text:
10th Apr2019
'Pet Sematary' Review – Second Opinion
by Jak-Luke Sharp
Stars: Jason Clarke, Amy Seimetz, John Lithgow, Jete Laurence, Hugo Lavoie, Obssa Ahmed | Written by Jeff Buhler, Matt Greenberg | Directed by Kevin Kölsch, Dennis Widmyer Louis Creed, his wife Rachel, and their two children, Gage and Ellie, move to a rural home where they are welcomed and enlightened about the eerie 'Pet Sematary' […]
Tags : Amy Seimetz, Dennis Widmyer, Hugo Lavoie, Jason Clarke, Jeté Laurence, John Lithgow, Kevin Kolsch, Obssa Ahmed, Pet Sematary, Review, Stephen King
'Pet Sematary' Review
by Rupert Harvey
Stars: Jason Clarke, Amy Seimetz, John Lithgow, Jete Laurence, Hugo Lavoie, Obssa Ahmed | Written by Jeff Buhler, Matt Greenberg | Directed by Kevin Kölsch, Dennis Widmyer Mary Lambert's 1989 film adaptation was a decent stab at Stephen King's 1983 novel. It was fairly faithful and had a pleasing sense of the surreal – the […]
11th Oct2018
Trailer and poster for the 'Pet Sematary' redux
Paramount Pictures have released first trailer and poster for the upcoming cinematic remake of Stephen King's 1983 novel Pet Sematary. Directed by Dennis Widmyer and Kevin Kolsch (the duo behind the fantastic Starry Eyes), the film stars Jason Clarke, Amy Seimetz, John Lithgow, Jeté Laurence, Hugo Lavoie and Lucas Lavoie. Based on the seminal horror […]
Category : Movies, News
Tags : Amy Seimetz, Dennis Widmyer, Hugo Lavoie, Jason Clarke, Jeté Laurence, John Lithgow, Kevin Kolsch, Lucas Lavoie, Paramount Pictures, Pet Sematary
01st Jul2014
'The Sacrament' DVD Review
Stars: Joe Swanberg, Amy Seimetz, AJ Bowen, Kate Lyn Sheil, Gene Jones, Kentucker Audley, Shaun Clay, Shawn Parsons, Donna Biscoe | Written and Directed by Ti West New Splat Pack maestro Ti West wowed us back in 2009 with House of the Devil then again last year withInnkeepers. Whilst House of the Devil was a slow burning kind of 70's hark-back, Innkeepers was very […]
Tags : AJ Bowen, Amy Seimetz, Donna Biscoe, DVD, Gene Jones, Joe Swanberg, Kate Lyn Sheil, Kentucker Audley, Review, Shaun Clay, Shawn Parsons, The Sacrament
'Revenge For Jolly' Review
Stars: Brian Petsos, Oscar Isaac, Amy Seimetz, Elijah Wood, Ryan Phillippe, Kristen Wiig, Adam Brody | Written by Brian Petsos | Directed by Chadd Harbold Who doesn't love a good revenge movie? From the likes of Charles Bronson in Death Wish to Camille Keaton in I Spit on Your Grave, revenge movies have been a […]
Tags : Adam Brody, Amy Seimetz, Brian Petsos, Chadd Harbold, DVD, Elijah Wood, Kristen Wiig, Oscar Isaac, Revenge For Jolly, Review, Ryan Phillippe
28th Jan2014
Frightfest 2014: 'The Sacrament' Review
Stars: Joe Swanberg, Amy Seimetz, AJ Bowen, Kate Lyn Sheil, Gene Jones, Kentucker Audley, Shaun Clay, Shawn Parsons, Donna Biscoe | Written and Directed by Ti West Review by Scott Clark of Cinehouse New Splat Pack maestro Ti West wowed us back in 2009 with House of the Devil then again last year with Innkeepers. Whilst […]
Tags : AJ Bowen, Amy Seimetz, Donna Biscoe, Film4 FrightFest Glasgow 2014, FrightFest Glasgow 2014, Gene Jones, Joe Swanberg, Kate Lyn Sheil, Kentucker Audley, Review, Shaun Clay, Shawn Parsons, The Sacrament
'You're Next' DVD Review
by Jack Kirby
Stars: Sharni Vinson, Nicholas Tucci, AJ Bowen, Wendy Glenn, Joe Swanberg, Amy Seimetz, Ti West, Rob Moran, Barbara Crampton | Written by Simon Barrett | Directed by Adam Wingard Directed by Adam Wingard (VHS, A Horrible Way to Die) and set during a family reunion in a remote part of the countryside in the US, […]
Tags : Adam Wingard, AJ Bowen, Amy Seimetz, Barbara Crampton, DVD, Joe Swanberg, Lionsgate, Nicholas Tucci, Review, Rob Moran, Sharni Vinson, Ti West, Wendy Glenn, You're Next
22nd Sep2013
TIFF 2013 Review: 'The Sacrament'
Tags : AJ Bowen, Amy Seimetz, Donna Biscoe, Gene Jones, Joe Swanberg, Kate Lyn Sheil, Kentucker Audley, Review, Shaun Clay, Shawn Parsons, The Sacrament, TIFF 2013, Toronto International Film Festival
21st Jun2013
'You're Next' Review
Stars: Sharni Vinson, Nicholas Tucci, AJ Bowen, Wendy Glenn, Joe Swanberg, Amy Seimetz, Ti West, Rob Moran, Barbara Crampton | Written by Simon Barrett | Directed by Adam Wingard Having had a fairly hectic day at work, I was very much looking forward to attending the screening of You're Next recently. Few things can loosen the […]
Tags : Adam Wingard, AJ Bowen, Amy Seimetz, Barbara Crampton, Joe Swanberg, Nicholas Tucci, Review, Rob Moran, Sharni Vinson, Simon Barrett, Ti West, Wendy Glenn, You're Next
16th May2013
'Upstream Color' Review
by Dan Clark
Stars: Amy Seimetz, Shane Carruth, Andrew Sensenig, Thiago Martins, Andreon Watson, Ashton Miramontes, Myles McGee, Frank Mosley, Carolyn King | Written and Directed by Shane Carruth Shane Carruth burst onto the scene in 2004 with his intricate Science Fiction drama Primer. The complexities of that film have propelled an endless amount of analysis and debate. It is […]
Tags : Amy Seimetz, Andreon Watson, Andrew Sensenig, Ashton Miramontes, Carolyn King, Frank Mosley, Myles McGee, Review, Shane Carruth, Thiago Martins, Upstream Color


The Mehood Lestie Hotel (Qingdao) was recently opened in 2018, making it a fantastic choice for those staying in Qingdao.
Traveling to the hotel is easy with Qingdao Railway Station located approximately 8km away and Liuting International Airport roughly 23km away. The closest major public transportation, DunHuaLu Metro Station, is only 800m away. There is no shortage of things to see in the area, with the Beyou World, Qingdao 3D Art Exhibition and Qingdao Sega Joypolis all nearby.
When guests have some time on their hands they can make use of the onsite facilities. Travelers requiring pickup service can book this directly through the hotel. For guests' convenience, airport pickup can be arranged. Guests of this Qingdao hotel can make use of the parking facilities.
If you demand a high level of service, our guests have indicated that this hotel has excellent standards. This hotel is the usual choice for a large number of business travelers.


You own a motorcycle. The condo you own and live recently disallowed motorcycle parking in the parking lot. What are your parking rights. Do you have a say on this?
Does the board of a gated community have the right to tell the condo owners they cannot park in the extra parking spaces even though they OWN the condo and PAY to live there?
I got a parking ticket on Easter Sunday for parking in a Loading Zone?
Parking ticket for parking the wrong direction worth fighting?
It's not a moving violation - no points, no affect on your insurance. Just pay it and don't do it again.
What can I do about people parking in my private car parking space that is allocated to my house.?
Can a police officer issue a ticket for parking in a no parking zone in an un...?
Parking up hill and downhill with parking break on the floor!!!?
What is the required number of parking spaces for handicap parking?
Can a person who owns three condos that have parking spaces assigned by the d...?
Why do some people back into parking spaces in a parking lot?
How many handicap parking spaces must be provided in a parking lot?
Does anybody know if you can be issued with a parking ticket for parking in a...?
How long and wide is a parking lot with 7 parking spaces?
Can I get a ticket for parking in a church parking lot?
Who is liable for a fall sustained in a parking lot of a condo?


Initial consultation – Our initial consultation is anything but a mundane overview of the market and what to expect. We are going to put you to work and have some fun in the process. We will identify home features, amenities such as parking, storage space, and view. We will review neighborhoods as well as take a look at your timeline and budget. If you aren't sure about your budget just yet, no worries – I'll put you in touch with a fabulous lender who can help you with that.
Home search – I will scour the MLS with your list of priorities in mind, searching for those homes that either meet, or almost meet, your criteria. I will send this initial list to you with any notes we have about the listings. Then you can go in and write your own notes, remove the ones that aren't a good fit and save the ones you do. We will determine which are worth an in-person tour. As new properties come on the market, I will send these to you with my thoughts and again, we can work through the list, narrowing it down, and seeing any viable homes in-person. I will also preview the homes on your behalf and provide you report on what I learned.
Offer – Once you find the right property to call home, I will reach out to the listing agent and learn about the seller's priorities. This will give us an advantage when crafting the offer as we can aim to include the seller's priorities in the offer with the goal of getting you the house. Of course, the goal is to have your needs met as well and I will help you find balance between the two. We will also review contingencies, inspection, sewer scope, etc. I will walk you through the entire offer as needed to help you feel comfortable. I do encourage my buyers to write a letter since sometimes that personal touch is what it takes for the seller to be happy about the new steward of their home.
Pending to Close – Congratulations! Your offer is accepted and now we are under contract. Although this process may seem confusing with a number of different parties (lender, title, escrow, appraisers, inspectors, etc), I will be the glue that keeps everything together and will keep your transaction on track.
Closing and Possession – Congratulations! You have signed your papers and the deed of sale has been recorded at the county. Depending on what is outlined in your contract, you may take possession of the home and move in. I will make sure the keys get in your hands and everything is as expected at the house.
Just because the home is now yours and you have moved in doesn't mean that my job is done. My goal is to become your REALTOR® for life, and I promise to keep you educated about how your real estate investment is performing.


text:
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Constantine Kitsopoulos
Friday, March 11 | 7:30 PM
POSTPONED: Fantasia – Film with Orchestra
Saturday, March 12 | 7:30 PM
Time for Three in Concert
Constantine Kitsopoulos, Festival Boca's Music Director, has made a name for himself as a conductor whose musical experiences comfortably span the worlds of opera and symphony, where he conducts in such venues as Carnegie Hall, Alice Tully Hall and Royal Albert Hall, and musical theater, where he can be found leading orchestras on Broadway.
Mr. Kitsopoulos is in his third season as music director of the Queens Symphony Orchestra and continues as general director of Chatham Opera, which he founded in 2005. This season Mr. Kitsopoulos also makes debuts with the New York Pops, Colorado Symphony, Pittsburgh Symphony, Houston Symphony, Elgin Symphony and Westchester Philharmonic.
In the 2007-2008 season, Mr. Kitsopoulos returned to the Baltimore, Detroit, Hartford and Milwaukee symphonies in addition to making his debuts with the San Francisco, Mobile, Princeton and Virginia symphonies. Orchestral highlights of previous seasons include conducting appearances with the Annapolis Symphony, Blossom Festival Orchestra, Calgary Philharmonic, Lubbock Symphony, Madison Symphony, National Arts Centre Orchestra, New Jersey Symphony, New York Virtuosi Chamber Symphony, Santa Barbara Symphony, Hong Kong Philharmonic, Brooklyn Philharmonic, and a complete performance of Stravinsky's "L'Histoire du Soldat" with members of the Philadelphia Orchestra. Mr. Kitsopoulos also continued to show his ability and interest in performing new works and conducting a wide variety of genres. In 2005 he conducted the Red Bull Artsehcro, an orchestra consisting of students from the top conservatories and university music programs in the country, in a concert at Carnegie Hall featuring a program of world premieres by Raul Yanez and Laura Karpman.
In the 2006-2007 season, Mr. Kitsopoulos conducted DiCapo Opera Theatre's production of "The Merry Widow" and the Chatham Opera's debut production of Menotti's "Amahl and the Night Visitors." Previous season's operatic highlights include the DiCapo Opera Theatre's production of Gounod's "Faust" and all three versions of Puccini's "Madama Butterfly", the Hong Kong Municipal Opera production of Bizet's "Carmen" in both Hong Kong and Beijing, and Gluck's "Orefeo ed Euridice" at Alice Tully Hall. Mr. Kitsopoulos also served as music director of the world premiere of Ed Dixon's "Fanny Hill" at the Goodspeed Opera House in Connecticut, where he created the productions orchestrations as well.
In addition to his orchestral and classical commitments, Mr. Kitsopoulos is much in demand as a theatre conductor, both on Broadway and nationwide. This past season, Mr. Kitsopoulos was conductor and music director for the Tony nominated musical "A Catered Affair." In 2007, he conducted the Tony nominated "Coram Boy" and the American Conservatory Theatre production of Kurt Weill's "Happy End," for which he recorded the cast album at Skywalker Ranch. Other musical theatre highlights include serving as Music Director and Principal Conductor of Baz Luhrmann's highly acclaimed production of Puccini's "La Bohème", conducting the new musical "Mambo Kings" in San Francisco in 2005, serving s Music Director of Frank Wildhorn's "Dracula" and "Les Misérables" and conducting Matthew Bourne's Broadway production of Tchaikovsky's "Swan Lake".
Constantine Kitsopoulos studied conducting with Vincent LeSelva, as well as Gustav Meier, Sergiu Commissiona, and Semyon Bychkov. He studied piano with Marienka Michna, Chandler Gregg, Ed Edson, and Sophia Rosoff.
His first recording – Baz Luhrmann's production of La Bohème – was released by Dreamworks in 2002. His recording of Kurt Weill's "Happy End" was released in 2007 by Ghostlight Records. The cast album of "A Catered Affair" was released in 2008 by PS Classics.
Concerts are a maximum of 90 minutes without intermission.
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Star Wars: The Rise of Skywalker Writer Chris Terrio Explains Why Rose Tico's Role Was Severely Reduced
In a recent interview with Oscar–centric news site AwardsDaily, Star Wars: The Rise of Skywalker writer Chris Terrio stated that the reduction of Rose Tico's role from a main character in The Last Jedi to a less-than-two-minute-total-screentime appearance in The Rise of Skywalker was due to "the difficulty of using Carrie's footage in the way we wanted to."
In the interview, AwardsDaily editor Clarence Moye directly asked Terrio about this discrepancy and about his process in "working through her role in the final film."
Related: Report: Rose Tico Removed From Star Wars Merchandise
Terrio explains that Tico, as portrayed by actress Kelly Marie Tran, was originally meant to have extended scenes with General Leia, but issues working with the CGI aspects of Carrie Fisher's likeness prompted the team to cut this storyline from the film:
"AwardsDaily: One thing that's fairly pervasive right now is the buzz around Kelly Marie Tran's reduced role in The Rise of Skywalker when compared to The Last Jedi. Tell me about working through her role in the final film.
Chris Terrio: Well, first of all, J.J. and I adore Kelly Marie Tran. One of the reasons that Rose has a few less scenes than we would like her to have has to do with the difficulty of using Carrie's footage in the way we wanted to. We wanted Rose to be the anchor at the rebel base who was with Leia. We thought we couldn't leave Leia at the base without any of the principals whom we love, so Leia and Rose were working together. As the process evolved, a few scenes we'd written with Rose and Leia turned out to not meet the standard of photorealism that we'd hoped for. Those scenes unfortunately fell out of the film. The last thing we were doing was deliberately trying to sideline Rose. We adore the character, and we adore Kelly – so much so that we anchored her with our favorite person in this galaxy, General Leia."
Related: Star Wars: The Last Jedi Actor Domnhall Gleeson Addresses Kelly Marie Tran Controversy
Tico's immensely reduced role in The Rise of Skywalker, particularly in the face of the harassment controversy surrounding Tran's departure from social media, prompted some fans to start the hashtag #RoseTicoDeservedBetter.
Tico's sidelining in the film also corresponds with Disney's removal of Tico's image from multiple pieces of Star Wars merchandise.
Carrie FisherChris TerrioRose TicoStar WarsStar Wars: The Rise of SkywalkerThe Rise of Skywalker


text:
\section{Introduction}
The problem of designing good codes for continuous alphabet sources to be transmitted over a channel with power constraint can be viewed as the one of constructing curves in the Euclidean space of maximal length and such that its folds (or laps) are a good distance apart. When the channel noise is bellow a certain threshold, a bigger length essentially means a higher resolution when estimating the sent value. On the other hand, if the folds of the curve come too close, this threshold will be small and the mean squared error (mse) will be dominated by larger errors as consequence of decoding to the wrong fold. Explicit constructions of curves for analog source-channel coding were presented, for example, in \cite{Sueli} and \cite{polynomial}.

In this work, we will consider spherical curves in the $2N$-dimensional Euclidean space. We develop an extension of the construction presented in \cite{Sueli} to a set of curves on layers of flat tori. Our approach explores geometrical properties of spherical codes and projections of $N$-dimensional lattices. In the scheme presented here, homogeneity and low decoding complexity properties were preserved whereas the total length can be meaningfully increased.

This paper is organized as follows. In Section II, we introduce some mathematical background used in our approach. In Section III we state the problem, while in Section IV we present a scheme to design piecewise homogeneous curves on the Euclidean sphere and describe the encoding/decoding process. In Section V we derive a scaled version of the $\textit{Lifting Construction}$ \cite{FatStrut} suitable to our problem and present some examples and length comparisons with some previous constructions.

\section{Background}
\subsection{Flat Tori}
The unit sphere $S^{2N-1} \subset \mathbb{R}^{2N} $ can be foliated with flat tori \cite{BergerGostiaux, Cristiano} as follows. For each unit vector $\pmb{c} = (c_{1},c_{2},..,c_{N}) \in \mathbb{R}^{N}, c_i > 0$, and $\pmb{u}=(u_1,u_2,\ldots,u_N) \in \mathbb{R}^N$, let $\Phi_{\pmb{c}}:\mathbb{R}^N \rightarrow \mathbb{R}^{2N}$ be defined by
\begin{equation}
\small{
\Phi_{\pmb{c}} (\pmb u)=\left(c_{1}\left(\cos \frac{u_{1}%
}{c_{1}},\sin \frac{u_{1}}{c_{1}}\right),\dots,c_{N}\left(\cos \frac{u_{N}}{c_{N}},\sin \frac{u_{N}}{c_{N}}\right)\right).
}
\label{eq:Toro}
\end{equation}
This periodic function $\Phi _{\pmb{c}}$ is a local isometry on its image, the torus $ T_{\pmb{c}}$, a flat $N$-dimensional surface contained in the unit sphere $S^{2N-1}$. $ T_{\pmb{c}} = \Phi_{\pmb{c}}(R^N)$ is also the image of the hyperbox:
\begin{equation}
\label{para}
\mathcal{P}_{\pmb{c}} := \{\pmb{u} \in \mathbb{R}^{N}; 0 \leq u_{i} < 2 \pi c_{i}\}, \ \ 1\leq i\leq N.
\end{equation}

Note also that each vector of $S^{2N-1}$ belongs to one, and only one, of these flat tori if we consider also the degenerated cases where some $\pmb{c}_i$ may vanish. Thus we say that the family of flat tori $T_{\pmb{c}}$ and their degenerations, with $\pmb{c} = (c_{1},c_{2},..,c_{N})$, $ \left\|  \pmb{c}  \right\|  =1$, $c_{i}  \geq 0$, defined above is a foliation on the unit sphere of $S^{2N-1}\subset \mathbb{R}^{2N}.$

It can be shown (Proposition 1 in \cite{Cristiano}) that the minimum distance between two points, one in each flat torus $T_{\pmb{b}}$ and $T_{\pmb{c}}$, is
\begin{equation}
\label{eq:distdoistoros}
d(T_{\pmb{c}},T_{\pmb{b}})= \left\|  \pmb{c}- \pmb{b} \right\| = \left( \sum_{i=1}^N (c_i - b_i)^2\right)^{1/2}.
\end{equation}

The distance between two points on the same torus $T_{\pmb{c}}$ given by
\begin{equation*}
d(\Phi_{\pmb{c}}(\pmb{u}),\Phi_{\pmb{c}}(\pmb{v}))=2\sqrt{\sum c_{i}^{2}\sin^{2}(\frac{u_{i}-v_{i}%
}{2c_{i}})}\label{SameTorus}%
\end{equation*}
is bounded in terms of $\|\pmb{u}-\pmb{v}\|$ by the following proposition.
\begin{prop}\cite{Cristiano}
Let $\pmb{c=}(c_{1},c_{2},..,c_{N})$, $ \left\|  \pmb{c}  \right\|  =1$,
and let  $\pmb{u}, \pmb{v} \in \mathcal{P}_{\pmb{c}}$. Let $\Delta =  \left\|\pmb{u}-\pmb{v}\right\|$ and $\delta= \left\|\Phi_{\pmb{c}}(\pmb{u})- \Phi_{\pmb{c}}(\pmb{v}) \right\|$.
Then
\begin{equation}
\displaystyle
\frac{2}{\pi}\Delta\leq\dfrac{\sin\frac{\Delta}{2c_{\xi}}}{\frac{\Delta}{2c_{\xi}%
}}\Delta\leq\delta\leq\dfrac{\sin\frac{\Delta}{2}}{\frac{\Delta}{2}}\Delta
\leq\Delta
\label{eq:FamousRelation}
\end{equation}
where $\displaystyle c_{\xi} = \min c_i$.
\\
\end{prop}

\subsection{Curves}

As pointed out in \cite{Sueli}, some important properties of a curve from a communication point of view are its \textit{stretch} and \textit{small-ball radius}. Given a curve $\pmb{s}: [a,b] \mapsto \mathbb{R}^N$, the Voronoi region $V(x)$ of a point $\pmb{s}(x)$ is the set of all points in $\mathbb{R}^N$ which are closer to $\pmb{s}(x)$ than to any other point of the curve. If $H(x)$ denotes the hyperplane orthogonal to the curve at $\pmb{s}(x)$, then the maximal \textit{small-ball radius} of $\pmb{s}$ is the largest $r > 0$ such that $B_r(\pmb{s}(x)) \cap H(x) \subset V(x)$ for all $x \in [a,b]$, where $B_r(\pmb{s}(x))$ is the Euclidean ball of radius $r$ centered at $\pmb{s}(x)$. Intuitively this means that the ``tube'' of radius $r$ placed along the curve does not intersect itself. The \textit{stretch} $\mathcal{S}(x)$ is the function $\left\| \dot{\pmb{s}}(x) \right\|$ where $\dot{\pmb{s}}(x)$ is the derivative of $\pmb{s}(x)$. If $\left\|\dot{\pmb{s}}\right\|$ does not depend on $x$ (as it is the case of the curves considered here) we will refer to the stretch as simply $\mathcal{S}$. The length of a curve is given by $\int_a^b \mathcal{S}(x) dx$. In this paper we will be interested in curves with large length and small-ball radius.

\section{Problem statement}

The underlying communication system we consider here is illustrated in Figure \ref{fig:com}. Given an input real value $x$, within the unit interval $[0,1]$, the encoder maps $x$ into a point $\pmb{s}(x)$ of a curve $\pmb{s}$ on $S^{2N-1}$, which will be sent over an AWGN channel. By properly scaling the curve we guarantee that the transmitted energy is $\alpha^2$. The decoder will then compute an estimate for the sent value while trying to minimize the mean squared error (mse) $E[(X-\hat{X})^2]$ of the process.

For the torus layers scheme, the unit interval will be partitioned into $M$ intervals of different length, and each of them mapped into a curve on one of the layers. It is worth noticing that, for the special case $M=1$, if we choose the torus associated to the vector $c = \frac{1}{\sqrt{N}} (1,\ldots,1)$ to encode the information, then the scheme proposed here is exactly the one analysed in \cite{Sueli}. However, we are interested in the analysis for $M > 1$, in which case the curves to be presented outperform the ones presented in \cite{Sueli} (see also \cite{FatStrut}) in terms of the tradeoff between length and small-ball radius. \\

\begin{figure}[!htb]
\includegraphics[scale=0.65]{com}
\caption{Communication system}
\label{fig:com}
\end{figure}

The design of those curves in the next section is essentially divided in two parts. First, we choose a collection of tori on the surface of the Euclidean sphere $S^{2N-1}$ at least $\delta$ apart. The approach for doing this is via discrete spherical codes in $\mathbb{R}^N$. Second, we show a systematic way of constructing curves on each layer, via projection-lattices in $ \mathbb{R}^{N-1}$. Finally, we give a description of the whole signal locus and summarize the encoding process.

\section{Our approach}

\subsection{Torus layers}
\label{sec:torusLayers}
Given a fixed small ball radius $\delta$, the first step of our approach is to define a collection $T=\left\{T_1, T_2, \cdots, T_M \right\}$ of flat tori on $S^{2N-1}$ such that the minimum distance \eqref{eq:distdoistoros} between any two of them is greater than $2\delta$. This step is equivalent to design a $N$-dimensional spherical code $\mathcal{S}\mathcal{C}$ with minimum distance $2\delta$ and consider just the points with non-negative coordinates.

We denote this sub-code by $$\mathcal{S}\mathcal{C}_+ = \left\{c  \in \mathcal{S}\mathcal{C}, c_i \geq 0, \ \ 1 \leq i \leq N  \right\}.$$
Each point $\pmb{c} \in \mathcal{S}\mathcal{C}_+$ defines a hyperbox $\mathcal{P}_{\pmb{c}}$ (\ref{para}) and hence a flat torus $T_{\pmb{c}}$ in the unit sphere $S^{2N-1}$.

There are several ways of constructing spherical codes that can be employed here, e.g. \cite{eric,Hamkins1} or even on layers of flat tori as introduced in \cite{Cristiano}.

\subsection{Curves on each torus}
Let $T_{\pmb{c}}$ be a torus represented by the vector $\pmb{c} \in \mathcal{S}\mathcal{C}_+$ as defined in the previous section. On the surface of $T_{\pmb{c}}$ we will consider curves of the form:
\begin{equation}
\CurvaT{c}(x) = \Toro{c}{2\pi \hat{\pmb{u}} x},
\label{def:Curva}
\end{equation}
where $C = \mbox{diag}(c_1,\ldots,c_L)$, $\hat{\pmb{u}} = \pmb{u}C = (c_1 u_1, \ldots, c_N u_N)$, $\Phi_{\pmb{c}}$ is given by \eqref{eq:Toro} and $x \in [0,1]$.

Provided that $\pmb{u} \in \mathbb{Z}^N, \gcd(u_i) = 1$, those curves are closed (a type $(u_1,\ldots,u_N)$-knot), and due to periodicity and local isometry properties of $\Phi_{\pmb{c}}$ their lengths are $2 \pi \left\| \hat{\pmb{u}} \right\|$. They are also the image through $\Phi_{\pmb{c}}$ of the intersection between the set of lines $W = \left\{ \hat{\pmb{u}}x + \hat{\pmb{n}} : \hat{\pmb{n}} = \pmb{n} C, \pmb{n} \in \mathbb{Z}^{L} \right\}$ and the box $\mathcal{P}_{\pmb{c}}$. For \linebreak $c = \frac{1}{\sqrt{N}}(1,\ldots,1)$, these are exactly the curves analysed in \cite{Sueli}.

Let $r_{\pmb{c}}(\pmb{u})$ be the minimum distance between two different lines in $W$, then we have
\begin{equation}
\begin{split}
r_{\pmb{c}}(\pmb{u}) &:= \min_{\hat{\pmb{n}} \neq k \pmb{\hat{u}}, k \in \mathbb{Z}} \min_{\hat{x}, x} \left\| \hat{\pmb{u}}x - (\hat{\pmb{u}}\hat{x}+\hat{\pmb{n}}) \right\| \\
& = \min_{\hat{\pmb{n}} \neq k \pmb{\hat{u}}, k \in \mathbb{Z}} \min_{x} \left\| \hat{\pmb{u}}x - \hat{\pmb{n}} \right\| \\
& = \min_{\hat{\pmb{n}} \neq k \pmb{\hat{u}}, k \in \mathbb{Z}} \left\| P_{\hat{\pmb{u}}^{\perp}} (\hat{\pmb{n}}) \right\| \\
& = \min_{\hat{\pmb{n}} \notin \hat{\pmb{u}}^{\perp}} \left\| P_{\hat{\pmb{u}}^{\perp}} (\hat{\pmb{n}}) \right\|,
\end{split}
\end{equation}
where $P_{\hat{\pmb{u}}^{\perp}} (\hat{\pmb{n}})$ denotes the orthogonal projection of $\hat{\pmb{n}}$ onto the hyperplane $\hat{\pmb{u}}^{\perp}$ which is given by the standard projection formula

\begin{equation}
P_{\hat{\pmb{u}}^{\perp}} (\hat{\pmb{n}}) = \hat{\pmb{n}} \left(I_N - \frac{\pmb{\hat{u}}^t \pmb{\hat{u}}}{\pmb{\hat{u}} \pmb{\hat{u}}^t}\right).
\label{eq:proj}
\end{equation}

Let  $\Lambda_{\pmb{c}} = c_1 \mathbb{Z} \oplus \ldots \oplus c_N \mathbb{Z}$ be the rectangular lattice generated by matrix $C$, then  $ r_{\pmb{c}}(\pmb{u})$ is the length of shortest non-zero vector of the projection\footnote{In general, the projection of a lattice $\Lambda$ onto a subspace $H$ is \textit{not} a lattice unless certain special conditions are met, e.g., when $H^\perp$ is spanned by primitive vectors of $\Lambda$ \cite{Perfect}. This will be always the case in this paper, since $H = \hat{\pmb{u}}^\perp$ for a primitive vector $\hat{\pmb{u}}$.} of $\Lambda_{\pmb{c}}$ onto $\hat{\pmb{u}}^{\perp}$. Due to Equation \eqref{eq:FamousRelation}, the small-ball radius $\delta_{\pmb{u},\pmb{c}}$ of $\pmb{s}_{T_{\pmb{c}}}$ can be bounded in terms of $r_{\pmb{c}} (\pmb{u})$ as follows:

\begin{equation}
2 c_{\xi} \sin \left({\frac{\pi  r_{\pmb{c}}(\pmb{u})}{2 c_{\xi}}}\right) \leq \delta_{\pmb{u},\pmb{c}} \leq 2 \sin \left({\frac{\pi r_{\pmb{c}}(\pmb{u})}{2}}\right),
\label{eq:distortionCurve}
\end{equation}
where $c_{\xi} = \displaystyle \min_{i}{c_i}$ and $c_i > 0$. Thus, for small values of $\delta_{\pmb{u}, \pmb{c}} $, we have $\delta_{\pmb{u},\pmb{c}} \approx  \pi r_{\pmb{c}}(\pmb{u})$. Our goal is to choose $\pmb{u}$ in order to maximize $r_{\pmb{c}}(\pmb{u})$. In addition, we also want to reach a contrary objective, which is the one of maximizing the arc length \linebreak $l_{\pmb{u},\pmb{c}} = 2 \pi \left\|\hat{\pmb{u}} \right\|$ of $\pmb{s}_{T_{\pmb{c}}}$.

It is possible to show (Proposition 1.2.9. in \cite{Perfect}) that the density of the lattice $P_{\hat{\bm{u}}^{\perp}} (\Lambda_{\bm{c}})$, the projection of $\Lambda_{\bm{c}}$ onto $\hat{\bm{u}}^{\perp}$, is given by:

\begin{equation}
\Delta(P_{\hat{\bm{u}}^{\perp}} (\Lambda_{\bm{c}})) = \frac{r_{\pmb{c}}(\pmb{u})^{N-1} \left\|\hat{\pmb{u}} \right\|}{2^{N-1} \prod_{i=1}^N c_i} \leq \frac{\Delta_{N-1}}{\mathcal{V}_{N-1}}
\label{eq:BoundDensidade}
\end{equation}
where $\Delta_{N-1}$ is the density of the best lattice in dimension $(N-1)$ and $\mathcal{V}_{N-1}$ is the volume of the $(N-1)$-dimensional unit sphere. For the case when all entries of $\bm{c}$ are equal, $\Lambda_{\bm{c}}$ is equivalent to $\mathbb{Z}^N$ and it was shown in \cite{FatStrut} that we can make the above bound as tight as we want. We will show in Section V that this is also true for an arbitrary $\bm{c}$ i.e., that projections of the rectangular lattice $\Lambda_{\pmb{c}}$ can also yield dense lattice packings and therefore we can construct curves on the flat torus with the parameters arbitrary close to this bound.

\begin{ex} Let $N = 2$. Consider the local isometry
\begin{equation}
\Phi_{\pmb{c}} (\pmb u)=\left(c_{1} \cos \frac{u_{1}
}{c_{1}}, c_1 \sin \frac{u_{1}}{c_{1}} ,c_{2}\cos \frac{u_{2}}{c_{2}},c_2 \sin \frac{u_{2}}{c_{2}}\right)
\end{equation}
on the flat torus $T_{\pmb{c}}$ and the line segment given by \linebreak $\pmb{v}(x) = x \pmb{v}$, $= x (2 \pi u_1 c_1, 2\pi u_2 c_2),u_1, u_2 \in \mathbb{Z}$ and $0 \leq x \leq 1$. The curve $\CurvaT{c}(x)$ will be the composition $\Phi(\pmb{v}(x))$ and we have
\begin{equation}
r_{\pmb{c}}(\pmb{v}) \left\| \pmb{v} \right\| = 2\pi c_1 c_2 \Rightarrow  r_{\pmb{c}}(\pmb{v}) = \frac{c_1 c_2}{\sqrt{ w^2 c_1^2+ (w+1)^2 c_2^2}}
\end{equation}

This curve in $\mathbb{R}^4$ will turn around $u_1$-times the circle obtained by its projection on the first two coordinates, whereas turning around $u_2$-times the circle of radius $c_2$ given by its last two coordinates (a type $(u_1,u_2)$ knot on the flat torus $T_{\pmb{c}}$). For this case, we can calculate the exact small-ball radius $\delta$ as $d(\Phi( \alpha \pmb{v}^{\perp} ), \Phi(0))$ where $\pmb{v}^{\perp} = (-2\pi c_2 u_2, 2 \pi c_1 u_1)$ and $\alpha = \pi c_1 c_2 / \left\| \pmb{v} \right\|^2$. In Figure \ref{fig:encodingprocess} it is illustrated the curve $(u_1,u_2)=(4,5)$, with $c_1 > c_2$.
\end{ex}

\subsection{Encoding}
Let $T = \left\{ T_1, \ldots, T_M \right\}$ be a collection of $M$ tori as designed in Section \ref{sec:torusLayers}. For each one of these tori, let $\CurvaT{k}(x) = \Phi(2\pi \hat{\pmb{u}}_kx), (k=1,2,\ldots,M)$ be the curve on $T_k$, determined by the vector $\hat{\pmb{u}}_k$ \eqref{def:Curva} and  consider $L = \sum_{j=1}^M l_j$, where $l_k$ is the length of $\CurvaT{k}$.

Now split the unit interval $[0,1]$ into $M$ pieces according to the length of each curve:
\begin{equation*}
\left[0,1\right) = I_1 \cup I_2, \ldots \cup I_M\mbox{, where}
\end{equation*}
\begin{equation*}
I_k = \left[\frac{\sum_{j=1}^{k-1} l_j}{L},\frac{\sum_{j=1}^{k} l_j}{L} \right), \mbox{ for } k = 1, \ldots, M.
\end{equation*}
and consider the bijective mapping
$$\begin{array}{cc}
f_k: I_k  \to [0,1) \\
f_k(x) = \displaystyle\frac{x - \sum_{j=1}^{k-1} l_j/L}{l_k/L}.
\end{array}
$$
Then the full encoding map $\pmb{s}$ can be defined by
\begin{equation}
\pmb{s}(x) := \CurvaT{k}(f_k(x)), \mbox{ if } x \in I_k.
\label{eq:encoding}
\end{equation}

The stretch of $\pmb{s}$ will be constant and equal its total length $L$ and the small-ball radius of $\pmb{s}$ is the minimum small-ball radius $\delta$ of the curves $\CurvaT{k}$, provided that the distance between any pair of torus in $T$ is at least $2\delta$.

To encode a value $x$ within $[0,1]$ we apply the map \eqref{eq:encoding}. The signal locus will be a set of $M$ closed curves, each one lying on a torus layer $T_k$ and defined by a vector $\pmb{u}_k$. This whole process is illustrated in Figure \ref{fig:encodingprocess}.

\begin{figure}[!htb]
\centering
\includegraphics[scale=0.7]{figuraEncodingNova}
\includegraphics[scale=0.18]{TorusKnotNovo.PNG}
\caption{Encoding Process}
\label{fig:encodingprocess}
\end{figure}

If the source is uniformly distributed over $[0,1]$, the encoding process presented above is a proper one, since all subintervals will be equally stretched. For other applications, however, it could be worth considering another partition.
\subsection{Decoding}
Given a received vector $\pmb{y} \in \mathbb{R}^{2N}$, the maximum likelihood decoding is finding $\hat{x}$ such that:

$$\hat{x} = \mbox{arg}\min_{x \in [0,1]} \left\|\pmb{y} - \pmb{s}(x)\right\|.$$

Since exactly solving this problem is computationally expensive we focus on a suboptimal decoder.

For $ 0 \neq \gamma_i = \sqrt{y_{2i-1}^2+y_{2i}^2} $, we can write
{\small
\begin{eqnarray}
\pmb{y} & = &  \left( \gamma_1 \left( \frac{y_1}{\gamma_1}, \frac{y_2}{\gamma_1} \right), \hdots , \gamma_N \left( \frac{y_{2N-1}}{\gamma_N}, \frac{y_{2N}}{\gamma_N} \right)
 \right) \nonumber \\
\pmb{y} & = &  \left( \gamma_1\left(\cos{\frac{\theta_{1}}{\gamma_1}}, \sin{\frac{\theta_{1}}{\gamma_1}} \right), \hdots ,
\gamma_N \left(\cos{\frac{\theta_{N}}{\gamma_N}},\sin{ \frac{\theta_{N}}{\gamma_N}} \right) \right), \nonumber
\end{eqnarray}
}
where,
 \begin{eqnarray}
  \theta_{i} & = & \arccos{ \left( \dfrac{y_{2i-1}}{\gamma_i} \right) } \gamma_i,  \ \ 1 \leq i \leq N \nonumber.
 \end{eqnarray}

The process of finding the closest layer involves a $N$-dimensional spherical decoding of $\pmb{\gamma}=(\gamma_1,\gamma_2, \cdots, \gamma_N)$, which has complexity $\linebreak \mathcal{O}(MN)$.

Let $\pmb{c}_i = (c_{i1}, c_{i2}, \cdots, c_{iN})$ be the closest point in $\in \mathcal{S}\mathcal{C}_+$ to $\pmb{\gamma}$ and
$$\bar{\pmb{y}}_i = \left( c_{i1}\left(\cos{\frac{\theta_{1}}{\gamma_1}}, \sin{\frac{\theta_{1}}{\gamma_1}} \right), \hdots ,
c_{iN} \left(\cos{\frac{\theta_{N}}{\gamma_N}},\sin{ \frac{\theta_{N}}{\gamma_N}} \right) \right)$$ be the projection of $\pmb{y}$ in the torus $T_{c_i}$, i.e.,
$$
||\pmb{y}-\bar{\pmb{y}}_i|| \leq || \pmb{y} - \pmb{v} || \, ,  \forall \, \pmb{v} \in T_{c_i}.
$$
From now on, we proceed the process by using a slight modification of the torus decoding algorithm \cite{Sueli} applied to the $N$-dimensional hyperbox $\mathcal{P}_{\pmb{c}_i}$. The complexity of this algorithm is given by $\mathcal{O}(N \left\| \pmb{u}_i \right\|_1)$, where $\pmb{u}_i$ is the vector that determines the curve $\CurvaT{i}$. Hence, if $M = \mathcal{O}( \max_i{\left\| \pmb{u}_i \right\|_1)}$, the overall complexity of the process described in this section will be $\mathcal{O}(N \max_i{\left\| \pmb{u}_i \right\|_1)}$, the same as for the torus decoding.

\section{A Scaled Lifting Construction}
\subsection{The construction}
The \textit{Lifting Construction} was proposed in \cite{FatStrut} as a solution to the problem of finding dense lattices which are equivalent to orthogonal projections of $\mathbb{Z}^N$ along integer vectors (``fat-strut'' problem). In this section we adapt that strategy in order to construct projections of the lattice $\Lambda_{\pmb{c}}$ which approximate any $(N-1)$ dimensional lattice (hence the densest one) with the objective of finding curves in $\mathbb{R}^N$ approaching the bound \eqref{eq:BoundDensidade}. We adopt here the lattice terms as in \cite{SloaneLivro}. For our purposes, the proximity measure for lattices will be the distance between their Gram matrices, as in \cite{FatStrut}. This notion measures how close a lattice is to another one up to congruence transformations (rotations or reflections).

The dual of a lattice $\Lambda \in \mathbb{R}^N$ is the set $\Lambda^* = \{ \pmb{x} \in \mbox{span}(\Lambda): \langle \pmb{x}, \pmb{y} \rangle \in \mathbb{Z} \,\, \forall \pmb{y} \in \Lambda\}$ where $\mbox{span}(\Lambda)$ is the subspace spanned by a basis of $\Lambda$. Now let $\Lambda_{\pmb{c}} = c_1 \mathbb{Z} \oplus \ldots \oplus c_N \mathbb{Z}$ be the rectangular lattice generated by the diagonal matrix $C$ (and with Gram matrix $CC^t = C^2$). By scaling $\Lambda_{\pmb{c}}$, we can assume that $c_1 = 1$. With this condition, if $P_{\pmb{u}^{\perp}}(\Lambda_{\pmb{c}})^*$ denotes the dual of the projection of $\Lambda_{\pmb{c}}$ onto a vector $\hat{\pmb{u}}=(1, u_2 c_2 \ldots, u_N c_N)$ ($u_i \in \mathbb{Z}$), then a generator matrix for $P_{\hat{\pmb{u}}^{\perp}}(\Lambda_{\pmb{c}})^*$ is given by

\begin{equation}
M = \begin{pmatrix}-u_2 & 1/c_2 & 0 & \ldots & 0 \\
-u_3 & 0 & 1/c_3 & \ldots & 0 \\
\vdots & \vdots & \vdots & \ddots & \vdots \\
-u_n & 0 & 0 & \ldots & 1/c_n.
\end{pmatrix}
\label{matrizBoa},
\end{equation}
what can be derived as a consequence of Prop. 1.3.4 \cite{Perfect}. In what follows we derive a general construction of projections such that $P_{\pmb{u}^{\perp}}$ is arbitrarily close to a target lattice $\Lambda \in \mathbb{R}^{N-1}$.

\begin{teo} Let $\Lambda_{\pmb{c}} = \mathbb{Z} \oplus c_2 \mathbb{Z} \ldots \oplus c_N \mathbb{Z}$, $c_i \in \mathbb{R}$. Let $\Lambda$ be a target lattice in $\mathbb{R}^{N-1}$ and consider a lower triangular generator matrix  $L^* = (l_{ij}^*)$ for $\Lambda^*$. If $\Lambda_w^*$, $w \in \mathbb{N}$ is the sequence of lattices generated by the matrices

\begin{equation}
L_w^* := \left(\begin{array}{ccccc}
\lfloor{w l_{11}^*}\rfloor & \frac{1}{c_2} & \ldots & \ldots & 0 \\
\lfloor{w l_{21}^*} \rfloor & \frac{\lfloor{w l_{22}^* c_2}\rfloor }{c_2} & \ldots & \ldots & 0 \\
\vdots & \vdots & \ddots & \ldots & 0 \\
\lfloor{w l_{n1}^*} \rfloor & \frac{\lfloor{w l_{n2}^* c_2} \rfloor }{c_2} & \ldots & \frac{\lfloor{c_{n-1} w l_{nn}^*} \rfloor}{c_{n-1}} & \frac{1}{c_n}
\end{array}\right),
\label{matrizCons}
\end{equation}
then:
\begin{enumerate}
\item[(i)] $L_w^* = P_{\hat{\pmb{u}}^{\perp}}(\Lambda)^*$ for some $\hat{\pmb{u}} \in \mathbb{R}^N$ and
\item[(ii)] $(1/w^2) L_w^* L_w^{*t} \to L^* L^{*t}$ as $w \to \infty$.
\end{enumerate}
In other words, for large $w$, $\Lambda$ will be approximated (in the sense of the Gram matrices) by projections of $\Lambda_{\pmb{c}}$.
\end{teo}
\begin{proof} Through applying elementary (integer) operations on $L_w^*$ we can put it on form \eqref{matrizBoa} for some integers $u_2,\ldots,u_n$ depending on $w$, hence $L_w^*$ is a generator matrix for $P_{\hat{\pmb{u}}^{\perp}}(\Lambda)^*$, proving the first statement.
For the second statement, we clearly have $(1/w) L_w^* \to \left[ L^* \,\,\,\,\, \pmb{0} \right]$ as $w \to \infty$, where $\pmb{0}$ is the $(n-1) \times n$ all-zero column vector. Therefore, $(1/w^2) L_w^* L_w^{*t} \to \left[ L^* \,\,\,\,\, \pmb{0} \right]\left[ L^* \,\,\,\,\, \pmb{0} \right]^t = L^* L^{*t}$.
\end{proof}

\begin{ex} Consider the hexagonal lattice \cite{SloaneLivro}, which is the best packing in two dimensions and is equivalent to its dual. One of its generator matrix is

$$L^* = \left(\begin{array}{cc} 1 & 0 \\ \frac{1}{2} & \frac{\sqrt{3}}{2} \end{array} \right).$$

We apply the construction above and reduce, through elementary operations, the matrix $L_w^*$ in order to put it on form \eqref{matrizBoa}. After re-scaling the rectangular lattice $\Lambda_{\pmb{c}}$, we find the sequence of vectors

$$\hat{\pmb{u}}_w = (c_1, -2wc_2, (2w \lfloor w \sqrt{3} c_2/c_1 \rfloor - w) c_3).$$
The projections of $c_1 \mathbb{Z} \oplus c_2 \mathbb{Z} \oplus c_3 \mathbb{Z}$ onto $\hat{\pmb{u}}_w^\perp$ will be, up to equivalence, arbitrarily close to $A_2$ when $w \to \infty$.
\end{ex}

\subsection{Comparisons: Curves in $\mathbb{R}^6$}
\label{exemplo}
Here we compare our approach of construct curves on torus layers with the curves constructed in \cite{FatStrut}  and \cite{Sueli} in terms of length for given small-ball radii. Given $\delta > 0$, we first consider a set of flat tori associated to a spherical code in $R^3$, with minimum distance greater than $2 \delta$, as described in Section \ref{sec:torusLayers}. Through the first inequality of \eqref{eq:distortionCurve}, for each torus, we can find $r_{\pmb{c}}$ in order to guarantee that the curves on the flat tori will have small-ball radius at least $\delta$ (this is also done in the case of the curves on the torus $c = 1/\sqrt{L}(1,1,1)$). We then look for the larger element of the sequence of vectors that produces a projection with minimum distance at least $r_{\pmb{c}}$.

\begin{figure}[htb!]
\centering
\includegraphics[scale=0.55]{graficoLayer}
\caption{Comparison between diferent approaches in terms of small-ball radius $\delta$ and arc-length $\mathcal{S}$. }
\label{grafico}
\end{figure}

In Figure \ref{grafico}, the first curve from the bottom to the top represents the exponential sequence \cite{Sueli}. The second one is obtained by directly applying the Lifting Construction \cite{FatStrut} to the hexagonal lattice and the last one displays the total length associated to our scheme.

\section{Conclusion}
The problem of transmitting a continuous alphabet source over an AWGN channel was considered through an approach based on curves designed in layers of flat tori on the surface of a $(2N)$-dimensional Euclidean sphere. This approach explores connections with constructions of spherical codes and is related to the problem of finding dense projections of the lattice $c_1 \mathbb{Z} \oplus \ldots \oplus c_N \mathbb{Z}$.

This work is a generalization of both the scheme proposed in \cite{Sueli} and the Lifting Construction in \cite{FatStrut}. As a consequence, our scheme compares favorably to previous works in terms of the tradeoff between total length and small-ball radius, which is a proper figure of merit for this communication system.

In spite of the improvements in terms of length versus small-ball radius, the constructiveness, homogeneity and overall complexity of the decoding algorithm are features preserved from \cite{Sueli}.

\section*{Acknowledgment}

The authors would like to thank the Centre Interfacultaire Bernoulli (CIB) at EPFL where part of this work was developed, during the special semester on Combinatorial, Algebraic and Algorithmic Aspects of Coding Theory.

\bibliographystyle{plain}

redpajama_set_name: RedPajamaArXiv


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text:
東北大学 ホーム
MBNL1 associates with YB-1 in cytoplasmic stress granules
Hayato Onishi, Yoshihiro Kino, Tomoko Morita, Eugene Futai, Noboru Sasagawa, Shoichi Ishiura
The muscleblind-like (MBNL) protein family is thought to be involved in the molecular mechanism of myotonic dystrophy (DM). Although it has been shown to have splicing activity, a broader function in cellular RNA metabolism has been implicated. In this study, we attempted to find the binding proteins of MBNL1 in order to elucidate its physiological function. First, we performed a GST pull-down assay using GST-MBNL1-6xHis as bait. Several proteins were identified, including YB-1, a multifunctional DNA/RNA-binding protein, and DDX1, a DEAD box RNA helicase. MBNL1 formed an RNP complex with YB-1 and DDX1 in binding assays. YB-1 also showed a weak but significant effect on α-actinin splice site selection. Interestingly, in response to stress, MBNL1 moved to cytoplasmic stress granules, where it colocalized with YB-1, which was previously reported to be a component of stress granules. We found that DDX1 also colocalized with MBNL1 at stress granules. These results provide new insight into the dynamics of MBNL1 in response to stress, and they suggest a role for MBNL1 in mRNA metabolism in the cytoplasm.
Journal of Neuroscience Research
https://doi.org/10.1002/jnr.21655
Published - 2008 7月 1
細胞および分子神経科学
10.1002/jnr.21655
「MBNL1 associates with YB-1 in cytoplasmic stress granules」の研究トピックを掘り下げます。これらがまとまってユニークなフィンガープリントを構成します。
MBNL1 Biochemistry, Genetics and Molecular Biology 100%
Stress Granule Biochemistry, Genetics and Molecular Biology 50%
DDX1 Biochemistry, Genetics and Molecular Biology 37%
Metabolic Pathway Biochemistry, Genetics and Molecular Biology 12%
Binding Protein Biochemistry, Genetics and Molecular Biology 12%
Protein Family Biochemistry, Genetics and Molecular Biology 12%
RNA Metabolism Biochemistry, Genetics and Molecular Biology 12%
RNA-binding Protein Biochemistry, Genetics and Molecular Biology 12%
Onishi, H., Kino, Y., Morita, T., Futai, E., Sasagawa, N., & Ishiura, S. (2008). MBNL1 associates with YB-1 in cytoplasmic stress granules. Journal of Neuroscience Research, 86(9), 1994-2002. https://doi.org/10.1002/jnr.21655
MBNL1 associates with YB-1 in cytoplasmic stress granules. / Onishi, Hayato; Kino, Yoshihiro; Morita, Tomoko その他.
In: Journal of Neuroscience Research, Vol. 86, No. 9, 01.07.2008, p. 1994-2002.
Onishi, H, Kino, Y, Morita, T, Futai, E, Sasagawa, N & Ishiura, S 2008, 'MBNL1 associates with YB-1 in cytoplasmic stress granules', Journal of Neuroscience Research, vol. 86, no. 9, pp. 1994-2002. https://doi.org/10.1002/jnr.21655
Onishi H, Kino Y, Morita T, Futai E, Sasagawa N, Ishiura S. MBNL1 associates with YB-1 in cytoplasmic stress granules. Journal of Neuroscience Research. 2008 7月 1;86(9):1994-2002. doi: 10.1002/jnr.21655
Onishi, Hayato ; Kino, Yoshihiro ; Morita, Tomoko その他. / MBNL1 associates with YB-1 in cytoplasmic stress granules. In: Journal of Neuroscience Research. 2008 ; Vol. 86, No. 9. pp. 1994-2002.
@article{fe15a43f33434fe9b758163875d593e8,
title = "MBNL1 associates with YB-1 in cytoplasmic stress granules",
abstract = "The muscleblind-like (MBNL) protein family is thought to be involved in the molecular mechanism of myotonic dystrophy (DM). Although it has been shown to have splicing activity, a broader function in cellular RNA metabolism has been implicated. In this study, we attempted to find the binding proteins of MBNL1 in order to elucidate its physiological function. First, we performed a GST pull-down assay using GST-MBNL1-6xHis as bait. Several proteins were identified, including YB-1, a multifunctional DNA/RNA-binding protein, and DDX1, a DEAD box RNA helicase. MBNL1 formed an RNP complex with YB-1 and DDX1 in binding assays. YB-1 also showed a weak but significant effect on α-actinin splice site selection. Interestingly, in response to stress, MBNL1 moved to cytoplasmic stress granules, where it colocalized with YB-1, which was previously reported to be a component of stress granules. We found that DDX1 also colocalized with MBNL1 at stress granules. These results provide new insight into the dynamics of MBNL1 in response to stress, and they suggest a role for MBNL1 in mRNA metabolism in the cytoplasm.",
keywords = "MBNL1, Myotonic dystrophy, Splicing, Stress granules, YB-1",
author = "Hayato Onishi and Yoshihiro Kino and Tomoko Morita and Eugene Futai and Noboru Sasagawa and Shoichi Ishiura",
doi = "10.1002/jnr.21655",
journal = "Journal of Neuroscience Research",
T1 - MBNL1 associates with YB-1 in cytoplasmic stress granules
AU - Onishi, Hayato
AU - Kino, Yoshihiro
AU - Morita, Tomoko
AU - Futai, Eugene
AU - Sasagawa, Noboru
AU - Ishiura, Shoichi
N2 - The muscleblind-like (MBNL) protein family is thought to be involved in the molecular mechanism of myotonic dystrophy (DM). Although it has been shown to have splicing activity, a broader function in cellular RNA metabolism has been implicated. In this study, we attempted to find the binding proteins of MBNL1 in order to elucidate its physiological function. First, we performed a GST pull-down assay using GST-MBNL1-6xHis as bait. Several proteins were identified, including YB-1, a multifunctional DNA/RNA-binding protein, and DDX1, a DEAD box RNA helicase. MBNL1 formed an RNP complex with YB-1 and DDX1 in binding assays. YB-1 also showed a weak but significant effect on α-actinin splice site selection. Interestingly, in response to stress, MBNL1 moved to cytoplasmic stress granules, where it colocalized with YB-1, which was previously reported to be a component of stress granules. We found that DDX1 also colocalized with MBNL1 at stress granules. These results provide new insight into the dynamics of MBNL1 in response to stress, and they suggest a role for MBNL1 in mRNA metabolism in the cytoplasm.
AB - The muscleblind-like (MBNL) protein family is thought to be involved in the molecular mechanism of myotonic dystrophy (DM). Although it has been shown to have splicing activity, a broader function in cellular RNA metabolism has been implicated. In this study, we attempted to find the binding proteins of MBNL1 in order to elucidate its physiological function. First, we performed a GST pull-down assay using GST-MBNL1-6xHis as bait. Several proteins were identified, including YB-1, a multifunctional DNA/RNA-binding protein, and DDX1, a DEAD box RNA helicase. MBNL1 formed an RNP complex with YB-1 and DDX1 in binding assays. YB-1 also showed a weak but significant effect on α-actinin splice site selection. Interestingly, in response to stress, MBNL1 moved to cytoplasmic stress granules, where it colocalized with YB-1, which was previously reported to be a component of stress granules. We found that DDX1 also colocalized with MBNL1 at stress granules. These results provide new insight into the dynamics of MBNL1 in response to stress, and they suggest a role for MBNL1 in mRNA metabolism in the cytoplasm.
KW - MBNL1
KW - Myotonic dystrophy
KW - Splicing
KW - Stress granules
KW - YB-1
U2 - 10.1002/jnr.21655
DO - 10.1002/jnr.21655
JO - Journal of Neuroscience Research
JF - Journal of Neuroscience Research


text:
Q: Python publish to RabbitMQ exchange/queue consumed by ASP.NET Core Service I'm running RabbitMQ, in a Docker container (rabbitmq:3-management image) as part of a Docker Compose application. The application contains some ASP.NET Core WebApi microservices, which exchange messages via this broker. That works fine and didn't give me any problems so far.
Now I need to publish messages from a Python application to an exchange/queue which was created from one of the ASP.NET Core microservices. The microservice contains a consumer for this queue. For publishing from python, I'm using pika. The problem is, I can't seem to get the publishing right. Whenever I execute my Python script, I can see in the RabbitMQ management UI that a new exchange and queue with the suffix "_skipped" were created. It seems as if my message was sent there instead of the actual queue. Also, when trying to publish directly from the management UI, the message actually makes it to the microservice, but there I'll get an exception, that the message could not be deserialized to a MassTransit envelope object, and also a new exchange and queue with the "_error" suffix.
I have no idea where the problem is. I think the exchange/queue themselves are fine, since other queues/consumers/publishers for microservice to microservice communication in this project work. So then it's probably either how I'm trying to address the exchange/queue from Python, or something with my message body which is not right.
This page gives some info about how messages need to be structured, but not too detailed, and here I got most of the info about how to publish with Python.
Below you see the relevant code regarding the host/queue configuration in the microservice, as well as the Python script. Any help/tips on how I can get this to work would be greatly appreciated.
ASP.NET Core:
// Declaring the host, queue "mappingQueue", consumer in Startup.ConfigureServices of microservice
...
    services.AddMassTransit(x =>
    {
        x.AddConsumer<MappingUpdateConsumer>();
        x.AddBus(provider => Bus.Factory.CreateUsingRabbitMq(config =>
        {
            config.Host(new Uri(RabbitMqConst.RabbitMqRootUri), h =>
            {
                h.Username(RabbitMqConst.RabbitMqUsername);
                h.Password(RabbitMqConst.RabbitMqPassword);
            });
            config.ReceiveEndpoint("mappingQueue", e =>
            {
                e.ConfigureConsumer<MappingUpdateConsumer>(provider);
            });
        }));
    });
    services.AddMassTransitHostedService();
...

// Consumer
public class MappingUpdateConsumer : IConsumer<MappingUpdateMessage>
{
    ...
    public async Task Consume(ConsumeContext<MappingUpdateMessage> context)
    {
        await Task.Run(async () =>
        {
            if (context.Message == null)
            {
                return;
            }
            ...
        });
    }
}

// Message class (will have more properties in the future, thus not just using a string consumer)
public class MappingUpdateMessage
{
    public string Message { get; set; }
}

Python:
import pika
import json

connection = pika.BlockingConnection(pika.ConnectionParameters('localhost'))
channel = connection.channel()

channel.exchange_declare(exchange='mappingQueue', exchange_type='fanout', durable=True)

message = {
  "message"    : {
    "message": "Hello World"
  },
  "messageType": [
    "urn:message:MassTransit.Tests:ValueMessage"
  ]
}

channel.basic_publish(exchange='mappingQueue',
                      routing_key='mappingQueue',
                      body=json.dumps(message))

connection.close()
print("sent")

A: For those with the same problem, I figured it out eventually:
..
config.ReceiveEndpoint("mappingQueue", e =>
{
    e.ClearMessageDeserializers();
    e.UseRawJsonSerializer();
    e.ConfigureConsumer<MappingUpdateConsumer>(provider);
});
...

redpajama_set_name: RedPajamaStackExchange


For almost four decades, José Seijas toiled as an employee in the tobacco industry, rising to the position of vice president and general manage of the Tabacalera de Garcia factory in the La Romana area of the Dominican Republic, a four-hour drive from the cigar-making capital of Santiago. At this facility—which is owned by the premium cigar behemoth Altadis U.S.A. Incorporated—Seijas oversaw the production of more than sixty million cigars on an annual basis, including the brands Montecristo, H. Upmann, and Romeo y Julieta. In 2012, José retired.
However, his retirement did not last very long and Seijas soon started focusing on launching his own brand of premium cigars, with family members as partners in his new enterprise. Pursuing historical records for inspiration, Jose discovered that the very old Dominican brand of La Matilde was available and he made arrangements to purchase it from the owners. After marketing considerations, Seijas shortened the name to Matilde. He then began, once again, to toil in the tobacco fields of La Romana.
In February of 2014, José Seijas introduced the first cigar under his new marque, the Renacer—which means rebirth. This cigar quickly accumulated critical acclaim from both cigar aficionados and cigar reviewers from all points on the compass. Some seventeen months later, Seijas shipped his sophomore release, the Matilde Oscura. This cigar was greeted with a standing ovation by the industry, becoming Cigar Dojo's number eight cigar of the year for 2015. At the recent IPCPR event in Las Vegas, Matilde introduced the third cigar in its line up, the Quadrata. In Latin, the word "quadrata" means "square" or "rectangular", an appropriate name for the company's first, fully box-pressed offering. Once again, premium cigar connoisseurs all over the world are overjoyed that José Seijas' retirement from Altadis was brief in length.
A tobacco man is, after all, always a tobacco man.
The Quadrata is the third release from José Seijas' three-year-old Matilde brand, following the highly-rated Renacer and the award-winning Oscura. This new line of cigars is initially offered in three sizes—Robusto (5¼" x 50, $8.50), Torpedo (6" x 52, $9.00), and the Toro Bravo (6½" x 54, $9.00). The vitolas are packed in matte-orange cabinet boxes, which contain twenty cigars.
While the Quadrata and the Renacer are both composed with an Ecuadorian Habano wrapper, a Dominican binder, and long-leaf filler leaves from Nicaragua and the Dominican Republic, the new cigar is not its older brother's doppelgänger. According to the factory, the Quadrata's blend is designed to be full in flavor and medium to full in strength—stronger than the Matilde Renacer but milder than the Matilde Oscura, which consists of a Mexican San Andrés wrapper, a Sumatra binder, and filler tobaccos from the United States, the Dominican Republic, and Nicaragua. In addition, the Quadrata is box-pressed and not cylindrical, which typically produces a cigar with a better burn, a fuller draw, and a touch of increased complexity.
The Matilde Quadrata Robusto is a striking example of a premium box-pressed cigar, its razor-sharp edges forming precise ninety-degree angles relative to the vitola's linear front and back. A perfectly applied triple-cap enhances the sophisticated look of the cigar. Its smooth, Ecuadorian Habano wrapper is almost flawless—attractive veining, a slight amount of tooth, and tight seams. The color of the robusto is a mixture of roasted chestnuts and chocolate, with a subtle tinge of carmine-red. An overall oiliness on the wrapper produces a glimmering sheen in the noonday sunlight, like a dark-hulled sailboat tacking across the open sea.
Underneath the standard, lightly-embossed Matilde band, highlighting the company's distinctive logo—printed in the color of charred oranges—a matching sub-band identifies the cigar as the Quadrata. Properly packed from the foot to the cap, the wrapper aroma combines finely-aged tobaccos with a chocolate sweetness, while the open foot smells of cedar, earth, hay, and assorted spices.
After the robusto is opened with a substantial V-cut—which reduces the risk of damaging the the cap on a box-pressed cigar, compared with using a guillotine cutter—the cold draw is quite open, with just a slight (and desirable) amount of resistance. Smooth flavors of cedar, cinnamon, and chocolate immediately touch the palate.
After toasting and lighting the cigar with a soft flame lighter, the first draw is slightly tainted by an off-putting mineral taste, which almost immediately fades away. By the third puff, the robusto begins to produce the nuanced and rich flavors indicative of its tobacco composition—an Ecuadorian Habano wrapper, a Dominican binder, and a mix of long-leaf filler from Nicaragua and the Dominican Republic. This combination quickly culminates in a mouthwatering flavor profile that attractively coats the entire tongue and the roof of the mouth. The draw of the cigar is very good, with an ample amount of smoke output. Aromas and flavors of drip-brewed coffee, powdered chocolate, crisp cedar, and ciabatta mingle together in an ambrosial balance, while white pepper and light spices are dominant on the retrohale. The smoking experience is flavorful and smooth.
As the Matilde Quadrata Robusto enters into the second third, the strength gradually increases while the body begins to transition from medium to full. The aromas and flavors present in the first third of the cigar continue to build, while the initial coffee note shifts to a style from a stronger cup, like those produced in a stove-top Bialetti Moka Express machine. Flavors and aromas of salted nuts, dried hardwoods, leather, and spicy Aztec chocolate appear, adding to the complexity of the Quadrata.
Room aroma is reminiscent of a charcoal fire, dotted with chunks of cedar in the fireplace grate of a centuries-old smoking room. The burn line is razor sharp, holding two inches of cinereous ash, highlighted with specks of obsidian. On the retrohale, the white pepper is replaced by red pepper, with just a touch of licorice.
As it burns through its final third, the Quadrata continues to provide an enjoyable and impressive smoking experience. The draw becomes very open, requiring light puffs to produce bountiful amounts of ceiling-clinging smoke. Aromas and flavors are a complex, but smooth, mix of practically every category on the cigar flavor wheel—nuts, dried fruits, herbs and spices, earth and minerals, and an attractive, vegetative note that appears as the robusto enters the numbing stage. It is a fine cigar.
The answer to that question is, "Yes. And Often." The Maltide Quadrata Robusto is an outstanding cigar which provides almost two hours of smoking enjoyment. And the pricing makes it even more attractive. In fact, after smoking the review sample, I went out and purchased a box—along with five-packs of the other two sizes.
Matilde's most recent addition to their line of highly-rated cigars is the Quadrata. This box-pressed beauty is composed of an Ecuadorian Habano wrapper, covering a Dominican and Nicaraguan interior. The Quadrata Robusto is a delectable dish of a cigar—balanced, smooth, complex, mouthwatering, and palate pleasing. It is a cigar that can be enjoyed at any time of the day or night—at breakfast with an espresso, at lunch with a beer from Belgium, during an Italian bistecca dinner with a glass or two of Amarone, or after-hours with a book and a bottle of barrel-proof bourbon. Flavors and aromas of coffee, chocolate, crisp cedar, ciabatta, salted nuts and leather will entertain the palates of both the novice and the experienced cigar smoker.


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