It is a good database for people who want to try learning techniques and pattern recognition methods on real-world data while spending minimal efforts on preprocessing and formatting.
Four files are available on this site:
train-images-idx3-ubyte.gz:
training set images (9912422 bytes)
train-labels-idx1-ubyte.gz:
training set labels (28881 bytes)
t10k-images-idx3-ubyte.gz:
test set images (1648877 bytes)
t10k-labels-idx1-ubyte.gz:
test set labels (4542 bytes)
please note that your browser may uncompress these files without telling you. If the files you downloaded have a larger size than the above, they have been uncompressed by your browser. Simply rename them to remove the .gz extension. Some people have asked me "my application can't open your image files". These files are not in any standard image format. You have to write your own (very simple) program to read them. The file format is described at the bottom of this page.
The original black and white (bilevel) images from NIST were size normalized to fit in a 20x20 pixel box while preserving their aspect ratio. The resulting images contain grey levels as a result of the anti-aliasing technique used by the normalization algorithm. the images were centered in a 28x28 image by computing the center of mass of the pixels, and translating the image so as to position this point at the center of the 28x28 field.
With some classification methods (particuarly template-based methods, such as SVM and K-nearest neighbors), the error rate improves when the digits are centered by bounding box rather than center of mass. If you do this kind of pre-processing, you should report it in your publications.
The MNIST database was constructed from NIST's Special Database 3 and Special Database 1 which contain binary images of handwritten digits. NIST originally designated SD-3 as their training set and SD-1 as their test set. However, SD-3 is much cleaner and easier to recognize than SD-1. The reason for this can be found on the fact that SD-3 was collected among Census Bureau employees, while SD-1 was collected among high-school students. Drawing sensible conclusions from learning experiments requires that the result be independent of the choice of training set and test among the complete set of samples. Therefore it was necessary to build a new database by mixing NIST's datasets.
The MNIST training set is composed of 30,000 patterns from SD-3 and 30,000 patterns from SD-1. Our test set was composed of 5,000 patterns from SD-3 and 5,000 patterns from SD-1. The 60,000 pattern training set contained examples from approximately 250 writers. We made sure that the sets of writers of the training set and test set were disjoint.
SD-1 contains 58,527 digit images written by 500 different writers. In contrast to SD-3, where blocks of data from each writer appeared in sequence, the data in SD-1 is scrambled. Writer identities for SD-1 is available and we used this information to unscramble the writers. We then split SD-1 in two: characters written by the first 250 writers went into our new training set. The remaining 250 writers were placed in our test set. Thus we had two sets with nearly 30,000 examples each. The new training set was completed with enough examples from SD-3, starting at pattern # 0, to make a full set of 60,000 training patterns. Similarly, the new test set was completed with SD-3 examples starting at pattern # 35,000 to make a full set with 60,000 test patterns. Only a subset of 10,000 test images (5,000 from SD-1 and 5,000 from SD-3) is available on this site. The full 60,000 sample training set is available.
Many methods have been tested with this training set and test set. Here
are a few examples. Details about the methods are given in an upcoming
paper. Some of those experiments used a version of the database where the
input images where deskewed (by computing the principal axis of the shape
that is closest to the vertical, and shifting the lines so as to make it
vertical). In some other experiments, the training set was augmented with
artificially distorted versions of the original training samples. The distortions
are random combinations of shifts, scaling, skewing, and compression.
| CLASSIFIER | PREPROCESSING | TEST ERROR RATE (%) | Reference |
| Linear Classifiers | |||
| linear classifier (1-layer NN) | none | 12.0 | LeCun et al. 1998 |
| linear classifier (1-layer NN) | deskewing | 8.4 | LeCun et al. 1998 |
| pairwise linear classifier | deskewing | 7.6 | LeCun et al. 1998 |
| K-Nearest Neighbors | |||
| K-nearest-neighbors, Euclidean (L2) | none | 5.0 | LeCun et al. 1998 |
| K-nearest-neighbors, Euclidean (L2) | none | 3.09 | Kenneth Wilder, U. Chicago |
| K-nearest-neighbors, L3 | none | 2.83 | Kenneth Wilder, U. Chicago |
| K-nearest-neighbors, Euclidean (L2) | deskewing | 2.4 | LeCun et al. 1998 |
| K-nearest-neighbors, Euclidean (L2) | deskewing, noise removal, blurring | 1.80 | Kenneth Wilder, U. Chicago |
| K-nearest-neighbors, L3 | deskewing, noise removal, blurring | 1.73 | Kenneth Wilder, U. Chicago |
| K-nearest-neighbors, L3 | deskewing, noise removal, blurring, 1 pixel shift | 1.33 | Kenneth Wilder, U. Chicago |
| K-nearest-neighbors, L3 | deskewing, noise removal, blurring, 2 pixel shift | 1.22 | Kenneth Wilder, U. Chicago |
| K-NN with non-linear deformation (IDM) | shiftable edges | 0.54 | Keysers et al. IEEE PAMI 2007 |
| K-NN with non-linear deformation (P2DHMDM) | shiftable edges | 0.52 | Keysers et al. IEEE PAMI 2007 |
| K-NN, Tangent Distance | subsampling to 16x16 pixels | 1.1 | LeCun et al. 1998 |
| K-NN, shape context matching | shape context feature extraction | 0.63 | Belongie et al. IEEE PAMI 2002 |
| Boosted Stumps | |||
| boosted stumps | none | 7.7 | Kegl et al., ICML 2009 |
| products of boosted stumps (3 terms) | none | 1.26 | Kegl et al., ICML 2009 |
| boosted trees (17 leaves) | none | 1.53 | Kegl et al., ICML 2009 |
| stumps on Haar features | Haar features | 1.02 | Kegl et al., ICML 2009 |
| product of stumps on Haar f. | Haar features | 0.87 | Kegl et al., ICML 2009 |
| Non-Linear Classifiers | |||
| 40 PCA + quadratic classifier | none | 3.3 | LeCun et al. 1998 |
| 1000 RBF + linear classifier | none | 3.6 | LeCun et al. 1998 |
| SVMs | |||
| SVM, Gaussian Kernel | none | 1.4 | |
| SVM deg 4 polynomial | deskewing | 1.1 | LeCun et al. 1998 |
| Reduced Set SVM deg 5 polynomial | deskewing | 1.0 | LeCun et al. 1998 |
| Virtual SVM deg-9 poly [distortions] | none | 0.8 | LeCun et al. 1998 |
| Virtual SVM, deg-9 poly, 1-pixel jittered | none | 0.68 | DeCoste and Scholkopf, MLJ 2002 |
| Virtual SVM, deg-9 poly, 1-pixel jittered | deskewing | 0.68 | DeCoste and Scholkopf, MLJ 2002 |
| Virtual SVM, deg-9 poly, 2-pixel jittered | deskewing | 0.56 | DeCoste and Scholkopf, MLJ 2002 |
| Neural Nets | |||
| 2-layer NN, 300 hidden units, mean square error | none | 4.7 | LeCun et al. 1998 |
| 2-layer NN, 300 HU, MSE, [distortions] | none | 3.6 | LeCun et al. 1998 |
| 2-layer NN, 300 HU | deskewing | 1.6 | LeCun et al. 1998 |
| 2-layer NN, 1000 hidden units | none | 4.5 | LeCun et al. 1998 |
| 2-layer NN, 1000 HU, [distortions] | none | 3.8 | LeCun et al. 1998 |
| 3-layer NN, 300+100 hidden units | none | 3.05 | LeCun et al. 1998 |
| 3-layer NN, 300+100 HU [distortions] | none | 2.5 | LeCun et al. 1998 |
| 3-layer NN, 500+150 hidden units | none | 2.95 | LeCun et al. 1998 |
| 3-layer NN, 500+150 HU [distortions] | none | 2.45 | LeCun et al. 1998 |
| 3-layer NN, 500+300 HU, softmax, cross entropy, weight decay | none | 1.53 | Hinton, unpublished, 2005 |
| 2-layer NN, 800 HU, Cross-Entropy Loss | none | 1.6 | Simard et al., ICDAR 2003 |
| 2-layer NN, 800 HU, cross-entropy [affine distortions] | none | 1.1 | Simard et al., ICDAR 2003 |
| 2-layer NN, 800 HU, MSE [elastic distortions] | none | 0.9 | Simard et al., ICDAR 2003 |
| 2-layer NN, 800 HU, cross-entropy [elastic distortions] | none | 0.7 | Simard et al., ICDAR 2003 |
| NN, 784-500-500-2000-30 + nearest neighbor, RBM + NCA training [no distortions] | none | 1.0 | Salakhutdinov and Hinton, AI-Stats 2007 |
| 6-layer NN 784-2500-2000-1500-1000-500-10 (on GPU) [elastic distortions] | none | 0.35 | Ciresan et al. Neural Computation 10, 2010 and arXiv 1003.0358, 2010 |
| committee of 25 NN 784-800-10 [elastic distortions] | width normalization, deslanting | 0.39 | Meier et al. ICDAR 2011 |
| deep convex net, unsup pre-training [no distortions] | none | 0.83 | Deng et al. Interspeech 2010 |
| Convolutional nets | |||
| Convolutional net LeNet-1 | subsampling to 16x16 pixels | 1.7 | LeCun et al. 1998 |
| Convolutional net LeNet-4 | none | 1.1 | LeCun et al. 1998 |
| Convolutional net LeNet-4 with K-NN instead of last layer | none | 1.1 | LeCun et al. 1998 |
| Convolutional net LeNet-4 with local learning instead of last layer | none | 1.1 | LeCun et al. 1998 |
| Convolutional net LeNet-5, [no distortions] | none | 0.95 | LeCun et al. 1998 |
| Convolutional net LeNet-5, [huge distortions] | none | 0.85 | LeCun et al. 1998 |
| Convolutional net LeNet-5, [distortions] | none | 0.8 | LeCun et al. 1998 |
| Convolutional net Boosted LeNet-4, [distortions] | none | 0.7 | LeCun et al. 1998 |
| Trainable feature extractor + SVMs [no distortions] | none | 0.83 | Lauer et al., Pattern Recognition 40-6, 2007 |
| Trainable feature extractor + SVMs [elastic distortions] | none | 0.56 | Lauer et al., Pattern Recognition 40-6, 2007 |
| Trainable feature extractor + SVMs [affine distortions] | none | 0.54 | Lauer et al., Pattern Recognition 40-6, 2007 |
| unsupervised sparse features + SVM, [no distortions] | none | 0.59 | Labusch et al., IEEE TNN 2008 |
| Convolutional net, cross-entropy [affine distortions] | none | 0.6 | Simard et al., ICDAR 2003 |
| Convolutional net, cross-entropy [elastic distortions] | none | 0.4 | Simard et al., ICDAR 2003 |
| large conv. net, random features [no distortions] | none | 0.89 | Ranzato et al., CVPR 2007 |
| large conv. net, unsup features [no distortions] | none | 0.62 | Ranzato et al., CVPR 2007 |
| large conv. net, unsup pretraining [no distortions] | none | 0.60 | Ranzato et al., NIPS 2006 |
| large conv. net, unsup pretraining [elastic distortions] | none | 0.39 | Ranzato et al., NIPS 2006 |
| large conv. net, unsup pretraining [no distortions] | none | 0.53 | Jarrett et al., ICCV 2009 |
| large/deep conv. net, 1-20-40-60-80-100-120-120-10 [elastic distortions] | none | 0.35 | Ciresan et al. IJCAI 2011 |
| committee of 7 conv. net, 1-20-P-40-P-150-10 [elastic distortions] | width normalization | 0.27 +-0.02 | Ciresan et al. ICDAR 2011 |
| committee of 35 conv. net, 1-20-P-40-P-150-10 [elastic distortions] | width normalization | 0.23 | Ciresan et al. CVPR 2012 |
All the integers in the files are stored in the MSB first (high endian) format used by most non-Intel processors. Users of Intel processors and other low-endian machines must flip the bytes of the header.
There are 4 files:
train-images-idx3-ubyte: training set images
train-labels-idx1-ubyte: training set labels
t10k-images-idx3-ubyte: test set images
t10k-labels-idx1-ubyte: test set labels
The training set contains 60000 examples, and the test set 10000 examples.
The first 5000 examples of the test set are taken from the original NIST training set. The last 5000 are taken from the original NIST test set. The first 5000 are cleaner and easier than the last 5000.
The labels values are 0 to 9.
Pixels are organized row-wise. Pixel values are 0 to 255. 0 means background (white), 255 means foreground (black).
The labels values are 0 to 9.
Pixels are organized row-wise. Pixel values are 0 to 255. 0 means background
(white), 255 means foreground (black).
The basic format is
magic number
size in dimension 0
size in dimension 1
size in dimension 2
.....
size in dimension N
data
The magic number is an integer (MSB first). The first 2 bytes are always 0.
The third byte codes the type of the data:
0x08: unsigned byte
0x09: signed byte
0x0B: short (2 bytes)
0x0C: int (4 bytes)
0x0D: float (4 bytes)
0x0E: double (8 bytes)
The 4-th byte codes the number of dimensions of the vector/matrix: 1 for vectors, 2 for matrices....
The sizes in each dimension are 4-byte integers (MSB first, high endian, like in most non-Intel processors).
The data is stored like in a C array, i.e. the index in the last dimension
changes the fastest.
Happy hacking.
The digit images in the MNIST set were originally selected and experimented with by Chris Burges and Corinna Cortes using bounding-box normalization and centering. Yann LeCun's version which is provided on this page uses centering by center of mass within in a larger window.
Yann LeCun, Professor
The Courant Institute of Mathematical Sciences
New York University
Corinna Cortes, Research Scientist
Google Labs, New York
corinna at google dot com


cat JSON_DOCNAME | dataset create COLLECTION_NAME KEY
dataset create -i JSON_DOCNAME COLLECTION_NAME KEY
dataset create COLLECTION_NAME KEY JSON_VALUE
dataset create COLLECTION_NAME KEY JSON_FILENAME
create adds or replaces a JSON document to a collection. The JSON document can be read from a standard in, a named file (with a “.json” file extension) or expressed literally on the command line.
In the following four examples jane-doe.json is a file on the local file system contains JSON data containing the JSON_VALUE of {“name”:“Jane Doe”}
. The KEY we will create is r1. Collection is “people.ds”. The following are equivalent in resulting record.
cat jane-doe.json | dataset create people.ds r1
dataset create -i blob.json people.ds r1
dataset create people.ds r1 '{"name":"Jane Doe"}'
dataset create people.ds r1 jane-doe.json


[§136-4] Possession of laser pointing devices by minors prohibited. It shall be unlawful for any minor to possess a laser pointing device. [L 1999, c 94, pt of §1]


| Version (= Date) | Changes |
|---|---|
| version | Drag and Drop: you can now drag a map file onto Map Explorer. |
| 20070102 | New property mapexplorer.images to set the name of file containing
the map images. |
| 20061205-1 | Bugfix: NullPointerException on startup when mapexplorer.usemapimage
was set to true in mapexplorer.properties .
|
| 20061205 | Support for map images and Vassal coordinates. |
| 20060822 | New terrain types: death_zone, steep_slope, waterfall.
Added maps: DragonDown Grotto, Dragon Graveyard, and Forest Cliff Lair. Forest LoS corrected. Some LoS computation speedups. |
| 20060425 | Added preliminary support forest terrain. The LoS rules are probably
not quite correct.
Added the maps from Fantastic Locations: Fields of Ruin. |
| 20060316 | Fixed some errors in Mushroom Cavern, Dragon Shrine, and Field of Ruin maps (thanks to HidesFromHurricanes). Fixed the Windows batch file to cope with spaces in directory names. |
| 20060315 | Added maps: Field of Ruin (thanks to Carlson) and
Teleport Temple (thanks to HidesFromHurricanes).
Minor change in map rendering so the player marks are not hidden by terrain features. |
| 20060314 | Mark player-specific areas (start, victory, exit) with A/B. Shared areas get no mark.
Blend colors of shared start or victory areas. Added Dragon Shrine map (thanks to Carlson). Bugfix: the windows batch file did not work on Windows 9x, ME. |
| 20060310 | Fixed fog/smoke: always LoS to adjacent squares.
Added elemental walls (context menu). Added teleporter map feature. Added Broken Demongate map (thanks to HidesFromHurricanes). Known bugs: sometimes the map coordinates are not drawn after opening a map. |
| 20060105 | Enable changing map colors by editing mapexplorer.properties .Some small map rendering changes. Use installation home as file chooser starting directory. Tomb of Queen Peregrine: fixed some wrong/missing walls. |
| 20051229 | LOS computation speedup (about 5 times faster). |
| 20051224 | Source code released. Can now use multiple processors for LOS computation. Mushroom Cavern: removed a few border walls that are not present on the official map. |
| 20051212 | Allow LOS from statues, pit or lava squares (for example, Archmage can quick-cast a
spell from there). Map fixes: - Drow Enclave: corrected the size of the summoning circle, which was much too large - Mithral Mines: Start area B was missing some squares. - Magma Keep: added missing wall between G8 and H8 New map: Dragon's Hoard from Dragon 322 (Thanks to Carlson!) |
| 20051209 | Added support for different creature sizes. Added preliminary support for Smoke. Added map: Hellspike. |
| 20051205 | Added Summoning Circle terrain feature. Added maps: Drow Enclave, The Lost Temple (Thanks to Jay Elmore!) |
| 20051202 | Added maps: Magma Keep, Mushroom Cavern (Thanks to John Evans!), Tomb of Queen Peregrine. Bugfix: File open dialog will now remember the last directory. |
| 20051201 | UI changes: - added buttons to load map and clear LOS - added progress bar for LOS computation |
| 20051130 | First release. |


grpc_wait_any
- Waits for any session to end.
grpc_error_t grpc_wait_any(grpc_sessionid_t *idPtr)
grpc_sessionid_t *idPtr
The grpc_wait_any() function waits for any one of the currently executing sessions to end. When no executing sessions exist, the grpc_wait_any() function returns GRPC_NOERROR and sets GRPC_SESSIONID_VOID to the area pointed by idPtr.
This function is MT-unsafe.
If successful, GRPC_NO_ERROR is returned. In the case of an error, Error code is returned.
GRPC_NOT_INITIALIZED
GRPC_SESSION_FAILED
GRPC_TIMEOUT_NP
GRPC_OTHER_ERROR_CODE


-Compliance notes (from lean.io/bloomberg):
- "All users of the integration must hold a Bloomberg License to be defined as a "Entitled User".
- "All data accessed via the Bloomberg Desktop API must remain on
the host computer. The Bloomberg Terminal and the LEAN instance must be
on the same computer. "
- "The Bloomberg Server API cannot
be used for black-box trading. Any Bloomberg Server API Data usage will
require soliciting permission via the Bloomberg Permission System. "


Wifi network: CrossCamp.us Members
Wifi password: innovate
Girl Develop It is here to provide affordable and accessible programs to learn software through mentorship and hands-on instruction.
Some "rules"
Access the slides to follow along here:
Functions are reusable pieces of code.
 This is called initializing the variable.
<script>
var numberOfKittens = 5;
</script>
Once you have created a variable, you can use it in your code. Just type the name of the variable.
<script>
var numberOfKittens = 5;
document.write(numberOfKittens);
</script>
The scope of a variable is how long the computer will remember it.
A variable declared outside a function has a global scope and can be accessed anywhere, even in a function.
var awesomeGroup = 'Girl Develop It'; //Global scope
function whatIsAwesome() {
document.write(awesomeGroup + ' is pretty awesome.'); //Will work
}
whatIsAwesome();
A variable declared within a function has a local scope and can only be accessed within that function.
function whatIsAwesome() {
var awesomeGroup = 'Girl Develop It'; //Local scope
document.write('I made a variable called awesomeGroup with a value of ' + awesomeGroup); //Will work
}
whatIsAwesome();
document.write(awesomeGroup + ' is pretty awesome.'); //Won't work
if
statementUse if
to decide which lines of code to execute, based on a condition.
if (condition) {
// statements to execute
}
var bananas = 5;
if (bananas > 0) {
document.write('You have some bananas!');
}
if/else
statementUse else to provide an alternate set of instructions.
var age = 28;
if (age >= 16) {
document.write('Yay, you can drive!');
} else {
document.write('Sorry, but you have ' + (16 - age) + ' years until you can drive.');
}
If you have multiple conditions, you can use else if.
var age = 20;
if (age >= 35) {
document.write('You can vote AND hold any place in government!');
} else if (age >= 25) {
document.write('You can vote AND run for the Senate!');
} else if (age >= 18) {
document.write('You can vote!');
} else {
document.write('You can\'t vote, but you can still write your representatives.');
}


Results-focused strategy and marketing executive with 20+ years experience identifing and delivering turnkey consumer and B2B opportunities for Google, Yahoo, Thompson Reuters, Vodafone Global Services across UK, EU, MENA, Africa, and the USA.
Proven track record developing innovative market entry and high-return growth strategies, identifying and securing high-value partnerships, delivering impactful integrated marketing initiatives, and leading teams in dynamic fast-paced & remote environments to deliver exceptional results.
Leadership of Africa, MENA, and xFN teams; strategy, planning & execution of Brand, Product/Content B2C & B2B marketing and partnerships. Product portfolio: Search, YouTube, Google Play, Android, Google Maps, AdWords, Payments & others.
Strategy, Propositions, Consumer Marketing (Brand, product & content), Trade(B2B) Marketing, PR/Communications, and Research and Insights. Led GTM, user acquisition and engagement initiatives; secured & launched multi-million Euro Global brand campaign across EU, and numerous product campaigns across EU consistently exceeding performance targets and core KPIs.
Aspiring full stack developer. Avid reader. Passionate about technology and art. I enjoy travelling, cinema, cooking, pilates and spending time with my family.


Phantoms (1998)
Director: Joe Chappelle Cast: Peter O'Toole, Rose McGowan, Ben Affleck, Liev Schreiber, Joanna Going Rated R: Violence, language
by Nathaniel R. Atcheson<EMAIL_ADDRESS>When Jennifer and Lisa Pailey (Joanna Going and Rose McGowan) return home to the quiet little town of Snowfield, Colorado, they find the maid dead on the floor. This happens two minutes into the film. Scared, the two women trek around town, finding that the streets are empty and the air silent. Later, they find severed heads, and by this time it is crystal clear that there is a problem.
While searching through a hotel because of strange music emanating through the building, they find a message written with lipstick on a mirror (in a locked room with no windows, one of the characters notes). The message refers to a certain Dr. Timothy Flyte. With no idea as to what on earth is going on, Hammond calls for help, mentioning the lipstick message in his call. The help shows up with Dr. Flyte (played by Peter O'Toole) to solve the problem.
See, it turns out that there is a big worm that looks like solidified oil; conveniently, it thinks it's Satan. This is a Learning Worm, so it is very smart. I'll leave the rest of the shocking plot developments for you to discover for yourselves.
Although I describe with utmost sarcasm the way Phantoms moves along, I must admit that these silly little plot details are just about the best thing about the film (aside from the cast). I think smart oil is a unique idea for a bad guy, especially in a horror film. Regrettably, the film is bad. It isn't scary, or suspenseful, or even particularly well-crafted. The characters are stale and cardboard-like. Like most of the films that enter this genre, this one has nothing new to offer.
The film begins on the wrong foot, jumping too quickly into action. The two sisters, for example, are given one scene of dialogue before they're confronted with the problem. I guess it's possible to be concerned based solely on the fact that they are the good guys, but in a perfect world I would like to have gotten to know them better before seeing terrified looks on their faces. The same goes for Hammond, although we at least learn a juicy bit of his history. The actors--McGowan, Going, and Affleck--all do what they can with the lack of depth, but they are defeated nonetheless.
 Towards the beginning, they discover the body of a police officer, who has clearly drawn his gun and fired off three rounds. Regardless of this fact, the characters still consider the possibility that they are dealing with a virus. Only O'Toole can project some kind of intelligence, although it should come as no surprise that he is wasted in this role.
Phantoms was directed by Joe Chappelle, who doesn't give off the feeling that he wants to be making this film. Every moment is so standard that I doubt any particular sequence will leave you feeling like you've seen something all new and different. This is an alarming thing to consider, especially when I realize that this is a horror film, intended to scare and shock me. We've all seen films in which the evil force can look human and fool our heroes. Here's yet another film that uses this approach, and nothing new is done with the premise.
If you just have to go out an see a horror film, then I suppose this one isn't any worse than the other slop that's playing right now. I suppose it's moderately fun on a really campy level, especially when we get to see the big oil creature. When I watch a film like this, I just have to wonder if it's really getting so hard to scare people. There isn't a moment in this film that startled the audience with whom I saw it. It simply fails in its prime directive.
>From 0-10: 4 Grade: D
Visit FILM PSYCHOSIS at http://www.pyramid.net/natesmovies
Nathaniel R. Atcheson
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
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Related links: index of all rec.arts.movies.reviews reviews


An evening after dinner, Maria, four years old, is enthusiastically playing with her dad’s little torch, while
the little sister Anna, barely one year old, is sitting on the high chair next to the dinner table. Maria
points the torch up and down, all around: in her mouth, in her father’s nose, to the camera… at some point she
goes to Anna and starts inspecting with the torch all her facial holes.
Maria: Anna’s little nose… is dirty!  And now, let’s have a look at the
cheeks: And now, let’s check the neck …Ahh! Here there’s the Golietta!
Paolo: What is there?
Maria: The Go-li-et-ta!
Paolo: What Golietta?!
(The parents seem confused, they have never heard of such word)
Maria: There is the Golietta!
Paola: What is the Golietta Maria? Can you explain to us what it is?
(Maria runs around the dinner table and giggles, excited about her discovery)
Maria: The Golietta is something that is in your neck. The Golietta is something that is in your neck! It is a
ball that is in your neck!
Paola: Ooh do you mean Adam’s apple?
Maria: No, only chubby people have the Golietta! People like my sister!
Paolo: But that is because she is a baby!
Maria: Anna has the GOLIETTA!
What my sister meant to say that evening while pointing at my chubby neck was doppio mento (double chin), but
her creative mind of a four-years-old kid preferred calling it with a brand new special word that nobody had
ever thought of before. After that night, the word became part of our unwritten-family-dictionary, among many
other neologisms and catchphrases, and it can still come up today in our conversations and references. Similar
trivial terms, together with dozens of different jokes, epithets, invented idioms and ways of saying, are
deeply rooted in our household communication. I have never really questioned their role in our daily
conversations, but recently realized how their existence is undeniably unique and pretty much unknown to the
rest of the world.
With time, the presence of these specific words started to appear in my eye as a bizarre
yet at the same time natural presence. Stories and term have been the discreet background lullaby to my
growing up.
The Italian author Natalia Ginzburg, in her novel ‘Family Lexicon’ (1963), brilliantly portrays her family through the description of anecdotes and specific terminology. The book, which follows the members of a Jewish family throughout their lives under the fascist regime in Italy, does not merely frame Ginzburg’s personal family unit. In fact, the narration goes further: it is able to grasp and depict some of those frequent and relatable dynamics common in families. The stories she reports, no matter how significantly different they might be from our own personal ones, describe some typical tendencies among relatives. For example, the book refers to some of those archetypal characters families have: an authoritarian putative father, a very protective or apprehensive mother, children that are mama’s boys and others that are daredevils, the ones that are ungrateful and the ones that are present and emphatic. When reviewing Ginzburg’s novel in 1963, the well-known Italian writer Italo Calvino comments it by writing “Natalia Ginzburg, who set out by remembering her own family lexicon, the ways of saying of her parents and brothers, soon realized that what she was after was that mysterious thread that defines and binds this entity that we call family, the meaning and the rhythm that accompanies us through our lives even when we have grown away from the roof and from the table of our childhood”1. The book reinforces the realization that personal stories fall in a scheme of wider narratives. The way family stories unravel through the events of human life, such as birth and death, show us that there is a sense of “universal resonance”2 in them. Quoting Fredric Jameson, an american literary critic and political theorist, “the telling of the individual story and the individual experience cannot but ultimately include the whole laborious process of the collectivity itself”3.
It is a feeling of sympathy, of seeing ourselves in other people’s stories or recognizing known patterns and
experiences that makes us empathize with and relate to narratives that are not our own. Through her personal
story Ginzburg is able to highlight the subtle yet undeniable strength of apparently banal words, traditions
and family traits, in keeping the family unit closer and making it unique. Each of the apparently
un-important anecdotes that the writer reports with detailed care, function as symbols for human experiences. They
represent and embody a cultural baggage of collective memories.
My research starts off inspired and triggered by the words of Natalia Ginzburg. The intrinsic power that
family lexicons carry is beautifully described in the following excerpt of her book:
“My parents had five children. We now live in different cities, some of us in foreign countries, and we
don’t write to each other often. When we do meet up we can be indifferent or distracted. But for us it take
just one word. It takes one word, one sentence, one of the old ones from our childhood, heard and repeated
countless times. All it takes is for one of us to say ‘We haven’t come to Bergamo on a military campaign’,
or ‘Sulphuric acid stinks of fart’, and we immediately fall back into our old relationships, our childhood,
our youth, all inextricably linked to those words and phrases. If my siblings and I were to find ourselves
in a dark cave or among millions of people, just one of those phrases or words would immediately allow us to
recognize each other. Those phrases are our Latin, the dictionary of our past, they’re like Egyptian or
Assyro-Babylonian hieroglyphics, evidence of a vital core that has ceased to exist but that lives on in its
texts, saved from the fury of the waters, the corrosion of time. Those phrases are the basis of our family
unity and will persist as long as we are in the world, re-created and revived in disparate places on the
earth whenever one of us says, ‘Most eminent Signor Lipmann!’ and we immediately hear my father’s impatient
voice ringing in our ears: ‘Enough of that story! I’ve heard it far too many times already!’”4
Family lexicons and anecdotes are tools to connect, to stay closer, to remember, to treasure. A phenomenon
to grow up and to teach with, also. They represent a place of comfort, a shelter to go back to or, on the
contrary, a system to rebel against and run away from. They help a community in developing a sense of
intimacy and feeling of belonging, which might either be embraced or rejected by the composing members. Family
phraseology and stories can represent stability, rules, traditions, culture, certainties, limits. They are a
fundamental component in our upbringing and figure as standpoints in our personal growth. Metaphorically
speaking, it seems like they operate as some sort of what I would call semiotic-binding-glue: a glue that
holds and connects, whether they want it or not, pieces of memories and members of a family together.
Because of the iconic status that lexicon, stories, gestures and habits gain with time and use, they end up
materializing into physical presence. I like to look at them as if they were linguistic votive statuettes,
as solid monoliths that survive, how Natalia Ginzburg writes, “the corrosion of time” and family’s
fragmentations. Similarly to how worshippers project their beliefs onto religious statuettes and use them as
a way to materialize spiritual presence, words and stories acquire physical relevance and function as
presences around which the family unit revolves and in which it recognizes itself. In this sense I vulgarly define
them linguistic votive statuettes. Maybe exactly due to me living abroad, far from where I grew up and where most
of my family lives, I have found myself more and more attached to these ‘statuettes’, and I like to keep
them with me, cherish them, show and compare them to other people’s ones, or use them as a way to feel closer to
a place and to people I always feel geographically separated from.
A similar phenomenon as the vulgarly called family lexicon finds its scientific definition under the name of ‘Idioglossia’. From the Greek ιδιογλωσσία idioglōssia, idio- ‘personal’ and glōssa ‘tongue’, the word refers to a personal language created and spoken by one or very few people, a form of pathology mostly occurring between twins or children who are in close contact with each other. Idioglossia or ‘Autonomous Language’, also commonly referred as ‘Twin Language’, ‘Secret Language’ and ‘Cryptophasia’, is “a language that young children may come to speak that is different from language(s) used in their environment and incomprehensible to others,except for the one or two children acquiring language at the same time”5 The terminology mostly consists in onomatopoeic expressions, phonologically distorted known words and articulation mistakes that might often end up sound completely intelligible.
My sister’s neologism Golietta is just an example of a case of Idioglossia, just as many other children’s idiosyncratic terms that belong to that very private and incomprehensible dictionary that is often left to collect dust when growing up. But what I want to write about is not only characteristic family terminology: in fact, words never come alone, they always come with a story. It is in that story, that carries traditions, heritage, culture or traumas with it that I am interested in too. And to what happens to that story as well, once it is shared and re-told, and re-told, and re-told. And to what effect does that story have on the listeners, and how does it affect them, how does it educate them. In all this and more I am fascinated by, and of some of it I try to talk about here, in the following piece of writing.
Danish folklorist Bengt Holbek, in a chapter of ‘Storytelling in Contemporary Society’ (1990), addresses a similar subject to ‘Family Lexicon’, but focuses exactly on those stories I have just mentioned: he calls them “Family Anecdotes”. In his explanation, he defines them as accounts of events that each family circle shares and remembers. The episodes usually aren’t fully-developed narratives with a defined structure but rather fragmented specific memories of situations in which something characteristic, entertaining or silly happened. He writes: “Everybody knows family anecdotes from personal experience: what Auntie Olga said when I was born; what my father said the first time I came home drunk; how my sister and I set fire to the shed when we were playing at cooking; and so on.”6 If you have been confused by me talking about family lexicons and felt like it did not ring a bell, I am pretty sure you must understand of what anecdotes I am talking about right now. According to Holbek, these episodes “consist primarily of stories about socialization processes, about conflicts between grandfathers, father and sons, between siblings and between the sexes; they discuss authority and emancipation, norms and deviation from them. Although they seem to report very individual experiences, these narratives follow the structural principles, typological tendencies, and other epic laws found in traditional folk narratives.”7 In my view, the writer makes an interesting point in declaring family anecdotes an established storytelling genre, yet as something that has not been investigated closely enough. The research I have been carrying is an attempt to understand these occurrences through both personal interpretations and external references. My interest on the subject arises from a curiosity on the founding elements of our individual identity. In fact, I see the domestic environment and the relationship within it as the playground for the development of personal qualities that constitute our consciousness and personality. I am not the only one to believe that “remembering and telling stories are necessary tools for the development of a sense of self and identity (…) As they grow up, children interact with their parents as well as the social environment to develop their narrative skills and cognitive capacities (…), and eventually co-construct identity in relation to the social world.”8 The household-setting, with its characteristic traditions, rules and values, plays a crucial role in the education and development of a personal sense of self, as it represents the space where a child spends most of his time and bases a large majority of its references.
During one of the lazy weekend mornings at home, Anna calls her parents after they had lunch. She is once
again wondering how that bizarre way of saying the family uses came to be a crucial phrase during their
dinings.
Anna: Could you tell me the story of Meeeetti, Meeetti, Tullio! (‘Add mooooore add moooooore, Tullio!’) again?
Paolo: So, this way of saying comes from a story that our friend Gian Dreossi would tell me when he was at
University and was studying Forestry in Padua. He was living in an apartment with several people: one of them
was Attilio Vuga, who then also became our town’s major and was studying agricultural studies. Then there was
Lizzone, who is Carmen Moricchi’s brother-in-law and the first-born in the Lizzi family. He dropped from
University after a while. And then there was also this famous Tullio, whom I have never actually seen, I don’t
really know who he is… anyways, according to Gian’s stories—which made us laugh a lot — they were often
cooking big quantities of food for dinner. Lots of potatoes purée, lots of pasta… lots of god-knows-what…
probably potatoes purée. And then once they were al sitting around the table and the plates had to be filled
in, Tullio—who probably had cooked potatoes purée, or at least that’s what I think—would arrive with the pan
and then the others would say Meeeeeetti Meeeeetti Tullio! to get a massive portion of food in their plate.
That’s the story. But I have never seen Tullio and I don’t know who he is.
Anna: So that is something you heard back then?
Paolo: Yes, that was still when Gian was at University. He was coming back home on Fridays and Saturdays, and
we were spending a lot of time together hearing that sentence a lot. And after that we also started using it
and now it became some sort of catchphrase that comes up every time there’s a lot of food to be eaten. We
always say Meeeetti, Meeetti, Tullio! So here it is… but I don’t know if this is something you can actually
use for a graduation thesis!
Paola: Now I would really like to meet this famous Tullio. Gian remembers this story as well, so it means that
is something that happened for real and that we are not making it up.
When paying attention to my mother telling family anecdotes to others, I often notice how she never sticks
exactly to how the story took place or developed. That would be just impossible for anyone to do, right? In
fact, it almost seems, thanks to her personal way of reporting it, as if the story became independent from the
actual episode that inspired it, and is now standing as a new narrative on its own. I am taking my mother as
an example now, but I believe that everybody, in more or less a similar way, goes through an analogue process
when narrating real life events. In a comparable way, my father’s story about Tullio and the potatoes purée,
is testifying to the same phenomenon: I do not know how the actual anecdote took place, I was not there, yet I
familiarize and relate to the legendary version that my father, also not being a direct witness of the event,
always narrated to me. What is even more comical, is what I recently found out: my father’s friend Gian, that
we always believed and told was the one living and eating with the mythical Tullio, never assisted to the
actual scene as well! He had also been told the episode from somebody else. It is funny to find out that for
decades my father passed on and told a version of the anecdote in the way he remembered and believed it
happened. “The listener’s naive relationship to the storyteller is controlled by his interest in retaining
what he is told”9 Walter Benjamin tells us in his essay ‘The Storyteller’. The episode, following a stream of
echoes, morphs and distorts according to the different narrators’ sensitivity and taste. This process reminds
me the Chinese whispers game: a phrase that the more it is passed on and whispered in people’s ears, the more
it becomes significantly different, yet maintaining the initial structure and syntax. “Experience which is
passed on from mouth to mouth is the source from which all storytellers have drawn.”10 writes again Benjamin.
As Bengt Holbek writes in ‘Storytelling in Contemporary Societies’,“these little anecdotes often seem to
contain the germs of what could easily develop into fullblown tales”11. It could be said that in these cases
oral tradition allows a process of fictionalization of reality to happen: through storytelling, certain
details exaggerate, some passages are cut out, some elements are adjusted to the narrator’s point of view and
ideologies. And what might happen is that the listeners of the story will then hand down their version of the
story they just heard, and so on. The anecdotes become ductile material used to fabricate family tales and
emblems. These collections of memories are patterns that develop into legends that can be passed on and
remembered even after the associations with the details of the stories will be forgotten.
The resulting story is definitely similar to the actual episode that it narrates, but also substantially
different. It can be less intense, more dramatic, less detailed, more condensed or simplified to highlight a
specific moral. The composing characters might turn into types rather than individuals, the story might lead
to a triumphal climax or be characterized by a tremendous suspense. The memory acquires new qualities and
meanings, and becomes potentially iconic, to the point that the origins of the story will almost be irrelevant
to the new narrative. Filtered by individual memory, family history turns into a patchwork-narrative, a large
blanket made out of both factual and fictional elements sewn together by linguistic thread. The phenomenon is
nothing more than “the typically human capacity or necessity to turn experience into narrative, to create
stories out of the ordinary and extraordinary matter of life12.
The oral quality of these occurrences appears to play a crucial role. The driving force of oral stories and
words lays exactly in their performative and phonetic quality. Rhythm, musicality, repetitiveness, the
emphasis on a specific syllable, are all fundamental elements to family lexicon and stories. The utterance and
execution of these words and anecdotes tie them to temporality: this is why it might seem an ironic
contradiction to discuss such a fleeting occurrence in the form of a text. American comparative oral tradition
scholar James Miles Foley writes on this point and states:
“What’s lost when an Oral tradition performance event is reduced to the cenotaph of a text. (…) We lose
vocal features such as intonation, loudness and softness, and silence. We lose visual signals such as
gesture and facial expression, not to mention meanings attached to costume, setting, and props. We lose the
musical and rhythmical dimensions of performance. Critically, we lose the background of variability (…) we
lose the contribution of an audience, real or implied, and any interaction that influences how the performer
proceeds”.13
For example, in the case of the Meeeetti, Meeetti, Tullio! story, there is a specific emphasis that us family
members would put on the e, stretching it in length and tone, accompanied with a defined movement of the hand.
Both elements of tone and gesture want to suggest and highlight the desire of having a bigger portion of food.
It is precisely those extremely characteristic ways of pronouncing and expressing certain lines and that
people easily memorize, repeat and turn into something iconic; often with a smile.
Oral anecdotes are destined to change shapes, exaggerate, become almost fictional stories that stand on their
own. This is the destiny of what is not left on paper, the destiny of things that are handed down to
generations orally: they are inescapably bound to their ephemerality and variability. On the other hand, that
is exactly what makes them valuable and precious: knowing that they are fragile and vulnerable, so open to
manipulation, so little known and treasured by very few people. It is again John Miles Foley that writes on
how “oral traditions are powerful precisely because they can’t be fixed, precisely because they morph while
recurring. Because it isn’t predetermined and remains open to innovation that is idiomatically driven and
forever under construction”14. I still regret not paying enough attention to my grandmother narrating family
stories to kill time during long car trips. Together with her death, an endless amount of anecdotes and
episodes got lost too. Loss, for how painful it might be, makes us reconsider the inestimable value of shared
memories and the importance of the rite of passage. When becoming caretakers of a fragile heritage, we find
ourselves considering ways of preserving, remembering and passing onwards the knowledge we became witnesses
of. I was talking about grandparents aging with a friend of mine once and she was telling me how, in the
frantic attempt of preserving the secrets of her grandmother’s recipes, she had repetitively filmed her
cooking. She was trying to capture that unexplainable heritage-of-the-daily-things on video, hoping that a
recording would help keeping it alive. On the other hand, whether we want it or not, we should serenely accept
that things will always be slowly forgotten on the way, no matter how carefully we make sure to preserve them,
and that there is beauty and value in this too.
Exactly because of their impermanent quality, with the passing of time it becomes more and more difficult to trace back the roots of these stories. The episodes will start having a life on their own, and turn into family tales, catchphrases that keep coming back at every good occasion. So when somebody will suddenly question the reason why that term came about, or why that specific story, place, person or word became so mythical, and will raise the question: “What was that story again? Why do we say this?”, the answer given might sound a little vague. This is also something Natalia Ginzburg addresses in her novel, when she writes how “No one has ever been able to explain to me why Amedeo was given his nickname, his origin no doubt lost in the mists of time”15.
The anecdotes are not questioned anymore: they become integral part of our living, essential characterizing elements of our daily life. A similar process happens to family traditions and habits. For example, I had never considered weird my habit of keeping tissues I used to blow my nose with in my sleeve. My mother told me to do so when I was little and had a runny nose all the time, and since that moment I had seen it as the most practical and rational thing to do. Growing up with this habit, I unconsciously started considering it as one of those trivial yet extremely defined absolute truths. Finding out only very recently how bizarre the whole idea of keeping used tissue seemed to my friends, I came to the realization of how many more banal habits and traditions are connected to my family background and I have never questioned them. The same thought occurred to me while I was washing the dishes and my roommate Ariane cried out: “Never clean pans with the coarse side of the sponge!  She did not even doubt the veracity of such fact. If her mother had always told her so, it must be the truth. By writing this I do not mean to say that we do not believe anything different from what our parents told us. Nevertheless, it is mostly irrelevant traits, remedies and habits we tend to pick up so easily from them and hardly grow out of them once we become independent. As a natural consequence, it is mostly likely exactly our reaction on these irrational details, routines and habits that we will, more or less involuntarily, hand down to our children or our closest ones. I have not stopped thinking about what my roommate said about cleaning pans and, voluntarily or not, I started washing them with the soft side of the sponge as well. It seems funny to me how I am witnessing one of these absolute truths phenomenons being handed down in real time, in this case, to me. I wonder if I will end up saying this to my closest ones too, and, who knows, maybe eventually to my kids as well.
“Why do I still remember this, fifty years later?”16 Holbek asks himself when reminiscing an ordinary childhood memory. It is exactly the same question—leaving out the fifty years detail—that I have repetitively asked myself as well. These imperceptible small things, memories and remedies keep coming back in my daily conversations and frame of references. Do they come back again and again because I am very attached to my roots and traditions? There must be something deeper in these things, some of that “universal resonance” I have mentioned at the beginning and that makes them so precious, and so representative of me. Could it be that it is precisely these small imperceptible details that define and influence us so precisely and specifically one from another? And if that is possible, there could also be, to some extent and taking consideration of their peculiarities, a sense of “universal resonance” in these small things that make us all somewhat similar and human. It sounds like a contradictory reasoning in itself: something that makes us so specifically unique also carries a side that inscribes itself in a much wider picture.
A friend of mine once wrote me “I don’t like special things. Objects and moments of value usually come from scarcity”. I could not agree more with this. There is beauty and profoundness in the simplicity and modesty of certain moments, a sense of universality in ordinary situations and actions, in those kind of circumstances to which a majority of people are able to relate to. They seem to be addressing a multitude. American writer Nicholson Baker often likes to bring our attention on the poeticalness of these trivial situations in his writings. For example, while washing his son’s hair, he reflects on the fact that “Generations of people grow to a point where they touch both ends of the tub”17. He writes about having a hole in his sock and desperately trying “to retract the toes and use them to catch some of the edge of the sock’s fabric, (…) but that didn’t work, it seldom does”18. We empathize with the annoyance of having a hole in our sock, just as well as we might remember stretching our legs to touch both ends of the tub. We probably never thought that any of these moments deserved much attention; yet when expressed, these thoughts give us a gratifying feeling of belonging to a collectivity. In a similar way family lexicons and stories work: typical and banal words or episodes that once shared make us feel part of a group, trigger complicity or solidarity among individuals, and recall nostalgic memories to which we feel close to or affected by.
People’s heritage and upbringing often lay in the ordinariness of daily life, in picking up those small habits
from our parents I have been talking about before, or in avoiding doing exactly that annoying thing that our
relatives do. It is by doing so that we might end up resembling our parents, or, in the completely opposite
direction, decide of totally diverging from them. James wood reflects on this concept by writing:
“Sometimes I catch myself and think, self-consciously, You are now listening to a Beethoven string quartet,
just as your father did. And, at that moment, I feel a mixture of satisfaction and rebellion. Rebellion, for
all the obvious reasons. Satisfaction, because it is natural to resemble one’s parents, and there is a
resigned pleasure to be had from the realization. I like that my voice is exactly the same pitch as my
father’s, and can be mistaken for it. But then I hear myself speaking to my children just as he spoke to me,
in exactly the same tone and with the same fatherly melody, and I am dismayed by the plagiarism of
inheritance.”19
“How unoriginal can one be?” asks Wood, as if our personality was the result of a piling up of our relatives’
traits we have been meticulously observing for years. They might be the most imperceptible details, or the
most obvious resemblances… How many times by now have I heard that “You’re just like your mom”, and how miffed
I felt after that. Not considering our evident physical resemblances, I could not believe that exactly that
way of talking and welcoming guests that my mother has — and that has always slightly unsettled me—was
directly handed down to me, in my total unawareness. How ironic! It is just not possible to be totally
independent and uninfluenced from the people who raised us, and so we have to deal with that “plagiarism of
inheritance” that partly annoys but pleases and comfort us at the same time. It is probably partly because of
that shared inheritance that both me and my sister have been interested and wrote about family narratives in
our bachelor thesis. I remember the unreasonable feeling of copying her by having a fascination for this
subject as well. She had previously written an English Literature thesis entitled ‘Gothic Magic and Magical
Realism in Family Narratives: A Comparative Approach to Gabriel García Márquez and Emily Brontë’. It feels now
obvious to me how this interest of ours might have also been influenced by our education, by those moments,
for example, in which our mother would read us books in the evening, or explains us (for the millionth time)
how Lignano20 turned from being a lagoon with sand dunes into a beach city with tall residences.
One evening, in the attempt of falling asleep, Anna gets struck by the sudden memory: her sister Maria,
reminiscing that funny childhood need she would ask to her family from time to time. Anna’s memory of it is
vague, and she is almost questioning if she just made this episode up in her mind or if actually ever
happened. For this reason, the day after she immediately calls her sister and asks for explanations about it.
Maria: “When I was little I used to often play with colored play-doh. This fact, together with my tendency of
personifying objects, made me associate the image of different pieces of colored play-doh coming together and
merging in an embrace with the image of a family-hug. For this reason, when there were moments of affection in
the family I would sometimes tell my parents and Anna: ‘Facciamo il pongo!’ (Let’s do play-dough!) And so we
would hug each other tightly as if we were different pieces of clay coming together as one”.
When my sister would tell the family facciamo il pongo (do play-dough), she was asking us to enact an image of
unity, our bodies being a malleable matter that could come close and morph into one element. The action
represented a symbol of affection and stability achieved through movement. The blurry memory-of-a-memory of
the four of us hugging, for how unrelated it might be from it, reminds me the dynamic intention of embodying
family relations in actions that the therapeutic method ‘Family Constellations’ works with.
Theorized by German psychotherapist Bert Hellinger in the 1990’s, the method, called ‘Family Constellations’
or ‘Systemic Constellations’, is a therapy that investigates the invisible dynamics between family members.
The theories, that were inspired by the observation of indigenous spiritual mysticism, have been followed,
appropriated and applied worldwide as a way to analyze family relationships. The practice aims to study the
entangled relations, for this reason named constellations, and power structures among relatives, couples and
different generations. In fact, according to Hellinger’s theories, all members of a family are steered by a
common conscious that is, to their perception, completely unrecognized. The unit shares what he calls a
“collective unconscious memory” of which the individuals being part of it are not aware. The Family
constellations exercise, by analyzing a group’s behaviors, feelings and attitudes, intends to bring the
invisible dynamics between extended family members to light. Only once the power structures are clear and
assumed it is possible to tackle the problematics within it. Through participants’ movements and spatial
exercises in a defined place, it is possible to reveal tensions and traumas and eventually heal those
unacknowledged feelings, that Hellinger defines “systemic entanglements”, by letting the members accept,
reconcile and release the stress caused by their unsolved issues.
An evening, while I am casually mentioning to my sister my findings on the Family constellations therapy, she
tells me that one of our cousins, Valentina, not only knew the method, but had been guided through an
experience of it as well. I obviously interpret the discovery as a surprising coincidence, and I cannot resist
to ask her some questions about it.
A late morning of an ordinary Saturday I call Valentina. By talking to her, it turns out she does not consider
herself an expert, but speaks about it from the perspective of somebody that had the chance to participate to
only one session years ago. She explains to me how she got to know the therapy from a friend of hers that
already had an interest in fields of study such as tarot reading and astrology. That is how she became curious
about the method and decided to try it herself, since she thought of solving some questions regarding the
death of someone very close to her. But there are also cases in which people come to analyze and solve some
traumas or events that happened in previous generations, so situations they did not even witness themselves in
first person. Valentina explains to me how, for example, it could be an event that took place one or two
generations before, and that because it has always been told or transmitted through certain attitudes still
has influence in present times.
What starts to emerge from her talk, is a glimpse of that mysterious and dusky side that family narratives
bring along. Habits, anecdotes and stories are not only elements that carry educational traits and funny
anecdotes, but also symbols of traumas, untold events, taboos and loss.
One of the things I considered most interesting about her story, is finding out how emotionally intense is to
represent, as an external participant, a character in somebody else’s story. In fact, Valentina explains to me
how even if you do not directly relate to the specific family situation you are interpreting in the session,
it still moves you and makes you think and question your own situation, background and certain dynamics within
it. In my view, it is fascinating to hear about the capacity to relate to stories that are not ours, as if it
could be still somehow possible to trace and find in other people’s stories something somewhat similar to our
own. It is once again that collectiveness in individual situation that appears, again some of that “universal
resonance” I have been writing about before.
Valentina goes on describing to me the quiet yoga gym where around 10 people gathered, all pretty much
strangers to each other, together with the guide. She later on tells me how the session developed:
“On a volunteer basis, one person raised their hand and shared their story. In this case the personal
anecdote was that the person’s grandfather was violent and used to beat up his children, so as a consequence
when one of the kids became this person’s mother, she acted very distant and cold. To understand why and how
this happened, the guide of the experience assigned us (the other participants of the session) different
characters to interpret. We were all going to re-enact, like actors, the scene and the dynamics of the
person’s anecdote. The person telling the story got assigned the protagonist and key-element in the
narration, in this case the grandfather. The others got for example the role of the grandfather’s wife, or
the children, and so on. The experience became some sort of psychodrama, a form of theatre basically, and
the guide being the director of it. The guide started directing the scene without knowing of course how it
took place in reality and without instructing exactly on what the members were supposed to do. It can be
said that in some ways, the person, by revealing its emotion to the others, is able to make them understand
how to react to it and move according to that feeling, even if they haven’t experienced it personally.”
Valentina understands how the description of the situation might sound quite strange when explained only
verbally on the phone, but excuses herself by saying how this is one of those things that needs to be
experienced in first person in order to get a better understanding of it. Then she keeps on describing:
“My role was to re-enact the violent grandfather’s wife and mother of the children. I remember that the
attitude I developed while acting my role was being instinctively very protective towards the children—well…
children… they were actually adults acting the kids’ role. For example, while moving in space, I would often
find myself with my body playing as a sort of shield to protect them. As the scene developed, I realized I
was also very cold, distant and rabid towards them; I never had tender moves.”
Valentina explains to me what—if you believe in this method—eventually emerged: because the grandfather was
violent, the mother, scared by her husband’s violence, tried protecting their children but also acted cold
because of her worries. While being focused in protecting them, she would forget how to play that more
affectionate and welcoming role that a mother has to be for her kids. As a consequence, when the children grew
up, the little girl developed cold and ineffective attitudes towards her own kid (as well as the person
sharing the story). It also came up, thanks to the presence of another character, that the reason why the
grandfather was violent was that he had been previously abused in his life too. The Family Constellations
method allows to draw some unthought connections of events and attitudes, it helps somehow connecting the
dots. Thanks to the actions and reactions of people in a space, determined connections and understandings come
to light and it is possible to see where a certain disturb, trauma or internal conflict came from. Once the
connections are being made, the experience helps healing the scar that somebody carried for all that time. By
understanding how and why things went in a certain direction it is easier to accept and make peace with the
past. Valentina defines it as a method mostly based on the idea that everything is a consequence of something
else. She says how after the experience ended and the guide conducted a breathing exercise, the protagonist of
the story cried but felt relieved, just like when you cry a lot and afterwards feel sad and distressed at the
same time.
Towards the end of our phone call, I ask her if she would recommend people to do a Family Constellations
session. She answers me how she would not recommend it to everyone, just like she would not recommend
psychotherapy to everyone, or a tarot reading for example. She thinks it always depends on what kind of person
you are and how you think. She would not recommend it to somebody very stiff and worried for example, because
she wouldn’t want to take responsibility in making this person feel worse or uncomfortable. The person has to
be willing of feeling very intense emotions and deal with them for very long time, and not everyone is able to
handle that.
Before hanging up, Valentina states with conviction: “what happens in past generations of your genealogy tree
is for sure being handed down from generation to generation. There are times in which a specific dynamic in it
breaks and that opens a new variety of options, otherwise a trauma or event can have influence for a very long
time.”
It is after talking to Valentina that the shadowy side which family stories bring along, that up until that
moment I had not mentioned enough, started to become more and more present and relevant to my research.
It is still that shadowy side that definitely comes to light in ‘The Work’, a NPO documentary shot in Folsom
State Prison during a 4 days long group therapy with both prisoners with a life sentence and a few free
civilians. The documentary shows how guided group exercises based on breathing, physical movements and
verbalization of emotions, allowed people with very traumatic experiences and background to let go part of
their resentment and pain they had been living with. What is being re-enforced by the movie as well is how a
gathering of people together can help and push singular individuals to share difficult backgrounds: the
enclosed group represent a safe space in which individuals can show themselves, release their barriers by
sharing, to finally feel understood and accepted.
Another element that comes across in ‘The Work’ and which I believe deserves to be analyzed is how, in some
cases, it is not necessary a colossal and painful tragedy what influences and is being carried by somebody
throughout time. It can also be, like in the case of one the free civilians, an ordinary episode from
childhood. It can simply be a imperceptible comment the dad told him when he was a kid and that made him feel
unaccepted, useless or not good enough. In fact, small apparently insignificant events can also carry a deeper
signifier within themselves and determine behaviors or habits of someone’s identity. In this specific case,
the man remembered his dad’s comment: “Just go back inside, go back with your mom”. By re-enacting the scene
and asking one of the patients to interpret the role of the man’s dad, he was finally able to let go that
feeling of sadness and inferiority he had been feeling and developing throughout his whole life.
There are many other interesting aspects that Family Constellations highlight, despite the understandable
critics and question marks the method might arise as well. In addition to what I already pointed out
beforehand, it tells us that from the moment we are born we are inscribed in the living story of our ancestors
and relatives, and that our actions and attitudes will be influenced as well as have an impact on it. Another
aspect that deserves to be mentioned is the the link between oral stories or utterances and the performative
aspect of Family Constellations. In fact, both practices share the element of temporality and theatricality.
Just like the exercise is based on movements and gestures in space, family anecdotes and lexicons are based on
their repetitiveness, their suspense, their particular sounds and rhythms. Additionally and most importantly,
the method makes us consider family members as a whole, as a complicated (dys)functional entity that moves and
progresses together, as a fluid action-reaction chain-organism that feeds, influences and sustains itself.
Some people like to see this family-organism as a tree, but I imagine it more as a broken uncoordinated puppet
that moves a bit goofily, while being pulled by its different extremities and parts. These parts are
inevitably correlated and dependent to each other, no matter how disconnected, close, problematic and diverse
its singular elements are one from another. Furthermore, the theory questions the structure of a family, what
it represents and to what extent it defines its members.
I doubt it is possible to discuss family relations from a purely neutral perspective: it is possible to make
determinate objective generic statements on it, but our ideas and perception of family will always be shaped
and filtered, in one way or another, by our own personal background and experiences. It is for this reason
that I accuse myself of analyzing the matter from what can seem a limited point of view: the point of view of
a daughter of a mother and father, an Italian married couple, that also has an older sister, a dog and
multiple cats. All of them have always lived under the same rooftop in a small town in the south of Europe, up
until the moment the daughters were old enough to live independently.
Among many other voices, it is once again the one of Natalia Ginzburg that helps me finding an answer on my
questions on family by writing:
“What is family? A group of people who live together. They form relationships, which may be strong or weak,
solid or slippery. It is the place whence the child looks out on the rest of the world. Families can be awful,
repressive, obsessive, or cool and uncaring and distracted, or toxic, tainted and maggoty. Very often they are
like that. But a child needs one all the same... maybe he grows up unhappy in this family, he’s ashamed of it,
hates it, but it’s an unhappiness memory can feed on. In the future he will go back in his mind to that thick
and woody forest.”21
Dirk, my thesis tutor, recently told me that the famous incipit of Anna Karenina’s book “Happy families are
all alike; every unhappy family is unhappy in its own way”22), is “the most quoted phrase of all times”. Now,
this is once again one of those urban literary legends that people say and that obviously cannot be proved.
However, the fact that this myth exists, shows how generally similarly people might perceive their own family
constellations, trees, broken puppets, or whatever you prefer calling them. Another probably insignificant
detail that tells me how each singular family relationship, it its own unique way of being and with its
personal stories, belongs in someway to a larger scheme and narrative.
Unsatisfied of her own family findings, Anna starts asking some friends around if they also have specific
anecdotes to share. She is sure of finding out similar phenomenons to her own personal episodes in other
people’s stories, and she is eager to collect them.
Alma: “There is a thing that we’ve been saying in my family for a while now: every time that somebody wants to
suggest something to do, the person says: ‘Ho pensato… !’ (I was thinking…), and then we all start laughing.
This started happening because my grandmother starts almost all of her speeches in her personal way of
pronouncing ‘Ho pensato… !’”
Louana: “The story goes like this: we were celebrating New Years in the mountains with some relatives of mine.
 Once past midnight, everybody started receiving messages on the phone
with wishes from friends and close ones. At some point my grandfather’s phone got one message as well.  Already the expression apple with
water was funny because none of us had ever heard it before. But what was even more funny is that after
opening the message he realized that the sender was actually his son, so my uncle. So then he felt a bit bad
for saying it. It is since that time that now when somebody receives a message, or when we are a bit annoyed,
it is a joke to say: ‘Who is this pomme à l’eau?!’. So, Voilà.”
Brechje: “I don’t even know if I can call this a story, anyhow, this happened probably around fifteen years
ago. Me and my whole family were in the south of France… or were we in Italy? I can’t remember exactly.
Anyways, one evening, a few hours after dinner, we were all just sitting on the table for very long, and I was
still a child but I think all the adults were doing quite some heavy drinking. At some point my grandfather
got quite drunk and started petting the dog that was under the table. He did that for a bunch of times, and
then it turned out to be my uncle’s leg, which is known to be very hairy. So this is a funny joke we often
refer back to: the time my grandfather got so drunk that he thought my uncle’s leg was a dog.”
Caterina: “We have a lot of terms that come from when my brother was little and invented them. For example,
the town ‘Sella Nevea’ is Nanau, Gelato (Ice-cream) is Totau. He had this thing that everything was ending
with au. And then, wait… there is something that I was saying, and my mother could not figure it out at the
time. I wanted to ask her to peel a mandarin and I told her Mesmucia. Now every time a person wants to ask
somebody in the family to peel a mandarin has to say Mesmucia.”
Ariane: “My cousins would always call my grandaunt Mamie Sopalin. In France ‘Sopalin’ is a brand of kitchen
paper. The nickname comes from this sort of obsession of hers: everywhere she would go she would take Sopalin
with her, so kitchen paper, and would start cleaning all the surfaces she could possibly find on her way. So
that is why my cousins would call her granny kitchen paper.”
Throughout my research, it became undeniable to me how oral narratives are fundamental elements to humans from
the moment—and even before!—we were conceived. Such stories carry in their nature an intrinsic duality:
narrative and lexicon are not only symbols that make us feel safe and belonging to something, somebody or
somewhere, they also function as reminders and portrayers of traumas, taboos and painful scars.
Only when oral narratives are being shared and expressed within a group (whatever that group might be: your
close ones, a Family Constellations group-session or a large community), it is possible to accept them,
eventually embrace them or release them if necessary. It is in moments of confrontations with others that it
is possible to find an understanding. It is in that collectiveness that individual experiences can find their
place, and maybe even similarities with others.
Recently, I have been talking to different people about my interest for family background and memories a lot,
and often asked them about their own stories and particular terminology. While somebody understood immediately
what I was talking about and did not hesitate to mention some of its iconic anecdotes, others seemed to relate
less easily and could not think about examples or specific memories. Motivated by the people that shared with
me situations far from my own personal experience, maybe even opposite, I started looking into different
directions, for example by interviewing my cousin about Family Constellations or by watching the documentary
‘The Work’. The variety of situations I encountered on my way helped me broadening my perspectives on the
myriad of facets family bonds have. I explored deeper the lighter and warmer sides, but also discovered the
more mysterious and dusky ones.
Nevertheless the type of personal stories and background we carry with ourselves, it is impossible to deny
that we all come from stories, and that we bring them along with us, sometimes more sometimes less
consciously. It is based on that experiences that we relate to and move in society. In fact, as the social
constructionist theory teaches us, it is impossible to consider ourselves without taking into account a
broader, larger social context around us. If we took a moment to zoom out from our interactions, we could
almost see our systems of relationships as a subsequently bigger set of subsets: nuclear family circle,
extended family circle, friends circle, class circle, school circle, work circle, and so on. We constantly
relate to the outside and to the people living within it, and it is from our relations and interactions to it
that we keep learning, shape and re-adapting our references, behaviors and personalities. It is within this
process that spoken language plays a crucial role, by representing one of the main tools that helps us
building up and reinforcing these bonds.
Family unit is a very representing example of only one of the many other social contexts that makes use of
codes and tools that deal with oral narratives and terminology. In fact, the way anecdotes and terms are being
orally passed on is clearly not a phenomenon that restricts itself to family connections. We are social
animals and naturally find ways, through the use of spoken language and storytelling, to communicate and
tighten bonds with all kinds of communities, friends, tribes, social groups. Just think about memes, slangs or
urban myths; they all inscribe themselves as subcategories within the large scheme of oral narratives. For
example, I start thinking about the specific personal lexicon and stories I share with my friends: I think
about the mythical way me and my friend Louana say: “But tomooooooroow!” when we are looking forward for
something we know happening the day after. Or I think about Fischietto (little whistle), the unofficial but
generally acknowledged nickname of one of Cividale23’s nutty inhabitants, which comes from the times he was a
soccer referee. It only takes a bit of focus on these stories, to realize how much our daily conversations and
frame of references is based on them.
After conducting this research, it also appears more evident to my eye how oral narratives, childhood events,
and stories related to personal identity and upbringing are integral part of my interests and consequently
present in various forms within my artistic practice. My interest is to make use of these narratives with my
work and create places of comfort and platforms for sharing. I strongly believe in their endless power to
move, to heal, to excites, to help, to entertain.
Shaped by all my family anecdotes and traditions, inspired by all those linguistic votive statuettes,
influenced by all the people being part of my circles, my identity has grown, and will keep growing from
there.
As a form of dedication to my family, that was my primal source of inspiration,
here is a list of some terms part of my personal family dictionary.
The explanations and translations might sound banal and pointless when read, again to re-confirm how these terms
and stories loose that performative oral vibrance when translated into text.
I always think that the ‘thanks to’-part of things is the best one among the others.
So I can’t resist to the temptation of writing one myself too. First of all,
I want to thank my family, Paolo, Paola and Maria, for being the pieces of pongo I’ll always go back to.
Grazie, grazie, grazie di esistere. I want to thank my aunt, Giovanna, for our summer conversation in her library,
and my cousin Valentina, for dedicating your time and thoughts to me during a Skype call The Hague/Milano.
Thanks to Ludovica, for converting that cassette from where it all started.
To my thesis tutors, and to my patients readers, re-viewers and advisors: Maria (again, for all your notes),
Brechje, Louana, Rafael, Bram, Ariane, Zahari.  And to all the people that maybe didn’t read it,
like you, Bart (thanks for your honesty), but that inspired me without even knowing: Benjamin, Sophia, nonna Resi, Gian,
Tullio, Caterina, Guglielmo, Alma, Bianca and Natalia (Ginzburg).


--- layout: archive title: Zulip Chat Archive permalink: /stream/113488-general/topic/Tactic.20to.20avoid.20.60classical.2Esome.60.html ---
My goal was this:
⊢ comm_ring.zero (ring_completion (valuation_field (out (⟨⟨v, _⟩, _⟩.val)))) = domain.zero (ring_completion (valuation_field (out (⟨⟨v, _⟩, _⟩.val))))
and I tried dunfold out
. This took me to the following slightly scary goal:
⊢ comm_ring.zero (ring_completion (valuation_field (classical.some _))) = domain.zero (ring_completion (valuation_field (classical.some _)))
I don't like classical.some
s in my term. They come with a corresponding very helpful classical.some_spec
which is hard to keep track of if you have proof terms turned off. Was dunfold out
an incorrect move? How can I get the correct some_spec
s into my context somehow?
what about generalize : (out (⟨⟨v, _⟩, _⟩.val)) = k
?
A tactic like split_ifs
for classical.some
would be nice
I think you will find such a tactic here: https://github.com/unitb/lean-lib/blob/master/src/util/classical.lean
I can PR it tomorrow. Or if you need it urgently, feel free to take it
I can't get it to work :-/
generalize tactic failed, result is not type correct nested exception message: check failed, application type mismatch (use 'set_option trace.check true' for additional details) state: 4 goals A : Huber_pair, v : ↥A → ↥A → Prop, Γ : Type u_1, _inst_2 : linear_ordered_comm_group Γ, v₀ : valuation ↥A Γ, h : ∀ (r s : ↥A), ⇑v₀ r ≤ ⇑v₀ s ↔ v r s, h1 : is_continuous ⟨v, _⟩, h2 : ∀ (r : ↥A), r ∈ (λ (A : Huber_pair), A.Rplus) A → ⇑⟨v, _⟩ r ≤ 1 ⊢ comm_ring.zero (ring_completion (valuation_field (classical.some _))) = domain.zero (ring_completion (valuation_field (classical.some _)))
Should I be applying the tactic before or after the state looks like this? I just dunfolded something and they all appeared.
{% endraw %}Last updated: Apr 24 2020 at 19:02 UTC


Can all Oregon kids graduate from high school? If state leaders have their way, we’ll soon find out. Their aim is to raise educational and skill levels – dramatically. If they succeed, there will be a lot more of us with degrees, certificates – and work we love. That’s what 40/40/100 is all about.
Read More...
Theodore and his family arrived when he was about eleven – just in time for seventh grade. He attended a middle school where Portland meets Gresham, and first met Thomas.
Read More...
Wyse sees a coming wave of innovation within community colleges and other certificate providers. “It’s a journey,” he argues. “We need a lot more nimbleness in the credential system...but it will mean new players and changing roles.”
Read More...
In May 2015, Oregonians woke up to an alarming headline: “Oregon has Worst Graduation Rate in US.” It provoked a mix of outrage, embarrassment, and resignation, and raised serious questions about why so many young people were not making it through high school and what was being done about it.
Read More...
The data set is comprised of 41,603 de-identified Oregon student's records documenting key demographic characteristics and assessed math and reading proficiency resulting from tests completed in 2003. All of the students included in the data set were in the class scheduled to graduate from Oregon high schools in 2006.
We have provided filtering tools so that you can sort the data, revealing the varied educational pathways taken by students in the sample over time. We have also provided a range of stories and profiles to provide context for exploring the data.
Go exploring...


|
JavaTM 2 Platform Standard Ed. 5.0 |
|||||||||
| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | |||||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |
java.lang.Object java.security.cert.CertPathValidator
public class CertPathValidator
A class for validating certification paths (also known as certificate chains).
This class uses a provider-based architecture, as described in the Java
Cryptography Architecture. To create a CertPathValidator
,
call one of the static getInstance
methods, passing in the
algorithm name of the CertPathValidator
desired and
optionally the name of the provider desired.
Once a CertPathValidator
object has been created, it can
be used to validate certification paths by calling the validate
method and passing it the CertPath
to be validated
and an algorithm-specific set of parameters. If successful, the result is
returned in an object that implements the
CertPathValidatorResult
interface.
Concurrent Access
The static methods of this class are guaranteed to be thread-safe. Multiple threads may concurrently invoke the static methods defined in this class with no ill effects.
However, this is not true for the non-static methods defined by this class.
Unless otherwise documented by a specific provider, threads that need to
access a single CertPathValidator
instance concurrently should
synchronize amongst themselves and provide the necessary locking. Multiple
threads each manipulating a different CertPathValidator
instance need not synchronize.
CertPath
| Constructor Summary | |
|---|---|
protected |
CertPathValidator(CertPathValidatorSpi validatorSpi,
Provider provider,
String algorithm)
Creates a CertPathValidator object of the given algorithm,
and encapsulates the given provider implementation (SPI object) in it. |
| Method Summary | |
|---|---|
String |
getAlgorithm()
Returns the algorithm name of this CertPathValidator . |
static String |
getDefaultType()
Returns the default CertPathValidator type as specified in
the Java security properties file, or the string "PKIX"
if no such property exists. |
static CertPathValidator |
getInstance(String algorithm)
Returns a CertPathValidator object that implements the
specified algorithm. |
static CertPathValidator |
getInstance(String algorithm,
Provider provider)
Returns a CertPathValidator object that implements the
specified algorithm, as supplied by the specified provider. |
static CertPathValidator |
getInstance(String algorithm,
String provider)
Returns a CertPathValidator object that implements the
specified algorithm, as supplied by the specified provider. |
Provider |
getProvider()
Returns the Provider of this
CertPathValidator . |
CertPathValidatorResult |
validate(CertPath certPath,
CertPathParameters params)
Validates the specified certification path using the specified algorithm parameter set. |
| Methods inherited from class java.lang.Object |
|---|
clone, equals, finalize, getClass, hashCode, notify, notifyAll, toString, wait, wait, wait |
| Constructor Detail |
|---|
protected CertPathValidator(CertPathValidatorSpi validatorSpi, Provider provider, String algorithm)
CertPathValidator
object of the given algorithm,
and encapsulates the given provider implementation (SPI object) in it.
validatorSpi
- the provider implementationprovider
- the provideralgorithm
- the algorithm name| Method Detail |
|---|
public static CertPathValidator getInstance(String algorithm) throws NoSuchAlgorithmException
CertPathValidator
object that implements the
specified algorithm.
If the default provider package provides an implementation of the
specified CertPathValidator
algorithm, an instance of
CertPathValidator
containing that implementation is
returned. If the requested algorithm is not available in the default
package, other packages are searched.
algorithm
- the name of the requested CertPathValidator
algorithm
CertPathValidator
object that implements the
specified algorithm
NoSuchAlgorithmException
- if the requested algorithm
is not available in the default provider package or any of the other
provider packages that were searchedpublic static CertPathValidator getInstance(String algorithm, String provider) throws NoSuchAlgorithmException, NoSuchProviderException
CertPathValidator
object that implements the
specified algorithm, as supplied by the specified provider.
algorithm
- the name of the requested CertPathValidator
algorithmprovider
- the name of the provider
CertPathValidator
object that implements the
specified algorithm, as supplied by the specified provider
NoSuchAlgorithmException
- if the requested algorithm
is not available from the specified provider
NoSuchProviderException
- if the provider has not been
configured
IllegalArgumentException
- if the provider
is
nullpublic static CertPathValidator getInstance(String algorithm, Provider provider) throws NoSuchAlgorithmException
CertPathValidator
object that implements the
specified algorithm, as supplied by the specified provider.
Note: the provider
doesn't have to be registered.
algorithm
- the name of the requested
CertPathValidator
algorithmprovider
- the provider
CertPathValidator
object that implements the
specified algorithm, as supplied by the specified provider
NoSuchAlgorithmException
- if the requested algorithm
is not available from the specified provider
IllegalArgumentException
- if the provider
is
nullpublic final Provider getProvider()
Provider
of this
CertPathValidator
.
Provider
of this CertPathValidator
public final String getAlgorithm()
CertPathValidator
.
CertPathValidator
public final CertPathValidatorResult validate(CertPath certPath, CertPathParameters params) throws CertPathValidatorException, InvalidAlgorithmParameterException
The CertPath
specified must be of a type that is
supported by the validation algorithm, otherwise an
InvalidAlgorithmParameterException
will be thrown. For
example, a CertPathValidator
that implements the PKIX
algorithm validates CertPath
objects of type X.509.
certPath
- the CertPath
to be validatedparams
- the algorithm parameters
CertPathValidatorException
- if the CertPath
does not validate
InvalidAlgorithmParameterException
- if the specified
parameters or the type of the specified CertPath
are
inappropriate for this CertPathValidator
public static final String getDefaultType()
CertPathValidator
type as specified in
the Java security properties file, or the string "PKIX"
if no such property exists. The Java security properties file is
located in the file named <JAVA_HOME>/lib/security/java.security,
where <JAVA_HOME> refers to the directory where the JDK was
installed.
The default CertPathValidator
type can be used by
applications that do not want to use a hard-coded type when calling one
of the getInstance
methods, and want to provide a default
type in case a user does not specify its own.
The default CertPathValidator
type can be changed by
setting the value of the "certpathvalidator.type" security property
(in the Java security properties file) to the desired type.
CertPathValidator
type as specified
in the Java security properties file, or the string "PKIX"
if no such property exists.
|
JavaTM 2 Platform Standard Ed. 5.0 |
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| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | |||||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |
Copyright © 2004, 2010 Oracle and/or its affiliates. All rights reserved. Use is subject to license terms. Also see the documentation redistribution policy.


Hospitalization rates for lower respiratory tract infection as primary diagnosis by region, 2008–10
Rates are per 100,000 population; 95% CI are shown in parentheses.
Rates for All Children include infants and patients up to 19 years of age.
(*) indicates significant difference (P value < 0.0001) in rates for health authority vs. provincial average.
Lower respiratory tract infection hospitalization rates among all children <19 years of age and infants <1 year of age in the Interior, Northern BC, and Vancouver Island were higher than the average provincial rate and significantly lower in British Columbia’s lower mainland.


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Bhojpuri Hot Bomb And Nazar Fame Monalisa Shines in Bright Yellow Dress But Her Smile is What You Can't Miss
Monalisa's Look in Bright Yellow Dress is Perfect For This Saturday Morning - See Pic.
Bhojpuri hot actor Monalisa aka Antara Biswas is shining bright on Instagram with her new picture. Taking to Instagram on Saturday morning, the Nazar fame has shared her happy photo where she can be seen donning a bright yellow dress teamed up with a matching pair of earrings, minimal makeup, a dash of lipstick, wide smile and kept her hair natural.
The photo will definitely give you a cue on how to dress up for your weekend getaway. Sharing the post, she wrote, “Helloooo. what’s Up!!. (sic)”
Take a look at the photo here:
Earlier, she has uploaded her picture donning a simple saree. In the photo, she can be seen looking out of the window as she gets clicked. She captioned the photo as, “Stop doubting yourself. Work hard and make it happen…. Keep Following me on @helo_indiaofficial. (sic)”
Lately, she has also shared an adorable birthday wish to her friend Roli Singh. Dressed in a gorgeous green and golden lehenga, she looks ethereal. Sharing the post, she wrote, “Happy Birthday @rolirolisingh … I hope your Special Day Will bring You lots of Love, Fun and Happiness #birthdaygirl #happybirthday. (sic)”
Meanwhile, on the work front, Monalisa is being featured on Gul Khan’s show Nazar where she is playing the role of an antagonist Mohona. Her role brings new twists on the show and keeps the audiences glued to the TRP charts. Apart from Nazar, she is also being featured on the new show ‘Movie Masti With Manish Paul’. She has also roped another show under her kitty named ‘Apna News Ayega’ which will be aired on Sab TV.
For breaking news and live news updates, like us on Facebook or follow us on Twitter and Instagram. Read more on Buzz Latest News on India.com.
Story Timeline
- 22 Nov 2019 Bhojpuri Bombshell Monalisa's Simple Saree Look Will Make You Gush Over Her
- 21 Nov 2019 Bhojpuri Hot Bomb Monalisa Sizzles in Her Latest Bridal Look in Peach Shimmery Lehenga
- 19 Nov 2019 Bhojpuri Bomb Monalisa Looks Sexiest Best in a Baby Pink Saree With Halter Blouse
Comments - Join the Discussion


Hey there! I am Arunabh Kashyap. I'll be building this personal website in the (not so distant) future (hopefully), so stay tuned (or not).


LATEST:Harare And Bulawayo Roads Renamed
by Philip MangwiroHarare Roads Renamed, These Are The New Names Of Major Streets
The Government has approved the renaming of some major roads in Harare and Bulawayo. The changes were announced during a post-cabinet briefing this afternoon and posted on Twitter. Below are the new road names.
HARARE
- Enterprise now ED Mnangagwa Ave
- Kirkman now Solo Mujuru Drive
- Livingstone now OR Tambo Ave
- Charter now Fidel Castro Road
- Cameroon now Joseph Msika Road
- Selous now John Nkomo Road
- Fife Avenue now Leonid Brezhnev Avenue
- Angwa Street————Seretse Khama
- Baines Avenue———-HerbertUshewokunze
- Argyle Road————Sydney Malunga
- Dieppe Road————Vitalis Zvinavashe
- Rezende Street———Julia Zvobgo
- The Chase————-Sikwili Moyo Street
- Blackinston Street——Joseph Culverwell
- Quendon Drive———-Edison Zvobgo Drive
BULAWAYO
- Connaught Avenue———-Cephas Cele
- 13th Avenue to include Anthony Taylor Ave—Clement Muchachi
- 14th Avenue——George Nyandoro
- DoncasterRoad—SikanjayaMuntanga
- Vic Falls Road—Mosi-Oa-Tunya Road
- 23rd Avenue———Jairos Jiri Avenue
- 11th Avenue—-Daniel Madzimbamuto
Hospitals have also had their names changed. Harare Hospital has been renamed Sally Mugabe Hospital whilst Mutare Hospital will become Victoria Chitepo Hospital.
Below is a Comprehensive List of the Proposed Changes.
In Other News:Parents with children at Bulawayo’s Dominican Convent School were in for a rude awakening after school authorities announced school fees for January 2020. Under the proposed fee structure, parents will be expected to pay ZWL12500 for the first term with an initial deposit of ZWL3900 being due by 29 November. To make matters worse Failure to pay the deposit will result in forfeiture of your child ‘s place.
Currently, Zimbabwe is battling rampant inflation with the majority of the population earning below 200 United States Dollars, Doctors have been on strike for the last 3 months demanding a salary adjustment from their current USD80 a month. Given that salaries for the majority of the working population are low, one is left to wonder who will afford to pay the fees the Bulawayo Dominican Convent is demanding.Read More
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