Features¶
Although debugging GNU Makefiles is a little different than debugging, procedure-oriented programming languages, this debugger tries similar to other trepanning debuggers and gdb in general. So knowledge gained by learning this is transferable to those debuggers and vice versa.
Profiling¶
If you want to know where most of the time goes in building your system with Makefiles,
there is a --profile
option which times the targets.
This option creates Callgrind Profile Format output which can be read by KCachegrind, callgrind_annotate, or gprof2dot or other tools that understand this format.
You can get not only timings, but a graph of the target dependencies
checked. Below is an image rendered from a profiling of a remake
build:
Listing and Documenting Makefile Targets¶
Have you ever wanted rake tasks
for GNU Make? That is, you have
some strange Makefile
and you want to see the targets,
that you can run “make target-name” on?
There are two new options added to remake
to assist this:
--tasks
gives a list of targets withremake
descriptions--targets
gives a list of all targets
A target with a remake
description is just a one-line comment before the
the target in the Makefile that describes what the target does and starts with #:
If you do this, when either of these options is shown it will also be shown
with next to the target name when --tasks
is run.
Here is an example. Consider this Makefile
:
#: This is the main target
all:
@echo all here
#: Test things
check:
@echo check here
#: Build distribution
dist:
@echo dist here
Let’s run remake --tasks
:
$ remake --tasks
all This is the main target
check Test things
dist Build distribution
Many legacy [1] Makefiles don’t have descriptive comment in them
yet. So you can get a list of all targets using option
--targets
. But be warned, since GNU Make comes with lots of
implicit rule defaults, this list can be quite large.
Here is an example of runnint --targets
on the above file:
$ remake --targets -f comment.Makefile
.C
.C.o
.DEFAULT
... # about 70 more lines!
all # This is the main target
check # Test things
Makefile
dist # Build distribution
Searching for a Makefile in Parent Directories¶
When the -c
flag is given (or --search-parent
), if a Makefile or
goal target isn’t found in the current directory, remake
will search
in the parent directory for a Makefile. On finding a parent the
closest parent directory with a Makefile, remake
will set its current working
directory to the directory where the Makefile was found.
In this respect the short option -c
, is like -C
except no
directory need to be specified.
Here is a screenshot that shows make
behavior versus remake
:
Improved Execution Tracing¶
When the -x
flag is given (or --trace=normal
), any commands that
are about to be run are shown as seen in the Makefile
along with
set -x
tracing when run in a POSIX shell. Also, we override or
rather ignore, any non-echo prefix @
directive listed at the
beginning of target commands.
If different granularity of tracing is desired the --trace
option
has other settings. See the relevant parts of this manual for more information.
And, if you the most flexibility in tracing there is a built-in debugger.
Here is a screenshot that shows tracing:
Debugger¶
Features of the debugger:
- Inspect target properties
- See the current target stack
- Set breakpoints
- Set and expand GNU Make variables
- Load in Makefiles
- write a shell script containing the target commands with GNU Make variables expanded away, so the shell code can be run (and debugged) outside of make.
- Enter debugger at the outset, call it from inside a Makefile, or enter it upon the first error
See debugger for more information on the built-in debugger.
For Developers¶
If you are interested in learning about how GNU Make works, you might find it easier to start out working with this code.
First, some Doxygen comments have been added.
Second, it has been simplified as a result of the removal of lesser-used OS’s (from the standpoint of GNU Make use).
We don’t even attempt to support:
- VMS (whether on VAX or the OpenVMS variant)
- DOS (with or without EMX and DJGCC),
- native MS/Windows,
- acornOS
- Amiga,
- OS2
- MINIX,
- RiscOS
- Xenix
This is 2020, not the late 1970-80’s. Although GNU make is phasing some of these out, you can find C-preprocessor checks and C code in GNU Make for the above.
By eliminating support for the above, thousands of lines of code in support of the above has been removed.
And the remaining code is easier to read.
Sure, it has annoyed (and still annoys?) those who still work on and develop on the above. I get it. If it is any consolation, there is still GNU Make or GNU Make in older versions for such people.
However the way this code has been added makes already difficult-code to read even more difficult.
For example here is GNU Make 4.3 code from job.c
#if !defined(__MSDOS__) && !defined(_AMIGA) && !defined(WINDOWS32)
remote_status_lose:
#endif
pfatal_with_name ("remote_status");
}
else
{
/* No remote children. Check for local children. */
#if !defined(__MSDOS__) && !defined(_AMIGA) && !defined(WINDOWS32)
if (any_local)
{
#ifdef VMS
/* Todo: This needs more untangling multi-process support */
/* Just do single child process support now */
vmsWaitForChildren (&status);
pid = c->pid;
/* VMS failure status can not be fully translated */
status = $VMS_STATUS_SUCCESS (c->cstatus) ? 0 : (1 << 8);
/* A Posix failure can be exactly translated */
if ((c->cstatus & VMS_POSIX_EXIT_MASK) == VMS_POSIX_EXIT_MASK)
status = (c->cstatus >> 3 & 255) << 8;
#else
#ifdef WAIT_NOHANG
if (!block)
pid = WAIT_NOHANG (&status);
else
#endif
EINTRLOOP (pid, wait (&status));
#endif /* !VMS */
Can you spot which code is used in the most-often POSIX unixy case? In some cases
such as in the above, the most-often case is indented incorrectly because in
of one of less-frequent cases it is say in an else
clause (as appears above).
Note: If you have trouble parsing the above, the Pygments parser used in this document has trouble too. Even after adding mismatched braces in the above for context, I couldn’t get Pygments to parse this after specifying C source with C-preprocessor directives. So I gave up, and opted for the slightly shorter source code without some enclosing braces.
I understand how this ugly code hard-to-read code most likely came about in GNU Make. Been there and done that myself too.
In the early days to gain traction and support, a project wants to support lots of different platforms and OS’s, even obscure ones. To get going, you’ll probably do that in the most expedient way.
But again, that was then and this is now.
If there are folks in the affected communities that would like remake
added and are willing to code and do the testing, I am open to this. But it needs to be added in a more modular way than was done in the past.
Overall, I view this as a plus for developers who would like to extend GNU Make or understand the code.
| [1] | As Ryan Davis explains: “legacy code” is any code you didn’t write. |


Today
06:27
WangJie
Good morning, and in case I don't see you, good afternoon, good evening, and good night!
Yesterday
23:27
かをり
この先は暗い夜道だけかもしれないそれでも信じて進むんだ星がその道を少しでも照らしてくれるのを
2017, Feb 7
08:03
WangJie
a
link
and deleted text
a hide text
08:03
WangJie
an enchanting music
07:42
WangJie
a delicious photo
07:38
WangJie
Hello World
No more before


File: ../src/away/materials/methods/ShadingMethodBase.ts
///<reference path="../../_definitions.ts"/> module away.materials { //import away3d.*; //import away3d.cameras.*; //import away3d.core.base.*; //import away3d.managers.*; //import away3d.events.*; //import away3d.library.assets.*; //import away3d.materials.compilation.*; //import away3d.materials.passes.*; //import away3d.textures.*; //import flash.display3D.*; //use namespace arcane; /** * ShadingMethodBase provides an abstract base method for shading methods, used by compiled passes to compile * the final shading program. */ export class ShadingMethodBase extends away.library.NamedAssetBase { public _sharedRegisters:away.materials.ShaderRegisterData; // should be protected private _passes:away.materials.MaterialPassBase[];//Vector.<MaterialPassBase>; /** * Create a new ShadingMethodBase object. * @param needsNormals Defines whether or not the method requires normals. * @param needsView Defines whether or not the method requires the view direction. */ constructor() // needsNormals : boolean, needsView : boolean, needsGlobalPos : boolean { super(); } /** * Initializes the properties for a MethodVO, including register and texture indices. * @param vo The MethodVO object linking this method with the pass currently being compiled. */ public iInitVO(vo:away.materials.MethodVO) { } /** * Initializes unchanging shader constants using the data from a MethodVO. * @param vo The MethodVO object linking this method with the pass currently being compiled. */ public iInitConstants(vo:away.materials.MethodVO) { } /** * The shared registers created by the compiler and possibly used by methods. */ public get iSharedRegisters():away.materials.ShaderRegisterData { return this._sharedRegisters; } public set iSharedRegisters(value:away.materials.ShaderRegisterData) { this._sharedRegisters = value; } public setISharedRegisters(value:away.materials.ShaderRegisterData) { this._sharedRegisters = value; } /** * Any passes required that render to a texture used by this method. */ public get passes():away.materials.MaterialPassBase[]//Vector.<MaterialPassBase> { return this._passes; } /** * Cleans up any resources used by the current object. */ public dispose() { } /** * Creates a data container that contains material-dependent data. Provided as a factory method so a custom subtype can be overridden when needed. */ public iCreateMethodVO():away.materials.MethodVO { return new away.materials.MethodVO(); } /** * Resets the compilation state of the method. */ public iReset() { this.iCleanCompilationData(); } /** * Resets the method's state for compilation. * @private */ public iCleanCompilationData() { } /** * Get the vertex shader code for this method. * @param vo The MethodVO object linking this method with the pass currently being compiled. * @param regCache The register cache used during the compilation. * @private */ public iGetVertexCode(vo:away.materials.MethodVO, regCache:away.materials.ShaderRegisterCache):string { return ""; } /** * Sets the render state for this method. * * @param vo The MethodVO object linking this method with the pass currently being compiled. * @param stage3DProxy The Stage3DProxy object currently used for rendering. * @private */ public iActivate(vo:away.materials.MethodVO, stage3DProxy:away.managers.Stage3DProxy) { } /** * Sets the render state for a single renderable. * * @param vo The MethodVO object linking this method with the pass currently being compiled. * @param renderable The renderable currently being rendered. * @param stage3DProxy The Stage3DProxy object currently used for rendering. * @param camera The camera from which the scene is currently rendered. */ public iSetRenderState(vo:away.materials.MethodVO, renderable:away.base.IRenderable, stage3DProxy:away.managers.Stage3DProxy, camera:away.cameras.Camera3D) { } /** * Clears the render state for this method. * @param vo The MethodVO object linking this method with the pass currently being compiled. * @param stage3DProxy The Stage3DProxy object currently used for rendering. */ public iDeactivate(vo:away.materials.MethodVO, stage3DProxy:away.managers.Stage3DProxy) { } /** * A helper method that generates standard code for sampling from a texture using the normal uv coordinates. * @param vo The MethodVO object linking this method with the pass currently being compiled. * @param targetReg The register in which to store the sampled colour. * @param inputReg The texture stream register. * @param texture The texture which will be assigned to the given slot. * @param uvReg An optional uv register if coordinates different from the primary uv coordinates are to be used. * @param forceWrap If true, texture wrapping is enabled regardless of the material setting. * @return The fragment code that performs the sampling. */ public pGetTex2DSampleCode(vo:away.materials.MethodVO, targetReg:away.materials.ShaderRegisterElement, inputReg:away.materials.ShaderRegisterElement, texture:away.textures.TextureProxyBase, uvReg:away.materials.ShaderRegisterElement = null, forceWrap:string = null):string { var wrap:string = forceWrap || (vo.repeatTextures? "wrap" : "clamp"); var filter:string; var format:string = this.getFormatStringForTexture(texture); var enableMipMaps:boolean = vo.useMipmapping && texture.hasMipMaps; if (vo.useSmoothTextures) filter = enableMipMaps? "linear,miplinear" : "linear"; else filter = enableMipMaps? "nearest,mipnearest" : "nearest"; //uvReg ||= _sharedRegisters.uvVarying; if ( uvReg == null ) { uvReg = this._sharedRegisters.uvVarying; } return "tex " + targetReg.toString() + ", " + uvReg.toString() + ", " + inputReg.toString() + " <2d," + filter + "," + format + wrap + ">\n"; } /** * A helper method that generates standard code for sampling from a cube texture. * @param vo The MethodVO object linking this method with the pass currently being compiled. * @param targetReg The register in which to store the sampled colour. * @param inputReg The texture stream register. * @param texture The cube map which will be assigned to the given slot. * @param uvReg The direction vector with which to sample the cube map. */ public pGetTexCubeSampleCode(vo:MethodVO, targetReg:away.materials.ShaderRegisterElement, inputReg:away.materials.ShaderRegisterElement, texture:away.textures.TextureProxyBase, uvReg:away.materials.ShaderRegisterElement):string { var filter:string; var format:string = this.getFormatStringForTexture(texture); var enableMipMaps:boolean = vo.useMipmapping && texture.hasMipMaps; if (vo.useSmoothTextures) filter = enableMipMaps? "linear,miplinear" : "linear"; else filter = enableMipMaps? "nearest,mipnearest" : "nearest"; return "tex " + targetReg.toString() + ", " + uvReg.toString() + ", " + inputReg.toString() + " <cube," + format + filter + ">\n"; } /** * Generates a texture format string for the sample instruction. * @param texture The texture for which to get the format string. * @return */ private getFormatStringForTexture(texture:away.textures.TextureProxyBase):string { switch (texture.format) { case away.display3D.Context3DTextureFormat.COMPRESSED: return "dxt1,"; break; case "compressedAlpha": return "dxt5,"; break; default: return ""; } } /** * Marks the shader program as invalid, so it will be recompiled before the next render. */ public iInvalidateShaderProgram() { this.dispatchEvent(new away.events.ShadingMethodEvent(away.events.ShadingMethodEvent.SHADER_INVALIDATED)); } /** * Copies the state from a ShadingMethodBase object into the current object. */ public copyFrom(method:away.materials.ShadingMethodBase) { } } }


Meters show current power draw compared to recent min/max.
"In use" vs "Available" is a best guess based on this information.
Sometimes a machine that's in use will draw little to no power.
| Washer 1 |
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Last updated at ...


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skimage
¶
Image Processing SciKit (Toolbox for SciPy)
scikit-image
(a.k.a. skimage
) is a collection of algorithms for image
processing and computer vision.
The main package of skimage
only provides a few utilities for converting
between image data types; for most features, you need to import one of the
following subpackages:
Subpackages¶
- color
Color space conversion.
- data
Test images and example data.
- draw
Drawing primitives (lines, text, etc.) that operate on NumPy arrays.
- exposure
Image intensity adjustment, e.g., histogram equalization, etc.
- feature
Feature detection and extraction, e.g., texture analysis corners, etc.
- filters
Sharpening, edge finding, rank filters, thresholding, etc.
- graph
Graph-theoretic operations, e.g., shortest paths.
- io
Reading, saving, and displaying images and video.
- measure
Measurement of image properties, e.g., similarity and contours.
- morphology
Morphological operations, e.g., opening or skeletonization.
- restoration
Restoration algorithms, e.g., deconvolution algorithms, denoising, etc.
- segmentation
Partitioning an image into multiple regions.
- transform
Geometric and other transforms, e.g., rotation or the Radon transform.
- util
Generic utilities.
- viewer
A simple graphical user interface for visualizing results and exploring parameters.
Utility Functions¶
- img_as_float
Convert an image to floating point format, with values in [0, 1]. Is similar to
img_as_float64
, but will not convert lower-precision floating point arrays to float64.- img_as_float32
Convert an image to single-precision (32-bit) floating point format, with values in [0, 1].
- img_as_float64
Convert an image to double-precision (64-bit) floating point format, with values in [0, 1].
- img_as_uint
Convert an image to unsigned integer format, with values in [0, 65535].
- img_as_int
Convert an image to signed integer format, with values in [-32768, 32767].
- img_as_ubyte
Convert an image to unsigned byte format, with values in [0, 255].
- img_as_bool
Convert an image to boolean format, with values either True or False.
- dtype_limits
Return intensity limits, i.e. (min, max) tuple, of the image’s dtype.
|
Return intensity limits, i.e. |
|
|
|
Convert an image to boolean format. |
|
Convert an image to floating point format. |
|
Convert an image to single-precision (32-bit) floating point format. |
|
Convert an image to double-precision (64-bit) floating point format. |
|
Convert an image to 16-bit signed integer format. |
|
Convert an image to 8-bit unsigned integer format. |
|
Convert an image to 16-bit unsigned integer format. |
|
Do a keyword search on scikit-image docstrings. |
Standard test images. |
|
dtype_limits¶
-
skimage.
dtype_limits
(image, clip_negative=False)[source]¶ Return intensity limits, i.e. (min, max) tuple, of the image’s dtype.
- Parameters
- imagendarray
Input image.
- clip_negativebool, optional
If True, clip the negative range (i.e. return 0 for min intensity) even if the image dtype allows negative values.
- Returns
- imin, imaxtuple
Lower and upper intensity limits.
img_as_bool¶
-
skimage.
img_as_bool
(image, force_copy=False)[source]¶ Convert an image to boolean format.
- Parameters
- imagendarray
Input image.
- force_copybool, optional
Force a copy of the data, irrespective of its current dtype.
- Returns
- outndarray of bool (bool_)
Output image.
Notes
The upper half of the input dtype’s positive range is True, and the lower half is False. All negative values (if present) are False.
img_as_float¶
-
skimage.
img_as_float
(image, force_copy=False)[source]¶ Convert an image to floating point format.
This function is similar to
img_as_float64
, but will not convert lower-precision floating point arrays to float64.- Parameters
- imagendarray
Input image.
- force_copybool, optional
Force a copy of the data, irrespective of its current dtype.
- Returns
- outndarray of float
Output image.
Notes
The range of a floating point image is [0.0, 1.0] or [-1.0, 1.0] when converting from unsigned or signed datatypes, respectively. If the input image has a float type, intensity values are not modified and can be outside the ranges [0.0, 1.0] or [-1.0, 1.0].
img_as_float32¶
-
skimage.
img_as_float32
(image, force_copy=False)[source]¶ Convert an image to single-precision (32-bit) floating point format.
- Parameters
- imagendarray
Input image.
- force_copybool, optional
Force a copy of the data, irrespective of its current dtype.
- Returns
- outndarray of float32
Output image.
Notes
The range of a floating point image is [0.0, 1.0] or [-1.0, 1.0] when converting from unsigned or signed datatypes, respectively. If the input image has a float type, intensity values are not modified and can be outside the ranges [0.0, 1.0] or [-1.0, 1.0].
img_as_float64¶
-
skimage.
img_as_float64
(image, force_copy=False)[source]¶ Convert an image to double-precision (64-bit) floating point format.
- Parameters
- imagendarray
Input image.
- force_copybool, optional
Force a copy of the data, irrespective of its current dtype.
- Returns
- outndarray of float64
Output image.
Notes
The range of a floating point image is [0.0, 1.0] or [-1.0, 1.0] when converting from unsigned or signed datatypes, respectively. If the input image has a float type, intensity values are not modified and can be outside the ranges [0.0, 1.0] or [-1.0, 1.0].
img_as_int¶
-
skimage.
img_as_int
(image, force_copy=False)[source]¶ Convert an image to 16-bit signed integer format.
- Parameters
- imagendarray
Input image.
- force_copybool, optional
Force a copy of the data, irrespective of its current dtype.
- Returns
- outndarray of uint16
Output image.
Notes
The values are scaled between -32768 and 32767. If the input data-type is positive-only (e.g., uint8), then the output image will still only have positive values.
img_as_ubyte¶
-
skimage.
img_as_ubyte
(image, force_copy=False)[source]¶ Convert an image to 8-bit unsigned integer format.
- Parameters
- imagendarray
Input image.
- force_copybool, optional
Force a copy of the data, irrespective of its current dtype.
- Returns
- outndarray of ubyte (uint8)
Output image.
Notes
Negative input values will be clipped. Positive values are scaled between 0 and 255.
img_as_uint¶
-
skimage.
img_as_uint
(image, force_copy=False)[source]¶ Convert an image to 16-bit unsigned integer format.
- Parameters
- imagendarray
Input image.
- force_copybool, optional
Force a copy of the data, irrespective of its current dtype.
- Returns
- outndarray of uint16
Output image.
Notes
Negative input values will be clipped. Positive values are scaled between 0 and 65535.
lookfor¶
-
skimage.
lookfor
(what)[source]¶ Do a keyword search on scikit-image docstrings.
- Parameters
- whatstr
Words to look for.
Examples
>>> import skimage >>> skimage.lookfor('regular_grid') Search results for 'regular_grid' --------------------------------- skimage.lookfor Do a keyword search on scikit-image docstrings. skimage.util.regular_grid Find `n_points` regularly spaced along `ar_shape`.


Perth’s best place to get a cocktail
by Victoria RificiTIKI as FK in Northbridge has emerged as the best place to get a cocktail.
It won the cocktail bar award and employee Bjorn Karason won the cocktail bartender award at the 2019 Australian Hotels Association and Aon Hospitality Awards for Excellence.
Scarborough resident Mr Karason, who has worked at the rum-based cocktail bar since its opening in 2017, said it was a “tremendous honour” to receive the prestigious award.
“I love the engagement with our clients – I get paid to put on a party,” he said.
“People just want to come in and have a good time and it’s my job to facilitate and make that happen.
“Our engagement with our clientele we do best; the bar is not a barrier between us and our guests so we very much engage and have a high interest in introducing guests to each other as well. Our aim is to create a little community.”
More than 40 awards were presented at the ceremony at Crown Towers earlier this month.
AHA (WA) chief executive Bradley Woods said the 2019 finalists and winners represented the pinnacle of hospitality venues throughout WA.
“WA’s hospitality industry continues to grow from strength to strength and the quality of the finalists reflects the exceptional standards for which WA is increasingly renowned,” Mr Woods said.
“The awards are an opportunity to acknowledge those venues that constantly strive to raise the bar, as well as their dedicated staff who are the backbone of the industry.
“Our hospitality industry is in many ways the face of WA – venues and staff across the state play a critical role in how we are perceived and in this regard the industry is excelling.”


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THIS IS SPINAL TAP A film review by Steve Rhodes Copyright 2000 Steve Rhodes RATING (0 TO ****): ****
THIS IS SPINAL TAP, the original mockumentary being re-released to theaters and with a new DVD out, has been called one of the funniest movies ever made, an accolade with which I wouldn't argue. Still, it has a wonderfully droll sense of humor that may not appeal to everyone. Audiences at the film's initial test screens back in the early 1980s were quite negative. They didn't understand that the film was satirizing rock documentaries, so they complained that the filmmakers should have found a better band or a less obscure one. Of course, the band, which mimics bad-boy groups like KISS, is a fictional one, not an obscure one, and it is supposed to be awful.
Directed by Rob Reiner, who plays fictional documentarian Marty DiBergi, THIS IS SPINAL TAP is a deliciously witty comedy that mocks the world of rock. Reiner shares the writing credits with Christopher Guest and Michael McKean, who play lead guitarists Nigel Tufnel and David St. Hubbins, and with Harry Shearer, who plays bass guitarist Derek Smalls. The entire film is an ensemble piece with a terrific supporting cast which includes Billy Crystal, as a loquacious mime, and Fran Drescher, as a pompous party hostess. Guest, of course, went on to become the king of mockumentaries as the writer and director of WAITING FOR GUFFMAN as well as his most recent effort, the marvelously funny BEST IN SHOW.
 Quite an informative documentary, we learn that the group's first name was "The Originals" until they found out that some other group had that name. They changed their name to "The New Originals," so as not to conflict, but the original Originals changed their name too. And so forth. (I saw the movie at a theater across the street from a restaurant called "Original Joe's," but let's not go down that path.)
The movie follows the band on a disastrous tour of the United States, as cancellations abound. Playing in tiny halls, the group's manager, Ian Faith (Tony Hendra), does his best to put a positive spin on low attendance. "The band's appeal is becoming more selective," he explains to Marty.
The beauty of the acting is the way everyone treats the story with deadpan seriousness. When shown music critics' reviews of their work that include words like "ponderous," "pretentious" and much worse, their only reaction is that their detractors are just "nit-picking."
In a film this funny it is hard to pick out favorite parts, but two have become comedy classics. When asked the secret of their success, Nigel points to the band's amps. Known as the loudest band around, Spinal Tap has amplifiers whose dials go to 11, whereas others only go to 10. Marty tries to point out the logical flaws of this to Nigel, but he might as well have been talking to the proverbial wall.
The other incident of monumental merit involves a little known scientific fact about human combustion. For some reason the band's drummer position is jinxed. Their first drummer died in a tragic and mysterious gardening accident that the police recommended against investigating.  Calmly and earnestly, David tells Marty, "Dozens of people spontaneously combust every year, it's just not widely reported." Quite a science lesson.
It's too bad they didn't make a sequel. The band sketched out some of their plans for the future with the centerpiece being a rock opera about Jack the Ripper. It could have been even bigger and "better" than "Springtime for Hitler" from THE PRODUCERS.
THIS IS SPINAL TAP runs a fast 1:22. It is rated R for language and would be fine for teenagers.
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description
A trajectory plot can be used to the
temporal evolution of objects in two dimensions
, such as people or animals moving around in space or the changes of a system in a parameter space.
min.js
docs
source


I am a highly motivated Software Engineer who is mainly focused on Mobile, Desktop and Web Technologies and enjoys to be a part of a team that works dynamically towards the growth of the latest trends.
I love my code too elegant and efficient. I am a creative problem solver with a great interest in programming and business processes.
I developed the Easyway Integrated System which majors on the Tea, Avocado, Cocoa, Macadamia and Dairy Sector. This sectors require scales for weighing produce and data management of the weighed produce. Easyway Integrated System is a Client – Server system which consists of an Android mobile application integrating with a Scale, a Printer and a Central Server System to Achieve Collection and Data Analysis from farmers Produce.
Alarm Me! (Sleep If U Can) is the innovative solution for those who just can’t seem to get up on time, even with an alarm clock. The alarm app has been cleverly designed to force you out of your sleep by giving you a mission. For instance, a math problem mode where you have to solve math problems for the alarm clock to turn off.
You can get it on Google Play here!
OffyTap enables working communities to access office spaces just like Airbnb for homes. Therefore, working communities can book flexible spaces by a touch of a button using this web application. Moreover, we are able to connect startups and working communities to available co-working office spaces that suits best their working needs. Visit link offytap.com
A Mobile Attendance app that enhances the user to clock in & out from anywhere using their Android Phone. It uses GPS information ensuring the right employee is at the right place to work. This information can be automatically uploaded into your Payroll Software to calculate the salary information.
Working with Android Studio SDK,Rest API, RxJava, Rx Dagger, Soap Objects, M-Pesa API integration, Biometric System Integration.
My Job Description Included: -- Project Management -- Project Testing and Documentation -- System Design and Implementation -- Full Stack Software Development -- System Support and Maintenance
Designing and Developing Offytap System Part-Time
Collaboratively administrate empowered markets via plug-and-play networks. Dynamically procrastinate B2C users after installed base benefits. Dramatically visualize customer directed convergence without revolutionary ROI.
 Producing good music, Reading the Scripture and Research.


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Originally written for Cornell University, CoursePad.me is an easy-to-use course planning web application, with more than 12,000 users in the university.
CoursePad.me is designed with the explicit goal of low maintenance cost, user-friendly interface, and deliberate simplicity.
Licensed under Apache 2.0, a permissive open source license.
Whether you plan to poke around the codebase, adapt it for your school, or improve the project, feel free to fork CoursePad.me on GitHub.
Visit Our GitHub RepoDid you notice something that's not right? File a bug! Our GitHub bug tracker is available here.
Compliments or complaints? We'd love to hear them all. Send us an email at<EMAIL_ADDRESS>Need a custom license or help in adapting CoursePad.me for your school? We can help! Contact us at consulting@coursepad.me


nips nips2003 nips2003-37 nips2003-37-reference knowledge-graph by maker-knowledge-mining
Source: pdf
Author: Deva Ramanan, David A. Forsyth
Abstract: This paper describes a system that can annotate a video sequence with: a description of the appearance of each actor; when the actor is in view; and a representation of the actor’s activity while in view. The system does not require a ﬁxed background, and is automatic. The system works by (1) tracking people in 2D and then, using an annotated motion capture dataset, (2) synthesizing an annotated 3D motion sequence matching the 2D tracks. The 3D motion capture data is manually annotated off-line using a class structure that describes everyday motions and allows motion annotations to be composed — one may jump while running, for example. Descriptions computed from video of real motions show that the method is accurate.
[1] J. K. Aggarwal and Q. Cai. Human motion analysis: A review. Computer Vision and Image Understanding: CVIU, 73(3):428–440, 1999.
[2] O. Arikan and D. Forsyth. Interactive motion generation from examples. In Proc. ACM SIGGRAPH, 2002.
[3] O. Arikan, D. Forsyth, and J. O’Brien. Motion synthesis from annotations. In Proc. ACM SIGGRAPH, 2003.
[4] A. Bobick. Movement, activity, and action: The role of knowledge in the perception of motion. Philosophical Transactions of Royal Society of London, B-352:1257–1265, 1997.
[5] A. F. Bobick and J. Davis. The recognition of human movement using temporal templates. IEEE T. Pattern Analysis and Machine Intelligence, 23(3):257–267, 2001.
[6] L. W. Campbell and A. F. Bobick. Recognition of human body motion using phase space constraints. In ICCV, pages 624–630, 1995.
[7] C. C. Chang and C. J. Lin. Libsvm: Introduction and benchmarks. Technical report, Department of Computer Science and Information Engineering, National Taiwan University, 2000.
[8] P. Felzenschwalb and D. Huttenlocher. Efﬁcient matching of pictorial structures. In Proc CVPR, 2000.
[9] D. M. Gavrila. The visual analysis of human movement: A survey. Computer Vision and Image Understanding: CVIU, 73(1):82–98, 1999.
[10] J. K. Hodgins and N. S. Pollard. Adapting simulated behaviors for new characters. In SIGGRAPH - 97, 1997.
[11] M. I. Jordan, editor. Learning in Graphical Models. MIT Press, Cambridge, MA, 1999.
[12] M. Leventon and W. Freeman. Bayesian estimation of 3D human motion from an image sequence. Technical Report TR-98-06, MERL, 1998.
[13] D. Ramanan and D. A. Forsyth. Automatic annotation of everyday movements. Technical report, UCB//CSD-03-1262, UC Berkeley, CA, 2003.
[14] D. Ramanan and D. A. Forsyth. Finding and tracking people from the bottom up. In Proc CVPR, 2003.


Warlock
Tips
- An effective way to use Fatal Bonds in lane is to prepare casting it once a wave dies. Chances are the
enemy will bumble into their new fresh wave as they retreat which is the perfect time to cast it. Fatal
Bonds lasts 25 seconds, which is roughly the amount of time it takes a creep wave to die, so they'll
probably take the full damage from however many creeps you bonded.
- You get a better heal for your buck than the DoT with Shadow Word because healing ignores magic
resistance. Warlock's damage/animation/range are so good you could possibly end up being able to deal
more net damage by spending the heal on yourself in lane and right clicking the enemy.
- You can and should use Shadow Word to heal your Golem. You can also use Urn of Shadows to heal it.
- Upheaval is a proactive slow, not a reactive one. This makes it a great area denial spell, especially
against aggressive lanes. If enemies are choked near the side shop in lane when their wave is almost
dead, just cast the whole circle behind them.
- This also makes it a good spell for discouraging encounters.  Start channeling your slow on a choke point. If you think
the enemy team is about to push up high ground, start channeling Upheaval on the stairs. If your
teammate is getting chased, cast the circle in front of their path from a safe distance so you can get
some charge time on the slow. Even if you cancel it immediately, as long as they walked into it, enemies
will be slowed for 3 seconds.
- When you drop the Golem on the enemy team and win the fight, remember to keep using it. The Golem is
especially good at cutting off a creep wave during a tower push since its Flaming Fist ability deals
damage in an AoE. The Golem's right clicks do chaos damage, which deals only 40% against structures
anyway.
- Don't feed your Golem though. It drops a 100/150/200 gold bounty (before Agh). Deny it if you have to.
- The stun from Chaotic Offering pierces spell immunity.
- Try to get your allies to cast buffs on your Golem during the game. Surge, Ion Shell, Press the Attack,
Ice Armor, Empower, Alacrity, Bloodlust, Aphotic Shield, and Mjollnir's Static Shield are a few choice
examples that make the Golem especially deadly. Hell, even Dazzle can Shallow Grave the Golem.
Counters
- Pay attention to who's Fatally Bonded to you in the late game.
- The strength of Upheaval's slow isn't determined by how long you've been standing in it, but by how long
Warlock has been channeling it. Don't think you can just quickly run into an established Upheaval and get out.


pid = 528 (process #1, nbproc = 1) uptime = 36d 7h17m01s system limits: memmax = unlimited; ulimit-n = 8018 maxsock = 8018; maxconn = 1024; maxpipes = 0 current conns = 17; current pipes = 0/0 Running tasks: 1/17


These results are private. Only you can see them.
This Poll's results are set to Private. Only the owner can see the results.


Welcome to OpenBEL Development
Contributing Code
Clone the repository that you are changing and submit a PR (Pull Request). We will need to ensure that a CLA (Contributor License Agreement) has been submitted prior to accepting the PR. You can submit the CLA by following the instructions at https://github.com/OpenBEL/cla/CONTRIBUTING.adoc
Communication Tips
- For bugs and suggested enhancements, please add an issue to the specific repository.
- For quick coding support, please use our Gitter Channel: https://gitter.im/OpenBEL/
- For enhancements and proposed changes that are larger than a single issue in a repository, please post a Discussion topic to the Google Group for OpenBEL: https://groups.google.com/forum/#!forum/openbel-discuss
Maintainers
- @abargnesi, Anthony Bargnesi
- @nbargnesi, Nick Bargnesi
- @wshayes, William Hayes
Support or Contact
Having trouble with anything related to OpenBEL Github? Use the Gitter channel or the OpenBEL Google Group


{% extends "email_alert_base.html" %} {% block salutation %}Appeals Registry,{% endblock %} {% block primary_text_1 %} {{ full_name }}, the applicant of prohibition {{ prohibition_number }}, did not schedule the review within 24 hours of payment. {% endblock %} {% block primary_text_2 %}
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This package contains the elements necessary for managing the UI for the engine. It contains a class
that extends JavaFX.Scene (ScrollableBackground), which can later be passed to the Player for display.
The VisualManager contains all of the elements for managing the Scene and it's interactions. It also contains
a class for automatically generating the terrain for the map, the TerrainGrid.
This package also contains Observable handlers for when IO occurs. When the user clicks on the screen, the
ClickManager notifies everyone observing it. This translates the click's location from the location on the
screen to the location on the map. In this way, the actions occurring on the map are removed from where events
actually occurred on the screen, so that all interaction can work appropriately.
The IO handled is clicks in the ClickManager, keyboard input in the KeyboardManager, and clicking and dragging in
the SelectionBox.
This package also contains the Animation hierarchy. Animations for DisplayableGameElements are stored in AnimationSequences,
where each AnimationSequence corresponds to a fixed number of frames from one of the sprite sheets stored in the resources.
An AnimationPlayer is created for each DisplayableGameElement, which contains the AnimationSequences and manages playing the
different animations.
The Animations use the Null pattern in order to take care of having an undefined AnimationSequence.


Performance Improvement Testing
1) jQuery Library Removal(Compare)
2) Page Loading Time with jQuery(Compare)
3) Page Loading Time without jQuery(Compare)
4) Page Loading Time of simple Hello World page(Compare)
5) Page Loading time with all modules included(Compare)
6) Page with script attribute "data-api-modules" as null
7) Page with "data-api-modules" as null and API call
8) Page with duplicate modules in "data-api-modules" attribute
9) Page with non-existing module in "data-api-modules" attribute
11) Page with traditional rhoapi-modules.js(Compare)
12) Page with all modules loaded explicitly using script tag.
13) Page with property/method test during page onload event.
14) Page without rhoapi.js
15) Extension Test Page
16) ORM Test Page
17) Run Static API 100 times.
18) Run Dynamic API 100 times.
19) Call API properties on load - to check on demand api initialization.


Before you can play, we will set up the product in a few easy steps.
Everything else is set, but you need to check the following before continuing:
Your product is now set up and ready to play.
We'll do some final touches when you select Finish Setup. Your product is then set up and ready to play.


---
layout: post
status: publish
published: true
title: "
Podcast 2.27 - Lester Strode Earns Endorsement
from Ivy Envy"
author:
display_name: Corey Fineran
login: Corey
email<EMAIL_ADDRESS>url: ''
author_login: Corey
author_email<EMAIL_ADDRESS>wordpress_id: 3438
wordpress_url: http://ivyenvy.com/?p=3438
date: '2010-11-23 22:55:56 +0000'
date_gmt: '2010-11-24 04:55:56 +0000'
categories:
- Podcast
tags:
- Micah Hoffpauir
- Larry Rothschild
comments: []
---
Andy, Corey and Kurt discuss the departure of Larry Rothschild and Micah Hoffpauir from the Cubs organization. We also read a few reader/listener opinions.


Venue
ResBazWelli will be held in Rutherford House on Victoria University of Wellington's Pipitea Campus, in the mezzanine foyer and surrounding spaces.
Come Along
Sessions
Sessions marked with an asterix (*) have updated links and information
Data visualisation for communication is a bit different from exploratory data analysis. In this workshop led by Harkanwal Sign, we will explore examples of compelling data narratives and what makes visualisation work for the audience. Also, the workshop will focus on the design process outside of the code, including sketching data visualisation and learning how to use colour better.
Data visualization is an important tool for the 21st century, assisting in both data analysis and the communication of results. The use of appropriate visualization techniques can greatly increase the ability to gain insight from data. This workshop will give an introduction to data visualization using different tools and techniques, and use of visual variables to make effective visualizations. Come prepared with your own datasets that you want to visualize!
See an example created after this session by Lehlya Heward, of the Department of Chinese Studies in the School of Languages and Cultures, here .
Increasingly, publishers are requesting short videos to accompany articles and research projects. In this session, you'll get an overview of what video abstracts are, why they're useful, and how you can create one - from storyboarding to filming to editing.
Stuart Yeats leads a discussion about wikipedia use in teaching and research in university contexts, including setting editing as coursework, adding your research results to wikipedia and using wikipedia as data. In the second half of the session, Stuart will talk his way through the creation of a new wikipedia article, explaining what he's doing, why he's doing it and how to avoid common mistakes.
Related links: Wikipedia Authority Control   |   NZ Research   |   Wikimedia Projects.
LaTeX is a document preparation system for high-quality typesetting that allows you to separate the content from the format of your document. It is most often used for medium-to-large technical or scientific documents but it can be used for almost any form of publishing. Come along to see if it's for you.
This session will offer a brief and practical introduction to Git and GitHub for complete beginners. Learn how you can use Git to manage and keep track of different versions of all your important files and documents that change through time in your projects. GitHub is one of the worlds leading online collaboration platforms for working on projects that use Git. Whether you write code or not, Git and GitHub are incredibly powerful tools that should be part of any researchers digital toolkit. Come and see what it's all about!
Python is a widely-used, easily-learned general-purpose language. It can be used to automate tasks, analyse data and build just about anything.This hands-on lesson will focus on how Python can be used for scientific data analysis (CODE stream only).
R is a free, widely-used and well-documented software environment for data science. The best way to learn how to program is to do something useful, so this introduction to R is built around a common scientific task: data analysis. The goal isn’t just to teach you R, but also the basic concepts that all programming depends on. (CODE stream only).
No one likes doing boring tasks once, let alone many times over and over. The Unix Shell allows you to do complex things with just a few keystrokes. More importantly, it helps you combine existing programs in new ways and automate repetitive tasks. (CODE stream only).
Dickens and Data Science
Connected Worlds
fab lab wgtn
data.govt.nz
Timetable
WEDS JULY 4th
Note: only CODE stream sessions are offered on this day.
Make sure to check out this website for installation instuctions and further key info.
THURS JULY 5th
*Sessions marked with an asterix only available to those registered for the CODE stream.
More information on sessions for both streams can be found here.
FRI JULY 6 th
*Sessions marked with an asterix only available to those registered for the CODE stream.
More information on sessions for both streams can be found here.
Meet Our Speakers
|
Kylie Reiri Kylie is a data scientist who has a keen interest in making it easier to work with data. From building systems in automated and reusable ways, to upskilling people to make sure the capabilities exist to get the most out of our data rich world. Kylie is currently managing a team of data scientists and IT experts for Nicholson Consulting. Kylie holds a Master of Science (Applied Statistics) and a Bachelor of Science (Statistics and Marine Biology), both from Victoria University of Wellington. She has held previous roles as a statistician at Statistics NZ, Inland Revenue, the Ministry of Health, and most recently as the Technical Lead at the Social Investment Agency. |
Dr Paul Bracewell Paul Bracewell is a founder of DOT loves data where he leads the analytical and technical teams. Paul is passionate about analytics and how it can impact the world around us. This enthusiasm has been honed by nearly 20 years of using analytics to solve business problems and shape strategies in a range of contexts. In addition to having award-winning PhD research under his belt, Paul has been directly involved in the sale of two analytics businesses. He is an Adjunct Research Fellow within Victoria University’s School of Mathematics and Statistics where he supervises PhD and Masters Students and has also lectured within the School of Marketing & International Business. |
|
Markus Luczak-Roesch Markus Luczak-Roesch is a Senior Lecturer in the School of Information Management at Victoria University. His research focuses on the foundations of space and time in the context of information, as well as emergent meaning that is rooted in coincidence. The information sequences Markus is studying stem from digital traces left by humans in online communities such as Wikipedia and citizen science platforms such as Zooniverse, but also literary texts, brain wave recordings, and micro-linguistic data about language use. |
Harkanwal Singh @kamal_hothi Harkanwal is the founder of Elements Data Studio. Previously, he was the head of data journalism at the New Zealand Herald. He is passionate about developing data visualisation for communication. He will share his ideas and experience on creating data visualisation to communicate research effectively to a general audience. |
Follow-up Event
The instructor team are holding a follow-up event for all those who attended ResBaz and want to continue exploring any of the tools or lessons further in a supportive environment, or just want to extend the conversation. Participants are free to extend the invite to others who may be interested as well.If possible, please bring along a laptop and any data sets you want to interrogate or visualise. ResBaz instructors will be on hand to help.


Let's Play
Rule of the game:
Rule of the game:
A user inserts a number then the game counts from 1 to the chosen number with the following exceptions:
- Numbers divisible by 3 becomes "ping"
- Numbers divisible by 5 become "pong"
- Numbers divisible by 3 and 5 become "pingpong"


Songs about trains, from the prosaic to the grand to the otherworldly.
Many of the classic examples include some sort of vocal or instrumental imitation of a train whistle, or (particularly in country music) the galloping snare drum that imitates the chugging of a train.
Wikipedia has a list of train songs.
Compare Dancing on a Bus. See also Car Song. Not to be confused with songs by the band Train.
Examples:
- "Chattanooga Choo-Choo" from Sun Valley Serenade.
- "On the Atchison, Topeka and Santa Fe" from The Harvey Girls.
- "Night Train to Mundo Fine" from Red Zone Cuba, sung by none other than John Carradine.
- "Casey Junior" from Disney's Dumbo. It's about the train that hauls the circus around.
- In Crossroads, blues legend Willie Brown instructs his protégé, Eugene "Lightning Boy" Martone that nobody will take him seriously as a blues guitarist until he can "make the song of a fast train to nowhere, chugging along the tracks, come outta your guitar". The old man constantly rags on the younger for his 'train song" being far too smooth. It isn't until the end, when Martone has finally felt true heartbreak, that he gets it right.
- "This Train is Bound for Glory" (see below) gave Woody Guthrie the title for his autobiography Bound for Glory, and thus gave a title to the 1976 film about Guthrie, Bound for Glory. David Carradine, as Guthrie, sings the song.
- "3:10 to Yuma", about the titular train from 3:10 to Yuma (1957).
- The beat to 8 Mile's titular song is the chugging of the wheels of the commuter train the protagonist rides every day to work.
- In Concert Film The Last Waltz, The Band and Paul Butterfield join to perform old blues song "Mystery Train", in which a man laments that a train is taking his loved one away.
Literature
- Rudyard Kipling's ".007" features a train song sung by the trains themselves - it is a badge of honour for the fastest express locomotives.
With a michnai - ghignai - shtingal! Yah! Yah! Yah!Ein - zwei - drei - Mutter! Yah! Yah! Yah!She climb upon der shteeple,Und she frighten all der people.Singin' michnai - ghignai - shtingal! Yah! Yah!
- In the Mystery Science Theater 3000 episode The Girl in Lovers' Lane, Joel Robinson and the 'Bots each wrote songs about trains. As is usually the case, Joel & Tom's songs were normal, but Crow's was disturbing.
- "The Enchanted Train" from Sitting Pretty.
- "Train to Johannesburg" from Lost in the Stars.
- "Leavin' for the Promise Lan'" from Porgy and Bess.
- "On the Twentieth Century" from On the Twentieth Century.
- "Skimbleshanks, The Railway Cat" from Cats.
- The asdfmovie series has the "I Like Trains" asdfmovie song, about the "I Like Trains" kid.
- In Girl Genius the Corbettites have a daily train song that all passengers who don't pay for a private compartment must attend. As Agatha purchases a private compartment the song doesn't actually appear in the comic.
- Parodied in Metalocalypse, where every blues song has the word "train" in it somewhere.
Curiously, all the songs were written around gruesome murders, but:Swissgar: All theys sings about is trains?Mashed Potato Johnson: Is there anything else really to talk about? - The ChalkZone song "Midnight Train"
Other Music
- "Texas and Pacific" by Louis Jordan. Notably, many of Louis Jordan's songs, train-centric or not, used the distinctive "chugging" rhythm associated with this type of song, as did those of some other contemporary jazz musicians (like Louis Prima).
- "Downtown Train" from Rain Dogs, "Down There By the Train" from Orphans, Brawlers, Bawlers and Bastards and (believe it or not) "Train Song" from Franks Wild Years by Tom Waits.
- Many spirituals; e.g., "The Gospel Train" and "This Train Is Bound for Glory".
- Folk blues song "Rock Island Line".
- "Take the 'A' Train", written by Billy Strayhorn for Duke Ellington's orchestra.
- "Wabash Cannonball"
- "Last Train to Clarksville" by The Monkees.
- "The One After 909" from Let It Be by The Beatles.
- "Trans Europa Express" by Kraftwerk.
- "Moskow Diskow" by Telex.
- "Casey Jones"
- The Grateful Dead's "Casey Jones" which is quite different, but still involves a train.
- The Grateful Dead other train songs in "Tons Of Steel" and "The Monkey and The Engineer".
- Allan Sherman's Song Parody "J.C. Cohen", which is about a conductor on a runaway subway train.
- The Grateful Dead's "Casey Jones" which is quite different, but still involves a train.
- "City of New Orleans" is a folk song written by Steve Goodman, describing a train ride from Chicago to New Orleans via the Illinois Central Railroad in bittersweet and nostalgic terms. Although written by Goodman, it was popularized by Arlo Guthrie.
- Gladys Knight & the Pips created two songs: "Midnight Train to Georgia" and "Friendship Train".
- "Trem das Sete" (translates as something like "7 O'clock Train") by Raul Seixas.
- "Morning Train" is actually the English adaptation of "Trem das Sete" by Raul Seixas.
- "Marrakesh Express" by Crosby, Stills & Nash.
- "Rudy" by Supertramp has stock train sounds, an announcer at a train station, and many references to trains.
- Marillion's "Fugazi" has a reference to "the liquid seize on the Piccadilly Line", referring to The London Underground as a "dank electric labyrinth".
- "Hit The Rails" by Loudness
- "Crazy Train" by Ozzy Osbourne.
- "Peace Train" by Cat Stevens.
- "Love Train" by The O'Jays.
- "Party Train" by the Gap Band.
- Downtown Train" by Tom Waits. Later Covered Up by Rod Stewart.
- "Waiting for a Train" by Jimmie Rodgers.
- "Orange Blossom Special," traditional bluegrass fiddle tune, although the version done by Johnny Cash includes lyrics, and uses a harmonica and saxophone instead during the instrumental bridges.

- "She's Gone, Gone, Gone" by Lefty Frizzel, a country hit from 1965 where a young man bemoans the departure of his girlfriend by train. (A cover version by Glen Campbell, from 1989, replaces the train with an airplane as the departing girlfriend's mode of transportation.)
- "Mystery Train" by Elvis Presley from The Sun Sessions.
- "Long Black Train" by Josh Turner, a country gospel song where the title train is an analogy for Satan; hence, the song is a cautionary tale to not board said train, which leads only to trouble.
- "I'm a Train" by Albert Hammond.
- "Train Song" by Havalina Rail Co..
- "Runaway Train" by Soul Asylum
- "Runaway Train" by Rosanne Cash, a No. 1 country hit from 1988.
- "Blue Train (Of the Heartbreak Line)" by George Hamilton IV, a top 30 country hit in 1973.
- "Meksicon pikajuna" ("Mexico express") by numerous artists. Is about a train robbery with a bawdy twist in the end.
- "Play a Train Song" by Todd Snider plays with this. Instead of being about a train, it's about an extraordinary man with a passion for life and train songs.
- Vocaloid Rin's song "Makuragi," which is either All Just a Dream or possibly alluding to a Afterlife Express.
- "Ghost Train" by Gorillaz
- "Ghost Train" has to be the most overused title in music. A quick Youtube search will reveal an ever-increasing number of songs of that very title, verbatim (not to be confused with the defunct Gothabilly band Zombie Ghost Train), as a literal or metaphorical title:
- The Stranglers, about the state the band was in when the abum Dreamtime was in production
- Filipino band The Boneyard Circus
- Summer Camp
- "Bush Metal" band Burnt Earth
- Billion Babies
- Country Gothic band Graveyard Train
- Madness
- "Locomotive" and "Ridin' With the Driver" by Motörhead.
- "Princess of the Night" by Saxon.
- "Auctioneer (Another Engine)" and "Driver 8" from R.E.M. Bonus points for the drums in "Auctioneer" sounding exactly like an oncoming train.
- "Last of the Steam Powered Trains" by The Kinks - Ray's singing metaphorically about himself here.
- "Last Train to Trancentral" by The KLF. (Trancentral was Jim Cauty's home and the band's recording studio. Apparently it was not nearly as impressive as the song makes it out to be.)
- "Last Train to London" by Electric Light Orchestra.
- "Not Just A Train" by Spirit Of The West
- "Train Train" by Blackfoot.
- "Die Eisenbahnballade" ("The Railroad Ballad") by German singer-songwriter Reinhard Mey, which manages to pack quite a bit of rail-centric history into its 11 minutes.
- "Train Kept A-Rollin'," originally by Tiny Bradshaw, later covered by The Yardbirds, Led Zeppelin and Aerosmith, among others.
- "Locomotive" by Guns N' Roses
- "Sucker Train Blues" by Velvet Revolver
- Also, the video for "Dirty Little Thing" takes place on a train.
- Quite a number by Johnny Cash, including "The Wreck of the Old 97", "Down there by the train" and "Like the 309".
- "The Gambler" by Kenny Rogers.
- "Locomotive" by Running Wild.
- "Train To Bedlam" by Twilightning.
- "5:15" by The Who. The slow beginning of the song symbolizes the train at the station before departure, then picks up tempo with the train in motion, then slows down again near the end to symbolize it arriving at its destination.
- "Tren Al Sur" ("Train To The South") by the Chilean rock group Los Prisioneros.
- "Tren Del Cielo" ("Heaven's Train") by Soledad Pastorutti.
- "Long Train Runnin'" by The Doobie Brothers.
- "Homebound Train" by Bon Jovi.
- "Locomotive Breath," "Journeyman," and "Raising Steam" by Jethro Tull. The title of "Cheap Day Return" also refers to a railway ticket, and the song refers to being on the platform at Preston station.
- "Kundalini Express" and "Yin and Yang (The Flowerpot Man)" by Love and Rockets.
- "Train Of Consequences" by Megadeth.
- "Runaway Train" by Elton John and Eric Clapton.
- "Just Like This Train" by Joni Mitchell.
- "Nighttime in the Switching Yard" by Warren Zevon.
- "Been On A Train" and "Poverty Train" by Laura Nyro.
- Folsom Prison Blues - the train the prisoner keeps hearing is a symbol of freedom, movement, wealth... basically everything the prisoner doesn't have.
- Station to Station by David Bowie. There's probably some religious symbolism about the Stations of the Cross too, but the song starts with locomotive sound effects.
- "Spanish Train" by Chris de Burgh is about an Afterlife Express.
- "Blue Smoke" by Dolly Parton is a Break Up Song about leaving on a train. The chorus includes the onomatopoeic lines "clickety clickety clickety clack" and "choo-choo, choo-choo, woo woo woo".
- "Broken Train" by Beck
- "Spice Train" by Thomas Dolby
- "Outside The Door" by Can from "Monster Movie"
Can you hear the train whistle... ?
- "Last of the Steam-Powered Trains" by The Kinks from The Kinks Are the Village Green Preservation Society is a song about - and from the point of view of - a train preserved in a museum.
- "Freight Train Blues", covered by Bob Dylan on Bob Dylan.
- "Tonight I'll Be Staying Here With You" by Bob Dylan from Nashville Skyline:
I can hear that whistle blowin'I see that stationmaster, tooIf there's a poor boy on the streetThen let him have my seat'Cause tonight I'll be staying here with you.Throw my ticket out the windowThrow my suitcase out there tooThrow my troubles out the doorI don't need them any more'Cause tonight I'll be staying here with you.
- "Slow Train" from Slow Train Coming by Dylan, where the train is to be understood as a metaphor for trouble coming up.
- "The Canadian Railroad Trilogy" and (less well known) "Steel Rail Blues" by Gordon Lightfoot.
- Deltics, by Chris Rea; there is even a photo of the prototype Deltic on the back of the album cover.
- Believe it or not, "Trains" by Porcupine Tree. Also "Deadwing" refers to looking from "the yellow windows of the last train", while The Incident has a song called "The Yellow Windows of the Evening Train". Trains are a recurring theme in Porcupine Tree's work in general, mostly from Steven Wilson spending his childhood a stone's throw from Hemel Hempstead train station.
- "Downbound Train" by Bruce Springsteen (from Born in the USA); it's a lament for a lost love, a woman who left a man after he lost his good-paying job at a lumber yard and had to start working at a car wash. While this is about feeling like you're on the train to hell, Bruce's anthem/hymn "Land of Hope and Dreams" is a glorious takeoff on "Plenty of Room on the Glory Train". The lyrics emphasize a Christian-like forgiveness of the sin, shame and loss often experienced by his working-class protagonists.
- "Trains" by Ryan Adams (from Jacksonville City Nights) uses trains as a metaphor for the thoughts that keep the speaker up at night.
- The first verse of "The Engine Driver" by The Decemberists (from Picaresque) is about, well, an engine driver—i.e. a train driver—"on a long run" who's pining for his woman.
- John Denver's final album, All Aboard, is a collection of songs about trains, including several songs listed above. It won him a posthumous Grammy Award for Best Musical Album for Children.
- "Sonderzug nach Pankow" by German rock singer Udo Lindenberg, which uses the tune of "Chattanooga Choo-Choo". The title of the song translates as "Special Train to Pankow". Pankow is a suburb of Berlin which during the Communist era was the area preferred for residence by the Party elite - the song is a protest against the East German government's refusal to allow Lindenberg to play in East Berlin. It finally embarassed them so much that they agreed.
- "Midnight Special", a traditional blues song that was covered by Lead Belly and Creedence Clearwater Revival among others, is about a train that passes by a Texas penitentiary regularly at midnight, sung about in the chorus longingly from the point of view of an inmate (who also sings about the conditions of the prison).
- "Hot Rails to Hell" by Blue Öyster Cult, about a train bound for hell.
- Australian folk song "On A Queensland Railway Line"
- "Orient Express" by Jean-Michel Jarre (from The Concerts In China; even though it's an Instrumental starting with a flight attendant announcing the landing in Shanghai, the video still features the classic luxury train)
- "Magnetic Fields 2" and "4" both end with samples of trains. By the way, most of what may sound like a train being shunted in "Magnetic Fields 4" is actually modified samples of a print head.
- "Es fährt ein Zug nach Nirgendwo" by Christian Anders
- "She Caught The Katy" by Taj Mahal references the Missouri-Kansas-Texas Railroad ("The Katy") which still ran passenger trains in 1968.
- "My Trains" by Lemon Demon, although it's a little...out there.
- "Jim Crow Train" by Josh White is about putting an end to Jim Crow laws so he can get to ride on the titular vehicle.
- "Morningtown Ride" by Malvina Reynolds.
- Burl Ives' "Two Little Trains" and "The Little Engine That Could", the latter a Filk Song of the children's story of the same name.
- "Conversation on a Train" ("Razgovor v poyezde") by the Russian rock band Mashina Vremeni tells about two chance acquaintances on a train arguing over fatalism and self-determination, with one maintaining that humans can steer the course of their own lives, while the other likens human life to a train moving on tracks.


The database of the primary motif.
The ID of the primary motif followed by the alternate ID in brackets if it has one.
The logo of the primary motif.
Sections of the motif with a gray background have been trimmed and were not used for scanning.
The number of secondary motifs found that had significant spacings in the tested region.
The list of secondary motifs found that had significant spacings in the tested region.
The name of the sequence database.
The last modified date of the sequence database.
The number of sequences in the sequence database.
The number of sequences in the sequence database which were excluded because they were shorter than twice the margin plus the primary motif length.
The number of sequences in the sequence database which were excluded because they contained large runs of ambiguous symbols (normally wildcard masking) that could bias the results.
The number of sequences in the sequence database which were excluded because no match to the primary motif could be found at a distance to the edges larger than the margin.
The number of sequences in the sequence database which were excluded because they were largely identical to other sequences when aligned on the primary motif site.
The number of sequences which were scanned with the secondary motifs.
The name of the motif database derived from the file name.
The date that the motif database was last modified.
The number of motifs loaded from the motif database. Some motifs may have been excluded.
The number of motifs with significant E-values whose significant spacings were not considered too similar to those of another motif.
The number of motifs that while having significant spacings were less significant than another motif that matched most of the same sites.
This checkbox ensures the row stays visible after a filter operation that would normally hide it.
The ID of the secondary motif.
The alternate name of the secondary motif.
The ID of the secondary motif followed by the alternate ID in brackets if it has one.
The name of the cluster to which this secondary motif belongs. SpaMo assigns each secondary motif to a cluster, and names the cluster after the motif in it with the most significant spacing. SpaMo assigns two secondary motifs to the same cluster if the matches in their most significant spacings (from the primary motif) overlap substantially. Clustering is controlled by the -joint and -overlap options.
The E-value is the lowest p-value of any spacing of the secondary motif times the number of secondary motifs. It estimates the expected number of random secondary motifs that would have the observed minimum p-value or less.
The gap between the primary and secondary motifs for the most significant spacing.
The strand and position of the secondary motif relative to the primary motif for the most significant spacing.
The minimum score accepted as a match to either the primary or secondary motif. This value can greatly affect the results of SpaMo. If it is too high, there will be no matches to the primary motif. If too low, sequences with non-significant matches to the primary and/or secondary motif will reduce the effectiveness of the spacing analysis.
The distance either side of the primary motif site which makes up the region that can contain the secondary motif site. Additionally it is the minimum gap between the primary motif site and the edge of the sequence. These constraints mean that input sequences shorter than the trimmed length of the primary motif plus two times the margin size can not be used by SpaMo.
A histogram showing the counts for the orientation with the best spacing.
The significant spacings are highlighted in red.
The primary motif is used as the reference point for all spacing calculation.
Sections of the motif with a gray background have been trimmed and were not used for scanning.
The secondary motif occurs at the spacings relative to the primary shown in the histogram below.
Sections of the motif with a gray background have been trimmed and were not used for scanning.
The regions matching the secondary motif in the sequences with the given spacing are used to construct a motif. The logo for this "inferred" motif is shown aligned with that of the actual secondary motif.
The inferred secondary motif logo should closely resemble that of the secondary motif. If it does not, this may suggest that the observed spacing may actually be due to the enrichment of a motif that differs from the secondary motif.
You can download the inferred secondary motif by moving the mouse cursor over the logo and clicking "Download as MEME motif". You can then use this downloaded motif as an input to Tomtom to see what other known motifs it may resemble.
These are the sequence logos created by aligning all of the sequences with the significant motif spacing. Alignments are centered on the match to the primary motif and done separately for each of the quadrants that contribute to the significant spacing. The logos extend in both directions (up to) 10 positions past the maximum region considered in the significance tests.
Note 1: If you don't
see the complete logo(s), you can use the scroll bar underneath
the Alignment window. If you don't see a scroll bar and are
on a Mac, you can turn on scroll bars by clicking on the Apple Icon
at the top left of your terminal and clicking:
System Preferences/General/Show scroll bars/Always
.
Note 2:These logos are useful for detecting cases where highly similar regions (such as DNA repeats) are present among the sequences with the significant motif spacing. Such cases may indicate that the spacing is due to recent duplication events rather than to a functional biological relationship between the primary and secondary motifs. Ideally, the regions around the primary and secondary motifs should have low information content and their logos in the alignment should closely match their motifs.
This table shows the details of the significant spacings between the primary motif and the secondary motif currently selected in the "Secondaries" section, below. Click on a row in this table to select a particular spacing for detailed analysis.
The histogram below shows the frequency of spacings from the primary motif to the secondary motif.
The two quadrants on the left show spacings where the secondary motif is upstream of the primary motif and the two quadrants on the right show spacings where the secondary motif is downstream of the primary motif.
The two quadrants on the top show spacings where the secondary motif is on the same strand as the primary motif and the two quadrants on the bottom show spacings where the secondary motif is on the opposite strand to the primary motif.
Histogram bars highlighted pink are part of one of the listed significant spacings. This feature can be disabled by unchecking the "highlight all" option under the spacings.
Histogram bars highlighted red are part of the currently selected significant spacing. This feature can be disabled by unchecking the "highlight selected" option under the spacings.
The selected orientation graph shows the combined quadrants from the selected spacing with a zoomed view that only shows the portion of the graph for which significance testing was performed.
Histogram bars highlighted pink are one of the listed significant spacings for this orientation. This feature can be disabled by unchecking the "highlight all" option under the spacings.
The histogram bar highlighted red is the currently selected significant spacing. This feature can be disabled by unchecking the "highlight selected" option under the spacings.
This causes a file named spamo_contr_seqs.txt
or
spamo_contr_seqs.bed
to be downloaded. The file contains the contributing sequence IDs
for each significant spacing.
Each group of sequence IDs begins with a comment line containing (1) the rank of the spacing, (2) the name of the file that would contain the sequence IDs if you had used the "Contributing Sequence IDs Download" function for a single spacing, and (3) the p-value of the spacing. (Note: See the help bubble for "Contributing Sequence IDs", below, for the format and meaning of the file names.)
The sequence identifiers will be as they appear in the input sequence file (Plain) or in UCSC Genome Browser format (BED), depending on which file you choose to download.
This lists the sequence identifiers of the subset of sequences that contain the significant motif spacing. You can choose either the original sequence ID format (Plain) or UCSC Genome Browser format (BED) using the menu below.
These identifiers can be cut-and-pasted into other programs for further analysis (e.g., Genome Ontology analysis or location analysis in the case ChIP-seq peak regions).
You can also download the identifiers using the "Download" link below. They will be placed in a file with name:
seqs_<prim>_with_<scnd>_g<gap>_o<orient> |
|---|
.txt
if you choose "Plain Format"
or with the extension .bed
if you choose BED format.
The fields in brackets in the file name have the following meanings:
| name | meaning |
|---|---|
<prim> | the ID of the primary motif |
<scnd> | the ID of the secondary motif |
<gap> | the width of the spacing |
<orient> | an integer code denoting the orientation of the spacing. |
The orientation codes are:
| orientation code | enriched quadrant(s) |
|---|---|
| 0 | up+ |
| 1 | dn+ |
| 2 | up- |
| 3 | dn- |
| 4 | up+/up- |
| 5 | up+/dn- |
| 6 | up-/dn+ |
| 7 | dn+/dn- |
| 8 | all |
Click on a row in this table to select one of the significant secondary motifs for detailed analysis. The details of the significant spacings between the primary motif and the secondary motif you select here will be displayed in the table and plots above.
Specify which secondary motifs to display in the Secondaries table by checking one or more of the tick boxes below and then entering filter criteria. Then click "Update" to refresh the view of the Secondaries table.
Specify the order in which secondary motifs are displayed in the Secondaries table by selecting a sorting criteria in the menu below. Then click "Update" to refresh the view of the Secondaries table.
For further information on how to interpret these results please access
http://meme-suite.org//doc/spamo-output-format.html.
To get a copy of the MEME software please access
http://meme-suite.org.
If you use SpaMo in your research please cite the following paper:
Tom Whitington, Martin C. Frith, James Johnson and Timothy L. Bailey,
"Inferring transcription factor complexes from ChIP-seq data",
Nucleic Acids Research, 39(15):e98, 2011.
[full text]
| Database | Name | Preview | Significant Secondaries | List |
|---|---|---|---|---|
| Name | Last Modified | Contained | Too Short | Too Masked | No Primary | Too Similar | Used |
|---|---|---|---|---|---|---|---|
| Name | Last Modified | Number of Motifs | Motifs Significant | Motifs Redundant |
|---|---|---|---|---|
| Secondary Motif: | Cluster: | E-value: | Best Gap: | Best Orientation: |
|---|
| Alignment Logo | |
|---|---|
| Up+ | |
| Up- | |
| Dn+ | |
| Dn- | |
|
|
|
Gap
Gap
|
Orientation
Orientation
|
p-value
p-value
|
|---|
| Lock | ID | Name | Cluster | E-value | Best Gap | Best Orientation | Spacings |
|---|


Select the Registration of the car when you have hooked it up to charge so the table can take in the current charge, charge accordingly and tell you how long is left for 100% charge.
If at anytime you want to EDIT any details, hit the RESET
| Registration | Name | Current Miles Range | Miles needed for next trip | Hours to charge for next trip | Time Leaving |
|---|---|---|---|---|---|
Once you have CONFIRMED the details hit GENERATE to see the charge schedule
We currently have 6 cars at Warren Services, you can learn about each car below.
| Reg number | Maximum Miles Range | return charge @Milese |
|---|---|---|
| NP60UQQ | 250Miles | 25 |
| Reg number | Maximum Miles Range | return charge @Miles |
|---|---|---|
| NP60UQS | 250Miles | 25 |
| Reg number | Maximum Miles Range | return charge @Miles |
|---|---|---|
| NP60UQT | 250Miles | 25 |
| Reg number | Maximum Miles Range | return charge @Miles |
|---|---|---|
| NP60UQU | 250Miles | 25 |
| Reg number | Maximum Miles Range | return charge @Miles |
|---|---|---|
| NP60UQV | 250Miles | 25 |
| Reg number | Maximum Miles Range | return charge @Miles |
|---|---|---|
| NP60UQW | 250Miles | 25 |


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This website contains information related to smartcoins, also known as math-based currencies and cryptocurrencies.
We aim to provide a thorough understanding of math-based currencies. Math-based currencies like Bitcoin and Ripple have the potential to disrupt finance on a global scale. The transparent and open nature of decentralized currencies will open up possibilities for everyone to build on top of the decentralized networks. Below you will see a list of more or less established math-based currencies.
With the rise of virtual currencies several online currency exchanges came to life.
The world's largest exchange for Bitcoins is Bitstamp which was established in 2011. Other major markets for smartcoins are BTC-E and Vircurex.


HTML . JavaScript . CSS
Both Margin and Padding refer to the space around elements. The main point of difference is the space that each property targets.
Using the example of sending a package to a friend, I'll attempt to explain the use of Margin, Border, and Padding from a different perspective.
In order to get a clear picture of the different areas targets by Margin and Padding, lets first look at the Border property. The Border property manages the style, width and color of an element's boundary.
Regardless of whether a border is included in the styling of an element, the boundary of an elament always exists and this will affect the Margin and Padding properties.
Now let's get ready to send that package I talked about earlier! I have some books that I am wanting to post to a friend. First things first, I need a box to place them in. In this example, the books sitting inside the box are the content, and the box surrounding the books is the border.
Padding targets the space inside the border of an element. You can determine the space of the padding by using lengths or percentages and cannot use negative values. Because padding is invisible, it is useful if you are wanting to move content within a container without altering the state of the container itself.
Going back to the example of the package, in order to prevent the books being damaged in transit, we want to place some protective packing between them and the box/border. The packaging is going to act as padding between the box/border and its contents. This the same within css.
Margin targets the space outside the border of an element. You can determine the space of the margin by using lengths, percentages or "auto" and can have negative values. It is important to note that Margin will take the parent element's style, while Padding is transparent. If you had a blue background for your content and used padding to move that content, the blue background would not be altered.
The books are secured within the box and we are finally ready to deliver the package. Any space outside of the box can be considered the margin, but for the purposes of this example lets assume the box of books is sitting within a delivery van. The space between the walls, floor, and roof of the van is going to be the margin. No matter where we move the box within the van, the contents of the box remain in place.


Two or more quantities are said to be equal if they have the same value or they are identical .
18 = 36 ÷ 2 = 9 + 9 = 20 − 2 = (4 × 3) + 6
Equal sets are sets which have exactly the same elements.


Date
September 27, 2020
Abstract
Criminal rates in a neighborhood are closely associated with public safety. In this paper, we investigate the criminal rates in Toronto by neighborhoods, which is an observational study conducting by Toronto Police Services and released on September 18th, 2020. We found that a hot spot is more likely to have positive growth of criminal rates year by year, while the criminal counts of safer neighborhood are most likely declining. Our findings suggests the importance to enforce the police force to further control the criminal rates in those neighborhoods and to provide public safety guidelines for all residents in Toronto.
Introduction
Settling down in a nice and safe neighborhood is essential for all of us. Public safety is the first priority among all other factors in our daily life. In that case, criminal rates are the most straight-forward numerical values to evaluate if the community is safe or not. Within all categories of crimes, we should also pay more attention to the violate crimes, not only because of the damages caused by violate crimes, but also the frequencies.
In this paper, counts for the most commonly reported crimes: Assaults and Break and Enter, are used to analyze the overall criminal rates among 140 neighborhoods in Toronto. The packages skimr and tidyverse are used in this time for R in order to plot, extract and calculate data. Application of ggplot (using tidyverse) shows the annual changes in percentages of crime counts for each neighborhood against the criminal rates in that specific neighborhood.
Data Discussion
This paper explores the dataset called Neighborhood Crime Rates, found on Toronto Open Data. The observational study published by Toronto Police Services collects criminal rates for each neighborhood from 2014 to 2019. The categories of crimes included in the dataset are Assault, Auto Theft, Break and Enter, Robbery, Theft Over and Homicide. With data from the 2016 census population, five-year averages and criminal rates per 100,000 people for each neighborhood are also available in the dataset.
As it is an observational study conducting by the police department, the annually-updated dataset are the best we can get to fully understand and visualize the differences in criminal rates crossing numerous neighborhoods and the changes in counts for this decade.
Graph
data_statistics %>%
ggplot(aes(x = Assault_Rate_2019, y = Assault_CHG)) +
geom_point()+
labs(x = "Rate of assaults for 2019 per 100,000 population",
y = "Percentage Change in assault counts from 2018-2019",
title = "Figure 1: Distribution of assault counts:
rate of assaults per 100,000 individuals vs percentage change in counts",
caption = "Source: Open Data Toronto, 2020.")
data_statistics %>%
filter(Assault_Rate_2019 > 876) %>%
ggplot(aes(x = Assault_Rate_2019, y = Assault_CHG)) +
geom_point()+
labs(x = "Rate of assaults for 2019 per 100,000 population",
y = "Percentage Change in assault counts from 2018-2019",
title = "Figure 2: Distribution of assault counts for fourth quarter:
rate of assaults per 100,000 population vs % change in counts",
caption = "Source: Open Data Toronto, 2020.")
data_statistics %>%
ggplot(aes(x = BreakandEnter_Rate_2019, y = BreakandEnter_CHG)) +
geom_point()+
labs(x = "Rate of Break and Enter for 2019 per 100,000 population",
y = "Percentage Change in break and enter counts from 2018-2019",
title = "Figure 3: Distribution of break and enter counts:
rate of counts per 100,000 individuals vs percentage change in counts",
caption = "Source: Open Data Toronto, 2020.")
data_statistics %>%
filter(BreakandEnter_Rate_2019 > 361) %>%
ggplot(aes(x = BreakandEnter_Rate_2019, y = BreakandEnter_CHG)) +
geom_point()+
labs(x = "Rate of Break and Enter for 2019 per 100,000 population",
y = "Percentage Change in break and enter counts from 2018-2019",
title = "Figure 4: Distribution of break and enter counts:
rate of counts per 100,000 individuals vs percentage change in counts",
caption = "Source: Open Data Toronto, 2020.")
Graph Discussion
As shown in Figure 1, the majority of neighborhoods with a negative change in percentage assault counts from 2018 to 2019 also have a low rate of assaults for 2019 per 100,000 individuals. Moreover, when we only included the neighborhoods within in the fourth quarter of 2019 assault rate per 100,000 (the values for quartiles are determined using skimr in R) and found that the percentage of neighborhoods with a decline in assault cases is only 26% (Figure 2). In contract, 61% of the excluded neighborhoods from Figure 2 (indicating lower violate criminal rates) have decreased annual assault counts.
Similarly, the ggplot for Break and Enter also shows that the neighborhoods with a high criminal rate (the neighborhoods reported more than 361 cases) in 2019 also have larger chances to experience a positive growth of percentage changes in criminal rates from 2018 to 2019, showing that the crimes in these neighborhoods are not under controlled and so that, keeping growing fast (Figure 3 & 4).
The main findings in our paper are consistent with the conclusions by Office of Policy Development and Research (PD&R). Even though almost half of the neighborhoods in Toronto are showing a decline in the annual criminal counts and a negative growth of changes in criminal rates, several particular neighborhoods have become, and are continuing growing to be hot spots for the crimes.
Weaknesses and Next Steps
Even though data from this observational study has indicated that violate crimes are geographically concentrated in particular neighborhoods and the situations are still worsening, there are several aspects that should be improved in order to get a more precise analysis. First of all, as the population census was completed by 2016, the changes in population before and after the year of 2016 are not considered in this study. Immigration and work transfer could cause significant changes in population.
Secondly, averages in income, ethics and races are not included in this study. As indicated by PD&R, racial and ethnic minorities and low-income people are all unfairly exposure to violent crime damages. Our next steps are to collect those dataset and then compare with the, in order to make suggestions of future social working and public safety guidelines.
References
- R Core Team (2020). R: A language and environment for statistical computing. R Foundation for Statistical Computing, Vienna, Austria. URL, https://www.R-project.org/.
- Wickham et al., (2019). Welcome to the tidyverse. Journal of Open Source Software, 4(43), 1686. URL, https://doi.org/10.21105/joss.01686.
- Sharla Gelfand (2020). opendatatoronto: Access the City of Toronto Open Data Portal. URL, https://sharlagelfand.github.io/opendatatoronto/, https://github.com/sharlagelfand/opendatatoronto/.
- Elin Waring, Michael Quinn, Amelia McNamara, Eduardo Arino de la Rubia, Hao Zhu and Shannon Ellis (2020). skimr: Compact and Flexible Summaries of Data. URL, https://docs.ropensci.org/skimr (website), https://github.com/ropensci/skimr.
- JJ Allaire and Yihui Xie and Jonathan McPherson and Javier Luraschi and Kevin Ushey and Aron Atkins and Hadley Wickham and Joe Cheng and Winston Chang and Richard Iannone (2020). rmarkdown: Dynamic Documents for R. R package version 2.3. URL, https://rmarkdown.rstudio.com.
- Yihui Xie and J.J. Allaire and Garrett Grolemund (2018). R Markdown: The Definitive Guide. Chapman and Hall/CRC. ISBN<PHONE_NUMBER>338. URL, https://bookdown.org/yihui/rmarkdown.
- Office of Policy Department and Research (PD&R) (2016). Neighborhoods and Violate Crimes, Evidence Matters. URL, https://www.huduser.gov/portal/periodicals/em/summer16/highlight2.html.


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Question 5: People can rarely upset you.
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Question 6: It is often difficult for you to relate to other people’s feelings.
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Question 7: In a discussion, truth should be more important than people’s sensitivities.
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Question 8: You rarely get carried away by fantasies and ideas.
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Question 9: You think that everyone’s views should be respected regardless of whether they are supported by facts or not.
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Question 10: You feel more energetic after spending time with a group of people.
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Submit


AUDISPD.CONF:
Section: System Administration Utilities (5)Updated: Jan 2008
Index Return to Main Contents
NAME
audispd.conf - the audit event dispatcher configuration fileDESCRIPTION
audispd.conf is the file that controls the configuration of the audit event dispatcher. The options that are available are as follows:
- q_depth
- This is a numeric value that tells how big to make the internal queue of the audit event dispatcher. A bigger queue lets it handle a flood of events better, but could hold events that are not processed when the daemon is terminated. If you get messages in syslog about events getting dropped, increase this value. The default value is 80.
- overflow_action
- This option determines how the daemon should react to overflowing its internal queue. When this happens, it means that more events are being received than it can get rid of. This error means that it is going to lose the current event its trying to dispatch. It has the following choices: ignore, syslog, suspend, single, and halt. If set to ignore, the audisp daemon does nothing. syslog means that it will issue a warning to syslog. suspend will cause the audisp daemon to stop processing events. The daemon will still be alive. The single option will cause the audisp daemon to put the computer system in single user mode. halt option will cause the audisp daemon to shutdown the computer system.
- priority_boost
- This is a non-negative number that tells the audit event dispatcher how much of a priority boost it should take. This boost is in addition to the boost provided from the audit daemon. The default is 4. No change is 0.
- max_restarts
- This is a non-negative number that tells the audit event dispatcher how many times it can try to restart a crashed plugin. The default is 10.
- name_format
- This option controls how computer node names are inserted into the audit event stream. It has the following choices: none, hostname, fqd, numeric, and user. None means that no computer name is inserted into the audit event. hostname is the name returned by the gethostname syscall. The fqd means that it takes the hostname and resolves it with dns for a fully qualified domain name of that machine. Numeric is similar to fqd except it resolves the IP address of the machine. User is an admin defined string from the name option. The default value is none.
- name
- This is the admin defined string that identifies the machine if user is given as the name_format option.
SEE ALSO
audispd(8)
Index
This document was created by man2html, using the manual pages.
Time: 05:33:59 GMT, December 24, 2015


class: center, middle # Materials Informatics --- # Class goals - Give a survey of materials science and machine learning - Provide **intuition** to help understand advanced concepts --- # Class format - Lots of **interactive discussion and questions** - Ask questions at any time (but please raise your hand) --- class: center, middle # Why do we care about Materials Informatics?
--- # But designing new materials is **hard**
--- # Can machines help us?
--- # How smart are machines?
--- # Can machines help us **design and understand materials**?
- (Source: 10.1038/ncomms14282) --- class: center, middle # Why do we need new materials? ---
---
---
---
---
--- class: center, middle # Structures and Properties of Materials --- # Crystal structures - What is a crystal? Can anyone give examples?
??? [Show picture of crystal lattice and/or unit cell] [Useful because it lets us DESCRIBE MATERIALS] --- # Which ones are crystals?
??? [ Show a few images, macro/micro/atomic scale ] --- # Material properties We often are interested in what **properties** materials have... - What **properties** do you think this material has?
--- class: center, middle # Informatics and Machine Learning --- # Ideas about the world: **scientific theories** - Which is heavier? A block of iron or a block of wood (of same sizes)? Why?
--- # Data-first isn't always so silly - If I throw a ball, how do I figure out where it lands?
--- # Data-first isn't always so silly - If I throw a ball, how do I figure out where it lands?
--- # Finding patterns in the data
## 2, 4, 8, 16, 32, ??
## 1, 1, 2, 3, 5, 8, 13, ?? --- #DISCUSSION: But models aren't always so easy to find...
--- # A materials informatics research example
- (Source: 10.1038/nphys4035) --- #Looks familiar, right?
--- # What we learned today - Materials science: studying / designing matter by understanding atoms, properties, etc. - Materials informatics: studying materials using data (and usually machine learning techniques) --- # Thanks for listening! Any last questions?


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