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The Value of Psychotic Experience
by Alan WattsI think most of you know from the announcement of this series of seminars and workshops during the summer, they're entitled 'The Value of Psychotic Experience.' And many people who are interested in an entirely new approach to problems of what have hitherto been called mental health are participating in these seminars and workshops, and doing something which is extremely dangerous and in a way revolutionary. For this reason:
We are living in a world where deviant opinions about religion are no longer dangerous, because no one takes religion seriously, and therefore you can be like Bishop Pike and question the doctrine of the Holy Trinity, the reality of the virgin birth, and the physical ressurection of Jesus, and still remain a bishop in good standing. But what you can't get away with today, or at least you have great difficulty in getting away with is psychiatric heresy. Because psychiatry is taken seriously, and indeed, I would like to draw a parallel between today and the Middle Ages in the respect of this whole question.
When we go back to the days of the Spanish Inquisition, we must remember that the professor of theology at the University of Seville has the same kind of social prestige and intellectual standing that today would be enjoyed by the professor of pathology at Stanford Medical School. And you must bear in mind that this theologan, like the professor of pathology today, is a man of good will. Intensely interested in human welfare. He didn't merely opine; that professor of theology KNEW that anybody who had heretical religious views would suffer everlasting agony of the most apalling kind. And some of you should read the imaginative descriptions of the sufferings of Hell, written not only in the Middle Ages, but in quite recent times by men of intense intellectual acumen. And therefore out of real merciful motivation, the Inquisitors thought that it was the best thing they could do to torture heresy out of those who held it. Worse still, heresy was infectious, and would contaminate other people and put them in this immortal danger. And so with the best motivations imaginable, the used the thumbscrew, the rack, the iron maiden, the leaded cat-of-nine-tails, and finally the stake to get these people to come to their senses, because nothing else seemed to be available.
Today, serious heresy, and rather peculiarly in the United States, is a deviant state of consciousness. Not so much deviant opinions as having a kind of experience which is different from 'regular' experience. And as Ronald Lang, who is going to participate in this series, has so well pointed out, we are taught what experiences are permissable in the same way we are taught what gestures, what manners, what behavior is permissable and socially acceptable. And therefore, if a person has so-called 'strange' experiences, and endeavors to communicate these experiences--because naturally one talks about what one feels--and endeavors to communicate these experiences to other people, he is looked at in a very odd way and asked 'are you feeling all right?' Because people feel distinctly uncomfortable when the realize they are in the presence of someone who is experiencing the world in a rather different way from themselves. They call in question as to whether this person is indeed human.  And you get the kind of--the same kind of queasy feeling inside as you would get if, for the sake of example, you were to encounter a very beautiful girl, very formally dressed, and you were introduced, and in order to shake hands, she removed her glove, and you found in your hand the claw of a large bird. That would be spooky, wouldn't it?Or let's suppose that you were looking at a rose. And you looked down in the middle where the petals are closed, and you suddenly saw them open like lips, and the rose addressed you and said 'good morning.' You would feel something uncanny was going on. And in rather the same way, in an every day kind of circumstance, when you are sitting in a bar drinking, and you find you have a drunk next to you. And he tells you, 'undistinguishable drunken ranting' and you sort of move your stool a little ways away from this man, because he's become in some way what we mean by nonhuman. Now, we understand the drunk; we know what's the matter with him, and it'll wear off. But when quite unaccountably, a person gives representation that he's suddenly got the feeling that he's living in backwards time, or that everybody seems to be separated from him by a huge sheet of glass. Or that he's suddenly seeing everything in unbelievably detailed moving colors. We say, 'well that's not normal. Therefore there must be something wrong with you.' And the fact that we have such an enormous percentage of the population of this country in mental institutions is a thing we may have to look at from a very different point of view, not that there may be a high incidence of mental sickness, but that there may be a high incidence of intolerance of variations of consciousness.
Now in Arabic countries, where the Islamic religion prevails, a person whom we would define as mentally deranged is regarded with a certain respect.  And because his soul is with Allah, you must respect this body and care for it, not as something that is to be sort of swept away and put out of sight, but as something of a reminder that a man can still be living on Earth while his soul is in Heaven. Very diffent point of view. Also in India, there is a certain difference in attitude to people who would be called nuts, because there is a poem--an ancient poem of the Hindus-- which says 'sometimes naked, sometimes mad, now's a scholar, now's a fool, thus they appear on Earth as free men.'
But you see, we in our attitude to this sort of behavior, which is essentially in its first inception harmless, these people are talking what we regard to be nonsense. And to be experienced in nonsense. We feel threatened by that, because we are not secure in ourselves. A very secure person can adapt himself with amazing speed to different kinds of communciation. In foreign countries, for example, where you don't speak the language of the people you are staying with, if you don't feel ashamed of this, you can set up an enormous degree of communication with other people through gesture and even something most surprising, people can communicate with each other by simply talking. You can get a lot across to people by talking intelligent nonsense, by, as it were, imitating a foreign language; speaking like it sounds. You can communicate feeligns, emotions, like and dislike of this, that and the other; very simply. But if you are rigid and are not willing to do this type of playing, then you feel threatened by anybody who communicates with you in a funny way. And so this rigidity sets up a kind of vicious circle. The minute, in other words, someone makes an unusual communciation to you about an unusual state of consciousness, and you back off, the individual wonders 'is there something wrong with me? I don't seem to be understood by anyone.' Or he may wonder 'what's going on? Has everybody else suddenly gone crazy?' And then if he feels that he gets frightened, and to the degree that he gets more frightened, he gets more defensive, and eventually land up with being catatonic, which is a person who simply doesn't move. And so then what we do is we whiffle him off to an institution, where he is captured by the inquisitors. This is a very special priesthood. And they have all the special marks that priesthoods have always had. They have a special vestment. Like the Catholic priest at mass wears a *, the mental doctor, like every physician, wears a long white coat, and may carry something that corresponds, shall we say, so a stole, which is a stethescope around his neck. He will then, under his authority, which is often in total defience of every conceivable civil liberty, will incarcerate this incomprehensible person, and as Lang has pointed out, he undergoes a ritual of dehumanization. And he's put away. And because the hospitals are so crowded with people of this kind, he's going to get very little attention. And it's very difficult to know, when you get attention, how to work with it.
You get into this Kafka-esque situation which you get, say, in the state of California, if you are sent to such an institute as Vacaville prison, which is as you drive on the highway from San Francisco to Sacramento, you will encounter Vacaville about halfway between. You will see a great sign which will say 'California State Medical Facility.' The state of California is famous for circumlocution. When you go underneath a low bridge, instead of saying 'Low Bridge,' it says 'Impaired Vertical Clearance.' Or when you're going to cross a toll bridge, instead of saying, plainly, 'Toll Bridge,' it says 'Entering Vehicular Crossing.' And when it should be saying, plainly, 'Prison,' it says either 'California State Medical Facility,' or 'California State Correctional Facility,' as it does as Soledad.  And there is a supervising psychiatric medical sort of social service staff there, who examine the inmates once in a while because they have such a large number. It's a maximum security prison, much more ringed around with defences than even San Quentin. I went there to lecture to the inmates some time ago. They wanted someone to talk to them about meditation and yoga, and one of the inmates took me aside--a very clean-cut all-American boy. And he had been put in there probably for smoking pot; I'm not absolutely sure in my memory what the offense was. He said 'You know, I am very puzzled about this place.  He said 'I think they don't know how to go about it. I've just been refused release; I went up before the committee; I talked to them. But I don't know what the rules of the game are. And incidentally, the members of the committee don't either.'
So we have these situation, you see, of confusion. So that when a person goes into a mental hospital and feels first of all perhaps that he should try to sort himself out and talk reasonably with the physician. There is introduced into the communications system between them a fundamental element of fear and mistrust. Because I could talk to any individual if I were malicious and interpret every sane remark you make as something deeply sinister; that would simply exhibit my own paranoia. And the psychiatrist can very easily get paranoid, because the system he is asked to represent, officially is paranoid. I talked with a psychiatrist in England just a few weeks ago. One of the most charming women I've come across, an older woman, very intelligent, quite beautiful, very reasonable. And she was discussing with me the problem of the LSD psychosis. I asked her what sort of treatments they were using, and all sorts of questions about that, and she appeared at first to be a little on the defensive about it. We got onto the subject of the experience of what is officially called 'depersonalization,' where you feel that you and your experience--your sensory experience--that is to say all that you do experience: the people, the things, the animals, the buildings around you--that it's all one. I said 'do you call this a hallucination? After all,' I said, 'it fits the facts of science, of biophysics, of ecology, of biology, and much better than our ordinary normal experience fits it.' She said 'that's not my problem.' She said 'that may be true, but I am employed by a society which feels that it ought to maintain a certain average kind of normal experience, and my job is to restore people to what society considers normal consciousness. I have no alternative but to leave it at that.'
So, then. When someone is introduced into this situation, and it's very difficult to get attention, you feel terrified. The mental hospital, often in its very architecture, suggests some of the great visions of madness, of-- You know that feeling of-- The corridors of the mind. If you got lost in a maze and you couldn't get back.  You feel very lost. And the mental hospital in its architecture and everything represents that situation. Endless corridors, all the same. Which one are you in? Where are you? Will you ever get out? And it goes on monotonously, day after day after day after day after day. And someone who talks to you occasionally doesn't have a straight look in his eye. He doesn't see you as quite human. He looks at you as if you're weird. What are you to do? The best thing to do is get violent, if you really want to get out. Well then they say that's proof that you're crazy.  Then they say, 'well, that's conclusive. The person isn't human.'
Well, the question has been raised a great deal in the last few days on the television, as to whether this is a sick society. And I have listened to a perfectly beautiful pschoanalyst with a thick German accent. Oh, marvelous things!  And I have listened to four red-blooded Americans saying 'most people in this society are good people, and it's a GOOD society, but we have a very sick minority.'
Now, what I want to do in--certainly this first part of the seminar--is to call in question, very fundamentally, all of our basic ideas about what is sickness, what is health, what is sanity, what is insanity. Because I think we have to begin from this position of humility; that we really don't know. It's reported that shortly before he died, Robert Oppenheimer, looking at the picture of technology, especially nuclear technology, said 'I'm afraid it's perfectly obvious that the world is going to hell.' It's going to destroy itself, it's on collision course. The only way in which it might not go to hell is that we do not try to prevent it from doing so. Think that one over. Because it can well be argued that the major troublemakers in the world today are those people with good intentions. Like the professor of theology, University of Seville, professor of psychiatry at wherever you will. The idea that we know who is sick, who is wrong. Now, we are living in a political situation right now where a most fantastic thing is occuring. Everybody knows what they're against; nobody knows what they're for. Because nobody is thinking in terms anymore of what would be a great style of life. The reason we have poverty is that we have no imagination. There's no earthly reason; there's no physical, technical reason for there being any poverty at all anywhere. But you see, there are a great many people accumulating what they think is vast wealth, but it's only money. They don't know how to use it, they don't know how to enjoy it, because they have no imagination.
I'm announcing not the date, but the intention of conducting a seminar for extremely rich people entitled 'Are You Rich and Miserable?' because you very probably are. Some aren't, but most are. Now the thing is that we are living in this situation where everybody knows what they're against, even if they say 'I'm against the war in Vietnam. I am against discrimination against colored people, or against any different race than the discolored race,' and so on. Yeah, so what? But it's not enough to feel like that; that's nothing. You must have some completely concrete vision of what you would like, and therefore I'm making a serious proposition that everybody who goes into college should as an entrance examination have the task of writing an essay on his idea of heaven, in which he is asked to be absolutely specific. He is not allowed, for example, to say 'I would like to have a very beautiful girl to live with.' What do you mean by a beautiful girl? Exactly how, and in what way? Specifically. You know, down to the last wiggle of the hips, and down to every kind of expression of character and socialbility and her interests and all. Be specific! And about everything like that. 'I would like a beautiful house to live in.' Just what exactly do you mean by a beautiful house? Well you've suddenly got to study architecture. You see, and finally, this preliminary essay on 'My Idea of Heaven' turns into his doctoral dissertation. So in a situation where we all know what we're against, and we don't know what we're for, then we know WHO we're against. We're defining all sorts of people as nonhuman. We say they're totally irrational.  People will say, 'oh, those niggers, they're completely uneducated, they'll never learn a thing, there's nothing you can do about it, they're hopeless, get rid of them.' The Birchers are saying the same sort of thing. Other people, the liberals are saying the same thing about the Birchers.  The only result, then, the only thing anybody can think of in this sort of situation is 'get your gun.'  And the point from which we have to begin, then, is that we don't know who is healthy and who is sick. Who is right and who is wrong. And furthermore, we have to start, I think, from the assumption that because we don't know, there isn't anything we can do about it.
There's a Turkish proverb that I like to quote: 'He who sleeps on the floor cannot fall out of bed.' Therefore, we should make it a beginning--a basic assumption about life that even supposing you could improve society, and you could improve yourself, you were never sure that the direction you moved it in would be an improvement.
A Chinese story, kind of a Taoistic story about a farmer. One day, his horse ran away, and all the neighbors gathered in the evening and said 'that's too bad.' He said 'maybe.' Next day, the horse came back and brought with it seven wild horses. 'Wow!' they said, 'Aren't you lucky!' He said 'maybe.' He next day, his son grappled with one of these wild horses and tried to break it in, and he got thrown and broke his leg. And all the neighbors said 'oh, that's too bad that your son broke his leg.' He said, 'maybe.' The next day, the conscription officers came around, gathering young men for the army, and they rejected his son because he had a broken leg. And the visitors all came around and said 'Isn't that great! Your son got out.' He said, 'maybe.'
You see, you never really know in which direction progress lies. And this is today a fantastic problem for geneticists. They genetecists, you know, because they think they are within some degree of controlling the DNA and RNA code, believe that it is really possible perhaps to breed the kind of human beings that we ought to have. And they say 'hooray!' But they think one moment and they think 'ah-ah-ah-ah-ah, but what kind of human being?' So they're very worried. And just a little while ago, a national committee of graduate students and geneticists had a meeting at the University of California and the asked a group of psychologists, theologans and philosophers to come and reason with them about this and give them some insight. And I was included. That means that they are REALLY desperate. So I said 'I'll tell you what, the only thing you can do is to be quite sure that you keep a vast variety of different kinds of human beings, because you never know what's going to happen next. And therefore we need an enormous, shall I say, varied battery of different kinds of human intelligence and resources and abilities. So that there will always be some kind of person available for any emergency that might turn up. So you see, there's a total fallacy in the idea of preaching to people. This is why I abandoned the ministries, I've often said, not because the church didn't practice what it preached, but because it preached. Because you cannot tell people what sort of pattern of life they ought to have, because if they followed your advice, you might have a breed of monsters. Look at it from the point of view that the human race is a breed of monsters.
I was thinking about it this afternoon, driving down from Monterey to here, and looking at the freeways, and all these little cars going along them, and I was wondering if I considered that the planet was a physical body like my own, whether I might not feel that this was some sort of an invasion of weird bacteria that were eating me up. Whether it may be that the birds and the bees and the flowers--animals in general--were a kind of healthy bacteria. You know, bees and birds sort of wander about, generally mix in with the forest and the fields and carry on a rather disorganized but very interesting pattern of life, whereas human beings cut straight lines across everything. Railways. They cover themselves with junk. A bird may have a little nest, but it doesn't have to surround itself with automobiles and books and buildings and phonograph records and universities and clutter up the whole landscape with a lot of bric- a-brac. Human beings pride themselves on this. 'You see, this is culture!' This is a great achievement. Build a building, you know? It's all you can get money for. You can't get money for professors, but you can get them for new buildings. So we cover the Earth with clutter. And so the Earth might feel as if we might feel if suddenly we got a disease which instead of leaving us soft-skinned, covered us with crystalline scabs, and this would be proliferating all over the place--a pox! Are we a pox on the planet? Don't be too sure that we're not. Consider simply this:
There is a good argument--keep in mind I'm saying these things to provoke you, to make you a little insane by being in doubt of all the assumptions which you think are firmly true. It is quite possible, you see, that the whole enterprise of man to control events on the Earth by his conscious intelligence, by his language, by his mathematics, and by his science is a disaster. We say look at his successes, look how much disease we have cured. Look how much hunger has been abolished. Look how we have raised the standard of living. Yeah. But in how long a time?
Well, even if we say this started with the dawn of known history, it's a tiny little fragment of time, as compared with the time in which the human species has existed. And if it's the Industrial Revolution, it narrows down to the teenieest, weeniest little bit of time. How do we know this is progress? How do we know that this is a success? It may be a disaster of unimaginable proportions. It may be. But the truth is, we don't know. Of course, it could be possible, that every star in the heavens was once a planet, and that planet developed intelligent life, which in due course discovered the secrets of atomic energy, blew itself up into a chain reaction, and as it exploded throughout various masses which began in due course to spin around it, became planets, and after a while developed intelligent life. After millions of years, as the central star started to cool off, they blew themselves up in turn, and that's the way the thing goes on. That's of course the theory of the Hindus. Not literally, but they do have the theory, you see, that life, every manifestation of the universe, begins in a glorious way, and then it deteriorates. But then everything does. Isn't everything always falling apart and getting older and fading out? Why shouldn't various species, why shouldn't various planets, why shouldn't various universes be going through the same course?
You see, that's a totally upside-down view in respect to our common sense. We think everything ought to be growing and improving and getting better and better and better and better and better and better. Look at it the other way around, it might be quite different. Then there's another thought. We know that the truth, the way theing are is an interaction, or better, transaction between the physical world and our sense organs, and that therefore, what we know as existence is a relationship. It is the way certain what we will call for the moment electrical vibrations make impression upon sense organs of a certain structure. Now that's a limited way of talking about it, but it will do for the moment. Therefore, according to the structure of the sense organs, the vibrations will appear of be manifested in different ways. In other words, I can move my finger like this, and if it happens to pluck the string of a violin, it will go 'plunk!' In which case my finger and its motion will be manifested as 'plunk!' But if it should so happen that I should strike the string of a bass fiddle, it will go, 'bunggggg' and so the finger will be 'bunggggg' But if the same motion should strike the skin of a drum, 'thunk,' so the finger will be 'thunk,' now what is that motion truly? It's whatever it interacts with. If it goes across somebody elses skin, it'll be something I can't make a noise about. It'd be a feeling.
So depending on the structure of shall we say for the moment the receptor organs, so will the reality be. Now behind the receptor organs--the senses are not at all simple--behind the senses they are inseperable from an extraordinarily complex neurological structure. And not only that, but a system of cultural standards as to what events are to be noticed and what events are to be ignored. What is important for a certain reason such as survival, and what is unimportant, and therefore we further modify the selectivity of the sense organs and of the nervous system as a whole with a selective system of what is culturally accepted as real or unreal, important or unimportant.
So we end up you see, with the possibility that so complex a selective system may have a great many variations, and that people that we call crazy have a different system of evaluation. They may have a difference of neural structure, as would obviously be the case if there were lesions caused by syphillis, or by brain tumors. But what about something not quite at that level, but at the level of the selectivities they imply which would correspond to what I call social conditioning. Now we know the proverb that genius is to madness 'cross the line. And how do we know whether a certain modification in the structure of the whole sensory system is a sickness or whether it is a growning edge--some kind of improvement in the human being. Well we have certain very, very rough standards which we apply to this, but we can never be quite sure because what we call sanity is mob rule. Sanity is simply the vote or organisms that recognize themselves to be humans and they get together and say 'Well, the way we see it is the way it is.' And you will remember in Kipling's story in the 'Jungle Book' called 'Cause Hunting' how the monkeys, the bandiloot are laughed at because every once in a while they get together in a meeting and shout 'We all say so, so it must be true!'
But herein you see lie the deepest political problems. How is the majority to tolerate, to absorb, to evaluate a minority? It's an academic problem. We have standards as to who are sound scholars, reliable scientists--we give them a PhD. And they all get together and uphold the standards. But then they suddenly realize that they're getting a little narrow and that things aren't going on, and suddenly somebody says one day 'Old so-and-so, who we always thought was quite mad and very, very unorthodox has suddenly come up with an idea that we've all got to think about.' So one would say that every university faculty has to include in its membership at least five percent screwballs. Every culture has to tolerate within its domain a lot of weird people. Now there's no possibility that everybody in the United States is going to be a hippie. But the fact that a large number of young people are hippies should be a matter of congratulations, even if you don't want to live that way yourself. Not to mention the various racial variations that we have among us: negroes, Mexicans, Chinese, Japanese, and so forth. All this is exceedingly important, because as I said to the geneticists, this preserves variety. And a culture which is insecure in itself--I'm getting back to a sort of starting point--cannot tolerate this.
Now in England as I remember it, they were much more secure. When I was a boy, 15 years old, in a very orthodox Church of England school, I announced that I was a Buddhist. Nobody turned a hair.  But they said 'Jolly wot, the man's a buhddist!' And positively encouraged me in my deviant interest, and gave me the first prize in the divinity class. Now exactly the same kind of relaxed attitude is necessary here.
Let's ask a few questions that don't need answers. Is the American family such a drag that a few kids living in free-love communes are a fundamental threat to it and will pervert all our nice boys and girls to live that way?  Are a few kids going around in elegant beards and long hair going to turn all our boys into weirdos?
Say, I had a funny experience. When I was in England I attended services at Westminster Abbey. I took my wife there because I really wanted to her to see this thing, because it's the heart and soul of British establishment. The dean of Westminster is like the Dali Lama almost. They had this very elegant victorian service--beautiful vestments, choir and everything--and as they were coming out in procession, the choir came first, which were little boys with proper haircuts and surplices.?A and red caps on, there were a number of older boys wearing surplices--the special kind of surplice that is worn by its color of a British public school. Y'know, the public schools are not public schools, they're very private schools, very exclusive schools, and the school of Westminster is one of the top, like Eaton or Harrow. Suddenly, these boys in surplices turn up, with these enormous Beatles haircuts whishing all over the place. I couldn't believe my eyes, because I used to be a King's Scholar, and in our day, we were very proper and all wore mortarboards over short hair. And then behind these surpliced boys, there were the commoners of the school, who were not King's Scholars and therefore didn't wear surplices, but wore striped black pants, black coats, wing collars and black ties. And we always used to walk in procession as we came out, like this, but here were these boys with a similar hairdo coming out. .apparent visual joke here that I guess you'd have to be there to get, but very funny, it would seemA My god, what's going on? This is Westminster Abbey! But the dean of Westminster doesn't turn a hair, he takes it all in stride. He's perfectly secure. He knows he is who he is. He knows it's ordained by Jesus Christ and everything else and it's all right, and if you want to come in and do something different, it's all right.
And that is the attitude we have to have in regard to everything deviant, psychotic, and weird. Because we are not sure what's right, who's sane, which end is up. In a relativistic universe, you don't cling to anything, you learn to swim. And you know what swimming is. It's a kind of relaxed attitude to the water, in which you don't keep yourself afloat by holding the water, but by a certain giving to it, and it's just the same with relationships to people all around.
ALAN WATTS: THE VALUE OF PSYCHOTIC EXPERIENCE, PART 2
Zen has attracted attention over the years, since 1927, when Dr. Daisetz Suzuki first published his essays in Zen Buddhism, and he had a very odd fascination with Westerners. To begin with, very many intelligent Western people were becoming--had already become, dissatisfied with the standard brands of their own religions, and this dissatisfaction had of course begun to take place quite seriously towards the close of the 19th century, and at that time, we began to be exposed to Oriental philosophy or religion, whatever you want to call it, because the great scholars like Maxmilla, ¨Riese DavidsŁ and so on were translating the texts of Buddhism and Hinduism. And already in 1848, the Jesuit had translated the Tao Te Ching, the Taoist texts from China into French, and translations into English then became available.What happened was rather curious, because we were receiving Oriental tradition on a far higher level of sophistication than we were receiving the Christian or the Jewish traditions. The average person was exposed to an extremely low level of Christianity, and therefore immediately compared this to the highest level of Hinduism and Buddhism, much to the detriment of the former, because you could no go into your parish church, even if you lived in a very good neighborhood, even in a university neighborhood and find Meister Eckhart for sale on the entrance table. Nor even would you find some Thomas Aquinas.  And so the comparison was overwheming. It wasn't really fair for the Christian tradition, but that's what happened. Then something else happened, which was that in the year 1875, a strange Russian woman by the name of H.P. Blavatsky¨ founded the Theosophical Society, whose doctrines and literature were a fantastic hodgepodge of the Western occult tradition, a great deal of Hindu and Buddhist lore, a smattering of Tibetan Buddhism and Chinese Buddhism, but it all was very romantic, and presuppose that the adepts of Hinduism, Buddhism, Taoism and so forth were very high order initiates. Supermen. The masters. And they had their secret lodges in the vastness of the Himalayas, and even such places as the Andes, and they were rather inaccessable, because they were in possession of the most dangerous secrets of occult power. But they every now and then felt safe to send an emissary out into the world to teach the ancient doctrine of liberation to mankind.
And so the West, through this, got an extremely glamorous impression of what Oriental wisdom might be. And I remember the media in which I found myself involved in England when Dr. Suzuki first came around was essentially theosophical in its oreintation. They expected Dr Suzuki to be a master in that sense, in that theosophical sense, or if not quite that, then at least in touch with those who were. And the whole idea of the Zen master, the way the whole word 'master' got attached to a teacher of Zen carried with it this theosophical flavor, and also a certain flavor which the Theosophical Society picked up from India where the great guru is somebody enormously revered. People would travel for hundreds of miles just to look at him, to have what is called Tao-Shan¨, or 'view' of someone like Shri Arabindo¨ or Shri Ramana Maharshi or the current Maharshi, or it would be Shri Rama Krishna or Amandani, who's a lady guru, and there's always the feeling that these people have tremendous powers. And so this is what was expected by many people from Zen masters. But the interesting thing about Zen masters is they're not like that. They're very human. And they wouldn't deign to perform a miracle. I got to know about Zen masters through my first wife, because when whe was an adolescent about 14 years old, she went to Japan, and they lived close to the great monastary of Nonzengi where the master in charge was a very brilliant master by the name of Nonshinkan¨. He was an old man, and he was-- The man who is appointed to be the roshi or the teacher of Nonzengi of Kyoto was always considered to be just about tops of the whole bunch. We've had the present master, Shibayama Roshi visiting the United States recently. And he used to sit around with her and he'd get a catalog of all the famous sumo wrestlers, who were enormously fat. They have to eat, eat, eat, eat, eat, eat rice, because the whole art depends on their weight. But they're very handsome. And he used to thumb them through sitting next to this little girl and pick out husbands for her. And then he would have nose-picking contests with her. Y'know, they weren't exactly real, but they'd make sort of like picking their noses and flicking the snots at each other.
So you mustn't expect the Zen master to be like the Pope. They can come on very dignified when necessary, but there's always something about them which is fundamentally lacking in seriousness. Even though they may be well-endowed with sincerety. They're two quite different qualities. They are extraordinarily interesting people, as are their students, in the context of Japanese culture. Japanese culture is terribly uptight, because the Japanese are very emotional people, underneath. Tremendously passionate. But they have to hold that in, because they live in a crowded country, and space is the most valuable thing in Japan, especially living space, because 80% of the territory is uninhabitable. It's forested mountains, and you can't grow anything there, you can't make much of a city. So they're all crowded into 20% of the country. And so this feeling of being pressed in by other people is-- They try to handle it by exquisite politeness, and by orderly behavior by vary strong convention. But this makes the average Japanese man and woman kind of nervous. When a Japanese giggles, it's a sign not of being amused, but of being embarrassed. And you'll find all sorts of funny attitudes, such as people putting their hands over their mouths when they're eating, or to conceal a giggle.
And they're tremendously hung up on social indebtedness, whether it's a debt to the emperor, or whether it's a debt to your fathers and mothers, or whether it's a debt to someone in the family, or whether it's a debt to friends whom you visited and they entertained you. Well, you always take gifts with you when you go, but then that still embarrasses your friends to whom you take the gifts, because they have to consider the next time they go to visit you, they've got to take gifts of the same value. And you wouldn't believe what goes on.
So actually, what Zen is in Japan is a release from Japanese culture. It is gettign rid of the hang-ups, but doing it in such a way as not to embarrass the rest of society. So the Zen monks come on as if they're pretty stiff; when they walk out in the street, they almost look like soldiers. When they walk, they stride, they don't shuffle, like other Japanese do. They don't giggle, ever. They have no need to. Because the process of their discipline has liberated them from the social conventions.  They pretend they're the very pillars of society.
So they follow a tradition which is very ancient, which is that in every society, there is an inner group who doesn't believe in the fairy stories they've been told. He sees through. To whom everything becomes completely transparent. You see what games people are playing. And you don't despise them for that. You see, they're involved in that because of their whole conditioning. But you see through all those games. The game--the me game--that everybody is playing is of course the survival game. And we think-- We've got our minds rigged about this in such a way that we live in constant dread of sickness or of death or of loss of property or status. Well, so what? Supposing you do. Everybody's going to die someday. It's a little harder to take when you're 20 than when you're 50, but if you are entirely hung up on the idea that YOU are this particular expression of the universe and that only, you haven't been properly educated. If you were awake, you would understand that you were the whole universe, pretending, projecting itself at a point called here and now, in the form of the human organism. And you would understand that very clearly, not just as an idea, but as an actual vivid sensation, just the same way you know you're sitting in this room. And so the object of Zen, as of other ways of liberation--Taoism, Hinduism; you'll find it even in Christianity in the Eastern Orthodox Church; Islam--the object of these ways of liberation is to bring you to a vivid, perfectly clear, I would say even sensuous realization of your true identity as a temporary coming on and going off, coming on and going off, or vibration as waves, of what there is, and always is, of the famous E which equals MC squared. And you are that. You will be that, and always will be that--accept that. This whatever it is-- which, then no which, then which--it doesn't operate in time. Time is a more or less human illusion. We will discover this to be so in our experiments. You will discover that there is only now, and there never was anything but now and never will be anything but now, and now is eternity.
Now Zen is a little bit unlike the rest of Hinduism and Buddhism in that it's summed up in these four principles: It's a special transmission of the Buddhist enlightenment outside the scriptures. It does not depend on words or letters. It points directly to your own mind-heart and attains therefore Buddhahood directly. Buddhahood means the state of being awakened to the real nature of things. But you see, what IS the real nature of things? It obviously cannot be described. Just as if I were to ask what is the true position of the stars in the big dipper. Well, it depends from where you're looking. From one point in space, they would be completely different in position from another. So there is no true position of those stars. So in the same way, you cannot therefore describe their true position or their true nature. And yet on the other hand, when you look at them, and really don't try to figure it out, you see them as they are, and they are as they are from every point of view, wherever you look at them.
So there is no way of describing or putting you finger on what the Buddhists call reality or in Sanscrit, tathata, which means 'suchness' or 'thatness,' or sunyata, which means 'voidness,' in the sense that all conceptions of the world when absolutised are void. It doesn't mean that the world is, in our Western sense, nothing. It means that it's no thing. And a thing--as I think I explained last night--is a unit of thought. A think. So reality isn't a think. We cannot say what it is, but we can experience it. And that is of course the project of Zen.
Now, it does it by direct pointing. And this is what exciting people about Dr Suzuki's work when he first let people know about Zen in the Western world. It seemed to consist of an enormous assemblage of weird anecdotes. That these people instead of explaining had kind of a joke system, or kind of a riddle system. the basic secret of the Buddha system is simply this, and it's explained by a great Chinese Zen master, whose name was Hui-neng, who died in the year 713 AD. And he explained it in his sutra. He said, 'If anybody asks you about secular matters, answer them in terms of metaphysical matters. But if they ask you about things phusical, answer them in terms of things worldly.' So if you ask a Zen master what is the fundamental teaching of the Buddha, he answers immediately, 'Have you had breakfast?' 'Yes.' 'If so, go and wash your bowl.' Or such a thing as 'Since I came to you master, you have never given me any instruction.' 'How can you say that I've never given you any instruction? When you brought me tea, didn't I drink it? When you brought me rice, didn't I eat it? When you saluted me, didn't I return the salutation? How can you say that I haven't instructed you?' And the student said, 'Master, I don't understand.' And he said, 'If you want to understand, see into it directly, but when you begin to think about it, it is altogether missed.'
They have also in Zen monastaries a funny thing. It's a chin rest. If you spend a long time meditating, it's sometimes convenient to have something to rest your chin on, and it's called a Zen- bon¨. And so once a student asked the teacher, 'Why did Bodidharma--' who is supposed to have brought Zen, you know from India to China '--why did Bodidharma come to China?' And the master said 'Give me that Zen-bon.' And the student passed it to him and the master hit him with it.
A contrary kind of story. The master and one of his students were working, I think pruning trees. And suddenly the student said to the master, 'Will you let me have the knife?' And he handed it to him blade-first. He said 'Please let me have the other end.' And the master said 'What would you do with the other end?'
There was a group walking through the forest, and suddenly the master picked up a branch and handed it to one of his disciples and said 'Tell me, what is it?' Y'know, the master was still holding it. He said 'Tell me, what is it?' The disciple hesitated, and the master hit him with it. He passed it to another desciple. 'What is it?' The disciple said 'Let me have it so I can tell you.' So the master threw the branch at this other disciple, and he caught it and hit the master.
I was once talking with a Zen master, and in an idle sort of way we were discussing these stories, and he said, 'You know, I've often wondered, when water goes down a drain, does it go clockwise or anticlockwise?' 'Well, I said, it might do either.' He said 'NO! It goes this way!' -apparently something visual here,. So then he said 'Which came first, egg or hen?' So I said, -clucks like hen,. He said 'Yes, that's right.'
Now all these Zen jokes are much simpler in their meaning than you would ever imagine. They are so devestatingly simple that you don't see them. Everybody looks for something complicated. When I was once visited by a Chinese Zen man, I had my little daughter with me, and he said to her, 'You know, once upon a time, there was a man who kept a very small goose in a bottle. A gosling. And it began to grow larger and larger until he couldn't get it out of the bottle. Now, he didn't want to break the bottle, and he didn't want to hurt the goose, so what should he do?' And she said immediately, 'Just break the bottle.' He turned to me and he said 'You see, they always get it when they're under seven.'
So there's that side of Zen, and that side of Zen we would call, essentially, in technical language, sanzen. That means, really, to study Zen in the form of an interchange with the teacher. Sanzen in the monastaries these days is very formal. But these are all stories from Tan and Sung dynasty China, where the relationship of student and teacher was more informal than it has now become. The other side of Zen is za-zen, or the practice of meditation. And that involves-- You can actually practice za-zen in four ways, corresponding to what the Buddhists call the four dignitaries of man: walking, standing, sitting, and lying. Only sitting is the one most used. But you should not imagine that Zen mediation requires absolutely that it be done sitting.
But za-zen is very fundamental to Zen, in one form or another. And it is the art of letting your mind become still. That doesn't mean that it becomes blank. That doesn't mean that you have no what we would call sensory input. It mean simply that you learn how to breath properly. That's very important. And that you stop talking to yourself. The interminable chatter inside your skull comes to rest. So what happens is this-- I should add that there are various schools of Zen, with different methods and different approaches, and my approach to it is again somewhat different from other peoples, but buddhas have always have this kind of elasticity. But what normally happens is this:
You have some difficulty in being accepeted by a teacher, because Buddhism is not on a missionary basis. They don't send out ads and invitations saying 'Come to our jolly church,' you know. They wouldn't dream of doing that. Because it's up to you to seek it out.  So it is difficult to get into a Zen school. It isn't really a monastary as we have monastaries, where the monks take life vows of poverty, chastity and obedience. It's more like a theological seminary, and the monk, or seminarist, as he might more accurately be called, stays there for a number of years, until he feels he's got the thing that he went for. The teacher, the master, is usually unmarried, but that doesn't prevent him from having girlfriends. They are not uptight about sex in Zen, as they are in other forms of Buddhism. They're very-- The whole atmosphere of the monastary is very fascinating. Everybody is sort of alive. They don't dither around. They're all working. But they're very open. In some kinds of Buddhism, they have conniptions if you try to photograph something. 'This is too sacred to be photographed,' sort of attitude. In Zen, they say 'Help yourself! Photograph! Anything! Go on, take picture!' So, completely open.
So then, they have these sesshins. You must distinguish between 'session,' English, and 'sesshin,' Japanese. 'Sesshin' means a long, long period of meditation practice, over say, a whole week. But especially early in the morning, and at certain times of day, they all meet and they sit cross-legged on their mats in meditation. In one set, they meditate on what is called a koan, and that means a 'case,' in the sense of a case in law establishing a precedent. And it's one of these stories. When the great master Joshu¨, who lived in the Tung dynasty, was asked, 'Does a dog have buddha nature?' he replied 'mu,' which means no. Everybody knows that dogs have buddha nature. So why did the great master say 'mu'? That's a koan. Or Hakuin invented a koan as a proverb in Chinese: One hand cannot make a clap. So the koan is 'What is the sound of one hand?' Of course, it's differently said in Japanese than it is in English. But, you see, it sounds like a very, very complicated problem, and so these students take this problem back for meditation, and they-- First of all, the average person would start trying to arrive at an intellectual answer. And if he takes that back to the teacher, the teacher simply rejects it out of hand, time after time after time.
I had a friend who had this koan, and he was an American. And one day he was going to the teacher for sanzen, and he saw a bullfrog. They have many bullfrogs in Japan, about so big, sitting in the garden, and they're very tame. So he swooped up this bullfrog and dropped it in the sleeve of his kimono. And when he got to the master, he produced the bullfrog as the answer to the koan.  So people get desperate about these things, and they go to all sorts of lengths to try and answer them, because they don't realize how simple the answer is. That's what's always overlooked. If you were to answer that koan in English, it gives it to you as it's stated. It says 'WHAT is the sound of one hand?' .Watts finds this very funny, but nobody else does, It's very difficult for people to become that simple. And you can become that simple only through meditation where you stop all the words and you see all the things perfectly directly. And so accomplished Zen people are very, very direct. Their life is completely simplified, because they know perfectly well--and if you look, and see youself--that there is only this present moment. No past. No future.
So what's your problem? You know, you could ask this of anyone. Well, you could say 'I've got all sorts of problems and responsibilites' and so on. All right. Don't other people have some share in this? You see, we are always being spiritually conceited in thinking we have to take care of everybody else, and that can sometimes do people a peculiar disservice, because they get into the idea that everybody should take care of them. And so we go around ingratiating ourselves by making all sorts of promises about which we feel enthusiastic at the time, but the enthusiasm wears off and then we don't keep them and then people get annoyed. And we go about telling people how much we like them when we don't. And all sorts of things of that kind by not being direct, you see. This is the whole idea of Zen, is directness. By not being direct, we create a great deal of trouble. However, the primary concern of Zen is not so much with interpersonal relations, as it is with man's relation with nature. In view of life and death, where are you? They have an incscription that hangs up in Zen monastaries, which says 'Birth and death is a serious event. Time waits for no one.' Which is sort of equivalent to the Christian 'Work out your salvation with diligence.' Or with fear and trembling.
So it begins in a clarification of our relationship with existence. With being. And therefore it lies in a more, I would say, primary or kindergarden level than the encounter group, which is concerned with personal relationships. But I don't think you can set up harmonious personal relationships until you've got with yourself. Until you've got with the sky, the trees, and the rocks, and the water, and the fire. Then you're fundamental. You're really alive. From that position, you can relate much better to other people, because you don't come on as a kind of 'poor little me, who's in this universe on probation and doesn't really belong' attitude. And most of us do that, terribly apologetic for our existence. Just because we're aplogetic, some people are insufferably proud, because they feel they have to compensate for this inferior status in the universe by overdoing it with boastfulness and with agression towards others. But if you know that-- Well, when Dogen came back from China--he lived around 1200 AD, and studied Zen there and founded a great monastary--they asked him 'What did you learn in China?' He said, 'I learned that the eyes are horizontal, and the nose is perpendicular.'
Now in all these things, don't search for a deep symbolism. Some decrepit modern Chinese Zen will look for--will give you a symbolic understanding of all these sayings. But they're NOT symbolic; they're absolutely direct. So when somebody says, you see, that the fundamental principle of Buddhism is a cyprus tree in the garden, you are not to understand this this is some pantheistic doctrine in which the cyprus tree is a manifestation of the godhead. Let me illustrate the point further, because I can't illustrate it intellectually. It's a little bit of a complicated story, but I think you can follow it.
There is a sect of Buddhism in Japan called Jodo-shinshu .Sukhavati?,, which means the true teaching about the pure land. And they have a method of meditation in which they call upon the name of a transcendental buddha called Amida. So they say this formula, 'Namu Amida Butsu.' Namu means like 'hail,' only it means, in other cultures and other languages than ours, instead of saying 'hail,' they say 'name,' 'nama.' So 'Namu Amida Bustu' means 'Hail Amitabha buddha,' or 'Amida' is the Japanese. That formula is called 'Nambutsu,' or 'Having the buddha in mind.'
There was a priest of this sect that went to study with a Zen master, and had made good progress, and the master told him to write a poem expressing his understanding. So he wrote the following poem:
When nambutsu is said, There is neither oneself nor Buddha; Na-mu- a-mi-da-bu-tsu-- Only the sound is heard.
And the Zen master scratched his head awhile, because he wasn't quite satisfied with it, so the student submitted another poem which did satisfy the master, and it went like this:
When the nambutsu is said, There is neither oneself nor Buddha; Na-ma-a-mi-da-bu-tsu, Na-ma-a-mi-da-bu-tsu.
The master was satisfied, but in my opinion it had one line too many.
So you see that the Zen practice involves using words to get beyond words, where we might use words simply for their sound. Let's suppose you say the word 'yes.' Yes. Yes. Yes. Yes. Yes. Yes. Yes. You come to think after a while 'Isn't that a funny kind of noise to make?' And we are delivered from the hypnotic effect of words by this particular use of words. We learn they're only words after all, but we hypnotize people by using words. And children, for instance, have no antibodies against words, so they get absolutely frantic, you know. 'Jeannie called me a sissy!' So what? But children get absolutely desperate about it because we put this power of words upon them, these incantations. These are spells, you see. All magicians embroil people in spells and incantations, because they use words to beguil. And so then, we are from infancy told who we are, what is our identity, what our expectations should be, what we ought to get out of life, what class we belong to. And we believe the whole thing. And having believed it, we come to sense it, as we sense the hard wood of the corner of the table, and we think it's real, and it's a bunch of hogwash. It's an amusing game, if you know that that's all it is, and can be played with eloquence. But the more you know it's ONLY an illusion, the better you can play it.
So then. In this practice, it is very important, as I said last night, to bear it in mind that Zen study or Zen meditation--and this includes yoga and other forms of meditation--is not like any other form of exercise, in that it is NOT done for a purpose. You may ask me 'How can I possibly do something that is not being done for a purpose?' because you have a fixed idea, which is part of the hypnosis, that everything you do is done for a purpose. For what purpose do you have belly rumbles?
I remember Soki Antsuzaki¨, who was a great Zen master, sitting in his gorgeous golden robes, with incense burning in front of him, and his scriptures open on the stand, and holding a sort of sceptor that Zen masters occasionally hold, and reading a passage from the sutra, then by commment saying, 'Fundamental principle of Buddhism is purposelessness. Most important to attain state of no purpose. When you drop fart, you don't say 'At 9:00, I drop fart.' It just happen.' And all this kind crypto-Christain audience, very embarrassed, stuffing handherchiefs into their mouths.
In Chinese, their word for nature is 'tzu-jan,' in Japanese, 'shi-jen¨,' at that means, 'what is so of itself. We would say 'spontaneity.' A tree has no intention to grow. Water has no intention to flow. The clouds have no intention to blow. And as the poem says,
When the wild geese fly over the lake, The water does not intend to reflect them, And the geese have no mind to cast their image.
Now, that worries us. First of all, we think that spontaneity is mere capricious action. There's nothing very capricious about the way a tree grows. It's a highly intelligent design. So is the bird. So are you. But a lot of people who don't quite understand Zen think that spontaneity is just doing anything, and the more it looks like anything, the more spontaneous it is. In other words, they have a preconception of spontaneity, that a person behaving spontaneously. Or would probably be vulgar, impolite, rude. It doesn't follow; that's merely a preconception of the nature of spontaneity.  It's the way it happens. So that's a really high order of intelligence.
What is happening, then, in the discipline of Zen is that we are trying to move into the place where we use that intelligence in everyday life--but you see, you can't get it on purpose. The purpose, the motivation always spoils it. So you would ask then, 'How do I get rid of purpose?' On purpose? That you ask that question simply shows how tied up you are in the thinking process. You cannot force that process to stop. You have to see it as nonsense. Babble.  So one learns to listen to one's thoughts and let the mind think anything it wants to think, but don't take it seriously.  And eventually--but without bothering about any eventually, because in this state, there is no future; you're not concerned about the future. Purpose is always concerned with the future.
Now what bugs Western people about this is they would say 'Are you trying to tell us that life has no meaning, no purpose?' Yes. What's so bad about that? What sort of meaning would you like it to have? Propose me a meaning for life. Anything you want. Well, when people try to think of what the meaning of life is, they say 'Well, I think that we're all part of a plan, and that working as if we were characters in a novel or a play, and we are all working towards a great fulfillment. One day, perhaps after we're dead, perhaps in the future life, there'll be a great gazoozie. There'll be a galuptious, glorious goodie at the end of the line, see? And that's what we're all for, see? To get in with that. And it will all be very, very important, because it won't be something trivial. It will be something extremely holy.' Well I say 'What's your idea of something very holy?' Well, nobody really knows. You know, they think about church, and medieval artists who used to represent heaven in the form of everybody sitting in choir stalls.  It was a kind of sado-masochistic orgy. But heaven looked insufferably dull. And when those little children sang hymns about those eternal sabbaths, it was a a very, depressing future, I can assure you.
But you see, when you follow through these ideas, what do you want? What is the goodie? What is progress all about? You realize that you just don't know. So the question is immediately posed for the meditator, but aren't you there already? I mean, isn't THIS what it's about?


A buffer which allows to push new data and pull it afterwards. The buffer allows multiple threads to push data. Pulling of data blocks until new data is available. Pusing of data blocks until there is a free element in buffer.
More...
#include <Buffer.h>
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std::shared_ptr< boost::signals2::signal< void(void)> > | dataReady |
| | Signals whether data is available for pulling.
|
| |
template<class DataType>
class Buffer< DataType >
A buffer which allows to push new data and pull it afterwards. The buffer allows multiple threads to push data. Pulling of data blocks until new data is available. Pusing of data blocks until there is a free element in buffer.
- Template Parameters
-
| DataType | Type of the data to be buffered. |
template<class DataType >
| int Buffer< DataType >::getBufferSize |
( |
| ) |
|
Gets buffer size.
- Returns
- The buffer size.
template<class DataType >
| bool Buffer< DataType >::isBufferAtIndexSet |
( |
const int |
index | ) |
|
Query if 'index' there is an alement in the buffer at given index.
- Parameters
-
| index | Zero-based index where to look for buffered data. |
- Returns
- true if buffer at index set or if overriding of all existing data is enabled, false if not.
template<class DataType >
| bool Buffer< DataType >::isDataAvailable |
( |
| ) |
|
Queries if a data is available in the buffer.
- Returns
- true if a data is available, false if not.
template<class DataType >
| bool Buffer< DataType >::isDataReleasedAfterPull |
( |
| ) |
|
Query if t data is released after pull.
- Returns
- true if data is released, false if not.
template<class DataType >
| DataType Buffer< DataType >::pullData |
( |
| ) |
|
Pulls the data "oldest" data of the buffer. Blocking until data is available.
- Returns
- The oldest buffered data. Null if the buffer is disabled or empty.
template<class DataType >
| void Buffer< DataType >::pushData |
( |
DataType |
newData, |
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|
int |
index |
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) |
| |
Pushes data into the buffer at the given index.
- Parameters
-
| newData | The data to be pushed to the buffer. |
| index | Zero-based index in the buffer the data h should be pushed |
template<class DataType >
| void Buffer< DataType >::setBufferSize |
( |
int |
bufferSize | ) |
|
Sets szie of the buffer.
- Parameters
-
| bufferSize | Size of the buffer. |
template<class DataType >
| void Buffer< DataType >::setReleaseDataAfterPull |
( |
bool |
enable | ) |
|
Sets the flag indicating to release the data after it was pulled.
- Parameters
-
| enable | true to enable, false to disable. |
The documentation for this class was generated from the following files:
- C:/Users/Martin/Documents/idp-kinecthdfacegrabber/Buffer.h
- C:/Users/Martin/Documents/idp-kinecthdfacegrabber/Buffer.cpp


Bioinformatics Analyst I - Richmond, CA 94804
Title: Bioinformatics Analyst I
Manager: Associate Director, Bioinformatics
Department: Production
Location: 501 Canal Blvd., Richmond
JOB SUMMARY:
Sangamo Therapeutics is seeking a Bioinformatics Analyst I. This is an ideal position for someone who is an advanced bioinformatics tool user, who is interested in growing as a bioinformatician and learning from an existing team. The position will report to the Associate Director of Bioinformatics but work directly with the NGS Core scientist and research associates, and interact with most of the R&D organization.
ESSENTIAL FUNCTIONS:
- Coordinate with NGS Core scientists to support core bioinformatics pipelines
- Work with senior bioinformatic and other scientists to deliver high quality, high-throughput data and analyses to advance therapeutic projects.
- Interact with wet-lab bench scientists, interpret requests, and deliver bioinformatics analyses to non-expert scientists
- Ensure all analyses are traceable, logged, and reproducible
- Create early NGS workflow prototypes and coordinate with wet lab protocol owners to define problem and possible solutions, either via protocol changes or bioinformatics approaches
- Track bottlenecks in analysis pipelines and suggest improvements
- Proactively assess problems with existing data submission procedures and suggest remedies
EDUCATION, EXPERIENCE AND SKILLS REQUIREMENTS:
- B.Sc. or M.Sc. in Molecular Biology, Bioinformatics, Computer Science, Mathematics, Biostatistics or other relevant scientific field
- 2+ years of experience in bioinformatics
- Solid experience using Linux (basic shell scripting, process/job scheduling, and parallelization)
- Ability to install, troubleshoot, and configure public scientific software packages
- Light experience with Python (preferred), R, or other scripting language
- Experience with Illumina sequencing platforms
- Understanding of molecular biology and bioinformatics concepts, processes, and tools
- Ability to use genomic databases to annotate data (e.g. bed files, GTF/GFF, etc.)
- Ability to rapidly summarize data, communicate results, and suggest alternative methods of analysis
- Ability to work in a fast-paced, cross-functional environment and translate ambiguous requests into an action plan
OTHER DESIRED ATTRIBUTES:
- Experience working with any of the following: AWS, Docker, Git, Electronic Lab Notebooks, RESTful APIs
- Experience using Jupyter Notebooks, knitr, or similar methods to ensure reproducibility and documentation during early stage analysis
- Biosample LIMS experience
- Experience with PCR amplicon NGS workflows, automated primer design
- Familiarity with at least one graphing package (e.g. ggplot2, matplotlib, seaborne)
- Experience with pipeline/workflow frameworks (Airflow, Luigi, Toil, etc.)
- Experience working with poorly annotated genomes
- Knowledge of statistics, especially HTS screening statistics
Sangamo is an equal opportunity employer
The above reflects management’s definition of essential functions for this position but does not restrict the tasks that may be assigned. The above duties are representative only; management may assign or reassign duties and responsibilities to this position at any time.
Key words: Biotechnology, pharmaceuticals, bioinformatics, biostatistics


With over 70 million displaced people in the world, migration is reshaping our societies and communities across the world. Especially since the so-called ‘refugee crisis’ in the Mediterranean and today’s migrant caravan across Central America, migration is dominating political and media discourse. While people on the left and right fight over border controls, walls, and asylum quotas, most of us are left to question: What is really going on and what can I do?
In their new homes, refugees and migrants face an ‘us’ vs. ‘them’ mentality - often fueled by politicians and media headlines. Myths surrounding migrants and refugees are abundant: they are stealing our jobs, they bring security threats and increase crime, they are changing our cultural fabric, But as populist politics appear to gain power across Europe and the United States, the anti-immigrant voice is one we can no longer ignore.
Displaced.tv is a weekly web series that helps younger audiences make sense of migration in an age of clickbait, fake news, and information overload. In brief, engaging episodes, we cover basic topics while raising critical questions - because complex problems require complex solutions.
With an ever-growing global population and climate and disaster-related displacement on the rise, young people will live the impacts of migration even more. Which means there is a need for a free, public access resource on migration. Informed and engaged, we hope they will feel empowered to create sustainable and inclusive societies for all.
Jean Doe, XYZ Co.
Designer
Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts.
Jean Doe, XYZ Co.
Developer
Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts.
Jean Doe, XYZ Co.
Photographer
Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts.


- Author: John Yu
- This is a data-science project with visualizations displayed as a web application.
- Data was aquired from the IRS website: https://www.irs.gov/statistics/soi-tax-stats-individual-income-tax-statistics-zip-code-data-soi.
- The information is of the county level, not individual level.
- This project is soley for data exploration. Each zipcode was treated as a row, and clustered using kmeans (6 clusters). Before kmeans, PCA and Standard Scaling was performed. The initial shape of the data is 27681 by 132.
- This project uses the MEAN stack:


fun decodeChecked(input: String): ByteArray
Decodes the given base58 string into the original data bytes, using the checksum in the last 4 bytes of the decoded data to verify that the rest are correct. The checksum is removed from the returned data.
input
- the base58-encoded string to decode (which should include the checksum)
AddressFormatException
- if the input is not base 58 or the checksum does not validate.


{% if site.google_analytics %} {% endif %}
{% seo %}
Learn @ GPIO.CC
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SHAM MAYORS.
III --THE MAYOR OF HALGAVER MOOR.
The people of Bodmin had an old custom of assembling in large numbers on Halgaver Moor in the month of July, and electing a "Mayor of Misrule," for the punishment of petty offenders. Our old historian gives a quaint description.  When these mates meet with any raw serving-man or other young master, who may serve and deserve to make pastime, they cause him to be solemnly arrested for his appearance before the Mayor of Halgaver, where he is charged with wearing, one spur, or wanting a girdle, or some such like felony, and after he hath been arraigned and tried with all requisite circumstances, judgment is given in formal terms, and executed in some one ungracious prank or other, more to the scorn than hurt of the party condemned. Hence is sprung rise proverb, when we see one slovenly apparelled, to say, 'He shall be presented in Halgaver Court."


Studio Essentials: Ronnie Spiteri
Words and photos by Ronnie Spiteri
by MagneticWelcome to our latest exclusive feature, Studio Essentials. where artists give us a look at their go-to tools that they can't live without. This new feature follows along the same lines of How It Was Made but focuses less on a specific track and more on the actual tools in the studio. Ever wonder how that one artist always comes up with the biggest basslines? Most ethereal chords? Punchiest drums? This is the feature where artists spill the beans. This time, we are joined by rising talent Ronnie Spiteri, whose releases on labels like Knee Deep In Sound, We Are The Brave, True Soul and more, have seen him become a global fan favorite. Below, he shows us the goods and lets us in on how he does what he does.
Words and photos by Ronny Spiteri
Moog Sub Analog 37
The latest edition to my arsenal of sonic weaponry, this is such a great synthesizer for arpeggiators & basslines. I have recently used this for the lead track of my ‘Rough Rider EP’ on Christian Smith's Tronic label.
Korg Minilogue XD
This is such a classy powerhouse of a Synth, its great value for money for how much it costs… I always create great Pads & Atmospheric Layers for my tracks and I'm really happy with it, it’s an essential part of my set up.
Elektron Machinedrum SPS-1 UW
This is a very warm sounding piece of hardware that knocks out the best kick drums and hi-hats. I used this drum machine for my track ‘Can You Feel it’ it’s a great bit of equipment that I go to almost every time I’m cooking up beats in the studio
M.Brane 11
If you’re looking to make original claps and snare drums and other mid-range sounds... you should definitely check this little beauty out... if you can get your hands on one as they are discontinued now. You can easily dictate and manipulate the sounds with this, making it really crunchy sounding.
Ronnie’s latest release ‘Rough Rider’ on Tronic is out now on Beatport. Grab it here.


Inherits MonoBehaviour.
◆ addPoint()
| void MazeRunnerManager.addPoint |
( |
| ) |
|
◆ gameEnd()
| void MazeRunnerManager.gameEnd |
( |
| ) |
|
◆ gamePause()
| void MazeRunnerManager.gamePause |
( |
| ) |
|
Pause the UI and disable the player controll
◆ gameReset()
| void MazeRunnerManager.gameReset |
( |
| ) |
|
Reset UI and player position back to middle
◆ gameSetup()
| void MazeRunnerManager.gameSetup |
( |
| ) |
|
◆ gameStart()
| IEnumerator MazeRunnerManager.gameStart |
( |
| ) |
|
|
private |
Thread startup UI and wait for 2 seconds,
Then enable player controll
◆ controls
| GameObject MazeRunnerManager.controls |
◆ Player
| GameObject MazeRunnerManager.Player |
◆ score
| int MazeRunnerManager.score = 0 |
◆ UICall
The documentation for this class was generated from the following file:


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|
BL3 SDK
0.0.1
Borderlands 3 Class Documentation
|
#include <BL3_GbxAI_structs.hpp>
Public Attributes | |
| struct FGbxBlackboardKeySelector | LeadActorKey |
| struct FGbxBlackboardKeySelector | DestinationNodeKey |
| float | SegmentDistance |
| float | MaxWanderingOffset |
| float | ArrivalDistance |
| struct FNumericRange | TargetRouteDistance |
| struct FNumericRange | SpeedScaleRange |
| float | RouteOffsetFromTarget |
| float | TeleportDist |
| bool | bAllowBackwards |
| bool | bAllowTeleport |
| unsigned char | UnknownData00 [0x2] |
| float | FindNavRadius |
| unsigned char | UnknownData01 [0x4] |
| float ArrivalDistance |
| bool bAllowBackwards |
| bool bAllowTeleport |
| struct FGbxBlackboardKeySelector DestinationNodeKey |
| float FindNavRadius |
| struct FGbxBlackboardKeySelector LeadActorKey |
| float MaxWanderingOffset |
| float RouteOffsetFromTarget |
| float SegmentDistance |
| struct FNumericRange SpeedScaleRange |
| struct FNumericRange TargetRouteDistance |
| float TeleportDist |
| unsigned char UnknownData00[0x2] |
| unsigned char UnknownData01[0x4] |


CSS Concepts!
What is the difference between margin, border, and padding?
Margin is the amount of space outside of an element, it's used to position something at a certain distance from another element. Padding creates space inside the borders of an element, and blows up or shrinks the element. Border is the outline around an element and can have different styles, and different weights which are measured in pixels.
What are the best practices associated with using classes vs. ids?
Classes are used for any element that may require the same style in the future and should be used most often. IDs can only be used once per HTML doc.
What are the differences between relative, absolute, fixed, and static positioning?
Relative positioning takes an element and positions it based on the location of the other elements near it. Absolute positioning sticks something exactly where you set it on the page, and it will not affect the positioning of other elements. Fixed position is where you set it, relative to the viewport or browser window. Static positioning is the default, and will allow an element to move around as it normally would.
What does it mean to display inline vs using inline block?
Inline elements can't have a set width or height, they don't respect top & bottom margin/padding. Block elements force a linebreak after the block element. Inline-block elements allow other elements to sit to their left and right. This stackoverflow diagram was extremely helpful to learn the difference.


{% extends 'staff/docs/base.html' %} {% block title %}{{ bad_slug }} Not Found{% endblock %} {% block content %}
The documentation you are looking for was not found or does not exist.


Data processing and automatic QC were performed in QuinCe - an online tool for data reduction and quality control of surface ocean fCO2 data. The report is based on the {{data_config['data_level']}} data, and the data filename(s) as exported from QuinCe are '{{data_config['data_filename']}}'.
The quality of the following parameters (measured and calculated) are assessed in the report:


This demo is created to show the compatibility issue with MDL caused by Blaze's dynamic template rendering.
If everything looks fine, then probably I fixed the bug. mood
{{#if tabEquals 1}}
{{#if haveSwitchedOutFromTab1}}
This button is re-rendered by Blaze and the ripple effect is gone. If the effect is still there, that means I have fixed the bug.
{{else}}
Big button with ripple effect. Click tab 2 or tab 3 to let Blaze re-render this region.
{{/if}}
{{/if}}
{{#if tabEquals 2}}
You clicked tab 2, now go back to tab 1.
{{/if}}
{{#if tabEquals 3}}
You clicked tab 3, now go back to tab 1.
{{/if}}


Figure (5) illustrates the grids used in the following discussion.
There are several slightly diﬀerent types of Discrete Sine Transforms (DST). One form I saw in W. Press’s numerical recipe book is given by
|
| (57) |
where h0 = hN = 0 are assumed. This form can be formally obtained by replacing DFT’s exponential function exp(2πikj∕N) by sin(πkj∕N). The inverse sine transformation is given by (I did not derive this, but had numerically veriﬁed that this transform recovers the original data if applied after the sine transform (57) (code at /home/yj/project_new/test_space/sine_expansion/t2.f90))
|
| (58) |
which is identical with the forward sine transformation except for the normalization factor 2∕N. (The elements with index of zero can also be excluded from the summation (57) and (58) since these elements are zero). Replacing j∕N in Eq. (58) by (x − x0)∕L , we obtain the reconstructing function
|
| (59) |
We need a fast method of computing the above DST. All fast methods for this ﬁnally need to make use of the fast method used in the computation of DFT. To conveniently use the fast method of DFT, we need to deﬁne the DST in a way that the DST can be easily connected to the DFT so that the DFT fast method can be easily applied to compute the DST. A standard way of making this easy is to deﬁne the DST via the DFT of an odd extension of the original data. Next, let us discuss this.


Simply choose a restaurant, a time, and submit your reservation!
Login for or other info here?
This is but one example with Angular, there is so much more possible!


{% include meta.html %}
{% include ad.html %}
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Want to revert back to Scratch 2.0? Try
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{% extends "base_generic.html" %} {% load ratings %} {% block content %}
You're not logged in! Log In or Register to watch this film!
{% endif %}{% ratings movie 32 32 %} ({{movie.ratings.get.count}})
Director: {{ movie.director }}
Summary: {{ movie.summary }}
Genre: {{ movie.genre }}
Release Date: {{ movie.year }}
Runtime: {{ movie.duration }}
FPS: {{ movie.fps }}
Video Dimensions: {{ movie.dimensions }}
Language: {{ movie.language }}


SQL Server exposes very much information using Dynamic Management Views and System Catalog Views. I like the idea of self-documenting systems. Manually maintained documentation tends to be outdated very fast and therefore is obsolete in many cases. What I've missed, is a report visualizing the Database Objects and Dependencies at a glance. Here we go! The result may be used in addition to the self-documenting Report Environment.
The idea is, to see the objects of the current database with their dependencies and where they are referenced by others.
Additionally, I'd like to control the type of dependency: all, only cross-schema, only cross-database or only cross-server.
The result should also be neat and handy to be usable directly within SQL Server Management Studio as Custom Report with no further requirements. And on top, it should work for a current SQL Server Reporting Services Instance (2016) and for SSRS 2012.
How the result should look like
After a parameter pane, an overview with the dependencies and detailed objects and dependencies are listed:
Report Design
Basic Design
The basic design for the report consists of:
- Headline
- Parameter Pane, showing the three report parameters in the report result, and usable as toggle-items to refresh the report with a different parameter set
- Dependencies Overview, a matrix of the result, filtered for rows containing dependencies
- Details, starting with Column-Toggle-Items (Table bound to Dummy-Dataset) and the actual Detail-Table
Design View:
Parameter Pane
The parameter pane is based on the Dummy-Dataset, rendering all rows as header-rows.
Cells containing the currently selected parameter are not rendered as links using a dynamic report action, e.g. "all"-Cell for ShowDependencies:
=IIf(Parameters!ShowDependencies.Value = "all", Nothing, Parameters!ReportName.Value)
The background color for cells containing the currently selected parameter is set to grey, e.g. cells for ShowDependencies:
=IIf(Parameters!ShowDependencies.Label = me.Value, "LightGrey", "White")
Overview
The overview is a matrix for all rows containing references, using the following filter condition:
<Filters> <Filter> <FilterExpression>=Fields!ReferencedObjectName.Value</FilterExpression> <Operator>NotEqual</Operator> <FilterValues> <FilterValue>=Nothing</FilterValue> </FilterValues> </Filter> </Filters>
Details
The details are listed as grouped table containing object details and further columns for References and Referenced By:
- Column-Visibility could be toggled with textboxes of separate table.
- 2nd Header-Row of main-table also contains a sub-table for each column with the corresponding row-headers.
- Bookmark-Actions for objects mentioned as reference or referenced-by to enable direct navigation within report.
Toggle-Items:
- Initially, the rows for all non-dbo-Schema of the current database are shown, each other rows are collapsed by default.
- The reference-column is visible by default.
- The referencedBy-column isn't visible by default.
Report Data Elements
The report is based on a single Data Source and some Report Parameter and Datasets.
Overview
Report Parameter
- ShowDependencies, filters dependencies: all / Cross-Schema / Cross-Database / Cross-Server
- FilterReferencing: all / with / without
- FilterReferencedBy: all / with / without
- ReportName: hidden, used for report actions, executing the current report with a different parameter set.
When executed as SSMS Custom Report, the value for Globals!ReportName is not set. Therefore, this parameter is used as single point of calculation for all report actions:
=IIf(Globals!ReportName = "", "SSRS-DatabaseObjectsAndDependencies", Globals!ReportName)
Getting the data
I'd like to look at several aspects to gather the information for this report. The overall query is to big to be a reasonable part of this post - take a look at the report definition to get the full query.
Getting the details for foreign keys
The System Catalog View sys.foreign_keys contain the foreign keys of the current database:
SELECT -- source @@SERVERNAME AS SourceServerName, DB_NAME() AS SourceDatabaseName, OBJECT_SCHEMA_NAME(src.object_id) AS SourceSchemaName, src.[type] AS SourceObjectType, src.type_desc AS SourceObjectTypeDesc, src.name AS SourceObjectName, -- destination @@SERVERNAME AS DestinationServerName, DB_NAME() AS DestinationDatabaseName, OBJECT_SCHEMA_NAME(dest.object_id) AS DestinationSchemaName, dest.[type] AS DestinationObjectType, dest.type_desc AS DestinationObjectTypeDesc, dest.name AS DestinationObjectName FROM sys.foreign_keys AS k -- Foreign Keys are only within same database LEFT JOIN sys.objects AS src ON src.object_id = k.parent_object_id LEFT JOIN sys.objects AS dest ON dest.object_id = k.referenced_object_id -- Hide self-references WHERE k.parent_object_id <> k.referenced_object_id
Getting the details for SQL references
SQL Server exposes the dependency information, e.g. of stored procedures or views in a System Catalog View sys.sql_expression_dependencies. References within the same database are there, but also references to other databases or even to remote objects. This may also contain references to obsolete objects, which no longer exist.
 The common name of table types may differ and therefore the one of sys.table_types is used.
SELECT @@SERVERNAME AS ServerName, DB_NAME() AS DatabaseName, OBJECT_SCHEMA_NAME(src.object_id) AS SchemaName, src.[type] AS ObjectType, src.type_desc AS ObjectTypeDesc, ISNULL(srcTableType.name, src.name) AS ObjectName FROM sys.objects AS src -- in case of Table Types, name in sys.objects differs from actual name in sy.table_types LEFT JOIN sys.table_types AS srcTableType ON srcTableType.type_table_object_id = src.object_id
Overall process
Steps to get the overall result:
- The data of all known dependencies in the current database for foreign keys and SQL references are gathered.
- The filtered result using parameter @ShowDependencies (all / Cross-Schema / Cross-Database / Cross-Server) is stored in a temporary table #AllReferences.
- The object details for all objects of the current database are stored in a temporary table #AllObjects.
- Objects only mentioned in dependencies, based on #AllReferences, are added to #AllObjects.
- Objects of the following type are not listed in the result itself:
INTERNAL_TABLE, SYSTEM_TABLE, CHECK_CONSTRAINT, DEFAULT_CONSTRAINT, FOREIGN_KEY_CONSTRAINT, PRIMARY_KEY_CONSTRAINT, UNIQUE_CONSTRAINT
In case of constraints, they're in the result as dependency information for their tables without mentioning the name of the actual constraint: No "FK_xyz_abc" in the result, but a reference of table xyz to table abc and vice versa as referenced-by. - Building up the overall result, combining the data of #AllObjects and #AllReferences to a single table.
Columns of the overall result including object itself, dependencies as Referenced..., dependent objects as ReferencedBy...:
- ServerName
- DatabaseName
- SchemaName
- ObjectType
- ObjectTypeDesc
- ObjectName
- ReferencedServerName
- ReferencedDatabaseName
- ReferencedSchemaName
- ReferencedObjectType
- ReferencedObjectTypeDesc
- ReferencedObjectName
- ReferencedByServerName
- ReferencedByDatabaseName
- ReferencedBySchemaName
- ReferencedByObjectType
- ReferencedByObjectTypeDesc
- ReferencedByObjectName
Constraints
Play by the rules: Reports for SQL Server Management Studio (SSMS)
In order to get the report executable also directly in SSMS, it may not reference Shared DataSources, Shared DataSets and Subreport, also Parameter-Handling is constrained. Therefore, the report does all the work itself, not referencing anything else but a database, which objects and dependencies are analyzed. Also the parameter handling is done in the result using a custom parameter pane and report actions executing the current report with different parameter set.
Differences between Report Versions
There are only very few differences between the Report Definitions for SSRS 2008R2 (including 2012 / 2014) and SSRS 2016:
- Schema of RDL-File
- 2008R2: http://schemas.microsoft.com/sqlserver/reporting/2010/01/reportdefinition
- 2016: http://schemas.microsoft.com/sqlserver/reporting/2016/01/reportdefinition
- ReportParametersLayout
With SSRS 2016, the layout of the parameters is customizable. Within the RDL-File, this is stored as ReportParametersLayout-Element.
The SSRS 2016 Report may also work with newer versions - as long as the schema doesn't change.
The Query itself is based on System Catalog Views, available in SQL Server >= 2008 and Azure SQL Database.
Conclusion
The result became very complex, but in the end, it fulfills the purpose. Knowing the parts and how they fit together, the overall picture should be complex, but no longer complicated. Using this report, you should be able to easily analyze and document database dependencies.
There may be further extensions to this report, not only to list objects and dependencies of the current database but of all databases of a server - e.g. using the very famous but also very shy and therefore officially undocumented stored procedure sp_MSforeachdb. Doing so may blow up the interoperability with Azure SQL Database. But there is also a way to work around this, resulting in a compatible version.
Do you feel challenged? It's up to you! Start going beyond and please share your insights!


Inheritance diagram for IITWindow:
You can retrieve all the windows using IiTunes::Windows().
Public Member Functions | |
Properties | |
| HRESULT | Name ([out, retval] BSTR *name) |
| Returns the name (title) of the window. | |
| HRESULT | Kind ([out, retval] ITWindowKind *kind) |
| Returns the kind of the window. | |
| HRESULT | Visible ([out, retval] VARIANT_BOOL *isVisible) |
| Returns true if the window is visible. | |
| HRESULT | Visible ([in] VARIANT_BOOL shouldBeVisible) |
| Hide or show the window. | |
| HRESULT | Resizable ([out, retval] VARIANT_BOOL *isResizable) |
| Returns true if the window is resizable. | |
| HRESULT | Minimized ([out, retval] VARIANT_BOOL *isMinimized) |
| Returns true if the window is minimized. | |
| HRESULT | Minimized ([in] VARIANT_BOOL shouldBeMinimized) |
| Minimize or restore the window. | |
| HRESULT | Maximizable ([out, retval] VARIANT_BOOL *isMaximizable) |
| Returns true if the window is maximizable. | |
| HRESULT | Maximized ([out, retval] VARIANT_BOOL *isMaximized) |
| Returns true if the window is maximized. | |
| HRESULT | Maximized ([in] VARIANT_BOOL shouldBeMaximized) |
| Maximize or restore the window. | |
| HRESULT | Zoomable ([out, retval] VARIANT_BOOL *isZoomable) |
| Returns true if the window is zoomable. | |
| HRESULT | Zoomed ([out, retval] VARIANT_BOOL *isZoomed) |
| Returns true if the window is zoomed. | |
| HRESULT | Zoomed ([in] VARIANT_BOOL shouldBeZoomed) |
| Zoom or unzoom the window. | |
| HRESULT | Top ([out, retval] long *top) |
| Returns the screen coordinate of the top edge of the window. | |
| HRESULT | Top ([in] long top) |
| Set the screen coordinate of the top edge of the window. | |
| HRESULT | Left ([out, retval] long *left) |
| Returns the screen coordinate of the left edge of the window. | |
| HRESULT | Left ([in] long left) |
| Set the screen coordinate of the left edge of the window. | |
| HRESULT | Bottom ([out, retval] long *bottom) |
| Returns the screen coordinate of the bottom edge of the window. | |
| HRESULT | Bottom ([in] long bottom) |
| Set the screen coordinate of the bottom edge of the window. | |
| HRESULT | Right ([out, retval] long *right) |
| Returns the screen coordinate of the right edge of the window. | |
| HRESULT | Right ([in] long right) |
| Set the screen coordinate of the right edge of the window. | |
| HRESULT | Width ([out, retval] long *width) |
| Returns the width of the window. | |
| HRESULT | Width ([in] long width) |
| Set the width of the window. | |
| HRESULT | Height ([out, retval] long *height) |
| Returns the height of the window. | |
| HRESULT | Height ([in] long height) |
| Set the height of the window. |
|
|
Set the screen coordinate of the bottom edge of the window. This will resize, not move, the window. Currently, only the main browser and playlist windows can be resized.
|
|
|
Returns the screen coordinate of the bottom edge of the window.
|
|
|
Set the height of the window. This will resize, not move, the window. It is the equivalent of setting the IITWindow::Bottom property to IITWindow::Top plus height. Currently, only the main browser and playlist windows can be resized.
|
|
|
Returns the height of the window.
|
|
|
Returns the kind of the window.
|
|
|
Set the screen coordinate of the left edge of the window. This will move, not resize, the window.
|
|
|
Returns the screen coordinate of the left edge of the window.
|
|
|
Returns true if the window is maximizable.
|
|
|
Maximize or restore the window.
|
|
|
Returns true if the window is maximized.
|
|
|
Minimize or restore the window.
|
|
|
Returns true if the window is minimized.
|
|
|
Returns the name (title) of the window.
|
|
|
Returns true if the window is resizable.
|
|
|
Set the screen coordinate of the right edge of the window. This will resize, not move, the window. Currently, only the main browser and playlist windows can be resized.
|
|
|
Returns the screen coordinate of the right edge of the window.
|
|
|
Set the screen coordinate of the top edge of the window. This will move, not resize, the window.
|
|
|
Returns the screen coordinate of the top edge of the window.
|
|
|
Hide or show the window. Note that the main browser window cannot be hidden using COM. However, if the user has minimized the main browser window to the system tray, it will appear to be hidden (as well as minimized). In this case, the main browser window can be restored by setting either the IITWindow::Visible property to true or the IITWindow::Minimized property to false.
|
|
|
Returns true if the window is visible.
|
|
|
Set the width of the window. This will resize, not move, the window. It is the equivalent of setting the IITWindow::Right property to IITWindow::Left plus width. Currently, only the main browser and playlist windows can be resized.
|
|
|
Returns the width of the window.
|
|
|
Returns true if the window is zoomable.
|
|
|
Zoom or unzoom the window.
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Returns true if the window is zoomed.
|


This page shows automated results of the Northern Taurids 2015, based on visual observations reported by citizen scientists through the report form of the International Meteor Organization (IMO). The information on this page is generated automatically; for scientific use please refer to manual analyses published in scientific journals (such as WGN). Send your feedback regarding this page to Geert Barentsen.
Page contents:
Note that the data will finally go into the Visual Meteor Database (VMDB) with manual inspection and rectifications. We are curretly completing the files of 2008-2011. The VMDB is an enormous project - any help will be greatly appreciated.
Page generated: 2015 November 10 at 11:38 UTC.
The graph below shows the ZHR (Zenithal Hourly Rate), which is the number of meteors an observer would see under a very dark sky with the radiant of the shower in zenith.
ZHRmax = 14.3 based on 108 Northern Taurids reported in 44 intervals, assuming population index r = 2.3
| Time (UTC) | Solarlon | nINT | nNTA | ZHR | Particle density | |
|---|---|---|---|---|---|---|
| 2015-10-21 10:24 | 207.489 | 9 | 6 | 1.5 | ±0.6 | 5 / 109·km3 |
| 2015-10-22 02:25 | 208.153 | 4 | 1 | 1.0 | ±0.7 | 4 / 109·km3 |
| 2015-10-23 02:42 | 209.160 | 4 | 2 | 1.0 | ±0.6 | 4 / 109·km3 |
| 2015-10-24 09:47 | 210.449 | 7 | 3 | 0.9 | ±0.5 | 3 / 109·km3 |
| 2015-11-01 03:01 | 218.149 | 2 | 1 | 2.8 | ±2.0 | 10 / 109·km3 |
| 2015-11-05 16:30 | 222.716 | 5 | 48 | 14.3 | ±2.0 | 50 / 109·km3 |
| 2015-11-07 01:17 | 224.086 | 7 | 29 | 9.3 | ±1.7 | 33 / 109·km3 |
| 2015-11-08 05:33 | 225.268 | 6 | 18 | 9.0 | ±2.1 | 32 / 109·km3 |
The reported intervals are automatically added together into the bins shown above, based on the number of meteors and the distribution of the intervals. For each bin, the following parameters are computed:
Data has been received from 7 observers in 6 countries. Thank you for your efforts!
Note: click on the map for an interactive version.
| Observer | Country | Teff | nNTA |
|---|---|---|---|
| Robin Hegenbarth | Germany | 1.00h | 0 |
| Alastair Mcbeath | United Kingdom | 9.5h | 40 |
| Mitja Govedi? | Slovenia | 7.48h | 44 |
| Karoly Jonas | Hungary | 8.33h | 4 |
| Shigeo Uchiyama | Japan | 4.07h | 3 |
| Terrence Ross | United States | 6.75h | 27 |
| Javor Kac | Slovenia | 6.46h | 2 |
Create your own analysis. The files below can be opened using Excel:
nta2015_rate.csv (number of meteors per interval per observer)
nta2015_magn.csv (number of meteors per magnitude bin per observer)
The information on this page may be distributed freely provided credit is given to the International Meteor Organization (IMO) and, when possible, to the individual observers. The computer facilities to generate this page are provided by ESA/RSSD and Armagh Observatory.
References:


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