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The CILIP Carnegie Medal recognises the best children’s and Young Adult titles published each year.
The shortlist
Saint Death, by Marcus Sedgwick
“Anapra is one of the poorest neighbourhoods in the Mexican city of Juarez - 20 metres outside town lies a fence, and beyond it, America - the dangerous goal of many a migrant.
“Faustino is one such trying to escape from the gang he’s been working for. He’s dipped into a pile of dollars he was supposed to be hiding and now he’s on the run. He and his friend, Arturo, have only 36 hours to replace the missing money, or they’re as good as dead.
“Watching over them is Saint Death. Saint Death (or Santissima Muerte) - she of pure bone and charcoal-black eye, she of absolute loyalty and neutral morality, holy patron to rich and poor, to prostitute and narco-lord, criminal and police-chief. A folk saint, a rebel angel, a sinister guardian.”
After the Fire, by Will Hill
“Father John controls everything inside The Fence. And Father John likes rules. Especially about never talking to Outsiders. Because Father John knows the truth. He knows what is right, and what is wrong. He knows what is coming. Moonbeam is starting to doubt, though. She’s starting to see the lies behind Father John’s words. She wants him to be found out. What if the only way out of the darkness is to light a fire?”
Beyond the Bright Sea, by Lauren Wolk
“Crow has lived her whole life on a tiny, starkly beautiful island. Her only companions are Osh, the man who rescued her from a washed-up skiff as a baby and raised her, and Miss Maggie, their neighbour across the sandbar.
“But it is only when a mysterious fire appears across the water that an unspoken question of her own history forms in Crow’s heart, and an unstoppable chain of events is triggered. Crow sets out to find her lost identity - and, ultimately, to learn what it means to be a family.”
Rook, by Anthony McGowan
“When Nicky and Kenny finds Jez Bowen and his gang digging up a badger set, there’s not a lot he can do to save them. But one badger cub has escaped - can the brothers save it?”
Where the World Ends, by Geraldine McCaughreen
“In the summer of 1723, 8 boys and 3 men were marooned on a rocky stack in the middle of the sea at the edge of the Outer Hebrides. This book tells the story of how they survived nine months of deadly storms, madness and starvation with only a few ropes and baskets, and their own fortitude and endurance to save them.”
Wed Wabbit, by Lissa Evans
“You’re called Fidge and you’re nearly 11. You’ve been hurled into a strange world. You have three companions: two are unbelievably weird and the third is your awful cousin Graham. You have to solve a series of nearly impossible clues.  And the whole situation - the whole, entire thing - is your fault.”
The Hate U Give, by Angie Thomas
“Sixteen-year-old Starr lives in two worlds: the poor neighbourhood where she was born and raised and her posh high school in the suburbs. The uneasy balance between them is shattered when Starr is the only witness to the fatal shooting of her unarmed best friend, Khalil, by a police officer. Now what Starr says could destroy her community. It could also get her killed.”
The Hate U Give is also available as an eBook on OverDrive.
Read Emily’s review of The Hate U Give →
Release, by Patrick Ness
“Today will change Adam Thorn’s life.  And way across town, a ghost has risen from the lake. Is there time for Adam to find his release?”
Release is also available as an eBook on OverDrive and an eAudiobook on BorrowBox.
Read Kate’s review of Release →
The rest of the longlist
The Tale of Angelino Brown, by David Almond & Alex T. Smith
“Bert and Betty Brown have got themselves a little angel. Bert found him in his top pocket when he was driving his bus. Bert and Betty’s friends think he’s lovely. So do Nancy and Jack and Alice from Class 5K. What a wonder!
“But Acting Head Teacher Mrs Mole is not so sure. Nor is Professor Smellie. Or the mysterious bloke in black who claims to be a School Inspector. Then there’s Basher Malone - big, lumbering Basher Malone. He really doesn’t like Angelino. And it looks like he’s out to get him.”
The Tale of Angelino Brown is also available as an eAudiobook on BorrowBox.
The Hypnotist, by Laurence Anholt
“Jack has left his native Ireland and is making a new life as Professor of Neurology at a university in the American South. He has skills in hypnotism and mind control, honed over his lifetime, that he mostly keeps hidden.
“Thirteen-year-old Pip is plucked out of an orphanage by a farmer, hired as a farm-hand, and as carer for the farmer’s wife. But Pip is black. The farmer and his wife are white. And this is 1960s America, where race defines you and overshadows everything. As racial tensions reach boiling point, Jack and Pip’s lives become inextricably linked.”
Overheard in a Tower Block, by Joseph Coelho & Kate Milner
“Gazing at the stars from five storeys up, smelling the bins from five storeys below. Overheard arguments, overheard laughter. A disappearing father and a Mermaid-Queen mother; statues that sing for flesh and blood; bullies who kick you under the table; perfect red trainers - and the things that lurk in the library. Award-winning poet Joseph Coelho’s new collection is a powerful and moving poetic narrative about growing up in the city.”
Wed Wabbit is also available as an eBook on OverDrive and eAudiobook on BorrowBox.
The Island at the End of Everything, by Kiran Millwood Hargrave
“Ami lives on Culion, an island for people who have leprosy. Her mother is infected. She loves her home - but then islanders untouched by sickness are forced to leave. Ami’s desperate to return before her mother’s death. She finds a strange and fragile hope in a colony of butterflies. Can they lead her home before it’s too late?”
The Island at the End of Everything is also available as an eBook on OverDrive.
The Song from Somewhere Else, by A. F. Harrold & Levi Pinfold
“Frank doesn’t know how to feel when Nick Underbridge rescues her from bullies one afternoon. No one likes Nick. He’s big, he’s weird and he smells - or so everyone in Frank’s class thinks.
“And yet, there’s something nice about Nick’s house. There’s strange music playing there, and it feels light and good and makes Frank feel happy for the first time in forever. But there’s more to Nick, and to his house, than meets the eye, and soon Frank realises she isn’t the only one keeping secrets. Or the only one who needs help.”
Welcome to Nowhere, by Elizabeth Laird
“12-year-old Omar and his brothers and sisters were born and raised in the beautiful and bustling city of Bosra, Syria.
“But when his clever older brother, Musa, gets mixed up with some young political activists, everything changes.  Yet no matter how far they run, the shadow of war follows them - until they have no other choice than to attempt the dangerous journey to escape their homeland altogether.
Read Emily’s review of Welcome to Nowhere →
Out of Heart, by Irfan Master
“Adam is a teenage boy who lives with his mum and younger sister. His dad has left them although lives close by. His sister no longer speaks. His mum works two jobs. Adam feels the weight of the world upon his shoulders. Then his grandfather dies and in doing so he donates a very precious gift - his heart.
“William is the recipient of Adam’s grandfather’s heart. He has no family and feels rootless and alone. In fact, he feels no particular reason to live. And then he meets Adam’s family. William has received much, but it appears that he has much to offer Adam and his family too.”
A Berlin Love Song, by Sarah Matthias
“Max is 17, a German schoolboy, when he meets Lili, a trapeze artist from a travelling circus that performs every year in Berlin. Lili is from a Romani gypsy family whose life and customs are very different from those of Max and his family.
“Their friendship turns into love - but love between a member of the Hitler youth and a gypsy is forbidden. As events tear them apart can their love survive?”
The Call, by Peadar Ó Guilin
“Every teenager in Ireland is training to survive ‘the call’ - the three minutes and four seconds when each of them is transported to the desolate Grey Land of the long banished fae folk, the Sidhe. Nine out of ten do not return.”
Black Light Express, by Philip Reeve
“Zen and Nova have ridden a train from one world to another before. But this time it’s different. They’ve passed through a gate which shouldn’t exist at all. They did terrible things to open it, and now they can never go back.”
The Explorer, by Katherine Rundell & Hannah Horn
“From his seat in the tiny aeroplane, Fred watches as the mysteries of the Amazon jungle pass by below him. He has always dreamed of becoming an explorer, of making history and of reading his name amongst the lists of great discoveries. If only he could land and look about him. As the plane crashes into the canopy, Fred is suddenly left without a choice. He and the three other children may be alive, but the jungle is a vast, untamed place. With no hope of rescue, the chance of getting home feels impossibly small. Except, it seems, someone has been there before them.”
The Explorer is also available as an eBook on OverDrive.
Encounters, by Jason Wallace
“Zimbabwe, 1994. A group of children spot peculiar lights in the sky over the grounds of their school. From this moment on, six young people’s lives are changed forever.
“Gary hides the anguish he feels now his mum’s left, acting out in fury and hatred. Chloe has no words for the thing she fears most every day. Karl is the headmaster’s son, now fallen from grace. Tendai knows he can never live up to his grieving father’s ideals. And Sixpence watches all, knowing he’ll never be like these other children. All of them have seen something they can’t explain.
“In amongst these tangled, tortured lives, comes a group of psychologists to verify the spookily similar claims of every witness. Their daughter, Holly, can tell there’s more to it than aliens or mass hysteria - can she reveal the dark truths that haunt them?”


Applications invited for the hybrid interactions lab at FOLO. Funded for 3 years, this lab will incubate new interaction design paradigms, which have so far been culturally latent.
The first entrant will be an iOS developer. Applications open till October 5th. The lab will be mentored by FOLO and Prayas Abhinav.
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Guidelines for Preparing Final Versions of Accepted Papers
Formatting
In order for an accepted paper to be published, the paper must conform to the conventions of The Chicago Manual of Style. Below are additional conventions used by Philosophy of Science. For anything not covered below, consult The Chicago Manual of Style. The instructions below sometimes refer to sections in the 14th edition (abbreviated CMS).
Margins should be ample, approximately 1-1/2" (4 cm) top and bottom, 1-1/4" (3 cm) left and 1" (2.5 cm) right.
Justification: Please do not justify text left and right. The right margin should be ragged.
Typeface: Times or Times New Roman is best for proofreading and for computer translation.
Typesize: 12 point. Type size should be full size at all times, including in footnotes, references, picture legends, etc.
Spacing: All text should be double-spaced, including the text in footnotes, references, picture legends, etc.
Page numbers: Please leave all headers and footers blank; in particular, please do not include page numbers in the header or footer.
Structure of Paper
The final version of the paper should have the following parts, each beginning on a new page
- abstract
- main text
- appendices [when necessary]
- references
Abstract
After the title page, start a new page. Place the abstract on its own page, with no label (i.e., the word 'Abstract' need not appear).
Main Text
The first section is numbered and normally titled "1. Introduction." in boldface; subsections are in italics, and new sections in boldface again. Put a blank line between each section and subsection. Section titles use headline capitalization, for instance "Explanation of Anomalies," not "Explanation of anomalies." "Section" is capitalized when used as a proper noun, for instance "as was proved in Section 1," but lowercase when used as a common noun, for instance "as was proved in the first section." (Likewise for "figure" and "table.")
Italics and Boldface
We do not italicize foreign or technical terms commonly used by philosophers of science. Examples:
- "ipso facto," "i.e.," "ad hoc," "a priori" (not "ipso facto," "i.e.," "ad hoc," "a priori.")
Unfamiliar terms may be in italics. Examples:
- "The now obsolete Japanese term warifu was used to designate the tearing of pieces of material or paper … to record an economic transaction."
Indicate italicized words, phrases requiring emphasis, and titles of published books and journals by italic typeface, not underlining. Indicate boldface by bold typeface, not wavy underlining.
Formulas, Equations, and Special Symbols
Equations and symbols should be fully legible. Give any variables the style they should display, e.g., italics, bold, or unusual fonts.
Since setting type for bi-level and tri-level equations is very costly, all formulas and equations should be put in a form that helps to minimize the number of printed lines. For example: p = -dx/dy = -dz/dt.
Where you have an equation that might exceed a line length, make a note as to where the equation should be broken, or type it on the page as you wish it to be typeset and let the editors know to maintain that specific spacing and alignment.
Please type the equation as text (with any superscripts and subscripts) rather than in Microsoft Equation Editor. Complex material that cannot be done in Word should be carefully explained in a way that a typesetter who does not necessarily have detailed mathematical knowledge will understand.
When possible, an alternative symbol or sign should be provided if the symbol required is rare. To avoid confusion between similar symbols such as the letter O and zero, mu and u, subset and less than, clearly identify the symbol to the typesetter, for example, in a note to the typesetter at the beginning of the paper.
Footnotes
Footnotes should be used, not endnotes. The font should be the same size (12 point) as the main text.
Discursive footnotes should be avoided; incorporate material in the body of the text whenever possible. Remaining footnotes should be numbered consecutively throughout the typescript.
Figures And Tables
Figures and tables require special treatment. Please contact the editors if you have any questions.
Every figure and table should be produced in a large clean copy in a separate file. Please keep in mind that figures will generally be printed on a high quality printer, then photographed to produce the final output. A figure that looks good on your computer screen can easily turn out to look awful when printed in high resolution. The minimum resolution for graphics files should be 250 dpi for gray-scale art, and 600 dpi for line art. Please consult with local support if you are unsure how to produce high quality graphical images. The editorial office and University of Chicago cannot redraw images for you.
Tables should be typed with a minimum of borders and other features enabled. University of Chicago has a standard style for printing tables, and in general will use this style when printing your table.
Your images will be sent to us as separate files, but may also be included in the text at the appropriate place. Alternatively, you may indicate their approximate location with a note such as "[Include Figure 1 here]". In either case, labels ("Figure 1.") and any captions should be included in the text at the appropriate location. Figures within the text are centered, but captions are left-justified. Captions are punctuated and capitalized as sentences.
References
Authors are responsible for the completeness and accuracy of their bibliography and citations. Please cross-check your citations against your bibliography; our copyeditors and University of Chicago's typesetters often run across inconsistencies or incompleteness. In this case, you will be asked to fix the problem. This slows down production, and in the end saves you no time. Please go ahead and double-check your references now.
We use a variant of the author-date system. See the 14th edition of the Chicago Manual of Style chapter 16, but be sure to follow the specifications below. Be sure that the References include complete page numbers for all articles in journals and edited volumes. We prefer fully realized numbers, e.g. 123-127, not 123-7 or 123-27, both in-text and in the references section. In both the reference list and in-text citations, simply give the numbers, without "page" or "pg."
In-Text Citations: Simple citations or quotation attributions should be made by citation within the text, rather than by footnote. Cite author and year of publication, for example, (Jones 1974) and, when appropriate, page numbers (Jones 1974, 25). Note comma between year and page, but not between author and year. There is no "p." or "page" preceding the page number.
If the context clearly specifies the reference, the year and page number are sufficient:
Jones's theory (1974, 25) contradicts his earlier account (1965).
If the subject of the sentence is the author, then the citation is in parentheses, with a comma between date and page:
Hegel (1787, 344) argued that ...
Hegel argued that ... philosophy (1787, 344).
If the book or article itself is what is being referred to, then there is no comma or parenthesis between author and date:
This argument was refuted in Hegel 1787.
See Hegel 1789.
If in the latter examples you need to have page numbers, they are not put in parentheses:
See Hegel 1789, 334-347.
Note that within the text, the period comes after the closing parenthesis of the citation.
At the end of a block extract, place the citation after the period.
No more causes of natural things should be admitted than are both true and sufficient to explain their phenomena. ... Therefore, the causes assigned to natural effects of the same kind must be, so far as possible, the same. (Newton 1999, 794-795)
When citing a reprint or translation, give the original year in brackets then the year for the new edition
... as argued by Duhem ([1906] 1954).
In places where you are referring to multiple texts by a single author, separate years with commas:
(Marx 1983, 1984, 1985, 1986)
For many texts by multiple authors, use semicolons to separate authors:
(Marx 1982; Eliot 1983; Fudd 1992; Duck 1993)
(Marx 1982, 1983; Fudd 1992, 1995; Fudd and Hare 1996; Duck 1999)
See CMS 16.14.
List of References: The bibliographical list of cited references must be headed REFERENCES and placed on a new page after the main text. List references alphabetically by senior author. More than one reference by the same author should be listed in chronological order.
If you know how to do hanging indents with your word processor, use them throughout the bibliography. If you do not, please format all references flush left, and leave an extra space after each entry.
Authors. Please use complete first and last names for authors, not just initials and surnames (if you cannot readily ascertain a first name, the initials will suffice). If there are two authors, use "and" not "&". Only for the senior author does the surname precede the given name. If the reference list has two works by the same author, use a 3-em dash "–––" in the place of the author’s name for the second work. For details about author names (including special cases), see CMS chapter 16.
For multiple authors, list the surname of the first author, comma, given name of first author, then given name before surname of subsequent authors, separated by commas with the word "and" before the last one. Even if there are only two authors, use a comma before the word "and". Example:
Oppenheim, Paul, and Hilary Putnam (1958), "Unity of Science as a Working Hypothesis", in Herbert Feigl, Grover Maxwell, and Michael Scriven (eds.), Minnesota Studies in the Philosophy of Science. Minneapolis: University of Minnesota Press, 3-36.
Burian, Richard M., Jean Gayon, and Doris Zallen (1988), "The Singular Fate of Genetics in the History of French Biology, 1900-1940", Journal of the History of Biology 21: 357-402.
Titles: For all titles of English-language works (articles, books, chapters, etc.) use headline ("up") capitalization (CMS 7.127). For foreign book titles, see CMS section 15.118. Book and journal titles are italicized.
Books: Include author or editor, space (no punctuation), date in parentheses, comma, title (including subtitle) italicized, comma, volume and edition, period, (translator and editor if in addition to author), city of publication (if needed: comma, state or country), colon, publisher, (if needed: comma, forthcoming), period. Example:
Harding, Sandra G. (1987), Feminism and Methodology: Social Science Issues. Bloomington: Indiana University Press.
Dissertations: Include author or editor, space (no punctuation), date in parentheses, comma, title (including subtitle) italicized, period, then "Ph.D. Dissertation", period, location of university (comma, state or country), colon, name of university.
Craver, Carl F. (1998), Neural Mechanisms: On the Structure, Function, and Development of Theories in Neurobiology. Ph.D. Dissertation. Pittsburgh, PA: University of Pittsburgh.
Translations and Reprints: For a translated or reprinted edition of a book include author; open parenthesis, original date in brackets, new edition date, close parenthesis; title italicized; volume and edition; period, "Reprint." (if applicable); translator, period; original title italicized; original place of publication, colon, and original publisher in parentheses; new edition's place of publication; colon; publisher, period. Example:
Duhem, Pierre ([1906] 1954), The Aim and Structure of Physical Theory. Reprint. Translated by P. P. Wiener. Originally published as La théorie physique: son objet, et sa structure (Paris: Marcel Rivière & Cie). Princeton: Princeton University Press.
If you cite page numbers in the text, please make it clear in the reference list whether citations refer to the original or reprint/translation. For the capitalization of foreign book titles, see CMS section 15.118.
Technical Reports, Working Papers, and Similar Publications: Include author, date in parentheses, title of work italicized, name and number of series, general editor(s) if a series, city, colon, publisher. Example:
Titiev, Robert J. (1969), Some Model-Theoretic Results in Measurement Theory. Technical Report 146, Institute for Mathematical Studies in the Social Sciences, Stanford: Stanford University.
Journal Articles: Include author of article, space (no punctuation), date in parentheses, comma, title of article in quotation marks, comma, name of journal italicized (do not abbreviate journal titles), space, volume number not underlined, colon, space, page numbers. The title is treated as an entity, so the end quotes come before the comma separating the title from the journal name. Italicize the journal name, but not the volume and issue number. Example:
Mayo, Deborah G. (1991), "Novel Evidence and Severe Tests", Philosophy of Science 58: 523-552.
For book reviews, put the name and author of the reviewed book in parentheses after the title of the review.
Fodor, Jerry A. (1995), "West Coast Fuzzy: Why We Don't Know How Brains Work" (review of The Engine of Reason, the Seat of the Soul: A Philosophical Journey into the Brain by Paul M. Churchland), Times Literary Supplement 4821:5-6 [August 25].
Edited Volumes: For articles in a book-length collection include author of article, date in parentheses, comma, title of article in quotation marks, comma, name of book's editor(s) (all surname last), followed by ‘(ed.)’, comma, title of collection italicized, period, place of publication, colon, publisher, page numbers, period. Example:
Wylie, Alison (1989), "The Interpretive Dilemma", in Valerie Pinsky and Alison Wylie (eds.), Critical Traditions in Contemporary Archaeology: Essays in the Philosophy, History and Socio-politics of Archaeology. Cambridge: Cambridge University Press, 18-27.
Oppenheim, Paul, and Hilary Putnam (1958), "Unity of Science as a Working Hypothesis", in Herbert Feigl, Grover Maxwell, and Michael Scriven (eds.), Minnesota Studies in the Philosophy of Science. Minneapolis: University of Minnesota Press, 3-36.
If you refer to many articles in the same edited volume, give the book its own entry in the reference list and use a short citation in the entries for the articles. Example:
Feigl, Herbert, Grover Maxwell, and Michael Scriven (eds.) (1958), Minnesota Studies in the Philosophy of Science. Minneapolis: University of Minnesota Press.
Oppenheim, Paul, and Hilary Putnam (1958), "Unity of Science as a Working Hypothesis", in Feigl et al. 1958, 3-36.
PSA Proceedings: The Proceedings have appeared in several forms, which call for different styles of citation.
Through 1995 (PSA 1994 Symposia), the Proceedings were published as an edited volume and should be listed as such.
1996-2002 (PSA 1996 Contributed Papers through PSA 2000 Symposia), the Proceedings were published as a Supplement to the journal Philosophy of Science. Example:
Keeley, Brian L. (2000), "Neuroethology and the Philosophy of Cognitive Science", Philosophy of Science 67 (Proceedings): S404-S417.
Starting in 2003, the Proceedings are no longer a supplement, but rather a fifth issue of the journal. They should be cited in the same style as immediately above, except that the page numbers no longer include the letter S.
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Verdict: Tropical notes abound! This turned out great, especially considering I correct gravity during fermentation, crossing my fingers and throwing malt extract into the fermenter. Like a complete rogue. But it worked! Also, I really love this hop combination.
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Chapter 2 Introduction to Demographic Heterogeneity
2.1 Outline
- What demographic heterogeneity is (and isn’t)
- Dynamics of population growth with two sub-groups
- Keyfitz’s result \(\bar{r}'(t) = \sigma^2_r(t)\).
- Ken’s model of Poisson heterogeneity
2.2 Part I. Conceptual Introduction
2.2.1 What is Demographic Heterogeneity?
- If we see different outcomes (e.g., people dying at different ages), is this Demographic Heterogeneity? NO.
- Demographic heterogeneity \(=\) different rates for different folks.
In a demographically heterogeneous population, people are of different types, with different type-specific rates.
(These types can be discrete, with individuals being homogeneous within their type, or they can be continuous with possibly no individual having exactly the same risk as another.)
2.2.2 An example
Let’s draw 10 individuals from a homogeneous population and heterogeneous population.
## Homogeneous hazard of 1/10
set.seed(13)
x.homo <- rexp(10, rate = 1/10)
## Heterogeneous hazard (half 1/6 and half 1/13)
## Note: I didn't pick these particular numbers for any specific reason
x.hetero <- c(rexp(5, rate = 1/6),
rexp(5, rate = 1/13))
par(mfrow = c(1,2))
dotchart(x.homo, main = "homogenous variation")
dotchart(x.hetero, main = "heterogeneous variation")
- Can you tell which is which?
- Homogeneous: Chance only
- Heterogeneous: Chance + group variation in risk
- Would we expect to see a difference if we increased sample?
ANSWER THIS
- Analogies ?
- [Social inequality:] equal opportunity vs. equal outcomes
- [Analysis of variance] \(\mbox{total variance} = \mbox{within group} + \mbox{between group}\)
- [Statistical models] \(y = a + b x + \epsilon\)
What’s new? Dynamics.
Heterogeneous populations evolve differently. Aggregates \(\neq\) Individuals
- Rates of growth (or decline)
- Changes over time or age or duration
- The trajectory of even the individual differs from population average
- Relative positions, change of groups, may be misleading.
- Terminology
- Heterogeneity
- Unobserved heterogeneity
- Selection
- Selective survival
- Other terms?
Big Caveat: Fundamental Unidentifiability
Same data of \(N\) observations- \(N\) draws from 1 distribution
- \(1\) draw from \(N\) distributions
- Something in-between
Abel (66) and Beth (76) example.
2.2.3 A 2nd example: Exponential growth, two countries
Two countries start equal size, but grow at different rates. What happens to aggregate growth rate?
rA = .03 ## growth rate of A
rB = .01 ## growth rate of A
KA = 100 ## starting pop size
KB = 100
t = 0:200
KA.t = KA*exp(rA*t) ## exp growth of A
KB.t = KB*exp(rB*t) ## exp growth of B
K <- KA.t + KB.t ## combined pop
r.bar = diff(log(K)) ## growth rate
plot(t[-1], r.bar, type = "l", ylim = c(0, 0.04),
ylab = "r.bar", xlab = "time")
abline(h = c(rA, rB), lty = 2)
Questions
- What determines growth rate?
- How does it change over time?
- Does the process converge?
2.2.4 More examples to work
- Differential, constant mortality (\(\mu_A = .03\); \(\mu_B =.01\))
- Differential, {} mortality or growth.
- ``Movers and Stayers’’ (Migration)
- ``Movers and Stayers’’ (Marriage)
- Fecundity: aging or heterogeneity?
- Divorce: duration or heterogeneity?
- Duration of unemployment: duration or heterogeneity?
- Recidivism by time out of prison
2.2.5 Application
Questions
- Can you create a plateau?
- Can you create a crossover?
- Can you get aggregate rate to decline?
- Anything else?
2.3 Part II. Formal Analysis
2.3.1 Outline
- Keyfitz result
- Keyfitz USA-Mexico example
- Ken’s Poisson-Exponential Model
2.3.2 Keyfitz result
\[{d \over dt}\bar{r}(t) = \sigma^2_r(t)\] >When group-specific growth rates are constant the rate of change of the aggregate growth rate equals the variance of the growth rates.
- Derivation
By definition, \[ \bar{K}(t) = \sum_i K_i(t) = \sum_i K_i e^{r_i t} \] and
\[\bar{r}(t) = {{d \over dt} \bar{K}(t) \over \bar{K}(t)}\]
Let’s take derivatives and simplify, recalling definition of variance.
SOLVE?
2.3.3 US-Mexico Example
rm = 3.5/100
ru = .75/100
Km = 50
Ku = 100
t <- -50:150 ## go back in time to see rise and fall of variance
Kt = Km * exp(t*rm) + Ku * exp(t*ru)
bar.rt <- diff(log(Kt))
par(mfrow = c(2,2))
plot(t, Kt, lwd = 2, type = 'l')
title('Total pop size (solid)\n Group m (dashed)')
lines(t, Km * exp(t*rm), lty = 2, col = "red")
lines(t, Ku * exp(t*ru), lty = 2, col = "blue")
my.v = 26
abline(v = my.v)
plot(t, Kt, lwd = 2, type = 'l', log = 'y', ylim = c(.5, max(Kt)))
lines(t, Km * exp(t*rm), lty = 2, col = "red")
lines(t, Ku * exp(t*ru), lty = 2, col = "blue")
abline(v = my.v)
title("Total pop size (solid)\n Group 'm' (dashed): Log-scale")
plot(t[-1], bar.rt, type = 'l', main = 'Aggregate growth rate')
plot(t[-(1:2)], diff(bar.rt), type = 'l',
main = 'Change in aggregate growth rate')
<IP_ADDRESS> Commentary on Keyfitz result
- Growth rates in heterogeneous populations start at pop average and then increase.
- Heterogeneity pop growth
- We will extend to cover non-constant growth
But
- Doesn’t tell us how much bigger \(\bar{K}(t)\) is projection using constant aggregate rate \(\bar{r}(0)\).
- Doesn’t give us a formula for time path of aggregate \(\bar{K}(t)\) or \(\bar{r}(t)\)
Note: our homework will try to address some of this using Taylor approximation.
2.3.4 The Origin of Professor Wachter’s Poisson-Exponential Model
Given a world with many sub-populations, each growing expontentially at their own rate, what can we say about the time-path of world population growth?
From an email:
Josh asks: Suppose we have a discrete mix of subpopulations growing at different intrinsic rates r whose maximum is r0. Is there a handy approximation for the growth path of the aggregate populations?
The assumption of a discrete mix is essential here. Otherwise Tauberian theorems apply and, with a vanishingly small portion of the population close to the maximum growth rate, we do not obtain long-run exponential growth.
I recommend modeling the discrete distribution of growth rates as a mixture of Poisson distributions.
We are considering
\[\begin{equation} \label{mixture} \bar{K}(t) = \sum_i e^{r_i t} K_i(0). \end{equation}\]
Ken suggests \[\begin{equation} \label{ri_def} r_i = r_0 - s(\lambda) \cdot a, \end{equation}\]
- [\(r_0\)] growth rate of the fastest growing sub-population
- [\(s\)] a non-negative Poisson distributed integer
- [\(\lambda\)] the parameter of the Poisson distribution (also it’s mean and variance)
- [\(a\)] gap between adjacent growth rates.
Example: sub-populations have growth rates 3, 2, 1, 0, -1, \(\ldots\) percent, then \(r_0 = 0.03\) and \(a = 0.01\). Sizes of sub-pops determined by Poisson dis’n
<IP_ADDRESS> Closed-form result
\[ K(t) = K(0) e^{r_0 t} e^{-\lambda (1 - e^{-at})}. \]
To derive:
- Write out mixture to get \[ K(t) = K(0) e^{r_0 t} \sum_i e^{-sat} f(s) \]
- Substitute for \(f(s)\): \(Pois ~ {\lambda^s e^{-\lambda} \over s!}\)
- Recognize that our mixture contains the series representation of \(e^{-at}\)
Interpretation \[ K(t) = K(0) e^{r_0 t} e^{-\lambda (1 - e^{-at})}. \]
- Dominant term contains the maximum population growth rate \(r_0\),
- Second term gives the diminishing effect of the sub-populations with smaller population growth rates over time.
Some further analysis, What is the closed-form expression for \(\bar{r}(t)\)?
2.3.5 Some commentary
- Poisson and Exponential ``fit’’
- We’ll this complementarity again (e.g., with Gamma)
- Tractable models are super powerful for enhancing our understanding.
- But be careful. Avoid extremes: the model is right/wrong.
A BIG caveat, are disaggregated models necessarily better?
- Some potential problems:
- Aggregate constraints?
- Interacting sub-populations?
- Illusion of precision?
2.4 Conclusions
Heterogeneity as variation in risk (not just outcome)
Constantly growing parts \(\neq\) constantly growth whole
Keyfitz result: Change in growth rate \(=\) variance of growth rates
Poisson growth gives us a closed-form solution.


 You must ensure your client is always happy no matter what {%endblock%}
Customer Support Cannot be substituted. You must ensure your client is always happy no matter what


Good news: Woody Allen's back. Despite an embarassingly humble release pattern, here in the capital, Allen's new film Deconstructing Harry is one of the best of the year. It chronicles life history, more or less, of a New York novelist of jewish origin. This description is unfairly simple, however, since ultimately this loose story serves only as a premise for Allen to launch a savage social critique, backed by deft casting and narrative technique. The film has been characterised as everything from 'irresponsibly sexist' to 'embarassingly revealing'. This is perhaps hardly surprising in view of the technocratic lynching Allen received in the media several years ago. Ironically, many of these reviewers are in fact indulging the very vices that Allen critiques through his protagonist. It is to his credt that despite this he has managed to pull off a film as inspired as this. (Ottawa dwellers be advised of the upcoming screening of Manhattan at the Bytowne.)
Allen takes no prisonners as he lampoons every facet of conventional life and those naive, bored or lazy enough to still practice it. The jewish faith, and by extension, institutionalized religion, is treated with characetristic duality (Love and Death), sexuality is twisted into an eerie grotesque (Manhattan) and Allem's wit is razour sharp. Not the gimmicks and tricks that littered Mighty Aphrodite or Everyone says I Love You. The film is exemplary of the bizarre experiences Allen's best films put us through: to laugh while recognizing how pathetic the goings-on are.  A man so incapbable of spending time in the real world, he has been left no alternative but to create his own.
The film benefits from truly inspired casting. The film is structured such that for most of the people present in Harry's real life there is another set of actors that play the fictional recreations of these people as present in Harry's books. The pairings could be the subject of a review in and of themselves. Examples of people/character pairings include: Kristie Alley/Demi Moore and Judy Davis/Julia Louis Dreyfus. The considerations that emerge from these pairings are two-fold, exploring both the unreliability of perception and by extension the artistic process as well as alluding to the fallacy and duplicity inherent in the star system. (Perhaps that last one is my own zeal getting the better of me) Nonetheless Allen seems to have payed careful attention to every casting decision. Even Robin Williams apearrance as an actor in one of Harry's fictional stories, although it lasts only several minutes, is elevated to a level above that of a simple cameo. A lesser filmmaker would have treated the appearance in a purly cursory manner, Allen instead seems to be suggesting that the casting is to be scrutinized in detail.
One of the most notable aspects of the film, is its narrative construction. Deconstructing Harry is narrated with a flashback structure that consists of three planes. The first is Harry's present day life with all of its dilemmas and complications, the second is the fictional world of Harry's books, and the last is Harry's true past that is dealt with on occasion to contrast with the fictional world that we are presented with. Which of these is which is only made clear as the film progresses. The associations that emerge as a result of the interacting of these three planes are a primary source of meaning generation in the film. It is only as the fictitious and the non-fictitious is delineated that the relevance of certain scenes becomes clear. Harry turning 'soft' is an amusing gimmick on it's own, however, situated as it is after the actor-story and late in the film it is an eleagant device reaffirming the inescapable fate of the protagonist: to forever be confounded by the very fiction he seeks therapy with.
On this basis, an attractive reading of the film-although it is impossible to confirm or refute it- is as an allegory for the current state of Americain independant filmmaking. As filmmaker after filmmaker lines up with their low budget, flawed assumptions and 'genuine story', there are eerie parallels to be drawn with the flawed ethic displayed by Allen's protagonist.
-Omar Odeh http://www.geocities.com/Hollywood/Theater/3920
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


gretty {
httpsEnabled = true
// optionally you can specify port. 8443 is the default.
// httpsPort = 443
}
Since version 0.0.23 Gretty supports HTTPS protocol out-of-the-box.
Gretty provides very simple way to auto-configure HTTPS protocol. All you have to do is set httpsEnabled=true
and launch Gretty start task. Upon successful start HTTPS is immediately available without any additional configuration.
gretty {
httpsEnabled = true
// optionally you can specify port. 8443 is the default.
// httpsPort = 443
}
On first run:
Gretty generates 1024-bit RSA key
Gretty generates self-signed X.509 certificate using "SHA256WithRSA" signature algorithm
Gretty writes certificate to the file "${project.buildDir}/ssl/cert"
Gretty generates random passwords for key-store and key-manager
Gretty adds key and certificate to a new key-store, using key-manager password
Gretty writes key-store to the file "${project.buildDir}/ssl/keystore", using key-store password
Gretty saves key-store and key-manager passwords to the file "${project.buildDir}/ssl/properties"
Gretty uses key-store "${project.buildDir}/ssl/keystore" for configuring HTTPS-connector
Gretty starts servlet-container server with two connectors: HTTP, listening to httpPort (default 8080) and HTTPS, listening to httpsPort (default 8443).
On consequent runs:
Gretty reads key-store and key-manager passwords from the file "${project.buildDir}/ssl/properties"
Gretty uses key-store "${project.buildDir}/ssl/keystore" for configuring HTTPS-connector
Gretty starts servlet-container server with two connectors: HTTP, listening to httpPort (default 8080) and HTTPS, listening to httpsPort (default 8443).
When you open HTTPS page in the browser for the first time, you typically see the message:
The message is caused by the fact that Gretty uses self-signed certificate, not chained to Certificate Authority (CA). After you click "I understand the risks" and accept the certificate, the web-browser shows your web-app.
|
Important
|
Using self-signed certificate is OK for development environment, but not OK for production. Please never use the generated key and certificate files outside of Gretty tasks! |
|
Important
|
Saving passwords to the file system is inherently unsafe. Please never run Gretty with auto-configured HTTPS on production systems! |
|
Tip
|
"${project.buildDir}/ssl" directory is preserved between servlet-container runs, so that the same key and certificate are repeatedly used in development. Of course, you can delete the directory "${project.buildDir}/ssl" - it will be recreated on the next run. If you delete it, you’ll see a message "Connection is untrusted" again. |
|
Tip
|
The self-signed certificate has issuer-DN "CN=gretty-issuer, OU=None, O=Gretty, L=None, C=None", under which it can be easily found and deleted in the browser settings. |
Gretty provides the way to specify key-store and trust-store, so that pre-existing key and certificate are used.
gretty {
sslKeyStorePath = '/some/path/keystore'
sslKeyStorePassword = 'someKeystorePassword'
sslKeyManagerPassword = 'someKeyManagerPassword'
sslTrustStorePath = '/another/path/trust_keystore'
sslTrustStorePassword = 'someTrustStorePassword'
}
All SSL-related properties are optional.
If sslKeyStorePath is not specified, all other SSL-related properties are ignored and HTTPS is auto-configured.
sslKeyManagerPassword defaults to sslKeyStorePassword.
sslTrustStorePath defaults to sslKeyStorePath.
sslTrustStorePassword defaults to sslKeyStorePassword.
sslKeyStorePath and sslTrustStorePath can be set to String or java.io.File. Relative paths will be resolved relative to project.projectDir, project.webAppDir (default is "src/main/webapp"), project.sourceSets.main.output.files (defaults to [ "${project.buildDir}/classes/main", "${project.buildDir}/resources/main" ]).
Passwords may be obfuscated, as described in official Jetty documentation. If you are uncomfortable with saving passwords in the sources, consider using gradle.properties or gradle init scripts for configuring password variables outside of project sources.
|
Important
|
CN attribute of the used certificate must match gretty.host property ("localhost" by default), otherwise servlet-container could not decide, which certificate to use. |
You might want to run your web-app with HTTPS only, without HTTP. It’s easy to do so:
gretty {
httpEnabled = false
httpsEnabled = true
}


The life of the fourteenth Dalai Lama (the human manifestation of Buddha) is a complicated one: a Buddhist monk who sought to protect Tibet from the Chinese communist forces by employing nonviolence. This is a project that other directors such as Zhang Yimou ("Shanghai Triad") or Chen Kaige ("Farewell My Concubine") would have aptly taken on. I never expected Martin Scorsese, the poet of violent, lowlife characters, to undertake such an overwhelming, ambitious project. On the other hand, this is the same man who brought us distinguished achievements such as "Alice Doesn't Live Here Anymore," "The Last Waltz," and "The Age of Innocence," not to mention his memorable gangster trilogy: "Mean Streets," "GoodFellas" and "Casino." "Kundun" is a gorgeous film: a lavish treatment of the Dalai Lama's life, but it is just that - a treatment.
"Kundun" is the secret name of the Dalai Lama, and it is a name only his family or close members use. Kundun's life is chronicled in linear fashion: from his days as a young boy screaming "This is mine. This is mine!" as he is discovered to be the fourteenth incarnation of Buddha, to his days as an eighteen-year-old bespectacled leader whose best defense against the Chinese army is to leave the palace in disguise, on a journey to India.  Mao's response to the Dalai Lama's pleas for religious tolerance is "Religion is poison."
The first half-hour of "Kundun" is at its best when conveying Kundun's childhood as he is taken from his humble village to the Holy City of Lhasa where he brings in forbidden treasures such as "Life" magazines, film projectors where he runs cowboy films and silents, and cars. Despite all these trappings, Kundun keeps forgetting he's the Dalai Lama and that he has a country to protect, including the 5,000 soldiers who guard it. "But I am only a boy," proclaims Kundun. "What can I do?" His spiritual guides convince him that he is the Dalai Lama and, therefore, must know what course of action to take.
All of "Kundun" is very subjective: it is all told from his point-of-view. There are no Western outsiders like Brad Pitt or Peter O'Toole to distract us. This is a noble, risky achievement, but the movie does not succeed in letting us inside Kundun's soul or his spiritual beliefs. As written by Melissa Mathison ("E.T."), the screenplay reduces the Dalai Lama to a statue for us to look up in wonder; a man representative of peace and nonviolence, but little else. Didn't Kundun ever have some doubts about his spirituality? Did he ever question the fact that he was the Dalai Lama? Mostly, we see Kundun weep at the thought of imminent violence, and we see him being greeted and idolized by others as he walks in a solemn state with his red robes. The film's best sequence is Kundun's nightmarish vision of his followers murdered by the Red Army in a vast landscape of death - we see several corpses surrounding him in an atypical shot of Scorsese's canon. Beyond that, the film is not very introspective of Kundun - we see glimpses of his soul but not much more.
On the plus side, "Kundun" is the most beautiful movie of Scorsese's career - it is so voluptuously shot by Roger A. Deakins and so beautifully composed that you are not likely to see a purer example of cinematography for a long time. There's never a wasted, uninvolving shot making the whole film as captivating and involving as it can be. It is also elegantly edited by Thelma Schoonmaker, full of dissolves from minute details of pearls and cuffs to wide shots of the villages occupying Kundun's existence. The scenes of the Buddhist marches, ceremonies and rituals are as powerfully executed as you can imagine, especially the funeral procession of Kundun's father being fed to the vultures. The film is certainly not boring, and it is rightly meditative and slow-moving, much like the superior "Why Has Bodhi-Dharma Left for the East?"
"Kundun" is a major departure for Scorsese - it is possibly his most spiritual, peaceful film since "The Last Temptation of Christ." The problem is Scorsese detaches us from Kundun's soul, and is much too respectful of him (Even Jesus Christ had his flaws). A common criticism of Scorsese's past work is that he takes an objective view of his characters; what he really does is create behavioral portraits. I never found myself detached from any of his main protagonists (except for Jimmy Doyle in "New York, New York"). Travis Bickle, Jake LaMotta, Newland Archer, Rupert Pupkin, "Ace" Rothstein are but a few examples of Scorsese's most successful, soulful portraits. Kundun could have been another example.
For more reviews, check out JERRY AT THE MOVIES at http://buffs.moviething.com/buffs/faust/
E-mail me with any questions, comments or complaints at<EMAIL_ADDRESS>or<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


To use this feature, select Maintain | Measure High Voltage Plateau. This feature is a method for observing the behavior of a particular detector across several voltage levels.
INCC performs a sequence of measurement runs with a detector. The number of runs is based on the entered parameters. At successively higher voltage levels, singles are measured and recorded. INCC presents a results report, updated after each successive run. The report is saved in a file, using a predefined name; the file name is shown on the face of the report.
The method comprises the steps of
Retrieving four parameters values from the plateau entry dialog:
minV minimum voltage limit
maxV maximum voltage limit
stepV voltage step size, range is 2 to 100 volts
t step count time
Initializing three control variables
number of runs = (maxV - minV) / stepV + 1
voltage = minV
i = 0
Performing a sequence of measurements, where each measurement uses a higher voltage level, increased by stepV, the level not going over the maximum voltage level maxV and the run count not going over number of runs:
for i <= number of runs and voltage < maxV
voltage = minV + i * stepV;
set the detector’s voltage;
take one measurement for t seconds (a run);
i = i + 1;


It’s all about Jesus. - Worship
We are unwavering in our belief that everything begins and ends with Jesus. Our commitment is to know Him and make Him known. - John 14:6 NLT; Revelation 22:13 NLT
Everyone is significant. - Valuing people
Wherever you’re from, whatever your age or background, you’re far from ordinary. We value everyone and believe in your potential. - Psalm 139:14 NLT; 1 John 3:2 NLT
All things are possible. - Faith
We believe in putting God-sized dreams into real-life action. We are right at home in deep uncharted waters, where prayer guides and faith sustains us. - Matthew 19:26; Hebrews 11:6
Together is better. - Community
Authentic life-change happens in the context of relationship. Circles are better than rows. - Hebrews 10:24-25 NLT; Ephesians 4:16 NLT
Healthy people grow. - Discipleship
We celebrate the processes that build healthy people and healthy ministries. We are a life-giving church that embraces change and facilitates growth. - Colossians 2:7 NLT; Colossians 1:10 NLT
Saved people serve people. - Service
Life is more fulfilling when serving others. Our focus starts with our church, extends to our community and reaches the nations. It's the natural progression of a changed life.
- Mark 16:15 NKJV; Ephesians 2:10 NLT
If it’s worth doing, it’s worth doing right. - Excellence
The only appropriate response to a God who gave us His best is to give him our best. Our dedication to God shows in all we do. Mediocrity is not an option. - Colossians 3:23 NLT;
1 Corinthians 15:58 NLT
Generosity speaks. - Generosity
The time, talent and treasure God has blessed us with is to be used to bless others. Living a generous life expands our world view and motivates us to be like Jesus.
- Proverbs 11:24-25 MSG; Acts 20:35 NLT
We rely on the wisdom of the team. - Teamwork
We rely on the wisdom of teams to get the job done. Each member of a team makes a vital contribution with their different gifts and abilities. We do everything we can to set our teams up for a win. - Ecclesiastes 4:9-12 NLT
We don't maintain we multiply. - Training Leaders
There is a leader in you waiting to be trained to fulfill your God given potential so that we can make a difference in other people’s lives. We are where we are today because of the process Jesus began with the 12 disciples. - Luke 9:1-6 NIV


Thanks for reading! If you like my writing, you may be interested in my book: Healthy Webhook Consumption with Rails
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{% extends 'base.html' %} {% load static %} {% block content %}
An app for booking school resources. Learn More


{% extends "layout.html" %} {% block title %}404 Error{% endblock %} {% block head %} {{ super() }} {% endblock %} {% block content %}
What you were looking for is just not there. {% endblock %}


Based on a list of pdqr-functions and vector of weights form a pdqr-function for corresponding mixture distribution.
form_mix(f_list, weights = NULL)
| f_list | List of pdqr-functions. Can have different classes and types (see Details). |
|---|---|
| weights | Numeric vector of weights or |
A pdqr-function for mixture distribution of certain type and class (see Details).
Type of output mixture is determined by the following algorithm:
If f_list
consists only from pdqr-functions of "discrete" type, then
output will have "discrete" type.
If f_list
has at least one pdqr-function of type "continuous", then
output will have "continuous" type. In this case all "discrete"
pdqr-functions in f_list
are approximated with corresponding dirac-like
"continuous" functions (with form_retype(*, method = "dirac")). Note that this approximation has consequences
during computation of comparisons. For example, if original "discrete"
function f
is for distribution with one element x
, then probability of
f >= x
being true is 1. After retyping to dirac-like function, this
probability will be 0.5, because of symmetrical dirac-like approximation.
Using a little nudge to x
of 1e-7
magnitude in the correct direction
(f >= x - 1e-7
in this case) will have expected output.
Class of output mixture is determined by the class of the first element
of f_list
. To change output class, use one of as_*()
functions to change
class of first element in f_list
or class of output.
Note that if output "continuous" pdqr-function for mixture distribution (in theory) should have discontinuous density, it is approximated continuously: discontinuities are represented as intervals in "x_tbl" with extreme slopes (see Examples).
Other form functions:
form_estimate()
,
form_regrid()
,
form_resupport()
,
form_retype()
,
form_smooth()
,
form_tails()
,
form_trans()
# All "discrete"
d_binom <- as_d(dbinom, size = 10, prob = 0.5)
r_pois <- as_r(rpois, lambda = 1)
dis_mix <- form_mix(list(d_binom, r_pois))
plot(dis_mix)
# All "continuous"
p_norm <- as_p(pnorm)
d_unif <- as_d(dunif)
con_mix <- form_mix(list(p_norm, d_unif), weights = c(0.7, 0.3))
## Output is a p-function, as is first element of `f_list`
con_mix
#> Cumulative distribution function of continuous type
#> Support: ~[-4.75342, 4.75342] (20005 intervals)
## Use `as_*()` functions to change class
d_con_mix <- as_d(con_mix)
## Theoretical output density should be discontinuous, but here it is
## approximated with continuous function
con_x_tbl <- meta_x_tbl(con_mix)
con_x_tbl[(con_x_tbl$x >= -1e-4) & (con_x_tbl$x <= 1e-4), ]
#> x y cumprob
#> 5001 -1.000000e-08 0.2792602 0.3500000
#> 5002 -2.904343e-12 0.4292166 0.3500000
#> 5003 0.000000e+00 0.4292602 0.3500000
#> 5004 1.000000e-08 0.5792602 0.3500000
#> 5005 1.000000e-04 0.5792601 0.3500579all_x_tbl <- meta_x_tbl(all_mix)
## What dirac-like approximation looks like
all_x_tbl[(all_x_tbl$x >= 1.5) & (all_x_tbl$x <= 2.5), ]
#> x y cumprob
#> 10006 2 0 0.5053711
#> 10007 2 2197266 0.5163574
#> 10008 2 0 0.5273437


{% extends 'base.html' %} {% block content %}
This will create a brand new linode running {{application_name}} on your account and give you the credentials.


Mirror Mirror On the Wall...
Mirrors
Simple Mirror
Floor + Moving Mirror
Mirror with Moving Object
Infinite Mirror


Bullet Collision Detection & Physics Library
src
BulletCollision
CollisionShapes
Classes
btTriangleShape.h File Reference
#include "
btConvexShape.h
"
#include "
btBoxShape.h
"
Include dependency graph for btTriangleShape.h:
This graph shows which files directly or indirectly include this file:
Go to the source code of this file.
Classes
class
btTriangleShape
Generated by
1.8.13


Hey! An Interruption Tracker for Mac users
Usage
Record an event
hey <names>
<names>
is a space separated list of one or more
people’s names.
Note: all names are downcased in the database to save worrying about multiple entries when you accidentally type “bob” one time and “Bob” the next.
Tag an event
hey tag <event id> <tags>
hey retag <event id> <tags>
<event id>
is usually last
(to tag the most
recent event) but if you need
to tag a different one that was shown by hey list
or hey data
you can enter its id.
<tags>
is a space separated list of tags to associated with this event.
If you tag
the same event twice then the new tags will be appended to the list.
If you retag
an event the new list will replace the old one
List all tags
hey tags
Lists all the tags currently in the system
Record an event and tag it at the same time
Most of the time you create an event as it happens, and you don't know what it's going to be about yet, so you create it, then tag it later. But sometimes you create it just after it happened and you do know what it was about.
hey <names> + <tags>
<names>
is a space separated list of one or more
people's names.
<tags>
is a space separated list of tags to associated with this event.
Viewing recent events
hey
or hey list
or hey list 3
by default this will display the last 25 interruptions, but if you pass
hey list
a number it will display that many.
Last 3 interruptions in chronological order...
| ID | When | Who | Tags |
| 105 | 2017-06-17 08:53:48 | Bob, Mary | meeting, scheduled |
| 106 | 2017-06-17 08:53:55 | Bob | question |
| 109 | 2017-06-28 11:35:05 | Sam | task |
Seeing who's been interrupting you and why
hey who
| Who | Interrupts | Tags |
| simon | 3 | manager, question |
| roman | 5 | manager, question |
| andres | 9 | investigation, question, tl |
| nima | 10 | merge_request, question, random, request, tl, |
| sonal | 10 | coordination, instructions, planning, question, tl |
| greg | 11 | pairing, question, release_request, tl |
| mike_o | 13 | beginner, pair_request, question, tl, undocumented |
Reporting on recent events
hey graph
will list all graphing options
hey graph people-by-hour
hey graph people-by-hour line_chart
Collates your data, and loads it in a pretty graph on
InterruptTracker.com for you. You can see an example of the stacked bar chart
here and the
line chart version of the same data
here. In practice,
you're going to want to go with the default stacked_bar_chart
NOTE: currently limited to the past 7 days. This will change.
hey graph interrupts-by-day
Same thing, but graphs the number of interrupts by day as a line chart.
hey graph tags-by-hour
hey graph tags-by-hour line_chart
Shows you a stacked bar chart of what tags happen during what hours.
NOTE: currently limited to the past 7 days. This will change.
Comment on an event
hey comment <event id> <my comment string>
<event id>
is one of the ids shown by hey list
or hey data
<my comment string>
is… your comment. Doesn’t have to be in quotes. Ends
when you hit enter.
Note if you comment on the same event twice it will replace the existing comment with your new one.
Delete accidental interrupts
hey delete <event id>
<event id>
is one of the ids shown by hey list
or hey data
Permanently deletes the specified record. There is no undo.

Deletes that person from your database, and removes them from any events. If there are events that only involved that person, they will also be deleted.
Exporting Data
NOT IMPLEMENTED
hey data
To be determined. YAML? TOML? JSON?
Whatever format it is should be something that other command line tools can ingest easily. Additionally we may want a simple query language or something similar to allow you to export just the data for a specific person, or date range.


DNA Test Confirms Hunter Biden is Father of Arkansas Baby
by ERIK DE LA GARZABATESVILLE, Ark. (CN) – A DNA test established “with scientific certainty” that Hunter Biden is the father of an Arkansas baby at the center of a paternity suit despite his previous denials that the 1-year-old was his.
Biden, the son of former Vice President Joe Biden, is not expected to challenge the results of the DNA test performed earlier this month in Oklahoma City, according to court documents filed in Independence County on Wednesday.
Attorneys for the child’s mother, Lunden Alexis Roberts, asked Arkansas Judge Don McSpadden to enter a paternity order finding Biden to be “the natural and legal father of the child,” the filing states. A hearing is scheduled for Dec. 2 in Batesville.
Roberts, 28, filed her claim in May seeking to establish paternity of her child, identified in court documents as “Baby Doe,” who was born in August 2018. She is also asking for an order setting child support and health insurance for the child, and for Biden to pay $11,057 in legal fees to attorneys Clint and Jennifer Lancaster.
Roberts said in her September motion for DNA testing that Biden “has verbally admitted” to her that he is the father, while denying “to the media and the court that he is the father of the child in this case.”
Biden, 49, has denied the allegations but agreed to a paternity test last month.
The confirmed DNA test makes the 15-month-old Arkansas baby the sixth grandchild of 2020 Democratic presidential candidate Joe Biden, a frontrunner in most national polls and fixture of American politics who served as Barack Obama’s vice president and Delaware’s longtime U.S. Senator. The former VP turned 77 on Wednesday.
“He is considered by some to be the person most likely to win his party’s nomination and challenge President Trump on the ballot in 2020,” Roberts’ attorneys wrote in a Nov. 20 motion asking to seal the baby’s full name and date of birth.
Notably, the motion asks only to exclude the child’s identifying information from public view, not to seal access to case documents.
The Lancasters said this was “the least restrictive action that will both protect the public’s access to court records while also providing protection for Baby Doe, the child’s family, and those who interact and love Baby Doe.”
Attorneys for Biden did not respond to a request for comment Thursday morning.
The paternity suit was filed before Biden’s work at a Ukrainian energy company put him at the heart of President Donald Trump’s impeachment inquiry.
Roberts, a 2014 graduate of Arkansas State University and a star college basketball player, met Biden in Washington, D.C., while pursuing a graduate degree at George Washington University.
Copyright © 2019 courthousenews.com


White to play 32
pips White=97 Black=143
(CorrectAnswer= 0/0, ErrorScore= 0)
1. 14/9 eq: +0.737 83.97% (G:11.97% B:0.37%) 16.03% (G: 0.92% B:0.04%) 2. 14/11 5/3 eq: +0.735 (-0.002) 84.34% (G:10.50% B:0.33%) 15.66% (G: 0.66% B:0.03%) 3. 14/11 8/6 eq: +0.461 (-0.276) 71.11% (G:16.11% B:0.58%) 28.89% (G: 2.55% B:0.10%) 4. 8/6 8/5 eq: +0.405 (-0.332) 69.63% (G:14.50% B:0.38%) 30.37% (G: 2.81% B:0.11%) 5. 11/9 11/8 eq: +0.398 (-0.339) 70.40% (G:12.12% B:0.31%) 29.60% (G: 2.89% B:0.11%)


--- title: "404: Page not found" type: page # the 404 shouldn't display in the sidebar hidden: yes # for gh-pages aliases: ["/404.html"] ---
Sorry, we've misplaced that URL or it's pointing to something that doesn't exist. Head back home to try finding it again.


SHE'S SO LOVELY
RATING: ** (out of ****)
Miramax / 1:28 / 1997 / R (language, violence) Cast: Robin Wright Penn; Sean Penn; John Travolta; Harry Dean Stanton; Debi Mazar; Gena Rowlands; James Gandolfini; Chloe Webb Director: Nick Cassavetes Screenplay: John Cassavetes
"She's So Lovely," a "romantic fable" scripted by the late John Cassavetes and directed by his son Nick, opens to the tune of Bjork's wild "It's Oh So Quiet." In retrospect, it's a great selection, because the movie, much like the song, is about how passion can drive you crazy. But as "She's So Lovely" hacks away at getting its point across, it also commits several deadly errors that render it from being the hip, offbeat fairy tale it so aspires to be. Chief among them is the drawback that its strange cast of characters fails to ever make much sense.
Case in point: Eddie (Sean Penn) and Maureen (Robin Wright Penn) are one of the most bizarre husband-and-wife pairings that filmdom has likely ever seen. He disappears for several days at a time while she carts her pregnant self around town, scanning the local bars for her spouse and taking time to enjoy herself with a few drinks while she's at it.  When Eddie finally resurfaces and catches a glimpse of Maureen's bruised face, he eventually wigs out and hits the streets with a loaded gun.
No fair telling what havoc ensues immediately thereafter, but the movie then flashes forward 10 years. Eddie, now released from the mental institution where he's spent the last decade, gets a dye job and a new look and begins searching for Maureen. She, meanwhile, has gone from happy hour to homemaker, married a wealthy hothead named Joey (John Travolta), raised a trio of adorable little girls and established living quarters in quaint suburban decadence. Inevitably, Eddie crashes Maureen's pleasant but unfulfilling lifestyle, and inevitably, there's a mental (and physical) tug-of-war between Eddie and Joey as to who she'll profess her undying devotion to.
This is love? The movie says it is, but that's its main undoing -- Eddie and Maureen repeatedly tell us and each other that they're in love, but "She's So Lovely" does little in the way of showing off their inner workings. Both are unstable, fragile creatures, and the film seems to think that bizarre personal similarities constitute an explanation as to how their relationship works. It doesn't. We're also never given any reason as to why the new-and-improved Maureen -- if she is in fact so preoccupied with her past life with Eddie -- would so willingly project her affection on Joey. This love triangle, as "different" as it sounds, fails to click in most cases because it doesn't break its character surfaces or lets its cast portray people with little more dimension than cartoons.
Speaking of the cast, "She's So Lovely" has a nice one, with the two Penns (real-life man and wife, in case you hadn't already figured that out) and the lone Travolta performing successfully enough to overlap some of the movie's gaping flaws. They also compensate for a very shaky shift in tone; the Eddie-Maureen first half is too serious to be dramatic and too silly to be serious, but act two, featuring Eddie's release and the events there on, makes the proceedings insanely quirky (Joey to nine-year-old daughter: "Shut up and drink your beer!"). Travolta steals most of his scenes in a smaller-than-you-might-suspect supporting role, male Penn is nicely subtle and female Penn does an almost-fascinating combination of Betty Boop, Olive Oyle and Mira Sorvino's "Mighty Aphrodite" lead.
The title's a little off too, because I came away thinking that Penn's Maureen is anything but lovely. I also blinked at how quick the film delivers its resolution, which is extremely abrupt but also too fast to be boring. "She's So Lovely" isn't a terrible movie by any means, but it is one with a lot of ill-used talent. It's an interesting (I hesitate to use the word "refreshing") change-of-pace to see a summer movie that at least attempts to tackle an unusual topic, albeit one where John Travolta doesn't trade faces with anybody and the biggest special effect is Sean Penn's spunky bleached-blonde hairdo.
© 1997 Jamie Peck E-mail<EMAIL_ADDRESS>Visit the Reel Deal Online: http://www.gl.umbc.edu/~jpeck1/
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


|
QuantLib: a free/open-source library for quantitative finance
Fully annotated sources - version 1.30
|
Public Member Functions | |
| UpdateChecker (LazyObject *subject) | |
| ~UpdateChecker () | |
Private Attributes | |
| LazyObject * | subject_ |
Definition at line 121 of file lazyobject.hpp.
|
explicit |
Definition at line 124 of file lazyobject.hpp.
| ~UpdateChecker | ( | ) |
Definition at line 127 of file lazyobject.hpp.
|
private |
Definition at line 122 of file lazyobject.hpp.


Contact form is under construction and does not work at this time. No messages will be sent if this form is filled out.


The Intel Galileo is a small programmable computer that we can use to make all kinds of clever interactive gadgets and gizmos. It is not a computer like the laptops we have on our desks, because rather than having only one set of inputs and outputs (the keyboard and mouse, and the monitor), it has literally dozens, all of which we can program to read and control all manner of electrical gadgets.
The Galileo is based on the popular Arduino microcomputer platfrom, and is completely compatible with the Arduino UNO. However, it packs a load of extra features, such as in-built networking, wifi, usb, and a full linux-based operating system. These extra features allow us to connect to and program the galileo as if it were a regular computer.
Today we're going to be exploring the many different ways we can interact with the Galileo, using physical interfaces such as knobs, buttons and light-detectors, and virtually wiring them to outputs using the web-based Connect Anything interface.
You can access the Connect Anything interface by connecting to the Galileo's wifi (it acts as an access point), and going to cat.com (if you're not connected to the Galileo's wifi, all you'll see is the website for Caterpillar!). It allows you to route any of the inputs of the Galileo to any of its outputs using a simple touch interface!
The links below give you a run-down of the inputs and outputs connected to the Galileos in front of you. Have a read and a play, and let's make some sound, light and motion!


Project-CI is devoted to advancing the research and design of people-centric AI system.
We're interested in the full spectrum of human interaction with machine intelligence, from supporting people to understanding everyday experiences with AI and its implications. Our goal is to do fundamental research, implement new algorithms and create frameworks for design in order to drive a humanistic approach to artificial intelligence and supporting in advancing the state of the art. And we want to be as open as possible: we’re building an open source decentralized data sharing platform where everyone can share any kind of data thereby prividing a marketplace for data owners and developers.


BADA BAGH-Bada Bagh, also called Barabagh (literally Big Garden) is a garden complex about 6 km north of Jaisalmer on the way to Ramgarh, in the state of Rajasthan in India |
THAR HERITAGE MUSEUMThis private museum has an intriguing assortment of Jaisalmer artefacts, from turbans, musical instruments, fossils and kitchen equipment to displays on birth, marriage, death and opium customs |
JAISALMER FORTonly “living fort” in the world, as nearly one fourth of the old city's population still resides within the fort. jaisalmer Fort is the second oldest fort in Rajasthan, built in 1156 AD by the Rajput Rawal (ruler) Jaisal from whom it derives its name,[3] and stood at the crossroads of important trade routes .. |
VYAS CHATTRI- If you are a sunset capturing photographer or fort night view capturing photographer or like to capture architecture ,hit this place, otherwise it is just a creamtion ground , nothing else .. |
FOLKLORE MUSEUMOne of the most popular tourist attractions in Jaisalmer, the Folklore is around 3 decades old. Founded in the year 1984, the museum is placed on the banks of Gadsisar Lake in the Mehar Bagh Garden.. |
PATWON KI HAVELIOne of the largest havelis in Rajasthan, Patwon ki Haveli is a cluster of five small havelis. Started by Guman Chand Patwa, a wealthy banker, Patwon ki Haveli took almost 55 years to be built and was completed by his sons. |


A simple application that allow users to customize plank dock easily.
A simple application that allow users to customize plank dock easily.
Customizing the behavior of the dock.
Changing the dock theme.
Adding new themes.
Removing the undesirable themes.
Group Applications in categories
You need Plank to be installed first.
to install PlanKsetting, You should
Plank 0.6.0
Gtk 3.x
Python 3.x
unzip & unrar programs
you can do that by:
sudo apt-get install unrar unzip python3 libgtk-3-0
sudo pacman -S unrar unzip python3 gtk3
sudo zypper install unrar unzip python3 gtk3
sudo yum install unrar unzip python3 gtk3
Type in de command line:
wget https://github.com/karim88/PlankSetting/archive/master.zip
unzip master.zip
cd PlankSetting-master/
sudo ./install.sh
if you wish to uninstall PlankSetting, type in terminal:
cd PlankSetting-master/
chmod +x uninstall.sh
sudo ./uninstall.sh
If you wish to contribute in translation of PlankSetting you can do that here.
the project is already available in:
Arabic
English
French
Lithuanian
Hungarian
Polish
Russian
Karim Oulad Chalha Authors & Arabic, French translator.
Moo Lithuanian translator.
Miku84 Hungarian translator.
Anass Boutakaoua French translator.
Fox909 (Анатолий Валерианович) Russian translator.
strebski (Piotr Strębski) Polish translator.
Having trouble with Project page or the application please report it here
Ohhh I forget, That whould be nice to tell me what you think of the application ?!?
Have Fun (^_^)


ngx-datatable is a Angular component for presenting large and complex data. It has all the features you would expect from any other table but in a light package with no external dependencies. The table was designed to be extremely flexible and light; it doesn't make any assumptions about your data or how you: filter, sort or page it.


German robotics set to shrink for first time in decade
FRANKFURT AM MAIN, Nov 22 Germany’s prized industrial robotics and automation sector is expecting a drop in sales this year for the first time since the global financial crisis, an industry body said today.
The Mechanical Engineering Industry Association (VDMA) is expecting sales to fall by five per cent to €14.3 billion (RM65.9 billion) this year.
This would be the first drop since the 32-per cent plunge seen in 2009 in the wake of the crisis.
The slowdown is expected to be even bigger in 2020 when sales are forecast to fall by 10 per cent to €12.8 billion — back to the level of 2016.
“The German robotics and automation sector cannot escape the economic slowdown in the mechanical engineering industry,” the group said in a statement.
The association blamed a slowdown in the global economy and the climate of uncertainty for the car industry, which is having to plough investment into switching to electric amid global trade tensions.
It also pointed to “saturation effects in important markets”, giving as an example the stagnation in worldwide sales of smartphones that it said was also having an effect on investment in machinery.
The pessimistic outlook is in line with gloomy forecasts from Germany’s powerful BDI industry federation which is predicting a four-per cent drop this year in the manufacturing sector, which has been in recession since the third quarter of 2018.
But Patrick Schwarzkopf, head of VDMA’s robotics and automation division, predicted a recovery in the medium-term, saying that “robotics and automation will continue to play a central role in the future and return to its growth course”. — AFP


Scrawl-canvas v8
- Canvas test 053
Display output from a Reaction-Diffusion asset
(Note that these assets take time to develop!)
Resize the canvas by dragging its bottom right corner
Diffusion Rate for A
Diffusion Rate for B
Feed Rate
Kill Rate
Draw every x generations
Max generations
Asset width
Asset height
Presets
Default
Negative bubbles
Positive bubbles
Precritical bubbles
Worms and loops
Stable solitons
The U-Skate world
Worms
Worms join into mazes
Negatons
Turing patterns
Fingerprints
Spots and worms
Self-replicating spots
Super-resonant mazes
Mazes
Chaos to Turing negatons
Chaos with negatons
Mazes with some chaos
Chaos
Warring microbes
Spots and loops
Moving spots
Waves
Initial setting
Random
Square
Circle
Spiral
Random engine seed
Initial random seed level
Pattern scale X
Pattern scale Y
Pattern skew X
Pattern skew Y
Pattern offset X
Pattern offset Y
Palette start
Palette end
Color stops
Monochrome
Stepped grays
Red gradient
Red to blue
Hue gradient
Cycle palette
false
true
Int. color space
RGB
HSL
HWB
LAB
LCH
OKLAB
OKLCH
XYZ
Ret. color space
RGB
HSL
HWB
LAB
LCH
OKLAB
OKLCH
Easing
linear
out
in
---
easeOut
easeOutIn
easeInOut
easeIn
easeOut3
easeOutIn3
easeInOut3
easeIn3
easeOut4
easeOutIn4
easeInOut4
easeIn4
easeOut5
easeOutIn5
easeInOut5
easeIn5
---
cosine
hermite
quintic
---
easeOutSine
easeOutInSine
easeInSine
easeOutQuad
easeOutInQuad
easeInQuad
easeOutCubic
easeOutInCubic
easeInCubic
easeOutQuart
easeOutInQuart
easeInQuart
easeOutQuint
easeOutInQuint
easeInQuint
easeOutExpo
easeOutInExpo
easeInExpo
easeOutCirc
easeOutInCirc
easeInCirc
---
easeOutBack
easeOutInBack
easeInBack
easeOutElastic
easeOutInElastic
easeInElastic
easeOutBounce
easeOutInBounce
easeInBounce
---
steps (user-defined)
repeat (user-defined)
Precision
Test purpose
...
Touch test:
canvas should be resizable
Annotated code


CROUCHING TIGER, HIDDEN DRAGON
Review by Jerry Bosch
As I walked out of CROUCHING TIGER, HIDDEN DRAGON I thought to myself that I had had just seen a great film. With the passage of a few hours I tempered my enthusiasm and started pondering the question of whether a masterpiece must implicitly be a "great" piece of work and viceversa. Attempting to make a distinction may be a matter of splitting hairs. I avoided a commitment by appealing to etymology. As the word implies, a masterpiece is any work which embodies the skills of a master. As such it should suffice to say that it is a product of exceptional quality. CROUCHING TIGER, HIDDEN DRAGON fits comfortably in that category.
CROUCHING TIGER, HIDDEN DRAGON immerses the viewer in an idealized world of oriental folklore, with the requisite blend of legend, fantasy, magic and mythology. It is reminiscent of a Wagnerian epic with characters which might as well be half-gods - greater than life, purer than life, stronger than life, physically invincible and able to accomplish superhuman feats, but with a human soul that makes them ultimately vulnerable. All the classic elements of the oriental mystique are thrown into the mix, including the art of contemplation and the concept of martial dexterity as the physical equivalent of spiritual advancement. The classic struggle between good and evil is the inevitable backdrop, with advanced masters of each and a golden pupil, which must choose between the two. It is the gifted pupil who, under the influence of the evil master steals the Holy Grail in the form of a magic sword which is the focus of the conflict at the heart of the legend.
The elements of romance at two different levels of enlightenment (a pair of masters and a pair of youngsters) are poignantly represented. The paradox of oriental restraint existing side by side with all consuming passion in the same breast is projected effectively.
The fight scenes are stunning balletic tours-de-force, not to be taken literally but clearly to be enjoyed as superb cinematic art, as are the prodigious leaps and flights to, from and between rooftops, the martial combat at the top of swaying bamboo branches and the combatants skipping like pebbles along the surface of a lake. There need be no question of suspended disbelief when one is in the presence of poetry.
As in a Wagnerian opera there is a substantial story line, which takes place at an ordinary human level, yet the entire project is to be accepted as a work of art rooted in fantasy. Do not assume, however, that the art is limp-wristed. For those who are put off by the "art" label this film can be confidently recommended as engrossing entertainment at the levels of adventure, action and romance.
There are no weak performances in this movie. Michelle Yeoh imbues her character with depth, humanity and wisdom. Chow Yon Fat projects dignity and purity of heart. Zhang Ziyi is a budding superstar. She is radiantly beautiful and totally persuasive in a multifaceted role. Cheng Pei Pei as the evil master and Chang Cheng as the bandit prince acquit themselves admirably. Kudos to screenwriters James Schamus, Wang Hui Ling and Tsai Kuo Jing, choreographer Yuen Wo-Ping, photography director Peter Pau and music director Tan Dun, each of which contribute quality components to this extraordinary film. Ang Lee as the director, co-producer and mastermind of the project gets the lion share of the credit.
This is destined to be one of those films that everybody likes, including those who hate martial arts movies. Don't miss it.
4 ½ out of 5 stars
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


 I need some room to get...
-
I just farted in the library and it
smells so bad that im proud of
the deadly scent i was capable
of producing. All that dancing is making...
-
Slipping, sliding I just can't seem to stay on my
-
Blue is the new black Just get your blues on and get to work.
-
E=mc2 At least that's what I was told to say...
-
Ain't no mountain high enough Ain't no valley low enough...


Deactivating your account will disable your profile and remove your name and photo from most things you've shared on Website. Some information may still be visible to others, such as your name in their friends list and messages you sent.


| File: | C:\Users\indamed\Documents\github\pdf.ts\examples\001_create_blank_document.pdf |
| Validation Profile: | PDF/A-3U validation profile |
| PDF/A compliance: | Passed |
| Version: | 1.12.1 |
| Build Date: | 2018-05-08T22:06:00+02:00 |
| Processing time: | 00:00:00.395 |
| Total rules in Profile: | 125 |
| Passed Checks: | 93 |
| Failed Checks: | 0 |


/dev/blog
Bez Hermoso, Software Engineer @ Square
A month ago when I was writing a bundle that I needed for a Symfony project, I was presented with a challenge that I couldn’t quite figure how to solve:
I needed to locate files from with other bundles’ Resources/
directory during my bundle’s “bootstrap” phase. Basically, I was trying to configure a service
definition to pass in an array of file paths to YAML files that are scattered across different bundles as an argument.
Normally, you could just do something like this to get the absolute file path to a file from within any bundle:
<?php
$location = $this->container->get('kernel')->locateResource('@FooBundle/Resources/config/foo_metadata.yml');
/** do stuff **/
However, since I needed to perform this during the early stages of the application life-cycle – even before the compiler is even compiled – the kernel
service isn’t available yet.
Reproducing it from within the DependencyInjecton\*Extension#load
method seems to be the next logical step, but I quickly realized
that the underlying the logic for locating files relative to other bundles isn’t that trivial at all, considering the fact that
bundles can exist practically anywhere within the application; under src/
or deep inside vendor/
– the only requirement is that the autoloader can autoload it. Tricky!
After some research, I arrived at a robust solution. This is inspired by how JmsSerializerBundle
does something similar.
The solution involves the use of reflection:
<?php
namespace Acme\FooBundle\DependencyInjection;
use Symfony\Component\DependencyInjection\ContainerBuilder;
use Symfony\Component\HttpKernel\DependencyInjection\Extension;
use Symfony\Component\Config\Resource\FileResource;
class FooBundleExtension extends Extension
{
public function load(array $configs, ContainerBuilder $container)
{
/* Some boilerplate stuff */
$bundles = $container->getParameter('kernel.bundles');
$files = array();
foreach ($bundles as $bundleName => $bundleClass) {
$refClass = new \ReflectionClass($bundleClass);
$bundleDir = dirname($refClass->getFileName());
$files[] = $bundleDir . '/Resources/config/foo_metadata.yml';
/** Do your thing **/
}
}
}
The kernel.bundles
parameter is already available even at a stage this early. Afterall it’s just a list of registered bundles, whether or not they have been prepped.
Since the the kernel.bundles
parameter provides us with the list of bundles and conveniently provides the main bundle class, a class that
always resides in a given bundle’s root directory, we can use ReflectionClass#getFileName
to locate it and ultimately tell us where the resource files can be located.
“What do I do with this information?”
That’s entirely up to you!
Located resources from within bundles can be of many use. In fact, the core Symfony2 components locate resource files from within other bundle’s directories for various purposes:
rendering templates, configuring services, applying metadata for validation and persistence, etc.
This allows us developers to define how the a certain aspect of an application will behave without having to muck around app/config/config.yml
too much,
keeping our bundle-specific configurations contained and, well, bundled together. It is nice to provide such flexibility in the bundles we write, too. Its a good plus and is a good
investment towards keeping our bundles decoupled from one another. That is always a good thing.


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object --+ | ClusterRep
Cluster's representative (centroid) node. This object carries the result of shrinking itself.
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x.__init__(...) initializes x; see help(type(x)) for signature
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confidenceConfidence of assignment: log10(count) * consistency
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consistency
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| Generated by Epydoc 3.0.1 on Tue Jul 4 20:19:04 2017 | http://epydoc.sourceforge.net |


Video Visual Reltion Detection is a novel research problem that is beyond the recognition of single object entity. It requires the visual system to understand many perspectives of two entities, including appearance, action, intention, and interactions between them. Specifically, it aims to detect instances of visual relations of interest in a video, where a visual relation instance is represented by a relation triplet <subject,predicate,object> with the bounding-box trajectories of the subject and object during the relation happening (as shown in Figure 1). Note that the detection of social relations (e.g. “is parent of”) and emotional relations (e.g. “like”) is outside the scope of this task.
The top-1 solution in VRU'19 challenge, including precomputed features and bounding box trajectories, are released at link1 (link2) to facilitate participation. Please kindly cite this paper if you use it in your work.
The VidOR dataset for this task consists of user-generated videos from Flickr and annotations on 80 categories of object (e.g. "adult", "child", "dog", "table"), 42 categories of verb (action) predicate (e.g. "watch", "grab", and "hug") and 8 categories of spatial predicate (e.g. "in front of", "inside", "towards"). In the annotations, each relation instance is labeled and localized in the same way as the instances shown in Figure 1 (e.g. "dog-chase-frisbee" from t2 to t4). The training/validation/testing splits are 7,000, 835 and 2,165 videos. The videos and annotations of the training and validation sets can be downloaded directly from here.
We adopt Average Precision (AP) to evaluate the detection performance per video and finally calculate the mean AP (mAP) over all testing videos as the ranking score. In particular, we calculate AP similarly to that in the Pascal VOC challenge. To match a predicted relation instance \( (\langle s,p,o\rangle^p,(\mathcal{T}_s^p,\mathcal{T}_o^p)) \) to a ground truth \( (\langle s,p,o\rangle^g,(\mathcal{T}_s^g,\mathcal{T}_o^g)) \), we require:
The evaluation code used by the evaluation server can be found here.
Please use the following JSON format to submit your results to the submission server. Before uploading the result, please compress the JSON file using XZ and make sure the final file size not exceed 100MB.
The example above is illustrative. Comments must be removed in your submission. A sample submission file is available here.


This covers the basics you need to know for contributing to PyBlosxom.
This is the ideal way to contribute because GitHub makes things simple and convenient .
Go to the project page (https://github.com/pyblosxom/pyblosxom) and click on “Fork” at the top right on the screen. GitHub will create a copy of the PyBlosxom repository in your account for you to work on.
Create a new branch off of master for any new work that you do.
When you want to send it upstream, create a pull request.
If you need help with this process, see the GitHub documentation.
Clone the project using git:
git clone https://github.com/pyblosxom/pyblosxom.git
Set user.name and user.email git configuration:
git config user.name "your name"
git config user.email<EMAIL_ADDRESS>Create a new branch off of master for any new work that you do.
When you want to send it upstream, do:
git format-patch --stdout origin/master > NAME_OF_PATCH_FILE.patch
where NAME_OF_PATCH_FILE is a nice name that’s short and descriptive of what the patch holds and master should be replaced with your branch name
Then attach that .patch file and send it to pyblosxom-devel mailing list.
Please add tests for changes you make. In general, it’s best to write a test, verify that it fails, then fix the code which should make the test pass.
Tests go in Pyblosxom/tests/.
New features should come with appropriate changes to the documentation.
Documentation is in the docs/ directory, written using restructured text, and built with Sphinx.