I nearly lost my temper this morning.
One class in particular has some…big personalities. I want to be able to do hands on, interactive work with the group, but they test my limits pretty regularly.
They don’t test me with silly questions or with using equipment incorrectly. No…it’s much more nefarious. They use the NBA.
For whatever reason, comparing NBA players and teams gets a small group of students heading down a dangerous path. Dislike of one player or another leads to all-out honor defenses and stat showdowns. If this were happening in a civilized manner like on Outside the Lines, I wouldn’t mind so much. But, these – lately – have turned into all out, across the room, Mr. Bennett is invisible cage matches.
I’ve done seating charts. I’ve set time limits and deadlines. I’ve used proximity, redirecting, and direct instructions to students. NONE of it has seemed to have any effect. And what makes it even more frustrating and intolerable is that the entire atmosphere of learning for the other students in the class evaporates completely, and I feel powerless to wrest it back.
And so today, they broke the camel’s back.
On Monday, we’re heading into full lockdown. They’ve shown that they cannot handle the independence. They are getting yet another new seating arrangement and I am taking the reins.
And yet, I feel like I’m punishing the community over the acts of the few.
I have control issues. I don’t want to spend my energy managing a classroom. I lose the interactions and the opportunities to talk about what learning is happening. I can’t prompt individuals and groups and I can’t celebrate small wins. But I don’t know what else to do.
How to you build community when the leaders in the group don’t care? They’ve never been asked to care about school, and now that they’re faced with that choice, they don’t know how to handle the responsibility. If it were the beginning of the year, I would love to take them through that team-building path of developing a culture of learning and a culture of open discussion. But instead, they’re functioning just outside the bounds of their traditional school experience, and it’s creating a chaotic space. And that’s not okay.
I feel like I’m a double bind – I need to direct the time more, but I don’t want to put the rest of the class in an unfair situation. Unfortunately, I don’t see any other alternative.
Written on January 30th, 2015 by Brian Bennett Categorized in: All Teaching
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If I know water would boil at a 100 degrees Celsius. Do I need to hope it would boil at 100 degree Celsius? Or even if I do not want the water to be boiled, could I desire the water not to be boiled even if I heat it up to 100 degrees Celsius? I can hope, dance, or pray—or do all three at once—for it to rain tomorrow. However, if the causes are not right, it will not rain. Or maybe I do not want it to rain tomorrow. But again, if the conditions are right for it to rain, it will rain regardless of what I want or do not want.
The simple yet elegant wisdom that I am attempting to reiterate here is this:
Reality has nothing to do with what one wants. Instead, reality has everything to do with the law of cause and effect.
If the causes are right for an effect to occur, it will occur regardless of what one wants or do not want. Scientifically speaking, there is no room for desires in reality. There is only cause and effect.
The common way, we, humans, achieve happiness in life is to put what we desire in front of the causes we must perform to achieve the result. We start a project by wanting it to be finished. We run a business by hoping to gain and never to lose. We often live by being afraid of dying even though we are perfectly fine. Even when we are deeply in love with someone, we can’t help ourselves feeling a little insecure about how long the good time will last.  For this reason, our pursue of happiness has led us to constantly become fearful, worried, impatient, and frustrated by what we demand from reality.
But is this really necessary? or is there a better way of pursuing happiness?
Two Approaches Toward True Happiness: One Is Scientific And Other Is Not.
There are two ways of achieving anything in life.
1. Desire-Oriented Approach to Happiness
This human’s most typical approach toward happiness.  And thus, he or she can never be happy until his desire is fulfilled.
2. Reality-Oriented Approach to Happiness
The second way is to work toward your goal without the need to get ahead of ourselves. In other words, to work with and according to what the reality is, not work from the stance of what we expect reality to be.
The man whose desire is with reality is always satisfied with what is. Since his desire is in tune with reality, he is not anxious or worry. This, in turn, allows him to become more composed, relaxed, and ultimately more productive while working toward his goal with a peace of mind.
What I am explaining here is also captured by Epictetus as follows:
Do not seek to have events happen as you want them to, but instead want them to happen as they do happen, and your life will go well. -Epictetus
Our Duty To Reality
When someone—like me—is applying for graduate school I might, right away, desires to be accepted. But who am I to want or not want things from reality without ever creating the right causes for it to happen? In reality, whether or not anyone would or would not be accepted has many different factors—many beyond one’s control. So just by applying or having a great supporting resume doesn’t mean I have the right to demand or hope from reality my admission. So why hope? Why put my desire ahead of the reality? Why worry? And why not channel this energy, instead, at creating the right causes which are writing the best application?
You can attain anything in life with or without the need to desire for it. But since reality runs by the absolute law of cause and effect, it does not obey one’s desire no matter how large or small the desire. The only that matters is whether or not there is enough causes for the effect to occur. Thus, there is no need to desire because…
- One simply can't. There is no room for desire in reality.
- It is unscientific. How can I hope the tree to grow instantly if I just put the seed into the soil? Every effect must has it rightful causes.
- Putting our demands of the reality before the reality is the root of all unhappiness of life. Why suffer?
One does not need to desire to achieve whatever he or she set out to accomplish. Our duty to life is not to desire, but to create the right causes to produce the right effect. And depending on how well one could live in accordance with this natural law and not according to what he or she demands of reality, the happier he or she becomes.
Conclusion
All in all, the message here is simple: life is happier, better, and more satisfactory if one lives in accordance with reality and its law rather than living in accordance with what one wants from reality.
Reality does not revolves around what one wants from it; it revolves around the absolute law of cause and effect. Thus, life is never like what one wants it to be. The only way for anyone to feel the unsatisfactoriness of life is to be unmindful of the law of conditionality and desire life or reality to be the way one wants.
'What's worse, the falling rain, or your resistance to getting wet?' - Jeff Foster
So let’s keep our feet on the ground; and stay with reality and its law.  Instead, focus on, be satisfied, and accept what is. Begin living in the now! Keep on working with reality by making the right causes to achieve the right effect. And always remember that the way to live happily, correctly, and more efficiently, is not to put our desires in front of our reality, but the other way around.
Posted with : Understanding of True Happiness , True Happiness Essential
- ← The Six Greatest Gifts You Can Give Your Loved Ones
- Cause of Unhappiness Part Three: Fear of Being Meaningless →


RBLandau 20180915
Notes on pictures:
(Note: the numbers are just for reference during discussions and editing.)
| idea / assertion | basics | details | wayzit | needs data & work | |
|---|---|---|---|---|---|
| CALIBRATIONPIC: Copies1 Calibration | for copies=1 losses are unacceptable and auditing can't help | cop=1, lifem=2-1000 | line at 0.1% or so, maybe decades below 1%, many annotations | pictures/noauditcalibrationcopies1 | How do I draw looong arrows in R? All the Unicode arrows are short. There is supposed to be a way to place an image, so I could draw an arrow. Is this a plausible aspect ratio? Need better title and captions? |
| NOAUDITCOPIES: No audit needs many copies | without auditing, need many copies to minimize losses | cop=1,2,3,5,10 lifem=2-1000 | 1% line and 0.1%, clear legend for n-copies | ||
| COPIES5SUFFICES: Is Copies=5 sufficient for all non-shock conditions? | with annual auditing, need only a few copies | cop=3,4,5 lifem=2-1000 | 1% line and 0.1% line, maybe shorten lifem=2-100 | ||
| COPIES4MAYBE: Is Copies=4 sufficient for calm periods? | is 4 sufficient in calm periods? | cop=4,5 lifem=2-100, various audit methods | decade lines for all graphs, I think | ||
| COPIES5LONGTERM: Is Copies=5 okay for long periods? | is 5 sufficient for longer periods, 30-50 years? | lifem=2-1000 | lines 1% and decades below | ||
| COPIES6FORSHOCKS: Need Copies=6 for shock conditions? | are 6 necessary in shock periods? | cop=5,6 lifem=2-100 shocks freq=2yr dur=1yr, span=2,3, impact=50,67,75?,100% | see which is most striking visually | ||
| RANDOMCONTRAST: Random auditing direct contrast | even generous random auditing still worse than total auditing | WITH vs WITHOUT replacement, cop=3 maybe also 5 | 4 or 10 segments for direct comparison | ||
| FIVEYEARRANDOM: Five year random audit cycle | long-term lazy random auditing vs total | WITH replacement, cop=3,4,5 | 5 year cycle in 5 segments, hence 20% per year | again want direct comparison with total audit WITH vs WITHOUT replacement | |
| SHOCKSSEGMENTS: Shocks frequent segments better | frequent segments improve survival slightly in no-shock | 1 segment vs 4 and maybe 10 | cop=4,5 lifem2-100 | ||
| LARGEDOCTARGETS: Large docs are bigger targets | larger docs are larger targets for random errors | docsize=5,50,500,5000MB, usual lifem, losses are 100% for large docs at low half-life | legend must be clear | ||
| DOCSIZETRADEOFF: Docsize vs error rate table | TABLE: tradeoff of docsize vs error rate | docsize5-5000 lifem=2-10000 | nicely shaded png or pdf of spreadsheet excerpt; graph overlays too much to make the point | ||
| THREATSTABLE: Threats table | TABLE: threats to content, from google doc | make it look like the other tables, bad word wraps | redo in md so it matches if possible to change text color emphasis | ||
| GLITCHERRORRATES: Glitch just increases error rate | glitch just like higher error rate | cop=5 show line shifted to lower half-life with significant glitch | probably one month per quarter 50% or 67% increase in error rate, cherry-pick for clearest appearance | ||
| SHOCKSMORETHAN4: Medium shocks need more than 4 copies | shocks: moderate not tolerated with 3 or 4 copies, the current pic is not too bad | redo with larger samples to smooth out the numbers | |||
| SEVERESHOCKS5OR6: Severe shocks require 5 or 6 copies | severe shocks may require 6 copies | copies=4,5,6 | shocks freq2yr dur1yr span2,3 imp50,80,100 | ||
| Less than 1% loss no audit | how many copies for < 1% long loss? no audit | long=30yr | |||
| ONEPCTLONGTERM: Less than 1% loss annual audit | how many copies for < 1% long loss? annual audit | long=30yr | |||
| CALIBRATIONTABLE: Calibration table | TABLE: calibration test of simulation results | theoretical vs simulated results | copies=1, 100 samples, vs straight Poisson, in ppm; have in spreadsheet, get nice png or pdf | tables/calibration | |
| 20 | |||||
| 21 |
Notes from 20180821


| Path: | vendor/plugins/flashplayrhelpr/README |
| Last Update: | Fri Dec 15 11:38:08 +0200 2006 |
Creates Flash MP3, Image Slideshow, Media, and FLV players for your views using Jeroen Wijering‘s Flash Players. Mixes itself into the ActionView::Base module, so no extra include is required. Adds the flash movies and javascript files to your Rails app so no downloading/setup is required See
- http://jroller.com/page/abstractScope for tutorials - each flash player's (in assets/swf folder) accompanying README.html for its details.
Flash SWF Files: The Flash files in the assets/swf folder are released under the terms of the Creative Commons License by Jeroen Wijering. If you plan on using the Flash files for commercial purposes, you MUST purchase them first from www.jeroenwijering.com/?order=form See each SWF files’ accompanying README.html for license information.
Flash Player Rails Helper: See flash_player_helper.rb or MIT-LICENSE.
Unobtrusive Flash Objects: See ufo.js for license.
Subversion
Blog
Author
Jeroen Wijering‘s Flash Players


G-Point Garage is a full service auto, preventive maintenance and auto repair center in the city.We speciliaze
vehicle maintenance service, engine repair, braking system, oil changes and many more.
Our experts are trained and
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Check out the Appointment tab, to book an appointment to service your vehicle. We are looking
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We are fair and affordable
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Our experience
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Get in touch with us from your home and tell us the problem.We are fully at your service.
G-Point Garage have served me well over the past 2 years.
Their work is excellent.They are trustworthy,reliable and honest. Am glad I met them.
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The folks at G-Point Garage are the best. I have been there with my vehicles with
issues ranging from a bad transmission to brake jobs. They are always honest and do a great job
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A week ago, I wrote a blog on Automated Deployment With Capistrano. This is a part-2 to that bolg. Here, you will learn to deploy a Laravel 5 application using Capistrano 3. If you come across some terminologies, of which you have no idea, please checkout these slides. Now lets learn how to deploy.
Assumptions
I will assume that the following things are setup before you try the rest of the steps.
- Ruby version 1.9.3 or newer in your local machine.
- A server to deploy your application and ssh access to the server with public key.
- Laravel 5 application and the server requirements for running it.
- Git in your local machine and in server. Make sure you do host your application in GitHub or any other git repository hosting service.
- I will name the laravel application as blog. You can use any name of your choice.
- A working domain name (eg: blog.app) which points to the application public path in the installation directory of the server, that you will define in the
staging.rb
file below.
Installation
- Install Capistrano in your local machine
$ gem install capistrano
- Initialize Capistrano in your project
blog $ cap install
- Done!! It was as simple as that.
Now you just need to configure the server, write some deploy scripts and you are good to go.
Let’s first see, what exactly the cap install
command did in your project.
Project Strucutre
blog
├── Capfile
|── config
│ ├── deploy
│ │ ├── production.rb
│ │ └── staging.rb
│ └── deploy.rb
└── lib
└─ capistrano
└── tasks
As you can see, it created some files and folders in you project. I will just briefly explain what each file consists.
-
Capfile : This is the first file capistrano reads when you run the deploy command. It takes care of loading the bundled deploy tasks as well as any custom tasks from
lib/capistrano/tasks
. -
deploy.rb : Configuration that applies to all stages can be set in this file. You will write your deploy tasks in this file which runs for all the stages.
-
production.rb/staging.rb : These are the stage specific files where you configure you correspondong server. These may also contain the deploy tasks which will run only for the corresponding server.
Configuration
Now you will configure your server and write some deploy scripts to deploy the blog into the server.
staging.rb
# server ip address, username with which you ssh to your server and the roles assigned to this server
server '<IP_ADDRESS>', user: 'vagrant', roles: %w{app db web}
# path to deploy the project
set :deploy_to, '/home/vagrant/www/app/staging'
# set some variables that is used in deploy tasks written in deploy.rb
# don't keep the sensetive credentials here; like database name, username and password
# you can use overlay for setting sensetive information.
set :app_path, '/home/vagrant/www/app/staging/current'
set :app_debug, false
set :app_key, 'NrLNIrApophsxQzbm98DGNlnWK1wxxdc'
I am assuming your server to be an staging server
and hence, only configuring staging.rb
file. I have configured it for my server, which is a vagrant box, homestead. The idea is same for different servers.
deploy.rb
# config valid only for current version of Capistrano
lock '3.4.0'
# application name
set :application, 'blog'
# repo url to the project
set :repo_url, 'https://github.com/shhetri/blog.git'
namespace :environment do
desc "Set environment variables"
task :set_variables do
on roles(:app) do
puts ("--> Create enviroment configuration file")
execute "cat /dev/null > #{fetch(:app_path)}/.env"
execute "echo APP_DEBUG=#{fetch(:app_debug)} >> #{fetch(:app_path)}/.env"
execute "echo APP_KEY=#{fetch(:app_key)} >> #{fetch(:app_path)}/.env"
end
end
end
namespace :composer do
desc "Running Composer Install"
task :install do
on roles(:app) do
within release_path do
execute :composer, "install --no-dev"
execute :composer, "dumpautoload"
end
end
end
end
namespace :deploy do
after :updated, "composer:install"
after :finished, "environment:set_variables"
end
Here, I have written two tasks named, set_variables
inside environment
namespace and install
inside composer
namespace. Its clear with the command name itself, what these tasks do. After the repo is cloned form the github, the packages are installed through composer and after the deploy is finished, the environment variables are setup. These are the minimal tasks I have demostrated here as each project has its own requirements, and so its own deploy tasks. You can follow the same pattern to write your own tasks. Just be sure on when to call your tasks. Capistrano comes with predefined workflow and you must check it.
Deploy
You have configured the server and the deploy tasks. Now its time to deploy your application.
blog $ cap staging deploy
The command takes the form of : cap stage deploy
Stage could be staging, production or any other.
Now if you hit your registered domain name for this application, in the browser, you will see your application up and running.


Poems of Emily Brontë
by Emily Brontë
The Night-Wind
Additional Information
- Year Published: 1846
- Language: English
- Country of Origin: England
- Source: Bronte, A., Bronte, C., and Bronte, E. (1846). Poems by Currer, Ellis, and Acton Bell. London, England: Aylott and Jones.
-
Readability:
- Flesch–Kincaid Level: 8.0
- Word Count: 425
- Genre: Poetry
- Keywords: death, life
- ✎ Cite This
Downloads
In summer’s mellow midnight,
A cloudless moon shone through
Our open parlour window,
And rose-trees wet with dew.
I sat in silent musing;
The soft wind waved my hair;
It told me heaven was glorious,
And sleeping earth was fair.
I needed not its breathing
To bring such thoughts to me;
But still it whispered lowly,
How dark the woods will be!
“The thick leaves in my murmur
Are rustling like a dream,
And all their myriad voices
Instinct with spirit seem.”
I said, “Go, gentle singer,
Thy wooing voice is kind:
But do not think its music
Has power to reach my mind.
“Play with the scented flower,
The young tree’s supple bough,
And leave my human feelings
In their own course to flow.”
The wanderer would not heed me;
Its kiss grew warmer still.
“O come!” it sighed so sweetly;
“I’ll win thee ’gainst thy will.
“Were we not friends from childhood?
Have I not loved thee long?
As long as thou, the solemn night,
Whose silence wakes my song.
“And when thy heart is resting
Beneath the church-aisle stone,
I shall have time for mourning,
And THOU for being alone.”
In these stanzas a louder gale has roused the sleeper on her
pillow: the wakened soul struggles to blend with the storm by
which it is swayed:—
Ay—there it is! it wakes to-night
Deep feelings I thought dead;
Strong in the blast—quick gathering light—
The heart’s flame kindles red.
“Now I can tell by thine altered cheek,
And by thine eyes’ full gaze,
And by the words thou scarce dost speak,
How wildly fancy plays.
“Yes—I could swear that glorious wind
Has swept the world aside,
Has dashed its memory from thy mind
Like foam-bells from the tide:
“And thou art now a spirit pouring
Thy presence into all:
The thunder of the tempest’s roaring,
The whisper of its fall:
“An universal influence,
From thine own influence free;
A principle of life—intense—
Lost to mortality.
“Thus truly, when that breast is cold,
Thy prisoned soul shall rise;
The dungeon mingle with the mould—
The captive with the skies.
Nature’s deep being, thine shall hold,
Her spirit all thy spirit fold,
Her breath absorb thy sighs.
Mortal! though soon life’s tale is told;
Who once lives, never dies!”


Space Cowboys
There really isn't a thing in "Space Cowboys" that isn't totally predictable and familiar, and yet it's a really fun, feel-good movie that doesn't make you feel like you're being pandered to.
Maybe that's because it's got four great actors or that it's got a good producer/director at the helm or that it offers an original take on an otherwise paint-by-numbers summer popcorn flick. It's kind of a military thriller, it's almost a sci-fi flick but not one of those movies aimed at a sci-fi audiences. It's a grown-up adventure movie that knows how to execute its story.
Clint Eastwood stars as a retired Air Force pilot and engineer who is called upon by his old boss at NASA because a satellite is about to crash into the Earth and the technology is so obsolete even today's rocket scientists can't figure it out. Yadda yadda yadda, Eastwood and his three old* military buddies are the only ones who can fix it and must adapt to the new technology rapidly while at the same time showing up the young hotshots who think they're geniuses.
It's pretty easy to tell what's going to happen here right? Fish-out-of-water stuff, "Let me do it my way junior"-lines and attitudes, an executive commander who's obviously a weasel and a really fantastic ending involving "we'll just barely make it if our calculations are correct"-climaxes. But as much as it sounds like "Apollo 13," "Space Cowboys" really has a lot going for it. Sending four old men into space doesn't seem like all that far-fetched of an idea (not after John Glenn), and Eastwood and company seem to be having a great time here. The screenplay is thorough with its characters and doesn't waste our time trying to explain the details of the "real" conflict going on. It doesn't matter, everyone here is doing such a good job it's actually, uh what's that word - enjoyable.
GRADE: B
* = pun intended
Chad'z Movie Page is back! New reviews of the latest movies in easy-to-swallow capsule form with the trendy, Entertainment Weekly-style of letter grades instead of the old star system. Have I sold out? Visit my page and decide for yourself ;-)
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The path breaks down to an overgrown trail through the trees, you wonder if you have really been led the right way..
You sit under an old tree, its roots twist into a clear cool stream. You feel at home here.
You notice an old tent in the grass, someone must have come this way before.
Pitch the tent


A C program consists of various tokens and a token is either a keyword, an identifier, a constant, a string literal, or a symbol.
;
In C program, the semicolon is a statement terminator. That is, each individual statement must be ended with a semicolon. It indicates the end of one logical entity.
Comments are like helping text in your C program and they are ignored by the compiler. They start with /* and terminates with the characters */
A C identifier is a name used to identify a variable, function, or any other user-defined item. An identifier starts with a letter A to Z or a to z or an underscore _ followed by zero or more letters, underscores, and digits (0 to 9).
C does not allow punctuation characters such as @, $, and % within
identifiers. C is a case sensitive programming language.
Thus, Manpower and manpower are two different identifiers in C. Here
are some examples of acceptable identifiers:
mohd, zara, abc, move_name, a_123
The following list shows the reserved words in C. These reserved words may not be used as constant or variable or any other identifier names.
| auto | else | Long | switch | break | enum |
| register | typedef | case | extern | return | union |
| char | float | short | unsigned | const | for |
| signed | void | continue | goto | sizeof | volatile |
| default | if | static | while | do | int |
| struct | packed | double |


Richard Scarry
"I'm
not interested in creating a book that is read once and then placed on
the shelf and forgotten. I am very happy when people have worn out my
books, or that they're held together by Scotch tape."
Richard McClure Scarry (1919 - 1994) revealed to children the
secrets of everyday life. His worlds were easily understood, populated
by polite, well-mannered animals drawn by a remarkable with a keen eye
for absurd human behavior. Scarry himself bumbled his way through a charmed
life of good luck and fortunate circumstance, pretty much doing whatever
he liked until the day he died.
First editions of his 19-cent books presently fetch hundreds of dollars.
He wrote and illustrated over three hundred major picture books for children,
each one dense with slapstick and visual humor. More than three hundred
million copies of his work have exchanged hands, some of which were translated
into thirty languages. This qualifies him to be the most popular children's
book author of all time, and it can be argued there are two types of people:
those who grew up reading Richard Scarry, and those who remain perpetually
maladjusted to society.
Richard
Scarry hated school, and he never paid attention in class. He'd find slithering
garter snakes in the grassy courtyard and set them wriggling on smooth
tabletops at the library. He delighted in the terrified screams of little
girls. The head librarian screamed once or twice too often, and finally
she banished him from the library forever. That was the beginning of the
end for Richard, and his on again / off again love affair with traditional
education. A fitting irony, it can be acknowledged, that years later the
children's section of the Boston Public Library would be permanently stacked
full of his work, and extremely popular with troublemakers of equal or
greater attention deficit disorder.
The
young master Dick received D's and F's on homework assignments with such
regularity that his poor performance nearly caused him to drop out of
junior high. When he finally reached the upper grades, he often skipped
school to attend burlesque shows in downtown Boston's Scollay Square.
Scarry discovered the mysteries of sex at a very early age. Perhaps too
early. To him, any girl who took off her clothes while slinking about
the stage was worthy of intense scrutiny. More so than Algebra, anyway,
which he was forced to repeat twice before
passing. During these mind-numbing extended math sessions, he practiced
copying his mother's handwriting in order to forge notes from home. Dear
Miss O'Conner, one note read. Richard couldn't attend school yesterday.
He had a bad cough. Signed, Mrs. Scarry.
He
drew countless pictures of one girl in particular (during his "alone
time") and inevitably these crude, charcoal nudie pics were discovered
by his parents.  One evening he seized one of Richard's early
illustrations - a half-naked girl swinging tassels from her nipples -
and confronted the boy directly: "What's going to become of you,
Richard?"
"If
I'm going to be an artist, sir, I have to learn how to draw the human
form," came the reply.
Possibly Richard needed a real father figure. Some kind of male influence
who could help him win as many girls as possible. He listened intently
to his Uncle Arthur, a white-haired, sun-tanned ladies' man kinda-guy
who lived in New York. Arthur told truly tall tales about the many women
who swooned for him, and Richard took to heart one piece of his uncle's
wisdom: "Buy a natural linen suit at Brooks Brothers, with a pale
blue shirt to wear under it. This is the only thing you need to learn
in life."
Richard
purchased just such a suit, and paid for it by putting in long hours selling
neckties at his father's department store. Unfortunately, it failed to
impress the admissions officer at Harvard University, where his father
was hoping he'd enroll and eventually get accepted. Double-unfortunately,
Richard's grades had been terrible from the very start, and certainly
not ivy league material, to say the least.
At
his father's request, Richard attended a local business college, but his
agonizing, indelible hatred for school compelled him to drop out before
the end of his first year. Eventually, his father gave up. He abandoned
any pretext of having control over Richard's mind, and shipped him off
to art school at Boston's Museum of Fine Arts. And wouldn't you know it,
Richard flourished in the welcoming atmosphere of nude models, drawing
pencils, and paint. It was supposed to be a new start for the young man
- but World War II broke out, ending his art studies permanently. One
year shy of graduation, Richard was drafted into the army. He would never
receive his diploma.
On
his first day of service, the army told him to list his occupations on
a questionnaire. When Richard scribbled the word ARTIST, he was
shipped off to radio repair school in Fort Monmouth, New Jersey. Goddamnit!
 Jesus Christ! He failed the exam miserably, of course,
earning the unheard-of lowest score in the history of the class: minus
thirteen. The barracks were enormous and dismal, the lessons in proper
bedmaking ridiculous. His drill sergeant was loathsome. Learning how to
walk again, left - right - left - right. Richard had no idea how
his life had come to this.
In no time at all, he was ordered to report to the major's office. Wondering
what he'd done wrong, Richard tried delivering a smart and snappy salute,
but he was so nervous his
hand trembled.
"I see you're an artist, Scarry," said the major. "Can
you paint letters? A, B, C - that sort of thing?"
"Yes, indeed, sir," Private Scarry answered.
And so. Richard was assigned two sloppy buckets of paint, silver and
black, both thicker than tar. He flung the paints from their buckets and
spread them with a broom. He was ordered to paint a sign nearly thirty
feet long: WELCOME TO THE SEVENTH ENGINEERS OF FORT MONMOUTH, NEW JERSEY.
It was a task which could easily keep him busy for the entire war, but
after a few weeks the paint had dried. Dick's talents as an artist were
finally being recognized! By the United States military, no less!
After
that, everything changed for Richard. While his less fortunate army buddies
were running laps with heavy backpacks in the hot sun, Richard got
weekly passes to take a bus to New York, where he'd dance with young women
at the U.S.O. Assigned to Special Services, Scarry relocated to Lee University
in Lexington, Virginia, a beautiful campus with p-l-l-lenty
of innocent, excitable girls in perpetual attendance from the nearby Red
Cross and the Nurses Corps. Not only that, he received a medical discharge
excusing him for from any strenuous physical activity. No forgery required
this time, it was like getting a ninety day vacation for free.
Shortly thereafter, he was assigned the daunting task of being the military's
"art director". A
colonel from headquarters had informed him that his new job was to tell
the troops why they were fighting, and send them news from home.
Richard had no idea how he was meant to accomplish such a task. When he
asked the colonel how, the colonel shouted, "By post!" and slammed
the door behind him.
How
could an inexperienced young soldier like Richard Scarry possibly bolster
the morale of the entire American fighting force stationed around the
world? By plagiarizing Time magazine, of course. He had copies
flown in; he paraphrased the important parts, created some illustrations,
and turned it into a flier duplicated by mimeograph. It was the best assignment
he'd ever had, and soon he was editor and writer of Publications for the
Information and Morale Services Section of the Allied Force Headquarters.
This job gave him even more leisure time, enabling him to travel
around the world
to Africa, Algiers, Italy, and France. He took long walks, sat in cafes,
studied ancient ruins, visited art museums and churches. The experience
instilled in him a great love of travel and foreign culture which would
later be reflected in his best-selling children's book Busy Busy World.
Scarry would later declare to his colleagues that World War II was -
in his opinion - the "best war ever".
When Japan surrendered on August 14, 1945, World War II came to an end.
Richard was now a 27 year-old civilian who could honestly report he'd
had experience developing entertaining content for an audience of more
than one million readers each week. He looked forward to getting a "real"
job, and he was hired to work in the art department of Vogue magazine,
a Condé Nast publication. Hooray!!
Three
weeks later, he was fired. D'oh.
No reason was given, apart from the fact that Richard "just wasn't
right for the position." When he asked why they'd bothered to hire
him in the first place, the personnel officer said - no joke - that she'd
been impressed by his white linen suit and blue shirt.
He found a small apartment in Manhattan's East Side, for which he paid
- again, no joke - fourteen dollars a month. During the mid 1940s, a person
could live on $1000 a year - and Richard lived well, despite being a child
of the Depression years. He secured a job in an advertising agency pasting
up photographs for layouts, but the work was uncreative and boring. He
lasted three months, eventually devoting himself to free-lance illustration.
He maintained an active social life, going to parties, good restaurants
and chasing after attractive young women. When Holiday magazine paid him
$2000 for a single assignment, he relocated to an even better bachelor
pad in Washington Square, where the cocktail
parties were nearly a hundred times more elaborate. It was in this neighborhood
that he met a particularly charming young lass by the name of Patsy Murphy,
who would later become his one and only wife. His days of womanizing were
over, and he proposed to her efficiently, by telegram:
MUST MOVE GRAND PIANO.
HEAVY. NEED HELP. COME IMMEDIATELY. ...DICK
If you can call that a proposal. Patsy and Richard were married September
11, 1948, and so intent was he on becoming a competent artist that his
personality began to change. He grew quiet and withdrawn, and he wasn't
much of a talker. Meanwhile, Patsy was outgoing, a drinker, a smoker -
very extroverted and gregarious. She loved entertaining, she loved people
and parties. It was a perfect arrangement; Patsy guided him through tedious
social engagements, often acting as a buffer between him and his publisher.
Scarry was turning into a disciplined worker, rising shortly before eight
each morning, and drawing in his studio until four in the afternoon. An
hour break for lunch. Patsy wasn't allowed to talk to him during this
time; she simply set a ham sandwich and pickles on his desk and went back
downstairs.
That
summer, he got his first big break. The Artists and Writers Guild, a small
editorial subsidiary in New York financed by the Western Printing Company
was producing mass-market activity books and games. One of their creations
were Little Golden Books, which sold for twenty-five cents each. After
Scarry submitted his portfolio - which at that time consisted mostly of
cartoonish human characters - they signed him to a one-year exclusive
services contract worth an astonishing $4800.
It
wasn't until 1959 that his animal characters emerged as real people. Naughty
Bunny told the story of a little bunny who constantly tracked mud
all over the carpet and kept his room in a state of perpetual disaster,
driving his poor mother to tears. Scarry
wanted to create a different kind of world for children, one with equal
parts humor and pathos. He had a secret plan to develop a new kind of
dictionary which arranged words by categories instead of the alphabet.
This format would allow him to draw over fourteen hundred solo panels
of slapstick anthropomorphic behavior, introduce lots of new characters,
and write short amusing texts for each category. The result was Richard
Scarry's Best Word Book Ever, hardbound at 10.5 x 11.7 inches in oversized
format. It truly dwarfed all others, selling seven million copies in only
a few short years. The Scarry genius had broken loose.
He didn't write stories, he drew them in pencil on frosted acetate. Then
he painted through the entire stack color by color. First he'd colorize
everything meant to be red, then blue, yellow, and so forth. He'd do all
the pigs, then all the cats, then all the dogs. He preferred a bright,
simple palette of Winsor & Newton Designers Colors: Flame Red, Carthamus
Pink, Cadmium Orange and Primrose, Golden Yellow, Linden Green, Permanent
Green Middle and Deep, Winsor Green, Sky Blue, Winsor Blue, Burnt Sienna,
Raw and Burnt Umber, Chinese Orange, and Spektrum Violet.
When
the blueboards and pencil sketches were finished, he juxtaposed alongside
them blocks of text affixed with Scotch tape meant to carry readers along
through a loose narrative. He punched his ideas out on an old portable
typewriter, usually by way of the hunt-and-peck method, and many of these
paper scraps contained typos, spelling and syntax errors - even poor grammar.
But an editor could fix that up. Being smarty-smart all the time wasn't
necessary for a guy who hated school. Richard Scarry was a slapstick make-'em-laugh
funny man first, an "educator" second. His singular purpose:
entertain the kids.  Don't do it in a way
they've seen a million times before. And whatever the cost, don't be boring.
He hated white space, deliberately filling up each page with as much
pictorial matter as possible. By doing so, young readers would want to
scan the books over and over, possibly finding something new with each
reading.
Exploded views and simplified cut-away diagrams became commonplace throughout
his work. Editors noticed that Scarry's "children's books" were
becoming more complicated - his illustrations had grown so dense that
even a single page required endless hours of fact-checking and research.
Scarry's personal library (and by proxy, that of his editors) contained
encyclopedias, travel books, cardboard boxes filled with pictures torn
from old magazines, restaurant menus, vacation snapshots from every corner
of the globe during his military travels, and rubber-banded rolls of architectural
diagrams. He would outdo himself time and
time again, from What Do People Do All Day to Richard Scarry's
Great Big Schoolhouse. At this stage of the game, his advances were
upwards of $105,000.
One day some of these sketches were sitting on Scarry's editor's desk,
and Theodore Geisel (aka Dr. Seuss) unexpectedly strolled into
the office. Dr. Seuss wandered over to the table and began idly leafing
through Scarry's preliminary drawings. He didn't ask whose work it was.
Seuss and Scarry were two very different men. Seuss worked primarily with
words, Scarry with pictures. Suddenly Seuss stopped flipping and asked,
"Does this sort of thing sell?" It sold very well indeed.
In fact, Richard Scarry's books had been outselling Seuss's for years.
But neither author would ever really know that, due to the "good
diplomacy" management style strictly upheld at Random House.
Richard also
admired the work of Beatrix Potter, but he made every effort not to copy
her style. Yes, they both put articles of clothing on anthropomorphic
animals, but she spent countless hours studying them and making realistic
drawings. The reader never thinks of her characters as human. Scarry would
occasionally emphasize a particular animal habit (Bananas Gorilla likes
bananas and tries
to steal them, Lowly Worm pokes his way through apples, and there's always
a hole in the roof of a bus to accommodate a giraffe's long neck) - but
these characteristics are a source of incidental humor, not as a means
of establishing a figure's identity as an animal.
The real reason he worked this way was that drawing animals was more
fun than drawing humans. Fun to draw, fun for kids, and fun for the adults
compelled by their children to read these books over and
over. "If I show a human father falling off a ladder or getting into
a monstrous auto crash," he remarked, "it suggests danger and
getting hurt. If I show Father Pig in the same situation, nothing more
is hurt than his dignity. Also, a chocolate cake can explode out of Mother
Bear's oven."
To Richard, pigs, cats, bears, hippos, giraffes, lions and so forth were
not animals. They were real people living normal lives, performing everyday
tasks like. He made every effort to completely subtract elements of delineated
racial characteristics, believing that even a simple illustration of a
girl with blonde hair could not be fully related to by a girl with dark
hair. But both girls might relate and respond to bunny rabbits.
After
twenty years with Golden Books, Scarry moved across Madison Avenue to
Random House. While the publishing company was pleased as punch to receive
him, it was here that Richard Scarry started to receive his first batch
of hate mail.
Letters
of complaint poured in about the roles played by women in reformed-gigolo
Scarry's picture books. The increasing importance and acceptance of the
feminist movement in the United States called into question why a large
percentage of Scarry's female characters were depicted as housewives:
cooking, cleaning, washing dishes. Scarry, now a significantly older man,
was a bit incensed. He maintained that because his characters were animals,
and because most wore trousers, it was difficult to discern whether
or not a worker was a man or a woman. Besides, most of the women characters
dressed just like men anyway, a trait arguably mirrored by the feminists
themselves. Random House urged him to change with the times, and he wasn't
too difficult to persuade once he learned sales were being affected. His
Best Word Book Ever was still his number-one bestseller, and it
was accused of being the worst offender. And so he drew new art, using
women workers on the job, and depicting men taking a more active interest
in household duties.
Then,
more scandal. Racial issues began to surface when Random House re-released
Busy, Busy World. This picture book had been a pinnacle of achievement
for Scarry when he was at Golden Books. It was a labor of love, incorporating
his fondness for travel and appreciation for other cultures. But changing
times and buckets of hate mail at Random House suggested that characters
like Manuel of Mexico (with a pots of refried beans stuck on his head),
Ah-Choo the near-sighted panda bear from Hong Kong, and Angus the Scottish
bagpiper were no longer acceptable role models for children. Random House
quietly subtracted some of Scarry's best stories from future distribution,
including the much-loved vignette of Patrick Pig, who shouts "UP
THE IRISH" after kissing the Blarney stone. That story can be found
in earlier copies of Golden Book's Busy Busy World, in the remainder
bin of your local thrift store.
Scarry
never received a single award. None of his drawings were ever selected
by the New York Times as among the best of the year, and he never
won a Caldecott Honor. It was widely considered among awards committees
that not only was he too popular, he sold too many books.
The millions of dollars he earned were considered his "reward"
- his great success disqualifying him from being eligible.
In the 1980's, Richard's eyesight was complicated by macular degeneration,
a progressive disorder which attacks the central part of the retina, causing
gradual loss of vision. His last book, Richard Scarry's Biggest Word
Book Ever was one of his largest accomplishments, weighing in at 15
3/4 x 24 inches. Although Random House was forced to charge $29.00 per
copy, the entire printing run quickly sold out.
Richard later developed cancer of the esophagus. An operation to remove
the tumor, along with follow-up chemotherapy and evacuation of excess
fluid from his lungs was not enough to prevent a fatal heart attack. He
died in his home on April 30, 1994, at age 74. His wife Patsy died in
1995. Their son Huck carries on the tradition, writing and illustrating
fanciful, educational books for children.
|


keep compliance with batch customer and real time transaction screening.
SimpleOFAC is a built-in module of SimpleCompli Platform. It uses the latest Web 2.0 (AJAX) and innovative indexing and search technology, providing user friendly interface, high performance, and quality.
SimpleOFAC lets you:
Manage your sanction List
It supports list upload, including OFAC SDN List, NS-PLC list, Canada OFSI List, and any lists you define in XML or CSV format.
Scan your customer data and transaction
It supports multiple screening engine instances.
The Screening Engine scans texts/messages against the sanction list, and gives alert or no alert results.
Review your scan results (alerts or suspicious hits)
The screening result can be loaded into the Case Management System for review. It has a build-in algorithm to detect duplicated texts/messages.
Track your data
All the data changes, either by operator or by automatic process, are stored in the system. This not only serves as audit purpose, but can also be used to restore the data to any past point in time.
Test your data quality
It provides a very handy free text lookup tool to let you quickly scan any customer data or transaction. It also can be used as a test tool to test the quality of the Screening Engine and the Sanction List.
 It helps us with tuning our Sanction List and Screening Engine to reduce false alerts and save money.
Customize to match to your business processes
More than just an OFAC tool, Simple OFAC Suite™ is an extensible platform that you can customize to match to your business processes.
Enhance your processes and save money
It will dynamically enhance your Due Diligence processes, Know Your Customer (KYC) practices, and save resources and money.
For more information on SimpleOFAC, please check the online documentation.


Giraffe individuals with regular actions, regular locations, clear picture quality and enough light.
See more pictures!Giraffe individuals acting unusually, like lying on the ground with diverse postures, tangling necks around each other,etc.
See more pictures!Some pictures were taken at special times, like at night, or during the sunset, which may be beautiful but difficult to recognize.
See more pictures!We developed a giraffe photo recognition application with machine learning techonoligies...
Achievement1 Details
Implemented machine learning algorithms and succesfully recognized giraffes in different senarios.
Built a website to demonstrate our results with visualization tools (D3.js)
Variation of giraffe numbers on each camera
Upload a picture of animals and recognize them with our system!
Hi there! Thank you for your time reviewing our work on this project, hope you find it interesting and inspiring!
If there is any further comments on this project, or you'd like to know more and share with your opinions, feel free to leave us a message on the right. We'll take it carefully.


A custom list that manages index/position information for its children.
orderinglist is a custom list collection implementation for mapped relations that keeps an arbitrary "position" attribute on contained objects in sync with each object's position in the Python list.
The collection acts just like a normal Python list, with the added behavior that as you manipulate the list (via insert, pop, assignment, deletion, what have you), each of the objects it contains is updated as needed to reflect its position. This is very useful for managing ordered relations which have a user-defined, serialized order:
from sqlalchemy.ext.orderinglist import ordering_list users = Table('users', metadata, Column('id', Integer, primary_key=True)) blurbs = Table('user_top_ten_list', metadata, Column('id', Integer, primary_key=True), Column('user_id', Integer, ForeignKey('users.id')), Column('position', Integer), Column('blurb', String(80))) class User(object): pass class Blurb(object): def __init__(self, blurb): self.blurb = blurb mapper(User, users, properties={ 'topten': relation(Blurb, collection_class=ordering_list('position'), order_by=[blurbs.c.position]) }) mapper(Blurb, blurbs) u = User() u.topten.append(Blurb('Number one!')) u.topten.append(Blurb('Number two!')) # Like magic. assert [blurb.position for blurb in u.topten] == [0, 1] # The objects will be renumbered automaticaly after any list-changing # operation, for example an insert: u.topten.insert(1, Blurb('I am the new Number Two.')) assert [blurb.position for blurb in u.topten] == [0, 1, 2] assert u.topten[1].blurb == 'I am the new Number Two.' assert u.topten[1].position == 1
Numbering and serialization are both highly configurable. See the docstrings in this module and the main SQLAlchemy documentation for more information and examples.
The ordering_list function is the ORM-compatible constructor for OrderingList instances.
Prepares an OrderingList factory for use in mapper definitions.
Returns an object suitable for use as an argument to a Mapper relation's collection_class option. Arguments are:
Passes along any keyword arguments to OrderingList constructor.
A custom list that manages position information for its children.
See the module and __init__ documentation for more details. The ordering_list function is used to configure OrderingList collections in mapper relation definitions.
A custom list that manages position information for its children.
OrderingList is a collection_class list implementation that syncs position in a Python list with a position attribute on the mapped objects.
This implementation relies on the list starting in the proper order, so be sure to put an order_by on your relation.
Optional. A function that maps the position in the Python list to a value to store in the ordering_attr. Values returned are usually (but need not be!) integers.
An ordering_func is called with two positional parameters: the index of the element in the list, and the list itself.
If omitted, Python list indexes are used for the attribute values. Two basic pre-built numbering functions are provided in this module: count_from_0 and count_from_1. For more exotic examples like stepped numbering, alphabetical and Fibonacci numbering, see the unit tests.
Default False. When appending an object with an existing (non-None) ordering value, that value will be left untouched unless reorder_on_append is true. This is an optimization to avoid a variety of dangerous unexpected database writes.
SQLAlchemy will add instances to the list via append() when your object loads. If for some reason the result set from the database skips a step in the ordering (say, row '1' is missing but you get '2', '3', and '4'), reorder_on_append=True would immediately renumber the items to '1', '2', '3'. If you have multiple sessions making changes, any of whom happen to load this collection even in passing, all of the sessions would try to "clean up" the numbering in their commits, possibly causing all but one to fail with a concurrent modification error. Spooky action at a distance.
Recommend leaving this with the default of False, and just call _reorder() if you're doing append() operations with previously ordered instances or when doing some housekeeping after manual sql operations.


Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore - While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. "'Tis some visiter," I muttered, "tapping at my chamber door - Only this and nothing more."
Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; - vainly I had sought to borrow From my books surcease of sorrow - sorrow for the lost Lenore - For the rare and radiant maiden whom the angels name Lenore - Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain Thrilled me - filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating "'Tis some visiter entreating entrance at my chamber door - Some late visiter entreating entrance at my chamber door; - This it is and nothing more."
Presently my soul grew stronger; hesitating then no longer, "Sir," said I, "or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you" - here I opened wide the door; -- Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the stillness gave no token, And the only word there spoken was the whispered word, "Lenore?" This I whispered, and an echo murmured back the word, "Lenore!" - Merely this and nothing more.
Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. "Surely," said I, "surely that is something at my window lattice; Let me see, then, what thereat is, and this mystery explore - Let my heart be still a moment and this mystery explore;- 'Tis the wind and nothing more!"
Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately Raven of the saintly days of yore; Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door - Perched upon a bust of Pallas just above my chamber door - Perched, and sat, and nothing more.


{% extends 'dashboard/base.html' %}
{% load static %}
{% block content %}
{% block extra_css %}
{% endblock extra_css %}
Description:
{{ description }}
Collected {{ entries_length }} results in {{ time_taken }} seconds.
Top Results
{% if top_results|length > 0 %}Click for more information.
No results found.
{% endif %}Related Topics
{% if other_results|length > 0 %}Click for more information.
No related topics found.
{% endif %}Thank you so much DuckDuckGo for having the only free search engine, you are all MVPs in our book <3


I went to the shops and bought a Carlsbad plum. I ate the plum and threw the stone at a swan. The plumstone hit the swan on its beak. I repeated this every day for a week. Then the next morning I woke up in bed to find seven swans on the pillow beside my head. They honked and pecked and I was undone, so I went to the shops for another plum. But the plumster saw my savaged condition and damned me to hellfire and perdition. “I'll sell no further plums to thee” he said, and that was the end of plums and me. Now I choose to eat other fruit, and non-fruit-based snacks to boot. As for the swans, they're still in my room, where they will stay 'til I go to my tomb.


${sectionIntro.item1.content},${sectionIntro.item2.content},${sectionIntro.item3.content}
${sectionAbout.heading}
${sectionAbout.h3}
We’ve been building unique digital products, platforms, and experiences for the past 6 years.
${sectionContact.heading}
${sectionContact.adress},${sectionContact.city}
${sectionContact.phone1} ${sectionContact.phone2}
${sectionContact.email1} ${sectionContact.email2}


UD for Beja
Tokenization and Word Segmentation
The dependencies presented in the Universal Dependencies framework are based on a lexical approach of the syntax, the first step of the processing chain is then naturally constituted by a consideration of the tokenization. The idea is to extract the syntactic information related to the words in the discourse chain through the realized split.
- In the context of Martine Vanhove’s work on the initial glossed corpus, we decided to operate a morphological segmentation which allows to highlight a number of elements related to the morphology and the syntax of the language, as Beja contains several affixes and clitics that reflect syntactic functions. In particular, we separate the inflectional affixes and clitics like
a- dif =ho:b (1SG leave SCONJ)
. - As we are dealing with oral data, we have punctuation tokens that mark breaks in the prosodic sequence, a single slash (/) indicates a minor boundary between two intonation units while a double slash (//) indicates a major prosodic break between two intonation units.
Morphology
This is an overview only. For more detailed discussion and examples, see the list of Beja POS tags and Beja features.
Tags
- The language specific tagset is the original annotation made from the extended version of the Leipzig Glossing Rules. (Available at here)
- The UD tagset is based on a conversion from the previous annotation to UPOS.
- Beja uses 16 of the universal tags (with the exception of SYM, which is not relevant for oral data)
- Due to morphological segmentation, affixes are analyzed according to their distributional/syntactic properties in the sentence, they can be tagged as PRO in case they carry out the pronominal subject index function, as SCONJ in case of a nominalizater marking a converb, as PART if it is a case marker, AUX to highlight verbal derivational affixes or as X in case of a phonic element, a false start or a swallowing noise. The same thing happens for clitics that can be DET or PRON.
Features
- Beja treebank uses 21 universal features
- Two langage specific features have been added to the scheme: Singulative which is used to distinguish collective nouns that designate a single entity with a boolean value (Yes if it is a singulative), TokenType to describe the token type due to morphological segmentation (with values affix, clitic, stem and unfinished) and VerbClass to mark both verb classes in Beja (with values 1 and 2).
- We also added specific values :
- Augmentative for the Degree feature (
Aspect=Aug
) - Aorist for the Aspect feature (
Aspect=Aor
) - Perfective for the Aspect feature (
Aspect=Pfv
)
- Augmentative for the Degree feature (
Syntax
- Bedja is mostly a final-headed language. The reverse order can also be found sometimes, for reasons related to the organization of the informational structure.
- The dependency analysis is a conversion of the manual annotation to SUD format. For more information, see SUD guidelines
- Beja subjects are mostly noun phrases in inital position and are analyse by a standard nsubj relation. In addition to a possible independent lexical or pronominal subject, the Beja verb calls for an attached pronominal subject marker. This construction will be described via the language-specific sub-relation
aff
to the nsubj relation (nsubj:aff
). - This process is the same used to describe other affixes relations. We have
obj:aff
,case:aff
,aux:aff
,mark:aff
anddep:aff
. - The complement is mostly pre-posed at the head of the phrase. We have direct object with
obj
, indirect object withiobj
.
Treebanks
There are 1 Beja UD treebank:


ModKeeper
Readout
June 28, 2018
About Us
Zach Cristol - Alex Valdez
Project Description
- Goal: provide easier path to bring internal applications to the cloud
- Creating repository of modules for configurable cloud infrastructures
- Infrastructure as a service (iaas): Provide a simple abstraction to create a suite of infrastructure
Use Case
- There is a team that is creating an app or has an app on prem
- The team sees benifits of cloud applications (flexible cost, highly configurable, high reliability, high mobility)
- When the team needs to set up a suite of infrastructure (Cloud Endpoints, Appengine, Cloud SQL, Storage Bucket), they can dictate the configuration of the infrastructure in the form of a module.
- These modules (configurations) can then be stored on our application and be used and tweaked for others to use
Buisness Values
- Deploy to cloud without the headache
- Have developers spend less time on the command line and more time in code
- Simple, repeatable, configurable: Creating a rich community of module creators and users for internal developers
- We ARE a use case (Cloud Endpoints, Appengine, Cloud SQL, Storage Bucket)
Milestones reached
- Created database schema
- Created an Appengine instance, CloudSQL instance, and a Cloud storage bucket
- Implemented schema within CloudSQL
- Implemented backend API to populate the database
Milestones to Accomplish
- Complete the back end API implementation for all endpoints (Module)
- Implement Module upload and download
- Create MVP application
- Front end design and application features


| Class | Description |
|---|---|
| CommodityRiskConcentrationThreshold |
CommodityRiskConcentrationThreshold demonstrates the Extraction and Display of ISDA SIMM 2.0 Commodity
Risk Concentration Thresholds.
|
| CommoditySettings |
CommoditySettings demonstrates the Extraction and Display of ISDA SIMM 2.0 Single/Cross Currency Commodity
Bucket Risk Weights, Correlations, and Systemics.
|
| CreditNonQualifyingSettings |
CreditNonQualifyingSettings demonstrates the Extraction and Display of ISDA SIMM 2.0 Single/Cross Currency
Credit Non-Qualifying Bucket Risk Weights, Systemics, and Correlations.
|
| CreditQualifyingSettings |
CreditQualifyingSettings demonstrates the Extraction and Display of ISDA SIMM 2.0 Single/Cross Currency
Credit Qualifying Bucket Risk Weights, Systemics, and Correlations.
|
| CreditRiskConcentrationThreshold |
CreditRiskConcentrationThreshold demonstrates the Extraction and Display of ISDA SIMM 2.0 Credit Risk
Concentration Thresholds.
|
| EquityRiskConcentrationThreshold |
EquityRiskConcentrationThreshold demonstrates the Extraction and Display of ISDA SIMM 2.0 Equity Risk
Concentration Thresholds.
|
| EquitySettings |
EquitySettings demonstrates the Extraction and Display of ISDA SIMM 2.0 Single/Cross Currency Equity
Bucket Risk Weights, Correlations, and Systemics.
|
| FXSettings |
FXSettings demonstrates the Extraction and Display of ISDA SIMM 2.0 FX Bucket Risk Weights, Correlations,
and Systemics.
|
| InterestRateConcentrationThreshold |
InterestRateConcentrationThreshold demonstrates the Extraction and Display of ISDA SIMM 2.0 Interest Rate
Concentration Thresholds.
|
| InterestRateSettings |
InterestRateSettings demonstrates the Extraction and Display of ISDA SIMM 2.0 Single/Cross Currency
Interest Rate Tenor Risk Weights, Systemics, and Correlations.
|


#include <axis2_svc_skeleton.h>
Public Attributes | |
| int(* | init )(axis2_svc_skeleton_t *svc_skeleton, const axutil_env_t *env) |
| axiom_node_t *(* | invoke )(axis2_svc_skeleton_t *svc_skeli, const axutil_env_t *env, axiom_node_t *node, axis2_msg_ctx_t *msg_ctx) |
| axiom_node_t *(* | on_fault )(axis2_svc_skeleton_t *svc_skeli, const axutil_env_t *env, axiom_node_t *node) |
| int(* | free )(axis2_svc_skeleton_t *svc_skeli, const axutil_env_t *env) |
| int(* | init_with_conf )(axis2_svc_skeleton_t *svc_skeleton, const axutil_env_t *env, struct axis2_conf *conf) |
| int( * axis2_svc_skeleton_ops::init)(axis2_svc_skeleton_t *svc_skeleton, const axutil_env_t *env) |
Initializes the service implementation.
| svc_skeleton | pointer to svc_skeleton struct | |
| env | pointer to environment struct |
| axiom_node_t*( * axis2_svc_skeleton_ops::invoke)(axis2_svc_skeleton_t *svc_skeli, const axutil_env_t *env, axiom_node_t *node, axis2_msg_ctx_t *msg_ctx) |
Invokes the service. This function should be used to call up the functions implementing service operations.
| svc_skeli | pointer to svc_skeli struct | |
| env | pointer to environment struct | |
| node | pointer to node struct | |
| msg_ctx | pointer to message context struct |
| axiom_node_t*( * axis2_svc_skeleton_ops::on_fault)(axis2_svc_skeleton_t *svc_skeli, const axutil_env_t *env, axiom_node_t *node) |
This method would be called if a fault is detected.
| svc_skeli | pointer to svc_skeli struct | |
| env | pointer to environment struct | |
| node | pointer to node struct |
| int( * axis2_svc_skeleton_ops::free)(axis2_svc_skeleton_t *svc_skeli, const axutil_env_t *env) |
Frees service implementation.
| svc_skeli | pointer to svc_skeli struct | |
| env | pointer to environment struct |
| int( * axis2_svc_skeleton_ops::init_with_conf)(axis2_svc_skeleton_t *svc_skeleton, const axutil_env_t *env, struct axis2_conf *conf) |
Initializes the service implementation.
| svc_skeleton | pointer to svc_skeleton struct | |
| env | pointer to environment struct | |
| conf | pointer to axis2c configuration struct |


Learn by interacting with the Monero Stagenet Network. Tutorials validates your steps and teaches you how to use Monero.
You can do every tutorial without spending any real Monero
All tutorials work only in the Monero Stagenet. The Stagenet is exactly the same as Mainnet, only that coins have no value.
The technology is the same, what you learn on the Stagenet works the same on the Mainnet.
The entire code for Monero Interactive is hosted on GitHub. If you find anything broken, incorrect information, or something else, you can create issues on our GitHub.
You can also reach us at {{supportEmail}}


Secretary
Kristjen Nielsen on Wednesday said DHS and the Secret Service are readily available to provide security for
President Trump’s State of the Union Address, following Speaker Nancy Pelosi’s call to postpone the speech due to
“security” concerns.
“The Department of Homeland Security and the US Secret Service are fully prepared to
support and secure the State of the Union. We thank the Service for their mission focus and dedication and for
all they do each day to secure our homeland,” Neilson tweeted.
https://twitter.com/secnielsen/status/1085619181477904385?s=21
Pelosi has sent a letter to President Trump asking to reschedule the State of the Union address due to the
Government shutdown.
https://twitter.com/abc/status/1085550115392241667?s=21
[January
16, 2019
The President The White House 1600 Pennsylvania Avenue, Northwest Washington, D.C. 20500
Dear Mr. President:
On January 3rd, it was my privilege as Speaker to invite you to deliver the State of the Union address on
January 29th. The Constitution calls for the President to "from time to time give to the Congress Information of
the State of the Union." During the 19th Century and up until the presidency of Woodrow Wilson, these annual
State of the Union messages were delivered to Congress in writing. And since the start of modern budgeting in
Fiscal Year 1977, a State of the Union address has never been delivered during a government shutdown.
In
September 2018, Secretary Nielsen designated State of the Union Addresses as National Special Security Events
(NSSEs), recognizing the need for "the full resources of the Federal Government to be brought to bear" to ensure
the security of these events. The extraordinary demands presented by NSSEs require weeks of detailed planning
with dozens of agencies working together to prepare for the safety of all participants.
The U.S. Secret
Service was designated as the lead federal agency responsible for coordinating, planning, exercising, and
implementing security for National Special Security Events by Public Law 106-544, December 19, 2000. However,
both the U.S. Secret Service and the Department of Homeland Security have not been funded for 26 days now — with
critical departments hamstrung by furloughs.
Sadly, given the security concerns and unless government
re-opens this week, I suggest that we work together to determine another suitable date after government has
re-opened for this address or for you to consider delivering your State of the Union address in writing to the
Congress on January 29th
Thank you for your attention to this matter.
Sincerely, CV■A
NANCY ,)E,‘).
Speaker of the House
House Speaker Nancy Pelosi is seeking to delay President Donald Trump’s State of the Union
address until after the government shutdown is over.
“A State of the Union address has never been
delivered during a government shutdown,” she said in a letter to Trump, adding “Given the security concerns and
unless government re-opens this week, I suggest that we work together to determine another suitable date after
government has re-opened for this address or for you to consider delivering your State of the Union address in
writing to the Congress on January 29th.”
Pelosi referenced the lack of pay to the U.S. Secret Service and
the Department of Homeland Security employees, and the possible effect on security surrounding the landmark
yearly event.
Pelosi’s request to Trump for a delay in the state of the union address comes during the
partial government shutdown, which is part of a broader high stakes fight over funding for the border wall. Trump
is demanding $5.7 billion in funding for the wall, but Democratic leaders are saying they’ll only offer $1.6
billion.
What are your thoughts? Please share and comment with your opinions.


we can bring two things together mentally in various ways. blending is one of them
Conceptual blending is a basic mental operation that leads to new meaning, global insight, and conceptual compressions useful for memory and manipulation of otherwise diffuse ranges of meaning.
this is related to metaphor
conceptual blending is facilitated by a generic space which connects both (IDENTIFY THOSE IN METAPHORS FOR ARRAYS, STREAMS, TYPES, or maybe types already are generic spaces)
FORMS ARE MENTAL ELEMENTS (p.72) (but then they really focus more on signs and units, and it seems to be more applicable to codespeak than to source code)
one of the most familiar human scenes is caused motion -> throwing an error, catching an exception, passing an argument
double-scope: “essential frame and identity properties are brought in from both inputs. Double-Scope Blending can resolve clashes between inputs that differ fundamentally in content and topology. This is a powerful source of human creativity.” (p.60) this is what ricoeur says when he specifies that both target and origin domains of the metaphor influence each other. compression: Compression maximizes and intensifies the set of essential relations shared between two things. Blending can perform massive compressions and express them in simple forms. How is that beautiful? It’s beautiful when it starts to have secondary meangings (insight as to XXX, problem domain, computer hardware domain, the next one coming, etc.)
it is always about driving blends in the direction of familiar, human-scale structure; and it readily anchors itself on existing material objects (p. 85)
re: this anchoring on material objects; the only material objects at hand are textual ones.
other references
J. GOGUEN, “An Introduction to Algebraic Semiotics, with Application to User Interface Design.”, in C. NEHANIV (ed.), Computation for Metaphor, Analogy, and Agents, A volume in the series “Lecture Notes in Artificial Intelligence”, Berlin, Springer-Verlag, 1999, pp. 242-291. T. VEALE, “Pragmatic Forces in Metaphor Use: The Mechanics of Blend Recruitment in Visual Metaphors”, in C. NEHANIV, op. cit., pp. 37-51.


#include <cusb_ch9_structs_if.h>
Data Fields | |
| uint8_t | bLength |
| uint8_t | bDescriptorType |
| uint8_t | bDevCapabilityType |
| uint8_t | bmAttributes |
| uint16_t | wSpeedSupported |
| uint8_t | vFunctionalitySupport |
| uint8_t | bU1DevExitLat |
| uint16_t | bU2DevExitLat |
SuperSpeed USB Device Capability Descriptor (see Table 9-16 of USB Spec 3.1)
| uint8_t CH9_UsbSSDeviceCapabilityDescriptor_s::bDescriptorType |
DEVICE CAPABILITY Descriptor type
| uint8_t CH9_UsbSSDeviceCapabilityDescriptor_s::bDevCapabilityType |
Capability type: SUPERSPEED_USB
| uint8_t CH9_UsbSSDeviceCapabilityDescriptor_s::bLength |
Size of this descriptor
| uint8_t CH9_UsbSSDeviceCapabilityDescriptor_s::bmAttributes |
Bitmap encoding of supported device level features
| uint8_t CH9_UsbSSDeviceCapabilityDescriptor_s::bU1DevExitLat |
U1 Device Exit Latency
| uint16_t CH9_UsbSSDeviceCapabilityDescriptor_s::bU2DevExitLat |
U2 Device Exit Latency
| uint8_t CH9_UsbSSDeviceCapabilityDescriptor_s::vFunctionalitySupport |
The lowest speed at which all the functionality supported by the device is available to the user
| uint16_t CH9_UsbSSDeviceCapabilityDescriptor_s::wSpeedSupported |
Bitmap encoding of the speed supported by device


Step 1: Product Definition
A plan of the project’s key components. This should include a description of the current environment.
Outputs
- Define Project Plan
- Signed MOU
Leads
- Project Team POC
- VA Business Owner
- VA Product Lead
Participants
- Project Team POC
- VA Business Owner
- VA Product Lead
- VA SMEs
VA Stakeholder Engagement
- Complete initial vets.gov migration assessment
- Identify VA team roles as defined in the project Memo of Understanding (MOU)
- Work collaboratively with the vets.gov team on any required MOU customizations specific to the project
- Validated Project Memo of Understanding (MOU)
Planning
- Define project goals
- Define scope
- Create initial timeline including known deadlines
- Identify resources, allocations and budget
- Identify needed service level agreements (SLAs)
- Define and assign roles
- Identify final decision makers
- Outline current technical environment and platform dependencies
- Create a project plan


| TOC |
|
JSON Schema defines the media type "application/schema+json", a JSON based format for defining the structure of JSON data. JSON Schema provides a contract for what JSON data is required for a given application and how to interact with it. JSON Schema is intended to define validation, documentation, hyperlink navigation, and interaction control of JSON data.
This Internet-Draft is submitted in full conformance with the provisions of BCP 78 and BCP 79.
Internet-Drafts are working documents of the Internet Engineering Task Force (IETF). Note that other groups may also distribute working documents as Internet-Drafts. The list of current Internet-Drafts is at http://datatracker.ietf.org/drafts/current/.
Internet-Drafts are draft documents valid for a maximum of six months and may be updated, replaced, or obsoleted by other documents at any time. It is inappropriate to use Internet-Drafts as reference material or to cite them other than as “work in progress.”
This Internet-Draft will expire on August 3, 2013.
Copyright (c) 2013 IETF Trust and the persons identified as the document authors. All rights reserved.
This document is subject to BCP 78 and the IETF Trust's Legal Provisions Relating to IETF Documents (http://trustee.ietf.org/license-info) in effect on the date of publication of this document. Please review these documents carefully, as they describe your rights and restrictions with respect to this document. Code Components extracted from this document must include Simplified BSD License text as described in Section 4.e of the Trust Legal Provisions and are provided without warranty as described in the Simplified BSD License.
1.
Introduction
2.
Conventions and Terminology
3.
Core terminology
3.1.
Property, item
3.2.
JSON Schema, keywords
3.3.
Empty schema
3.4.
Root schema, subschema
3.5.
JSON Schema primitive types
3.6.
JSON value equality
3.7.
Instance
4.
Overview
4.1.
Validation
4.2.
Hypermedia and linking
5.
General considerations
5.1.
Applicability to all JSON values
5.2.
Programming language independence
5.3.
JSON Schema and HTTP
5.4.
JSON Schema and other protocols
5.5.
Mathematical integers
5.6.
Extending JSON Schema
5.7.
Security considerations
6.
The "$schema" keyword
6.1.
Purpose
6.2.
Customization
7.
URI resolution scopes and dereferencing
7.1.
Definition
7.2.
URI resolution scope alteration with the "id" keyword
7.2.1.
Valid values
7.2.2.
Usage
7.2.3.
Canonical dereferencing and inline dereferencing
7.2.4.
Inline dereferencing and fragments
7.3.
Security considerations
8.
Recommended correlation mechanisms for use with the HTTP protocol
8.1.
Correlation by means of the "Content-Type" header
8.2.
Correlation by means of the "Link" header
9.
IANA Considerations
10.
References
10.1.
Normative References
10.2.
Informative References
Appendix A.
ChangeLog
| TOC |
JSON Schema is a JSON media type for defining the structure of JSON data. JSON Schema provides a contract for what JSON data is required for a given application and how to interact with it. JSON Schema is intended to define validation, documentation, hyperlink navigation, and interaction control of JSON data.
This specification defines JSON Schema core terminology and mechanisms; related specifications build upon this specification and define different applications of JSON Schema.
| TOC |
The key words "MUST", "MUST NOT", "REQUIRED", "SHALL", "SHALL NOT", "SHOULD", "SHOULD NOT", "RECOMMENDED", "MAY", and "OPTIONAL" in this document are to be interpreted as described in RFC 2119 (Bradner, S., “Key words for use in RFCs to Indicate Requirement Levels,” March 1997.) [RFC2119].
The terms "JSON", "JSON text", "JSON value", "member", "element", "object", "array", "number", "string", "boolean", "true", "false", and "null" in this document are to be interpreted as defined in RFC 4627 (Crockford, D., “The application/json Media Type for JavaScript Object Notation (JSON),” July 2006.) [RFC4627].
| TOC |
| TOC |
When refering to a JSON Object, as defined by [RFC4627] (Crockford, D., “The application/json Media Type for JavaScript Object Notation (JSON),” July 2006.), the terms "member" and "property" may be used interchangeably.
When refering to a JSON Array, as defined by [RFC4627] (Crockford, D., “The application/json Media Type for JavaScript Object Notation (JSON),” July 2006.), the terms "element" and "item" may be used interchangeably.
| TOC |
A JSON Schema is a JSON document, and that document MUST be an object. Object members (or properties) defined by JSON Schema (this specification, or related specifications) are called keywords, or schema keywords.
A JSON Schema MAY contain properties which are not schema keywords.
| TOC |
An empty schema is a JSON Schema with no properties, or with properties which are not schema keywords.
| TOC |
This example of a JSON Schema has no subschemas:
{ "title": "root" }
JSON Schemas can also be nested, as in this example:
{ "title": "root", "otherSchema": { "title": "nested", "anotherSchema": { "title": "alsoNested" } } }
In this example, "nested" and "alsoNested" are subschemas, and "root" is a root schema.
| TOC |
JSON Schema defines seven primitive types for JSON values:
- array
- A JSON array.
- boolean
- A JSON boolean.
- integer
- A JSON number without a fraction or exponent part.
- number
- Any JSON number. Number includes integer.
- null
- The JSON null value.
- object
- A JSON object.
- string
- A JSON string.
| TOC |
Two JSON values are said to be equal if and only if:
both are nulls; or
both are booleans, and have the same value; or
both are strings, and have the same value; or
both are numbers, and have the same mathematical value; or
both are arrays, and:
have the same number of items; and
items at the same index are equal according to this definition; or
both are objects, and:
have the same set of property names; and
values for a same property name are equal according to this definition.
| TOC |
An instance is any JSON value. An instance may be described by one or more schemas.
An instance may also be referred to as "JSON instance", or "JSON data".
| TOC |
This document proposes a new media type "application/schema+json" to identify JSON Schema for describing JSON data. JSON Schemas are themselves written in JSON. This, and related specifications, define keywords allowing to describe this data in terms of allowable values, textual descriptions and interpreting relations with other resources. The following sections are a summary of features defined by related specifications.
| TOC |
JSON Schema allows applications to validate instances, either non interactively or interactively. For instance, an application may collect JSON data and check that this data matches a given set of constraints; another application may use a JSON Schema to build an interactive interface in order to collect user input according to constraints described by JSON Schema.
| TOC |
JSON Schema provides a method for extracting link relations from instances to other resources, as well as describing interpretations of instances as multimedia data. This allows JSON data to be interpreted as rich hypermedia documents, placed in the context of a larger set of related resources.
| TOC |
| TOC |
It is acknowledged that an instance may be any valid JSON value as defined by [RFC4627] (Crockford, D., “The application/json Media Type for JavaScript Object Notation (JSON),” July 2006.). As such, JSON Schema does not mandate that an instance be of a particular type: JSON Schema can describe any JSON value, including null.
| TOC |
JSON Schema is programming language agnostic. The only limitations are the ones expressed by [RFC4627] (Crockford, D., “The application/json Media Type for JavaScript Object Notation (JSON),” July 2006.) and those of the host programming language.
| TOC |
This specification acknowledges the role of HTTP (Fielding, R., Gettys, J., Mogul, J., Frystyk, H., Masinter, L., Leach, P., and T. Berners-Lee, “Hypertext Transfer Protocol -- HTTP/1.1,” June 1999.) [RFC2616] as the dominant protocol in use on the Internet, and the wealth of official specifications related to it.
This specification uses a subset of these specifications to recommend a set of mechanisms, usable by this protocol, to associate JSON instances to one or more schemas.
| TOC |
JSON Schema does not define any semantics for the client-server interface for any other protocols than HTTP. These semantics are application dependent, or subject to agreement between the parties involved in the use of JSON Schema for their own needs.
| TOC |
It is acknowledged by this specification that some programming languages, and their associated parsers, use different internal representations for floating point numbers and integers, while others do not.
As a consequence, for interoperability reasons, JSON values used in the context of JSON Schema, whether that JSON be a JSON Schema or an instance, SHOULD ensure that mathematical integers be represented as integers as defined by this specification.
| TOC |
Implementations MAY choose to define additional keywords to JSON Schema. Save for explicit agreement, schema authors SHALL NOT expect these additional keywords to be supported by peer implementations. Implementations SHOULD ignore keywords they do not support.
| TOC |
Both schemas and instances are JSON values. As such, all security considerations defined in RFC 4627 (Crockford, D., “The application/json Media Type for JavaScript Object Notation (JSON),” July 2006.) [RFC4627] apply.
| TOC |
| TOC |
The "$schema" keyword is both used as a JSON Schema version identifier and the location of a resource which is itself a JSON Schema, which describes any schema written for this particular version.
This keyword MUST be located at the root of a JSON Schema. The value of this keyword MUST be a URI (Berners-Lee, T., Fielding, R., and L. Masinter, “Uniform Resource Identifier (URI): Generic Syntax,” January 2005.) [RFC3986] and a valid JSON Reference (Bryan, P. and K. Zyp, “JSON Reference (work in progress),” September 2012.) [json‑reference]; this URI MUST be both absolute and normalized. The resource located at this URI MUST successfully describe itself. It is RECOMMENDED that schema authors include this keyword in their schemas.
The following values are predefined:
- http://json-schema.org/schema#
- JSON Schema written against the current version of the specification.
- http://json-schema.org/hyper-schema#
- JSON Schema written against the current version of the specification.
- http://json-schema.org/draft-04/schema#
- JSON Schema written against this version.
- http://json-schema.org/draft-04/hyper-schema#
- JSON Schema hyperschema written against this version.
- http://json-schema.org/draft-03/schema#
- JSON Schema written against JSON Schema, draft v3 (Court, G. and K. Zyp, “JSON Schema, draft 3,” September 2012.) [json‑schema‑03].
- http://json-schema.org/draft-03/hyper-schema#
- JSON Schema hyperschema written against JSON Schema, draft v3 (Court, G. and K. Zyp, “JSON Schema, draft 3,” September 2012.) [json‑schema‑03].
| TOC |
When extending JSON Schema with custom keywords, schema authors SHOULD define a custom URI for "$schema". This custom URI MUST NOT be one of the predefined values.
| TOC |
| TOC |
JSON Schema uses JSON Reference (Bryan, P. and K. Zyp, “JSON Reference (work in progress),” September 2012.) [json‑reference] as a mechanism for schema addressing. It extends this specification in two ways:
JSON Schema offers facilities to alter the base URI against which a reference must resolve by the means of the "id" keyword;
it defines a specific dereferencing mechanism extending JSON Reference to accept arbitrary fragment parts.
Altering the URI within a schema is called defining a new resolution scope. The initial resolution scope of a schema is the URI of the schema itself, if any, or the empty URI if the schema was not loaded from a URI.
| TOC |
| TOC |
The value for this keyword MUST be a string, and MUST be a valid URI. This URI MUST be normalized, and SHOULD NOT be an empty fragment (#) or the empty URI.
| TOC |
The "id" keyword (or "id", for short) is used to alter the resolution scope. When an id is encountered, an implementation MUST resolve this id against the most immediate parent scope. The resolved URI will be the new resolution scope for this subschema and all its children, until another id is encountered.
When using "id" to alter resolution scopes, schema authors SHOULD ensure that resolution scopes are unique within the schema.
This schema will be taken as an example:
{ "id": "http://x.y.z/rootschema.json#", "schema1": { "id": "#foo" }, "schema2": { "id": "otherschema.json", "nested": { "id": "#bar" }, "alsonested": { "id": "t/inner.json#a" } }, "schema3": { "id": "some://where.else/completely#" } }
Subschemas at the following URI-encoded JSON Pointer (Bryan, P. and K. Zyp, “JSON Pointer (work in progress),” September 2012.) [json‑pointer]s (starting from the root schema) define the following resolution scopes:
- # (document root)
- http://x.y.z/rootschema.json#
- #/schema1
- http://x.y.z/rootschema.json#foo
- #/schema2
- http://x.y.z/otherschema.json#
- #/schema2/nested
- http://x.y.z/otherschema.json#bar
- #/schema2/alsonested
- http://x.y.z/t/inner.json#a
- #/schema3
- some://where.else/completely#
| TOC |
When resolving a URI against a resolution scope, an implementation may choose two modes of operation:
- canonical dereferencing
- The implementation dereferences all resolved URIs.
- inline dereferencing
- The implementation chooses to dereference URIs within the schema.
Implementations MUST support canonical dereferencing, and MAY support inline dereferencing.
For example, consider this schema:
{ "id": "http://my.site/myschema#", "definitions": { "schema1": { "id": "schema1", "type": "integer" }, "schema2", { "type": "array", "items": { "$ref": "schema1" } } } }
When an implementation encounters the "schema1" reference, it resolves it against the most immediate parent scope, leading to URI "http://my.site/schema1#". The way to process this URI will differ according to the chosen dereferencing mode:
if canonical dereferencing is used, the implementation will dereference this URI, and fetch the content at this URI;
if inline dereferencing is used, the implementation will notice that URI scope "http://my.site/schema1#" is already defined within the schema, and choose to use the appropriate subschema.
| TOC |
When using inline dereferencing, a resolution scope may lead to a URI which has a non empty fragment part which is not a JSON Pointer, as in this example:
{ "id": "http://some.site/schema#", "not": { "$ref": "#inner" }, "definitions": { "schema1": { "id": "#inner", "type": "boolean" } } }
An implementation choosing to support inline dereferencing SHOULD be able to use this kind of reference. Implementations choosing to use canonical dereferencing, however, are not required to support it.
| TOC |
Inline dereferencing can produce canonical URIs which differ from the canonical URI of the root schema. Schema authors SHOULD ensure that implementations using canonical dereferencing obtain the same content as implementations using inline dereferencing.
Extended JSON References using fragments which are not JSON Pointers are not dereferenceable by implementations choosing not to support inline dereferencing. This kind of reference is defined for backwards compatibility, and SHOULD NOT be used in new schemas.
| TOC |
It is acknowledged by this specification that the majority of interactive JSON Schema processing will be over HTTP. This section therefore gives recommendations for materializing an instance/schema correlation using mechanisms currently available for this protocol. An instance is said to be described by one (or more) schema(s).
| TOC |
It is RECOMMENDED that a MIME type parameter by the name of "profile" be appended to the "Content-Type" header of the instance being processed. If present, the value of this parameter MUST be a valid URI, and this URI SHOULD resolve to a valid JSON Schema. The MIME type MUST be "application/json", or any other subtype.
An example of such a header would be:
Content-Type: application/my-media-type+json; profile=http://example.com/my-hyper-schema#
| TOC |
When using the "Link" header, the relation type used MUST be "describedBy", as defined by RFC 5988, section 5.3 (Nottingham, M., “Web Linking,” October 2010.) [RFC5988]. The target URI of the "Link" header MUST be a valid JSON Schema.
An example of such a header would be:
Link: <http://example.com/my-hyper-schema#>; rel="describedBy"
| TOC |
The proposed MIME media type for JSON Schema is defined as follows:
type name: application;
subtype name: schema+json.
| TOC |
| TOC |
| [RFC2119] | Bradner, S., “Key words for use in RFCs to Indicate Requirement Levels,” BCP 14, RFC 2119, March 1997 (TXT, HTML, XML). |
| TOC |
| [RFC2616] | Fielding, R., Gettys, J., Mogul, J., Frystyk, H., Masinter, L., Leach, P., and T. Berners-Lee, “Hypertext Transfer Protocol -- HTTP/1.1,” RFC 2616, June 1999 (TXT, PS, PDF, HTML, XML). |
| [RFC3986] | Berners-Lee, T., Fielding, R., and L. Masinter, “Uniform Resource Identifier (URI): Generic Syntax,” STD 66, RFC 3986, January 2005 (TXT, HTML, XML). |
| [RFC4627] | Crockford, D., “The application/json Media Type for JavaScript Object Notation (JSON),” RFC 4627, July 2006 (TXT). |
| [RFC5988] | Nottingham, M., “Web Linking,” RFC 5988, October 2010 (TXT). |
| [json-reference] | Bryan, P. and K. Zyp, “JSON Reference (work in progress),” September 2012. |
| [json-pointer] | Bryan, P. and K. Zyp, “JSON Pointer (work in progress),” September 2012. |
| [json-schema-03] | Court, G. and K. Zyp, “JSON Schema, draft 3,” September 2012. |
| TOC |
- draft-00
- Initial draft.
- Salvaged from draft v3.
- Mandate the use of JSON Reference, JSON Pointer.
- Define the role of "id". Define URI resolution scope.
- Add interoperability considerations.
| TOC |
| Francis Galiegue | |
| EMail: |<EMAIL_ADDRESS>|
| Kris Zyp (editor) | |
| SitePen (USA) | |
| 530 Lytton Avenue | |
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Genomeview
This
Executor is a subclass of
SQLUser and is used to inspect the contents of
Genome
datbases, as described under SQLUser and collected by
CollectGenome.
There are no parameters.
Genomeview uses a set of tabbed panes. At startup only one of these is
present. If you are familiar with SQL, it provides the opportunity (now
or later) to enter and execute any SQL command and view the result, if
any. However, its main function is to specify a genome to view, with
the Choose genome choice box (where the previous choice is marked
with an '*'). Once you have done so, the other
panes are added (though with a large database and a computer with
limited capacity there may be a delay of several minutes):
Chains overview:
shows for each chromosome the distribution of Chains
along its length. If one of the red lines is clicked, the Chain(s)
corresponding to it (and its neighbours) will be shown in the Tables
pane. Buttons allow doubling or halving the horizontal scale, and
saving of the graphics.
LTRs overview:
shows for each chromosome the distribution of LTRs
along its length. If one of the blue lines is clicked, the LTR(s)
corresponding to it (and its neighbours) will be shown in the Tables
pane. Buttons allow doubling or halving the horizontal scale, and
saving of the graphics.
Tables: Three
scrollable tables show contents of the Chains, Puteins and LTRs tables,
either a small selection (after clicking in Chains overview or LTRs
overview or another table), a specfied selection, a whole chromosome
or the whole genome,
as chosen with the controls below each table. Clicking in a table has
the following consequences:
- In a column head: The table is sorted (or resorted in
opposite order) on the column in question. If you Shift-Click, the
table is double sorted on the column and the most recently clicked
column. By repeated Shift-Clicking you may sort on multiple columns,
but don't push your luck!
- In a data cell: if the cell content is textual, it is
shown fully in a separate window. In any case, the row is selected,
with effects depending on the table:
- In Chains: The Puteins and LTRs (if any)
corresponding to the selected Chain are shown in their tables. The
Chain
details and Chain info panes receive contents relating to the selected
Chain.
- In Puteins: The Chain to which the selected Putein
belongs is shown.
- In LTRs: The Chain to which the selected LTR
belongs (if any) is shown.
It is possible to select multiple lines in a table by
platform-dependent modified clicking. The above-mentioned effects on
the other table will apply for all the selected items.
Below each table are the following gadgets:
- A text field showing the total number of rows and
number of selected rows.
- A 'Show where' button. Clicking it changes the table
contents
defined by the next gadget,
- A choice box. If it is empty, all elements of the
relevant kind are included. If not, it should be a valid SQL 'where'
clause, which you may either type yourself, or use one of the provided
alternatives to include only one chromosome.
- An 'Export selected...' button. It exports the
selected
rows, or all the rows if none are selected, either
- to a text file in one of several formats. A list
window allows you to choose which columns to export, by reordering and
selecting. Tabs, linefeeds and CRs inside the fields will be replaced
by semicolons.
- to an SQL database in a
similar format as that used by CollectGenome,
but there is no
Chromosomes table. Instead the relevant fields in Chromosomes is added
to each of the other three tables.
- (at your peril!) to a specified (as database.table)
SQL table. A list
window allows you to choose which columns to export, by reordering and
selecting. New columns are added to the target table as necessary, but
other incompatibilities are not handled.
- A choice box to specify the target of the preceding
button. You can select a file format (upper part) a new SQL database
(enter name into empty line) or an existing database (lower part) or an
SQL table (new or old) by specifying both database and table, separated
by a dot.
Chain details:
Contains
- one (or more if the Chain
genus is ambiguous) graphic representations of the Chain with its
Puteins and LTRs. It should be largely self-explaining. Black boxes
denote the longest ORF inside each putein. If a putein box is
cross-hatched, it means that the number of stop codons plus the number
of shifts exceeds 2. Vertical dashed lines
represent ALUs, L1s or other elements excluded by SweepDNA.
Buttons below each allow exporting of the graphics to a file, or
opening the chain in Chainview, if the
original results (possibly zipped) are available; if they are not where
expected, you will be asked. Clicking in a Putein
opens Puteinview with the putein.
Clicking in an LTR opens a window similar to the RepBase similarity
pane (see below) relating specifically to the LTR.
- a similar, but simpler graphic representation of the
most similar reference retrovirus in 'forretrotector.refrvs', also with
a button for graphics export.
- a tabbed pane showing graphically regions of
similarity (see RepBaseFinds field in SQLUser)
between the Chain (horizontal axis) and the consensus sequences from
RepBase in
'forretrotector.repbasetemplates' (vertical axis). If the sequence
name in the tab is
followed by a '<', it means that the find is in the complementary
strand.
Chain info: Textual
information about the Chain, as described under
Chainview.
Ref info: The
original HTML page describing the most similar reference retrovirus in
'forretrotector.refrvs'.