What is Jigsaw ?
Using Jigsaw
Technical stuff
Using Servlets
You think your question about
Jigsaw is worth entering this list, you
have a better formulation for some of the answers ? Mail to
<EMAIL_ADDRESS>!
What's the purpose of Jigsaw ?
Jigsaw is the new W3C reference server. Its main purpose is to
demonstrate new protocol features as they are defined (such as
HTTP/1.1 or
PICS), and to provide
the basis for experimentations in the field of server software (such as the
provided MUX prototypical implementation).
Where can I get Jigsaw ?
You can download
Jigsaw distribution file in various formats, and using
either ftp or http:
- Windows zip files (1.5Mo)
-
- UNIX gzip tar file (700Ko)
-
Why is Jigsaw written in Java ?
Java has a number of advantages that
fit well with our purposes. It provides portable threads and garbage
collection, allows for a very dynamic server architecture. It's ability to
move code around may be use in future development to experiment with the
mobile code concept.
Jigsaw is written in Java, it must be really
slow...
No so true ! Check out the
performance
evaluation of Jigsaw, which indicates that it performs at least as
well as the CERN server.
The admin server reply "Method GET not
implemented.", how can I use it?
The administration server does not use plain HTTP but a variant of it. The
only tool available for now is an application called
JigAdmin.
What is this indexing thing all about
?
To a normal HTTP web-admin,
Jigsaw's configuration process might look
really strange...
Jigsaw's design
emphasis two different processing stage in serving documents:
- Indexing stage
- When documents enter the Web
- Serving stage
- When documents are served to clients
In short the rationale for separating these two stages is to make the
serving stage as efficient as possible, by having the
indexing
stage prepare as much as possible the work. A document
enter the
WEB space the first time
Jigsaw serves it; this happen behind the scene
most of the time, and consist in creating a
resource for the document
to be served by querying a
resource factory. The current resource
factory can be configured to create various kind of resources based either on
the file name extensions, or (in case of a directory) based on its name.
However, once a resource is created, it no longer reflects the settings of
the resource factory (see the indexers); in
some sense the information gets compiled so that at serving time,
processing overhead is reduced as much as possible.
How do I tie a resource to a directory not
under my server root?
Contributed by Sirilyan<EMAIL_ADDRESS>CERN server implemented this through the Pass directive, which let you map a
server path to an absolute path on your file system. Jigsaw uses the
org.w3c.jigsaw.resources.PassDirectory resource.
COOKBOOK METHOD: Create a new resource with Add resources in JigAdmin at the location you want the new
server path to exist. Assign whatever name you desire to the new resource, and
assign org.w3c.jigsaw.resources.PassDirectory
for the class. Edit this new resource to change the pass-target attribute to
the absolute path to the directory you want to serve.
You may want to change the name attribute of the 'index' file in that
directory to Overview.html. name and filename are two separate attributes in
Jigsaw; this is also a poor man's (or a Win95/NT user's) symlink.
Serving directories outside your server root may be a security risk.
How do I setup CGI scripts ?
They are two ways to setup CGI scripts. The manual way requires that you
describe each script to the server. Let's say your script's path relative to
the server root is
WWW/cgi-bin/myscript. You will first have to
create an appropriate
org.w3c.tools.resources.FileResource
with a
org.w3c.jigsaw.frames.CgiFrame
instance to wrap your script. See this
tutorials to know how to create a resource in
Jigsaw.
Then edit the newly created resource, and setup it's command line (the
command line the server will use to run your script). Each line of the text
field should represent one argument, the first one being the script full
path.
You can also register files of a given extension as scripts, by using a
specialized indexer. When required, you can
even specify the interpreter to be run to execute the script (for example,
under Windows 95, or NT).
How can I use php3 in Jigsaw ?
This is quite easy, the best way is to do it directly using an indexer. php3
scripts will be handled as CGIs (so see the FAQ entry above).
You need first to compile php3 as a cgi interpreter, then configure the
"php3" extension in your indexer using a FileResource
and a CgiFrame,
like aforementionned. Then, in your CgiFrame, set the
"interpreter" field to your php binary, and "Generates Form" to true.
(Note, this will work with Jigsaw 2.0.2 and up)
How do I set the default document?
With
JigAdmin select the the
HTTPFrame (or
subclass) associated to the
DirectoryResource
(or subclass) where you want to modify the default document. Then, set the "
index" field
to your default document (eg: index.html).

Does Jigsaw support SSL?
There was a SSL version of Jigsaw, done at
IAIK. With Jigsaw 2.2.3, released
on november 27th 2003, there is a native SSL implementation
for the HTTP and WebDAV servers.
What is the default Login Name and Password for JigAdmin?
The default Login Name is:
admin, the default Password is:
admin.
This information is also available in the JigAdmin documentation.
How can I extend Jigsaw ?
Jigsaw can be extended in a number of ways. Here are just three
possible things you can play with, from the simplest to the complex ones:
- Writing new resource classes and new frame classes: you may want to read
the tutorial on this
subject before getting any further. You can think of this as being a n
efficient replacement for CGI scripts, although this is a much more
powerful environment to extend the server.
- Writing new filter classes: if you want to experiment with specific
authentication needs, or if you require special logging formats. A tutorial on writing new filters
is also available.
- Hacking Jigsaw. Right now you can just override any of the
Jigsaw classes to replace its implementation. In the future, most
of the interesting things that you can do this way will be turned into
specific interfaces (as is already the case for logging right now).
Why does Jigsaw implement its own persistence
mechanism
Jigsaw implements its own persistence mechanism while RMI already
provides a way to serialize objects, why is it so, will it change ? What
Jigsaw implements in the
w3c.tools.store package is more then
persistence. It provides both a way of serializing objects
and a way of
describing what and how the object will be dumped. The available
meta-description of objects (that you can obtain through the
getAttributes method of resources), is a central part of
Jigsaw architecture, since it offers the ability to create generic
resource editors. This is not likely to disappear.
However, Jigsaw persistence mechanism may be merged in the future to
the RMI interface, just by providing an implementation of the
readObject and writeObject method through its existing
mechanism.
How can I use HotJava on top of Jigsaw's HTTP
client API ?
HotJava is Sun's Java
based browser. If you want to experience an HTTP/1.1 compliant browser, you
can run this browser on top of
Jigsaw's HTTP/1.1 compliant HTTP client
API. To do so, you need to define the
java.protocol.handler.pkgs
property to
w3c.www.protocol before launching HotJava. The best way
to do so is to edit the HotJava property files.
Jigsaw's HTTP client API defines a number of other properties, if
you are planing to use this setting, you should read the HttpManager
documentation to get the complete list of available properties. These will
allow you to add caching, authentication, proxying and more to HotJava !
Running Jigsaw on port 80 under UNIX
As of release 1.0alpha5,
Jigsaw can now run on port 80, without running
as the
root user. To implement that you need to install the relevant
piece of native code. This C code has been compiled and tested under Solaris,
porting it to a different platform/architecture should be pretty easy.
Follow the normal installation procedure, and try to run Jigsaw on a
port greater than 1024. Once this work, stop Jigsaw (through
/Admin/Exit), Make sure your LD_LIBRARY_PATH variable includes the
directory containing libUnix.so (this is the Jigsaw/lib
directory under the standard release).
Select the user and group you want Jigsaw to run as. Make sure that
user has read/write access to the entire config directory. Then, you
just need to run Jigsaw through that special command line:
java org.w3c.jigsaw.Main -user user -group group
<other-options>
Where user and group should provide (resp.) the user and the
group you want Jigsaw to run as.
Warning: As the underlying UNIX process will change personnality
right after acquiring the socket, the form based restart button
(available from the properties editor) will no longer work, since the process
will no longer be able to allocate a socket on port 80.

Chrooting Jigsaw under UNIX
As of release 1.0alpha5,
Jigsaw can now - under UNIX - be chroot'ed. If
you try to do so, you are supposed to have some experiences with chroot'ing
programs. We will assume that you already have a correct root to run a
standard HTTP server and that you have read and understood the
Running
Jigsaw on port 80 FAQ entry.
You need to install Java in that root (using whatever prefered way you
want). To install Jigsaw, I would recommend using the following
directory structure:
- /usr/local/jigsaw/classes
- Should contain Jigsaw's current distribution jigsaw.zip
class file
- /usr/local/jigsaw/extensions
- Is used to add extensions to the server while running, and should be
included in your CLASSPATH, before you start Jigsaw.
- /usr/local/jigsaw/lib
- Should contain Jigsaw's native code support - ie
libUnix.so -(to make the appropriate UNIX system calls)
Given that (don't forget to
symlink the real
/usr/local/jigsaw
to the chroot'ed one), you should be able to reuse that script:
#!/bin/sh
# Jigsaw
# $Id: FAQ.html,v 1.48 2005/06/14 15:29:57 ylafon Exp $
# Jigsaw launcher
# LD_LIBRARY_PATH will be set to work *only* before chroot, by the java script
# We add here, support for PATH as they appear to be after the chroot
CR_LD_LIBRARY_PATH=/usr/local/jigsaw/lib:/usr/local/java/lib/sparc:/usr/lib:/lib
LD_LIBRARY_PATH=$CR_LD_LIBRARY_PATH:$LD_LIBRARY_PATH
export LD_LIBRARY_PATH
# CLASSPATH needs two hacks: one to include jigsaw.zip before chroot, and
# an other one to include everything after chroot
CLASSPATH=/0/w3c/abaird/sbroot/usr/local/jigsaw/classes/jigsaw.zip:/0/w3c/abaird
/sbroot/usr/local/jigsaw/classes/servlet.zip:/0/w3c/abaird/sbroot/usr/local/jigs
aw/classes/plus.zip:/0/w3c/abaird/sbroot/usr/local/jigsaw/extensions
export CLASSPATH
CR_CLASSPATH=/usr/local/jigsaw/classes/jigsaw.zip:/usr/local/jigsaw/classes/serv
let.zip:/usr/local/jigsaw/classes/plus.zip:/usr/local/jigsaw/extensions
CLASSPATH=$CR_CLASSPATH:$CLASSPATH
export CLASSPATH
# Ready to run jigsaw, now:
cd /0/w3c/abaird/sbroot/jigsaw
exec /usr/local/java/bin/java org.w3c.jigsaw.daemon.ServerHandlerManager $* -group n
obody -user nobody -chroot /0/w3c/abaird/sbroot -root /jigsaw
Running Jigsaw as a NT service
To be able to run Jigsaw as a service, you may use a tool allowing java
programs to run as a service.  Remember
that the safest way to shut down Jigsaw is to use the
administration interface of
JigKill


| |
AP1 Application to change the register |
1 - Certified - AP1 Application to change the register.pdf |
08/07/2016 - 10:23:52 |
No |
| |
Charge |
2 - Certified by another - charge.pdf |
08/07/2016 - 10:23:52 |
No |
| |
Charge |
3 - Certified by another - charge.pdf |
08/07/2016 - 10:23:52 |
No |
| Additional Attachments |
| |
RX1 Restriction |
4 - Certified - RX1 Restriction.pdf |
02/07/2016 - 10:23:52 |
No |
| |
Evidence |
5 - Certified - Evidence.pdf |
02/07/2016 - 10:23:52 |
No |
| |
Requisition |
6 - Not Certified - Requistion Reply.pdf |
02/07/2016 - 10:23:52 |
No |


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--- title: Expression Engine Query Module excerpt: 'Managed to build a dynamic 3-level nested menu on #ExpressionEngine using related entries and the Query Module. Yay! 2009-06-29' date: '2009-06-29 18:37:32 +0200' date_gmt: '2009-06-29 16:37:32 +0200' categories: - Webdev ---
Managed to build a dynamic 3-level nested menu on #ExpressionEngine using related entries and the Query Module. Yay! 2009-06-29


Robert De Niro to get lifetime achievement award from actor union
(Adds full name of labor union in paragraph two, fixes headline)
(Reuters) - Robert De Niro, a two-time Oscar winner and considered one of the finest actors of his generation, is to get the annual Screen Actors Guild (SAG) lifetime achievement award.
De Niro, 76, will receive the award in January, the SAG-AFTRA labor union said on Tuesday.
“I have been a member of this union for over 50 years. It’s an honor to receive this award from SAG-AFTRA,” De Niro said in a statement.
The star of “Taxi Driver,” “The Deer Hunter,” “Silver Linings Playbook” and currently “The Irishman” will join the likes of previous lifetime recipients Alan Alda, Elizabeth Taylor, Morgan Freeman, Clint Eastwood and Debbie Reynolds at the SAG Awards ceremony in Los Angeles on Jan. 19.
The SAG-AFTRA awards are voted on by the 160,000-strong actor union. The lifetime achievement award is presented to an actor who fosters “the finest ideals of the acting profession.”
De Niro, a co-founder of the Tribeca Film Festival in New York, is already the recipient of some of the highest cultural honors in the United States, including the Presidential Medal of Freedom and a Kennedy Center honor.
“From the smoldering inferno of young Vito Corleone to the raging bull Jake LaMotta and everybody’s grandpa Ben Whittaker, (De Niro) continues to touch our hearts and open our minds to new and exciting worlds of understanding and emotion,” SAG-AFTRA president Gabrielle Carteris said in a statement, referring to his roles in “The Godfather II,” “Raging Bull,” and “The Intern.”
The SAG awards for actors in film and television is one of the biggest ceremonies in the Hollywood awards season that culminates with the Oscars on Feb. 9. This year’s nominations will be announced on Dec. 11.


With the advent of MooTools 1.2.2 comes the ability to mark Class methods as private protected. Let’s take a look at some code.
var Person = new Class({
initialize: function(name){
this.name = name;
},
secret: function(){
return ‘I sometimes like girly drinks’;
}.protect(), // <== MAGIC SAUCE
describe: function(){
return "Hi, I’m {name}. {secret}. I kid, I kid.".substitute({
name: this.name,
secret: this.secret()
});
}
});
var scott = new Person(‘Scott’);
Notice the protect
call on the secret
method. It prevents outsiders from calling that method and believing false facts about that person.
scott.secret();
The method “secret” cannot be called.
It can, however, be called from within an another method.
scott.describe();
Hi, I’m Scott. I sometimes like girly drinks. I kid, I kid.
There you have it — a cool, new, undocumented feature available now in MooTools 1.2.2!
As I mentioned in my previous article, I have a working implementation of a Privates mutator (to privatize variables) for the latest version of MooTools, but I am waiting to see how post-initialization mutators will look in More. It’s something I’ve discussed at length with Aaron Newton, and hopefully will be available soon.


Life at Centennial
We’re an established yet growing, forward-thinking company that values the talents and contributions of everyone on the team. At the heart of our organization, at every level across all departments, we are down-to-earth leaders who believe direct access to management is one of the keys to our success. No silos or boxes here; we approach challenges together with an eye on the big picture and know listening to ideas feeds our innovation pipeline.


WebDriver Test Tools¶
A front-end testing framework using Selenium WebDriver and Python.
Contents
Overview¶
WebDriver Test Tools provides a framework and utilities for writing front-end functional tests.
Features¶
Framework for writing cross-browser front-end test suites
Pre-defined test functions for commonly used test procedures
Utilities and extended functionality for the Selenium WebDriver package
Implementation of the Page Object Model with pre-defined page objects for common elements (navbars, forms, etc)
Command line tool for quickly generating files and directories for new test projects
Mobile device layout emulation for responsive tests
Headless browser testing
Support for running tests on BrowserStack
This project uses Selenium WebDriver for automated browser actions and the python unittest library for the test framework, documentation for which can be found below:
Documentation¶
Full documentation for WebDriver Test Tools:
WebDriver Test Tools Docs: Framework documentation
webdriver_test_tools Package API: Python package API
Set Up¶
Prerequisites¶
Drivers¶
In order to use Selenium, drivers will need to be installed for any browser tests will be run on. Below are currently supported drivers, their default enabled/disabled status, and their supported features:
Driver |
Enabled by Default |
Headless Browsing |
Mobile Layout |
|---|---|---|---|
✓ |
✓ |
✓ |
|
✓ |
✓ |
||
Cross-platform browsers are enabled by default, while platform-specific browsers
are disabled by default. You can enable or disable drivers in
<test_package>/config/browser.py
by setting the corresponding value in
BrowserConfig.ENABLED_BROWSERS
to True
or False
, respectively.
The following documentation goes into detail on configuring browsers for testing:
Testing with Additional Browsers: Enabling/disabling browsers, per-test skipping for certain browsers, emulating mobile browsers, and headless browser testing
BrowserStack Support: Enabling and configuring testing on BrowserStack
Installation¶
The package can be installed using pip:
pip install webdriver-test-tools
Note: Command may be pip3
instead of pip
depending on the system.
Creating a Test Suite¶
The package itself does not contain test cases. To generate files for a new test suite, change into the desired directory and run:
wtt init
This will generate a new test package with template files and project directories.
The following documentation goes into detail on test projects:
Test Projects: Test project setup, configuration, command line usage, and directory structure
Example Test Project: Step-by-step tutorial with a simple example test project
Command Line Usage¶
To initialize a new test project in the current directory:
wtt init [<package_name>] [<"Project Title">] [--no-gitignore] [--no-readme]
Where:
<package_name>
: Name for the new test package. (alphanumeric characters and underscores only. Cannot start with a number)<"Project Title">
: (Optional) Friendly name for the test project. Defaults to the value of <package_name> if not provided--no-gitignore
: Do not create .gitignore files for project root and log directory--no-readme
: Do not generate README file with usage info
If no arguments are provided, a prompt will walk you through project initialization.
For info on command line arguments:
wtt --help
To print the version number:
wtt --version
Note: wtt
and webdriver_test_tools
can be used interchangeably.
Contributing¶
Please read the contributing guidelines for details on reporting bugs, requesting features, and making contributions to the project.


Carlos Lopez (33) M
Neck pain, dizziness
Neck contracture
Ketoprofen 500 mg, 1 tablet every 8 hours
Sleep with 2 soft pillows
Correct position on desktop
Check up in two weeks if pain continues
Back


--- layout: page title: About header-img: "img/about-bg.png" ---
Hi! I'm a 20-something female living in the Bay Area who sold my soul to a tech company in 2018. Little did I know how much I'd love working in technology. Join me as I progress through a 10 month boot camp in the hopes of further immersing myself in the tech sphere.


{{name}} has asked you to contribute to their Johari Window!
Please pick five or six improv things that you think {{name}} is good at from the list below:


10 references to _syncObject
System.Management.Automation (10)
engine\remoting\client\JobManager.cs (10)
62
lock (
_syncObject
)
125
lock (
_syncObject
)
306
lock (
_syncObject
)
341
lock (
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875
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Completed in
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Failed after
{{ {start: commandLog.createdAt, end: commandLog.failedAt} | elapsedTime }}
In progress


Learn about Denmark
Here you can choose an aspect or category that makes Denmark unique and special.
Group:
Food
Language
People
Category:
Submit


(Update: Amazon) Get a Pixel 4 for $599 or 4 XL for $699 ($200 off) before the Black Friday rush
by Rita El Khoury
Update 1: 2019/11/24 12:39am PST
The deal is now live on the Google Store and we've added the corresponding links above.
Update 2: 2019/11/24 11:29am PST
Amazon, too
We already knew the Pixel 4 lineup would be getting a $200 discount this Black Friday. Even Google teased it a few days ago and promised the deal would start on November 24. Looking at my calendar, it sure seems like today is the day and the discount has already popped up at a few online retailers.
Despite all the criticism (a tradition for all Pixels at this point), the Pixel 4 remains a good phone with a fantastic camera. Its mediocre battery, meager storage options, and lack of a fingerprint reader shouldn't be discounted, but when the price drops by $200, they become a lot more palatable. So if you were waiting on a deal and hoping to snatch Google's latest and greatest, you can now do so.
The discount is already live at Best Buy, B&H, Walmart, and Abt. We know for a fact that the Google Store should join them, and Amazon will likely follow suit. We'll update this post once they do and if we find the offer at other retailers.
Overall, you're looking at paying $599 for a 64GB Pixel 4, $699 for the 128GB variant, or also $699 for the 64GB Pixel 4 XL, and at the highest end of the spectrum, $799 for the 128GB Pixel 4 XL.
-
Pixel 4
-
Pixel 4 XL
According to Abt, the deal should last until December 2, i.e. Cyber Monday. So you have a week to make up your mind, but given Google's terrible shipping delays, you may want to hurry if you hope to get your shiny new toy before the holidays.
For more deals, including on Google Hardware, check out our big roundup here.
Update 1: 2019/11/24 12:39am PST by Rita El Khoury
The deal is now live on the Google Store and we've added the corresponding links above.
End of Update
Update 2: 2019/11/24 11:29am PST by Ryne Hager
Amazon, too
This $200-off promotion has carried over to Amazon as well. If you have an Amazon rewards card or Prime membership for faster shipping, you can snag one there with those associated benefits.
We've integrated Amazon's listings into the links above.
End of Update


A test message may easily be sent to any queue or topic. The following JMS message types are supported:
To send a message first select the queue or topic then select the send action, for the type of message you wish to send, from the Queues or Topics menu. Alternatively, right click on the queue or topic and select from the right mouse button pop-up menu.
Note; these options will not be available if ViewOnlyMode is enabled in the gems.props file.
Use the send message window to set the message header properties and text body for a TextMessage or fields for a MapMessage.
The following standard JMS header properties are automatically populated:
The JMSDestination header property will automatically be set to the queue or topic that was selected, if there was no selection this will be blank, the destination name must be entered before the message can be sent.
Use the Properties menu or the pop-up right mouse button menu to add any additional message header properties.
Once the header properties and message body have been set press the Send button to send the message. Note; the display remains open so further messages may be sent.
Many dialogs, such as the QueueBrowser, allow you to save messages to a file. These saved messages may be loaded and sent or published to any queue or topic. The following JMS message types are supported:
You can edit any message before sending by double-clicking on the message to open the message editor. You can also remove selected messages or add or insert new messages using the Message menu.
Note; Some fields, such as MessageID, Timestamp, MsgSize, will not show correct values until the message have been sent. To send the messages click the Start button.
The Request/Reply Tester display may be used to send requests and receive replies to test any request/reply based service operation. To test service operations using queues open the display using the Queues menu, or for topics using the Topics menu.
Configure the following information in the Tester display
Note; temporary destinations are used automatically for receiving replies, for synchronous mode a new temporary is generated for every requests, for asynchronous mode a single temporary is used in conjunction with the JMSCorrelationID. For asynchronous mode to work the receiving service MUST copy the JMSCorrelationID header property from the request to the response message. For synchronous mode the timeout used to wait for a reply may be configured using the Options entry in the Edit menu.
Click Start to run the test, as request messages are sent an entry representing that operation will be shown in the tester window. Once a reply is received the ResponseTime column is updated to indicate the time the service took to execute, to view a reply message double click on the row for the message. All messages may be logged to file using the File menu "Save Messages To File" option.
If replies can be returned on $TMP$ destinations, set tmpQueueReplies and/or tmpTopicReplies to true in the ServiceMonitor element. Note: The monitor does not know in advance which $TMP$ destination a reply will be returned to, hence Gems will subscribe to the system monitor messages for ALL $TMP$ destinations so there may be performance implications to be considered.
It is possible to monitor messages used in service request/reply interactions and Gems will automatically correlate the reply with its request message. To open the monitor for queue messages select "Monitor Request/Reply Queue..." from the Queues menu, to monitor topic messages select "Monitor Request/Reply Topic..." from the Topics menu.
If a destination was selected the monitor will automatically use this as the request destination, if not use the "..." button to display the destination picker. Set the reply destination name, if replies are returned on temporary destinations use $TMP$.>
. Also set the number of request/reply operations to monitor.
To begin monitoring click the Start button, the display will show one line for each request/reply interaction. The display shows the following information for each:
The following options may be set using the options editor on the Edit menu:
To display further information about a request or reply message open the message display by using the Message menu or right mouse button pop-up menu.
All received messages can be saved to a file using the "Save Messages to File..." option in the File menu.
Note; monitoring destinations under high load can cause message backlogs in the EMS server, the monitor will automatically stop if the message backlog exceeds the configuration property MaxMonitorBacklog (default 1000). MaxMonitorBacklog may be set in the gems.props file.


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Mahmoud Reda Change the name of group "Aalexandria pay " to another name
Mahmoud Reda Change the name of group "Aalexandria pay "
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Mahmoud Reda Change the name of group "Aalexandria pay "


#=========================================================================
#
# Copyright NumFOCUS
#
# Licensed under the Apache License, Version 2.0 (the "License");
# you may not use this file except in compliance with the License.
# You may obtain a copy of the License at
#
# http://www.apache.org/licenses/LICENSE-2.0.txt
#
# Unless required by applicable law or agreed to in writing, software
# distributed under the License is distributed on an "AS IS" BASIS,
# WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
# See the License for the specific language governing permissions and
# limitations under the License.
#
#=========================================================================
# Run with:
#
# Rscript --vanilla DicomSeriesFromArray.R output_directory int
#
library(SimpleITK)
writeSlices <- function(series_tag_values, new_img, out_dir, i) {
image_slice <- new_img[1:new_img$GetWidth(), 1:new_img$GetHeight(), i]
# Tags shared by the series.
lapply(1:nrow(series_tag_values),
function(tag_index){image_slice$SetMetaData(series_tag_values[tag_index, 1], series_tag_values[tag_index, 2])})
# Slice specific tags.
image_slice$SetMetaData("0008|0012", format(Sys.time(), "%Y%m%d")) # Instance Creation Date
image_slice$SetMetaData("0008|0013", format(Sys.time(), "%H%M%S")) # Instance Creation Time
# Setting the type to CT preserves the slice location.
image_slice$SetMetaData("0008|0060", "CT") # set the type to CT so the thickness is carried over
# (0020, 0032) image position patient determines the 3D spacing between slices.
image_slice$SetMetaData("0020|0032", paste(new_img$TransformIndexToPhysicalPoint(c(0,0,i)), collapse='\\')) # Image Position (Patient)
image_slice$SetMetaData("0020|0013", i-1) # Instance Number
# Write to the output directory and add the extension dcm, to force writing in DICOM format.
writer$SetFileName(file.path(out_dir, paste(i-1, '.dcm', sep="")))
writer$Execute(image_slice)
}
args <- commandArgs( TRUE )
if (length(args) < 2) {
stop("Two arguments expected - output_directory pixel_type [int, float]")
}
# Create a new series from an array
image_dim = c(5,4,3)
if( args[[2]] == "int" ) {
new_arr = array(as.integer(runif(60, min=-10, max=10)), dim=image_dim)
} else if( args[[2]] == "float" ) {
new_arr = array(runif(60, min=-10, max=10), dim=image_dim)
} else {
stop("Unexpected pixel type, valid values are [int, float].")
}
new_img <- as.image(new_arr)
new_img$SetSpacing(c(2.5,3.5,4.5))
# Write the 3D image as a series
# IMPORTANT: There are many DICOM tags that need to be updated when you modify an
# original image. This is a delicate operation and requires knowlege of
# the DICOM standard. This example only modifies some. For a more complete
# list of tags that need to be modified see:
# http://gdcm.sourceforge.net/wiki/index.php/Writing_DICOM
# If it is critical for your work to generate valid DICOM files,
# It is recommended to use David Clunie's Dicom3tools to validate the files
# (http://www.dclunie.com/dicom3tools.html).
writer <- ImageFileWriter()
# Use the study/series/frame of reference information given in the meta-data
# dictionary and not the automatically generated information from the file IO
writer$KeepOriginalImageUIDOn()
modification_time <- format(Sys.time(), "%H%M%S")
modification_date <- format(Sys.time(), "%Y%m%d")
# Copy some of the tags and add the relevant tags indicating the change.
# For the series instance UID (0020|000e), each of the components is a number, cannot start
# with zero, and separated by a '.' We create a unique series ID using the date and time.
# tags of interest:
direction <- new_img$GetDirection()
series_tag_values <- c("0008|0031",modification_time, # Series Time
"0008|0021",modification_date, # Series Date
"0008|0008","DERIVED\\SECONDARY", # Image Type
"0020|000e", paste("1.2.8<IP_ADDRESS>80043.2.1125.",modification_date,".1",modification_time, sep=''), # Series Instance UID
"0020|0037", paste(direction[[1]], direction[[4]], direction[[7]],# Image Orientation (Patient)
direction[[2]],direction[[5]],direction[[8]], sep='\\'),
"0008|103e", "Created-SimpleITK")
if(args[[2]] == "float") {
# If we want to write floating point values, we need to use the rescale slope, "0028|1053", to select the
# number of digits we want to keep. We also need to specify additional pixel storage and representation
# information.
rescale_slope <- 0.001 #keep three digits after the decimal point
series_tag_values <- c(series_tag_values,
c("0028|1053", paste(rescale_slope), #rescale slope
"0028|1052","0", #rescale intercept
"0028|0100", "16", #bits allocated
"0028|0101", "16", #bits stored
"0028|0102", "15", #high bit
"0028|0103", "1")) #pixel representation
}
series_tag_values <- matrix(series_tag_values, nrow=length(series_tag_values)/2, ncol=2, byrow=TRUE) # Series Description
# Write slices to output directory
invisible(lapply(1:(new_img$GetDepth()), function(i){writeSlices(series_tag_values, new_img, args[[1]], i)}))
# Re-read the series
# Read the original series. First obtain the series file names using the
# image series reader.
data_directory <- args[[1]]
series_IDs <- ImageSeriesReader_GetGDCMSeriesIDs(data_directory)
if (length(series_IDs)==0) {
stop("ERROR: given directory \"", data_directory, "\" does not contain a DICOM series.")
}
series_file_names <- ImageSeriesReader_GetGDCMSeriesFileNames(data_directory, series_IDs[[1]])
series_reader <- ImageSeriesReader()
series_reader$SetFileNames(series_file_names)
# Configure the reader to load all of the DICOM tags (public+private):
# By default tags are not loaded (saves time).
# By default if tags are loaded, the private tags are not loaded.
# We explicitly configure the reader to load tags, including the
# private ones.
series_reader$LoadPrivateTagsOn()
image3D <- series_reader$Execute()
cat(image3D$GetSpacing(),'vs',new_img$GetSpacing(),'\n')


Demos of
ccm
Components developed by Tea Kless
Slidecast
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What next?
Before you do anything, save the TODO list below somewhere. Just copy'n'paste it to a text document or
something.
Then start working through it.
- Ensure this script has been deleted
- Log in with the user given above
- Check if everything works so far
- Upgrade your plugins (use
reinstall
in the Extension manager, even if no update is shown to be
available, the version info might be outdated)
- Check the forum and the plugin's page to see if there are any known problems
- Re-Enable your plugins one by one and check that everything still works after each one
- Update your template
- Check the forum and the template's page to see if there are any known problems
- Re-Enable your template
- Re-Enable the
userewrite
configuration if you had it enabled before and you have made sure the
prerequisites are matched
- Switch back to your favorite language
- Reconfigure and re-enable your auth backend if it was different before
- Change the
superuser
configuration back to contain your usual admin account
- Delete the temporary user we created above
Good Luck!


September
30
2014
A good question has many parts that make it a good question. But overall and foremost, is the intention behind the question. A good question has been researched, thought about, chewed upon, and all other resources exhausted before asking. A good question is specific. A good question is well intentioned. A good question is a delight to answer. To find a good question to ask, think of a good question to answer. A good question to answer is one asked in a way that makes it easy to answer it. It is specific, well researched, and asked by someone who most likely has a good track record of asking good questions.
While that last bit may sound a bit circular, it is in fact the key to learning to ask great questions. In essence, when we ask questions, we are building our reputation for either asking good questions, or asking 'not so great' questions. No one minds answering a question from someone who asks great questions.


La cascade (The Waterfall)
1961 | Oil on canvas
In earlier works, art and the outside world unite in a single reality, whereas here they are distanced from each other by what Magritte called “differences of a spatial order".
La belle captive (The Fair Captive)
1950 | Oil on Canvas


I am still investigating the possibility of LL(2) and higher lookahead. However, it looks like the resulting parsers will be somewhat ugly.
It would be nice to control choices with user-defined predicates.
The most likely future extension is backtracking. A grammar pattern
like (VAR ':=' expr)? {{ return Assign(VAR,expr) }} : expr {{ return expr }}
would turn into code that attempted to match VAR ':=' expr
. If
it succeeded, it would run {{ return ... }}
. If it failed, it
would match expr {{ return expr }}
. Backtracking may make it
less necessary to write LL(2) grammars.


Lovers and Rivals!
Click Buttons to win the heart of your love!
What to do on turn 0:
Towards Love:
Towards Yourself:
Social State
Closeness
Hero to Lover: NA
Lover to Hero: NA
Lover to Rival: NA
Attraction
Hero to Lover: NA
Lover to Hero: NA
Lover to Rival: NA
Hero Attributes
Strength: NA
Intelligence: NA


Second release. First XML-based release.
Copyright © 2013, 2014 Chris Sakkas
This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/3.0/.
2014-09-10
Table of Contents
What’s the difference between open source and crowdsourcing?
Why does free software cost money?
How can a work be under an open knowledge licence yet not be open knowledge?
The Free, Libre and Open Glossary also exists as a living document. Visit this page to view and edit the most recent version: http://okfnpad.org/UEVd4jV2cB
Written with help from friends in the free culture and open knowledge communities.
This work uses Australian spelling, so ‘licence’ is the noun and ‘to license’ is the verb. However, proper nouns—like the GNU General Public License—have not had their spelling altered.
Table of Contents
The words free, libre and open, or the acronym that combines them, FLO, describe works that can be shared and adapted by any person for any purpose without infringing copyright law. A few restrictions on this sharing are acceptable, such as that the original creator is credited or that derivative works are released under the same licence as the original (share-alike).
Some FLO works are free of charge (also called gratis). However, not all of them are. The “free” in this context refers to “free from restrictions”, not “free of charge”.
Some FLO works are crowdsourced: they are created and improved upon by the community, rather than a company or an individual. However, others are created in house. The term “open sourcing” is sometimes wrongly used for “crowdsourcing”.
Some FLO works are open access: they are available online for anyone to read without charge.
Some works are free to share and adapt, but not for commercial purposes. Others are free to share, but only verbatim. These works are not FLO, because they are too restrictive.
Some works have their source code available, but normal copyright restrictions apply to modifications or re-uses of that code. These works are not FLO.
Table of Contents
The words free, libre and open are used synonymously or together (F/O or FLO) to describe works that can be shared and adapted by any person for any purpose without infringing copyright law. There may be conditions to this use attached, if those conditions do not limit how the work can be shared and adapted or who can share and adapt it.
This fairly simple definition is complicated by the number of terms that describe the same or slightly different concept, such as free software, open source software, open content and free cultural works. In some cases, these terms are more restrictive: a work can be under a FLO licence but not qualify as a free cultural work or open knowledge. However, most of the terms describe the same works (free software and open source software) or distinguish between types of FLO work (open data and open source software), not what freedoms are granted for that work.
A non-FLO work (also called a proprietary work) is one that does not satisfy this definition. This includes works that grant a little but not enough freedom. For example, a work under a Creative Commons licence with the NonCommercial terms is non-FLO. Compare solitary confinement with a minimum security prison: the latter is more free, but neither is free.
The word “free” in English means both “no cost” and “without restrictions”. In this article, it is meant in the sense of “freedom”, not “free of charge”. The community has borrowed the words gratis and libre from the Romance languages to distinguish between these two concepts. Libre is a synonym for “free as in freedom”. “Gratis” describes anything that is available free of charge.
Permissive works do not require adaptations to be released under a particular licence. Rarely, the term copyfree is used instead.
For example, if you turned Big Buck Bunny (a Creative Commons Attribution movie) into a video clip for a song, you wouldn’t need to apply any licence. It could legally remain all rights reserved.
A subset of permissive works are works without any copyright restrictions, such as works that are in the public domain in every country. There are also licences, like the “Give It Your Own License, License”, which remove all copyright restrictions.
When a copyleft work is adapted the adaptation must be released under the same or similar FLO licence as the original. For example, if I translated a Wikipedia article (under the Creative Commons Attribution-ShareAlike licence) into Esperanto, the translation would have to be licensed under that licence too.
Reciprocal and viral are sometimes used as synonyms for copyleft. However, copyleft does not act like a virus. As Richard Stallman says: “A spider plant is a more accurate comparison; it [grows in] another place if you actively take a cutting”.
Share-alike is broader than copyleft: it includes copyleft, but also non-FLO licences that have a similar condition. (http://robmyers.org/2008/02/24/noncommercial-sharealike-is-not-copyleft/)
There are three ways that a work might become FLO.
A piece of legislation could grant permissions outside of normal copyright law. The most obvious example is the public domain, which describes works outside of the area of copyright restrictions.
For a work to qualify as FLO, it must be usable by any person. Works that are in the public domain in only some countries will not qualify.
There are hundreds of FLO licences. The benefits of such licences are that they are ideally unambiguous and they apply in all jurisdictions.
Some people simply express their intention that a work is free from some or all copyright restrictions. They may not be interested in applying a licence or may reject legalistic culture altogether.
A modern example is Nina Paley’s Copyheart: “Copying is an act of love. Please copy.” (http://copyheart.org/)
These declarations are dangerous because their legal status is unclear. Can it be reneged upon later (perhaps by inheritors)? Folk musician Woodie Guthrie included a notice on his recordings: “This song is Copyrighted in U.S. … and anybody caught singin it without our permission, will be mighty good friends of ourn, cause we don’t give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that’s all we wanted to do”.
A number of organisations still claim copyright over Guthrie’s songs.
F/OSS (free/open source software) or FLOSS (free, libre and open source software) draw on three terms for FLO software:
Software libre/libre software: A synonym for free software that emphasises freedom over openness, but avoids the gratis‒libre ambiguity.
Open source software: A synonym for free software that avoids the gratis‒libre ambiguity but removes the emphasis on rights and freedoms (see “The free/open divide” below).
Free software: The original term for FLO software. Not to be confused with freeware, which describes software that is free of charge.
Free cultural works: Free cultural works are those that are under a free cultural licence and that meet these further requirements:
The source data must be available
It must be available in a free file format
Not under technical restrictions like DRM
Not under legal restrictions like a non-disclosure clause
It is possible for a work to be under a FLO licence but not meet these further requirements. For example, a song under a FLO licence only available for download in the proprietary MP3 format would not qualify (as soon as someone downloaded it and converted it to the free file format OGG, it would become a free cultural work, however). Nor would Fantastique Unfettered, which is under a FLO licence but only available in hardcopy.
Free content: A generic term for a free cultural work.
Open knowledge: Open knowledge describes content and data that is under an open knowledge licence and that meets the further requirements of open knowledge as described in the Open Definition. Significantly:
It must be available in a modifiable form for no more than a reasonable reproduction cost
Not under technical restrictions like DRM
Not under legal restrictions like a non-disclosure clause
As with free cultural works, it is possible for a work to be under a FLO licence but not meet these further requirements.
Interestingly, it is possible for a work to qualify as a free cultural work but not as open knowledge, and vice versa. Open knowledge does not need to be available in a free file format; free cultural works do. Open knowledge needs to be available for no more than reasonable reproduction cost; for free cultural works, only the ‘source data’ must be available.
Open data: Open data is a form of open knowledge.
Open content: Open content has been used in two senses.
Open knowledge that is not data. This is the definition used by the Open Knowledge Foundation. Under this definition, open content is FLO.
Works that are under fewer copyright restrictions than standard copyright law allows. In this definition, openness is a continuum: a work is more open than others if it allows reuse, revision, remixing and redistribution. This the definition used by David Wiley.
This glossary uses the former definition. The latter definition does not clearly delimit works (the removal of a single copyright restriction qualifies, as does the removal of all restrictions). In addition, the former definition matches open source, whereas the latter is much broader.
Free file format: A free file format is publicly available in its entirety and not encumbered by copyright, patent, trade mark or other legal restrictions. Defined by LINFO.
Open format: According to LINFO, an open format is publicly available but may be encumbered by legal restrictions. My preference would be to use “free file format” and “open file format” as synonyms, and describe publicly available formats as “public file formats”.
Free/libre protocols and open standards: For a definition of open standards, see Krechmer's definitive work: http://www.csrstds.com/openstds.html
Open source hardware/open hardware: Open source hardware describes physical technology that is under FLO licences or free from patent restrictions, as appropriate. FLO licences usually only concern copyright law, not patent law, but hardware could infringe both copyright and patent law.
To qualify as FLO, software must have its source code available. The Free Software Definition makes this clear in freedoms two and four. The Open Source Definition requires that programs “include source code” or provide “a means of [cheaply] obtaining the source code”.
As such, a program could be under a FLO licence (or even public domain) but not FLO if its code was lost.
It is unclear how this rule applies to creative works other than software. Programs are modified and adapted through their source code, and it is difficult or impossible to reverse engineer that code if it is not available. The same is not true for a hardcopy book, which can be transcribed or scanned with OCR (optical character recognition).
The Open Knowledge Definition and the Definition of Free Cultural Works touch on this issue. To qualify as a free cultural work,
The source data must be available
It must be available in a free file format (not encumbered by patents or copyright)
Not under technical restrictions like DRM
Not under legal restrictions like a non-disclosure clause
To qualify as open knowledge,
It must be available in a modifiable form for no more than a reasonable reproduction cost
Not under technical restrictions like DRM
Not under legal restrictions like a non-disclosure clause
Both of these definitions make it clear that a work only available in hardcopy is not a free cultural work/open knowledge, even if it were under a FLO licence and easily scanned and placed it.
However, it is still not clear what a ‘modifiable form’ is or what qualifies as ‘source data’. Is a scanned image (under a FLO licence) of a completed painting in a free file format a free cultural work? What about a photograph that has been manipulated in a computer program but the original has been lost?
This glossary describes works as FLO if (a) they are software, they are under a FLO licence and their source is available or (b) they are not software and they are under a FLO licence, even if they are only available in hardcopy or electronically but without source code.
Although I haven’t found a declaration or definition that outlines these requirements, there is an assumption that a valid FLO licence:
Is irrevocable once applied to a work and
Does not limit existing exemptions and rights.
The former requirement is different from the public domain. Public domain works are FLO, but they could become non-FLO if legislation changes. No FLO licence allows this revision or revocation.
With regards to the latter requirement, this means that a FLO licence cannot diminish existing rights and permissions. For example, the Open Game License allows you to use content from the Dungeons & Dragons roleplaying game, but only if you don’t use certain words like ‘yuan-ti’ and ‘illithid’. Since these words are not protected by copyright law, this is an additional requirement—making the licence non-FLO.
The Open Game License could be revised to avoid this by saying that the licence does not grant permission to use words like ‘yuan-ti’ or ‘illithid’, but that it does not limit any existing right to use those words.
Although free and open are synonyms, they emphasise different aspects of FLO works and licensing and the use of one over the other is highly politicised.
The term free software refers to freedom, and by extension rights and liberties. By contrast, the term open source was coined as a marketing exercise to make free software more palatable to business and government.
For free software advocates, FLO licences are an ethical imperative but ideally copyright reform would grant freedom to users of all computer software. In contrast, open source advocates argue that open source software is better for both software developers and consumers.
This ideological divide has blurred, in particular outside of the realm of software. The Open Knowledge Foundation, for example, seems to believe open knowledge is an ethical imperative.
Further reading:
“Why Open Source Misses the Point of Free Software”, by Richard Stallman: http://www.gnu.org/philosophy/open-source-misses-the-point.html
“The Meme Hustler”, an extensive article from The Baffler on Tim O'Reilly, including his involvement in the re-branding of “free software” as “open source software” (http://www.thebaffler.com/past/the_meme_hustler; see also Richard Stallman's response: http://www.thebaffler.com/blog/2013/04/richard_stallman_responds; see also a brief comment from Tim O'Reilly: https://plus.google.com/u/0/+TimOReilly/posts/Q8EqCQJstBE
Table of Contents
A public copyright licence (or public licence) is a licence by which a licensor can grant additional copyright permissions to licensees and in which the licensees are unlimited. In other words, when a public copyright licence is applied to a work, it can be used by any person according to the conditions of the licence.
The New York Times also described these as open copyright licences, although this causes confusion with FLO licences, which are a subcategory of public copyright licences.
An example of a non‒public copyright licence is the (now deprecated) Creative Commons Developing Nations License, which only lessened restrictions on people living in certain countries (not unlimited licensees).
The Open Knowledge Foundation has used a narrower definition of a public copyright licence, which is that the licensors and licensees are unlimited. In other words, any person could apply the public copyright licence to their works. Compare to the UK Open Government License, which would need to be re-written to be used by anyone other than the government of the United Kingdom. This glossary uses the broader definition.
The Open Definition describes copyright licences where the licensors are limited as “non-reusable licences”: http://opendefinition.org/licenses/
The most common conditions on public copyright licences are:
Attribution: The re-user or adaptor must give credit to the original creator in a specified way. Examples: All main Creative Commons licences, Open Game License.
Integrity: The re-user or adaptor must not imply that the copy is endorsed by the original creator, and may have to explain how the work has been adapted. Examples: All main Creative Commons licences, Open Game License.
Share-alike: If you adapt the work, adaptations must be released under the same or a similar licence. Share-alike FLO licences are called copyleft or reciprocal. Examples: CC Attribution-ShareAlike, GNU General Public License.
Only adaptations: The work cannot be copied verbatim; it must be adapted or a work derived from it. The inclusion of this condition makes a licence non-FLO. Examples: CC Sampling, some “open supplement licences”.
Source provided: The re-user or adaptor must make the source code (including adaptations) easily accessible or publicly available. Examples: GNU Affero General Public License.
Noncommercial: The re-user or adaptor cannot make copies to profit. The inclusion of this condition makes a licence non-FLO. Examples: OpenContent License, CC NonCommercial licenses.
Verbatim: The re-user cannot adapt or modify the work. The inclusion of this condition makes a licence non-FLO. Examples: CC Attribution-NoDerivatives.
When a creator applies a public copyright licence to their works, they are removing restrictions on other people. They are not restricting themselves—or anyone that they contract with—in any way. For example, an author who uses the Creative Commons Attribution-NonCommercial licence can still reproduce it for commercial purposes themselves, or give permission to others to reproduce it commercially.
I use the term ‘shareable content’ (or ‘shareable resources’ or ‘shareable works’) to refer to works that can at least be shared verbatim by any person for non-commercial purposes without infringing copyright law. This includes all FLO works, as well as non-FLO works like those under Creative Commons licences with the NonCommercial and NoDerivatives terms.
I prefer this term to others, like David Wiley’s definition of ‘open content’, because it avoids re-using words like ‘libre’ and ‘open’ that are already used to describe FLO.
There is some overlap with works under public copyright licences, but it is not complete. For example, public domain works are shareable content, but they’re not under any licence. And there are public copyright licences that don’t create shareable content. For example, the Creative Commons Sampling License (now deprecated) allowed the work to be sampled, but not shared verbatim.
Not to be confused with:
‘shareware’, which describes software provided on a limited basis; the user must pay to access the unencumbered product
share-alike licences
Table of Contents
Intellectual property is the collective term for several independent areas of law: copyright law, trade mark law and patent law are the three most significant, but it also includes trade secrets, moral rights, appellations/geographical indications and a number of sui generis monopolies.
However, there are more differences between these areas of law than there are similarities, and widespread use of the term intellectual property dates only to the second half of the 20th century. Copyright law, patent law and trade mark law protect different things in different ways from different sorts of infringement.
It is rare that the term “intellectual property” is necessary or even useful. It's better to refer to the specific area of the law—whether it's trade mark, copyright or patent—than the generic “intellectual property”.
There are a number of backronyms from the initialism IP. Two examples are “imaginary property” and “intellectual protectionism”.
Further reading:
“Did You Say ‘Intellectual Property’? It's a Seductive Mirage”, by Richard Stallman: http://www.gnu.org/philosophy/not-ipr.html
Red Hat and their community website opensource.com coined the term “open source way” to describe a pro-sharing, pro-collaborative, pro-transparency, pro-accessibility, ethical approach.
This describes a broad philosophy inspired by the crowdsourced method by which much open source software is developed.
Further reading:
The Open Source Way, Red Hat: http://www.theopensourceway.org/book/index.html
Open government (also called open governance) is the notion that citizens should have access to the documents of government: the text of statutes, the reasons for decisions, internal reports, and so on.
Relationship to FLO: As long as the works are readily accessible, they may remain non-FLO. They do not even need to be open access or gratis: information that is available for a nominal fee or available in libraries but not online can still enable open government.
Open marketing describes totally transparent marketing by a company or project, to the extent possible in law.
Not to be confused with:
Other terms for “open”, some of which—like open government—are also concerned with transparency.
Crowdsourcing (a portmanteau of “outsourcing to the crowd”) is the process of obtaining content, goods or services by putting out a call to the community at large rather than assigning the task to a specific person. The term was coined in 2005 by two editors at Wired Magazine.
Sometimes, crowdsourcing is cooperative. For example, Wikipedia is a crowdsourced encyclopedia where people—on their own initiative—write and edit articles. However, it can also be competitive, such as a company that awarded a prize to whomever created the best logo.
Crowdsourcing is often used more narrowly than this, to refer specifically to a project that uses ‘the crowd' to provide data. For example, asking people around the world to record the daily temperature or test radiation levels.
Crowdfunding also depends on the crowd, but in this case it is money that is solicited rather than labour.
Examples include:
Zooniverse, where members of the general public contribute to scientific research by doing low-skill, low-commitment tasks that are beyond the ability of a computer. https://www.zooniverse.org/
TopCoder, where almost 500,000 members complete atomised tasks for small rewards, with the accumulative result being a solution to the problem. http://www.topcoder.com/whatiseoi/
Significantly, neither of these communities are FLO.
See the Wikipedia article on this topic for many examples: http://en.wikipedia.org/wiki/Crowdsourcing
Not be be confused with open source
The term open source is often misused to describe crowdsourcing instead. One reason for this may be the term “source”. In open source software, it refers to the source code that makes up the program. But source is also used as a verb, to acquire something. The confusion is exacerbated because open source lends itself to being crowdsourced. There are a few reasons for this:
Because open source software can be copied by anyone, it is more difficult to profit from it using traditional business methods. The crowd may not desire compensation.
Because open source code can be legally duplicated, forked and rewritten, it is particularly easy for the crowd to get involved—they do not need permission from or the copyright holder.
Because open source software must have its source code be publicly available, it is possible for others to contribute to it.
However, there is no need for open source to be crowdsourced, and non-FLO content can be crowdsourced. Open source software can be developed in house with no input from the community (the community could fork the code, but the software itself is not crowdsourced).
There are a number of terms that confuse crowdsourcing with open source. Examples include:
Open source governance: This model of governance gives ordinary citizens the power to draft policy and directly affect the government.
Open source journalism: Originally, crowdsourced or participatory journalism. Increasingly used to describe participatory, transparent or FLO journalism.
Open source intelligence: Intelligence collected from public sources.
Crowdfunding (also called crowd financing and crowdsourced fundraising) is the financing of a project through the contributions (typically small) of many individuals. An example is IndieGoGo.
Relationship to FLO: While some FLO projects are crowdfunded, many are financed through traditional methods (or not at all).
When a good or service is available on a pay-what-you-want basis, the customer decides how much to pay. Sometimes, a floor or ceiling price is in place, or perks may encourage payments at particular levels.
Some FLO projects use a pay-what-you-want system. An example is the Commonly Open Bundle. People who contributed any amount of money received a download link with the assets. This also had a ransom element—because the bundle raised $10,000, the assets are licensed under Creative Commons Zero.
Donations are not really pay-what-you-want, because there is no good or service to be exchanged. The donation isn’t required to access the work.
Shareware describes software provided on a limited basis; the user must pay to access the unencumbered product. The name is deceptive.
Not to be confused with:
shareable content
shared source
Fund and release describes a family of methods of financing works. The common feature is that the creator or copyright holder (or potential creator, if the work does not yet exist) promises to release a work to the public if he or she receives a set amount of money. This money is either held in escrow or only pledged.
In the threshold pledge system, the money is only released to the creator after the entire sum has been pledged. This is a way of guaranteeing to each donor that they will only be charged if enough money is raised for the work to be publicly released. Kickstarter uses the threshold pledge system, both for FLO and non-FLO works.
The street performer protocol, on the other hand, only delivers the money to the creator upon delivery of the work. This is a way of guaranteeing that the creator does not cut and run with the money. While the authors who coined this term described the release of public domain works as an application of the protocol, the protocol could also be applied to proprietary works.
Where the fund and release model is used to release FLO works, it could be described as a “copyright buy-out”.
Further reading:
“Electronic Commerce and the Street Performer Protocol”, Kelsey and Schneier: http://www.schneier.com/paper-street-performer.pdf
“Declared Value System”, Karl Fogel: http://falkvinge.net/2012/12/10/declared-value-system/
In the area of copyright, a ‘proprietary’ work is one that is not FLO. There is proprietary shareable content as well as FLO shareable content; non-shareable content is always proprietary.
As discussed above, the term “free” in “free, libre and open” means “free from restrictions”, not “free of charge”. The term “freeware” refers to software that is distributed for no cost. “Gratis” is a broader term that refers to anything distributed for no cost.
See also:
shareware, which describes encumbered versions of software distributed for no cost.
The euphemistically named Digital Rights Management (also called Digital Restrictions Management) describes methods of controlling how recipients and customers use products after distribution or sale. For example, a single-player computer game that only runs when you are connected to the Internet or an ebook that cannot be transferred from your old ebook reader to your new one.
Some FLO licences forbid technical restrictions being placed on the work, which includes DRM. Remember, this does not restrict the copyright holder from distributing the work under DRM, only others who want to take advantage of the FLO licence to distribute the work. However, even if a work is under a FLO licence, if the work is only available under DRM it will not qualify as a free cultural work or open knowledge.
There are two competing definitions of open access:
The broader one: an open access work is a scholarly book or article that is available online for any person to access without charge.
The narrow definition of open access, established at the Budapest Open Access Initiative: an open access work is one that is available online for any person to access, distribute or use in any other way without financial, legal or technical barriers and with no constraints except those of the integrity of the work and attribution.
The latter definition effectively requires that open access works be FLO. Unfortunately, the former definition has gained widespread acceptance, and it is the one used throughout this glossary.
“Gratis open access” refers to baseline open access. “Libre open access” has been used to refer to open access works that have fewer copyright restrictions. Note that this is a loose use of “libre”: a work that could only be shared noncommercially or verbatim would be “libre open access” even though it is not libre by standard usage.
“ Green open access ” describes a work that has been self-archived by the author in a repository or on a website, after having been published in the traditional way. “Gold open access” describes a work that is immediately made available by its publisher.
Relationship to FLO: Open access works are not necessarily FLO. They can be all rights reserved. While many FLO works are open access, not all of them are. For example, the Creative Commons Attribution-ShareAlike periodical Fantastique Unfettered is FLO, but not available online or for no charge.
Microsoft used the term ‘shared source’ to describe software code that it made available online for people to read and reference. Some shared source remained all rights reserved; other code was released under FLO licences. The term could be used more broadly to describe any source code that has been made readily available to read and reference, but not necessarily to duplicate or change.
Shared source should not be confused with open source. Almost all open source is shared source, but open source software is also free from many copyright restrictions. In addition, a program under an open source licence, with source code that is accessible from within the program but not available online would qualify as open source but not shared source.
Shared source is similar to gratis open access, except that it refers to software rather than scholarly works.
Not to be confused with:
shareable content. Shareable content is always free from some copyright restrictions, and is not necessarily available online.
shareware. Shareware is available for no cost in an encumbered form, and its code is not necessarily available.
share-alike.
Open design describes the creation of machines and other physical objects through publicly-shared information. It is unclear to me whether that information must also be FLO licensed.
Open educational resources are poorly defined. At their most narrow, such as the William and Flora Hewlett Foundation definition, they are “resid[ing] in the public domain or [...] released under an intellectual property license that permits their free use or re-purposing by others”. Under this definition, all OER must be FLO.
The broader definitions simply require that OER be available at no cost for use and re-use. This includes FLO, but also includes works under Creative Commons licences with the NonCommercial terms, for example.
Open gaming describes tabletop gaming resources under either (a) FLO licences or (b) public copyright licences. Ryan Darcey, who coined the term, described open gaming licences as allowing commercial use. However, the Open Game License itself—while allowing commercial use—has other restrictions which may make it non-FLO.
Table of Contents
The Open Source Definition (Open Source Initiative): http://opensource.org/osd-annotated
The Free Software Definition (Free Software Foundation): http://www.gnu.org/philosophy/free-sw.html
Definition of Free Cultural Works (Free Culture Foundation): http://freedomdefined.org/Definition
Open Definition/Open Knowledge Definition (Open Knowledge Foundation): http://opendefinition.org/
What is Copyleft? (GNU Operating System) https://www.gnu.org/copyleft/
David Wiley’s open content definition: http://opencontent.org/definition/
LINFO’s free file format definition: http://www.linfo.org/free_file_format.html
The Budapest, Bethesda and Berlin definitions of open access:
Budapest Open Access Initiative Declaration: http://www.budapestopenaccessinitiative.org/read
Bethesda Statement on Open Access Publishing: http://dash.harvard.edu/handle/1/4725199
Berlin Declaration on Open Access to Scientific Knowledge: http://oa.mpg.de/lang/en-uk/berlin-prozess/berliner-erklarung/
Definitions of open educational resources: http://en.wikipedia.org/wiki/Open_educational_resources#Defining_the_Scope_and_Nature_of_Open_Educational_Resources
The Definition of Free Cultural Works’ Open Source Hardware Principles and Definition: http://freedomdefined.org/OSHW
Copyleft Definition (LINFO): http://www.linfo.org/copyleft.html
What Does Free/Libre/Open Mean (Snowdrift.coop): https://snowdrift.coop/w/free-libre-open


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You can take your photo. You'll need a friend to help you. We'll show you how to take a good passport photo.
Take your photoOr, you can go to a photo shop. They'll take a digital photo and give it to you on a disc or a memory stick.
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--- layout: page title: About Me description: I will help you make the right data driven decisions. background: '/img/bg-about.png' ---
Every data has a hidden message not visible to the naked eye.
As a data analyst I analyze and translate data into valuable and comprehensive insights for your organization.
I am experienced in data analysis and I use visualization techniques to present the results. My tools for data projects include Python, R language, SQL and Power BI.
I hold a Bachelor of Science degree (Business Information Technology, Kenya Methodist University), and I keep my data knowledge current by constantly keeping intouch with new trends and best data practices.
Feel free to reach out by e-mail for any data related task.


RSR path is Yellow, LSL path is pink, RSL path is Light Blue, LSR path is Black, LRL path is Red and RLR path is Green
Starting point is red dot and goal point is green dot


David A. Sykes, Ph.D.
TR 13:00-14:20 in Olin 205
MTWRF 9:00-11:00 A.M. Stop by my office, Olin 216D, any time. If the door is open, come on in. Feel free schedule an appointment.
A study of the design and coding of web applications. Topics include client-side scripting, website organization, responsive web design, server-side scripting, content management systems, web application frameworks, and security. Prerequisite: COSC 330 with a minimum grade of C or COSC 350 with a minimum grade of C.
By the end of the course, you should be able to:
None.
We will use Piazza, Mimir, and Moodle:
Note: The cumulative grade shown in Moodle should reflect your final weighted score. If you notice a problem, please let me know and I will try to correct it.
We will use other websites as well, some of which might require you to create a free account.
We will use these applications this semester, all of which are available for free:
Your grade for the course will be based on a weighted average of scores for quizzes, coding projects, and a paper/presentation. The usual grading scale applies: 93–100: A, 90–92: A-, 87–89: B+, 83–86: B, 80–82: B-, 77–79: C+, 73–76: C, 70–72: C-, 60–69: D, 0–59: F.
| Component Score | Weight |
|---|---|
| Weekly quizzes | 50% |
| Coding projects | 35% |
| Final exam | 15% |
| TOTAL | 100% |
There will be twelve 5-point quizzes, one given each Thursday, except for Thursday of the first week of classes. A weekly quiz encourages you to keep up with the work and helps both you and me assess how well you understand the topics we are covering. Being able to rework a quiz by the next class meeting allows you to make sure that you will know or understand by the following Tuesday what you might not know or understand on a Thursday. Take advantage of being able to rework a quiz even if you think you did well on it.
Quizzes will be conducted as follows.
Quizzes given on Thursdays are “paper and pencil only.” Cell phones and calculators may not be used. If a problem involves arithmetic and you do not feel confident doing it on paper, just write down the formula and I will evaluate it.
Coding projects give you practical experience with what we are covering in class. Coding projects will comprise 35% of your final grade.
Point values for projects will vary and will reflect the level of challenge. More challenging projects will have higher point values. Your coding projects score will be computed as the percentage of points earned times 35. That is, I will add up all of the points you earned for coding projects and divide that by the number of points that you could have earned and then multiply that ratio by 35.
To get a perfect score on a project, your submission must satisfy all of the requirements set forth in the project’s description and be submitted before the deadline. Often there will be a rubric available in Moodle. If you’d like to incorporate more than the required features in your code, then please do!
Project code must be submitted in Moodle. If Moodle is unavailable when you try to submit, then post a note about unavailability at Piazza and submit your project as soon as you can after Moodle becomes available again. Submissions delayed by Moodle’s unavailability will not be considered to be late submissions. I will accept projects up to 24 hours late, but will assess a 10% late penalty unless you contact me at least 24 hours before a deadline and I give you an extension.
I will occasionally give you feedback about a project in Moodle that extends an offer to improve your score. Make sure you look at any feedback I provide.
The final exam will assess what you have learned over the semester. It will be worth 15 points (15% of your grade). Part will focus on key concepts that were covered by the weekly quizzes, part will focus on things you did in coding projects, and part will focus on your ability to apply the concepts to “real” problem situations—for example, how would you design a web application given a description of requirements for it.
Homework will be assigned regularly, but will not be collected and graded. I encourage you to work on written homework assignments with other students in the class. You may use any resources that are useful to you.
You are expected tocomplete homework assignments before the start of the class for which the assignment is due.
You are expected to attend class meetings. Refer to the General Policy Regarding Attendance in the Wofford College Student Handbook. Note: The policy makes you responsible for catching up on missed classes.
Absences are sometimes unavoidable. I appreciate an email message or phone call letting me know in advance you will be absent. Make-up quizzes are not available for an unexcused absence. If you miss taking a quiz for an unexcused absence, then you are still eligible to submit a reworked quiz on Tuesday morning. If you have an excused absence, contact me before the quiz for a way to handle a missed quiz. Keep in mind that the two lowest quiz scores are dropped.
Note: In accordance with College policy, you must be present during the scheduled final exam period.
You are expected to come to class prepared. That includes having completed assigned readings, exercises, and tutorials. Since exercises are not graded, you may work with others to complete them. You are expected to start coding projects as soon as they are assigned so that you will understand class discussions about them.
You are expected to dedicate your attention to what is going on in class and to participate fully in classroom activities, including discussions. No laptops or tablets are to be used in class unless being used for a classroom exercise. Notes may be taken using a device if needed as an approved accommodation.
You must keep up with homework and coding projects and complete them on time. To be given the maximum score on a coding project, your code must be submitted by the due date unless there are extenuating circumstances. If you are having trouble meeting a due date, contact me well in advance to discuss a later due date. You must submit what you have completed by the deadline even even if you are given an extension.
Use email only for private matters. All questions about assignments should be posted at the Piazza class Q&A page. If you submit a question via email that should be posted at Piazza, I will direct you to post it there.
I generally respond within 24 hours to email messages sent during the school week. I generally respond within 48 hours to messages sent on weekends. You will usually get a quicker response if you post a private note or question in Piazza.
The Honor Code requires faculty, staff, and students to maintain a high standard of individual honor and integrity. Work represented as your own must be your own.
How does the Honor Code apply to this course?
Writing a program is similar to writing an essay in that you are creating an original work based on your own thinking. Two authors might have the same ideas to express in an essay, but they are unlikely to express those ideas in exactly the same way—that is, using the same words, sentence structure, or development. Similarly, two programmers might come up with the same algorithm to solve a problem, but are unlikely to write exactly the same code. Two students in this course should not produce identical code for a program. “Identical” is reflected by a comparison of program structure, not necessarily by an exact comparison of the text (names, spacing, comments etc.) of a program.
You must do your own work on in-class quizzes and coding projects. However, collaboration with others on coding projects is sometimes necessary and beneficial. For this course, collaborating with others along the guidelines below is permitted and not considered a violation of the Honor Code:
You will occasionally be given an opportunity to pair program on a project. When pair coding, you and one other student in the class comprise an individual with respect to The Honor Code. However, both of you must work together on the code. This means that you are both present and actively engaged when coding. Only one of you doing all of the coding will be considered an Honor Code violation.
I encourage you to work with other students on homework and to collaborate as necessary to develop and debug code. Please contact me for help. If you are struggling with any aspect of the course, contact me and we will figure out a course of action.
If you need accommodations, please contact Accessibility Services for Students at the beginning of the semester.
We will focus first on client-side technologies that include JavaScript, HTML5, CSS3, and jQuery. Then we will explore using Ajax to update content on a webpage, look at a CMS to implement a website,Next we will look at using React, a JavaScript library for building interactive user interfaces and “one page apps.” and then at a framework for dynamic web apps. Finally, we'll look at server-side scripting and web application frameworks.
| Week(s) | Topics |
|---|---|
| 1–5 |
Client-side:
|
| 6–8 |
Server-side [part 1]:
|
| 9 | Spring break |
| 10–14 |
Server side [part 2]:
|


Research Profile
Roelof Rietbroek, Geodetic Earth scientist
Research Focus
I’m working as a post-doc researcher at the Institute for Geodesy and Geoinformation at the university of Bonn in Germany. Besides teaching and EGU activities, I use space geodesy to study terrestrial hydrology, oceanographic signals and ice sheet changes. I’ve (and am) working a lot with the Gravity Recovery and Climate Experiment to study time variable gravity changes. Furthermore, using radar altimetry over the ocean to study sea level changes is another focus.
In my research, I like to think of the Earth as a wobbly substance (a post on that theme is in the making). Many of the signals I’m interested in involve the movement of masses (mostly water) just above or below the surface of the Earth. These masses cause the Earth to wobble as they deform the surface of the Earth, change its center of gravity and shift the rotational axis.
Whereabouts
I’m born and raised in the Netherlands in the city of The Hague and am inofficially classified as a ‘Hagenees’. One can roughly divide the area of The Hague in a ‘high and snobby’ part and a ‘low and poor’ part. The more expensive property can be found on former sand dunes, while the more affordable housing is situated in the lower lying areas (read: mud). People living in the former part are commonly known as ‘Hagenaars’ while those from the latter part are called ‘Hagenezen’.
It was only during the final stages of my study of Aerospace Engineering at Delft university of Technology that I became interested in Earth sciences. Although the link between aerospace engineering and Earth sciences may not be obvious at first sight, it may help to think of the mental associative chain: airplanes -> rockets -> satellites -> instruments -> earth observation -> earth sciences. After my study I moved to Potsdam in Germany, to work at the Helmholtz-Zentrum Potsdam Deutsches GeoForschungsZentrum GFZ. Since 2011, I’v been living in Bonn and work at the Institute of Geodesy and Geoinformation at the University of Bonn.
Professional Experience and Education
- 2014-present, Post-doctoral Researcher at Bonn University, Institute of Geodesy and Geoinformation (chair of Astronomical, Physical and Mathematical Geodesy)
- 2007-2014, PhD (Dr.-ing.), in Geodesy, Institute of Geodesy and Geinformation, university of Bonn, The overall theme of my thesis covered the combination of several geodetic techniques at once to study for example sea level and Earth deformation effects.
- 2009-2014, Researcher at Bonn University, Institute of Geodesy and Geoinformation (chair of Astronomical, Physical and Mathematical Geodesy)
- 2007,2009, Researcher at Section 1.3 Gravity Field and Gravimetry at Helmholtz Centre Deutsches GeoForschungsZentrum (GFZ)
- 2005-2007, Master of Sciences, Aerospace engineering, Delft University of Technology, The Netherlands. In the thesis I compared data from in situ deep ocean bottom pressure recorders with time series from GRACE gravity fields.
- Feb-May 2006, Study of Ocean Bottom Pressure Records in the Indian Ocean (Internship) at Ifremer, Brest, France
- 2000-2005, Bachelor of Sciences, Aerospace engineering, Delft University of Technology, The Netherlands
European Geosciences Union Activities
The Geodesy division of the European Geoscience union is also something I’m involved in. Since 2014, I’m fullfilling the role as the early career scientists (ECS) representative for the geodesy division, and I occasionally post on its division blog. From 2017, I’ll follow up Lena Noack as the Union Level ECS Representative of the EGU, so this means we’re looking for an ECS to represent the geodesy division from 2017 and onward. Interested scientists are invited to contact me by twitter or email.
Teaching
There are several courses I teach/taught and practicals I supervise. Most of them are in German, which is not my native tongue and occasionally causes some confusion but most of all amusement. To return the favour, I also try to get our German students out of their comfort zones by lecturing in English now and then.
- Globale Geodynamik (Bsc)
- Astronomisch-physikalische und mathematische Geodäsie I & II (Bsc)
- Spezielle Verfahren der Satellitengeodäsie (Msc)
- Masterprojekt Bonn Space Geodesy Simulator (Msc)
- Erdsystemforschung mit Satellitenverfahren (Msc)
- Globales Geomonitoring (Msc)
Projects
- CONTIM: Consistent Ocean Mass Time Series from LEO Potential Field Missions description
- GROCE: Greenland Ice Sheet/Ocean Interaction
- Band-Aid: Bangladesh Delta: Assessment of the Causes of Sea-level Rise Hazards and Integrated Development of Predictive Modeling Towards Mitigation and Adaptation.
- JIGOG: Surface mass redistribution from joint inversion of GPS site displacements, ocean bottom pressure models and GRACE global gravity models former project site
- STREMP: Spatial and Temporal Resolution Limits for Regional Mass Transport and Mass Distribution former project site
- FIGO: Fingerprints of ice melting in geodetic GRACE and ocean models former project site


The following examples demonstrate different aspects of and uses for Object Serialization:
- Using Serialization with Sockets
- Using Serialization with a Custom Data Format
- Using Serialization with SuperClasses:
- Serialization with a NonSerializable Superclass
- Externalization with an Externalizable Superclass
- Externalization with a NonExternalizable Superclass
- Using Serialization with Evolution:
- Serialization and Evolution
- Externalization and Evolution
- Serialization, Evolution, and the addition of a new SuperClass
- Serialization, Evolution, and the Serializable Fields API
- Using Substitution by Serializable Class


Altcoins profit
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Hotel grand arranges a fantstic and memorable festival celebration for our guests. The hotel make full arrangement for all types of things and occassional dresses
Wonderful performances to entertain the guests.
Full arrangement for Caterers and decorations to enlighten the festival
Festival's gifts from Hotel Grand to Our Guests.
DJ is also available to make you break the dance floor.


{% extends "boxy/base.html" %} {% block extrameta %}
A large vehicle detection dataset with almost two million annotated vehicles
for training and evaluating object detection methods for self-driving cars on freeways..
Dataset Code --- Website Code
Axis-aligned bounding boxes (AABB) and trapezoids for a more accurate description.
Simple AABB may intrude into neighboring lanes, as shown on the right.
Which method do you choose? What do you focus on?
High accuracy, low memory usage, low computational complexity, realtime detections, embedded systems,...
Try our benchmarks, use the data to train a classifier, use it for domain transfer, or create new metrics. We do encourage new benchmarks, let us know if additional data (e.g. odometry information) would be useful, and feel free to extend the dataset's scripts on Github.


Privacy Policy (Personal Information Protection Policy)
Tokyo Big Sight Inc. (hereafter known as Tokyo Big Sight) performs operation and management of the Tokyo International Exhibition Center and conducts organization of trade fairs and building management.
Tokyo Big Sight recognizes that the protection of personal information is very important and considers it to be a social responsibility and duty.
Therefore, the following Privacy Policy have been defined and all employees should be familiarized with the contents.
1.Collection, Usage, and Provision of Personal Information
When Tokyo Big Sight acquires personal information, the purpose of usage must be clarified and the information must be gathered in legal and fair means. The usage and provision of personal information must remain within the clarified and predefined usage and provision.
2.Purpose of Usage for Personal Information
Tokyo Big Sight uses personal information gathered from customers for the following purposes.
- (1)Contact parties or follow procedures related to the use of facilities managed by Tokyo Big Sight.
- (2)Provide Information related to exhibitions, conferences, and other business activities organized by Tokyo Big Sight.
- (3)Perform tasks including sending information and necessary materials, confirming receipts, payment to parties that have applied for an exhibition, or conference organized by Tokyo Big Sight.
- (4)Perform surveys related to improving customer satisfaction, related to the planning and development of organizing an event, or providing building services.
- (5)Send the Tokyo Big Sight promotional magazine or invitations to Tokyo Big Sight organizing events.
- (6)When personal information is gathered for other purposes, the purpose of usage is clarified.
- (7)Comply with laws, directives, and guidance from governmental organizations.
3.Provision to Third Parties
Tokyo Big Sight will not provide or disclose personal information provided by customers to third parties except in cases where the customers’ consent is given or where the information must be supplied for legal reasons.
However, necessary personal information may be provided to the subsidiary company Big Sight Service Corp. for the purpose of providing a requested service.
4.Outsourcing
Tokyo Big Sight may outsource the handling of personal information in order to fulfill the purpose of usage. The entrusted parties enter into a contract with the personal information protection protocols so that the handling of personal information continues to be managed and controlled.
5.Proper Management of Personal Information
Tokyo Big Sight takes appropriate safety measures for collected personal information to prevent unauthorized access, falsification, destruction, leakage, or loss. Employees who handle personal information are provided with training and educational activities to protect personal information.
6.Disclosure, Correction, or Deletion of Personal Information
Tokyo Big Sight endeavors to manage the latest and most accurate personal information.
Tokyo Big Sight will promptly comply with customer requests to check, change, or correct registered information, to stop providing services, or to delete registration.
7.Compliance to Laws and Other Standard Practices
Tokyo Big Sight practices the handling of personal information according to laws and other standard practices, and constantly strives to make improvements to the above activities.
（Questions and comments about personal information）
<EMAIL_ADDRESS>Personal information management: FAX:+81-3-5530-1222


The article we chose was a historical article about the renovation of a building. This is a link to my annotated Markdown page that transcribes the first few paragraphs of the article and includes a link to an image of the article as it appearned in the New York Times.


Waiting for events from host application...
No events matching current filters.
Events with problems are marked red in the events table. Filter by event/source as needed.
| Action | Event Name | Source | Target | Cycle | Time | ||
|---|---|---|---|---|---|---|---|
| {{event.interaction}} | {{event.cycleId}} | {{event.formattedTime.upper}} {{event.formattedTime.lower}} |
|||||
|
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{{event.formattedEvent}} |


Squidward Tentacles
Personality
Squidward is usually portrayed to be a whiny, stick-in-the-mud character. He is very egotistical and cannot stand saying sorry to anyone or admitting his mistakes. He considers himself very sophisticated and upper class, and looks down on most other people. Squidward makes jokes to himself that aren't even funny. Squidward is impatient for most of the time, egotistical and finds everything dull and trivial.
Lifestyle Squidward works as the cashier in the Krusty Krab, but he hates his job, largely because he has to work with SpongeBob. Squidward also loves art and has many self-portraits of himself all around his house, but rarely paints anything else. He seems to think that he is a talented clarinet player, but really, his songs are usually very out of tune. Squidward also enjoys watching television, listening to the radio, riding his bike and reading. He takes great pleasure from treating and pampering himself, although while he is relaxing, usually SpongeBob interrupts him.
source: http://en.spongepedia.org/index.php?title=Squidward_Tentacles
|


This is a simplified summary of the various docs in https://github.com/bitcoin/bitcoin/tree/master/doc.
Don't hesitate to read them for more information.
All steps are to be run from your terminal emulator, i.e. the command line.
-
Ensure the dependencies are installed:
-
Linux:
sudo apt-get install build-essential libtool autotools-dev automake pkg-config bsdmainutils python3 libssl-dev libevent-dev libboost-system-dev libboost-filesystem-dev libboost-chrono-dev libboost-test-dev libboost-thread-dev libminiupnpc-dev libzmq3-dev libqt5gui5 libqt5core5a libqt5dbus5 qttools5-dev qttools5-dev-tools libprotobuf-dev protobuf-compiler git ccache
-
macOS (with command line tools and Homebrew already
installed):
brew install automake berkeley-db4 libtool boost miniupnpc openssl pkg-config protobuf python qt libevent qrencode ccache
-
Linux:
-
Download the Bitcoin source files by git cloning the
repository.
-
git clone https://github.com/bitcoin/bitcoin.git
-
-
Install Berkeley DB (BDB) v4.8, a backward-compatible
version needed for the wallet, using the script in
/contrib
.-
Enter your local copy of the bitcoin repository:
cd bitcoin
-
Now that you are in the root of the bitcoin repository,
run
./contrib/install_db4.sh `pwd`
-
Take note of the instructions displayed in the terminal at
the end of the BDB installation process:
db4 build complete. When compiling bitcoind, run `./configure` in the following way: export BDB_PREFIX='<PATH-TO>/db4' ./configure BDB_LIBS="-L${BDB_PREFIX}/lib -ldb_cxx-4.8" BDB_CFLAGS="-I${BDB_PREFIX}/include" ...
-
Enter your local copy of the bitcoin repository:
-
Compile from a tagged release branch instead of master, unless
you want to test the bleeding edge.
-
git tag -n | sort -V
to see tags and descriptions ordered by most recent last -
git checkout <TAG>
to use a tagged release, for example:git checkout v<IP_ADDRESS>
-
-
Compile Bitcoin from source.
-
./autogen.sh
-
export BDB_PREFIX='<PATH-TO>/db4'
(you can use the output from the BDB build above) -
./configure BDB_LIBS="-L${BDB_PREFIX}/lib -ldb_cxx-4.8" BDB_CFLAGS="-I${BDB_PREFIX}/include"
-
make
, or if you have multiple threads on your machine, you can tellmake
to use all of them and reduce compile time significantly with -
make -j"$(($(nproc)+1))"
on Linux, or -
make -j"$(($(sysctl -n hw.physicalcpu)+1))"
on macOS
You can run
./configure --help
to see the various configuration options.If you build frequently from source (e.g. for testing pull requests), as long as you don't need to change the configuration options you can skip directly to the
make
step for subsequent builds.Be sure to use
ccache
to speed up your builds. You can also gain time by building only what you need. See the Bitcoin Core productivity notes for more. -
-
Run the unit tests.
make check
, or-
make -j"$(($(nproc)+1))" check
to use multithreading on Linux, or -
make -j"$(($(sysctl -n hw.physicalcpu)+1))" check
on macOS
-
Run the functional tests. From the repository root:
-
test/functional/test_runner.py
to run the standard test suite -
test/functional/test_runner.py --extended
to run the extended test suite -
test/functional/test_runner.py --help
to see the various options for running tests
-
Cheers,
Jon Atack