Examples for the mixed_layer model
Contents
Setting up your path
The mixed_layer code is spread over several folders (mostly because that makes it easier to maintain on my end... sorry about that). To get the basics running, you need to add a few folders to your path:
addpath('mixed_layer-basics-pkg/mixed_layer'); addpath('mixed_layer-basics-pkg/mixed_layer/biomodules'); addpath('mixed_layer-basics-pkg/mixed_layer/biomodules_subs'); addpath('mixed_layer-basics-pkg/seawater_ver3_2'); addpath('mixed_layer-basics-pkg/mergestruct');
(Alter the paths as necessary to wherever you place these folders).
If you only plan to run the cobalt_fweb module, or if you're adding your own biology module, then that's all you need. To play with the np or npz modules, add three more (although these are simple models, I developed them when I was still experimenting with ODE solvers, hence the extra dependencies):
addpath('mixed_layer-basics-pkg/odefixed'); addpath('mixed_layer-basics-pkg/odewrap'); addpath('mixed_layer-basics-pkg/photosynthesis');
Most users (i.e. probably everyone but me) can ignore the rest of the folders, which are related to the wce (water column ecosystem) and the nemurokak (which is the lower-trophics-only version of wce) modules. The parameter setup for these modules can get very complicated, enough so that I have entire toolboxes worth of functions dedicated to the task for just my one region of interest. I would really appreciate if you would email me if you intend to start using these options, so we can discuss potential collaborations (and I can give more specific suggestions on how to use this portion of the code). That said, if you really want to give it a try, add the rest of the folders to your path:
addpath('mixed_layer-basics-pkg/ConsoleProgressBar'); addpath('mixed_layer-basics-pkg/cellstr2'); addpath('mixed_layer-basics-pkg/cprintf'); addpath('mixed_layer-basics-pkg/dirfull'); addpath('mixed_layer-basics-pkg/ecopathensemble'); addpath('mixed_layer-basics-pkg/ecopathlite'); addpath('mixed_layer-basics-pkg/legendflex'); addpath('mixed_layer-basics-pkg/parsepv'); addpath('mixed_layer-basics-pkg/regexpfound'); addpath('mixed_layer-basics-pkg/setgetpos_V1.2');
Running physics-only simulations
The simplest way to run the mixed_layer model is to do so without any of the biological modules turned on. The code comes with some default surface forcing datasets (1976 data for the Scotian Shelf), which can be used for some quick tests. To run with all default variables, simply specify an output folder name.
mixed_layer('default');
-------------------- 1D Mixed Layer Model -------------------- default.nc: 1 Initializing model... Missing heat data: 01/01/1976 00:00-01/01/1976 01:00 Missing wind data: 12/31/1976 23:00-01/01/1977 00:00 Running simulation... 12/31/1976 Mixed layer model completed successfully: 7.245590 s
You might notice the warning messages under the Initializing step; they're letting us know that our forcing dataset doesn't quite span the whole simulation timeperiod, so it had to be extrapolated. For tiny gaps like this, extrapolation is fine, but if you see gaps of more than a few hours, your input probably needs to be adjusted.
When run in single-simulation mode like this, the model creates two output files: one that holds the dimension variables (dimensions.nc), and one for everything else (sim0001.nc). To read in data in the following examples, I use a little wrapper function called ncreads.m; you can find that here.
if isempty(which('ncreads')) error('To run this script as is, you need to download ncreads: https://github.com/kakearney/ncreads-pkg'); end Dim1 = ncreads(fullfile('default','dimensions.nc')); Data1 = ncreads(fullfile('default','sim0001.nc'), 'temp', 'sal'); figure; ax(1) = subplot(2,1,1); pcolor(Dim1.middate, Dim1.depth, Data1.temp); datetick('x', 'mmm'); shading flat; colorbar; title('Temperature'); ax(2) = subplot(2,1,2); pcolor(Dim1.middate, Dim1.depth, Data1.sal); datetick('x', 'mmm'); shading flat; colorbar; title('Salinity'); set(ax, 'layer', 'top'); set(ax(2), 'clim', [30 35]);
In practice, you'll want to use the appropriate surface forcings for your location and time period of interest. Also, in almost all cases, you'll want to supply a salinity relaxation dataset; otherwise the water column salinity slowly homogenizes due to lack of freshwater inputs. This folder includes some example data for a more realistic run on the Eastern Scotian Shelf.
load heat_input_ess_1984_2007.mat; load wind_input_ess_1984_2008.mat; load ts_init_ess.mat; load salt_clim_ess_1984_2008_smoothed; mixed_layer('ess', ... 'dt', 1800, ... 'dz', 5, ... 'zbot', -150, ... 'syear', 1984, ... 'eyear', 1985, ... 'Lat', 45, ... 'ts_input', ts_init_ess, ... 'wind_input', wind_input_ess_1984_2008, ... 'heat_input', heat_input_ess_1984_2007, ... 'srelax', salt_clim_ess_1984_2008_smoothed, ... 'srelaxtime', 259200);
-------------------- 1D Mixed Layer Model -------------------- ess.nc: 1 Initializing model... Running simulation... 12/31/1985 Mixed layer model completed successfully: 131.982132 s
Dim2 = ncreads(fullfile('ess','dimensions.nc')); Data2 = ncreads(fullfile('ess','sim0001.nc'), 'temp', 'sal'); figure; ax(1) = subplot(2,1,1); pcolor(Dim2.middate, Dim2.depth, Data2.temp); datetick('x', 'mmmyy'); shading flat; colorbar; title('Temperature'); ax(2) = subplot(2,1,2); pcolor(Dim2.middate, Dim2.depth, Data2.sal); datetick('x', 'mmmyy'); shading flat; colorbar; title('Salinity'); set(ax, 'layer', 'top');
Adding biology
In order to add biology, we need to turn on one of the biological modules via the biofun input, and supply any additional input parameters needed by the module. See the function help for each module to figure out what these inputs are.
Charlie's cobalt_fweb module is one of the easier ones to get started with, since most of its parameters are hard-coded. It requires only one additional input, holding the initial concentration profiles for all the state variables; an example dataset is included in the examples folder.
load cobalt_init_ess.mat; mixed_layer('ess_cobalt', ... 'dt', 1800, ... 'dz', 5, ... 'zbot', -150, ... 'syear', 1984, ... 'eyear', 1985, ... 'Lat', 45, ... 'ts_input', ts_init_ess, ... 'wind_input', wind_input_ess_1984_2008, ... 'heat_input', heat_input_ess_1984_2007, ... 'srelax', salt_clim_ess_1984_2008_smoothed, ... 'srelaxtime', 259200, ... 'biofun',@cobalt_fweb, ... 'bio_input',cobalt_init_ess);
-------------------- 1D Mixed Layer Model -------------------- ess_cobalt.nc: 1 Initializing model... Running simulation... 12/31/1985 Mixed layer model completed successfully: 254.949524 s
Dim3 = ncreads(fullfile('ess_cobalt','dimensions.nc')); vars = {'sp', 'lp', 'sz','mz','lz'}; nv = length(vars); Data3 = ncreads(fullfile('ess_cobalt','sim0001.nc'), vars{:}); vpos = linspace(0.05, 0.95, nv+1); figure; for ii = 1:nv ax(ii) = axes('position', [0.1 vpos(ii), 0.8 (0.9/nv)*0.8]); pcolor(Dim3.middate, Dim3.depth, Data3.(vars{ii})); shading flat; title(vars{ii}); colorbar; end set(ax(2:end), 'xticklabel', ''); datetick(ax(1), 'x', 'mmmyy', 'keeplimits'); set(ax, 'layer', 'top');
In the above examples, we've been reusing a lot of the same inputs. To make it easier to do this without constantly retyping, we can store the input variables in a sructure array, and pass that as input.
In.dt = 1800; In.dz = 5; In.zbot = -150; In.syear = 1984; In.eyear = 1985; In.Lat = 45; In.ts_input = ts_init_ess; In.wind_input = wind_input_ess_1984_2008; In.heat_input = heat_input_ess_1984_2007; In.srelax = salt_clim_ess_1984_2008_smoothed; In.srelaxtime = 259200;
You can combine structure and parameter/value input. This example reuses all the physical parameters listed above, but then runs the NP toy model instead. Also, notice that if a parameter is repeated (as in the eyear parameter here, which is set both in the structure array and as a parameter/value pair), the last listed value is used.
mixed_layer('ess_np', In, 'n', cobalt_init_ess(:,[1 13]), ... 'p', cobalt_init_ess(:,[1 3]), ... 'kn', 0.1, ... 'loss', 0.05/86400, ... 'remin', 0.5, ... 'eyear', 1984, ... 'biofun', @np);
-------------------- 1D Mixed Layer Model -------------------- ess_np.nc: 1 Initializing model... Running simulation... 12/31/1984 Mixed layer model completed successfully: 101.406552 s
Dim4 = ncreads(fullfile('ess_np','dimensions.nc')); Data4 = ncreads(fullfile('ess_np','sim0001.nc'), 'N','P'); figure; clear ax; ax(1) = subplot(2,1,1); pcolor(Dim4.middate, Dim4.depth, Data4.N); datetick('x', 'mmmyy'); shading flat; colorbar; title('Nutrient'); ax(2) = subplot(2,1,2); pcolor(Dim4.middate, Dim4.depth, Data4.P); datetick('x', 'mmmyy'); shading flat; colorbar; title('Phytoplankton'); set(ax, 'layer', 'top');
In case you're wondering about the crazy combo of ODE solvers used in the NP and NPZ modules, that's mostly the result of some early experimentation when I was preparing to build a more complicated model... and that's also why it runs a bit slowly for such a simple model.
Ensemble simulations
The mixed_layer model comes with the ability to run ensemble simulations, where the same basic model grid setup is used but the forcings or parameters are varied between simulations. The runmixedlayer.m function can be used to make file management simpler in these cases. For example, let's run a sensitivity study where we vary the half-saturation constant in the above example:
nens = 5; kn = linspace(0.05, 3.5, nens); Ens = In; Ens.n = cobalt_init_ess(:,[1 13]); Ens.p = cobalt_init_ess(:,[1 3]); Ens.loss = 0.05/86400; Ens.remin = 0.5; Ens.eyear = 1984; Ens.biofun = @np; Ens = repmat(Ens, nens, 1); for ii = 1:nens Ens(ii).kn = kn(ii); end runmixedlayer(Ens, 'name', 'ess_npsensitivity', 'verbose', false);
09-Nov-2015 10:23:14: ./ess_npsensitivity: 5 09-Nov-2015 10:24:55: ./ess_npsensitivity: 4 09-Nov-2015 10:26:42: ./ess_npsensitivity: 3 09-Nov-2015 10:28:27: ./ess_npsensitivity: 2 09-Nov-2015 10:30:11: ./ess_npsensitivity: 1
The output folder now contains simXXXX.nc files for the 5 different variations.
dir('ess_npsensitivity')
. dimensions.nc sim0002.nc sim0004.nc .. sim0001.nc sim0003.nc sim0005.nc
We could loop over all these files and read in the data. But with larger ensembles and multiple variables, that can become a pain. The postprocess option in runmixedlayer reformats the output data so that instead of one file per simulation with all the variables in it, you get one file per variable with all simulations. The postprocessing options relies on the NCO utilities (http://nco.sourceforge.net/), so you'll need to have those installed and accessible via Matlab to use this option.
ncdisp(fullfile('ess_npsensitivity', 'sim0001.nc'));
Source: /Users/kakearney/Documents/GitRepos/Distribution/mixed_layer-basics-pkg/ess_npsensitivity/sim0001.nc Format: netcdf4 Dimensions: depth = 30 time = 366 (UNLIMITED) depth_edge = 31 Variables: temp Size: 30x366 Dimensions: depth,time Datatype: double Attributes: _FillValue = -9999 long_name = 'temperature' unit = 'deg C' sal Size: 30x366 Dimensions: depth,time Datatype: double Attributes: _FillValue = -9999 long_name = 'salinity' unit = 'psu' sig Size: 30x366 Dimensions: depth,time Datatype: double Attributes: _FillValue = -9999 long_name = 'density' unit = 'kg m^-3' ucurrent Size: 30x366 Dimensions: depth,time Datatype: double Attributes: _FillValue = -9999 long_name = 'east-west current velocity' unit = 'm s^-2' vcurrent Size: 30x366 Dimensions: depth,time Datatype: double Attributes: _FillValue = -9999 long_name = 'north-south current velocity' unit = 'm s^-2' q2 Size: 31x366 Dimensions: depth_edge,time Datatype: double Attributes: _FillValue = -9999 long_name = 'twice the turbulent kinetic energy' unit = 'm^2 s^-2' q2l Size: 31x366 Dimensions: depth_edge,time Datatype: double Attributes: _FillValue = -9999 long_name = 'turbulent kinetic energy * length scale' unit = 'm^3 s^-2' len Size: 31x366 Dimensions: depth_edge,time Datatype: double Attributes: _FillValue = -9999 long_name = 'turbulence length scale' unit = 'm' Kh Size: 31x366 Dimensions: depth_edge,time Datatype: double Attributes: _FillValue = -9999 long_name = 'tracer mixing coefficient' unit = 'm^2 s^-1' Km Size: 31x366 Dimensions: depth_edge,time Datatype: double Attributes: _FillValue = -9999 long_name = 'vertical kinematic viscosity' unit = 'm^2 s^-1' Kq Size: 31x366 Dimensions: depth_edge,time Datatype: double Attributes: _FillValue = -9999 long_name = 'turbulence mixing coefficient' unit = 'm^2 s^-1' boy Size: 31x366 Dimensions: depth_edge,time Datatype: double Attributes: _FillValue = -9999 long_name = 'Kh * boygr' unit = 'm^2 s^-3' diss_q2 Size: 31x366 Dimensions: depth_edge,time Datatype: double Attributes: _FillValue = -9999 long_name = 'lc_q2 * q2' unit = '?' diss_q2l Size: 31x366 Dimensions: depth_edge,time Datatype: double Attributes: _FillValue = -9999 long_name = 'lc_q2l * q2l' unit = '?' gh Size: 31x366 Dimensions: depth_edge,time Datatype: double Attributes: _FillValue = -9999 long_name = 'Richardson number' unit = 'no units' Qi Size: 366x1 Dimensions: time Datatype: double Attributes: _FillValue = -9999 long_name = 'incident heat flux' unit = 'W m^-2' Qs Size: 366x1 Dimensions: time Datatype: double Attributes: _FillValue = -9999 long_name = 'sensible heat flux' unit = 'W m^-2' Ql Size: 366x1 Dimensions: time Datatype: double Attributes: _FillValue = -9999 long_name = 'latent heat flux' unit = 'W m^-2' Qlw Size: 366x1 Dimensions: time Datatype: double Attributes: _FillValue = -9999 long_name = 'longwave heat flux' unit = 'W m^-2' Qsol Size: 30x366 Dimensions: depth,time Datatype: double Attributes: _FillValue = -9999 long_name = 'incident heat flux (water column)' unit = 'W m^-2' Qsrf Size: 366x1 Dimensions: time Datatype: double Attributes: _FillValue = -9999 long_name = 'surface heat flux' unit = 'W m^-2' Qadv Size: 30x366 Dimensions: depth,time Datatype: double Attributes: _FillValue = -9999 long_name = 'advective heat flux' unit = 'W m^-2' ustau Size: 366x1 Dimensions: time Datatype: double Attributes: _FillValue = -9999 long_name = 'east-west surface wind stress' unit = 'N m^-2' vstau Size: 366x1 Dimensions: time Datatype: double Attributes: _FillValue = -9999 long_name = 'north-south surface wind stress' unit = 'N m^-2' ubtau Size: 366x1 Dimensions: time Datatype: double Attributes: _FillValue = -9999 long_name = 'east-west bottom wind stress' unit = 'N m^-2' vbtau Size: 366x1 Dimensions: time Datatype: double Attributes: _FillValue = -9999 long_name = 'north-south bottom wind stress' unit = 'N m^-2' N Size: 30x366 Dimensions: depth,time Datatype: double Attributes: _FillValue = -9999 long_name = 'nutrient' unit = 'mmol N m^-3' P Size: 30x366 Dimensions: depth,time Datatype: double Attributes: _FillValue = -9999 long_name = 'phytoplankton' unit = 'mmol N m^-3' ps Size: 30x366 Dimensions: depth,time Datatype: double Attributes: _FillValue = -9999 long_name = 'photosynthesis' unit = 'mmol N m^-3 s^-1' ploss Size: 30x366 Dimensions: depth,time Datatype: double Attributes: _FillValue = -9999 long_name = 'phyto mortality' unit = 'mmol N m^-3 s^-1' premin Size: 30x366 Dimensions: depth,time Datatype: double Attributes: _FillValue = -9999 long_name = 'remineralization' unit = 'mmol N m^-3 s^-1'
runmixedlayer(Ens, 'name', 'ess_npsensitivity', 'postprocess', true); dir('ess_npsensitivity')
Postprocessing ./ess_npsensitivity Concatenating ensembles 100% [=================================================>] 31 of 31: premin . Qadv.nc boy.nc premin.nc ubtau.nc .. Qi.nc dimensions.nc ps.nc ucurrent.nc Kh.nc Ql.nc diss_q2.nc q2.nc ustau.nc Km.nc Qlw.nc diss_q2l.nc q2l.nc vbtau.nc Kq.nc Qs.nc gh.nc sal.nc vcurrent.nc N.nc Qsol.nc len.nc sig.nc vstau.nc P.nc Qsrf.nc ploss.nc temp.nc
ncdisp(fullfile('ess_npsensitivity', 'P.nc'));
Source: /Users/kakearney/Documents/GitRepos/Distribution/mixed_layer-basics-pkg/ess_npsensitivity/P.nc Format: netcdf4 Global Attributes: history = 'Mon Nov 9 10:31:56 2015: ncecat -v P -u ensemble -n 5,4,1 ./ess_npsensitivity/sim0001.nc ./ess_npsensitivity/P.nc' nco_openmp_thread_number = 1 Dimensions: ensemble = 5 (UNLIMITED) time = 366 depth = 30 Variables: P Size: 30x366x5 Dimensions: depth,time,ensemble Datatype: double Attributes: _FillValue = -9999 long_name = 'phytoplankton' unit = 'mmol N m^-3'
Note that unlike mixed_layer itself, runmixedlayer never attempts to overwrite files. If it finds a file already exists it skips to the next ensemble member, or to the postprocessing steps. It also deals with errors differently; if one simulation crashes, the code catches the error and writes it to a log file, then moves on to the next step, rather than halting all simulations.
We can now inspect the effects of changing on our NP model:
Dim5 = ncreads(fullfile('ess_npsensitivity','dimensions.nc')); p = ncread(fullfile('ess_npsensitivity', 'P.nc'), 'P'); vpos = linspace(0.05, 0.95, nens+1); figure; for ii = 1:nens ax(ii) = axes('position', [0.1 vpos(ii), 0.8 (0.9/nens)*0.8]); pcolor(Dim5.middate, Dim5.depth, p(:,:,ii)); shading flat; title(sprintf('K_N = %.3f', kn(ii))); end set(ax(2:end), 'xticklabel', ''); datetick(ax(1), 'x', 'mmmyy', 'keeplimits'); set(ax, 'layer', 'top', 'clim', [0 3.1], 'fontsize', 8); cb = colorbar('peer', ax(end), 'location', 'east'); set(cb, 'position', [0.93 0.05 0.03 0.9/nens]);


Auto-rate script
-
Russ
Hi There
I know the auto rate script included with synergy isn't officially supported, however, as it seems to be broken with iTunes 7 would anyone be able to take a quick look and see if they could fix it?
I would be a really handy script for me.
Thanks in advanced.
Russ
-
glenn mcdonald
I just stopped by and noticed this question. I wrote that script! I just emailed a new version to Wincent that works for me on iTunes 7. It looks like iTunes 7 chokes if you ask for the last track in an empty playlist, which didn't happen before...
-
Russ
Can somebody either send me the latest version or perhaps post it here, please?
russ--at--lrhosting.net
Thanks
-
Greg Hurrell
Not tested yet, use at your own risk, free; all the usual disclaimers apply:
https://wincent.com/a/products/synergy-classic/download/AutoRate-13022007.zip
Reply
This topic is now closed.


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Enters a formula in the active cell or in a reference. There are two syntax forms of this function. Use syntax 1 to enter numbers, text, references, and formulas in a worksheet. Although syntax 1 can also be used to enter values on a macro sheet, you will not generally use FORMULA for this purpose. Use syntax 2 to enter a formula in a chart. For information about setting values on a macro sheet, see "Remarks" in the following topics.
Syntax 1 Enters numbers, text, references, and formulas in a worksheet
Syntax 2 Enters formulas in a chart
Return to index
Enters a formula in the active cell or in a reference. If the active sheet is a worksheet, using FORMULA is equivalent to entering formula_text in the cell specified by reference. Formula_text is entered just as if you typed it in the formula bar.
There are two syntax forms of this function. Use syntax 1 to enter numbers, text, references, and formulas in a worksheet. Although syntax 1 can also be used to enter values on a macro sheet, you will not generally use FORMULA for this purpose. Use syntax 2 to enter a formula in a chart. For information about setting values on a macro sheet, see "Remarks" later in this topic.
Syntax
FORMULA(formula_text, reference)
Formula_text can be text, a number, a reference, or a formula in the form of text, or a reference to a cell containing any of the above.
If formula_text contains references, they must be R1C1-style references, such as "=RC[1]*(1+R1C1)". If you are recording a macro when you enter a formula, Microsoft Excel converts A1-style references to R1C1-style references. For example, if you enter the formula =B2*(1+$A$1) in cell C2 while recording, Microsoft Excel records that action as =FORMULA("=RC[-1]*(1+R1C1)").
If formula_text is a formula, the formula is entered. Text arguments must be surrounded by double sets of quotation marks. For example, to enter the formula =IF($A$1="Hello World", 1, 0) in the active cell with the FORMULA function, you would use the formula FORMULA("=IF(R1C1=""Hello World"", 1, 0)")
If formula_text is a number, text, or logical value, the value is entered as a constant.
Reference specifies where formula_text is to be entered. It can be a reference to a cell in the active workbook or an external reference to a workbook. If reference is omitted, formula_text is entered in the active cell.
Remarks
Consider the following guidelines as you choose a function to set values on a worksheet or macro sheet:
Use FORMULA to enter formulas and change values in a worksheet cell.
SET.VALUE changes values on the macro sheet. Use SET.VALUE to assign initial values to a reference and to store values during the calculation of the macro.
SET.NAME creates names on the macro sheet. Use SET.NAME to create a name and immediately assign a value to the name.
Examples
If the active sheet is a worksheet, the following macro formula enters the number constant 523 in the active cell:
FORMULA(523)
If the active sheet is a worksheet, the following macro formula enters the result of the INPUT function in cell A5:
FORMULA(INPUT("Enter a formula:", 0), !$A$5)
If you're using R1C1-style references and the active sheet is a worksheet, the following macro formula enters the formula =RC[-1]*(1+R1C1) in the active cell:
FORMULA("=RC[-1]*(1+R1C1)")
If the active sheet is a worksheet, the following macro formulas enter the number 1000 in the cell two rows down and three columns right from the active cell. The R1C1-style formula is shorter, but the OFFSET method may provide faster performance in larger macro sheets.
FORMULA(1000, OFFSET(ACTIVE.CELL(), 2, 3))
FORMULA(1000, "R[2]C[3]")
The following macro formula enters the phrase "Year to Date" in cell B4 on the sheet named SALES 1993:
FORMULA("Year to Date", 'SALES 1993'!B4)
Related Functions
FORMULA.ARRAY Enters an array
FORMULA.FILL Enters a formula in the specified range
SET.VALUE Sets the value of a cell on a macro sheet
FORMULA Syntax 2 Enters formulas in a chart
Return to index
Enters a text label or SERIES formula in a chart. To enter formulas on a worksheet or macro sheet, use syntax 1 of this function.
Syntax
FORMULA(formula_text)
Formula_text is the text label or SERIES formula you want to enter into the chart.
| If | Then |
| Formula_text can be treated as a text label and the current selection is a text label | The selected text label is replaced with formula_text. |
| Formula_text can be treated as a text label and there is no current selection or the current selection is not a text label | Formula_text creates a new unattached text label. |
| Formula_text can be treated as a SERIES formula and the current selection is a SERIES formula | The selected SERIES formula is replaced with formula_text. |
| Formula_text can be treated as a SERIES formula and the current selection is not a SERIES formula | Formula_text creates a new SERIES formula. |
Remarks
You would normally use the EDIT.SERIES function to create or edit a chart series. For more information, see EDIT.SERIES.
Example
The following macro formula enters a SERIES formula on the chart. If the current selection is a SERIES formula, it is replaced:
FORMULA("=SERIES(""Title"", , {1, 2, 3}, 1)")
Related Functions
EDIT.SERIES Creates or changes a chart series
FORMULA, Syntax 1 Enters numbers, text, references, and formulas in a worksheet
Return to index


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Hi there! I'm an undergraduate at the University of California at Berkeley studying computer science and international business. I have a passion for bringing people together across diverse cultures to pursue the latest trends in technology, by spreading ideas, love, and knowledge. In my free time, I teach dance at Finnese Dance Studio.
pragma solidity ^0.4.18;
import "zeppelin-solidity/contracts/token/ERC721/ERC721Token.sol";
/**
* The ExampleERC721 contract does this and that...
*/
contract ExampleERC721 is ERC721Token{
address private creator; //require this field in all uploaded contracts
uint256 constant private price = 50 ether;
string constant private creatorName = "Billy Lau";
string constant private creatorBio = ""; //IPFS address
string constant private creatorDisplayImage = ""; //IPFS address
bool private donateLimitReached = false;
event Donated(address donor);
//Constructor
function ExampleERC721 () {
creator = msg.sender;
}
//Getters
function getCreatorAddress () public returns(address) {
return(creator);
}
function getCreatorName () public returns(string) {
return(creatorName);
}
function getCreatorBio () public returns(string) {
return(creatorBio);
}
function getCreatorDisplayImage () public returns(string) {
return(creatorDisplayImage);
}
// function testFlag () returns(string) {
// if(donateLimitReached){
// return("yes");
// }
// else{
// return("no");
// }
// }
//Mint
function mint () public payable{
require(!donateLimitReached); //check if someone has already donated
require(msg.value >= price); //check if donation amount is greater or equal to requested amount
_mint(msg.sender,0); //create the 0th token and send it to the donor
creator.transfer(msg.value); //transfer the donation ETH amount to the creator
Donated(msg.sender); //fire an event signalling donation has been sucessful
donateLimitReached = true; //flag to prevent multiple donations to the same token
}
function tokenMetadata (uint256 _tokenId) constant returns(string) {
return("testIpfsAddress");
}
}


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| 7 th | 8 Lane | 1 Lane | 0.00 Times |
| 6 th | 4 Lane | 8 Lane | 0.00 Times |
| 5 th | 7 Lane | 2 Lane | 0.00 Times |
| 4 th | 6 Lane | 8 Lane | 0.00 Times |
| 3 th | 4 Lane | 1 Lane | 0.00 Times |
| 2 th | 1 Lane | 8 Lane | 0.00 Times |
| 1 th | 7 Lane | 6 Lane | 0.00 Times |


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Mini Assignment 1: Geometric Primitives (40 Points)
The purpose of this assignment is to get students hands on practice with fundamental concepts from vector math and also to introduce them to Javascript and the glmatrix library, and particularly the vec3 class. Students will implement a series of mini algorithms using vector concepts that are commonly used in larger geometry systems. These are real world primitive operations that pop up all the time in graphics, robotics, and physics simulations, to name a few of the many application areas. For a large number students, this will serve as an introduction to translating mathematics into code, which is an extremely useful but sometimes underrepresented skill.
This assignment is split up into two parts to keep everyone on track. You will have five days to complete each part. It is highly recommended that you move onto the second part as soon as you finish the first part, as the second part is conceptually trickier.
Getting Started
To get started, check out or download the code in the github repository at
https://github.com/COMPSCI290-S2016/Mini1_GeometricPrimitives
You will be editing code in the file GeomPrimitives.js
. All of the .html
files are GUI front end debugging tools for you to check to make sure your code is working properly, as will be described in the individual tasks. I have included a minified version of the glmatrix library which contains the vec3
class for manipulating 3D vectors, as well as a minified version of the plot.ly library for 3D plotting (which I used to help create some GUI visualizations to help you debug...no need to worry about it unless you're interested or you decide to pursue the extra credit)
Collaboration
This is an individual assignment, so all code must be completely your own. However, feel free to post questions on Piazza and to work with each other on the conceptual math part. Also, if you need help debugging, it is fine to show each other Javascript code that you develop for that purpose (just not code that you write for the actual implementations in GeomPrimitives.js
). If you are unsure if something is allowed, please ask.
Tips
-
Be sure to carefully reference the documentation of the vec3 class as you go along. Be sure to allocate new vector objects with
vec3.create()
or vec3.fromValues()
before storing results in them or using them in any way.
-
Since this is our first Javascript assignment, don't forget to hit
F12
to bring up the powerful debugging suite, including the console and the ability to set breakpoints. Use logging in the console with console.log("Test strings" + x + whatever)
to output intermediate values to the debug console.
-
Ask questions on Piazza as you are going along and get stuck. Javascript is very "loose" with declarations and types, so there are many things that can happen that wouldn't happen in other languages. One of the most common errors I have personally made is accidentally re-using variable names. This is particularly bad when the original variable was an object and the new variable is a numerical value, and then I try to use the numerical value as if it were an object. This will commonly manifest itself as some kind of "undefined" variable if you log it to the console.
You will submit two versions of
GeometricPrimitives.js
to Sakai when you are finished. The first version will contain implementations of tasks 1, 2, and 3 (
due Sunday 1/24 11:55PM), and the second version will contain implementations of tasks 4 and 5 (
due Friday 1/29 11:55PM). Please also submit a
README.txt
file with both submissions with the following information each time:
- Your name
- Approximately how many hours it took you to finish this assignment (I will not judge you for this at all...I am simply using it to gauge if the assignments are too easy or hard)
- Your overall impression of the assignment. Did you love it, hate it, or were you neutral? One word answers are fine, but if you have any suggestions for the future let me know.
- Any other concerns that you have. For instance, if you have a bug that you were unable to solve but you made progress, write that here. The more you articulate the problem the more partial credit you will receive (fine to leave this blank)
If you are in a situation where you are unable to debug your code fully before the deadline, you will get more partial credit if you also submit debugging tools (HTML files, etc) with descriptions of what you tried and what the problem is. In this case, please briefly describe all extra files in the README so graders know what they're looking at
To get everyone started, I have implemented two sample operations that illustrate some of the functions of the
vec3 class: parallel and perpendicular projection of vectors (which is actually not provided in the glmatrix library):
Code location: projVector(u, v)
and
projPerpVector(u, v)
in
GeomPrimitives.js
Gui Tester: projection.html
Study this code carefully and post on Piazza if you have any questions
Part 1 (Due Sunday 1/24 11:55PM)
Given points
a,
b and
c, compute the angle between
b and
c with respect to
a, as shown in the picture below
Code to write: Fill in
getAngle(a, b, c)
in
GeomPrimitives.js
Gui Tester: angle.html
Use the fact that the magnitude of the cross product of two vectors is the area of the parallelogram spanned by those two vectors to compute the area of a triangle enclosed by three points in 3D.
Alternatively, you can use the dot product and the fact that
\[ \sin(\theta) = \sqrt{ 1 - \cos^2(\theta) } \]
(this is simply the pythagorean theorem on unit triangles)
Code to write: Fill in
getTriangleArea(a, b, c)
in
GeomPrimitives.js
Gui Tester: area.html
Tips:
- Test this with some examples you know in the plane (z=0) where you can apply the formula (1/2*base*height) to make sure it makes sense
Given three points
a,
b, and
c, determine if the point
d is above or below the plane determined by the triangle
/\abc, with the plane normal determined by the right hand rule traversing the points counter-clockwise. Return +1 if the point is above, -1 if the point is below, or 0 of the point lies on the plane.
In the picture below, point
d is above the plane determined by
abc in counter-clockwise order using the right hand rule:
Code to write: Fill in
getAboveOrBelow(a, b, c, d)
in
GeomPrimitives.js
Gui Tester: aboveOrBelow.html
Tips:
-
Hint: Use the cross product between two vectors to determine the plane normal, and verify conceptually with the right hand rule to make sure it points in the direction consistent with counter-clockwise specification of abc before you write your code. Then use the sign of the dot product between that normal and some other vector that involves d
Part 2 (Due Friday 1/29 11:55PM)
For this part we will be working in the plane to keep things simple. You can assume the third component of each vec3 is zero (unless you're doing the extra credit).
Given a line segment
ab and a line segment
cd, compute the intersection between
ab and
cd or return
null if there is no intersection. See the picture below for a couple of examples:
Code to write: Fill in
getLineSegmentIntersection(a, b, c, d)
in
GeomPrimitives.js
Gui Tester: segmentIntersection.html
Tips:
-
Be sure to check that the intersection is actually interior to both of the line segments. Otherwise, your code will happily return an intersection that is on the lines that go through each segment, but which may lie outside of one or both segments (you will see this in the GUI if you make this mistake).
-
In addition to testing your code in the GUI, you should test it on a few cases of your own, such as
- Parallel line segments. These should never intersect in planar Euclidean geometry unless they are part of the same line, but it is unlikely that you will get parallel lines by randomly clicking in the GUI, so you should make sure that case works. Be sure to handle both the case where they are parallel on different lines and parallel on the same line (hint: the cross product of two parallel vectors is zero and hence has length zero). In all cases where vectors are parallel, you should return null
Given a triangle
/\abc, determine the center and radius of its circumcenter by intersecting the perpendicular bisectors from two sides, as discussed in class and as shown in the picture below:
Code to write: Fill in
getTriangleCircumcenter(a, b, c)
in
GeomPrimitives.js
Gui Tester: triangleCircumcenter.html
Tips:
- Note that there are three perpendicular bisectors but they all intersect in the same place, so you only have to intersect two of them. Pick two to make it easier on yourself
- After you compute direction vectors for bisector lines, be sure to normalize them to avoid any numerical precision problems when using them in subsequent computations
-
Part of the code for this is very similar to the code that intersects line segments, but you no longer have the constraints that the intersection has to lie in any particular range.
- For obtuse triangles, the circumcenter should lie outside of the triangle. This is not a bug but a geometric fact. This is one of the many ways that obtuse triangles can cause pitfalls (in this case if we were, for example, to use the circumcenter to split triangle abc into three quadrilaterals with perpendicular bisectors as the sides). We will talk more about this in the fourth unit when discussion Voronoi area weights for "stretchy shapes."
The idea in the last question can be extended recursively to higher dimensions. For a collection of four points that make up a
tetrahedron in 3D, it is possible to find a sphere that touches all four points by casting a line through the circumcenter of two of its triangle faces, perpendicular to each triangle face, and looking at the intersection.
Code to write: Fill in
getTetrahedronCircumsphere(a, b, c, d)
in
GeomPrimitives.js
Gui Tester: None
: Write your own using the ones I made as an example and the
plot.ly reference to get all of the bonus points.


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In 1872, El Mercurio reported on an argument among a group of young people regarding the inclusion of nudes in the fine arts section of the National Exhibition of the same year. As the argument progressed it became clear that the group was evenly divided into those who wanted the art taken down in the name of decency and those who believed the works could not damage innocence, as high art elevated one's thoughts. With opinion evenly divided, a young woman interjected that the painting that really ought to be taken down was a still-life of a watermelon. The still-life depicted an open melon, with one slice ready to be devoured and the knife still there, as if to cut another piece. The painting inspired strong cravings, particularly dangerous to pregnant women, and the young woman remarked that 'it is a cruel act to have put this temptation [in the exhibition]'. All present could agree that the watermelon had to go. (El Mercurio 30 Sept. 1872: 3) This light anecdote demonstrates to us perspectives on fine arts in late nineteenth-century Chile. For artists, collectors and critics, high art was every bit as crucial for national development as a sound economy: their debates about art maintained a serious tone. For others, probably including editorial staff at El Mercurio, art was a luxury without a role to play in national development, which did not merit government support and had no relation to everyday life. Aware of these incompatible opinions about fine art, artists and some elite citizens together set out to convince the oligarchic government, which had minimal interest in promoting art, and to a lesser extent the public, that high art was a key component in national development. For this group of patrons and producers, art was not only inherently uplifting but also a powerful cultural commodity. Thus the development of fine arts in Chile, and particularly the creation of Santiago's art museum, resulted from the work of elite art patrons and the artists themselves. This article discusses the development of fine arts in Chile, examining the Museo Nacional de Pintura and various public exhibitions as part of an elite project of nation-building, which sought to expand the audience for and interest in high art.
At
the time of Independence, Chilean elites had
little interest in fine arts and less experience of contemporary European high
art.
By the1840s, national art had gained a
more prominent profile. Two methods were employed to foster domestic
art: the painting academy and periodic exhibitions.
The Academia de Pintura itself was founded in
March 1849 and opened by
President Manuel
Bulnes. Modelled on Mexico's
San Carlos Academy and the
French Mission in
Brazil, the new academy trained academic,
neo-classical painters. The academy's students formed the first group of
Chilean artists with European training and the works they produced helped to
create a domestic art market. Exhibitions nevertheless were the principle
vehicle for creating interest in and demand for fine arts while also
cultivating artistic taste in the European mould.
Occasional exhibitions in the 1840s had
evolved (by 1850) into annual events used to demonstrate the fruits of
Chile's progress and to stimulate
workers to toil more through displaying the products of
'hard-working' artisans. (Rodríguez Villegas
1992: 287.
Although out of fashion during the
1860s,
large-scale expositions came into vogue again
during the 1870s, mostly thanks to historian and mayor of Santiago
Benjamín Vicuña
Mackenna who masterminded the Esposición de Artes e
Industrias in 1872, the Esposición de Coloniaje
in 1873 and the 1875 International Exhibition.
The 1872 Esposición de Artes e
Industria was held to inaugurate the newly constructed iron and glass
Mercado Central on the banks of the Mapocho River.
Vicuña called the
exhibition the 'triumph of art'. (El Mercurio 14 Sept.
1872: 2) As further evidence of Chilean progress, the new train
in Santiago was inaugurated in the same
ceremony. Part of the success of the exhibition was due to the
widespread participation of both novice and established artists.
Academy students, including
Antonio Smith,
Cosme San Martín,
Onofre Jarpa and
Manuel Antonio Caro, displayed their
works. Notable among the works on display was the 'Zamacueca',
Caro's costumbrista work of
popular Chilean culture depicting a rural tavern dance. The sheer quantity
amazed viewers, although most of the works on display were
copies.
Eugenio M. Hostos, in his memoria of the exhibition, expressed concern about the dominance of landscape paintings. He attributed the popularity of landscapes to Chile's youth as a nation: he believed that all national art passed through a stage of landscape painting on its way to higher forms of expression. Augusto Orrego Luco took issue with Hostos, claiming he exaggerated the predominance of landscape paintings (46 landscapes compared to 39 of other genres) and commented that one should not confuse an exhibition with a nation (an unpopular sentiment at the time). He believed that the large number of landscape paintings represented a coincidence, rather than a trend. While counselling caution about taking the exhibition too seriously, Orrego Luco went on to find that paintings could represent society: a painting reveals the thinking of the artist that produced it and the artist, by the manner in which he conceives and executes [it], reveals the intellectual development that the society in which he lives has achieved (Orrego Luco 1872-1873: 317-8). The exhibition prompted other polemics, about what was and was not appropriate for display. Although the controversy surrounding nudes in high art was the 'topic of the day', (El Mercurio 30 Sept. 1872: 3) the works themselves remained. At the closing ceremonies, the Mercurio's reporter noted that, the point at which the addresses of Señores Estrada and Matte produced an interruption of applause and emotion, was when they spoke of the nude statues and paintings, as if [those present were] applauding the nerve that, in spite of the scrupulous people, art had in exhibiting nude beauty barely veiled by innocence (El Mercurio 7 oct. 1872: 2). The exhibition of nudes was a triumph of artistic values over misplaced concern for morals.
The 1875 International
Exhibition, held three years later was also the brainchild of
Vicuña Mackenna.
The exhibition was held during spring and early summer on the grounds of the
Quinta Normal and a new building had been built to house the fair
.
The exhibition included a collection of paintings by Chilean artists, although it attracted 'attention more for its number [of works] than for its artistic merit'. (El Mercurio 21 Sept. 1875: 3) Participants included not just neighbours from Latin America, but also Italy, France, Germany and the United States, among others. Two paintings on historical themes displayed to national and international visitors were Manuel Antonio Caro's 'La Abdicación de O'Higgins'
and Nicolás Guzmán's 'La Muerte de Pedro de Valdivia', both of which were awarded prizes. The historical paintings (the highest form of fine art) were given prominent positions, receiving praise in the press and visitors' rapt attention. This exhibition, however, was not as kind to landscape paintings, as one critic noted: if our historical paintings are well place in the Exhibition and if they merit visitors' esteem, as the press has noted at various times and we will confirm later, the same does not occur with the landscapes, which lose a great deal since they are confused with so many other works of different genres that clash among themselves. This is an inconvenience associated with all large painting exhibitions. Nonetheless, landscapes suffer from this much more than portraits or paintings of battles, history, animals, interiors or type. Landscapes need the discrete light of our domestic living spaces... its enchantment is more serene and more intimate and does not show itself but in the half-light of the study or office, as it is the companion of retreat and the confidant of the solitary, tranquil meditation.Although overshadowed by larger works in this crowded public display, the landscape paintings still deserved attention as they demonstrated Chile to Chileans. Depictions of light on the mountains or fecund fields represented 'our' Chile. (M.G., 'Los pintores chilenos', Correo de la Exposicion 1:4 [23 de Octubre de 1875], pp. 57-59) Thus paintings, with historical or natural themes, represented Chile and offered evidence of national progress. Chile's artistic advancement marched alongside its industrial and commercial progress. One of the things that most calls the attention of the national or foreign visitor to our Exhibition is the extraordinary and rapid progress that the fine arts in Chile have reached. It is enough for us to remember that in art as in industry, in literature as in science, in social life as in politics, today Chile is the reverse of all that it was twenty years ago. All our spheres of advancement march in parallel and it can be believed that the nineteenth-century will not conclude without the Chilean civilisation becoming celebrated and without our Santiago being called with justice "the Athens of America". (M.G., 'Los pintores chilenos', Correo de la Exposicion. 1:4 [23 de Octubre de 1875], pp. 57-59) A Permanent Home
Through exhibitions and the work of art students an interest
in paintings and an understand that art represented national progress had
become more widespread among Chile's
public. Certainly public figures and the
press paid lip service to the importance of art. Always looking to
Europe for inspiration, some art enthusiasts
realized that a permanent exhibition space could glorify the nation each day,
rather than only during the exhibition season. As the government showed no
inclination towards creating a museum, instead private citizens
organised and founded the fine arts museum. The plan for the museum
came from
José Miguel Blanco, a sculptor
who had spent eight years studying in Europe on a
government grant.
His European stance returned him to Chile a positivist with great admiration for Europe's museums. Writing in the Revista Chilena, he proposed a way to begin a fine arts museum. Blanco wrote that hard-working Chileans, who were much more advanced than their neighbours, were already a nation of artists. A fine arts museum would inspire those who felt 'burn in his breast the noble desire to honor the fatherland'. (Blanco: 238) For any nation, Blanco wrote, a fine arts museum was a necessity, not a luxury. Creating a fine arts museum would be a gift to the nation and an act of patriotism. The solemn inauguration of the Museum will occur on the day of the victorious army's entry into the capital, this [museum] would serve as a true triumphal arch inscribing on its facade two glorious dates condensed into only one: the triumph of our arms and the first temple consecrated to art in [the capital] that is called to be a focus of civilization of the new continent (Blanco: 242.).
General Marcos Maturana, an art collector, and Juan Mochi, then director of the Academia de Pintura accepted his call to make Santiago the continent's cultural capital. The commission worked over the winter, to put together the museum that would give a precise idea of 'the intellectual progress to which we have arrived.  While Blanco offered up the museum as an arch of triumph to greet troops victorious against Peru, the press also depicted the founding of the museum as part of the war effort. El Mercurio reported that, while the great dictator Piórola and his ministers occupy themselves in pronouncing decrees [including those which call for the destruction of cultural artifacts],Chile, this uncultured Chile, in the midst of making plans to go and plant the tricolour in the heart of cultured Lima, finds time to decree that the works of art that will serve as models for her sons, these poor rotos, be gathered religiously (El Mercurio 31 July 1880: 3) [emphasis in original].(Rotos, literally broken ones, was the term used to refer to the peasantry who were leaving the rural estates that had employed their parents and grandparents. Many of these men became soldiers in the War of the Pacific 1879-1884.)
Chileans could still remember that, whereas colonial Chile had been a territory to protect the riches of Peru from the 'wild' tribes to the south, colonial Peru itself had been the continent's culture leader. Chile's quick military victory against not only Bolivia but Peru in the War of the Pacific won the much-coveted mineral-rich Atacama Desert. Victory over Peru and Bolivia was viewed as confirmation of superiority over largely indigenous or mestizo neighbours, although even contemporary observers realized that the Chilean had won through having the least inept military. Recovering from their colonial inferiority complex, Chileans began to claim superiority based not just on military prowess, but on race. Chileans conceptualised themselves as 'white' while their neighbours were 'indians'.
The museum was never offered up as a triumphal arch, as
it opened when the troops still occupied Lima.
On 16 September 1880, a date no doubt chosen
for its links to Chilean independence,
Maturana wrote to Minister of Public Education
Miguel Luis Amunátegui to
inform him of the museum's existence, enclosing a copy of its catalogue.
Maturana personally donated seven
works to the new museum.
Blanco's plan had called for
donations to be publicly recognized with a plaque noting the donor and the date
of the donation. Thus
Maturana's gift was a very public act of
philanthropy demonstrating his wealth. Among the works he specified were
'San Jerónimo' by
Francisco Zurbarán,
'Tres evanjelistas' by
Jakob Jordanes, 'Cristo
llevando la Cruz' by
Peter Paul Rubens and '
Juana la loca a los piés de
Felipe el Hermoso' by
Raymond Monvoisin. Paintings on
Biblical and historical themes were extremely valuable contributions to the
new museum.
The Minister wrote back to
Maturana that he was grateful for the active and
'patriotic' way in which the men had undertaken the museum's creation.
(Anales de la Universidad Sept. 1880: 381-2) While
Amunátegui did not mention
it, he was probably grateful that their work had also been so inexpensive for
the government: the museum was housed in
the congressional building and the collection was mostly composed of art works
the government already owned.
From its foundation, then the museum represented an alliance between the elite and the government, with the elite offering both guidance and work, while the government responded with half-hearted support. The same pattern of elite initiative forcing government action continued for the rest of the century. This museum, pushed along by the elite, was also a work of patriotism, as recognized by Amunátegui. Its creators had sought to form a museum as a means to glorify the nation and to prove Chile's high cultural level to foreign visitors and critical neighbours and Chileans. Although when the museum was founded its works were supposed to serve as a model for the rotos returned from the war, once operating the museum placed little emphasis on accessibility to fine art or on moralizing through art. In fact, the museum was open to the public but a few hours a week each Sunday. Blanco's original plan had only called for the museum to be free on holidays while charging 20 centavos other opening days. While Juan Mochi was named head of the new museum, the archival record includes no traces of him. Instead, day to day decision-making at the museum was taken by members of the Comisión de Bellas Artes, who were nominated by the government. These elite men, prominent in the art world, included Arturo Edwards (a collector), Marcos Maturana (also a collector), Pedro Lira (a painter) and Vicente Grez (a critic). The main concerns of the commission were the acquisition of new art works and the administration of various competitions. The public did not appear at all among the concerns of the Comisión de Bellas Artes - the collection existed for its own sake. The constraints of operating a museum in the congress' left-over space makes it easy to understand why initially little emphasis was placed on public display. Nonetheless, public display did not become a priority even when the museum was given its own home. The moralizing rhetoric disappeared with the initial enthusiasm over founding the museum.
In 1885,
Pedro Lira founded the
Sociedad Anónima Unión
Artística, which included painters
Ramón Subercaseaux,
Alfredo Valenzuela Puelma,
Onofre Jarpa and
Rafael Correa as members.
One of the group's goals was to find suitable space for the museum and its
growing collection. After securing a site in the Quinta Normal de
Agricultura, the Artistic
Society used private funds (some
Lira's own) and loans from
the government to erect a permanent
museum home. The new building was a small Greek-styled temple, with a classical
columned exterior.
For obvious reasons, it was soon nick-named the Parthenon. The architecture of the new home for the Museo de Pintura established Chile as a legitimate child of Western civilization, as much as any European nation. What the elite did not seem to realize was that their culture was such an exaggerated imitation of things European as to become a parody. In domestic architecture, styles imported from Europe - ranging from mock-Tudor to memories of Pompeii - replaced both Spanish colonial and neo-classical French. Theodore Child, an English visitor to Chile, described the houses in Santiago as enormous and over-decorated. He noted that Chileans took up good and bad taste with equal enthusiasm, and that in elite culture imitation substituted for inspiration. (Child quoted in Godoy Urzua 1982: 385) Arnold J. Bauer has theorised that, in a nation united by religion, language and ethnic ancestry, culture was the only tangible division between the elites and the rest of the population. Culture, manifest through clothing, housing, food or leisure-time activities, served to separate the elite from the masses. Thinking of culture as a means to differentiate classes also helps explain why the museum was not accessible to the general public. The elites were not yet concerned with working-class moralization, but rather with demonstrating their own superiority. During the 1880s, most of the Chilean elite were blind to the social question which had begun to fester around them and, as such, the benefits of pre-emptive disciplining of the working class through moralization had yet to be understood. The isolation of the elites who ran the new museum meant that the art museum remained an extension of elite culture and an expression of elite power.
The
museum's collection grew quickly, to the delight of the commission, but
eventually even the new building became too small.
A variety of sources contributed to the ever-more crowded the collection. Both the Painting Academy's students - awarded grants to study in Europe - and its director were contractually required to submit examples of their work.  In addition, wealthy individuals, like Maturana, donated works from their private collections. The government also purchased paintings on behalf of the museum, including Lira's 'La Muerte de Cristóbal Colon' and Valenzuela Puelma's 'La resurrección de la hija de Jairo'. Both of these works had already been honoured with gold medals at national exhibitions. Furthermore, the Comisión de Bellas Artes purchased materials for the museum, often those works which had been awarded first prize in Santiago's salons, mentioned below. As a result of these sources, the museum's collection exceeded the available space in the Parthenon. Members of the commission sought a new building to meet their extremely specific needs, but none was a perfect fit. They were not willing to settle on a building unless it was near both the University and the Instituto Nacional, preferably on the Alameda. The building's situation had to be prominent, to reflect the importance of the museum. (It must be noted that the Parthenon's location in the Quinta Normal was isolated from the city centre.) Eventually, the government commissioned plans for a new art museum to be located in the French-designed Parque Forestal.
With the collection growing and extra space diminishing, the commission sought to control the quality of the materials on display. High quality works were essential if the museum was to do Chile justice. On one occasion in 1887, they decided to sell paintings 'lacking artistic merit' and to use their earnings to purchase better quality ones. The works acquired, while no doubt meeting their high artistic standards, were a mixture of genres, ranging from historical themes to landscapes and sculpture. Several important historical works were acquired at this time. In 1888, the commission asked the government to purchase two paintings by Mosby 'because the glorious episodes of the last war are developed in them'. (Edwards, 1888) The same year Juan Mochi, a painter who also directed the Academia de Pintura, offered to the government two paintings, that I painted expressly so that a memento remained on canvas of the glorious victories of Chile' in the War of the Pacific. The 7,000 pesos asking price was reasonable, according to Mochi, taking into consideration that 'in order to be more exact in the representation of the locations, I travelled to Peru and I neither economised on time nor on expenses so that my work would [represent] all that my strengths can reach.Although he expressed reluctance to judge his own works, he did mention that they had been well-received in Florence and earned him the award of Member of the Academy of that city, as well as praise from critics and colleagues. (Mochi, 1888) The government eventually bought the paintings for the museum: 'Carga de los granaderos en la batalla de Chorrillos' and 'La primera division en la batalla de Chorrillos' both appeared on the museum's list of holdings in 1891. Not limited to paintings of war, the museum also acquired Luisa Lastarria's 'Naturaleza Muerta'
(purchased for $100 in 1893) and Alphonse Louis Galbrund's 'Primavera' (depicting a well-coiffed nude woman cradling flowers, which was acquired in 1892) .
Both of these works spring directly from a European artistic tradition, particularly the springtime nude, as representations of the four seasons often depicted spring as a nude maiden with flowers. From an 1890 list of recently acquired works, we see that works by Chilean artists (14) outnumbered foreign works (6). Paintings on themes specific to Chile included 'El puente de Cal y canto'
and 'Valparaíso', by Juan F. Gonzalez Escobar. 'Jugador de chueca', a sculpture by Nicanor Plaza, had been a popular work at both the 1872 and the 1875 exhibitions. The rest of the Chilean works were by native artists but did not represent an obviously national theme. This same catalogue gives a list of the already existing collection. Of these works, the majority treated religious themes. Of the 46 listed by title and author, 30 were on religious themes. Considering the hierarchy of artistic topics, which placed Biblical and historical themes at the top, the Chilean collection was very good. While the museum collection favoured Biblical themes, Chilean painters of the 1870s and 1880s preferred to express themselves in landscape, a lower genre on the hierarchy of art. Landscape painters came under criticism for breaking with the classical training offered at the Academia de Pintura. The academy's training had tied students to rigid academic curriculum imported from the French Royal Academy. Chilean painters of this earlier generation dreamed of visiting museums in Europe, to spend long hours copying the old masters. The type of art promoted at the Academy and its imitation of European techniques and topics brought Chilean elite culture closer to the continent it admired, at the same time making art inaccessible to most Chileans who would not instantly recognize a nymph or a understand mythological reference. By the 1870s, the rigidity of academic training and its isolation from the daily experience of artists prompted some local painters to seek inspiration in Chile's landscapes. During the decade of the 1880s, painting diversified into two general currents. On one side were the academic painters including Cosme San Martín, Pascual Ortega, Magdalena Mira and Aurora Mira. Many of these artists were inspired to depict life in foreign countries, including foreign popular culture. On the other side were the painters who immersed themselves in the Chilean countryside for inspiration, having abandoned the Academy. Antonio Smith was an important mentor for these painters. He studied at the Academy for only three years and then went to Europe, where he was influenced by Romanticism. Upon returning to Chile, he set up his own studio where he worked with Pedro Lira, Alberto Orrego Luco, Alfredo Valenzuela Puelma and Onofre Jarpa. Landscape artists were not without their critics, as already seen, but they also had their champions. One defender noted that ... Bah! we have heard many times from the spectators at the Salon. These are painters who have not learned to draw a figure, and it is for this [reason] that they only paint deserts and birds, there is nothing easier than to stop doing what one does not know.While the criticisms might be accurate, What does it matter? One who examines a painting to know if it is good or bad, gentle or loud, likeable or detestable, is he obliged to state the grade of experience and the level of knowledge of each artist? Could one ask a battle of Jarpa or a landscape of Smith? They would not do it, as Corot, Daubigny, Tiratelli or any other celebrated French or Italian landscape artist would not... Why? For the very simple reason that each tree should produce its fruits and because what is important is that each [tree] has fruits of its [own] species... (M.G., 'Los pintores chilenos', Correo de la Exposicion 1:4 [3 de Octubre de 1875], pp. 57-9). While the rebels painted the countryside and the academics produced neo-classical works, Chilean history was mostly forgotten. Why did the majority of Chilean artists ignore their own history and heroes as sources, when they were heirs to a distinguished tradition of historians? ( Benjamín Vicuña Mackenna and Diego Barros Arana were contemporaries.) In seeking to understand the lack of history paintings, we have to remember that history was sidelined in various other aspects of Chilean culture. Only one of the nineteenth-century exhibitions was devoted to history and Chile did not have a long-lived history museum until 1910. As much as Chile valued its historians, it did not value non-scholarly, non-written history. In nineteenth century Chile, history was left to the historians. For a discussion of public history in Chile, see 'Exhuming the Past with the Future in Mind' The growing number of artists and increasing diversity of their work allowed for Pedro Lira, Ramón Subercaseaux and Marcos Maturana to create an exhibition of Chilean paintings, held in the Museo de Pintura in 1883. According to Vicuña Mackenna, the exhibition, with its 250 works, 'eclipsed' the artistic displays at earlier events. The sheer volume of works by Chileans supported the notion of a national school of art, although no uniform technique or genre that could rightly be labelled a school had emerged. The exhibition was a great popular success and the fact that the works included 23 women painters and 18 men painters caused a stir. From the 1870s onward, Chile had an important group of women painters, including Celia Castro and the Mira sisters, who were active participants in exhibitions and salons. Women had exhibited their works in the fine arts section of the 1875 International Exhibition (a first) and two of them were awarded prizes. By 1884 women were sufficiently common participants in art exhibitions for Vicente Grez to write that painting was a worthwhile and lucrative occupation. For poor women it paid better than sewing and for wealthy women it gave them an alternative to spending their time in idleness. Chilean art historians consider the 1883 exhibition the first display of Chilean art and as the start of a 'Chilean school' of painting. While this may be an exaggeration, from 1883 onwards the venues for display and the number of artists and awards certainly increased. By 1884, El Mercurio was confident enough about Chilean art to refute all those who might doubt the quality or usefulness of Chilean art. Chile had at least thirty artists, almost all of whom had trained at home initially, who made a living wholly by painting. Moreover, Chile was the only nation in Latin America which had two of its artists win distinctions in Europe. At the national exhibition of the same year, the fine arts judges wrote in their report that without allowing ourselves the satisfaction of having arrived at a sufficient state of progress to consider ourselves as an artistic nation, at the very least it is evident that we are approaching that result with rapid steps. (El Mercurio 21 Nov. 1884: 2)Vicente Grez added his two cents worth, assuring those who thought art had little practical value that, many times it is the books or works of art that open markets and create sympathy among peoples... Withdraw the literary and artistic exports of France, which create in the world the great prestige [for France's culture], and in little time you will see its commerce considerably reduced. The first manufacturers in France are, without a doubt, its great historians, its great romantics and its great artists. They, with their magnificent productions, extend throughout the world the sensibilities and the markets of the nation. (El Ferrocarril 19 Nov. 1884: 2) At the same time, art collectors, tied into the oligarchy by birth or by marriage, became more active. Desire to purchase art perhaps reflects optimism regarding Chile's sure progress and bright future, as well as elite desires for high art as a tool of cultural distinction and form of conspicuous consumption. Among the important collectors were Maturana, Luis Cousiño (whose family had rich mining interests), Ramón Subercaseaux (not only a painter but a scion of Chilean aristocracy) and Arturo M. Edwards (who sponsored an award discussed below). Other evidence for the increasing profile of art were the new magazines addressing art and cultural concerns, La Revista Ilustrada, El Correo Literario, La Revista de Artes y Letras and Selecta, founded at this time. In this atmosphere, lively art criticism also began to flourish. Critics still voiced concern over the derivative nature of Chilean art and its unquestioning alliance with European culture. In 1878, Benjamín Vicuña Mackenna had attacked a painting exhibit as lacking any semblance of national character because the paintings were the works of 'timid novices'. Approximately ten years later, Pedro Balmaceda Toro echoed similar criticisms. (Vicuña Mackenna quoted in Godoy Urzua 1982: 409-10) While artistic production had expanded, Chilean art still exhibited a fundamental respect for European high artistic standards and models. Contributing to the written reflections on art, in 1889, the museum began to publish its own journal entitled La Revista de Bellas Artes. The journal was initially funded with a 2,000 peso grant from the government. The directive committee depicted the creation of the journal as a natural step because given the progress that fine arts have made among us and the liking for them that is being developed in society, the publication of a periodical imposes itself as a necessity so that this important branch of knowledge has a centre... of diffusion. (Comisión de Bellas Artes: 1889)The journal was to appear on a monthly basis, under a director appointed by the Comisión de Bellas Artes. Each volume, at least 64 pages in length, would consist of the following sections: Lectura General, Crónica Estranjera, Crónica Interior, Miscelania. The first section was for original articles and criticisms about fine arts generally. The second section was to include translations of articles written on European artistic exhibitions. The third section would deal with local expositions or anything else that 'directly' addressed the question of art in Chile, while the fourth and final section reproduced laws pertaining to fine arts, either in Chile or abroad. The journal's contents suggests that it was to promote Chilean art, through a European cultural view finder. The periodical was to be published with government funding, and distributed free to the director of the Comisión de Bellas Artes, to the members of the Consejo de Instrucción Pública, to the faculties of Humanities and Fine Arts at the University and to all public libraries. Only this last provision suggests that the journal could have been used to disseminate knowledge of fine arts more widely. The Salons
From 1885, the Museo Nacional de Pintura and the Sociedad Anónima Unión Artística sponsored annual exhibitions of Chilean art, known as salons, after the French institution. The salons charged an entrance fee and profits went towards the construction of the Parthenon (including paying back the government loan) while also allowing the society to purchase art for the museum. The regulations of the salon stipulated that once a week, at the discretion of the Directive Committee, the exhibition had to be free to everyone. The Directive Committee also had the authority to set the hours and the fee for the event. (The artists themselves were always to have free entry). The regulations stipulated that all original art executed in Chile and all works by Chilean artists resident abroad were eligible for the salons. The awards jury was to be named by the museum's Comisión de Bellas Artes and comprised of three from among their own members and four chosen from suggestions of the displaying artists. Art exhibited could win awards in either the salons or the General Marcos Maturana Contest, running simultaneously. Overall, there was to be a a grand prize of honour, that can be awarded to the most outstanding and most important work, either in the category of painting or sculpture, only requiring that it has been executed in Chile and by a Chilean artist. (Reglamento para la Esposición Nacional 1887: 5)This award winning work could be from any genre; no art or genre of painting was privileged over another. When the salons were opened, only 'fine arts' were eligible for display. In 1887, the salon, open to the public each afternoon, displayed 92 paintings, 14 drawings and 10 sculptures. Over the years, watercolours, architecture and engravings were added as eligible categories. In 1906 the categories of wood engraving and carving were also included for display. By 1907, the exhibition included 'works of painting, drawing, sculpture, architecture and arts applied to industry'. (1907 Salon Catalogue) Entries under the category of applied art included a table, a crucifix, a display cabinet showing Chilean porcelain, a Spanish crest, a vase and a frame. The gradual expansion of materials eligible for display suggests that the strict division between applied and 'fine' arts, part of the doctrine taught at the Painting Academy, was either loosening or had never really taken hold at all. Fine and applied arts appear to have been converging through their joint display at the salons. Nonetheless, the important awards, like the Maturana and Edwards awards, were only offered to fine arts. The Edwards Award, created in 1888, provides further evidence that there was concern with the overall development of Chilean art. Only Chileans resident in Chile were eligible to compete for the Edwards Award, creating an exclusive vision of 'Chilean' art which Edwards shared with Maturana. Chileans wandering in self-imposed exile could no longer gain glory at home. The best landscape or still life would be awarded $300, while portraits, animals or busts would win $400. Eight hundred pesos was to be awarded to a 'historical national painting or a statue or sculptural composition in high or low relief about a national theme'. The best overall work, regardless of its genre, was given a prize of $1,000. If two works were equally deserving of the grand prize, then the recompense could be divided. (1894 Salon Catalogue: 38-9) The division of prize money suggests that Edwards imposed a hierarchy of art, topped with art to glorify the nation at the pinnacle. The $800 award is the first evidence I have found of a strong incentive for artists to paint national or historic themes. ConclusionThe project of creating artistic taste and spaces for artistic exhibition was one principally undertaken by those involved in the art world and sympathetic elites. The Museo Nacional de Pintura resulted from the initiative of private citizens, artists and art aficionados, who viewed fine arts as a means to rank Chile among the first nations of the world. While the government cooperated with this enterprise, it did not foster its own initiatives. Inside the museum, the collection of art represented an eclectic mixture of Chilean originals, copies of old masters and more recent purchases made in Europe and at home. Philanthropists donated paintings to the museum and the Academia de Pintura produced more works for the museum's collection. No where in the project of developing Chile's artistic tradition was there a mandate for art or attempt to create one. Only in the salons do we find interest expressed in making the display available to the poor and only here is fine art mixed with applied arts. The elite believed Chilean fine arts represented and were integral to national progress, yet the arts also served to distinguish the elite from the masses and further strengthen class and social divisions. Art served to cement national fault lines, rather than unite Chileans in the pursuit of beauty.
BibliographyArchival Material Cited:Published Primary Sources:Published Secondary Sources: |
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- Project name
- My EU project name
- Project start date
-
March 2017
- Project end date
-
March 2019
- Grant agreement number
- 123456
- Participant identification code (PIC)
- 12345689
- Type of action
- (COFUND-EJP) COFUND (European
Joint Programme)
- EU funding contribution for above project (EUR)
- €100
- Is your organisation the project co-ordinator on this project?
- Yes
- No
File
No file uploaded


title=SpringOne2GX 2012
date=2012-10-15
type=post
tags=blog
status=published
~~~~~~
It's my favorite time of year! SpringOne2GX kicks off tomorrow. I'll be giving two talks -- the Cloud Foundry Bootcamp, introducing Cloud Foundry for the Spring developer, and my talk on enterprise application integration and batch processing on Cloud Foundry. This year's already more exciting than ever before, with talks on Spring, Cloud Foundry, Grails, Hadoop and Scala, and much more. If you're around, feel free to find me roaming the halls or ping me on Twitter!


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`You have to select file for upload`


All Classes
-
Class Summary Class Description AddEmployeeController The AddEmployeeController class is used to add a new employee to the database.AddTaskController The AddTaskController is responsible for adding tasks to the database that will be shown on the dashboard.CompleteTaskController The CompleteTaskController is responsible for the completion of tasks.ConnectToDatabase The ConnectToDatabase class is used to handle connections to the databases for this project.DashboardController The DashboardController handles all activities on the dashboard including: completing tasks, adding tasks, removing tasks, refreshing the tasks, viewing selected task details, and viewing the history of completed tasks.Details The Details class is used to retrieve the details of a task from the database.EditProfileController The EditProfileController is responsible for making changed to an employee's profile.Employee The Employee class handles all related fields corresponding to an employee.GlobalVariables The GlobalVariables class is used to transfer information screen to screen seamlessly.Login The Login class is used to verify the username and password combination entered on the landing screen.LoginController The LoginController handles the operations that are performed on the landing screen.Main The Main class that runs first in any program.Tasks The Tasks class is responsible for handling the tasks created and displayed on the dashboard.ViewDetailsController The ViewDetailsController handles showing the details of a selectedTask from the dashboard.ViewHistoryController The ViewHistoryController is responsible for displaying the contents of the maintenance_history.txt file to the JFXTextArea.


Served With Love ❤
At Dev-Kitchen , we’re tied in with presenting crisp food, regardless of
whether it implies going the additional mile. When you stroll through our entryways,
we do what we can to make everybody feel
comfortable and happy.


This Template needs to reach out to the entire page and also to serve and support to the personal Skills. This new design goes to every one to show my personal skills.
Client : Personal
Tags : Design, Fun, Code
Tools : HTML5. CSS3, JS, jQuery
Date : 15 MAR 2015


Have you ever used git-blame
to blame on people? I have and I was wrong more often than I was right. When I wasn’t the one blaming others, the fingers almost always pointed at me when something went wrong. The problem with “default" git-blame
and Xcode’s blame view is that it only shows the last person that committed the lines in question and, not necessarily, wrote them.
Here where I work we have some code guidelines that not always are followed. Annoying as I am, usually I’m the one who fixes what is not according. Therefore, my name comes up in Xcode’s blame view more often than others.
If you really need to find out whoever wrote that dreadful condition that crashes your app, use the git-blame
command line with the “-n” option. It’ll show the name of the person that first introduced that line and, quite probably, wrote it.
Or maybe, even better, get the changelog and the names of who touched a specific line of code with git-log
“-L” option:
Thanks to: http://stackoverflow.com/questions/8435343/retrieve-the-commit-log-for-a-specific-line-in-a-file


not markdownLoading… &x1F320;
Hello ===== A paragraph with a\ hard line break and also some merged lines. foo --- * bulleted * list items * line merge inside a bullet * hard\ line\ break * bullet * bullet ----- ## bar 1. ordered 1. list items 1. multiple lines merged here, too. 1. hard\ broken\ lines 1. second 1. third ```javascript // some JS code module.exports = function () { return [1, 2, 'stub']; }; ```
also not markdownHidden in DOM? Perl Code?


The Applied Informatics Research (AIR) Group brings together researchers from within the School of Design, Communication and IT with collaborators from across the University of Newcastle and external institutions. Together, the members of the group seek to provide a collaborative environment to support and further the diverse research interests of the group under the umbrella of applied informatics.


Jurgen Klopp provides update for Liverpool FC fans on Mo Salah
Jurgen Klopp delivers an update on Mo Salah's fitness levels after Liverpool FC's 2-1 win over Crystal Palace
by The Sport Review staffJurgen Klopp has revealed that he opted to rest Mohamed Salah for Liverpool FC’s 2-1 win at Crystal Palace in the Premier League on Saturday afternoon.
The Egypt international pulled out of national team duty due to an ongoing ankle issue but he was named on the bench for Liverpool FC’s trip to Selhurst Park.
Salah did not end up featuring for the Reds as goals from Sadio Mane and Roberto Firmino wrapped up a 12th Premier League win of the season for Jurgen Klopp’s men in London.
Klopp has now revealed that he simply took the opportunity to rest Salah for the game and confirmed that the attacker will be back in action when Liverpool FC take on Napoli in the Champions League on Wednesday night.
Speaking at his post-match news conference, Klopp said: “Mo is all good.
“He couldn’t train for nine days; he was with the Egyptian national team, went home and trained kind of 60 or 70 per cent the day before yesterday.
“Yesterday was the first time 100 per cent, so we had then to make the decision of whether we started him or not.
“We didn’t start him, we wanted to bring him on as you probably saw but then we scored. So, we could rest him today, that’s really good and Wednesday he will be back.”
Liverpool FC are currently flying high at the top of the Premier League table after having won 12 of their 13 games in the top flight this season.
They have only dropped points once so far this season – during a 1-1 draw with Manchester United – and they are currently the heavy favourites to win the title this season.
The Reds will return to Premier League action with a home clash against Brighton and Hove Albion next weekend.


| DOSE: |
3 seeds |
oral |
Datura |
(seeds) |
Datura, Jimson Weed, Devil's Weed - a powerful substance that no person should ever have to harness mentally. It will punish you feverently and without sympathy for treading into its territory.  It is complete delerium. A momentary detachment from all that is real and true (at least how we perceive such things). If you're able to stay concious and remember the experience, you will not be able to distinguish between your fabricated projections and the solid world that dominates our every day lives. It is brutal enlightenment.
... if you are to truly be punished by her, then it will control your mind, body and soul. You will awaken bruised, cut, battered and confused. Worst of all, you'll not even be able to recall the things it showed you. Most likely some very important things, too.
Do not try Datura unless you are willing to take responsibility for the most intense and unexpected actions of your person. Do not take it unless you are prepared for the utter intensity of the void. Do not take it unless you are willing to risk leaving this place forever.
Being an experienced tripper and having done most hallucinatory substances, I decided I would take that risk. It was foolish. The experience was intense and horrifying. Every word you're about to read here is as true as I can recall it. The most miraculous thing of all being that I came out of her grasp without much damage.
On a normal summer afternoon, the seeds were aquired. I ate three big ones.
The friend who accompanied me was going to trip along, but we both decided that one should sit, being that this was unknown territory. He gave me the honor of tripping since I was a bit more experienced.
Within 15 minutes I felt physically devastated. My mouth was dry, my muscles were tense and sore and my stomach was nervous. There was no feeling in my head (no headache or anything) and it seemed suprisingly clear, though I felt drunk and incompetent.
 I said as I drifted off.
'Uh, ok.' Replied my friend.
His voice seemed stretched, deep. I went into a lucid dream state. This is what followed:
I was laying down in a room, choking a black cat. It thrashed and screamed. Its eyes were protruding from its skull. It fought back by clawing at my arms and face. After it died, I was absorbed by an intense thirst. I got up from where I was laying and found this deep well that was built out of metal. It's hard to explain the actual contraption, but it was shiny and new. The water within was clear and cold. I drank and drank from the well, but it could not quench my thirst. I turn around and there's a faucet spilling more precious cold water into a drain. I put my lips to it and drank like a wild animal - but it still could not quench my thirst. Then I was surrounded by water. But none of it could satisfy me. I was gong to die of dehyrdration despite vast resources... I panicked.
Bang.
 I was laying on the couch (not my original place of rest) and my friend was gone. When I woke, I heard stomping. Big heavy boots walking around behind me. Through the kitchen, into the bathroom. Whoever it was, they walked like a herd of buffalo. Doors opened, slammed, opened, slammed. The windows started to bulge in and out with a deep croaking moaning noise. An illogical thought entered my mind - the nukes were dropped, and this is what ground zero is like.
I got up from the couch. Fell on my face. Struggled to stand again. God damn, I was thirsty. Perhaps the dream I had was telling me to wake up and drink. I clawed my way to the sink, turned on the faucet and drank. At this point, I didn't care if it was tap water. After bloating my stomach with liquid, I looked stupidly around me.
This was not the room I was in before. Where the hell was my friend?
The stomping came again, and I looked behind me. Through the window I saw a shadow of a person. Many people, actually. They were pressing the glass inward, like it was flexible but liquid. More stomping.

I run around the strange apartment, chasing after who was walking around. I'd follow it into a room, but then it would be in another room when I thought I caught him / her / it. I walk into the main room again, and there's a dead cat in the middle of the floor. Strangled.
I freak. Did I do this? Certainly not. The cat I strangled was black. This is a tabby.
The steps approached from behind. I turn. There's a dead man standing behind me.
Skip ahead.
I awaken at the bottom of some stairs, broken arm. I know I'm awake, but i'm still hallucinating. It's horrible. Insects, perspective shifting, strange ghosts about...
My friend left me alone. I scared him with my delerium. Supposedly, the straw that broke his back was when I said: 'This is the new inquisition. I am here to inquire and cause pain. Now lay down and die.'
I noticed that I was laying on the steps of an apartment about a block from my friends. Supposedly, I had been ripping at this persons door telling them to let me out of the 'endless square'. They had struggled with me and in my stupor I had fallen down the stairs.
The ambulance was called, the police were called - and the rest is pretty self-explanatory. Luckily, most authority figures in my life were understanding of my forays. They expressed sympathy and were simply glad that I was alive.
I apologized to my friend for frightening him, but quickly relieved him of any further sitting duties.
I do not regret my experience. Stil also trying to figure out what my brain was going through. Everything seemed so important but so encrypted. I was scared, but I still feel that the experience was a good lesson for me.
This drug is a battlefield of the mind and body. Do not even attempt to try it unless you're 100% ready to deal with the consequences.
Be safe. Be careful. Tap the void.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


reduce-alignment <start column> <region width> <alignment>
Extract specified range of columns from an alignment.
The first column to extract. This offset is measured from 0.
The number of columns to extract.
The name of a file containing a DNA or protein sequence alignment in clustalw format. The alignment can be read from standard input by specifying '-' as the file name.
The extracted region of the sequence alignment is written to standard output.


Realme Dizo GoPods, Dizo GoPods Neo Launched in India as Rebranded Realme Buds Air 2, Buds Q2
Realme Dizo GoPods and Realme Dizo GoPods Neo have been launched in India as rebranded Realme Buds Air 2 and Realme Buds Q2, respectively. They are both true wireless stereo (TWS) earbuds and while Realme Dizo GoPods have a stem-style design, the Dizo GoPods Neo are the more compact option. Both Realme Dizo GoPods and Realme Dizo GoPods Neo support active noise cancellation (ANC). They are also IPX5 water resistant and boast of low latency gaming.
Realme Dizo GoPods are priced at Rs. 3,299 and are offered in Creme White and Smokey Grey colours. They will go on sale via Flipkart starting September 6 at 12pm (noon) at an introductory price of Rs. 2,999. Realme Dizo GoPods Neo are priced at Rs. 2,499 and are offered in Aurora and Deep Blue colours. They will go on sale via Flipkart starting September 10 at 12pm (noon) for an introductory price of Rs. 2,299. The introductory price for both headphones will be valid for the first sale only.
Realme Dizo GoPods Neo also offer ANC and have app support through the Realme Link app, with compatibility on both iOS and Android. This allows users to change specific settings and touch controls, turning on the Gaming Mode, or changing the equaliser settings.


Are you sure you want to unload your wallet? Unloading your wallet will remove the wallet context as if no wallet ever has been generated. However, once your wallet has been unloaded, you can use the 'Create Wallet' or 'Restore Wallet' options again.
Do you want to continue unloading your wallet?


News from 2019
-
Node v11.12.0 (Current)
- bootstrap:
- Add experimental
--frozen-intrinsics
flag (Guy Bedford) #25685
- Add experimental
- build:
- Enable v8's siphash for hash seed creation (Rod Vagg) #26367
- deps:
- Upgrade openssl to 1.1.1b (Sam Roberts) #26327
- process:
- Make
process[Symbol.toStringTag]
writable again (Ruben Bridgewater) #26488
- Make
- repl:
- Add
util.inspect.replDefaults
to customize the writer (Ruben Bridgewater) #26375
- Add
- report:
- Rename
triggerReport()
towriteReport()
(Colin Ihrig) #26527
- Rename
- bootstrap:
- Node v11.11.0 (Current)
- Node v10.15.3 (LTS)
-
February 2019 Security Releases
(Update 28-February-2018) Security releases available
Updates are now available for all active Node.js release lines. In addition to fixes for security flaws in Node.js, they also include upgrades of Node.js 6 and 8 to OpenSSL 1.0.2r which contains a fix for a moderate severity security vulnerability. The original announcement is included below.
-
Node v11.10.1 (Current)
This is a security release. All Node.js users should consult the security release summary at https://nodejs.org/en/blog/vulnerability/february-2019-security-releases/ for details on patched vulnerabilities.
-
Node v10.15.2 (LTS)
This is a security release. All Node.js users should consult the security release summary at https://nodejs.org/en/blog/vulnerability/february-2019-security-releases/ for details on patched vulnerabilities.
-
Node v8.15.1 (LTS)
This is a security release. All Node.js users should consult the security release summary at https://nodejs.org/en/blog/vulnerability/february-2019-security-releases/ for details on patched vulnerabilities.
-
Node v6.17.0 (LTS)
This is a security release. All Node.js users should consult the security release summary at https://nodejs.org/en/blog/vulnerability/february-2019-security-releases/ for details on patched vulnerabilities.
-
Node v11.10.0 (Current)
deps
- Updated libuv to 1.26.0. #26037
- Updated npm to 6.7.0. #25804 http, http2
response.writeHead
now returns the response object. #25974 perf_hooks- Implemented a histogram based API. #25378 process
- Exposed
process.features.inspector
. #25819 repl - Added
repl.setupHistory
for programmatic repl. #25895 tls - Introduced client "session" event. #25831
-
Node v11.9.0 (Current)
deps:
- OpenSSL has been updated to 1.1.1a, which is API/ABI compatible with the previous OpenSSL 1.1.0j. Note that while OpenSSL 1.1.1a supports TLS1.3, Node.js still does not. #25381)
- [
bc81a68f20
] - build: make compress_json python3 compatible (Sakthipriyan Vairamani (thefourtheye)) #25582 - [
30949f8dba
] - build: make configure.py compatible with python 3 (Sakthipriyan Vairamani (thefourtheye)) #25580 - [
d4ec110c65
] - (SEMVER-MINOR) deps: update archs files for OpenSSL-1.1.1a (Sam Roberts) #25381 - [
5225214d07
] - (SEMVER-MINOR) deps: fix for non GNU assembler in AIX (Shigeki Ohtsu) #25381 - [
ad04d7bea1
] - (SEMVER-MINOR) deps: add only avx2 configs for OpenSSL-1.1.1 (Shigeki Ohtsu) #25381 - [
670f10053a
] - (SEMVER-MINOR) deps: add s390 asm rules for OpenSSL-1.1.1 (Shigeki Ohtsu) #25381 - [
0a0f15f768
] - (SEMVER-MINOR) deps: fix MacOS and Win build for OpenSSL-1.1.1 (Shigeki Ohtsu) #25381 - [
e2043999bd
] - (SEMVER-MINOR) deps: fix gyp/gypi for openssl-1.1.1 (Shigeki Ohtsu) #25381 - [
c581b9a253
] - (SEMVER-MINOR) deps: upgrade openssl sources to 1.1.1a (Sam Roberts) #25381 - [
c82f2445e5
] - dns: use IDNA 2008 to encode non-ascii hostnames (Ben Noordhuis) #25679 - [
c56ddc7736
] - doc: document uniqueness of worker.threadId (Anna Henningsen) #25644 - [
7c8d57d4a9
] - doc: revise breaking changes material in COLLABORATOR_GUIDE (Rich Trott) #25730 - [
edc9ceb16e
] - doc: fix issue with worker_threads docs (Lee Byron) #25712 - [
1d6e18b128
] - doc: fix http.Agent timeout option description (Luigi Pinca) #25489 - [
5d5c528120
] - (SEMVER-MINOR) doc: fix assembler requirement for OpenSSL-1.1.1 (Shigeki Ohtsu) #25381 - [
34bc69d376
] - doc: fix file extension on ESM file example (Eric Whitebloom) #25692 - [
b218b1204a
] - doc: remove outdated s_client information in tls.md (Rich Trott) #25678 - [
1aa7f4d72d
] - doc: fix metadata for v11.8.0 doc changes (Richard Lau) #25709 - [
3c5a7a2f97
] - doc: fix keyObject.symmetricSize to be keyObject.symmetricKeySize (Filip Skokan) #25670 - [
e47511943b
] - doc: add metadata to report docs (Richard Lau) #25708 - [
237ec396d0
] - doc: fix 11.8.0 changelog (Myles Borins) #25705 - [
48149cfa3a
] - doc: clarify what dns.setResolvers() affects (Sam Roberts) #25570 - [
3488f0df3b
] - doc: link nextTick docs to the nextTick guide (Sam Roberts) #25619 - [
c93e5e1f65
] - doc: simplify process.binding() deprecation message (Rich Trott) #25654 - [
0640b09243
] - lib: refactor policy code for readability (Anna Henningsen) #25629 - [
634cf131f4
] - module: do not useprocess.exit()
(Anna Henningsen) #25769 - [
143274af38
] - module: silence ModuleJob unhandled rejection warnings (Anna Henningsen) #25769 - [
fc38b20c7c
] - perf_hooks: clean up GC listeners (Anna Henningsen) #25647 - [
f3179f7701
] - policy: ensure workers do not read fs for policy (Bradley Farias) #25710 - [
ee61ab6894
] - repl: improve doc for disabling REPL history on Windows (Samuel D. Leslie) #25672 - [
ce28caf517
] - report: represent numbers as numbers (Anna Henningsen) #25651 - [
1dfdbc6cf7
] - report: refactor JSON writer (Anna Henningsen) #25651 - [
14bce1ea5a
] - report: do not useuv\_default\_loop()
as fallback (Anna Henningsen) #25652 - [
152d633366
] - src: remove unused env_ field from env.h (Daniel Bevenius) #25784 - [
c0951062b9
] - src: pass along errors from i18n converter instantiation (Anna Henningsen) #25734 - [
deebf10bd5
] - src: pass along errors from vm data wrapper creation (Anna Henningsen) #25734 - [
8ee4810029
] - src: pass along errors from KeyObject instantiation (Anna Henningsen) #25734 - [
ced4e71504
] - src: pass along errors from perf obj instantiation (Anna Henningsen) #25734 - [
5add2b56ac
] - src: pass along errors from process obj instantiation (Anna Henningsen) #25734 - [
2928672679
] - src: pass along errors from stream obj instantiation (Anna Henningsen) #25734 - [
ebcdbebcee
] - src: remove unused field in node_http2.h (gengjiawen) #25727 - [
6d9af41aef
] - src: in-source comments and minor TLS cleanups (Sam Roberts) #25713 - [
09a10858f7
] - src: remove unnecessary call to SSL_get_mode (Sam Roberts) #25711 - [
86e79a521d
] - src: remove unused and unimplemented method in env.h (gengjiawen) #25699 - [
021d1975ff
] - src: fix macro duplicate declaration in env.h (gengjiawen) #25703 - [
845bcfa1ce
] - src: simplify inspector initialization in node::Start() (Joyee Cheung) #25612 - [
797111a69b
] - src: avoid race condition in tracing code (Anna Henningsen) #25624 - [
b113332daf
] - src: ensure no more platform foreground tasks after Deinit (Clemens Hammacher) #25653 - [
7cc51531a7
] - src: remove has_experimental_policy option (Anna Henningsen) #25628 - [
4b43eeaf9a
] - src,test: fix JSON escaping in node-report (Denys Otrishko) #25626 - [
af9592d6b1
] - test: refactor test/common/report.js (cjihrig) #25754 - [
e2ee031060
] - test: move client renegotiation tests to parallel (Rich Trott) #25757 - [
b174dd7280
] - test: use fipsMode in test-crypto-fips (Daniel Bevenius) #25563 - [
fa2a857e6a
] - test: refactor test-http-client-timeout-option-with-agent (Rich Trott) #25752 - [
15f6b8e25d
] - test: add test forworker.terminate()
+ timeout fns (Anna Henningsen) #25735 - [
c2136348a1
] - test: move heapdump tests to pummel (Rich Trott) #25181 - [
ae19f944f8
] - test: exit sequence sanity tests (Gireesh Punathil) #25083 - [
af6e439ad8
] - test: enable marking of failing coverage tests (Michael Dawson) #25671 - [
6203d05a3c
] - test: fix zlib-brotli output assumptions (Adam Majer) #25697 - [
77274d07d2
] - test: rewrite fs {f}utimes test file (Jeremiah Senkpiel) #25656 - [
29002ceb4e
] - (SEMVER-MINOR) test: assert on client and server side seperately (Sam Roberts) #25381 - [
c7dbb72530
] - test: remove pummel/test-exec (Rich Trott) #25722 - [
4b2a1eadbd
] - test: replace s_client in test-https-ci-reneg-attack (Rich Trott) #25720 - [
7d682234a6
] - test: remove unused uncaughtException handler (Anna Henningsen) #25641 - [
271126ad3b
] - test: remove s_client from test-tls-ci-reneg-attack (Rich Trott) #25700 - [
190c063ecb
] - test: replace Google servers with localhost (Rich Trott) #25694 - [
f33d705033
] - test: fix sequential/test-performance delay (Anatoli Papirovski) #25695 - [
1905f8ef55
] - test: remove common.isOSXMojave (Rich Trott) #25658 - [
9f1b5c6193
] - test: remove known_issues/test-cluster-bind-privileged-port (Rich Trott) #25649 - [
d0705bd24b
] - timers: truncate decimal values (Jeremiah Senkpiel) #24819 - [
d5b2135dde
] - tls: fix malloc mismatch in SSL_set_tlsext_status_ocsp_resp call (David Benjamin) #25706 - [
6e80f6d9a1
] - (SEMVER-MINOR) tls: workaround handshakedone in renegotiation (Shigeki Ohtsu) #25381 - [
c34c5694eb
] - (SEMVER-MINOR) tls: make ossl 1.1.1 cipher list throw error (Sam Roberts) #25381 - [
8032969c69
] - tools: make trailing commas consistent in .eslintrc (Rich Trott) #25739 - [
7ba66505e3
] - tools: make test.py Queue part Python 3 compatible (gengjiawen) #25701 - [
e6ad7f4c9c
] - tools: make mkssldef.py Python 3 compatible (Sakthipriyan Vairamani (thefourtheye)) #25584 - [
bc81fef988
] - vm: mark scripts as shareable cross-origin (Jeremy Apthorp) #25380 - [
fb69b2bf14
] - worker: export workerData to ESM workers (Anna Henningsen) #25768
- Node v10.15.1 (LTS)
- Node v11.8.0 (Current)
- Node v11.7.0 (Current)