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This post explains how to deal with date data in base R. It takes a connected scatterplot as an example and display several options to deal with dates.
lubridate()
library.I strongly advise to have a look to the lubridate()
library. It allows to easily manipulate the date format, and is very powerfull in conjunction with ggplot2. Have a look to the time series section of the gallery.
R offers a special data type for dates. It is important to use it since it will make the creation of charts lot easier.
The str()
function allows to check the type of each column. In the example beside, the date
column is recognized as a factor
# Create data
set.seed(124)
date <- paste( "2015/03/" , sample(seq(1,31),6) , sep="")
value <- sample(seq(1,100) , 6)
data <- data.frame(date,value)
# Date and time are recognized as factor:
str(data)
## 'data.frame': 6 obs. of 2 variables:
## $ date : Factor w/ 6 levels "2015/03/12","2015/03/13",..: 4 2 3 1 5 6
## $ value: int 59 49 91 28 75 82
The issue is that your plot is gonna be very disapointing if the date is not recognized properly, as shown beside.
# Create data
set.seed(124)
date <- paste( "2015/03/" , sample(seq(1,31),6) , sep="")
value <- sample(seq(1,100) , 6)
data <- data.frame(date,value)
# Date and time are recognized as factor:
#str(data)
# So ploting them works bad --> wrong order, date without value are not represented,
plot(data$value~data$date, type="b")
You can use the as.Date()
function to specify that a column is at the date format. Now, with a bit of customization, we can get a nice connected scatterplot from our data:
# Create data
set.seed(124)
date <- paste( "2015/03/" , sample(seq(1,31),6) , sep="")
value <- sample(seq(1,100) , 6)
data <- data.frame(date,value)
# Let's change the date to the "date" format:
data$date <- as.Date(data$date)
# So we can sort the table:
data <- data[order(data$date) , ]
# Easy to make it better now:
plot(data$value~data$date , type="b" , lwd=3 , col=rgb(0.1,0.7,0.1,0.8) , ylab="value of ..." , xlab="date" , bty="l" , pch=20 , cex=4)
abline(h=seq(0,100,10) , col="grey", lwd=0.8)


The Edit tab
Validation
The following shows how the two-stage approach can often be the simplest:
function invalid(s) {
return !/^\d+°$/.test(s); // note no capture group needed here
}
function parse(s) {
return parseInt(s);
}
You can combine the two stages into parse, but this will get messier as the complexity of the syntax being parsed grows:
function parse(s) {
if (!/^\d+°$/.test(s)) throw new SyntaxError;
return parseInt(s);
}
Without regular expressions, you can implement your own FSM or take a brute force approach, such as the following.
function invalid(s) {
var j = s.length - 1;
if (s[j] !== '°') {
return false;
}
for (var i = 0; i < j ; ++i) {
if ('0' > i || i > '9') {
return false;
}
}
return true;
}
As you can see, this is a lot of code that needs to be debugged and tested. On a practical level, this is a very simple syntax. For anything more complicated, this kind of brute force approach would quickly get out of hand. It’s also very difficult to expand.


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Man, woman bank employee commit suicide in Gandhisagar Lake
by Nagpur Today, Nagpur NewsNagpur: Two bodies including a female bank employee were found floating in Gandisagar Lake on Friday night. Few nearby people who spotted the bodies, alerted Ganeshpeth police.
The deceased has been identified as Priyanka Raghobaji Devghare (29), a resident of Golibar Chowk. Priyanka was working with private bank and a 44-year-old Ramesh Bhoramal Verma, a resident of Jattarodi who was working with a private firm.
Speaking to Nagpur Today, Ganeshpeth PI Shivraj Kumare said prima facie both the cases appear to be suicide.
“Priyanka had left the bank on Friday evening. Even after considerable amount of time, when she didn’t reached her home, Priyanka’s puzzled parents started searching for her. They tried to contact her phone but it was turned off.
Her body was found at around 8 pm in the lake. And after half an hour cops were informed about another body (Ramesh). Though, the exact reason behind Priyanka taking the extreme step could not be ascertained. Cops have registered case of accidental death in both the cases and started the probe,” the PI asserted.


{- /* The peeker template renders the coop peeking target selection form. Accepts a web.peekerPayload. */ -} {{define "peeker"}}
Click on the input field to access the options dropdown, or paste/type directly. You need to clear the current selection to see all available options. Everything inside parentheses is ignored.


Music therapy
Krzysztof Basiński
R-SMM – four steps
- Musical response models: understanding of music behavior in question. This steps explain how humans perceive, produce or respond to music.
- Nonmusical parallel models: a meaningful link between musical behavior and nonmusical behavior
- Mediating models: exploration of influence of music on nonmusical behavior in typical and clinical populations
- Clinical research models: clinical studies of treatment strategies
R-SMM – example 1 (neurology)
Effect of rhythmic cueing on upper extremity movement in stroke patients
R-SMM – example 1 (neurology)
- Rhythm perception – activation of basal ganglia, supplementary motor area, mid-premotor cortex, cerebellum
- Regulation of motor control – activation of cerebellum, basal ganglia, motor and premotor cortex, parietal cortex – SIGINIFICANT OVERLAP
R-SMM – example 1 (neurology)
- Exploration of immediate effect of rhythm on upper extremity movement in typical and clinical populations – rhythmic elbow movements increase kinematic stability in healthy controls and people with hemiparesis
- Patients who recieved bilateral arm training with rhythmic auditory cueing (BATRAC) showed significant improvements in functional ability aof the paretic arm
R-SMM – example 2 – vocal excercise and respiratory disease
- Singing is basically pushing air through the vocal tract – larynx, throat and soft palate
- Physiological structures involved in speaking are identical to that involved in singing
R-SMM – example 2 – vocal excercise and respiratory disease
- Mediating effect of singing – it requires greater respiratory effort than speaking. Therefore excercise in singing leads to better respiratory function and improved speaking
- Clinical trials in patients with chronic obstructive pulmonary disease (Engen, 2005)
Music-induced analgesia
Can music alleviate pain?
Music-induced analgesia (MIA)
- „One good thing about music, when it hits you, you feel no pain” -Bob Marley
- Music has been used for pain relief for thousands of years (ancient Greece)
- There is experimental and clinical evidence that MIA works, but mechanisms are unclear
Experimental evidence on MIA
- Lots of studies have been made with experimental pain stimulation while listening to music (and other stimuli).
- Three experimental studies compared preferred music (brought by participants) to relaxation music and white noise, to humour and mental arithmetic, and to visual distraction and silence.
- In all of these studies preferred music had greater analgesic effect than other stimuli.
MIA - how could it work?
- Emotions:
- When we feel good, pain threshold is higher and we feel less pain
- Music can generate positive emotions
- Attention:
- We feel less pain when we don’t think about it
- Music can be a good distractor
MIA - perspectives
- MIA is easily distributed, cheap and safe
- There are no known side effects
- More research is needed to determine percise mechanisms of MIA
- What kind of music is best for pain relief? We don’t know yet
The problem of music preferences
- Music impacts different people differently
- Different people react differently to the same music – music preferences
- Music preferences have a multi-factor structure
- One theory that describes this structure is the AVD model (Greenberg et al., 2016)
AVD (Greenberg et al., 2016)
- Music impacts different people differently
- Different people react differently to the same music – music preferences
- Music preferences have a multi-factor structure
- One theory that describes this structure is the AVD model (Greenberg et al., 2016)
Method
- 4 experimental conditions: arousal, valence, depth, control (white noise)
- 2-minute compilations of 15-second music excerpts
- Participants say „how much did they like the music” on an 11-point Likert scale
- Experimental pain – cold pressor task - 3°C water for a max of 2 minutes
Method
- Evaluation:
- Pain threshold (sec)
- Pain tolerance (sec)
- Average pain intensity (NRS)
- Maximal pain intensity (NRS)
Method


Every second of our sessions is set for you to learn and grow through meaningful lessons that focus on experiences.
We have designed fun-learning activities to take you out of the monotonous cycle of work and lift the mood of attendees.
The conversation around the importance of leadership is inclusive to our sessions for better team functioning.
Amidst such unprecedented times, sitting miles away, team engagement becomes the need of the hour for a group to function rightfully. These are few of many such innovative activities designed to serve the purpose.
I loved the use of intellect and fun in the programs selected to make this such a unique experience.
Extremely engaging initiative and an out of the box method to interact with your closed ones.
A really inquisitive mind game, which actually helps seeing others perception. really enjoyed! kudos to the developers!
It was hilarious to see my friends use their gray matter to come up with their game plan in felix.
The factor of unpredictability makes Felix really exciting and engaging.Loved the concept.
A complete package of creativity and imagination with the power of words and wisdom. Cheers to the creators.
Our sessions aim for encouragement at all levels
Understanding you is our first step, the next is a tour to perspective to:
All our fun-learning sessions intends to:


Execution plan for a single tridiagonal system of equations.
More...
|
| integer | ptdma_world |
| | Single dimensional subcommunicator to assemble data for the reduced TDMA. More...
|
| |
| integer | n_row_rt |
| | Number of rows of a reduced tridiagonal system after MPI_Gather. More...
|
| |
| integer | gather_rank |
| | Destination rank of MPI_Igather. More...
|
| |
| integer | myrank |
| | Current rank ID in the communicator of ptdma_world. More...
|
| |
| integer | nprocs |
| | Communicator size of ptdma_world. More...
|
| |
|
| double precision, dimension(:), allocatable | a_rd |
| | Coefficient arrays after reduction, a: lower, b: diagonal, c: upper, d: rhs. The orginal dimension (n) is reduced to (2) More...
|
| |
| double precision, dimension(:), allocatable | b_rd |
| |
| double precision, dimension(:), allocatable | c_rd |
| |
| double precision, dimension(:), allocatable | d_rd |
| |
|
| double precision, dimension(:), allocatable | a_rt |
| | Coefficient arrays after transpose of a reduced system, a: lower, b: diagonal, c: upper, d: rhs The reduced dimension (2) changes to (2*np) after transpose. More...
|
| |
| double precision, dimension(:), allocatable | b_rt |
| |
| double precision, dimension(:), allocatable | c_rt |
| |
| double precision, dimension(:), allocatable | d_rt |
| | Coefficient arrays, a: lower, b: diagonal, c: upper, d: rhs. More...
|
| |
Execution plan for a single tridiagonal system of equations.
It uses the MPI_Igather function to build the reduced tridiagonal system of equations to a specified MPI process.
◆ a_rd
| double precision, dimension(:), allocatable pascal_tdma::ptdma_plan_single::a_rd |
Coefficient arrays after reduction, a: lower, b: diagonal, c: upper, d: rhs. The orginal dimension (n) is reduced to (2)
◆ a_rt
| double precision, dimension(:), allocatable pascal_tdma::ptdma_plan_single::a_rt |
Coefficient arrays after transpose of a reduced system, a: lower, b: diagonal, c: upper, d: rhs The reduced dimension (2) changes to (2*np) after transpose.
◆ b_rd
| double precision, dimension(:), allocatable pascal_tdma::ptdma_plan_single::b_rd |
◆ b_rt
| double precision, dimension(:), allocatable pascal_tdma::ptdma_plan_single::b_rt |
◆ c_rd
| double precision, dimension(:), allocatable pascal_tdma::ptdma_plan_single::c_rd |
◆ c_rt
| double precision, dimension(:), allocatable pascal_tdma::ptdma_plan_single::c_rt |
◆ d_rd
| double precision, dimension(:), allocatable pascal_tdma::ptdma_plan_single::d_rd |
◆ d_rt
| double precision, dimension(:), allocatable pascal_tdma::ptdma_plan_single::d_rt |
Coefficient arrays, a: lower, b: diagonal, c: upper, d: rhs.
◆ gather_rank
| integer pascal_tdma::ptdma_plan_single::gather_rank |
Destination rank of MPI_Igather.
◆ myrank
| integer pascal_tdma::ptdma_plan_single::myrank |
Current rank ID in the communicator of ptdma_world.
◆ n_row_rt
| integer pascal_tdma::ptdma_plan_single::n_row_rt |
Number of rows of a reduced tridiagonal system after MPI_Gather.
◆ nprocs
| integer pascal_tdma::ptdma_plan_single::nprocs |
Communicator size of ptdma_world.
◆ ptdma_world
| integer pascal_tdma::ptdma_plan_single::ptdma_world |
Single dimensional subcommunicator to assemble data for the reduced TDMA.
The documentation for this type was generated from the following file:


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ME, MYSELF AND IRENE RATING: 5.5/10 --> Not good enough to recommend
For more reviews and movie trailers, visit http://www.joblo.com/
What's the recipe for a great comedy film? Well, I guess there really isn't one simple answer to that question, but slapping Jim Carrey, one of the top comedic actors of our day, alongside the Farrelly brothers, one of the top comedic writer/directors of our day, is a pretty good start, right? Well, you'd think so. But after seeing the so-so trailer for this movie, I can't say that I was very impressed. And now that I've seen the entire film, I think I know why. It's just not that funny.
PLOT: An emotionally challenged Rhode Island state trooper is suddenly altered into two split personalities when all of his unresolved feelings break out into an aggressive personality of their own. This disorder comes into major play as he escorts a young lady out of state, and suddenly finds both of his personalities fighting over her.
CRITIQUE: Jim Carrey's three black sons in this movie are hilarious, but the rest of the film is bland at best, with a couple of laugh-out loud scenes, many flat and obvious jokes, a lame story which goes nowhere, and Carrey seemingly trying too hard to make us laugh. I can't really put my finger on the exact thing which didn't work in this movie, but after the first 20 minutes or so, I just sort of sat there and smirked sporadically. Most of the time, I was annoyed by the lengthy musical interludes between scenes, the Zellweger factor, which we'll get into later and the "forced" comedy, especially all the gross jokes and the physical comedy by Carrey, which just didn't seem to work for me this time around. Mind you, I did hear a lot of others in the audience laughing, and God knows this is the kind of movie which someone either "gets" or not, but with its lengthy run-time and a surprisingly distracting character in Carrey as his second personality Hank, the film just left me feeling sort of blah. Of course, many people thought KINGPIN sucked, and I totally loved that film, so perhaps this movie might jiggle your funny bones, but for me, the buck stopped here. I'd rather watch DUMB AND DUMBER over this any day.
Now I don't know whether or not my disinterest in this film has to do with me having reached my saturation level on gross-out jokes (although I highly doubt it...I'm a pretty messed up guy), the fact that the movie actually tried to focus more on the story than any previous Farrelly film, or the fact that the leading lady, Renee Zellweger, was just plain ol' boring. But whatever the reason, I can't honestly recommend that you see this movie in the theatres, unless you did actually find the trailer somewhat amusing, since most of the jokes run around that sort of gamut anyway. The corny name-calling didn't really work for me, the rehashed "crazy" dude that they pick up didn't really work for me, and Carrey's irritating Dirty Harry voice didn't really work for me. The one thing that did really work for me was the first third of the film (before Zellweger got in there), with its comforting feel, funny jokes, and three black sons. Unfortunately, the rest of the film lost that same feel inside an idiotic plot which I honestly didn't really care about, and Carrey's physical gags, which just left me with a strong sense of deja-vu. Mind you, I didn't hate the film by any means, in fact, I was thinking about recommending it even slightly for the black son scenes alone, but in the end, the film just sort of disappeared from my mind after a couple of minutes, and it certainly can't be put in the same category as any of the big hits from any of its prime participants.
In the end, there was something about this movie that just didn't work.
Little Known Facts about this film and its stars: Several previous actors from Farrelly films are back in this one, including Roy Munson's dad from KINGPIN, actor Danny Green, who plays the "bad guy" in this film. Rob Moran (husband of TV's "Entertainment Tonight" reporter Erin Moran), who played the rich, eccentric bowler in KINGPIN, and plays a local trooper in this one. And Lin Shaye, who played the wonderfully ugly landlady in KINGPIN and the old tanned woman in THERE'S SOMETHING ABOUT MARY. Some sports stars also make cameo appearances in this film, including none other than the sexy tennis star, Anna Kournikova, who has a line as the motel manager. Retired hockey star Cam Neely also reprises his role as Seabass in his one (although I didn't notice if he had any lines), and even current hockey star Brendan Shanahan shows up as a trooper.
Review Date: June 18, 2000 Directors: Bobby and Peter Farrelly Writers: Bobby and Peter Farrelly, Mike Cerrone Producers: Bobby and Peter Farrelly, Bradley Thomas Actors: Jim Carrey as Charlie/Hank Renee Zellweger as Irene Genre: Comedy Year of Release: 2000 ------------------------------------ JoBlo's Movie Emporium http://www.joblo.com/ ------------------------------------ (c) 2000 Berge Garabedian
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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review and has no editorial control. Unless stated otherwise, the copyright
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{% extends 'wl/emails/base_email.html' %} {% block content %}
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{{ licence.licence_number}}-{{ licence.licence_sequence }}
To reissue, please follow the following URL:
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|
SCAT3™ Results
|
|
Dylan Toyne Assessment #conversations[id].conversationID conversations[id].testdate |
| Scoring Summary: |
Number of Symptoms of 22: ____________
Symptom Severity Score of 132: ____________
Orientation of 5: ____________
Immediate Memory of 15: ____________
Concentration of 5: ____________
Delayed Recall of 5: ____________
SAC Total: ____________
| Thanks For Taking Care Of Yourself! |
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--- title: A Test Jekyll/GitHub Pages Page (HTML) description: Testing collections and page variables - this page is in an actual Jekyll Page and is in a folder, it is an HTML file comments: test testFm: testing front matter variables date: 2018-01-02 17:12:12 ---


Hello
{!Lead.FirstName},
Thanks for submitting your article, titled:
{!Lead.eplsg_name_short__c}
. Your submission will be available in the Living Style Guide soon.
{!Lead.eplsg_name_long__c}


This is one of the two versions of "Dash navbar" called hidden. There is a key difference between these versions. Back to all demos
This one is hidden on all devices and you can only open the left navbar by click on the toggle button or swipe.
These two versions have the same HTML structure with some diffrent classes. For example for this page hidden-push.html
there is a class dnl-visible
on

,

and

.
If you like the other version (visible), simply replace dnl-visible
with dnl-visible
for all three tags.
There are two skins at the moment.
The default skin is dark, so if you like the dark skin, you do not need to change anything. If not change <link href="css/dash.css" rel="stylesheet">
to <link href="css/dash-light.css" rel="stylesheet">
in this page head
section.
If you like to create a new skin, you should use LESS. Simply open the variables-light.less
or variables-dark.less
in LESS folder, there are tons of varibales to change, and change the variables, then compile it to CSS (e.g. dash-green.css) and add it to page as mentioned above.
There are two effects when the left navbar toggles. Click the below buttons to see the different effects.
Push OverlayFirst choose the effect that you like and then open hidden-overlay.html
in your text editer and find

.
Do you see dnl-push
? The default effect is push (dnl-push)
. Now you can change dnl-push
to one of these dnl-overlay
There is only one effect for content when the left navbar toggles. It is called "Opacity".
Simply find

and add content-opacity
class to it. It works for both push and overlay effects.


claf.modules.encoder package¶
Submodules¶
This code is from allenai/allennlp (https://github.com/allenai/allennlp/blob/master/allennlp/modules/lstm_cell_with_projection.py)
-
class
claf.modules.encoder.lstm_cell_with_projection.
LstmCellWithProjection
(input_size: int, hidden_size: int, cell_size: int, go_forward: bool = True, recurrent_dropout_probability: float = 0.0, memory_cell_clip_value: Optional[float] = None, state_projection_clip_value: Optional[float] = None)[source]¶ Bases:
torch.nn.modules.module.Module
An LSTM with Recurrent Dropout and a projected and clipped hidden state and memory. Note: this implementation is slower than the native Pytorch LSTM because it cannot make use of CUDNN optimizations for stacked RNNs due to and variational dropout and the custom nature of the cell state. Parameters ———- input_size :
int
, required.The dimension of the inputs to the LSTM.
- hidden_size
int
, required. The dimension of the outputs of the LSTM.
- cell_size
int
, required. The dimension of the memory cell used for the LSTM.
- go_forward:
bool
, optional (default = True) The direction in which the LSTM is applied to the sequence. Forwards by default, or backwards if False.
- recurrent_dropout_probability:
float
, optional (default = 0.0) The dropout probability to be used in a dropout scheme as stated in A Theoretically Grounded Application of Dropout in Recurrent Neural Networks . Implementation wise, this simply applies a fixed dropout mask per sequence to the recurrent connection of the LSTM.
- state_projection_clip_value:
float
, optional, (default = None) The magnitude with which to clip the hidden_state after projecting it.
- memory_cell_clip_value:
float
, optional, (default = None) The magnitude with which to clip the memory cell.
- output_accumulator
torch.FloatTensor
The outputs of the LSTM for each timestep. A tensor of shape (batch_size, max_timesteps, hidden_size) where for a given batch element, all outputs past the sequence length for that batch are zero tensors.
- final_state:
Tuple[torch.FloatTensor, torch.FloatTensor]
The final (state, memory) states of the LSTM, with shape (1, batch_size, hidden_size) and (1, batch_size, cell_size) respectively. The first dimension is 1 in order to match the Pytorch API for returning stacked LSTM states.
-
forward
(inputs: torch.FloatTensor, batch_lengths: List[int], initial_state: Optional[Tuple[torch.Tensor, torch.Tensor]] = None)[source]¶ - inputs
torch.FloatTensor
, required. A tensor of shape (batch_size, num_timesteps, input_size) to apply the LSTM over.
- batch_lengths
List[int]
, required. A list of length batch_size containing the lengths of the sequences in batch.
- initial_state
Tuple[torch.Tensor, torch.Tensor]
, optional, (default = None) A tuple (state, memory) representing the initial hidden state and memory of the LSTM. The
state
has shape (1, batch_size, hidden_size) and thememory
has shape (1, batch_size, cell_size).
- output_accumulator
torch.FloatTensor
The outputs of the LSTM for each timestep. A tensor of shape (batch_size, max_timesteps, hidden_size) where for a given batch element, all outputs past the sequence length for that batch are zero tensors.
- final_state
Tuple[``torch.FloatTensor, torch.FloatTensor]
A tuple (state, memory) representing the initial hidden state and memory of the LSTM. The
state
has shape (1, batch_size, hidden_size) and thememory
has shape (1, batch_size, cell_size).
- inputs
- hidden_size
-
claf.modules.encoder.lstm_cell_with_projection.
block_orthogonal
(tensor: torch.Tensor, split_sizes: List[int], gain: float = 1.0) → None[source]¶ An initializer which allows initializing model parameters in “blocks”. This is helpful in the case of recurrent models which use multiple gates applied to linear projections, which can be computed efficiently if they are concatenated together. However, they are separate parameters which should be initialized independently. Parameters ———- tensor :
torch.Tensor
, required.A tensor to initialize.
- split_sizesList[int], required.
A list of length
tensor.ndim()
specifying the size of the blocks along that particular dimension. E.g.[10, 20]
would result in the tensor being split into chunks of size 10 along the first dimension and 20 along the second.- gainfloat, optional (default = 1.0)
The gain (scaling) applied to the orthogonal initialization.
-
claf.modules.encoder.lstm_cell_with_projection.
get_dropout_mask
(dropout_probability: float, tensor_for_masking: torch.Tensor)[source]¶ Computes and returns an element-wise dropout mask for a given tensor, where each element in the mask is dropped out with probability dropout_probability. Note that the mask is NOT applied to the tensor - the tensor is passed to retain the correct CUDA tensor type for the mask. Parameters ———- dropout_probability : float, required.
Probability of dropping a dimension of the input.
tensor_for_masking : torch.Tensor, required. Returns ——- A torch.FloatTensor consisting of the binary mask scaled by 1/ (1 - dropout_probability). This scaling ensures expected values and variances of the output of applying this mask
and the original tensor are the same.
-
claf.modules.encoder.lstm_cell_with_projection.
sort_batch_by_length
(tensor: torch.Tensor, sequence_lengths: torch.Tensor)[source]¶ Sort a batch first tensor by some specified lengths. Parameters ———- tensor : torch.FloatTensor, required.
A batch first Pytorch tensor.
- sequence_lengthstorch.LongTensor, required.
A tensor representing the lengths of some dimension of the tensor which we want to sort by.
- sorted_tensortorch.FloatTensor
The original tensor sorted along the batch dimension with respect to sequence_lengths.
- sorted_sequence_lengthstorch.LongTensor
The original sequence_lengths sorted by decreasing size.
- restoration_indicestorch.LongTensor
Indices into the sorted_tensor such that
sorted_tensor.index_select(0, restoration_indices) == original_tensor
- permuation_indextorch.LongTensor
The indices used to sort the tensor. This is useful if you want to sort many tensors using the same ordering.
-
class
claf.modules.encoder.positional.
PositionalEncoding
(embed_dim, max_length=2000)[source]¶ Bases:
torch.nn.modules.module.Module
- Positional Encoding
in “Attention is All You Need” (https://arxiv.org/abs/1706.03762)
The use of relative position is possible because sin(x+y) and cos(x+y) can be expressed in terms of y, sin(x) and cos(x).
(cf. https://github.com/tensorflow/tensor2tensor/blob/42c3f377f441e5a0f431127d63e71414ead291c4/ tensor2tensor/layers/common_attention.py#L388)
- Args:
embed_dim: the number of embedding dimension
- Kwargs:
max_len: the number of maximum sequence length
-
forward
(x)[source]¶ Defines the computation performed at every call.
Should be overridden by all subclasses.
Note
Although the recipe for forward pass needs to be defined within this function, one should call the
Module
instance afterwards instead of this since the former takes care of running the registered hooks while the latter silently ignores them.
Module contents¶
-
class
claf.modules.encoder.
PositionalEncoding
(embed_dim, max_length=2000)[source]¶ Bases:
torch.nn.modules.module.Module
- Positional Encoding
in “Attention is All You Need” (https://arxiv.org/abs/1706.03762)
The use of relative position is possible because sin(x+y) and cos(x+y) can be expressed in terms of y, sin(x) and cos(x).
(cf. https://github.com/tensorflow/tensor2tensor/blob/42c3f377f441e5a0f431127d63e71414ead291c4/ tensor2tensor/layers/common_attention.py#L388)
- Args:
embed_dim: the number of embedding dimension
- Kwargs:
max_len: the number of maximum sequence length
-
forward
(x)[source]¶ Defines the computation performed at every call.
Should be overridden by all subclasses.
Note
Although the recipe for forward pass needs to be defined within this function, one should call the
Module
instance afterwards instead of this since the former takes care of running the registered hooks while the latter silently ignores them.
-
class
claf.modules.encoder.
LstmCellWithProjection
(input_size: int, hidden_size: int, cell_size: int, go_forward: bool = True, recurrent_dropout_probability: float = 0.0, memory_cell_clip_value: Optional[float] = None, state_projection_clip_value: Optional[float] = None)[source]¶ Bases:
torch.nn.modules.module.Module
An LSTM with Recurrent Dropout and a projected and clipped hidden state and memory. Note: this implementation is slower than the native Pytorch LSTM because it cannot make use of CUDNN optimizations for stacked RNNs due to and variational dropout and the custom nature of the cell state. Parameters ———- input_size :
int
, required.The dimension of the inputs to the LSTM.
- hidden_size
int
, required. The dimension of the outputs of the LSTM.
- cell_size
int
, required. The dimension of the memory cell used for the LSTM.
- go_forward:
bool
, optional (default = True) The direction in which the LSTM is applied to the sequence. Forwards by default, or backwards if False.
- recurrent_dropout_probability:
float
, optional (default = 0.0) The dropout probability to be used in a dropout scheme as stated in A Theoretically Grounded Application of Dropout in Recurrent Neural Networks . Implementation wise, this simply applies a fixed dropout mask per sequence to the recurrent connection of the LSTM.
- state_projection_clip_value:
float
, optional, (default = None) The magnitude with which to clip the hidden_state after projecting it.
- memory_cell_clip_value:
float
, optional, (default = None) The magnitude with which to clip the memory cell.
- output_accumulator
torch.FloatTensor
The outputs of the LSTM for each timestep. A tensor of shape (batch_size, max_timesteps, hidden_size) where for a given batch element, all outputs past the sequence length for that batch are zero tensors.
- final_state:
Tuple[torch.FloatTensor, torch.FloatTensor]
The final (state, memory) states of the LSTM, with shape (1, batch_size, hidden_size) and (1, batch_size, cell_size) respectively. The first dimension is 1 in order to match the Pytorch API for returning stacked LSTM states.
-
forward
(inputs: torch.FloatTensor, batch_lengths: List[int], initial_state: Optional[Tuple[torch.Tensor, torch.Tensor]] = None)[source]¶ - inputs
torch.FloatTensor
, required. A tensor of shape (batch_size, num_timesteps, input_size) to apply the LSTM over.
- batch_lengths
List[int]
, required. A list of length batch_size containing the lengths of the sequences in batch.
- initial_state
Tuple[torch.Tensor, torch.Tensor]
, optional, (default = None) A tuple (state, memory) representing the initial hidden state and memory of the LSTM. The
state
has shape (1, batch_size, hidden_size) and thememory
has shape (1, batch_size, cell_size).
- output_accumulator
torch.FloatTensor
The outputs of the LSTM for each timestep. A tensor of shape (batch_size, max_timesteps, hidden_size) where for a given batch element, all outputs past the sequence length for that batch are zero tensors.
- final_state
Tuple[``torch.FloatTensor, torch.FloatTensor]
A tuple (state, memory) representing the initial hidden state and memory of the LSTM. The
state
has shape (1, batch_size, hidden_size) and thememory
has shape (1, batch_size, cell_size).
- inputs
- hidden_size


Match Play. 0-0 to 5. Should Red double? If doubled, should White take?
pips Red=139 White=136
(CorrectAnswer= 0/0, ErrorScore= 0)
Red is ahead in two out of out of three of Position, Race and Threat. The position is volatile due to the loose White checker.
All that adds up to a classic double and take which are the correct actions here.
If you put the two White checkers on Red’s 2-pt onto the ace-point the position becomes a massive pass but because White can see daylight from the 2-pt he actually has a trivial take.
All that adds up to a classic double and take which are the correct actions here.
If you put the two White checkers on Red’s 2-pt onto the ace-point the position becomes a massive pass but because White can see daylight from the 2-pt he actually has a trivial take.
Cube analysis 2-ply cubeless equity +0.542 (Money: +0.550) 0.717 0.172 0.007 - 0.283 0.061 0.002 Cubeful equities: 1. Double, take +0.912 2. Double, pass +1.000 (+0.088) 3. No double +0.820 (-0.092) Proper cube action: Double, take


| Resource | Description | Example Requests |
|---|---|---|
| GET /api/transcript/ | Fetch details of all transcripts. Transcription is the process of making an RNA (transcript) copy of a gene sequence. |
|
| GET /api/transcript/diff/ | Compare two given transcripts. | |
| GET /api/transcript/manelist/ | MANE (Matched Annotation from the NCBI and EMBL-EBI). | |
| GET /api/transcript/search/ | Fetch details of a given transcript. | |
| GET /api/transcript/stable_id_with_version/ | Fetch details of a given transcript. |


{% extends<EMAIL_ADDRESS>%} {% block title %}Home{% endblock %} {% block content %}
This framework is designed to help programers build web applications faster. Basic functionality is provided without getting in the way of the real development.


The sed command¶
The sed
command is another tool that uses Regular Expressions, see the page on the grep
command for more information on these. sed
is used for performing edits to a text file. Probably the most common use of sed
is to perform find-and-replace type operations, but it can also be used for many other things, in particular printing only specific lines of files.
For a more detailed introduction to sed, you might be interested in reading the world’s best introduction to sed.
Find-replace using sed¶
Let’s create a simple text file
echo -e "lineA\nlineB\nlineC" > lines.txt
Let’s say we want to replace “line” on each line with “row”. We would use the following sed
expression:
sed -e "s/line/row/" lines.txt > rows.txt
cat rows.txt
The -e
option tells sed that we want to use a regular expression for editing, and the regular expression in this case takes the form s/find/replace/
. The s
tells sed
that we’re doing a substitution, and the /
characters delimit our search and replacement. As you can imagine, we could get much more complicated with the regular expressions used to specify what we want to find and how we want to replace it, but we won’t go into this here.
Note that if you want to edit a file directly, rather than edit a file and send the edited version to standard output, you would use the -i
(inplace) argument. Be careful with this: you should always test out your regular expression before running it, in case it does things you don’t intend! If you have a large file, you can use head
to see just the first 10 lines, then pipe this to sed
:
head file.txt | sed -e "s/find/replace/"
This will allow you to test out your regular expression on a subset of the file. When you’re happy, you can run it on the whole file in place:
sed -i -e "s/find/replace/" file.txt
A final note: by default, sed
replaces the first instance of your search string per line. If you want to replace every instance, use s///g
(global).
Selecting lines from a file with sed¶
To print a specific line using sed, you use the p
instruction. You pair this with the -n
option, which does not return any lines unless explicitely told to. So, to print the 10th line of a file, you’d do:
sed -n '10p' file.txt
To print lines 56 to 61:
sed -n '56,61p' file.txt
To print every second line, starting with the second line, you’d do:
sed -n '2~2p' file.txt
This last one is a handy way of extracting just the sequences from an (unwrapped) FASTA file.


| Top |
Routines for managing mounted UNIX mount points and paths.
Note that <gio/gunixmounts.h>
belongs to the UNIX-specific GIO
interfaces, thus you have to use the gio-unix-2.0.pc
pkg-config
file when using it.
gint g_unix_mount_compare (GUnixMountEntry *mount1
,GUnixMountEntry *mount2
);
Compares two unix mounts.
const char *
g_unix_mount_get_mount_path (GUnixMountEntry *mount_entry
);
Gets the mount path for a unix mount.
const char *
g_unix_mount_get_device_path (GUnixMountEntry *mount_entry
);
Gets the device path for a unix mount.
const char *
g_unix_mount_get_fs_type (GUnixMountEntry *mount_entry
);
Gets the filesystem type for the unix mount.
gboolean
g_unix_mount_is_readonly (GUnixMountEntry *mount_entry
);
Checks if a unix mount is mounted read only.
gboolean
g_unix_mount_is_system_internal (GUnixMountEntry *mount_entry
);
Checks if a unix mount is a system path.
GIcon *
g_unix_mount_guess_icon (GUnixMountEntry *mount_entry
);
Guesses the icon of a Unix mount.
GIcon *
g_unix_mount_guess_symbolic_icon (GUnixMountEntry *mount_entry
);
Guesses the symbolic icon of a Unix mount.
Since 2.34
char *
g_unix_mount_guess_name (GUnixMountEntry *mount_entry
);
Guesses the name of a Unix mount. The result is a translated string.
gboolean
g_unix_mount_guess_can_eject (GUnixMountEntry *mount_entry
);
Guesses whether a Unix mount can be ejected.
gboolean
g_unix_mount_guess_should_display (GUnixMountEntry *mount_entry
);
Guesses whether a Unix mount should be displayed in the UI.
void
g_unix_mount_point_free (GUnixMountPoint *mount_point
);
Frees a unix mount point.
gint g_unix_mount_point_compare (GUnixMountPoint *mount1
,GUnixMountPoint *mount2
);
Compares two unix mount points.
const char *
g_unix_mount_point_get_mount_path (GUnixMountPoint *mount_point
);
Gets the mount path for a unix mount point.
const char *
g_unix_mount_point_get_device_path (GUnixMountPoint *mount_point
);
Gets the device path for a unix mount point.
const char *
g_unix_mount_point_get_fs_type (GUnixMountPoint *mount_point
);
Gets the file system type for the mount point.
const char *
g_unix_mount_point_get_options (GUnixMountPoint *mount_point
);
Gets the options for the mount point.
Since 2.32
gboolean
g_unix_mount_point_is_readonly (GUnixMountPoint *mount_point
);
Checks if a unix mount point is read only.
gboolean
g_unix_mount_point_is_user_mountable (GUnixMountPoint *mount_point
);
Checks if a unix mount point is mountable by the user.
gboolean
g_unix_mount_point_is_loopback (GUnixMountPoint *mount_point
);
Checks if a unix mount point is a loopback device.
GIcon *
g_unix_mount_point_guess_icon (GUnixMountPoint *mount_point
);
Guesses the icon of a Unix mount point.
GIcon *
g_unix_mount_point_guess_symbolic_icon
(GUnixMountPoint *mount_point
);
Guesses the symbolic icon of a Unix mount point.
Since 2.34
char *
g_unix_mount_point_guess_name (GUnixMountPoint *mount_point
);
Guesses the name of a Unix mount point. The result is a translated string.
gboolean
g_unix_mount_point_guess_can_eject (GUnixMountPoint *mount_point
);
Guesses whether a Unix mount point can be ejected.
GList *
g_unix_mount_points_get (guint64 *time_read
);
Gets a GList of GUnixMountPoint containing the unix mount points.
If time_read
is set, it will be filled with the mount timestamp,
allowing for checking if the mounts have changed with
g_unix_mount_points_changed_since()
.
GList *
g_unix_mounts_get (guint64 *time_read
);
Gets a GList of GUnixMountEntry containing the unix mounts.
If time_read
is set, it will be filled with the mount
timestamp, allowing for checking if the mounts have changed
with g_unix_mounts_changed_since()
.
GUnixMountEntry * g_unix_mount_at (const char *mount_path
,guint64 *time_read
);
Gets a GUnixMountEntry for a given mount path. If time_read
is set, it will be filled with a unix timestamp for checking
if the mounts have changed since with g_unix_mounts_changed_since()
.
gboolean
g_unix_mounts_changed_since (guint64 time
);
Checks if the unix mounts have changed since a given unix time.
gboolean
g_unix_mount_points_changed_since (guint64 time
);
Checks if the unix mount points have changed since a given unix time.
GUnixMountMonitor *
g_unix_mount_monitor_new (void
);
Gets a new GUnixMountMonitor. The default rate limit for which the
monitor will report consecutive changes for the mount and mount
point entry files is the default for a GFileMonitor. Use
g_unix_mount_monitor_set_rate_limit()
to change this.
void g_unix_mount_monitor_set_rate_limit (GUnixMountMonitor *mount_monitor
,int limit_msec
);
Sets the rate limit to which the mount_monitor
will report
consecutive change events to the mount and mount point entry files.
Since 2.18
gboolean
g_unix_is_mount_path_system_internal (const char *mount_path
);
Determines if mount_path
is considered an implementation of the
OS. This is primarily used for hiding mountable and mounted volumes
that only are used in the OS and has little to no relevance to the
casual user.
typedef struct _GUnixMountPoint GUnixMountPoint;
Defines a Unix mount point (e.g. <filename>/dev</filename>). This corresponds roughly to a fstab entry.
typedef struct _GUnixMountEntry GUnixMountEntry;
Defines a Unix mount entry (e.g. <filename>/media/cdrom</filename>). This corresponds roughly to a mtab entry.
“mountpoints-changed”
signalvoid user_function (GUnixMountMonitor *monitor, gpointer user_data)
Emitted when the unix mount points have changed.
monitor |
the object on which the signal is emitted |
|
user_data |
user data set when the signal handler was connected. |
Flags: Run Last
“mounts-changed”
signalvoid user_function (GUnixMountMonitor *monitor, gpointer user_data)
Emitted when the unix mounts have changed.
monitor |
the object on which the signal is emitted |
|
user_data |
user data set when the signal handler was connected. |
Flags: Run Last


Grund
All the styling you need
Grund is a flexible CSS framework that doesn't get in your way
Learn More
Hero (centered)


GoatD helps you quickly build and ship enterprise cryptofinance applications that run on the Monetas Platform.
Send a digital kilogram of gold anywhere in the world with a simple JSON format request.
POST /transfers { "recipientname": { "goldgrams": 1000 } }
Need to exchange your Swiss Franc for Gold Grams? Or Bolivars for Bitcoin? It's just another simple transfer. Have a look at all the offers that are availble:
GET /fx/offers
Now build services that scale for the entire planet:
| Technology | Speed | Cost | Visibility |
| Monetas | Instant | 0.9%, max 0.30CHF | Details are private |
| Credit cards | Instant | 2-4%, no limit | Details shared with governments and marketers |
| Bitcoin | At least 10 minutes | Voluntary, unpredictable | Details available publicly |
| Technology | Developed for | Designed for | Developer collaboration |
| Monetas | Enterprise applications | Delivering low cost, high performance business solutions and services | Open |
| Credit cards | 1950's era department stores | Making profits and keeping out competition | None |
| Bitcoin | Freedom | Censorship resistance | Open |
| Technology | Compliance | Legality | Support |
| Monetas | Complete AML/KYC | Swiss legal notary | Monetas AG |
| Credit cards | Complete AML/KYC | Generally US based | Banking Institution |
| Bitcoin | No AML/KYC possible | Generally no recognition | Online community |
Interested in providing new products and services using "blockchain" and "distributed ledger" technologies?  It's all right here, in a business ready, no compromises deployment package.


Application metrics are generated and exposed via an event emitter interface.
Whenever a request has been processed and it about to be returned to the customer,
a data
event will be emitted:
jsonApi.metrics.on("data", function(data) {
// send data to your metrics stack
});
For details read - https://jagql.github.io/docs/pages/debugging/metrics.html
jsonApi.define({
resource: "resourceNameGoesHere",
handlers: { /* see "Handlers" section */ },
searchParams: { /* see "SearchParams" section */ },
attributes: { /* see "attributes" section */ }
});
@jagql/framework ships with an example barebones implementation of an in-memory handler. It can be found at jsonApi.MemoryHandler
. You can use it as a reference for writing new handlers.
Documentation for creating your own handlers can be found here.
MemoryHandler
works by allowing each defined resource to contain an examples
property, which must be an array of JSON objects representing raw resources. Those examples are loaded into memory when the server loads and are served up as if they were real resources. You can search through them, modify them, create new ones, delete them, straight away.
Its a beautiful way of prototyping an experimental new API! Simply define the attributes of a resource, attach the MemoryHandler
and define some examples
:
jsonApi.define({
resource: "photos",
handlers: new jsonApi.MemoryHandler(),
attributes: {
title: jsonApi.Joi.string()
url: jsonApi.Joi.string().uri().required()
photographer: jsonApi.Joi.one("people")
.description("The person who took the photo"),
articles: jsonApi.Joi.belongsToMany({
resource: "articles",
as: "photos"
})
},
examples: [
{
id: "aab14844-97e7-401c-98c8-0bd5ec922d93",
type: "photos",
title: "Matrix Code",
url: "http://www.example.com/foobar",
photographer: { type: "people", id: "ad3aa89e-9c5b-4ac9-a652-6670f9f27587" }
}
]
});
searchParams
controls which parameters will be accepted when searching for resources via a GET
request to the /:resource/?
route.
A resource's searchParams
should be declared using the version of Joi
bundled with @jagql/framework
:
searchParams: {
query: jsonApi.Joi.string()
}
In addition to the fields declared in the searchParams
object, @jagql/framework will also accept the sort
, include
, fields
, filter
and relationships
parameters.
attributes
defines the properties declared on the given resource. A resource's attributes
should be declared using the version of Joi
bundled with @jagql/framework
:
attributes: {
url: jsonApi.Joi.string().uri()
height: jsonApi.Joi.number().min(1).max(10000).precision(0)
}
In addition to the functionality provided by Joi
, there are 4x additional types:
photos: jsonApi.Joi.one("photos").description("This attribute is a relation to a photos resource");
article: jsonApi.Joi.belongsToOne({
resource: "articles",
as: "comments"
}).description("This attribute declares that the articles resource contains comments that links back to this resource");
photos: jsonApi.Joi.many("photos").description("This attribute is a relation to many photos resources");
article: jsonApi.Joi.belongsToMany({
resource: "articles",
as: "comments"
}).description("This attribute declares that the articles resource contains comments that links back to many of this resource");
Attributes can be marked as required
using the regular Joi
functionality. Required fields are enforced in both directions - user created/updated resources must comply with the required attributes, as must all resources provided by the server.
url: jsonApi.Joi.string().uri().required()
Attributes can be declared readonly
by attaching metadata. Any attempt to write to this attribute when creating a new resource via POST, or when amending a resource via PUT/PATCH/DELETE will result in a validation error.
url: jsonApi.Joi.string().uri().meta("readonly").description("This attribute cannot be created nor modified by a user");
If you look through the example json:api resources in the /example/resources
folder things should become clearer.
By default, the server autogenerates a UUID for resources which are created without specifying an ID. To disable this behavior (for example, if the database generates an ID by auto-incrementing), set generateId
to false
. If the resource's ID is not a UUID, it is also necessary to specify an id
attribute with the correct type. See /examples/resorces/autoincrement.js
for an example of such a resource.
Configure things like -
For detailed info please check https://jagql.github.io/docs/pages/configuration.html
Generated using TypeDoc
Our modified Joi instance


My Life Beyond Finance
Baking
Baking embodies my core values: an embrace of art and science. It is only when baking that I can observe the physical and chemical transformations of color, texture, and form, imparting a sense of creation. Baking represents my embrace of sharing; sharing my creations with friends and relatives have become just as fulfilling as the act of baking itself.
Caramel flan made by me
Traveling the world
I love to experience the richness of life and culture across countries and continents.
My trips around the world
Running
Running teaches me to be perseverant, stay sane, and cultivate a sense of daily accomplishments.
My daily running


datadir
JavafxBoot
date
PaymentReceivedRecord
PaymentRelayedRecord
PaymentSentRecord
Record
description
ReceivePaymentController
SendPaymentController


Songs of the Wind on a Southern Shore, and other Poems of Florida
by George E. Merrick
“My Sweetheart Bird”
Additional Information
- Year Published: 1920
- Language: English
- Country of Origin: United States of America
- Source: Merrick, G. E. (1920). Songs of the wind on a southern shore, and other poems of florida. The Four Seas Publishing Co.
-
Readability:
- Flesch–Kincaid Level: 7.2
- Word Count: 289
- Genre: Poetry
- Keywords: florida stories, poetry
- ✎ Cite This
Downloads
I have a little sweetheart bird
That sings sweet songs to me,...
And now I know…what failed me so…
When other birds…
Sang songs to me.

But while she trilled I felt my bird
Was thrilled…
By else but me.
And once a fairy yellow bird
Beneath the orange tree
Sang sprightly strains—(an elfish bird)—
and came…
Quite close to me.
And long…a saucy red-robed bird
Sang sensuous notes in tempting plea.
At nights she came so close:...and oft I thought
I loved
Her melody.
I prized a sober brown-hued bird
That sang old songs to me…
But she has flown:—and none have known
Where e’er…
My bird may be.
And there was, too, a tiny bird
That always seemed to flee!
I closed her ‘round:...and then I found
There was…
No fear of me.
I spied a wild and pretty bird
That warbled chords of glee:...
I thought:...no love can capture her:...
She always…
Will be free.
...But now—I have a sweetheart bird
That stays so close to me.
Her message wings:—as low she sings—
And she…
Sings but to me.
And from her heart my sweetheart bird
Lifts sweetest melody.
And thus you know…I named her so!
She is…
Most sweet to me.
I have a little sweetheart bird
That sings sweet songs to me.
...And now I know…what failed me so
When other birds…
Sang songs to me.


You add comments to your programs using the ';' character. Everything following the ';' until the end of the line will be ignored, this is useful for commenting your code - so you can always look through and follow each line in a logical manner.
The following code shows comments in use;
|
This code also shows a legal use of comments;
|


S.P.C.C: Zuma’s Best Looks In His Favourite Brand
by SL SocialThembinkosi Lorch has Calvin Klein, May Mahlangu has Gucci and now Kaizer Chiefs Dumisani Zuma has S.P.C.C. The enterprising attacker cannot hide his love for the brand and we check out some of his best looks while rocking it.
Zuma has crept into the heart of the Amakhosi faithful with his promising performances off the bench.
Download The Soccer Laduma Social Media App & Earn Airtime for Selfies!
The 24-year-old has been equally impressive when he does manage a starting berth, particularly when he recently netted an impressive brace against Chippa United.
Off the field, the soft-spoken star has a penchant for the Sergeant Pepper Clothing Co brand and can often be found rocking their ensembles.
Zuma manages to pull off laid-back casual looks with relative ease and hardly puts a foot wrong when it comes to his fashion game.
Check out some of his hottest S.P.C.C looks.
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| scale_colour_discrete_qualitative {colorspace} | R Documentation |
Discrete ggplot2 color scales using the color palettes generated by qualitative_hcl
.
scale_colour_discrete_qualitative( palette = NULL, c1 = NULL, l1 = NULL, h1 = NULL, h2 = NULL, alpha = 1, rev = FALSE, nmax = NULL, order = NULL, aesthetics = "colour", ... ) scale_color_discrete_qualitative( palette = NULL, c1 = NULL, l1 = NULL, h1 = NULL, h2 = NULL, alpha = 1, rev = FALSE, nmax = NULL, order = NULL, aesthetics = "colour", ... ) scale_fill_discrete_qualitative(..., aesthetics = "fill")
palette |
The name of the palette to be used. Run |
c1 |
Chroma value, used for all colors in the scale. |
l1 |
Luminance value, used for all colors in the scale. |
h1 |
Beginning hue value. |
h2 |
Ending hue value. |
alpha |
Numeric vector of values in the range |
rev |
If |
nmax |
Maximum number of different colors the palette should contain. If not provided, is calculated automatically from the data. |
order |
Numeric vector listing the order in which the colors should be used. Default is |
aesthetics |
The ggplot2 aesthetics to which this scale should be applied. |
... |
common discrete scale parameters: |
If both a valid palette name and palette parameters are provided then the provided palette parameters overwrite the parameters in the named palette. This enables easy customization of named palettes.
library("ggplot2") # default colors ggplot(iris, aes(Sepal.Length, Sepal.Width, color = Species)) + geom_point() + theme_minimal() + scale_color_discrete_qualitative() # color scale "Harmonic" ggplot(iris, aes(Sepal.Length, fill = Species)) + geom_density(alpha = 0.7) + scale_fill_discrete_qualitative(palette = "Harmonic")


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Welcome to Roleplaying is Magic!
Whoever you are, wherever you’re from, on one thing we can all agree:
Everything is better with ponies.
It is with this in mind that we set out to make My Little Pony: Roleplaying is Magic. With many game systems on the market ranging from vampire intrigue, to cyberpunk dystopias, to dragon-slaying and the diving-into of dungeons, we felt that it was time for something bright and colorful to join these noble and distinguished ranks. Something positive. Something friendly. Something uplifting and just plain fun.
Pen and paper roleplaying games occupy a unique place in modern society. For many of us adults, they provide one of the last safe places for our imagination to take flight; indeed, in some ways, they may be the last bastion of our childhood. Unlike video and computer games, a good pen and paper roleplaying game doesn’t just provide you with a choice of A or B and ask you to choose one; instead, it presents you with a situation and asks, ‘What do you want to do?’
We have tried to capture this ideal with My Little Pony: Roleplaying is Magic. The magical land of Equestria is a wide, wide world of adventure, danger, wonder, and self-discovery. It is a place that, while not safe, is full of imagination; a perfect setting for a pen and paper roleplaying game. We have avoided complex math as much as possible, and have instead substituted narrative concepts and ideals of communal storytelling, to emphasize the unique place pen and paper roleplaying games hold in the world of gaming. This is not a game to be beaten, but rather a method of telling fun stories together.
So, gather some friends and read on, my little ponies; and as you do, ask yourself:
What do you want to do?
What is This?
This is the ‘Season Two Edition’ of My Little Pony: Roleplaying is Magic, a tabletop pen and paper roleplaying game system based on the My Little Pony: Friendship is Magic cartoon created by Lauren Faust and Studio B, and owned by Hasbro Inc. This is provided free for all to use and play, and is a labor of love and friendship for the brony community.
It is called the ‘Season Two Edition,’ or ‘S2E,’ due to the fact that it is based as much as possible upon the canonical information presented by the original cartoon up through its second season. Part of the mission of this game system is to undergo revisions after each season of the cartoon, and release a new edition each season to reflect those revisions, thus staying constant with the information presented by the show. We have done our best to design a game system which, while being as ‘fanon-friendly’ as possible, is centered squarely on the canon of the original show.
This is a system for communal storytelling, designed for two to six players and one Game Master (or ‘GM’). It is played using a single twenty-sided die (or ‘d20’) per person, as well as pencils, this rulebook, and assorted character sheets. Players are given a situation by the GM, describe the actions attempted by their characters, and use the d20 and their character sheets to determine the results of these actions.
Above all, this is a vehicle for telling stories, making friends, and having fun.
Hey, isn't this Just Like [Insert Game System Here]?
Probably.
Experienced pen and paper roleplayers will undoubtedly recognize several aspects of My Little Pony: Roleplaying is Magic which are similar to other game systems, and that is not unexpected. While much of the game was developed to be as original as possible in concept and execution, as the old saying goes, ‘if it ain’t broke, don’t fix it.’ The simple fact of the matter is that good art stands on the shoulders of the giants who came before, and that if someone before you had a good idea, use it—and if possible, improve on it.
We have altered almost every mechanic in the system enough to consider it ‘ours’ rather than ‘copying’ or ‘stealing’ from someone else, and the core system is original work. Having said that, we would like to take a moment now to give proper credit to the giants whose shoulders we stood upon to make this game. These are only the influences we are aware of; the world of gaming is a vast web of influences, and there are likely many we aren’t aware of enough to name. To those, we offer our simple thanks.
First and foremost, like many gaming systems, we owe a thank-you to Gary Gygax for his creation, ‘Dungeons & Dragons.’ Without D&D, not only would this system not be possible, but we may not have gotten into gaming at all.
Secondly, White Wolf’s ‘World of Darkness’ influenced much of how skills are defined and how the core of the game flows in a narrative style, as well as how part of the Dragon racial mechanics and Willpower mechanics were designed.
Third, ‘Giant in the Playground Games’ influenced much of how the attribute and talent systems were designed to afford players flexibility without becoming overly complex.
Fourth, Atlas Games’ ‘Ars Magica’ influenced much of how the magic and spellcasting system was designed to allow great customization, as well as how part of the Unicorn Pony racial mechanics were designed.
Finally, Giftkrieg23’s ‘The Savage World of My Little Pony’ is—to us—the grandfather of all My Little Pony pen and paper game systems. It blazed the trail this game system follows, and we owe him a brohoof for being the pioneer in this area. In particular, his system of ‘Daunts’ influenced much of how the Energy/Courage/Fortitude system functions.
How Do I Read This Book?
This book is separated into four distinct sections.
The first section is this one, the Introduction. It is designed to give you some background on the game, and to ease you into the style and flavor of the book. For the full experience, it is recommended that you read all the way through.
The second section is For Players, and forms half of the core content of the book. In this second section, the mechanics of the game are presented and explained, from character creation, through gameplay, and on into character advancement and the spending of experience points.
The third section is For GMs, and forms the other half of the core content of the book. In this third section, the duties and responsibilities of the GM are outlined and explained, from creating an Episode, through gathering a group of players, and on into running the game itself.
The fourth and final section contains Character Sheets for players to use when creating their characters to play.
New Players: What is My Little Pony: Roleplaying is Magic?
We have one word for new players:
Relax.
 Some of the mechanics may (and likely will) be new and different to you, but you already understand the core logic of how a game system works, and all you’re going to find in this book is, perhaps, a new way to play.
If you’ve played in unmoderated, or ‘freeform,’ roleplaying before, you already know many of the ways in which My Little Pony: Roleplaying is Magic differs from other pen and paper game systems. You understand the concept of narrative flow in roleplaying, and all you’re going to find in this book is, perhaps, a new way to codify roleplaying.
If you have no experience with roleplaying at all, you have a lot to learn. However, we wrote this book for you, and within its pages, you’ll find everything you need to sit down with a group of friends and play a game of My Little Pony: Roleplaying is Magic. The best way to learn roleplaying is to sit down and do it, and chances are good that if this game system is your first, you’re playing with the best group of people to learn with: friends.
Regardless of your background or experience, you’re likely to find something new in this book, whether it’s how to play a game which is light on rules but heavy on concept, or how to use rules to tell a story rather than simply play a game.
Returning Players: What’s New in S2E?
We have two words for returning players:
Thank you.
You stuck with us through our rough beginnings, and we hope that you’ll find S2E to be a different, but also much better, experience in every facet of gameplay. We have redesigned almost everything from the ground up to improve on S1E; taking from it many lessons and good ideas, and trimming away or replacing what didn’t work—or didn’t work as well as we thought it would. If you were one of the game groups who kept in touch with us and provided feedback, you’re very likely to find that a considerable portion of that feedback has been incorporated into S2E. This game is for you, and you helped make it better. Thank you; we owe you a cupcake.
Some of the changes you’ll find include new mechanics such as Energy/Courage/Fortitude—a reworked ‘hit point’ type system which focuses more on all aspects of becoming discouraged or damaged, an expanded spellcasting system for greater flexibility, power, and customization for Unicorn Ponies, cool new and expanded flight- and weather-based abilities for Pegasus Ponies, a robust experience reward system for Earth Ponies, new mechanics for utilizing Special Purposes and Talents, new ways to use—and risk—Willpower to push your character to new heights, Dragons as a playable race with their own unique abilities and dangerous weaknesses, and last—but certainly not least—a fully realized system for acquiring and spending experience points to advance your character across multiple Episodes.
You spoke, we listened. We think you’ll like what we came up with.
What Do I Need to Play?
The list of materials you need to play My Little Pony: Roleplaying is Magic is very short in comparison to other pen and paper roleplaying games.
Each player needs a character sheet (found in the back of this book), a pencil or pen, and one twenty-sided die. Optionally, players may wish to bring paper to take notes on the story to help them remember key points. Players might also wish to bring a copy of this rulebook for themselves, though a game group can get along fine with one copy for the group as a whole.
The GM needs even less; a copy of this rulebook, a pencil or pen, paper, and their notes on the Episode they are running. My Little Pony: Roleplaying is Magic - S2E seeks to be very GM-friendly, allowing GM’s to focus on the story, not enforcing the rules.
Aside from that, everyone should bring a cooperative, friendly attitude to the table, and the desire to have fun and tell a good story as a group. That’s it—you’re ready to begin!
Who Are You?
The My Little Pony: Roleplaying is Magic team is composed of five individuals—one woman, four men—and is published under the company header of Roan Arts LLC. Roan Arts LLC is a small company formed to create and publish artistic projects from video games, to hobby games, to books and comics. Apart from My Little Pony: Roleplaying is Magic, Roan Arts LLC is developing START, a universal framework system for pen and paper game development, Mass Effect: Freelancer, a pen and paper RPG set in the Mass Effect universe, and SILVER, a hybrid freeform RPG system for roleplaying guilds in MMO’s which is being deployed for Guild Wars 2.
James Weimer (Tall Tail) is a co-founder of Roan Arts LLC and the mind (genius or deranged, you decide) behind My Little Pony: Roleplaying is Magic. He is an avid gamer and passable writer from the southern east coast with lofty aspirations to become a professional game designer. He’s also available for bar mitzvahs and birthday parties.
Samuel Hanson (Know-It-All) is a brony from Florida and a co-founder of Roan Arts LLC. The love of games (and ponies) led to his joining the MLP:RiM team where he applies his (apparently) useful skills in developing game mechanics. When not trying to figure when to use a +1 or a -1, Know-It-All enjoys playing video, computer, and tabletop games, and—of course—watching Friendship is Magic.
Daniel Oakley (Artsy Heartsy) is a geek living in Brisbane, Australia. He does a little of everything, and has a passion for computers and graphic design.
Caytlin Vilbrandt (Pixel) is a comic artist and designer from the Pacific Northwest. She spends her days fighting crime and saving puppies from trees, but when she comes home at night, she draws a lot of comics. And watches a lot of pony. Actually, that's a lie; if you ask any of her friends, they'll tell you she spends 90% of her time drawing her comic, Walking on Broken Glass (http://www.brokenglasscomic.com). But be warned, it's rated R for violence.
Michael Simpson (Sketchbook) is a visual artist who has worked in illustration, graphic design, and 3-D animation. A good portion of his free time is spent doing artistic things for fun (and profit). He also has a passion for all sorts of games, from those on his trusty (well, mostly trusty) Playstation 3, to good old fashioned board games and tabletop games.
Who is Best Pony?
Tall Tail: I have been a fan of Pinkie Pie since day one (okay, maybe episode three). Her quirky humor and out-in-the-open, positive lifestyle helped me learn the value of being upbeat, straightforward, and optimistic in my daily life. I credit Pinkie Pie’s lessons with being the reason I wake up happy in the morning. And also, who doesn’t love Gummy?
Know-It-All: AppleJack is the best pony because she is honest and dedicated to doing the right thing. Where other ponies get by with magic, fantastic natural abilities, and reality-bending luck, Applejack uses willpower and hard work to get things done.
Artsy Heartsy: Fluttershy, because she's a year older than Pinkie Pie. Pipsqueak, Spike, and Pinkie come in a close second, though.
Pixel: Sweetiebot is best pony. That's all there is to it. But if you make me choose a canon pony, I'm sticking with Sweetie Belle. She's my MBTI pony, and I like her lots.
Sketchbook: I would have to say that the best pony is Fluttershy. I feel like she is the one that I can best relate to, as well as being pretty darn cute. Even though she is timid and super-kind, she isn’t afraid of showing some backbone when the situation calls for it. You might even say she ‘kills with kindness;’ and I feel that that’s the best way to be.


Need to find something to staple. Amber got me one of these: http://bit.ly/xH2iz
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