## Week 11 Summary of Lee and Loundsbury 2015
12 April, 2020
Levi Sands
Lee, Min-Dong Paul, and Michael Lounsbury. 2015. “Filtering Institutional Logics: Community Logic
Variation and Differential Responses to the Institutional Complexity of Toxic Waste.” Organization
Science 26(3):847–66.
## Institutional Logics
- Institutional logics are the paradigms that exist withing organizations which dictate priorities, actions, reactions, etc.
- Different institutional logics can lead to very different outcomes for organizations
- There is never just one institutional logic, rather there are many at any given moment that compete within an organization
- Institutional logics can and do vary, sometimes dramatically in different places
## Research Context: Industrial Toxic Pollution Governance
- Industrial toxic waste began to become a problem in the public consciousness in the 1970s
- Love Canal in particular catapulted the issue of toxic waste into the national and international spotlight
- This awareness resulted in community and environmental protection becoming an institutional logic
- These new environmental logics must compete with other institutional logics in organizations
## Political Affiliation and Environmental Logics
- Those who identify as politically conservative value economic progress over environmental protection
- People with similar political attitudes are frequently clustered together in communities
## Research Questions
- How do some institutional logics get prioritized over other institutional logics within organizations
## Hypotheses
- Hypothesis 1: Facilities in communities dominated by a politically conservative logic will be less likely to improve their environmental performance.
- Hypothesis 2: Facilities in communities dominated by a proenvironmental logic will be more likely to improve their environmental performance.
- Hypothesis 3: Facilities facing pressure from the EPA will be less likely to improve their environmental performance if they are embedded in communities dominated by a politically conservative logic.
- Hypothesis 4: Facilities facing pressure from the EPA will be more likely to improve their environmental performance if they are embedded in communities dominated by a proenvironmental logic.
- Hypothesis 5: Facilities that face market logic pressures will be more likely to improve their environmental performance if they are embedded in communities dominated by a politically conservative logic.
- Hypothesis 6: Facilities embedded in communities dominated by a proenvironmental logic will be no more inﬂuenced by the market logic than facilities in communities not dominated by a proenvironmental logic.
## Methods
- Data Sources
- The levels of benzene release by various chemical facilities in Texas and Louisiana from the Toxic Release Inventory (TRI) 1991 - 2003 (118 facilities from 34 communities or counties)
- Center for Responsive Politics’ database of political donations
- Statistical Method Used
- Hierarchical linear models
- Dependent Variable
- BIR (benzene internalization rate) = ratio between the amount of benzene internalized and the total waste generated
## Methods cont.
- Main Independent Variables
- For a measure of politically conservative the authors used political contributions given to the Republican Party by corporate executives in each county for each year aggregated by county (they then took a natural log of the variable to correct for any skewedness pg 856)
- For a measure of proenviornmental logic they used several measures related to environmental movement organizations in the local community along with reports of activist activity and reports of civil lawsuits against a facility in the area
- State Logic which is measured by EPA enforcement actions
- Market Logic which is measured by the total estimated cost of the off-site transfer of waste for each facility
- Control Variables
- Increase in use of benzene year over year
- Facility size (represented by by the natural log of benzene waste generated)
- Per-capita income, Percent minority, Spillover effect from neighboring counties, County environmental risk index,
## Results
- The results show that the strength of the two main type of logics measured (proenviornmental and politically conservative) od have an impact on how the organizations operate
## My Thoughts
- I'm a little skeptical of the TRI data given that it seems to be self reported and although it is required by law those laws are a bit more flexible (especially lately) than one would think
- This is a minor criticism given the nature of what data is available it seems as though the TRI is likely the best available in the US
- I liked the description of different community paradigms or "logics" compete and can influence organizations but that they also compete with each other for mindshare
- I think an interesting followup study (though probably very impractical) would be to somehow see how the local residents think about the facilities in their communities and see if, for example, those who identify as more politically conservative but are in an area where the proenviornmental logics are strong also show leanings in the proenviornmental direction due to the stronger proenviornmental community logics


Billerica Minuteman
With people living, working, and entertaining themselves at home it can sometimes be easy to slip into bad eating habits, lose the motivation to cook fresh, or with money tight it can be difficult to afford local produce. Looking to help ease these issues are a group of high school students who have organized a way of providing plants, which will eventually yield food to homes around the area.


SeleneseTest is a basic selenim test case. It provides few usefull methods for easier Selenium tests implementation. This should be used in Web Projects.


Before Change
// Print equivalent python schedule API. This can be used for debugging and
// learning the behavior of the auto-scheduler.
print("Equivalent python schedule:")
print(task.compute_dag.print_python_code_from_state(inp.state))
// Rebuild the binary. This shows how you can apply the best schedule from a
// log file without reruning the search again.
sch, args = task.compute_dag.apply_steps_from_state(inp.state)
After Change
runner=measure_ctx.runner,
measure_callbacks=[auto_scheduler.RecordToFile(log_file)],
)
task.tune(tune_option, search_policy=search_policy)
// Kill the measurement process
del measure_ctx


+++ title = "Menachem" slug = "menachem" date = 2007-09-12T13:00:00+10:00 tags = ["judaism", "eccentric-encounters", "yids"] locations = ["argentina/buenos-aires"] draft = false summary = """
Menachem is the Rabbi in charge of the tiny "Chabad La Metayel" ("Chabad for the traveller") synagogue, here in downtown Buenos Aires. Originally from Israel, he's now living down here, along with his wife and his new-born son. He's a very friendly guy, and he's also fluent in English, Spanish, and of course Hebrew (he prefers the latter two). He's been very welcoming and very hospitable to me, during my stay here for the New Year.
""" +++Menachem is the Rabbi in charge of the tiny "Chabad La Metayel" ("Chabad for the traveller") synagogue, here in downtown Buenos Aires. Originally from Israel, he's now living down here, along with his wife and his new-born son. He's a very friendly guy, and he's also fluent in English, Spanish, and of course Hebrew (he prefers the latter two). He's been very welcoming and very hospitable to me, during my stay here for the New Year.


Established in 1996, Our company headquarter in China Nantong Dayu fitness co.Ltd. A professional manufacturer of all kinds of sporting goods and fitness equipment. We are famous for our good credit and quality in China. We have big markets not only in China but also in most countries all over the word. Our products include: dumbbells, chrome barbells, cast iron plates, chrome plates, electronic dartboards, fitness equipment, training sets, horse shoe sets, gym balls, jump ropes, hand grips, Yoga mats, exercise mats, wrist/angle weights, casual chairs, sleeping bags, home gyms, trampolines, mini steppers, AB sliders, benches, fitness bikes, treadmills, and messages. Most of our products have been certified by CE, RoHS, GS, TUV, SASO, UL, and PSE standards and are exported to Europe, the United States, the Middle East, and Japan. Our products are warmly welcomed by overseas consumers. We adhere to the business principle of "Best Quality and Supreme Reputations". With excellent service, our company will meet your various requirements https://ahdayu.en.alibaba.com/
For further information, please feel free to contact us with any inquiry
Voluptua scripserit per ad, laudem viderer sit ex. Ex alia corrumpit voluptatibus usu, sed unum convenire id. Ut cum nisl moderatius, Per nihil dicant commodo an.
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Feel free to leave us a comment on the Grayscale template overview page on Start Bootstrap to give some feedback about this theme!
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SPOT On
Here. While I think that the prototype watches are butt ugly, I really want to write apps for my watch. With a decent metal frame and a color screen, the Smart Personal Object Technology (SPOT) watches would rock. BTW, does anyone else thing that the Win32/.NET/SPOT windowing API needs to be updated for non-rectangular displays?


Cross your arms and hug the cat!
Feel like buring your face into a cat?
Soft and fuffy feel at your palm
Same smell as the cat!?
Cat ears and tail are so cute!
would you like to became a cat?
Adorable Cat Belly Pouch
Wear the jeans and you will become popular among cats.
Look! The cat is working on the forklift!


Money Play. How should Red play 44?
pips Red=140 White=125
(CorrectAnswer= 0/0, ErrorScore= 0)
This one turned out to be less interesting than I expected on rollout so for once probably any move that you selected is in the right ballpark.
Two plays tied for first place: 22/6 and 22/10, 13/9 which both provide three covers for the 4-pt next time. 22/14, 13/9(2) is also OK.
Two plays tied for first place: 22/6 and 22/10, 13/9 which both provide three covers for the 4-pt next time. 22/14, 13/9(2) is also OK.
1. Cubeful 2-ply 7/3 6/3 Eq.: +0.369 0.582 0.182 0.014 - 0.418 0.060 0.001 2. Cubeful 2-ply 6/3 6/2 Eq.: +0.309 (-0.061) 0.567 0.174 0.011 - 0.433 0.076 0.002 3. Cubeful 0-ply 9/6 7/3 Eq.: +0.179 (-0.191) 0.527 0.180 0.016 - 0.473 0.084 0.002 4. Cubeful 0-ply 9/6 9/5 Eq.: +0.143 (-0.226) 0.520 0.174 0.015 - 0.480 0.094 0.002 5. Cubeful 0-ply 9/5 8/5 Eq.: +0.139 (-0.230) 0.517 0.180 0.020 - 0.483 0.098 0.004


Frequency (2000) Dennis Quaid, Jim Caviezel, Andre Braugher, Elizabeth Mitchell, Noah Emmerich, Shawn Doyle, Jordan Bridges, Melissa Errico, Daniel Henson. Music by Michael Kamen. Screenplay by Toby Emmerich. Directed by Gregory Hoblit. 117 minutes. Rated PG-13, 3.5 stars (out of five stars)
Review by Ed Johnson-Ott, NUVO Newsweekly www.nuvo.com Archive reviews at http://us.imdb.com/ReviewsBy?Edward+Johnson-Ott To receive reviews by e-mail at no charge, send subscription requests to<EMAIL_ADDRESS>or e-mail<EMAIL_ADDRESS>with the word "subscribe" in the subject line.
On the surface, "Frequency" is a cross between a time travel fantasy and a murder mystery, but at its core, the film is an unabashed love letter to fatherhood. While the plot mechanics are convoluted, to say the least (I've seen the movie twice and I'm still sorting it out), "Frequency" left me with a smile on my face and tears in my eyes, due mostly to the performances of Dennis Quaid and Jim Caviezel.
Caviezel plays John Sullivan, a New York police officer who never fully recovered from the loss of his father, Frank (Quaid), a firefighter who died a hero when John was six years old. On an October night in 1999, the eve of the 30th anniversary of that fateful day when Frank entered a burning warehouse and never came out, John fiddles with Dad's old ham radio and strikes up a conversation with a congenial guy from his neighborhood in Queens.
To his amazement, John soon realizes that the person on the other end of the radio is his father. A freak series of sunspots has somehow cut across time, creating a radio link between 1999 and 1969. During their initial chat, John blurts out a warning to the disbelieving man about his pending demise. "If you'd just gone the other way, you would have made it," he shouts as the connection fades.
The next day, Frank finds himself in the warehouse fire described the night before. At the crucial moment, he heeds the warning and, going against his instincts, turns the opposite direction in a blazing hallway and emerges from the inferno alive and well.
Unfortunately, the temporal change leads to disaster. Because of an incident triggered by Frank's survival, a serial killer that slaughtered three women in the original timeline has now murdered 10, including John's mother, Julia (Elizabeth Mitchell). Swapping information over the decades, John and Frank frantically struggle to discover the identity of the madman, so they can prevent the murder from happening.
Confused? Well, so was I. For a time travel story to work, the writer must carefully think through the paradoxes and then find a way to make them comprehensible to the viewer. I spent the better part of an hour discussing the internal logic of "Frequency" with a friend and, while she believes the writer has his cards in order, I remain less than fully convinced.
But that's okay, because the rewards of the film come not from the time travel business, but from the portrait of a son reaching out for his dad. John is a good man and a fine officer, but the loss of his father left a void that nothing else has filled. I can relate. My father passed away 14 months ago and, whenever something interesting turns up on the news, I still catch myself reaching for the phone to call him. My son, who is also coping with the loss, recently told me "I wish we could make phone calls to Heaven." In a fashion, "Frequency" fulfills that wish, and it's hard not to choke up when hearing Frank say "Tell me about your life, son."
Dennis Quaid is wonderful as Frank, the ideal dad. Described by his wife as a "big kid," he splits his time between his noble profession and his beloved family, serving as a terrific role model. Quaid's performance is so genuine that his occasionally strained "New Yawk" accent is easy to overlook. Jim Caviezel does fine work as well, effectively conveying the angst of a man who goes through all the right motions, but still feels a void inside. The supporting cast members are uniformly strong, although they are given relatively little to do.
While Toby Emmerich's script includes some exceptional moments, it would have been better served without the serial killer plot line. Of course, to propel the story, something bad must happen when Frank's survival changes time, but the murder angle has been covered in other time travel movies, and with better clarity. Surely, Emmerich could have cooked up a more novel crisis.
Director Gregory Hoblit presents the complex screenplay as straightforwardly as possible. Beautifully photographed, the images are often lyrical, particularly an overhead montage of young John riding his bicycle in circles on the street. Hoblit adds intimacy to scenes of John and Frank talking over the 30-year gap by superimposing both of their faces onto the screen. He also uses special effects with restraint, a welcome change from most contemporary movies. Come to think of it, "a welcome change" is a fitting overall description of "Frequency." Flawed though it may be, this is a story that delivers when it counts.
© 2000 Ed Johnson-Ott
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#include <AGImagePreprocessing.h>
Public Member Functions | |
| AGImagePreprocessing (const AGParameters ¶meters) | |
| void | detectPaths (cv::vector< cv::vector< AGImage >> &imagesMatrix) |
| void | prepareForPathDetecting (cv::Mat &input, cv::Mat &output) |
Private Member Functions | |
| void | searchForPathsInImageUsingSkeleton (AGImage &image, cv::Mat &skeleton) |
| void | addPixelIfWhiteInImage (std::vector< cv::Point > &pixels, cv::Point pixel, cv::Mat &image, std::vector< std::vector< bool >> &visitedPixels) |
| void | pushBackAdjacentPixelsToPixelInImage (std::vector< cv::Point > &pixels, cv::Point pixel, cv::Mat &image, PathDirection pathDirection, std::vector< std::vector< bool >> &visitedPixels) |
| void | createSkeleton (cv::Mat &input, cv::Mat &output) |
| void | performMorphology (cv::Mat &input, cv::Mat &output) |
| void | findWhitePixelsInSkeleton (cv::Mat &skeleton, std::vector< cv::Point > &whitePixels) |
| void | categorizeWhitePixels (std::vector< cv::Point > &whitePixels, std::vector< cv::Point > &topWhitePixels, std::vector< cv::Point > &bottomWhitePixels, std::vector< cv::Point > &leftWhitePixels, std::vector< cv::Point > &rightWhitePixels, int imageWidth, int imageHeight) |
| void | removeNeighbourWhitePixels (std::vector< cv::Point > &whitePixels, PathDirection pathDirection) |
| void | performDFSForPathDirection (AGImage &image, cv::Mat &skeleton, std::vector< cv::Point > &whitePixels, PathDirection pathDirection) |
| void | markVisitedPixels (std::vector< std::vector< bool >> &visitedPixels, MarkingVisitedPixelsMode markingVisitedPixelsMode, int rowOrColumnCor) |
| void | resetVisitedPixels (std::vector< std::vector< bool >> &visitedPixels, int width, int height) |
| void | removePathPointsDuplicates (AGImage &image) |
| void | testDetectedPathsInImage (AGImage &image) |
| void | testSelectedImage (AGImage &image) |
| void | testSaveCurrentDFS (std::vector< cv::Point > &pixels, cv::vector< cv::vector< bool >> &visitedPixels, cv::Mat &image) |
Private Attributes | |
| bool | testingMode |
| AGParameters | parameters |
Definition at line 27 of file AGImagePreprocessing.h.
| AGImagePreprocessing::AGImagePreprocessing | ( | const AGParameters & | parameters | ) |
Definition at line 16 of file AGImagePreprocessing.cpp.
|
private |
Definition at line 212 of file AGImagePreprocessing.cpp.
|
private |
Definition at line 222 of file AGImagePreprocessing.cpp.
|
private |
Definition at line 73 of file AGImagePreprocessing.cpp.
| void AGImagePreprocessing::detectPaths | ( | cv::vector< cv::vector< AGImage >> & | imagesMatrix | ) |
Definition at line 37 of file AGImagePreprocessing.cpp.
|
private |
Definition at line 130 of file AGImagePreprocessing.cpp.
|
private |
Definition at line 335 of file AGImagePreprocessing.cpp.
|
private |
Definition at line 274 of file AGImagePreprocessing.cpp.
|
private |
Definition at line 61 of file AGImagePreprocessing.cpp.
| void AGImagePreprocessing::prepareForPathDetecting | ( | cv::Mat & | input, |
| cv::Mat & | output | ||
| ) |
Definition at line 52 of file AGImagePreprocessing.cpp.
|
private |
Definition at line 147 of file AGImagePreprocessing.cpp.
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private |
Definition at line 241 of file AGImagePreprocessing.cpp.
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Definition at line 188 of file AGImagePreprocessing.cpp.
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Definition at line 389 of file AGImagePreprocessing.cpp.
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Definition at line 58 of file AGImagePreprocessing.h.


SimpleCV is a Python interface to several powerful open source computer vision libraries in a single convenient package. With it, your software can have access to high level algorithms in feature detection, filtering, and pattern recognition in a unified framework. Forget about bit depths, file formats, color spaces, buffer management, eigenvalues, and matrix vs bitmap storage.
We love clean, readable computer vision code and hope you'll love how easy SimpleCV is to work with:


A renewable energy student org committed towards impactful and meaningful projects
Helios, a student led organization at UW-Madison, is focused on working on various projects to a) help create an impact in the city in the field of renewable energy and b) get more and more students involved in the process.
We work with students and University faculty of all fields and majors, from STEM to the Humanities, to accomplish these ambitious goals.
On the UW campus, dated technology and overuse can rapidly increase bills and cause irreversible harm to our environment.The Energy Team identifies where UW suffers from inefficiencies, creating practical, inexpensive and impactful renewable solutions to solve them. From working with the University to replace old fluorescent light bulbs on campus with LED’s to heading the installation of solar panels on campus buildings, the Energy Team constantly searches for the most efficient renewable energy solutions.


the blog
tales from DBC
previous entries
- first
- second
- third
- fourth
- fifth
- sixth
- seventh
- eigth
- ninth
- ten
- eleven
- twelve
- thirteen
- fourteen
- fifteen
- sixteen
second blog post march 21, 2015
I appreciate the culture fostered by dev bootcamp. It seems that, based on what Shareef said, it was created for the purpose of allowing and encouraging people to add their own spin to what it means to be a developer. This I like, because as a person who considers himself more creative than technical, it seems like I will have room and a place to grow at DBC.
I also like that Dev Bootcamp is not pushing a culture that's highly regimented.  It's difficult for me to function in an environment where behavior/emotion is enforced. That's not at all what I see in Dev Bootcamp. Whereas some organizations may mandate, Dev Bootcamp suggests. And it seems that everything DBC suggests has a very sound rationale behind it.
Overall, DBC seems to be extremely rigorous in how it preps its students. Morever, I think that it goes about fostering creativity and uniqueness in a progressive way. So far, I am happy with everything I have done with DBC and look forward to more.


Bing Crosby’s unseen Second World War letters and photos revealed
The items were unearthed in the loft of the singer’s California home.
Letters that Bing Crosby sent to the families of Second World War soldiers have been released for the first time after being discovered in his attic.
Photographs of the late US music star entertaining troops have also come to light.
The pictures and notes have been shared by HLC Properties Ltd – Crosby’s estate – after being found by vice president Robert S Bader.
In one letter typed on paper headed “Bing Crosby, Hollywood” and dated April 10 1945, the star wrote: “It was a pleasure working for the boys in France and Belgium, in fact, one of the richest experiences of my life.”
Some of the letters Crosby penned were to let people know he had met their loved ones.
There are also notes from the soldiers’ relatives, thanking the singer for bringing joy and hope to their sons, husbands and brothers.
In one dated March 5 1944, a woman named Beth Du Bois wrote: “It gives me a strangely comforting feeling to know that someone whose voice I can hear has so recently talked with my son whom I have not seen for almost two years. It brings them nearer somehow.”
The images show Crosby performing at the front lines, singing to crowds of soldiers in England, France and Belgium, singing on outdoor makeshift stages and in hospitals, perched on the edge of wounded soldiers’ beds.
Bader said: “I’ve come to know and understand Bing a bit through archiving his correspondence, but I was simply overwhelmed when I found a box hidden in the attic of his home in Hillsborough, California.
“He kept these deeply personal letters in a safe place apart from everything else.
“The letters from the soldiers’ family members are often heartbreaking. These people felt such a deep connection to this man they only knew as a famous entertainer.
“And he lived up to their faith in him with equally heartfelt letters back to them.”
“He didn’t want any accolades for this,” Bader added.
“He truly appreciated the sacrifices of these soldiers and their loved ones and was actually grateful for the opportunity to use his celebrity status to offer some small comfort to them.”
The late singer’s family and record label Decca are unveiling a new album of his music.
Bing At Christmas is being released on November 22.


Hannah Kinne here born and raised in the Pacific North West. Graduated Cum Laude at Western Washington University in 2015 with bachelor degrees in both Spanish and Linguistics. I recently moved from the beautiful Bellingham Bay to Portland in order to hone my language skills in a new way- computer programming.
In my free time you can find me away from a computer, biking and running around or at cooking up something tasty.
Follow @hannah-k


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This application will tell you the day you were born
It displays the name of your day.
The Akan people of Ghana frequently name their children after the day of the week they were born and the order in which they were born. These "day names" have further meanings concerning the soul and character of the person. Middle names have considerably more variety and can refer to their birth order, twin status, or an ancestor's middle name.
This application will help you know the day of your birth and the name you would be called if you were born in Ghana.
If you submit the application will dislay your akan name and the check in the table the day of your birth according to your akan Name.
| Days of the week | Male | female |
|---|---|---|
| Sunday | Kwasi | Akosua |
| Monday | Kwadwo | Adwoa |
| Tuesday | Kwabena | Abenaa |
| Wednesday | Kwaku | Akua |
| Thursday | Yaw | Yaa |
| Friday | Kofi | Afua |
| Saturday | Kwame | Ama |


Send POST
requests with
Content-Type: application/json
to !
{{ post.headers }}
{{ post.payload }}
Create a webhook endpoint, then make an HTTP POST request to it. We will catch the data. Don't worry. Your data doesn't persist.
Listen Up can be a tool for testing if your webhook/web callback or server is sending information properly. In other words, it catches data you throw at it. This data is displayed in realtime using websockets and easily visible.
No need to hunt for data in a database to see if the proper data is coming across.
Give it a try!


Ontology: (untitled) -- No title yet.
Role: Order-Checker -- Give carriers to the customer.
Role:
Order-Checker.
Action:
Give carriers to the customer.
Match carrier to order.
Move matched carrier to scale.
(This catches most errors with carrier sequencing.)
If scale weight matches order` s expected weight:
Release carriers to customer.[ native]
Else:
(Most likely error is that carrier is out of sequence.)
Check for carrier-sequence-error.
(Now what?)


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You should learn Swift! Swift is a language made for birds and is only understood by birds. Employment opportunities are limited as a human and it is very hard to break into the bird coding world, but if you know your stuff and have a peanut butter birdseed covered pinecone to slip across the interview table, you may just have a chance.
Python is a notoriously difficult language, but you should give it a try. If you are able to find an instructor, that is. The most revered Python instructors are ancient snake demi-gods that live among human monks and snake acolytes in a crumbling hidden temple deep in the jungle.
<snake <snake="snake">
<snake>
<snake snake="SSS-8">
<snake snake="ssssssss" snake="ssss-ssss-ssss", snake-snake="1.0">
<snake>SSSSS</snake>
</snake>
<snake>
SSSSS SSS SS SSSSSSSS ss ssssSSSSS sSSSsSsSSSssssSSS sSS S SSSSs s.
</snake>
You should learn Ruby! A ruby is a magical jewel with which you can focus your wizarding powers.


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- dndEffectAllowed: This demo shows how to use dndEffectAllowed to control which drop effects are
allowed. If the source and target elements have no drop effect that is allowed on both, then a drop is not possible.
If there are multiple possible drop effects, then the user can control the drop effect using modifier keys (Ctrl and
Alt).
- dndExternalSources: Allows to drag and drop elements accross browser windows, which you can test in
this example. The downside to this is that the lists will accept arbitrary text to be dropped. To prevent that, the
dndDrop event verifies that the dropped element is of the desired format.
- dndAllowedTypes in nested lists: We are using the dnd-allowed-types attribute to ensure that Containers
only accept items, but not other containers.
- dndHorizontalList: This attribute tells the positioning algorithm to drop incoming elements left or
right of the existing elements, instead of above or below.
- Events: The directives offer various output events, which in this example will log the events to the
console. Additionally, the events handler on the dndList can prevent an element from being dropped. In this example you can't drop elements
after the 10th position, because we are preventing that in the dndDragover event.
Dropzone {{i + 1}}
-
Container (effects allowed: {{container.effectAllowed}})


Introduction
The explanation below is the original work from catch22 published on Pololu's forum, and gives the theretical background what is happening when using the DRV8824 in microstepping mode.Explanation
In brief, micro-stepping appears to be impossible with the driver. After measuring the voltage over the stepper motor coils, which for static situations (meaning the motor not turning fast) is similar as measuring the motor current, it it shows that there are steps missing in the motion profile (see picture below).The motor can be modelled as an L/R network with a resistor and inductance in series, in which the resistance is both the motor resistance Rmotor and Rds(on). In general, the formula for such an L/R network given a step response input voltage is given by:
Vstep(t) = Vdifferential * (1-exp(-(R/L)*t))
Where Vdifferential is the differential voltage, which equals the motor voltage Vmot in initial state.
When the voltage is removed again, the voltage across the L/R network is given by:
Vdecay(t') = Vdifferential * exp(-(R/L)*t')
So both are essentially exponentials with time constant R/L and amplitude given by the voltage differential. For the first PWM with duty cycle given by the blank time Tblank, the voltage across the stepper motor is:
V1 = Vmot * ( 1 - exp(-(R/L)*Tblank))
Then using slow decay, the voltage decays to:
V2 = V1 * exp(-(R/L)*Toff)
If this voltage is not decayed to zero volt, e.g. when Toff is too small, we end up with a residual voltage. With the next PWM cycle, voltage is again increase by approximately the value of V1, and the residual voltage is approximately twice the residual voltage of the first PWM cycle. This voltage increase continues until equilibrium state is reached.
An estimate of this can be calculated by linearising both exponential functions around the voltage in this equilibrium state. This equilibrium state is when the voltage increase due to Tblank is equal to the voltage decrease of Toff. Both are given by the linearisation of the first to formulae:
Vincrease(t) ~ (Vmot - Veq) * (R/L) * t
Vdecrease(t) ~ Veq * (R/L) * t
In equilibrium state Vincrease(Tblank) equals Vdecrease(Toff):
(Vmot - Veq) * (R/L) * Tblank = Veq * (R/L) * Toff
or
Veq = Vmot * Tblank / (Toff + Tblank)
So the equilibrium state depends on the motor voltage, and the ratio between Toff and Tblank, and is independant of R/L. The DRV8824 has a minimum duty cycle (Tblank) of 3.65 microseconds. Given the PWM frequency of 50kHz (or 20 microseconds period), the remaining time (Toff) the motor voltage is switched off is then 16.3 microseconds. The minimum motor voltage is 8.2V for this driver, which results in a minimum voltage of:
Veq = 8.2 * 3.65 / 20 = 1.49V
That's 18% of Vmot. It's also possible to simulate this behaviour using the first two formulae, giving the graphs attached / below. Within about 6 msecs, equilibrium state is reached.


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Target Prediction Platform
Welcome to the Target Prediction Platform.
Available Services on this machine:
Workflow Management
Worker Monitoring


public interface FaxBridge extends ProviderImplementation, ConfigurationHolder
| Name | Description | Preconfigured Value | Default Value | Mandatory |
| org.fax4j.bridge.vendor.policy.class.name | The vendor policy class name. | org.fax4j.bridge.EmptyVendorPolicy | org.fax4j.bridge.EmptyVendorPolicy | false |
| Modifier and Type | Field and Description |
|---|---|
static String |
VENDOR_POLICY_CLASS_NAME
The vendor policy class name property key
|
| Modifier and Type | Method and Description |
|---|---|
FaxJob |
createFaxJob()
Returns the internal fax client.
|
FaxClient |
getFaxClient()
Returns the internal fax client.
|
Logger |
getLogger()
Returns the internal logger.
|
VendorPolicy |
getVendorPolicy()
This function returns the vendor policy.
|
void |
initialize(String type,
Properties configuration,
Object flowOwner)
This function initializes the fax bridge.
|
void |
submitFaxJob(FaxJob faxJob,
FileInfo fileInfo)
This function will submit a new fax job.
The fax job ID may be populated by this method in the provided fax job object. The file information in the provided fax job will be ignored by this method, instead the file data will be taken from the FileInfo. |
getProvider
getConfiguration, getConfigurationValue, getConfigurationValue, getPropertyPart
static final String VENDOR_POLICY_CLASS_NAME
void initialize(String type, Properties configuration, Object flowOwner)
type
- The fax client type (may be null for default type)configuration
- The fax client configuration (may be null)flowOwner
- The flow owner (servlet, CLI main, ....) to be passed to the vendor policyLogger getLogger()
FaxClient getFaxClient()
VendorPolicy getVendorPolicy()
FaxJob createFaxJob()
void submitFaxJob(FaxJob faxJob, FileInfo fileInfo)
faxJob
- The fax job object containing the needed information (not including the file information)fileInfo
- The file information of the requested faxCopyright © 2009–2020 fax4j. All rights reserved.


Disassembly view
The Disassembly view shows the loaded program as assembler instructions mixed with source code for comparison. The currently executing line is indicated by an arrow marker and highlighted in the view. You can do the following tasks in the Disassembly view:
- Set breakpoints at the start of any assembler instruction
- Enable and disable breakpoints and their set their properties
- Step through the disassembly instructions of your program
- Jump to specific instructions in the program
Disassembly view context menu commands
The Disassembly view context menu commands include:
| Command | Name | Description |
|---|---|---|
| Run To Line | Resumes program execution until the specific line is reached. This is a convenient way to suspend execution at a line without setting a breakpoint. |
|
| Resume At Line | Resume program execution from the line selected in the Disassembly view. |


PyCon TW has on-site lodging at Academia Sinica Activities Center, 3-minute walk next to the venue.
Room Details
- superior single room: NT$1,650 /day
- superior double room: NT$1,750 (for one person) and NT$1,900 (for two people) /day
*Extra person for NT$300 and extra bed for NT$450 respectively.
**Room facilities include TV, wireless & wired network, thermos, hair dryer, and personal hygiene products. Breakfast and gym are also provided.
More information on the original site.
Application Procedure
To apply for the on-site lodging, send email to<EMAIL_ADDRESS>(Rock Hung) with the following information:
- Check-in and check-out date
- Number of people
- Room type and number of rooms
- Representative's name
- *All date / time is represented in UTC+08 timezone.
- *Early check-in and later check-out should be noticed in advance.


- IDG Confidence: confidence value of assertion. Value ranges from 0 to ???
- IDG Evidence: Source of evidence for a particular disease association
- IDG Z-score: Standard deviation from the mean value.
- log2 Fold Change: Protein regulation in experimental data. This is generated from the
Expression Atlas
- P-value: Statistical significance of the assertion. 0 to 1 score. Also primarily generated by the
Expression Atlas


We did most of the heavy lifting for you to provide a video conference platform that incorporates WebRTC. Additionally, we refined setup process to provide you a smoother experience.
We make it very easy for our users to join or invite people in by sharing their unique roomID.
We have worked on the design to make the whole process very easy to navigate.


MADE
Reviewed by Harvey Karten Artisan Entertainment Director: Jon Favreau Writer: Jon Favreau Cast: Jon Favreau, Vince Vaughn, Sean 'Puffy'Combs, Peter Falk, Famke Janssen
You wouldn't expect much symbolism in a comic romp once again teaming "Swingers" thesps Jon Favreau with Vince Vaughn, but in one scene a goldfish bowl turns over, the poor fish tossing miserably on the floor. This fish-out-of-water theme comes up time and again as writer-producer-director- actor Favreau plays the straight, serious Bobby to his pal's fish-out-of-water, clueless Ricky (Vince Vaughn). Largely unpredictable and decidedly uncommercial despite its easy-to- take comic overtones, "Made" casts a dark shadow over the two people whose friendship is not often a perfect blendship. While Ricky is the fun member of the duo, his unsophisticated antics lead both to face mighty serious trouble at the hands of the mob. "Made," then, gets both its laughs and its scares from pitting two unlikely men together as best pals and watching them play off their separate personalities against each other and the people with whom they're dealing.
If you enjoyed Favreau and Vaughn in Doug Liman's "Swingers"--a look at L.A. single life from the point of view of a man who has not gotten over his breakup with his girlfriend for six months--you'll probably dig "Made." While "Swingers" took pot shots at life in L.A., "Made" aims its barbs at the mob and, in fact, we can guess that writer Favreau is into parodying both the serious guy and his frivolous partner.
Favreau wastes no time signaling us in the audience about the basic difference in personality of Ricky and Bobby. Amateur boxers, they go at each other in the ring--Bobby closely defending his body while seeking shots at his opponent while Ricky deliberately opens himself up to damage, taunting his competitor. While working at their daytime construction job, they are called in by mob boss Max (Peter Falk) to do a job, a drop, which would require them to go from L.A. to JFK: "Oh, we're going to New York"? queries Ricky. While Bobby takes the job because he needs the money to get his girlfriend Jess (Famke Janssen) out of the striptease business and get a better life for her six-year-old daughter Chloe (Makenzie), Ricky seems to want nothing more than to live it up in the Big Apple. This gets Ricky and Bob into heaps of trouble and brings on the ire of their contact, Ruiz (Sean 'Puffy' Combs).
Much of the witty dialogue comes across as improvised, and successfully so, with Ricky repeatedly acting like the "duh" guy, as when the mob's big customer in New York (David O'Hara) says he's from Glasgow, Ricki wants to know "Where's that?" While the picture's spontaneous feel is furthered by Christopher Doyle's hand-held camera, "Made" has a sturdy narrative which moves forward at a deliberate pace getting its chuckles from its situation gags (many taking place in New York's Soho Grand Hotel in the city's most chic area), and our delight at watching Favreau and Vaughn ham it up in this clever and stylish buddy movie.
Rated R. Running time: 100 minutes. (C)2001, Harvey Karten<EMAIL_ADDRESS>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.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Table of Contents:
What is color accuracy?
What's wrong with the rendered color matching the baseColor?
How does rendering compare to photography?
How does tone mapping work?
How do we validate a glTF 3D render?
What role does perception play?
How do we validate a glTF model?
What's the takeaway?
Interactive 3D models are the next media type, following images and
video, and as such <model-viewer>
and other renderers are
being used more often to display these 3D models in commercial settings,
museums, and many more. Both of these users have deep interest in ensuring
the presented pixels accurately represent the real object the model is based
on. As such, a quality assurance process is needed to ensure that both the
3D model itself has been designed accurately, and that the presentation of
that model is appropriate for realism. While your process may differ based
on your situation, this document is intended to give the background
necessary to set up a process and to set expectations.
Khronos' glTF is the first 3D model format to specify physically-based rendering (PBR), meaning it contains material properties that define in real-world units how light should be reflected & refracted in terms of physics. This means renderers are free to innovate in GPU shaders to create more and more accurate approximations of the underlying physics, because glTF does not specify any single approximation. This also means that while different renderers may make different tradeoffs of accuracy vs. speed you can have confidence that your glTF will look consistent (though not pixel-identical) even across unrelated codebases. We call glTF the JPEG of 3D because it is compressed for efficient web delivery and can be rendered consistently by a large number viewers.
At first blush, it may appear that different glTF viewers are not consistent, but this is generally not due to rendering differences, but to default scene setup. Physically-based rendering means the scene takes environment light as input just like a real camera does, so just like to get a consistent photo, you need to not just have the same object, but also the same lighting and camera settings. There is no standard for the default settings of these viewers, so it is important to intentionally set them to consistent values. This is precisely what we've done to show the state of glTF rendering convergence across a variety of popular renderers.
The goal of PBR is to create color-accurate images at frame rate as a user interacts with the 3D model. Of course a renderer can only be as accurate as the input 3D model, so a process to decide if the 3D model is in fact accurately representing the real-world object it's based on is also crucial, so any errors can be fixed. The most correct way to do this would be to set up a photo shoot of the real object, capture the environment lighting around it in its full dynamic range, record the camera settings and position, then set up an identical rendered scene and compare the output images. Unfortunately this tends to be prohibitively expensive.
Even in this idealized comparison scenario, there is a non-trivial issue: what metric does one use to compare the images? Simple pixel comparison metrics like PSNR tend to give too much weight to differences that are not noticeable. Thus perceptual metrics are better, but also more arbitrary and harder to define.
Since many products are designed with RGB material specs (like paint), a common idea is to simply reflect this in the baseColor of the glTF. This can be a good approach to color-accurate modeling, provided the RGB value is in the proper color space. The glTF spec says the baseColor factor (normalized between zero and one) is exactly the fraction of the given channel (wavelength) of light reflected by the material. The baseColor texture is the same, but put through the sRGB transfer function to extract linear values first. It should not be assumed that a given paint swatch RGB value is defined the same way.
When it comes to verifying that the render is color-accurate, the first idea is often to check that the output rendered image has the same RGB pixel values as the glTF baseColor (or the expected paint swatch RGB). This is a fundamentally incorrect expectation, as it negates the purpose of physically-based rendering! Details and examples follow to support this assertion and to point the way towards a more useful verification scheme.
The most important thing to understand about PBR is that it accurately represents the interplay between incident light and material properties, of which there are several beyond just baseColor, the most important of which are metalness and roughness. However, the rendered output for a given pixel is only RGB, which means if it matched the baseColor RGB, then by definition the incident light and other material properties could not in any way affect the resulting image.
Let's start with a simple example: six spheres with uniform materials. The top row are white (baseColor RGB: [1, 1, 1]), while the bottom row are yellow (baseColor RGB: [1, 1, 0]). From left to right they are shiny metal (metalness: 1, roughness: 0), shiny plastic (metalness: 0, roughness: 0), and matte plastic (metalness: 0, roughness: 1). The left-most can be thought of approximately as polished silver and gold.
Note how different materials with the same baseColor render differently. Which pixels match the baseColor RGB? In fact, if you really want the rendered pixels to match the baseColor RGB values, glTF has an extension specifically for this: KHR_materials_unlit. This extension is not physically-based, and so is appropriate for things like labels and 3D scans that produce only RGB textures with all applied lighting baked in as part of the capture process. This is how the above model looks with the unlit extension:
Now that it's clear that lighting is important in making a 3D model look realistic, the next common idea is to choose a nice uniformly neutral lighting scenario to make the output RGB values "close to" the intended baseColor. Well, it's easy to produce a uniform lighting environment, but the results may be surprising for PBR:
It may look like the white spheres have vanished, but they're still present - tilt the view and you can see them occluding the yellow spheres. In fact they are just perfectly camouflaged. This scene is known as a furnace test, which is used to check energy conservation of the renderer, which ours passes. It can be shown with physics that under perfectly uniform lighting, these white spheres should each uniformly reflect exactly the same light as is incident from the environment, and hence be indistinguishable from it.
Note this result with the yellow spheres is actually pretty close to the unlit result - there's almost no discernable difference between shiny and matte or metal and plastic. This is in fact accurate; if you really found a place with perfectly uniform lighting, you wouldn't be able to tell the difference between those materials either (assuming you could somehow also hide your own reflection - you are also a part of your lighting environment). The reason this looks so unreal is that it is nearly impossible to find an environment like this. Real environments have texture, and the reflections of that texture are what we use to understand shininess.
Next let's return to the original version, which uses
<model-viewer>
's default "neutral" environment-image. Details of
how this environment was designed can be found here and here. The
lighting is intended to be even (from all sides), though not uniform, thus
providing enough texture to discern material types. It is purely grayscale,
thus not shifting the hues of the materials. This is as opposed to indoor
lighting which might skew yellow, outdoor that might skew blue, or sunsets
that might skew red. PBR will faithfully produce the colors a camera would
capture in these scenarios, which of course will look different than the
same object under neutral lighting.
Note that the top-right ball we might call paper-white: a perfect matte reflector. However, despite the white baseColor (sRGB: [255, 255, 255]), notice that the rendered color varies from [177, 177, 177] to [237, 237, 237], never achieving pure white. Why is this? Notice that the top-middle ball does have some reflections off its shiny surface that are pure white. These specular reflections are in addition to its diffuse reflection (which is all you get from a matte surface), so if the diffuse reflection had already saturated our pixels, it would be impossible to discern a shiny object from a matte one. Try increasing the exposure slider to see the effect, which in photography is referred to as overexposure.
You might notice that exposure appears to affect the midrange values more than the blacks and whites (despite exposure being a linear light multiplier). You would be correct, and this is caused by the nonlinear tone mapping step that happens last in the rendering pipeline. Tone mapping is a complicated topic in its own right, but it is vital to understanding PBR. Before we get into that, let's begin by comparing the rendering and photography pipelines.
3D rendering, especially PBR, is designed to mimic photography, and photography in turn is designed to mimic the human eye and brain. The brain part is essential, as the goal of a realistic photo is to evoke the same perception by looking at it as one would have looking at the original scene. This is difficult as the light reflected by a printed photo or emitted by a display is dramatically less intense and has less contrast than the real world.
Thankfully, our brains do a lot of adjustment to our perception, including correcting for contrast. This allows us to print photos with a very compressed dynamic range while still giving the perception of e.g. a real sunset. This compression of dynamic range we'll refer to as tone mapping. In photography you can think of this as the conversion from the camera's raw image (which tends to look washed out) to the final image. It becomes even more important in modern photography with exposure stacking, where a higher dynamic range raw image can be produced than the sensor is capable of in a single shot.
In 3D rendering, there is no sensor and computations are done in floating point, which means the raw image is effectively full HDR, with even more range than is generally possible with exposure stacking. Looking at a histogram of this raw image will often show a very long tail, representing the small, shiny glints that are orders of magnitude more intense than the rest of the scene. In order to maintain perception while compressing down to SDR, a nonlinear tone mapping curve is used.
Tone mapping is a general term, which can refer to basically any color conversion function. Even separate operations that a photographer might apply in post processing, such as gamma correction, saturation, contrast, and even things like sepia can all be combined into a single resulting function that here we're calling tone mapping. However, we are only interested in hue-neutral functions and those are the only type of tone mapping functions we'll be discussing here. Therefore the focus will be primarily on luma, or brightness.
The tone mapping function used by <model-viewer>
is
ACES, which is a standard developed by the film industry and is widely used
for 3D rendering. Like most tone mapping curves, it is fairly linear in the
central focus of its contrast range, then asymptotes out to smoothly
compress the long tails of brights and darks into the required zero to one
output range, the idea being that humans perceive less difference between
over-bright and over-dark zones as compared to the bulk of the scene.
However, since some output range is reserved for these extra-bright
highlights, the range left over to represent the input range of matte
baseColors is also reduced somewhat. This is why the paper-white sphere does
not produce white pixels.
Sometimes when working with matte objects and trying to compare output color to baseColor, this tone mapping compression will be noticed and identified as the source of the apparent tone discrepancy. The immediate thought is usually, let's fix this by not applying tone mapping! The problem is there is actually no such thing as "no tone mapping", since somehow the unbounded input range must be converted to the zero-to-one range that the encoder expects. If this step is not done, the encoder simply clamps the values, which amounts to a piecewise-linear tone mapping function with sharp corners that introduce perceptual errors for shiny objects, as shown in the example below.
Note that once again the shiny and matte white plastic spheres are indistinguishable, even without cranking up the exposure. Since half of the matte white sphere is now rendering pure white, there is no headroom for shiny highlights. Likewise, the top half of the sphere loses its 3D appearance since the shading was removed by clamping the values. Tick the checkbox to go back to ACES tone mapping for a quick comparison. Remember to look away and back again after switching; another trick of human perception is how dependent it is on anchoring. The yellow will look washed-out immediately after switching from saturated yellow, but this perception fades after looking around.
This example also highlights a second key element of good tone mapping functions: desaturating overexposed colors. Look at the golden sphere (lower-left) and compare to the previous version with ACES tone mapping applied. The baseColor of a metal multiplies the incoming light, so a white light on a golden sphere produces a yellow reflection (fully saturated yellow, in this case of a fully saturated baseColor). With clamped tone mapping, the highlight is indeed saturated yellow, but this does not look perceptually right, even though you could make the argument it is physically correct.
Good tone mapping curves like ACES not only compress the luma, but also push colors toward white the brighter they are. This is why the highlights on the golden sphere become white instead of yellow. This follows both the behavior of camera sensors and our eyes when responding to overexposed colored light. You can see this effect simply by looking at a candle's flame or a spark, the brightest parts of which tend to look white despite their color. Nvidia has helpfully provided more details on tone mapping and HDR for the interested reader.
One final way to avoid tone mapping that is sometimes suggested is to choose an exposure such that all pixels are inside the [0, 1] range, such that value clamping is avoided. For matte objects with low-dynamic-range lighting, this can give semi-decent results, but it breaks down completely for shiny objects, as shown in the following screenshot.
The trouble is that the specular highlights are orders of magnitude brighter than the majority of the scene, so to fit them into the output range requires the exposure to be lowered by more than a factor of 50. This kills the brightness and contrast of the majority of the scene, because of just a few small highlights. And this neutral environment does not have very high dynamic range; if you were to use an outdoor environment that includes the sun, the exposure would have to be so low that nearly the entire render would be black.
Everything shown here is rendered to an 8-bit sRGB output, but HDR displays and formats are getting more common. Might we be able to avoid tone mapping by keeping the HDR of our raw image in an HDR output format? The short answer is no, because HDR displays may be high dynamic range compared to traditional SDR, but they are still orders of magnitude short of what our eyes experience in the real world, so all the same reasons for tone mapping still apply. However, it is important to note that the choice of tone mapping function should be dependent on the output format. Ideally it would even depend on the display's contrast ratio, its brightness settings, and the level of ambient lighting around it, but this data is unlikely to be available.
Hopefully the preceding discussion has convinced you that simply validating some rendered pixel color against the object's "correct" color is not a useful or valid process. If only it were so simple! Instead you need to look at your whole pipeline and consider what your end goals really are.
For the sake of measurability, let's consider the end goal to be minimizing the return rate of products bought online where the shopper's primary visual cue is a 3D model (let's assume we're making a decent enough render that we're not destroying the purchasing rate). To succeed, we must render images that the shopper perceives to be equivalent to their perception of the actual product when it arrives. This is exactly the same goal as a photograph of this product in a magazine or on a website.
There is a much longer history of product photography, so let's start there. What does a product photographer's pipeline look like? Obviously they vary, but the overall steps will tend to look like: 1) lighting setup, 2) camera setup, 3) take the photos, 4) post-processing. Ideally, it is possible to capture this lighting environment, convert the camera setup to matrices and exposure, use the same post-processing, author the glTF according to measured material properties, and output a render that will match the photo quite well (especially with a path-traced renderer).
It is tempting to blame any observed discrepancies on the renderer, especially real-time rasterizers, but in fact a lot of research has gone into making them amazingly physically accurate and consistent, as you can see in our fidelity comparisons. Nearly always the most serious errors are differences in lighting, materials, exposure, and post-processing.
Let's consider for a moment what happens in the photography post-processing step. Some things don't apply to rendering, like masking out shadows to make them semi-transparent - a 3D renderer can do this automatically. In addition to color-neutral tone mapping, sometimes the colors are intentionally "corrected". Why? After all, if the measured light from the actual scene is not correct, what is?
It may be that some of the post-processing color correction is simply a matter of expediency. Before digital photography, to get the right look, the lighting and scene had to be adjusted, which involves manual labor. Digital post-processing can allow the lighting to be less precise. However in 3D rendering, the lighting is equally digital, so it is generally a better practice to keep the post-processing step simple (e.g. just ACES tone mapping) and adjust the environment image if necessary. Since 3D rendering is happening completely automatically in real time, there is no way to make manual bespoke color adjustments for each frame.
As with photography, the goal is the viewer's perception of the image. There is no mathematical metric that will represent human perception as well as the perception of an actual human. Isolated pixel metrics are problematic because much of human perception is affected by the background and surroundings of the object. This is because our brains are effectively trying to remove the effect of lighting and allow us to perceive the underlying material properties consistently. Our brains estimate what lighting to remove based on the background.
When rendering a product in AR using the camera image as the background, to get the most consistent perception of the product, its actual rendered pixels need to change color, ideally according the actual local lighting environment. This helps ensure that when our brain "corrects" for the lighting, our perception returns to the real object's properties. Of course this is only as good as the AR lighting estimation algorithms, but they are improving. Ideally, the same tone mapping and white balance that's applied to the camera's raw image should be used in the rendering pipeline as well. Unfortunately, it may be difficult to access this data.
Of course human perception is not uniform, which makes all of this even more difficult. An excellent example is the famous dress photo which is actually a blue and black dress in an overexposed photo under yellow lighting. Even though the pixel colors are roughly purple and brown, more than half of people correctly perceived the dress as blue and black, though another 30% perceived it as white and gold. Obviously this kind of ambiguous image is not desireable in a commerce setting, but it is useful for understanding how much perceived color can differ from pixel color. The Scientific Explanations sections of that article is full of interesting insights.
Generally speaking, part of the purpose of 3D rendering is to avoid the cost of photography, by making the entire process digital. The 3D model is costly for an artist to create, but it persists for creating many different photo shoots and interactive experiences quickly. So how can this 3D model be verified as accurate to the physical product? Of course dimensions and shape can be measured (glTF is always in meters, so check your units), but we'll be focusing on material properties here, like baseColor and roughness.
The most accurate way to choose material properties is to measure them, since all glTF materials are defined in physical terms. However, these measurements are difficult to make. There are products on the market that will scan an inserted material swatch and fit these properties to it, and hopefully these machines will become more common. Modern 3D scanning algorithms can back out material properties, but these machine learning systems are not perfect and are difficult to benchmark. Until these technologies are further along, we may not have access to properly measured material properties.
The most common workflow for creating materials is that a 3D artist manually adjusts the properties until the render looks right. Ideally the artist has the physical object on their desk and compares to their render, thus focusing on perception rather than pixel values. However, it is of utmost importance that their authoring software is set up to render the same way as the object will be presented to users. This is because when the render doesn't look right, it could be that either the materials or the lighting needs to change. If the materials are measured one can safely focus on changing the lighting, but if not, it is very helpful to have chosen a fixed lighting environment ahead of time to remove that variable. Equally important is that the tone mapping function used is consistent. If you're not sure what is being used, it's probably inconsistent.
Ideally the artist should check the rendering of the model under a variety of lighting environments. Certain types of lighting will tend to hide or expose certain material property errors. At minimum, it's a good idea to test with both a neutral indoor environment and with a sunny outdoor environment. The sun will produce very high dynamic range, as well as colored lighting, which will help with detecting a variety of possible material problems. These scenarios will tend to bracket a wide variety of real lighting situations that might be applied for a virtual photo shoot or in AR, which should give confidence the asset can be reused broadly.
Finally, all the usual caveats apply regarding colorspaces and differences between displays. The glTF format specifies the use of the sRGB colorspace internally, which is also the most common output format, but with HDR displays becoming more common this is likely to become more complicated soon.
Unfortunately there are no easy answers, as color and perception are complex, even more so than physically-based rendering. Hopefully this background gives a framework on which your authoring and validation processes can be built. The most important thing to remember about PBR is that the whole point is for the rendered colors to vary compared to the material baseColor, which is what allows the demo below to be compellingly realistic.


VeriFast Help > Error messages
Error message
Function/Loop leaks heap chunks
Context
After consuming the postcondition of a function or the invariant of a loop.
Cause
The symbolic heap is not empty at the end of a function or loop.
Notes
- Heap chunks with a dummy fraction are ignored by the leak check.
Suggested solutions
Ensure that the symbolic heap is empty. Suggested approaches:
- Add additional conjuncts to the postcondition or loop invariant such that the remaining chunks are consumed.
- If the remaining chunk is predicate assertion which represents an empty heap, open the predicate.
- Leak the remaining chunk using the leak command.


climlab.solar package¶
climlab.solar.insolation module¶
This module contains general-purpose routines for computing incoming solar radiation at the top of the atmosphere.
Currently, only daily average insolation is computed.
Note
Ported and modified from MATLAB code daily_insolation.m
Original authors:
Ian Eisenman and Peter Huybers, Harvard University, August 2006
Available online at http://eisenman.ucsd.edu/code/daily_insolation.m
If using calendar days, solar longitude is found using an approximate solution to the differential equation representing conservation of angular momentum (Kepler’s Second Law). Given the orbital parameters and solar longitude, daily average insolation is calculated exactly following [Berger_1978]. Further references: [Berger_1991].
-
climlab.solar.insolation.
daily_insolation
(lat, day, orb={'long_peri': 281.37, 'ecc': 0.017236, 'obliquity': 23.446}, S0=None, day_type=1)[source]¶ Compute daily average insolation given latitude, time of year and orbital parameters.
Orbital parameters can be computed for any time in the last 5 Myears with
lookup_parameters()
(see example below).Function-call argument
Parameters: - lat (array) – Latitude in degrees (-90 to 90).
- day (array) – Indicator of time of year. See argument
day_type
for details about format. - orb (dict) –
a dictionary with three members (as provided by
OrbitalTable
)'ecc'
- eccentricity- unit: dimensionless
- default value:
0.017236
'long_peri'
- longitude of perihelion (precession angle)- unit: degrees
- default value:
281.37
'obliquity'
- obliquity angle- unit: degrees
- default value:
23.446
- S0 (float) –
solar constant
- unit: \(\textrm{W}/\textrm{m}^2\)
- default value:
1365.2
- day_type (int) –
Convention for specifying time of year (+/- 1,2) [optional].
- day_type=1 (default):
- day input is calendar day (1-365.24), where day 1 is January first. The calendar is referenced to the vernal equinox which always occurs at day 80.
- day_type=2:
- day input is solar longitude (0-360 degrees). Solar longitude is the angle of the Earth’s orbit measured from spring equinox (21 March). Note that calendar days and solar longitude are not linearly related because, by Kepler’s Second Law, Earth’s angular velocity varies according to its distance from the sun.
Raises: ValueError
if day_type is neither 1 nor 2Returns: Daily average solar radiation in unit \(\textrm{W}/\textrm{m}^2\).
Dimensions of output are
(lat.size, day.size, ecc.size)
Return type: Code is fully vectorized to handle array input for all arguments.
Orbital arguments should all have the same sizes. This is automatic if computed from
lookup_parameters()
Example: to compute the timeseries of insolation at 65N at summer solstice over the past 5 Myears:
from climlab.solar.orbital import OrbitalTable from climlab.solar.insolation import daily_insolation # import orbital table table = OrbitalTable() # array with specified kyears years = np.linspace(-5000, 0, 5001) # orbital parameters for specified time orb = table.lookup_parameters( years ) # insolation values for past 5 Myears at 65N at summer solstice S65 = daily_insolation( 65, 172, orb )
For more information about computation of solar insolation see the Tutorials chapter.
-
climlab.solar.insolation.
solar_longitude
(day, orb={'long_peri': 281.37, 'ecc': 0.017236, 'obliquity': 23.446}, days_per_year=None)[source]¶ Estimates solar longitude from calendar day.
Method is using an approximation from [Berger_1978] section 3 (lambda = 0 at spring equinox).
Function-call arguments
Parameters: - day (array) – Indicator of time of year.
- orb (dict) –
a dictionary with three members (as provided by
OrbitalTable
)'ecc'
- eccentricity- unit: dimensionless
- default value:
0.017236
'long_peri'
- longitude of perihelion (precession angle)- unit: degrees
- default value:
281.37
'obliquity'
- obliquity angle- unit: degrees
- default value:
23.446
- days_per_year (float) – number of days in a year (optional)
(default: 365.2422)
Reads the length of the year from
constants
if available.
Returns: solar longitude
lambda_long
in dimension``( day.size, ecc.size )``Return type: Works for both scalar and vector orbital parameters.
climlab.solar.orbital module¶
This module defines the class OrbitalTable
which holds orbital data,
and includes a method lookup_parameters()
which interpolates the orbital data for a specific year
(- works equally well for arrays of years).
The base class OrbitalTable()
is designed to work with 5 Myears of orbital data
(eccentricity, obliquity, and longitude of perihelion) from [Berger_1991].
Data will be read from the file orbit91, which was originally obtained from ftp://ftp.ncdc.noaa.gov/pub/data/paleo/insolation/ If the file isn’t found locally, the module will attempt to read it remotely from the above URL.
A subclass LongOrbitalTable()
works with La2004 orbital data for
-51 to +21 Myears as calculated by [Laskar_2004].
See http://vo.imcce.fr/insola/earth/online/earth/La2004/README.TXT
-
class
climlab.solar.orbital.
LongOrbitalTable
[source]¶ Bases:
climlab.solar.orbital.OrbitalTable
Loads orbital parameter tables for -51 to +21 Myears.
- Based on calculations by [Laskar_2004]
- http://vo.imcce.fr/insola/earth/online/earth/La2004/README.TXT
Usage is identical to parent class
OrbitalTable()
.
-
class
climlab.solar.orbital.
OrbitalTable
[source]¶ Invoking OrbitalTable() will load 5 million years of orbital data from [Berger_1991] and compute linear interpolants.
The data can be accessed through the method
lookup_parameters()
.Object attributes
Following object attributes are generated during initialization:
Variables: - kyear (array) – time table with negative values are before present (unit: kyears)
- ecc (array) – eccentricity over time (unit: dimensionless)
- long_peri (array) – longitude of perihelion (precession angle) (unit: degrees)
- obliquity (array) – obliquity angle (unit: degrees)
- kyear_min (float) – minimum value of time table (unit: kyears)
- kyear_max (float) – maximum value of time table (unit: kyears)
-
lookup_parameters
(kyear=0)[source]¶ Look up orbital parameters for given kyear measured from present.
Note
Input
kyear
is thousands of years after present. For years before present, usekyear < 0
.Function-call argument
Parameters: kyear (array) – Time for which oribtal parameters should be given. Will handle scalar or vector input (for multiple years). [default: 0] Returns: a three-member dictionary of orbital parameters: 'ecc'
: eccentricity (dimensionless)'long_peri'
: longitude of perihelion relative to vernal equinox (degrees)'obliquity'
: obliquity angle or axial tilt (degrees).
Each member is an array of same size as kyear.
Return type: dict
climlab.solar.orbital_cycles module¶
-
class
climlab.solar.orbital_cycles.
OrbitalCycles
(model, kyear_start=-20.0, kyear_stop=0.0, segment_length_years=100.0, orbital_year_factor=1.0, verbose=True)[source]¶ Automatically integrates a process through changes in orbital parameters.
OrbitalCycles is a module for setting up long integrations of climlab processes over orbital cycles.
The duration between integration start and end time is partitioned in time segments over which the orbital parameters are held constant. The process is integrated over every time segment and the process state
Ts
is stored for each segment.The storage arrays are saving:
- current model state at end of each segment
- model state averaged over last integrated year of each segment
- global mean of averaged model state over last integrated year of each segment
Note
Input
kyear
is thousands of years after present. For years before present, usekyear < 0
.Initialization parameters
Parameters: - model (
TimeDependentProcess
) – a time dependent process - kyear_start (float) –
integration start time.
As time reference is present, argument should be \(<0\) for time before present.
- unit: kiloyears
- default value:
-20.
- kyear_stop (float) –
integration stop time.
As time reference is present, argument should be \(\le 0\) for time before present.
- unit: kiloyears
- default value:
0.
- segment_length_years (float) – is the length of each integration with fixed orbital parameters. [default: 100.]
- orbital_year_factor (float) – is an optional speed-up to the orbital cycles. [default: 1.]
- verbose (bool) – prints product of calculation and information about computation progress [default: True]
Object attributes
Following object attributes are generated during initialization:
Variables: - model (
TimeDependentProcess
) – timedependent process to be integrated - kyear_start (float) – integration start time
- kyear_stop (float) – integration stop time
- segment_length_years (float) – length of each integration with fixed orbital parameters
- orbital_year_factor (float) – speed-up factor to the orbital cycles
- verbose (bool) – print flag
- num_segments (int) –
number of segments with fixed oribtal parameters, calculated through:
\[num_{seg} = \frac{-(kyear_{start}-kyear_{stop})*1000}{seg_{length} * orb_{factor}}\] - T_segments_global (array) – storage for global mean temperature for final year of each segment
- T_segments (array) – storage for actual temperature at end of each segment
- T_segments_annual (array) –
storage for timeaveraged temperature over last year of segment
dimension: (size(Ts), num_segments)
- orb_kyear (array) – integration start time of all segments
- orb (dict) – orbital parameters for last integrated segment
Example: Integration of an energy balance model for 10,000 years with corresponding orbital parameters:
from climlab.model.ebm import EBM_seasonal from climlab.solar.orbital_cycles import OrbitalCycles from climlab.surface.albedo import StepFunctionAlbedo ebm = EBM_seasonal() print ebm # add an albedo feedback albedo = StepFunctionAlbedo(state=ebm.state, **ebm.param) ebm.add_subprocess('albedo', albedo) # start the integration # run for 10,000 orbital years, but only 1,000 model years experiment = OrbitalCycles(ebm, kyear_start=-20, kyear_stop=-10, orbital_year_factor=10.)


|
Dippy Drinking BirdsThe Edmund Scientific company has been selling engineering, robotic, and astronomy supplies since 1942 -- but their stand out best seller and unofficial mascot is the Dippy Drinking Bird. Dippy reached new heights of popularity in 1995, during an episode of The Simpsons in which a 300-pound Homer sets Dippy in front of his keyboard to automate the monitoring of the Springfield nuclear plant. In 1946, thermodynamics engineer and chemical hobbyist Miles V. Sullivan filed a technical illustration with the U.S. Patent Office for his version of a bird-shaped Heat Engine. The structure of the bird was comprised of two glass bulbs: one for the head (and beak, and jaunty hat, and googly eyeballs) and another for the lower body (and shakeable tail feathers). Originally Dippy was clamped along the side of a water glass, but the balancing mechanism would later evolve into tall, stork-like legs upon which the glass bulbs were balanced and perched. Variations included duck shapes and giraffes, but the essential mechanics of the device remained constant. A thin glass tube connecting the two bulbs from the inside extended down into the lower body, where it dipped into a reservoir of Freon-based liquid (now banned) or colored methylene chloride. This is the fluid that rises and falls to make Dippy bobble back and forth. Most of the air is vacuum-sucked from the glass structure at the factory, after the liquid is placed inside. Although the head and upper part of the glass tube appear to be "empty", they are actually full of active, vaporous gas from the methylene chloride, which doesn't take much heat energy to turn from a vapor into a liquid, or vice versa. In the scientific community, that's called a "low latent heat of evaporation". Methylene chloride, also called dichloromethane (CH2Cl2), is a volatile, colorless liquid with a chloroform-like odor. It's used in various industrial processes in many different industries -- including paint stripping, pharmaceutical manufacturing, paint remover manufacturing, metal cleaning and degreasing, and so forth. The most common means of exposure to methylene chloride is inhalation or skin exposure, i.e. your son or daughter smashes Dippy against the windowsill and drinks the holiday fruit punch inside. OSHA considers methylene chloride to be a potential occupational carcinogen: in studies, mice exposed to airborne methylene chloride developed cancers and tumors of the lung and the liver. Anyway, if the head bulb is slightly cooler than the body bulb, a temperature differential occurs. The methylene chloride turns from a liquid to a vapor, and as it rises up the glass tube, vacuum action pulls the liquid up along with it, like a thermometer. When it nears the top, Dippy's head tips forward on the swing-leg hinges, dunks his nose into a glass of water and appears to drink. While the whole family sits around applauding and taking pictures, Dippy's red felt-covered beak, face, and head are absorbing water from the drinking glass. As the moisture evaporates from the fabric, the head becomes cooler than the body and internal pressures within the chamber are equalized. The vapor turns back into liquid, the liquid drops to the lower bulb, and Dippy's center of gravity pivots him to his normal, natural, upright position. Under the right conditions, Dippy can tipple and topple back and forth quickly, dook-dook-dooking like there's no tomorrow.  You can, however, "trick" Dippy into drinking by positioning a lamp toward the bottom bulb. If you limit the penumbra (falloff) from the light so Dippy's head remains cool, he'll go back and forth and even drink without a water glass for hours at a time. But exercise caution: lamplight can produce excessive heat, and Dippy's glass will burst. One Dippy Bird hack involves painting the body black so the body becomes warmer more quickly than the head. In 1966, civil engineer and logistics expert R.B. Murrow developed an abstract study recommending that the possibilities of a Dippy Drinking Bird heat engine be investigated to see if it could be further developed into a useful machine which performed low-power requirement tasks in primitive environments (such as the one addressing the Egyptian low-water-lift agricultural problem). In the report, such an engine was described in considerable detail. Direct experiment has shown that the Dippy Drinking Bird works best on small scale, and does so particularly well under the arid climatological conditions of Egypt and many other underdeveloped countries. By measuring the power output of a drinking bird, attaching it to a windglass and using it to lift heavy paper clips, scientist Don Rathjen reported the successful extraction of a nanohorsepower of work (about a microwatt). Artist Daniel Reynolds spent six years and $20,000 developing his most brilliant work to date: a flock of fifteen enormous drinking birds filling an entire art gallery. Each is six and a half feet tall, and 3,000 times heavier than the original Dippy. The birds are made of pyrex glass, and require a special vacuum attachment so the liquid can travel efficiently. The head of the Institute of Thermodynamics at the University of Stuttgart in Germany turned over all their research and development resources to assist in the project. Unfortunately, the art and science of Dippy the Drinking Bird were only the precursor to cheaper, gimmicky Hand Boiler devices also known as "libido detectors" -- the looped and twisted glass sculptures containing a liquid which bubbles and churns like a tempest in a teacup with the heat from your bare hand. Once the bulbous end is out of your hands, it takes a few moments for the liquid to cool down. No delightful bird shape, no pointy beak, no pretty eyes or feathers -- just another example of the dumbing down and over-pussification of America's youth. You can probably find Hand Boilers at the Hallmark store near the candles and cat calendars. Dippy Drinking Birds, while hardly extinct, are now primarily indigenous to magic shops. |


Provides functionality to process text files created by Emacs' Org mode, and decompose the content to the smallest components (headlines, body, tag, clock entries etc). Emacs is an extensible, customizable text editor and Org mode is for keeping notes, maintaining TODO lists, planning projects. Allows users to analyze org files as data frames in R, e.g., to convieniently group tasks by tag into project and calculate total working hours. Also provides some help functions like search.parent, gg.pie (visualise working hours in ggplot2) and tree.headlines (visualise headline stricture in tree format) to help user managing their complex org files.
| Version: | 0.9.0 |
| Depends: | ggthemes (≥ 1.7.0), ggplot2 (≥ 1.0.0), lubridate (≥ 1.3.3), data.table (≥ 1.9.4), stringr (≥ 0.6.2) |
| Published: | 2014-12-20 |
| Author: | Yi Tang |
| Maintainer: | Yi Tang <yi.tang.uk at me.com> |
| License: | GPL-2 | GPL-3 [expanded from: GPL (≥ 2)] |
| NeedsCompilation: | no |
| CRAN checks: | orgR results |
| Reference manual: | orgR.pdf |
| Package source: | orgR_0.9.0.tar.gz |
| Windows binaries: | r-devel: orgR_0.9.0.zip, r-release: orgR_0.9.0.zip, r-oldrel: orgR_0.9.0.zip |
| OS X binaries: | r-release: orgR_0.9.0.tgz, r-oldrel: orgR_0.9.0.tgz |
Please use the canonical form https://CRAN.R-project.org/package=orgR to link to this page.


General Election 2019: Celebrities voting Labour, Tory, Lib Dems and Green
The surprising and not-so surprising ways celebrities will be casting their ballots this December
by Lucy Needham, https://www.facebook.com/dailymirror/On December 12 the UK will be heading to the polls to vote for the next Prime Minister.
As in previous years, a host of celebrities have been weighing in on who to vote for in the upcoming election.
From galvanising social media followers, to dropping hints in interviews and even showing up at rallies, celebrity endorsements are on the rise as election fever builds.
With less than a month to go now before the big day, we take a look over who is backing who.
Stormzy
In the run up to the last election in 2017, the Grime star threw his support behind Labour leader Jeremy Corbyn. While the rapper is yet to confirm if he'll back the party again, it's pretty safe to say he won't be voting Tory.
Last month Stormzy fired off a series of furious tweets in response to the comments made by Jacob Rees-Mog over the Grenfell tragey.
He called the politician 'an actual piece of s*** after the Tory MP blamed Grenfell victims for their deaths and said they lacked 'common sense.'
"I can’t believe the cheek f****** hell these politicians are actual aliens,” Stormzy fired.
"This man is the scummiest. You can’t even make this stuff up... let’s bare in mind for 2 secs how horrifying and terrifying the situation would have been for the victims.

Lily Allen
The Smile hitmaker has been another supporter of Labour party in the past.
While she's yet to pledge any allegiance so far, Lily has been a vocal critic of the current Conservative government - recently vowing to leaving the country until after Brexit was over.
But after Boris Johnson extended the deadline until 31st January 2020, Lily returned to the UK at the start of November.
The London based star previously told her social media followers: "Leaving UK till after Brexit. Good Luck Kids."
Kathy Burke
Ahead of the election announcement, lifelong labour voter Kathy spoke of her unease with the current political climate.
Asked about who she'd theoretically vote for in interview with the Independent, Kathy said: "I’d probably go Green because I am really worried about climate change and the planet. I’ve been a Labour voter all my life… But I don’t know how I feel about things at the moment, quite honestly."
On the state of the economy and gentrification, Kathy added: "The whole thing is a terrible mess. I really feel for young people, I don’t know what they’re going to do.  Look at Hoxton [in east London]. Hoxton was a s***hole, and now it costs a fortune to live in someone’s bin shed."
Liam Gallagher
The outspoken Oasis rocker weighed in on his political leanings during his recent column for the Mirror.
Liam who previously said he “loves Europe”, described Brexit as like being on “a bad trip” and dubbed politicians “f**king d**kheads”
"It’s just going round. You turn on the TV and it’s some geezer going ‘I don’t know what’s going on’.
"Come on, you f***king d**kheads. You all went to Eton, you went to all these fish schools. Come on you idiots.”
Liam explained that he would definitely not vote Conservative and would most likely back the Green Party because they 'make sense'.
"Labour I can’t do, I’m not sure about them. It would be the Green Party – that is the only party that makes sense.
"We know for a fact that the world is in a bad place; we know that we need to do more, but the other clowns are going, ‘we are going to do this’ and ‘we are going to do that’ and then they get into power and do f*** all.”
He previously said to NME he takes politics with a “pinch of salt, because you don’t know who to trust”.
Eddie Izzard
Eddie has been a Labour Party activist for most of his adult life.
This year will be no different. The comedian was spotted campaigning in Blackpool and Cleveleys earlier this month where he delivered a speech for candidate Chris Webb.
Katie Hopkins
It's safe to say the controversial ex Apprentice contestant is no fan of Jeremy Corbyn .
Hopkins' social media has been awash with support for the Tories over the last few weeks with her urging her followers to #backBoris on December 12.


@* * Copyright 2023 HM Revenue & Customs * * 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. *@ @import uk.gov.hmrc.gform.views.html.main_template @import uk.gov.hmrc.govukfrontend.views.viewmodels.content @import play.twirl.api.Html @import views.html.helper.CSPNonce @(title: String, report: List[List[(String, String, String, String)]])(implicit request: Request[_]) @header = @{ Html( """
| @label | @Html(value) | @Html(enMessage) | @Html(cyMessage) |
|---|---|---|---|


TEXTractor is a pain scoring tool for clinical reports.
CONTROLS
ACCESS KEY: You need access key to log in to the app
INFO: Opens the help page in a new tab
PREVIOUS: Loads the previous patient
NEXT: Loads the next patient
SAVE: Saves the selected points
Scoreboard: The selected pain score will be added to the scoreboard.
Click on a note in the scoreboard to load it.
*
PAIN Scoring Guideline:
Use the N/A option only if the pain is not mentioned in the note or the pain term is in hypothetical, conditional, or historical sentences and does not reflect the current state
of the pain.
Use none if the patient is comfortable and explicitly denied having pain
Report physician reported pain score (mild, moderate, severe)
for the notes with valid mentions
of pain according to the following verbal rating scale (VRS). Use your best judgment or assumption if the pain score is not clearly mentioned in the report.
IMPORTANT NOTE: Pain score should reflect the current stage of the pain (pain score at the time of the visit or hospitalization). So, any mention of the pan in a historical, hypothetical or conditional sentence should be ignored.
TIPS
The HELP button will redirect you to this help page.
Please check your email for the access key or email me if your access key is not working.
Use NEXT or PREVIOUS buttons to load the next or previous note. Or click on the note from the list to load it.
Read the note and use the verbal rating scale (VRS) to report the patient's pain scale.
the selected pain score will be added the scoreboard in front of the selected note.
At any stage you can press the SAVE button to save the scores into the database.
You can update the pain score for the previously scored note and press the SAVE button to overwrite the previously saved scores
Pressing the SAVE button will overwrite the previously saved scores.
The SAVE button will turn red if there is unsaved points.
You need to use your access key to log into the app if you refresh your browser.
Previously saved scores will be loaded automatically to the scoreboard.
Unsaved points will be lost if you refresh the page.


While I understand what Apple is trying to do with increased security for Macs, I am getting fed up. My work machines don’t allow changing the Security & Privacy settings… so I simply cannot use tools like @RogueAmoeba’s Audio Hijack on Big Sur. heavy sigh


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Sample PWA Fetch