CONTENTS
NAME
Test2::Tools::Refcount - assert reference counts on objects
SYNOPSIS
use Test2::Tools::Refcount;
use Some::Class;
my $object = Some::Class->new();
is_oneref( $object, '$object has a refcount of 1' );
my $otherref = $object;
is_refcount( $object, 2, '$object now has 2 references' );
DESCRIPTION
The Perl garbage collector uses simple reference counting during the normal execution of a program. This means that cycles or unweakened references in other parts of code can keep an object around for longer than intended. To help avoid this problem, the reference count of a new object from its class constructor ought to be 1. This way, the caller can know the object will be properly DESTROYed when it drops all of its references to it.
This module provides two test functions to help ensure this property holds for an object class, so as to be polite to its callers.
If the assertion fails; that is, if the actual reference count is different to what was expected, either of the following two modules may be used to assist the developer in finding where the references are.
See the examples below for more information.
FUNCTIONS
is_refcount
is_refcount( $object, $count, $name )
Test that $object has $count references to it.
is_oneref
is_oneref( $object, $name )
Assert that the $object has only 1 reference to it.
refcount
$count = refcount( $object )
Returns the reference count of the given object as used by the test functions. This is useful for making tests that don't care what the count is before they start, but simply assert that the count hasn't changed by the end.
use Test2::Tools::Refcount import => [qw( is_refcount refcount )];
{
 my $count = refcount( $object );
 do_something( $object );
 is_refcount( $object, $count, 'do_something() preserves refcount' );
}
EXAMPLE
Suppose, having written a new class MyBall, you now want to check that its constructor and methods are well-behaved, and don't leak references. Consider the following test script:
use Test::More tests => 2;
use Test2::Tools::Refcount;
use MyBall;
my $ball = MyBall->new();
is_oneref( $ball, 'One reference after construct' );
$ball->bounce;
# Any other code here that might be part of the test script
is_oneref( $ball, 'One reference just before EOF' );
The first assertion is just after the constructor, to check that the reference returned by it is the only reference to that object. This fact is important if we ever want DESTROY to behave properly. The second call is right at the end of the file, just before the main scope closes. At this stage we expect the reference count also to be one, so that the object is properly cleaned up.
Suppose, when run, this produces the following output (presuming Devel::MAT::Dumper is available):
1..2
ok 1 - One reference after construct
not ok 2 - One reference just before EOF
# Failed test 'One reference just before EOF'
# at ex.pl line 26.
# expected 1 references, found 2
# SV address is 0x55e14c310278
# Writing heap dump to ex-2.pmat
# Looks like you failed 1 test of 2.
This has written a ex-2.pmat file we can load using the pmat shell and use the identify command on the given address to find where it went:
$ pmat ex-2.pmat
Perl memory dumpfile from perl 5.28.1 threaded
Heap contains 25233 objects
pmat> identify 0x55e14c310278
HASH(0)=MyBall at 0x55e14c310278 is:
├─(via RV) the lexical $ball at depth 1 of CODE() at 0x55e14c3104a0=main_cv, which is:
│ └─the main code
└─(via RV) value {self} of HASH(2) at 0x55e14cacb860, which is (*A):
 └─(via RV) value {cycle} of HASH(2) at 0x55e14cacb860, which is:
 itself
(This document isn't intended to be a full tutorial on Devel::MAT and the pmat shell; for that see Devel::MAT::UserGuide).
From this output, we can see that the constructor was well-behaved, but that a reference was leaked by the end of the script - the reference count was 2, when we expected just 1. Reading the trace output, we can see that there were 2 references that could be found - one stored in the $ball lexical in the main program, and one stored in a HASH. Since we expected to find the $ball lexical variable, we know we are now looking for a leak in a hash somewhere in the code. From reading the test script, we can guess this leak is likely to be in the bounce() method. Furthermore, we know that the reference to the object will be stored in a HASH in a member called self.
By reading the code which implements the bounce() method, we can see this is indeed the case:
sub bounce
{
 my $self = shift;
 my $cycle = { self => $self };
 $cycle->{cycle} = $cycle;
}
From reading the tracing output, we find that the HASH this object is referenced in also contains a reference to itself, in a member called cycle. This comes from the last line in this function, a line that purposely created a cycle, to demonstrate the point. While a real program probably wouldn't do anything quite this obvious, the trace would still be useful in finding the likely cause of the leak.
If Devel::MAT::Dumper is not available, then these detailed traces will not be produced. The basic reference count testing will still take place, but a smaller message will be produced:
1..2
ok 1 - One reference after construct
not ok 2 - One reference just before EOF
# Failed test 'One reference just before EOF'
# at demo.pl line 16.
# expected 1 references, found 2
# Looks like you failed 1 test of 2.
BUGS
ACKNOWLEDGEMENTS
Peter Rabbitson <_EMAIL_> - for suggesting using core's B instead of Devel::Refcount to obtain refcounts
AUTHOR
Paul Evans <_EMAIL_>


text:
Sometimes actors choose a script out of love, sometimes out of necessity, and sometimes they write a script that is deeply personal.
REDPATCH is a stunning new play that makes its Canadian premier on the anniversary of Vimy Ridge and features the work of Raes Calvert, a local actor, producer, and writer. REDPATCH tells the story of a Métis soldier who fought for Canada in the First World War. This is a personal story and role for Raes, whose grandfather fought in WWII and in part inspired the work, as well as Raes' portrayal of the lead character.
In this Q&A, Raes gives insight into his process and the unique challenges of taking on the role, as well as being the co-writer and producer of the play.
Theatre Wire: How did you prepare to play your character?
Raes Calvert: I did many hours of research in the creation of this piece. Reading books about WWI such as All Quiet on the Western Front and Joseph Boyden's Three Day Road, and reading history books and journals from soldiers who fought in this war. I also traveled to Nootka Sound to the land of my own ancestors and where we have set the home of my main character. We met with local elders and learned some of their language and stories. All of this lends itself to a more diverse and authentic character that is rooted in truth. Which I think is what all actors should strive for.
TW: Did you come to the first rehearsal with your character fully developed, or is character development part of the rehearsal process?
RC: Things change all the time. As an actor you have to be willing to go where a director's vision is going. Even though I co-created this piece with Sean [Harris Oliver], my character's intentions and goals tend to change based on the staging and what is happening before and after every scene.
TW: How do the other actors and their characters influence your work?
RC: I feel very honoured to be able to act with the other actors in this cast. They come from all across Canada and from a diverse range of communities. I believe that actors and their characters should always be influencing my work, making offers and taking risks. It has been interesting seeing the different takes that actors who are new to the show bring to their character to make them their own.
TW: How much does the director influence your work and interpretation?
RC: A tremendous amount. It is my job as an actor to fulfill the director's vision. This is a unique experience in that I wrote this show with the director. We have worked together many times before and consistently for the past 10 years. We constantly confer with each other about script elements and how we want things to work.
TW: What are some of your most memorable past roles and productions? (Why?)
RC: I think my most memorable and longest running role is playing Max in Where the Wild Things Are with the touring production by The Presentation House Theatre. I have been lucky enough to tour this show across Canada and the United States and perform in some of the most amazing theatres that North America has to offer.
TW: What's the most misunderstood aspect of an actor's job, in your opinion?
RC: That for every one hour of paid work, I have put in 50 hours unpaid during my career. I think that a lot of people don't consider being an actor a legitimate form of work or that we are lazy or living in some sort of dream world. I feel passionate about what I do and take it very seriously.
TW: Is there anything in particular you'd like to add about this show or yourself?
RC: Sean Harris Oliver and I began the creation of REDPATCH five years ago in the hopes of telling a story that we had never seen told on stage. It is important to recognize this part of our history and specifically the contribution Aboriginal soldiers made for Canada during WWI. This play has taken years to get to where it is now and I hope that anyone interested takes the chance and comes to see this piece of theatre which is very close to my heart.
TW: Can you give us a sneak peak of what audiences will expect?
RC: A thrilling historical drama highlighting the contribution Aboriginal soldiers made for the Canadian Armed Forces during WWI. Movement to sound and music will elevate this particular production.
Raes is a Métis theatre artist from Richmond BC. He is a founder and Co-Artistic Director of Hardline Productions. He has toured nationally and internationally with such companies as Neworld Theatre, GreenTumb Theatre, Axis Theatre, Manitoba Theatre for Young People, and Presentation House Theatre. He is a two time nominee of the Jesse Richardson Theatre awards and one time recipient. Raes is a graduate of Studio 58.

source: m-a-p/FineFineWeb


text:
What makes it worst was the fact that anyone New Englander with two working neurons should have heard of the 1942 Cocoanut Grove fire in Boston, especially a club owner and local fire inspectors. The Cocoanut Grove is internationally infamous and is even more applicable to the Brazil fire. Maybe twenty years ago the owners and officials in Brazil could be excused for not considering the lessons of a fire on another continent 50 years prior, but with worldwide news coverage and the internet and the immediate international notoriety of the Station fire and others there is none today. Sadly, the Boston Historical Society's account of the Cocoanut Grove seems to have called it,
The lessons of the Cocoanut Grove are with us every day. Exits blocked or locked, smoking and use of matches, overcrowding, flammable materials within buildings and a lack of sprinklers and smoke detectors. Hardly a person in Boston or New England during the 1940's could be found who did not have a friend or relative who wasn't at the Grove that night, or had planned to go, or had left before the fire started, or wasn't affected by this tragedy. The question then and now is: "Can this happen again"? The answer is yes, it can and will happen again.

source: openbmb/Ultra-FineWeb


text:
- Enter a word for the dictionary definition.
From The Collaborative International Dictionary of English v.0.48:
Gordian \Gor"di*an\, a. 1. Pertaining to Gordius, king of Phrygia, or to a knot tied by him; hence, intricate; complicated; inextricable. [1913 Webster] Gordian knot, an intricate knot tied by Gordius in the thong which connected the pole of the chariot with the yoke. An oracle having declared that he who should untie it should be master of Asia, Alexander the Great averted the ill omen of his inability to loosen it by cutting it with his sword. Hence, a Gordian knot is an inextricable difficulty; and to cut the Gordian knot is to remove a difficulty by bold and energetic measures. [1913 Webster] 2. (Zool.) Pertaining to the Gordiacea. [1913 Webster]

source: HuggingFaceFW/fineweb-edu


Getting started & How to
 1. Turning on and off
 Click the Brainer application icon in your browser toolbar to turn it on or off.
 Note: Brainer is designed to be the least distracting. Even when turned ON it doesn't change the content of websites and only displays the application window. When turned OFF it doesn't do anything at all (and generates no traffic).
 2. Expanding and collapsing
 Click the Brainer icon on the screen to expand or collapse the application window.
 Note: You can use Brainer in both minimized and window mode. The minimized mode is compact and very fast but it doesn't allow you to organize your content while adding it.
 3. Changing the position on the screen
 Drag the program icon to move Brainer. You can do it in minimized or window mode.
 Note: If you drag the Brainer icon to the other corner of the screen, it will stick to that corner while you scroll the page.
 4. Changing the window size
 Drag the edges or corners of the window to resize it.
 5. Changing the research name
 Click on the research name to change it. Then press enter to confirm.
 6. Adding content by dragging & dropping
 Most of the content can be added to Brainer by dragging and dropping different elements from websites. You can drag & drop a selected text (as a quote), pictures and links.
 In window mode:
 In minimized mode:
 Note: You can also add YouTube videos, which are presented with a nice preview. You can do it by adding a video link.
 7. Adding content by pasting a link
 You can paste any url in Brainer.
 It will be parsed automatically and displayed appropriately (as a picture, video or a normal link).
 8. Adding pictures from your computer
 You can drag any picture from your computer to the Brainer window and it will be saved as well.
 9. Saving a website url (bookmark)
 You can save a link to the website you are browsing at the moment.
 The simplest method is to drag the website icon to the Brainer window or icon.
 You can also copy the link and paste it as a item in the Brainer window. The link will be automatically parsed and saved in a nice format.
 10. Creating folders and grouping content
 You can organize your content in folders. Then you can collapse folders that you don't need at the moment to keep your work as clear and readable as possible.
 Any information you add can act as a folder (a text, picture, video). The most convenient way is to use a short text (a folder name):
 Type the phrase and press enter.
 Now you can start adding content to the created folder by dropping on it pictures, links and quotes.
 Note: You can create as many nested levels as you want. You can also use other content type (quote, picture, video) as a group name - just drop the content on it.
 11. Adding content in a particular place
 If you need to insert a item between two others, you can do it directly, by locating the place and clicking on it (you will see a small dashed rectangle marking the space).
 You can type a new text, make a quote by adding quotation marks or paste a link.
 12. Moving content
 You can change the position and order of any content by dragging it to a different location.
 You can place it between two other items or drop it onto another item to create a group.
 13. Deleting content
 Method 1: Start dragging the information you want to delete (a folder, quote, picture, video). Drop it into the recycle bin that will appear next to the application window.
 Method 2: Open the context menu (right click) and choose the 'Delete' option.
 14. Accessing the source website
 Brainer automatically saves the source (URL and page title) for almost all the content that you add.
 You can access the source by clicking on the website icon on the right side of your content (a quote, picture, video).
 15. Adding sources manually
 Sometimes the source of information cannot be saved automatically, especially when you add a picture from your local disk.
 You can manually add/edit the source of information if you need to do so.
 16. Taking screenshots
 If you find information that cannot be saved using drag & drop, you can make a screenshot and save it as a picture.
 You can use the global screenshot button and then move your screenshot to the desired location in your research:
 You can take a screenshot placing it in the desired location in your research:
 17. Taking screenshots in the minimized mode
 18. Sharing your research
 Every research that you create can be previewed online via a private link.
 Your online preview will look like this:
 If you like, you can share it with your friends by passing them the link.
 Note: Remember that the researches you make are not published anywhere and it's up to you whether you share them with someone or not.
 19. Collaborating in real-time
 You can invite your friend and work on the same reasearch.
 20. Didn't find the answer?
 Your question has been sent. Thank you.


text:
Making music from mathematics
The worlds of music and mathematics will come together for an evening of musical performances and live musical demonstrations influenced by research undertaken by Liverpool mathematicians.
'Points of Convergence: Music Meets Mathematics' will feature the compositions by the University's Leverhulme Artist in Residence, Dr Emily Howard, which are musical responses to Professor Lasse Rempe-Gillen's research in dynamical systems.
Dr Howard's compositions Leviathan (2015) and Orbits (2015) will be played by experimental duo, scapegoat, comprising saxophonist, Joshua Hyde and percussionist, Noam Bierstone, who have performed in France, Germany, Canada, the US and the UK.
Professor Lasse Rempe-Gillen said: "It has been an absolute pleasure to host Emily as Artist in Residence, with the kind support of the Leverhulme Trust.
"We have had many memorable discussions about mathematics, music, and art and science in general, and I can't wait to hear the result of her work presented on Tuesday."
'Points of Convergence: Music Meets Mathematics' will take place on Tuesday 17th November, from 7 – 9pm in the Chapel, Foresight Centre. For further information and to reserve your free ticket visit this webpage.
Earlier in the day, scientists and artists are invited to a seminar exploring the creative process involved in their own research. Students and staff from all disciplines are invited to join the discussion about how different approaches in science and art really are, and what each might learn from the other.
The event will feature a discussion panel which will include representatives alongside Mathematicians from the fields of Chemistry, Physics, Music, English and the Visual Arts.
'Arts and Sciences Forum – The Creative Process' will take place between 2- 4pm on Tuesday 17th November in the Seminar Room, Institute of Risk and Uncertainty, Chadwick Building.


Take the 2-minute tour ×
I cannot really figure out what causes one surface to overlap another. In a 3D engine I'm creating, my technique is failing in edge cases.
My method is sorting the surfaces to be painted from the furthest to the closest. To determine the closeness, I'm comparing the average z values. Sometimes, however, an overlapping surface has a higher average z value than the one it is overlapping. Thus, the surface further away is painted over the closer one - resulting in bizarre rendering like this:
Large purple square with a section of red on the side
What one is meant to see is the purple front surface of the cube only, whilst the red side surface is painted over the purple one. The average z value of the purple surface is higher, and therefore 'further away'. So I'm having some doubt as to whether this technique is correct.
What I also tried is getting the distance from the camera (i.e. origin) to the surface, but then I needed a point. I chose the middle of each surface but also this doesn't always seem to work because not all surfaces are as large as each other.
Therefore, what is a reliable way to determine the order of closeness of surfaces towards the origin?
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4 Answers
up vote 11 down vote accepted
You seem to be trying to implement the Painters Algorithm. I'm guessing you're trying to write a rasteriser from scratch as a learning exercise, as most modern 3D hardware uses what Bart has mentioned (the Z/Depth buffer). For the painters algorithm to work in all cases, you'd need to be prepared to subdivide the surfaces as they're rendered to solve possible scenarios (such as the overlapping polygon problem shown on the Wikipedia page).
By rendering from furthest to closest you're also spending time rendering pixels which will possibly later be occluded by other polygons, which when you start putting textures and complex shaders on the polygons wastes precious cycles. This is the reason modern hardware would prefer you to render from front to back, using the depth buffer to determine if the pixel to be rendered is further away than the one on the screen (and can therefore be discarded).
Even with most modern acceleration hardware you'll still need to sort and render from back to front any semi-transparent polygons, rendering this only once all the opaque polygons have been rendered.
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You are correct in saying that I'm creating a simple renderer. The point is that I'm not using any 3D libraries. I'm doing all projection calculations myself and then draw the lines using a 2D drawing library. This is not the fastest out there and I'm not doing anything on a per-pixel basis. I just have 4 points of each surface and fill the rectangular shape with a color. Since I'm drawing a complete surface at one time, am I correct in saying that I do have to draw back to front? – pimvdb Apr 12 '11 at 11:19
Sounds like a lot of fun and a great way to learn. Back to front is your only way if you're doing this without any form of depth buffer. I think you're going to have to work out all the screen co-ordinates of your polygons and then check for any overlap. Where they overlap in depth you're potentially going to need to chop up the polygons to render, so you can actually resolve the sorting correctly. You might also want to look into Back Face Culling as a way to remove polygons that shouldn't necessarily be visible – Roger Perkins Apr 12 '11 at 11:27
Roger Perkins is right. You won't be able to achieve correct z-sorting that way (meaning you'll always have some edge-cases), unless you chop up the polygons. That can become rather slow though. – bummzack Apr 12 '11 at 12:45
I got it working! What I did was a combination of backface culling and sorting: in a solid cube, some faces are not visible whilst others are (max of 3). So I painted the non-visible parts first, and the visible parts over them. This works like a charm, if I remove one or more sides, they are overlapping but still drawn in the correct order. Thanks! – pimvdb Apr 12 '11 at 13:29
That'll only work for simple convex shapes, like cubes. I'm glad it's currently working out for you, but it's not a general solution. – Richard Fabian Apr 12 '11 at 19:51
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What you have is a visibility problem. One solution is using a z-buffer.
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Thanks, but z-buffering requires per-pixel rendering if I'm not mistaking. I'm not doing that - I'm drawing straight lines between the projected points of the cube. Is z-buffering still possible? – pimvdb Apr 12 '11 at 11:01
Even if you're drawing straight lines, at some point before the image gets to the screen (or bitmap file) it will be in pixel format. – Bart van Heukelom Apr 12 '11 at 11:40
That's correct but my drawing library is too slow to do pixel rendering with 20fps. Thanks though. – pimvdb Apr 12 '11 at 11:41
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Sorting the faces according to their average z-value doesn't work, because the average z-value provides no information on the actual z-value of the vertices or even surface pixels.
Example (warning, ASCII art ahead):
cam /
--> /
 /-- <--B
There are two faces A and B. From the camera's perspective A is in front of B. Yet the average z-value of B is smaller. Let's look at the other z-values:
 - the minimum z-value of A is 4
 - the maximum z-value of A is 11
 - therefore the average z-value of A is 7.5
 - the minimum z-value of B is 6
 - the maximum z-value of B is 8
 - therefore the average z-value of B is 7
You could try to sort them by their minimal z-values but there cases where that won't work too. There is just no way to sort arbitrary faces correctly using just one z-value.
In Newell's algorithm _URL_ what you do is sort the min/max-ranges of the z-values. If the ranges of two faces do not overlap you can know for sure which one is in front. If they do, sometimes you absolutely have to split the faces. Sometimes it will suffice to raytrace every vertex for occlusion or some other technique.
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That diagram is an overhead view of what I was going to guess is going on in his screenshot. – jhocking Jun 8 '11 at 20:42
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It's good that you are learning about rendering by doing. Kudos. In this instance, there is no "painters algorithm" solution, instead of trying to fix it by sorting, on the PS1 we used to just try to keep polygons around the same size when they were next to each other (which you are doing as far as I can tell), and backface cull (which you're not doing)
Backface culling is checking the surface normal in screen space for it's direction (just get the sign of the depth element from the screen space transformed normal (in our case it was the z of the normal), or the cross product of two vectors of the triangle i.e. cross( v1-v0, v2-v0 ))
If you implement backface culling, you also reduce the amount of rasterising you're doing.. double win.
share|improve this answer
Thanks for your response. I did read about backface culling but the point is that I'd like to be able to remove one side. With a solid cube this might work just great, but if I remove one side then there is occulision happening - so I still need to sort them I guess. Anyway, I came up with the idea of fireing a ray from the origin through the midpoint of a surface. If that ray crosses another surface afterwards, then the first surface is overlapping the second. Could you possibly tell me whether that idea is that correct? Thanks! – pimvdb Apr 12 '11 at 12:17
Although your idea would work for your example case, there are plenty of other cases where it's not going to work. For example, the same scene you have there, but with the camera tilted so that the centre of the incorrect rendering quad is not overlapping.I think you're going to have to tesselate your primitives into smaller pieces. – Richard Fabian Apr 12 '11 at 13:22
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Your Answer


text:
Date: January 1, 1959
Description: With the assumptions that Berthelot's equation of state accounts for molecular size and intermolecular force effects, and that changes in the vibrational heat capacities are given by a Planck term, expressions are developed for analyzing one-dimensional flows of a diatomic gas. The special cases of flow through normal and oblique shocks in free air at sea level are investigated. It is found that up to a Mach number 10 pressure ratio across a normal shock differs by less than 6 percent from its ideal gas value; whereas at Mach numbers above 4 the temperature rise is considerable below and hence the density rise is well above that predicted assuming ideal gas behavior. It is further shown that only the caloric imperfection in air has an appreciable effect on the pressures developed in the shock process considered. The effects of gaseous imperfections on oblique shock-flows are studied from the standpoint of their influence on the life and pressure drag of a flat plate operating at Mach numbers of 10 and 20. The influence is found to be small. (author).
Contributing Partner: UNT Libraries Government Documents Department


lemen, judo is therefore a combat sport which, a priori, leaves fewer neurological after-effects than British boxing.
But because of the more frequent strangulations, Brazilian Jiu Jitsu is more dangerous for the brain than judo and its long-term effects have not yet been studied.
So the immediate risk is not zero.
Every time we lose consciousness the long-term consequences for our health are real.
So you have to know your limits, respect your body, your sport and your opponent: sometimes you have to know how to lose with panache!
And if your playmate lacks panache: release the strangulation, when the mechanical obstacle is lifted the blood will return to the brain and unless you've held on too long, he should wake up on his own in less than 20 seconds.
Of course nothing prevents you from helping him with the good old recipe, you speed up the blood supply to the brain and thus its oxygenation by raising the feet, and also sprinkle it with a few strokes in the buttocks to season it… uh sorry, I meant to stimulate it!
What if it doesn't work? Check that he's still breathing and quickly call someone who has a first-aid certificate, and cross your fingers too, it can help.


text:
On Friday, 25 May 2012, Immigration Minister Chris Bowen announced the approval of the first Enterprise Migration Agreement (EMA) for Hancock Prospecting's Roy Hill Project in the Pilbara region of Western Australia.
The A$9.5 billion iron ore project will create significant benefits to the Australian economy through its capital investments, export earnings, and employment and training opportunities for Australians over decades.
What does this approval mean?
The EMA allows Roy Hill to plan its workforce needs from the start and take a project-wide approach to meeting skill needs. The project will be able to sponsor up to 1,715 workers for the three-year construction phase through the 457 visa program where Australians cannot be found to fill the positions. The EMA covers occupations such as electricians, mechanical fitters, scaffolders, and boilermakers.
As part of the EMA, Roy Hill is required to provide up to 2,000 training places for Australians (apprenticeships, traineeships and job readiness programs for indigenous Australians) and invest in excess of A$20 million in training Australians in a variety of programs.
Subcontractors will be able to sponsor workers by signing up to template labour agreements that will sit under the EMA.
Why is it important?
Through EMAs, major resources projects are able to access overseas labour for genuine skilled and semi-skilled vacancies that cannot be filled from the Australian labour market.
EMAs give guaranteed access to an agreed number of visa holders that can be engaged on a major resources project.
This will be of particular value to mining companies in ensuring that skills shortages do not constrain major projects and jeopardise Australian jobs. At the same time, EMAs will create jobs and training opportunities for Australians.
EMAs also enable projects to engage overseas semi-skilled labour that would not be available through the standard Subclass 457 visa program.
Concessions to minimum requirements, such as English language ability and skills requirements, can also be negotiated as part of the agreement.
If you are the project owner/prime contractor of a resources project and you are interested in getting an EMA approved, you will need to make a submission to the Department of Immigration and Citizenship.
If you are a subcontractor on a major resource project, you may be able to sponsor workers for subclass 457 visas by signing up to the template labour agreement that sits under the EMA.
To be eligible for an EMA:
- the resources project must have a capital expenditure of more than A$2 billion and a peak workforce of more than 1,500 workers
- the applicant will need to provide a comprehensive training plan targeting up-skilling of Australians to meet future skills needs in the resources sector, and
- the applicant will need to demonstrate why sufficient Australian workers cannot be found to fill anticipated vacancies in semi-skilled occupations and a commitment to ongoing local recruitment efforts.
To be eligible to sign up to a template labour agreement, subcontractors will need to demonstrate:
- a good record of compliance with migration and workplace laws, and
- training of Australian workers in-line with the project training plan and the training benchmarks commensurate with the standard 457 program.
Once the labour agreement is approved, the contractor can begin sponsoring workers on subclass 457 visas. The usual process will apply in relation to workers applying for subclass 457 visas.
Want more information?
For more information about EMAs and subclass 457 visas, please contact


text:
Tissue classification from electric impedance spectroscopy for haptic feedback in minimally invasive surgery
MetadataShow full item record
Haptic feedback is missing in teleoperated surgical robots creating a sensory disconnect from the surgeon and their patient. This thesis proposes using the electric impedance of tissues, instead of the traditionally used mechanical impedance, to develop haptic feedback for surgical robots. Electric impedance spectroscopy (EIS) and a modified surgical needle were successfully able to measure the electric impedance for gel-based phantoms, ex-vivo tissue, and freshly excised organs. Processes for fitting the electric impedance of these tissues to the double-dispersion Cole model were developed including stochastic and deterministic approaches. The tissues were classified with least square error, k-Nearest Neighbour and Naïve Bayes using the measured electric impedance and the extracted model parameter values. The thesis culminates in applications of using EIS as part of implementing vibrotactile and force feedback applications involving sets of user trials to validate its effectiveness in identifying the tissue through haptic feedback.


text:
Interface queue lengths
txqueuelen parameter of an interface in the Linux kernel. It limits the number of packets in the transmission queue in the interface's device driver. In 2.6 series and e.g., RHEL3 (2.4.21) kernel, the default is 1000. In earlier kernels, the default is 100. '100' is often too low to support line-rate transfers over Gigabit Ethernet interfaces, and in some cases, even '1000' is too low.
For Gigabit Ethernet interfaces, it is suggested to use at least a
txqueuelen of 1000. (values of up to 8000 have been used successfully to further improve performance), e.g.,
If a host is low performance or has slow links, having too big
txqueuelen may disturb interactive performance.
net.core.netdev_max_backlog defines the queue sizes for received packets. In recent kernels (like 2.6.18), the default is 1000; in older ones, it is 300. If the interface receives packets (e.g., in a burst) faster than the kernel can process them, this could overflow. A value in the order of thousands should be reasonable for GE, tens of thousands for 10GE.
- Yee-Ting Li has published a Web page on the <i>Effect of TxqueueLen on High Bandwidth Delay Product Network (DataTAG)</i> which illustrates the problem nicely.
- CERN's Linux gigabit tuning and LBL's Linux tuning describe receive queue tuning.
– Main.SimonLeinen - 06 Jan 2005
-- Main.PekkaSavola - 17 Nov 2006


Roller-Coaster Ride Revs Heart Rate
Riding a roller coaster is a rush for the heart, sending
heart rates soaring as the roller-coaster ride loops, twists, climbs, and
Doctors from Germany's University Hospital of Mannheim report that news in
The Journal of the American Medical Association.
Juergen Kuschyk, MD, and colleagues aren't against roller-coaster rides. But
they suggest that the spike in heart rates during roller-coaster rides might be
something for roller-coaster riders with heart disease to keep in mind.
The doctors tracked the heart rates of 55 healthy men and women before,
during, and after riding the Expedition GeForce roller coaster at the Holiday
Park in Hassloch, Germany.
The roller-coaster riders wore electrodes that tracked their heart rate and
heart rhythm, starting at least five minutes before the ride and ending at
least five minutes after the ride.
Before the roller coaster took off, participants' heart rates averaged 89
beats per minute. That pace picked up in a major way when the two-minute ride
First, the roller coaster slowly climbed for 30 seconds, reaching a height
of about 203 feet.
During that ascent, the riders' heart rates took off, reaching their biggest
increase of the entire ride. Chalk that up to anticipation, note Kuschyk and
The roller coaster's initial climb was followed by a series of free falls,
upside-down passages, and several sharp curves.
The riders' average heart rates spiked to 155 beats per minute during the
ride, calming down a bit to 109 beats per minute at the end of the ride.
Compared with men, women had faster heart rates throughout the
roller-coaster ride. Women's average heart rate reached 165 beats per minute,
compared with 148 beats per minute for men.
The researchers also checked the riders' blood pressure before and after the
The riders' average systolic blood pressure (the first number in a blood
pressure reading) rose by 19 points. Their average diastolic blood pressure
(the second number in a blood pressure reading) rose by five points.
Harmless changes in heart rhythm were recorded up to five minutes after the
ride in 24 riders (44% of the group), according to Kuschyk's team.
"Although the arrhythmias observed in our study of healthy individuals
were benign, the magnitude of increase in heart rates raises the possibility of
risk for individuals with underlying cardiac disease," the doctors
By Miranda Hitti
Reviewed by Louise Chang
B)2005-2006 WebMD, Inc. All rights reserved
Live Video
Watch CBSN Live


text:
Volunteers, community groups, and local school children have joined forces to plant nearly 5,000 trees in Wakefield.
These new pockets of woodland, made up of 4.499 trees, have filled vacant and neglected areas in housing estates in central Wakefield, Kettlethorpe, Pontefract, Havercroft and Ackworth. Many of the trees have been planted on walking routes to local schools, helping to purify the air for children on their daily walk.
It is hoped that the trees, planted by environmental charity Trees for Cities, with the help of energy company npower, will improve the lives of local residents by reducing noise and air pollution caused by the busy roads, including the nearby A61, A638 and A642.
David Elliott, chief executive of Trees for Cities, said: "Access to high quality green space has so many proven benefits and we are proud to work with npower to play a role in creating these important pockets of woodland. These new spaces are set to make a big difference in improving mental wellbeing and physical health of communities in Wakefield, providing space for reflection and encouraging people to get their recommended daily exercise. I look forward to seeing these woodlands establish and thrive in the years to come."
Amongst the 16 leafy species finding a new home in the woodlands are field maple, alder and silver birch. The trees planted will provide environmental and social benefits to local communities, and create vibrant pockets of woodland for generations to come.
So far, npower and Trees for Cities have worked together to plant over 100,000 trees in urban areas across the country.


I didn't use Blender before, but from what I saw (e.g. on YouTube) I think I could use it for creating dynamic flow chart animations (that actually look good :-). Since I do not know how to start with this, I hope you could give me a hint and/or guide me the right direction. This is a schematic example on what I want to do:
enter image description here
For a series of time points, I get data for the temperatures inside a set of water tanks and the amount of water flowing between them from some computations that are done in Python. I would like to visualize the temperature within the tanks by color, and the mass flowing between them by thickness of the arrows, in both cases also stating the current values, and show their development over time with an animation (while the changes between time points do not necessarily have to be animated, a series of pictures showing the states at the time points would already be great).
Everything should be designed in a way that the animation can be automatically generated also for other data sets. Also in future, this animation will probably be extended. As I stated, I'm completely new to Blender, but advanced in Python.
All hints and advises are highly appreciated! Thank you very much for your help!
Edit: as suggested, I split up the question in several smaller ones step by step.
 1. Link to first question on how to create the curved arrows (solved)
 2. Link to second question on how to calculate object colors from external temperature data using a color map
 - 2
 $\begingroup$ yes, this is very possible - but as it stands you are asking a question which is multi faceted - or rather 4 or 5 considerably elaborate questions disguised as a concept. Someone could answer, but it would take a long time and only be applicable to a narrow audience. Let me suggest that you break it down. 1. How to make boxes at positions 2. How to script the splines to join them 3. How to make the arrows 4. How to animate Colour changes 4. How to animate spline Width changes. -- Also the design of how to spread these boxes and decide where the spline goes and what the arrow looks like. $\endgroup$ – zeffii Aug 9 '15 at 11:58
 - 4
 $\begingroup$ You are allowed to ask as many separate questions as you want in new Questions. The better you become at making your question modular, the better we can answer short and direct. $\endgroup$ – zeffii Aug 9 '15 at 12:01
 - $\begingroup$ _USER_ Thank you for your suggestions! In the meantime I found some hints on animation, and I managed to create the boxes (which are cylinders in 3D). So I will now first of all ask a question on how to make these curved arrows (which I think would be Question 2 and 3, but make sense to be asked together, right?), and link it to this question as well. $\endgroup$ – mindm49907 Aug 9 '15 at 13:06
 - 1
 $\begingroup$ yes! my response was definitely not intended to be discouraging, I love these kinds of questions..but splitting it up gives more people a chance to answer the individual elements. $\endgroup$ – zeffii Aug 9 '15 at 15:04
 - $\begingroup$ As zeffii explained, SE does better with shorter questions about specific operations; these are more likely to be applicable to other projects and thus more helpful for people looking for solutions in search engines. As it is now, this question is still too broad (your other question is great though :). Feel free to edit this question at any time, and we can re-open it accordingly. $\endgroup$ – gandalf3 Aug 9 '15 at 19:13


text:
San Diego '99
- Topic Area:
- Track: Open VMS
- Topic: Performance & Tuning
- Type: Breakout Session
03:00 PM Duration:
- Richard Bishop
- Software Consultant Engineer, Compaq Computer Corporation
- This session will describe recent changes to OpenVMS Alpha's System
Dump Analyzer and related analysis tools. Attendees will learn about new features that improve system dumps; about changes in SDA to support OpenVMS Galaxy, and about several new commands and
enhancements to existing commands.
Attendees will be introduced to SDA extensions(to be covered in
detail in another session) and will also learn about improvements
to the System Code Debugger, about the new System Dump Debugger and about the Watchpoint Utility.
- Use new SDA commands to examine OpenVMS Galaxy data structures.
- Use new SDA commands to examine system parameters.
- Use the System Dump Debugger to examine dumps involving user-written device drivers
- Prerequisites for attendees:
- This session should precede "SDA Extensions - Tutorial"
- Required Skill Level:
Assumes general knowledge of topic, familiarity w/basic terms & procedures
|Return To Top|


text:
PROF. K SEDDON & J. VAN DEN BERG / QUEEN'S UNIVERSITY, BELFAST / SCIENCE PHOTO LIBRARY PROF. K SEDDON & J. VAN DEN BERG / QUEEN'S UNIVERSITY, BELFAST / SCIENCE PHOTO LIBRARY
Dexamethasone hormone molecule. Computer model of a molecule of dexamethasone (C22.H29.F.O5). The atoms (tubes) are colour-coded: fluorine (pink), hydrogen (white), carbon (green) and oxygen (red). Dexamethasone is a steroid hormone produced by the adrenal glands to break down stored resources such as fats, sugars and proteins. This allows them to be used in times of stress. It is also used as an anti-inflammatory drug that has less pronounced side-effects than other anti- inflammatory drugs.
Model release not required. Property release not required.


text:
ELECMI – Integrated Infrastructure for Electronic Microscopy of Materials
The Integrated Infrastructure for Electron Microscopy of Materials, ELECMI, is a Unique Scientific and Technical Infrastructure (ICTS) within the current Map of National Facilities in Spain, which is composed of 29 ICTS that bring together a total of 65 facilities. ELECMI is composed of four facilities: the CNME (National Center for Electron Microscopy) that belongs to Complutense University of Madrid; the LMA (Advanced Microscopy Laboratory) that belongs to Zaragoza Universit; the DME (Electronic Microscopy Division), that belongs to Cadiz University and the UMEAP (Electron Microscopy Unit Applied to Materials) that belongs to the Barcelona University.
ICTS refers to facilities, resources or services for the development of top-quality cutting-edge research, as well as the communication, exchange and preservation of knowledge, the transfer of technology and promotion of innovation. ELECMI as well as other ICTS have these three fundamental characteristics:
- Infrastructure with public ownership.
- Unique, meaning that it is the only one of its kind in the country.
- Open to competitive access by users in the entire research community (public and private sectors from any nationality).
CNME ELECMI – National Center for Electron Microscopy
The National Center for Electron Microscopy, CNME, the main transversal action of the Campus of International Excellence, Moncloa, is designed according to the study carried out by FECYT on Unique Scientific and Technological Facilities (ICTS) to develop, implement and offer the scientific community, national and international, the most advanced methods and techniques in Transmission and Scanning Electron Microscopy for the structural analysis of materials. This Center consists of a set of last generation microscopes, and instruments and techniques for the advanced preparation of samples, as well as for the application of computational methods of image processing.
LMA ELECMI – Advanced Microscopy Laboratory
The Advanced Microscopy Laboratory, LMA, is integrated into the Río Ebro campus of Zaragoza University. It's a unique initiative at national and international levels aimed at providing the Industrial and Scientific communities with the most advanced infrastructures in Nanofabrication, Local Probe and Electron Microscopies for the observation, characterization, nanopatterning and handling of materials at atomic and molecular scale.
DME ELECMI – Electronic Microscopy Division
The Electron Microscopy Division, DME, is integrated into the Central Services of Science and Technology (SC-ICYT) of Cádiz University. The infrastructure has a staff of technical personnel highly specialized in techniques such as microscopy of corrected aberrations (TEM, STEM), electron tomography and electron loss spectroscopy (EELS) and Dispersive X-ray energy (EDX). The main DME-UCA priorities are education, training and dissemination of innovative techniques and methods based on transmission electron microscopy and electron microscopy applicability to materials applied research.
UMEAP ELECMI – Electron Microscopy Unit Applied to Materials
The Unit of Electron Microscopy Applied to Materials (UMEAP-UB) is integrated in the Scientific and Technological Centers of the University of Barcelona (CCITUB). It has highly specialized personnel in transmission electron microscopy characterization techniques and related analytical techniques (EELS and EDXS spectroscopy), as well as advanced data processing and simulation. They have beam precession systems (for 3D electronic diffraction, electronic crystallography, recognition of crystalline phases and orientation and tension maps) and specific specimen holders for in-situ microscopy and electron tomography. They also offer TEM and SEM microscopy techniques for biological material (Cryo-Tomography, In-Situ Hybridization, etc.), and a wide selection of complementary characterization techniques, such as microprobes, X-ray diffractometers, Raman microscopy, ESCA, AFM, etc.
ELECMI has a wide range of top level equipment in Electron and Local Probe Microscopy dedicated to the observation, analysis and characterization of materials at atomic and molecular scale, constituting a large infrastructure at the service of researchers, universities, research centers and Industry, with the ability to address the most relevant challenges in the field of new materials.
The most relevant techniques available at ELECMI ICTS include, among others:
- Transmission Electron Microscopy – TEM.
- Scanning Electron Microscopy – SEM.
- Dual Beam Microscopy – DUAL BEAM.


text:
Summary: Interpreting classical theories
in constructive ones
A number of classical theories are interpreted in analogous theories
that are based on intuitionistic logic. The classical theories considered
include subsystems of firstand second-order arithmetic, bounded arithmetic, and admissible set theory.
Proof theory was developed, in part, as a way to reconcile classical and constructive aspects of mathematical reasoning. Given this historical fact, it is not
surprising that over the years proof theorists have invested a good deal of effort
in reducing classical theories to constructive ones.
Elegant in its simplicity, the GĻodel-Gentzen double-negation interpretation
works wonders. For example, it seamlessly reduces classical arithmetic to its
intuitionistic counterpart, and with some additional work it can be used to interpret Zermelo-Fraenkel set theory in a variant based on intuitionistic logic.
Under the double-negation interpretation, 2 sentences of arithmetic, which can
be said to carry a theory's "computational" content, are not preserved, but in
both these examples a further application of the Friedman-Dragalin interpreta-


text:
Using this photo and referring to it is encouraged, and please use it in presentations, web pages, newspapers, blogs and reports.
For any form of publication, please include th link to this page and give the photographer credit (in this case Peter Prokosch)
Imperial Shag (Phalacrocorax Atriceps), Antarctic Peninsula
The Imperial Shag, otherwise known as the Imperial Cormorant, hunts in 'rafts', or large groups of hundreds which dive down together in "pursuit-diving" of fish, at up to 25 metres depth.
Given that the Imperial Shag has a small range and is usually found in small populations, pollution or chance extreme weather events can threaten a whole colony.


text:
6. The manufacturer of a particular all-season tire claims that the tires last for 22,000 miles. After purchasing the tires you discover that yours did not last the full 22,000 miles. Suppose that a sample of 100 tires made by that manufactures lasted on average 21,819 miles with a sample standard deviation of 1,295 miles. Is there sufficient evidence to refute the manufacturer's claim that the tires last 22,000 miles? Let α = 0.05. Assume that the population standard deviation is σ= 1300.
State the null hypothesis.
State the alternate hypothesis.
What is the appropriate rejection region?
Compute the test statistic.
What is the final conclusion? Explain.
(Question also in attachment below)


text:
Study on Limnology of Thosne River Located in Lalitpur District, Nepal
Keywords:Biodiversity, Fisheries, Ichtyologist, Limnology, Nepal
Study on limnology of Thosne River was done to identify the diversity of aquatic insect and fish, and also to determine the water quality parameters for assessing suitability for fish farming. Some water quality parameters were recorded on the spot and others were analyzed in the laboratory. Altogether 14 different limnological parameters (3 physical, 8 chemical, 2 biological and 1 geographical) of Thosne river were studied in winter and spring seasons. During study period, the water temperature at the 1st (downstream) and the 5th (upstream) sampling stations ranged from: 15.75±2.81°C and 12.29±2.61°C: the pH 7.59±0.22 and 6.37±0.23; conductivity 194±10.7 μS/cm and 130±12 μS/cm; turbidity 5.91±2.74 NTU and 2.75±1.89 NTU, dissolved oxygen 9.62±0.87 mg/L and 10.58±0.7 mg/L; hardness 86.70±10.86 mg/L and 60.54±8.9 mg/L; chloride 14.25±25 mg/L and 7.79±1.44 mg/L; and flow rate 22.47±3.5 L/Sec and 13.5±2.4 L/Sec respectively. The ammonia nitrogen at the 1st (downstream), 3rd (midstream) and 5th (upstream) sampling stations ranged from 0.19±0.07; mg/L, 0.031±0.0056 mg/L and 0.013±0.003 mg/L whereas nitrate nitrogen ranged from 2.20±0.84 mg/L, 0.50±0.10 mg/L and 0.17±0.060 mg/L respectively. All the parameters were positively correlated with each other except dissolved oxygen and altitude. Three native fish species and aquatic insects from eight different families were identified. All the water quality parameters were within the recommended limit for rainbow trout fish farming up to midstream.


Skip to definition.
Noun: Don Juan 'dón,waan
 1. A legendary Spanish nobleman and philanderer who became the hero of many poems and plays and operas
 2. Any successful womanizer (after the legendary profligate Spanish nobleman)
Derived forms: Don Juans
Type of: ladies' man, lady's man, Lord, noble, nobleman, philanderer, womaniser [Brit], womanizer
Encyclopedia: Don Juan, Dominican Republic


August 11, 2022
Stop the random vibrations on your smartphone
Smartphones are amazing devices that have become an integral part of our lives. However, one downside to having a smartphone is the number of notifications and vibrations we get throughout the day. These can be incredibly distracting and lead to us being less productive. In this article, we'll discuss some ways to stop the random vibrations on your smartphone.
What could be causing the vibrations on your smartphone and how to stop them
There are a few potential causes of the random vibrations on your smartphone. One possibility is that you have too many apps installed and they are all vibrating at once. Another possibility is that you have notifications enabled for too many apps, which is why your phone is vibrating so much. In either case, the best way to stop the random vibrations on your smartphone is to disable notifications for some of the apps on your phone. This will minimize the number of vibrations your phone makes and allow you to focus on your work.
Why does my phone vibrate randomly
It seems like everyone has a smartphone these days, and with those smartphones come all sorts of apps that we use to vibrate, notify us, or just plain amuse us. But have you ever stopped to think about how all that vibration might be affecting your health? According to some experts, too much vibration can actually be harmful to your body.
The different ways you can prevent your phone from vibrating randomly
There are a few different ways you can prevent your phone from vibrating randomly. One way is to disable notifications for specific apps on your phone. Another way is to limit the number of apps that are allowed to vibrate. A third way is to adjust your phone's settings so that it only vibrates when you receive a call or text.
How to identify if there is an app or service that's causing the problem
If you're experiencing random vibrations on your smartphone, there is a good chance that one of the apps or services on your phone is causing the problem. To find out which app or service is causing the problem, you can go to your phone's settings and disable notifications for specific apps.
How to troubleshoot other potential causes of the vibration issue
If you're having trouble identifying which app is causing the vibration issue on your smartphone, there are a few other things you can try. One thing you can do is check your phone's settings to see if there is an app or service that's causing the problem. Another thing you can do is go to your phone's battery settings and see if there is an app or service that's draining your battery.
Tips for preventing your phone from vibrating in your pocket or bag
If you're having trouble preventing your phone from vibrating in your pocket or bag, there are a few things you can try. One thing you can do is disable notifications for specific apps on your phone. This will minimize the number of vibrations your phone makes and allow you to focus on your work.


Core Haptics in Depth
Lofelt
Lofelt
Feb 19 · 9 min read
By Gernot Poetsch
In the first part of this article, we covered the basics of Core Haptics, the Apple Framework for custom haptic events on the iPhone. In this article, we will dig deeper and discuss creating custom haptic content, exporting it as an AHAP file (Apple Haptic and Audio Pattern), and integrating that content into an application.
An AHAP file is the most convenient way to specify complex haptic patterns — in this form, haptic events and sounds are specified together in the same place. Getting started with the AHAP file format is easy: treat it like a normal file, as you would with an MP3, and "play" it.
There are currently two ways to generate an AHAP file: manually write the code, or, use one of several visual tools.
Creating AHAP content
It is possible to write code for a complete AHAP file in your favorite text or JSON editor. However, this method is hardly comfortable, and, we recommend a visual tool to provide a better way to create and preview the haptic effect and then generate the AHAP file. Here is an overview of three currently available AHAP creation tools:
Captain AHAP
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This is the first AHAP editor available to the public, a web-based application, found at _URL_. It has a companion app on Github, very fittingly called Moby. Captain AHAP and Moby are free and Moby is open source(1).
Using Captain AHAP, you can place events, parameters and parameter curves on a visual timeline and generate an AHAP file. It's a great tool to experiment with if you want to place and modify events manually and have a clear understanding of the outcome.
(1)The great folks at Fancy Pixel, who made Captain AHAP are also part of the team that built Lofelt Composer. Thanks!
Haptrix
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This is the youngest of the three tools, and similar to Captain AHAP in functionality. It also lets you place events, parameters and parameter curves, but with a native Mac App and a companion iOS app for playback. Both are available in the App Store, and the Mac app costs around $10. While it requires deep knowledge about the building blocks of an AHAP file, it provides precise numeric control over all aspects of the pattern, and does a good job at visualizing all events and parameters.
Lofelt Composer
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Lofelt Composer is a web-based tool with an iOS-based companion app, and is the impetus for writing this article. It has a different approach than the other two options: it doesn't require the user to place events manually. Rather, the user can simply drop an audio file onto Composer and it generates a complex series of events and parameter curves automatically. As can be seen in the screenshot above, these event and parameter curves are presented to the user as a single haptic envelope that can be fine-tuned as needed. This audio-driven approach is very useful for games and any other application development where you already have an audio component, or if you try to make the haptics mimic real-world examples for which you have created an audio file.
All three tools have editors and companion apps, so when experimenting and composing a pattern, the feedback loop of trial-and-error is especially important. Lofelt Composer makes setting this up very easy: open the tool in the browser and with the companion app on your iPhone; then, scan the displayed QR code. For the rest of the session, your phone is in sync with the browser, and you can immediately feel the pattern changes you make in real time. Once you are happy with the result, copy the AHAP file to the clipboard and integrate it into your app.
Integration
Having created your AHAP file content using one of the tools, you can easily copy the file into your existing workflow to integrate into your app.
How to Play an AHAP file
A simple AHAP player can be written in Swift with very little code:
let patternURL = ... //URL to the AHAP, preferably a local file
let engine = try CHHapticEngine()
try engine.start()
try engine.playPattern(from: patternURL)
That is the easiest way to play a pattern, sufficient for experimenting. In a production project, you should check if the haptic engine is available and do proper error handling. Also, the engine has handler blocks for stopping, resetting and finishing, which should be provided in a production app.
If you need more control over the playback, instead of using .playPattern(from:) on the engine, you can instantiate a CHHapticPatternPlayer and have that play a CHHapticPattern.
If you want to pause, seek and continue, set playback speed, or loop a pattern, use CHHapticAdvancedPatternPlayer instead. For example, with dynamic parameter injection at runtime (more on that later), a looping advanced pattern player can be used for continuous real-time feedback in games.
One unusual aspect of CHHapticPatternPlayer and CHHapticAdvancedPatternPlayer is that they are protocols, not classes. The actual types that implement the protocols are not exposed to the developer. The advanced player protocol inherits from its regular variant - the implication of this protocol-based approach is that the underlying types that implement them don't have to mirror that inheritance. This represents a rare example of Apple conforming to their pattern of "Protocol Based Programming in Swift" in a system framework. Apple claims that haptic players are extremely lightweight and fast to create - this design choice might have had a role in achieving that
The AHAP file format
Here is an example of a simple AHAP file structure:
{ "Version": 1.0, "Metadata": { "Project": "My Sample }, "Pattern": [ { "Event": {...} }, { "ParameterCurve": {...} } ]
If you take a closer look into it, however, it is a JSON file with a dictionary at its root that has three keys: version is currently set to 1.0; an optional Metadata dictionary that might contain a creation date and the project name; and, a Pattern key that includes the actual haptic events. As any JSON file, it can be edited or modified with a text editor — as long as it is valid JSON and follows the AHAP specification.
The most interesting part of the file is the Pattern section: it contains an array of dictionaries, each of which can have the keys: Event, Parameter or ParameterCurve. Let's look at them more closely.
Events
Events are, in type and structure, what we have already discussed in the previous article: transient and continuous haptic events and their audio counterparts. To play audio in sync with the haptic events, the waveform needs to be referenced from the pattern. But as complex and potentially large binary data, they can't be included in the JSON file but instead, need to be referred to as an external source. The path to the waveform has to be absolute or relative to the bundle where the AHAP file resides, which is usually the app's main bundle. If you want to add waveform audio in code, use .registerAudioResource(…) and related methods on CHHapticEngine. This generates a CHHapticAudioResourceID that can be used to create a haptic audio event for this waveform.
Events have an EventParameters array which modifies the properties of the complete event in which they're specified. Those parameters are specified in an array in the event and have a type and a value.
Parameters
In addition to the EventParameters, which were discussed in the previous article, there are "dynamic" parameters that can be modified during playback of a haptic event at runtime. To make things even more confusing, those dynamic parameters are only called Parameter in the AHAP file and are at the same level as the events. They affect all events at the same time and have slightly different names than their non-dynamic event-based counterparts: instead of HapticIntensity, there is HapticIntensityControl; AudioVolume is AudioVolumeControl; and, the ADSR parameters (the standard Attack, Decay, Sustain, Release envelope stages), like AttackTime, become HapticAttackTimeControl. Audio can also be modified with ADSR envelopes, in this case, use AudioAttackTimeControl and so on. In addition to Type (called ParameterID) and value, they have a time, which determines their position in the pattern, because they can change during an event.
Also, to be specified in a pattern, dynamic parameters can be added to an already-playing pattern at runtime:
func sendParameters([CHHapticDynamicParameter], atTime: TimeInterval)
This command, sent to a CHHapticPlayer or CHHapticAdvancedPlayer, causes the parameters to be applied immediately (by specifying time as 0) on an already-playing haptic, or at a specified time. The change is applied abruptly without the value slowly ramping up or down.
ParameterCurve
If you want dynamic parameters to change linearly over time, use a ParameterCurve. In


text:
Mining Large Graphs
thesisposted on 2013-06-28, 00:00 authored by Yuchen Zhao
Recently, there is an increasing need for mining graphs with the rapidly growing social networks, Internet applications and communication networks. Among all these real-world applications, graphs are ubiquitous and contain tremendous useful information in every aspect. In this thesis, we focus on studying graph structures and apply the knowledge from graph structures to a number of fundamental data mining tasks. In this thesis, we propose a hash-based compression framework to efficiently and effectively cluster graph objects in the stream scenario. We then extend it to the graph clustering problem with side information. We propose a novel optimization framework DMO, which can dynamically optimize the weights of graph distance and side information distance metrics. The hash-based compression framework consumes constant storage spaces and the mining process can be scalable to massive graphs with side attributes. We then study the graph structures from another perspective, i.e., positive and unlabeled learning in graphs. We derive an evaluation criterion to estimate the dependency between structural features and labels, and then propose an integrated approach that concurrently updates both graph feature selection and class label assignment. By using structural features from graph objects, the experimental results shows that the proposed integrated framework significantly outperforms the previous methods. As graph structures are very useful for understanding the nature of graphs, we further extend our analysis to online social networks. We explore five social principles and concepts that represent a variety of network characteristics and quantify their relations with social roles and statuses. We propose a novel probabilistic model SRS, which can integrate both the local social factors of individual users and network influence via neighbors in a principled way.


chaff and winnow
Also found in: Dictionary, Thesaurus, Medical, Legal, Wikipedia.
chaff and winnow
A privacy technique that is simpler than encrypting a message with a key. Chaff is the unusable part of a plant, and winnow means to separate the chaff so it can be discarded. Thus, chaff is sent (fake packets) along with real packets, and the chaff is winnowed at the other end by comparing a message authentication code (MAC) stored in each packet. The receiving end knows which are the valid MACs and which are not. See cryptography.


text:
In the Juniper labs i.e INE vMXvCP devices are connected into vMXvFP devices and we are consoling into vMXvCP devices but actually going into vMXvFP device. When logging into vMXvCP does it automatically console into vMXvFP? I don't understand if this GNS3 specific or how does this connection works. The interface on vMXvCP side shows as em0, does that mean this initiating a console connection automatically?
Also the links show naming as eth0, eth1 etc. but the actual interface names are ge-0/0/0 etc. How does the mapping happens?


text:
Moral Sentiment and Democratic Deliberation
Sharon R. Krause
Must we put passions aside when we deliberate about justice? Can we do so? The dominant views of deliberation rightly emphasize the importance of impartiality as a cornerstone of fair decision making, but they wrongly assume that impartiality means being disengaged and passionless. In Civil Passions, Sharon Krause argues that moral and political deliberation must incorporate passions, even as she insists on the value of impartiality. Drawing on resources ranging from Hume's theory of moral sentiment to recent findings in neuroscience, Civil Passions breaks new ground by providing a systematic account of how passions can generate an impartial standpoint that yields binding and compelling conclusions in politics. Krause shows that the path to genuinely impartial justice in the public sphere--and ultimately to social change and political reform--runs through moral sentiment properly construed. This new account of affective but impartial judgment calls for a politics of liberal rights and democratic contestation, and it requires us to reconceive the meaning of public reason, the nature of sound deliberation, and the authority of law. By illuminating how impartiality feels, Civil Passions offers not only a truer account of how we deliberate about justice, but one that promises to engage citizens more effectively in acting for justice.
Sharon R. Krause is associate professor of political science at Brown University. She is the author of Liberalism with Honor.


frac{\vecs r(c+h)-\vecs r(c)}{h}\]
 for any value of \(h\neq0\). We take the limit as \(h\to0\) to measure the instantaneous rate of change; this is the derivative of \(\vecs r\).
 Definition 70: Derivative of a Vector-Valued Function
 Let \(\vecs r(t)\) be continuous on an open interval \(I\) containing \(c\).
 1. The derivative of \(\vecs r\) at \(t=c\) is \[\vecs r ^\prime (c) = \lim_{h\to 0} \frac{\vecs r(c+h) - \vecs r(c)}{h}.\]
 2. The derivative of \(\vecs r\) is \[\vecs r ^\prime (t) = \lim_{h\to 0} \frac{\vecs r(t+h) - \vecs r(t)}{h}.\]
 Note: Alternate notations for the derivative of \(\vecs r\) include: \[\vecs r ^\prime(t) = \frac{d}{dt}\big(\,\vecs r(t)\,\big) = \frac{d\vecs r}{dt}.\]
 If a vector-valued function has a derivative for all \(c\) in an open interval \(I\), we say that \(\vecs r(t)\) is differentiable on \(I\).
 Once again we might view this definition as intimidating, but recall that we can evaluate limits component-wise. The following theorem verifies that this means we can compute derivatives component-wise as well, making the task not too difficult.
 theorem 91: Derivatives of Vector-Valued Functions
 1. Let \(\vecs r(t) = \langle \, f(t), g(t)\,\rangle\). Then \[\vecs r ^\prime(t) = \langle\, f^\prime (t), g^\prime (t)\, \rangle.\]
 2. Let \(\vecs r(t) = \langle \, f(t), g(t), h(t)\,\rangle\). Then \[\vecs r ^\prime(t) = \langle\, f^\prime (t), g^\prime (t), h^\prime (t)\, \rangle.\]
 Example \(\PageIndex{3}\): Derivatives of vector-valued functions
 Let \(\vecs r(t) = \langle t^2,t\rangle\).
 1. Sketch \(\vecs r(t)\) and \(\vecs r ^\prime(t)\) on the same axes.
 2. Compute \(\vecs r ^\prime(1)\) and sketch this vector with its initial point at the origin and at \(\vecs r(1)\).
 SOLUTION
 1. Theorem 91 allows us to compute derivatives component-wise, so \[\vecs r ^\prime(t) = \langle 2t, 1\rangle.\] \(\vecs r(t)\) and \(\vecs r ^\prime(t)\) are graphed together in Figure 11.9(a). Note how plotting the two of these together, in this way, is not very illuminating. When dealing with real-valued functions, plotting \(f(x)\) with \(f^\prime (x)\) gave us useful information as we were able to compare \(f\) and \(f^\prime \) at the same \(x\)-values. When dealing with vector-valued functions, it is hard to tell which points on the graph of \(\vecs r ^\prime\) correspond to which points on the graph of \(\vecs r\).

 2. We easily compute \(\vecs r ^\prime(1) = \langle 2,1\rangle\), which is drawn in Figure \(\PageIndex{2a}\) with its initial point at the origin, as well as at \(\vecs r(1) = \langle 1,1\rangle.\) These are sketched in Figure \(\PageIndex{2b}\).
 imageedit_2_7341053437.png
 Figure \(\PageIndex{2}\): Graphing the derivative of a vector-valued function in Example 11.2.3
 Example \(\PageIndex{4}\): Derivatives of vector-valued functions
 Let \(\vecs r(t) = \langle \cos t, \sin t, t\rangle\). Compute \(\vecs r ^\prime(t)\) and \(\vecs r ^\prime(\pi/2)\). Sketch \(\vecs r ^\prime(\pi/2)\) with its initial point at the origin and at \(\vecs r(\pi/2)\).
 SOLUTION
 We compute \(\vecs r ^\prime\) as \(\vecs r ^\prime(t) = \langle -\sin t, \cos t, 1\rangle\). At \(t= \pi/2\), we have \(\vecs r ^\prime(\pi/2) = \langle -1,0,1\rangle\). Figure \(\PageIndex{3}\) shows a graph of \(\vecs r(t)\), with \(\vecs r ^\prime(\pi/2)\) plotted with its initial point at the origin and at \(\vecs r(\pi/2)\).
 imageedit_6_8257622551.png
 Figure \(\PageIndex{3}\): Viewing a vector-valued function and its derivative at one point.
 In Examples \(\PageIndex{3}\) and \(\PageIndex{4}\) , sketching a particular derivative with its initial point at the origin did not seem to reveal anything significant. However, when we sketched the vector with its initial point on the corresponding point on the graph, we did see something significant: the vector appeared to be tangent to the graph. We have not yet defined what "tangent'' means in terms of curves in space; in fact, we use the derivative to define this term.
 Definition 71: Tangent Vector, Tangent Line
 Let \(\vecs r(t)\) be a differentiable vector-valued function on an open interval \(I\) containing \(c\), where \(\vecs r ^\prime(c)\neq \vecs 0\).
 1. A vector \(\vecs v\) is tangent to the graph of \(\vecs r(t)\) at \(t=c\) if \(\vecs v\) is parallel to \(\vecs r ^\prime(c)\).
 2. The tangent line} to the graph of \(\vecs r(t)\) at \(t=c\) is the line through \(\vecs r(c)\) with direction parallel to \(\vecs r ^\prime(c)\). An equation of the tangent line is
 \[\vecs \ell(t) = \vecs r(c) + t\,\vecs r ^\prime(c).\]
 Example \(\PageIndex{5}\): Finding tangent lines to curves in space
 Let \(\vecs r(t) = \langle t,t^2,t^3\rangle\) on \([-1.5,1.5]\). Find the vector equation of the line tangent to the graph of \(\vecs r\) at \(t=-1\).
 SOLUTION
 To find the equation of a line, we need a point on the line and the line's direction. The point is given by \(\vecs r(-1) = \langle -1,1,-1\rangle\). (To be clear, \(\langle -1,1,-1\rangle\) is a vector, not a point, but we use the point "pointed to'' by this vector.)
 The direction comes from \(\vecs r ^\prime(-1)\). We compute, component-wise, \(\vecs r ^\prime(t) = \langle 1,2t, 3t^2\rang


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Nova Scotia grape growers are facing a potentially catastrophic loss of crops after an unseasonably warm winter followed by a sudden cold snap didn't give plants a chance to acclimatize to wild temperature swings.
"It's a devastating blow to the industry," said Steve Ells, president of the Grape Growers Association of Nova Scotia.
Mr. Ells said half the industry is made up of independent growers that aren't wineries, so they could be in the worst shape.
"For those growers, it's really devastating since they potentially have no income or very little income depending on their mix of varieties," he said.
Nova Scotia is the fourth-largest fruit producer in the country, contributing up to 7.8 per cent of Canada's total production. While Nova Scotia is largely known for producing apples, grapes and wine are a growing industry with more than 100 members in the grape growers' association.
As reported in The Globe and Mail last fall, the growth is largely thanks to warming temperatures. The average summertime temperature in the Annapolis Valley, the predominant fruit-growing region in the province, was 17.9 C in the 1980s. Now it averages around 19 C. The average winter temperature has also increased by a degree and a half since the 1980s.
This year, the Annapolis Valley had one of its warmest winters on record, with December and January averaging above O C. This was then followed by one of the coldest February nights on record since 2009, hitting minus 25 C on Feb. 4. A week earlier, temperatures were as high as 6 C.
Based on samples examined by farmers shortly after the February freeze, there is an anticipated complete loss of vinifera grapes, which are the traditional European varieties such as chardonnay, riesling and geisenheim. Hybrids are expected to fare better with an anticipated loss of around 30 to 70 per cent.
John Eikelenboom, owner of 1365 Church Street Vineyard and Winery in Port Williams, said he is anticipating a loss of 60 to 70 per cent of his grape crop this year.
"It isn't quite a disaster, but it is very serious," he said.
Mr. Eikelenboom, a farmer for 60 years, described himself as a risk-taker and planted many vinifera grapes.
Karl Coutinho, owner of Avondale Sky Winery, estimated his crop is down about 40 per cent, but isn't sure of the extent of the damage yet. If he has to replant all the vines, he's looking at three to five years to recover.
"If it's just this year, then no worries. The scary part is that this could happen next year," Mr. Coutinho said.
The provincial government has said it will provide $15-million toward programs to help recovery, but no specifics are in place yet. The province said in a news release the funding will go toward losses not covered by crop insurance and toward replanting and climate change mitigation programs.
Nova Scotia Agriculture Minister Greg Morrow said the true extent of damage will be known this month, and he is expecting support programs to be rolled out in late summer.
"Our producers have been through a lot," he said referring to post-tropical storm Fiona last fall and this winter's polar vortex. "The $15-million is to support them and is a show of good faith."
Harrison Wright, a plant physiologist with the Kentville Research and Development Centre, said the cold snap preceded by warm weather was "probably the most damaging event in my estimation."
Dr. Wright explained that the plants were unable to acclimate and harden, which usually takes weeks of cold weather. Since temperatures largely stayed above freezing throughout December and January, plants couldn't properly prepare for the sudden cold.
"Plants don't like sudden change. That combination of being really warm and plunging to really cold is what caused this," he said.
Dr. Wright isn't sure if the warming weather can be seen as an overall risk since while plants acclimatizing to the cold is getting worse, less extreme cold weather is also beneficial. However, he said there is a need to start looking at plants that harden even in warmer winter temperatures to prevent this from happening again.
"We need to start paying attention to how different cultivars are impacted by that warm weather. Something that can become hardy, even on a warm winter is going to have less risk involved with it."


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How to Make a Mosaic Wildflower Monolith Sign
Design a ceramic tile flower to decorate a stone sign.
Materials and Tools:
1-by-1-inch and 2-by-2-inch ceramic tile in various colors
PVA (polyvinyl acetate) glue
contractor-grade waterproof sealant
bucket of water
offset tile nippers
square of wood for work surface
1. Cut and shape the wildflower with offset tile nippers and ceramic tile. Quarter a 2-by-2-inch off-white tile, and shape each square meticulously into a flower petal.
2. Shape several off-white tile petals.
3. Shape the corolla in the same manner from a 1-by-1-inch deep-yellow tile.
5. Cut a square from fiberglass mesh using scissors. Cover a scrap piece of wood with wax paper to use as a work surface. Tape the wax paper onto the wood. This will prevent glue from leaking through the mesh and sticking to the surface.
6. Tape the mesh to the wax paper on the scrap wood. Mark the center and a border around the mesh.
7. Starting at the center, glue the tile pieces for the flower first, and then glue the background tiles around the flower with PVA glue. "Butter" each individual piece with glue and put it into place on the mesh. Let the glue dry.
8. Prepare the substrate by tracing a template the approximate size of the mosaic on the stone with a pencil.
9. Wearing safety glasses and a respirator, use a grinder to score the prescribed space to the right depth and chisels to remove the small chunks within. When you're done, there will be a recessed well the depth of the tile.
10. Mix the mortar with water and apply it to the space for the mosaic. Press the mosaic into the mortar to assure a good bond. Allow ample time for the mortar to cure, which will vary depending on how thick the mortar is mixed, with 12 to 24 hours being optimal.
11. Mix sanded grout with water to the consistency of pudding. Mask off the stone around the edges of the opening. Apply the grout to the mosaic with a float, filling all spaces between the tiles. Let the grout stand for about 15 minutes, and then clean the monolith wildflower sign with a wet sponge. Remove the grout haze with a terry-cloth towel. Pull off the masking tape.
12. Let the grout cure for a minimum of 48 hours, and then seal the mosaic sign with a high-quality sealant applied with a foam brush.


Tyre Deflators
TRAILHEAD Automatic Tyre Deflators will automatically reduce the air pressure in a tyre to a predetermined level and stop, preventing any further loss of air from the tyre. They will function properly whether your vehicle is stationery or traveling at speeds of around 30km per hour or less.
Trailhead Automatic Tyre Deflators
The shut off pressure on your tyres may vary due to several factors, especially the flow rate of your valve stems.
1. Turn adjusting screw with a 5/32" allen wrench counter clockwise until it is even with the end of the body tube. This will set pressure at the lowest end of the adjustment range. Every complete turn clockwise will increase pressure approximately 1.5psi for the 5-20psi
range, and 3psi for the 15-40psi range.
2. Turn the adjustment screw clockwise the desired number of turns and follow "OPERATING INSTRUCTIONS".
3. If tyres have not deflated to the proper value, make minor adjustments to the adjustment screw, re-inflate and re-test. Some experimentation may be necessary to find the exact setpoint. This process goes quickly if a small spare tire (i.e. wheel barrel tyre, ATV tyre, etc.) is for use during the adjustment process. This process should take about 15 minutes as opposed to over an hour using a full size off road tyre.
NOTE: In order for deflators to reliably begin operation, tyres must be inflated to a pressure approximately twice the setpoint, e.g. If the deflators are set to shut off at 10 psi, tyres must be inflated to approximately 20 psi or greater.
1. Remove valve caps and replace with one tyre deflator on each tyre.
2. Wait until deflators are finished deflating and remove them from the valve stems.
3. Check pressure and make any adjustments to tyre pressure or deflators setpoint as necessary.
Consistency is more important than accuracy. Usually it is more important to have both tyres on a given axle deflated to the same pressure than to be exactly at the setpoint. Be sure to make every measurement the same way, every time. Consistency and repeatability are greatly improved when the valves on all four tires are from the same manufacturer and lot. This will minimize differences in the rate of flow from tire to tire that cause inconsistent readings.
1. Remove adjustment screw & spring while noting the number of turns the adjustment screw was inserted. Remove ball valve by blowing air into the knurled end of the deflator. Keep one hand over the open end to catch the ball and prevent loss. Make every effort to keep the components of each deflator together for reassembly later.
2. Thoroughly clean inside the deflator's bore with a Q-tip and rubbing alcohol, then compressed air. Clean all components with rubbing alcohol and compressed air.
3. Apply a fine coating of a high quality, heavy silicone or teflongrease or Vaseline, or a similar lubricant to each ball valve.
4. Insert the stem of the ball valve into one end of the spring and slide this assembly into the deflator, ball end first.
5. Install adjustment screw (the same number of turns before it was disassembled).


An undercover investigation by Animal Liberation NSW
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Specifically, donations may be used for the following purposes:
 - Computer equipment including hard drives
 - Website domain and hosting fees
 - Printed campaign materials (fliers, posters, etc)
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Donate to Animal Liberation


text:
All students doing any nationally recognised training, need to have a Unique Student Identifier (USI). The Unique Student Identifier or USI is a reference number made up of 10 numbers and letters that:
- Creates a secure online record of your recognised training and qualifications gained in Australia, even from different training organisations
- Will give you access to your training records and transcripts
- Can be accessed online, anytime and anywhere
- Is free and easy to create and stays with you for life
Your USI must be provided to and verified by MPAQ before a student can be issued with, or receive, a statement of attainment.
If you already have a USI, this must be provided to MPAQ during enrolment, upon completing the enrolment form, consent is requested for MPAQ to apply for a USI on your behalf. If a USI is created by MPAQ on your behalf you will be notified of this via email or SMS from the USI Registry.
MPAQ requires one of the following documents below to create and/or verify your USI:
- Australian Driver's Licence
- Australian Passport
- Australian Visa (with non-Australian passport)
- Australian Birth Certificate
If you don't have one of the above documents you can use one of the following:
- Medicare Card
- Certificate of Registration by Descent
- Citizenship Certificate
The personal details on the enrolment form must match your Identification. When creating the USI, it will be created as per the information displayed on the Identification. If the details on the enrolment form and USI do not match MPAQ will be unable to verify the USI. MPAQ is not able to Issue your qualification or certificate without your USI being verified first.
The following details are used to create your USI:
- First Name and Family Name
- Date of Birth
- Country of Birth
- Town/City of Birth
- Mobile Number and/or email address.


text:
|Geographical Range||Northern South America|
|Habitat||Forests, woodlands, plains, savannahs|
|Scientific Name||Epicrates cenchria cenchria|
The Brazilian rainbow boa is the largest of the rainbow boas, reaching six or more feet in length. Rainbow boas get their name from the multicolored sheen of their skin, caused by light reflecting off tiny ridges on their scales.
Rainbow boas prowl for food at night and sleep during the day. Although they usually rest in a tree or bush, they spend most of their waking time on the ground. They feed on birds, their eggs, small mammals, lizards, and frogs. Like all boa constrictors, rainbow boas kill their prey by suffocating it as they squeeze the victim's body with their muscular coils.


text:
ON THE CALPACK OF THE MOUNTAINS - OR LEMKO IDENTITY
The paper refers to the bilingual, Polish-Lemko, collection of poems by Władysław Graban,
Na kołpaku gór (On the Calpack on the Mountains), published in 1991. The mountains, the Beskids, the Lemkos' homeland, are presented as the exotic calpack, a type of cap made of several pieces of fabric sewn together. The analysis is based on the assumption that the Lemkos' identity has been shaped like a calpack, sewn together from various cultural, religious and linguistic elements as a result of cultural transgressions — complex in their course and stretched over time. In the successive parts of the article the author discusses the various components of the ethnic identity of this minority, little known to the public at large.


text:
Example of Report Text: Football Game
English Admin – Learning English Online. Today we give you an example of report text. It is about a famous game in the world. Yes this report text is about football game. What does a football game look like? Don't stop reading! Because the the game of football is described in simple and clear way to show how a report text in English is.
A report text can be very similar to a descriptive text. However, they can be distinguished easily from the object which is discussed. A report text commonly describes things in general while descriptive text tends to explain the characterization of a specific thing. Bellow are some other sources to learn a report text in English
- What is Report Text?
- 10 Contoh Report Text Bahasa Inggris Berbagai Topik
- 11 Contoh Report Text bahasa Inggris
Some important sources above can help you understand a report text. However understanding a text does not only read the sample essay but also analyzing the text. That we have to do when learning reading comprehension. So continue to read and analyze the sample below!
Football is a game played by two teams of eleven. They try to score by kicking or heading the ball into the other team's goal. Ten of the players can not use their hands. The goal keeper can handle the ball to stop it going into the goal.
Games similar to football have been played for many centuries. The rules of the games were written down in 1863. In England, the FA ( Football Association ) cup was first played for in 1872. In the same year, England played Scotland in the first game.
Today the most important International Competition is the World Cup which takes place in every four years. Brazil and Italy have each won the world cup three times.
This sample of report text about football play is taken from: report-text.blogspot.com/2009/06/football_02.html
Analyzing Generic Structure of Report Text about Football Play
Most report text sample is organized by the writer though the 2 important elements. They are
1. General Classification: Showing general participants stated in the first paragraph
Football is a game played by two teams of eleven.
2. Descriptions: Showing feature and detail information on how is the thing like
Games similar to football have been played for many centuries.
Today the most important International Competition is the World Cup which takes place in every four years.
Have you got idea why that short essay about football game is classified as an example of report text in English? Absolutely right if you answer based on the elements of generic structure. Hopefully it help you learning English.


1. Introduction
 DIA-DB is a web-based open tool for performing chemoinformatics to a chemical and protein database related to diabetes mellitus. This tool serves to three main objectives:
 - Task automation for virtual screening of a diabetes database.
 - Ease the use of "in silico" tools to users not familiar with these techniques.
 - Reduce time and money expenses related to "in vitro" experimentation.
 DIA-DB technically allows three types of database searching:
 - Query in DIA-DB to get information about the approved or experimental drugs containd in the chemical database.
 - Inverse virtual screening, by performing large-scale inverse docking in a set of proteins involved in diabetes, aiming to identify potential target of a query compound.
 - 3D shape similarity of antidiabetic bioactive compounds accesible in the DIA-DB chemical database.
 2. DIA-DB tool services
 a. Consulting DIA-DB drug database
 Performing a search in the database is an easy task the user can do from the search window in the site. The user can perform the search to get information about the approved or experimental drugs containd in the chemical database by two means:
 - Compound name: click on Name for performing a query by the common or the chemical systematic name of a compound.
 - Smiles code: click on Smiles and start inserting the smiles code of the query compound.
 screenshot of the search site
 A list with the matching compounds will be displayed:
 screenshot of the search by name
 If the user wants to get all the drugs in the database it can be done by filling the blank space with % either from the Name or the Smiles option.
 For checking the information contained in the database for any compound the user should click on the drug name. Then a new page will be loaded displaying data about the molecule.
 screenshot of metformin information
 b. Performing inverse virtual screening
 Performing a search in the database is an easy task the user can do from the search window in the site. The user can perform the search to get information about the approved or experimental drugs containd in the chemical database by two means:
 This action can be done from the Submit calculations site and checking Docking option. Then insert the smiles code of the query molecule in the LIGAND(SMILES) blank field. If the user does not know the smiles code, it can be obtained by drawing the molecule with the JME applet that will be displayed after clicking on Draw Molecule botton. Once the molecule has been drawn just click Submit Molecule and the smiles code for the user compound will be inserted in the LIGAND(SMILES) field. DIA-DB server will automatically generate the 3D coordinates information by means of Open Babel (www.http://openbabel.org).
screenshot of JME applet
 Now insert a valid email address and click SUBMIT DATA. Once the calculations are finished the user will be noticed by email with a link to the results.
 c. 3D shape similarity
 Go to the Submit calculations site and check Similarity option. Now follow the same steps as for performing inverse virtual screening.
 The "in silico" methods implemented are DIA-DB is suitable only for small molecules like drugs. Please avoid to upload as the query macromolecules like proteins, nucleic acids, poly-peptides or other bio-inorganic compounds containing atoms other than C, H, O, N, P, S, and halogens. Jobs involving those molecules will have no results.
 3. Results visualization and download
 After simulations are completed, DIA-DB server will send an email to the user with a link that will open a site where the results will be displayed, this can take from several hours to two or three days depending on the query compound and cluster occupation. Inverse docking results will be displayed, in a table, in descending order by the value of the binding affinity from the docking simulation.
 screenshot of JME applet
 The columns in the table show from left to right:
 - 2D diagram showing the interactions that take place between the protein and the molecule in the conformation with the best binding affinity predicted in the docking simulation. This image is built with PoseView (_URL_).
 - 3D image of the query molecule (in blue) overlaped to the compound that was co-crystalized with the protein target in the PDB model (in green). The code on top of the image corresponds to the PDB (_URL_) code of the protein target.
 - Binding affinity value in Kcal/mol obtained after the simulation for the query compound and protein target complex. The bindig affynity is broken down into its energy components and they are displayed in a graphical representation.
 Each raw in the table corresponds to the result of the simulation of the docking between the molecule introduced by the user and every protein target in the database.
 3D shape similarity results are also displayed in a table. In the left side of the table it is specified the PDB code of the cristal containing the ligand that is similar to the user input molecule followed by the PDB code for that ligand. On the right side it appears the score value [range 0-1] for the similarity of both ligands. The image displayed shows the overlapping of the molecule used as input by the user (in blue) and the similar drug of the database (in green).
 screenshot of similarity results
 Images can be shown at a higher resolution by clicking on them.
 Results can be downloaded in a pdb document. This is an easy task that can be performed by clicking on pdf link at the top rigth of the table of results.
UCAMSENECANLHPCNILSIOANNINON


Defn., free·will – adjective 1. made or done freely or of one's own accord; voluntary: a freewill contribution to a political fund. 2. of or pertaining to the metaphysical doctrine of the freedom of the will: the freewill controversy. Everytime it rains overnight it gets me thinking what would have happened if they had made
Continue reading Freewill!


text:
Abraham and Coprius of Gryazovets
From Wikipedia, the free encyclopedia
They were born in Russia, and built the monastery of Gryazovets, near Vologda, around 1492, on the banks of Petshenga River. Their feast day is celebrated on February 4 in the Russian Orthodox Church.
- Holweck, F. G. A Biographical Dictionary of the Saints. St. Louis, MO: B. Herder Book Co. 1924.
|This article about a saint is a stub. You can help Wikipedia by expanding it.|


A ray of light impinges from air onto a block of ice (n =1.309) at a 60.0° angle of incidence. Assuming that this angleremains the same, find the difference 2,ice - 2,water in the angles of refraction when the ice turns to water(n = 1.333).
2, ice - 2,water =
wrong check mark°
Detailed answers to tough
homework problems


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Plant of the Week 09/06/19
Desert Sweet Fernbush Chamaebatiaria millefolium Zone 4-9
Clusters of white, fragrant flowers cover this beautiful native shrub from early to mid-summer. Finely textured, fern like foliage add to the uniqueness of this semi-evergreen shrub. The sweet smelling flowers attracts both bees and butterflies.
The flowers change into bronze seed pods that help keep this shrubs interest into winter months. Plant in full sun and water regularly until the shrub is established. Can tolerate poor soils and is drought tolerant once mature. Can reach up to 8' tall and wide.
Great when used as a single specimen, a privacy hedge or a windbreak. Deer resistant due to its fragrant foliage.