AU REVOIR LES ENFANTES [Goodbye, Children] A Film Review by Manavendra K. Thakur Copyright 1988 by Manavendra K. Thakur and The Tech. Reproduced with permission.
1987 103 mins. France-FRG French with English Subtitles Rated PG Dolby Stereo Color 35mm/1.66
Cast: Gaspard Manesse, Raphael Fejto, Francine Racette, Stanislas Carre de Malberg, Philippe Morier-Genoud, Francois Berleand, Francois Negret, Peter Fitz, Pascal Rivet, Benoit Henriet, Richard Leboeuf, Xavier Legrand, Arnaud Henriet, Jean-Sebastian Chauvin, Luc Etienne, Daniel Edinger, Marcel Bellot, Ami Flammer, Irene Jacob, Jean-Paul Dubarry, Jacqueline Staup, Jacqueline Paris.
Credits: Written, Produced, and Directed by Louis Malle. Associate Producer: Christian Ferry. Cinematography: Renato Berta. Art Direction: Willy Holt. Costume Designer: Corinne Jorry. Sound: Jean-Claude Laureux. Editor: Emmanuelle Castro. Production Manager: Gerald Molto. Music: Schubert--Moment Musical No. 2; Saint-Saens--Rondo Capricioso. (Violin: Ami Flammer; Piano: J. F. Heisser.)
Studio: Nouvelles Editions de Films S.A. (Paris) / M.K.2. Productions (Paris)/ Stella Film GmbH (Munich) / N.E.F. GmbH (Munich) Distributor (North America): Orion Classics 711 Fifth Avenue New York, NY 10022<PHONE_NUMBER>
Every detail of the events on January 15, 1944, has become etched into Louis Malle's memory. On that tragic day, an 11-year-old Louis Malle and his fellow students in a Catholic school fifty miles south of Paris watched as the local Gestapo chieftain arrested three of their Jewish classmates along with Father Jacques, the school's headmaster who had hidden the Jewish boys for over a year.
Now, more than forty years later after the Nazis sent the four to their deaths, Louis Malle shares this most intimate and troubling memory of his childhood in his newest film, AU REVOIR LES ENFANTES (GOODBYE, CHILDREN), which he wrote, produced, and directed. No other filmmaker in recent memory has bared his or her soul to the bone more movingly and more convincingly than Louis Malle has done in this film. By focusing his film only on the specific events he witnessed that led up to that fateful day, Louis Malle's film becomes the rarest of rarities: a film that is intensely personal and deeply moving, yet does not degenerate into vacuous melodrama or political polemic. The simple and unrelenting honesty of his film transforms Louis Malle's personal catharsis into an experience of universal and profoundly human dimensions.
Literally, the title refers to the farewell that Father Jacques (renamed Father Jean in the film) utters to the students as he's being led away by the Germans, but metaphorically it heralds the end of Louis Malle's own childhood innocence. Through the eyes of Julien Quentin (Gaspard Manesse), Louis Malle depicts his introduction to the harsh realities from which his upper-middle class background had sheltered him. The loss of innocence begins in the very first scene as Julien prepares to board the train that will take him to the school.  Her response is to hug and kiss him. It is a poignant moment, but Julien's outburst points to the tensions that have already been created within him by the war, tensions that will develop and express themselves later.
From there, the film shifts to the school itself, where Julien forgets about the outside world and goes about being a studious and playful seventh grader. He reads novels after hours with a flashlight, plays pranks on other children, and cavorts on stilts in the schoolyard during recess. During these scenes, Louis Malle creates an almost perfect aura of boarding school life, complete with the children's token adherence to religious rituals and gripes about the food being good only when parents come to visit. By relying on the natural responses of his young actors, Malle captures youthful bravados and mannerisms with the same astounding resonance of Francois Truffaut's THE 400 BLOWS, and indeed a scene of the schoolchildren marching through the streets creates a powerful sense of deja vu.
What primarily distinguishes Louis Malle's depiction from the spate of recent coming-of-age films, however, is that Julien is neither a child claiming to be an adult nor an adult pretending to be a child. When the three young boys arrive at the school, one of them, Jean Bonnet (Raphael Fejto) is assigned the bed next to Julien's. Julien acts just as a typical tough kid would: he introduces himself by saying "I'm Julien. Don't mess with me." But while he joins in the boys' pranks and teasing, Julien also finds himself intrigued by the quiet, reserved manner in which Jean bears all the abuse. Little by little, a shaky friendship with numerous ups and downs develops between them. Their friendship becomes cemented when the two find themselves lost in the woods as they search for a treasure during a scouting game. Frightened and cold, they are found on a highway by three soldiers on patrol in a jeep, who return them to the school. What Julien can't understand is why Jean tried to run when he realized that the soldiers were German. After Julien discovers that Jean's real last name is Kippelstein, he eventually realizes that Jean is Jewish -- but even then has to ask his brother what it means to be Jewish. Julien is now at a seminal point in his maturity, where he cradles an already emerging adult awareness with his yet potent youthful exuberance.
Louis Malle's heartfelt construction of this child/adult balance is at the core of the film's success. By the end of the film, the viewer does not merely sympathize with the two boys as the Gestapo make their arrests at the school. Rather, the audience empathizes so thoroughly with the two boys' experience that their ordeal becomes the viewer's as well. The film's final shots convey the full emotional weight of the bond between Julien and Jean that has been so sharply cut, but those shots do not degenerate into tearjerker sentiment because the audience feels the hurt caused by the arbitrariness and extent of the Nazi's evil as though it had been aimed personally against the viewer. Few films manage to link its characters with the audience so closely as Malle's convincing and even-handed portrayal of the array of human weaknesses and strengths.
And Malle gives the film a tremendous thematic scope to the film as well as depth, which contributes further to Julien's loss of innocence. Joseph (Francois Negret), an orphan who works in the school's kitchen, runs a black market where the children can trade their food from home for cigarettes and dirty books. When the scam is discovered, Joseph is fired while the students who collaborated with him are merely reprimanded due to their family prestige. Joseph repays this acknowledged injustice by the same act that Louis Malle explored in his 1974 film LACOMBE LUCIEN, and it is just as inexplicable and appropriate here as it was in that film. Julien cannot believe his eyes when he discovers what his friend has done.
In another scene, Jean Bonnet joins Julien and his family for a Sunday lunch outing. While they are eating, two French militiamen enter and begin to harass an elderly distinguished gentleman who is in the restaurant illegally. While most of the patrons grumble some support for the gentleman, it is none other than a Nazi officer who seizes the initiative and throws the militiamen out.  Jean, meanwhile, remains still as a mouse; he's seen it all before, and he displays virtually no sign of how quietly desperate his life has become.
It is through repeated scenes such as these that Louis Malle establishes unique and moral complexities within which Julien comes of age. Watching Julien explore these contradictions is never tiresome -- even though the audience knows in advance the inevitable outcome -- because of the natural and believable ensemble performances. Louis Malle likes to work with inexperienced young actors, and in this film, he draws upon their natural inclinations and reactions so masterfully that the distinction between actor and character is erased. Louis Malle's film creates not a flat stage for the actors to work on, but rather a fully articulated and three-dimensional world for the characters to inhabit and live in. The balance between the narrative and its context is impeccable.
It is quite fortunate that Louis Malle waited all these years to make this film because the perspective gained from that experience enabled him to crystallize all his humanity and all his filmmaking skills into a solid film that defies trivialization or dismissal. And because he has fictionalized certain scenes and details while remaining thoroughly true to what he calls "the most tragic memory of my childhood," his film involves the audience in a manner that no documentary or polemic could hope to equal. Louis Malle has shown that despite the staggering amount that has been written already, there yet remains much to say and remember about the horrors of the Nazi era. One has to return to THE GRAND ILLUSION, THE SEVEN SAMURAI, and the films of Ingmar Bergman and Satyajit Ray to find similarly moving portraits of the human condition. A film like AU REVOIR LES ENFANTES arrives only rarely, a precious event that will be remembered for years to come by those who witness its birth.
Manavendra K. Thakur {rutgers,decvax!genrad,ihnp4}!mit-eddie!thakur<EMAIL_ADDRESS><EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
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belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
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public static function readSeries(input:Object, series:ISeries = null):ISeries
Creates or updates a series based on an object of series properties.
Parameters
| input:Object — Properties to be applied to the series.
|
| |
| series:ISeries (default = null ) — Series to be updated
|
Returns
public static function seriesTypeToShortName(type:Class):String
Returns a series string reference based on a class.
Parameters
| type:Class — Series class from which to derive a string reference.
|
Returns
| String — Reference to the series.
|
public static function shortNameToSeriesType(name:String):Class
Returns a series class based on a string reference.
Parameters
| name:String — Reference from which to derive a class.
|
Returns
public static function writeSeries(input:ISeries):Object
Returns the properties of a series.
Parameters
| input:ISeries — Series from which to retrieve the properties.
|
Returns
| Object — Properties of the Series.
|


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We investigate late circuits on CLIP's vision side to understand how they glue abstract concepts together and build more general multimodal neurons.
We build off of the work done in Multimodal Neurons in Artificial Neural Networks
For context, the CLIP model we studied (CLIP-RN50relu
layer with 2048 channels that combines via pairwise addition the activations from a conv2d
layer and the previous relu
layer (the residual connection).
We confirm significant similarities in the final layer to RN50-4x, including features for letters and crystallized concepts, such as "conv
side with another from the residual connection. To do so, we investigated both case studies of circuits in the final layer as well as macroscopic properties of the network.
The terms "neuron," "unit," and "channel" can often be used ambiguously in writing about circuits. For clarity, we explain the terminology we use in this article below. Our terminology comes from Feature Visualization
conv
layers, to one filter) is detecting.Most references to a given feature in this article are to a unit as a whole. To refer to a unit, we use the notation layer/bottleneck/index/channel
; for example,
Below, we present our findings from backtracing the contributions to several units in the final relu
layer. The amount that one unit contributes to another is roughly the magnitude of the weights connecting one unit to the other. We present contributions as both a magnitude and a mean, where the magnitude shows the size of the contribution, and the mean roughly tells us whether the weight is inhibitory or excitatory.
Note: some neurons studied activate on explicit content. Explicit text and images will be blurred until manually revealed.
We view this unit as a clear "enrichment circuit" — it portrays sharply different concepts in its relu
and conv
contributions, with both contributing to the final unit. Looking at the feature vis and dataset examples, the final unit appears to be a mix of "you" text detection and a bloody wound detector; looking at the previous
While the rationale for combining "you" + bloody wound into a single neuron is unknown, we find it interesting how decomposable the two concepts are by looking at earlier units, and we conjecture the same decomposability may apply to other units, e.g. "text detector for Trump" + "image detector for Trump" = "Trump unit."
To see the relative contributions of the relu
unit versus the convolutional bottleneck unit to 4/2/6/34, we also developed a technique for measuring the percent relu
contribution based on the relative activations of the two units on the feature visualization of the final unit. While we have uncertainties about the reliability of this technique, in this case we find that the 99.66%
to the final activation, which matches the observation that all the dataset examples and the majority of the feature visualizations are of "you."
One of the first coherent units we found was 4/2/6/2, which seems to activate highly on pictures of hats, as well as the words "cap," "famous," "savage,", "pussy," and "caps."
4/2/6/2 receives contributions from
Diving deeper,
Moving to conv
unit
Not only did we look at specific circuits, but we also tried to understand a few higher-level properties of the network — what we call "feature versatility" and "bottleneck learning."
Just as we can see which units contribute to a given later unit and to what degree, we can see which later units a given unit contributes to and to what degree. When analyzing the network from the latter point of view, we will use the terminology "forward contributions" (as opposed to "backward contributions" or just "contributions"). We found that in contrast to backward contributions, which exhibit an exponential distribution, the forward contributions we looked at seemed to exhibit something a less spiky distribution, closer to normal. Additionally, we found that units from earlier and earlier layers were less and less likely to have forward contributions to the final conv layer (4/2/5) near zero, tending toward a bimodal distribution of forward contributions. The earlier units are more "versatile" in the sense that they contribute to more features to a greater degree.
This isn't surprising, since earlier parts of the network tend to form simpler features. What may be surprising though, is that earlier features tend to strongly contribute both positively and negatively. From our limited investigations, it seems that features have roughly balanced positive and negative forward contributions on average.
Above, we examined forward contributions by fixing the upper layer and then seeing how contributions varied as the lower unit varied. But what if we instead vary the upper layer and fix the lower unit? Before doing this, we expected to see a gradual shift from unimodal to bimodal contribution distributions, just as in the above histograms. Instead, we found that the shift to bimodality is sudden.
Additionally, we only found bimodal forward contributions toward layer 4/2/5. For example, we didn't see bimodality for forward contributions to the last conv layer of any other bottleneck, though more investigation is needed to completely verify this as we only looked at a small set of examples. If layer 4/2/5 is indeed the only layer that exhibits contribution bimodality, this might mean that the rest of the network is optimized for building "versatile" features, whereas the late parts of the network are tasked with actually putting together all of these features (hence having so few contributions near zero).
The skip connections in the ResNet made it difficult to understand if contributions from bottlenecks were actually important
to the final output of the network, or if any concepts learned in bottlenecks throughout the network were "retained." For instance,
we would often see a set of highly activating dataset examples for some channel in the
1×1 convolution layer preceding the ultimate
relu
layer, but these same dataset examples would not strongly activate the corresponding channel in the relu
layer. Instead,
the channel in the relu
layer closely resembled the same channel in the previous relu
(in the sense that there was significant overlap
in their sets of highly activating dataset examples). This indicates that visual concepts were learned within the last bottleneck but were "discarded" or
dominated by the added output from the previous ReLU.
To determine which channels learned new information within a bottleneck, we scraped OpenAI Microscope
for the feature visualizations of several bottlenecks' relu
layers. The expectation was that these would be visual representations of the combination of
concepts contributed by the residual function and shortcut. We then computed the activations of units in the last convolutional layer and previous
relu
layer on their corresponding feature visualization (the feature visualization for the relu
channel both of these units contribute to).
Next, we divided the activation of the shortcut by the sum of the output of the residual mapping and the shortcut;
this gave us a rough sense of how much the skip connection was responsible for the bottleneck's final output.
It appeared that on most channels, the network learned a near identity mapping over the ultimate bottleneck; around 86% of the channels, when activated on the respective feature visualization of the last ReLU, had over 90% of the input to the last ReLU coming from the shortcut. The penultimate bottleneck exhibited similar qualities. On channels that learned near identity mappings, we would see that the feature visualizations and dataset examples from the two ReLUs - one at the end of the bottleneck and one at the end of the previous bottleneck) looked relatively similar, while the feature visualizations and dataset examples from the corresponding 1×1 convolutional layer would often resemble very unrelated concepts. Likewise, on channels that appeared to learn within the bottleneck, we would see the dataset examples from the two ReLUs tell somewhat different stories, and the examples from the preceding convolutional layer more prevalent in the ultimate ReLU.
We take this to mean that enrichment circuits are the exception, not the rule — by the last couple of bottlenecks,
the network's representations have mostly solidified, with only a few abstract concepts contributing to more general neurons in the last layer.
This interpretation should be qualified by our uncertainty over the accuracy of using feature visualizations to analyze contributions.
While this method appeared to yield results that were consistent with dataset examples, we'd like to repeat this experiment in the future
using e.g. the top 100 dataset examples of the bottleneck's relu
and averaging the contributions of the convolutional layer and previous ReLU
for each example.
In the initial stage of our research, we focused on developing tools to make sense of the 2,048 channels in CLIP-RN50's final layer. These tools, listed below, allowed us to find units of interest such as those that activated most highly for a given text.
One initial goal was to identify the unit that activated most highly for a given word, e.g. LayerActivation
module to rasterize a 224×224 image of the text "Trump", and then instrumented the network to track activations for each layer. Then, we took the mean of the x, y
spatial positions to get the average activation per channel in each layer. We then investigated the maximumally-activating channels produced from this process; however, we found that this approach gave us
To resolve this, we decided to calculate a baseline activation distribution by rasterizing the meaningless text "eeeeee" and subtracting it from the activations of our target word; this allowed us to find meaningful units in the difference between the two activations.
After developing the channel difference engine, we then used a list of the top 10,000 most common English words to create mappings from "word → most highly-activating unit" and "unit → most-highly activating word." We found this useful for exploring concepts in the final layer through an interactive interface.
Credit to Chelsea Voss for the inspiration and design behind these tools.
To understand feature contributions, we relied on expanded weights
The libraries and notebooks used to discover the above results can be found here on GitHub.
Many thanks to Chelsea Voss for mentoring us and providing valuable feedback on technical issues, methodology, and written drafts. Thanks to Chris Olah for initial guidance on circuit investigations, SERI for funding and application feedback, and Distill contributors for the publication format and valuable discussions in the #circuits channel.
Sidney Hough: Implemented reading activations from the network and expanded weights. Came up with the idea to compare the residual and conv contributions, and implemented a scraper to download feature visualizations from Microscope. Performed investigation of circuits for the case studies. For the final writeup, created visualizations and styled all figures shown above.
Kevin Liu: Implemented input generation for typographic attacks, image optimization, and initial expanded weights algorithm. Developed channel difference engine. Worked jointly on developing a database of activations from text to unit and unit to text. Performed investigation of circuits for the case studies.
Jack Ryan: Developed contributions and versatility tools to visualize several properties of a given unit, as well as a tool to visualize the images corresponding to a certain level of activation of a unit (activation distribution tool). Came up with the idea to study large-scale forward contributions across layers and implemented an algorithm to do so using expanded weights. Performed investigation of circuits for the case studies.
† equal contributors


Hey it looks like you'd enjoy HTML and Javascript! HTML is the language used to make basic webpages on the web. Using HTML, CSS to style the HTML, and Javascript to make it dynamic, you can create beatiful and intuitive webpages. This is what is called "front-end development", which just refers to the parts of a website that the user interacts with.
Hey it looks like you'd enjoy Java! Java is a massive back-end language used to create webpages and applications. Java is easy to use, and built for understandability and efficiency in runtime.
Hey it looks like you'd enjoy PHP! PHP is a general purose back-end language used to make dynamic websites and web applications. It is the most used back end language currently, and good for just about any kinds of back-end work you want to do.
Hey it looks like you'd enjoy C#! Pronouced "c-sharp", this is one of the older and more well established of the back-end languages, and was developed by Microsoft. As such, it is most used in large companies that have used it for a while and enjoy its reliability. If you're looking to work on business software for big companies, this is a great one to have.
Hey it looks like you'd enjoy Ruby! Ruby is a versatile back end language, best known for it's use with the framework Rails. It was designed to cut down on coding time and make dynamic interactive websites and applications faster and more easily. A lot of new startups and companies are using Ruby to get off the ground as fast as they can, so if you're looking into that environment this is definitely one you want to bring to the table.
Here are some other languages you can look into:
A front-end language used to create webpages across the web. Using CSS and Javascript at it's back, it makes the backbone of most websites you've been on.
More InfoA very versatile and widely used back-end language. It is specifically good if you want to make Android applications.
More InfoA back-end language created by Microsoft. It's niche is mostly in large well-established companies.
More InfoCurrently the most popular back-end development language. PHP is a great general language for just about any back end web work.
More InfoAn interactive language made for building web applications quickly and efficiently, using it's framework Rails. It is popular with smaller companies and startups.
More Info


[gecode-users] Modulo operator
Mauricio Toro
mauriciotorob at gmail.com
Mon Aug 25 15:40:01 CEST 2008
Hello,
I am trying to write this reified constraint.
(a mod c = d) <-> b
where a,c,d are IntVars and b is BoolVar.
In the past, you recommend to represent
A = (B - C) mod n as A = (B-C) + n * X.
But, now I am wondering how can I
write a reified propagator for (a mod c = d) <-> b.
Thanks,
Mauricio
2008/5/14 Guido Tack <tack at ps.uni-sb.de>
> Malcolm Ryan wrote:
>
> > I'd like to express the constraint:
> >
> > A = (B - C) mod n
> > 0 <= A < n
> >
> > for variables A,B,C and constant n.
> >
> > How would you advise doing this? The obvious answer is to add an extra
> > variable X:
> >
> > A = (B-C) + n * X
> > 0 <= A < n
> >
> > but I'm not sure if this is best. Can you advise?
>
> As there's no built-in propagator for the modulo constraint, you have
> to decompose into other constraints, so your solution should be ok.
> After all, it's just a linear equation with constant coefficients
> 1*A-1*B+1*C-n*X=0, right? And X will be determined as soon as A,B,C
> are, you don't even have to include X in the branching.
>
> Guido
>
>
> _______________________________________________
> Gecode users mailing list
> users at gecode.org
> https://www.gecode.org/mailman/listinfo/gecode-users
>
--
Mauricio Toro Bermudez
Estudiante de Ingeniería de Sistemas
Pontificia Universidad Javeriana, Colombia
Stagiare à l'Ircam
1, place Igor-Stravinsky 75004 Paris,
France de 2008 à 2009
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scour.conf
A scour configuration-file (typically scour.conf) tells the
scour utility that reads it what directories to recursively check for old files
and what the maximum age of the files should be. This file normally resides in the etc/ subdirectory of the
LDM installation.
The syntax of a entry in the configuration-file is
dir maxAge [pattern]
where:
- dir
- is a directory pathname. The tilde character (~) may be used to represent the user's home-directory. The
scour utility will recursively descend the directory hierarchy beginning at the
specified directory. It will follow symbolic links.
- maxAge
- is the maximum age ([days][-hh:mm]) for the files/directories to be considered for deletion.
Files in the top directory that are older than this will be deleted. Empty (sub-) directories are not deleted
unless the -d option is specified. Directories that are symbolic links are not deleted.
- [pattern]
- is an optional pattern used for filename expansion. The default is "*" (which matches all files). Definitive
information on patterns used for filename expansion can be found
here.
and the fields are separated by whitespace. Comments have a hash character (#) in column one.


324 South Harrington Street
Raleigh, North Carolina 27603
Contact: James Miller<EMAIL_ADDRESS>HoursMonday, Wednesday, and Friday: 12:00 noon - 5:00pm
Opened in 2016, The David Bohnett Cyber Center’s primary goal is still paramount: to empower our community to use technology as a tool to increase economic, personal and social well-being.
The David Bohnett Cyber Center is a public computer lab located at the LGBT Center of Raleigh. The Cyber Center provides access to the internet, computer software applications, free to low-cost computer skills and career building classes, and one-on-one mentoring. The Cyber Center is staffed with a volunteer lab monitor to answer questions during open hours of operation.
The David Bohnett Cyber Center is to provide access to the Internet, computer software applications, free and low-cost computer skill and career building classes, and mentoring to individuals who may not otherwise have access to such resources.
The Cyber Center provides a safe and welcoming space for members of the LGBT community to use one of our 8 computer work stations to access the Internet, process documents, and receive support in navigating today’s technologically-oriented workplace. Many visitors to the Cyber Center have not had the opportunity to learn or use computers before; therefore, volunteers are on hand to assist users during hours of operation.
The Cyber Center is a largely volunteer-driven program with a team of volunteers oversee and maintain the lab during hours of operation. Over time, the Cyber Center will evolve with the needs of the Center. In the future, we predict having peer-education for software and online platforms, as well as hosting young people who are home-schooled or finishing their GED.
The Cyber Center client computers each have access to Microsoft Office (Word, Excel, PowerPoint, Publisher) and the Internet. One computer will have Adobe Acrobat, Photoshop, and Illustrator.
There are few restrictions on information and thus visitors can search through many vital LGBT websites containing information on issues of sexual identity, mental health and community organizing that might be banned at other institutions. And while the parental controls are in place and maintained by the software’s defaults, we will be able to edit those pages that are banned inappropriately.
The Cyber Center can also be booked for private events and trainings. Outside organizations, for a small fee, may use this space as well for a myriad of opportunities. Contact James Miller<EMAIL_ADDRESS>for more information.


Natron Design Documentation
Welcome to the Natron Design Docs! These guidelines are intended to form the basis of designing for Natron, the open-source VFX and compositing software. Natron offers a comprehensive suite of tools for any compositor, enabling everything from basic video manipulation to cinematic multi-pass compositing. We believe that design is an integral part of establishing Natron as a fully-featured, professional compositing suite, and we have carefully put together these docs for that reason. As with all parts of Natron, these docs are a living document, and are freely available under an open-source license.
Why Design?
You might wonder why an open-source project like Natron would require designers. Surely, the features of the application are more important! So why waste valuable time on design?
Because open-source projects, especially ones like Natron, can have great potential. However, without good design, we have no way of showing that potential. There is a world of difference between open-source software with good design - like VS Code or Atom - and software with bad design. If Natron can aspire to professional design standards, we can realize that untapped potential. And we can release the amazing, community-building power of free and open-source software.
Conversely, users also have finite time and effort. They don't have all day to spend, looking for a compositing application, nor do they have the effort to extensively test each and every compositing application for its features. Most won't even care about free and open-source. And if they are presented with a terrible-looking user interface, they're not likely to want to use it. Even if they have to use it on a daily basis, using software with terrible GUIs – something Sibelius/Vim is famous for – becomes a pain.
Plus, design isn't just an aesthetical need - it's a practical one, too. Accessibility and responsive design are no longer optional in today's day and age. If your website isn't designed to scale properly on a mobile device, or to accomodate the needs of disadvantaged users, you are excluding a massive number of people from using your site.
Our Guiding Principles
We want to show that open-source projects and good design are not mutually exclusive. In other words, we want to:
- Create immersive and engaging experiences that breathe life into Natron
- Create a recognizable visual identity that will represent our project
- Laying down a foundation of intuitive tools that make Natron stand apart from the crowd
Translating these abstract guiding principles something tangible is what design aims to do. The implementation is the hard part, but it's also what ultimately counts, and that's what we will discuss in these docs.
Getting Started
This guide is intended for developers, hobbyists, professional designers, and novices alike. It's meant to take you into the mind of a designer, while also keeping design simple and easy to understand. If you're interested in those topics, read on!
Implementation Guide
Natron's Approach to Design
Here at Natron, we face tremendous challenges in encorporating design. We have a small design team, limited monetary resources, and Natron is non-profit. Furthermore, as an open-source project, we have high standards to live up to. Out of these special circumstances, we developed a unique approach to design.
First, where possible, we rely on open standards to share, work, and publish designs. Regardless of the software we use to make our mockups, we share designs as widely-supported SVG files. Then, we use git
to synchronize our design assets (SVG or otherwise) to GitHub. That means we can do awesome things - like time travel! Designers can make breaking changes sometimes. But thanks to GitHub's version control, we can go back in time and grab the unchanged version, without a hitch!


"Paths of Glory" is one of the greatest war films ever made, an indictment on war and the complex morality behind the decisions made in trench warfare. What helps make it so complex and involving in every scene is the direction by Stanley Kubrick and the exquisitely precise and multilayered screenplay by Kubrick, Calder Willingham and Jim Thompson.
Set in France in 1916, the film begins with the arrival of General Broulard (Adolphe Menjou) at a French chateau where he meets with General Mireau (George Macready) to discuss the golden opportunity of taking the "Ant Hill," a no man's land held by the Germans. The notion is that if Mireau takes the command, he may be promoted and it is also an event for the media to focus on. Mireau, the determined optimist, immediately tells Colonel Dax (Kirk Douglas) of the news, much to Dax's dismay. Dax defends his position by quoting from Samuel Johnson ("patriotism is the last refuge of a scoundrel") and feeling his men are not up to the task so soon. Accompanying Broulard is Major Saint-Auban (Richard Anderson, best known for his role in "The Six Million Dollar Man" TV show) who refers to the soldiers as having a herd instinct, or stated as "an animal sort of thing." Dax corrects the major, reminding him they are human after all. Nevertheless, Dax is convinced of taking the "Ant Hill," perhaps in fear he will be rep laced by someone who will not take proper care of his men. Thus the colonel tells his men that they must be prepared to attack, though the fact that the weather will be clear and sunny as opposed to foggy and cloudy establishes this battle as a losing proposition.
"Paths of Glory" has two scenes of battle, one quiet and serene and the other noisy and confusing. The first scene is of a patrol organized to navigate no man's land. They include the alcoholic Lieutenant Roget (Wayne Morris), Corporal Paris (Ralph Meeker) and Private Lejeune (Ken Dibbs). The area is already littered with shell holes, corpses, lots of wire and rubble. Lejeune is inadvertently killed by Lieutenant Roget, the first accused of "cowardice in the face of the enemy" by Corporal Paris.
The other battle is of course the taking of Ant Hill, which becomes a haelstorm of explosions and bullets in and around the trenches. The men fear getting too close to the German wire because of the intensity of the explosions, and are almost killed by General Mireau who is infuriated that they would stay in the trenches to avoid enemy fire. Three soldiers under Dax's command are arbitrarily chosen to be court-martialed and face execution for "cowardice in the face of the enemy." One of them is Corporal Paris, who is ironically picked by Lieutenant Roget.
"Paths of Glory" follows the trial leading to the execution, seen as justice for men who refused to fight, and Kubrick and the writers Willingham and Thompson ask tough questions with little in the way of a clear-cut resolution. Should these men be executed for acting cowardly and not advancing in no man's land? Is General Mireau any less guilty for almost having his men killed by their own troops for not advancing? At one point, Colonel Dax even asks to be set as an example for his men by being executed, but is instead left as a defense lawyer for the three charged men in the court martial proceedings. What Kubrick shows, and what has become a staple of his later work, is that the powerful men at the top, namely General Broulard and General Mireau, see these soldiers as nothing more than animals and treat them as such, stating that if the enemy fire was so intense, the result would have been corpses littered around the trenches, not cowards. Ironically, during the penultimate final scene in the chateau, Gen eral Mireau reminds Broulard that the man he stabs in the back is a soldier. The inhumanity and lack of sympathy is powerfully shown in Kubrick's treatise on war, and lead the way to many more ambiguous moral lessons in human behavior in films such as "Dr. Strangelove" and especially "A Clockwork Orange."
Based on the 1935 World War I novel by Humphrey Cobb, "Paths of Glory" is emotionally wrenching and thrillingly realized. Every sequence is masterfully composed and framed, including the dolly shots through the trenches where Dax and General Broulard frequently travel while explosions are heard in the background. The court martial sequence in the chateau is as tense and nail-biting as the execution itself.
The dialogue is also crisp and direct. I loved the conversations between Broulard, Mireau and Dax in the chateau, a setting for a different kind of battleground where words and strategies are exchanged in reference to the lives of the soldiers. Backstabbing and political ambition are primary goals, though Dax is an idealist - he cares for his men and says or does nothing as a means of promotion from his rank. The higher-ups are of different mindsets, and it is extraordinary to watch Kirk Douglas's blunt, sympathetic Dax, Adolphe Menjou's arrogant, pitiless General Broulard, and the cold, remorseless General Mireau brilliantly portrayed by George Macready commingle and argue over the reality of war's traumas and heartaches.
"Paths of Glory" is a tough, demanding work that generated a lot of controversy over its cynical presentation of how men of power handle their own men in the face of war. But there is beauty too, as evidently shown in the final shot where a German farm girl (Suzanne Christian, who became Mrs. Kubrick at that time) sings a sentimental song from the "Musical Memories of Germany" and causes the audience of soldiers to weep when they were initially jeering her. I also like what could be a throwaway moment where Private Arnaud (Joseph Turkel, who later appeared in "The Shining") describes how being shot down and killed instantly is preferable to being wounded. There is humanity in these men, these soldiers who fight in the trenches for the benefit of pleasing some higher-ranking officials and, of course, to win the war. Here is an anti-war film that sticks to its guns and shows, in the words of Ernest Hemingway, that war is a crime no matter how justified.
For more reviews, check out JERRY AT THE MOVIES at http://buffs.moviething.com/buffs/faust/
E-mail me with any questions, comments or general complaints at<EMAIL_ADDRESS>or at<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
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Related links: index of all rec.arts.movies.reviews reviews


--- layout: post title: Re-building Android apps in Eclipse ---
Today I ran into a weird problem. I was working on our android mobile app and I wanted to make sure the .apk file I sent to QA was the most recent version. So I just dropped into the /bin directory and deleted the .apk. I assumed that the next build would absolutely re-create it with the most recent version. Instead, Eclipse gave me the following error:
java.io.IOException: Unable to upload file: Local file doesn't exist.
I tried just about everything to get it to work. I turned off automatic building and tried building myself. Nothing seemed to work. Finally I found the clean project menu item and tried that. Nothing seemed to happen but when I tried running again after that it finally worked.
It seems that Eclipse must not replace the .apk file but instead attempts to open and edit the file. A bit weird – but I can deal with it. It also seems that Eclipse doesn’t actually check to see if the file exists before it attempts to open it. Only after a ‘clean’ command does Eclipse create the file.
My final solution to be 100% sure the apk is current:
I hope this helps someone else!


A software for business that does everything. From controlling your business to improving your profits and more.
Visit: www.goyalonline.com
A software for business that does everything. From controlling your business to improving your profits and more.
Visit: www.goyalonline.com
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15.8 Questions and Answers
Q: Suppose we
would like to encrypt a file containing flags that enable or
disable certain attributes in an application based on the
features a customer has paid for. Which method of encryption
presented in this chapter would be best suited to this
scenario?
A: Since in
this scenario only one party, the application itself, needs to
read the file, it makes sense to use a symmetric cipher such
as DES. Before installing the file, we encipher it with a key
that only the application knows about. Whenever the
application needs to read the file, it deciphers it using the
same key.
Q:
Suppose a party A is making
sensitive requests for data across the Internet to another
party B. B is the only one who should be able
to decipher the data enciphered by A, and A is the only one who should be able
to decipher data enciphered by B specifically for A. B also receives requests from
several other parties, all of whom should not be able to hear
what each other is saying. Which method of encryption from
this chapter would be best in this scenario?
A: Since all
parties must be able to communicate with B but without anyone else being able
to decipher the communications, we should use a public-key
cipher such as RSA. Consider the case of A making a request to B. A
makes his request to B by
enciphering the request with B
's public key. When B receives
the request, B deciphers it
using her own private key. Once B has validated that A sent the request (perhaps using a
digital signature), she enciphers a reply using A's public key. Once A receives the reply from B, A
deciphers the message using his own private key.
Q: With
DES, we encipher and decipher data by performing a series of
permutations and substitutions. Exactly how these permutations
and substitutions affect the data is essentially a function of
16 subkeys, derived from an initial key that we provide. In
general, the security of DES is greatest when most of the
subkeys differ from one another. Unfortunately, certain
initial keys lead to situations in which all subkeys are
identical. These initial keys are called weak keys. DES has four weak keys.
What are they?
A: To generate
subkeys in DES, we first transform the key from 64 bits to 56
bits. Once the key has been transformed, we divide it into two
28-bit blocks and perform a number of other operations that
are repeated during each round. If either of the two 28-bit
blocks contains bits that are all the same, these operations
have no effect. Thus, we end up with subkeys that are
identical for every round, and the initial key is considered
weak. The four weak keys of DES and what they become are shown
in Table
15.9.
Table 15.9. Weak Keys in DES Before
and After the Key Transformation
|
0101 0101 0101 0101 |
0000000 0000000 |
|
1F1F 1F1F 1F1F 1F1F |
0000000 FFFFFFF |
|
E0E0 E0E0 F1F1 F1F1 |
FFFFFFF 0000000 |
|
FEFE FEFE FEFE FEFE |
FFFFFFF
FFFFFFF |
Q: Avoiding
weak keys is one security issue in DES. Another issue is
avoiding semiweak
keys. Semiweak keys come in pairs. Two keys form a
semiweak key pair if the
subkeys they produce are in the opposite order. This means
that if we use one key from the pair to re-encipher the
ciphertext generated using the other key, we effectively get
the same result as deciphering the ciphertext with the
original key. DES has six semiweak key pairs. What are they?
Why are semiweak keys a problem?
A: The problem
with semiweak key pairs in DES is that by re-enciphering the
ciphertext with one key in the pair we essentially end up
performing the same operation as deciphering the ciphertext
with the other key. Thus, effectively we have two keys that
can decipher the data, which makes semiweak keys undesirable.
The six semiweak key pairs of DES are shown in Table
15.10.
Table 15.10. Semiweak Key Pairs in
DES
|
01FE 01FE 01FE 01FE |
FE01 FE01 FE01 FE01 |
|
1FE0 1FE0 0EF1 0EF1 |
E01F E01F F10E F10E |
|
01E0 01E0 01F1 01F1 |
E001 E001 F101 F101 |
|
1EFE 1EFE 0EFE 0EFE |
FE1F FE1F FE0E FE0E |
|
011F 011F 010E 010E |
1F01 1F01 0E01 0E01 |
|
E0FE E0FE F1FE F1FE |
FEE0 FEE0 FEF1
FEF1 |
Q: Some
applications of DES use keys that are generated randomly. In
applications like this, what precautions might we take against
the use of weak and semiweak keys, if any?
A: Considering
the number of keys listed in Tables Table
15.9 and Table
15.10 combined, it's evident that out of 256
possible keys in DES, weak and semiweak keys are rare.
Nevertheless, applications that use randomly generated keys
often check to make sure a candidate key is not weak or
semiweak before using it. On the other hand, since checking
every key is somewhat wasteful considering how infrequent weak
and semiweak keys are, many applications simply don't worry
about them.
Q: RSA is a
block cipher, which means that it processes data one block at
a time. Whereas DES always uses a block size of 64 bits, the
block size of RSA varies depending on the value of n, where n =
pq. What happens if we mistakenly choose the block size
so that some blocks of plaintext contain values greater than
or equal to n?
A: The problem
with a block of plaintext containing a value greater than or
equal to n is that when we
encipher and decipher blocks, the modular exponentiation
operation is modulo n. This
means that all blocks generated as either ciphertext or
plaintext contain values less than n. Therefore, if the original block
of plaintext contains a value greater than or equal to n, after enciphering and deciphering
the block, we will not end up with the plaintext we started
with.
Q: This
chapter discussed two common block cipher modes, ECB and CBC.
What are some of the advantages each offers? What are some of
the drawbacks?
A: ECB and CBC
both have advantages and disadvantages. ECB is simple, but its
lack of feedback makes it considerably less secure than CBC.
However, by not using feedback, ECB has some flexibilities.
For example, with ECB, since no block depends on any other
block having been processed before it, we can process blocks
out of sequence or in parallel. The most significant advantage
of CBC is that it conceals patterns in the plaintext well.
However, its use of feedback means that we must encipher
blocks in order. On the other hand, deciphering data in CBC
mode does not have this restriction. To decipher data, we
require feedback only from the ciphertext itself, not any of
the blocks deciphered previously.
|


If you see this then try to connect to the internet. This app require internet connection to run properly
Axonometric Projection
Rotate the cube
x
°
y
°
z
°
Animate cube in
x
-axis
Animate cube in
y
-axis
Animate cube in
z
-axis
Rotate
Stop
Rotate the camera (viewer)
x
°
y
°
z
°
Animate camera in
x
-axis
Animate camera in
y
-axis
Animate camera in
z
-axis
Rotate
Stop
Rotate on arbitrary axis
x
y
z
θ
°
Animate
Rotate
Stop


Simple React App that uses data.nba.net API to display current game stats.
These instructions will get you a copy of the project up and running on your local machine for development and testing purposes.
You'll need NodeJs and its package manager npm
A step by step series of examples that tell you how to get a development env running
Install all pre-req packages
npm install
Start your development server
npm start
By default your app will be started on http://localhost:3000
This project is licensed under the MIT License - see the LICENSE.md file for details


--- title: Help us subtitle: Participate to the development of the social network layout: common/page ---
Although donations can be a great way to help us build the network, there are plenty over ways to get involved.
You can for example help us by participating in the development of the network.
The content of this page while be available within a few weeks... While you wait, you can still visit the GitHub account where all the Comunic projects are hosted: https://gitlab.com/comunic


Unprompted, my four year old niece screamed that at me several times this past weekend, so I'll take it as a sign.
While I'd never want to be a 'perfectionist,' I would absolutely call myself an 'excellencist,' if you will allow that word extensioon
Over the last year, I taught myself to program; completed a the JS immersive at Fullstack Academy of Code (8% acceptance rate); and moved to SF to pursue a career in web development and software engineering.
Before that, I worked in sales in NYC (2 yrs).
Before that I worked as an R&D chemist (1 yr) and taught post-secondary Chemistry in SW Missouri(4 yrs).
I try hard to be a considerate person and act honestly with myself and others. I listen to lots of music and podcasts, go outside often, and play nerd-games. But recently, I only think about Javascript.
My biggest weakness is over-sharing and talking over others sometimes, but I'm working on that...
On the other hand, my best-self is boundlessly enthusiastic and cares deeply for people and puts all my energy towards connecting and encouraging them. I am a pretty serious force multiplier when I'm cranking on all cylinders.
What are you thinking about doing? Where do you want to be? How can we get there? Let's explore all the options together and extract every bit of potential!


SPECTRE
SPECTRE.CSS
A
Lightweight
,
Responsive
and
Modern
CSS Framework
Headers
Heading 1
Heading 2
Heading 3
Heading 4
BUTTONS
Default
Primary
Disabled
Action
link button
Navigation
General
Configuration
Display
Simulation
Business Definition
FORMS
Unique ID
Title
Description
INPUTS/FORMS
Password
Passwords must have at least 8 characters.
colorpicker
GROUP SELECTIONS
Gender
Male
Female
Toggle button
Toggle button on
Toggle button off
Checkbox
Not Selected
Selected
Dropdown
Choose an option
Slack
Skype
Spinner
TABS
Nodes
Data
Appearance
COMPOUND BUTTONS
New
Create new tree from scratch
New from sample data
Create tree from provided data
COMPOUND BUTTON WITH ICON
New from sample data
Create tree from provided data
ACCORDIONS
Configure your type
Hello World
Configure your rule
Hello World 2
Toolbar with Dropdown
Link
Delete
Rename
Upload
Refresh
Download
Search
Notifications / Alert
Info lorem ipsum dolor sit amet, a elit sem interdum consectetur adipiscing elit.
Info lorem ipsum dolor sit amet, a elit sem interdum consectetur adipiscing elit.
Info lorem ipsum dolor sit amet, a elit sem interdum consectetur adipiscing elit.


I make friends easily.
I get angry easily.
I experience my emotions intensely.
I love excitement.
I like to solve complex problems.
I trust others.
I would never cheat on my taxes.
I complete tasks successfully.
I fear for the worst.
I like music.


The Bio Roll contains a suite of Bio-informatics applications, most commonly in use by the bio-informatics community. The list of applications is as follows:
HMMER
NCBI BLAST
MpiBLAST
biopython
ClustalW
Mrbayes
T_Coffee
Emboss
Phylip
fasta
Glimmer
perl-bioperl
perl-bioperl-run
perl-bioperl-gui
perl-bioperl-db
All the packages that appear below are dependencies and are already present in the base and OS Rolls. They are installed automatically during system installation.
| foundation-python | gd-devel | perl-HTML-Tagset | perl-Scalar-List-Utils |
| foundation-python-extras | perl-Data-Stag | perl-IO-String | perl-SOAP-Lite |
| ReportLab | perl-Digest-MD5 | perl-IO-stringy | perl-Storable |
| flex | perl-File-Temp | perl-libnet | perl-Text-Shellwords |
| xorg-x11-devel | perl-GD | perl-libwww-perl | perl-XML-DOM |
| readline | perl-GD-SVG | perl-MIME-Base64 | perl-XML-Twig |
| readline-devel | perl-Graph | perl-Module-Signature | perl-XML-Writer |
| gd | perl-HTML-Parser | perl-PathTools |


Library
We have a HUEG library of anime and manga which all members are free to borrow from. If you wish to borrow anything from the library then be sure to turn up at a Tuesday showings (unless stated otherwise) and you'll be able to borrow things during the break.
We generally ask for a £5 deposit per item, which is of course returned to you when you return the item; and we expect the item back after a period of 2 weeks (unless you decide to renew it).
.Hack//legend of the twilight
Baccano!
Darker than Black
Eden of the East
Gantz
Ikki Tousen
Last Exile
Neon Genesiss Evangelion
Paprika
R.O.D the TV
Tales from Earthsea


Classes for user interaction with Kawa.
The {@link kawa.repl kawa.repl} class is the class usually used for invoking Kawa as an application.


=== Basic Commands ===
!start: Reshuffles the decks and clears the project, contempt and notes list.
!draw: Draws a card from the standard 52-card deck.
!tarot: Draws a card from the tarot deck.
=== Project Commands ===
!project <num> <description>: Starts a <num>-step project with the <description> given.
!projects: Lists all active projects.
!projects all: Lists all projects, including cancelled and finished ones.
!advance: Advances all projects by one step.
!cancel <id>: Cancels project with the given <id>.
!finish <id>: Marks the project with the given <id> as finished.
!set <id> <steps>: Sets the project with the given <id> to <steps> steps. Only works on active projects.
=== Other Commands ===
!roll <num>d<sides>: Rolls <num> dice of <sides> sides.
!note <text>: Stores the <text> into the notes.
!notes: Shows all notes.
!contempt: Adds a contempt token to your player counter.
!contempts: Shows contempt counters.


motio
| Drive in-store purchases via a digital experience
Be amazed with Motio!
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TABLES
NAME
AGE
LEVEL
DEPARTMENT
Adetoro Bayo
18
100l
Chemical Engineering
Ikenna Owolabi
17
100l
Mechanical Engineering
Chizoba Mary
20
300l
Mechanical Engineering
Ikenna Uche
19
200l
Biomedical Engineering
Fortune Ibrahim
23
500l
Civil Engineering
Name:
Gender:
Male
Female
Car:
Toyota Camry
Rolls Royce
Benz
BMW
NIL


Death Notices
Deaths in Louth - Sunday November 10 2019
RIP
by Donard McCabeThe death has occurred of Michéal Ludden of Stonylane, Ardee and formerly of Charlestown, Ardee, Co Louth
Peacefully, at his residence. Predeceased by his parents and sister. Sadly missed by his loving family, his wife Teresa, sons Barry and Lorcan and their partners Helena and Ciara, daughters Ellen and Michelle and her partner Connor, grandson Ryan, mother-in-law Maisie, sisters Fidelma, Mary, Kathleen, Carmel and Dolores, brothers-in-law, sisters-in-law, aunts, uncles, nephews, neices, relatives, neighbours, friends and work colleagues.
Reposing at his residence today, Sunday, from 6.00 pm to 9.00 pm and tomorrow, Monday, from 2.00 pm to 9.00 pm.
Removal on Tuesday morning at 10.15 am to St. Catherine's Church, Ballapousta, arriving for Funeral Mass at 11.00 am. Burial afterwards in adjoining cemetery.
Family flowers only, please. Donations, if desired, to Dochas Centre Palliative Care.
May he rest in peace
The death has occurred of Keith McVeigh of Rampark, Lordship, Jenkinstown, Dundalk, Louth
Peacefully, in the dedicated care of the staff of St. Vincent's Private Hospital, Dublin. Beloved husband of Fiona, devoted dad of Conor and Harry and loving son of Maureen and Don (London).
He will be sadly missed by his loving wife, sons, parents, brothers Alan and Stephen (U.K.) and Gary (U.S.A.), sisters-in-law Tracey, Jennifer and Ali, brothers-in-law Andrew and Gerard, parents-in-law Alan and Rosemary Ross (Knockbridge), nephews, nieces, work colleagues in Timesco Healthcare, London, neighbours and his large circle of friends.
Reposing at home (Eircode A91 EW42) from 2pm-8pm on Monday and Tuesday.
House strictly private at all other times.
Fiona, Conor and Harry invite everyone to celebrate Keith's life at the family home on Wednesday at 11.15am, before proceeding together to St. Mary's Church, Lordship for a funeral ceremony at 12 noon.
Burial afterwards in Lordship Cemetery.
Family flowers only. Donations, if desired, to the North Louth Hospice and Palliative Care c/o Quinns's Funeral Homes.
May he rest in peace
The death has occurred of Philomena (Phil) Russell (née Hughes) of Rathmullen Park, Drogheda, Co. Louth and formerly of Pearse Park
On November 8, 2019 peacefully at Our Lady of Lourdes Hospital. Philomena (Phil), beloved wife of Gerard and loving mam to Austin, Lisa, Martin and Sabrina.
Sadly missed by her husband and family, daughter-in-law Yvonne, Sabrina’s partner Mark, grandchildren Hayley, Jessie, Ben, Aaron, Cormac, Cillian, Adam and Lucy, brothers, sisters, brothers-in-law, sisters-in-law, nephews, nieces, relatives and friends.
Reposing at Townley’s Funeral Home, Crosslanes from 5pm until 8pm on Monday.
Removal on Tuesday morning at 12 noon arriving to Our Lady of Lourdes Church for Funeral Mass at 12.30pm. Cremation afterwards in Dardistown Crematorium.
No flowers please. Donations if desired to the Oncology Unit, Lourdes Hospital.
May she rest in peace


Thermostat
Select your city
London
Berlin
Moscow
Paris
Tokyo
Current temperature outside:
°C
Current temperature:
+
-
Reset
Power saving mode is ON
On
Off


This is a third party website and not under the control of the Government of Canada. Statistics Canada is not responsible for the accuracy, currency or reliability of the content of this site. This website is not subject to the Privacy Act or the Official Languages Act and may not be accessible to persons with disability.
This is a pilot project developed in collaboration with a community of stakeholders, as such the open source application is in a testing phase and may not fulfil all of the users’ needs. In the event of difficulties using the Web pages or applications, contact us: Crowdsourcing team.
Date modified: 2016-10-17
The application is in its beta version. You may have to enable popups for this website to be able to register and login.
We are pleased to have you join us for this new pilot project from Statistics Canada. As a pilot, it is an opportunity to learn how working together could improve national statistics. With this project, we are excited to join the OpenStreetMap (OSM) community.
The pilot is using OSM as an open data platform for inviting contributors to crowdsource information on buildings. The pilot project will focus on the Ottawa-Gatineau region for now. There are currently no accurate national-level statistics on buildings— and their attributes—that can be used to compare specific local areas. The information you submit will help to fill existing data gaps and provide new analytical opportunities that are important to data users.
This project will also teach us about the possibilities and limitations of crowdsourcing. Crowdsourcing data collection may become a way for Statistics Canada and other organizations around the world to collect much-needed information by reaching out to citizens.
The first thing you can do if you are new to OpenStreetMap is to go to the: Beginner's guide. You will need to register to OpenStreetMap to be able to contribute. The guide explains how. You can start mapping and when you save your changes, you will have to authenticate.
The rest is simple: zoom in and explore the map. You can switch from a topographic map to a satellite imagery base. Click on buildings you know and enter information about them in the form on the left. You can also add new points to add businesses, shops and services like a post office. Look carefully to make sure that the information is not already there.
This project would not be possible without key collaborations. Open North is collaborating with Statistics Canada for the implementation of this pilot project. Open North is a non-profit organization with a proven track record nationally and internationally specialized in open data solutions and civic technology tools that scale both the national and local levels to foster better and more open democracies.
Mikel Maron and Bryan Housel at MapBox are providing assistance and advice to the project and the implementation of iD.
The City of Ottawa and the OSM Canada community are also key collaborators in this project.
Date modified: 2016-10-17


There are number of popular "hidden image" illusions on the Internet. Like John Lennon, WWF Panda or Hidden Animal illusion that took over the Internet.
How about creating one of your own?
Just select an image and there you go!
You can download the result.
The tool is absolutely FREE.
To see the hidden image step away from the screen, zoom it out, or shake your head fast.
The image is practically invisible if you look at it directly and at a regular distance.
Close
You can now download the resulting image Use the "Open in a new tab" button if the image does not load


Tech Takeover
Produced by Free Spirit Media + Outreach Community Church
Caleb Brutus, Alympia Williams, Myriah McMoore, Merci Mayes, Melody Terry, Gianna Chan, Tamara Claude, Sherice Rushing
Free Spirit Media + Outreach Community Church
What are the good and bad sides of automation? Follow along the investigative process, as student filmmakers interview experts in order to inform and broaden their own opinions about automation.
- 13 minutes
- Color
- 16:9
- English
- Documentary
Meet the Filmmakers
Caleb Brutus
Co-Producer
I'm Caleb Brutus. I'm a junior in highschool and I like to play games and occasionally draw. I joined the program because my cousins recommended it to me and I really enjoyed doing it.
Alympia Williams
Co-Producer
Hi, I'm Alympia Williams. I am a graduating senior from North Lawndale College Prep. I will be attending my first year at Western Illinois University to study Fashion Designing. Some of my favorite things to do are style hair, design clothing, and just be around my friends. I join this program because I was first introduced to media while working with Free Spirit Media and I enjoyed it very much. I saw this as an opportunity to gain more knowledge and tell a story.
Myriah McMoore
Co-Producer
Hello, my name is Myriah McMoore and I am part of the film-making team that helped in creating this documentary. I am an eighth grade student at Acero Cruz. I like to play basketball, watch TikTok, and hang out with my friends and family. Last but not least, I am very competitive in academics as well as in athletics. I am here because I wanted to explore this filmmaking experience. I have learned so much and I am very thankful to have had this opportunity.
Merci Mayes
Co-Producer
Hi everyone. My name is Merci. I’m thirteen years old. Next year I'm going into 8th grade. Something special about me is that I love to eat so many different types of food ranging from Thai, Mexican, Cuban, and Haitian. I’ve definitely been enjoying my time with the YPRPT team; this experience has been amazing. Thank you to everyone who has helped with me being here!
Melody Terry
Co-Producer
Hello, I'm Melody Terry. I am a sophomore attending Excel Academy Southwest. Some of my favorite things to do are sing, model, and style clothes because I really love fashion. I joined this program because I wanted to learn something new. Learning the basic skills of filming and editing will help me to create my own vlogs centered around fashion.
Gianna Chan
Undergraduate Collaborator
My name's Gianna Chan. I'm currently an Undergraduate Collaborator for YPRPT, as well as a Northwestern undergrad studying Cognitive Science, Computer Science and Data Science. In my free time, I like to shoot photos, paint, and eat. I was super excited to be apart of this program, as I'm super interested in ethical technology, working with young people, and making videos!
Tamara Claude
Youth Director at Outreach Community Church
Blessings! My name is Tamara Claude. This experience with YPRPT was so impactful... building, growing, exploring with our youth and those across the city was monumental of how unity and collaboration produces results. Well done team!
Sherice Rushing
Program Coordinator for Free Spirit Media's HoopsHIGH Sports Broadcasting Program
My name is Sherice Rushing. I am currently the Program Coordinator for Free Spirit Media's HoopsHIgh Sports Broadcasting Program. The things I love to do most are photography and editing. I wanted to be a part of this program because I really enjoy teaching young people and helping them to express their voice through media.
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Ocean [ai39], ocean, in The Inner Sea
Last updated Turn #108_bad
Ocean [ai39], ocean, in The Inner Sea
------------------------------------------------------------------------
11: Whalebone [fe4m], ship, 6 hulls, 1 rowing port, 18 sails, arrived from
11: Ocean [ai40], owner:
11: Toulouse [h1q], Pen, with 20 sailors, 15 lt. xbowmen
11: Jonathan [h9k], Pen, duke, with 39 pikemen, accompanied by:
11: Halmary [f9m], Pen, with one worker, 15 lt. xbowmen
12: Whalebone [fe4m], ship, 6 hulls, 1 rowing port, 18 sails, departed for
12: Ocean [ai38].
Routes leaving Ocean:
North, to Ocean [ah39], 6 days
East, to Ocean [ai40], 6 days
South, to Ocean [aj39], 6 days
West, to Ocean [ai38], 6 days
Inner locations:
Island [ab9h], island, 1 day, owner:
Cyclops [iy2t], cyclops, number: 23


javax.measure.unit
Q
- The quantitypublic abstract class Unit<Q extends Quantity> extends java.lang.Object implements java.io.Serializable
quantity
(as of length, time, heat, or
value) adopted as a standard of measurement.
It is helpful to think of instances of this class as recording the history by which they are created. Thus, for
example, the string "g/kg" (which is a dimensionless unit) would result from invoking the method toString() on a unit
that was created by dividing a gram unit by a kilogram unit. Yet, "kg" divided by "kg" returns ONE
and not
"kg/kg" due to automatic unit factorization.
This class supports the multiplication of offsets units. The result is usually a unit not convertible to its
standard unit
. Such units may appear in derivative quantities. For example °C/m is an unit
of gradient, which is common in atmospheric and oceanographic research.
Units raised at rational powers are also supported. For example the cubic root of "liter" is a unit compatible with
meter.
Instances of this class are immutable.| Modifier and Type | Field and Description |
|---|---|
static Unit<Dimensionless> |
ONE
Holds the dimensionless unit
ONE . |
| Modifier | Constructor and Description |
|---|---|
protected |
Unit()
Default constructor.
|
| Modifier and Type | Method and Description |
|---|---|
<A extends Quantity> |
alternate(java.lang.String symbol)
Returns a unit equivalent to this unit but used in expressions to distinguish between quantities of a different
nature but of the same dimensions.
|
<T extends Quantity> |
asType(java.lang.Class<T> type)
Casts this unit to a parameterized unit of specified nature or throw a
ClassCastException if the
dimension of the specified quantity and this unit's dimension do not match. |
CompoundUnit<Q> |
compound(Unit<Q> subunit)
Returns the combination of this unit with the specified sub-unit.
|
Unit<Q> |
divide(double divisor)
Returns the result of dividing this unit by an approximate divisor.
|
Unit<Q> |
divide(long divisor)
Returns the result of dividing this unit by an exact divisor.
|
Unit<? extends Quantity> |
divide(Unit<?> that)
Returns the quotient of this unit with the one specified.
|
abstract boolean |
equals(java.lang.Object that)
Indicates if the specified unit can be considered equals to the one specified.
|
UnitConverter |
getConverterTo(Unit<?> that)
Returns a converter of numeric values from this unit to another unit.
|
Dimension |
getDimension()
Returns the dimension of this unit (depends upon the current dimensional
model ). |
abstract Unit<? super Q> |
getStandardUnit()
Returns the
base unit , alternate unit or product of base units and
alternate units this unit is derived from. |
abstract int |
hashCode()
Returns the hash code for this unit.
|
Unit<? extends Quantity> |
inverse()
Returns the inverse of this unit.
|
boolean |
isCompatible(Unit<?> that)
Indicates if this unit is compatible with the unit specified.
|
boolean |
isStandardUnit()
Indicates if this unit is a standard unit (base units and alternate units are standard units).
|
Unit<Q> |
plus(double offset)
Returns the result of adding an offset to this unit.
|
Unit<? extends Quantity> |
pow(int n)
Returns a unit equals to this unit raised to an exponent.
|
Unit<? extends Quantity> |
root(int n)
Returns a unit equals to the given root of this unit.
|
Unit<Q> |
times(double factor)
Returns the result of multiplying this unit by a an approximate factor
|
Unit<Q> |
times(long factor)
Returns the result of multiplying this unit by an exact factor.
|
Unit<? extends Quantity> |
times(Unit<?> that)
Returns the product of this unit with the one specified.
|
abstract UnitConverter |
toStandardUnit()
Returns the converter from this unit to its system unit.
|
java.lang.String |
toString()
Returns the standard
String representation of this unit. |
Unit<Q> |
transform(UnitConverter operation)
Returns the unit derived from this unit using the specified converter.
|
static Unit<? extends Quantity> |
valueOf(java.lang.CharSequence csq)
Returns a unit instance that is defined from the specified character sequence using the
standard unit format . |
public static final Unit<Dimensionless> ONE
ONE
.public abstract Unit<? super Q> getStandardUnit()
base unit
, alternate unit
or product of base units and
alternate units this unit is derived from. The standard unit identifies the "type" of
quantity
for which this unit is employed. For example:
boolean isAngularVelocity(Unit<?> u) { return u.getStandardUnit().equals(RADIAN.divide(SECOND)); } assert(REVOLUTION.divide(MINUTE).isAngularVelocity());
Note: Having the same system unit is not sufficient to ensure that a converter exists between the two units (e.g. °C/m and K/m).
public abstract UnitConverter toStandardUnit()
this.getConverterTo(this.getSystemUnit())
public abstract int hashCode()
hashCode
in class java.lang.Object
public abstract boolean equals(java.lang.Object that)
equals
in class java.lang.Object
that
- the object to compare to.true
if this unit is considered equal to that unit; false
otherwise.public boolean isStandardUnit()
quantity
for which the unit is employed.getStandardUnit().equals(this)
public final boolean isCompatible(Unit<?> that)
that
- the other unit.this.getDimension().equals(that.getDimension())
getDimension()
public final <T extends Quantity> Unit<T> asType(java.lang.Class<T> type) throws java.lang.ClassCastException
ClassCastException
if the
dimension of the specified quantity and this unit's dimension do not match. For example:
Unit<Length> LIGHT_YEAR = NonSI.C.times(NonSI.YEAR).asType(Length.class);
type
- the quantity class identifying the nature of the unit.java.lang.ClassCastException
- if the dimension of this unit is different from the specified quantity dimension.java.lang.UnsupportedOperationException
- if the specified quantity class does not have a public static field named "UNIT" holding the standard
unit for the quantity.public final Dimension getDimension()
model
).public final UnitConverter getConverterTo(Unit<?> that) throws ConversionException
that
- the unit to which to convert the numeric values.that
unit.ConversionException
- if the conveter cannot be constructed (e.g. !this.isCompatible(that)
).public final <A extends Quantity> AlternateUnit<A> alternate(java.lang.String symbol)
Unit<Angle> RADIAN = ONE.alternate("rad"); Unit<Force> NEWTON = METER.times(KILOGRAM).divide(SECOND.pow(2)).alternate("N"); Unit<Pressure> PASCAL = NEWTON.divide(METER.pow(2)).alternate("Pa");
symbol
- the new symbol for the alternate unit.java.lang.UnsupportedOperationException
- if this unit is not a standard unit.java.lang.IllegalArgumentException
- if the specified symbol is already associated to a different unit.public final CompoundUnit<Q> compound(Unit<Q> subunit)
subunit
- the sub-unit to combine with this unit.public final Unit<Q> transform(UnitConverter operation)
Unit<Dimensionless> DECIBEL = Unit.ONE.transform(new LogConverter(10).inverse() .concatenate(new RationalConverter(1, 10)));
operation
- the converter from the transformed unit to this unit.public final Unit<Q> plus(double offset)
offset
- the offset added (expressed in this unit, e.g. CELSIUS = KELVIN.plus(273.15)
).this.transform(new AddConverter(offset))
public final Unit<Q> times(long factor)
factor
- the exact scale factor (e.g. KILOMETER = METER.times(1000)
).this.transform(new RationalConverter(factor, 1))
public final Unit<Q> times(double factor)
factor
- the approximate factor (e.g. ELECTRON_MASS = KILOGRAM.times(9.10938188e-31)
).this.transform(new MultiplyConverter(factor))
public final Unit<? extends Quantity> times(Unit<?> that)
that
- the unit multiplicand.this * that
public final Unit<? extends Quantity> inverse()
1 / this
public final Unit<Q> divide(long divisor)
divisor
- the exact divisor. (e.g. QUART = GALLON_LIQUID_US.divide(4)
).this.transform(new RationalConverter(1 , divisor))
public final Unit<Q> divide(double divisor)
divisor
- the approximate divisor.this.transform(new MultiplyConverter(1.0 / divisor))
public final Unit<? extends Quantity> divide(Unit<?> that)
that
- the unit divisor.this / that
public final Unit<? extends Quantity> root(int n)
n
- the root's order.java.lang.ArithmeticException
- if n == 0
.public final Unit<? extends Quantity> pow(int n)
n
- the exponent.public static Unit<? extends Quantity> valueOf(java.lang.CharSequence csq)
standard unit format
.
Examples of valid entries (all for meters per second squared) are:
m*s-2 m/s² m·s-² m*s**-2 m^+1 s^-2
csq
- the character sequence to parse.UnitFormat.getStandardInstance().parse(csq, new ParsePosition(0))
java.lang.IllegalArgumentException
- if the specified character sequence cannot be correctly parsed (e.g. symbol unknown).public final java.lang.String toString()
String
representation of this unit. This representation is not affected by
locale. Locale-sensitive unit formatting and parsing is handled by the MeasureFormat
class and its
subclasses.toString
in class java.lang.Object
UnitFormat.getStandardInstance().format(this)


Class: Aws::TranscribeService::Types::StartMedicalTranscriptionJobRequest
| Relationships & Source Files | |
| Super Chains via Extension / Inclusion / Inheritance | |
|
Class Chain:
self,
Struct
|
|
|
Instance Chain:
self,
::Aws::Structure ,
Struct
|
|
| Inherits: |
Struct
|
| Defined in: | gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb |
Overview
Constant Summary
Instance Attribute Summary
-
#content_identification_type ⇒ String
rw
Labels all personal health information (PHI) identified in your transcript.
-
#kms_encryption_context ⇒ Hash<String,String>
rw
A map of plain text, non-secret key:value pairs, known as encryption context pairs, that provide an added layer of security for your data.
-
#language_code ⇒ String
rw
The language code that represents the language spoken in the input media file.
-
#media ⇒ Types::Media
rw
Describes the Amazon S3 location of the media file you want to use in your request.
-
#media_format ⇒ String
rw
Specify the format of your input media file.
-
#media_sample_rate_hertz ⇒ Integer
rw
The sample rate, in hertz, of the audio track in your input media file.
-
#medical_transcription_job_name ⇒ String
rw
A unique name, chosen by you, for your medical transcription job.
-
#output_bucket_name ⇒ String
rw
The name of the Amazon S3 bucket where you want your medical transcription output stored.
-
#output_encryption_kms_key_id ⇒ String
rw
The KMS key you want to use to encrypt your medical transcription output.
-
#output_key ⇒ String
rw
Use in combination with
OutputBucketName
to specify the output location of your transcript and, optionally, a unique name for your output file. -
#settings ⇒ Types::MedicalTranscriptionSetting
rw
Specify additional optional settings in your request, including channel identification, alternative transcriptions, and speaker partitioning.
-
#specialty ⇒ String
rw
Specify the predominant medical specialty represented in your media.
-
#tags ⇒ Array<Types::Tag>
rw
Adds one or more custom tags, each in the form of a key:value pair, to a new medical transcription job at the time you start this new job.
-
#type ⇒ String
rw
Specify whether your input media contains only one person (
DICTATION
) or contains a conversation between two people (CONVERSATION
).
Instance Method Summary
::Aws::Structure
- Included
| #to_hash | Alias for Structure#to_h. |
Instance Attribute Details
#content_identification_type ⇒ String
(rw)
Labels all personal health information (PHI) identified in your transcript. For more information, see Identifying personal health information (PHI) in a transcription.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#kms_encryption_context ⇒ Hash
<String
,String
> (rw)
A map of plain text, non-secret key:value pairs, known as encryption context pairs, that provide an added layer of security for your data. For more information, see KMS encryption context and Asymmetric keys in KMS.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#language_code ⇒ String
(rw)
The language code that represents the language spoken in the input
media file. US English (en-US
) is the only valid value for medical
transcription jobs. Any other value you enter for language code
results in a BadRequestException
error.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#media ⇒ Types::Media (rw)
Describes the Amazon S3 location of the media file you want to use in your request.
For information on supported media formats, refer to the MediaFormat parameter or the Media formats section in the Amazon S3 Developer Guide.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#media_format ⇒ String
(rw)
Specify the format of your input media file.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#media_sample_rate_hertz ⇒ Integer
(rw)
The sample rate, in hertz, of the audio track in your input media file.
If you don't specify the media sample rate, Amazon Transcribe
Medical determines it for you. If you specify the sample rate, it
must match the rate detected by Amazon Transcribe Medical; if
there's a mismatch between the value that you specify and the value
detected, your job fails. Therefore, in most cases, it's advised to
omit MediaSampleRateHertz
and let Amazon Transcribe Medical
determine the sample rate.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#medical_transcription_job_name ⇒ String
(rw)
A unique name, chosen by you, for your medical transcription job.
The name that you specify is also used as the default name of your
transcription output file. If you want to specify a different name
for your transcription output, use the OutputKey
parameter.
This name is case sensitive, cannot contain spaces, and must be
unique within an Amazon Web Services account. If you try to create a
new job with the same name as an existing job, you get a
ConflictException
error.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#output_bucket_name ⇒ String
(rw)
The name of the Amazon S3 bucket where you want your medical
transcription output stored. Do not include the S3://
prefix of
the specified bucket.
If you want your output to go to a sub-folder of this bucket,
specify it using the OutputKey
parameter; OutputBucketName
only
accepts the name of a bucket.
For example, if you want your output stored in
S3://DOC-EXAMPLE-BUCKET
, set OutputBucketName
to
DOC-EXAMPLE-BUCKET
. However, if you want your output stored in
S3://DOC-EXAMPLE-BUCKET/test-files/
, set OutputBucketName
to
DOC-EXAMPLE-BUCKET
and OutputKey
to test-files/
.
Note that Amazon Transcribe must have permission to use the
specified location. You can change Amazon S3 permissions using the
Amazon Web Services Management Console. See also Permissions
Required for ::Aws::IAM
User Roles.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#output_encryption_kms_key_id ⇒ String
(rw)
The KMS key you want to use to encrypt your medical transcription output.
If using a key located in the current Amazon Web Services
account, you can specify your ::Aws::KMS
key in one of four ways:
Use the
::Aws::KMS
key ID itself. For example,1234abcd-12ab-34cd-56ef-1234567890ab
.Use an alias for the
::Aws::KMS
key ID. For example,alias/ExampleAlias
.Use the Amazon Resource Name (ARN) for the
::Aws::KMS
key ID. For example,arn:aws:kms:region:account-ID:key/1234abcd-12ab-34cd-56ef-1234567890ab
.Use the
::Aws::ARN
for the::Aws::KMS
key alias. For example,arn:aws:kms:region:account-ID:alias/ExampleAlias
.
If using a key located in a different Amazon Web Services
account than the current Amazon Web Services account, you can
specify your ::Aws::KMS
key in one of two ways:
Use the
::Aws::ARN
for the::Aws::KMS
key ID. For example,arn:aws:kms:region:account-ID:key/1234abcd-12ab-34cd-56ef-1234567890ab
.Use the
::Aws::ARN
for the::Aws::KMS
key alias. For example,arn:aws:kms:region:account-ID:alias/ExampleAlias
.
If you don't specify an encryption key, your output is encrypted with the default Amazon S3 key (SSE-S3).
If you specify a ::Aws::KMS
key to encrypt your output, you must also
specify an output location using the OutputLocation
parameter.
Note that the role making the request must have permission to use
the specified ::Aws::KMS
key.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#output_key ⇒ String
(rw)
Use in combination with OutputBucketName
to specify the output
location of your transcript and, optionally, a unique name for your
output file. The default name for your transcription output is the
same as the name you specified for your medical transcription job
(MedicalTranscriptionJobName
).
Here are some examples of how you can use OutputKey
:
If you specify 'DOC-EXAMPLE-BUCKET' as the
OutputBucketName
and 'my-transcript.json' as theOutputKey
, your transcription output path iss3://DOC-EXAMPLE-BUCKET/my-transcript.json
.If you specify 'my-first-transcription' as the
MedicalTranscriptionJobName
, 'DOC-EXAMPLE-BUCKET' as theOutputBucketName
, and 'my-transcript' as theOutputKey
, your transcription output path iss3://DOC-EXAMPLE-BUCKET/my-transcript/my-first-transcription.json
.If you specify 'DOC-EXAMPLE-BUCKET' as the
OutputBucketName
and 'test-files/my-transcript.json' as theOutputKey
, your transcription output path iss3://DOC-EXAMPLE-BUCKET/test-files/my-transcript.json
.If you specify 'my-first-transcription' as the
MedicalTranscriptionJobName
, 'DOC-EXAMPLE-BUCKET' as theOutputBucketName
, and 'test-files/my-transcript' as theOutputKey
, your transcription output path iss3://DOC-EXAMPLE-BUCKET/test-files/my-transcript/my-first-transcription.json
.
If you specify the name of an Amazon S3 bucket sub-folder that doesn't exist, one is created for you.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#settings ⇒ Types::MedicalTranscriptionSetting (rw)
Specify additional optional settings in your request, including channel identification, alternative transcriptions, and speaker partitioning. You can use that to apply custom vocabularies to your transcription job.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#specialty ⇒ String
(rw)
Specify the predominant medical specialty represented in your media.
For batch transcriptions, PRIMARYCARE
is the only valid value. If
you require additional specialties, refer to .
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#tags ⇒ Array
<Types::Tag> (rw)
Adds one or more custom tags, each in the form of a key:value pair, to a new medical transcription job at the time you start this new job.
To learn more about using tags with Amazon Transcribe, refer to Tagging resources.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end
#type ⇒ String
(rw)
Specify whether your input media contains only one person
(DICTATION
) or contains a conversation between two people
(CONVERSATION
).
For example, DICTATION
could be used for a medical professional
wanting to transcribe voice memos; CONVERSATION
could be used for
transcribing the doctor-patient dialogue during the patient's
office visit.
# File 'gems/aws-sdk-transcribeservice/lib/aws-sdk-transcribeservice/types.rb', line 3731
class StartMedicalTranscriptionJobRequest < Struct.new( :medical_transcription_job_name, :language_code, :media_sample_rate_hertz, :media_format, :media, :output_bucket_name, :output_key, :output_encryption_kms_key_id, :kms_encryption_context, :settings, :content_identification_type, :specialty, :type, : ) SENSITIVE = [] include Aws::Structure end


|
PLATFORMER_BERRY_NINJA
|
Classes | |
| struct | Collision |
| A struct to describe the collision that occurred. More... | |
Enumerations | |
| enum | CollisionType { CollisionType::NONE, CollisionType::TOP, CollisionType::MIDDLE, CollisionType::BOTTOM, CollisionType::LEFT, CollisionType::RIGHT } |
| An enum to define the various collision type with another object. More... | |
| enum | VerticalCollisionDirection { VerticalCollisionDirection::UP, VerticalCollisionDirection::DOWN } |
| An enum to define the vertical direction of a colliding object. More... | |
| enum | GravityStatus { GravityStatus::GRAVITY_NONE, GravityStatus::GRAVITY_COLLIDE_WITH_UP_TILE, GravityStatus::GRAVITY_COLLIDE_WITH_BOTTOM_TILE } |
| An enum to define gravity status of a collidable object. More... | |
Functions | |
| bool | CheckCollision (BoundingBoxAware *object1, BoundingBoxAware *object2) |
| This method is used to check for collisions between 2 BoundingBoxAware objects. More... | |
| GravityStatus | CheckGravityStatus (BoundingBoxAware *object1, BoundingBoxAware *object2) |
| Collision | ComputeCollisionWithWalls (BoundingBoxAware *colliding_object, int screen_width, int screen_height) |
| This method check and computes the collision details for a BoundingBoxAware object with the walls in the game. More... | |
| Collision | ComputeCollision (BoundingBoxAware *colliding_object, BoundingBoxAware *collided_with, VerticalCollisionDirection colliding_object_direction) |
| This method is used to compute collision details from a collision that happens between 2 BoundingBoxAware objects. More... | |
|
strong |
An enum to define the various collision type with another object.
| Enumerator | |
|---|---|
| NONE | There was no collision. |
| TOP | Collision was with the top portion of the object. |
| MIDDLE | Collision was with the middle portion of the object. |
| BOTTOM | Collision was with bottom portion of the object. |
| LEFT | Collision was with left part of the object. |
| RIGHT | Collision was with right part of the object. |
|
strong |
|
strong |
|
inline |
This method is used to check for collisions between 2 BoundingBoxAware objects.
| object1 | Pointer to the first object in a potential collision. |
| object2 | Pointer to the second object in a potential collision. |
|
inline |
|
inline |
This method is used to compute collision details from a collision that happens between 2 BoundingBoxAware objects.
This method computes collision after checking for a potential collision first, so it is safe to call even if there is no potential collision between 2 objects.
| colliding_object | A pointer to the colliding object that maybe in a potential conclusion. |
| collided_with | A pointer to the second object that maybe in a potential conclusion with colliding_object. |
| colliding_object_direction | The vertical direction of the movement of colliding_object. |
|
inline |
This method check and computes the collision details for a BoundingBoxAware object with the walls in the game.
| colliding_object | Pointer to the object that may collide with the walls in the game. |
| screen_width | The width of the game window in pixels. |
| screen_height | The height of the game window in pixels. |