Why is so little known of female artists, scientists, politicians, and so forth? This is one of the first questions which arises whenever any kind of history is about to be written. One of the reasons for this is that historiography relies on existing biographical dictionaries, most of which contain very few entries for women. The Biographical Dictionary of Swedish Women (SKBL) resolves this dilemma by providing free (CC-BY licensed) access to 2000 biographies of women who actively contributed to Swedish society.
The images used in SKBL come from museums, archives and private collections. SKBL does not own any of the images and therefore cannot give permission for them to be reproduced.
ISBN: 978-91-639-7594-3
ISSN: 2003-0088
SKBL is produced by the University of Gothenburg. The articles are written by experts and researchers, whilst the work has been financed by Riksbankens Jubileumsfond. The dictionary contains biographies of women who, across several centuries and in many different ways, have contributed to society’s development, both within Sweden and beyond. The entries, based on a mix of existing and brand-new research, were mainly selected with an emphasis on societal significance rather than personal fame. The selection includes female pioneers and women who fought for gender equality as well as historically significant women. Finnish women are also included for the pre-1809 era.
The project leaders are Lisbeth Larsson and Maria Sjöberg. The editorial board comprises Berith Backlund, Linus Karlsson, Ulrika Lagerlöf Nilsson, Cecilia Pettersson, Scharolta Siencnik, and Linnea Åshede. The dictionary entries were written by experts and researchers (listed under the entry for ʻArticle authors’) and translated into English by Alexia Grosjean. The database was developed by Språkbanken and is managed by Swe-Clarin. The database and the dictionary form part of KvinnSam – the National Resource Library for Gender Studies at the University of Gothenburg.
The article authors have compiled searchable biographical information for each dictionary entry. The editors have further supplemented these with material from Sveriges dödbok, Svensk arkivinformation’s (SVAR) collections of census and church records, as well as similar material from Arkiv Digital. The editors have also included references and links.
If you are looking for a particular woman you can select either Women A-Z or the search box. Each article comprises a biography focusing on the subject’s activities and their wider significance, along with biographical information on the subject’s background, education, activities and occupations, club and organisational memberships, networks and awards. The articles also supply references and information on archival and public memorials.
The free-text search box, which calls up the biographies, can be combined with searches in the fields labelled activities, organisations, placenames and keywords.
You can increase the number of hits and include all forms of a search term by using the asterisk *. Searching for artist* will call up artist, artists, artistry etc.
See which activities the women engaged in and which professions they entered.
See which organisations the women were members of and active in. Get an insight into their networks and shared activities as well as their extent. Selecting a particular organisation name will reveal which women were involved in it.
See where the women were active: their birth places, employment locations, and places of death. Selecting a placename reveals which women were born, worked, or died there.
This lists the keywords used to describe the material. They include dates, jobs, placenames, religion, and much more. Selecting a keyword reveals all the women who fit into that descriptor.
This lists all those who have contributed an article to SKBL.
The catalyst behind SKBL is the relative invisibility of women’s contributions to society through the ages. The gender bias of much written history can be partly attributed to archival criteria used in material preservation and classification. However, it is also a result of historical circumstances: women have for various reasons been subordinate to men for several centuries, even into the present day. Special efforts are required to rectify the misleading impression given by written histories. SKBL has therefore created a database to collate and present information on women’s achievements through the ages in an accessible format. This creates a new starting point for future historical research whilst also providing a more balanced and fair image of Swedish history.
SKBL contains the life histories of historical women who have contributed to societal developments in many ways. The project used the following criteria to select the initial candidates for inclusion:
By searching earlier biographical works and research literature the project group identified about 3,000 women who fulfil some of these criteria. Subsequently checks were made to evaluate whether enough documentation existed to generate a biographical article. This process reduced the number of potential entries by 1,000. Those who left significant personal archives, such as artists and authors, formed a majority of the remaining candidates. Similarly, women who were active within areas which have been heavily researched – such as the suffrage movement – also form a significant group.
The third stage involved finding authors, largely from within the academic sphere, but also from amongst museum staff, librarians, and other cultural institutions, as well as amongst hobby researchers, who had already researched particular women. What they all have in common is a special knowledge of the person they are writing about. Most requests for article contributions were favourably received, but availability and willingness sometimes determined the final outcome.
This first selection of women’s biographies is thus not comprehensive. The majority of women’s societal contributions will remain invisible as they have not been documented. The extant contents of archival collections resulted in the dictionary and the database being heavily weighted in favour of women who lived in the 1800s and 1900s. Women who represented earlier time periods are overwhelmingly dominated by noble and royal personages, whilst the later time periods are also highly represented by the upper echelons of society. Women from these social strata tended to have better opportunities to leave an imprint on the archives.
Each biography consists of two parts. One contains biographical information collated within clickable and searchable links. The other contains the life history along with searchable keywords, as well as an image in most cases. All the material has been manually input into the database.
The article authors and the project group have worked very hard to uncover as much biographical information as possible but have had to rely on whatever state a given archive is in. Sometimes the required biographical information is lacking.
In addition to the form for biographical data which all article authors were required to complete (origins, activities, education, important contacts, organisational memberships, residence locations, marriage(s), children, awards) including their references, the authors have supplied a summarised biography (1,000-10,000 characters in length) focusing on a given woman’s activities. The project group has edited the articles in order to create a certain uniformity without removing the individual author’s style. The authors were encouraged to proof their articles. The project group has also checked the spelling of all institutional names, organisational names, etc. so that they correspond with Nationalencyklopedien and that references correspond to LIBRIS. Personal information has also been corroborated and, if necessary, added to with the help of SCB’s census accounts and existing church records at parish level.
As the work has progressed it has become increasingly clear that the biographical data collated by the project group forms an essential element of how SKBL will be used by researchers. In addition to free text searches, various social circumstances can be combined and searched on. This will have an exponential impact on what it is possible to know about the different women in the dictionary, and by extension, about women’s history in general.
In summary, the life histories contained in the database do not form a comprehensive map of women’s history in Sweden from the Middle Ages to the present. However, they are a start.


OODL is a computer language to describe object and relation between objects using plain text formatting syntax.
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-length: double
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[TrafficSignalStateGreen]->[TrafficSignalStateAbstract]
+
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Building a website is, in many ways, an exercise of willpower. It’s tempting to get distracted by the bells and whistles of the design process, and forget all about creating compelling content. But it's that last part that's crucial to making inbound marketing work for your business.
Icon classes should only be used on elements that contain no text content and have no child elements
Icon classes should only be used on elements that contain no text content and have no child elements
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THE FILTH AND THE FURY A film review by Steve Rhodes Copyright 2000 Steve Rhodes RATING (0 TO ****): **
Obnoxiousness as an art form.
The punk rock group known as the Sex Pistols cared more about chaos than their music, according to one of the many interviewees in Julien Temple's documentary about their lives. Called THE FILTH AND THE FURY, the film has a highly limited appeal. For fans of the group or of the group's more outlandish members, like Sid Vicious and Johnny Rotten, the movie will certainly be a must-see picture. But for others, the movie might better be thought of as THE OBNOXIOUS AND THE REPETITIVE. A more insightful film with a universal appeal, Doug Pray's HYPE! about Seattle's grunge rock movement covers similarly outlandish groups but does it with more insight and interest.
THE FILTH AND THE FURY starts off quite promisingly, crediting the social unrest in Britain in the mid-1970s as the group's genesis. Citing the misconception that "everyone" was on the dole, the story suggests that the band was formed by working-class youths as a protest against unemployment and conformity. The latter has a wonderful irony since soon everyone was wearing the same torn clothes to protest against conformity. With wonderful bits of archival film footage, this brief segment is fascinating.
If painters can become famous by randomly throwing bits of paint at a canvas, why shouldn't a band become a hit solely on the strength of their foul behavior on the stage and in public? Who cares what they sound like?  It's a formula that radio schlock jock Howard Stern has used to great success.
 "Spit on us again; we love it," they appear to say.
After making these points and variations on them, the documentary gets stuck like an old record player. Running out of things to say, it interviews the band members -- except for Sid, who died in a heroin overdose -- again and again to get their opinions on the band and it's popularity. Their fans loved the band with their anti-establishment rhetoric in songs such as "I Am An Anti-Christ" and "God Save The Queen: She's No Human Being." We get to see, or have to see, depending on your point of view, lots of concert footage.
One of the band members best summed up their popularity. The group was "a bit like a Harold Pinter play," he explains. "It shouldn't work, but it did."
THE FILTH AND THE FURY runs 1:48. It is rated R for pervasive strong language, drugs and sexual content and would be acceptable only for high school seniors and older.
Email<EMAIL_ADDRESS>Web: http://www.InternetReviews.com
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


BY EDWIN JAHIEL
WONDERLAND (UK, 1999) ** Directed by Michael Winterbottom. Written by Laurence Coriat. Photography, Sean Bobbitt. Editing, Trevor Waite. Production design, Mark Tildesley. Music, Michael Nyman. Cast: Kika Markham (Eileen), Jack Shepherd (Bill), Enzo Cilenti (Darren), Shirley Henderson (Debbie), Ian Hart (Dan), Peter Marfleet (Jack), Gina McKee (Nadia), Stuart Townsend (Tim), Molly Parker (Molly), John Simm (Eddie), David Fahm (Franklin).et al. Produced by Michele Camarda and Andrew Eaton. US release by USA Films. In English without subtitles. 108 minutes.. R (language, sex). At the Art Theater.
Three sisters (pace Anton Chekhov) and their working-class South London milieu are the subject of a fictional cinema-verite (a contradiction in terms, but let it be) semi-plotless tale. There's Nadia who works in a coffee bar and is looking --through personals -- for a man with whom she'll have a relationship that may include --but would ideally go beyond -- a one-night stand. There's Molly who has a husband (common-law or official --it is never explained), Eddie. He has a dull job. She seems happy enough with him; both are rather joyfully expecting a baby very soon. There's Debbie, a promiscuous hairdresser who has a young son and is divorced (or separated) from rather loutish Dan.
Add to this the parents of the girls. Eileen and Bill. Their marriage is loveless --we get no explanations. The movie's documentation informs as that both parents are, and I quote, "hurt by the estrangement of their youngest child, Darren." But neither I nor the companion I watched the film with had caught anything about Darren, who, to make matters worse, is hardly on screen.
The daughters and their progenitors live each in their own place, all of which seem to be in the same area. The film covers its characters over a period of four days, indicated by screen titles.
"Wonderland" is essentially a slice-of-life movie which takes place in a limited area and over four days. It was photographed with hand-held (mostly or only, I cannot tell) super-16 mm. cameras, in available light, to gain mobility and unobtrusiveness, to allow for improvisations and easy changes, to give the movie a spontaneous, para-documentary look and feel. Then it was blown up to 35mm, which allows its projection in movie theaters.
There is often a purplish or other cast to the images. Audiences unfamiliar with 16mm film may justifiably think that the whole thing was shot on video. It was certainly shot without regard to American ears. The working-class British accents, though not as pronounced as in some other movies from the UK, are unclear and could use subtitles. In its effort to show life as it is rather than staged, the film also disdains other traditional clarities. Who is who and what to whom remains murky for a long time. It is only later that one understands that the three girls are sisters, foe example.
Among the oddities are speeches by Eddie, the very pregnant Molly's companion. More than once he is shown on some sort of bridge (or overpass?) speaking aloud to the unseen camera and microphone, which makes no sense. He is rehearsing what he will tell Molly, that is, that he quit (or lost?) his job and will look for another. But this, within a film that is keen on catching naturalness, is a most artificial process, a soliloquy-type situation, a la Hamlet --and Eddie is no Hamlet.
The various events take place in real locations, not studio sets. They include visits to Nadia's cafe, to a pub, fireworks watched by Debbie's son Jack, Jack's accident at the fireworks, the clinic where he is taken by the police and in which clinic Molly gives birth, etc. There's also the troubling fact that the girls' mother poisons a neighbor's dog whose barking kept her awake.
"Wonderland" does not judge, preach or moralize. It tells it the way it is. But structurally it is messy. And the unrelenting misery of the tribe is overkill. There must be better ways to keep you interested --if not deeply involved-- in the unhappiness of the characters. It does not help either that the musical score is over-the-top and irritating, the way it hammers sounds that are wrong for essentially simple people.
The performers are good at what they do but this does not suffice. Some of the players may be familiar to Britons or viewers with photographic memories. I only remembered Jack Shepherd (the father). And I was surprised to read that Kika Markham (the mother) had her first major role in Francois Truffaut's "Two English Girls" back in 1971.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Differences in looping
12/13/2014
While there are a lot of similarities between Ruby in JavaScript, looping is probably the prime example of where Ruby offers a lot of functionality out of the box compared to JavaScript.
While both languages support while and for loops, Ruby offers a bunch of iterator methods which minimize the amount of code required to map, select, delete or aggregate data on both maps and arrays. Maps and arrays in Ruby both implement the same interface Enumerable
and therefore offer the same kind of iteration functionality. In JavaScript, however, there are no such methods provided by arrays or JSON objects. In order to support a function has to be introduced that can provide the functionality. While it is possible to create functions in JavaScript for map, select and other Ruby like methods, programmers either have to use a global common library or create those functions in place.
Let's take a look at a function that doubles values in a Ruby map vs JavaScript object:
hashMap = {:value1=>10, :value2=>2, :value=>15}
hashMap.update(hashMap){ |k,v| v*2 }
p hashMap #<={:value1=>20, :value2=>4, :value=>30}
Here is the same basic code in JavaScript
map = {
value1:10,
value2:2,
value3:15
}
for (var key in map) {
map[key] = map[key]*2;
}
console.log(map);//{ value1: 20, value2: 4, value3: 30 }
The code below achieves the same results using Ruby like implementation:
var mapFunction = function(array, func) {
var results = {};
for (var key in map) {
results[key] = (func(map[key]));
}
return results;
};
map = {
value1:10,
value2:2,
value3:15
}
var doubleValueFunction = function(x) { return x * 2 };
var doubleMap = mapFunction(map, doubleValueFunction);
console.log(doubleMap);//{ value1: 20, value2: 4, value3: 30 }
As discussed above, Ruby code is a lot more compact and only requires one line of code to implement the logic. However, with the new standard called ECMAScript 6 the differences will be minimized.


Provides two classes that interact with eachother. The {@link org.codemonkey.swiftworldserver.WorldClient} itself, which executes client request objects, and the {@link org.codemonkey.swiftworldserver.WorldContext}, which is used to execute decoded client request objects against (so that it can invoke world specific methods).
This extension furthers seperating the server-client interaction from the world simulation. Now all you need to do is define message objects and the methods on your WorldContext
implementation that they then can invoke to interact with your world.


AOA’s Jimin Releases Spoiler on Set of MV For Group’s Comeback “In The Moonlight”
by vichiAOA Jimin posts more behind the scene photos from MV set of AOA’s Comeback “In The Moonlight”. The group is expected to make their long-waited officialcomeback as 5 members since their last performance on Mnet’s Queendom last week.


|
BitShares-Core
6.1.0
BitShares blockchain implementation and command-line interface software
|
Go to the source code of this file.
Functions | |
| constexpr int64_t | GRAPHENE_MAX_SHARE_SUPPLY<PHONE_NUMBER>000000LL) |
Variables | |
| constexpr uint32_t | GRAPHENE_FEE_RATE_DENOM = 1000000 |
| Denominator for SameT Fund fee calculation. More... | |
| constexpr int64_t | GRAPHENE_MAX_CREDIT_OFFER_DAYS = 380 |
| How long a credit offer will be kept active, in days. More... | |
| constexpr int64_t | GRAPHENE_MAX_CREDIT_OFFER_SECS = GRAPHENE_MAX_CREDIT_OFFER_DAYS * 86400 |
| How long a credit offer will be kept active, in seconds. More... | |
| constexpr int64_t | GRAPHENE_MAX_CREDIT_DEAL_DAYS = 380 |
| How long a credit deal will be kept, in days. More... | |
| constexpr int64_t | GRAPHENE_MAX_CREDIT_DEAL_SECS = GRAPHENE_MAX_CREDIT_DEAL_DAYS * 86400 |
| How long a credit deal will be kept, in seconds. More... | |
| constexpr size_t | MAX_FEE_STABILIZATION_ITERATION = 4 |
How many iterations to run in fee_schedule::set_fee() More... | |
| #define GRAPHENE_100_PERCENT 10000 |
percentage fields are fixed point with a denominator of 10,000
Definition at line 102 of file config.hpp.
| #define GRAPHENE_1_PERCENT (GRAPHENE_100_PERCENT/100) |
Definition at line 103 of file config.hpp.
| #define GRAPHENE_ADDRESS_PREFIX "BTS" |
Definition at line 27 of file config.hpp.
| #define GRAPHENE_BLOCKCHAIN_PRECISION uint64_t( 100000 ) |
Definition at line 29 of file config.hpp.
| #define GRAPHENE_BLOCKCHAIN_PRECISION_DIGITS 5 |
Definition at line 30 of file config.hpp.
| #define GRAPHENE_COLLATERAL_RATIO_DENOM 1000 |
These ratios are fixed point numbers with a denominator of GRAPHENE_COLLATERAL_RATIO_DENOM, the minimum maitenance collateral is therefore 1.001x and the default maintenance ratio is 1.75x
Definition at line 113 of file config.hpp.
| #define GRAPHENE_COMMITTEE_ACCOUNT (graphene::protocol::account_id_type(0)) |
Reserved Account IDs with special meaning Represents the current committee members, two-week review period
Definition at line 140 of file config.hpp.
| #define GRAPHENE_CORE_ASSET_CYCLE_RATE 17 |
every second, the fraction of burned core asset which cycles is GRAPHENE_CORE_ASSET_CYCLE_RATE / (1 << GRAPHENE_CORE_ASSET_CYCLE_RATE_BITS)
Definition at line 51 of file config.hpp.
| #define GRAPHENE_CORE_ASSET_CYCLE_RATE_BITS 32 |
Definition at line 52 of file config.hpp.
| #define GRAPHENE_DEFAULT_ACCOUNT_FEE_SCALE_BITSHIFTS 4 |
Definition at line 91 of file config.hpp.
| #define GRAPHENE_DEFAULT_ACCOUNTS_PER_FEE_SCALE 1000 |
Definition at line 90 of file config.hpp.
| #define GRAPHENE_DEFAULT_BLOCK_INTERVAL 5 /* seconds */ |
Definition at line 62 of file config.hpp.
| #define GRAPHENE_DEFAULT_BURN_PERCENT_OF_FEE (20*GRAPHENE_1_PERCENT) |
Definition at line 87 of file config.hpp.
| #define GRAPHENE_DEFAULT_CASHBACK_VESTING_PERIOD_SEC (60*60*24*365) |
1 year
Definition at line 85 of file config.hpp.
| #define GRAPHENE_DEFAULT_CASHBACK_VESTING_THRESHOLD (GRAPHENE_BLOCKCHAIN_PRECISION*int64_t(100)) |
Definition at line 86 of file config.hpp.
| #define GRAPHENE_DEFAULT_COMMITTEE_PROPOSAL_REVIEW_PERIOD_SEC (60*60*24*7*2) |
Definition at line 82 of file config.hpp.
| #define GRAPHENE_DEFAULT_FEE_LIQUIDATION_THRESHOLD GRAPHENE_BLOCKCHAIN_PRECISION * 100; |
Definition at line 89 of file config.hpp.
| #define GRAPHENE_DEFAULT_FORCE_SETTLEMENT_DELAY (60*60*24) |
1 day
Definition at line 69 of file config.hpp.
| #define GRAPHENE_DEFAULT_FORCE_SETTLEMENT_MAX_VOLUME (20* GRAPHENE_1_PERCENT) |
20%
Definition at line 71 of file config.hpp.
| #define GRAPHENE_DEFAULT_FORCE_SETTLEMENT_OFFSET 0 |
1%
Definition at line 70 of file config.hpp.
| #define GRAPHENE_DEFAULT_LIFETIME_REFERRER_PERCENT_OF_FEE (30*GRAPHENE_1_PERCENT) |
Definition at line 84 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAINTENANCE_COLLATERAL_RATIO 1750 |
Call when collateral only pays off 175% the debt.
Definition at line 116 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAINTENANCE_INTERVAL (60*60*24) |
Definition at line 66 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAINTENANCE_SKIP_SLOTS 3 |
Definition at line 67 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_ASSERT_OPCODE 1 |
Definition at line 88 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_ASSET_FEED_PUBLISHERS 10 |
Definition at line 75 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_ASSET_WHITELIST_AUTHORITIES 10 |
Definition at line 74 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_AUTHORITY_MEMBERSHIP 10 |
Definition at line 73 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_BLOCK_SIZE (2*1000*1000) /* < 2 MiB (less than MAX_MESSAGE_SIZE in graphene/net/config.hpp) */ |
Definition at line 64 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_BUYBACK_MARKETS 4 |
Definition at line 92 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_COMMITTEE (1001) |
Definition at line 80 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_CUSTOM_AUTHORITIES_PER_ACCOUNT 10 |
Maximum number of custom authorities a particular account can set.
Definition at line 160 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_CUSTOM_AUTHORITIES_PER_ACCOUNT_OP 3 |
Maximum number of custom authorities a particular account can set for a particular operation.
Definition at line 162 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_CUSTOM_AUTHORITY_LIFETIME_SECONDS (60*60*24*30) |
Maximum duration before a custom authority can expire (1 month)
Definition at line 158 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_CUSTOM_AUTHORITY_RESTRICTIONS 10 |
Maximum number of restrictions a custom authority can contain.
Definition at line 164 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_PROPOSAL_LIFETIME_SEC (60*60*24*7*4) |
Definition at line 81 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_SHORT_SQUEEZE_RATIO 1500 |
Stop calling when collateral only pays off 150% of the debt.
Definition at line 117 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_TIME_UNTIL_EXPIRATION (60*60*24) |
Definition at line 65 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_TRANSACTION_SIZE 2048 |
Definition at line 63 of file config.hpp.
| #define GRAPHENE_DEFAULT_MAX_WITNESSES (1001) |
Definition at line 79 of file config.hpp.
| #define GRAPHENE_DEFAULT_MIN_COMMITTEE_MEMBER_COUNT (11) |
Definition at line 78 of file config.hpp.
| #define GRAPHENE_DEFAULT_MIN_WITNESS_COUNT (11) |
Definition at line 77 of file config.hpp.
| #define GRAPHENE_DEFAULT_MINIMUM_FEEDS 7 |
Definition at line 97 of file config.hpp.
| #define GRAPHENE_DEFAULT_NETWORK_PERCENT_OF_FEE (20*GRAPHENE_1_PERCENT) |
Definition at line 83 of file config.hpp.
| #define GRAPHENE_DEFAULT_PRICE_FEED_LIFETIME (60*60*24) |
1 day
Definition at line 72 of file config.hpp.
| #define GRAPHENE_DEFAULT_WITNESS_PAY_PER_BLOCK (GRAPHENE_BLOCKCHAIN_PRECISION * int64_t( 10) ) |
Definition at line 94 of file config.hpp.
| #define GRAPHENE_DEFAULT_WITNESS_PAY_VESTING_SECONDS (60*60*24) |
Definition at line 95 of file config.hpp.
| #define GRAPHENE_DEFAULT_WORKER_BUDGET_PER_DAY (GRAPHENE_BLOCKCHAIN_PRECISION * int64_t(500) * 1000 ) |
Definition at line 96 of file config.hpp.
| #define GRAPHENE_FBA_STEALTH_DESIGNATED_ASSET (asset_id_type(743)) |
Definition at line 155 of file config.hpp.
| #define GRAPHENE_IRREVERSIBLE_THRESHOLD (70 * GRAPHENE_1_PERCENT) |
Definition at line 45 of file config.hpp.
| #define GRAPHENE_MAX_ACCOUNT_NAME_LENGTH 63 |
Definition at line 33 of file config.hpp.
| #define GRAPHENE_MAX_ASSET_SYMBOL_LENGTH 16 |
Definition at line 36 of file config.hpp.
| #define GRAPHENE_MAX_BLOCK_INTERVAL 30 /* seconds */ |
Definition at line 60 of file config.hpp.
| #define GRAPHENE_MAX_COLLATERAL_RATIO 32000 |
higher than this is unnecessary and may exceed int16 storage
Definition at line 115 of file config.hpp.
| #define GRAPHENE_MAX_MARKET_FEE_PERCENT GRAPHENE_100_PERCENT |
NOTE: making this a power of 2 (say 2^15) would greatly accelerate fee calcs
Definition at line 106 of file config.hpp.
| #define GRAPHENE_MAX_SIG_CHECK_DEPTH 2 |
Definition at line 43 of file config.hpp.
| #define GRAPHENE_MAX_URL_LENGTH 127 |
Definition at line 41 of file config.hpp.
| #define GRAPHENE_MAX_WORKER_NAME_LENGTH 63 |
Definition at line 40 of file config.hpp.
| #define GRAPHENE_MIN_ACCOUNT_NAME_LENGTH 1 |
Definition at line 32 of file config.hpp.
| #define GRAPHENE_MIN_ASSET_SYMBOL_LENGTH 3 |
Definition at line 35 of file config.hpp.
| #define GRAPHENE_MIN_BLOCK_INTERVAL 1 /* seconds */ |
Definition at line 59 of file config.hpp.
| #define GRAPHENE_MIN_BLOCK_SIZE_LIMIT (GRAPHENE_MIN_TRANSACTION_SIZE_LIMIT*5) |
Definition at line 99 of file config.hpp.
| #define GRAPHENE_MIN_COLLATERAL_RATIO 1001 |
lower than this could result in divide by 0
Definition at line 114 of file config.hpp.
| #define GRAPHENE_MIN_TRANSACTION_SIZE_LIMIT 1024 |
Don't allow the committee_members to publish a limit that would make the network unable to operate.
Definition at line 58 of file config.hpp.
| #define GRAPHENE_NULL_ACCOUNT (graphene::protocol::account_id_type(3)) |
Represents the canonical account with NO authority (nobody can access funds in null account)
Definition at line 146 of file config.hpp.
| #define GRAPHENE_NULL_WITNESS (graphene::protocol::witness_id_type(0)) |
Sentinel value used in the scheduler.
Definition at line 152 of file config.hpp.
| #define GRAPHENE_PROXY_TO_SELF_ACCOUNT (graphene::protocol::account_id_type(5)) |
Represents the canonical account for specifying you will vote directly (as opposed to a proxy)
Definition at line 150 of file config.hpp.
| #define GRAPHENE_RELAXED_COMMITTEE_ACCOUNT (graphene::protocol::account_id_type(2)) |
Represents the current committee members.
Definition at line 144 of file config.hpp.
| #define GRAPHENE_SYMBOL "BTS" |
Definition at line 26 of file config.hpp.
| #define GRAPHENE_TEMP_ACCOUNT (graphene::protocol::account_id_type(4)) |
Represents the canonical account with WILDCARD authority (anybody can access funds in temp account)
Definition at line 148 of file config.hpp.
| #define GRAPHENE_WITNESS_ACCOUNT (graphene::protocol::account_id_type(1)) |
Represents the current witnesses.
Definition at line 142 of file config.hpp.
| constexpr int64_t GRAPHENE_MAX_SHARE_SUPPLY | ( |<PHONE_NUMBER>000000LL | ) |
| constexpr uint32_t GRAPHENE_FEE_RATE_DENOM = 1000000 |
Denominator for SameT Fund fee calculation.
Definition at line 121 of file config.hpp.
| constexpr int64_t GRAPHENE_MAX_CREDIT_DEAL_DAYS = 380 |
How long a credit deal will be kept, in days.
Definition at line 128 of file config.hpp.
| constexpr int64_t GRAPHENE_MAX_CREDIT_DEAL_SECS = GRAPHENE_MAX_CREDIT_DEAL_DAYS * 86400 |
How long a credit deal will be kept, in seconds.
Definition at line 130 of file config.hpp.
| constexpr int64_t GRAPHENE_MAX_CREDIT_OFFER_DAYS = 380 |
How long a credit offer will be kept active, in days.
Definition at line 124 of file config.hpp.
| constexpr int64_t GRAPHENE_MAX_CREDIT_OFFER_SECS = GRAPHENE_MAX_CREDIT_OFFER_DAYS * 86400 |
How long a credit offer will be kept active, in seconds.
Definition at line 126 of file config.hpp.
| constexpr size_t MAX_FEE_STABILIZATION_ITERATION = 4 |
How many iterations to run in fee_schedule::set_fee()
Definition at line 133 of file config.hpp.


{{ page.title }}
| Low Freq. Horiz | Ultra Low Freq. Horiz |
| Weight: Approximately 7 lb (3.1 kg) | |||
Low Frequency Horizontal |
Ultra Low Frequency Horizontal Dimensions: 4.75" W x 4.75" D x 8" H (121mm W x 121mm D x 203mm H) |
||
| Load Capacities (approximate): | |||
| Model | Payload Range* | 1.5 Hz Horizontal |
0.5 Hz Horizontal |
Price** |
Price** |
||
| 2LC-4 | 1 - 2.5 lb
(.5 - 1.1 kg) |
$1960.00 |
$2195.00 |
| 15LC-4 | 5 - 15 lb
(2.2 - 6.8 kg) |
$2015.00 |
$2250.00 |
| 25LC-4 | 12 - 25 lb
(5.4 - 11.3 kg) |
$2070.00 |
$2305.00 |
| 35LC-4 | 25 - 35 lb
(11.3 - 15.8 kg) |
$2125.00 |
$2360.00 |
| 50LC-4 | 36 - 55 lb
(16.3 - 25 kg) |
$2180.00 |
$2415.00 |
| 70LC-4 | 50 - 70 lb
(22.6 - 31.7 kg) |
$2235.00 |
$2470.00 |
| 100LC-4 | 75 - 100 lb
(34 - 45.3 kg) |
$2290.00 |
$2525.00 |
125LC-4 |
95 - 130 lb
(43 - 59 kg) |
$2345.00 |
$2580.00 |
|
Performance |
|||
|


The National Low Impact Development (LID) Atlas was created by the NEMO Program at the University of Connecticut's Center for Land Use Education and Research (CLEAR) to highlight innovative stormwater practices around the country. These practices are commonly referred to as either low impact development (LID) or green stormwater infrastructure. The goal of the site is to encourage and educate local officials and others about low impact development practices by providing specific, local examples of their use.
This is not intended as an inventory of all existing practices, but rather is a portal for the discovery of what these practices look like, where they have been installed, and how they are working. Each project balloon contains project specifics, a summary of the project, photos (when available) and links to more information. The mobile version of the Atlas allows anyone with a Google or Twitter login to add projects to the Atlas and also includes size of practice and size of drainage area data.
The full version of the National LID Atlas built by John Ray, David Dickson, Mark Hensel, Kate Woodruff, Timothy Lawrence, and John Rozum. The mobile version of the Atlas was designed by David Dickson and Michael Dietz, built by Yaira Rivera, and funded through a competitive grant from the United States Department of Agriculture/National Institute of Food and Agriculture , project #CONS2013-05768.
For information on embedding a localized version of the Atlas on your website, please contact<EMAIL_ADDRESS>Videos on how to use this site or embed this site in your website can be found here.


Activities
Fun Fly
The West Potomac Fun Fly is a day of fun for the whole family! People of all ages can come together and connect over aviation and flight. Anyone in the community can fly their indoor powered RC planes or their lightweight rubber band powered “free flight” planes. Kids can play on a RC plane flight simulator on the computer, or they can create their own paper plate planes at the kid’s table. Mr. Franco's Aerospace 1 students fly their own designed planes for a grade in their class.
NVRC Auction
Northern Virginia Radio Control (NVRC) is one of the largest radio control clubs in Virginia with over 200 members. The club includes pilots in all areas of radio-controlled flight: Sport, Giant Scale, Electric, Sailplane, Aerobatics, Combat, and MultiRotor. NVRC has members with decades of expertise to share in many types of flying and building.
West Potomac TSA hosts NVRC’s biannual auction. At the auction, thousands of dollars worth of RC planes and parts are traded, and the TSA chapter gets a percentage of the profits for being the host. At the event, members of TSA help setup, cleanup, and sell concessions.
RC Mania
RC Mania was once the largest fundraising event of the year for TSA. It was a weekend event in which families could come and participate in many fun activities. For hobbyists, there were spaces for flying RC planes, captaining RC boats, and driving RC cars. For the young ones, there were pony rides and a face painting booth. This was such as large event that all of the outdoor sports playing fields were needed to fit all of these activities.
Unfortunately, with the tightening of FAA rules on recreational flight, the biggest draw for the event was lost, and the event was cancelled. The last RC Mania occurred in 2015.
Engineers Week
The most important week of the year on the West Potomac TSA calendar is National Engineers Week, or E-week. It is a time for us to celebrate the difference that engineers make in the world, increase public dialogue about the need for engineers, and bring the field to life for kids, educators, and parents everywhere.
Arcade
For years, generations of TSA members worked on a full scale retro arcade cabinet, finally completing it in 2015. Inside, there is a Windows 7 PC running an emulator that allows players to play 40 classic arcade games, with just a quarter.
This year, TSA will host the first ever WPHS Video Game Tournament, where students of the school are invited to come and compete playing the Japanese fighting game Tekken.
YDA Partnership
The Youth Development Academy (YDA), formerly Governor’s (GYDA), is an organization that provides opportunities for students of underrepresented groups or underprivileged families to experience many different fields. The West Potomac TSA is a proud partner of the YDA. Annually, we do a presentation and activities to encourage members to join engineering.


# findup-sync [![Build Status](https://secure.travis-ci.org/cowboy/node-findup-sync.png?branch=master)](http://travis-ci.org/cowboy/node-findup-sync)
Find the first file matching a given pattern in the current directory or the nearest ancestor directory.
## Getting Started Install the module with: npm install findup-sync
```js var findup = require(‘findup-sync’);
// Start looking in the CWD. var filepath1 = findup(‘{a,b}*.txt’);
// Start looking somewhere else, and ignore case (probably a good idea). var filepath2 = findup(‘{a,b}*.txt’, {cwd: ‘/some/path’, nocase: true}); ```
## Usage
`js
findup(patternOrPatterns [, minimatchOptions])
`
### patternOrPatterns Type: String or Array Default: none
One or more wildcard glob patterns. Or just filenames.
### minimatchOptions Type: Object Default: {}
Options to be passed to [minimatch](https://github.com/isaacs/minimatch).
Note that if you want to start in a different directory than the current working directory, specify a cwd property here.
## Contributing In lieu of a formal styleguide, take care to maintain the existing coding style. Add unit tests for any new or changed functionality. Lint and test your code using [Grunt](http://gruntjs.com/).
## Release History 2014-03-14 - v0.1.3 - Updated dependencies. 2013-03-08 - v0.1.2 - Updated dependencies. Fixed a Node 0.9.x bug. Updated unit tests to work cross-platform. 2012-11-15 - v0.1.1 - Now works without an options object. 2012-11-01 - v0.1.0 - Initial release.


Preparation time
less than 30 mins
Cooking time
no cooking required
Serves
Serves 6-8
Dietary
This salad is one of the simplest and its success relies on using the ripest tomatoes. I have chosen four of the tastiest varieties – they are perfect for salad, each of them sun-ripened, juicy and fleshy. Gastronomy can be simple... when you have wonderful produce!
For the tomatoes, using a small paring knife, cut the hard core out of each tomato, then cut each into quarters. Transfer to a large bowl. Season with a pinch each of salt and pepper. Stir so the seasoning lightly cures the tomatoes, which will then produce a beautiful juice. Mix in the onion, herbs, garlic, vinegar and oil. Stir and leave to marinate for a minimum of 10 minutes for the flavours to infuse.
For the salad, at the last moment, mix the leaves in a large bowl. Season with a pinch each of salt and pepper, then toss the leaves with the vinegar and olive oil.
Arrange the leaves on a large platter. With a large spoon, lift the tomato mixture onto the salad. Cut the mozzarella in half and scatter around the salad. Sprinkle over the dried olives and finish with a drizzle of your best extra virgin olive oil.


Few can name an easygoing deer that isn't a frank hamster. One cannot separate tangerines from
excellent oranges. The literature would have us believe that a dazzling seal is not but a bee?
Some posit the nice strawberry to be less than fair-minded. Washing and polishing the car,a
monkey is the monkey of a turtle;
What we don't know for sure is whether or not the spiders could be said to resemble ambitious
cherries. Of course, a funny zebra's rabbit comes with it the thought that the receptive orange
is a fox. If this was somewhat unclear, a sheep is a strawberry's chimpanzee. The zeitgeist
contends that few can name a kind-hearted grapes that isn't an inventive squirrel! Few can name
a friendly deer that isn't a decorous grapes? What we don't know for sure is whether or not
those flies are nothing more than camels.
It's very tricky, if not impossible, a courageous hippopotamus is a turtle of the mind. Few can
name an affable nectarine that isn't a courteous bird? An alligator is an imaginative fish? Few
can name a quiet blackberry that isn't an independent currant. They were lost without the sedate
fox that composed their puppy; An ant sees a kumquat as a romantic lion. A lemon is a squirrel's
currant.
To be more specific, those turtles are nothing more than fishes. A grape can hardly be
considered a shrewd goldfish without also being an owl. Some unbiased goats are thought of
simply as tangerines.
Shouting with happiness, a courageous elephant is a duck of the mind? Some posit the upbeat
hippopotamus to be less than enchanting. It's an undeniable fact, really; authors often
misinterpret the grape as an endurable rabbit, when in actuality it feels more like a tough
dolphin. We know that a cherry can hardly be considered a responsible apricot without also being
a nectarine.


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Club will 'listen to offers' for Nottingham Forest reported target as Leeds star is chased by Liverpool and Man United - Championship rumours
With just over a month until the January window opens we will keep you up to date with all of the latest rumours coming from Championship
by Ben HusbandThe January transfer window may still feel like a few months away but it will soon be here as teams look to add to their squads again.
Trading will resume in the New Year with plenty of major transfers expected as Championship sides look to prepare for the business end of the season.
And below is the latest gossip from around the division.
Gayle playing the waiting game
Newcastle United will “listen to offers” for reported Nottingham Forest target Dwight Gayle in January.
The Reds were said to be keen on the striker in the summer, and it has been claimed they could reignite their interest when the window opens in a few weeks.
Gayle has featured just twice for the Magpies under Steve Bruce this season, coming off the bench against both Chelsea and Wolves last month.
And though boss Bruce has previously said the 29-year-old will get his chance, it has been suggested United will be willing to let him leave midway through the campaign.
Chronicle Live report: “They’ll be listening to offers for Dwight Gayle - although don’t expect that to be advertised publicly - and if he leaves, a replacement would be possible.”
In the race
Lawrence Shankland continues to be linked with a potential January move to Nottingham Forest.
The Scotland international striker is reportedly interesting several clubs ahead of the transfer window reopening in the new year, including Celtic and Rangers.
A remarkable 17 goals in 13 Scottish Championship appearances for Dundee United so far this season has caught the eye - and Forest could yet consider a January bid for the 24-year-old, following reported summer interest from the City Ground.
Putting the rumours to rest
Joe Worrall has been a key player for Lamouchi this season, following his loan spell at Rangers last term.
The 22-year-old was the subject of some transfer speculation in the summer, with the Reds understood to have turned down more than one bid.
Hull City and Wigan Athletic were both believed to have shown an interest, though it is unclear whether either club were involved in making an offer.
Worrall, however, has made clear his love for Forest as they prepare to return to action after the international break with a trip to Bristol City on Saturday.
“Of course there’s always speculation.
“But at the end of the day I’m playing for Forest - the team I love. I love wearing the red shirt.
“It’s something that I’m focused on for the next game.
Elsewhere in the division (via The Mirror)
White in demand
Leeds defender Ben White has attracted the interest of both Liverpool and Manchester United after impressing on loan at Elland Road.
The 19-year-old moved north from Brighton for the season in July and has become an integral part of Marcelo Bielsa's defence.
So much so that two of the Premier League big boys are weighing up a move reports the Athletic .
Liverpool have a real interest in the central defender while United have scouted White as they continue their recruitment policy that places an emphasis on young homegrown talent.
Clarets out of the race for Phillips
Burnley are not expected to reignite their interest in Leeds United midfielder Kalvin Phillips.
Sean Dyche’s side were strongly linked with a move for the Leeds academy graduate and were believed to have made a bid for him.
A number of top flight clubs were linked with the 23-year-old, with Aston Villa, Wolves and Bournemouth all credited with an interest.
Phillips did sign a new deal at Elland Road in the summer in order to fend off interest and that looks to have done the trick at Turf Moor, with reports now claiming they won’t try and sign him in January.


1. You can invite friends to tap the shared link by sharing live broadcast , capture or this page to your social media accounts.
2. After tapping on the shared link, the invitee will see an giftcard on the shared page. Then they can connect their social accounts to Streamkar and download the app.
3. Invitees need to be newly registered users in 3 days. Each device can win the reward only once.
4. Each inviter can only be rewarded for successfully inviting 10 people each day.
5. Streamkar reserves the ultimate rights to interpret the rules.


Projects
A major part of this course is a group project, in which you will work in small teams on a web-based interactive visualization that allows you to answer questions you have about some topic of your own choosing. You will acquire the data, design your visualization, implement it using D3, and evaluate the results.
Project Team
You will work closely with other classmates in a 2-3 person project team. We will form the teams in each studio group and assign students with complementary skill sets to the same team. In general, we do not anticipate that the grades for each group member will be different. However, we reserve the right to assign different grades to each group member based on peer assessments (see below).
Project Milestones
The project consists of several milestones that need to be submitted on the specified due dates listed in the schedule. No extensions will be given for any of the project due dates for any reason. Projects submitted after the final due date will not be graded.
The project milestones are:
- Project proposal
- Detailed project plan
- Project re-design
- Project prototypes V1 and V2
- Project review with the staff (in studio)
- Peer feedback (in studio)
- Final project submission (including screen-cast)
- Group peer evaluations
- Project demos
- Presentation at the project showcase
Implementation Requirements
To get a sense about the scope of your final projects, please take a look at our gallery of projects from previous yers.
To be more specific, your final project you have to fulfill the following requirements in regards to your visualizations and your webpage:
- Implement multiple coordinated (linked) views
- Implement at least one innovative view that is either
- a) an extension of an existing visualization type, or
- b) a novel visualization type
There will be lectures about innovation and how to implement innovative ideas with D3 in week 11 and 12.
For grading the implementation part of the final project, we will evaluate projects by the following criteria:
- Effective visualizations
- Innovative visualizations
- Level of technical difficulty
- Clear storytelling
- Visual design (including website)
- Addresses the goals
- Sensible and effective interaction
Project Proposal
In your project proposal you will let us know what topic you are interested in exploring, including a project title and abstract, by submitting a project proposal form. Each team will only need to submit one form.
Project Plan
You will create a detailed project plan (during weeks 9-10), which should address the following points. For detailed submission instructions please see Canvas.
- Basic Info. The project title, your names, e-mail addresses, UIDs, a link to the project URL.
- Background and Motivation. Discuss your motivations and reasons for choosing this project, especially any background or research interests that may have influenced your decision.
- Related Work. Anything that inspired you, such as a paper, a web site, visualizations we discussed in class, etc.
- Project Objectives and Goals. Provide the primary questions you are trying to answer with your visualization. What would you like to learn and accomplish? List the benefits.
- Tasks Describe in detail which data manipulations (sort, filter,..) and visual manipulations (zoom, selection,…) you want to implement and how these support the goals.
- Data. From where and how are you collecting your data? If appropriate, provide a link to your data sources.
- Data Processing. Do you expect to do substantial data cleanup? What quantities do you plan to derive from your data? How will data processing be implemented?
- Visualization Design. How will you display your data? Provide some general ideas that you have for the visualization design. Develop three alternative prototype designs for your visualization. Create one final design that incorporates the best of your three designs. Describe your designs and justify your choices of visual encodings. We recommend you use the Five Design Sheet Methodology.
- Must-Have Features. List the features without which you would consider your project to be a failure.
- Optional Features. List the features which you consider to be nice to have, but not critical.
- Project Schedule. Make sure that you plan your work so that you can avoid a big rush right before the final project deadline, and delegate different modules and responsibilities among your team members. Write your schedule in terms of weekly deadlines.
The project plan is the first part of your process book (see Final Project Submission for details). As a ballpark number: your project plan should contain about 3-4 pages of text, plus 5-6 pages of sketches.
Project Re-design
During studios, you will discuss and review your project plan with your TF, as well as give and receive peer feedback. These discussions will lead to a re-design of your project. The second entry in your process book should be the project re-design, including new sketches and designs based on the feedback you received.
Project Prototypes V1 and V2
For your prototype V1, we expect you to hand in your code and your process book in its current state (see Final Project Submission for details). You should have completed your data acquisition, and you must have a working visualization prototype. You do not have to have all your views up and running, and it does not need to be completely interactive, but the direction and the content must be clear.
For your prototype V2, we expect you to be 95% done with the implementation, and have your process book up to date. After prototype V2, you will only have one week to incorporate comments from peer feedback to produce a final interactive project website.
Final Project Submission
For your final project you must hand in the following items.
Process Book
An important part of your project is your process book. Your process book details your steps in developing your solution, including the alternative designs you tried, and the insights you got. Develop your process book out of the project proposal. Equally important to your final results is how you got there! Your process book is the place you describe and document the space of possibilities you explored at each step of your project. It is not, however, a journal or lab notebook that describes every detail - you should think carefully about the important decisions you made and insights you gained and present your reasoning in a concise way.
We strongly advise you to include many figures in your process book, including photos of your sketches of potential designs, screen shots from different visualization tools you explored, inspirations of visualizations you found online, etc. Several images illustrating changes in your design or focus over time will be far more informative than text describing those changes. Instead, use text to describe the rationale behind the evolution of your project.
The final chapter in your process book should address the following topics. Depending on your project type the amount of discussion you devote to each of them will vary:
- Overview and Motivation: Provide an overview of the project goals and the motivation for it. Consider that this will be read by people who did not see your project proposal.
- Related Work: Anything that inspired you, such as a paper, a web site, visualizations we discussed in class, etc.
- Questions: What questions are you trying to answer? How did these questions evolve over the course of the project? What new questions did you consider in the course of your analysis?
- Data: Source, scraping method, cleanup, etc.
- Exploratory Data Analysis: What visualizations did you use to initially look at your data? What insights did you gain? How did these insights inform your design?
- Design Evolution: What are the different visualizations you considered? Justify the design decisions you made using the perceptual and design principles you learned in the course. Did you deviate from your proposal?
- Implementation: Describe the intent and functionality of the interactive visualizations you implemented. Provide clear and well-referenced images showing the key design and interaction elements.
- Evaluation: What did you learn about the data by using your visualizations? How did you answer your questions? How well does your visualization work, and how could you further improve it?
As this will be your only chance to describe your project in detail make sure that your process book is a standalone document that fully describes your results and the final design. Here are a few examples of process books from previous years. Note that those process books do not follow the exact structure layed out here, they are meant as inspiration and are not necessarily indicative of the format and scope of your project.
Code
Your web-based visualization can be implemented using any API or programming language you would like as long as it runs in modern browsers, but we will only support and answer questions regarding D3 and Javascript. We expect you to write high-quality and readable code. You should strive for doing things the right way and think about aspects such as reusability, error handling, etc. Here are some guidelines specific to JavaScript code. We also expect you to document your code.
Project Website
You will create a public website for your project using GitHub pages or any other web hosting service of your choice (we strongly encourage to use GitHub). The web site should contain your interactive visualization, summarize the main results of the project, and tell a story. Consider your audience (the site is public) and keep the level of discussion at the appropriate level. Your process book and data should be linked from the web site as well. Also embed your interactive visualization and your screen-cast in your website. If you are not able to publish your work (e.g., due to confidential data) please let us know in your project proposal.
Project Screen-Cast
Each team will create a two minute screen-cast with narration showing a demo of your visualization and/or some slides. You can use any screencast tool of your choice. Please make sure that the sound quality of your video is good - it may be worthwhile to invest in an external USB microphone. Upload the video to an online video-platform such as YouTube or Vimeo and embed it into your project web page. We will show the best videos in class.
We will strictly enforce the two minute time limit for the video, so please make sure you are not running longer. Use principles of good storytelling and presentations to get your key points across. Focus the majority of your screencast on your main contributions rather than on technical details. What do you feel is the best part of your project? What insights did you gain? What is the single most important thing you would like your audience to take away? Make sure it is front and center rather than at the end.
Group Peer Assessment
It is important to provide positive feedback to people who truly worked hard for the good of the team and to also make suggestions to those you perceived not to be working as effectively on team tasks. We ask you to provide an honest assessment of the contributions of the members of your team, including yourself. The feedback you provide should reflect your judgment of each team member’s:
- Preparation – were they prepared during team meetings?
- Contribution – did they contribute productively to the team discussion and work?
- Respect for others’ ideas – did they encourage others to contribute their ideas?
- Flexibility – were they flexible when disagreements occurred?
Your teammate’s assessment of your contributions and the accuracy of your self-assessment will be considered as part of your overall project score.
Submission Instructions
Final submission will be done by creating a zip file of all your files and emailing it to your project TF. At the same time, the project website must be up and running. If your files are to big to be emailed, please make them available to your grading TF by dropbox or google drive.
Store the following in your zip file:
- Code - All web site files and libraries assuming they are not too big to include
- Data - Include all the data that you used in your project. If the data is too large for emailing it, store it on a cloud storage provider, such as Dropbox or Yousendit.
- Process Book- Your Process Book in PDF format.
- README - The README file must give an overview of what you are handing in: which parts are your code, which parts are libraries, and so on. The README must contain URLs to your project websites and screencast videos. The README must also explain any non-obvious features of your interface.
Grading Criteria
The entire project is worth 40% of the entire grade, the specific break-down of the individual project parts is shown here:
- Project Proposal: 5%
- Initial and Detailed project plan: 10%
- Process Book: 5%
- Project Video and Webpage: 5%
- Project re-design: 15%
- Prototype V1: 20%
- Prototype V2 + Final Project: 40%
For the final project submissions, please keep our main grading criteria in mind:
- Process Book - Are you following a design process that is well documented in your process book?
- Solution - Is your visualization effective in answering your intended questions? Was it designed following visualization principles?
- Implementation - What is the quality of your implementation? Is it appropriately polished, robust, and reliable?
- Presentation - Are your web site and screencast clear, engaging, and effective?
Your individual project score will also be influenced by your peer evaluations.


--- layout: post title: Chris Wanstrath (defunkt) subtitle: How to become successful rubyist teaser: Start your own company - that's a great way to find work ;) category: freelance thumb: upic-defunkt.jpg ---
GitHub Firefighter.
Hello. I have 9 questions to you about working process and programming. So, when you'll be able - please answer them. Or just some of them.
Great!
I was doing PHP consulting and convinced some of my clients to try out Ruby on Rails. They agreed, I gave them a bit of a discount, and everyone was happy.
Where, and how, do you search for work now? Can you give me some advice on the best ways to find Ruby related work?
I work full time at GitHub. Start your own company - that's a great way to find work ;)
What advice would you give a Ruby beginner without any projects ready to show?
Open source! Write and release projects, fix bugs in other peoples' projects, be active in the community. The best way to improve is by writing and reading code.
What have you learned in the past about working with Ruby, clients, how to find good clients, etc.? Many people dream about changing the past for a better present moment ... anything you want to share?
Don't give up and don't worry. Work hard and stay focused, but don't work too hard. Be patient. Working hard is definitely the secret to success.
What books, or sites, or recipes, or whatever else you can recommend (they may be about productivity, or negotiation, or thinking - anything you think will help me live a better life as a programmer)?
I love rubyinside.com for staying on top of the latest Ruby news. I also follow many popular Rubyists like technoweenie and nzkoz on Twitter to stay in the loop.
I think the secret to being a better programmer is to stop caring what other people think of you, stop worrying about appearances and judgement, and instead just start programming. It's not easy but it's always the best tactic.
How much time per week do you work? How do you keep yourself productive and focused?
I'm not sure. I start work between 8:30 and 10 most days, then work until 6 or 7 if I'm going out that night. If I'm not going out I'll work until 1 or 2am. I don't really worry about how many hours I work - instead I focus on what I need to get done.
I find planning what you will do tomorrow is the best way to stay productive. That way it's easy to get up and immediately start working - no need to spend time figuring out what to do or where to start. Think about what you'll do tomorrow tonight.
I don't really have a workspace. I work from home and constantly move between laying in bed, working on my couch, working at my office desk, and working at the dinner table. I like to move around.
Emacs and Git are the most important tools in my toolbox.
How do recommend becoming a successful and profitable programmer?
Like I said - work hard and write a lot of code. Don't get hung up on appearances or what other people think. Don't worry about reading about design patterns or methodologies - learn by doing.
What should every programmer know?
Take breaks throughout the day. I like playing guitar and Rock Band.
Thanks
Chris, thank you a lot for your attention and your advices.


Relocation is the process of connecting symbolic references with symbolic definitions. For example, when a program calls a function, the associated call instruction must transfer control to the proper destination address at execution. Relocatable files must have ``relocation entries'' which are necessary because they contain information that describes how to modify their section contents, thus allowing executable and shared object files to hold the right information for a process's program image.
typedef struct {
Elf32_Addr r_offset;
Elf32_Word r_info;
} Elf32_Rel;
typedef struct {
Elf32_Addr r_offset;
Elf32_Word r_info;
Elf32_Sword r_addend;
} Elf32_Rela;
typedef struct {
Elf64_Addr r_offset;
Elf64_Xword r_info;
} Elf64_Rel;
typedef struct {
Elf64_Addr r_offset;
Elf64_Xword r_info;
Elf64_Sxword r_addend;
} Elf64_Rela;
r_offset
r_info
STN_UNDEF
,
the undefined symbol index,
the relocation uses 0 as the ``symbol value''.
Relocation types are processor-specific;
descriptions of their behavior appear in the processor
supplement.
When the text below refers to a relocation entry's
relocation type or symbol table index, it means the result of applying
ELF32_R_TYPE
(or ELF64_R_TYPE
) or ELF32_R_SYM
(or ELF64_R_SYM
),
respectively, to the entry's r_info
member.
#define ELF32_R_SYM(i) ((i)>>8) #define ELF32_R_TYPE(i) ((unsigned char)(i)) #define ELF32_R_INFO(s,t) (((s)<<8)+(unsigned char)(t)) #define ELF64_R_SYM(i) ((i)>>32) #define ELF64_R_TYPE(i) ((i)&0xffffffffL) #define ELF64_R_INFO(s,t) (((s)<<32)+((t)&0xffffffffL))
r_addend
As specified previously, only
Elf32_Rela
and Elf64_Rela
entries contain an explicit addend.
Entries of type Elf32_Rel
and Elf64_Rel
store an implicit addend in the location to be modified.
Depending on the processor architecture, one form or the other
might be necessary or more convenient.
Consequently, an implementation for a particular machine
may use one form exclusively or either form depending on context.
A relocation section references two other sections:
a symbol table and a section to modify.
The section header's sh_info
and sh_link
members, described in
``Sections''
above, specify these relationships.
Relocation entries for different object files have
slightly different interpretations for the
r_offset
member.
r_offset
holds a section offset.
The relocation section itself describes how to
modify another section in the file; relocation offsets
designate a storage unit within the second section.
r_offset
holds a virtual address.
To make these files' relocation entries more useful
for the dynamic linker, the section offset (file interpretation)
gives way to a virtual address (memory interpretation).
r_offset
changes for different object files to
allow efficient access by the relevant programs,
the relocation types' meanings stay the same.
The typical application of an ELF relocation is to determine the referenced symbol value, extract the addend (either from the field to be relocated or from the addend field contained in the relocation record, as appropriate for the type of relocation record), apply the expression implied by the relocation type to the symbol and addend, extract the desired part of the expression result, and place it in the field to be relocated.
If multiple consecutive relocation records are applied
to the same relocation location (r_offset
),
they are composed instead
of being applied independently, as described above.
By consecutive, we mean that the relocation records are
contiguous within a single relocation section. By composed,
we mean that the standard application described above is modified
as follows:
Note that a consequence of the above rules is that the location specified by a relocation type is relevant for the first element of a composed sequence (and then only for relocation records that do not contain an explicit addend field) and for the last element, where the location determines where the relocated value will be placed. For all other relocation operands in a composed sequence, the location specified is ignored.
An ABI processor supplement may specify individual relocation types that always stop a composition sequence, or always start a new one.