Building a SPA Front End
In this session, we’ll add the code for the client application. Create a view for the conference sessions, details and speaker information.
This example uses the SpaServices templates which combines the FrontEnd and Web API by default. In this code sample/lab, the API (BackEnd) is a separate project therefore unneeded portions of the generated code can be removed and setting the url for the API will be handled in a way more apt to a production setup.
Note: This uses the 2.0 templates for SPA which are not included in .NET Core 2.0.x SDK. If you are on one of those SDKs you will need to follow the instructions here to get the newer templates
Creating the project
Create the new SPA application using the dotnet
CLI in the ConferencePlanner folder.
dotnet new angular -n FrontEndSpa -o src/FrontEndSpa
Add the new project to the solution
dotnet sln add src/FrontEnd/FrontEnd.csproj
Clean up
Since the API is a separate project, some initial setup and cleaning out the unnecessary files can be done.
Remove the Weather components
- delete the Controllers folder
- delete ClientApp/src/app/fetch-data folder
- remove all references (entire line) to FetchDataComponent in ClientApp/src/app/app.module.ts
- remove the link from the nav-menu.component.html

 Counter

Remove the Counter components
- delete ClientApp/src/app/counter folder
- remove all references (entire line) to CounterComponent in ClientApp/src/app/app.module.ts
- remove the link from the nav-menu.component.html

 Counter

Setup the URL for the Web API Service
The URL for the ASP.NET Core Web API service needs to be configured as a setting. Futhermore, makes sense to have the ability to use a different setting per environment. Angluar uses the *environments files to do so.
Open ClientApp/src/environments/environments.ts and change it to the following.
export const environment = {
production: false,
API_URL: 'http://localhost:50069'
};
For a production setting, add the API_URL
value to the environment.prod.ts file as well.
Open ClientApp/src/main.ts , add the getApiUrl()
function and add the new API_URL
to the providers
export function getApiUrl() {
return environment.API_URL;
}
const providers = [
{ provide: 'BASE_URL', useFactory: getBaseUrl, deps: [] },
{ provide: 'API_URL', useFactory: getApiUrl, deps: [] }
];
Create and wire-up the API using an Angular Service
We’ll create the models to map to the ConferenceDTO classes and a class to talk to the ASP.NET Core Web API service
Create the model
Using the Angular CLI, create the class for the model to map the ConferenceDTO classes to TypeScript classes. Change directory to ClientApp, and create a model.ts using the following command.
ng g class shared/model
Add the following code to the file.
export class Track {
trackID: number;
conferenceID: number;
name: string;
}
export class Speaker {
id: number;
name: string;
bio?: any;
webSite?: any;
sessions?: Session[];
}
export class Session {
track: Track;
speakers: Speaker[];
tags: any[];
id: number;
conferenceID: number;
title: string;
abstract: string;
startTime: Date;
endTime: Date;
duration: string;
trackId: number;
}
Create the data service
Create a data service to call the ASP.NET Core Web API.
ng g service shared/data
Update the code to the following.
import { Injectable, Inject } from '@angular/core';
import { Headers, Http } from '@angular/http';
import 'rxjs/add/operator/toPromise';
import { Session, Speaker } from './model';
@Injectable()
export class DataService {
private headers = new Headers({ 'Content-Type': 'application/json' });
private sessionUrl = 'api/sessions';
private speakerUrl = 'api/speakers';
/**
* init with Http
*/
constructor(private http: Http, @Inject('API_URL') private baseUrl: string) { }
getSessions(): Promise<Session[]> {
return this.http.get(this.baseUrl + this.sessionUrl)
.toPromise()
.then(response => <Session[]>response.json())
.catch(this.handleError);
}
getSession(id: number): Promise<Session> {
const url = `${this.baseUrl + this.sessionUrl}/${id}`;
return this.http.get(url)
.toPromise()
.then(response => <Session>response.json())
.catch(this.handleError);
}
getSpeaker(id: number): Promise<Speaker> {
const url = `${this.baseUrl + this.speakerUrl}/${id}`;
return this.http.get(url)
.toPromise()
.then(response => <Speaker>response.json())
.catch(this.handleError);
}
getSpeakers(): Promise<Speaker[]> {
return this.http.get(this.baseUrl + this.speakerUrl)
.toPromise()
.then(response => <Speaker[]>response.json())
.catch(this.handleError);
}
private getData(response: Response) { }
private handleError(error: any): Promise<any> {
console.error('An error occurred', error); // for demo purposes only
return Promise.reject(error.message || error);
}
}
List the sessions
Now that we have a service to talk to the API, we’ll add the views to display a basic list of all sessions for the conference and validate the FrontEnd / API communication.
Create and add the Sessions component
-
Create the sessions component
ng g component sessions
-
Update the sessions.component.ts file to the following
import { Component, OnInit } from '@angular/core'; import { Router } from '@angular/router'; import { DataService } from '../shared/data.service'; import { Session } from '../shared/model'; @Component({ selector: 'conf-sessions', templateUrl: './sessions.component.html' }) export class SessionsComponent implements OnInit { sessions: Session[]; constructor(private dataService: DataService) { } getSessions(): void { this.dataService .getSessions() .then(sessions => this.sessions = sessions); } ngOnInit() { this.getSessions(); } }
-
Update the template sessions.component.html

My Conference 2017

 Loading...

-
Now that the components and data service is created, open app.module.ts to import the DataService component. Add the following to the top to import the module.
import { DataService } from './components/shared/data.service';
-
In the same file add the SessionsComponent in the
declarations
part of the @NgModule -
Add the route for the sessions page to the RouterModule
{ path: 'sessions', component: SessionsComponent },
-
Add the DataService as a provider after the imports.
providers: [DataService]
-
Finally, add the following in nav-menu.component.html to add a link to the sessions list from the left nav:

   Sessions

Running the application
Start the Web API Application using Visual Studio or VS Code. It should start on http://localhost:50069
In another editor or process, start the FrontEndSpa application pressing F5 or running dotnet run
and your SPA application will be available on http://localhost:5000. Since we are using Webpack with the hot module reload, you can continue to make changes to the Angular application and see the changes as you work through the rest of the code.
Creating the Session Detail Page
Now that we have a home page showing all the sessions, we’ll create a page to show all the details of a specific session
-
Create the Session Detail component
ng g component sessionDetail
-
Update the component code to the following
import 'rxjs/add/operator/switchMap'; import { Component, OnInit } from '@angular/core'; import { ActivatedRoute, ParamMap } from '@angular/router'; import { Location } from '@angular/common'; import { Session } from '../shared/model'; import { DataService } from '../shared/data.service'; @Component({ selector: 'session-detail', templateUrl: './sessiondetail.component.html' }) export class SessionDetailComponent implements OnInit { session: Session; constructor( private sessionService: DataService, private route: ActivatedRoute, private location: Location ) { } ngOnInit(): void { this.route.paramMap .switchMap((params: ParamMap) => this.sessionService.getSession(+params.get('id')!)) .subscribe(session => this.session = session); } goBack() { this.location.back(); } }
-
Update the template session-detail.component.html

Back

Agenda

-
Add the route for the session detail page to the RouterModule also adding the
/:id
parameter to be passed along for the specific session.{ path: 'sessiondetail/:id', component: SessionDetailComponent }
Create the Speaker Detail Page
We’ll add a page to show details for a given speaker
-
Create the Speaker Detail component
ng g component speakerDetail
-
Update the code for the component to the following
import 'rxjs/add/operator/switchMap'; import { Component, OnInit } from '@angular/core'; import { ActivatedRoute, ParamMap } from '@angular/router'; import { Location } from '@angular/common'; import { DataService } from '../shared/data.service'; import { Speaker } from '../shared/model'; @Component({ selector: 'conf-speakerdetail', templateUrl: './speakerdetail.component.html' }) export class SpeakerDetailComponent implements OnInit { speaker: Speaker; constructor( private dataService: DataService, private route: ActivatedRoute, private location: Location ) { } ngOnInit() { this.route.paramMap .switchMap((params: ParamMap) => this.dataService.getSpeaker(+params.get('id')!)) .subscribe(speaker => this.speaker= speaker); } goBack() { this.location.back(); } }
-
Update the template speaker-detail.component.html to the following

Back

Speakers

Sessions

-
Add the route for the speaker detail page to the RouterModule also adding the
/:id
parameter to be passed along for the specific session.{ path: 'speaker/:id', component: SpeakerDetailComponent }
Challenge / Bonus
Add a Speakers Listing Page and link from it to the /speakerdetail
route
Sessions
This is series of articles on Building Conf planner app with Asp.net Core:
- 1 - Build the back-end API with basic EF model
- 2 - Finish the back-end API and EF model, refactor into view modelsl
- 3 - Add front-end, render agenda, set up front-end models
- 4 - Add authentication, add admin policy, allow editing sessions, users can sign-in with Identity, custom auth tag helper
- 5 - Add user association and personal agenda
- 6 - Deployment, Azure and other production environments, configuring environments, diagnostics
- 7 - Challenges
- 8 - SPA front-end


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On this list you'll find the best PC games we're playing right now—recent singleplayer hits,
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---
layout: post
title: My Top 5 Artists (Week Ending 2011-8-28)
date: '2011-09-01T10:30:14+02:00'
tags: []
tumblr_url: http://dotmr.tumblr.com/post/9662351590/my-top-5-artists-week-ending-2011-8-28
---
My Top 5 Artists (Week Ending 2011-8-28)
Imported from Last.fm Tumblr by JoeLaz


- HUFFMAN - Static variable in class compresch.Main
-
- HuffmanDecoder - Class in compresch.huff
-
Decodes file encoded with Huffman coding.
- HuffmanDecoder() - Constructor for class compresch.huff.HuffmanDecoder
-
- HuffmanEncoder - Class in compresch.huff
-
Encodes file with Huffman coding.
- HuffmanEncoder() - Constructor for class compresch.huff.HuffmanEncoder
-
- HuffmanFrequencyTable - Class in compresch.huff
-
Utility class to hold count of distinct symbols in file to be encoded.
- HuffmanHeap - Class in compresch.ds
-
Minimum heap implementation for HuffmanNode data type.
- HuffmanHeap() - Constructor for class compresch.ds.HuffmanHeap
-
Constructs a new minimum heap with default values.
- HuffmanNode - Class in compresch.huff
-
Node class for HuffmanTree.
- HuffmanNode(int, int) - Constructor for class compresch.huff.HuffmanNode
-
Constructor for leaf node containing a symbol and its frequency.
- HuffmanNode(int) - Constructor for class compresch.huff.HuffmanNode
-
Constructor for leaf node containing only symbol.
- HuffmanNode(HuffmanNode, HuffmanNode) - Constructor for class compresch.huff.HuffmanNode
-
Constructor for internal node, whose 'symbol' and frequency are sums of those in child nodes.
- HuffmanTree - Class in compresch.huff
-
Utility class used both for encoding and decoding with Huffman coding.


“… and that is why I succeed.”
Search within yourself by Chade-Meng Tan, Chapter 6: Making Profits, Rowing Across Oceans, and Changing the World
How does life look through the 'pleasure, passion and purpose' lens?
To be fair, right now, not great. My passion gets me into trouble and I have no pleasure in my career. I have just finished a long planning obligation and I'm just tired to my core. Outside of this my purpose is to get to BootCamp and be in the thick of becoming who I want to be moving forward. My passion and pleasure and purpose feel like they are on hold.
From the 'discovering values and higher purpose' exercise:
What are your core values?
I did this exercise funnily enough this time last year. At the time it was too be supportive of myself and others, to be kind and to be open to change. Revisting this I found that I felt the same but also more optimistic. My core values are"
To be kind and practice kindness.
To be open to changes, different ideals and different opinions.
To share knowledge with others to help for the greater good.
To leave a legacy of kindeness and warmth after I've gone.
What do you stand for?
Kindness. To be kind to others and myself and make improvements that make technology/life kinder.
How did you find the resilience ideas and meditation exercise?
Excellent! I'm going through something unpleasant at the moment and the resilence exercises have helped with the rage breathing that satrts and helps me get my head in order so I can speak. Meditation has been my saving grace and its been super helpful
Any other musings?
I do feel more motivated to get things done, thank you for this chapter!


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In October 1926, critic C. H. Rickword observed that "character is, to borrow biological jargon, an emergent quality of the novel. It emerges from the story, which is itself structurally a product of language. . . ." 1 In a review of Elizabeth Drew's study, The Modern Novel, Rickword called character an "organizing principle" ("NF," 156), and defined "the quality that is common to all great works of literature, in no matter what genre" ("NF," 157): "it is primarily a sequence of events developing in accordance with an inner necessity" ("NF," 157). In its interest in a sequence of developmental events, the notion of an inner necessity, the concept of an organizing principle, and its opposition between an "emergent quality" and the structural surround from which it emerges, as in its overt admission that it is borrowing from biology, this manifesto from the realm of literature challenges the two-culture divide. Rickword is writing about literature using terms current in modern embryology.
I want to explore the possibility that developments in the scientific field of embryology--concerned as it is with the principle of individual development against a backdrop of species change over time--have a relationship to developments within the art of fiction, with the latter's emphasis on character creation against a backdrop of narrative and language, in the modern period. 2 In short, I will ask: What connections may exist between the embryological "take" on the developing individual, and the literary approach to character construction in the first three decades of the twentieth century?
Since its origins in the observations of Hippocrates and Aristotle, embryology focused on "the most obstinate biological problem of all--that of how the egg develops into a complex organism." 3 While in the nineteenth century it was primarily a descriptive science, concerned with morphology, with form, by the dawn of the twentieth century, embryology had emerged as an experimental science as embryologists engaged in a heated series of debates. 4 Vitalists, favoring the notion of a life-force fueling development, were vanquished by mechanists, who held that embryonic development could be explained "on a mechanical cause-and-effect basis" (SL, 263). 5 Preformationists, who held that the entire adult organism existed preformed in the egg, were decisively overruled by epigenesists, who held that the organism developed through successive processes of differentiation, from a previously undifferentiated entity (SL, 31). These movements in modern embryology had their parallels in modern culture at large, in its increasing mechanization, breakdown of communal certainties, and threat to conventional ideas of causality and predictability. 6 So just as the seventeenth century saw the development of a "fetal subject" suiting the new requirements of the liberal civil state, early-twentieth-century embryology charted the development of a new embryo suited to its period. 7 This was an embryo neither preformed nor infused with an ineffable life force, but instead machine-like and developing into a greater differentiation subject to the reign of chance.
Three new experimental techniques developed in the first two decades of the twentieth century enabled embryologists to investigate the nature of the relationship between individual and species (phenotype and genotype) or, to put it more broadly, between the problems of embryonic development and hereditary transmission of differences. They were tissue culture, grafting, and artificial parthenogenesis. 8 These techniques are particularly interesting, because they address issues in embryology that echo specific problems of character creation in modern literature: the temporal and spatial boundaries of the individual, the malleability of sex/gender, and the organizing principles of development.
The technique of tissue culture, perfected in 1907, enabled embryologists to excise living tissue and keep it alive, bathed in a nutrient solution, in petri dishes or test tubes. American scientist Ross Harrison first carried out this technique successfully in his anatomy lab at The Johns Hopkins University, when he induced fragments of nervous tissue from frog embryos to stay alive, and to produce outgrowths, when cultured outside the body. The same technique was later practiced with great cultural prominence by Alexis Carrel, who brought it to London--and mass cultural celebrity--in 1924. 9 The technique of grafting was perfected by Hans Spemann in 1918, when, in what H. G. Wells, Julian Huxley, and G. P. Wells, in The Science of Life , dubbed "a series of beautiful experiments with developing newts' eggs," 10 he "cut out one part of an embryo and implanted it in another position to see what would become of it" (SL, 259). When "Spemann transposed presumptive brain with presumptive belly, and found that each became the kind of tissue which was required by its new environment," he began the process that led to the discovery of the principle that organized embryonic growth (SL, 259). 11
Given their prominence in the scientific and cultural imaginary, it is hardly surprising that both tissue culture and grafting appeared in literary texts as metaphoric strategies for character creation. As Lucia Sander has shown, Susan Glaspell's 1922 play, "The Verge," used a woman scientist's botanical experiment in the creation of hybrid plants to embody the parallel experiment in living being carried out by the heroine. 12 Like her prized hybrid "Edge Vine," Clare's liminal challenge to conventional gender roles (motherhood, wifehood) is aesthetically, philosophically, and socially risky. Clare's husband finds her work disturbing: "changing things into other things--putting things together and making queer new things . . . it's unsettling for a woman." 13 Clare's description of her plants holds for herself as well: "These plants . . . perhaps they are less beautiful--less sound--than the plants from which they diverged. But they have found--otherness. . . . They have been shocked out of what they were--into something they were not; they've broken from the forms in which they found themselves. They are alien. Outside." (V, 52) Glaspell explicitly invokes the innovations of contemporary embryology when Clare, speaking implicitly of botany and society, imagines a world in which disparate parts are broken and recombined with disturbing and exciting implications: "I want to break it up!  If it were all in pieces, we'd be . . . shocked to aliveness-- . . . wouldn't we? There would be strange new comings together--mad new comings together, and we would know what it is to be born, and then we might know--that we are. Smash it. [Her hand is near an egg.] As you'd smash an egg." (V, 19) We can trace a network of embryological references, from Glaspell's play to Aldous Huxley's Antic Hay a year later , where Shearwater's horrifying laboratory creations literalize the embryological experiments in grafting and tissue culture of the era, in order to offer ironic commentary on the sexual and social experimentation of the early 1920s. There is the "Cock into which Shearwater had engrafted an ovary," and who now knows not "whether to crow or cluck," and the "beetles, who had had their heads cut off and replaced by the heads of other beetles," and who "darted uncertainly about, some obeying their heads, some their genital organs." 14 Then, three years later, in 1926, zoologist Julian Huxley published a short story in the Yale Review that explored the cross-cultural, cross-species implications of those embryological techniques. "The Tissue-Culture King," subtitled "A Parable of Modern Science," is a fanciful adventure story in which the members of an African tribe are taught by a British medical researcher to culture the king's tissues and so extend his power--and their own. 15 As I have discussed elsewhere, this short story used one of the most celebrated modern embryological techniques to launch a critique of the eugenic control fantasies of modern science. But more importantly for our purposes now, it also drew on embryology to consider the political and psychological implications of thinking of identity not as stabilized in space and in one time period, but rather as diffused and disseminated across different spaces and times. Finally, in 1932, Aldous Huxley's Brave New World considered how the techniques of tissue culturing could challenge the nature of biological and cultural individuality, with the image of the conformist human products of the Central London Hatchery and Conditioning Center.
While tissue culture and grafting made it possible for embryologists to investigate the temporal and spatial boundaries of the organism, another technique enabled embryologists to study the relative contribution of the two sexes to the new individual. Artificial parthenogenesis, "one of the most striking discoveries of modern biology," according to Wells, Huxley, and Wells, was first developed by Jacques Loeb in 1901. 16 This technique consists of the mechanical or chemical stimulation of ova, producing cell division characteristic of fertilization, without stimulus by sperm. While parthenogenesis occurs naturally in a number of organisms, Loeb initiated this as a laboratory procedure when he exposed sea-urchin eggs to salt water, inducing them to develop first to the larval stage and then to adulthood.
In an era that also saw the suffrage movement, eugenics, and sexology, artificial parthenogenesis was a particularly rich site for traffic between literature and science, because it explored the proper conditions for fertilization and development, and the relative contributions of paternal and maternal progenitors to the construction and development of the individual. H. G. Wells uses a contrast between artificial parthenogenesis and normal two-sex reproduction to delineate character in his novel Ann Veronica . Studying embryology and physiology in the laboratory of the Central Imperial College in London, his protagonist meditates on the fact that
Biology is an extraordinarily digestive science. It throws out a number of broad experimental generalizations, and then sets out to bring into harmony or relation with these an infinitely multifarious collection of phenomena.  It came to Ann Veronica one night . . . that this slowly elaborating biological scheme had something more than an academic interest for herself. . . . she in her own person too, was this eternal Bios, beginning again its recurrent journey to selection and multiplication and failure or survival. 17
Wells contrasts Ann Veronica, who accepts her purportedly natural role in the "biological laboratory" of society, to Miss Miniver the suffragist, who defies both Mr. Ramage's gender-stereotyped model for womanly behavior and the normalized biology from which it springs, subscribing instead to both social and embryological experimentation:
"We do not want the men," said Miss Miniver, "we do not want them. . . . Science some day may teach us a way to do without them. It is only the women matter. It is not every sort of creature needs--these males. Some have no males."
"There's green-fly," admitted Ann Veronica. "And even then--" [AV, 127-28]
Just as Wells describes the London in which Ann Veronica comes to maturity as "that remarkable laboratory of relationships" (AV, 151), so too Virginia Woolf borrows from science, in the manuscript drafts of A Room of One's Own. Yet while Wells uses science to enforce conventional sex roles, Woolf draws on it to escape them, defining the conditions that will favor the emergence of the modern woman writer:
what happens when the organism [are we not in a laboratory?]  Action? And she reaches out for it . . . & has by some entirely new <activity> organisation & combination to . . . absorb it into . . . a system already so highly developed for other purposes, so extraordinarily complex, so sensitive, that . . . it hardly knows what to make do with this astonishing addition. 18
Nine years before the publication of A Room of One's Own, Aldous Huxley published his first short story, "The Farcical History of Richard Greenow" . Woolf was familiar with Huxley's story when she drafted A Room of One's Own, having reviewed his Limbo, the volume in which it first appeared, for the Times Literary Supplement in 1920. There are a number of parallels between Huxley's farcical work and Woolf's serious essay that suggest Huxley's story is an important source for A Room of One's Own. I was first struck by the similarity between these two works when I noticed that both featured curious conversational vignettes about a classic example of anomalous development: a Manx cat. In Huxley's story, the protagonist must endure embarrassing questions posed him by his headmaster's wife:
"And so you have a deep, passionate fondness for cats," [she said] as though they had been intimately discussing the subject for the last hour. Dick had enough presence of mind to say that, yes, he did like cats--all except those Manx ones that had no tails.
"No tails," Mrs. Cravister repeated--"no tails. Like men. How symbolical everything is!" 19
Woolf too includes a conversation about the Manx cat in A Room of One's Own, but the detail that in Huxley served to differentiate human beings from animals serves in Woolf to differentiate men from women: "It is strange what a difference a tail makes. . . ." 20 The previously unstudied relationship between these two works merits a longer investigation than I can give here, but what interests me now is the fact that both works are cultural and literary explorations of issues also being investigated by embryologists of that era: the "conditions of emergence" for a modern writer and the relative importance of maternal and paternal, or female and male, influences on the writer's mind and art. Both stories make metaphoric use of a notion of single-sex generation that recalls the technique of artificial parthenogenesis. But the two stories borrow, and use, this concept drawn from early-twentieth-century embryology quite differently.
"The Farcical History of Richard Greenow" concerns a man who finds that he has--parthenogenetically, if you will--germinated a new being inside himself: a woman writer of sentimental fiction named Pearl Bellairs. As Greenow discovers,
He was a hermaphrodite. A hermaphrodite, not in the gross obvious sense of course, but spiritually.  He was not in the least distressed to discover this abnormality in his character. As long as the two parts of him kept well apart, as long as his male self could understand mathematics, and as long as his lady novelist's self kept up her regular habit of writing at night and retiring from business during the day, the arrangement would be admirable. ["FH," 433]
While Greenow forges a brilliant career in political journalism, his "lady novelist's self," Pearl Bellairs, continues her nightly output of five thousand words, publishing a series of popular novels that generates a lavish income for him. With the outbreak of the war, relations between the two selves become more difficult: Dick is a pacifist, and discovers to his horror that Pearl Greenow has begun writing articles of "shrilly raucous chauvinism" ("FH," 445). Worse still, when the war ends, and the franchise is extended to women over thirty, Pearl Bellairs shows up in the Town Hall--in his body--demanding her woman's vote. Greenow is committed to an insane asylum, where he dies, inhabited to the last by Pearl Bellairs, leaving behind a scribbled sheaf of conflicted ravings and directives dictated by both of his selves.
Huxley gives us a tale of parthenogenetic male "psychic birth" leading to debilitating, involuntary psychic androgyny, while Woolf's A Room of One's Own gives us a case of aesthetic androgyny that is not debilitating, but enabling. Greenow's farcical dilemma of being inhabited by a writer of another sex is, in Woolf's essay, literalized as a serious aesthetic principle rather than a psychic (and aesthetic) debility, an argument for psychic androgyny or bisexuality, rather than for masculine resistance to feminine impulses:
in each of us two powers preside, one male, one female. . . . The normal and comfortable state of being is that when the two live in harmony together, spiritually cooperating. If one is a man, still the woman part of the brain must have effect; and a woman also must have intercourse with the man in her. Coleridge perhaps meant this when he said that a great mind is androgynous. It is when this fusion takes place that the mind is fully fertilised and uses all its faculties. Perhaps a mind that is purely masculine cannot create, any more than a mind that is purely feminine. . . . [R, 102]
While in "Greenow" the war calls forth the jingoistic female effusions of Pearl Bellairs, in A Room of One's Own it elicits a purely male creation--a hideous parody of artificial parthenogenesis, whose progeny is produced in the absence not of the male, but of the female progenitor:
There has been a meeting of academicians whose object it is "to develop the Italian novel." "Men famous by birth, or in finance, industry, or the Fascist corporations" came together the other day and discussed the matter, and a telegram was sent to the Duce expressing the hope "that the Fascist era would soon give birth to a poet worthy of it." We may all join in that pious hope, but it is doubtful whether poetry can come out of an incubator. Poetry ought to have a mother as well as a father. The Fascist poem, one may fear, will be a horrid little abortion such as one sees in a glass jar in the museum of some country town. Such monsters never live long, it is said: one has never seen a prodigy of that sort cropping grass in a field. Two heads on one body do not make for length of life. [R, 107]
Woolf briefly toys with the notion of a mental parthenogenesis in her image of women writers learning from a rediscovered female tradition: "we think back through our mothers, if we are women" (R, 79). One of the critical problems posed by A Room of One's Own has been to reconcile this argument for reclaiming a female literary lineage with Woolf's final model of the androgynous artist. Woolf recoils from the notion--shared with, and possibly even drawn from, Huxley--of a parthenogenetic, male-male or female-female, lineage, imaged in the writer who comes into being without being "fertilized" by a partner of the opposite sex (whether it is Pearl Bellairs or the Fascist poet of A Room of One's Own). This is the main subject of critique both in Huxley's farce and Woolf's serious essay. The solutions to these dangerously narrow models for literary creativity are dramatically different, however. Huxley suggests that Greenow would have been better off if Pearl Bellairs had never inhabited him, while Woolf calls not for less gender blending, but more.
In their adaptations of embryological techniques to questions of character construction--among them the temporal and spatial boundaries of the individual, the malleability of sex/gender, and the organizing principles of development--these modern literary texts demonstrate the range of cultural meanings both borrowed from, and enabled by, the discourse of early-twentieth-century embryology. The interest that modern writers demonstrated in these new techniques in the years between 1900 and 1935 has been echoed, since 1980, by a parallel explosion of global interest in embryology, embodied in a number of fictions exploring fetal life, from Salman Rushdie's Midnight's Children, Ariel Dorfman's The Last Song of Manuel Sendero, and Carlos Fuentes's Christopher Unborn to Kenzaburo Oe's A Personal Matter and Pascal Bruckner's The Divine Child, each of which can be understood as drawing on embryological models to articulate a new, national fetal subject. 21 In the intervening years (1940 to 1980), as Evelyn Fox Keller has recently shown, embryology was nearly eclipsed by the new disciplinary prestige of genetics and molecular biology. It has taken two decades to refocus from the "discourse of gene action" (as Keller styles it) to a study of "higher organisms," and the embryology to which we have returned is not the same as the discipline abandoned in the rush of enthusiasm for genetics and molecular biology in the late 1930s. 22 The cultural and aesthetic implications of this changed scientific construction of the individual remain to be understood, and to shape our reading of the embryological borrowings of contemporary fictions.
Susan M. Squier is Julia Brill Professor of English and Women's Studies at Penn State University. She is the author, most recently, of Babies in Bottles: Twentieth-Century Visions of Reproductive Technology and Virginia Woolf and London: The Sexual Politics of the City , coeditor of Arms and the Woman: War, Gender, and Literary Representation , and editor of Women Writers and the City: Essays in Feminist Literary Criticism . She is currently working on a study of the traffic between beginning-of-life and end-of-life technologies in the modern and postmodern eras.
1. C. H. Rickword, "A Note on Fiction," in The English ModernistReader, 1910-1930, ed. Peter Faulkner (Iowa City: University of Iowa Press, 1982), 157; hereafter abbreviated "NF." The article originally appeared in The Calendar of Modern Letters 3 (July 1926): 166-68.
2. Joseph Needham explains that the "principle of emergence in itssimplest form is the statement that there are levels of existence in the universe, at each of which some more complicated form of being comes into existence, containing some essence absolutely new, and which could not have been predicted, even if all the properties are not the sum of the properties and peculiarities of its constituents." (Joseph Needham, Chemical Embryology, vol. 1 [New York: Hafner Publishing Co., 1931], 30)
3. Gordon Rattray Taylor, The Science of Life: A Picture History ofBiology (London: Thames and Hudson, 1963), 254-55; hereafter abbreviated SL.
4. Jane Maienschein, "The Origins of Entwicklungsmechanik," inDevelopmental Biology: A Comprehensive Synthesis, vol. 7, A Conceptual History of Modern Embryology, ed. Scott F. Gilbert (New York: Plenum Press, 1991), 43. Jane Oppenheimer points out:
It is quite often said, by those who try to outline the methods by which science operates, that a first phase in its development consists of the observation of data, a second, of their classification, and that there finally follows an inquiry into their relationships. If there is any single generalization that can be safely formulated concerning the history of embryology as a whole, it is probably that this science has carried out all these procedures simultaneously at all phases of its development, from the time of Aristotle through to our own. [Jane M. Oppenheimer, "Present Embryology," in her Essays in the History of Embryology (Cambridge, Mass.: M.I.T. Press, 1967), 9]
5. Donna Haraway explores how the German embryologist Hans Driesch "wasinstrumental in breaking the limits of a too simple mechanism in biology and in precipitating the crisis leading to a nonvitalist organicism" (Crystals, Fabrics, and Fields: Metaphors of Organicism in Twentieth-Century Developmental Biology [New Haven, Conn.: Yale University Press, 1976], 13).
6. See Malcolm Bradbury and James McFarlane, "The Name and Nature ofModernism," in Modernism: 1890-1930, ed. Malcolm Bradbury and James McFarlane (London: Penguin Books, 1976), 19-55; and James McFarlane, "The Mind of Modernism," in ibid., 71-93.
7. See Andrea Henderson, "Doll-Machines and Butcher-Shop Meat: Models ofChildbirth in the Early Stages of Industrial Capitalism," Genders 12 (winter 1991): 100-119.
8. See Evelyn Fox Keller, Rering Life: Metaphors ofTwentieth-Century Biology (New York: Columbia University Press, 1994), 4.
9. Donna Haraway observes that Ross Harrison's "extraordinarily richscientific career included development of tissue culture, a technique that he used to demonstrate the nature of nerve outgrowth" (Haraway, Crystals, Fabrics, and Fields, 13). For further information on Alexis Carrel's work in tissue culture, see J. A. Witkowski, "Alexis Carrel and the Mysticism of Tissue Culture," Medical History 23 : 279-96, esp. 282, n 20.
10. H. G. Wells, Julian Huxley, and G. P. Wells, The Science ofLife (London: Cassell and Company, Ltd., 1931), 582.
11. See ibid.
12. Lucia Sander, "Of Genes, Genres, and Gender or Of the PoliticalImplications of 'Transposition,'" unpublished paper. Sander reads Glaspell's play in relation to the scientific achievement of cytogeneticist Barbara McClintock, arguing that both Glaspell and McClintock's disciplinary marginalization follows from their radically "other" perspectives on science and drama. My thanks to Lucia Sander for sharing this paper with me.
13. Susan Glaspell, The Verge (Boston: Small, Maynard and Co.,1922), 20-21; hereafter abbreviated V.
14. Aldous Huxley, Antic Hay (London: Chatto and Windus, 1923),325, 325, 326, and 326, respectively.
15. See Julian Huxley, "The Tissue-Culture King," Yale Review 15(April 1926): 479-504; repr. in Amazing Stories (August 1927): 451-59.
16. Wells, Huxley, and Wells, The Science of Life, 509.
17. H. G. Wells, Ann Veronica (1909; London: J. M. Dent, 1993),119; hereafter abbreviated AV.
18. Virginia Woolf, Women and Fiction: The Manuscript Versions of ARoom of One's Own, ed. and trans. S. P. Rosenbaum (Oxford: Blackwell, 1992), 117.
19. Aldous Huxley, "The Farcical History of Richard Greenow," in TwiceSeven: Fourteen Selected Stories by Aldous Huxley (London: The Reprint Society, 1944), 423; hereafter abbreviated "FH."
20. Virginia Woolf, A Room of One's Own (1929; New York: HarcourtBrace and World, 1957), 13; hereafter abbreviated R.
21. Salman Rushdie, Midnight's Children (New York: Avon Books,1982); Ariel Dorfman, The Last Song of Manuel Sendero, trans. George R. Shivers with the author (New York: Penguin, 1987); Carlos Fuentes, Christopher Unborn, trans. Alfred MacAdam (London: André Deutsch, 1989); Kenzaburo Oe, A Personal Matter, trans. John Nathan (New York: Grove Press, 1989); and Pascal Bruckner, The Divine Child, trans. Joachim Neugroschel (New York: Little, Brown, 1992).
22. Keller, Rering Life, 32.
.


 Now you have the opportunity to give a random person on the internet some money and they're going to take it and donate most of it. Of course I will take some percentage! Every sold token generates funds for a selection of environmental, children's and other charities.
First of its kind ICO
Let's be honest—everyone's tired of ICOs. They get hyped up for weeks, and then they launch and clog up the Ethereum network for days, Coinbase goes down for a while, and then “investors” see the new tokens lose most of their “value”. This ICO is different.  You will throw it away anyway.
The GAT ICO transparently offers investors no value, so there will be no expectation of gains. No gains means few investors, few investors means few transactions, and few transactions means no Ethereum network lag—not to mention no depressing posts on /r/ethtrader about people losing all their savings!
Do something good and donate
As we already know we always throw some Etherum away and donate in other ICOs. This time you can do the same thing, the only difference is that you will also donate and help others.
Every sold token generates funds for a selection of environmental, children's and other charities.
Guaranteed token value
Unlike every other token sale on the market, I can guarantee here and now that the value of GAT will not (in fact, cannot) reduce during or after the ICO. Since these tokens aren't worth anything to start with, there's nowhere to go but up!
Remember—this is a completely honest ICO, which means I don't want anyone to mistakenly expect the value of the tokens to go up, either. They're called Give Away Ethereum Tokens for a reason.
The crowdsale begins on:
July 24th, 2017 at 2:00 P.M. UTC
and will run until:
August 7th, 2017 at 2:00 P.M. UTC
(or until we will get something to donate)
To participate in the GAT ICO, just send as much Ether as you want to the GAT token/crowdsale contract. Make sure you provide enough gas for the transaction—100,000 or so ought to do it.
0x6cDB9686fe637F8262A20b03089198F0240e785f
The more Ether you contributes, the more tokens you get.
The base token distribution formula is very simple: for every 1 ETH you contribute, you'll receive 1000 GAT, so for 0.01 ETH, you'll receive 10 GAT. For example:
| Transaction | Ether sent | Total Ether sent | GAT received |
|---|---|---|---|
| #1 | 1.000 ETH | 1.000 ETH | 1000 GAT |
| #2 | 0.01 ETH | 1.01 ETH | 1010 GAT |
| #3 | 0.500 ETH | 1.500 ETH | 1510 GAT |
Tokens will be distributed according to the progressive bonus scale.
For example:
With 15% bonus you can then at the end have 1736 GAT
Wait… is this a joke? Is it a scam?
Neither! This is real—and it's 100% transparent. You're literally giving your money to someone on the internet who will donate most of it and get GAT tokens in return.
There are no “whitepapers,” no “products,” and no “experts.”
Why are you doing this?
Who knows? Maybe I already invest in too many ICOs without real value. Maybe I am honest and want to help others, because I see a good way how to help or maybe I simply want to chnage the world.
What can I do with GAT?
GAT is a standard ERC20 token, so you can hold it and transfer it. Other than that… nothing.
(Seriously, don't buy this even if I will donate most of it. Donation companies are also SCAMS, so why are you reading this?)
Will GAT be traded on any exchanges?
I hope so. I will also fill some request forms.
In fact, if it does get picked up by any of the major exchanges, I promise to use some of the ICO proceeds to constantly and incessantly manipulate the market.
Will there be more chances to buy GAT?
That's a great question! It totally depends on how the ICO performs in the beginning. If there will be no money to donate I'll probably keep the ICO open longer than initially stated.
How do I get a refund for the tokens I bought and can I trust you?
Refund? There is a minimum CAP, if it will not be reached you will get refund.
Trust NO ONE on the internet, but I guarantee I will donate most of the money. Can you trust other ICOs?


Logical equivalence, logical entailment, and logical consistency are related to each other in interesting ways, but they are not identical. Answer the following true or false questions about the relationships between these concepts.
a. If φ is equivalent to ψ, then φ entails ψ.
If φ is equivalent to ψ, then φ can be written wherever ψ appears so:
φ entails φ
which (by the deduction theorem) is true if:
φ → φ
is valid. It is valid and so a. is true.
b. If φ is equivalent to ψ, then φ is consistent with ψ.
If the theory {φ, ψ} is consistent, then:
φ ∧ ψ
is satisfiable. If φ is equivalent to ψ, then φ can be written wherever ψ appears so:
φ ∧ φ
since φ ∧ φ is equivalent to φ, we can say that the theory is only consistent if φ is satisfiable. So b. is false.
c. If φ entails ψ, then φ is equivalent to ψ.
Disprove by counterexample. If φ entails ψ then:
φ → ψ
is valid. If φ is (P ∧ ¬P) and ψ = P then (φ → ψ) is valid and so (φ entails ψ) is true. But (P ∧ ¬P) is not equivalent to P, so φ is not equivalent to ψ, and so c. is false.
d. If φ entails ψ, then φ is consistent with ψ.
Disprove by counterexample. If φ entails ψ then (φ → ψ) is valid, and if φ is consistent with ψ then (φ ∧ ψ) is satisfiable. If φ is (P ∧ ¬P) and ψ is P then (φ → ψ) is valid, but (φ ∧ ψ) is not satisfiable. Therefore d. is false.
e. If φ is consistent with ψ, then φ is equivalent to ψ.
Disprove by counterexample. If φ is consistent with ψ then (φ ∧ ψ) is satisfiable. Say If φ is (P ∨ ¬P) and ψ is P, then (φ ∧ ψ) is satisfiable, but φ is not equivalent to ψ, so e. is false.
f. If φ is consistent with ψ, then φ entails ψ.
Disprove by counterexample. If φ is consistent with ψ then (φ ∧ ψ) is satisfiable. If φ entails ψ then (φ → ψ) is valid. But if φ is (P ∨ ¬P) and ψ is P, then (φ ∧ ψ) is satisfiable and (φ → ψ) is not valid, so f. is false.
Write insensitive, such that quickSort' insensitive dictionary gives ["a", "for", "have", "I", "Linux", "thing"].
insensitive x y = compare (map toLower x) (map toLower y)
Exercises (Challenging) The following exercise combines what you have learned about higher order functions, recursion and I/O. We are going to recreate what is known …
Well I can see that I haven't done any learning of Haskell for ages. Now that I look back at it, it all looks like gobbledigook to me. Well I probably need to get on with doing some questions:
Reread the function definitions above. Then look closer at the showDate helper function. We said it was provided "for the sake of code clarity", but there is a certain clumsiness in the way it is used. You have …
Reading the Haskell Wikibook, Lists III chapter, I can't get my head round the idea that since Haskell has lazy evaluation, a foldr can be used on infinite lists. Here's foldr:


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{% comment %} {% endcomment %}
Show Inventory
Show Version
Show Environment
Show Process CPU Sort
Show Process Memory
Show Clock
Show Logging
Show File System
Show Cdp Neighbors
Show Vlan
Show Interface Vlan


package main
import (
"bufio"
"fmt"
"os"
"strconv"
"strings"
"time"
)
func main() {
reader := bufio.NewReader(os.Stdin)
fmt.Println("Enter temp")
temp, _ := reader.ReadString('\n')
temp = strings.TrimSpace(temp)
temp1, _ := strconv.Atoi(temp)
fmt.Println("Temp entered by user:", temp1)
if temp1 == 30 {
fmt.Println("It`s lovely day!") // first statement
} else if temp1 > 30 {
fmt.Println("It`s sunny day!") // second statement
} else if temp1 < 30 {
fmt.Println("It`s cold day!") // third statement
} else {
fmt.Println("Enjoy your day!") // fourth statement
}
}
//Output:
Enter temp
45
Temp entered by user: 45
It`s sunny day!
if condition-1 {
// code to be executed if condition-1 is true
} else if condition-2 {
// code to be executed if condition-2 is true
} else {
// code to be executed if both condition1 and condition2 are false
}
In this we check three conditions and take the value of temp from user
1)if temp is equal to 30 than print It`s lovely day! - So, in this execute if statement.
2) if temp is greater than 30 than print It`s sunny day!- So, in this execute the second statement.(else-if)
3) otherwiswe execute third statement i.e. It`s cold day!
else print Enjoy your day! i.e. fourth statement.
So, in our program user entered the temp value is 45
Therefore, Second statement is executed i.e. It`s sunny day!


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Philosophy of Science aims to publish the best original work in philosophy of science, broadly construed. This work will advance the discussion in some area of philosophy of science or the philosophy of a particular science in a way that is of direct interest to experts in the field, and in a way that explicitly acknowledges and responds to existing work in the area. All submissions are peer reviewed.
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We visualize systems!
- target customized vortals
- disintermediate value-added infrastructures
- incubate B2B solutions
- facilitate bricks-and-clicks functionalities
- whiteboard front-end deliverables
- morph web-enabled eyeballs
- transition magnetic bandwidth
- deploy frictionless applications


Welcome to my website! I am an Assistant Professor in Industrial & Systems Engineering at the University of San Diego. I love teaching courses in areas like operations research and data science. I primarily do research on energy related issues such as modeling of grid energy loads and greenhouse gas emissions from interaction with the electric grid. I also work on consulting projects primarily in supply chain and data analytics applications. I hope you find my website to be useful. Feel free to send me any feedback or comments. Thanks!
This is an interactive tool built using R to visualize the different energy loads in the San Diego region. You can get a quick snapshot of the region's renewable energy adoption progress (namely solar PV). Users can also take a closer look at the energy load patterns in the region by filtering load data based on the type of consumer (e.g., residential, commericial, etc.) and time of the year (e.g., month, weekday/weekend). Furthermore, there are advanced mapping capability to show detailed info based on zip code.
Tool that calculates the effects of time-of-use (TOU) pricing on your energy bill.
Interactive tool that visualizes the direct "rebound effect" of solar PV consumers in the SDGE territory.
Example of a R Shiny dashboard for a retail operation with fictitious data.
Example of a safety stock calculator for a retail operation with fictitious data.
My research and consulting interests are:
Apart from academic work, I enjoy working on industry projects requiring data science and analytics expertise. I have been lucky to have worked on various consulting projects that require a right balance of technical rigor and ease-of-implementation to ultimately yielding the most practical solution. The work generates immediate, tangible value to the clients, which always pleases me. I am also continuously working on various startup ideas.
I love to learn new skills. I spend much of my free time learning and exploring new ideas. Some of them are represented here on this site.
Fluent in English and Korean
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