distance equal to Earth's diameter, about 12,742 km (7,918 mi), in seven minutes, and the distance to the Moon, 384,000 km (239,000 mi), in about 3.5 hours.


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Assessment - Lecture Quiz
Lecture 14:
1
.
Which of the following statements are true about Mr. Greenberg's career until the late 1960s?
(More than one answer may apply.)
Points = 2.0
He fought in the U.S. Army in World War II and the Korean War.
He founded Renault Corporation in 1944.
His first job in the insurance industry was at Continental Casualty Company.
The first company that he managed after he joined C.V. Starr's insurance business was called The American Home.
2
.
Which principles does Mr. Greenberg outline as reasons for the success of the American International Group (AIG).
(More than one answer may apply.)
Points = 2.0
They were creative in developing products that American business needed, like directors and officers liability insurance as well as kidnap ransom insurance.
AIG was run with an expense ratio of 19%, in contrast to other insurance companies with an expense ratio of 30%.
AIG limited attention to the U.S. market and ignored business in other countries of the world.
The leadership team at AIG shared the same values and aspirations. It was like a band of brothers.
3
.
What, according to Mr. Greenberg, happened to AIG during the financial crisis from 2007-2008?
(More than one answer may apply.)
Points = 2.0
Goldman Sachs and Morgan Stanley were given a bank holding company license, whereas AIG was denied one.
AIG borrowed $85 million at 14.5% interest from the New York Fed and the Fed took 79.9% of the equity of the company.
The U.S. government installed Ed Liddy as the new CEO.
AIG kept its AAA rating throughout the financial crisis from 2007-2008.
4
.
Which of the following are factors that Mr. Greenberg deems responsible for the financial crisis from 2007-2008?
(More than one answer may apply.)
Points = 2.0
Investment banks did not use a sufficient degree of leverage.
Since the Clinton administration, there has been the aspiration that everybody should have the right to own a home. This has lead to many situations, in which people live in homes that they could not afford.
Not enough of the CDOs in financial markets were rated AAA.
Rules for credit default swaps changed, so that these contracts would respond to any decrease in value, instead of just a default, which was the case previously.
5
.
What is Mr. Greenberg's assessment of the insurance industry in China?
(More than one answer may apply.)
Points = 2.0
China today has passed the United States in the number of cars being sold per year. This represents rapid growth opportunities in the insurance industry in China.
The Chinese insurance industry today is as mature as the insurance industry in the U.S.
The largest insurance company in the world today, by market value, is China Life.
Chinese companies do not have an agency system to sell life insurance at all. Instead, they only have employees selling life insurance.
Status
Submit
Close


Many backtraces include too much information that‘s not relevant for the context. This makes it hard to find the signal in the backtrace and adds debugging time. With a BacktraceCleaner, you can setup filters and silencers for your particular context, so only the relevant lines are included.
If you need to reconfigure an existing BacktraceCleaner, like the one in Rails, to show as much as possible, you can always call BacktraceCleaner#remove_silencers!
Example:
bc = BacktraceCleaner.new bc.add_filter { |line| line.gsub(Rails.root, '') } bc.add_silencer { |line| line =~ /mongrel|rubygems/ } bc.clean(exception.backtrace) # will strip the Rails.root prefix and skip any lines from mongrel or rubygems
Inspired by the Quiet Backtrace gem by Thoughtbot.
[ show source ]
# File vendor/rails/activesupport/lib/active_support/backtrace_cleaner.rb, line 18 18: def initialize 19: @filters, @silencers = [], [] 20: end
Adds a filter from the block provided. Each line in the backtrace will be mapped against this filter.
Example:
# Will turn "/my/rails/root/app/models/person.rb" into "/app/models/person.rb" backtrace_cleaner.add_filter { |line| line.gsub(Rails.root, '') }
[ show source ]
# File vendor/rails/activesupport/lib/active_support/backtrace_cleaner.rb, line 33 33: def add_filter(&block) 34: @filters << block 35: end
Adds a silencer from the block provided. If the silencer returns true for a given line, it‘ll be excluded from the clean backtrace.
Example:
# Will reject all lines that include the word "mongrel", like "/gems/mongrel/server.rb" or "/app/my_mongrel_server/rb" backtrace_cleaner.add_silencer { |line| line =~ /mongrel/ }
[ show source ]
# File vendor/rails/activesupport/lib/active_support/backtrace_cleaner.rb, line 44 44: def add_silencer(&block) 45: @silencers << block 46: end
Returns the backtrace after all filters and silencers has been run against it. Filters run first, then silencers.
[ show source ]
# File vendor/rails/activesupport/lib/active_support/backtrace_cleaner.rb, line 23 23: def clean(backtrace) 24: silence(filter(backtrace)) 25: end
Will remove all silencers, but leave in the filters. This is useful if your context of debugging suddenly expands as you suspect a bug in the libraries you use.
[ show source ]
# File vendor/rails/activesupport/lib/active_support/backtrace_cleaner.rb, line 50 50: def remove_silencers! 51: @silencers = [] 52: end


The source document for this ebook is Copyright © 2002, Shropshire County Library Service and came with the following notice;
The content of this file may be downloaded and used by individuals for private study but copyright is retained by Shropshire County Library and any others involved in its creation or production. No part may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or by any information storage and retrieval system, without permission from the publisher in writing.
www.literaryheritage.org.uk
Shropshire County Library Service has kindly given epubBooks permission to create this EPUB eBook from that source material and distribute it on epubbooks.com


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Pagination.js
2.6.0
A jQuery plugin to provide simple yet fully customisable pagination.
Almost all the ways you can think of on pagination.
Pagination.js
Pagination.min.js
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Introduction
Federated search, also known as distributed information retrieval, is the simultaneous search of multiple searchable resources. A user makes a single query request, which is distributed to the search engines, databases, or other query engines participating in the federation. The federated search then aggregates the results that are received from the search engines for presentation to the user.
Usually, we need to access a vast array of information sources. However, as the number of these information sources grow, so does the complexity of finding the right piece of information at the right time. Furthermore, the API and contracts changes from source to source and it makes the integration with downstream service tedious task.
Why Federated Search Matters: Federated search eliminates the need for users to search multiple databases/sources individually, saving time and effort. It also allows for a more comprehensive search, as it can access and retrieve information from diverse sources that a user may not have thought to check or did not have direct access to.
Building blocks
Here are the fundamental building blocks you’ll need to consider:
- Query Interface: This is the entry point for the user to ask their query. This could be a simple text box or a more complex interface with advanced options.
- Query Translation: Since the search is federated, it means you’ll be searching over multiple databases or search engines, each potentially with their own query language. Your federated search engine will need to translate the user’s query into the appropriate language for each underlying system.
- Search Connector / Adapter: These components connect to the external databases or search engines to send the translated queries and fetch the results. The nature of the connectors will vary based on the APIs and interfaces provided by the underlying systems.
- Result Aggregation: Once results are fetched from all the underlying systems, they need to be combined in a meaningful way. This can be quite complex because different systems may rank their results differently.
- Result Presentation: This component is responsible for presenting the combined results to the user. It should be able to handle different types of results (text, images, etc.) and paginate them for ease of browsing.
- Performance Optimization: Given that a federated search has to interact with multiple systems, it can potentially be quite slow. Techniques like caching, parallel queries, and preemptive queries can help to improve performance.
- Error Handling: Your engine should be able to handle errors gracefully. This could include timeouts from slow underlying systems, systems going offline, or corrupt data in the results.
- Logging and Analytics: You’ll need a way to log errors and track the performance of your search engine. This data can be used to continually improve the engine.
- Security and Privacy: Since the system will be dealing with potentially sensitive data, it’s important to ensure that it’s secure and respects the privacy of its users.
Building a federated search engine from scratch is a major undertaking. There are numerous edge cases to handle, and performance and accuracy can be major challenges. It’s often more practical to build on top of existing search platforms and libraries, which can handle many of these concerns out of the box.
Query Interface
Designing a query interface for a federated search engine poses unique requirements and challenges because the interface must support search across multiple databases or search engines, each potentially having different data structures, query languages, and APIs. Here are some key requirements:
- Ease of Use: Regardless of the complexity of the underlying databases and systems, the query interface should be straightforward to use. It should accept user queries in a simple and easy-to-understand format. A common approach is to allow plain text queries, but more complex interfaces could allow for advanced search options, Boolean operators, and other search enhancements.
- Query Translation: The query interface needs to translate user queries into the specific query language or API calls required by each underlying system. This can be a complex task, as it requires an understanding of each system’s capabilities, syntax, and semantics.
- Support for Multiple Data Types: The query interface should be flexible enough to accommodate different types of data - text, numbers, dates, geographical data, images, etc. This might require special syntax or options for each data type.
- Scalability: The query interface should be designed in a way that it can easily accommodate the addition of new databases or search engines. This might involve modular design principles, where each database or search engine has its own adapter or connector.
- Error Handling and Feedback: The query interface should provide meaningful feedback to the user. If a query cannot be executed for some reason, the interface should provide an error message that helps the user understand and rectify the problem. Additionally, it should provide some form of feedback while the search is being conducted, such as a progress indicator, particularly for long-running searches.
- Security and Privacy: The query interface should ensure that user queries do not expose sensitive information and that they do not inadvertently allow for SQL injection or other forms of attacks. This might involve careful validation and sanitization of user inputs.
These requirements emphasize the need for a thoughtful and careful design process when creating a query interface for a federated search engine. By meeting these requirements, you can ensure that your federated search engine is effective, versatile, and user-friendly.
Here is what we can use as an example of very simple search query:
public class FederatedScratchSearchCommand : IRequest<FederatedScratchSearchResponse>
{
public FederatedScratchCollectionRequest Request { get; init; } = default!;
public string Mapping { get; init; } = string.Empty;
}
public class FederatedScratchCollectionRequest
{
public string PrimaryKey { get; set; }
public string ParentPath { get; set; }
public string CollectionName { get; set; }
public string Query { get; set; }
public string DataSource { get; set; }
public IList<FederatedScratchCollectionRequest> Descendants { get; set; }
}
The code provided gives us a glimpse of the query interface for a federated search engine. It’s a great example that shows how you might model the request data structure for an API-based search request.
The EpamApiSearchCommand class appears to be a request model that signifies an API search command and is defined with two main properties:
- Request of type
FederatedScratchCollectionRequest
: This object contains the detailed search parameters for the API. This is where the user can specify the search collection name, primary key, parent path, and query. It also allows for nested search requests by including a list of descendants, effectively creating a tree-like search structure. Mapping
of type string: This is an optional property that appears to store a JMESPath query. JMESPath is a query language for JSON, which means this property can be used to map or filter the JSON response returned by the API. This property allows the client to specify the data structure they want to see in the response.
The FederatedScratchCollectionRequest
class, on the other hand, represents the request details that are to be sent to the API for processing. It has several properties that provide information about the collection to be searched. Here are the main components:
- PrimaryKey: Corresponds to the main identifier of the collection item being searched. This could be an ID, a username, or any other unique identifier.
- ParentPath: Represents the path in the hierarchical data structure where the search should begin. Used to perform join on parent collection.
- CollectionName: Corresponds to the name of the collection.
- Query: Search query - the term or condition that the search engine is looking for within the collection.
- DataSource: The name of the data source, adapter identifier.
- Descendants: This is a list of additional
FederatedScratchCollectionRequest
objects. This structure allows the user to send complex, nested queries, where each descendant represents a sub-query within the main query.
The ParentPath
and PrimaryKey
keys play a crucial role in connecting different entities together, just like pieces of a puzzle. Their role is to establish relationships between data, helping us link everything together in a meaningful way.
How complex this linking process – or ‘joining’, as it’s often called – turns out to be will vary based on your specific requirements. In our current setup, we’ve kept things straightforward: we extract keys based on field names and use them for exact match comparisons.
However, one of the beautiful aspects of designing your search engine is that it can grow and evolve with your needs. Feel free to adapt and enhance your query model as needed, making it as simple or intricate as your project demands.
–
In essence, this interface provides a robust and flexible way for users to define complex search queries that can be executed against a database or data structure. As this is just the query interface, the actual processing, searching, and returning of results would be handled by other components of the federated search engine.
Query Translation
The query translation component plays a crucial role in a federated search system, particularly when the system encompasses multiple databases or search engines with varying query languages or data schemas.
In a federated search system, a user’s query is received in a standard format. However, each underlying search engine or database may require queries in a different format or structure, specific to its own data model or language. This is where the query translation component comes in.
Here are some key aspects to consider about this crucial building block:
- Syntax Translation: Query translation primarily involves converting the syntax of the input query to match the syntax of each underlying search engine’s query language. This might include adapting the query structure, transforming operators, or even changing the order of conditions.
- Semantic Translation: Some databases or search engines may interpret the same query differently, depending on the context or semantic rules of their query language.
- Data Mapping: If the federated search system includes databases with different data schemas, the query translation may also involve data mapping. This means converting field or column names from the user query to match the names used in each database.
- Error Handling: Another important role of query translation is to handle any syntax or semantic errors that might occur during the translation process and provide useful feedback to the user.
- Performance Considerations: Query translation can impact the performance of the search system. Complex translations can introduce delays, so it’s important to optimize this process where possible. This might include caching frequently used translations or using efficient algorithms for the translation process.
In summary, query translation is an integral and complex part of any federated search system. It enables users to make queries without needing to understand the specifics of each underlying search engine or database, thereby making the system more accessible and user-friendly.
RSQL (RESTful Service Query Language) is a query language for RESTful APIs. It provides a set of conventions for expressing queries in URLs. If you build your federated search engine to rely on APIs that all support RSQL, you can eliminate the need for query translation entirely.
With RSQL, you can use a standard format to make queries against your data. For example, you might use a URL like this to make a query:
https://example.com/api/users?filter=firstName==John;age=gt=30
In this example, firstName==John and age=gt=30 are RSQL expressions. They can be translated as “find users where the first name is John and the age is greater than 30”.
Here’s how you could incorporate RSQL into a federated search engine:
- RSQL as a Query Language: Design your query interface to accept queries in RSQL format. This provides a standard, uniform query syntax that can be used regardless of the underlying data source.
- API Support for RSQL: Ensure that each of the underlying APIs support RSQL. This may limit your choice of APIs, as not all APIs support RSQL natively. However, there are libraries available in many programming languages that can add RSQL support to an existing API.
- RSQL Query Engine: Use an RSQL query engine to parse and execute the RSQL queries against each API. This engine takes the RSQL query from the query interface, sends it to the appropriate APIs, collects the results, and returns them to the user.
- Integration: Integrate the RSQL query engine with the other components of your federated search engine, such as the result presentation and error handling components.
By using RSQL and a compatible query engine, you can create a federated search engine that uses a single, uniform query language across all data sources. This eliminates the need for query translation and can make the search engine easier to develop and maintain. However, it does require all underlying APIs to support RSQL, which may not be feasible in all cases.
Result Aggregation
When a search query is executed, the search engine retrieves results from multiple databases or search engines. The function of the Result Aggregation component is to gather these results and consolidate them into a unified, structured, and coherent format, which can then be presented to the user. It essentially enables a comprehensive and useful presentation of search results from across different databases and systems.
Designing an efficient and effective Result Aggregation component involves addressing several key requirements:
- Unification: The component should be capable of merging results from various sources into a single set of results. The unification process should handle discrepancies in data formats and structures across different systems.
- Duplication Handling: Since search results may come from multiple sources, it’s possible to have duplicate entries. The aggregation component needs to identify and handle such duplications appropriately.
- Performance Optimization: To provide a seamless user experience, the Result Aggregation component must perform its tasks quickly, even when dealing with large volumes of data.
- Error Handling: In case of any issues in retrieving or processing data from any source, the component should handle such situations gracefully without breaking the whole operation.
- Data Transformation: Depending on the application, the aggregation component might need to perform data transformation tasks. For example, it might need to convert data types, translate data values, or apply a particular data schema.
- Pagination Support: When dealing with a large number of search results, the aggregation component should support pagination to limit the number of results displayed at one time and provide a more manageable view.
- Filtering: Post-query filtering should be supported, allowing users to refine the aggregated results based on specific criteria.
- Security and Privacy: The component must ensure that it complies with all relevant data privacy and security regulations and standards. This includes handling sensitive data appropriately and respecting any access control rules specified by the underlying databases or search engines.
These requirements, while not exhaustive, highlight some of the critical aspects to consider when designing a Result Aggregation component for a Federated Search Engine. By meeting these requirements, you can deliver a high-performing, robust, and user-friendly search solution that consolidates and presents search results effectively.
Result Presentation
After the search query has been processed, translated, and executed, and the results have been aggregated, these results need to be presented to the user in an understandable format.
The Result Presentation component is responsible for this task. It formats the aggregated search results and displays them in a way that meets the users’ needs and preferences. This might involve creating an HTML page, a PDF report, a data visualization, an interactive UI, or any other format that suits the application.
Good result presentation can dramatically improve the user experience of a search engine. It ensures that users can easily understand the search results, navigate through them, and take any necessary actions based on the results. It can also highlight the most relevant results, provide additional context, and offer options for refining or expanding the search.
In summary, the Result Presentation component is the face of the Federated Search Engine. It is the component that users interact with the most and therefore has a significant impact on users’ perceptions of the search engine’s usefulness and usability. Thus, designing an effective Result Presentation component involves a deep understanding of user needs, a good sense of design and usability, and a strong grasp of the technical aspects of presenting data in various formats.
JMESPath can extract and transform data from a JSON document, making it a useful tool for the Result Presentation component of a Federated Search Engine. It can help format and structure the aggregated search results into a more consumable format for users. You gain a lot of flexibility in how you can transform, filter, and aggregate your search results. You can effectively tailor your search results to the specific needs of your users, improving the usefulness and user-friendliness of your search engine.
Let’s go through the process of how to use JMESPath for result presentation:
- Receiving Aggregated Results: Once the Result Aggregation component has gathered and consolidated results, it passes them to the Result Presentation component. These results are typically in the form of a JSON document or a similar data structure.
- Formulating JMESPath Expressions: Depending on how you want to present the results, formulate JMESPath expressions that will extract and structure the required data. For example, if you want to show only the names and locations of users from the search results, you might use an expression like
[*].{name: name, location: location}
. - Applying JMESPath Expressions: Use a JMESPath library or tool to apply your expressions to the JSON document. This will transform the JSON data according to your expressions.
- Converting the Results: The output of the JMESPath expressions will be a new JSON document or data structure that contains only the data you’re interested in, structured in the way you specified. You can then convert this data into the desired presentation format. This could involve generating an HTML table, creating a data visualization, or formatting a text report.
- Displaying the Results: Finally, display the results to the user. This could involve serving an HTML page, rendering a data visualization in a browser, or sending a text report by email.
By using JMESPath in the Result Presentation component, you can provide users with clear, concise, and relevant search results. It allows you to tailor your result presentation to the specific needs of your users, improving the user experience of your search engine.
However, it’s worth noting that JMESPath is only one tool you can use for result presentation. Depending on your needs and the complexity of your data, you may need to use additional tools or techniques to present your search results effectively.
Challenges and Considerations
As intriguing as federated search is, it’s not without its challenges. The issues range from dealing with heterogeneous databases, varying query languages, to handling potential time delays and ensuring the security and privacy of data.
Wrapping Up
Designing and implementing a Federated Search Engine is a complex yet rewarding task. As we’ve explored in this blog post, each component—Query Interface, Query Translation, Query Execution, Result Aggregation, and Result Presentation—plays a critical role and requires careful consideration.
We’ve also looked into the intricacies of handling query translation using RSQL, using JMESPath for result aggregation, and how it can also aid in the effective presentation of results. Moreover, we addressed some of the significant challenges you might face during implementation, such as handling diverse data, relevance ranking, scalability, language processing and security.
However, it’s important to remember that these complexities are manageable. By understanding the fundamentals of each component, leveraging appropriate tools and techniques, and addressing potential challenges proactively, you can build a powerful and user-friendly federated search engine that meets your specific needs.
I hope this blog post has provided you with a solid understanding of the building blocks of a Federated Search Engine and the considerations involved in designing and implementing each component. Whether you’re just getting started with your search engine project or looking to optimize an existing one, I trust this information will prove useful.
Remember, every search engine is different, and there is no one-size-fits-all approach. Stay flexible, keep learning, and don’t be afraid to adapt as you discover more about your users’ needs and your data.
Happy searching!


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java.lang.Object edu.mit.csail.sdg.alloy4compiler.ast.Browsable edu.mit.csail.sdg.alloy4compiler.ast.Command
public final class Command
Immutable; reresents a "run" or "check" command.
Invariant: expects == -1, 0, or 1
Invariant: overall >= -1
Invariant: bitwidth >= -1
Invariant: maxseq >= -1
Invariant: maxstring >= -1
| Field Summary | |
|---|---|
ConstList<Sig> |
additionalExactScopes
This stores a list of Sig whose scope shall be considered "exact", but we may or may not know what its scope is yet. |
int |
bitwidth
The integer bitwidth (0 or higher) (Or -1 if it was not specified). |
boolean |
check
true if this is a "check"; false if this is a "run". |
int |
expects
The expected answer (either 0 or 1) (Or -1 if there is no expected answer). |
Expr |
formula
The formula associated with this command. |
java.lang.String |
label
The label for the command; it is just for pretty-printing and does not have to be unique. |
int |
maxseq
The maximum sequence length (0 or higher) (Or -1 if it was not specified). |
int |
maxstring
The number of String atoms to allocate (0 or higher) (Or -1 if it was not specified). |
int |
overall
The overall scope (0 or higher) (Or -1 if there is no overall scope). |
Command |
parent
If nonnull, it means this command depends on this parent command. |
Pos |
pos
The position in the original file where this command was declared; never null. |
ConstList<CommandScope> |
scope
The list of scopes. |
| Constructor Summary | |
|---|---|
Command(boolean check,
int overall,
int bitwidth,
int maxseq,
Expr formula)
Constructs a new Command object. |
|
Command(Pos pos,
java.lang.String label,
boolean check,
int overall,
int bitwidth,
int maxseq,
int expects,
java.lang.Iterable<CommandScope> scope,
java.lang.Iterable<Sig> additionalExactSig,
Expr formula,
Command parent)
Constructs a new Command object. |
| Method Summary | |
|---|---|
Command |
change(ConstList<CommandScope> scope)
Constructs a new Command object where it is the same as the current object, except with a different scope. |
Command |
change(Expr newFormula)
Constructs a new Command object where it is the same as the current object, except with a different formula. |
Command |
change(Sig... additionalExactScopes)
Constructs a new Command object where it is the same as the current object, except with a different list of "additional exact sigs". |
Command |
change(Sig sig,
boolean isExact,
int newScope)
Constructs a new Command object where it is the same as the current object, except with a different scope for the given sig. |
Command |
change(Sig sig,
boolean isExact,
int startingScope,
int endingScope,
int increment)
Constructs a new Command object where it is the same as the current object, except with a different scope for the given sig. |
java.util.Set<java.lang.String> |
getAllStringConstants(java.lang.Iterable<Sig> sigs)
Return a modifiable copy of the set of all String constants used in this command or in any facts embedded in this command. |
ConstList<Sig> |
getGrowableSigs()
Helper method that returns true iff this command contains at least one growable sig. |
java.lang.String |
getHTML()
Returns the description (as HTML) to show for this node. |
CommandScope |
getScope(Sig sig)
Helper method that returns the scope corresponding to a given sig (or return null if the sig isn't named in this command) |
java.util.List<? extends Browsable> |
getSubnodes()
Returns a list of subnodes for this node. |
Pos |
pos()
Returns a Pos object representing the position of this Expr. |
Pos |
span()
Returns a Pos object representing the entire span of this Expr and all its subexpressions. |
java.lang.String |
toString()
Returns a human-readable string that summarizes this Run or Check command. |
| Methods inherited from class edu.mit.csail.sdg.alloy4compiler.ast.Browsable |
|---|
make, make, make, make, showAsTree |
| Methods inherited from class java.lang.Object |
|---|
clone, equals, finalize, getClass, hashCode, notify, notifyAll, wait, wait, wait |
| Field Detail |
|---|
public final Command parent
public final Pos pos
public final java.lang.String label
public final boolean check
public final int overall
public final int bitwidth
public final int maxseq
public final int maxstring
public final int expects
public final Expr formula
public final ConstList<CommandScope> scope
public final ConstList<Sig> additionalExactScopes
| Constructor Detail |
|---|
public Command(boolean check, int overall, int bitwidth, int maxseq, Expr formula) throws ErrorSyntax
check
- - true if this is a "check"; false if this is a "run"overall
- - the overall scope (0 or higher) (-1 if no overall scope was specified)bitwidth
- - the integer bitwidth (0 or higher) (-1 if it was not specified)maxseq
- - the maximum sequence length (0 or higher) (-1 if it was not specified)formula
- - the formula that must be satisfied by this command
ErrorSyntax
public Command(Pos pos, java.lang.String label, boolean check, int overall, int bitwidth, int maxseq, int expects, java.lang.Iterable<CommandScope> scope, java.lang.Iterable<Sig> additionalExactSig, Expr formula, Command parent)
pos
- - the original position in the file (must not be null)label
- - the label for this command (it is only for pretty-printing and does not have to be unique)check
- - true if this is a "check"; false if this is a "run"overall
- - the overall scope (0 or higher) (-1 if no overall scope was specified)bitwidth
- - the integer bitwidth (0 or higher) (-1 if it was not specified)maxseq
- - the maximum sequence length (0 or higher) (-1 if it was not specified)expects
- - the expected value (0 or 1) (-1 if no expectation was specified)scope
- - a list of scopes (can be null if we want to use default)additionalExactSig
- - a list of sigs whose scope shall be considered exact though we may or may not know what the scope is yetformula
- - the formula that must be satisfied by this command| Method Detail |
|---|
public final java.lang.String toString()
toString
in class java.lang.Object
public Command change(Expr newFormula)
public Command change(ConstList<CommandScope> scope)
public Command change(Sig... additionalExactScopes)
public Command change(Sig sig, boolean isExact, int newScope) throws ErrorSyntax
ErrorSyntax
public Command change(Sig sig, boolean isExact, int startingScope, int endingScope, int increment) throws ErrorSyntax
ErrorSyntax
public CommandScope getScope(Sig sig)
public ConstList<Sig> getGrowableSigs()
public java.util.Set<java.lang.String> getAllStringConstants(java.lang.Iterable<Sig> sigs) throws Err
Err
public final Pos pos()
pos
in class Browsable
public final Pos span()
span
in class Browsable
public java.lang.String getHTML()
getHTML
in class Browsable
public java.util.List<? extends Browsable> getSubnodes()
getSubnodes
in class Browsable
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Building Trust
The first two weeks of living with Apollo were all about building trust. For the most part I followed the method outlined in this vet approved guide: www.wikihow.com/Tame-Your-Budgies.
Apollo seemed pretty stressed for the first few days after I brought him home. He was breathing rapidly, shaking a bit, and was pretty much silent for the first day or two.
When I first put him in his cage I had left it with only the bare necessities: a couple wood perches, a cuttlebone, a mineral block, and his food and water. I didn’t want to overwhelm him with new things right away, and I wanted him to discover the things that would always be available to him before anything else. It was a pretty boring setup though, so on day two I rearranged the perches a little bit and introduced a foraging toy. He freaked out a little bit when I put my hand in the cage, but after fluttering around for a few seconds he was content to just stay still, away from where I was causing the commotion.
It only took a few days to build some trust with my little bird. I didn’t force it, but I did stare at him a lot those first few days, talking to him, and putting my hand in the cage to rearrange things and get him used to me, without trying to touch him or get too close. After a few days I started putting a little pile of seeds in the palm of my hand and offering them to him. I didn’t shove my hand in his face or anything, I just held my hand near enough that he could reach the seeds from his perch and waited for him to come to me. I can’t remember which day it was he first took something from my hand, but this photo was taken on his sixth day with me:


Detroit: Become Human is coming to PC this December
by Alan MartinQuantic Dream’s action-adventure game Detroit: Become Human will finally land on PC on December 12 – that’s 18 months after it first appeared on PS4.
The company made the announcement on Twitter, where it revealed it would be available through the Epic Games store, and is up for pre-order now. It’ll cost you £29.99, and a free demo of the game’s first section will be playable on release day.
Related: Best PC games
Rather than being just a straight port of the PS4 original, the game has apparently had its UI redesigned to take advantage of PC controls, and assuming your computer is beefy enough, it’ll also run in 4K resolution at 60 frames per second. It’s already a good looking game, so this could be a technical marvel on PC.
For those that don’t know, Detroit: Become Human follows in the footsteps of Quantum Dream’s other ‘choose your own adventure’ style narrative games, Heavy Rain, Beyond: Two Souls and Fahrenheit. In this adventure, you take on several roles in a future where humanoid androids act as servants and helpers to their human masters. Suffice it to say, there are tensions between the two, and trouble is brewing in that febrile environment.
Related: Best PS4 game
Jade wasn’t entirely sold on it in her review, but still gave it a decent three-and-a-half stars. “Detroit: Become Human is complicated. It’s a technological marvel with great performances and an entertaining narrative at its core,” she wrote. “Unfortunately, Quantic Dream oversteps its boundaries and muddles the water with thematic elements that feel awkwardly handled. The player isn’t expected to interpret anything on their own as hamfisted messages are thrust upon them again and again.
“It’s hard not to feel that with a little more focus and maturity that this could have been something special.”
PC owners will be able to make up their own mind in 22 days’ time when the game makes its debut on the Epic Store.
Unlike other sites, we thoroughly review everything we recommend, using industry standard tests to evaluate products. We’ll always tell you what we find. We may get a commission if you buy via our price links. Tell us what you think – email the Editor


The tabr
tutorials began with a basic example that introduced the general workflow.
phrase
or the shorthand alias p
.track
.score
.tab
.This short R script example is more complex. It does not represent a complete tab of a song; it is just a short arrangement of two basic fingerpicking patterns similar to but not exactly the same as heard in Blues Saraceno’s Devil’s got you beat. The second pattern is actually just a small slice of the first pattern that is shifted in time slightly. While not a complete tab, it is much more thorough than the opening tutorial example, making use of several techniques and functions that have been covered.
Some of the most interesting things to note below include:
header
.header <- list(
title = "Devil's got you beat",
composer = "Words and music Blues Saraceno",
performer = "Blues Saraceno",
album = "Dark Country 4",
subtitle = "From the album Dark Country 4 by Blues Saraceno",
arranger = "Two picking patterns arranged by Matthew Leonawicz",
copyright = "2016 Extreme Music"
)
txt <- c("DADGAD tuning with capo on 1st fret. Fingerpicking. Let ring.")
tuning <- "d, a, d g a d'"
# melody 1
notes <- c(pn("f d c d a d'", 2), "f g a d' f d c a,")
info <- purrr::map_chr(c("16(", notate("16(", txt)),
~pc(.x, "16) 8 8 16 16 16( 16) 8 8 16 16 16- 16*7"))
strings <- "4 4 5 4 2 1 4 4 5 4 2 1 4 4 2 1 4 4 5 5"
p1 <-purrr::map(info, ~p(notes, .x, strings))
e1 <- p("d a d' c a, f, d,", "8 16 16 16( 16) 16( 16)", "4 2 1 5 5 6 6")
e2 <- p("d a d' c a, f, e, d,", "8 16 16 16( 16) 16- 16( 1)", "4 2 1 5 5 6 6 6")
#melody 2
p2 <- p("d a d' f d c", "8 16*4 8", "4 2 1 4 4 5")
p_all <- c(pct(c(p1[[2]], e1), 3), volta(pct(p2, 3), 1), p1[[1]], e1, p1[[1]], e2)
track(p_all, tuning = tuning) %>% score() %>%
tab("out.pdf", "dm", "4/4", "4 = 115", header)
You can see above that notate
can often obstruct otherwise convenient opportunities for code reduction. Avoiding repeating the annotation means avoiding repeating whatever it is bound to. This is not a problem for percent repeats because there is nothing to show, but would be for the repetitions of the melody at the end of the score. This is why info
was mapped to a length 2 vector using an opening note with and without a bound text annotation, respectively.
The e1
and e2
endings on the phrase p1
were not used as default and alternate endings in a call to volta
, respectively, because they would fail the bar check; p1
alone does not end at the end of a measure, but rather lasts for a measure and a half. This example also shows how a single note difference at the very end of the second ending, e2
, an ending that is only played once at the end of the arrangement, is enough to stop you from defining what would sensibly be the full phrase (p1
through e1
) as such. The slightest change forces you to split things up and expand the code, just like in a tab. And most music, at least the kind for which there is any point in transcribing, is going to change things up often even for repeated sections.
The result of the call to tab
is as follows.
The next example refactors the phrases above to properly represent multiple voices in the output.


Education
-
2017~now Peking University, Optical Physics, Doctor
-
2013~2017 University of Science and Technology of China, Physics, Bachelor
Research Interest
-
Virtual Reality & Augmented Reality
Research Projects
FixationNet, 2020~now
The goal of this research is to predict users' fixation positions in the near future for a visual search task in immersive virtual reality. Toward this goal, users' fixation data in a visual search task are collected and statistical analysis is performed to reveal the characteristics of the fixation data. A CNN-based network is proposed to predict users' fixations in the near future. In this research, I am responsible for data collection and analysis, model building, and paper writing.DGaze, 2019~2020
This project focuses on gaze analysis and prediction in dynamic virtual scenes. For this purpose, participants' eye tracking data in dynamic scenes are recorded and a dataset is built. Statistical analysis is performed to analyze users' gaze behaviors. A CNN-based model is derived for predicting gaze positions in dynamic scenes. My contribution to this research lies in the design of data collection process, statistical analysis, model building, and paper writing.Homepage: cranehzm.github.io/DGaze
SGaze, 2018~2019
This project aims at analyzing and predicting users' realtime gaze positions in static virtual scenes. To this end, users' gaze data in static scenes are collected and correction analysis is performed to reveal the correlations between gaze positions and other factors. A data-driven eye-head coordination model is proposed for realtime gaze prediction. In this project, I am in charge of experimental design, data collection, data analysis, mathematical modeling, and paper writing.Homepage: cranehzm.github.io/SGaze
Publications
Gaze Analysis and Prediction in Virtual Reality
Zhiming Hu
Proc. IEEE Conference on Virtual Reality and 3D User Interfaces (IEEE VR), 2020
DGaze: CNN-Based Gaze Prediction in Dynamic Scenes
Zhiming Hu, Sheng Li, Congyi Zhang, Kangrui Yi, Guoping Wang, Dinesh Manocha
IEEE Transactions on Visualization and Computer Graphics, 2020
Temporal continuity of visual attention for future gaze prediction in immersive virtual reality
Zhiming Hu, Sheng Li, Meng Gai
Virtual Reality & Intelligent Hardware, 2020
SGaze: A Data-Driven Eye-Head Coordination Model for Realtime Gaze Prediction
Zhiming Hu, Congyi Zhang, Sheng Li, Guoping Wang, Dinesh Manocha
IEEE Transactions on Visualization and Computer Graphics, 2019


--- layout: post authors: ["Robin Wilson"] title: Feedback and Experiences from Southampton date: 2013-06-05 time: "09:00:00" tags: ["University of Southampton"] ---
I have recently organised a bootcamp at the University of Southampton, as part of my Software Sustainability Institute fellowship. I hadn't actually attended a bootcamp before (I was meant to, but unfortunately had to cancel) so it was a little nerve-wracking doing all of the organising - it all worked out well in the end though.
The bootcamp was primarily for students at the Institute for Complex Systems Simulation, from which we got around 35 students, with 15 students from the university's Computational Modelling Group making up a grand total of 50 attendees. As the course was primarily designed for the ICSS, I did a very early pre-questionnaire asking what topics the ICSS students would like to cover - which was very much appreciated - and this early discussion got registrations off to a good start. In fact, we had around 20 people on the waiting list at one point, which allowed us to easily fill up places when people dropped out. In the end we had 48 people registered on the day, of whom 42 attended.
There were some changes in the team of instructors during the planning of the bootcamp, as one instructor dropped out part way through the planning process, but we still managed to keep going with the same topics we had planned, and were instructed by Nelle Varoquaux and James Morrison. The ICSS at Southampton kindly paid expenses for the instructors, and provided us with very tasty buffet lunches as well as coffee/cakes for the morning and afternoon breaks.
At the end of the final day we did the traditional good-point, bad-point questions around the room and got the useful comments below:
| Good | Bad |
|---|---|
| Generally very useful | Software issues and installation x 2 |
| Great to have formal training on self-taught skills | More examples for makefiles were needed |
| Makefiles | Need longer gaps between instruction and exercises - time to catch up x 2 |
| Ability to summon help at any time x 2 | Need more time on problems and more open-ended problems |
| Very hands on x 2 | Very complex for those with less programming experience x 3 |
| Pre-selection, tailored to topics we want | Exercises were rather 'bitty' and 'made up' - we could have one big problem used for the exercises and the bootcamp would then take us through the whole process |
| Reproducible research + electronic lab notebooks | Need examples on how I can apply these in day-to-day science NOT software engineering (and not assuming I release libraries etc) |
| Etherpad was useful, but not necessary to be projected all the time | Should have more on reproducible research including tools |
| Got to do things we'd heard about but had never tried | Rapid flipping from editor to terminal was confusing - use two screens? |
| Should use a Dropbox shared folder (or equivalent) rather than copying and pasting from Etherpad | |
| Provide key 3rd party resources to go further, not just software carpentry online lessons | |
| Need clearer instructions for some of the exercises | |
| Need context for some exercises eg. didn't know that DNA was composed of CGAT, what are .pdb files etc? |
From the post-event questionnaire, 100% of respondants found the boot camp enjoyable, useful and will apply some of the techniques in their work.
The room we managed to book for the bootcamp (85 / 2207 for anyone reading this in future before another bootcamp at Southampton) worked very well. It was large enough to fit all of the attendees in, was air conditioned, had plenty of space for helpers to move around, and had space outside for people to mill around during the lunch and coffee breaks. We deliberately re-arranged the room to have a large central aisle with tables either side, so that the helpers only had a maximum of four people to squeeze past to help someone, and this was very effective. The only improvement to the room would have been having two projectors - we did bring a spare projector and use it, but it was so dim that we decided we couldn't really use it for important things (hence putting the Etherpad on there).
As with all bootcamps, we struggled with a wide mix of students coming to the course - some of which had very little (if any) experience with Python. However, we managed to keep most people with us, and I don't think anyone didn't turn up for the second day. We had a lovely comment that "I am really pleased with myself that I stayed until 5pm and am coming back tomorrow - so that is good news, thanks!". In fact, that comment came through the brilliant red/green post-it note feedback mechanism. We used these post-it notes in the standard 'notification'-type way (where students stick a red post-it on their laptop when they have problems, and a green when they have done the exercise), but we also got students to write on the post-it notes before each break in a session, listing a good thing that they really understood on the green post-it, and something they were struggling with on the red post-it note. This was really useful for the instructors, and we were able to tailor the subsequent part of these sessions to answer the specific questions that were raised.
In terms of specific things that might help future bootcamp organisers and instructors:
I think the structure of the bootcamp worked very well, particularly as we had a lot of time allocated for each session, so we could go into more depth but also not worry too much about time. However, the real stars of the show were the instructors - and they deserve huge thanks. I think it is appropriate to finish with a comment from one of the students on one of their green post-it notes:
Thank you for selecting such knowledgable people to instruct this course!


{{define "body"}}
Install reviewdog Apps from https://github.com/apps/reviewdog
Go to https://reviewdog.app/gh/{owner}/{repo} to get REVIEWDOG_TOKEN. Login with GitHub account
https://reviewdog.app/gh/{owner}/{repo}
See also github.com/reviewdog/reviewdog


Team Ocean is the world’s leading waste collection and recycling company.
The wave trademark of Team Ocean is one of the most recognized logos in the global waste collection and recycling communities.
With a fan base that spans every continent, the company has designed and built the world’s largest recycling-focused ecosystem of hardware, software and services.
Team Ocean’s award-winning hardware includes high-performance waste sorting machine. Team Ocean’s software platform, with over 100 million users, includes Ocean Synapse (an AI to sort waste), Ocean Chroma™ (a proprietary RGB lighting technology system), and Ocean Cortex (a AI waste finder for underwater robots).
In services, Ocean Clear is one of the world’s most effective ocean cleaning services.
Founded in 2021 and dual-headquartered in China and Singapore, Team Ocean has 17 offices worldwide and is recognized as the leading company for waste collection and recycling in the USA, Europe and China.


Limits Are Meant to Be Broken
About Me
Name:
Dana Draper
Location:
Chicago, IL
A Few More Words:
My name is Dana and I live within Chicago, IL. Coding, whether it be websites or video game scripts and dialogues, is my passion. I have an attention to detail, and I love bringing my creativity and ideas to life.
In my free time I love gaming, writing novels, reading, and cooking.
My Skills:
HTML
CSS
Responsive Web Design
JavaScript
Photoshop
Gaming
Dancing
Contact me to give your project a creative, personal touch!


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Sort of a cross between a Leitmotif and Arc Words, this is a short melodic fragment a character is aware of, and tends to hum or sing. Unfortunately, it's something of a mystery to them; its origin, meaning, and/or ending will not be revealed quickly. In a musical, this melodic fragment will eventually develop into a song.
Not to be confused with Dream Ballet.
Examples:
open/close all folders
Anime and Manga
- The Nostalgic Music Box tune "Lacie" in PandoraHearts.
- Amazing Freaking Grace in Sound of the Sky.
- Lucy in Elfen Lied hums the Theme Tune of the show in her first scene, it's simple melody contrasting sharply with her homicidal tendencies. Later it's revealed that Kouta's music box plays the song, and Lucy and he were friends in their youth.
- Ranka in Macross Frontier frequently sings a distinctive melody she can't remember where or from who she heard... until Brera plays it on his harmonica, explaining that he heard it in his childhood but can't remember either. It's finally explained in the last episode that the melody is actually a Vajra mating song.
- In 07-Ghost; At one point, Teito is the only one who can hear a song playing in the background, and eventually he sings it to himself. Frau tells him it's called the Raggs Requiem which alludes to the fact that Teito is the only surviving member of the former Raggs Kingdom's royal family.
- Tamako of Tamako Market repeatedly visits a nearby record store hoping to find the name of the melody she always hums. When she overhears her father playing the song on a guitar, she drags him to the record store and finds out that the melody is actually a song her father wrote for her late mother. But since Tamako's mother was tone-deaf, the melody Tamako heard from her turned out to be very different from that of the original song.
Film
- The five-note theme from the movie Close Encounters of the Third Kind: "Start with a tone, up a full tone, down a major third, drop an octave, up a perfect fifth."
- Inception has a cleverly hidden one. The song Non, je ne regrette rien has an obvious use of being played to sleepers and be heard in their dreams, warning them that they will be woken up soon. However the music from the opening is the first part of that tune slowed down to one third speed and the very iconic bass horn from the films climax is the same tune slowed down again.
- "Three Little Words" in the MGM songwriter-Biopic musical Three Little Words.
- Peter Lorre's character from M whistles In the Hall of the Mountain King. Interestingly, Lorre himself couldn't whistle; the sound was provided by director Fritz Lang.
- All the more effective because it's the only music in the film.
- In The Prince of Egypt, Moses casually whistles his true mother's lullaby - we've actually seen said lullaby on screen, but it sets things up for his sister Miriam's reveal.
- In Anastasia, Anastasia and the Dowager Empress have a special lullaby, which plays on a music box the Empress gives her. The song later has a more well-known reprise in 'Once Upon A December', which Anya sings when remembering traces of her past. Anastasia, upon remembering the Empress, sings it with her, and the Empress realizes it is really her.
- In the Alfred Hitchcock version of The 39 Steps, Hannay spends most of the movie with a tune stuck in his head, but can't remember what it is. Near the end, he hears it again and realises that the first time he heard it was just before he met Annabella and got tangled in the plot, which lets him figure out what the spy ring's plan is.
- In Alfred Hitchcock's film Shadow of a Doubt, young Charlie has The Merry Widow Waltz stuck in her head for the first little bit of the film, but can't remember the title or origin of the tune. This is to illustrate the almost-telepathic connection she has with her Uncle Charlie, who is later revealed to be the Merry Widow Murderer, a serial killer who murders and robs rich old widows. At one point she almost remembers the title of the melody, but Uncle Charlie spills a glass of water, distracting her from figuring it, and him, out.
- In the Barbie movie 'Barbie As The Island Princess', Ro has always sung a lullaby to her animal friends, 'Right Here In My Arms', all the words of which she doesn't remember. At the end of the film, Ro realizes that Queen Marissa is her mother, and they sing the lullaby together, the missing lyrics being the Queen's part.
- Enola hums one of these tunes in Waterworld.
- In Night of the Demon, scientist-skeptic Holden hears an eerie tune in his head after the cult leader he's investigating puts a curse on him. Later he hums the tune to his associates, who recognize it as a component of demonic spells. The tune is a recurring theme in the soundtrack music itself.
- Burnt by the Sun has "Utomlyonnoye solntse (The Weary Sun)", a Russian Translated Cover Version of the Polish tango "To ostatnia niedziela (This is the Last Sunday)", sung or whistled by Nadia, Mitya, and a few others throughout the film.
- Tuck Everlasting features a haunting music box melody that several characters hum or whistle. The actual music box belonged to the family (now-deceased, due to not being immortal) granddaughter Anna, and it's a major Oh, Crap! moment when the villain starts humming it, indicating he is aware of the Tucks' secret.
Literature
- In Night Watch, Vimes spends the first part of the book being reminded of the failed revolution by the sight/smell of lilac and a tune called "All The Little Angels". Due to Time Travel, he gets to hear it again later.
- This is a minor plot point in Nineteen Eighty Four, where Winston can only remember the first two lines of a song about churches in London.
- There's also Under the spreading chestnut tree / I sold you and you sold me...
- Atlas Shrugged has Dagny hearing a few whistled notes of "Halley's Fifth Concerto" (from a composer who only wrote four concertos before disappearing).
- There is the Miorita of My Swordhand Is Singing. At first Peter hates it and believes that it doesn't make any sense. His father, Tomas, tells him that some people do understand it, while Sofia tells him that he has to simply understand it.
- In the Goosebumps book Beware, the Snowman, the protagonist suddenly remembers the opening lyrics to a nursery rhyme from her childhood. The protagonist doesn't know the meaning of the lyrics or the second half of the poem.
Live-Action TV
- The drumbeat inside the Master's head in Doctor Who, which he's had rattling in his head ever since he looked into the Untempered Schism at the age of eight. This apparently drove him insane. The End of Time reveals the sound is actually the sound of a Time Lord's beating hearts. Also, Rassilon himself put the beating into the Master's head in order to use him to free himself and all of Gallifrey from the Time Lock they were in from the last day of the Time War.
- The rhythm is also prominent in the show's theme music.
- A major Tear Jerker in the Star Trek: The Next Generation episode "The Wounded", where both Miles O'Brien and his old Captain are haunted by an old Irish war ditty that turns out to have strong symbolic connections to the the events and backstory of the episode's plot.
- Benny whistles "In the Hall of the Mountain King" in Dean's Purgatory flashbacks, in Supernatural
- In Battlestar Galactica, four major characters discover themselves to be Cylons after they realize they've all been hearing the same unearthly music playing throughout the ship. (The song is, in fact, an indie-rock cover of Bob Dylan's "All Along the Watchtower").
- And it's now shown up in the minds of Kara Thrace and Hera Agathon.
- The melody Dax keeps humming in the Star Trek: Deep Space Nine episode "Equilibrium," which eventually turns out to have been written by a mentally-unstable host whom she didn't remember because those memories were suppressed.
- "Never Leave Me," from Buffy the Vampire Slayer season 7 (the song, not the episode) which is the trigger The First uses to make Spike kill.
- Early one morning,Just when the sun was shining.I heard a maid singfrom the valley below."Oh, don't deceive me,Oh, never leave meHow could you use a poor maiden so?"
Theater
- The name comes from the ancient (1910) musical Naughty Marietta; its Dream Melody is better known as "Ah! Sweet Mystery of Life."
- Another Musical Theatre example is Lady in the Dark, in which the frustrated magazine editor Liza Elliott keeps humming a childhood tune to herself at times when she is lost in thought or is overcome with panic. She can't recall the words to it ("My ship has sails that are made of silk...") until she relives her childhood in flashbacks with the help of her psychoanalyst. Lyricist Ira Gershwin compared the importance of "My Ship" to the show to that of "a stole necklace or missing will to a melodrama."
 This upsets her because this was the song that was played when her husband shot himself.
Video Games
- Garnet's song in Final Fantasy IX, which ends up as the game's main theme and vocal Theme Song, "Melodies of Life".
- The Hymn of the Fayth in Final Fantasy X also counts, for Tidus; he finds himself humming it in a flashback, but its connection to Spira is only made clear later. (The track title for Tidus's murmuring is called Hum of the Fayth.)
- And this is how you get the Good Ending in Chrono Cross, to free Schala from Lavos, you must use Elements in correct order. Each color of the Elements is keyed to a note, and the tune is played in many places in-game but especially in the fake Very Definitely Final Dungeon.
- Will in Illusion of Gaia has his grandmother's lullaby, which turns out to be the key to revealing her village of origin, and an identifying call. Also, a couple dungeons have background music that turn out to be versions of other melodies important to the plot.
- The Victory Hymn in Metal Gear Solid 4 is sung as a memory aid by Sunny and whistled by the Resistance member Snake has to stalk. It's heard again at the end in an awesome Ennio Morricone-Spaghetti Western-style arrangement - maybe the characters can see the game's happy ending?
- The Tsukimori Song from Fatal Frame IV: Mask of the Lunar Eclipse. Bits and pieces of the song are the only things that protagonist Ruka can remember from her childhood.
- Remember11: Kagome, kagome...
- A twelve-note sequence in Aquaria is heard throughout the soundtrack, and Naija sings it in Musical Gameplay to progress through the game. The origin of this tune is revealed after beating the Creator—a child who remembers the tune from his lost mother's lullaby.
- In To the Moon: "For River". An unusual case in which we see the origin first.
- In Mother trilogy, the Eight Melody is a lullaby sung by a mother to her son and how her love can both plunges the son into evil or redeems him back into the light. You have to collect each line of the melody from individuals and places with great personal sorrow, so you can play it to the son to stop him from embracing the dark side of their great psychic power.
Western Animation
- In Futurama, Fry has an intimate association with the song "Walkin' on Sunshine", recurring as his favorite song, a fact given unstated but Tear Jerker Fridge Brilliance when it was revealed his old dog Seymour could bark to the tune. Often implied to be a short-cut reference to Fry's old life in the 20th century.
- The Little Mermaid (1989) uses the opening bars of "Part of Your World" as this trope, notably when Eric hears mermaids singing, Ariel gives up her voice to Ursula, and Ursula disguised as Vanessa uses said voice to hypnotize Eric.


Located about 120nm south of the border with Tanzania in the northern section of the country.
This popular tourist port occupies the peninsula on the southern shore of the entrance to Baie de Pemba. Much of its popularity is due to the fact that there is a coral reef close to the shore and the town contains an interesting local market selling silverware as well as local crafts. Whale watching here in September is a spectacular show.
Position 12°58′S,40°33′E.
See Noonsite/Mozambique/formalities page for the details.
Clear in at the Harbour Master's office where the Immigration agent will stamp passports (containing a valid visa) and an entry document issued which will permit cruising the area and clearance to Maputu, with stops on the way.
Harbour Master is in a big building just outside the exit from the port on the left.
It is not necessary for private vessels to visit Customs.
Some Portuguese is an advantage as very little English is spoken by officials.
Total cost of entry is about $225US (2013)
Last updated October 2013.
Yachts can anchor by Wimbe beach (12° 58.147' S, 40° 32.432' E) which is open to the north but has good holding and nice surroundings.
There is a good anchorage east of the harbour at 12° 58.179' S, 40° 29.476' E, opposite the green roofed Wilson’s Wharf restaurant.
Last updated October 2013.


Fernandinho set for extended spell in Man City defence
Fernandinho could be set for an extended stay in the Manchester City defence.
Manager Pep Guardiola admits he is unlikely to move the Brazilian back into midfield because he has adapted to playing in the back four so well.
With City light on central defenders after the departure of Vincent Kompany, the 34-year-old was pressed into emergency action at the back earlier this season due to injuries to Aymeric Laporte and John Stones.
Stones returned to action last month but Fernandinho has remained at centre-back, partnering either the England international or Nicolas Otamendi.
His ability in the role was evident on Saturday in a commanding display as City came from behind to beat Chelsea 2-1 in the Premier League.
City were criticised after their loss at Liverpool a fortnight ago, with suggestions Fernandinho's presence was being missed in midfield, but Guardiola seems unlikely to change things.
"If Rodri and (Ilkay) Gunodgan are fit, I don't think so," said the City boss. "I like Fernandinho in that position. With the problems we have I like it.
"I know he can play (in midfield) but we have Gundogan, and I trust him a lot, and Rodri."
Guardiola was impressed by Fernandinho at Anfield but feels he did not get the credit he deserved because of the result. The champions lost the top-of-the-table clash 3-1.
A sarcastic Guardiola said: "If we lose he plays s***. I know that. In Anfield he was the best central defender we played there, in the back four. He played a disaster. I know how this job works.
"But he was incredible in Anfield, he was incredible on Saturday."
Expanding on the theme of criticism, Guardiola feels the team as a whole have been harshly treated over their performances this term.
City, who clocked up a record 100 points in their 2018 title win and won a domestic treble last season, have lost three of their opening 13 Premier League games. They are third and trail leaders Liverpool by nine points.
Guardiola said: "It looks like, if we won the last two Premier Leagues, we have to win seven Premier Leagues in a row and we have to make 200 points every season. It doesn't work in that way in the high, high level."
After their achievements of the last two seasons, Guardiola does not think people should write off his side.
He said: "We didn't give up last season and that's why we won again. Maybe we are going to lose (this season) but this team will never give up. This team tries.
"If you believe (because of) the Norwich defeat and the other ones I am going to doubt my players, because they didn't try, you are wrong.
"If you have doubts, last season we wouldn't have been able to do what we have done. After winning 100 points, winning four titles, that had never happened before. I see, every morning, my team and I don't have doubts."
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I am a talker and a doer, and in between those moments I am a thinker. I enjoy problem solving and finding creative ways to solve those problems. I look at life and the world as a puzzle. Always something to to connect and always something to solve. No matter the size of the puzzle I enjoy taking on the challenge and finding the solution.
Contact Me! Networking is the best way to meet and learn new people. If you have any questions or want to know more about the work I've done send me an email or give me a an old fashion phone call!
Beauty is first seen with the eye, felt by the heart, and then captured with a camera. I am an amateur photographer and love capturing the beautiful moments in my day to day life, my work, and of cource my dog Mumford! .


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Open source practices benefit education, advocacy, development, and involvement in the computer and technology communities. We apply these practices in the building of practice and creative projects and applications.
BUGS is focused on the promotion of open source practices through the engagement of short and long term projects, both practical and creative. These projects may be student, faculty, or outside expert led, with explanation of how open source
We are aimed at attracting all students who have a passion to learn and engage in projects within the computer and technology fields.


Kendall Jenner's pals and family beg her to have babies with rumoured boyfriend
Kendall Jenner maintains she is just good friends with Fai Khadra, but asked her Instagram followers if they should have babies together
by Irishmirror.ieKendall Jenner is the only one in the Kardashian/Jenner brood without any children, but according to her latest Instagram post, she's got baby fever.
She posted photos with her two cute nephews, Kim Kardashian's sons Saint, three, and Psalm, six months, who she shares with husband Kanye West .
She posed with model and musician Fai Khadra, who she has taken as her date to events including Justin and Hailey Bieber, but maintains they are just friends.
Fai, 28, has accompanied Kendall to lots of glitzy events, but she has maintained it's a platonic relationship, telling a fan: "He's my date but we don't date".
However, in her Instagram caption, she asked her 119 million followers whether they thought she should have babies with Fai.
"Everyone in favor of Fai and i starting a family say 'I'", she penned.
Her sister Kylie, who has one-year-old Stormi with ex Travis Scott, replied "I".
Excited sister Kim replied with a series of exclamation marks, while her mum Kris Jenner wrote "I" alongside a love heart emoji.
Kendall's pal Hailey Bieber was beside herself, writing "IIIIII" "MEEEEE" "I SAY YES" "I DOOO" in a series of comments.
It seems Fai is also game, as he replied with the family emoji.
Meanwhile fans of Kendall responded in droves begging her to have babies with Fai.
Kylie's sister Khloe Kardashian has one-year-old True Thompson with ex Tristan Thompson.
Kourtney Kardashian has Mason, nine, Penelope, seven, and Reign, four, with ex Scott Disick.
And their brother Rob Kardashian has three-year-old Dream with ex Blac Chyna.
Notably, none of the Kardashians have been supporting their step parent Caitlyn Jenner, who was married to Kris until 2015.
The 70-year-old I Am Cait reality star has been ignored by Kylie and Kendall Jenner since she embarked on her jungle adventure.
er son Brody has already declared that he is not interested what she gets up to on the ITV show but Kylie and Kendall have decided to turn a blind eye to it at all.


{% extends theme("layout.html") %} {% import theme("parts/flash.html") as flash %} {% block title %}Import employees{% endblock %} {% block body %} {{ flash.display_flash_messages() }}
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{% include theme("import_employees_form.html") %} Note: Once you hit the Import button the import will be kicked off and handled in the background. Depending on how many employees you are importing this process can take a few seconds. When the import finishes successfully you will see the imported employees here. {% else %}Oh, we couldn‘t find an employees.csv file. Please read the instructions in the README on what options you have to import employee data.
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Popular Areas in vintage manual fish scaler
July 2010 - Florida Antique Tackle Collectors, Inc.
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11th June 2007 - AA-181 Mono Amplifier - complete manual and schematic added 11th June 2007 . 6th January 2007 - MI-29 Fish Spotter/Depth Sounder - schematic added . IB-102 - Frequency Scaler - Thanks to Dale USA; IB-1101 .
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Wire stripper - Wikipedia, the free encyclopedia
1 Manual; 2 Automatic; 3 Laser Wire Stripper; 4 References; 5 See also . A simple manual wire stripper is a pair of opposing blades much like scissors or wire .
http://en.wikipedia.org/wiki/Wire_stripper


The Moving Picture Girls Under the Palms or Lost in the Wilds of Florida
by Laura Lee Hope
Chapter 24: The Lost are Found
Additional Information
- Year Published: 1914
- Language: English
- Country of Origin: United States of America
- Source: Hope, L. L. (1914). The Moving Picture Girls Under the Palms or Lost in the Wilds of Florida.New York: Grosset & Dunlap.
-
Readability:
- Flesch–Kincaid Level: 5.4
- Word Count: 1,804
- Genre: Adventure
- Keywords: florida stories, the moving picture girls under the palms
- ✎ Cite This
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“What does it mean?”
“A boat at last!”
“Human beings, anyhow!”
Thus came the excited calls from those in the rowing craft, as it drifted toward the hut on shore—a palm leaf hut that seemed crudely made. Russ and Paul had ceased rowing at the sight of the motor boat, and now their own craft was merely drifting.
“Hurry up, there!” begged Alice. “There must be someone on shore who can put us on the right path.  But they were tears of joy, now.
“This came in the nick of time,” murmured Russ to Paul. “I was about ready to give up.”
“Yes?” agreed Paul, half-questioningly.  “We have made noise enough, but no one has come out of that hut. And the hut itself doesn’t seem like a very permanent sort of residence; does it?”
“Indeed it doesn’t,” spoke Russ. “But it may be one just put up for a night or two by a hunter. Anyhow, we’ll soon find out what it means, and if anyone is there who can tell us which way to go.”
He and Paul resumed their rowing and a little later were close beside the moored motor boat. It was a large craft, and well appointed, though now it showed signs of being weather-beaten; it was scratched and marred. But it seemed to be in good running order.
“Ahoy there!” called Russ, as he made fast their own boat. “Ahoy in the hut!”
There was no answer.
“Maybe they’re asleep,” suggested Ruth.
“We can apologize for waking them up,” said Alice. “Oh, to think we have help at last!”
Russ and Paul looked at each other. They were not quite so sure, now, in view of the silence, that help was at hand.
Still, the fact that the boat was tied showed that it had not merely drifted to the spot. Some human agency must have been about at some time or other.
With Russ and Paul in the lead the little party made their way to the palm leaf hut. It was ingeniously made—a glance showed that. A palm tree had been taken for the centre pole, and about this had been tied layer after layer of palm leaves, so laid as to shed the rain.
The hut was circular, and at the outer edge of the roof poles had been driven into the ground to support it. There was a small opening, which necessitated stooping to enter, and this doorway, if such it could be called, was covered by a sort of curtain of palm leaves, made in layers and fastened together with withes and wild leaves, laced in and out.
“Quite a piece of work!” commented Paul. “Now I wonder how one is to knock at a palm leaf door?”
“Don’t knock—call,” suggested Russ, and, raising his voice, he fairly shouted:
“Is anyone here?”
There was no answer.
“I wonder if it would be impolite to open the door, or the curtain, and look in?” suggested Alice.
“Under the circumstances—I think not,” answered Mrs. Maguire. “We need help, and this is the first sign we have seen of it.”
Russ stepped forward, and, after a moment of hesitation lifted the curtain of palm leaves. The interior of the hut was rather dark, and, for a moment he could see nothing.
“Anyone there?” asked Paul.
“Not a soul,” was the disappointing reply. “It’s empty.”
“Oh, dear!” sighed Alice.
“What are we to do?” Ruth wanted to know.
No one could answer her. Russ was busy making a more thorough examination of the interior of the hut.
“It’s a good place to stay—if we have to,” he said to Paul, who had joined him inside.
“And it looks as though we’d have to—eh?”
“I’m afraid so.”
Russ fastened the palm curtain back and this let in more light. Then the others came up, though there was not room for them all inside. The hut would hold three comfortably—no more.
“Who has been here?”
“What sort of a hut is it?”
“Has anyone been here lately?”
Ruth, Alice, and Mrs. Maguire, in turn, asked these questions.
“I don’t know who has been here,” said Russ, “but it’s the sort of a hut a native might build—possibly a Seminole Indian. Or some hunters may have it to stay a few nights in a spot where they could get alligators, or whatever game they were after. The fact that the boat is here seems to show they haven’t gone for good.”
“Oh, then they may come back!” cried Ruth.
“Very likely to, I should say,” spoke Russ. “We’ll just stick around until they do.”
“I hope they come back before dark,” ventured Ruth, and her sister echoed the wish.
A closer examination of the hut showed two rude bunks, made of sticks, raised slightly above the surface of the ground. The bunks were covered with thick layers of Spanish moss, and were evidently far from being uncomfortable. A few blankets showed that the occupants did not lack for a little comfort.
There were a few cooking utensils scattered about, and outside, the ashes of a camp fire, made between stones—a sort of oven—showed how the meals were prepared. But there was little evidence of food, save a few empty tins.
“There are evidently two persons staying here,” observed Russ, as he looked at a packing box, which served as a table, and noted two tin plates, and two knives, forks and spoons. “It must be real jolly, camping this way.”
“I’d rather have a tent,” said Paul. “This palm leaf hut looks artistic, and all that, but not very secure.”
“It’s secure enough in good weather,” declared Russ. “Well, I guess the only thing to do is to wait until these folks come back. They won’t remain away all night, I hardly think.”
“But if they don’t come back until dark, what shall we do?” asked Ruth. “We can’t stay out all night again.”
“We may have to,” declared practical Alice.
“That is so, and we may as well face the issue,” said Russ, somewhat gravely. “And now that we have found a sign of human beings, who can possibly tell us which way to go to find the steamer, it would be foolish to waste this chance. If we go off by ourselves again we may get farther and farther away from the Magnolia.”
“That is so,” agreed Paul. “I think we had better stay.”
“That’s what I say!” exclaimed Mrs. Maguire. “It seems like company just to look at that boat and the hut, and to know that someone has been here lately, and will come back.”
“Oh, they’ll be sure to come back,” Russ said. “That’s is too good a boat to abandon. Why, it must be worth a thousand dollars.”
He and Paul went down to examine it, while the moving picture girls and Mrs. Maguire looked about the hut.
“It seems almost like home, after what we have been through,” remarked Ruth.
“I wish there was something to eat here,” said Alice, after a stroll about the vicinity of the hut. “Whoever lives here must get their supplies in from day to day, and eat them all up.”
“Or they may be out after supplies now,” added Mrs. Maguire.
The shadows were lengthening, but the sun was still bright, and it would not be night for several hours. There was a period of anxious waiting.
“I wonder if we hadn’t better shout again, and fire a few shots?” remarked Paul. “We may be near our own steamer now, though it doesn’t seem so. We might be in another country, for all we can tell.”
“I believe we will give a few signals,” agreed Russ. “And I can spare a couple of cartridges. I only wish I could see something worth eating to shoot at. Then I could be killing two birds with one stone—giving a signal and providing a meal.”
But there seemed no suitable mark for the weapon to be aimed at, and, after they had united their voices in a chorus of calls, Russ fired twice—at intervals.
Then came a period of anxious waiting and silence.
“Call once more,” suggested Ruth.
“Hark!” exclaimed Alice, raising her hand to add to her injunction, for Russ had been about to speak. “I heard something.”
They all listened intently.
“There it is again!” whispered Alice.
Unmistakably now they all heard voices calling—voices that increased in intensity—coming nearer.
“Oh, they’ve found us! They’ve found us!” half sobbed Ruth.
“Call again, boys—I—I can’t,” faltered Alice.
Russ and Paul shouted.
Again came an unmistakable answer. Now was heard a crashing in the underbrush that told of the approach of someone, and, a moment later there came into view, on the far side of the clearing, where stood the palm leaf hut, two girls, one with a gun over her shoulder, and the other with a brace of birds hanging from her waist.
The two girls stopped for a moment, and then, with joyful shouts, rushed forward.
As for our friends, they seemed paralyzed with astonishment. It was so different from what they had expected. Then Alice found her voice, and cried:
“The two lost girls—we have found them!”


A manager once called me "the consummate team player," a description I strive to embody every day. As a former strategic account manager for a tech company, I'm used to learning on my feet, a quick pace to my day, and an ever-changing environment. I'm happiest when I have a new challenge, puzzle, or objective on a regular basis. I want to solve problems, and build, create, and see the product of my work. I have a deep appreciation for the current golden-age of television, the combination of fashion & utility represented by the blazer, and the classic combination of pie and coffee.


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TWO GIRLS AND A GUY (M). (Twentieth Century Fox) Director: James Toback Stars: Robert Downey jr, Heather Graham, Natasha Gregson Wagner Running time: 97 minutes.
The title says it all, really! This is a film about two girls and a guy who share an unusual sexual triangle.
Lou (Natasha Gregson Wagner, daughter of the late Natalie Wood) and Carla (Heather Graham, from Boogie Nights, etc) meet outside a New York apartment building. They are both waiting for their boyfriend to return from the airport. During their discussion, they both discover that they have been sharing a supposedly monogamous relationship with the same man - Blake Allen (Robert Downey jr), a struggling actor. They break into his apartment and prepare to surprise Blake. The ensuing confrontation offers insights into relationships in the '90's, and questions the concept of honesty between men and women.
This low budget three-hander talk-fest was shot in a New York loft apartment over a period of eleven days, and its deliberately minimalist style gives it the look and feel of a filmed play. The action takes place on one set, and centres around the three main characters questioning the dynamics of their relationships. The film begins promisingly enough, but after the first twenty minutes or so it seems to run out of steam. From then it struggles to retain the audience's attention. There's the gist of a good short film struggling to get out here.
Many of the scenes seem improvised, and it's almost as if director James Toback (The Pick-Up Artist, etc) shot the actors work-shopping their characters through various scenarios. The fairly straight forward plot is unbalanced by many other elements that jar and seem misjudged. There is an unnecessary sex scene that seems inspired by 9 And 1/2 Weeks. The dialogue is gratuitously frank, and peppered with casual obscenities, but lacks genuine wit.
Then there is Blake's ailing mother, who becomes almost a fourth character in the drama. Although she is never seen or heard from, her presence is nonetheless felt, and her character often serves to diffuse many of the volatile tensions and emotions that surface. The poignant ending also seems like a desperate contrivance to elicit some sympathy for Blake, a man behaving very badly.
Downey's performance is sensational, which is not surprising since writer/director Toback created the role especially for him. However, Toback fails to provide any sort of definite resolution to the situation he has established, and most audiences will walk away feeling disappointed.
** greg king http://www.netau.com.au/gregking
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Synergistic Lunch Solutions
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{% include footer-scripts.html %}