Monte Carlo Benchmarking for Trading Systems in R
Introduction
Part of the challenge of backtesting is coming up with a repeatable framework to compare trading systems. In this example, I will use Monte Carlo simulation in R as a way to measure whether or not a particular trading system is better than pure chance.
Overview
Research
Monte-Carlo Methods
“Monte Carlo methods (or Monte Carlo experiments) are a broad class of computational algorithms that rely on repeated random sampling to obtain numerical results; typically one runs simulations many times over in order to obtain the distribution of an unknown probabilistic entity. The name comes from the resemblance of the technique to the act of playing and recording results in a real gambling casino. “ [Wikipedia.(http://en.wikipedia.org/wiki/Monte_Carlo_methods)
A trading system is nothing more than a collection of rules to enter a long (+1), short (-1) or neutral position (0) in a financial instrument. “If the rule that determines the position to take each time a trading opportunity arises is an intelligent rule, the sum of the obtained returns will be larger than the sum that could be expected from a rule that assigns positions randomly.” See Monte-Carlo Evaluation of Trading Systems.
At its core, Monte-Carlo simulation is a method that: (1) models a problem, (2) randomly simulates the outcome a large number of times, and (3) applies statistical analysis to the output to evaluate the model’s probabilistic characteristics. You can then compare the Monte-Carlo simulation to the trading system results to determine if they were obtained by luck or through a real trading edge.
Whether a trading system has an edge or has attained its returns through randomness can be tested (relatively) easy in R. In statistical terms, a Monte-Carlo simulation tests the null hypothesis that the pairing of long/short/neutral positions with raw returns is random. See Monte-Carlo Evaluation of Trading Systems.
A Null Hypothesis is the hypothesis that sample observations result purely from chance. The Alternative Hypothesis “is the hypothesis that sample observations are influenced by some non-random cause.””
In trading terms, we are trying to determine whether the system is intelligently designed to produce superior returns (our Alternative Hypothesis) as compared with a random benchmark (our Null Hypothesis).
“A significance test is performed by assuming the so-called null hypothesis, which asserts that the measured effect occurs due to sampling error alone. If the null hypothesis is rejected, it’s concluded that the measured effect is due to something more than just sampling error (i.e., it’s significant). To determine whether the null hypothesis should be rejected, a significance or confidence level is chosen. For example, a significance level of 0.05 represents a confidence level of 95%. The so-called p-value is the probability of obtaining the measured statistic if the null hypothesis is true. The smaller the p-value the better. If the p-value is less than the significance level (e.g., p < 0.05), then the null hypothesis is rejected, and the test statistic is deemed to be statistically significant.” See Is That Back-Test Result Good or Just Lucky?
Coin Flip Systems and Random Returns
A completely random trading system enters and exits the market without regard to the past, current or the future or any outside indicators.
Assume we create a trading system that enters and exits an ETF at the end of each trading day based on the outcome of a flip of a coin. We assume a fair coin and that a heads (a “1”) means we are long the market and a tails (a “-1”) means we are short the market. We repeat this daily - going long or going short each day. See My Old Blog For More Information on This.
We have two input time series for the trading system: (1) the Rule Position which is the coin flip entry rule be long or short; and (2) the Market or Raw Return which is the daily return of the financial instrument. SeeMonte Carlo Permutation: Test your Back-Tests
Our Null Hypothesis is that half of the flips will be heads and half of the flips will be tails, i.e., we will be long half the time and short half the time. Stated otherwise, the returns of the Coin Flip System are a randomly correlated to Market or Raw returns. The Alternative Hypothesis is that the Coin Flip System is a sample from a profitable population, and that the Rule Position is correlated to market returns.
Below is the code to simulate coin flips with a 50% probability of coming up with either heads or tails. See Simulating a Coin Flip in R. Note that we are flipping the coin a number of times equal to the number of trading days for QQQ.
sample.space <- c(-1,1)
theta <- 0.5 ##this is a fair coin
N <- length(Close[[1]]) ## match number of flips to total trading days
flips <- sample(sample.space,
size = N,
replace = TRUE,
prob = c(theta, 1 - theta))
Next, we apply the “coin flip” outcome (which is our Rule Position) to the daily returns of QQQ (which is our Raw or Market Return) and then plot the cumulative returns during the trading period.
Coin.Flip.System <-
all.stock.data[[1]] %>%
mutate(
daily.return = ifelse(row_number() == 1, 0, close / lag(close, 1) - 1),
signal.return = daily.return * flips,
cum.return = cumprod(1+signal.return) - 1)
Using our coin-flip trading system, let’s apply it to the daily returns of the Nasdaq-100 based ETF QQQ. The chart below shows the cumulative daily returns of the Coin Flip System.
This is only one iteration/run of our trading system. What if we want to know all of the possible paths the ETF could take?
Monte Carlo Simulations of the Coin Flip System
Solve for the standard deviation and average return of the Coin Flip System, and then find the average daily return and the average standard deviation of these daily returns of the system.
MC.Coin.Flip.System <-
all.stock.data[[1]] %>%
mutate(
daily.return = ifelse(row_number() == 1, 0, close / lag(close, 1) - 1),
signal.return = daily.return * flips,
cum.return = cumprod(1+signal.return) - 1,
sd = runSD(daily.return, n = 252)*sqrt(252),
sd.2 = runSD(daily.return))
MC.Coin.Flip.System.sd <- mean(MC.Coin.Flip.System$sd.2, na.rm = T)
MC.Coin.Flip.System.avg <- mean(MC.Coin.Flip.System$daily.return, na.rm = T)
Next, we create a function that projects a normal distribution of the daily returns of the Coin Flip System. We apply those different paths to the closing value of QQQ from the first date we evaluate the ETF (here it is 2016-01-03) to the final closing price. Much of this code is taken from the post Monte Carlo Simulations in R on the incredible Count Bayesie Blog.
MC.Coin.Flip.System.generate.path <- function(){
MC.Coin.Flip.System.days <- length(Close[[1]])
MC.Coin.Flip.System.changes <-
rnorm(length(Close[[1]]),mean=(1+MC.Coin.Flip.System.avg),sd=MC.Coin.Flip.System.sd)
MC.Coin.Flip.System.sample.path <- cumprod(c(Open[[1]][[1]],MC.Coin.Flip.System.changes))
MC.Coin.Flip.System.closing.price <- MC.Coin.Flip.System.sample.path[days+1]
return(MC.Coin.Flip.System.closing.price/Open[[1]][[1]]-1)
}
Now replicate the Coin Flip System path 100,000 times and then solve for the median value of the stock and the upper and lower 95th percentiles.
MC.Coin.Flip.System.runs <- 100000
MC.Coin.Flip.System.closing <- replicate(runs,MC.Coin.Flip.System.generate.path())
median(MC.Coin.Flip.System.closing)
quantile(MC.Coin.Flip.System.closing,probs = c(0.05,0.95))
Repeat the Monte Carlo Simulation process for the underlying ETF by solving for the average daily return and standard deviation then simulate 100,000 different paths QQQ could have taken.
| Coin Flip System Return (%) | ETF Return (%) | |
|---|---|---|
| Median | 385% | 386% |
| Mean | 498% | 499% |
| 95th Percentile | 1307% | 1310% |
| 5th Percentile | 66.3% | 66.5% |
The similarities between the Coin Flip System and the market returns for the ETF are virtually the same. Why? Mainly because of the similarities between the average and standard deviation of the Coin Flip System and the ETF itself. Sine the Coin Flip System is either long or short the underlying ETF, it was highly probable that the system and the ETF would have the same statistical characteristics.
The chart below models one of the simulated returns for our Coin Flip System (in red) and one of the simulated returns for the underlying QQQ ETF (in blue).
Comparing the median and confidence intervals of the Coin Flip System vs the random entry into the ETF, we cannot reject the Null Hypothesis that the Coin Flip System results were purely by chance. From a practical standpoint, we knew this going in because the entry and exit is purely random being entirely based on an equal (50/50 chance of either being long or short.
But what if you can’t use the “eye test” for evaluating whether or not the results were random?
“The p-value of the original back-testing sample can then be computed (it is equal to the fraction of random rule returns equal or greater to the back-tested rule return).” Source. In this example, the average ETF cumulative return is 499%. The Null Hypothesis is that the cumulative return of the Coin Flip System in excess of the average ETF cumulative return are random.
Calculate the t-test distribution and the p-value in excess of the average return.
t <- (mean(MC.Coin.Flip.System.closing,na.rm = T)-mean(mc.closing))/(sd(MC.Coin.Flip.System.closing)/sqrt(length(MC.Coin.Flip.System.closing)))
p <- 2*pt(-abs(t),df=length(MC.Coin.Flip.System.closing)-1)
This results in a p-value for the Coin Flip System of 0.71. This is well short of the statistical significance threshhold of 0.05 for a p-value (the null hypothesis would be rejected for any p-value less than 0.05). We cannot reject the null hypothesis that the Coin Flip System cumulative return is not by chance.
Although it is likely self evident, you would not want to trade the Coin Flip System even if you got a result showing that the system had a very positive return. If you look at the chart above it appears that the Coin Flip System significantly outperforms being long the ETF. This is a fluke - a false trading strategy that, in reality, was just one path the strategy could have taken. I will discuss false trading strategies in a separate post.
A (Slightly) More Complicated Trading System: Bollinger Band Strategy
Bollinger Bands measure the historical volatility of an instrument above and below a simple moving average. A simple Bollinger Bands system is a mean reverting strategy that would enter long when price crossed over the lower band and enter short when price crosses the upper band. This simple strategy is always exposed to the market; it is never flat.
Although the TTR Package in R supports the use of Bollinger Bands, I will construct them from scratch.
First, assign the length for the simple moving average (the middle band) and the average for the upper and lower bands. Here, I use the traditional SMA setting of 20 periods.
Assign the displacement for the upper and lower bands. I set the upper and lower bands 2 standard deviations above and below the simple moving average.
Using the OHLC from the ETF, set the rolling standard deviations and calculate the middle, upper and lower bands. Our signal will enter long (+1) if the close is less than lower band and enter short (-1) if the close is greater than the upper band. Note that denoting a short as “-1” and then multiplying that by the daily return of the instrument, gives us the correct return. For example, if the ETF is -1% for the day amd we are short, the end result is a gain of 1%.
BBand.Avg.Length <- 20
BBand.SD <- 2
BBand.System <-
all.stock.data[[1]] %>%
select(date,open,high,low,close) %>%
mutate(
daily.return = ifelse(row_number() == 1, 0, close / lag(close, 1) - 1),
cum.daily.return =
(cumprod(1+daily.return)-1)*100,
sd = runSD(close),
middle.band = ifelse(row_number() >= BBand.Avg.Length, rollmean(close, k = BBand.Avg.Length, fill = NA), 0),
upper.band = ifelse(row_number() >= BBand.Avg.Length, rollmean(close, k = BBand.Avg.Length, fill = NA) + (BBand.SD * rollmean(sd, k = BBand.Avg.Length, fill = NA, 0)),0),
lower.band = ifelse(row_number() >= BBand.Avg.Length, rollmean(close, k = BBand.Avg.Length, fill = NA) - (BBand.SD * rollmean(sd, k = BBand.Avg.Length, fill = NA, 0)),0),
signal =
ifelse(close < lower.band,1,
ifelse(close > upper.band,-1,NA)),
signal.2 =
na.locf(signal),
signal.return = daily.return * signal.2,
cum.signal.return = (cumprod(1+signal.return) - 1)*100)
The chart below shows the comparison of the cumulative daily returns of QQQ (in red) vs the Bollinger Bands strategy (in blue).
Monte Carlo Simulation of the Bollinger Band Strategy
Analyzing the Bollinger Band Strategy as compared to being long the QQQ ETF, and assuming a 13.5 year holding period from 2006-01-01 to 2019-06-30, the results are as follows:
| BBands Strategy | QQQ ETF | |
|---|---|---|
| Average Daily Return | 0.08% | .05% |
| Average Standard Deviation | 1.13% | 1.47% |
| Maximum Drawdown | -444.79% | -324.67% |
| Average Sharpe Ratio | 1.14 | 0.73 |
| Cumulative Return | 1114.30% | 352.04% |
| Annualized Return | 20.30% | 11.82% |
Using the same Monte Carlo Analysis above on the Bollinger Band Strategy and utilizing 100,000 runs, the median cumulative return for the Bollinger Bands strategy is 1195%, with a 95% confidence return between 340% to 3722%.
For the ETF, Monte Carlo Analysis returns a median cumulative return of 382%, average cumulative return of 499%, with a 95% confidence return between 62% to 1325%.
Solving for the t-distribution of the excess returns of the Bollinger Band Strategy versus the ETF yields 267.90. This yields an extremely small p-value; it is essentially zero, which means we can reject the null hypothesis. In other words, it is likely that the Bollinger Band strategy provides an edge. This is not a recommendation to trade this strategy. More testing is needed to determine if this strategy is viable.
Conclusions
Monte Carlo methods are a good tool to have to determine if a given trading strategy is due to chance or (rather) from a statistically significant edge. In future posts, I will examine other methods to determine if the strategy is tradeable. These include Bootstrapping, Jacknife, Permutation Testing and Cross-Validation.
Research and Notes
-
For an excellent read on how to construct your own “synthetic” security, check out Coin Tosses and Stock Price Charts by Timothy R. Mayes, Ph.D.
-
A Brief Overview of Bollinger Bands. Stock Charts - Bollinger Bands.
-
An Overview of Using Moving Averages in R. UC Business Analytics R Programming Guide - Moving Averages.
-
Pitfalls of Using Monte Carlo Analysis. System Trader Success - Fooled by Monte Carlo Analysis.
-
Trading System Evaluation. Evaluating Trading Systems By John Ehlers and Ric Way.
-
An incredible overview of Monte Carlo Analysis Permutation Usage when evaluating trading systems. Evidence Based Technical Analysis - Monte Carlo Permutation Evaluation of Trading Systems.
-
Table of contents generator for MarkDown.
-
Coin Flips, Risk to Reward Profile and Creating Your Own Synthetic Security from my old blog Mind Right Trading.
-
An interesting paper on Evaluating Trading Strategies. The authors review several methods for calculating a t-statistic formula using the Sharpe Ratio of the trading strategy. This is calculated by multiplying the Sharpe Ratio times the square root of the number of years the strategy traded. For instance, a t-statistic of 2.91 means that the observed profitability is three standard deviations from the null hypothesis of zero profitability. The paper expands on this formula, covering the problems of multi-testing trading strategies by using the family-wise error rate (FWER) and the false discovery rate (FDR).
-
2 great articles on the specifics of Monte Carlo Permutation when evaluating trading strategies: (1) Monte Carlo Permutation: Test your Back-Tests; and (2) Is That Back-Test Result Good or Just Lucky?
-
An intense and lengthy overview on StackExchange of Resampling / simulation methods: monte carlo, bootstrapping, jackknifing, cross-validation, randomization tests, and permutation tests.
-
Chapter 10 of the very helpful R Tutorial shows several ways of calculating a p-value.


--- layout: side title: "About" description: "" --- {% include JB/setup %}
My name is Ryan Selk, I am a software developer currently located in Victoria, British Columbia Canada. I am currently primarily focused on full stack web application development. I started developing software very early in life, creating my first website in 2000 when i was 13. I got my first paying software job in 2006 writing image classification software for a professor at the local University. I have a passion for software development, I love to learn new technologies as well as dive deeper with existing ones.
In 2009 I graduated with a bachelor's degree with a major in Computer Science and Geographical Information Science. Throughout working through my degree I worked as a Research Assistant for the schools geography department. This gave me a great opportunity to write software which was used by many people and had to adhere to very strict standards. I later moved to developing software for web applications.
Outside of software development I have multiple interests. I am a competitive powerlifter who holds several Canadian records including the national record in the total for the 100kg weight class. Growing up I worked in a bicycle shop so I have developed a love for a the outdoors. Generally I hit the gym throughout the week and climb mountains or mountain bike on the weekends.


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getSendEmailAlertWhenPublished()
- Method in class com.bazaarvoice.
SubmissionParams
Get the value of the "SendEmailAlertWhenPublished" parameter of this submission if it has been set.
getSort()
- Method in class com.bazaarvoice.
DisplayParams
getSortType()
- Method in class com.bazaarvoice.
DisplayParams
getStats()
- Method in class com.bazaarvoice.
DisplayParams
getStoryId()
- Method in class com.bazaarvoice.
SubmissionParams
Get the "StoryId" parameter for this submission if it has been set.
getStoryText()
- Method in class com.bazaarvoice.
SubmissionParams
Get the "StoryText" parameter for this submission if it has been set.
getSubmissionName()
- Method in enum com.bazaarvoice.types.
RequestType
Get the name used for submission requests.
getTagForDimensionExternalId()
- Method in class com.bazaarvoice.
SubmissionParams
getTagIdForDimensionExternalId()
- Method in class com.bazaarvoice.
SubmissionParams
getTitle()
- Method in class com.bazaarvoice.
SubmissionParams
Get the "Title" parameter for this submission if it has been set.
getTypeString()
- Method in enum com.bazaarvoice.types.
FeedbackContentType
getTypeString()
- Method in enum com.bazaarvoice.types.
FeedbackType
getTypeString()
- Method in enum com.bazaarvoice.types.
FeedbackVoteType
getTypeString()
- Method in enum com.bazaarvoice.types.
IncludeStatsType
getTypeString()
- Method in enum com.bazaarvoice.types.
IncludeType
getTypeString()
- Method in enum com.bazaarvoice.types.
MediaParamsContentType
getUserEmail()
- Method in class com.bazaarvoice.
SubmissionParams
Get the "UserEmail" parameter for this submission if it has been set.
getUserId()
- Method in class com.bazaarvoice.
SubmissionMediaParams
Get the "UserId" parameter for the submission.
getUserId()
- Method in class com.bazaarvoice.
SubmissionParams
Get the "UserId" parameter for this submission if it has been set.
getUserLocation()
- Method in class com.bazaarvoice.
SubmissionParams
Get the "UserLocation" parameter for this submission if it has been set.
getUserNickname()
- Method in class com.bazaarvoice.
SubmissionParams
Get the "UserNickname" parameter for this submission if it has been set.
getVersionName()
- Method in enum com.bazaarvoice.types.
ApiVersion
getVideoCaptions()
- Method in class com.bazaarvoice.
SubmissionParams
getVideoUrls()
- Method in class com.bazaarvoice.
SubmissionParams
getVote()
- Method in class com.bazaarvoice.
SubmissionParams
Get the "Vote" parameter for this submission if it has been set
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Upload an image for everyone to see. Valid images are pushed to everyone currently connected, and only the most recent 10 images are saved.
The complete source for this Flask web service can be found at: https://github.com/bboe/flask-image-uploader
Disclaimer: The author of this application accepts no responsibility for the images uploaded to this web service. To discourage the submission of obscene images, IP addresses with the last two octets hidden will be visibly associated with uploaded images.


Papers
Teachers
Selection
(current)
Generate
Saves
Largest Selection
Department Selection
{% for paper in papers %}
{{ paper.Name }}
Number of teachers: {{ paper.pool_count }}
Add Teacher
{% for teacher in paper.teachers %}
{{ teacher.Name }}
Prioritse
Remove
{% endfor %}
Add teachers for {{ paper.Name }}
×
{% for teacher in paper.not_included %}
{{ teacher.Name }}
{% endfor %}
{% endfor %}


Show the wishes based on:
This page shows the wishes based on your local area. Connect with your commnity to provide their kids the future they dream of.
Wish Description here...
Describe who is needed!


{% extends "core/base.html" %} {% comment %} achievement template ach - this achievement players_achievements - player_ach that compiled it count - count of players_achievements players_count - totall player_count {% endcomment %} {% block title %} {{ ach.name }} {% endblock %} {% block main %}
| Rank | Player | Date |
|---|---|---|
🥇 |
{{ players_achievements.0.player.name }} | {{ players_achievements.0.date }} |
🥈 |
{{ players_achievements.1.player.name }} | {{ players_achievements.1.date }} |
🥉 |
{{ players_achievements.2.player.name }} | {{ players_achievements.2.date }} |
| {{ forloop.counter }} | {{ pa.player.name }} | {{ pa.date }} |


By Thalyson Nepomuceno, UECE Brazil
Bino and Cino are close friends. Bino likes to create mathematical challenges to Cino. This time, Bino created a list of numbers and asked to Cino: How many numbers are multiples of 2, 3, 4 and 5?
This challenge looks simple, but when the list contains many numbers, Cino makes some miscalculations. To help Cino, make a program to solve the Bino's Challenge.
The first line of input consists of an integer N (1 ≤ N ≤1000), representing the amount of numbers in the Bino's list.
The second line contains N integers Li (1 ≤ Li ≤ 100), representing the numbers of the Bino's list.
Print the amount of multiples of 2, 3, 4 and 5 in the list. Note the formatting of the output in the output sample, because it must be followed strictly. "Multiplo(s)" means "Multiple(s)" in English, but you must print the message in Portuguese.
| Input Sample | Output Sample |
|
5 |
4 Multiplo(s) de 2 |


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Use local research findings says Magufuli
by Frank KimboyDar es Salaam. President John Magufuli has today November 21,called local authorities to use researches and findings, which are locally funded and implemented by local firms in discharging their duties.
The President was speaking at the University of Dodoma’s (Udom) 10th graduation ceremony, where he was conferred with an honorary degree in science.
President Magufuli also called upon academic and other research institutions to strengthen research funds in their institutions. This according to him will make sure that research agendas are locally driven.
He said currently most of researches are driven by donors’ agenda because they are key financers something which isn’t good for the country.
The head of state said in implementation of the ruling CCM 2015/20 election manifesto his administration has been heavily relying on researches which are funded and implemented by the locals.
He also expressed his disappointment by the tendency of some public entities to fail to utilize research findings conducted by some locals.
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The President said even Tanzania Revenues Authority (TRA) has failed to utilize a technology, which was developed by Ardhi University to increase revenues collections.
“Ardhi University has developed a technology from which location all houses across the country could be detected but to my surprise TRA has not utilize this to improve property tax collection,” said President Magufuli.


{%- include head.html -%} {% seo %}
{%- include header.html -%}
{{ content }} {%- include disqus.html -%}
{%- include footer.html -%} {%- include copyright.html -%}
{%- include scripts.html -%}


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console.writeline and console.readline
Console.WriteLine and Console.ReadLine are crucial to text based videogames. There is interactive qualities for those lines and they are nice


Anonymous reporting will limit analysis of the incident and thus any improvement measures which can be implementedPlease note that the 'Save Draft' function is not available for Anonymous reporting.


Jordan Pickford highlights importance of England starting with a win at Euro 2020
The Everton goalkeeper is already braced for the hype that will come with being one of next year’s co-host nations
by Simon Mullock, https://www.mirror.co.uk/authors/simon-mullock/Jordan Pickford was “still in nappies” when England last staged the Euros.
But the Everton goalkeeper is already braced for the hype that will come with being one of next year’s co-host nations – and the country staging the tournament final, at Wembley.
Pickford has established himself as Gareth Southgate’s undisputed No.1 in the 18 months since he went to the World Cup in Russia.
That’s where he helped the Three Lions reach their first major semi-final since the original ‘Football’s Coming Home’ summer of Euro 96.
And while time is on the side of Southgate’s young squad, the 25-year-old Pickford has already experienced enough in his career to know that England must do everything they can to seize the day next summer.
Pickford said: “It will be as close to a home tournament as you are going to get without being the sole hosts.
“So yeah, that will add a bit more to the pressure – but I also think it will add to the enjoyment as well.
“Being based at St George’s Park, in a home environment, we know what it will be like and it will give us all a great buzz.
“I was still in nappies in 1996, but I know it will be a great experience because we know how good the fans are. We want to repay them for that support.
“We know the fans will be right behind us – and they should know that as footballers we all want to be winners for them.
“We know how hard winning a tournament is. But the first thing we need to do is win the opening game and the fans will all start to believe.
“During the World Cup, it was quality when we saw how excited the fans were back home.
“We have made great progress as a team in the last couple of years and losing the semi-final in Russia can hopefully spur us on.”
It isn’t just the World Cup defeat at the hands of Croatia in 2018 that has made Pickford realise that time is of the essence in football.
Two weeks ago, he saw Everton team-mate Andre Gomes suffer a horrific injury, as a challenge by Tottenham ’s Son Heung-min left the Portuguese midfielder with a fracture and dislocation of his ankle.
It was another example of how the game can be cruel is so many ways.
Pickford said: “I didn’t really see the extent of the injury because I was at the opposite end of the pitch and I knew that if I went over to have a look I would risk going into shock.
“I spent most of the time just trying to get the lads to get their focus back on the game because we were losing 1-0. I also tried to help Sonny as well because I don’t think he meant to do it.
“It’s another example that you never know what football is going to bring. You have to take all your opportunities because you can’t ever take anything for granted.”
Pickford added: “That’s why I look back on the World Cup with mixed feelings.
“It was fantastic to be involved. But in the end, not getting to the final was a huge disappointment.
“I suppose that’s why we are all so hungry to achieve more.
“We want to improve as individuals and as a group – and we want to put smiles on people’s faces.”


---
layout: blog_layout
---
-
Direct Line Guidance Odometry, ICRA 2018 [pdf][bib]
Shijie Li,Bo Ren,Yun Liu,Ming-Ming Cheng,Duncan Frost,Victor Adrian Prisacariu
-
Structured Skip List: A Compact Data Structure for 3D Reconstruction, IROS 2018 [pdf][bib]
Shijie Li,Ming-Ming Cheng,Yun Liu,Shao-Ping Lu,Victor Adrian Prisacariu
-
DEL: Deep Embedding Learning for Efficient Image Segmentation, IJCAI–ECAI 2018 [pdf][bib]
Yun Liu,Peng-Tao Jiang,Vahan Petrosyan,Shijie Li,Jiawang Bian,Le Zhang,Ming-Ming Cheng
-
CubemapSLAM: A versatile monocular fisheye SLAM solution from the autonomous driving perspective, ACCV 2018 [pdf][bib]
Yahui Wang,Shaojun Cai,Shijie Li,Yun Liu,Tao Li,Ming-Ming Cheng
-
Joint Salient Object Detection and Existence Prediction, Comput. Sci. 2018 [pdf][bib]
Jiang Huaizu,Cheng Ming-Ming,Shijie Li,Ali Borji,Wang Jingdong


Installing mermaid globally (npm install -g mermaid
) will expose the mermaid
command to your environment, allowing you to generate PNGs from any file containing mermaid markup via the command line.
Note: The mermaid
command requires PhantomJS (version ^1.9.0
) to be installed and available in your $PATH, or you can specify it’s location with the -e
option. For most environments, npm install -g phantomjs
will satisfy this requirement.
$ mermaid --help
Usage: mermaid [options] <file>...
file The mermaid description file to be rendered
Options:
-s --svg Output SVG instead of PNG (experimental)
-p --png If SVG was selected, and you also want PNG, set this flag
-o --outputDir Directory to save files, will be created automatically, defaults to `cwd`
-e --phantomPath Specify the path to the phantomjs executable
-c --sequenceConfig Specify the path to the file with the configuration to be applied in the sequence diagram
-h --help Show this message
-v --verbose Show logging
-w --width width of the generated png (number)
--version Print version and quit
mermaid testGraph.mmd
mermaid testGraph.mmd -w 980
The –sequenceConfig option allows overriding the sequence diagram configuration. It could be useful to increase the width between actors, the notes width or the margin to fit some large texts that are not well rendered with the default configuration, for example.
The content of the file must be a JSON like this:
{
"diagramMarginX": 100,
"diagramMarginY": 10,
"actorMargin": 150,
"width": 150,
"height": 65,
"boxMargin": 10,
"boxTextMargin": 5,
"noteMargin": 10,
"messageMargin": 35
}
These properties will override the default values and if a property is not set in this object, it will left it empty and could raise an error. The current properties (measured in px) are:


© 2019
| affinis affinis affine | related to, allied to | |||
| affinis | affin | adj | bordering upon, adjacent to; allied, kindred | |
| Melandrium affine (J.Vahl ex Fries) J.Vahl Fritillaria affinis (Schultes) Sealy | ||||
| afoliatus afoliata afoliatum | without leaves | |||
| a | a | pre | abs away from | |
| foliatus | foliat | adj | provided with or having leaves | |
| Clematis afoliata Buchanan | ||||
| afrasper afraspera afrasperum | rough African | |||
| afer | afr | noun/m | Afer a son of the Libyan Hercules, land of Afer, i.e. Africa | |
| asper | asper | adj | rough | |
| Aeschynomene afraspera J. Leonard | ||||
| africanus africana africanum | African | |||
| africanus | african | adj | Africanus African | |
| Afzelia africana Smith ex Pers. Gnetum africanum Welw. Agapanthus africanus (L.) Hoffsgg. | ||||
| africanus-luteus africana-lutea africanum-luteum | yellow African | |||
| africanus | african | adj | Africanus African | |
| - | - | cnct | ||
| luteus | lute | adj | golden, saffron, orange-yellow | |
| Salvia africana-lutea L. | ||||
| afromontanus afromontana afromontanum | from African mountains | |||
| afer | afr | noun/m | Afer a son of the Libyan Hercules, land of Afer, i.e. Africa | |
| o | o | cnct | connective vowel in botanical Latin, usually for Greek words but in some cases, such as color tingeing, for Latin words | |
| montanus | montan | adj | of or belonging to the mountains | |
| Vernonia afromontana R. E. Fr. | ||||
| aganniphus agannipha aganniphum | very snowed on | |||
| aganniphos | aganniph | adj | ἀγάννῖφοϛ, ον (ἄγαν, νίφω) very, much snowed on, snowy | |
| us | adj | Latinizing suffix | ||
| Rhododendron aganniphum Balf. f. & Kingdon-Ward | ||||
| agastus agasta agastum | charming | |||
| agastos | agast | adj | αγαστοϛ admired, admirable | |
| us | adj | Latinizing suffix | ||
| Rhododendron agastum Balf. f. & W. W. Sm. | ||||
| agavifolius agavifolia agavifolium | leaves like the genus Agave | |||
| agave | agav | noun/f | agauos αγαυοϛ of kings and heros: illustrious | |
| i | i | cnct | connective vowel used by botanical Latin | |
| folius | foli | adj | folium leaf | |
| agavoides agavoides agavoides | like the genus Agave | |||
| agave | agav | noun/f | agauos αγαυοϛ of kings and heros: illustrious | |
| oides | oid | adj | -οειδεϛ adjective suffix for nouns: like, resemble | |
| Ariocarpus agavoides (Castaneda) E. F. Anderson | ||||
| agelaeus agelaea agelaeum | gregarious | |||
| agelaeos | agelae | adj | αγελαιοϛ part of a herd; common | |
| us | adj | Latinizing suffix | ||
| Opegrapha agelaea Fee | ||||
| ageratifolius ageratifolia ageratifolium | leaves like the genus Ageratum | |||
| ageraton | agerat | noun/f | αγερατον a plant that does not wither readily; an aromatic plant, perhaps Achillea ageratum. | |
| i | i | cnct | connective vowel used by botanical Latin | |
| folius | foli | adj | folium leaf | |
| Achillea ageratifolia (Sibth. & Sm.) Boiss. | ||||
| ageratoides ageratoides ageratoides | like the genus Ageratum | |||
| ageraton | agerat | noun/f | αγερατον a plant that does not wither readily; an aromatic plant, perhaps Achillea ageratum. | |
| oides | oid | adj | -οειδεϛ adjective suffix for nouns: like, resemble | |
| Conyza ageratoides DC. |


Welcome to my WYSIWYG Editor (What you see is what you get)!
It's only made of HTML5, CSS3 and pure JavaScript, no framework!
See for yourself! 😃
Tutorial available here! 😋


School cricketers make their mark at national tournament
by Jacob PageThe Medbury first XI won the national primary school cricket tournament on Wednesday.
The twenty20 round-robin tournament was held at Lincoln University, the New Zealand Cricket High Performance Centre and at the Lincoln Domain.
Medbury competed against teams from Auckland, Northern Districts, Central Districts, Wellington and Otago.
They finished the competition with three wins, one loss and one abandoned game with their superior run-rate seeing them win the competition over Havelock North's Hereworth School and Auckland's King's School which both had the same record.
Coach John Ogston said his team applied themselves well under some scrutiny at the tournament.
"It was a pleasure for all involved in the Lincoln-based tournament to be able to use the impressive facilities New Zealand Cricket has to offer.
"The standard of cricket was extremely competitive with the six teams involved having qualified from the their respective district.
"What pleased me most was seeing our boys respond under pressure and the support they gave their teammates in tightly fought contests."
Headmaster Ian Macpherson was delighted for the boys, saying they applied the Medbury values of perseverance, loyalty and respect for the opposition throughout the tournament.


The integral reading of socialist architecture in the late 20th century presents the evolution of Soviet and East German architecture as a unique model of a governed collaboration. Both the Soviet Union, "the elder brother,” and the GDR, its "little sister" in the family of socialist countries, unfolded a general course toward the total industrialization and the mass production of standard housing for the people. The processes that developed in Russian architecture were projected onto East German architecture without any substantial visible transformations.
To achieve a more profound understanding of cultural processes in Eastern Europe, we can analyze, classify, and evaluate Soviet and East German architectural theories and practices during the construction of communism at the crossroads of design, government policy, and ideology. We can explore the national agenda of a shared identity of socialist architectural practices if we examine the dynamics of Soviet and East German architecture as a certain sequence of cycles with goals and directions that were determined by authoritarian administrative institutions of the socialist state1.
Artistic concepts implicated constantly changing requirements, economic shortages, and the totalitarian approach to social and architectural progress, raising the issue of the tremendous growth of professional crises.
The sudden reverse from adopted design patterns along with the introduction of entirely new evaluative criteria with each new time frame of architectural progression resulted in transitional conflicts as well as professional and personal drama for many architects.
By the end of the 1970s, the concept of the restoration of global harmony and the reevaluation of historical legacy developed in the Soviet Union as a part of a larger artistic trend that confronted the enforced doctrine of socialist realism.
In the arts, the nonconformists united into the underground movement, the first large-scale attempt to oppose the hegemony of the dogma. In Soviet Russia, that movement was suppressed for a long time, prohibited and condemned by the state as offspring of foreign ideology. By the early 1980s, most of these artists were either forced out of the country or left upon their own volition to live abroad, isolated from Soviet society.
It is a widely known yet rarely mentioned fact that Russian architects chose not to leave Russia during social upheavals and cataclysms; instead they preferred to cooperate with the Soviet government by developing new ideas for the "radiant future" and were actively involved in and influenced by the various reconstruction processes.
There are dramatic dialectical parallels to be discussed between the post-revolutionary situations of 1917 and the 1980s.
In the 1980s, as Russia opened to the West, the architectural community became aware of the spreading architectural crisis. The excitement about the role of architecture developed into a sobering understanding of the situation within the profession.
The perception of Soviet architecture as a derivative from the collapsing socialist practices led to a dramatic discovery of the real historical perspective.
Several decades of Russian architecture have been classified as errors of the lost generation. Affordable modernism and the international style, manifested in Soviet architecture, transformed the cities into "machines for living" and paved the way to the dramatic growth of criminal activities and social alienation. The mastered standardized design became a symbol of the faceless "collectivism.”
The architectural crisis in Western architecture, declared by the leaders of the postmodern movement as the crisis of modernism, transformed into a search for new criteria. The new programs of the 1970s gave birth to the new construction practices.
Yet in Soviet and early post-Soviet architecture, these were illuminated as an eclectic recall for post-classicist legacy and were identified with Stalinist architecture, which was called "gingerbread architecture" and was broadly criticized.
On the other hand, a strong movement toward national unification promoted the search for new social ideals and for the development of new identities. In architecture, that was possible by reconsidering national history, spiritual and global human ideals, and contemporary Western construction methods and materials.
But while the generation of the 1960s acknowledged "the real world" and in the 1970s worked toward architectural improvement, the Russian architects of the 1980s confronted the methodology of socialist realism.
Before glasnost and perestroika, they developed conceptual architecture for international competitions, got involved in neoconstructivist design, postmodern contextual allusions, and deconstructive replicas.
Radiant post-revolutionary dreams instigated a strong impulse toward the "other" art and architecture for the humanity2 (yet the tragic aspects of the 1917 Revolution were ignored).
The architectural progression in socialist East Germany was determined "from above" and was forced in one direction. However it is of considerable interest to review professional discussions and to compare the concepts of the leading architects and art historians.
In the 1980s, the official capital concept was formulated in Berlin by the bosses of architectural politics: Grönwald, Gisske, Krenz, Hofman, Rietdorf, and Stahn. The notion of a rational compromise was developed by Baumbach, Brandstädter, Kaufmann, Krause, and Schädlich.
The relatively radical ideas in opposition to the state guidelines were ultimately represented by Flierl, Kil, Niebergall, and partly by Kuhn, Topfstedt, Weber, and Zimmermann. Our insights are based on the analysis of major trends within the given timeframe, focusing on the dominant program of mass large-panel construction to rehabilitate the deteriorating urban environment-the broadening tendency of historical-architectural research; the reconstruction of historic city centers, including preservation of urban environments and landmarks, modernization and renovation of historic districts, new construction in historic centers, and conceptual development of recreation areas, of the "first floor " of the city, of public centers, and of walking areas; the reconstruction of residential areas built between 1950s and 1970s; the trend toward the integration of works of art into a spatial environment and the interaction of art and architecture.
The comparative analysis of these trends proved that the 1971-1980 experiment of total industrialization of construction-residential and otherwise-and the authoritarian program of its rehabilitation in the 1980s, each of which developed embellishments called "historical traditions" on the basis of large-panel mass construction, which resulted in the next architectural crisis.
The specific projects developed in the 1980s, such as Platz der Akademie (Academy Square), Husemanstrasse, Friedrichstrasse, and Nikolaiviertel in Berlin; the Greifswald Experiment (old town to be replaced with new construction); National Competition on the reconstruction of Leipzig downtown (1988); the project for modernization of the Moritzkirchhof residential building in the historic center of Halle; the reconstruction of the Grosse Scharnstrasse, the street built in 1950s and 1960s in Frankfurt-an-der-Oder; and many others illustrate the failure of that architectural doctrine.
At the same time, some projects, such as the residential district Brunoswarte in Halle, demonstrate alternative results achieved by talented individuals despite complications caused by dogmatic authoritarian politics. The slogans "Housing for the People,” "Accelerated Construction of the Developed Socialist Society,” a "City as a Unity,” and similar trends copied the Soviet construction programs and developments of the 1970s and 1980s. At the same point, Gorbachev's extravagant official appeal for construction of "Socialism with a human face" became a unique reserve with a potential for alternative changes.
The so-called opposition that formed in the GDR during the 1980s was blocked by bureaucratic and political structures and was only capable of initiating debates about the outer aestheticism and painless improvements but not able to change the essential criteria in order to conquer the kitsch of the dogmatic large-panel traditionalism.
The distinct character of that movement in East German architecture has been visualized in separate aestheticist replicas hidden behind the avowed achievements of socialist architecture. The finale of the bold construction experiment in East Germany illuminated the ongoing professional crisis as the bottom line of planned diversity, which had been constructed on the paradigm of organized utopia.
The dramatic contradiction between the positive intentions of the architects and the totalitarian concentration of power and assets in the hands of authorities, "the center,” determined the monopolistic and dogmatic development of architectural mass industry. The projects that were conducted as a unique social experiment, when fulfilled in the 1980s, became the next failure of life-building concepts in Soviet as well as in East German architecture.
At the same controversial point, certain efforts in East Germany, for instance the residential area Nordliche Altstadt (Northern Downtown) in Rostock3, or Ostbezirk in Neubrandenburg, can be interpreted as a success achieved by gifted architects who in spite of the obstacles were capable of overcoming an essential contradiction between the aspirations of a talented individual and the mass collective labor that tends to diminish personal creativity.
The analysis of the historical stylistic dilemma of tradition and modernity in architecture of the GDR and the Soviet Union at the final moment of their existence provides unique insight toward a comprehensive reading of socialist architecture.
When culture was generally subsumed by socialist realism, mediocrity was the result. Russia gradually became an artistic and architectural backwater with imperial ambitions.4 The system created a monster with excessive self-esteem.
The gap could not be bridged in the near future because of the polarization and isolation of Russian high culture for the most part of the 20th century. The double morality that was forced upon artists in the sociopolitical sphere under communism5 gave birth to a psychological phenomenon that has been well reflected within the architectural milieu: the tendency to ignore the surrounding social environment and the preference for an introverted closed system of refined visions.
The breakout from the field of hopeless ordinary design into the arts became popular among the young architects. Real life sharpened their aesthetic reflections and the romantic nostalgia. The educational system encouraged that trend inspired by a distinguished flight of artistic fantasy from reality into another ideal world.
The design and construction practices by the new generation of architects evidently distinguish the movement, apparent by comparing and contrasting, for instance, the alternative Mayakovski Museum on Lubianka to the Paveletsky railroad station, which was highly prized by officials; both were erected in Moscow historical districts in the mid-late 1980s.
A concept of salvation had a deep impact on Russian culture in the 1980s. "The path toward a temple" became a new guideline for the works of culture.
At the turn of the two social epochs, it was the architectural school that sharpened aesthetic reflections and produced a generation of conceptual artists who alienated themselves from the monotonous practices and escaped into the fantasies of works on paper. Abstract metaphors of the conceptual "paper architecture" movement aspired to solve real life problems.
An associative image of human civilization was created, one that revealed the reflective anxiety of the intellectual society. Dmitry Bush and Alexander Khomiakov designed “Glass Stonehenge” in 1986 for the “The Japan Architect” magazine competition”A Monument for the Year 2001”. A row of stones is covered with a fragile glass plate carrying the next row, etc. Another version of the urban future was designed by Igor Khatuntsev. “The City of Robots’, a fantastic industrial vision, stated that nothing is beyond predictability and that machines respond to all needs of urban life. He also created a series of salvation houses in order to survive in extreme circumstances or catastrophic accidents.
Soviet architecture embodied soviet social relations and reflected the insignificant role of the individual. The mastered standardized design became a symbol of the faceless "collectivism.”
The conflicts increased due to creative initiatives and the clumsy monopolistic economics, the inflexible state design and construction, the devastating need for dwelling, the constant necessity for cheap construction labor, and the ambitions of the Soviet government to dictate the ways of architectural evolution.
At the beginning of the 1980s, many gifted architects turned over from the "realistic" expressionless design and construction to "paper architecture"; that trend also merged in time with the postmodern movement in Western architecture.
The results of that shift were exceptional; the new generation of architects won best awards in the broad array of professional contests around the world. Gradually, many young architects moved abroad and resettled in the West. That symptom indicated once more the crisis in Russian architecture.
Russian paper architects were extremely successful in international competitions. They created perfect fantasies and developed into outstanding conceptualists, as did the grotesque poetic humanists Alexander Brodsky and Ilya Utkin, the intellectual dreamer Yuri Kuzin, deconstructivists Andrei Vovk and Igor Khatuntsev, the fascinating aesthetes Dmitry Bush and Sergei Chouklov, the ironical constructivist Yuri Avvakumov, and others.
The conceptualists settled down in the niches of architectural schools and academies. In the 1980s, the resources in the Russian construction business were limited and completely subsided by the state. For the conceptualists, the only way to appear was in international contests and competitions.
Yuri Avvakumov, a sophisticated interpreter of the Russian avant-garde tradition, became the first moderator of the "paper architecture" movement and reintroduced it as a trend on the cultural scene, while arranging exhibitions in the country and abroad.
Meanwhile, he developed a project “Russian Utopia, a Depository”, an archive for visionary architectural projects created in Russia during the last 300 years that had never been carried out -as a claim of a collective Russian dream and as a metaphor of a “columbarium for rejected fantasies.” Also, he is known as the author of “Temporary Monuments”, a widely exhibited series, which he calls "absurd models dedicated to the 1920s.”
The image of the “Tower of Perestroika” by Avvakumov for the exhibition “Temporary Monuments” at the State Russian Museum in St. Petersburg was designed as an ironic reminiscence of Tatlin’s constructivist “Monument to the Third International”, developing like a scaffolding around the skeleton of Mukhina’s “Monument to Worker and Farmer”, the popular icon of Socialist Realism. Avvakumov’s “Red Tower”, an installation for Gorky Park, was ironically designed to test flying “Letatlin devices” crafted by Vladimir Tatlin.
In 1988, Avvakumov started an independent AGITARCH studio, and in the 1990s, he initiated the Utopia-Foundation for the vanguard arts. The ironic and unique images”Tower of Perestroika” (prototypes: Tatlin and Mukhina), “Tribune for a Leninist” (prototypes: El Lissitzky and the Cheops Pyramid), and “Gallery Utopia” (prototypes: Konstantin Melnikov and Frank Lloyd Wright’s Solomon R.Guggenheim Museum) symbolize the distinct shift in Russian artistic mentality and identify connections between time, social development, and artistic legacy.
Avvakumov graduated from the Moscow Architectural Institute in 1981. In the early 1980s, he designed projects for international competitions and received several major awards: a first prize for “Style for the Year 2001” (A+U, Japan) and a bronze medal for “Dwelling for Tomorrow” (UNESCO, France). Since 1984, he has developed exhibition projects in Paris, Milan, Antwerp, Cologne, Frankfurt/Main, Zurich, Cambridge, New Orleans, Austin, and elsewhere.
Now his works are in the collections of the State Russian Museum in St.Petersburg, Ministry of Culture of RF, State Museum of Architecture in Moscow, and Deutsches Architekturmuseum in Frankfurt/Main.
Architectural conceptualism peaked during the 1980s. Dramatic connections were established with the cultural contexts of the early 1920s. The emergence of "paper architecture" in the 1980s and the unification of the movement were linked to the larger sociopolitical and ideological transformations in the Soviet Union.6
The paper architects dreamed, philosophized, and satirized. This was a breath of fresh air after decades of stagnation; and they were testing their strength in anticipation of the changes, which would eventually demolish the communist autocracy. "Paper architecture" became a separate part of the nonconformist movement in Russian art and culture; in the eighties it confronted totalitarian architecture.
The experience of socialist architecture in East European countries, especially in the GDR with its discrete stages of government-controlled progress, presents a certain completed cycle of development and is therefore of essential academic interest.
Within the context of East European architecture during the final socialist decade, the GDR practices sowed themselves to be a dogmatic introduction to the concept of the rebirth of stylistic traditions on the basis of mass large-panel construction7.
The Moscow architects joked that it was the "most-socialist socialism.” During the 1980s in East German architecture, the turn toward imitation, citation, and interpretation of stylistic traditions, based on cheap methods of mass construction, was incorporated into one major trend, manifested and regulated by state authorities.
The notion of traditions and historical legacy was altered, causing the next substantial reversal of professional architectural thinking. The new design patterns and construction practices were highly praised by the government and considerably overrated in East German publications.
The largest design institutions in the USSR (CNIIEP Zhilisha) and the GDR worked in collaboration and developed a mutual course toward total industrialization and standard large-scale production of housing.
The long-lasting programs (from the 1980s through 2005) for erection of experimental residential cooperatives (EZhK) in Gorky and Magdeburg, as well as other joint construction projects, have been cut off by sociopolitical changes in both countries in the early 1990s.
As a result of the dogmatic communist policy, East German architects were completely limited in their professional initiatives. They never participated in Western design competitions, and were not capable of doing so due to their lack of contest experience. In Soviet architecture, the competition practices were viewed differently.
On one hand, the dimensions of the country and the constant need for new developments instigated various and diverse architectural contests and competitions, and the participation in those professional activities was essential for an architect to become known and be promoted.
On the other hand, though, the authorities controlled the access to information about international competitions. Some architectural studios were “remitted” and were known as permanent participants in those competitions.
It was a matter of specific networking to get a job in those studios. The architects, who were introduced to those practices in the former Soviet Union, became the paper architects in the 1980s and the new leaders in the 1990s.
In East Germany, the only way to oppose the hegemony of the dogma and to survive was to find a special separated niche for professional activities. For a radically thinking architect, becoming different meant becoming isolated.
In the 1980s, Ralf Niebergall would represent the young generation of East German architects, which never openly united into a group in opposition to the official architectural politics and never tried to establish contacts with each other or to form a movement. Those architects claimed to know about each other’s projects and activities and about the critically thinking architects of the 1970s.
The new generation aimed to achieve personal professional goals and to fulfill the aestheticist designs strongly influenced by Western, especially postmodernist, art concepts and architectural practices. Thus, that approach did not follow the official pattern of architectural progression in socialist East Germany, but instead denied it by developing personal creative ideas and individually challenging the ruling autocracy.
Born in a family of architects, Ralf Niebergall started his studies in urbanism and sociology at the Highest School of Architecture and Construction in Weimar (now Bauhaus University) in the late 1970s. He soon realized the real applied character of the course based on dogmatic standards. He transferred to the department of architectural design.
The art history studies, especially of the late art deco with Professor Salzman, influenced the new generation of East German architects. The disputes on new trends in Western architecture, on postmodernism, were popular among students but ideologically persecuted by Professor Grönwald, who represented the academic politics and was the Director of the Construction Academy in Berlin.
The GDR authorities implanted the popular postmodern idea of the rebirth of historical styles for humanization of spatial environment, into the notion of industrially produced embellishment applied on the surface of large panels for fast and affordable mass construction.
However, the opposition did not attempt to rethink the criteria of socialist production practices, but tried to diversify decorative methods, and to individualize and aesthetisize the process8.
Niebergall worked at Wulf Brandtädter's studio, designing the residential area Halle Brunoswarte, and then he moved to Berlin and worked at the studio of Günter Stahn on the Nikolaiviertel design project. The state control over architectural practices determined the direction for architectural development throughout the country, and those two leading studios exemplified the general line.
Following the Soviet pattern, the East German government introduced the concept of the so-called capital city to Berlin. The new eclectic allusion to the Wilhelmian architecture of the 19th century was intended to create a rich city look using the industrial methods of mass construction.
The organized climax of architectural kitsch in downtown areas of all major cities, especially in Berlin, indicated another dead end, and the known political games akin to those in the Soviet Union, caused the crisis of artistic mentality during the last socialist decade of East Germany.
Niebergall noted, "I realized the role and position of an architect under the dictatorship of the feudal regime, and I bent to the church.”9 The church was the only legal client that was separated both from the state and from the majority of the people.
During the 1980s, he designed the Heilig Kreuz church in Halle and the Maria Regina church in Bad Lauchstädt. Niebergall developed the concept of a humanist connection with nature, culture, and religion as an integral goal for the architectural progression.
He believed that each individual, in questioning the mysteries of life and identifying the purpose of human existence and moral values, is a religious person.
But due to the differences of faith, an architect cannot force his religious ideas upon the people; the essential point is to be open-minded, "to filter life like the light through the prism,”10 individually transforming it into artwork.
Accordingly, Niebergall never aimed to become an avant-garde artist or to manifest his ideas. He developed close connections to the place and history, he fantasized, but his designs were realistic and recognizable.
Niebergall created architectural drawings and delicate etchings, and his architectural theory and practice as a whole was as important to him as were the finest details. A certain charm and lyrical mystery characterize his work, and he outlined his aestheticist priorities as a distinctive feature.
That is what united his work with the achievements of the radically thinking East German architects of the last socialist: the common struggle against the kitsch of mass construction.
Currently, the available research does not offer a comparative analysis or a joint evaluation of tendencies in Soviet and East German architecture in the 1980s. A substantial part of that research focuses on single aspects of socialist architecture and summarizes applied construction practices.
In opposition to the state, individual concepts that separated from each other in East Germany or united into an integral movement in the former Soviet Union confronted the monopolistic progression of mass industry.
We can obtain a comprehensive reading of socialist architectural development only when we illuminate the movement in opposition to the state, document and analyze various and broader data, and portray art and architectural evolution is as a controversial process.
In doing so, we can avoid rejecting the entire socialist age, but instead could survey, research, and interpret the relations between the artists and the state and study cultural policies during communist construction.
It is of academic and practical interest to emphasize, systemize, and study these patterns. The actual accomplishment of such an inquiry would signify a deeper insight into professional artistic experiences and would provide a resource for further studies in modern and contemporary architecture, art, and social research.
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[Erowid Warning: Our understanding of the literature is that there is no such thing as safe use of volatile solvents, aerosols and other street inhalants : their psychoactive effects are inseparable from nerve and organ damage. We have chosen to include these reports to help document the real world use of inhalants, but their inclusion is not intended to imply that they are anything but dangerous.]
I am the kind of person that is tottally against inhalents and I usually only drink or smoke weed, but there is a time in every persons life when they need some kind of substance in their system and they are unable to find one. Thats how my night was going, I was bored out of my mind and looking for a cheap high. I went on the net looking for what I could do and I heard about inhaling gasoline, some of the things I heard about it were amazing, the trips that people had, I was scared but my curiosity took over my common sence.
I went in my garage and grabbed a gasoline can. I poured it into a 2 liter bottle and tried it that way but really it had no effect but a light buzz and I was dissapointed. Returning to the living and watching TV I became incredibly bored again, I decided to try it again but this time straight from the gas can. The first hit I took was much stronger than any of the ones before and I decided to keep trying it, I put out a lawn chair in the garage and grabbed half a bottle of soda to drain out the taste and began to take 3 quick hits and put the gas can down. I didnt really haluciante or anything but I was pretty out of it and feeling good. I continued for a couple minutes or so and than went to bed. I decided that night before I went to bed that I would never do it again, I didnt think the high was that great for what the gas did to the brain.
Although I made that promise to myself the next night when I became bored again I found myself sneaking back into the garage to try it again.  The first hit I took was great and I began flying. I took anothing hit and than waited till I began peaking and took another hit, when I peaked higher I took another hit and conitued like that. I was flying I had no sence of where I was at and all I could think was that something was pounding my heard into my shoulders but I loved the feeling and the small garage seemed like the whole world and I was one out of the four elements within it.
I remember trying to talk sence into myself saying this isnt the whole world, the world is much bigger but every time I peaked I entered that small world again. The phone began to ring and it was my g/f, I told her that I couldnt talk but she could tell something was weird although she still let me go, her voice echoed madly. After I hung up I decided I wanted to take some hits and when I peaked walk back into the house, I did and I stumbled back into the house laughing at how odd everything was. As soon as I reached my room I collapsed to the bed and my pants fell but I didnt really care, after laying for a few moments I began to feel extreamly nautious.
The last thing before that I remember doing was taking to excedrin for the headache that seemed sure to come. I suppose they worked because when I woke up I didnt have a migrane but everything tasted like gas.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


When Hellcat Records told THE STREET DOGS to make a new album, Gabe Bartalos got the call to document it. From rehersal, tracking and to the final mix, this is a fascinating and unflinching look into the real guts of record making through the optics of one of this generations best punk bands.


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My name is
(working)
{name}
is this red
yo
yo2
{myEmptyObj.bazzy}
{myEmptyObj.bazzy} wazzy
{myEmptyVar}
{myEmptyObj.foo}
{myEmptyObj.isNull}
{name}
Colors
apples
other
{count}
the first color
{c}
{v.name}
{fruit}
spit out the seeds
Ice cream goes with a cherry
Life gave you this
What fruit is that?


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I am a developer based in NYC, I’ve worked for tech startups developing web applications for social media analytics, healthcare, and logistics. My goal with thise site is to share my excitement about ubiquitous technology.
Here is my resume.
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You may embed any Swing component supported by SwingBuilder through the special 'swingView' node. But the fun doesn't end there, you may also embed any SwingX or Jide JCL component if you specify a delegate builder other than SwingBuilder as a parameter to 'swingView'.


Reverse %28%29s
DESCRIPTIONBlangkon is currently learning about programming fundamentals on online platform learning. He met a problem he found challenging called "Reverse parentheses", as you know it's just reverse every character which wrapped in parentheses. Blangkon loves to share anything he find challenging to his friend, Gareng. But he knows Gareng is much smarter than him, so Blangkon decide to tweak the task before share it with Gareng by change the input into URL-encoded format string. URL-encoded format will change few characters to a new one that browser could accept, but it's too much of them, so Blangkon decide to take some of them, as shown bellow:
Imagine yourself as Gareng, your task is decode the input and reverse all characters in parentheses. Input string will always be well-formed with matching “%28%29”s. INPUT FORMATGiven nonempty alphanumeric string S with URL encoded format. It is guaranteed that all parentheses in S form a regular bracket sequence. OUTPUT FORMATThe decoded format of string S with all characters in parentheses reversed. 1st INPUT EXAMPLE%28abcde%29 1st OUTPUT EXAMPLEedcba 2nd INPUT EXAMPLEGu%28deg%29%20%28Yu%20%28Djum%29%29 2nd OUTPUT EXAMPLEGuged Djum uY 3rd INPUT EXAMPLE100%%20%28%28halal%29%29%21 3rd OUTPUT EXAMPLE100% halal! EXPLANATION
CONSTRAINTS
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{% blocktrans %} Before you start, please make sure to activate your account by clickcking in the link below. {% endblocktrans %}
{% blocktrans %} Before you start, please make sure to activate your account by clickcking in the link below. {% endblocktrans %}


GTFO’s Rundown system is how the game will keep things interesting
by Sherif SaedGTFO’s latest trailer digs deep into the Rundown.
GTFO, the co-op survival horror shooter from 10 Chambers, takes place within an underground complex. Players are sent into different sections of the massive bunker to scavenge and perform specific tasks.
These orders are issued regularly by a mysterious entity called The Warden, as part of a system the developer calls Rundown. The Rundown is essentially all the missions available at any given time. The deeper inside the complex they’re set, the harder they are.
Depending on the number of missions and how deep they go, each Rundown could last days or weeks, before it’s replaced with a different one made up of entirely new missions in different environments and populated by different enemies.
The developer says each mission will be crafted to offer a specific experience, and new Rundowns will help keep the game fresh every time you log in.
GTFO is coming to Steam Early Access at some point this year.
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We are a small team of designers based in Singapore. We creates graphic user interface and design solutions that have high visual impact and make WDS products deliver on their vision and deliver value to the end customer.
Contact Us"Teamwork is our strengths that make us achieving unexpected results"
With many years of design background, Madeline leads the iMedia team for all the projects from brainstorming to design execution. Not only foresee any issue or problems encountered upon received a project, she is able to identify her team member’s strengths or weakness and encourages them to explore and challenge beyond their limits.
Europe
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Armed with years of experience in visual creation, Felix demonstrates his ability in multimedia design using a variety of tools. He often draws or creates illustrations during his free time. Felix has a passion in front-end development and meets his newfound love for Bootstrap. His interests motivate him from executing and building prototypes that benefits the project.
Teleportation
A-Super-Duper-Awesome-Guy
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Ivy was an IT diploma graduate, but pursued proper “design” education after realising her obsession with web designing. Her curiosity in learning new skills or technology drives her to be a multi-disciplinary designer in both print and web. Through the experience, she applies the same conceptual thinking to her work by exploring various ideas.
Tough times don’t last but tough people do.
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We create high-impact design solutions that answer client's needs.
We combine design and technical knowledge to create information and communication technology (ICT) based products that entertain, educate or inform its users.
We design our websites to be responsive, delivering optimum performance and visuals for all devices.
We create prototypes based on the Bootstrap framework. It is a good platform to see whether the design works well.
We focus on using our expertise and industry knowledge to create design solutions. Here are some highlights of our works:
Let's get a conversation started or feel free to drop us a message. We look forward to hearing from you.


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There are several ways to configure DWR:
We have documented the DWR additions to web.xml, and enabled access to parts of the Java Servlet API, to understand supported environments or see the various projects that DWR integrates with.
In addition to the documentation in this handbook there is also a few sources of generated documentation:
The JavaDoc for the latest development version of DWR is probably the best place to look for detailed documentation right now. The class level javadoc is fairly good - although there isn't enough package documentation yet.
As of the latest development version, we are also generating DTD-Doc pages. Since the DTD files are versioned, we don't separately publish from old source trees. All you need should be in the DTD versions supported by the latest version of DWR.


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Python (NLTK, Scipy-stack), Excel
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