@(message: String) @Main("Ezekiel Lau") {
Ezekiel Lau (better known as Zeke) is coming of age as a surfer and competitor right in front of our eyes with some impressive and creative surfing. Zeke is known for having a unique blend of style, speed, and power. Ezekiel sets himself apart as a private school student at Kamehameha Schools (an Institution for students of Hawaiian Ancestry) while pursuing a competitive surfing career in which he claimed 4 National Titles. Surfing is his passion and he hopes you will develop a passion for watching him as he comes up in rank as the next generation of surfing’s’ finest.
Zeke is leading the charge of the new guard of Hawaiian surfers. He is mixing the old hallmarks of Hawaiian surfing like power and big wave bravado with new school flair, the results are amazing. He won a 4 star QS this summer in El Salvador and backed that up with a 2nd at another 4 star in Puerto Escondido. Zeke has a bright future and he knows full well that the hope of the islands is resting firmly on his shoulders. When not surfing Zeke loves to work out, play basketball and train in Jiu Jitsu.


The J4ME UI was built in response to shortcomings of J2ME's standard LCDUI. It suffers because it looks bad, behaves differently and in an unintuitive manner on almost every phone, and is a bit cumbersome to code in because of its procedural API.
The J4ME UI uses a lot of classes found in the LCDUI package. For
example javax.microedition.lcdui.Graphics
is still used for drawing.
The easiest way to code your application is to make a class for every screen. There is a small code size penalty for this because each new class takes around 200 KB. Phones used to have many restrictions about how big the Jar file could be and you still don't want applications to be too big since they have to be downloaded to phones. But these problems are not as acute as they once were and the time savings from code simplification and clarity you gain are worth the trade off today.
The base class for all screens is DeviceScreen
. If you screen does
free drawing over an area it would derive from this class. The Etch-A-Sketch example
shows where this is useful.
DeviceScreen
defines a title bar at the top of the screen and menu
bar at the bottom. These are optional areas that can be hidden. The menu bar supports
up to two options that can be selected using the phone's menu buttons (note the extra
menu buttons found on some phones are ignored, such as the middle "Menu" button on
Motorola phones).
Dialog
screens are built using components. This is the most common
type of screen and can be assembled quickly by stringing together labels, progress
bars, pictures, text boxes, and the like. The Dialog
class houses all
the components and lays them out on the screen. It adds a scroll bar automatically
when the screen is not big enough to show all the components.
The Menu
classes are the last common type of screens. These are
just menus where the user can select from multiple options.
Components are just UI widgets that can be placed onto a screen. Common examples are
labels and text boxes. Typically components are used with the DeviceScreen
class, but that is not a requirement. Components are discussed in more detail in the
org.j4me.examples.ui.components
package.
The appearance of applications can be completely adjusted by supplying a different
Theme
class. The most common change is to use a different color scheme.
However, more complex changes can be made such as displaying background images.
The J4ME UI API is designed to be similar to the LCDUI. However, each J4ME screen is typically defined by its own class with methods that can be overridden to handle menu commands. Therefore set aside some time for porting; perhaps 15 minutes per screen.
Start your porting with the following steps. There will certainly be compile errors due to scope errors that need be cleaned up when you are done. But this should get you most of the way and illustrate the differences between the J4ME and LCDUI APIs.
startApp
method add UIManager.init(this);
as the first line
Canvas
class to DeviceScreen
Form
class to Dialog
CommandListener.commandAction
methods with overrides of declineNotify
and acceptNotify
Item
is replaced by its Component
counterpart; for example Guage
with ProgressBar
Examples are provided in the /examples
folder under the
org.j4me.examples.ui.*
packages. The examples all run under the
UIDemoMidlet
:
Dialog
screen
DeviceScreen
class directly


Provides implementations of
SnacCommand
s and associated command factories for SNAC family
0x0e
, which provides a set of commands used for communication and information in chat rooms. @see net.kano.joscar.snaccmd.rooms


- ½ oz apricot liqueur
- 2 oz rhum agricole, vieux
- 1 dash Angostura
- 1 dash orange bitters
Source: Smuggler's Cove
Source: Smuggler's Cove
Source: Smuggler's Cove
Source: Smuggler's Cove
Source: Smuggler's Cove
float coconut cream
Source: Smuggler's Cove
Source: Smuggler's Cove
serve with ice
Source: <punchdrink.com>


Digging into my education history, you will find that I am a rational person with a Bachelor’s degree in information science and a master’s degree in computer science, while I am also very creative. I have participated in a series of design-related volunteer activities and projects, such as creative advertising design for Coca-Cola. During the HCI intern at George Washington University and the UX course at the University of Michigan, I involved in more UX projects.
Design is not only an aesthetic creation but also a problem-solving activity. As a designer, I’m keen to build high-quality innovative projects that improve overall user experience. Furthermore, I pay attention to creating solutions to growth-related problems, from the perspective of a growth hacking-minded designer. I dream of becoming an expert in the product design field and designing products that have a positive impact on people, the environment and society.
The outdated ticket machines currently in service do not provide a user-friendly experience. The newly designed interface takes into consideration the users' opinions, therefore, it provides a faster and smoother user experience.
Case StudyWhole Foods Market is far left behind in building the mobile apps which have played an increasingly important role in improving the shopping experience. The goal of this project is to evaluate and improve the mobile app of Whole Foods Market to enhance the shopping experience.
MoreNowadays more and more tourists travel alone, but one person staying in the hotel has to pay the same price as two people. If an extra bed in a hotel room can be rented to someone who also travels alone, the cost will be halved. This is where Hotelshare works.
MoreA personal referral link website that has been running for a year. This simple webpage has a clear structure, and it has helped hundreds of people get new user rewards.
LaunchThis is an app designed for the market segment of college students. In this app, users can buy and sell their second-hand items, including personal items and course materials.
MoreAs a travel enthusiast, I am craving new experiences and new challenges. I like to explore new things, new places, new views, new people, new everything. Many years of volunteer and tour guide experience also helped me expand my perspective.
Miles Flown
Airlines Flown
Airports Visited
To the Moon


August 15, 2019
Denver, CO
#ClearEyesFullReinharts
Hannah & Colin
Home
Schedule
Travel
Registry
Things to do
RSVP
Hannah & Colin
Home
Schedule
Travel
Registry
Things to do
RSVP
Things to Do
We're so excited to share a few of our favorite places in the area with you.
restaurants
museums
drinks
retail
coffee
food halls
Show all
H | C


|
< Earlier Kibitzing · PAGE 46 OF 46 ·
Later Kibitzing> |
| Apr-09-11 | | Tigranny: How did this game get to be Game Of The Day when it's less than 10 moves (0)? The Pun Submission Page says no game that are less than 10 moves are allowed. I've been trying to make another game Game Of The Day when it was 0 moves like this one. |
|
| Apr-12-11 | | kevins55555: <Tigran> the Administrator must have added it. |
|
Apr-12-11
| | tamar: Rare Sitzfleisch Deferred sideline. |
|
| Apr-30-11 | | Tigranny: Thanks kevins55555. |
|
Sep-06-11
| | whiteshark: Mind-bottling, isn't it? |
|
| Oct-16-11 | | Cemoblanca: My suggestion: They should take up the game! The venue for the match: Toilet. :p |
|
| Oct-16-11 | | Cemoblanca: ..and by the way: Instead "Skip to my Loo" I would suggest "The Toiletgate Affair". :D |
|
| Oct-16-11 | | Cemoblanca: ECO = 00!!! ;0) |
|
| Feb-24-13 | | Mudphudder: At what point did black gain the advantage? |
|
| Apr-25-13 | | Conrad93: Seriously, why would he be going to the bathroom that often? FIDE had a right to question it. |
|
| Nov-09-13 | | John Abraham: Is it just me or does Kramnik (and his former manager Carsten Hensel, or however you spell it) look extremely handsome in the above photo? |
|
| Nov-09-13 | | dehanne: < Is it just me or does Kramnik (and his former manager Carsten Hensel, or however you spell it) look extremely handsome in the above photo?>It's just you. |
|
| May-16-14 | | Ogma: <Seriously, why would he be going to the bathroom that often? FIDE had a right to question it.> Maybe he had a bladder problem. Maybe, and the most obvious answer, he liked to walk around to help him think, as Kasparov used to. |
|
Dec-06-14
| | Stonehenge: "Taking the Piss" |
|
| Jan-02-15 | | miensteen: I think move 51 from Kramnik is a blunder. |
|
Jan-31-16
| | Stonehenge: Kramnik was in serious time trouble. He had to play on 30 sec. excrements. |
|
| Nov-18-16 | | A.T PhoneHome: Topalov was heard shouting "Weeeeee" after this game had ended. |
|
| Nov-18-16 | | tonsillolith: <Kramnik was in serious time trouble. He had to play on 30 sec. excrements.> Lolol. Now the time I spent reading through the comments on this game has been justified. |
|
Nov-19-16
| | perfidious: Bet <that> dug Topalov's ditch, heh heh heh. |
|
Mar-02-17
| | Stonehenge: https://s-media-cache-ak0.pinimg.co... |
|
| Mar-29-17 | | taltime: After each move Mr. Kramnik immediately heads to the rest room and from it directly to the bathroom. During every game he visited the relaxation room 25 times at the average and the bathroom more than 50 times - the bathroom is the only place without video surveillance.
Unlike Mr. Kramnik, the World Champion Veselin Topalov spends his time mainly at the playing table. The average number of times he visited the rest room and the bathroom is 8 and 4 respectively. It is very obvious that Kramink was cheating |
|
Mar-29-17
| | tamar: After each pitch, the pitcher retreated behind the mound, and picked up a suspicious looking bag, shook it, and tossed it down again. It is very obvious he was cheating. |
|
| Mar-15-18 | | rmilamrtapa: He gave up a whole game and the cheats still couldn't beat him. |
|
| Dec-19-18 | | BickeDag: Hands down, that is probably the best game of chess every played. |
|
Oct-17-20
| | Messiah: I submitted this game for computer analysis. |
|
|
|
|
< Earlier Kibitzing · PAGE 46 OF 46 ·
Later Kibitzing> |


Végh János
DSc, Full Professor
|
|
Availability:
|
| |
|
|
| Address: |
|
3515 Miskolc,
University Town |
|
|
Map |
| Post address: |
|
University of Miskolc
Faculty of Mechanical Engineering anf Informatics
Institute of Electroengineering
Department of Automation and Telecommunication
H-3515 Miskolc, Egyetemváros |
| Room: |
|
Informatics/213 |
| Phone: |
|
+36 (46) 565-111/1753 |
| Fax: |
|
+36 (46) 431-822 |
| Skype: |
|
Janos.Vegh |
| E-mail: |
|
Vegh(dot)Janos(at)gmail(dot)com |
| Homepage: |
|
Homepage |
|


| Rendering engine | Browser | Platform(s) | Engine version | CSS grade |
|---|---|---|---|---|
| Trident | Internet Explorer 4.0 | Win 95+ | 4 | X |
| Trident | Internet Explorer 5.0 | Win 95+ | 5 | C |
| Other browsers | All others | - | - | U |
| Rendering engine | Browser | Platform(s) | Engine version | CSS grade |
|---|---|---|---|---|
| Trident | Internet Explorer 4.0 | Win 95+ | 4 | X |
| Trident | Internet Explorer 5.0 | Win 95+ | 5 | C |
| Other browsers | All others | - | - | U |


Receive bitcoin by sharing this address.
Write down these words to back up your wallet. We use the BIP84 derivation path.
Choose which coins to spend.
| SATS PER BYTE | |
| TOTAL MINERS FEE | |
Be aware this is a serverless web wallet with your private keys stored in the browser! YIKES! You probably shouldn't use this wallet for significant sums.
This wallet uses public APIs like Blockchain and Mempool.Space for UTXO data and they probably track your IP! Use a VPN.
 If you don't save your back-up mnemonic and you clear your browser cache you will lose access to your funds permanently.
FastWallet is just code that runs on your machine, it doesn't know anything about your keys, recovery or addresses, etc.


Home
About Me
Contact Me
Hello, world.
My name is Robert Goerss.
This is all about me.
This is me looking with my eyes at things.


The board
The spatial limitations met while trying to squeeze the required circuitry into a mouse shell necessitated us to split the board into main sections: the control & power circuit and the motor driver. These are illustrated below.
About
PanyaBot is a low cost robot that as well as being exciting and entertaining is also a learning platform for kids and teens
(7-18) who are curious and want learn more about programming, engineering and science.
We envision it as a low cost educational tool and have made it so using recycled materials; the chassis of the bot is made from old disused USB PC mice and the motors are recycled from old DVD players. This is hoped to make it more accessible to a greater audience, thereby reducing the barrier to entry that is especially prevalent in low income areas. Succinctly put, to stir a culture of inquisitive makers irrespective of socioeconomic background, while helping to mitigate the endemicity of e-waste.
Hardware
A tenet defining the PanyaBot was its inception in recycled components and materials. However, some sections of the bot, such as the board, had to be designed from scratch.
The spatial limitations met while trying to squeeze the required circuitry into a mouse shell necessitated us to split the board into main sections: the control & power circuit and the motor driver. These are illustrated below.
The chassis is made by reusing an old PC mouse, which you can either salvage from an old PC or buy (they cost about $2 here in Kenya). The motors are salvaged from old and/or broken DVD, VCD players.
We're trying to keep costs as low as possible in order to make our product acessible to as many people as possible. All of the required components were obtained from local stores.
Software
Stumptown helvetica cardigan, odd future seitan tattooed flannel. Kale chips direct trade cray beard. 8-bit etsy butcher post-ironic blog lo-fi mcsweeney's, sustainable pickled umami flexitarian DIY ethical plaid trust fund. Wolf cred organic, terry richardson aesthetic four loko occupy vegan chillwave readymade deep... Read more
Cosby sweater odd future gluten-free actually dreamcatcher. Fixie cray vice sriracha disrupt, lo-fi pitchfork mcsweeney's swag YOLO meh chambray etsy. Keytar sriracha fanny pack church-key hashtag vice blog. 3 wolf moon VHS helvetica, raw denim deep v shoreditch seitan twee... Read more
Locavore irony gastropub chillwave, butcher meggings flexitarian pinterest master cleanse godard. Intelligentsia pop-up neutra, williamsburg gastropub godard pinterest swag deep v umami lomo. Butcher next level 90's wolf bushwick, narwhal photo booth YOLO kale chips whatever small batch.  Read more
Stumptown helvetica cardigan, odd future seitan tattooed flannel. Kale chips direct trade cray beard. 8-bit etsy butcher post-ironic blog lo-fi mcsweeney's, sustainable pickled umami flexitarian DIY ethical plaid trust fund. Wolf cred organic, terry richardson aesthetic four loko occupy vegan chillwave readymade deep... Read more
Cosby sweater odd future gluten-free actually dreamcatcher. Fixie cray vice sriracha disrupt, lo-fi pitchfork mcsweeney's swag YOLO meh chambray etsy. Keytar sriracha fanny pack church-key hashtag vice blog. 3 wolf moon VHS helvetica, raw denim deep v shoreditch seitan twee... Read more
Locavore irony gastropub chillwave, butcher meggings flexitarian pinterest master cleanse godard. Intelligentsia pop-up neutra, williamsburg gastropub godard pinterest swag deep v umami lomo. Butcher next level 90's wolf bushwick, narwhal photo booth YOLO kale chips whatever small batch.  Read more
Play
Pinterest semiotics single-origin coffee craft beer thundercats irony, tumblr bushwick intelligentsia pickled. Narwhal mustache godard master cleanse street art, occupy ugh selfies put a bird on it cray salvia four loko gluten-free shoreditch. Occupy american apparel freegan cliche. Mustache trust fund 8-bit jean shorts mumblecore thundercats. Pour-over small batch forage cray, banjo post-ironic flannel keffiyeh cred ethnic semiotics next level tousled fashion axe. Sustainable cardigan keytar fap bushwick bespoke.


Having trouble keeping track of your expenses? Monager is your solution! Login or Sign up now for free.
This website is a partial requirement for the completion of the unit COS30043 Interface Design and Development and was built for educational purposes only.


Education
Indian Institute of Technology Kanpur
May 2018 - November 2019
Master of Technology in Mechanical Engineering - Robotics
-
Point wise description of work done in Mtech
Indian Institute of Technology Kanpur
July 2014 - April 2018
Bachelor of Technology in Mechanical Engineering
-
Point wise description of work done in Btech
Air Force Golden Jubilee Institute
April 2009 - March 2014
XII 94.2/100
X 9.8/10


Part of pymine.beautifulsoup.BeautifulSoup View In Hierarchy
Known subclasses: pymine.beautifulsoup.BeautifulSoup.ICantBelieveItsBeautifulSoup, pymine.beautifulsoup.BeautifulSoup.MinimalSoup, pymine.beautifulsoup.BeautifulSoup.RobustHTMLParser
This parser knows the following facts about HTML: * Some tags have no closing tag and should be interpreted as being closed as soon as they are encountered. * The text inside some tags (ie. 'script') may contain tags which are not really part of the document and which should be parsed as text, not tags. If you want to parse the text as tags, you can always fetch it and parse it explicitly. * Tag nesting rules: Most tags can't be nested at all. For instance, the occurance of a
 tag should implicitly close the previous
 tag.
Para1
Para2 should be transformed into:
Para1

Para2 Some tags can be nested arbitrarily. For instance, the occurance of a
 tag should _not_ implicitly close the previous
 tag. Alice said:
Bob said:
Blah should NOT be transformed into: Alice said:
Bob said:

Blah Some tags can be nested, but the nesting is reset by the interposition of other tags. For instance, a
 tag should implicitly close the previous
 tag within the same
, but not close a
 tag in another table.

Blah
Blah should be transformed into:

Blah

Blah but,
Blah

Blah should NOT be transformed into
Blah

Blah Differing assumptions about tag nesting rules are a major source of problems with the BeautifulSoup class. If BeautifulSoup is not treating as nestable a tag your page author treats as nestable, try ICantBelieveItsBeautifulSoup, MinimalSoup, or BeautifulStoneSoup before writing your own subclass.
| Method | __init__ | The Soup object is initialized as the 'root tag', and the |
| Method | start_meta | Beautiful Soup can detect a charset included in a META tag, |
Inherited from BeautifulStoneSoup:
| Method | convert_charref | This method fixes a bug in Python's SGMLParser. |
| Method | _feed | Undocumented |
| Method | __getattr__ | This method routes method call requests to either the SGMLParser |
| Method | isSelfClosingTag | Returns true iff the given string is the name of a |
| Method | reset | Undocumented |
| Method | popTag | Undocumented |
| Method | pushTag | Undocumented |
| Method | endData | Undocumented |
| Method | _popToTag | Pops the tag stack up to and including the most recent |
| Method | _smartPop | We need to pop up to the previous tag of this type, unless |
| Method | unknown_starttag | Undocumented |
| Method | unknown_endtag | Undocumented |
| Method | handle_data | Undocumented |
| Method | _toStringSubclass | Adds a certain piece of text to the tree as a NavigableString |
| Method | handle_pi | Handle a processing instruction as a ProcessingInstruction |
| Method | handle_comment | Handle comments as Comment objects. |
| Method | handle_charref | Handle character references as data. |
| Method | handle_entityref | Handle entity references as data, possibly converting known |
| Method | handle_decl | Handle DOCTYPEs and the like as Declaration objects. |
| Method | parse_declaration | Treat a bogus SGML declaration as raw data. Treat a CDATA |
Inherited from Tag (via BeautifulStoneSoup):
| Method | _invert | Cheap function to invert a hash. |
| Method | _convertEntities | Used in a call to re.sub to replace HTML, XML, and numeric |
| Method | getString | Undocumented |
| Method | setString | Replace the contents of the tag with a string |
| Method | getText | Undocumented |
| Method | get | Returns the value of the 'key' attribute for the tag, or |
| Method | clear | Extract all children. |
| Method | index | Undocumented |
| Method | has_key | Undocumented |
| Method | __getitem__ | tag[key] returns the value of the 'key' attribute for the tag, |
| Method | __iter__ | Iterating over a tag iterates over its contents. |
| Method | __len__ | The length of a tag is the length of its list of contents. |
| Method | __contains__ | Undocumented |
| Method | __nonzero__ | A tag is non-None even if it has no contents. |
| Method | __setitem__ | Setting tag[key] sets the value of the 'key' attribute for the |
| Method | __delitem__ | Deleting tag[key] deletes all 'key' attributes for the tag. |
| Method | __call__ | Calling a tag like a function is the same as calling its |
| Method | __eq__ | Returns true iff this tag has the same name, the same attributes, |
| Method | __ne__ | Returns true iff this tag is not identical to the other tag, |
| Method | __repr__ | Renders this tag as a string. |
| Method | __unicode__ | Undocumented |
| Method | _sub_entity | Used with a regular expression to substitute the |
| Method | __str__ | Returns a string or Unicode representation of this tag and |
| Method | decompose | Recursively destroys the contents of this tree. |
| Method | prettify | Undocumented |
| Method | renderContents | Renders the contents of this tag as a string in the given |
| Method | find | Return only the first child of this Tag matching the given |
| Method | findAll | Extracts a list of Tag objects that match the given |
| Method | fetchText | Undocumented |
| Method | firstText | Undocumented |
| Method | _getAttrMap | Initializes a map representation of this tag's attributes, |
| Method | childGenerator | Undocumented |
| Method | recursiveChildGenerator | Undocumented |
Inherited from PageElement (via BeautifulStoneSoup, Tag):
| Method | setup | Sets up the initial relations between this element and |
| Method | replaceWith | Undocumented |
| Method | replaceWithChildren | Undocumented |
| Method | extract | Destructively rips this element out of the tree. |
| Method | _lastRecursiveChild | Finds the last element beneath this object to be parsed. |
| Method | insert | Undocumented |
| Method | append | Appends the given tag to the contents of this tag. |
| Method | findNext | Returns the first item that matches the given criteria and |
| Method | findAllNext | Returns all items that match the given criteria and appear |
| Method | findNextSibling | Returns the closest sibling to this Tag that matches the |
| Method | findNextSiblings | Returns the siblings of this Tag that match the given |
| Method | findPrevious | Returns the first item that matches the given criteria and |
| Method | findAllPrevious | Returns all items that match the given criteria and appear |
| Method | findPreviousSibling | Returns the closest sibling to this Tag that matches the |
| Method | findPreviousSiblings | Returns the siblings of this Tag that match the given |
| Method | findParent | Returns the closest parent of this Tag that matches the given |
| Method | findParents | Returns the parents of this Tag that match the given |
| Method | _findOne | Undocumented |
| Method | _findAll | Iterates over a generator looking for things that match. |
| Method | nextGenerator | Undocumented |
| Method | nextSiblingGenerator | Undocumented |
| Method | previousGenerator | Undocumented |
| Method | previousSiblingGenerator | Undocumented |
| Method | parentGenerator | Undocumented |
| Method | substituteEncoding | Undocumented |
| Method | toEncoding | Encodes an object to a string in some encoding, or to Unicode. |
The Soup object is initialized as the 'root tag', and the provided markup (which can be a string or a file-like object) is fed into the underlying parser. sgmllib will process most bad HTML, and the BeautifulSoup class has some tricks for dealing with some HTML that kills sgmllib, but Beautiful Soup can nonetheless choke or lose data if your data uses self-closing tags or declarations incorrectly. By default, Beautiful Soup uses regexes to sanitize input, avoiding the vast majority of these problems. If the problems don't apply to you, pass in False for markupMassage, and you'll get better performance. The default parser massage techniques fix the two most common instances of invalid HTML that choke sgmllib:
 (No space between name of closing tag and tag close) <! --Comment--> (Extraneous whitespace in declaration) You can pass in a custom list of (RE object, replace method) tuples to get Beautiful Soup to scrub your input the way you want.


Christopher Rodrigue is an electrical engineering student focused on communications and embedded systems. For the Smart Table project, he was in charge of wireless communication and remote control software. In the future, he will be employed as a Test Engineer at Lockheed Martin Missiles and Fire Control in Orlando, FL.
Ryan Mulvaney is an electrical engineering student focused on circuit design. For the Smart Table project, he was in charge of the power system and the schematic design and fabrication of the PCB. Works at i-con, designs and tests various control boards and other auxiliary boards. Expects to attend graduate school for communication in the future.


UKCloud Limited (“UKC”) and Virtual Infrastructure Group Limited (“VIG”) (together “the Companies”) – in Compulsory Liquidation
On 25 October 2022, the Companies were placed into Liquidation with the Official Receiver appointed as Liquidator and J Robinson and A M Hudson simultaneously appointed as Special Managers to manage the liquidation process on behalf of the Official Receiver.
Further information regarding the Liquidations can be found here: https://www.gov.uk/government/news/virtual-infrastructure-group-limited-and-ukcloud-limited-information-for-creditors-and-interested-parties
Contact details:
For any general queries relating to the Liquidations please email<EMAIL_ADDRESS>For customer related queries please email<EMAIL_ADDRESS>For supplier related queries please email<EMAIL_ADDRESS>HybridConnect vs CrownConnect (Private Connectivity)
Overview
This article outlines the difference between HybridConnect and CrownConnect and explains when each should be used.
What is HybridConnect?
HybridConnect enables you to bring private connectivity into service provider locations within UKCloud's core network locations in ARK data centres. UKCloud will then arrange onward connectivity from the termination point into your cloud service. The service provider locations must be within UKCloud's core network locations for HybridConnect to be used.
The current core network locations are: Farnborough A9 and Corsham SQ17.
Known Service Providers with presence* within A9 and SQ17:
BT
Vodafone
Lumen (Formerly CenturyLink)
Virgin Media
GTT
* This does not necessarily mean your private connection will be terminated within these locations. You should check the planned termination location with your provider.
UKCloud is not responsible for procuring the private connection or arranging any service provider activity on your behalf.
You may want to implement encryption on your private connection. You can use Cloud Enablement to host physical devices for termination of this encryption if required.
What is CrownConnect?
CrownConnect has two flavours: Private Connectivity and Private Infrastructure. This article focuses on Private Connectivity.
CrownConnect (Private Connectivity) enables you to bring private connectivity into service provider locations anywhere in the ARK data centre campus. UKCloud will then arrange for onward connectivity from the termination point into the your cloud service. The service provider locations can be anywhere within the ARK Crown Campus and are not limited to UKCloud's core network locations.
UKCloud is not responsible for procuring the private connection or arranging any service provider activity on your behalf.
You may want to implement encryption on your private connection. You can use Cloud Enablement to host physical devices for termination of this encryption if required.
Pricing
There are different pricing models for both products. These charges are applied per installation.
| HybridConnect | CrownConnect (Private Connectivity) | |
|---|---|---|
| One-off charge | £1000 | £1000 |
| Monthly charge | £150 (1Gb bandwidth) £300 (10Gb bandwidth) |
£200 (1Gb port) £500 (10Gb port) |
Lead times
Lead times vary depending on product. HybridConnect can normally be delivered within a couple of weeks due to the locality of the termination points to UKCloud's core network, however CrownConnect is dependent on fibre installation from the termination point into UKCloud's core network location. The lead time of delivery of this fibre depends on the distance from the termination point to the core network location, but typically customers should expect 3 to 4 weeks from order to delivery.
Minimum commit
For both products, there is a minimum commit of 6 months. In the case of early termination, you will be liable for any remaining balance.
Comparison table
| HybridConnect | CrownConnect (Private Connectivity) | |
|---|---|---|
| Service provider termination locations | A9 SQ17 |
A101 A102 A103 P1 P2 P3 |
| Costs | One-off installation + monthly charge | One-off installation + monthly charge |
| Lead times | A few days (approx) | Dependent on termination location |
| Cloud Enablement use | Yes | Yes |
Further information
For more information about the process of installing HybridConnect or CrownConnect, or to understand party responsibilities, see Telecommunications Service Provider engagement.
Feedback
If you find a problem with this article, click Improve this Doc to make the change yourself or raise an issue in GitHub. If you have an idea for how we could improve any of our services, send an email to feedback@ukcloud.com.


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Cannot connect to the robot from Android app
Check the followings:
Check if the server application is running on the Jenny 5 computer.
Check if the Jenny 5 computer is connected to the hotspot of the phone controlling it.
Check the IP of the Jenny 5 computer (run ipconfig). If the phone and the Jenny 5 are on different networks, make sure that the router has the port forwarding correctly.
Robot does not move
Make sure that batteries are turned on.
Check if server application is running.
Check USB port numbers from Device Manager.


fun <V> success(value: V): Success<V>
Helper to build a Success operation
value - associated to the successful operation
value


Aysun Şener
She was born in İstanbul. She has completed her undergraduate studies at Gazi University, Education Faculty, Division of Art Faculty. Currently, she is working at Çankaya district national education directorate as a fine arts lecturer and continuing her artworks at artist İhsan Çakıcı’s and her own studio. Şener has held four personal exhibitions and participated in numerous national and international group exhibitions. She has conducted Detay Art Gallery as its founder and art director.
Bienal and Group Exhibition
- 2015 - 3th International İzmir Art Bienal, İzmir Metropolitan Municipality Ahmet Adnan Saygun Art Center
- 2016 - 1st International Thessaloniki Contemporary Art Festival, Made by Artist, Block33 Creative Space Thessaloniki, Greece
- 2016 - A-Round International Art Exhibition, Brancs& Arkt Gallery, Eger, Hungary
- 2017 “Les Couleurs de la féminité”, Paris Galerie Linda Farrell, France
Personal Exhibition
- 2009 - “The Doors”, TESK Art Gallery, Ankara
- 2012 “İstanbul”, Çankaya Municipality, Contemporary Arts Center, Ankara
- 2013 - “Doors-Shadows” Çankaya Municipality, Contemporary Arts Center, Ankara
- 2014 - “A sudden ferry whistle”, TESK Art Gallery, Ankara


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Pago Pago is a popular long term port for liveaboards who report it is safe from hurricanes because of the high mountains around the harbour and therefore there's no need to undertake the rough passage to and from New Zealand for the season. The only real drawback is the cannery.
Position 14° 16'23"S, 170° 41'01"W (harbour entrance)
For full details on clearing into American Samoa see the main Formalities page.
Notify the Harbor Master by using VHF Channel 16 prior to port arrival for port authorization. The Harbor is open 24-hours.
The majority of yachts arriving here to check-in, drop anchor and dinghy ashore to complete the paperwork. It is however also possible to tie up at the tug dock in the container port if arriving between 0800 and 1700 (Mon-Fri). However conditions here are rather "rough" for a yacht.
If arriving outside office hours, anchor in the anchorage, fly the Q flag and then dinghy ashore during working hours.
Check in with the Port Capatain (who may also assign an anchoring place) and Customs (both offices are in the Container Port). Immigration is a short walk down the main road. If they are busy, advise them that you are from a yacht and you will be taken directly to the correct official.
A yacht must not be moved within the harbour without prior permission from the Port Captain. This includes going to get fuel from the fuel dock. When clearing out, the same procedure as for checking in can be followed.
Last updated April 2016.
This harbour is well sheltered. There is a choice of berthing options. The marina is on the southern side of the harbour. The Harbour Master may be able to offer a mooring buoy but these should be carefully inspected before trusting your boat to them, or he may suggest a suitable anchoring spot.
It is important not to move the boat within the harbour (even to the fuel berth) without getting prior permission for the HM.
Anchorage
The holding in the harbour is poor and it is advisable to anchor with two anchors and not leave the yacht unattended for long periods. It is best to anchor a distance away from the cannery to avoid the occasional smells that are emitted when they open the pressure cookers. Long term resident yachts have moorings, so bear that in mind when anchoring nearby.
The best holding is between the small boat wharf and the the end of the bay, on the south side, in 35 to 80ft.
Dinghy landing is now more difficult since the dock near the Seaside Market has been fenced off and locked. The dock to the east is very crowded and is often also locked. There is a dinghy dock at the Malaloa Marina.
The fuel dock is available to vessels/yachts taking over 100 gallons of diesel. The draft at the fuel dock is 40 feet (12m), so it’s available at both high and low tide. It was recently dredged to increase the draft. More details under the fuel tab.
Last updated April 2016.


View packages marked as favorites
npm stars
npm stars [username]
If you have starred a lot of neat things and want to find them again quickly this command lets you do just that.
You may also want to see your friend's favorite packages, in this case you will most certainly enjoy this command.


{{ partial "header.html" . }}
I'm a software engineer building software and teams with mission-driven companies.


Money Play. How should Red play 52?
pips Red=96 White=102
(CorrectAnswer= 0/0, ErrorScore= 0)
This one is not close.
8/6, 8/3 leaves no shots and provides an extra attacker against White’s blot on Red’s ace-point.
13/11, 13/8 (in theory clearing a difficult point) is an error I often see in this type of position. In fact, it is actually a blunder rather than an error. Giving gratuitous shots against a five-point home board is rarely correct.
Now you know the correct strategy!
8/6, 8/3 leaves no shots and provides an extra attacker against White’s blot on Red’s ace-point.
13/11, 13/8 (in theory clearing a difficult point) is an error I often see in this type of position. In fact, it is actually a blunder rather than an error. Giving gratuitous shots against a five-point home board is rarely correct.
Now you know the correct strategy!
1. Cubeful 2-ply 8/6 8/3 Eq.: +0.307 0.695 0.040 0.000 - 0.305 0.019 0.000 2. Cubeful 2-ply 13/11 13/8 Eq.: +0.257 (-0.050) 0.677 0.020 0.000 - 0.323 0.016 0.000 3. Cubeful 0-ply 8/1* Eq.: +0.018 (-0.289) 0.593 0.098 0.001 - 0.407 0.127 0.001 4. Cubeful 0-ply 6/1* 3/1 Eq.: -0.130 (-0.437) 0.544 0.080 0.001 - 0.456 0.144 0.001 5. Cubeful 0-ply 8/3 6/4 Eq.: -0.170 (-0.477) 0.531 0.047 0.001 - 0.469 0.120 0.001


The goal of rperseus
is to furnish classicists, textual critics, and R enthusiasts with texts from the Classical World. While the English translations of most texts are available through gutenbergr
, rperseus
returns these works in their original language–Greek, Latin, and Hebrew.
rperseus
provides access to classical texts within the Perseus Digital Library’s CapiTainS environment. A wealth of Greek, Latin, and Hebrew texts are available, from Homer to Cicero to Boetheius. The Perseus Digital Library includes English translations in some cases. The base API url is http://cts.perseids.org/api/cts
.
rperseus
is not on CRAN, but can be installed via:
devtools::install_github("ropensci/rperseus")
See the vignette to get started.
To obtain a particular text, you must first know its full Uniform Resource Name (URN). URNs can be perused in the perseus_catalog
, a data frame lazily loaded into the package. For example, say I want a copy of Virgil’s Aeneid:
library(dplyr)
library(purrr)
library(rperseus)
aeneid_latin <- perseus_catalog %>%
filter(group_name == "Virgil",
label == "Aeneid",
language == "lat") %>%
pull(urn) %>%
get_perseus_text()
You can also request an English translation for some texts:
aeneid_english <- perseus_catalog %>%
filter(group_name == "Virgil",
label == "Aeneid",
language == "eng") %>%
pull(urn) %>%
get_perseus_text()
Refer to the language variable in perseus_catalog
for translation availability.
You can also specify excerpts:
qoheleth <- get_perseus_text(urn = "urn:cts:ancJewLit:hebBible.ecclesiastes.leningrad-pntd", excerpt = "1.1-1.3")
qoheleth$text
#> [1] "דִּבְרֵי֙ קֹהֶ֣לֶת בֶּן־ דָּוִ֔ד מֶ֖לֶךְ בִּירוּשָׁלִָֽם : הֲבֵ֤ל הֲבָלִים֙ אָמַ֣ר קֹהֶ֔לֶת הֲבֵ֥ל הֲבָלִ֖ים הַכֹּ֥ל הָֽבֶל : מַה־ יִּתְר֖וֹן לָֽאָדָ֑ם בְּכָל־ עֲמָל֔וֹ שֶֽׁיַּעֲמֹ֖ל תַּ֥חַת הַשָּֽׁמֶשׁ :"
You can parse any Greek excerpt, returning a data frame with each word’s part of speech, gender, case, mood, voice, tense, person, number, and degree.
parse_excerpt("urn:cts:greekLit:tlg0031.tlg002.perseus-grc2", "5.1-5.2") %>%
head(7) %>%
knitr::kable()
| word | form | verse | part_of_speech | person | number | tense | mood | voice | gender | case | degree |
|---|---|---|---|---|---|---|---|---|---|---|---|
| καί | Καὶ | 5.1 | conjunction | NA | NA | NA | NA | NA | NA | NA | NA |
| ἔρχομαι | ἦλθον | 5.1 | verb | third | plural | aorist | indicative | active | NA | NA | NA |
| εἰς | εἰς | 5.1 | preposition | NA | NA | NA | NA | NA | NA | NA | NA |
| ὁ | τὸ | 5.1 | article | NA | singular | NA | NA | NA | neuter | accusative | NA |
| πέραν | πέραν | 5.1 | adverb | NA | NA | NA | NA | NA | NA | NA | NA |
| ὁ | τῆς | 5.1 | article | NA | singular | NA | NA | NA | feminine | genative | NA |
| θάλασσα | θαλάσσης | 5.1 | noun | NA | singular | NA | NA | NA | feminine | genative | NA |
rperseus
plays well with the tidyverse
and tidytext
. Here I obtain all of Plato’s works that have English translations available:
library(purrr)
plato <- perseus_catalog %>%
filter(group_name == "Plato",
language == "eng") %>%
pull(urn) %>%
map_df(get_perseus_text)
And here’s how to retrieve the Greek text from Sophocles’ underrated Philoctetes before unleashing the tidytext
toolkit:
library(tidytext)
philoctetes <- perseus_catalog %>%
filter(group_name == "Sophocles",
label == "Philoctetes",
language == "grc") %>%
pull(urn) %>%
get_perseus_text()
philoctetes %>%
unnest_tokens(word, text) %>%
count(word, sort = TRUE) %>%
anti_join(greek_stop_words)
#> Joining, by = "word"
#> # A tibble: 3,514 x 2
#> word n
#> <chr> <int>
#> 1 νεοπτόλεμος 164
#> 2 φιλοκτήτης 141
#> 3 ὦ 119
#> 4 μʼ 74
#> 5 ὀδυσσεύς 56
#> 6 τέκνον 47
#> 7 τʼ 43
#> 8 χορός 41
#> 9 γʼ 40
#> 10 νῦν 39
#> # ... with 3,504 more rows
rperseus
, first get acquainted with the Perseus Digital Library, fork the repo, and send a pull request.


UTC +11.30
240 volts AC, 50 cycles,
Australian dollar (Aus$)
BANKING - Westpac Bank & Commonwealth Bank, Burnt Pine open Monday to Thursday 09:30 am.- 4 pm. Friday 09:30 to 5 pm. - 24-hour ATM available. - Major credit cards are accepted at most places - Eftpos is available in many establishments.
Updated December 2008.
See Pacific List of Radio Nets
International dialing code for Norfolk Island is +672.
There are 2 internet cafes in Taylors Road.
For telephone and fax services, Norfolk Telecom is open Monday to Friday 09:30am - 10:30 pm. Saturday and Sunday 09:00 am - 12 noon and 3pm-6pm.
Mobile phone service is available on Norfolk Island by purchasing a local sim card.
Postal and fax services, phonecards and a Philatelic Bureau are available at Norfolk Post in Burnt Pine. Open Monday to Friday.
Norfolk Island has its own stamp and postal service.
There is no public transport but taxis and car hire are available. A current driver's licence is required and the miniumum age for renting a car is 21 years.
There are 170km of road around Norfolk. The speed limit is 40km/h in town, 25km/h in the national park and along the waterfront at Kingston. Everywhere else is 50km/h. Warning - wandering cattle have the right of way.
Flights to Norfolk Island - Air New Zealand www.airnewzealand.co.nz - Norfolk Jet, Australia - Tel 617 3221 6677.
Airport located in Burnt Pine.
Updated December 2008.
Emergencies - Dial (6723) 911
Ambulance, Doctor or Hopsital - Dial (6723) 911
Police and Volunteer Rescue - Dial (6723) 977
Fire - Dial (6723) 955
IMRAY AND ADLARD COLES PILOT BOOKS are available at a discounted price for Noonsite.com users via World Cruising Club
South Pacific Handbook
By David Stanley
Publisher: Avalon Travel Publishing; 8Rev Ed edition (28 Jan. 2005)
ISBN-13978-1566914116
From lagoon swimming in the Cook Islands to witnessing the race of the banana bearers in the Heiva i Tahiti festival, travellers will find the best of the South Pacific both popular and obscure in this guidebook.
Landfalls of Paradise: Cruising Guide to the Pacific Islands
By Earl Hinz
Publisher: University of Hawai'i Press; 5th Revised edition edition (1 May 2006)
ISBN-13:<PHONE_NUMBER>373
The fifth edition of this sailing standard includes updated charts and text reflecting changes in regulations and facilities for most countries and specific ports of entry. New appendices include procedures for entry to Australia, which are more exacting than most Pacific landfalls, and an extensive list of information sources: cruising guidebooks, important general tourist guides, chart suppliers, and key web sites for the countries covered by "Landfalls of Paradise".
South Pacific Anchorages
By Warwick Clay
Publisher: Imray Laurie Norie & Wilson Ltd; 2nd edition (January 1, 2001)
ISBN-13:<PHONE_NUMBER>829
Warwick Clay's cruising guide covers the South Pacific from the Mariana Islands in the northwest across to the Galapagos in the east then down passed Easter Island to New Zealand in the Southwest.
The Pacific Crossing Guide
By Michael Pocock, Revised by Ros Hogbin
Publisher: Adlard Coles; 2nd edition (August 2011)
ISBN-13:<PHONE_NUMBER>828
See the detailed review
Ensure you have the correct Charts for the Norfolk Island area. All vessels operating in the area should be using the Aus 609 marked WGS 1984, printed on or after 5 June 1995. You should be able to seek advice or pick up or find a supplier for the latest charts through this site - www.hydro.gov.au.
Noonsite welcomes information and updates especially regarding clearance, customs and immigration procedures from cruisers visiting this country.
Please E-mail noonsite with any new information, updates or corrections. Even just a short email confirming that the current data is accurate would be most helpful.


$22/34: Current track for drive 0 ROM-Reference: LDA $22 : $F326 STA $22 : $F31B $F38E STA $22,X : $F3EA $FAD3 Previous Page / Next Page


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Before Change
// Transpose the list[dict] into dict[list]
tensor_inputs = {
key: list(values) for key, values in utils.zip_dict(*instruction_dicts)
}
// Skip slicing if all masks are True (No value skipped)
if all(all(m) for m in tensor_inputs["mask"]):
After Change
// First case: All examples are taken (No value skipped)
if _no_examples_skipped(instruction_dicts):
// Only use the filenames as instruction
instruction_ds = tf.data.Dataset.from_tensor_slices([
d["filepath"] for d in instruction_dicts
])
build_ds_from_instruction = dataset_from_file_fn
// Second case: Use the instructions to read the examples
else:
instruction_ds = _build_instruction_ds(instruction_dicts)
build_ds_from_instruction = functools.partial(
_build_ds_from_instruction,
ds_from_file_fn=dataset_from_file_fn,
)
// If shuffle is True, we shuffle the instructions/shards
if shuffle_files:
instruction_ds = instruction_ds.shuffle(len(instruction_dicts))
// Use interleave to parallel read files and decode records


The tech world is a lot more prudish and lot less prurient than it likes to think it is. Except now, thanks to some determined women, rapid advances in immersive VR and the indefatigable human desire to find new ways of getting off, Silicon Valley is seeing the allure of silicone, and a sex tech revolution is coming (indeed).
For something that we spend an enormous portion of our lives thinking about, discussing, furtively watching, and — hey — maybe even doing, it’s remarkable that the SexTech revolution is only happening now.
It’s mind-boggling to think that the only thing that might have stopped The Snapchat of Dildos from emerging is squeamishness.
When you consider the great delight the tech industry takes in disrupting and re-imagining the most basic things that humans do—shopping, chatting, sharing information—it’s mind-boggling to think that the only thing that might have stopped The Snapchat of Dildos from emerging is squeamishness. And as even the most hormonally-distracted of us knows, sex sells — so there’s huge money to be made.
Excitingly, many of the most vocal SexTech advocates are women, who are coupling hard business with the eradication of sexshop-ickiness and normalisation of healthy sexuality for girls and women.
Alexandra Fine, co-founder of the sex-wearable Eva — the "couples’ vibrator,"— explained in an interview with Bustle how, “the sex toy industry used to be porn’s ugly sister.” That’s no longer the case, and the reward that now accompanies elegant design and gender-balanced function is big money.

Revolutions often sneak up on us, but ones that involve attaching machines to our genitals might be a little more obvious than most.
So for an idea of what our eventual hyper-sex future will entail, ask yourself one very honest question: if you could do any sexual act, however taboo, what would it be?
Futuresex is already here.
Teledildonics, a word that is equal parts amusing, intriguing and worrisome, brings a whole new meaning to “the Internet of Things.” When combined with Virtual Reality, Futuresex becomes a lot more tangible.
And teledildonic companies are ready. Manufacturer Kiiroo is eager to scratch everyone’s itch, as long as they’re of a sexual nature.  It’s here and it feels… if not “real”, then a whole lot closer to the real thing.
 Put even more simply, they’re very advanced dildos and Fleshlights. And whether input is from a partner, a sex worker, or even a virtual “partner”, this solo stimulation isn't just fancier version of the traditional do-it-yourself approach — it’s a whole new form of sex.
That’s because it's a two-way process: both the women’s dildo and the men’s sleeve can be paired with another teledildonic toy and are reactive to the input from their partner’s device. It’s not only a more interesting way to stay in touch than WhatsApp, but it also throws a philosophical curveball into the whole concept of what a human sexual relationship is, and how it works.
An investment of a few hundred dollars for his ’n’ hers (or her ’n’ hers, or his ’n’ his or his ’n’ hers ’n’ his…) sex toys might be cheaper than hotel-suite phone sex and is a lot better for maintaining a satisfying long-distance relationship.
And if you’re sceptical that people will find the time and money to do this, consider the person whose partner spends weeks away travelling for work: an investment of a few hundred dollars for his ’n’ hers (or her ’n’ hers, or his ’n’ his or his ’n’ hers ’n’ his…) sex toys might be cheaper than hotel-suite phone sex and is a lot better for maintaining a satisfying long-distance relationship.
If the basic aim of VR and AR is to create a world we would prefer to live in, for most people true VR fantasy fulfilment is not going to be about creating a better email inbox. So VR Futuresex is not going to be as simple as hooking up with your favourite porn star — it’s going to be a lot more specific, kinky, and unexpected than that.
 Time to start sending some discreet emails to digital 3D modellers…
 Complicated questions without firm answers abound, especially around core human relationship concepts like fidelity.
And the more you explore, the more quickly the line that demarcates long-established behavioural patterns becomes blurred. Here’s a thought exercise: imagine your partner is using teledildonics. If you interact with your partner using this technology, it can easily be considered an extension of your existing sexual relationship.
Simple enough. But what if an online stranger, who your partner cannot see and does not know, sexually arouses them with the same technology? Is your partner now “cheating” on you?
And that’s just for starters:
- What if your partner’s arousal was “controlled” by a virtual avatar, intimately experienced in VR?
- What if the avatar looked like an enhanced version of you?
- What if the avatar looked, sounded and acted just like your partner’s favourite celebrity crush?
- What if the avatar looked like your best friend?
- What if the avatar wasn’t even human?
By this point the line is blurred to the point where it may simply be replaced by awkward what-were-you-doing-in-there? conversations. Or maybe both parties will just choose to augment their experience with each other: a new hybrid sex which keeps the couple together, and yet allows vivid fantasy fulfilment.
That idea might outwardly repulse people, but it could be more difficult to refuse in practice, especially when you’d be signing a pact of mutually assured destruction.  Would your payoff be enough?
Of course, the most likely way we — the dumb, endlessly horny animals hungry for new ways to express our sexuality — will set about answering these questions is to gleefully dive in, and find out the hard way.
Remote Futuresexwork
VHS, the internet, video streaming, VR: the adult business is almost always the earliest to jump onto new technology if it means helping everyone involved gets off and make some money. So it’s no surprise that a string of big name porn-stars are pushing the frontier of what it means to pay to have sex.
It’s already possible to rummage a little deeper into your porn-star fantasy: download a video that syncs your teledildonic device with the action, and “experience tactile porn,” as Kiiroo puts it. So far, so… predictable.
But the implications of SexTech are much more human. A decent career awaits those who are happy to be fantasy fodder as a sex worker, albeit one who never meets, touches or knows their clients.
“The client has very direct, complete control over my vibrator,”
Zander Storm, who “loves board games, video games, food, cats, Game of Thrones, Doctor Who, writing, cooking, coffee, and wandering places,” is also highly a successful cam model on sites like Chaturbate. She described her early experiments with teledilodonics to Motherboard, and explained how the technology may not only offer a better experience for her clients, but for her as well.
“The client has very direct, complete control over my vibrator,” she said, noting that the increase in perceived closeness makes clients willing to pay more for her performance. She could feel their influence, which affected her response, and that made it more real for clients.
Now imagine what the clients would do if Zander could “touch" back, and that the client’s perspective was in VR. This virtual connection with a sex worker — one that exists in a believable physical, visual and sensual realm — could initiate a raft of important sociological changes.
For the worker, it might mean greater physical safety and a better income. It would also make a mish-mash of whatever local sex-work laws the worker and client are covered by.
Futuresex or Futurerelationship?
One final thought experiment: if an ex-partner creates a believable 3D version of you, and then introduce you into their VR sex fantasy, without your permission, where does that leave the idea of a relationship (not to mention consent laws)?
Maybe relationships won't mean together forever and will shift instead to an always-ready consumption model.
The real big leap brought on by SexTech could be a brutal reshaping of what relationships actually are. If we can summon up believable emotional and physical intimacy, exactly tailored to our perfect fantasy in endlessly tweakable iterations, why would you consider returning to the mundanity of a flesh-and-blood relationship?
Renting relationships, borrowing boyfriends, lending love: welcome to Futuresex.


{% autoescape None %} {% extends ../../../templates/base.html %} {% block title %}[{{instance.hostname}}:{{instance.pg_port}}] - Maintenance{% end %} {% block head %} {% end %} {% block content %} {% include breadcrumb.html %}
The number of modified rows since last analyze is high, you should consider lauching an ANALYZE
Out of date analyzes can result in stats not being accurate, which eventually leads to slow queries.
The number of dead tuples is high, you should consider running a VACUUM.
Dead tuples waste space and slow down queries.
Overall table bloat is high. You should consider running a Full VACUUUM.
Table bloat wastes space and slows down queries.
Overall index bloat is high. You should consider running a Full VACUUUM or REINDEX.
Index bloat wastes space and slows down queries.
| {{! index.name }} ({{! index.type }}) in {{! index.tablespace }} | {{! index.total_size }} Bloat: {{! index.bloat_ratio.toFixed(1) }}% | {{! index.scans }} scans |
|
|


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PLOTFONT(1) GNU Plotting Utilities PLOTFONT(1) NAME plotfont - produce character maps of fonts supported by the plotting utilities SYNOPSIS plotfont [ options ] fonts DESCRIPTION plotfont produces a character map for any font that is supported by the plotting utilities, which include graph(1), plot(1), pic2plot(1), tek2plot(1), and the GNU libplot 2-D graphics export library (see plot(3)). Which fonts are supported depends on the output format, which is specified by the -T option. A listing of the fonts available in any specified output format may be obtained with the --help-fonts option (see below). The character map, or maps, will be written to standard output in the specified format. For example, the Times-Roman font is available when producing Postscript output. The command plotfont -T ps Times-Roman > charmap.ps will yield a character map of the Times-Roman font, in a Post‐ script format that can be viewed or edited with the idraw(1) drawing edi‐ tor. The Times-Roman font is also available when producing Fig output, which can be viewed or edited with the xfig(1) drawing editor. The com‐ mand plotfont -T fig Times-Roman > charmap.fig will yield the same char‐ acter map, but in Fig format rather than in Postscript format. As another example, the Univers font is available when producing PCL 5 output. The command plotfont -T pcl Univers > charmap.pcl will produce a character map of the Univers font, in PCL 5 format. When producing output for the X Window System, i.e., for a popped-up win‐ dow, any scalable X Window System font that has an XLFD (i.e., X Logical Font Description) name is supported. For example, the command plotfont -T X utopia-medium-r-normal will pop up a window, and draw a character map of the Utopia-Regular font. "utopia-medium-r-normal" is a truncated version of the Utopia-Regular font's XLFD name. The Utopia-Regular font is available on most X Window System displays. OPTIONS General Options -T type --output-format type Select type as the output format. It may be "X", "png", "pnm", "gif", "svg", "ai", "ps", "cgm", "fig", "pcl", "hpgl", "regis", "tek", or "meta" (the default). These refer respectively to the X Window System, PNG (Portable Network Graphics) format, portable anymap format (PBM/PGM/PPM), a pseudo-GIF format that does not use LZW encoding, the new XML-based Scalable Vector Graphics format, the format used by Adobe Illustrator, Postscript or Encapsulated Postscript (EPS) that can be edited with idraw(1), CGM format (by default, confirming to the WebCGM profile), the format used by the xfig(1) drawing editor, the Hewlett-Packard PCL 5 printer lan‐ guage, the Hewlett-Packard Graphics Language, ReGIS graphics for‐ mat (which can be displayed by the dxterm(1) terminal emulator or by a VT330 or VT340 terminal), Tektronix format (which can be dis‐ played by the xterm(1) terminal emulator), and device-independent GNU metafile format itself. Unless type is "X", an output file is produced and written to standard output. Files in PNG, PNM, pseudo-GIF, AI, or Fig format contain only a single page of graphics. So if the -T png option, the -T pnm option, the -T gif option, the -T ai option, or the -T fig option is used, the output file will contain a character map for only the first-specified font. A listing of the fonts available in any specified output format may be obtained with the --help-fonts option (see below). If a requested font is unavailable, a default font will be substituted. The default font is "Helvetica" for "X", "svg", "ai", "ps", "cgm", and "fig", "Univers" for "pcl", and "HersheySerif" for "png", "pnm", "gif", "hpgl", "regis", "tek", and "meta". -1 --lower-half Generate a character map for the lower half of each specified font. This is the default. -2 --upper-half Generate a character map for the upper half of each specified font. -o --octal Number the characters in octal rather than in decimal (the default). -x --hexadecimal Number the characters in hexadecimal rather than in decimal (the default). --box Surround each character with a box, showing its extent to left and right. The default is not to do this. -j row --jis-row row Generate a character map for row row of a Japanese font arranged according to JIS [Japanese Industrial Standard] X0208. The only such font currently available is the HersheyEUC [Extended Unix Code] font. If used, this option overrides the -1 and -2 options. The valid rows are 1...94. In the JIS X0208 standard, Roman char‐ acters are located in row 3, and Japanese syllabic characters (Hiragana and Katakana) are located in rows 4 and 5. Greek and Cyrillic characters are located in rows 6 and 7. Japanese ideo‐ graphic characters (Kanji) are located in rows 16...84. --bg-color name Set the color used for the background to be name. This is rele‐ vant only to plotfont -T X, plotfont -T png, plotfont -T pnm, plotfont -T gif, plotfont -T svg, plotfont -T cgm, and plotfont -T regis. An unrecognized name sets the color to the default, which is "white". The environment variable BG_COLOR can equally well be used to specify the background color. If the -T png or -T gif option is used, a transparent PNG file or a transparent pseudo-GIF, respectively, may be produced by setting the TRANSPARENT_COLOR environment variable to the name of the background color. If the -T svg or -T cgm option is used, an out‐ put file without a background may be produced by setting the back‐ ground color to "none". --bitmap-size bitmap_size Set the size of the graphics display in which the character map(s) will be drawn, in terms of pixels, to be bitmap_size. The default is "570x570". This is relevant only to plotfont -T X, plotfont -T png, plotfont -T pnm, and plotfont -T gif, all of which produce bitmaps. If you choose a rectangular (non-square) window size, the fonts in the character map(s) will be scaled anisotropically, i.e., by different factors in the horizontal and vertical direc‐ tions. For plotfont -T X, this requires an X11R6 display. Any font that cannot be scaled in this way will be replaced by a default scalable font, such as the vector font "HersheySerif". The environment variable BITMAPSIZE can equally well be used to specify the window size. For backward compatibility, the X resource Xplot.geometry may be used instead. --emulate-color option If option is yes, replace each color in the output by an appropri‐ ate shade of gray. This is seldom useful, except when using plot‐ font -T pcl to prepare output for a PCL 5 device. (Many mono‐ chrome PCL 5 devices, such as monochrome LaserJets, do a poor job of emulating color on their own.) You may equally well request color emulation by setting the environment variable EMULATE_COLOR to "yes". --numbering-font name Set the font used for the numbering of the characters in the char‐ acter map(s) to be name, rather than the default. --page-size pagesize Set the size of size of the page on which the character map(s) will be positioned. This is relevant only to plotfont -T svg, plotfont -T ai, plotfont -T ps, plotfont -T cgm, plotfont -T fig, plotfont -T pcl, and plotfont -T hpgl. The default is "letter", which means an 8.5 inch by 11 inch page. Any ISO page size in the range "a0"..."a4" or ANSI page size in the range "a"..."e" may be specified ("letter" is an alias for "a" and "tabloid" is an alias for "b"). "legal" and "ledger" are recognized page sizes also. The environment variable PAGESIZE can equally well be used to specify the page size. The graphics display in which each character map is drawn will be a square region that would occupy nearly the full width of the specified page. An alternative size for the graphics display can be specified. For example, the page size could be specified as "letter,xsize=4in,ysize=6in", or "a4,xsize=5.0cm,ysize=100mm". For all of the above except plotfont -T hpgl, the graphics display will, by default, be centered on the page. For all of the above except plotfont -T svg and plotfont -T cgm, the graphics display may be repositioned manually, by specifying the location of its lower left corner, relative to the lower left corner of the page. For example, the page size could be specified as "letter,xori‐ gin=2in,yorigin=3in", or "a4,xorigin=0.5cm,yorigin=0.5cm". It is also possible to specify an offset vector. For example, the page size could be specified as "letter,xoffset=1in", or "letter,xoff‐ set=1in,yoffset=1.2in", or "a4,yoffset=-1cm". In SVG format and WebCGM format it is possible to specify the size of the graphics display, but not its position. --rotation angle Rotate the graphics display by angle degrees. Recognized values are "0", "90", "180", and "270". "no" and "yes" are equivalent to "0" and "90", respectively. The environment variable ROTATION can also be used to specify a rotation angle. --pen-color name Set the pen color to be name. An unrecognized name sets the pen color to the default, which is "black". Options for Metafile Output The following option is relevant only if the -T option is omitted or if -T meta is used. In this case the output of plotfont will be in GNU graphics metafile format. It may be translated to other formats by invoking plot(1). -O --portable-output Output the portable (human-readable) version of GNU metafile for‐ mat, rather than the binary version (the default). The format of the binary version is machine-dependent. Informational Options --help Print a list of command-line options, and exit. --help-fonts Print a table of available fonts, and exit. The table will depend on which output format is specified with the -T option. plotfont -T X, plotfont -T svg, plotfont -T ai, plotfont -T ps, plotfont -T cgm, and plotfont -T fig each support the 35 standard Postscript fonts. plotfont -T svg, plotfont -T pcl, and plotfont -T hpgl support the 45 standard PCL 5 fonts, and the latter two support a number of Hewlett-Packard vector fonts. All seven support a set of 22 Hershey vector fonts, as do plotfont -T png, plotfont -T pnm, plotfont -T gif, plotfont -T regis, and plotfont -T tek. plotfont without a -T option in principle supports any of these fonts, since its output must be translated to other formats by invoking plot(1). --list-fonts Like --help-fonts, but lists the fonts in a single column to facilitate piping to other programs. If no output format is spec‐ ified with the -T option, the full set of supported fonts is listed. --version Print the version number of plotfont and the plotting utilities package, and exit. ENVIRONMENT The environment variables BITMAPSIZE, PAGESIZE, BG_COLOR, EMULATE_COLOR, and ROTATION serve as backups for the options --bitmap-size, --page-size, --bg-color, --emulate-color, and --rotation, respectively. The remaining environment variables are specific to individual output formats. plotfont -T X, which pops up a window on an X Window System display for each character map, checks the DISPLAY environment variable. Its value determines the display that will be used. plotfont -T png and plotfont -T gif, which produce output in PNG format and pseudo-GIF format respectively, are affected by the INTERLACE envi‐ ronment variable. If its value is "yes", the output will be interlaced. Also, if the TRANSPARENT_COLOR environment variable is set to the name of a color, that color will be treated as transparent in the output. plotfont -T pnm, which produces output in portable anymap (PBM/PGM/PPM) format, is affected by the PNM_PORTABLE environment variable. If its value is "yes", the output will be in a human-readable format rather than binary (the default). plotfont -T cgm, which produces output in CGM (Computer Graphics Metafile) format, is affected by the CGM_MAX_VERSION and CGM_ENCODING environment variables. By default, it produces a binary-encoded version of CGM version 3 format. For backward compatibility, the version number may be reduced by setting CGM_MAX_VERSION to "2" or "1". Irrespective of version, the output CGM file will use the human-readable clear text encoding if CGM_ENCODING is set to "clear_text". However, only binary- encoded CGM files conform to the WebCGM profile. plotfont -T pcl, which produces PCL 5 output for Hewlett-Packard printers and plotters, is affected by the environment variable PCL_ASSIGN_COLORS. It should be set to "yes" when producing PCL 5 output for a color printer or other color device. This will ensure accurate color reproduction by giving the output device complete freedom in assigning colors, inter‐ nally, to its "logical pens". If it is "no" then the device will use a fixed set of colored pens, and will emulate other colors by shading. The default is "no" because monochrome PCL 5 devices, which are much more common than colored ones, must use shading to emulate color. plotfont -T hpgl, which produces Hewlett-Packard Graphics Language out‐ put, is affected by several environment variables. The most important is HPGL_VERSION, which may be set to "1", "1.5", or "2" (the default). "1" means that the output should be generic HP-GL, "1.5" means that the out‐ put should be suitable for the HP7550A graphics plotter and the HP758x, HP7595A and HP7596A drafting plotters (HP-GL with some HP-GL/2 exten‐ sions), and "2" means that the output should be modern HP-GL/2. If the version is "1" or "1.5" then the only available fonts will be vector fonts, and all lines will be drawn with a default width. Additionally, if the version is "1" then the filling of arbitrary curves with solid color will not be supported (circles and rectangles aligned with the coordinate axes may be filled, though). The position of the plotfont -T hpgl graphics display on the page can be rotated 90 degrees counterclockwise by setting the HPGL_ROTATE environ‐ ment variable to "yes". This is not the same as the rotation obtained with the --rotation option, since it both rotates the graphics display and repositions its lower left corner toward another corner of the page. Besides "no" and "yes", recognized values for HPGL_ROTATE are "0", "90", "180", and "270". "no" and "yes" are equivalent to "0" and "90", respec‐ tively. "180" and "270" are supported only if HPGL_VERSION is "2" (the default). By default, plotfont -T hpgl will draw with a fixed set of pens. Which pens are present may be specified by setting the HPGL_PENS environment variable. If HPGL_VERSION is "1", the default value of HPGL_PENS is "1=black"; if HPGL_VERSION is "1.5" or "2", the default value of HPGL_PENS is "1=black:2=red:3=green:4=yellow:5=blue:6=magenta:7=cyan". The format should be self-explanatory. By setting HPGL_PENS you may specify a color for any pen in the range #1...#31. All color names rec‐ ognized by the X Window System may be used. Pen #1 must always be present, though it need not be black. Any other pen in the range #1...#31 may be omitted. If HPGL_VERSION is "2" then plotfont -T hpgl will also be affected by the environment variable HPGL_ASSIGN_COLORS. If its value is "yes", then plotfont -T hpgl will not be restricted to the palette specified in HPGL_PENS: it will assign colors to "logical pens" in the range #1...#31, as needed. The default value is "no" because other than color LaserJet printers and DesignJet plotters, not many HP-GL/2 devices allow the assignment of colors to logical pens. Opaque filling and the drawing of visible white lines are supported only if HPGL_VERSION is "2" and the environment variable HPGL_OPAQUE_MODE is "yes" (the default). If its value is "no" then white lines (if any), which are normally drawn with pen #0, will not be drawn. This feature is to accommodate older HP-GL/2 devices. HP-GL/2 pen plotters, for example, do not support opacity or the use of pen #0 to draw visible white lines. Some older HP-GL/2 devices may, in fact, malfunction if asked to draw opaque objects. plotfont -T tek, which produces output for a Tektronix terminal or emula‐ tor, checks the TERM environment variable. If the value of TERM is a string beginning with "xterm", "nxterm", or "kterm", it is taken as a sign that plotfont is running in an X Window System VT100 terminal emula‐ tor: a copy of xterm(1), nxterm(1), or kterm(1). Before drawing graph‐ ics, plotfont -T tek will emit an escape sequence that causes the termi‐ nal emulator's auxiliary Tektronix window, which is normally hidden, to pop up. After the graphics are drawn, an escape sequence that returns control to the original VT100 window will be emitted. The Tektronix win‐ dow will remain on the screen. If the value of TERM is a string beginning with "kermit", "ansi.sys", or "nansi.sys", it is taken as a sign that plotfont is running in the VT100 terminal emulator provided by the MS-DOS version of kermit(1). Before drawing graphics, plotfont -T tek will emit an escape sequence that switches the terminal emulator to Tektronix mode. Also, some of the Tek‐ tronix control codes emitted by plotfont -T tek will be kermit-specific. There will be a limited amount of color support, which is not normally the case (the 16 `ansi.sys' colors will be supported). After drawing graphics, plotfont -T tek will emit an escape sequence that returns the emulator to VT100 mode. The key sequence `ALT minus' can be employed manually within kermit to switch between the two modes. SEE ALSO graph(1), pic2plot(1), tek2plot(1), plot(1), plot(3), and "The GNU Plot‐ ting Utilities Manual". AUTHORS plotfont was written by Robert S. Maier (rsm@math.arizona.edu). BUGS Email bug reports to<EMAIL_ADDRESS>FSF Jun 2000 PLOTFONT(1)


If you have basic git skills or are first timers or even veteran developers, GirlScript Summer of Code would give you a taste of contributing in a long open source projects. Register yourself as a participant for GSSoc 2018 here. (Will be released soon.)
Mentors are experts on the Open Source project the team is working on.At the beginning of the program, they provide a roadmap for the project.They are available throughout the summer to review pull requests,help with concepts and generally support the team.So be a mentor in Girlscript Summer Of Code.
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---
layout: presentation
title: "Giving Voice to Microbiological Data"
author: Patrick D. Schloss, PhD
department: Department of Microbiology & Immunology
university: University of Michigan
---
class: middle center
# {{ page.title }}
### {{ page.author }}
### {{ page.department }}
### {{ page.university }}
---
## Disclaimer
--
> Joe (13): "I can tell when words are misspelled"
--
> Me: "Then why don't you spell them correctly?"
--
> Joe (13): "I can only tell when words are misspelled"
--
* I do not claim to generate perfect figures
* This is hard!
* I'd like to think that by critiquing other's work, experimenting, and constantly trying to improve we will get better
---
## Goals
* ~~Teach you to generate perfect your data visualizations in ggplot2~~
--
* ~~Trash other people's data visualizations~~
--
* Foster a culture of critiquing each other's visualizations
* Introduce you to some cognitive psycology as it relates to data visualization
* Help each other to refactor our data visualizations
---
## Agenda
* Identify some problems in data visualization within ~~microbiology~~ science
* Critique a figure
* Preattentive attributes
* Plot types
* Strategies
* Critique your figure and refactor it
* Resources
---
background-image: url({{ site.baseurl }}/assets/images/raw_sequence_data.png)
background-size: contain
background-position: 50% 50%
--
class: middle
# .alert[Data do not speak for themselves]
---
## We do a lot to help our data "speak"
* Experimental design
* Calibration, quality trimming and filtering, data censoring
* Aggregation into treatment groups
* Statistical transformations
* Modeling
* Visualization
---
## And then we produce vague, uninformative visuals and our data mumble
.center[![:scale Mega piechart, 60%](https://mbio.asm.org/content/mbio/6/5/e01315-15/F3.large.jpg)]
.footnote[[van Rensburg et al. 2015 *mBio*](https://mbio.asm.org/content/6/5/e01315-15)]
???
skin microbiome among people with (A) and without (B) pustules
---
## And then we produce vague, uninformative visuals and our data won't shut up
.center[![:scale Figure 1, 90%]({{ site.baseurl }}/assets/images/crap_figure1.png)]
.footnote[[Vieira et al. 2018 *Science*](http://science.sciencemag.org/content/359/6380/1156)]
---
## And then we produce vague, uninformative visuals and our data won't shut up
.center[![:scale Figure 2, 40%, 50%]({{ site.baseurl }}/assets/images/crap_figure2.png)]
.footnote[[Vieira et al. 2018 *Science*](http://science.sciencemag.org/content/359/6380/1156)]
---
## And then we produce vague, uninformative visuals and our data won't shut up
.center[![:scale Figure 3, 40%]({{ site.baseurl }}/assets/images/crap_figure3.png)]
.footnote[[Vieira et al. 2018 *Science*](http://science.sciencemag.org/content/359/6380/1156)]
---
## And then we produce vague, uninformative visuals and our data won't shut up
.center[![:scale Figure 4, 40%, 70%]({{ site.baseurl }}/assets/images/crap_figure4.png)]
.footnote[[Vieira et al. 2018 *Science*](http://science.sciencemag.org/content/359/6380/1156)]
???
That was 51 figures in one paper!
---
## Too often our story gets lost in a sea of information
.center[![:scale Gorilla in radiogram picture, 60%](https://media.npr.org/assets/img/2013/02/07/gorilla-7006721e3016faca7f3682d868491bd78c32d844-s1600-c85.jpg)]
.footnote[via [NPR](https://www.npr.org/sections/health-shots/2013/02/11/171409656/why-even-radiologists-can-miss-a-gorilla-hiding-in-plain-sight)]
???
83% of radiologists miss the Gorilla in this radiogram of lung sections
---
class: middle
## But our data can help us tell our story in a way that resonates with our audience
---
class: middle
.center[![:scale Measles heatmap, 90%](https://benjaminlmoore.files.wordpress.com/2015/04/screen-shot-2015-04-09-at-16-29-01.png)]
.footnote[WSJ via [Ben Moore](https://benjaminlmoore.wordpress.com/2015/04/09/recreating-the-vaccination-heatmaps-in-r/)]
---
class: middle
.center[![:scale Temperature anomolies, 55%]({{ site.baseurl }}/assets/images/climate_spiral.gif)]
.footnote[[Climate Lab Notebook](https://www.climate-lab-book.ac.uk/spirals/)]
---
class: middle
.center[![:scale How Stable is Stable?, 90%](https://aem.asm.org/content/aem/65/8/3697/F4.large.jpg)]
.footnote[[Fernandez et al. 1999 *AEM*](https://aem.asm.org/content/65/8/3697)]
---
class: middle
.center[![:scale Aquarium microbiome, 70%](https://msphere.asm.org/content/msph/4/1/e00043-19/F2.large.jpg)]
.footnote[[Bik et al. 2019 *mBio*](https://msphere.asm.org/content/4/1/e00043-19)]
---
## Critique this
.footnote[[Turnbaugh et al. 2009 *Nature*](https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2677729/)]
.left-column[
#### Figure 1. 16S rRNA gene surveys reveal familial similarity and reduced diversity of the gut microbiota in obese individuals
#### (A) Average unweighted UniFrac distance (a measure of differences in bacterial community structure) between individuals over time (self), twin-pairs, twins and their mother, and unrelated individuals [1,000 sequences per V2 dataset; Student’s t-test with Monte Carlo; *p<10−5; **p<10−14; ***p<10−41; mean±SEM]. (B) Phylogenetic diversity curves for the microbiota of lean and obese individuals (based on 1 to 10,000 sequences per V6 dataset; mean±95%CI shown).
]
.right-column[
.center[![:scale Critique this, 70%]({{ site.baseurl }}/assets/images/turnbaugh.jpg)]
]
???
* How different are unrelated people from related people? How does the y-axis of A impact your perception?
* How much variation is there in the data? What is the N for the different groups?
* Is a rarefaction curve across all individuals within a non-obese/obese grouping the most effective way to show the obesity relationships?
* What if they plotted similarity rather than dissimilarity?
---
## Refactor the plots
--
.center[![:scale Schloss refactor, 50%]({{ site.baseurl }}/assets/images/schloss.jpg)]
.footnote[[Schloss et al. 2014. *Microbiome*](https://microbiomejournal.biomedcentral.com/articles/10.1186/2049-2618-2-25)]
---
## We need a vocabulary to help critique our visuals
.center[![:scale Wine tasting, 40%](http://66.media.tumblr.com/2302a33063e35c87e3c7b6ea0239c782/tumblr_o5i42duJbE1qgyp45o2_400.gif)]
---
## Preattentive attributes
.center[![:scale Preattentive attributes, 60%]({{ site.baseurl }}/assets/images/preattentive_attributes.jpg)]
.footnote[[Heldiney Pereira at *Medium*](https://medium.com/design-at-zoopla/building-purposeful-ui-using-preattentive-attributes-9c5ee5dcc25c) ; Also see work by Stephen Few]
???
We can connect data to each of these types of attributes.
Also consider...
* connection
* motion
---
## Types of data
* Continuous: temperature, concentration, relative abundance
* Count: number of people, number of KEGG categories
* Categorical: country, gender, race, nationality, treatment group
* Ordinal: time, disease severity, socioeconomic status
--
.alert[What preattentive attributes would be best to map these types of data onto?]
---
## Types of data
* Continuous/Count: position, length, width, size, orientation, curvature
* Categorical: shape, color, contrast, enclosure, marks, grouping
* Ordinal: position, grouping, connection/motion (if time or repeated measure)
---
## Degree of difficulty of interpreting quantitative data mapped to preattentive attributes
.footnote[[Cleveland & McGill 1984 *JASA*](https://www.jstor.org/stable/2288400?seq=1#page_scan_tab_contents)]
.left-column[
* Position along a common scale
* Position along non-aligned scales
* Length, Direction, Angle
* Area
* Volume, Curvature
* Shading, Color Saturation
]
--
.right-column[
* Ask yourself (or a friend) how long it takes to understand what a visual is saying
* Track eye movement - how many times do your eyes scan back and forth across a visual
]
???
Important to emphasize extremes of data - e.g. white vs. black is a strong contrast, where as orange and red-orange are more difficult to contrast.
Also, need to simplify visualizatons and ask which preattentive attributes are being used by the reader to inerpret the information. A pie chart asks the reader to interpret angle, area, and arc length when only the angle is probably intended. Something like a stacked bar chart asks a reaader to interpret position along a non-alinged scale, area, and color
---
## Common problems with preattentive attributes: Trying to do too much!
.center[![:scale Minard's plot, 90% ](https://upload.wikimedia.org/wikipedia/commons/2/29/Minard.png)]
.footnote[Minard via [Wikipedia](https://en.wikipedia.org/wiki/Charles_Joseph_Minard)]
???
* This classic visualization embeds six types of data (the number of Napoleon's troops; distance; temperature; the latitude and longitude; direction of travel; and location relative to specific dates) in two dimensions
* Just because a preattentive exists and you have data to map onto it, doesn't mean that you should!
* Cool visualizations don't necessarily tell a story, this is a rare exception
---
## Common problems with preattentive attributes: Color
.left-column[
* Color blindness
* Rainbow color pallette
* Using white to represent a medium value
* Quantitative information
* Too many colors
* Colors may have their own connotation (sex/gender, race, good/bad)
]
.right-column[
.center[![Color Brewer]({{ site.baseurl }}/assets/images/color_brewer.png)]
[Color Brewer](http://colorbrewer2.org/#type=diverging&scheme=RdYlBu&n=5) has packages for R and python and you can also use the hex color codes
]
---
## Common problems with preattentive attributes: Size
.footnote[[Mohit et al. 2014 *AEM*](https://aem.asm.org/content/80/7/2071)]
.left-column[
* What is our quantitative value being mapped onto when we change the size of a symbol?
* Radius?
* Area?
* Perimeter/circumfrance?
* Can we compare sizes of different shapes?
]
.right-column[
![Bubble plot](https://aem.asm.org/content/aem/80/7/2071/F5.large.jpg)
]
---
## Common problems with preattentive attributes: Orientation
.footnote[[Example from Wikipedia](https://en.wikipedia.org/wiki/Pie_chart)]
.left-column[
Orientation is faciliated by having a reference, but becomes considerably harder when there are many angles that may not be commonly alinged
]
.right-column[
.center[![Pie charts]({{ site.baseurl }}/assets/images/piechart_pies.png)]
]
--
.right-column[
.center[![Bar charts]({{ site.baseurl }}/assets/images/piechart_bars.png)]
]
---
## Common problems with preattentive attributes: Representing variation
.footnote[[Weissgerber et al. 2015. *PLOS ONE*](https://journals.plos.org/plosbiology/article?id=10.1371/journal.pbio.1002128)]
.left-column[
* Most of our data are taken from samples and have some variation associated with them
* Traditional
* Stripcharts / Box and whisker plots
* Error bars
* Modern takes
* Violin plots / Ridgeline plots
* Blurriness
* Color saturation
* Animation
]
.right-column[
![Dinamite plot]({{ site.baseurl }}/assets/images/dinamite_plot.png)
]
---
## Plot types
* Long and growing list of different types of plots
* Really think about what your visualization is saying
* If you connect two points in a network diagram
* If you connect two points in a scatter plot
* If you put two pieces of data next to each other
* You don't need to say everything with a single figure
* Don't fall into the trap of data viz memes (i.e. doing what everyone else is doing)
---
## Does your plot really say what you mean?
.center[![:scale Bad line plot, 80%](https://aac.asm.org/content/aac/63/1/e01760-18/F4.large.jpg)]
.footnote[[Kavanagh et al. 2019. *AAC*](https://aac.asm.org/content/63/1/e01760-18)]
---
## Microbiome memes
![Microbiome meme](https://msystems.asm.org/content/msys/4/1/e00278-18/F1.large.jpg)
.footnote[[Santiago et al. 2019. *mSystems*](https://msystems.asm.org/content/msys/4/1/e00278-18/)]
---
class: center
.footnote[See [Graphics Continuum](https://policyviz.com/shop/) and [Xenographics](https://xeno.graphics) and not all nerds are guys]
---
## Strategies
.left-column[
* Become a connoisseur of data visualizations
* Don't be afraid to experiment
* Try to personalize the data
* Seek out criticism, incorporate it, and repeat
* Try to maximize the data-ink ratio, eliminate "chart junk" (Tufte)
* Use preattentive attributes to tell your story
* Acknowledge that a figure for a paper is not necessarily a good figure for a talk
]
--
.right-column[
.center[![:scale Figure 1, 90%]({{ site.baseurl }}/assets/images/devourThePie3.gif)]
]
---
class: middle
.center[![:scale Measles heatmap, 90%](https://benjaminlmoore.files.wordpress.com/2015/04/screen-shot-2015-04-09-at-16-29-01.png)]
.footnote[WSJ via [Ben Moore](https://benjaminlmoore.wordpress.com/2015/04/09/recreating-the-vaccination-heatmaps-in-r/)]
---
## Critique time
.left-column[
* Displays names for every other state
* Rainbow color scheme
* Legend is highly skewed - color can't display specific values well
* Colors are not color blind friendly
* Too much data - do we really need every state?
.footnote[See [Randal Olson](http://www.randalolson.com/2016/03/04/revisiting-the-vaccine-visualizations/) and [Xan Gregg](https://community.jmp.com/t5/JMP-Blog/Graph-makeover-Measles-heat-map/ba-p/30550) for lenghty critiques and iterations]
]
--
.right-column[
.center[![:scale Polio plot, 90%](http://www.randalolson.com/wp-content/uploads/polio-cases-line-chart-statistics.png)]
]
---
## Critique time: With your neighbor
.footnote[[van Rensburg et al. 2015 *mBio*](https://mbio.asm.org/content/6/5/e01315-15)]
.left-column[
* What do the data say?
* Things you like about the visual
* Things you don't like about the visual
* Concrete suggestion for what to change
* Go ahead and make a mock figure to incorporate feedback
]
.right-column[![:scale Mega piechart, 100%](https://mbio.asm.org/content/mbio/6/5/e01315-15/F3.large.jpg)]
---
## Critique time: This time its personal!
* Pull out a figure you brought with you or find one online ([*mBio*](https://mbio.asm.org), [*mSphere*](https://msphere.asm.org), [*mSystems*](https://msystems.asm.org) are good sources of open access microbiology articles)
* Give it to your neighbor
* Without talking to each other write down...
* What do the data say?
* Things you like about the visual
* Things you don't like about the visual
* Concrete suggestion for what to change
--
* Discuss your critiques with each other
--
* Refactor your plot
???
* Repeat iterations as much as you'd like
* Share back to larger group
---
## Things I wish I could do in a paper
* Interaction
* Animation
* Single panel figures
* Build figures stepwise (i.e. "[scrollytelling](https://pudding.cool/process/how-to-implement-scrollytelling/)")
* Declarative figure titles
* Be more aggressive in pointing out interesting result
* Toss papers as PDFs
---
## What if this were Figure X?
.center[![:scale shiny app, 90%]({{ site.baseurl }}/assets/images/mccrone_lauring_shiny.png)]
.footnote[McCrone & Lauring [Shiny App](http://lauringlab.github.io/benchmarking_shiny/) that accompanies [2016 ASV paper](https://jvi.asm.org/content/90/15/6884)]
---
## Resources
.left-column[
### Tool agnostic books
* [Story telling with data](https://www.amazon.com/Storytelling-Data-Visualization-Business-Professionals/dp/1119002257/ref=sr_1_1?keywords=storytelling+with+data&qid=1551358001&s=books&sr=1-1)
* [Now You See It](https://www.amazon.com/Now-You-See-Visualization-Quantitative/dp/0970601980/ref=sr_1_fkmrnull_1?keywords=Now+You+See+It%3A+Simple+Visualization+Techniques+for+Quantitative+Analysis&qid=1551357978&s=books&sr=1-1-fkmrnull)
* [The Visual Display of Quantitative Information](https://www.amazon.ca/Visual-Display-Quantitative-Information/dp/1930824130)
* [Fundamentals of Data Visualization](https://serialmentor.com/dataviz/)
### Podcasts
* [Not So Standard Deviations](http://nssdeviations.com)
* [Story telling with data](http://www.storytellingwithdata.com/podcast)
* [The PolicyViz Podcast](https://policyviz.com/podcast/)
]
.right-column[
### Challenges
* [Makeover Mondays](http://www.makeovermonday.co.uk)
* [SWD Monthly Challenge](http://www.storytellingwithdata.com/swdchallenge)
### Inspiration
* [Five Thirty Eight](https://fivethirtyeight.com)
* [New York Times](https://twitter.com/nytgraphics)
* [Data is[sic] beautiful](https://www.reddit.com/r/dataisbeautiful)
* [Flowing Data](https://flowingdata.com/)
* [Information is Beautiful](https://informationisbeautiful.net)
* [Xenographics](https://xeno.graphics)
]


Realme wireless earbuds to launch in December, alongside the XT 730G
by Aakash JhaveriRealme wireless earbuds to launch in December, alongside the XT 730G
Entering new territories
(Image credit: Realme)
Realme CEO Madhav Sheth has confirmed that the Realme wireless earbuds will be unveiled in December, alongside the Realme XT 730G.
The Realme X2 Pro was launched at an event in New Delhi, as the company’s first flagship. Around the end of the keynote, Madhav Sheth teased “few more exciting things” while referring to the Realme XT 730G launch event in December. The last slide had a silhouette graphic of what looked like a pair of truly wireless earbuds popping out of a case.
Realme has slowly been inching into the accessory market, starting with the affordable Realme Buds a few months ago, which are often hailed as one of the best budget wireless earphones. It is looking to do the same in the growing truly wireless earbuds space.
The image suggests that the Realme wireless buds will have a design very similar to the Apple AirPods. That’s not necessarily a bad thing, and it will be commendable if Realme can match the size and form factor of the AirPods without taking a hit on the battery life or features.
The name of these upcoming earbuds is supposedly not yet finalized, but we are sure to hear more about it in the coming days if the launch is just a month away. There’s no word on pricing either, but knowing the company’s trajectory, the Realme wireless buds shouldn’t be too expensive.
- Realme X2 Pro launched in India starting at Rs 29,999
- Best headphones under Rs 2,000 in India
- How to get an R-Pass invite to buy the Realme X2 Pro