EAST-WEST (Est-Oest)
Reviewed by Harvey Karten Sony Pictures Classics Director: Regis Wargnier Writer: Serguei Bodrov, Louis Gardel, Roustam Ibraguimbek, Regis Wargnier Cast: Sandrine Bonnaire, Oleg Menshikov, Catherine Deneuve, Sergei Bodrov Jr., Ruben Tupiero, Erwan Baynaud, Grigori Manukov, Tatyana Dogileva, Bogdan Stupka, Meglena Karalambova, Atanass Atanassov, Tania Massalitinova
Shortly after the American troops withdrew from Vietnam in 1975, those U.S. citizens who fled to Canada and Sweden to dodge the draft were invited to return without threat of punishment. All was forgiven, and a new spirit of brotherhood was to usher in. Meanwhile, decades earlier, in 1946, Stalin announced that all Russians who fled his country to the West during the tumultuous days of the Russian Revolution were invited to come back to work for a the rebirth of the New Man.
Which group of temporary expatriates--the Americans or the Russians--fared better? You guessed right. The Americans might have been resented by some of their neighbors for a while, but in a short time no one really remembered who had fought in Vietnam and who had evaded the call to arms. The Russian government, by contrast, was about as trustworthy of Saddam Hussein when that Iraqi dictator invited his brother-in-law to return to Baghdad, at which time Saddam had the poor man executed. In the case of Regis Wargnier's movie "East-West," which is based on a true story, no sooner did Russians returning from France to Odessa set foot on the soil of their beloved country than they were virtually all either executed for their betrayal of the homeland or sent to labor camps in remote areas. A few exceptions were made for people whose skills could be useful.
"East-West" is the story of one Russian man living abroad in France for years whose skills as a doctor would prove useful to the Stalinist regime and who was therefore allowed to live. Shipped out to Kiev in the Ukraine together with his wife--a French citizen who followed her husband out of a sense of duty and devotion and not because of any affection for a foreign state--the two learned the meaning of freedom the hard way.
I wouldn't blame some critics for looking on East-West as a political tract. It is so anti-Russian, so virulently opposed to the first Communist state, that it appears to have been written and directed by right-wing diehards. The realists among us who are quite familiar with man's inhumanity to man know that this is not true. Those who lived thorough the forties and those who did not but who are history buffs who kept up on their reading are familiar with the horrendous state of affairs in Russia since their glorious revolution of 1917. We know that Stalin may have killed even more people than Hitler, some estimating that up to thirty million of his own people were either executed outright or perished in labor camps, many quite innocent of any crimes against the state. The motive? Simply to keep the Soviet people terrorized. The informants--shown regularly through this tense film--are based on true characters, folks who thought like the envious Spaniards during that country's Inquisition, and who freely phoned the authorities to denounce people they did not like, accusing them of anti-state activities. It's all here in "East- West," which is France's entry to the Oscar competition and which had its initial run at the Toronto Film Festival.
Director Wargnier--whose 1992 film "Indochine" featured Catherine Deneuve as a rich landowner who adopted a Vietnamese girl and had to contend with the girl's spirit of independence later on--is more obviously political this time around. The story, filmed largely in the Bulgarian capital of Sophia with a local crew often suspicious of the French production team, features the lovely Sandrine Bonnaire as Marie and Oleg Menshikov as her naive husband, Alexie Golovin. Following Alexie unwillingly back to Russia in the midst of Stalin's alleged pardon, she realizes her mistake during her very first week as the couple are assigned to stay in a cramped communal apartment with co-tenants which include a drunk, a whore, and one sympathetic old woman who used to be the landlady of the residence. But physical discomforts take second priority when Marie witnesses the arrest of the elderly woman--whose only crime is that she joined Marie in singing a French song and is thereby accused of collaboration with the imperialists. Desperate to leave and return to France--something that authorities would never permit--she eventually locks her husband out, takes up with the dead woman's 17-year-old grandson Sacha (Sergei Bodrov Jr.), and becomes enmeshed in an involved plan to flee the country with the help of a wandering French theater group headed by actress Gabrielle Develay (Catherine Deneuve).
This wonderfully acted drama, smartly scored (featuring some concert songs by a Red-Army-Band sort of troupe), is quite unlike American political thrillers. You'll be disappointed if you expect explosions, endless rounds of machine gun firing, bold leaps across rising drawbridges, and hot erotic scenes. Only a single gunshot is fired, off screen, and the only physical violence is that carried out by a zealous government official (Grigori Manoukov) who beats Marie senseless to force a confession.
The 1940s were the big, bad years for the Soviet Union under Stalin's iron hand. Wargnier is not necessarily opposed to what is going on in Russia today but he sure as heck is no Stalinist. We needn't wonder that when World War Two involved the Soviet Union with Germany in June 1941, many in the West were hopeful that these nations, both with evil governments, would make caviar schnitzel of each other. "East-West" is an important film with actors that are wholly committed to its seriousness, one which deserves to be seen by anyone who still has fantasies that the Soviet government ever practiced Communism the way Karl Marx would have intended.
Not Rated. Running Time: 120 minutes. (C) 2000 Harvey Karten<EMAIL_ADDRESS>The review above was posted to the
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| Speakers | Sessions |
2014/09/25
9:00am
Registration/Breakfast
10:00am
Beginner: Intro to PhoneGap
11:35am
Advanced: Architecting PhoneGap apps
1:25pm
Lunch
2:30pm
God Mode: Building an app from scratch and more...
2014/09/26
9:00am
Registration/Breakfast
10:00am
Plugman, the Man that Plugs
10:30am
PhoneGap Build
11:00am
Break
11:15am
Integrating PhoneGap with Adobe Experience Manager
11:45am
PhoneGap Enterprise
12:15am
Lunch
1:30pm
Using Ionic with PhoneGap
2:00pm
Expanding PhoneGap Android to Alternative WebViews
2:30pm
Break
2:45pm
PhoneGap Command Line Wizardry
3:15pm
PhoneGap Developer App
3:45pm
PhoneGap and Mozilla a Marriage Story
4:15pm
Closing Remarks
{{First name}} {{Last name}}{{title}} {{company}} |
{{Bio}}
{{twitter}}
{{Twitter}}
Timey WimeyDoctor Who @bbcdoctorwho |
Would you like a jelly baby?  You may be a doctor. But I'm the Doctor. The definite article, you might say. Well, of course I'm being childish! There's no point being grown-up if you can't be childish sometimes. Come on!   It seems you have a very large rat Brigadier maybe you should employ the services of a very large cat? Are you listening to me? It may be irrational of me, but human beings are my favorite species.


|
EMDB
Queryable Embedded Database for the Tiniest of Devices
|
#include <stdint.h>
Go to the source code of this file.
Classes | |
| struct | Entry |
| A database entry. More... | |
| struct | Key |
| An internal representation of a Key. More... | |
| struct | Stats |
| Statistics Object, used for general statistics. More... | |
| struct | Storage |
| Configuration of a Storage Engine. More... | |
| struct | EMDB |
| EMDB Object. More... | |
Macros | |
| #define | EMDB_VERSION "0.1.1" |
| #define | STORAGE_HAS_CAPABILITY(a, b) ((a&b) == b) |
| #define | CAPABILITY_PERMANENT_STORE 1 |
| #define | CAPABILITY_INDEXED 2 |
| #define | CAPABILITY_OID 4 |
Typedefs | |
| typedef struct Entry | Entry |
| A database entry. More... | |
| typedef struct Key | Key |
| An internal representation of a Key. More... | |
| typedef struct Stats | Stats |
| Statistics Object, used for general statistics. More... | |
| typedef struct Storage | Storage |
| Configuration of a Storage Engine. More... | |
| typedef struct EMDB | EMDB |
| EMDB Object. More... | |
Functions | |
| EMDB * | emdb_create_db (Storage *, void *) |
| Creates a database, along with the context for it to be run in. More... | |
| void | emdb_destroy_db (EMDB *) |
| Closes a database and releases any memory associated. More... | |
| uint8_t | emdb_write (EMDB *, uint8_t *, uint8_t *, uint16_t) |
| Writes data to Storage Engine. More... | |
| Entry * | emdb_read (EMDB *, uint8_t *) |
| Reads data from the Storage Engine. More... | |
| uint8_t | emdb_delete (EMDB *, uint8_t *) |
| Deletes data from the Storage Engine. More... | |
| uint8_t * | emdb_last_error (EMDB *) |
| Returns the last error thrown by either the database or the Storage Engine. More... | |
| void | emdb_scan (EMDB *, void *, void(*)(void *, uint8_t *, Entry *), void(*)(void *), void(*)(void *, uint8_t *)) |
| Scans all entries in the database, and calls back with key/value pairs, errors, and on end. More... | |
| void | emdb_free_entry (Entry *) |
| Frees memory allocated for an Entry. More... | |
| Entry * | emdb_copy_entry (Entry *) |
| Copies an Entry. More... | |
Header for EMDB.
A database entry.
Entry provides the basis of a database entry. Memory is allocated for the Entry, and must be freed. If value is a String
, the size should include the terminating NULL byte. Thus, the size of "hello" would be 6, including the NULL termination.
Copies an Entry.
Copies an Entry and allocates any memory needed. The result must be freed using emdb_free_entry(Entry *).
| entry | - Entry to copy |
| uint8_t emdb_delete | ( | EMDB * | , |
| uint8_t * | |||
| ) |
| void emdb_destroy_db | ( | EMDB * | ) |
Closes a database and releases any memory associated.
Closes a database, releasing any memory or other resources that have been allocated.
| db | - database created via emdb_create_db(Storage *, unsigned int, void *) |
| void emdb_free_entry | ( | Entry * | ) |
| uint8_t* emdb_last_error | ( | EMDB * | ) |
Returns the last error thrown by either the database or the Storage Engine.
If an error exists, returns the String representation of the last error that is thrown by the database or underlying Storage Engine.
| db | - database |
Reads data from the Storage Engine.
Reads a value from the Storage Engine referenced by the key provided. The Entry returned must be freed after use.
| db | - database |
| key | - key to read, cast as (unsigned char *) |
| void emdb_scan | ( | EMDB * | , |
| void * | , | ||
| void(*)(void *, uint8_t *, Entry *) | , | ||
| void(*)(void *) | , | ||
| void(*)(void *, uint8_t *) | |||
| ) |
Scans all entries in the database, and calls back with key/value pairs, errors, and on end.
Executes a scan of all entries currently in the Storage Engine, calling functions for key/value pairs, on end of the scan, and on error.
| db | - database |
| context | - pointer to a context used for the scan |
| event_handler | - pointer to a function accepting a context, key, and an Entry |
| end_handler | - pointer to a function to call at the end of the scan accepting a context |
| error_handler | - pointer to a function accepting a context, and an error message |
| uint8_t emdb_write | ( | EMDB * | , |
| uint8_t * | , | ||
| uint8_t * | , | ||
| uint16_t | |||
| ) |
Writes data to Storage Engine.
Writes the value passed to the Storage Engine using the key provided. This must include the length of the value to be stored in sizeof(byte), and in the case of a String, should include the NULL byte at the end of the String.
| db | - database |
| key | - key to write, cast as (unsigned char *) |
| value | - value to write to the Storage Engine |
| length | - number of bytes sizeof(byte) to write |


{% extends "base.html" %} {% import "bootstrap/wtf.html" as wtf %} {% block title %}JeffPD - Coach{% endblock %} {% block page_content %}
Hello, {% if current_user.is_authenticated() %}{{ current_user.first_name }}{% else %}Stranger{% endif %}!
Use this page to checkout all the logs you've created!
| Teacher | Date / Time Created | Date / Time Completed | What you did | What you're doing next | Minutes logged | Tags | Completed? | Edit or Delete this log? |
|---|---|---|---|---|---|---|---|---|
| {% for teacher in log.teachers %} {{ teacher.first_name }} {{ teacher.last_name }}, {% endfor %} | {{ log.timestamp_created.strftime("%Y-%m-%d %H:%M") }} | {% if log.timestamp_completed != None %} {{ log.timestamp_completed.strftime("%Y-%m-%d %H:%M") }} {% endif %} | {{ log.body }} | {{ log.next }} | {{ log.time }} | {% for tag in log.tags %} {{ tag.name }}, {% endfor %} | {{ log.completed }} | Edit/Delete Log |


|
adjust_negative_predicted_features()
|
Function to adjust any negative predicted features |
|
aggregate_country_deciles_to_regions()
|
Function to aggregate country deciles to regions |
|
compute_components_data()
|
Function to calculate coefficients from raw data |
|
compute_deciles_lognormal()
|
Function to compute deciles using lognormal distribution |
|
compute_gini_deciles()
|
Function to calculate GINI coefficient from deciles. |
|
compute_lognormal_country()
|
Function to compute lognormal distribution for individual countries. This is passed for parallelization. |
|
compute_lognormal_dist()
|
Function to compute lognormal density distribution for arbritary params |
|
compute_palma_ratio()
|
Function to calculate palma ratio from deciles |
|
compute_PC_model_components()
|
Function to calculate PC coefficients for future years |
|
create_cores()
|
parallelization function to generate multiple cores from the CPU. |
|
erfinv()
|
Create inverted error function. Will need this for lognormal calculations below. |
|
get_centers()
|
Helper function to calculate centers for the PC model. |
|
get_deciles_from_components()
|
Function to calculate deciles from components and coefficients |
|
get_PCA_loadings()
|
Helper function to get PC loadings or components from raw data |
|
get_sd_center()
|
Helper function to calculate centers and standard deviation for the PC model. |
|
hello()
|
Hello, World! |
|
PC_model()
|
Function to calculate deciles using PC model |


I am Software test professional who aspires to become a full stack developer. I like to draw and paint. My favorite medium is chalk pastel. I ❤ coffee !!!.
This is a five part course on front end web development. HTML5, CSS3, JavaScript, JQuery and Boostrap. Capstone course was completed using a bootstrap theme. This was my first web design course. I was just getting my feet wet here.
I took the complete 2021 web development bootcamp from Udemy from Angela Yu. This is an intense course has 469 lectures which focuses on full stack development. I like this course as it gave me more confidence to be able to code than the first one.
© 2021 Anubhab Dan


Header content goes here
London Technology Industry
What content goes here.
Bussinesses content goes here.
What does London have to offer.
=======
Admin Login
>>>>>>> backend-dev


here the content of 1st tab link
here the content of nested 1st tab link
here the content of nested 2nd tab link
here the content of 2nd tab link
here the content of 3rd tab link
here the content of 4th tab link


Demos of Brython programs using the Javascript library Raphael
Basic example
Playground
Colour picker


Next: Sharpsign R, Previous: Sharpsign O, Up: Sharpsign
#Xrational reads rational in hexadecimal (radix 16). The digits above 9 are the letters A through F (the lowercase letters a through f are also acceptable). For example,
#xF00 ≡ 3840 #x105 ≡ 261 ;105_{16}
The consequences are undefined if the token immediately following the #X does not have the syntax of a hexadecimal (i.e., radix 16) rational.


Newest Commentary (7/3/2017)
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Data Analysis and Visualization with R for Social Scientists
Justin Chun-ting Ho
University of Edinburgh
Create a new project
- Under the File menu, click on New project, choose New directory, then New project
- Enter a name for this new folder, and choose a convenient location
- Click on Create project
- Create a new file where we will type our scripts
Interaction with R
- Type commands directly into the console and press 'Enter'
- Execute commands directly from the script editor using 'Ctrl' + 'Enter' ('Cmd' + 'Return' for Macs)
Installing additional packages using the packages tab
Exercise
- Use the install option from the packages tab to install the ‘tidyverse’ package.


License Text: Please Read
Why I Love Lilypond
by Tom Swan
When it comes to creating good-looking sheet music scores, Lilypond scores a 10 out of 10 from me. It’s my top choice for engraving guitar scores, complete with fingerings and tablature plus whatever other musical markings I could possibly ever need.
Here’s a sample of Lilypond’s output — a short chord melody of Happy Birthday for guitar that I whipped up for this article.
happy-birthday.pdf
: Open
Here’s a recording of me playing the score:
Happy Birthday MP3:
I’ve tried most of the other popular music-typesetting choices — programs such as Finale, Sibelius, and MuseScore. But I settled on Lilypond for reasons that I explain in this article. Today, I never use anything else for my guitar scores.
What is Lilypond?
Lilypond is both a language and a computer program that can read music written in Lilypond (the language) and create a publishable PDF file with a perfectly engraved rendition of the music, complete with all the elements we guitarists usually want: left- and right-hand fingerings, string numbers, chord diagrams and chord names, and that must-have feature especially for those who don’t read standard notation — tablature.
| Lilypond can also produce a MIDI representation of any score. And it isn’t limited to guitar music. The software can handle just about any known musical or percussive instrument (really!) and it can easily satisfy even the most exacting engraving needs, from simple lead sheets up to demanding orchestral works. For more information, and to download Lilypond, follow this link: Lilypond |
Do I Have to Be a Programmer?
  It’s not anywhere near as complicated as a general-purpose programming language such as C++ or Java.
In fact, Lilypond isn’t really a programming language at all. Think of it instead as a scripting tool, a simple means by which you can have a conversation with a computer — in this case, a dialog specifically about a song you want the computer to nicely and neatly engrave.
| What’s more, the price is right. Did I mention that Lilypond is 100% free software? Good price! |
How Does it Work?
Writing music with Lilypond is similar to writing computer code only in that you use a common text editor for input. In plain text, you write down your song’s notes and chords, a title, your name perhaps as composer, and details such as fingerings and string numbers using easily learned conventions that may seem cryptic at first, but in time will make better sense.
Let’s take a look at a few simple scores so you can begin to understand LilyPond’s ways. Here’s a simple engraving of a C Major scale that I created using LilyPond:
Here’s the entire LilyPond script that created the engraved image (minus a version
statement that doesn’t interest us here):
\new Staff {
\clef "treble_8"
\relative c {
c d e f | g a b c |
}
}
Try to match up the text with the image, but don’t be concerned with understanding everything at first. Indentation helps organize the parts of a LilyPond score in text form. You could write the entire score on one line and the results will be the same, but the text will not be as easy to read.
Braces {
and }
enclose the contents of a new Staff
containing a clef
declaration, and stating that the music is relative to the note C. Finally the scale notes in lowercase inside a second pair of braces {c, d, e, …}
are listed between vertical bars that resemble the bars of the engraved score’s measures.
| The text bars are not required, but using them helps you to visualize your score in text form and keeps your music organized. With bars, LilyPond can check whether your notes correctly fill out each measure — the program warns you if not. |
The "8" in treble_8
and just below the clef in the engraved score indicate that, if this tune is to be played similarly on a piano, the notes must be lowered one octave because a guitar’s middle C is the same frequency as C below middle C on the piano.
LilyPond needs to know in which octave to position your music. That’s what the relative
statement does.
Need tabs in your score? Here’s the same scale in a tablature staff showing the notes to play on the guitar fretboard.
The text for the tablature engraving is almost the same as for the standard staff:
\new TabStaff {
\relative c {
c d e f | g a b c |
}
}
All I did was take out the clef
statement and change Staff
to TabStaff
. The notes are identical.
As you probably know, most guitar scores join the staves together and align the notes. Here’s the finished score. Looking good!
Learning to Speak LilyPond
Reading through LilyPond scores in text form is probably the best way to learn to speak LP.
| The LilyPond web site offers a great tutorial and contains a seemingly bottomless archive of “snippets” and samples for probably everything you’ll ever want to accomplish. Just copy the code, make a few changes, and add it to your score. You don’t need to become totally fluent in LilyPond in order to use it effectively. |
Still, some of the conventions and syntax rules can take a bit of pondering to understand. One reason for its cryptic reputation is that Lilypond is a terse language. But that’s good. It’s kind of like the ultimate shorthand for jotting down, with precision, all the elements of a song — a repeated section, for example, alternate endings, coda, the key, time signatures, stuff like ties and rests, chord diagrams, and on and on.
All such common elements are simple and easy to specify. I just tell Lilypond that I want a rest here and a tie there, and it figures out how best to engrave the end result. It can even handle multi-verse lyrics. Unlike with other programs, with Lilypond, I never have to deal with any drawing commands or graphics objects at all!
For a real life example, follow this link to view the entire text of my Happy Birthday score from the beginning of the article:
Happy Birthday Source
: View
How to Compile Happy Birthday
To compile the sample source code and produce a PDF document of the score, install the software if necessary, go into source/ and type lilypond
plus the source-code .ly filename. If all goes well, open the resulting PDF file to see the finished score (here, I use the command-line xdg-open, which opens any file in the preferred application).
$ cd source $ lilypond happy-birthday.ly GNU LilyPond 2.18.2 Processing `happy-birthday.ly' Parsing... Interpreting music...[8] ... Success: compilation successfully completed $ xdg-open happy-birthday.pdf
| The separate program Frescobaldi provides a text editor and extensive drop-down menu commands for running Lilypond without having to use a command-line prompt — which only programmers can possibly love, right? For what is probably the easiest way to get started with Lilypond, check out Frescobaldi. |
Thinking in Lilypond
Honestly, I don’t understand why music publishers continue to use the other programs I mentioned such as Finale and Sibelius. Capable as they are, they are all in the end graphics drawing programs. With those and similar CAD (Computer Aided Design) systems, you are forced to think in terms of graphics and typesetting objects and rules.
With Lilypond, however, you instead think in terms that are probably more familiar to you — musical terms. You don’t deal with notes as graphics shapes. You simply write down what the notes are. Lilypond knows what they’re supposed to look like.
| Lilypond has tweaks for doing all kinds of fancy layout work, moving things around, editing tablature entries and markings, and making fine adjustments. It is virtually unrestricted in output capabilities — but I rarely use the fancier features because the default settings already work so well out of the box. |
Can you tell? I love LilyPond!
Website: https://www.tomswan.com
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Natural Gas Leaks on the Rise
Philadelphia Gas Leaks in the last month
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Goliath Monitoring
This device moniters for gas leaks in the area using the mq9, mq5 & mq2 sensors.
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Some text..


What is Mapbox?
A geographical baselayer...
Three basic baselayers at the core of Mapbox are:
1. Streets/Atlas View
2. Terrain/Topographical
3. Satellite
When you start a new project through your mapbox account, these are the possible baselayers already available to you.
Of course, w/ Mapbox Studio, the design possibilities are endless.
What is Mapbox?
A geographical baselayer + DATA OVERLAY
But again, What is Mapbox? It's a geographical baselayer + data. And what we're going to focus on today is the second half of the equation--data. B/c visualizing our data helps us not only tell our stories more effectively to our readers, but it can also show us insights that can inform our own reporting.
A screenshot of my very first Mapbox assignment--which was to visualize 40 years of Iowa population data. This is data for 2000-2010.
Objectives
How to build a map in Mapbox Studio or Tile Mill.
How to build the same map using Mapbox.js.
So today, we're going to learn 2 things. First, how to build a map using TileMill or Mapbox Studio.
And second, how to build that exact same map using the Mapbox API.
Then we'll talk about pros/cons to each approach & show you a few projects that have used Mapbox to get you inspired!
Step One: Does Your Data Have a Geographic Field?
You need some kind of geographic field in your data to join to a shapefile or generate geojson / topojson file, etc.
FIPS code
Latitude / Longitude coordinates
Or geocode your data. Checkout geomancer from the AP.
So first things, first when identifying a data set to map, make sure there's a geographic or spatial component to it. This could be a FIPS code, if dealing w/ states or counties, lat/lon for specific points on a map, or even trying tools like AP's geomancer, to add geocoded data to your data, if you only have a city name or street address, etc.
Data Formats Recognized by Mapbox Studio & Tile Mill
csv (must contain colums w/ lat/lon coordinates)
shapefile
GeoJSON
KML
GeoTIFF
SQLite or PostGIS
Mapbox Studio and TileMill will recognize csv data, shapefiles, GeoJSON,
KML (think Google Earth/Maps products), GeoTIFF for raster/remote sensing imagery and lastly, data from spatial databases like SQLite or PostGIS. If you're going to build your map in javascript, you'll want your data as GeoJson.
Our Data Story
Unemployment rates by county for 2013
Source: Bureau Labor of Statistics
Found the raw data from 2000-2013 in an Excel file at the USDA .
Yes, getting the raw data to unemployment.geojson takes a few steps.
But don't worry, I've outlined exactly how to do it w/ minimal pain involved here .
Ok, so what data set will be using today? Unemployment rates by county for 2013, which interestingly enough I found through USDA and not BLS. Go figure.
Everyone's machines should have unemployment.json preloaded. And while we don't have time today to go over how I got that Excel file into a geojson file, I've provided step by step instructions for you so that you can replicate my unemployment.json file in addition to building some python and terminal skills along the way.
But First, Beware!
While TileMill still works now, know that Mapbox aims to fully replace and improve upon TileMill with Mapbox Studio.
You should know that Mapbox is looking to replace and eventually stop supporting TileMill. I'll still briefly show you how you would make the map in TileMill versus, Mapbox Studio, but be warned!
Method I: Mapping in Mapbox Studio
Step One: Import our GeoJSON and Upload Data
Create a new project and select Blank source .
Click New layer and import our data.
Change your zoom level to see our data.
Click anywhere on the map.
Rename layer name unemployment . Save our project.
Upload our data to Mapbox.com.
Copy our data's Map Id .
Open Mapbox Studio and click on Projects in the lower left. Click New project button. Create a new source for our data by selecting Blank Source.
Is your screen black? Can't see your data? Good. This often happens.
If you change your zoom level to z2 and change drag your map, you'll see a map of the US.
And when you click on the map, you'll see a hover box containing all the data points for a given county. If you select the Fields tab (next to configure), you'll see what type of fields are in our data (string, integer, etc.). MAKE SURE EVERYONE'S DATA LOADS AS UNEMPLOYMENT.
Mapbox Studio source projects are saved as a directory of files with a suffix of .tm2source automatically appended to the name.
Upload your data directly to Mapbox.com by selecting Settings and the Upload to Mapbox button. Be sure to give your upload the name you used to save your project. Check your online Mapbox account. Do you see your upload under the Data tab? We upload our raw data to Mapbox.com so we can use the data for styling Mapbox Studio projects.
You can copy our data's map id in two ways. You can do it through Mapbox.com, where you'll see the id and a clipboard icon under the name of the project (select the icon to copy the id). Or you can copy the map id in Mapbox Studio in the Settings panel. If you accidently click the id in studio, no worries, it takes you to your online Mapbox account where you can copy it there.
Method I: Mapping in Mapbox Studio
Step Two: Style our data
Select Projects and Styles (instead of Sources).
Click on Layers and Change source to add our data's Map Id.
Create a style sheet for our data.
Back in Mapbox Studio click on Projects in the lower left. We see our data project saved, cool. Now select Styles. We don't have any Styles! So let's select the New Project tab and select one of Mapbox's prepackaged styles. I chose Streets Classic. In addition to loading the base layer, you'll also see the CSS written in CartoCSS that styles the baselayer. You can customize these styles, however you'd like, but we won't focus on that today.
In the dialog box, you'll see the map id for your style. Paste your data's map id here. Commas between map ids, but no spaces. As you might have guessed, you could add multiple data sources this way.
Click on the + button on the top right of the style editor to add a style sheet for our data. Name your tab the same as your layer name, which in this case is unemployment.
Method I: Mapping in Mapbox Studio
Our CartoCSS styles
#unemployment {
line-color: #a3a3a3;
line-width: 0.8;
polygon-opacity: 0.6;
[unemploy_3 = -99] { polygon-fill: #a3a3a3; }
[unemploy_3 >= 0.9][unemploy_3 <= 5.0] { polygon-fill: #edf8fb; }
[unemploy_3 >= 5.1][unemploy_3 <= 6.3] { polygon-fill: #b3cde3; }
[unemploy_3 >= 6.4][unemploy_3 <= 7.5] { polygon-fill: #8c96c6; }
[unemploy_3 >= 7.6][unemploy_3 <= 9.2] { polygon-fill: #8856a7; }
[unemploy_3 > 9.2] { polygon-fill: #810f7c; }
}
Copy and paste the code into your unemployment stylesheet. Save your project as unemployment-styles. Do you see any changes?
Method I: Mapping in Mapbox Studio
Adding Interactivity
Close Mapbox Studio. Navigate to the folder where you saved your styles.
Open project.yml .
Change interactivity_layer: '' to interactivity_layer: unemployment
Change template: '' to
template: |-
{{unemploy_1}}, {{unemploy_2}}
Unemployment rate: {{unemploy_3}}
What is a map without interactivity? Let's close Mapbox Studio and navigate to your styles folder. It has a .tm2 extension. Unfortunately we have to quit and restart Mapbox Studio, as Studio does not yet detect changes made from other text editors dynamically.
This is a yaml file or xml file w/ our project's properties.
interactivity_layer: unemployment let's us access all the data properties of this layer so we can make pick and choose what we want in our hover data.
In template we are creating hover data using our layer's data field names, in this case I've selected county name, state + unemployment rate. The curly brackets indicate a mustache template, you'll see this structure in lots of different languages/libraries.
Method I: Mapping in Mapbox Studio
Upload Project
Use unemployment-styles as name and upload to Mapbox.
Go to your Mapbox.com account and check for project under Styles.
By navigating to Settings.
Is it there? Good deal. Let's get our map on a html page!
Method I: Mapping in Mapbox Studio
Building A Simple HTML page
Go to https://github.com/sfrostenson/talks/blob/tree/master/2015-03-nicar-mapbox/mbstudio-map/index.html
Copy and paste code into a text editor as index.hml or click raw and save as index.html. Save this file in the same folder as your unemployment.geojson.
So what is this html file doing? In the beginning, we declare it's a html file and call both the Mapbox.js API and Mapbox styles. Then we give some simple css position styles to our map, which has an id of #map.
Where the magic happens is in our javascript, where we draw our map in our variable map, var map. The only thing we need to do is add our API Token and the map id of our styled map. Make sure to put both inside the quotes.
Ok, great. Once you've done that, let's save our file as index.html and drag that file into the browser.
Got Map?
Hover data works. Can zoom into an area, out of an area, etc. You've just built your first map!
Tile Mill
Luckily, for you TileMill is very similiar to Mapbox Studio. It's roughly the same process of creating a new project. We adding our data layer, unemployment.geojson and CartoCSS styles, except we don't have the intermediary steps of having to upload to Mapbox. You could even argue the process is cleaner at this stage. But remember, we don't know how much longer TileMill will be supported.
Tile Mill Hover Data
By clicking the pointed finger icon in the lower left, I can activate my unemployment layer and add my interactivity like we did in Mapbox Studio. I can even create an html legend.
So Why Not Use TileMill?
First of all, you can . I've included a tutorial at the end of the slides in Resources.
TileMill makes tiles. Mapbox Studio makes vectors. Vectors won't look fuzzy under high resolutions. Images will.
You can't customize your baselayer in TileMill. But you can in Mapbox Studio.
Method II: Mapping using Mapbox.js
Line 65 in index.html:
var unemploymentLayer = L.geoJson(unemployData, { style: style, onEachFeature: onEachFeature }).addTo(map);
Variable in unemployment.geojson:
var unemployData = {
"features": [
{
"geometry": {
"coordinates": [
[
[
-121.447540446521,
41.997168804479195
etc........
First of all, top of the script has all the same requirements as our other index.html file. Then we've got some map and legend styles and some html code that creates a Mapbox legend on our page in addition to the div for our map.
Similiarly, we initiate the map w/ our API token and Map id. Except this map id is just a baselayer map w/ no data preloaded.
Next we add the legend.
And this is the big part, line 65 is where we load our unemployment.geojson.
L.geojson is how the Mapbox API loads geojson data. And if we open our unemployment.geojson, we'll see that unemployData is the set variable for our geojson.
Method II: Mapping using Mapbox.js
Interactivity and Styles
var popup = L.popup();
unemploymentLayer.on('mouseover', function(e) {
e.layer.openPopup();
});
unemploymentLayer.on('mouseout', function(e) {
e.layer.closePopup();
});
The rest of our index.html is focused on assigning interactivity and styles to our map that are then referenced in the style:style and onEachFeature:onEachFeature of line 65.
For instance, here we declare our popup variable and say when our mouse moves to a county, open our popup. When our mouse moves from our event (aka county) close popup. Instead of mouseover you could say click if you wanted click data instead of hover data.
The other functions, assign styles.
Drag index.html to your browser. What do you see?
Got Map?
Hover data works. Can zoom into an area, out of an area, etc. You've just built your first map!
PRO/CONS of Methods?
Mapbox Limitations?
This is when I ask you for feedback. Which method did you like better?


ComponentAdapters are probably PicoContainer's most highly misunderstood (and coincidentally, most powerful) feature. They combine the power of an object factory, and an object interceptor rolled into one.
The key to the component adapter is only one method:
T getComponentInstance(PicoContainer container, Type into) throws PicoCompositionException
In essence, the sole purpose of the ComponentAdapter is to provide a PicoContainer with an actual object instance. In fact, DefaultPicoContainer does not contain a Map of Classes, a Map of object Instances, or anything like that. Instead it contains a map of ComponentAdapters.
Each time you use addComponent(..) on PicoContainer, behind the scenes a new ComponentAdapter instance is set up. There is one ComponentAdapter implementation per component instance. The ComponentAdapters can be added to a container directly, or made by the ComponentFactory the container is using. Both for BehaviorFactory and InjectionFactory implementations. Its all hidden from you to make PicoContainer's API appear simple.
So what happens when PicoContainer.getComponent() is called?
Our goal with this sequence diagram is to show that the primary function of PicoContainer here is to locate the ComponentAdapter that has been previously registered via MutablePicoContainer.addComponent() or MutablePicoContainer.addAdapter().
Once PicoContainer locates the appropriate ComponentAdapter, it calls the fabled ComponentAdapter.getComponentInstance(). A very simple ComponentAdapter could merely call Class.newInstance() on the type of the component being instantiated. Of course, PicoContainer may be small, but it is hardly simple!
PicoContainer provides different ways of instantiating a component through different Injectors. The Injector interface extends ComponentAdapter with some additional services. Implementations of Injectors provide the actual methods of injecting Dependencies. (The reason we first came to discover PicoContainer in the first place!)
The two most popular methods of injecting dependencies are: SetterInjector, and ConstructorInjector. However, PicoContainer provides other injectors that go beyond the scope of this article. However, just remember that under the hood. If you have code:
MutablePicoContainer pico = new PicoBuilder().withCDI().build(); //withCDI indicates: Pico: use ConstructorInjector pico.addComponent(MyObject.class); //... More goes by MyObject instance = pico.getComponent(MyObject.class);
That whenever you call addComponent(), Pico, behind the scenes, is wrapping MyObject.class with a ConstructorInjector ComponentAdapter. When you call Pico.getComponent(), PicoContainer calls the ConstructorInjector, which in turns, uses ConstructorInjection to create the MyObject instance.
If the only job of a ComponentAdapter was to construct an object, we would probably call it a ComponentFactory and be done with it. However, as you are most assuredly an astute reader, you can clearly tell that since there is more scrollbar left on your browser.... there is more to this story.
You see, ComponentAdapters were meant to be chained together using the Decorator pattern. It is this chaining that allows for the "Post Processing" step that is listed on the sequence diagram. There are many things that can be done to an object once it is created.
For example, maybe you don't want a new object instance to be created each and every time you call PicoContainer.getInstance(). Perhaps you want an object to be stateless and shared across multiple objects? (The Spring Framework, and Guice calls this behavior Singleton).
In this case, you would insert in a "Component Adapter Chain", the Caching behavior, so the ComponentAdapter Chain looked like this:
Caching -> ConstructorInjector
With an adapter chain like this, the first time PicoContainer.getInstance() is called, Caching would pass the request down to ConstructorInjector. Once it receives the instance returned back, it would store that instance for future calls and return that instance back to the caller. Upon future calls, Caching would return its own cached instance. (Thus the name Caching ComponentAdapter instead of SingletonComponentAdapter). Of course, other storage options are possible: HttpSession, ThreadLocal, etc.
Also keep in mind that behaviors are not limited to how an object is stored. For example HiddenImplementation wraps the instantiated component in a dynamic proxy, thereby enforcing that receiver of that component cannot cast the received interface into an implementation.
Some examples :
public class MyAdapter extends AbstractAdapter { private QuantumEntanglement qe = new QuantumEntanglementImpl(); public MyAdapter() { super(QuantumEntanglement.class, QuantumEntanglementImpl.class); } public Object getComponent(PicoContainer pico) { Auditor a = pico.getComponent(Auditor.class); a.audit("QE used", new Date()); return qe; } public void verify(PicoContainer container) { } } ... pico = new DefaultPicoContainer(); pico.addAdapter(new MyAdapter()); QuantumEntanglement e = pico.getComponent(QuantumEntanglement.class);
PicoContainer 2.0 has provided a Builder class series to help define which ComponntAdapter to use with a given container by default. There are different builders with each subproject. So PicoContainer has PicoBuilder, PicoContainer-Gems has PicoGemsBuilder, and so on. For the purpose of clarity, we will only use PicoBuilder in this document.
Example 1: Caching Behaviors
pico = new PicoBuilder().withCaching().build();
Example 2: Caching + ImplementationHiding (same imports)
pico = new PicoBuilder().withCaching().withHiddenImplementations().build();
In both of these Examples, ConstructorInjection is automatically used by default.
Example 3: Setter Injection
pico = new PicoBuilder().withSDI().build();
Since there is one ComponentAdapter chain per registration in a mutable PicoContainer, there needs to be an object that creates a ComponentAdapter every time MutablePicoContainer.addComponent() is called. Thus enters the ComponentFactories. (Each ComponentFactory creates ComponentAdapter).
The key here is creating the new DefaultPicoContainer with the appropriate ComponentFactories
Example 1: Caching Behaviors:
pico = new DefaultPicoContainer(new Caching().wrap(new ConstructorInjection()));
Example 2: Caching + Implementation Hiding
pico = new DefaultPicoContainer(new Caching().wrap(new ImplementationHiding().wrap(new ConstructorInjection)));
Example 3: Setter Injection
pico = new DefaultPicoContainer(new SetterInjection());
When you modify behaviors, you are, in essence, swapping the default ComponetFactory being used for futher registrations. More details about this have been discussed in the section "Modifying Behaviors"
As each ComponentAdapter implementation only does one specific job, you can see that it is quite simple, but the range of possibilities are endless.


RtlFreeHeap(0xb20000, 0x0, 0xb33eb8) = 0x1
Couldn't find block at 0xb33eb0, added marker.
RtlAllocateHeap(0x230000, 0x0, 0x3c) = 0x24c8570
RtlFreeHeap(0x230000, 0x0, 0x24cc4d8) = 0x1
Couldn't find block at 0x24cc4d0, added marker.
RtlFreeHeap(0x230000, 0x0, 0x24cc4a0) = 0x1
Couldn't find block at 0x24cc498, added marker.
RtlFreeHeap(0x230000, 0x0, 0x24744d0) = 0x1
Couldn't find block at 0x24744c8, added marker.
RtlFreeHeap(0x230000, 0x0, 0xc87d28) = 0x1
Couldn't find block at 0xc87d20, added marker.
RtlAllocateHeap(0x230000, 0x0, 0x54) = 0xc87d28
RtlAllocateHeap(0x230000, 0x0, 0x11) = 0x2468cf8
RtlAllocateHeap(0x230000, 0x0, 0x11) = 0x2468c58
RtlAllocateHeap(0x230000, 0x0, 0x48) = 0x24d94e8
RtlAllocateHeap(0x230000, 0x0, 0x4) = 0x24794c0
RtlFreeHeap(0x230000, 0x0, 0x24794c0) = 0x1
RtlFreeHeap(0x230000, 0x0, 0x24c8570) = 0x1
RtlAllocateHeap(0x230000, 0x0, 0x3c) = 0x24c8570
RtlFreeHeap(0x230000, 0x0, 0x24c8570) = 0x1
RtlAllocateHeap(0x230000, 0x0, 0x3c) = 0x24c8570
RtlFreeHeap(0x230000, 0x0, 0x24c8570) = 0x1
RtlAllocateHeap(0x230000, 0x0, 0x3c) = 0x24c8570
RtlFreeHeap(0x230000, 0x0, 0x24c8570) = 0x1
RtlAllocateHeap(0x230000, 0x0, 0x3c) = 0x24c8570
RtlFreeHeap(0x230000, 0x0, 0x24c8570) = 0x1
RtlAllocateHeap(0x230000, 0x0, 0x3c) = 0x24c8570
RtlFreeHeap(0x230000, 0x0, 0x24c8570) = 0x1
RtlAllocateHeap(0x230000, 0x0, 0x3c) = 0x24c8570
RtlFreeHeap(0x230000, 0x0, 0x24c8570) = 0x1


Notes from Lean Startup Circle Boston Jan 2011 Meetup - Part 1
Lean Startup Jan Meetup was exciting, thanks to a presentation by Eric Ries. Thanks to HBS and their course on Entrepreneurial Management, I am hoping Eric will be around town more often, and we get to pick his brains on all kinds of interesting things on Lean Startups. The original announcement promised to go “Beyond methodology”. I felt like Eric couldn’t get to a lot of the ”new material” until the end, which was a bummer, but the Q & A session made up for that in some ways.
This is Part 1 of my notes from the session (some of them are recaps, all the way back to #sllconf last year). Stay tuned for Part 2 over the weekend.
-
The Unit of progress in a startup cannot be that of ”advancing to the next stage”. That way of looking at things, is mostly based on three “Shadow Beliefs” :
-
We know what customers want
-
We can actually predict the future
-
Advancing the plan is “progress”
-
Instead, the more appropriate unit of progress in a Startup is ”Validated Learning”. In effect, your startup’s success depends on how many times you can go through the “Build -> Measure -> Learn” loop, and you maximize the number of times through the loop, by optimizing through the ENTIRE LOOP and not just a specific part of it.
-
When you are in a startup, you no longer have a functional discipline. You are not a programmer, not a marketer, you should do whatever is needed at that moment. Personally, I am a big believer in this idea, and this is one big part of what motivates me to start / work for a startup. I have had intense discussions on term sheets, design and send email marketing, hack a script to do cohort analysis, figure out a weird issue with “phrase search” in our search engine and be on phone-support and live-chat support, all in the same week.
-
Insert Customary slide about pivot being the “P-word” and funny NewYorker cartoon :
-
Now it gets interesting. Eric crystallized Lean startups into 5 important principles:
-
Entrepreneurs are everywhere : In effect, wherever there is uncertainty, there is entrepreneurship. This is a bit of a blue-sky, mom-and-apple-pie notion, but I’ll play along. Every earth shattering idea is something simple at its core and this could be one such core of Lean Startups. The larger point is that Lean Principles need not be applicable only to startups, they can as well be applied to other contexts.
-
Entrepreneurship IS management : Entrepreneurial management is a peer-level to the more traditional MBA-like General Management. One is not better than the other, they are just different. General Management focuses on processes, efficiencies, scale while Entrepreneurial Management focuses on trying to find a sustainable business model.
-
Validated Learning: See notes above
-
Build - Measure - Learn: Refer to the Kent Beck session notes from my earlier blog post from #sllconf 2010
-
Innovation Accounting: It is essential for a startup to focus on actionable data, and not on vanity metrics. Metrics that always go up and to the right (such as Cumulative total accounts) don’t matter. Metrics that reflect random environmental events, press releases (such as Pageviews) don’t matter. Metrics that focus on Per customer engagement are very important. How many times have users logged in? How many people have they referred? (#aarrr). Eric’s point was that we need an accounting paradigm that lets entrepreneurs communicate quantitatively what they have done by way of validated learning. This kind of a paradigm will be helpful when raising money. (I really like this term, and I hope it doesn’t get abused and overused like Pivot was)
-
And here are the soundbites from my twitter stream during the event :
Did you attend the event? What did you get out of it? Stay tuned for Part 2, for some of the questions that every lean startup faces and how to head in the right direction when faced with those questions.
** **


LODGE Fantasy Draft Tracker
| Member | Word Assignment | Matches | Matching Tweets |
|---|
| ID | Text |
|---|
| Member | Word Assignment | Player | Tiebreaker |
|---|
First tweet after game 1:
A.P. has just reported that the Russian Hoax Investigation has now cost our government over $17 million, and going up fast. No Collusion, except by the Democrats!
— Donald J. Trump (@realDonaldTrump) June 1, 2018
Rand(1, 27) returned 23
Randomly chosen word: collusion
First tweet after game 2:
This is my 500th. Day in Office and we have accomplished a lot - many believe more than any President in his first 500 days. Massive Tax & Regulation Cuts, Military & Vets, Lower Crime & Illegal Immigration, Stronger Borders, Judgeships, Best Economy & Jobs EVER, and much more...
— Donald J. Trump (@realDonaldTrump) June 4, 2018
Rand(1, 44) returned 21
Randomly chosen word: his
First tweet after game 3:
Isn’t it Ironic? Getting ready to go to the G-7 in Canada to fight for our country on Trade (we have the worst trade deals ever made), then off to Singapore to meet with North Korea & the Nuclear Problem...But back home we still have the 13 Angry Democrats pushing the Witch Hunt!
— Donald J. Trump (@realDonaldTrump) June 7, 2018
Rand(1, 43) returned 21
Randomly chosen word: have
First tweet after game 4:
Just met the new Prime Minister of Italy, @GiuseppeConteIT, a really great guy. He will be honored in Washington, at the @WhiteHouse, shortly. He will do a great job - the people of Italy got it right!
— Donald J. Trump (@realDonaldTrump) June 9, 2018
Rand(1, 34) returned 10
Randomly chosen word: really
162 days have elapsed in 2018
Rand(1, 162) returned 146
The 146th day in 2018 was Saturday, May 26th. Trump tweeted 10 times that day.
Rand(1, 10) returned 5
Randomly selected tweet:
Unlike what the Failing and Corrupt New York Times would like people to believe, there is ZERO disagreement within the Trump Administration as to how to deal with North Korea...and if there was, it wouldn’t matter. The @nytimes has called me wrong right from the beginning!
— Donald J. Trump (@realDonaldTrump) May 26, 2018
Rand(1, 46) returned 5
Randomly chosen word: and
What up fellas, it's time to pick the draft order.
We'll be doing a different and simpler format this year. You'll have an opportunity to control your draft position to an extent, which is slightly different than years past. You will only have to make a single selection, but the results of your choice will have an effect in two rounds. The results of the second round will decide the draft order.
Since the Warriors just punched their ticket to the finals to play the Cavaliers, we'll be using the results of the games as a seeding. Specifically, we'll be using the number of points scored by individual players on each team. The following are the 13-man rosters for each finals team (in no particular order, but players who played 0 minutes in the final game of the conference championship are listed last):
Warriors Roster:
- Draymond Green
- Kevin Durant
- Kevon Looney
- Stephen Curry
- Klay Thompson
- Jordan Bell
- Quinn Cook
- Shaun Livingston
- Patrick McCaw
- Nick Young
- David West
- Javale McGee
- Zaza Pachulia
Cavaliers Roster:
- Jeff Green
- LeBron James
- Tristan Thompson
- George Hill
- JR Smith
- Larry Nance Jr.
- Jordan Clarkson
- Kyle Korver
- Ante Zizic
- Cedi Osman
- Kendrick Perkins
- Jose Calderon
- Rodney Hood
Tipoff for Game 1 is at 6PM Pacific on Thurdsay, May 31, so you will need to make your selection before then. Please post your player selection and tiebreaker as a reply.
You must choose one player out of the 26 listed above, and you must also pick a tiebreaker. The tiebreaker will be the total number of points scored in total in the last game of the finals, so you should provide a number like 210, the closer number wins. Multiple people can choose the same player, as the tiebreaker will resolve conflicts. I have already chosen my player and tiebreaker.
At the conclusion of the finals, I will total the points scored in the entire series by each player and rank them 1-26, from most points scored to fewest points scored. For players that are tied by number of points, they will be ranked by number of minutes played in the series, and then by last name alphabetically.
Whichever player you choose will determine which word you are assigned out of the list below. If multiple people choose the same player, they will be assigned the same word. These words are words that commonly appear in Trump tweets:
Words:
- One word randomly selected from the first tweet after the completion of the first Finals game
- China
- Country
- Democrat
- Economy
- Fake
- One word randomly selected from the first tweet after the completion of the second Finals game
- FBI
- House
- Jobs
- Korea
- Leak
- One word randomly selected from the first tweet after the completion of the third Finals game
- Military
- MS-13
- Obama
- President
- Republican
- One word randomly selected from the first tweet after the completion of the last Finals game
- Russia
- Stock
- Senate
- Tax
- Trump
- Wall
- One word randomly selected from anything Trump has tweeted in 2018
Immediately following the completion of the last finals game, you will be assigned a word. I will begin tallying the number of times Trump (meaning the @RealDonaldTrump twitter handle) tweets each of these words. I will be using the tweet archive at http://www.trumptwitterarchive.com/…/realdonaldtr…/2018.json as a reference.
The total number of times that Trump tweets these words in a 60 day period will determine the draft order. The 60 day period will begin immediately following the end of the last finals game, and will continue exactly 1,440 hours. For people who choose the same player, their tiebreaker number will be used to resolve conflicts.
A word will be counted if it matches a tweet in a case-insensitive search. For example, "Obama" would match "Obama's" and "obama", but not "O". Misspellings will not be counted.
Once words are assigned, you can check https://msfrisbie.github.io/fantasy-tracker/ to track words and ranking in real time.
The person whose word was top overall will be allowed to choose their draft position, as well as choose where the bottom overall person will draft. Everyone else will be filled in from first to last.


I am a new graduate from The University of Iowa, with a Bachelor's in Computer Science. I have had experience in designing, developing and implementing software in a variety of programming languages for a large range of projects. My experience ranges from working professionally as a software engineer to conducting research in assistive technology as a scholar. I am an innovative, passionate and hardworking individual with exceptional logical and analytical skills. Furthermore, I am quick and eager to learn and work well both individually and in a team.
During my job search, I came to a quick realization that I was spending a lot of time doing the same repetitve task; i.e. Choosing a job that fits me & applying for it. Hence, I decided to save me some time, and automate the process. And here we are! Over the period I intend to make it completely automated and more powerful by including a resume formatter to modify the user resume accordingly to pass the companies' ATS
Check it outAs I was watching an episode of Halt and Catch Fire on Intranet, I got curious about how many nodes/webpages could possibly be under my Universitys' domain. Furthermore, I wanted to visualize how each department and college interacted with each other and as well as analyze their relationship. Fortunately, I was taking a course on Peer-to-Peer Networks that particular semester, so I was able to apply the theoretical concepts I learnt on to my project. To achieve this, I built a Python based concurrent web crawler that implements a Bloom Filter , to crawl through ~ 10 million webpages and scrape the data on each web page using Scrapy library. The end result was definitely fascinating. You can find the code and a detailed pdf on the results and analysis on my github.
Check it out


All code, resources and web pages for the Knopflerfish project are managed by a subversion repository. The repository is open for reading to everyone.
Seehttps://www.knopflerfish.org/svn/knopflerfish.org/readme.txt
for details on how to check out the repository.See
https://www.knopflerfish.org/svn/eclipse.knopflerfish.org/readme.txt
for details on how to check out the Knopflerfish Eclipse Plugin repository.The entire repository is browsable from
https://www.knopflerfish.org/svn
Generic information on Subversion can be found at http://subversion.tigris.org


| Class | Description |
|---|---|
| BackgroundImage | |
| BackgroundImagePanelExample | |
| ButtonTabComponent |
Component to be used as tabComponent;
Contains a JLabel to show the text and
a JButton to close the tab it belongs to
|
| ChivInstallLocation | |
| DatabaseTest | |
| DatabaseTest2 | |
| DialogDemo | |
| ImagePanel | |
| ListDialog |
Use this modal dialog to let the user choose one string from a long
list.
|
| ListDialogRunner |
A 1.4 application that brings up a ListDialog.
|
| Location | |
| LocationRIPE | |
| loctest | |
| OpenURI | |
| QueryServerApplication | |
| RegExpTest | |
| SampleTableModel |
SampleTableModel
|
| SteamUser | |
| SwingInterop |
SwingInterop
Note using the browser might require setting the properties
- http.proxyHost
- http.proxyPort
e.g.
|
| TabComponentsDemo | |
| URLTest | |
| WebBrowserTest | |
| WebBrowserTest2 | |
| WHOISTest | |
| WinRegistry |


About Us
Hi! We are NP's Overflow SIG, a collective of like-minded individuals passionate in coding, software development, and technology.
Overflow aims to become the breeding ground for the creators of the next generation; by providing opportunities
to pick up extracurricular skills & outlets to exhibit our very own creations.


List of sites that will be blocked when you have no more break time. Please enter as a full URL path.
Ratio of how many minutes of break time you gain with each minute of work.
Maximum break time you can accrue.
Minimum break time accrued before you can access filtered sites.
No Changes
Save Changes


Our next cosmology seminar takes place on Thursday 13th of February, seminar room E349 at 4pm. The speaker is Dida Markovic from the Jet Propulsion Laboratory, NASA (Caltech, Pasadena U.S.).
At 16:00, room E349, Dida Markovic (JPL, NASA), will be talking about
Cosmology from the anisotropic power spectrum with Euclid
Euclid will be the first experiment to observe redshift space distortions from space. This way it will be able to survey the sky, not limited by distortions in the Earth’s atmosphere. The design of the survey and the instrument will enable us to reach 1% precision in the power spectrum. This will give us the power to conduct unprecedented tests of Einstein’s gravity and the expansion history of the universe. However this will also mean that we must reach an unprecedented understanding of our systematic effects, whether coming from our instrument or the foreground sky. It will also mean we will need to ensure our theories are adequate to be tested against such precise data. In this talk I will describe Euclid - our instrument, our survey, and our science. I will describe the challenges in understanding it’s systematics and I will present some results from my resent work on testing two competing models for non-linear large scale structure.


THE RACE FOR THE DOUBLE HELIX A film review by Mark R. Leeper Copyright 1987 Mark R. Leeper
Capsule review: Made-for-TV BBC film gives a more rounded view than does Watson's book THE DOUBLE HELIX. A very fine film with a lot to say about the discipline of science research.
For years the issue has been hotly contested. How good is British television really? I think everyone agrees that some of the best things on American television came from Britain. It is hard to beat programs like I, CLAUDIUS, but they are just a few occasional good programs.  Well, it seems to me that their good programs are so good that their bad television shows can easily be overlooked.
Around the middle of September I start thinking back on what was the best film I have seen the previous summer. I had pretty well determined it was to be De Palma's UNTOUCHABLES this year when just under the wire I saw something better. And it was a made-for-TV film, made by the BBC for British television. The film ran on the Arts and Entertainment cable station and was called THE RACE FOR THE DOUBLE HELIX. It featured superb acting by Jeff Goldblum as James D. Watson and Tim Piggot-Smith as Francis Crick. Watson and Crick are the two unconventional scientists who worked out the structure of DNA.
The film is about many things. Among other things, it is about a conflict between two approaches to science. You can go for the gold, or glory in the truth and doing things the right way. The first approach is personified by Goldblum's Watson, a boorish Yank who is a duomaniac. His goals are to get a girl and a Nobel Prize. Anything in life that does not further his attempts at one goal or the other is not to be tolerated. Espousing the other point of view is Rosalinda Franklin, to whom science is a turn-the-crank operation of putting enough work into your goal, going from square one to square two, to square three,...until you have achieved your goal without once making an intuitive leap. The film is about the politics of science and the viewer comes away with an education in how those politics work as well as one of how the structure of DNA was determined. It is the story of how three men won a Nobel Prize based greatly on the work of one woman who neither got a piece of the prize nor, because she was a woman, was she even allowed to join the men in the lounge of the building where they worked.
THE RACE FOR THE DOUBLE HELIX is a powerful, excellent film. If this sort of thing gets shown often on the BBC, I may pack my bag. Rate it a +3 on the -4 to +4 scale.
Mark R. Leeper ihnp4!mtgzz!leeper<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Dev Blog
Development status updates of KITAN
Test Status
An epic Rawr! :3 An epic Rawr! :3 An epic Rawr! :3An epic Rawr! :3An epic Rawr! :3An epic Rawr! :3 An epic Rawr! :3 Test Status
An epic Rawr! :3
Test Status
An epic Rawr! :3
Test Status
An epic Rawr! :3


resilience fisheries climate management change access fishery systems social fishers marine ecological rights regulatory open (Hilborn criteria sustainable Fisheries Marine impacts incentives TURFs Climate fishing governance limited {border-style (SCR-) px;} stocks #ffffff;} fish resource socio-ecological ITQ TURF adaptive regimes species Change harvest ITQs economic increase potential New Science adaptation capacity different entry research (e.g., Costello Ecology SCR- benefits mobility ./j.-...x approaches example fisheries, likely new property provide stewardship terms approach catch change. example, fisher institutions literature spatial Economics Environmental However, Policy areas conservation effects livelihoods promote resilience. stock (Costello (Rivera ./s--- Fish Gaines Nature community-based environmental framework habitats management, px; stressors sustainability {font-family (Allison (Defeo (ECR-) ./j.marpol... Asturias Chile Conservation Ellis Folke Global Grafton Lester Mantua Perry Resource SES Salomon access, and/or artisanal based better control ecosystems font-size given important local resilience, specific vary (Hentrich (SCR-), Allison Badjeck Chilean Defeo ECR- National Putten Rivera Sciences Society States Sumaila United University barnacle biodiversity changes double; evidence expected factors flexibility interactions key lead lobster long-term managed multi-level offer owners regime regulations reserves resilient rights, rules scales shifting shifts support target top-down transferable use (Arnason (Cinner (Essington (SCR-). (i.e., ./pnas. Academy Additionally, Ambio America Australian Brander Community-based Hilborn ITQs, Limited Management Pinsky Proceedings Review Table Territorial Wilen Zealand ability able alternative analysis avoid border-color border-width changing coast common complex conditions coral detailed distribution effect entry, exit facilitate future global habitat high however, impact implications income individual international level levels manage multi-species nature negative population populations promoting protected quota recovery reef related respond review rights-based secure shown social–ecological socio-economic solid; sources supporting van world {font-style {font-weight (Cheung (ECR-). (Fidelman (Gelcich ./ES-- ./nature ./science. Adger Aquatic Assessment Barange Biology Branch Bruno Canadian Castilla Climatic Davidson Essington Fisher Galician Gelcich Goose Letters Lubchenco McClanahan Moreno-Sánchez Open Poloczanska Resilience Richardson Rights Sanchirico Use Worm [], affect allow area biological bold buffer capital case cases coastal communities community compliance courier; create criteria, current decrease design difficult diversified does effective effort effort, em; enforcement enhance examples existing face fisheries. gear good human identify include institutional lack low mobility, need ocean overcapacity perspective potentially pt;} resource, restrictions right science shift small-scale structure studies supplementary survey synergies systems, territorial variability vs. west


Github Feed
Credits
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Bad Wiring
Time Limit: 2000/1000 MS (Java/Others) Memory Limit: 32768/32768 K (Java/Others)
Total Submission(s): 785 Accepted Submission(s): 263
Problem Description
The ninja Ryu has infiltrated the Shadow Clan fortress and finds himself in a long hallway. Although ninjas are excellent fighters, they primarily rely on stealth to complete their missions. However, many lights are turned on in the hallway, and this way it
will not take long before Ryu is spotted by a guard. To remain unseen, Ryu will need to turn off all the lights as quickly as possible.
The hallway contains a sequence of n lights L1……Ln. Some of these lights are turned on. Destroy-ing the lights with his shurikens would be too loud, so he needs to turn them off the old-fashioned way, using light switches. Luckily, there is a switch box
nearby with a light switch Si for every light Li. However, after trying one of the switches, he notices something funny. When he
ips the switch Si, it does not only turn on/off light Li, but also some of the neighboring lights. Ryu notices that there is a parameter D such that
ipping switch Si turns on/off all the lights L(i-D)……L(i+D), if they exist(This means that S1 turns on/off all the lights L1 ……L(D+1) and Sn turns on/off all the lights L(n-D)……Ln. Of course, if D>=n, then L(D+1) and L(n-D) will not exist either.).
Turning on or off lights can attract the attention of the guards, so Ryu would like to turn off all the lights with the minimum number of times
ipping a switch. Can you help him out?
will not take long before Ryu is spotted by a guard. To remain unseen, Ryu will need to turn off all the lights as quickly as possible.
The hallway contains a sequence of n lights L1……Ln. Some of these lights are turned on. Destroy-ing the lights with his shurikens would be too loud, so he needs to turn them off the old-fashioned way, using light switches. Luckily, there is a switch box
nearby with a light switch Si for every light Li. However, after trying one of the switches, he notices something funny. When he
ips the switch Si, it does not only turn on/off light Li, but also some of the neighboring lights. Ryu notices that there is a parameter D such that
ipping switch Si turns on/off all the lights L(i-D)……L(i+D), if they exist(This means that S1 turns on/off all the lights L1 ……L(D+1) and Sn turns on/off all the lights L(n-D)……Ln. Of course, if D>=n, then L(D+1) and L(n-D) will not exist either.).
Turning on or off lights can attract the attention of the guards, so Ryu would like to turn off all the lights with the minimum number of times
ipping a switch. Can you help him out?
Input
The first line of the input contains a single number: the number of test cases to follow. Each test case has the following format:
1.One line with two integers n (1 <= n <= 100) and D (0 <= D <= 15): the number of lights and the parameter mentioned above.
2.One line with n integers. The i(th) integer describes the current state of light Li, where 0 means off and 1 means on.
1.One line with two integers n (1 <= n <= 100) and D (0 <= D <= 15): the number of lights and the parameter mentioned above.
2.One line with n integers. The i(th) integer describes the current state of light Li, where 0 means off and 1 means on.
Output
For every test case in the input, the output should contain one integer on a single line: the minimum number of times Ryu needs to flip a switch to turn off all the lights. If it is impossible to turn off all the lights, then output the string "impossible"
instead.
In the first example below,flipping switch S4 followed by S7 will turn off all the lights.
instead.
In the first example below,flipping switch S4 followed by S7 will turn off all the lights.
Sample Input
2 7 3 1 1 1 0 0 0 0 5 1 1 0 1 0 1
Sample Output
2 3
Source
题意：给出一些排成一列的灯，灯的亮暗用0 1 表示，每盏灯对应一个开关，每次打开或关闭某个开关，都会影响该灯与该灯左边和右边的D盏灯。
给出等的初始状态，问至少操着几次开关能将等全部关掉。
思路：列出方程组，构造出系数矩阵，进行高斯消元，这里可能得到一些自由变元，应该枚举自由变元的赋值情况，搜索出一种使得增广矩阵的最后一列的1的数量最小的一种自由变元的赋值方案即可。
要特别注意，一般高斯消元只将矩阵化为阶梯形或行最简形，如果那么做，要注意自由变元位于那些列。这里可以将矩阵直接化为标准型，这样最后的几列就是自由变元了。
如图：
对于一个数据：
1
20 12
1 0 0 1 0 0 0 0 0 1 1 1 1 1 1 1 0 1 0 1
高斯消元后，
行最简形的矩阵如图：
红色标注的列为自由变元。
标准形的矩阵：
代码：
#include <iostream> #include <cstdio> #include <cstdlib> #include <cstring> #include <string> using namespace std; #define INF<PHONE_NUMBER> #define N 110 #define M 210 int n, d; bool mat[N][N], val[N]; void print(bool a[N][N], int n) { for(int i = 1; i <= n; i++) { for(int j = 1; j <= n+1; j++) { printf("%d ", a[i][j]); } printf("\n"); } printf("\n"); } int dfs(int col, int cnt) { if(col == n+1) { int res = cnt; for(int i = 1; i <= n; i++) { if(val[i] ^ mat[i][n+1]) res++; } return res; } int res = 0; for(int i = 1; i <= n; i++) val[i] ^= mat[i][col]; res = dfs(col+1, cnt+1); for(int i = 1; i <= n; i++) val[i] ^= mat[i][col]; res = min(dfs(col+1, cnt), res); return res; } int gauss() { int row = 1; int r = n; for(int i = 1; i <= r; i++, row++) { //print(mat, n); int p = -1; for(int j = row; j <= n; j++) { if(mat[j][i] == 1) { p = j; break; } } //这里发现底下没有1后，得知当前列为自由变元，移到后面 if(p == -1) { for(int j = 1; j <= n; j++) { swap(mat[j][i], mat[j][r]); } //print(mat, n); r--; i--; row--; continue; } if(p != row) { for(int j = i; j <= n+1; j++) { swap(mat[row][j], mat[p][j]); } } for(int j = 1; j <= n; j++) { if(mat[j][i] == 1 && j != row) for(int k = i; k <= n+1; k++) { mat[j][k] ^= mat[row][k]; } } } for(int i = row; i <= n; i++) { if(mat[i][n+1] == 1) { return -1; } } memset(val, 0, sizeof(val)); int ans = dfs(row, 0); return ans; } int main() { freopen("C:\\Users\\zfh\\Desktop\\in.txt", "r", stdin); int t; scanf("%d", &t); while(t--) { scanf("%d%d", &n, &d); memset(mat, 0, sizeof(mat)); for(int i = 1; i <= n; i++) { scanf("%d", &mat[i][n+1]); } for(int i = 1; i <= n; i++) { int st = max(1, i-d), ed = min(n, i+d); for(int j = st; j <= ed; j++) { mat[i][j] = 1; } } int ans = gauss(); if(ans != -1) printf("%d\n", ans); else printf("impossible\n"); } return 0; }
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黑街在b站居然被河蟹了。。。话说第八集下载不了啊啊QAQ
黑街在b站居然被河蟹了。。。话说第八集下载不了啊啊QAQ
黑街在b站居然被河蟹了。。。话说第八集下载不了啊啊QAQ
黑街在b站居然被河蟹了。。。话说第八集下载不了啊啊QAQ
黑街在b站居然被河蟹了。。。话说第八集下载不了啊啊QAQ
黑街在b站居然被河蟹了。。。话说第八集下载不了啊啊QAQ
黑街在b站居然被河蟹了。。。话说第八集下载不了啊啊QAQ
黑街在b站居然被河蟹了。。。话说第八集下载不了啊啊QAQ
所以说青岛的大妈们很创造。。。BTW，这新闻去年就有了
所以说青岛的大妈们很创造。。。BTW，这新闻去年就有了
所以说青岛的大妈们很创造。。。BTW，这新闻去年就有了
所以说青岛的大妈们很创造。。。BTW，这新闻去年就有了
所以说青岛的大妈们很创造。。。BTW，这新闻去年就有了
所以说青岛的大妈们很创造。。。BTW，这新闻去年就有了
所以说青岛的大妈们很创造。。。BTW，这新闻去年就有了
所以说青岛的大妈们很创造。。。BTW，这新闻去年就有了
所以说青岛的大妈们很创造。。。BTW，这新闻去年就有了
所以说青岛的大妈们很创造。。。BTW，这新闻去年就有了
所以说青岛的大妈们很创造。。。BTW，这新闻去年就有了
所以说青岛的大妈们很创造。。。BTW，这新闻去年就有了


Nicky Byrne reveals he didn’t want Westlife to split back in 2011: ‘I wanted to keep going’
The band have since reunited
by Kendra BeckerNicky Byrne has revealed that he didn’t want Westlife to split back in 2011, and that he “wanted to keep going”.
The band, which was formed in 1998, called it quits back in 2011 – but reunited last year for an epic comeback tour.
Westlife have also released their first album in nine years, Spectrum, which shot to number one in the Irish charts on Friday.
Speaking to the Irish Mirror about the success of their comeback, Nicky said: “It is just mental. I keep joking on my social media that it is like it is 1999 again. It is just crazy but it does feel that way, it feels exciting like the old days.”
“I don’t want to be a pessimist but we have been here before and it will come to an end. I know this is not sustainable.
“This is an album that has been 10 years in the making because of the split. I know it won’t last for ever so I am trying to let myself enjoy it as it happens,” Nicky continued.
“We are on our second run as a band and we are loving it and riding the whole wave, particular with the album sales.”
“We are not a band for young 16 or 17- year-old kids. We are too old to be those bands and we are out doing all those artists. It is phenomenal.”
The Dublin native then admitted that he never wanted the band to split all those years ago, but realises it was the right decision now.
He said: “The truth be told I didn’t want the split when it happened. There were cracks showing for a long time and it ended up being the right decision but at the time I wanted to keep going.”
“Then the decision was made and I couldn’t do anything about it and I thought right, everyone can go and ‘eff themselves, I’m looking after myself.”
“I went down my own path and as that started to work, I didn’t want to go back to the band. Nobody did to be fair for five years. And every time a comeback was brought up I always said ‘No, I am too busy’.”
Nicky also revealed that before the band reunited, they had serious discussions about everyone’s place in the band – and how everyone was to be treated equally.
He said: “When I first started in 1999, none of us ever wanted for there to be a frontman, it was supposed to be more spread out like the Backstreet Boys.”
“After the split had happened I think going back to Westlife as it was, even knowing how lucrative it was going to be, was not possible. How could I go back to a position in the band where I felt at points… I had so much more to give?
“I always felt I needed to know I was giving 100% and I was never up for robbing a living. I had a solo album and sang in the Eurovision in front of 3.5 million viewers. Shane and Mark are phenomenal singers, the best out there, and I am their No1 fan.”
“But I felt that everyone could play a pivotal role to the best of their abilities. There were conversations around a table about how we could make Westlife 2.0,” he continued.
“We decided how to include the four of us so we are over everything all the time. We came back together and brought our experiences with us from our time off and thankfully it worked better than we had hoped.”
“From a singing point of view there is now only one song on the album that I don’t share the lead vocals on and that is My Blood. It is the same with Kian. It is a big thing to fight for but you shouldn’t have to and thankfully Shane and Mark weren’t the type of lads to say no.
“They immediately said absolutely and that is why we are back together in a version of the band which is better than ever.”
Although Westlife are planning on continuing their comeback success for as long as they can, Nicky won’t let the band get in the way of his own ambitions of being a successful TV presenter.
He said: “I was never going to sign up to RTE and then walk away as soon as Westlife came calling. I am back again this year [on DWTS] and I said I realised I couldn’t do the radio job but the TV is something that I have to do.”
“Look, life is fickle, that show could end at any time or I could be binned off at any time but I felt it was important to look after myself first.”


- Thanks for stopping by
- Welcome to our page i tot! We hope You like the Experience you are about to get. There are majorly Four Temperament types of which you will get to know your temperament type by answering a few questions that will evaluate your line of thought and reactions in situations you might or would have faced at some point in time. On this platform we will be discussing CHOLERIC (ambitious and leader-like), MELANCHOLIC (analytical and quiet), PHLEGMATIC (relaxed and peaceful) and SANGUINE(playful and jovial) Temperament Types. You can click the WELCOME tab atop of this box to BEGIN


DfE enquiries
Central newsdesk 020 7783 8300
General enquiries 0370 000 2288
Press release
Details about a significant increase in academies.
Figures out today (Friday 7 September 2012) reveal that 282 academies open this month, taking the total number to 2,309. There are now more than 10 times as many academies as there were in May 2010 when there were just 203 academies.
Failing schools have been specifically targeted by the government for radical improvement. A record 130 sponsored academies open this month. The total number of sponsored academies is now 501.
The government is tackling chronic educational under-performance by installing new leaders and providing great sponsors for weak schools. In 2011, the GCSE results of sponsored academies open for at least two years improved almost twice as fast as those for all state-funded schools.
Education Secretary Michael Gove said:
We believe in trusting the professionals. That’s why we gave teachers the opportunity to take on more freedom and responsibility and they have grabbed it with both hands. Many are now going even further and taking on responsibility for turning around less successful schools. These outstanding converters are becoming the new academy sponsors of the future raising standards across the state sector.
Schools Minister David Laws said:
Academies help to ensure that the professionals - teachers on the frontline - are in charge of schools not politicians or bureaucrats. I am pleased that more schools are choosing to increase their capacity to innovate and our vision is that all schools will take on these freedoms and responsibilities.
Academies put power back into the hands of headteachers. Academies have introduced longer school days, benefiting parents and pupils, and have introduced new contracts that reward high-achieving teachers.
Headteacher Ros McMullen said:
This ensures that by the time everybody else starts year 7, the academy’s pupils have already had a good 10 weeks of secondary education.
Headteacher Andrew Shaw said:
Due to their geographical locations sending food out to three primary schools will be a challenge for us. But if it means other children will benefit from the same quality food, it is worth it. We could not have done this without the freedoms gained through academy status.
Willow Brook Primary School Academy in Leyton is opening this September to replace the under-performing predecessor school. It will be sponsored by Yardley Primary School Academy in Chingford, which has been judged outstanding by Ofsted.
Slade Junior and Infant School is an under-performing school in a deprived area of Birmingham. It will become an academy in September joining the Arthur Terry Learning Partnership. Arthur Terry has a rich history in securing improvements in other schools including Stockland Green, which also converted to an academy with the Arthur Terry School in May 2012.
Tregolls Primary School in Cornwall was placed in Special Measures by Ofsted in June 2011. It will become an academy this September sponsored by Penair Schools. Penair is an outstanding secondary academy which converted in April 2011.
King’s Houghton Middle School in Dunstable is an under-performing school rated satisfactory by Ofsted in July 2011. It will become an academy in September joining the successful academy chain Greenwood Dale Foundation Trust.
Tom Clark, Chairman of The Freedom and Autonomy for Schools National Association (FASNA), said:
It is great to see the academy programme successfully demonstrating the effective use of autonomy in raising standards for pupils. Our member schools are actively involved in supporting other schools thinking about becoming academies and are sharing best practice about how they have used curriculum, staffing and budget freedoms to benefit their pupils and their community.
David Wootton, Chair of the Independent Academies Association and Regional Executive South for Academy sponsor, United Learning, said:
Academies are using the freedom they have over the curriculum and use of resources to innovate and drive school improvement across the country both within academies and beyond, particularly challenging areas of disadvantage. This is not only leading to a significant improvement in pupils’ attainment but in using freedoms to innovate in many areas like inclusion, additional needs and community engagement. Academies are transforming the future of education in England.
Further information on academies including interviews with headteachers explaining the benefits of attaining academy status can be found on the academies section of the Department for Education’s website.
Central newsdesk 020 7783 8300
General enquiries 0370 000 2288
Website: www.education.gov.uk/help/contactus
Published: 7 September 2012


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Hey! I’m Neel – quirky interactive developer and exponent designer of simplicity working in Mobile, Web and IoT/Hardware area with new technologies such as Machine Learning and AI. Currently I'm working at Google. Before that I was working at Adobe in Design Lab, to explore and build next generation tools and techniques to foster individuals creativity in the wide field of Graphic Design and Machine Learning. I occasionally do freelance. I've worked with Adobe, CFMG, LAPD/911, NID, SEWA, some startups from NASSCOM 10000 list as well as local and international clients on various domains like Hospitality, Logistic, Heathcare, Jail Management system etc. I’ve designed and developed more than 65+ various mobile apps such as food ordering app, gaming guides, dating app, rollcall app, medical apps etc. I like couchsurfing and meeting new people during my travel. I carry my laptop whenever I go, I prefer mountains over beaches, cycling over bike ride and solo ride over group rides.


The visualizations to the right show ITP movement over time, otherwise known as the profiler’s drift track. Each map contains the full tracks of three ITP machines that were active during similar periods of time - early, middle, and late deployments correlate to the years 2005-2009, 2010-2013, and 2014-2017 respectively.
Notice the shape of ITP Machine 8 - it’s circular motion seems to match the shape of the Gyre. This could suggest that the ice floe was confined within the Gyre’s circular current.
Questions for thought:
What patterns do you observe in the other tracks? What could be causing the observed variations in shape and length? What are some potential reasons for discontinuity? What concluding thoughts or questions do you have about what may drive drift track movement?
Recreate this visualization and for a different ITP machine. Navigate to Data Notebooks under the Resources tab, and open ITP Movement Visualizations.
Each data for a geographic coordinate pair from every ITP machine is plotted on a grid with axes that represent the approximate geographic coordinates of the Arctic circle - longitude along the x-axis and latitude along the y-axis.* This graph shows the collective location density of ITPs in the Arctic Ocean as they moved. For reference, the Beaufort Gyre exists within the approximate range of 70°N to 85°N latitude and 120°E and 160°E longitude. The color bar is a density gradient corresponding to the number of data points.
Questions for thought:
What overall range do you observe? Where do you observe the highest density, and why? What is responsible for the vast spaces of no data?
Recreate this visualization and get creative with the colormap possibilities. Navigate to Data Notebooks under the Resources tab, and open ITP Movement Visualizations.
*The grid is uniform; latitude and longitude are not properly projected and the appearance is therefore skewed.


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MODULATIONS
Reviewed by Harvey Karten, Ph.D. Strand Releasing/Capirinha Productions Director: Iara Lee Writer: Peter Shapiro Cast: Scores of talking heads
One dictionary goes so far as to say that "all sound is music." "I can accept that," you said with your broad, liberal mind, "but I don't have to listen to the noise." If you're over 25 years of age, you're probably even less likely to listen and dig electronic music than you are to groove on rap or acid rock. Or are you? Electronic music is with us and most of us eavesdrop on it consciously or not. This is just one of the fascinating things we learn in a highly varied short film called "Modulations." Now, then, what was the last time you heard the stuff? If you're a movie buff, you listened to strains of an electronic composition by the fictional character Vinh Schuman, in the movie "Bad Manners." In that picture, Sol Rubinek plays a musicologist who discovers that a 20th century Vietnamese composer included a segment of a five- hundred year old work by Martin Luther in his electronic essay; a segment he could not possibly have ever heard before. If you haven't seen that particular picture, you've heard it as background, ambient music. It creates a mood. But what if you never go to movies, do not have a tape recorder, TV, CD player or radio? You still hear electronic music. You get it when you open the refrigerator, turn on the fax machine, shoot videos of your family. Remember: ALL sound is music. This is central to "Modulations."
How good is this film? If an education is your goal, it's OK for a start. If structure is important, it's a flop. As Alvin Toffler, author of "Future Shock" and one of the few older chaps in the movie states, "We in the West are good at taking things apart: what we're not so good at is putting things together." Granted: as one of the younger talking heads in the film brings out, "The world is chaos, not a series of one's and zero's." But the way to portray this chaos is with order, and unfortunately Iara Lee, the Brazilian-born, U.S. documentary maker, exhausts us almost as much in this work as she did with her previous "Synthetic Pleasures." From the older generation, she presents sound bites in interviews with John Cage, who is perhaps the father of it all and also with Robert Moog, the inventor of the ubiquitous synthesizer that bears his name. We hear from representatives in Berlin, London, Detroit, Tokyo, and Mount Fuji, each putting in his or her two cents, yen, marks or tuppence about scores of minutely distinct types of electronic music: tri-hop, acid house, drum-and-bass, and ambient music are just some kinds of new music, with ambient the type almost everyone in the audience can accept. Groups with names as exotic as Throbbing Gristle and Kraftwerk sound off and hip-hop advocates demonstrate scratchmusic--which, as the name implies, can be created by scratching the vinyl and coming up with combinations of tones. About the most scientific statement made is that we like to dance 133 beats to the minute.
"All music is inately psychedelic" is one of the great thought-provokers here and, come to think of it our minds do tend to construct images from the sounds we hear from Bach to Rock to Scratch. Music and images go together, as one young and hip artist suggests, and director Lee has no problem with that, as she throws an MTV-quick succession of visual impressions at us in the style of Godfrey Reggio's 1983 groundbreaking film "Koyaanisquatsi," which uses time-lapse photography to detail a good deal of Americana.
The movie could have been much improved if Iara Lee would have slowed down, knocked out some of the verbally inarticulate commentators (like, I mean, you know), and given a conventially topical arrangement to this frenzied m‚lange of sound, light, and imagery.
Not Rated. Running time: 73 minutes. (C) Harvey Karten 1998
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