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Remote build token.
You can set token string for remote build. Build will be triggered if application message has the same token in token attribute.


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Blog
What should medieval Swansea look like?
So: how should we go about our 3D visualisation of medieval Swansea? Should our final product be something creative, imaginative and speculative - but immersive and engaging? Or should it be a more cautious, conservative construct which makes uncertainties and unknowns visible? There's some strength of feeling on each side of this debate amongst the project team, and we're confronting some interesting ideological, theoretical and methodological questions as we decide how to proceed.
3D visualisation is the centre of ongoing debate in the Humanities, and especially historical disciplines. Vincent Gaffney has commented that digital visualisation is 'always a highly emotive act', and has also questioned our obsession with visual reconstruction as part of our 'fetishization of visual experience'. But this kind of visualisation has value, both as a tool for public engagement and communication, and also as an alternative mode of scholarly enquiry.
DDH have been closely involved with the London Charter on 3D modelling and visualisation. The team at DDH are particularly concerned with issues of 'intellectual transparency' and making sure uncertainty is legible in our work. This means keeping visualisation simple and basic and avoiding anything 'gamified'. They're keen to avoid an emphasis on the aesthetic over the accurate - clearly something we need to have in mind. Paul and the DDH team will be giving their views and arguments here on the Blog.
But I see things a different way. Whilst it's clear that our visualisation needs to be as informed as possbile, I feel there's space here for imagination and creativity. And more detailed 'realistic' models - even though some may see a touch of the 'Hogwarts' effect - allow the viewer a more immersive, experiential, sensory engagement with the medieval city. I see our 3D visualisation as an alternative critical mode to our GIS mapping and textual analysis - one which privileges creative and imaginative engagement and which provides a site for hypothetical, experimental thinking about the medieval city. Scholarship has different registers and different idioms. I think this is an exciting opportunity for us to place different modes in apposition in our research.
'Artists' reconstructions' have been used in medieval history for decades. But questions surrounding creativity, imagination and licence are now more acute than ever in relation to our digital tools and applications. We'll be continuing this debate in person at a project meeting this week - we'll also share our different views and (I hope!) our final resolution here on the project Blog.
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Who am I?
I'm a football fan
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I'm a pseudo musician (aka noise maker)
I'm a FOSS4G evangelist
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Speech
Matthew Hancock spoke to the Edge Foundation about the importance of vocational education.
Thank you, Lord Baker, for asking me to deliver the Edge lecture.
It is a great honour, and an honour especially to give it this year - the twentieth year since your revolutionary reforms in colleges.
Following hard on the tails of the introduction of the national curriculum across schools.
Your freeing of colleges, giving autonomy to college leaders, as well as introducing city technology colleges, has widely been heralded by education reformers, leading as it did to academies, free schools, and UTCs .
Looking at your conference programme today, it strikes me it’s right up my street.
My role in government is to act as champion, cheerleader and campaigner for technical education. That’s what you do.
To equip our country for future economic success.
And to give all young people the chance to reach their potential. These are your goals too.
And I know many here today share my sense of urgency.
Last week, the OECD released a report on adult skills, comparing adult skill levels in England to 24 other developed countries.
It ranked us nearly bottom for literacy and numeracy for 16- to 24-year-olds. Uniquely among developed nations, our older generation perform better than our youth.
The case for reform could not be more stark.
That reform must start at the youngest age, improve early years care, invigorate primaries, drive up standards in secondaries, and challenge colleges.
This OECD shock directly addresses every part of our education system.
It is a rallying cry for reform. It will shape the debate. No one can now deny that a policy of ever higher results in ever easier exams with ever more qualifications has failed.
So I want to talk to you today about what reform looks like.
About what we’ve done so far, and what we’re changing.
And in particular, the role colleges can play - including as elite institutions, leaders in their communities.
First, though, I want to start with the bigger picture - what should vocational education look like?
Throughout the ages, from ancient times, and long before compulsory schooling, we’ve had vocational education.
Delivered in the workplace, through guilds, and increasingly down the centuries in technical colleges, vocational education has always had a clear goal:
To prepare people for work.
And while the ages roll on, and the landscape of work changes fundamentally, vocational education remains a vital part of any modern economy.
But vocational education has another, deeper function. For high-quality vocational provision helps all to reach their potential.
Some argue that there’s a tension, a divide, between supporting vocational and academic education: that you’re for one, or the other.
This fundamentally misunderstands what matters: stretching, challenging, academic education is vital for driving social mobility, allowing any child to reach their potential and transcend the circumstances of their birth.
But vocational education?
High-quality, demanding vocational education does exactly the same thing.
And whether it’s academic or vocational, it doesn’t happen automatically.
Just as making exams easier then trumpeting success denigrates and undermines academic education…
… so weak and irrelevant vocational quality does the same too.
And we must not fall for the intellectual error that just because something must be available to all, means that it must be achievable by all.
This error: that vocational courses ought to be easy and not stretching because we cater for everyone is patronising, debilitating, and wrong.
And the idea that vocational education can be separated from the vocations that it serves is mistaken.
The “line of sight to work” - as Frank McLoughlin so eloquently put it - is front and centre of the purpose of vocational education.
And just a word on this question of parity of esteem.
Parity of esteem emphatically does not mean parity between teacher and pupil.
Teachers are - should - must - be: imbued in their subject, masters of their craft, and leading edge technicians.
Pupils are just that.
Can you imagine a German meister craftsman claiming a parity of esteem with his apprentices?
Of course not.
That isn’t to say we can’t learn from youngsters. I have children too.
What parity of esteem should mean is that someone should be open to choose, and society should equally value, academic or vocational education.
But no amount of exhortation will get us there. We will only reach that parity if vocational education truly is as high quality, as rigorous, as rewarding as academic.
So, rigour and responsiveness: the 2 driving forces behind my reforms.
What does that mean in practice?
First, and centrally, we are increasing the quality and duration of apprenticeships. These reforms have overwhelming support and are crucial to safeguarding the future of apprenticeships in the 21st century.
We’ve introduced new study programmes - to remove funding incentives to push 16- to 18-year-olds through qualifications they could complete, rather than what was right for them.
And alongside more freedom to teach what matters to students, we will hold all providers more rigorously to account - with accountability properly comparable across all types of institution.
New traineeships, for those not quite ready for work, include English and maths, as well as work experience and what they need to hold down an apprenticeship or job.
We’re expanding work experience. We abolished compulsory time spent in a simulated working environment, and instead are focused on more real work experience in real workplaces.
And we’re reforming qualifications, to ensure they match the needs of employers. apprenticeships, tech levels, and in future adult qualifications will need to demonstrate the value they bring to employers in order to attract public funding.
Everyone will carry on learning maths to 18, either to get a GCSE or an advanced core maths qualification. If they didn’t pass English GCSE , they’ll keep learning that, too.
And throughout all our reforms, only the best providers, those who have achieved a good or outstanding Ofsted grade, get to offer the flagship programmes for example, 14 to 16 enrolments or traineeships.
These changes are essential to creating more rigorous and responsive further education.
But they aren’t, on their own, enough.
I want to set out my vision for colleges, 20 years from when you, my Lord, set them free.
To understand the role colleges play - it’s worth taking a moment to look at their evolution over the last 150 years.
The first colleges were private and small: royal charters, talented amateurs and eminent Victorians - a limited response to a new industrial society.
In the late 19th and early 20th century, there was a great wave of self-improvement and community development, an organic education movement that gave us many of our working men’s clubs, evening schools, technical centres, philanthropic foundations and colleges.
Then, in the 20th century, education was largely nationalised.
After the war, Butler’s technical schools were stillborn.
Colleges were put under local authority control, and did not thrive.
And after being set free in 1992, in the 2 decades since, state funding grew - yet so did state control.
Too many people in my job saw colleges as a tool at their disposal - as functional, limited organisations, that were theirs to command and control of whatever funding body was there at the time.
But this attempt to control from the centre stunted innovation and misdirected purpose.
Instead of looking out to the community, too many colleges looked up to government.
They became delivery arms of the state.
I want to see colleges rediscover that early ethos, that sense of social purpose.
And I know many of you do too - we want to see colleges that are about more than just implementing, delivering, getting by - but are leaders in their communities, that are energetic and entrepreneurial institutions, that galvanise and grow their towns and cities and regions.
“Yes!” I hear you cry. “We’re doing that already!” And some of the best colleges are.
But for too long some colleges have done that despite the system.
Instead I want to see all colleges do that because of the system.
And I want you to do it much, much more.
Instead of delivery arms of the state, I want to see colleges as social enterprises.
Enterprising in what they do, and how they support the people they serve.
And enterprising in who their customers are.
Where we, on behalf of taxpayers, provide the funds, colleges should respond to the needs of learners and employers. And of course we will stringently hold them to account, through published data, on exam results, through Ofsted , by completion and increasingly by wider success measures of progression and employment.
This is true of adults, and of course of children too.
Today’s conference focuses on opportunities for young people from 14 onwards.
We opened up good and outstanding colleges to 14- to 16-year-olds from this September, because it’s essential to open up options and choice and diversity. It means they will get a strong general education, with access to vocational options at the same time.
It’s an idea from Alison Wolf - and as she says, it means more young people are exposed to the needs of local employers.
I’m delighted a number of colleges have taken the opportunity to offer places - and want to encourage more. Opening up colleges in this way will encourage innovative approaches to deliver what needs to be high quality teaching, and I’m enthusiastically supportive of initiatives to do that.
But increasingly, as well as delivering education funded by the taxpayer, colleges are, and should, provide training not funded by the taxpayer. Colleges are education enterprises. The best offer training to companies, local and national.
Think of this.
Of the £40 billion market for adult training in England, less than 10% is funded by the taxpayer.
Yet few colleges receive more than 10% of their revenues from anyone but the taxpayer.

For this responsiveness to local needs, sitting along tough accountability and a drive for rigour, will get the best from colleges, from strong leadership, and help the sector to flourish.
So if colleges should be social enterprises, so too not every college should be the same.
Of course, different colleges will serve different industries, different sectors, and different local need.
More than that, I want to see the emergence of a new breed of elite colleges, which lead the nation - indeed lead the world - in their area.
Next month, I will be at the Skills Show in Birmingham, the showcase for some of the most extraordinary skills in Britain.
The best then represent their country at World Skills.
I love these competitions, bristling as they are with young people striving for perfection in their field.
But it’s not very important whether I love them or not.
Young people love them too. Not just those taking part, but those inspired by the ambition and the brilliance of the contestants.
We need to replicate this ambition in elite colleges. Outstanding to their core, delivering the very best teaching, in core subjects, as well as their speciality.
There are examples of outstanding colleges today. I’ve visited many.
But there is also a long tail that must perform better.
And while our reforms will urge improvement on all, we must celebrate the elite that show the way.
It’s up to you.
Gone are the days when ministers thought it was their right to dictate every detail from the top down - when the tentacles of big departments extended out into every classroom, lab and workshop.
Instead, it is for colleges to take these freedoms.
Raise standards, serve employers.
That we might raise the standard of education for all.
And give everyone the chance to reach their potential.
Published: 15 October 2013


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You need some historical data to prepare the data for the model. If you have historical data, manipulate it to train and test the model. In this example, calculate the log return time-series of the securities:
ret = np.log(history/history.shift(1)).iloc[1:].close


5/2 email
Are there continuing workload & contractual concerns? Have we adequate training & professional development opportunities? What do you need to improve your work roles and responsibilities? What does the budget look like, and implications going forward? Plans for summer and fall semesters Health and safety concerns for CSI community Other related concerns We hope you will join us. See Zoom link below.
Best, College Council Executive Committee Mary Murphy, George Sanchez, John Verzani, Francisco Soto, Tom Tellesfen, Jane Marcus Delgado.
Here’s an invite link and info: Warrick Bell is inviting you to a scheduled Zoom meeting. Topic: CCEx HEO Town Hall Time: May 4, 2020 02:00 PM Eastern Time (US and Canada)
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Features
|
|
Case
: case
Case is an inflectional feature of nouns and other parts of speech (adjectives, verbs, articles) that mark agreement with nouns.
In Irish four cases are used: common (which covers nominative and accusative case), vocative, genitive and dative. These cases are labelled respectively as NomAcc
, Voc
, Gen
, and Dat
.
NomAcc
: common case
The common case is the base form of the noun, and is used for the lemma. This word form is used for subjects and objects of a clause, and predicates of a copula.
Examples
Subjects:
- Tosóidh an cheolchoirm ar 8pm “The concert will start at 8pm”
- Bhris an bord ina dhá leath “The board broke into two halves”
Objects:
- Cuireann Paul an píosa seo chugainn “Paul offers this piece to us”
- D’ith sí an dinnéar “She ate the dinner”
Predicates:
- Is láithreán uafásach é seo “This is an awful site”
- Is múinteoir é “He is a teacher”
Voc
: vocative case
The vocative case is used to mark a noun as being the addresse. It is preceded by the particle a
(see PartType). The vocative case triggers lenition.
Examples
- ‘Slán leat, a Dhoráid! “Goodbye, Dorád!”
- A dhaoine uaisle “ladies and gentlemen”
Gen
: genitive case
The genitive case indicates possesion or ownership. Its use is similar to the use of ’s in English. Other use cases include describing the composition of an object, compound nouns, objects of a compound preposition, and objects of a verbal noun (see VerbForm).
Examples
- dearadh an stáitse “outlook of the state”
- mac an fhir “the man’s son (lit. son of the man)”
- an Aontas Eorpaigh “the European Union”
Dat
: dative case
The dative case is used with most simple prepositions in Irish. In standard Irish, the dative form is identical to the common case.
Examples
- in Eireann “in Ireland”
- sa leabhair “in the book”
Definite
: definiteness or state
In Irish, definiteness is indicated through the use of a definite article singular an or plural na (also used with feminine singular in genitive case, see below), much like the definite article “the” in English. There is no indefinite particle, with nouns considered indefinite unless otherwise indicated.
Def
: definite
Determiners an and na are both definite, as mentioned above.
In the case of a genitive construction (eg hata fhir an bhaile “the hat of the man of the town”), the noun can also indicate definiteness, though treatment depends on gender and number.
Nominative case
In the nominative case (see Case) nouns undergo some changes following the definite article an; most feminine nouns are lenited after the definite article, while feminine nouns beginning with ‘s’ are eclipsed, becoming ‘ts’. Meanwhile, masculine nouns beginning with a vowel get the prefix ‘t-‘.
Examples
- an bua “the win”
- an fharraige “the sea”
- an tseachtain “the week”
- an t-aonad “the unit”
Following the plural definite article na, both masculine and feminine nouns beginning with a vowel receive the prefix ‘h’.
Examples
- na buntáistí “the advantages”
- na hábhair “the subjects”
Genitive
In the genitive case (see Case) the singular definite article an is only used with masculine nouns. In this case, masculine nouns behave like feminine nouns in the nominative case, most masculine nouns beginning with a consonant are lenited, and those beginning with a ‘s’ change to ‘ts’. However, nouns beginning with a vowel remain the same.
Examples
- imeachtaí an Éirí Amach “activities of the uprising”
- chumas an pháiste “ability of the child”
- biaiste an tsamhraidh “season of summer”
The plural definite article na is used with feminine singular nouns. In this case, feminine singular nouns beginning with a vowel are prefixed by ‘h’, while those beginning with a consonant don’t change. For plural nouns, na triggers eclipsis where nouns begin with a consonant. Plural nouns beginning with a vowel are eclipsed by the prefix ‘n-‘.
Examples
- thitim na hoíche “fall of the night”
- óga na tíre “young of the country”
- eagras na bhfostóirí “organisation of the employers”
- measc na n-ábhar “middle of the subjects”
Ind
: indefinite
There are no indefinite articles in Irish, however some nouns may inflect to show indefinite features.
Examples
- a gcuid uibheacha “her eggs”
- as láimh “out of hand”
Degree
: degree of comparison
Degree is a feature of adjectives that describe the quality of a noun.
Pos
: positive, first degree
States the quality of an object without comparing that quality to those of any other object.
Examples
- ag airneál go minic “visiting (at night) often”
Cmp
: comparative, second degree
Sup
: superlative, third degree
In Irish, the comparative and the superlative form is the same. In both cases, the adjective is given a suffix, usually resembling the feminine genitive ending. Both the comparative and the superlative require a degree particle. For the comparative degree, this is níos which corresponds to the English “more”. The particle is (loosely translated as “the most”) is used to indicate the superlative degree.
Examples
- níos fada “longer”
-
níos mó “bigger”
- is fearr “the best”
- is mó “the biggest”
Dialect
: Dialect
In Irish, there are three main dialects, with certain grammatical and lexical variations between the dialects. Words or grammatical features in the treebank which were judged to belong to a particular dialect were marked with the Dialect feature.
Connaught
: Connaught dialect
The Connaught dialect is the variety of Irish spoken mostly in the province of Connaught in the west of Ireland.
Examples
- Caidé (standard: Cad é) “What is it”
Munster
: Munster dialect
The Munster dialect is the variety of Irish spoken mostly in the province of Munster in the south of Ireland. Most of the instances of dialect variation in the treebank are of Munster variety.
Examples
- Dhein sé (standard: rinne) “He did”
- so (standard: seo) “this”
- san (standard: sin) “that”
Ulster
: Ulster dialect
The Ulster dialect is the variety of Irish spoken mostly in the province of Ulster in the north of Ireland.
Examples
- domhsa (standard: dom) “for me”
- fá (standard: faoi) “under”
- cha (standard: ní) negation
Form
: Form
One of the characteristics of Irish is its tendency for initial mutation to occur in certain circumstances. This is triggered by the preceding word and affects the spelling of nouns, adjectives and verbs. Nouns in Irish are divided into classes according to the way they are inflected to form the genitive singular. There are five such noun-classes or declensions. (The Christian Brothers, 1994)
Ecl
: eclipsis
This feature occurs when the initial consonant or vowel of a word is eclipsed by a prefixing consonant. This is either a voiced consonant for voiceless consonants, (e.g. /tʲ/ → /dʲ/, /k/ → /g/) or a nasalised consonant for voiced consonants (e.g. /dʲ/ → /nʲ/, /g/ → /ŋ/). Vowels are eclipsed by adding n- or t-.
Not every consonant can experience eclipsis. The consonants that can be eclipsed in Irish are: p, b, t, d, c, g and f.
Eclipsis will happen in a number of environments:
- after the plural possessive nouns ár, bhur and a (“our”, “your (pl.)”, “their”)
- on singular count nouns following the numbers 7-10
- after the preposition i “in”
- on plural nouns in the genitive case after the definite article
- on singular nouns in the dative case after the definite article
- following certain clitics such as interrogative particles (an, nach), complementisers (go, nach) and relativisers (a, nach)
Examples
- a gcuid iarrachtaí “their efforts”
- seacht mbliana “seven years”
- i nGaeilge “in Irish”
- costas na n-oibreacha “cost of the works”
- ar an bhfocal “on the word”
- nach bhfaca sé “he didn’t see”
Emp
: emphatic
The emphatic form is a special form a word takes to mark emphasis in Irish.
Examples
- dom “to me”
- domsa “to me (emph)”
- a deirim “I said”
- a deirimse “I (emph) said”
Len
: lenition
Lenition is by far the most common means of initial mutation in the treebank. When lenited, h is added immediately after the initial consonant.
These are some of the environments that trigger lenition:
- following the definite article (see Definite for specifics)
- following the vocative particle a (see PartType, Case)
- after certain adjectives (singular possessive pronouns, uile, aon, dhá, etc.)
- after certain simple prepositions (a, de, do, faoi, etc.)
- following the past tense of the copula is
- following preverbal particles in the past tense (níor, ar, etc.)
- verb forms in the past tense
Examples
- an fharraige “the sea”
- A Dhochtúir Van Helsing “Doctor Van Helsing”
- mo chuid oibre “my work”
- faoi cheist “under question”
- Ba mhaith liom “I would like”
- Níor chuir sin “that doesn’t put”
- tháinig “came”
HPref
: h-prefix
When two vowels come together in Irish, a h-prefix is inserted before the second vowel in order to simplify pronunciation.
Examples
- go hálainn “lovely”
- na heisimirce “emigration”
- de h-Íde “from Íde”
- ní hamháin “not only”
VF
: Vowel form
Vowel form is an indicator of spelling changes that occur in copular verbs when followed by a word that begins with a vowel or a lenited consonant.
Examples
- is copula, “is”
- ab ea iad “they are”
- gurbh é “it was”
- B’fhearr leis lit. “it was better for him”
Gender
: gender
Irish has two gender forms: masculine and feminine.
Masc
: masculine gender
In general, words ending in a broad consonant are masculine. Exceptions include words ending in slender -óir, -eoir, and -ín, which are masculine.
Examples
- madra “dog”
- múinteoir “teacher”
Fem
: feminine gender
In general, words ending in a slender consonant are feminine. Exceptions include words ending in a broad -óg, or -eog, which are feminine.
Examples
- Éire “Ireland”
- néaróga “nerves”
Mood
: mood
Mood is a feature that expresses modality and subclassifies finite verb forms. It allows for a speaker to express their attitude towards what they are saying.
Ind
: indicative mood
The indicative mood can be considered the default form of a verb. A verb in the indicative indicates something that has happened, is happening or will happen.
Examples
- Deirim “I say”
- Thug sé “He gave”
- Caithfidh mé “I will have to”
Cnd
: conditional mood
The conditional mood is used to express actions that are hypothetical. In Irish, the conditional is expressed in two different verb endings; these endings begin with the suffix -f- or -ó-. In all but the 3rd person singular and the 2nd person plural, the verb endings are synthetic and do not require a subject pronoun. Conditional clauses are often introduced using go or dá.
Examples
- Ólfadh sé “He would drink”
- Dá bhfeicfeá “If you saw”
- …go bhfeicfeadh sé “…that he would see”
Imp
: imperative mood
The imperative mood is used to give a command, express advice, or make a request.
Examples
- Ná habair liom “Don’t tell me”
- Bígí ar ais anseo “Be back here”
- Chuiridís oilithrigh amach “Let them send the pilgrims out”
Sub
: subjunctive mood
In Irish, the subjunctive mood is used to express a wish or an uncertainty. It is normally formed with the particle go (positive) or nár (negative) followed by the verb in the subjunctive form. Sula ‘before’ is sometimes also used. The subjunctive is not widely used in Irish.
 That you would have good)”
NounType
: NounType
In Irish, noun forms fall into certain groups or declentions (see Form). These nouns follow patterns of inflection depending on gender, number and case. The noun type feature affects the form of modifying adjectives, and so is a feature of both parts of speech.
Strong
: strong plurals
The form of a strong plural remains unchanged regardless of grammatical case, i.e. it does not inflect.
Examples
- bláthanna “flowers” (nominative, accusative, genitive)
- oibreacha “works” (nominative, accusative, genitive)
- cótaí “coats” (nominative, accusative, genitive)
Weak
: weak plurals
Unlike the strong plural, a weak plural noun is different in the nominative, accusative and genitive cases.
Examples
- focail “words” (nominative, accusative)
- focal “words” (genitive)
- Aontais “Unions” (nominative, accusative)
- Aontas “Unions” (genitive)
Adjectives in Irish can have endings that are slender or not slender (broad). Depending on how the preceding noun ends, the form of the adjective can change.
NotSlender
: broad consonants
A final consonant is termed broad if the preceding vowel is broad (a, á, o, ó, u, ú). The feature ‘NotSlender’ applies to adjectives qualifying a plural noun that ends in a broad consonant or a vowel.
Examples
- dathanna príomhúla
- nótaí praiticiúla
Slender
: slender consonants
A final consonant is termed slender if the preceding vowel is slender (e, é, i, í). The feature ‘Slender’ applies to adjectives qualifying a plural noun that ends in a slender consonant.
Examples
- na heagrais dheonacha
- thuaithe cháilitheacha
NumType
: numeral type
Irish numeral forms inflect to demonstrate different grammatical roles.
Card
: cardinal numbers
Cardinal numbers can be divided into those without nouns (used in counting, giving the time, etc.), and those with nouns. Those used without nouns use a particle a that is absent in those used with nouns. This particle triggers h-prefix in numbers beginning with a vowel (aon, ocht).
Examples
Counting, etc.:
- a haon “one”
- a seacht “seven”
- a sé a chlog “six o’ clock”
Numbers qualifying nouns:
- dhá bhliain “two years”
- naoi gcapall déag “nineteen horses”
- seasca punt “sixty pounds”
Pers
: personal numerals
The personal numerals are used for counting people. From numbers 1-12 this system of counting differs from that used with other nouns, after that, the form is the same as the cardinal form, or a combination of the two forms.
Examples
- duine amháin “one person”
- beirt “two people”
- aon bhean dhéag “eleven women”
- seasca fear “sixty men”
Ord
: ordinal numbers
Ordinal numbers can be used to show order of items. In Irish, the form uses the definite article an. (see Definite). The English abbreviation “th” appended to a numeral (as in eighth), is given in Irish as -ú.
Examples
- an chéad lá “the first day”
- an dara dóigh “the second prospect”
- an 17ú Marta “the 17th of March”
Number
: number
Number is an inflectional feature of nouns and other parts of speech (determiners, adjectives, prepositions, verbs, etc.) that mark agreement with nouns. Nouns may have different singular and plural forms in each case (see Form for more on the noun declensions).
Verb endings frequently synthesise to show number and person. The first person singular and plural are always synthetic, while the other paradigms (except 3rd person singular) can be synthetic depending on Mood and Tense.
Words can be either singular or plural.
Sing
: singular
Plur
: plural
Examples
Noun forms in singular and plural for bád (“boat”), fuinneog (“window”), and am (“time”):
| Declension | Case | Singular | Plural |
| First | Nominative | bád | báid |
| First | Genitive | báid | bád |
| Second | Nominative | fuinneog | fuinneoga |
| Second | Genitive | fuinneoige | fuinneog |
| Third | Nominative | am | amanna |
| Third | Genitive | ama | ammana |
Verb Forms for deir (“say”), ól (“drink”), and imigh(“leave”):
| Person | Singular | Plural |
| 1st (present ind.) | Deirim | Deirimid |
| Ólaim | Ólaimid | |
| Imím | Imímid | |
| 2nd (imperative) | Abair | Abraigí |
| Ól | Ólaigí | |
| Imigh | Imígí | |
| 3rd (conditional) | Deirfadh sé | Deirfaidís |
| Ólfadh sé | Ólfaidís | |
| D'imfeadh sé | D'imfidís |
Adjectival agreement:
| Noun Phrase | Singular | Plural | English |
| An duine | áitiúl | "the local person" | |
| Na daoine | áitiúla | "the local people" | |
| focal | béasach | "a polite word" | |
| focail | béasacha | "polite words" |
PartType
: PartType
Irish makes use of a broad range of particles. Many of these particles have the same form but perform different functions.
Ad
: adverbial
This particle is used with an adverb to create an adverbial phrase. It’s most frequent form is go.
Examples
- go minic “often”
- go fóill “yet”
- go dona “badly”
Cmpl
: complementizer
These complementizers are used to introduce a clausal complement. See ccomp.
Examples
- go raibh fhios acu “that they know”
- nach bhfeiceann siad “that they don’t see”
- Is beag nár thit an píosa
Comp
: comparative
The comparative particle is used for introducing a comparative adjective (see Degree).
Examples
- níos mó “bigger”
- níos déine “more intense”
Cop
: copular
The copular particle introduces a copular construction. There is only one instance of this particle in the treebank currently.
Example
- cén fhealsúnacht a ba bhun leis an tuairim “which philosophy that the opinion was based on”
Deg
: degree
The degree particle is used to give a superlative description.
- dá laghad “the least” (at all)
- ba ea a dhéine a bhí sé á breathnú “with how much more handsome he was becoming”
Inf
: infinitive
The particle a is used with a verb stem to form the infinitive in Irish. The verb form is lenited.
Examples
- a cheannach “to buy”
- a thabhairt “to give”
- a dhénamh “to do”
Num
: numeral
The particle used for counting in Irish is a. Most forms stay the same, but those numbers beginning with a vowel such as aon (“one”), or ocht (“eight”) are prefixed by h-.
Examples
- a haon “one”
- a dó “two”
- a seacht “seven”
- a hocht “eight”
Pat
: patronym
This particle is used in last names to mean “son of” or “daughter of”. The masculine forms are Ó and Mac, while the feminine forms include Ní, Nic, Uí and Mhic. Often the anglicised version will use “O” or “Mac” regardless of gender.
Examples
- Mac Craith
- Teaghlach Uí Ghallchóir
- Liz O’ Donnell
- Aire de Valera
Vb
: verbal
Verbal particles include the positive particles a, gur and the negative particle ní. These particles can be used for introducing relative or adverbial clauses, clefts, or for negating the verb.
Examples
- is ann a bhí cónaí ar Cholm “it was there that Colm lived”
- gur thit na caighdeáin “that the standards had fallen”
- ní bheidh sé “he will not”
Voc
: vocative
The vocative particle is a, and is used to directly address someone. In this circumstance, it triggers lenition in the following noun. See Case
Person
: person
Person is a feature of personal and possessive pronouns and verbs. In verbs, this feature marks the subject, in some cases allowing the subject to be dropped entirely. In Irish, some verbs are constructed synthetically, and some are analytically constructed. Verb stems in Irish are either broad or slender (see NounType), and are inflected differently depending on this.
1
: first person
The first person refers to the speaker; singular first person includes just one speaker, while plural first person includes many speakers, or groups the speaker with others. In Irish verbs, the first person forms a synthetic verb, where the subject pronoun may be dropped from the verb. Prepositional and possessive pronouns also inflect to denote person and number.
Examples
- Dúnaim “I close”
- Tuigim “I understand”
- Dúnaimid “We close”
- Tuigimid “We understand”
2
: second person
The second person refers to the listener. The singular first person denotes just one listener, while the plural form denotes several listeners. Verbs in Irish do not indicate 2nd person, so subject pronouns are necessary (i.e. analytic form).
Examples
- Dúnann tú/sibh “You(sing/pl) close
- Tuigeann tú/sibh “You(sing/pl) understand
3
: third person
The third person refers to one or more persons who are not present, i.e. neither speakers nor listeners. Verbs in the third person are analytical, like with second person.
Examples
- Dúnann sé/sí/siad “He/she/they close(s)
- Tuigeann sé/sí/siad “He/she/they understand(s)
Polarity
: whether the word can be or is negated
There is no word for “yes” or “no” in Irish. Instead, a negative particle is used in combination with the verb to give a negative polarity.
Neg
: negative
The negative particle ní* can be used in almost every tense, except the past. It causes lenition to relevant consonants (see Form), otherwise there is no change. In the past tense the particle is written as níor, and does not trigger any further lenition, though the word may already be lenited due to past tense morphology (see Tense).
*In the Ulster dialect, this particle also appears as cha (see Dialect)
Examples
- Ní thuigim “I don’t understand”
- Níor ól sé “He didn’t drink”
The interrogative negative particle nach is used to pose a negative question, or to introduce a clausal complement (see PartType).
Examples
- Nach bhfuil tú? “Aren’t you?”
- Dhaoine nach ndearna scannán riamh “People who haven’t ever made a film”
The verb “to be” (in Irish bí) is given the negative form níl in the present tense, as a contraction of ní bhfuil. It can inflect to show (for instance) person.
Examples
- Níl sé sin mí-réasúnta “That is not unreasonable”
- Ach nílirse sásta “But you aren’t happy”
Poss
: possessive
Possessive is a feature of prepositions and determiners in Irish. Possessive prepositions can inflect to show person and number. Possessive determiners cause morphological changes in the noun they are dependent on.
Yes
: possessive
The following table describes the determiners and the morphological changes they cause.
| Determiner | Before consonant | Before vowel | Ex: cóta "coat" | Ex: athair "father" | |
| 1st sing | mo | lenition | no change | mo chóta | m' athair |
| 2nd sing | do | lenition | no change | do chóta | d' athair |
| 3rd sing masc | a | lenition | no change | a chóta | a athair |
| 3rd sing fem | a | no change | h-prefix | a cóta | a hathair |
| 1st pl | ár | eclipsis | eclipsis | ár gcóta | ár n-athair |
| 2nd pl | bhur | eclipsis | eclipsis | bhur gcóta | bhur n-athair |
| 3rd pl | a | eclipsis | eclipsis | a gcóta | a n-athair |
Certain prepositions (e.g. faoi “under”, i “in”, le “with”) in Irish can absorb the possessive determiners to become possessive prepositions. For instance, le + ár becomes lenár. The noun attached to the prepostion will inflect accordingly.
Examples:
- ina chorpán “in his body”
- ina cónaí “she lives in (lit. in her dwelling)”
- ina gcónaí “they live in (lit. in their dwelling)”
PrepForm
: PrepForm
Cmpd
: compound preposition
In Irish, a simple preposition can be combined with a noun to give a compound preposition. Nouns following compound prepositions are inflected in the genitive case (see Case).
A list of all compound prepositions is as follows:
| ar aghaidh an dorais | "opposite the door" | ar chúl an tí | "behind the house" | ar feadh míosa | "for a month" | ar fud na háite | "throughout the place |
| ar lorg oibre | "searching for work" | ar nós na gaoithe | "like the wind" | ar son Dé | "for God's sake" | d'ainneoin na taoide | "in spite of the tide" |
| de bharr troda | "as a result of fighting" | de chois an tí | "near the house" | de chóir an tí | "near the house" | de dheasca an óil | "as a result of drink" |
| de dhíobháil airgid | "for want of money" | de réir cirt | "by right" | de réir an scéil | "according to the story" | de thairbhe an eolais | "on account of the knowledge" |
| faoi bhráid an rí | "before the king" | faoi bhun tríocha | "under thirty" | faoi cheann bliana | "within a year" | faoi choinne uisce | "to fetch water" |
| faoi choinne bhean an tí | "for (the benefit/purpose of) the woman of the house" | faoi dhéin | "for the purpose of" | go ceann míosa | "for a month (duration)" | i bhfeighil an tí | "in charge of the house" |
| i bhfianaise Dé | "before God (as a witness)" | i bhfochair Sheáin | "in John's company" | i dteannta a chéile | "together" | i dtrátha a sé | "about six o'clock" |
| i dtuilleamaí Mháire | "depending on Mary" | i gcaitheamh an lae | "during the day" | i gceann míosa | "in a month's time" | i gcionn oibre | "(set) to work" |
| i gcóir an tae | "for tea" | i gcosamar Thomáis | "in Tom's company" | i gcuideachta na bpáistí | "in the company of the children" | i lár na páirce | "in the middle of the field" |
| i láthair an tsagairt | "before the priest (in the presence of)" | i mbun an tí | "in charge of the house" | i measc na bpáistí | "among the children" | i ndiaidh na cainte sin | "after that talk" |
| i rith an gheimhridh | "during the winter" | in aghaidh na gaoithe | "against the wind" | in aice an tí | "near the house" | in airicis Mháire | "to meet Mary" |
| in éadan an Rialtais | "against the government" | in ionad scuaibe | "instead of a brush" | le cois an airgid | "along with the money (as well as)" | le haghaidh an dinnéir | "for dinner (purpose)" |
| le hais an dorais | "beside the door" | le linn an chogaidh | "during the war" | os cionn an dorais | "above the door" | os coinne an tí | "opposite the house" |
| os comhair na cúirte | "before the court" | tar éis an dinnéir | "after dinner" | thar ceann an dochtúra | "on behalf of the doctor" |
Examples taken from Christian Brothers 1994.
PronType
: pronominal type
Art
: articles
Pronominal articles in Irish include the definite articles an or na. These articles can combine with prepositions to create new forms, e.g., an + de = den (“from the”), an + faoi = faoin (“under the”), na + i = sna (“in the”).
Examples
- an tuairim “the opinion”
- na seirbhíse “the services”
- san áit “in the place”
- faoin suíochán “under the seat”
Dem
: demonstrative
Irish demonstrative pronouns indicate nearness to the speaker, whether this is a difference of time or space. There are three main degrees of closeness: near to the speaker (seo, “this/these”), of some distance to the speaker (sin, “that/those”), and of greater distance to the speaker (siúd, úd, “that/those over there”).
Examples
- Caithfidh mé sin a fhoghlaim “I have to learn that”
- an ceo seo “this fog”
- Ina measc siúd “in the midst of that”
Ind
: indefinite
Indefinite pronouns are used to refer to unspecified quantities or persons.
Examples
- beidh cibé méid ann “there will be however many there”
- ní raibh aon duine acu ag goil “nobody (lit. not one person of them) was crying”
- ar gach uile Chaitliceach “at every single Catholic”
Int
: interrogative
The interrogative pronouns can be used to specify or question a specific noun. The pronouns used for inanimate things include cén, cad, céard, cathain, conas and cá, while cé can be used for persons, places or things. These interrogative pronouns can be combined with other nouns to form common question phrases, such as cén fáth (“what reason”), and cé mhéad (“how many”)
Examples
- cén tréimhse a bhí i gceist “which period was in question”
- cad é sin? “what is that?”
- cé atá ag comóradh “who is assembling”
Prs
: person
Rel
: relative
The relative pronoun in Irish is a (or ná), and is used to introduce a relative clause or adverbial clause. It can combine with other words, such as the possible combinations with the present form of the verb bí “to be”, as in atá or atáimse, with the copula is, as in ab, or with the preposition le “with”, as in lena.
Examples
- le grúpa a bhí ag iarraidh “with a group that was trying”
- a dúirt sí “she said”
- File ab ea Dónall Ó Muláin “(lit. it was a poet that Dónall Ó Muláin was)”
- seanáiteanna atá luaite sa leabhar “old places that are mentioned in the book”
Reflex
: reflexive
Yes
: it is reflexive
The reflexive form is a feature of pronouns or determiners. It tells whether the word is reflexive, i.e. it refers to the subject of its clause.
In Irish, the reflexive pronoun is féin
Examples
- bhí fhios agam cheana féin “I (myself) already knew”
- bhí a chiall féin do gach duine ina thaibhreamh féin “Everybody’s own meaning was in his own dream”
Tense
: tense
Tense is a feature that specifies the time when the action took / takes / will take place, in relation to the current moment or to another action in the utterance. Verbs in Irish can be regular and irregular (e.g. bí “to be”). Regular verbs fall into two conjugation patterns; one for short verbs (e.g. tit, fan) and one for long verbs (e.g. tosaigh). Verb endings vary depending on if the stem is broad or slender (see NounType).
Past
: past tense
The past tense denotes actions that happened before the current moment. In Irish, past tense is indicated in the verb through the addition of lenition and/or a d’- prefix.
Examples
- Thit tú “You fell”
- D’fhan sé “He stayed”
- Thosaigh sí “She will start”
- Bhí síad “They were”
Pres
: present tense
The present tense denotes actions that are happening right now or that habitually happen. The present tense paradigm is usually created from adding endings to the lemma of the short verb (e.g. fan + 1st sing ending -> fanaim). Long verbs are shortened first (e.g. tosaigh -> tos- + endings).
Examples
- Titeann tú “You fall”
- Fanann sé “He stays”
- Tosaíonn sí “She starts”
- Bíonn siad “They are”
Fut
: future tense
The future tense denotes actions that will happen after the current moment. In Irish, the future is indicated by the addition of a -f-, or -ó- suffix, with endings depending on person (see Person).
- Titfidh tú “You will fall”
- Fanfaidh sé “He will stay”
- Tosóidh sí “She will start”
- Beidh siad “They will be”
VerbForm
: form of verb or deverbative
In Irish, verb form is a feature of words which have the appearance of a verb, although they function as other parts of speech.
This feature appears most commonly as an infinitive
construction, which functions as a noun. This feature also appears as a copula
, a particle
or a verbal noun
.
Inf
: infinitive
The infinitive verb form is the same as the verbal noun. The infinitive is always preceded by the infinitive particle a. This particle causes lenition in the verb, where possible (see Form).
Examples
Introduced by particle
- a dhéanamh “to do”
- a chur “to put”
- a rá “to talk”
Introduced by preposition
- le déanamh “to do”
- chun féachaint “to see”
- á rá “being said/saying”
Cop
: copula
The copula verb form usually functions as a copula verb, though it can also be used as a mark, to introduce a complement clause, or as the root of the sentence. The order of elements in a copula construction is in general: copula, predicate (new or focussed information), and subject.
Examples
- Is mise Briain “I am Brian”
- Is é an watt (W) an t-aonad cumhachta “The watt (W) is the unit of power”
In the Irish treebank, the copula verb usually appears in its present tense form is, but has many other forms. It can combine wih other subordinate conjuctions or negative particles to form contractions, such as gur, ba, ní, etc. Also, the form of the verb bí changes with respect to tense, mood and context (see Form).
- Dá mba mise thú “If I were you”
- Más rud é “if it is a thing”
- Ar mhaith leat “would you like?”
- Dúirt sé gur múinteoir é “He said that he was a teacher”
Part
: participle
The participle verb form indicates a verbal adjective. It can be used to modify the head noun, or to introduce an adjectival predicate complement. (see xcomp:pred) The participle is usually inflected by adding the suffix -te (-the) or -ta (-tha) to the lemma.
Examples
Adjectival modifier
- Gaeilge briste “broken Irish”
- na ndaoine fásta “the adults” lit. “the grown people”
-
Dé Domhnaigh seo caite “this past Sunday”
- Tá gearán déanta ag Unison “Unison have made a complaint”
- An mothaíonn tú sábháilte? “Do you feel safe?”
- Tá a lán scríofa ar an ábhar seo “There’s a lot written on this topic”
Vnoun
: verbal noun
Verbal nouns are similar to an infinitive verb in English, however they function as a noun rather than a verb. They may be used to introduce a clausal complement, (see xcomp), as a conjunct, or as a root of the sentence. The noun is preceded by the preposition ag which loosely translates to “in the process of” in this context. The object of the verbal noun is in the genitive case (see Case).
Examples
- Beidh Máire Andrews ag insint scéalta difriúla “Mary Andrews will be telling different stories”
- Bhí Bhreandán ag caitheamh a chuid airgid “Brendan was spending his money”
- Bhí Éamonn ag obair go lánaimsireach “Eamon was working full-time”
Voice
: voice
There is no passive form in Irish. However, the Irish autonomous voice is similar to the passive construction, in that the agent of the verb is not (necessarily) specified. In this construction, the object remains in accusative case, as opposed to the nominative case used in the passive voice in English. The subject in this construction remains anonymous, as a dummy subject.
Auto
: autonomous voice
The autonomous voice is formed with a different verb ending: -t(e)ar in the present tense, -(e)adh in the past tense, -f(e)ar, in the future tense, and -f(a)í in the conditional.
Examples
| Verb | Present | Past | Future | Conditional |
| Cuir "To put" | cuirtear | cuireadh | chuirfear | chuirfí |
| Cas "To turn" | castar | casadh | casfar | chasfaí |
| Déan "To make/do" | déantar | rinneadh | déanfar | dhéanfaí |


OASP4js is - by using a very high number of components - packed with features. So we didn't manage to list them yet - so this page is under construction.


Press n or j to go to the next uncovered block, b, p or k for the previous block.
| File | Statements | Branches | Functions | Lines | |||||
|---|---|---|---|---|---|---|---|---|---|
| Array.ts |
|
100% | 5/5 | 100% | 6/6 | 100% | 3/3 | 100% | 4/4 |
| Auth.ts |
|
100% | 3/3 | 100% | 0/0 | 100% | 1/1 | 100% | 3/3 |
| AuthBasic.ts |
|
100% | 9/9 | 50% | 1/2 | 100% | 3/3 | 100% | 8/8 |
| Checksum.ts |
|
100% | 6/6 | 100% | 0/0 | 100% | 1/1 | 100% | 5/5 |
| Date.ts |
|
100% | 17/17 | 80% | 4/5 | 100% | 10/10 | 100% | 16/16 |
| Pacing.ts |
|
96.55% | 56/58 | 84.62% | 11/13 | 100% | 19/19 | 96.23% | 51/53 |
| Request.ts |
|
88.43% | 107/121 | 70% | 49/70 | 96.97% | 32/33 | 87.74% | 93/106 |
| log.ts |
|
96.83% | 122/126 | 88.64% | 78/88 | 100% | 25/25 | 98.06% | 101/103 |


In 2011 Spotify, a streaming music platform, made its debut in the US. This summer Apple finally came to the table with their offering, Apple Music. Streaming is the future of the music industry. But in order for it to be successful for the record labels, consumers need to pay for the service. However, according to Nielsen, an organization that tracks music sales and provides research on the industry, consumers minds will need to be changed before most of them start paying to stream music.
I would like to see the streaming music platforms spend money on advertising and telling consumers about streaming music. Americans know and understand Netflix and I believe if they had a better understanding of Spotify and Apple Music, more would join.
Last week Apple Music debuted a commercial that is a step in the right direction.
My goal is that this short video would give you, the music consumer, more information about Spotify and entice you to try it out. I chose to focus on mobile since that is where most consumers engage with streaming music and Spotify as that is my personal preferred streaming music platform. Apple Music and other competitors have similar product offerings to Spotify. I encourage you to give them a try.


Healthy: {{ probabilities[4] }}%
CMD: {{ probabilities[3] }}%
CGM: {{ probabilities[2] }}%
CBSD: {{ probabilities[1] }}%
CBB: {{ probabilities[0] }}%


What is the total number of nodes (both interior and leaf nodes) in the parse tree for the following λ expression?
Remember to count all leaf nodes, including one node for each λ and one node for each dot.
There is also one node for each left parenthesis and one node for each right parenthesis.
There is also one leaf node for each variable, in addition to the interior node for the non-terminal <var>.
After you have built enough parse trees, you should notice patterns that allow you to answer this question without building a parse tree.


>>
<<
Usr
Pri
JfC
LJ
Phr
Dic
Voc
!:
Help
Primer
Checkpoint B
At this point you should understand:
- a text file that is a source of sentences is called a script file
- a script file defines global names
- how to create a new temporary script file
- how to save a temporary script file as a permanent file
- how to run a script file to execute its sentences
- how to define a verb in a script file
- how to define the monadic and dyadic cases of a verb
- the difference between =. and =:
- the difference between local and global
- that a locale is a set of global names
- that there can be more than one locale
- that the base locale is the one you normally work with
Check your understanding by doing the following exercises:
- create a new temporary script file
- in the script define square as a monad that uses *: to square its argument
- save the script in the user directory with the name square.ijs
- run the script and test the verb square
- close J, restart, use Run|File to run user\square.ijs and test it
>>
<<
Usr
Pri
JfC
LJ
Phr
Dic
Voc
!:
Help
Primer


Whether the first person to open the modern restaurant was Boulanger, de Chantoiseau, or some other long forgotten member of the soup guild, these stories serve up reminders that today’s concept of a restaurant was never a given. Some enlightened innovator first needed to open a place for hungry people to gather on a whim for a meal of their choice.
“After a good dinner one can forgive anybody, even one's own relations.”
Quotes About Restaurant:
Life expectancy would grow by leaps and bounds if green vegetables smelled as good as bacon.
Quotes About Restaurant:
I like food. I like eating. And I don't want to deprive myself of good food.
Quotes About Restaurant:
“All you need is love. But a little chocolate now and then doesn't hurt.”
Quotes About Restaurant:
Part of the secret of a success in life is to eat what you like and let the food fight it out inside.
| 2013 | 2014 | 2015 | |
|---|---|---|---|
| Employees | 15 | 30 | 40 |
| Guests Served | 15000 | 45000 | 100,000 |
| Special Events | 3 | 20 | 45 |
| Annual Turnover | $251,325 | $1,250,375 | ~$3,000,000 |


We enhance services!
- morph extensible schemas
- embrace front-end convergence
- evolve turn-key supply-chains
- deliver collaborative partnerships
- strategize leading-edge solutions
- morph user-centric infomediaries
- cultivate bleeding-edge schemas
- engage transparent functionalities
- enable turn-key platforms
- evolve collaborative e-markets
- optimize sticky supply-chains
- iterate compelling e-markets
- evolve magnetic metrics


Architectural requirements
30 Nov 2014Generally the set of system requirements are defined during the initial steps of the development cycle. It should be seen as the specification of what needs to be implemented. The requirements are descriptions of how the system should behave, contains domain information and restrictions about the system operation.
During the requirement elucidation phase the software architect / engineer tries to identify the system'm specificities which needs to be supported. Once the set of requirements is obtained, it is then posssible to start the architectural project.
The software development process based on the architecture puts the architecture as a guidance, as the orientation factor of the process, so we can also say that in an architecture oriented development the requirements are part of the main aspects of the development process.
The system complexity can be determined by its functional requirements - what it does - and by its quality / non-functional requirements - how it does. The distinction can be done using the following definitions:
Functional requirement
A software requirement which specifies a funcionality that the system or a software component needs to be able to perform. This requirements define the system behavior, in other words, the transformation process that software or hardware components do on the inputs to generate the outputs (Thayer, 1990).
Quality / Non-functional requirement
Describes how the software performs its tasks, not what it does. Thus, there are the performance requirements, restrictions and software quality attributes. Non-functional requirements are difficult to test, then they are normally evaluated subjectively (Thayer, 1990).
Project attributes
There are several principles which guide the software development process, focused on obtaining a final product which satisfies the identified requirements during the process. They are called project attributes.
Separation of concerns (SOC)
The separation of concerns allows to deal ith different aspects of a problem focusing in each of them isolatedly. This idea can be applied in order to deal with inherent complexity. The separation of concerns has been applied when a system is decomposed in several modules, with the architecture containing more than one component.
In this case it allows to separate or isolate part of the system functionality, but how can we determine which part of the system should be separated? The interest to isolate specific components and its functionalities comes from the target to provide support to a set of quality requirements. So, doing a separation in terms of the system quality requirements is essential to support them appropriately.
Abstraction
One of the main ways to deal with complexity. It is, in fact, a process in which we can identify the important aspects of some phenomenon and ignore its details. Abstraction can also be seen as a special case of SOC, where we separate the important aspects concern of the non-important details. By doing so, the engineers can concentrate in what they judge relevant and ignore the details.
Modularization
When software engineers face a big / complex system they generally divide them into smaller pieces or modules A system composed by a set of modules is called modular.
One of the main benefits of this attribute is that it allows SOC being applied in two steps:
- When dealing with each module details isolatedly, and then ignoring other modules details
- When dealing with general characteristics of all modules, and the existing relations between them, enabling integrating them into a system.
There are three targets that modularization tries to obtain:
- Decompose a big / complex system
- Compose a system using a set of modules
- Understand the system modularization
Its important to notice that a modular system implies in modules with a high level of cohesion and low level of coupling, what allows to consider the modules as black boxes.
Resources sharing
In modular systems, the components should have a low level of coupling ideally, as it can become difficult to analyze, comprehend, change, test and even reuse highly coupled systems. However, it still possible to have low coupled components even when sharing resources. The resources can be data or services which are shared across several independent components.
Notice that sharing resources normally implies in increasing the integration and portability of systems.
Non-functional requirements
Non-functional requirements have a main role during the system development, they may be used as selection criteria for project alternatives, architectural style and implementation method. Disregard, of not consider this requirements properly is admittedly expensive and makes it difficult to correct once the system has been implemented (Brooks, 1987).
Consider the IEEE-Std 830-1993 (IEEE, 1993) standard. It lists a set of 13 non-functional requirements to be considered in software requirement specification. This pattern includes performance requirements, reliability, portability & security, similarly to another classification presented by Boehm, who looked to list a set of, what he nominated, quality requirements (Boehm, 1976).
The following picture is an adaptation of Sommerville classification (Sommervile, 1992) summarizes a set of quality requirements important to consider:
Usability
A quality requirement of any interactive system. Usability notion comes from the fact that any system designed to be used by people should be easy to learn and use, making it easier and enjoyable to perform any task.
- Ease to learn: Associated to the time and minimal efford required to reach a given level of performance using the system.
- Ease to use: Related to the task execution speed and reduction of errors while using a system.
Some relevant usability metrics:
- Time spent performing a task
- Task completion percentage
- Task completion percentage by time unit
- Success / failure rates
- Time consumed by errors
- Error percentage
- Number of commands used
- Number of commands available not used
- 'Help' usage frequency
- Number of times the user expresses he's satisfaction or frustation
Maintainability
A quality requirement normally applied when refering to changes done after the system is available to use. It is a wide term, involving repair (of some existing error), as change / evolution activities.
The ease of change, adding or modifying some functionality, depends directly on the system architecture. Its important to notice that the architecture define the components and their connections, then also defines under which circumstances they can be changed.
Reliability
Software reliability is a property of a software not causing a failure during a certain amount of time, under specific conditions. The reliability is generally defined on statistical behavior, it is the probability that a software will operate as expected during a known interval.
Some of the metrics used to evaluate software reliability:
- Availability: Its a metric of how available the system would be, in other words, how much available the system would be to perform a task requested by some user.
- Failure rate: A metric for calculating the frequency in which the system fails in performing a task requested by a user.
- Failure probability during operational phase: Metric of the probability that a system will behave in an unexpected way while operating.
- Mean time to failure (MTTF): Metric of time between observable failures.
Performance
Another important quality attribute for software systems. Given the impact it can cause, the performance requirements in the most important quality requirements. Furthermore, performance is important because it affects the system usability, impacting then the users productivity.
The performance requirement restricts the speed of operation of a software system. This can be seen, for example, in terms of:
- Response requirements: Indicates a acceptable response time for system users.
- Throughput requirements: Indicates the amount of data that should be processed in a certain time period.
Reuse
One of the characteristics of engineering is to make use of existing projects to minimize the efford of new projects. On this way, components which have been already developed and tested could be reused.
The reuse can be seen on different perspectives. It can be component oriented, process oriented or domain specific. There can be also requirements reuse. About component reuse, it can happen in some of the following ways:
- Application: All application could be reused.
- Subsystems: The main subsystems of an application could be reused.
- Objects or modules: System components, containing a set of functions, could be reused.
- Functions: Components which implement a single function could be reused.
This post basically walked through a generic process of architectural requirements analysis. The outcome of this process is a set of functional requirements, supported by use cases, a list of architectural requirements, project attributes and quality (non-functional) requirements, which indicate how the system will behave under different quality scenarios.


I am a frontend developer with UX research background. I love what I do
I work in a scrum team to design and develop our EV fast charger products.
I collaborated with a talented multi-disciplinary team to design and develop a clinical prototype on patient monitors, aimed at assisting nurses in analyzing patient conditions and speeding up diagnosis.
As a key member of the team, I also worked closely with the UX team to ensure that the clinical application was user-friendly and easy to navigate. This involved incorporating user interface design principles to create responsive web pages that met the design requirements of the clinical application.
We delivered high-quality code with over 85% test coverage, including unit tests and end-to-end tests, to fulfill the rigorous medical software standards. By conducting thorough testing and debugging, we ensured that the prototype was reliable, efficient, and safe for patients and healthcare providers.
I am proud to have played a vital role in the development of this cutting-edge clinical prototype, which will improve patient care and assist healthcare providers in delivering critical services.
Technical stack: React, Typescript, Remix.run, Cypress, Jest, Storybook
As a member of a Scrum team, I have played a critical role in designing and developing several products that are used by our auditors across 150+ countries worldwide. This has involved working collaboratively with cross-functional teams to identify and understand user requirements, and then using my expertise in front-end web development to create intuitive and engaging user interfaces.
I am also the principal developer of our UI library. This library is a set of reusable React components that streamlines our front-end development process, reduces development time, and ensures consistency across our products. In addition, the library has helped to maintain a cohesive and aligned corporate visual identity, making it easier for our users to recognize and navigate our products.
Technical stack: React, Typescript, LESS, Sass, Jest, AngularJS, webpack, Jasmine, .Net, C#
In lenovo, I collaborated with a diverse group of researchers, designers, and developers to design and develop a novel system for Augmented Reality interactions.
Through this experience, I discovered my passion for programming in an industry setting. I found that my skills and interests were better suited for industry instead of academia, where I could work on projects that had a more direct impact on businesses and end-users.
As a PhD researcher, my primary research interest was in the area of Human-Computer Interaction, which focused on exploring interaction, collaboration, and applications in multi-surface environments.
I have designed and developed several web-based applications. This was also when my passion for frontend technologies started. Welcome to check my projects here.
My thesis: Designing and analyzing collaborative activities in multi-surface environments.
Here I list several projects that I have done during my PhD (2013-2017).
General methods & tools that I have used:
Pickit is a decision-making learning activity which I designed and developed for high school students. The shared display is used for supporting collaboration, such as discussion, negotiation and taking decisions. The personal devices are used for individual exploration, such as analysing data of each location, submitting comments and providing evaluation.
This study has been published on CSEDU (Computer Supported Education) 2017 and won the best student paper award. Welcome to check our paper here. Check the code here
GoNY is a trip planning activity I designed and developed to study how the orientation of a large display (horizontal vs. vertical) used alongside tablets impacts participants' collaboration.
Our results show that using a horizontal surface will lead to better equity of interaction and more cohesive activities. On the other hand, group coordination is more structured and is organized around a main interactor when a vertical display is used.
This study has been accepted by INTERACT 2017. For more information, welcome to check our paper here and our video here.
In this study, we designed and tested an orienteering mobile learning game to better understand how device use shaped collaboration in highly mobile conditions.
Our results emphasize the importance of considering the transitions between arrangements more than F-formations per se. We discuss the implications of these findings for the design and analysis of mobile collaborative activities.
The result of this study has been published on Mobile HCI 2016. For more details of this study, welcome to check our paper here.
It is an infrastructure which allows the dynamic reconfiguration of interactive spaces by grouping different devices together. I designed a simple web-based game using this infrastructure. The game world could be automatially extended when we bring in new devices.
To see how it works, please check the video here. This work has been accepted in ITS 2014. For more information of this work, welcome to check our paper here.


Breadcrumbs displays an array of objects with two properties: display and key. display is the string that gets displayed on the crumbs, while key will be included in the event dispatched when one of the crumbs is clicked.
display
key


After four years studying English Literature and Linguistics in the University of St Andrews in Scotland, Jess Giampietro came to the startling and sobering revelation that she had no idea what she wanted to do for the rest of her life. She returned to her hometown in Florida, where she did what could only be described as “wallow in self pity” for a while before securing a job at Universal Orlando. There, she could professionally pretend to be a witch in the Wizarding World of Harry Potter and get paid for it. She floated happily in her merchandise position for a while, slowly moving up in the company, occasionally changing locations, until she found herself in a Guest Communications position.
This job was easy. This job barely required thought. This job’s only challenge involved keeping herself from yelling at innocent Guests who only want complete refunds, complimentary annual passes, and complete week long free hotel stays because it rained for two hours on one day of their vacation. This job would not be her future.
Eventually, Jess mustered up the courage to change careers, searching for educational programs to expand her knowledge in something she had always considered a hobby. Upon finding the UCF Coding Bootcamp program, she immediately signed up, and is now hoping to find a career in the field of coding, getting paid not only to do something she finds fun, but also to do something challenging. Also, if she doesn’t have to give free theme park tickets to angry theme-park guests, that will be a plus.
Also she would like to let any instructors or T.A.’s reviewing this assignment that writing a bio about yourself is hard, and whoever decided to add this to the homework requirements should feel badly about it.


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--- layout: archive title: Zulip Chat Archive permalink: /stream/116395-maths/topic/finset.2Emax.20for.20nonempty.20sets.html ---
I've been trying to use finset.max
and it's a bit annoying in all my use cases because it takes in an arbitrary finset X and returns an option X (to deal with the case where the finset is empty). It would be very easy to write a variant which takes a non-empty finset and returns its max, and I find myself wanting this variant. What should I call it?
you want to write a partial function? :shock:
And is there room for it in finset.lean?
I think finset.sup
might be what you seek
It's not that either, because finset.sup
wants the lattice to have a bot, and in my use case there is no bot.
so you really want a partial function :shock:
I simply want a function which takes in a non-empty finite set of reals and produces its max.
I am happy to supply the proof that it's non-empty.
Surely there will be more use cases. Kenny this is for proving that a convergent sequence of reals is bounded. Working with the option is a pain, because I simply want the answer rather than having to keep talking about elements of the option output.

Ultimately it will be easier to use than the contortions I'm having to go through to prove the results I need about finset.max. Kenny, try proving that if f : nat -> real
and B = max {f 0, f 1, f 2}` then for all i <= 2, f i <= B. I had to extract B from the option and then prove that it was in the option and it clutters up the local context -- both of these could be avoided because the fact that f 0 is in the set is easy to prove. I think my proposal makes it easier, but I might be wrong because it's only just occurred to me.
You can use option.get
No, Kevin wants option.iget
. Or a max version which assumes inhabited
.
So we should fix ourselves a finset.imax
?
iget
and imax
sound like they were invented by Apple. :sad:
I don't want to keep applying iget, I know the set is nonempty and I just want the max :-) There seem to be more contortions using what is there already. I should try writing the code and see if it's actually better.
rofl I decided to call it finset.max'
and then I discovered it was there already :-)
Johannes put it there in October!
One day I taught Simon what was convert
. At some point in the history section of the explanation, I was forced to mention that Simon himself wrote that tactic.
I see, the point is that max'
wants a proof that S ≠ ∅
, perhaps Johannes could see that I wanted something a bit more convenient.
I am 100% on board with having finset.imax
defined and including the obvious lemmas. (Johan, I don't think you can patent single letter prefixes.) I agree you shouldn't deal with (finset.max s).iget
, there should be a definition for this combination.
So I'm currently using finset.max'
and it's fine
Last updated: Apr 24 2020 at 19:02 UTC


{{ _('Frequently Asked Questions') }}
{{ _('What is Firefox Flicks?') }}
{% trans %} Firefox Flicks is a global video competition encouraging filmmakers to educate people about the issues that affect our online lives. This year, we're focusing on the power that having access to the Web through mobile devices gives people and how that power can change the way you see the world and the way you function within it. {% endtrans %}
{% trans link_brief=settings.LINK_BRIEF[request.locale] %} With that in mind, the 2013 Firefox Flicks theme is "Get Mobilized." That's where you come in: help us inspire people to get mobilized for individual and collective progress. Read the creative brief. {% endtrans %}
{{ _('What does Get Mobilized mean?') }}
{% trans %} It's about harnessing the power of the Web to discover new content; how that content connects you to new ideas; and how those ideas can enrich your life. {% endtrans %}
{{ _('What do we want filmmakers to do?') }}
{% trans %} Write, produce and edit a video of no more than 60 seconds that demonstrates how mobile helps people discover content that connects them to new ideas and enriches their lives. {% endtrans %}
{{ _('Where can I find out more about this year\'s theme and requirements?') }}
{% trans link_brief=settings.LINK_BRIEF[request.locale] %} Everything you need to know about creating a flick for the contest can be found in the filmmakers' creative brief. {% endtrans %}
{{ _('What are the entry categories for the 2013 Flicks contest?') }}
{% trans %} There are no categories. Your flick can be a live-action film, an animation or a combination of both. You can shoot it in 3D or on your mobile device. It's up to you. It just has to be 60 seconds or less. {% endtrans %}
{{ _('When can I submit my flick to Firefox Flicks?') }}
{% trans %} You can upload your video to the Firefox Flicks site beginning on February 13, 2013. You will also be able to view and share submitted entries at that time. {% endtrans %}
{{ _('How do I submit my flick to Firefox Flicks and enter the contest?') }}
{% if waffle.flag('video-submit') %} {% trans link_submit=url('flicks.base.home')|urlparams(hash='submit') %} Fill out your filmmaker profile and submit your video here. All flicks will be posted to the Firefox Flicks website using the Vimeo API. You'll need to provide your contact information, including your email, title your flick and select your country and region. {% endtrans %} {% else %} {% trans %} Submissions closed on July 31 and Firefox Flicks is no longer accepting entries for this year. {% endtrans %} {% endif %}
{{ _('How does Flicks get and use my email address?') }}
{% trans %} Flicks receives your email address through Persona, our site registration system. We will use your email address for contest administration purposes, such eligibility feedback, sign in and voting. You can also opt in to receive additional email updates about Firefox Flicks. {% endtrans %}
{{ _('What are the judging criteria?') }}
{% trans %} Videos will be judged on quality of shooting, editing and how closely they align with the creative brief. Entries can be animated or live action - get creative! {% endtrans %}
{% trans %} A panel of celebrity judges and film industry insiders will evaluate the films and choose the Grand Prize and Regional winners. {% endtrans %}
{{ _('Are there any requirements?') }}
{% trans %} Yes, there are some. You'll be able to find a full list under Work Criteria in the Rules (coming soon), but here is a summary: {% endtrans %}
- {% trans %} Your flick must meet the requirements of the creative brief {% endtrans %}
- {% trans link_cclicense=settings.LINK_CCLICENSE[request.locale] %} Your flick must be submitted under a Creative Commons - NonCommercial-ShareAlike license {% endtrans %}
- {% trans %} Your flick must be original {% endtrans %}
- {% trans %} Non-English flicks must have subtitles or include a written English translation {% endtrans %}
- {% trans %} Your flick must be submitted to the Flicks site {% endtrans %}
- {% trans %} Your flick must contain an accurate description {% endtrans %}
- {% trans %} Anyone that is not listed as a team member must sign a waiver granting you permission to film them {% endtrans %}
- {% trans %} Please keep it clean {% endtrans %}
- {% trans %} You must be at least 18 years old, or the age of majority in your country of residence {% endtrans %}
{{ _('Who are the judges?') }}
{% trans link_home=url('flicks.base.home') %} See our Judges page for a complete list. {% endtrans %}
{{ _('Can I submit more than one flick?') }}
{% trans %} You can submit as many as you like, but you have to submit a new entry each time. {% endtrans %}
{{ _('Can a team develop the flick?') }}
{% trans %} Of course! Teams can be up to 3 people, but please appoint a team leader. All communication will be with this person and only one prize will be awarded per entry. {% endtrans %}
{{ _('Is the contest open to international entries?') }}
{% trans %} Yes. This is an international film competition and entries can be submitted through the Flicks website. The Contest is void in Cuba, Iran, North Korea, Sudan, Syria and any other country subject to a U.S. boycott, where prohibited by law or restricted by law or regulations. {% endtrans %}
{{ _('What can I win?') }}
{% trans %} Your flick will be seen and voted on by millions of Firefox fans around the world, giving you exposure to a global audience. You'll also get your entry in front of international advertising executives and film luminaries while working on one of the world's biggest brands - a great piece to add to any portfolio. {% endtrans %}
{% trans %} This year, we've expanded our prizes: {% endtrans %}
{% trans %} Early Entry Awards - $1,000 awarded to the best flicks submitted before our film festival sponsorships. The top 3 early entry submission flicks from each film festival that Firefox sponsors are automatically included in the final round that will be submitted to and judged by our celebrity panel. {% endtrans %}
{% trans %} People's Choice Award - The 3 winning flicks will be given exposure through our channels, be exposed to millions of Firefox website visitors and receive some great Firefox swag. {% endtrans %}
{% trans %} Regional Winners - One winner from each contest region will win a $5,000 cash prize and one runner up from each contest region will win a $2,500 cash prize. Contest regions: {% endtrans %}
- {% trans %} The U.S. and Canada {% endtrans %}
- {% trans %} Latin America {% endtrans %}
- {% trans %} Europe, Middle East and Africa (EMEA) {% endtrans %}
- {% trans %} Asia, Australia and New Zealand (APAC) {% endtrans %}
{% trans %}
Grand Prize
The winner (or winning team) will fly to Los Angeles to work with producer (and Flicks judge) Couper Samuelson, CEO and Founder of The Black List Franklin Leonard and representatives from Panavision to professionally produce their winning entry using professional equipment.
{% endtrans %}
{% trans %} Additionally, just for entering, everyone will get a little something from us to say thanks for being a part of Firefox Flicks. {% endtrans %}
{% trans link_home=url('flicks.base.home') %} Continue to check our prizes page for updated information throughout the contest period. {% endtrans %}
{# Hide this until we have the mailing list set up{% trans link_email=TBD %} Sign up to receive email updates about upcoming Flicks events. {% endtrans %}
#}{{ _('What are the deadlines for the Early Entry Awards?') }}
- – {{ _('1st Early Entry Award') }}
- – {{ _('2nd Early Entry Award') }}
- – {{ _('3rd Early Entry Award') }}
{% trans link_email=TBD %} Sign up to receive email updates about upcoming Flicks events. {% endtrans %}
#}{{ _('What is the deadline to submit my flick?') }}
{% trans %} You can submit your flick to be eligible for our Early Entry Awards (above), but the deadline to submit your film to be eligible for the People's Choice Award and Regional Awards is July 31, 2013, at 11:59PM PST (7:59AM GMT). {% endtrans %}
{{ _('How will the winners be announced?') }}
{% trans %} The winners will be notified by email and phone (if contact information is available). Winners will also be announced on the Flicks site, Firefox Flicks social media properties and at Firefox sponsored film festivals. {% endtrans %}
{{ _('Is there a maximum video length?') }}
{% trans %} All videos must be no longer than 60 seconds. {% endtrans %}
{{ _('Can I submit an entry as a university project?') }}
{% trans %} Absolutely! We think that Firefox Flicks is a great opportunity for students to participate in a real world, high visibility campaign with expert judges from the film, television and advertising industries. Talk to your professors about using the video as your project. {% endtrans %}
{{ _('Can I use the Firefox wordmark and logo in my flick?') }}
{% trans link_fxbrand='http://www.mozilla.org/styleguide/identity/firefox/branding/' , link_fxosbrand='http://www.mozilla.org/en-US/styleguide/identity/firefoxos/branding/' , link_tmpolicy='http://www.mozilla.org/foundation/trademarks/policy.html' %} Yes. For the purposes of this contest, you may use the Firefox and Firefox OS wordmark and logo. For more information, see the Mozilla Trademark Policy. {% endtrans %}
{{ _('How do I get high resolution Firefox name and logo artwork?') }}
{% trans link_styleguide='http://www.mozilla.org/styleguide/' %} To get high resolution copies of the Firefox and Firefox OS name and logo artwork, as well as guidance on how to use the Firefox logo and wordmarks, please visit our style guide. {% endtrans %}
{{ _('Where can I find music or other materials to include in my flick?') }}
{% trans link_ccommons='http://search.creativecommons.org', link_pdwiki=settings.LINK_PDWIKI[request.locale], link_tumblr_resources='http://firefoxflicks.tumblr.com/post/46250829262/creative-resources-to-help-make-your-firefox-flicks' %} If you're looking for additional materials - music, video footage, artwork or graphics - we suggest you investigate public domain media. Creative Commons has a nice search service for locating public domain work (Read more about the public domain at Wikipedia). You can also check out this list of creative resources on the Flicks blog (English only). {% endtrans %}
{{ _('Can I use third-party trademarks or copyrighted materials in my flick?') }}
{% trans %} No, not without permission from the owner of those materials. {% endtrans %}
{{ _('Can I submit a flick in a language other than English?') }}
{% trans<EMAIL_ADDRESS>%} Yes. For non-English entries, you will need to submit a full and accurate script or subtitles. If you're having trouble getting your flick translated, please contact us. We can help. {% endtrans %}
{{ _('What if I want to withdraw my submission?') }}
{% trans<EMAIL_ADDRESS>%} If you would like to withdraw your submission, please contact us at<EMAIL_ADDRESS>and we will remove your entry from the competition. {% endtrans %}
{{ _('What aspect ratio should I use for my entry?') }}
{% trans %} All aspect ratios will be accepted, but 16:9 is recommended and preferred. {% endtrans %}
{{ _('Will entries be available to the general public?') }}
{% trans %} Your flick will be posted to the Flicks gallery and the voting site, as well as the Firefox Flicks channel on Vimeo so that people can watch during the contest period and vote for their favorite flicks during the voting period. Your name will be displayed publicly along with your video. {% endtrans %}
{{ _('What is Firefox OS?') }}
{% trans link_firefoxos='https://www.mozilla.org/firefoxos' %} Firefox OS is an operating system for smartphones that anyone can change, add to and share with the world, freeing them from the rules and restrictions of existing phones and the platforms they run on. What this means is that we're making smartphones more affordable and empowering, making it possible for more people to take advantage of the full power of the Web, giving individuals and communities the freedom to blaze their own trail, amplify their voice, control their destiny and transform the future. {% endtrans %}


---
title: Mu-An Chiou
layout: default
root: true
---
A software designer and engineer, making modest websites.
Based in Taipei, Taiwan. Previous home bases include New York, London, and Birmingham, UK.
Stories
RSS What are these?
{% include stories.html lang="en" %}
Photos
All photos RSS
{% assign photos = site.data.photos | slice: 0, 5 %}
{% for photo in photos %}
{% endfor %}
Film:
Roll #1,
Roll #2,
Roll #3,
Roll #4,
Roll #5,
Roll #6
{% assign note = site.notes | last %}
Notes
Recent notes RSS
Latest: {{ note.date | date: "%B %e, %Y" }}
{{ note.content | markdownify }}
Posts
RSS
{% assign pages = site.pages | where: "feature", 1 %}
{% for post in pages %}
- {{ post.title }}
{% endfor %}
{% assign posts = site.posts | where: "feature", 1 %}
{% for post in posts %}
- {{ post.title }}
{% endfor %}


\newcounter{newname}[oldcounter]
The \newcounter command defines a new counter named newname. The optional argument oldcounter must be the name of an already defined counter; if present the new counter, newname, will be reset whenever oldcounter, the counter named in the optional argument, is incremented.
See also Counters
Go to LaTeX Table of Contents


Ping Pong
Play JavaScript Ping Pong!
Here are the rules:
Ping Pong will count up to your number from 1 with the following exceptions:
Numbers divisible by 3 become "ping".
Numbers divisible by 5 become "pong".
Numbers divisible by 15 become "ping-pong".
Enter a number to play Ping Pong!
Ping Pong!


At the end of my core Typography class, we hosted a critique session with guest Anna Feng to show the work
we had produced during the semester. We were asked to each create an 11x17 portrait poster promoting the
event and to think about the physicality of the poster.
I created the poster in a tryptique format to create a horizontal layout with portrait 11x17 paper and decided
to juxtapose a bold font, Negative(that I had previously made) and Frutiger, a delicate sans serif to have
the sole focus be on the negative space created by the font Negative.
I also decided to create movement within the poster given that it was going to be displayed on a pin-board and
it needed to stand out among other print media. Given this I chose to print this project on iridescent paper
to have the poster catch the light when it moves.
I made my own custom font called Negative. It is a mono-width font that uses rectangles and rounded in
triangles to create the outline of the letters in negative space. The font is presented in a foldable poster
that plays on it’s almost illegible nature with an abstraction if it’s name and a find the word game.