Ah, the good ol' days. When my lungs were treated to the kindest smoke money could buy. Too bad prohibition makes it an economic burden. I'm talking about our good friend cannabis. Seems a strange place to start, but I feel its important. I smoked the magic hemp on and off since I was 16. At the age of 20 I was smoking about an 1/8th every 2-4 weeks. Learned a lot about myself. Wouldn't trade any of the experiences, good or bad, for anything. Don't regret a thing...
Well...I do regret one thing. That I ever stopped.
That's right. I regret the day I decided to stop smoking cannabis. It wasn't doing anything bad outside the realm of my pocketbook. In fact, it did a lot of good. I was diagnosed with post traumatic stress disorder at the age of 4, and up to the point I started smoking herb, every waking moment was an irrational panic attack. But I stopped the self medicating because I wanted to save up money quick to embark on an expensive endeavor that turned out to be a big mistake.
I went and studied oil painting in europe for 1 1/2 monthes. It was supposed to be 3, but like I said, I realized it was a mistake and went back home, more broke and stressed out then ever. I had a hard time getting a job when I got back, so that meant no cannabis. I remember the day, itching for something to smoke after monthes of fruitless job hunting, I caved and bought cigarrettes. When I was toking cannabis I didn't take any other substances other than the occasional mushroom voayage.
In the beginning tobacco seemed great. First time I smoked it I couldn't get up, colors exploded in my face, and I started giggling. It started to become habitual and now, after only 6 monthes I smoke up to 6-12 cigs a day. These past 6 monthes with tobacco have brought an unforseen 'gift'. My chest hurts. Bad. Especially right after a cigarette. On the left side no less. I'm beginning to fear for my heart, yet I keep smoking, even though the 'magic' is gone.
The stress piles up, and so do the cigarrette butts around my feet. Its very expensive, easily costs me $15-20 a week, not to mention the exponential damage on my heart. Its no cheaper than bud, doesn't taste as good, doesn't relieve stress as good, and is HORRIBLY addictive. I can, and have many times have said no to bud, I can't say no to a cigarette.
I want so bad to go back to the embrace of mother hemp, but my old supplier is gone, all my old friends have moved on, and I went back to college after a year hiatus. I know no one there since I just transferred back and am such a mental wreck from the past year of my life that I'm keeping a lot of distance from people. When I'm not at school or work I'm sitting alone at home smoking, trying to find some motivation to pursue my true passion and talent: oil painting.
Before, I was smoking herb, painting all the time, was doing good in school, my bank account always had a nice cushion, and feeling good about life in general. Today, I drove an hour to work, ran out of gas because the paycheck I deposited yesterday all went towards the huge debt I owe my bank for the financial crisis I created by funding that trip to hell, and ended up sitting in the parking lot of the bank for hours unable to turn my car on just smoking smoking smoking until I got a hold of someone to drive all the way out where I was to give me $20 to get home. I don't know how I'm going to go to school until my next paycheck. But I'm sure I'll find enough change in my couch cushions for a pack.
I went home and smoked and smoked and smoked.
I am so tired.
And this isn't helping.
At all.
Stay clear of this one people. I'm really fearing for my health at this point, my left arm goes numb sometimes. Its literally killing me. And I'm at a point where I just don't care anymore.
Why is the hand of death that chokes my heart legal? Why is the sweet spicy breath of of peace I once partook in illegal? I will never understand this. I am beginning to accept the fact that my life will be a testament to the hypocrisy that resides in this. I will be seriously crippled at a young age by a socially acceptable legal drug that carries such a huge risk, in a vain attempt to find a subsitiute for a demonized illegal one that did no harm to me whatsoever other after years of use other than calm my nerves and give me a slight cold when I stopped smoking it.
I am fairly certain that my heart problems have nothing to do with past cannabis use. There was a year inbetween whenIi stopped smoking cannabis and started smoking tobacco. In that year between I felt physically fine, a bit stressed out though a lot less than before I started smoking herb. The stress didn't get to me until after returning from europe and watching all the money I saved for so long get gobbled up for what turned out to be such a worthless cause.  Within a month of smoking tobacco my chest began to grow heavy and here I am now trying to ignore the stabbing pain in my chest.
Bah, I'm tired of ranting about my life with tobacco. I'm going to go have a smoke and hope my heart doesn't explode quite yet.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


What is SpO2?
Oxygen saturation (SpO2) is a measurement of how much oxygen your blood is carrying as a percentage of the maximum it could carry. For a healthy individual, the normal SpO2 should be between 96% to 99%. High altitudes and other factors may affect what is considered normal for a given individual.


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Marvel Realtors, Pune (India) are known for their premium residences. The website is their brochure for past and ongoing work, with a unique drag and drop feature to compare projects, amenities and other features in each.


Hello! My name is Kiran Nicole Rai and I am currently working on my final project as part of the Human-Computer Interaction MSc program at the University of Birmingham. This experiment is under the supervision of Russell Beale, a professor of Human-Computer Interaction at the university. This experiment is a component of my dissertation. Your data and responses will be recorded anonymously and used for research purposes only.
For this experiment, you must use a laptop or PC. You will NOT have your webcam on. You will be a guest in a meeting of four university students and you must pay attention throughout this experiment as you will be asked some questions at the end. The meeting will last for just under 10 minutes and, when the meeting has finished, you will be automatically redirected to a Google Forms page where you will be asked the questions. Once you begin the meeting, you will not be able to fast forward nor rewind it, but you may pause. Upon pausing the meeting, you will not be able to see anything until you press play again. You must NOT refresh the page at any time or you will have to restart the experiment. Do not worry if the meeting sometimes freezes for a few seconds - this is normal.
If you have any questions, please feel free to text or email me at<EMAIL_ADDRESS>Please press 'Begin Meeting' whenever you are ready to start the experiment. If you have paused, press 'Play' whenever you are ready to resume the experiment.


Exodus 34:5
And the LORD descended in the cloud, and stood with him there, and proclaimed the name of the LORD.


本アプリケーションは、以下のライブラリ、およびプログラムコードを使用しています。
This application is built with following libraries and program codes.
CoverFlowGallery
Copyright (C) 2007 The Android Open Source Project
Licensed under the Apache License, Version 2.0 (the "License");
you may not use this file except in compliance with the License.
You may obtain a copy of the License at http://www.apache.org/licenses/LICENSE-2.0
Unless required by applicable law or agreed to in writing, software
distributed under the License is distributed on an "AS IS" BASIS,
WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
See the License for the specific language governing permissions and
limitations under the License.
This code is base on the Android Gallery widget and was modify
by Neil Davies neild001 'at' gmail dot com to be a Coverflow widget
@author Neil Davies
EndressAdapter
Copyright (c) 2008-2009 CommonsWare, LLC
Portions (c) 2009 Google, Inc.
Licensed under the Apache License, Version 2.0 (the "License"); you may
not use this file except in compliance with the License. You may obtain
a copy of the License at http://www.apache.org/licenses/LICENSE-2.0
Unless required by applicable law or agreed to in writing, software
distributed under the License is distributed on an "AS IS" BASIS,
WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
See the License for the specific language governing permissions and
limitations under the License.
LRU-Cache
Copyright 2003-2005 Jive Software.
All rights reserved. Licensed under the Apache License, Version 2.0 (the "License");
you may not use this file except in compliance with the License.
You may obtain a copy of the License at http://www.apache.org/licenses/LICENSE-2.0
Unless required by applicable law or agreed to in writing, software
distributed under the License is distributed on an "AS IS" BASIS,
WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
See the License for the specific language governing permissions and
limitations under the License.
PullToRefreshListView
Copyright (C) 2011 Johan Nilsson <http://markupartist.com>
Licensed under the Apache License, Version 2.0 (the "License");
you may not use this file except in compliance with the License.
You may obtain a copy of the License at http://www.apache.org/licenses/LICENSE-2.0
Unless required by applicable law or agreed to in writing, software
distributed under the License is distributed on an "AS IS" BASIS,
WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
See the License for the specific language governing permissions and
limitations under the License.
ViewFlow
Copyright (C) 2011 Patrik Akerfeldt
Licensed under the Apache License, Version 2.0 (the "License");
you may not use this file except in compliance with the License.
You may obtain a copy of the License at http://www.apache.org/licenses/LICENSE-2.0
Unless required by applicable law or agreed to in writing, software
distributed under the License is distributed on an "AS IS" BASIS,
WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
See the License for the specific language governing permissions and
limitations under the License.


| Class | Fusioncharts::ArrayExampleController |
| In: |
app/controllers/fusioncharts/array_example_controller.rb
|
| Parent: | ApplicationController |
This controller class will show ways of generating chart by
All the views related to this controller will use the "common" layout. As per Ruby On Rails conventions, we have the corresponding views with the same name as the function name in the controller.
In this function, we plot a Combination chart from data contained in an array. Each element in the array will have three values - first one for Quarter Name second one for sales figure and third one for quantity. These values in the array will be used by the builder to build an appropriate xml, which is then rendered by the corresponding view.
# File app/controllers/fusioncharts/array_example_controller.rb, line 52 52: def combination 53: headers["content-type"]="text/html"; 54: @arr_data = [] 55: @arr_data << ['Quarter 1','576000','576'] 56: @arr_data << ['Quarter 2','448000','448'] 57: @arr_data << ['Quarter 3','956000','956'] 58: @arr_data << ['Quarter 4','734000','734'] 59: end
In this function, we plot a multi-series chart from data contained in an array. Each element in the array will have three values - first one for data label (product) and the next one store sales information for current year and the last one stores sales information for previous year. The sales data and product names for 6 products are thus, stored. These values in the array will be used by the builder to build an appropriate xml, which is then rendered by the corresponding view.
# File app/controllers/fusioncharts/array_example_controller.rb, line 36 36: def multi_series 37: headers["content-type"]="text/html" 38: @arr_data = [] 39: @arr_data << ['Product A','567500','547300'] 40: @arr_data << ['Product B','815300','584500'] 41: @arr_data << ['Product C','556800','75400'] 42: @arr_data << ['Product D','734500','456300'] 43: @arr_data << ['Product E','676800','754500'] 44: @arr_data << ['Product F','648500','437600'] 45: end
In this function, we plot a single series chart from data contained in an array. Each element in the array will have two values - first one for data label and the next one for data value. The sales data and product names for 6 products are stored in the array. These values in the array will be used by the builder to build an appropriate xml, which is then rendered by the corresponding view.
# File app/controllers/fusioncharts/array_example_controller.rb, line 18 18: def single_series 19: headers["content-type"]="text/html" 20: @arr_data = [] 21: @arr_data << ['Product A','567500'] 22: @arr_data << ['Product B','815300'] 23: @arr_data << ['Product C','556800'] 24: @arr_data << ['Product D','734500'] 25: @arr_data << ['Product E','676800'] 26: @arr_data << ['Product F','648500'] 27: end
In this function, we plot a Stacked chart from data contained in an array. Each element in the array will have three values - first one for Quarter Name and the next one for sales information of Product A and the last one for sales information of Product B.
# File app/controllers/fusioncharts/array_example_controller.rb, line 65 65: def stacked 66: headers["content-type"]="text/html"; 67: @arr_data = [] 68: @arr_data << ['Quarter 1','567500','547300'] 69: @arr_data << ['Quarter 2','815300','594500'] 70: @arr_data << ['Quarter 3','556800','754000'] 71: @arr_data << ['Quarter 4','734500','456300'] 72: end


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Gartenzaun()
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generateCoprimeKey(int)
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generateNormalKey(int)
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generieren(int, String)
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getAlphabet()
- Method in class crypt.
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Zum Zugreifen auf Alphabet
getAlphabetInput()
- Method in class frame.
MoCr_Frame_Settings
getArrayIndex(int[], int)
- Static method in class crypt.
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getCaesardiscmode()
- Method in class core.mwin_modules.
GraphicModule
getCase()
- Method in class crypt.
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getChiffrestate()
- Method in class core.
WindowLogic
getClearBoxIndex()
- Method in class frame.
MoCr_Frame_Settings
getColumn(String[][], int)
- Static method in class crypt.
Tools
getcurrentLang()
- Method in class core.
Translator
getcurrentLangIndex()
- Method in class core.
Translator
getencryptionType()
- Method in class core.
WindowLogic
getExclusion()
- Method in class crypt.
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getInstance()
- Static method in class core.
Translator
getInstance()
- Static method in class core.
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getInstance()
- Static method in class crypt.
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Get the only object available
getIsUsed()
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getlastLangIndex()
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getLineSeparator()
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TxtAmbassador
getMode()
- Method in class core.
WindowLogic
getScores()
- Method in class frame.
DrawGraph
getState()
- Method in class core.
WindowLogic
getString(String)
- Method in class core.
Translator
ggT(int, int)
- Static method in class crypt.
Tools
GraphicModule
- Class in
core.mwin_modules
GraphicModule(MoCr_Frame)
- Constructor for class core.mwin_modules.
GraphicModule
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By Some person
Some quick example text to build on the card title and make up the bulk of the card's content. Some quick example text to build on the card title and make up the bulk of the card's content [...]
Read MoreBy Some person
Some quick example text to build on the card title and make up the bulk of the card's content. Some quick example text to build on the card title and make up the bulk of the card's content [...]
Read MoreBy Some person
Some quick example text to build on the card title and make up the bulk of the card's content. Some quick example text to build on the card title and make up the bulk of the card's content [...]
Read More


Often, you will have many files in your local database. This may pose difficulties in finding the files you want. Following video demonstrates how to do this.
In those occasions, you can use the search area located just above the file tree in order to search and filter files.
As you will recognize, the search results will be narrowed progressively as you type
your search keywords. File type filters will also be displayed to further narrow the results to a certain file type.
You can directly filter files having the same name as the selected file via right-clicking on a file and selecting
Find Similar Files option from the popup menu as shown the following figure.


{{user.name}}
Student details
- Check student details
- Check class details
- Compare student performance
Attendance
- Check student attendance
- Check class attendance
- Mark attendance for a class
Assignments
- Upload asignments
- View submissions
- Evaluate submissions
IA Marks
- View Student Marks
- Update Student Marks
- Evaluate Student performance


By using the RouteLoops service you agree to be bound by the following terms (the "Terms"):
1. Use of the Service. RouteLoops grants you a non-exclusive, non-transferable license to access the RouteLoops service (the "Service").
2. Content in the Service. RouteLoops allows you to access and view a variety of content, including but not limited to map data and directions (the "Content"). You understand and agree to the following:
(a) Map data, traffic, directions, and related Content are provided for planning purposes only. You may find that weather conditions, construction projects, closures, or other events may cause road conditions or directions to differ from the map results. You should exercise judgment in your use of this Content.
(b) Navigating public and private roads is dangerous and it your responsibility to have an appropriate situational awareness. You should not follow a route that would put you at any risk either legally or physically. RouteLoops strongly recommends that you pull off the road at a safe spot to read directions or consult maps.
(c) By using the Service, you do not receive any, and RouteLoops and/or its licensors and users retain all, ownership rights in the Content. You may not use, access or allow others to use or access the Content in any manner not permitted under the Terms, unless you have been specifically permitted to do so by RouteLoops in a separate agreement.
3. Restrictions on Use. Unless you have received prior written authorization from RouteLoops you must not:
(a) access or use the Service through any technology or means other than those provided by the Service;
(b) copy, translate, modify, or make derivative works of the Service or any part thereof;
(c) redistribute, sublicense, rent, publish, sell, assign, lease, market, transfer, or otherwise make the Service available to third parties;
(d) reverse engineer, decompile or otherwise attempt to extract the source code of the Service or any part thereof, unless this is expressly permitted or required by applicable law;
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(g) use the Service or Content with any products, systems, or applications for or in connection with (i) real time navigation or route guidance, including but not limited to turn-by-turn route guidance that is synchronized to the position of a user's sensor-enabled device; or (ii) any systems or functions for automatic or autonomous control of vehicle behavior.
4. Appropriate Conduct; Compliance with Law and RouteLoops Policies. You agree that you are responsible for your own conduct and content while using the Service, and for any consequences thereof. You agree to use the Service only for purposes that are legal, proper and in accordance with the Terms and any applicable policies or guidelines RouteLoops may make available. By way of example, and not as a limitation, you agree that when using the Service or the Content, you will not:
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(o) transmit any viruses, worms, defects, Trojan horses, or any items of a destructive nature.
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Kylie Jenner sells stake in cosmetics company for $600m
Kylie Jenner will sell the majority of her cosmetics company for $600 million (£463 million).
The 22-year-old’s brand, including Kylie Cosmetics and Kylie Skin, will be controlled by beauty giant Coty.
Kylie says she is building the brand into an “international beauty powerhouse”.
Forbes reported that she made $360 million in sales in 2018, making her the youngest self-made billionaire ever.
The chairman of Coty’s board called Kylie a “modern-day icon, with an incredible sense of the beauty consumer”.
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Her online influence is so powerful that she reduced Snapchat’s stock market value by $1.3bn (£1bn) when she tweeted that she does not use the app anymore.
The reality TV star launched her brand in 2015 with a line of lipsticks, and has since then branched out into face make-up and skincare.
Although she’s the youngest, Kylie is the highest earner in the Kardashian family.
She faced backlash after being named a “self-made” billionaire, but defended herself saying that none of her money has come from inheritance.
She has more than 151 million followers on her personal Instagram account, as well as 22 million on her Kylie cosmetics account.
Coty, which owns brands like Max Factor and Hugo Boss, will have a 51% stake in the company.
It said the deal will be completed in 2020. BBC News


We are an open community dedicated to advancing Artificial Intelligence by assembling teams of volunteer researchers around the world to work on problems curated by leaders of the field.
As a leading researcher, outsource your backlog of projects and promote equality of opportunity in AI research:
Submit research problems to the attention of the community.
Provide light, high-level guidance and mentorship to the team of contributors working to solve the problem you submitted.
Receive credit for your contributions to the research process.
As a research contributor, gain experience and have an impact:
Explore our list of open problems, and pick one to work on.
Join the team of contributors collaborating to solve it - entirely in the open.
Gain machine learning expertise in contact with mentors and fellow contributors.
Ship code and ideas that make a meaningful impact in the real world.
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{% for post in site.posts limit:4 %}
{% if post.Type == "new" %}


SEXY BEAST A film review by Julia Levin Copyright 2001 filmcritic.com
No, it's not a porno movie. It's yet another British crime caper film. And frankly, we'd rather have the porn.
Gal (Ray Winstone), an old time ex convict, is now retired. All he does is sweat by the pool, enjoy his form porn star wife Deedee (Amanda Redman), and share drinks with a couple of good friends. The setting is Spain, the sun is hot, and life is free of trouble... until, of course, one day when the peace must be disturbed -- and it is, by a guy named Don Logan.
If you remember Kingsley's roles in Gandhi, Death and the Maiden, or Schindler's List, you'll definitely be surprised. His Don Logan, with bald head, goatee, and wiry physique resembles a cobra when he is silent and a crazed cockroach when he speaks. Don's years in organized crime have destroyed anything human he might have once had; he is now spooky, profane, socially maladroit, and extremely annoying.
And he's anything but sexy. In one scene, Don furiously leaves the airplane after refusing to extinguish his cigarette.
As an actor, Kingsley has achieved what was required of his beastly Don: You want to strangle him when he spits out profanities and run away when he moves toward you. The rest of the characters -- Gal (as played by Winstone, who has delivered strong, nuanced performances in Nil By Mouth and The War Zone), his wife, their friend Aitch (Cavan Kendall), and the ominous mob boss Teddy Bass (Ian McShane) -- are all second-hand parodies of cinematic stereotypes. The film tries to convey Gal's emotional turmoil in escaping his newfound life of crime, but it is really only able to rise to B-movie standards.
Sexy Beast marks the directorial debut of award-winning commercial and music video director Jonathan Glazer. And I would sincerely hope that after this film tanks, Glazer will be content, just like Gal at the Spanish villa, to go back to more familiar terrain.  But mostly it just makes you shrug. Well, perhaps that was the idea.

Visit filmcritic.com on the Web at http://www.filmcritic.com
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
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Related links: index of all rec.arts.movies.reviews reviews


Setup NuGet.exe for use with actions - GitHub Marketplace Official NuGet.exe setup action that supports cross-platform installation of specific NuGet.exe versions
Bloomberg - Are you a robot? Please make sure your browser supports JavaScript and cookies and that you are not blocking them from loading. For more information you can review our Terms of Service and Cookie Policy.
Node Material Editor: Graph Updates David is back to talk about some amazing new features added to the Node Material Editor, including intelligent splines, frames, and collapsible nodes! Follow along with a fresh Node Material session here: https://nme.babylonjs.com/ Helpful links to div...
Build C++ Applications in a Linux Docker Container with Visual Studio | C++ Team Blog Docker containers provide a consistent development environment for building, testing, and deployment. The virtualized OS, file system, environment settings, libraries, and other dependencies are all encapsulated and shipped as one image that can be shared...
Preferences redesign · Issue #8774 · desktop/desktop Since we decided to add the new preference in #7746, we realized we're running out of room in our current preferences dialog. To accommodate this new preference and future new ones, we've d...


Widget 1: Widgets must have accessible name
Widget 2: onClick must have role
Widget 3: Role must be valid
Widget 4: ARIA values must be valid
Widget 11: Keyboard/mouse/drag events must have roles
Widget 12: Widgets labels must be descriptive
Widget 13: Remove Widget Roles
Widget 14: verify live regions


Handheld Tascam Tutorial
26 Aug 2016Initial Set Up
- Press and hold the Home button to turn on the Tascam.
- Check the battery indicator and replace if the battery is low.
- Check to see if the SD card is actually in the device; if not, find one and insert it.
Empty the memory to ensure there’s enough space for your recording:
- Press menu button to get to the menu
- Use plus or minus buttons to scroll down to others, press enter
- Scroll down to system, press enter
- Scroll down to quick format, press enter. Exec, enter.
- “All data erased. Are you sure?” Press enter and you’re done.
Press menu to get back to the record screen and press the Rec Mode button to choose an input.
Stay in “stereo” and then select your input under “source”.
Your source will be either “Internal microphone” or “External in 1&2” (your XLR 1&2).

There are three methods of taking a recording in the Penthouse:
Plan to use the Tascam’s built-in mic as default because it is much easier and you can place it anywhere.
- To record using the mic, all you need to do is press record twice to begin the recording.
- Make sure to test it!
If the group specifically wants you to take a board feed:
- Connect 2 XLRs between Stereo Alt Out on the back of the board and the Tascam
- Press the little AB button near the master fader to enable the output
- On the side of the Tascam, choose “Line” under the the Ext In selector
- Test the mics and ensure you’re getting signal
If the group specifically asks you to get a recording from the hanging house mics:
- Start in the patch bay and connect the “hanging house mics 2 & 3” to the AVP nearest your mix position
- Connect two gender changers and XLRs from that AVP to the Tascam
- On the side of the Tascam, choose “Mic+Phantom” under the Ext In selector.
- Test the mics and ensure you’re getting signal
When the performance ends, press the stop button and eject the SD card.
Bring the SD card to the computer in the recording booth or at FOH and insert it into the USB SD card reader (or insert it into any cage laptop checked out).
Download the content to the Archival Audio file folder and use the naming convention as follows:
Year.Month.Date_Description_Engineer.mp3 (Example: 14.3.19_FOTA_Kyle.mp3)
Then, send the file to:
<EMAIL_ADDRESS>- Go to the website WeTransfer.com
- Upload the recording to the site
- Enter Erin’s email address (above)
- Enter your email address press Send.
Now go put the SD card back into the handheld Tascam device and you’re done!


by John Chambers<EMAIL_ADDRESS>(edited for offline viewing)
This is a brief intro to the ABC music notation system. This notation was originally invented by Chris Walshaw, who produced the first abc2mtex program that converts ABC notation to mtex (Musix Tex). Other people have since produced a variety of other software for ABC, most of which is free.
Each tune starts with some header lines. A header lines starts with a letter and a colon (:), plus some info. There are lots of different header lines. The most useful are:
X: 1 T: Tune Title C: Composer N: Notes about the tune M: 3/4 L: 1/8 K: G
The X: line gives a sequence number, useful for selecting one tune out of a file full of tunes.
The T: line gives the title, and may be repeated if you want to give several titles.
The C: line gives the composer's name. Use C:Trad for traditional tunes.
The N: line is any kind of comment, ignored by the software.
The M: line is the meter. M:2/4 is two/four time; M:6/8 is jig time, etc. M:C and M:C| have the obvious meanings.
The L: line is the default note length; here it's an eighth note (quaver).
The K: gives the key. K:Em would mean E minor. Most ABC software also recognizes the classical "modal" keys, using 3 (or more) letters of the mode, so K:EDor means E Dorian (two sharps) and K:AMix means A Mixolydian (two sharps).
The X: and T: lines should be the first two lines, and the K: line should be the last header line. Some software is liberal about these, but some is fairly picky, so its best to always use these three main header lines in this order. The K: line is followed by music, with a blank line to separate the tune from whatever follows.
The bottom half of the staff, from C below the staff to B in the middle, are represented by the capital letters CDEFGAB. The top half of the staff, from the C in the middle to the B above, are represented by lower-case letters cdefgab. So the notes on the treble staff are EFGABcdef. The lines are EGBdf, and the spaces are FAce.
You can represent the octaves below and above these by putting a comma (,) after the capital letters, or an apostrophe (') after the lower-case letters. This is sort of a pictorial mark: The "lower comma" means go down an octave, while the "upper comma" means to go up an octave.
Here's a summary of notes:
Here's how you do bar lines:
| | | simple bar line |
|---|---|
| || | double bar line |
| [| | thick+thin double bar line |
| |] | thin+thick double bar line |
| |: | start of repeat |
| :| | end of repeat |
| |1 | start of first ending |
| :|2 | start of second ending |
It's a good idea to include spaces around bar lines, for human readability, but ABC syntax doesn't require this.
A note by itself stands for whatever length note is in the L: header line. You can add a multiplier after the note. A simple fraction is the basic notation. So A3/2 means a note 1.5 times as long as the basic length (a dotted eighth note in the above example).
You can omit /1, of course, so d4 means a note four times as long as the basic length (a half note here).
You can also omit a numerator of 1 or a denominator of 2. So F1/2, F/2 and F/ all mean the same thing, an F note half as long as the L: length in the header.
Since all notes are in terms of the L: length, you can quickly change the meter of a tune by merely modifying the M: and L: lines in the header.
There is a shorthand notation for dotting: The characters < and > transfer half the value of the note on one side to the other side. The < is a "snap", with a short first note, so A<B is shorthand for A1/2B3/2. The > is a long-short, so A>B is shorthand for A3/2B1/2. You can double these symbols to get a double dot.
Within a measure, spaces are used to separate groups of notes that are to be beamed together (if possible). So |DFA dAF| is a bar with two groups of three notes (probably a jig), while |DF Ad AF| is a bar with three groups of two notes (possibly a waltz).
Normally, ABC uses one staff per line, and end-of-line represents the end of a staff. This can lead to very long lines, so the backslash (\) is used to mean "continued on next line". This is similar to its use in a lot of programming languages, and lets you break up a long line into several short lines. The main use for this is in sending tunes via email. A lot of email software inserts line feeds in long lines, and this has an unfortunate effect on ABC. This can be prevented by using \ to split a long staff line into two or more shorter lines.
This refers to the names of chords, to be placed above or below the staff (there's no standard here). They go in double quotes, just before the note. So "G"dBAG would be a G chord above/below the d note. You can actually put any text inside the double quotes, so long chord names are possible. People also use this for other musical directions, but that isn't really correct.
One new thing first: I've used the letter 'z' in this example, which represents a rest. Rests take lengths just like notes, so the two uses of z2 represent 1/4-length rests.
You have enough knowledge now to understand the following tune:
X: 1 T: Balance the Straw R: jig N: This tune goes with one of the best-known Morris dances. It is also a good jig N: for other dances, usually in AABB form. The B phrase bears a strong resemblance N: to a certain Christmas carol, and at Morris dances you will hear words like: N: __ Hark! the herald angels sing, __ N: __ Glory to the Morris Ring. __ N: Sometimes assorted other things are praised by the angels. N: M: 6/8 L: 1/8 K: G D \ |: "G"G2B B>AB | "C"c2A A>ce | "D7"d>ed cAc | "G"G2B B2D \ | "G"G2B B>AB | "C"c2A A>ce | "D7"d>ed cEF | "G"G4 z2 :| B/c/ \ |: "G"dz d dz G | "(D7)"c2B "D7"B2A | "G"dz d dz G | "D7"B2A A2D \ | "G"G2B B>AB | "C"c2A A>ce | "D7"d>ed cEF | "G"G4 z2 :|
Well, I lied a bit just there; I used something new without warning you.. Did you notice the |: and :| symbols in that tune? You probably understood them. They mean exactly what you think they mean: Repeat the phrase. There's also a shorthand :: notation for a bar in the middle of a line with repeat symbols on both sides.
There is a simple multi-ending notation:
|: ... |1 ... :|2 ... |]This represents a phrase with two different endings. You can use :| at the end to indicate four times through. But this notation is still not well developed in ABC. You'd think that you could also say something like
|::: ... |1,3 ... :|2 ... |4 ... |]But this isn't recognized by all ABC software yet, and isn't part of the official standard. It may be eventually. Some ABC software also lets you use the obvious multi-colon notation for repeats:
|:: ... ::|This would mean two repeats; i.e., play the phrase three times. Again, this isn't yet understood by all ABC software.
The ASCII character set has the # symbol, but lacks the natural and flat symbols. So some other, somewhat pictorial, characters were chosen. The notation for accidentals is:
| _B | means B flat |
|---|---|
| =A | means A natural |
| ^G | means G sharp |
In accompaniment ("guitar") chords, the characters # and b are used for sharps and flats, so "Bb" means a B-flat chord, and "F#m7" means an F-sharp minor 7th chord. The same thing is done in key signatures, so K:Bb means the key of B flat, and K:F#m means F sharp minor. This is inconsistent with accidentals on notes, but printed music is often inconsistent in similar ways.
You can produce chords, that is, multiple notes on a single stem, by putting them within square brackets [...]. So [GBdg] is a 4-note G chord. The order doesn't much matter, so [gdBG] comes out the same on paper. But there is some music-playing software that will treat the first note as the "melody" note, so if this is important, you should put the main note first.
You can say things like [D4F3A2d3/2], but ABC notation will just use the length of the first note for the entire chord, and the above example and [D4FAd] will both come out the same as [D4F4A4d4].
A tie is indicated by a hyphen (-) after the first note. So A4- A is two A's tied together.
Most music notation doesn't really distinguish slurs and ties, and ABC is no exception. You'll see A-B, which should really be (AB). This probably isn't a big deal, except to the rare people who get excited about such things. Also, some ABC software will complain if you tie two different notes together. But the software should usually do the right thing, and treat it to a slur.
ABC has a several notations for ornaments. If you put notes in curly braces {} they will be treated as grace notes. When printed, they will be tiny notes just before the note that follows. You can use this to write out rather complex ornaments. {gded^c}d will give a d with all five little notes before it.
There are also some special symbols that can be put before a note. A dot produces the usual staccato: .d means a d with a dot below or above it. You can use ~ to indicate a turn, so ~D means a turned D. Some software has options to say how to draw such ornaments. There are also some ornaments that some programs recognize and others don't. Thus T is recognized by some to produce the usual italic tr symbol above the next note. M (for "emphasis") is recognized by some to produce a little horizontal line above or below the note. Most software recognizes H as a "hold" (fermata). And so on.
This is an area for future development.
The treble clef is the default. But you can specify the clef in the K: header line.
K:Gm bassmeans the key is G minor, and the clef is bass. Unless you say otherwise, K:C treble is assumed. (Some software will give a warning if there is no K: line, and will then use this default.)
One quandary with ABC was how letters map to staff notes in alto and bass clefs. The abc2ps program originally used a mapping like the treble clef: a was the top line, d was the middle line, and G the bottom line.. But then some other people wrote software that did it differently, with A, the top bass line and G,, the bottom line. After extensive discussion, it was decided that there was no "best" way to do this, so another idea was accepted: You can state what note goes on the middle line. So you might write:
K:Gm bass middle=dThis puts the letters GABcdefga on the staff, and makes for easy typing. If you prefer the other scheme, you can say:
K:Gm bass middle=D,It's a good idea to always include the middle= item for bass clef, so that the software knows where you want the notes on the staff. If you don't, some software will draw the notes in different octaves than you intended.
You could also use middle= to change the mapping for the treble clef. This could be useful, for exmple, to convert an alto vocal line to an instrumental line with the notes drawn an octave higher. Another example is with alto recorder music, which historically has been printed in two different octaves. In ABC terms, printers treat the instrument's range as F,, ... g or F, ... g'. Such music, when transcribed to ABC, can easily be printed in staff notation in either octave by merely adding a middle=B or middle=b term to the K: header line.
| C: | Composer (who wrote the tune) |
|---|---|
| O: | Origin (where it's from) |
| S: | Source (who you got it from) |
| R: | Rhythm (reel, jig, polka, tango, ...) |
| B: | Books where you can find the tune |
| D: | Discography (recordings of the tune) |
| H: | History (anything you know about the tune's origins) |
| Q: | Tempo (1/4=120 means 120 quarter notes per minute) |
| Z: | Transcription notes (who wrote it down or converted it to ABC, and when) |
This website was retrieved from http://trillian.mit.edu/~jc/doc/doc/ABCprimer.html on June 15, 2017. The content is owned by the author.


Amit Singh
Data Scientist at Akamai. I enjoy learning new technologies and exploring how math explains the world.
Data Scientist at Akamai. I enjoy learning new technologies and exploring how math explains the world.
I am currently a Senior Data Scientist on the Web Performance team for Akamai mPulse. I build statistical models from large amounts of data to identify problem areas on customer websites and recommend actionable improvements toward the end user experience. I also create compelling visualizations to communicate these insights to executive management teams.
As a member of the Professional Services team, I served as a customer facing data science consultant for many of the world’s largest brands. I delivered ad-hoc reports and analyses to provide customers with recommendations on areas to optimize their websites by leveraging Real User Monitoring data collected by Akamai mPulse.
In mid-2018 I transitioned to the product development team for mPulse where I had the opportunity to design and implement analysis and system dashboards for both internal and external audiences.
I joined SOASTA as a Data Scientist after graduate school. In this new role, I was able to apply my existing quantitative training and further strengthen my computational knowledge using new tools and data frameworks. SOASTA was acquired by Akamai Technologies in April 2017.
Served as Research Assistant to Professor Alan B. Krueger.
I worked to provide essential updates for the anniversary edition of Myth and Measurement. My research involved extracting and analyzing minimum wage data from various sources including state and federal agencies, as well as public opinion polls.
Coursework:
Quantitative Marketing, Analytical Models of Marketing, Behavioral Economics, Consumer Behavior, Game Theory, Time Series Econometrics, Applied Microeconometrics, Advanced Microeconomic Analysis, Competitive Strategy & Industrial Organization, Contract Theory (Information Economics), and Computer Modeling
Graduate of Rutgers Business School, majoring in Finance.
Minors in Mathematics & Economics.


Some 26 months back, I joined a highly motivated and mission-driven team for my first posting in public service. It would prove to be an experience to treasure. I look back now with an uncontrollable grin. I wouldn't have chosen any differently, having learnt an immense amount during this short stint.
Joining the service was an obligation - both in the literal and metaphorical sense. Literal since I was bonded. Metaphorical because I wanted to play a part (big or small it was no matter) in making my country better. I truly believed in this (so let me encourage that you eschew cynicism no matter how world-wary you have become). And i still do.
The best fit back in 2015 was a role in environmental sustainability. I had just graduated with a Master of Public Administration in environmental policy from Columbia University. It was therefore a toss-up between two organisations. The decision came more easily than I expected. It was decisively sealed after an interview with my former boss.
So I joined, after a curiously long wait for my security clearance to pass (was it something I did?), on 31 Jul 2015. From day 1, the team made me feel just at home. The boss was just as I've come to expect - fantastic. He gave me the space and opportunity to grow. And grow I did.
Now, I leave with fond memories in tow. My colleagues have also taught me plenty. I'm now wiser, yet not one bit more cynical. Indeed, the first job is always something special. But now it is time to move on to learn more, do more, and contribute more. I shall leave you with my 3 takeaways:
Have an Independent Mind, Learn Only the Good Things
Everyone brings along different experiences (read: good), influences (read: sometimes good) and biases (read: bad). The onus lies on the individual to tell apart what is good to retain vis-a-vis what "seems" good to retain.
People Matter, Be Kind
It is not always in vogue to be kind. But I will always try to be kind. To colleagues, to bosses, to counterparts, heck, even to "adversaries". I may fail - I am human afterall and stress can get to me. But one can disagree without being disagreeable. The service is afterall meant to work as a collective whole to improve the country, not disparate fiefdoms to satisfy individual vanity. If one is kind by default, rapport can come quite easily. The responsibility to maintain this invisible grease that helps the service tick falls on each and every one.
Speak Truth to Power
The system ticks because people do their jobs. The job description can actually be summarised quite easily - it is to create as conducive an environment as possible so that right decisions can be made. What is right is of course up for debate. But creating a conductive environment, to me, is abundantly clear that it includes flagging the bad stuff and not just the good. It is all too easy to stay silent. But if a bad call ends up being made because of the silence, then it would be ridiculous to absolve ourselves by thinking we hold no responsibility.


I live in Colorado. Moved here in February of 2018 and it has been quite the adventure. Before that I was living in Rhode Island for almost seven years. I had moved there for a job working with information technology in the motorcycle industry which was a great opportunity to combine two passions of mine. I went to school in Utah from 7th grade to college. Although I put my education on hold for my opportunity in Rhode Island I am planning on going back to finish a degree in Computer Engineering.
I enjoy riding motorcycles. I have been riding for about 10 years now. I own several motorcycles and each has its own charm when it comes to the style of riding. I love that motorcycles can make for a great tool for transportation but also a way to enjoy life. I personally choose to work on my bikes on my own if I can help it. There is a lot of pride when I'm able to get my hands dirty and end up with the results I want in the end.
I am also a huge fan of technology. I have been working with technology since I was about thirteen years old. My first computer I owned had a lot of issues; this gave me an opportunity to learn to resolve them.
Lately I have acquired a passion for hiking and camping. It's not something I ever did growing up. As odd as that may be since I was living in Utah. It's definitely something I had always been interested in and as of late I have been exploring my love for nature. It's always an adventure and never goes as expected.
I have more than 14 years of professional information technology experience with infrastructure, system administration,
databases, development, software use and end user support. I am seeking a fulfilling position meeting all IT needs in a dynamic professional environment within a growing organization; where I can utilize my creativity and innovative thinking when faced with new challenges to benefit the organization
and better myself.
Multi Player Chess game. Allowing users to play chess together from their own computers in a simple interface. Easy and fast way to challenge someone and chat with them live as you play. Allows for spectators to watch the game live.
Demonstartion of utilizing Firebase live database in an application and allowing changes to the databse to dynamically control the content on the application for every user who is logged onto the page.
JavaScript trivia game for demonstrating use of timer and dynamic screen manipulation with javascript and jquery.
This fighting game is used as an example of leveraging jquery and javascript to maniupulate objects on screen by changing the CSS on the fly. It is also an example of stroing temporary data as in hit points and round information. This demon straights the ability to make a dynamic application.
Launch Project Project RepositoryArt Portfolio is a platform to display artwork with a streamlined aesthetic. Leveraging mySQL with firebase, an artist is able to store their work to share with the world. This gives people a place to display, enjoy, or commission specifically visual art. With incoporated admin panel user can control content of their portfolio.
Launch Project Project RepositoryCLI application demonsrating use for database queries within a CLI command prompt application.
Giphy API Calls for Games
Practice use of API calls, a site for users to request keywords for Gifs. User can select pre configured buttons that search a term using Giphy API to display results. User can also add their own buttons. User has option to display random gifs. User cannot create a button that already exists.
When it comes to strong idea building within an organization, often excellent ideas are brought out by the people who work day to day with whatever aspect of the workplace is being discussed. However, it can be difficult to bring those ideas to the people who need to hear them. It is possible that the ideas is blocked by a single individual, or forgotten due to heavy workload. Not only does this decrease good ideas from being implemented, but it can also leave employees and collaborators feeling unappreciated and unheard. Re:invent seeks to remedy the situation by giving an open platform for idea discussion and maturation. Not only does it give employees a voice, but it gives employers the tools with which to hear that voice.
Launch Project Project RepositoryApplication demonsrating the ability to scrape a webpage and store information on Mongo noSQL database. Then display that information for users and allow the ability to comment on the articles. Also practice in deploying such application to services such as Heroku.
Launch Project Project RepositoryCRUD application demo similar to a ToDo app but for eating different types of Donuts. Project to demonstrate Get, Post, Put, Delete calls to handle data on MySQL Server using templating.
Launch Project Project Repository


DIE HARD WITH A VENGEANCE [Spoilers] A film review by Stephen Rafferty Copyright 1995 Stephen Rafferty
*- horrible, don't bother **- poor, not much here. ***- good. ****- great, well worth it. *****- Excellent, one of the year's best.
DIE HARD WITH A VENGEANCE ***1/2
Directed by John McTiernan Starring Bruce Willis, Samuel L. Jackson, Jeremy Irons. Screenplay by Jonathan Hensleigh
At it's best, the third installment of the "Die Hard" series is a hair-raising, non-stop ride.  Luckily, the film seems to stay on the first course, but is brought down every so often by the latter.
Bruce Willis returns as John McClane, the New York cop who we've seen defend the Nakatomi building in LA, and an airport in the mid-west. Now he is back in NYC and is on suspension, when a bomb goes off in downtown Manhattan. A mysterious bomber called Simon, (Jeremy Irons with a horrendous German accent) saying he wants to play a game with John McClane or he'll set off more bombs. It turns out that Simon is the brother of the the terrorist that McClane threw off the Nakatomi building in DIE HARD 1. Thus starts a goose chase which pits McClane's wits against Simon's. At the first installment, McClane runs into a shop owner in Harlem called Zeus, played by Samuel Jackson. Zeus saves McClane's life and is thrust into the game with him. The pair are asked to work out mathematical and word riddles in order to keep Simon from blowing up more buildings.
Eventually we find out Simon is not motivated by the cause we thought, and is simply trying to steal from the Federal Reserve. Of course, McClane figures this out quickly and works to subvert the ex-army leader Simon. The action culminates in a confrontation outside a motel in Canada.
This film has some of the best car chase scenes I've ever seen, including a wild short-cut through Central Park. Willis is again adept as the constantly mischievious cop, and he performs physically even better than in the original film. Late in the film he is covered with blood and grease, and it is so vivid that one can almost smell and feel it's sticky, engulfing aaaggghhh! Willis and Jackson are paired well together here, with a lot of chemistry on screen. Willis shines brightest when he is playing off Jackson, and Jackson is so on top of his craft right now he needs no-one, he's just plain good! However, that can not be said for Jeremy Irons, who is easily the worst part of this film. He can't pull off a believable German accent, and postures so theatrically he looks like a statue. For a man who so often dazzles us with fine acting, I have to wonder what happened to Irons here? Could John McTiernan just not handle him, or did he want such a cheesy performance? Regardless, it does not work, and Irons really brings the film down a notch
It's not the best of the series, but I do recommend DIE HARD WITH A VENGEANCE for anyone who wants to see some great action, and some nice work between Willis and Jackson.
Stephen Rafferty
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rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
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Related links: index of all rec.arts.movies.reviews reviews


Contains the configuration for the following topics:
Apache ActiveMQ Artemis core is JMS-agnostic. It does not have any concept of a JMS topic. A JMS topic is implemented in core as an address (the topic name) with zero or more queues bound to it. Each queue bound to that address represents a topic subscription. Likewise, a JMS queue is implemented as an address (the JMS queue name) with one single queue bound to it which represents the JMS queue.
By convention, all JMS queues map to core queues where the core queue name has the string "jms.queue." prepended to it. E.g. the JMS queue with the name "orders.europe" would map to the core queue with the name "jms.queue.orders.europe". The address at which the core queue is bound is also given by the core queue name.
For JMS topics the address at which the queues that represent the subscriptions are bound is given by prepending the string "jms.topic." to the name of the JMS topic. E.g. the JMS topic with name "news.europe" would map to the core address "jms.topic.news.europe"
JMS destinations, along with JMS connection factories, are JMS administrative objects. Destinations are used by JMS clients for both producing and consuming messages. The destination allows the JMS client to specify the target when it produces messages and the source of messages when consuming messages. When using a publish-subscribe pattern, destinations are referred to as topics. When using a point-to-point pattern, destinations are referred to as queues.
Applications may use many different JMS destinations which are configured on the server side and usually accessed via JNDI.
Security settings are used to configure security around specific destinations. This is done by adding a security constraint using the security-setting configuration element. ${build.shortName} messaging comes with a
security-setting
configured by default.
The security-setting option makes use of wildcards to handle which destinations to apply the security constraint. The value of a single
#
patterm will match any address. For more information on using wildcards in security constraints, see
Role Based Security for Addresses.
The messaging-activemq subsystem has several configurable options which control aspects of how and when a message is delivered, how many attempts should be made, and when the message expires. These configuration options all exist within the
<address-setting>
configuration element. You can have ${build.shortName} apply a single
<address-setting>
to multiple destinations by using a wildcard syntax.
For more information on using wildcards in address settings, see Wildcard Syntax.
Diverts are objects configured in ${build.shortName} messaging that help in diverting messages from one address to another. Diverts can be classified into the following types:
A divert will only divert a message to an address on the same server. If you want to divert to an address on a different server, a common pattern would be to divert to a local store-and-forward queue, then set up a api that consumes from that queue and forwards to an address on a different server.


TEST METHOD: Collecting biodiversity information
Updated: 24 November 2006 (NatureMaps references added)
RISK ASSESSMENT
Assess the Quality, Safety and Environmental risks of each step.
OVERVIEW
Single event flora and fauna surveys do not collect all the available information relating to the biodiversity of a given site. Work by other researchers allows a more complete picture to be developed.
TASK SAFETY REQUIREMENTS
Delta dress code applies.
If working away from the office ensure others know of your destination
SPECIFIC JOB STEPS |
RISK ASSESSMENT |
RISK CONTROL |
Existing information on flora Use Atlas SA or NatureMaps to identify site specific (if possible) flora surveys undertaken by the Bioligical Survey of SA or other government agencies, and download or purchase the data sets Request data from the State Herbarium for localities with the same morphology within 5-7 km of the site Examine Delta's computerised records for species lists, both those Delta has conducted and those from other groups such as UFBP Use the Delta library to find biodiversity plans, reserve management plans and flora surveys. Also use online library catalogues to search the Barr Smith Library and State Library. Use Internet search engines to locate other surveys published online. The DEH has links to many large surveys at http://www.environment.sa.gov.au/biodiversity/biosurveys.html |
There are no flora surveys marked for my site How do I match morphologies of distant sites?
What tools are available for searching computer and online data? |
Use the nearest survey site with a similar morphology, if it is within 5km Aerial photography or oblique aerials (eg the coastal obliques on Atlas SA), soils/geology/vegetation association layers in Atlas SA, published biodiversity works (the regional biodiversity plans), site photographs in Delta's collections Use Lookout (an add-in for Outlook) to search for words inside files (and filemanes) on Delta's computer sytem. Use the Access database to search the library or browse the following Dewey numbers: 582.1, 333.95 and 639. Search engines such as Google that use Bayesian logic are better than category engines such as Yahoo. |
Amalgamated flora table of others work The table should have columns for common and scientific names, exotic status (an asterisk or x for exotic species in this column), conservation significance (code and region) and then a coloumn for each data source or survey (an x for each species found). The codes are R (rare), E (endangered), V (vulnerable), X (extinct), U (uncommon) and K (unknown status which needs investigation). The regions are SA (State), Nat (National) or the regional inititals based on Herbarium regions (eg SL - Southern Lofty). |
Where do I find the conservation status? |
Briggs and Leigh's ROTAP book (national), the EPBC web site (national) regional biodiversity plans (regional), Florlist 2004 from the Herbarium (regional, state and national), the Schedules of the National Parks and Wildlife Act (State). |
Existing information on fauna (general) Less is available, however the following may help. Use Atlas SA and NatureMaps to identify site specific (if possible) fauna surveys undertaken by the Bioligical Survey of SA or other government agencies, and download or purchase the data sets Examine Delta's computerised records for species lists, both those Delta has conducted and those from other groups such as UFBP Use the Delta library to find biodiversity plans and NPWS reserve management plans. Also use online library catalogues to search the Barr Smith Library and State Library. Use Internet search engines to locate other surveys published online. The DEH has links to many large surveys at http://www.environment.sa.gov.au/biodiversity/biosurveys.html Most fauna data is reported within the text of the report. Where large amounts are available (eg bird lists) a table may be used. |
There are no flora surveys marked for my site What tools are available for searching computer and online data? |
Use the nearest survey site with a similar morphology, if it is within 5km Use Lookout (an add-in for Outlook) to search for words inside files (and filemanes) on Delta's computer sytem. Use the Access database to search the library or browse the following Dewey numbers: 639, 592-599, 333.95. Search engines such as Google that use Bayesian logic are better than category engines such as Yahoo. |
Bird surveys in particular Site bird lists for several areas are available in Delta's computerised files and in the library. Search these resources as outlined above for flora. Online Peter Waanders and other ornithologists publish many locality-specific bird lists. Local bird associations have contact details online and are often happy to share lists. Specialist ornithologists at the Universities are often willing to help. Obtain at least three site-specific lists if possible. |
I still can't get any lists! |
The Birds Australia online Birds Atlas will generate a list for the 1-degree grid your site occurs in. This is a LARGE area (about 60km across) and so should only be used as a 'list' when no other data is available, as it will include birds found in other habitats than the one you are examining. Normally the data f rom this list is used as a single sentence in the report saying that "the region is known to support X species of birds (Birds Australia, date), but the local habitat hosts the following species..." |
Amalgamated bird lists The table should have columns for common and scientific names, exotic status can be marked as an asterisk following the species name (not before - it messes with sorting), conservation significance (code and region) and then a coloumn for each data source or survey (an x for each species found). The codes and regions for birds are similar to those used in the flora, except that there are additional matters of conservation significance addressed by the EPBC Act, relating to treaties about conservation of wetlands for birds and ensuring the safe passage of international migratory species. These matters are recorded in the conserevation significance column as, for example, "EPBC Act (migratory)" |
Where do I find the conservation status? |
The EPBC web site (national ratings and 'other protected matters'). Use the "Protected Matters Tool" to generate a list of species that have conservation significance that COULD occur in your area and use this to rate the birds recorded in the lists you have collected. Other sources of ratings include regional biodiversity plans (regional), and the Schedules of the National Parks and Wildlife Act (State). |


Contents Ordinary Model Values Typed Model Values Using Model Values Symmetry
A model must specify the values of all declared constants.
You will sometimes want to let a constant equal an unspecified value or a finite
set of unspecified values. For example, the spec might have a
constant Proc
whose value
represents a set of processes.
You could just let a process be a number, substituting an ordinary value
like {1, 2, 3}
for Proc
. However, a better way is to represent a process by a TLC
model value. A model value is an unspecified value
that TLC considers to be unequal to any value that you can express
in TLA+. You can substitute the
set {p1, p2, p3}
of three model values
for Proc
. If by mistake you write an expression
like p+1
where the value of p
is
a process, TLC will report an error when it tries to evaluate that expression
because it knows that a process is a model value and thus not a number.
An important reason for
substituting a set of model values for Proc
is
to let TLC take advantage of symmetry, as described below.
There is one particular TLA+ specification idiom that requires you to substitute a model value for a defined operator. Here is a typical example of this idiom.
NotANat == CHOOSE n : n \notin NatIt defines
NotANat
to be an arbitrary value
that is not a natural number. TLC cannot evaluate this definition because
it cannot evaluate the unbounded CHOOSE
expression.
To allow TLC to handle the spec, you need to substitute a model value
for NotANat
. The best model value to substitute for it
is one named NotANat
. This is done in the
Definition Override section of
the Spec Options Page. The Toolbox will
create the appropriate entry in that section when it creates a model
if it finds a definition having the precise
syntax above or the syntax
NotANat == CHOOSE n : ~(n \in Nat)where
Nat
can be any expression, and NotANat
and n
can be any identifiers.
There are some uses of model values that can't be specified with the What is the model? section of the Model Overview Page. If you encounter such a problem, you can declare your own set of model values with the Additional Definitions section of the Spec Options Page and then use them as ordinary values in expressions of the model.
Suppose that, by mistake, you write the
expression p=2
where p
is
a process. If you substitute a set of ordinary model values for the set
of processes, TLC will simply obtain the value FALSE
if it evalutes this expression, since it considers an ordinary model value
to be different from any other value. To allow TLC to detect this kind of error,
you can use a set of typed model values. TLC considers a typed model value
to be unequal to any other model value of the same type. However, it produces an
error when evaluating an expression requires it to determine if a typed model value
is equal to any value other than a model value of the same type or an ordinary model value.
A model-value type consists of
a single letter, so there are 52 different types because a
and A
are different types.
(TLC actually accepts digits and underscore as types; don't use them.)
A model value has
type T
if and only if its name begins with the two
characters T_
.
A model value declared in the model can be used as an ordinary value in any expression that
is part of the model's specification. For example, suppose your spec has a
constant Proc
that represents a set of processes
and a constant Leader
that is some element
of Proc
. You can substitute the
set {p1, p2, p3}
of model values
for Proc
using the Set of model values
option of the What is the model?
section of the Model Overview Page. You
can then
substitute p1
for Leader
using the Ordinary assignment
option of that section.
Model values can be declared in the following places:
Consider a specification of a memory system containing a declared
constant Val
that represents the set of
possible values of a memory register. The set Val
of values is probably a
symmetry set for the memory system's behavior specification,
meaning that permuting
the elements in the set of values does not change whether or not
a behavior satisfies that behavior spec. TLC can
take advantage of this to speed up its checking.
Suppose we substitute a
set {v1, v2, v3}
of model values
for Val
. We can use
the
Symmetry set
option of the What is the model?
section of the Model Overview Page
to declare this set of model values to be a symmetry set of the behavior spec.
This will reduce the number of reachable states that TLC has to examine
by up to 3!, or 6.
You can declare more than one set of model values to be a symmetry set. However, the union of all the symmetry sets cannot contain two typed model values with different types.
TLC does not check if a set you declare to be a symmetry set really
is one. If you declare a set to be a symmetry set and it isn't, then
TLC can fail to find an error
that it otherwise would find.
An expression is symmetric for a set S
if and only if
interchanging any two values of S
does not
change the value of the expression. The expression
{{v1, v2}, {v1, v3}, {v2, v3}}
is symmetric for the set
{v1, v2, v3}
--
for example, interchanging v1
and v3
in this expression produces
{{v3, v2}, {v3, v1}, {v2, v1}}
,
which is equal to the original expression.
You should declare a set S
of model values to be a symmetry set only if
the specification and all properties you are checking are symmetric for S
after the substitutions for constants and defined operators specified by the model
are made.
For example, you should not declare
{v1, v2, v3}
to be a symmetry set if the model substitutes v1
for some constant.
The only TLA+ operator that can produce a non-symmetric expression when applied to
a symmetric expression is CHOOSE
. For example, the expression
CHOOSE x \in {v1, v2, v3} : TRUEis not symmetric for
{v1, v2, v3}
.
Symmetry sets should not be used when checking liveness properties. Doing so can make TLC fail to find errors, or to report nonexistent errors.


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<!DOCTYPE html>For several months now, the universal document converter pandoc has had support for Jupyter Notebooks. This means that with a single call, you can convert.ipynb files to any of the output formats t…

Here’s one inlinemath and
mathblocks
The below code cell has some metadata attached to it. It also outputs a figure. Both should be included in the output format.
from matplotlib import rcParams, cycler
import matplotlib.pyplot as plt
import numpy as np
plt.ion()
data = np.random.rand(2, 1000) \* 100
fig, ax = plt.subplots()
ax.scatter(\*data, s=data\[1\], c=data\[0\])
<matplotlib.collections.PathCollection at 0x7f6e8d6269e8>
import pandas as pd
pd.DataFrame(\[\['hi', 'there'\], \['this', 'is'\], \['a', 'DataFrame'\]\], columns=\['Word A', 'Word B'\])
| Word A | Word B | |
|---|---|---|
| 0 | hi | there |
| 1 | this | is |
| 2 | a | DataFrame |
Let’s test the bibliography here
Testing this (bibliography Holdgraf et al. 2016)
Holdgraf et al. (2014)
The bibliography will be placed at the end of the file
Holdgraf, Christopher Ramsay, Wendy de Heer, Brian N. Pasley, and Robert T. Knight. 2014. “Evidence for Predictive Coding in Human Auditory Cortex.” In International Conference on Cognitive Neuroscience. Brisbane, Australia, Australia: Frontiers in Neuroscience.
Holdgraf, Christopher Ramsay, Wendy de Heer, Brian N. Pasley, Jochem W. Rieger, Nathan Crone, Jack J. Lin, Robert T. Knight, and Frédéric E. Theunissen. 2016. “Rapid Tuning Shifts in Human Auditory Cortex Enhance Speech Intelligibility.” Nature Communications 7 (May): 13654. https://doi.org/10.1038/ncomms13654.


Start
Click in the start button then click the black square as much as you can. You'll have 10 sec. Good Luck.


Kamala Harris recently told a touching story about her childhood history of civil rights activism. Turns out, she plagiarized the whole incident from a 1965 Martin Luther King interview.
The only people i owe my loyalty to are those who never made me question theirs #DRAINTHESWAMP #DECLASSIFYEVERYTHINGNOW 🔥🔥🔥A LOT OF NEW POSTS WERE POSTED RECENTLY...ENJOY A LOT OF INFO, A LOT OF LAUGHS, A LOT OF ECHOES, AND A LOT OF AMERICAN PRIDE. OVER 180 POSTS AND A LOT MORE TO COME GET THAT POPCORN READY🔥🔥🔥 WE WILL PREVAIL #TRANSPARENCY2021 #TRUMPWON #DECLASSIFYEVERYTHINGNOW2021
Yep.  Her life is so full and uneventful that she has to use MLK's story to make herself sound and feel important. She's a disgrace and a total nuisance. Another big Democratic bs'er!!!

Of course not. She, yes She was told what to say to get it by the legal team to not letter to letter swipe it. Odd that Nancy said no more gender identification 20 minutes after she got caught 🧐 too late Nancy. Somebody is old enough to remember that speech🤣
The only people i owe my loyalty to are those who never made me question theirs #DRAINTHESWAMP #DECLASSIFYEVERYTHINGNOW 🔥🔥🔥A LOT OF NEW POSTS WERE POSTED RECENTLY...ENJOY A LOT OF INFO, A LOT OF LAUGHS, A LOT OF ECHOES, AND A LOT OF AMERICAN PRIDE. OVER 180 POSTS AND A LOT MORE TO COME GET THAT POPCORN READY🔥🔥🔥 WE WILL PREVAIL #TRANSPARENCY2021 #TRUMPWON #DECLASSIFYEVERYTHINGNOW2021
Of course she did! Birds of a feather flock together. A plagiarist just like Sleepy Joe
She learned from Joe Biden!
There’s not an honest bone in her body, it seems
Joe told her how to do it
Liar in chief!!

Doesn’t surprise me she doesn’t even know when she’s telling lies
Something she and Biden have in common is dishonesty. —T


PROBLEM
Lack of resources and time to recruit the correct user type for our usability testing.
SOLUTION
I utilized several tools including, a company Talent Network, scheduling software and multiple screeners to ensure we were bringing in the correct users for each of our job seeker usability sessions.
PROCESS
When I started the company as a User Experience Research intern, I was tasked with recruiting and scheduling many of the job seekers we brought in for usability testing or spoke with for our persona research. At the time I started, the only methods for recruiting our participants was posting research participant positions on our own site and ads on Craigslist. Since we had a large constraint on our budget, we were not able to utilize any outside recruiting firms.
I worked with many internal teams within the company to utilize the products we sell to attract more participants and establish better screening systems.
FINDINGS/OUTCOMES
Once implementing our new screener system and Talent Network community, I was able to easily search for job seekers based off of the specifications we needed for that usability test. This process is now being used by our research coordinator, in conjunction with the assistance of an outside recruiting firm.
- Time Frame
- May 2014 - Present
- Role
- User Recruiter
- Tools
- CareerBuilder Talent Network
- ScheduleOnce
PROJECT DETAILS