text:
Q: Closure problems in class definition I'm using CoffeScript to create an angular application.
I have a strange problem with this code.
webService.coffe (simplificated)
ServiceManager.service "webService", class
    constructor : (@$http) ->

    # Private

    handleResult = (callback, errorCallback, authErrorCallback) =>
        (result) =>
            if result.result then callback result
            else
                if result.code is 102 then @logout authErrorCallback, errorCallback
                else errorCallback result.code, result.error

    get : (url, callback, errorCallback) ->
        @$http.get url
        .success handleResult callback, errorCallback, (=> @get url, callback, errorCallback)
        .error handleError errorCallback

    logout : (callback, errorCallback) ->
        @$http.get "logout"
        .success callback()
        .error errorCallback()

In this simplificated code, I get the error _Class.logout is not a function when handleResult is called and the error code is 102.
The => operator should resolve this problem but it's not. I don't understand why...

Javascript compiled code of webService.coffee
ServiceManager.service("webService", (function() {
  var handleResult;

  function _Class($http) {
    this.$http = $http;
  }

  handleResult = function(callback, errorCallback, authErrorCallback) {
    return function(result) {
      if (result.result) {
        return callback(result);
      } else {
        if (result.code === 102) {
          return _Class.logout(authErrorCallback, errorCallback);
        } else {
          return errorCallback(result.code, result.error);
        }
      }
    };
  };

  _Class.prototype.get = function(url, callback, errorCallback) {
    return this.$http.get(url).success(handleResult(callback, errorCallback, ((function(_this) {
      return function() {
        return _this.get(url, callback, errorCallback);
      };
    })(this)))).error(handleError(errorCallback));
  };

  _Class.prototype.logout = function(callback, errorCallback) {
    return this.$http.get("logout").success(callback()).error(errorCallback());
  };

  return _Class;

})());

A: Your problem is that you're defining handleResult as a static, private variable inside your class IIFE. It cannot access the @logout instance method therefore, CS does compile it to a static _Class.logout invocation  which cannot work.
There are a few ways around this:

*

*make handleResult a private instance variable, and move everything inside the constructor - the declarations of @get and @logout as well.

*give handleResult an instance parameter to which you pass @, so that it can invoke the instance method on it

*only call the authErrorCallback and do the @logout and things inside there.

Given that your service class will only be instantiated once as a singleton anyway, the first is probably the most sensible.
However, you really should consider not doing so much complicated callback stuff anyway. Just use promises:
ServiceManager.service "webService", class
    constructor : (@$http) ->

    get: (url) ->
        @$http.get url
        .then (result) =>
            if result.result then result
            else if result.code is 102 then @logout().then(=> @get url)
            else throw result.error

    logout: () ->
        @$http.get "logout"


2004 Ranger Edge plete Full Color Wiring Diagram: User Name: Remember Me? ... Custom audio system (Again, ... 2004 Ranger Edge plete Full Color Wiring Diagram.
Ford Ranger wiring by color ... Click HERE for radio and speaker wiring diagrams. Black Wire Ground. Black ... From Neutral Safety Switch To Starting System.
FORD RANGER 1993 2005 VEHICLE WIRING . ... This vehicle may be equipped with PATS anti theft system. This must be bypassed when installing a remote start system.


text:
Adaptive procedures in psychophysical research
Marjorie R. Leek
As research on sensation and perception has grown more sophisticated during the last century, new adaptive methodologies have been developed to increase efficiency and reliability of measurement. An experimental procedure is said to be adaptive if the physical characteristics of the stimuli on each trial are determined by the stimuli and responses that occurred in the previous trial or sequence of trials. In this paper, the general development of adaptive procedures is described, and three commonly used methods are reviewed. Typically, a threshold value is measured using these methods, and, in some cases, other characteristics of the psychometric function underlying perceptual performance, such as slope, may be developed. Results of simulations and experiments with human subjects are reviewed to evaluate the utility of these adaptive procedures and the special circumstances under which one might be superior to another.
Perception and Psychophysics
Psychophysical
Leek, M. R. (2001). Adaptive procedures in psychophysical research. Perception and Psychophysics, 63(8), 1279-1292.
Adaptive procedures in psychophysical research. / Leek, Marjorie R.
In: Perception and Psychophysics, Vol. 63, No. 8, 11.2001, p. 1279-1292.
Leek, MR 2001, 'Adaptive procedures in psychophysical research', Perception and Psychophysics, vol. 63, no. 8, pp. 1279-1292.
Leek MR. Adaptive procedures in psychophysical research. Perception and Psychophysics. 2001 Nov;63(8):1279-1292.
Leek, Marjorie R. / Adaptive procedures in psychophysical research. In: Perception and Psychophysics. 2001 ; Vol. 63, No. 8. pp. 1279-1292.
@article{cc6e821d9e994bb596fb62852c11a982,
title = "Adaptive procedures in psychophysical research",
abstract = "As research on sensation and perception has grown more sophisticated during the last century, new adaptive methodologies have been developed to increase efficiency and reliability of measurement. An experimental procedure is said to be adaptive if the physical characteristics of the stimuli on each trial are determined by the stimuli and responses that occurred in the previous trial or sequence of trials. In this paper, the general development of adaptive procedures is described, and three commonly used methods are reviewed. Typically, a threshold value is measured using these methods, and, in some cases, other characteristics of the psychometric function underlying perceptual performance, such as slope, may be developed. Results of simulations and experiments with human subjects are reviewed to evaluate the utility of these adaptive procedures and the special circumstances under which one might be superior to another.",
author = "Leek, {Marjorie R.}",
journal = "Attention, Perception, and Psychophysics",
T1 - Adaptive procedures in psychophysical research
AU - Leek, Marjorie R.
N2 - As research on sensation and perception has grown more sophisticated during the last century, new adaptive methodologies have been developed to increase efficiency and reliability of measurement. An experimental procedure is said to be adaptive if the physical characteristics of the stimuli on each trial are determined by the stimuli and responses that occurred in the previous trial or sequence of trials. In this paper, the general development of adaptive procedures is described, and three commonly used methods are reviewed. Typically, a threshold value is measured using these methods, and, in some cases, other characteristics of the psychometric function underlying perceptual performance, such as slope, may be developed. Results of simulations and experiments with human subjects are reviewed to evaluate the utility of these adaptive procedures and the special circumstances under which one might be superior to another.
AB - As research on sensation and perception has grown more sophisticated during the last century, new adaptive methodologies have been developed to increase efficiency and reliability of measurement. An experimental procedure is said to be adaptive if the physical characteristics of the stimuli on each trial are determined by the stimuli and responses that occurred in the previous trial or sequence of trials. In this paper, the general development of adaptive procedures is described, and three commonly used methods are reviewed. Typically, a threshold value is measured using these methods, and, in some cases, other characteristics of the psychometric function underlying perceptual performance, such as slope, may be developed. Results of simulations and experiments with human subjects are reviewed to evaluate the utility of these adaptive procedures and the special circumstances under which one might be superior to another.
JO - Attention, Perception, and Psychophysics
JF - Attention, Perception, and Psychophysics

redpajama_set_name: RedPajamaCommonCrawl


The reasons we chose the church weren't particularly flattering. It was close, under five minutes from our house if traffic was favorable. They had a pretty thin looking praise team, so if they'd have us, we would both be able to play. The pastor seemed nice and the sermons didn't strain my liberal sensitivities too hard. And it was relatively anonymous, so we didn't feel the scarlet A's branding us every time we entered the sanctuary.
We were married now, but that hadn't always been the case. We had attended church together for five years, but in the before days, we had been married to other people, and lots of people in the church community of our town knew it.
In my previous life, when I had changed churches, I always knew immediately when I had found my new church home. There had always been a simple feeling of belonging in those instances. Even if it hadn't made sense to me why I felt that way, I could tell when a new congregation was home.
But I didn't have that feeling here.
I'm writing today over at You Are Here. I'd love it if you'd stop by and read the rest of this story about finding my place in our new church.
This entry was posted in Church, You Are Here and tagged adultery, church, guest post, music, remarriage. Bookmark the permalink.


This project is essentially a writing assignment. You are expected to read, assess and draw insights from sources to write your own informed work about an African country. Your goal is to give a multi-faceted view of your assigned country to your classmates. Endeavor to provide a well-rounded, interesting picture of your country. Providing bare facts will lead to a very basic view. To help give a fuller picture of your assigned country, include relevant facts, responses and analyses that bolster understanding of the topic.
-Idrissa, Abdoourahmane and Decalo, Samuel. Historical dictionary of Niger. Lanham: Scarecrow Press. 2012.
-Stoller, Paul. Embodying colonial memories: spirit possession, power, and the Hauka in West Africa. New York: Routledge. 1995.
-Idrissa, Abdourahmane and Decalo, Samuel. Historical dictionary of Niger. Lanham: Scarecrow Press. 2010.
-U.S Department of State. a?U.S Relations with Nigera?. (Web): 5474.htm.
-International Monetary Fund. Niger: poverty reduction strategy paper. Washington, D.C. International Monetary Fund. 2008.
-Russell, Jesse and Cohn, Ronald. Economy of Niger. New York: Routledge. 2012.
-Essine-Obot, Amayak. Culture and progress in Niger Delta region: historical background and agenda for cultural development in Niger Delta region. Niamey: Zimek Communications. 2000.
-Geels, Jolijn. Niger: the Bradt travel guide. St Peter, Bucks: Bradt travel guides. 2006.
-Parris, Ronald. Hausa. New York: Rosen Publications. 1996.
-Prasse, Kark-G. The Tuaregs: the blue people. Copenhagen: Museum Tusculanum Press. 1995.


Over two days in the summer of 1977, a seven-year-old boy pays visits to his two grannies. The grandmothers live in the same town, but on opposite sides of the rapids that flow through the town. But the widest gap between them is their memories of 1918. One's family was with the Reds during the civil war, the other with the Whites. But their children fell in love, just like Romeo and Juliet, and had a son.
At one granny's house, you have to fetch water from the well and firewood; at the other's house, there's a prizewinning garden, a crystal chandelier and a portrait of General Mannerheim on the wall.
So the boy lives his summer in two different realities, listening to his two grandmothers talk of their versions of a young Finland. With his youthful narration, he parses the older generation's experiences of the war to yield a new expression of the past that will ease the burden of memory on the next generation.


text:
Q: what is wrong with this code when dealing with large values of "long"? I wrote an utility class to encode numbers in a custom numeral system with base N. As any self-respecting Java programmer I then wrote a unit test to check that the code works as expected (for any number I could throw at it).
It turned out, that for small numbers, it worked. However, for sufficiently large numbers, the tests failed.
The code:
public class EncodeUtil {

    private String symbols;

    private boolean isCaseSensitive;
    private boolean useDefaultSymbols;

    private int[] symbolLookup = new int[255];

    public EncodeUtil() {
        this(true);
    }

    public EncodeUtil(boolean isCaseSensitive) {
        this.useDefaultSymbols = true;
        setCaseSensitive(isCaseSensitive);
    }

    public EncodeUtil(boolean isCaseSensitive, String symbols) {
        this.useDefaultSymbols = false;
        setCaseSensitive(isCaseSensitive);
        setSymbols(symbols);
    }

    public void setSymbols(String symbols) {
        this.symbols = symbols;
        fillLookupArray();
    }

    public void setCaseSensitive(boolean isCaseSensitive) {
        this.isCaseSensitive = isCaseSensitive;
        if (useDefaultSymbols) {
            setSymbols(makeAlphaNumericString(isCaseSensitive));
        }
    }

    private void fillLookupArray() {
        //reset lookup array
        for (int i = 0; i < symbolLookup.length; i++) {
            symbolLookup[i] = -1;
        }
        for (int i = 0; i < symbols.length(); i++) {
            char c = symbols.charAt(i);
            if (symbolLookup[(int) c] == -1) {
                symbolLookup[(int) c] = i;
            } else {
                throw new IllegalArgumentException("duplicate symbol:" + c);
            }
        }
    }

    private static String makeAlphaNumericString(boolean caseSensitive) {
        StringBuilder sb = new StringBuilder(255);
        int caseDiff = 'a' - 'A';
        for (int i = 'A'; i <= 'Z'; i++) {
            sb.append((char) i);
            if (caseSensitive) sb.append((char) (i + caseDiff));
        }
        for (int i = '0'; i <= '9'; i++) {
            sb.append((char) i);
        }
        return sb.toString();
    }

    public String encodeNumber(long decNum) {
        return encodeNumber(decNum, 0);
    }

    public String encodeNumber(long decNum, int minLen) {
        StringBuilder result = new StringBuilder(20);
        long num = decNum;
        long mod = 0;
        int base = symbols.length();
        do {
            mod = num % base;
            result.append(symbols.charAt((int) mod));
            num = Math.round(Math.floor((num-mod) / base));
        } while (num > 0);
        if (result.length() < minLen) {
            for (int i = result.length(); i < minLen; i++) {
                result.append(symbols.charAt(0));
            }
        }
        return result.toString();
    }

    public long decodeNumber(String encNum) {
        if (encNum == null) return 0;
        if (!isCaseSensitive) encNum = encNum.toUpperCase();
        long result = 0;
        int base = symbols.length();
        long multiplier = 1;
        for (int i = 0; i < encNum.length(); i++) {
            char c = encNum.charAt(i);
            int pos = symbolLookup[(int) c];
            if (pos == -1) {
                String debugValue = encNum.substring(0, i) + "[" + c + "]";
                if (encNum.length()-1 > i) {
                    debugValue += encNum.substring(i + 1);
                }
                throw new IllegalArgumentException(
                    "invalid symbol '" + c + "' at position "
                    + (i+1) + ": " + debugValue);
            } else {
                result += pos * multiplier;
                multiplier = multiplier * base;
            }
        }
        return result;
    }

    @Override
    public String toString() {
        return symbols;
    }

}

The test:
public class EncodeUtilTest {

    @Test
    public void testRoundTrip() throws Exception {
        //for some reason, numbers larger than this range will not be decoded correctly
        //maybe some bug in JVM with arithmetic with long values?
        //tried also BigDecimal, didn't make any difference
        //anyway, it is highly improbable that we ever need such large numbers
        long value = 288230376151711743L;
        test(value, new EncodeUtil());
        test(value, new EncodeUtil(false));
        test(value, new EncodeUtil(true, "1234567890qwertyuiopasdfghjklzxcvbnm"));
    }

    @Test
    public void testRoundTripMax() throws Exception {
        //this will fail, see above
        test(Long.MAX_VALUE, new EncodeUtil());
    }

    @Test
    public void testRoundTripGettingCloserToMax() throws Exception {
        //here we test different values, getting closer to Long.MAX_VALUE
        //this will fail, see above
        EncodeUtil util = new EncodeUtil();
        for (long i = 1000; i > 0; i--) {
            System.out.println(i);
            test(Long.MAX_VALUE / i, util);
        }
    }

    private void test(long number, EncodeUtil util) throws Exception {
        String encoded = util.encodeNumber(number);
        long result = util.decodeNumber(encoded);
        long diff = number - result;
        //System.out.println(number + " = " + encoded + " diff " + diff);
        assertEquals("original=" + number + ", result=" + result + ", encoded=" + encoded, 0, diff);
    }

}

Any ideas why things start failing when the values get large? I also tried BigInteger, but it did not seem to make a difference.

A: You're using floating point maths in your encodeNumber method, which makes your code rely on the precision of the double type.
Replacing
num = Math.round(Math.floor((num-mod) / base));

with
num = (num - mod) / base;

Makes the tests pass. Actually
num = num / base;

Should work just as well (thought experiment: what is 19 / 10 when / is integer division?).

A: You have a conversion to double in your code, which could be generating strange results for large values.
num = Math.round(Math.floor((num-mod) / base));

that would be my first port of call.

redpajama_set_name: RedPajamaStackExchange


text:
H Blog / Creators / Photographers / 20 POC Photographers On The Rise
Isaias Hernandez November 16, 2018
20 POC Photographers On The Rise
We are here to highlight some of our rising People of Color (POC) photographers at The Hub! Read about these creatives who are boldly reshaping the fashion industry.
1.) Adeib El Masri
A post shared by Adeib (@adeibelmasri)
Adeib is an Arizona based photographer who travels in between to the middle east all of the time. His photography style focuses on editorials with occasional fashion moments and experimenting with an array of different styles.
Why do you think cultural representation is important in the creative industry?
"Not seeing myself represented anywhere is one of the main reasons I didn't start creating until college. I'm Middle Eastern and Muslim, if I'm being honest I've only seen myself being represented once on tv and I can relate to one YouTuber. Its hard to find someone that's like me! I'm a practicing Muslim that doesn't fuss over every small thing but I still follow the religion. I'm fluent in both Arabic and English. You might be thinking oh you probably have millions of people like you and that's true but I never see them anywhere! They might not be getting the attention they deserve or they might just be hiding and keeping their art for themselves because they can't imagine a world where someone like them is doing something like this. Representation is extremely important and if I didn't see myself represented I probably would never have gotten into photography or social media."
2.) Sundus Alfe
A post shared by Sundus • NYC Photographer (@sundusalfephoto)
Sundus is a Brooklyn based photographer. Her style focuses on fashion and portrait photography.
"Growing up as a young Arab girl, I was infatuated with Western media and its portrayal of beauty, though it was quite literally everything I didn't have: straight, blonde hair, blue eyes, and virtually hairless. It left me angry and envious, often going to extremes in pursuit of such features. Fast forward to a few years ago at the onset of my interest in photography, and I noticed the same issue yet again — models fitting a very narrow standard of beauty were the most well-known in the creative world, and the photographers working with them got the most attention. I was upset and desperately craved representation in the creative field that my friends, family and I could relate to; I wanted to see unruly and dark hair, dark skin, all shapes and sizes, scars, big noses, hijabs and modest clothing, and different gender expressions. The most rewarding feeling is when people reach out to let me know that they can relate to my models and how my photography has helped them on their journey towards self-love — this is the astounding effect representation can have on people."
3.) Grace Macjones
A post shared by Grace (@gra.cique)
Grace is a portrait and fashion photographer based in Seattle, Washington. Her style can be described as minimal, colorful, and emotional.
"I think cultural representation is important in the creative industry because this industry has the influence to create the cultural norm of any society. As creatives, we have the power to create the future we wish to live in. This is why it is imperative to represent all types of races, genders, nationalities, experiences, physical ability, ethnicity, identity, body types, etc in what we create. If seeing is believing, then what we create and where we draw inspiration from, is a reflection of what we believe is true and normal. Also, it's not enough to talk about diversity, without speaking on inclusion. We need to celebrate, showcase and value the work of minorities in the creative industry. By doing so, we are intentionally empowering the next generation of creatives to embrace diversity, dream bigger, and be their authentic self."
4.) Jana Cantua
A post shared by Jana Cantua (@janacantua)
Jana is a photographer based in San Antonio / Austin, Texas area. Her photography style combines vibrant colors and elements from the 70s and 80s with a modern, dreamy twist. She strives to portray her subject through a lens of truth while at the same time adding an element of surrealism and mystery.
"This is such an important question for me. And there are so many things I want to talk about. I want to talk about how when I was growing up, I rarely saw people from Latin America represented in movies or working in creative industries. I want to talk about how representation helps us break stereotypes. I want to talk about how up until this year, Vogue had never (in 126 years of being in business) hired a black photographer to shoot their cover. I want to talk about all of this, but instead, I'll just say that diversity is important for endless reasons, too many to count. It's how we learn about each other. When we see someone that looks like us working as a photographer or videographer or anything else we aspire to be, we gain courage. We feel like maybe we could do that too. We feel a sense of belonging. When we see someone from a different culture/ethnicity/race being represented, we learn to accept them. We learn to not stereotype them. We start to realize that there can be a woman from Latin America shooting the cover of Vogue one day. And she won't be the only one, but one of many beautifully different perspectives. "
5.) Annis Kamara
A post shared by @akamera.nyc
Annis is a New York City-based photographer whose style varies depending on the subject of the image that she is working on.
"Cultural diversity is important to the creative industry because various cultures already influence so much of it. Multiple creative shoots mirror imagery or customs from multiple backgrounds. So it's just common sense that it be inclusive to the industry."
6.) Darrell Jackson
Darell is based out of San Francisco/ Bay Area. His style of photography is natural/vintage. He draws his inspiration from his favorite movies that have concepts, color, and etc.
"I think cultural/diversity representation is important in the creative industry because as the melting pot country we're supposed to be, I believe it is only right that different cultures are represented and appreciated. There's not a lot of POC that get enough recognition, and we should be working with each other to bring visions to fruition so things aren't misconstrued as we see happen a lot in fashion campaigns and what not. "
7.) Bianca Castellar Calvani
A post shared by BIANCA CASTELLAR CALVANI (@biancacastellarcalvani)
Bianca is a photographer based in Richmond, Virginia who often works in New York City. Her photography style can be described as fashion and beauty portrait editorials.
"For creatives who grow up in different cultures, our experiences have directly affected how we view the world and that has everything to do with how we choose to execute our visions and present ourselves. Our different perspectives help us artistically translate and give a platform to subjects that aren't conventionally considered beautiful or normal in the industry, and that's what makes each of us unique. I feel like our audiences deserve to feel a sense of community when they see our work, and to me, that's the most important thing."
8.) Will Luo
A post shared by will fm (@will.fm)
Will is a photographer based in New York City. His photography style focuses on a mix of styles
"People get lost when they have no one to look up to. Representation reminds you that greatness can come from anyone. Six years ago I saw Ren Hang's work for the first time. I was blown away; he changed my view of Chinese people, and by extension, myself. I got into photography when I was on Tumblr in 2012, so I'm basically just trying to recreate what I'd see on the blogs I used to follow. I've been getting more personal in my recent work. I want people to experience my photos as a haze of memories that they haven't experienced yet but can still somehow relate to. "
9.) Kanya Iwana
Kanya is a photographer who works in Los Angeles and New York. Her style of photography is cinematic that brings her photos with deep, romantic lighting. They have a somber tone to them.
Why do you think cultural / diversity representation is important in the creative industry?
"It's just like real life – if we only know 10% of the population, we are so blind, and that's such a waste of life. We on earth are so gifted with diversity. It's such a stunning celebration, and it's our duty as creatives to raise our voices on that."
10.) Leandro Marte
A post shared by Videographer / Director / NYC (@lionmarte)
Leandro is an all style photographer and commercial director based in New York but currently resides in Paris. His style of photography can be described as very colorful and poetic, centralized in story-telling.
"I believe cultural diversity is important in the industry because this is a medium that connects you to other people. There is not just one specific race, so if there is no diversity, you are excluding a lot of people from connecting to your work and being inspired, that's why I create for people to relate not just for myself."
11.) Jasmine Durhal
Jasmine is a photographer based in Los Angeles, California. She is a portrait, commercial, and fashion beauty photographer. Her style is vibrant alluring and contemporary."
"Everyone deserves to create their stories and to showcase them. Representation impacts the world there are so many different narratives that are untold on larger platforms, that deserve the same exposure common American culture broadcast."
12.) Casper Yen
Casper is a photographer based in New York City who style leans towards refined, clean portraiture that captures the natural raw mood of subjects.
"Cultural representation is important in the creative industry because it allows us to experience different interpretations of crafts. Just being able to expose ourselves to these different interpretations allow us to be further inspired to excel in our own creative work in a way that's unique to us. It also creates a sense of community for those with similar backgrounds while helping foster each other's own growth."
13.) Fanny Chu
A post shared by Fanny Chu (@fannychuphotography)
Fanny is a photographer based in Los Angeles, California. Her style can be described as fashion meets conceptual.
"I think it's very important for everyone. But for the creative industry, if you can't showcase cultural representation, you're just limiting yourself to create greater art. I find beauty in every cultural and races, and I love to use my photography skill to showcase all kind of beauty. Be open-minded and be accepting, you will find more inspirations everywhere for your art."
14.) Luis Martinez
A post shared by Luis Martinez (@sincerelyluis)
Luis is a photographer based in Altana, Georgia. His photography style varies throughout lifestyle and fashion.
"I think it's important because we are all born equally. As Logic said, "Equality of every man, woman, and child regardless of race, religion, color, creed, and sexual orientation." Us, the creatives, should love one another when it comes to creating our masterpieces with anyone."
15.) Deanie Chen
A post shared by deanie (@deanie.pdf)
Deanie is a Los Angeles based photographer; she focuses on concert and fashion photography.
"All voices deserve to be heard, especially in the creative industry, where the work you put out is so heavily reflective of your individual background and experiences. Diverse representation in the creative industry will stress to future generations that regardless of who they are, there isn't a barrier to entry. People need to know that their background doesn't hinder their art, but rather, it is the most powerful creative tool they can harness."
16.) Marcus Ibarra
Marcus is a photographer based in Austin, Texas. His style of photography can be described as colorful and soft.
"Representation is everything. Including diversity in your work as a creative allows you to help bring forth the importance of cultural acceptance."
17.) Terralynn Mikell
A post shared by Terralynn Joy ❧ Virginia (@terra.xoxo)
Terralynn is a photographer based in Richmond, Virginia. Her photography style focuses on portraits and nature.
"I think it is important to show diversity within the creative industry because we simply live in a diverse world. It is much easier to appreciate and love art when you can relate to it! Showing diversity within a category that visually appeals to just about everyone helps create a sense of unity, which we need in the world today. "
18.) Jenna Fernandez
A post shared by Jenna Lynn Photography (@jennalynnphotog)
Jenna is a photographer based out of Los Angeles and London. Her photography style specializes in fashion, portraiture, and lifestyle.
"It is imperative for the creative industry to embrace cultural diversity because there are infinite amounts of talent in this world and I believe we have only scratched the surface. We should be encouraging other cultures to create so that we can continue to learn from each other's art."
19.) Sarah Shen
A post shared by Sarah Shen • Photographer (@sarahshenphoto)
Sarah is a photographer based in Los Angeles, California. She focuses on fashion, portraits, and product. Her style can be seen as editorial and feminine.
" Representation of cultural and diversity is important because it gives different kinds of people a platform to voice their perspectives. It brings in viewpoints that would otherwise not exist in a homogeneous industry and spreads it, enabling the audience to engage and relate with those ideas."
20.) Lawrence De Leon
A post shared by Lawrence De leon (@lawrencedeleonph)
Lawrence is a photographer based in San Francisco, California. Their photography style focuses on a daydream-like sense with a push of unexpected beauty. A sense of serenity and warm tones can be seen in the photos.
" I believe that diversity is a strength in our field because creativity needs a wider supporting perspective. I think that evolving culture and trends towards the value of art is a collective influence from acceptance of differences."
Who is your favorite POC photographer? Share with us in the comments below!
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Lifestyle Photography | 30 Photographers For Hire


text:
History Center Notes & Queries
"Our Stories" from Fort Wayne & Allen County, Indiana
About The History Center
People Behind the Posts
Hands-On History for Kids
Fort Wayne's early African-American settlers blazed a trial that burns bright today.
by Tom Castaldi
On May 16, 1849, three black businessmen, Willis W. Elliot, Henry H. Canada and George W. Fisher, purchased at the public land auction a lot on the south side of Jefferson Street, between Francis and Hanna streets. In order to ensure that the property was removed from the tax rolls so that the congregation could build a church there, the three men sold the land to Reverend George Nelson Black, a thirty-four-year-old blacksmith who served as minister to the congregation, and then had the deed registered in the name of the "Trustees of the African Methodist Episcopal Church of Fort Wayne, Indiana."
In these difficult years for black settlers, however, no church was built, although building materials were purchased. The lot was at last sold by the congregation in 1853 and it was not until after the Civil War, in 1871, that the A.M.E. church of Fort Wayne would be able to establish a house of worship.
African-Americans had been a part of the development of Fort Wayne since the earliest times. There were black trappers in the wilderness and African-Americans are known to have lived among the Indians. The first black man known by name to have lived in Fort Wayne was Philip Framan, who worked for an army contractor in 1797, perhaps as a baker. There were blacks in the U.S. Army garrisons of Fort Wayne, too. Private David Gillen and Private Philip Faudree served during the War of 1812, and Faudree remained in the area as a wagonsmith in the years after he left the service.
It was not until the 1840s, however, that a small black community became evident in pioneer Fort Wayne. Fort Wayne's little community had grown sufficiently by 1845 that the Ohio and Western Conference of the A.M.E. put the town on its circuit, making it possible for visiting preachers to attend to the spiritual needs of African-Americans at the Three Rivers. It was difficult for these settlers to make their home in Indiana for in this era state law required African-Americans to pay the county of their residence a bond of $500 to ensure their good behavior and that they would not become a burden to the Township "Overseer of the Poor."
Although in general the Methodist Church was the most receptive congregation to African-Americans in their worship, in this segregationist age it was the African-American Methodist Episcopal Church that offered the only real assistance.
During the 1850s, the congregation was beset by a host of laws and attitudes that made it extremely difficult to expand its numbers and attract the necessary aid to create a proper church. Anti-abolitionists and pro-slavery advocates loudly proclaimed their views form the pulpit of St. Paul's Lutheran Church to the pages of the Fort Wayne Sentinel, and those who voiced their anti-slavery sentiments in the local abolitionist newspaper, The Standard, were openly vilified. The Underground Railroad was active through the Fort Wayne area, but little that is definite is known about it since it was an illegal activity. The greatest impediment to the growth of a black congregation and its ability to create a church was the revised Indiana Constitution of 1851, which forbade blacks from entering the state and fined anyone who would hire black immigrants. Even more restrictive legislation followed throughout the 1850s, denying blacks access to the public schools, theaters and the law courts.
Not until after the Civil War and the end of such repressive laws did the black community in Fort Wayne again begin to grow.
This article originally appeared in Fort Wayne Magazine, "Along the Heritage Trail", January/February 2004, No. 3, page 57. Our thanks for allowing us to republish this article on the History Center's Blog.
Posted by The History Center at 3:00 PM No comments:
Labels: African-American History, AME Church of Fort Wayne, Fort Wayne History
by Mark Meyer
Sanborn Title 1918
In the mid-1800s the fledgling insurance industry in the United States was in need of reliable resources to determine their risks and subsequent rates. It was clear that in the growing urban areas of the east, an insured property was impacted by a number of factors besides its own characteristics. What structures were in the immediate area? Of what material were the neighboring buildings constructed? Where was the nearest firehouse? What were the prevailing winds? These were among several questions answered by a new and valuable reference tool: the fire insurance map.
In the prior century, insurers in the sprawling city of London recognized the value of mapping to help determine their potential liability. Although this was common to the large insurers of Great Britain (who were the main providers of insurance in the early years of the U.S.) the practice of mapping in the United States was sporadic. In 1852, Aetna Insurance commissioned William Perris to generate the first comprehensive fire insurance map of New York City. A few years later, a Perris assistant, Ernest Hexamer generated a similar map of the city of Philadelphia. It was clear from these early efforts that this new detailed form of surveying and mapping had a real value in the burgeoning industrial cities of America.
However, initial growth was tempered by the outbreak of the Civil War.
Sanborn Book
Sanborn Map of Downtown
Following the war, a new name entered the business, Daniel Sanborn. Sanborn created some Tennessee maps under contract before realizing the potential lucrative nature of the business. In 1867, he founded the Sanborn Map and Publishing Company. His maps introduced a distinct use of colors and key symbols to make the data easier to quickly process and understand.
Sanborn Key
Thanks to the growth in industry, population, and western expansion, The Sandborn Map and Publishing Company rode the wave of the Industrial Revolution to great success. By 1915, through merger and acquisition, the Sanborn Company, as it was then-named, held a near-monopoly on the business. Through those years, the Sanborn Company accumulated detailed maps on virtually every city in America with a population exceeding 2,000. This collection of maps, once of incredible importance to insurance underwriters, has become an invaluable source of information for a variety of other purposes, including local history. Fortunately, these once highly-guarded documents are readily available to you and me.
The Genealogy Department of the Allen County Public Library houses two multi-volume sets of original, oversized, leather-bound 1918-1919 editions (977.202 F77SAN Oversize). The publications hold 21" x 25" pages of heavy stock with detailed maps at a scale of 50' to an inch. At the front you'll find a detailed key specifying property and structural details. You'll also find an overview indicating the page number for specific sections that are generally 4-6 square blocks in size. In the rear of the publication you'll find a glossary to locate maps by street names and numbered addresses.
These volumes are working copies that were updated through the early 1950s. Through the years the Sanborn Company would provide new pages or "paste-overs". These "paste-overs" were corrections printed on semi-transparent paper which were then pasted atop the original map. In some cases corrections were pasted atop earlier corrections resulting in a visual history of change with a somewhat three-dimensional feel. Nowhere is this more present than the pages for the several blocks surrounding the Allen County Courthouse. Since the maps were updated through the mid-1950s they provide a clear view of downtown Fort Wayne at the peak of its role as the business and retail center of the community.
Wolf and Dessauer
You'll find the Wolf & Dessauer Department Store later destroyed by fire, its competitor The Grand Leader, and several multi-story hotels that were thriving downtown. In most cases you can read through the paste-overs to see the businesses or structures that preceded the last entry.
Outside the downtown area you'll find a detailed record of the industries in the city in those years. Following the railroad tracks east from downtown reveals the extensive Pennsylvania Railroad yards and major manufactures like General Electric and Tokheim. In the case of these major industries the building info not only details construction materials but also indicates where departments are located within the structure.
You'll find long lost buildings, like the many structures of the former Indiana Home for the Feeble-Minded that stood on what is now Northside Park on East State. Keep in mind the accuracy of the 50' to 1" scale which allows you to determine the actual locations of anything found on the pages of these beautifully rendered maps.
I am a lover of maps and books. To me there is no substitute for handling the real thing. In this case, there is a palpable sense of history turning each page of the massive Sanborn volumes. At the same time, I'm a creature of the internet so I was pleasantly surprised to find the Sanborn maps online.
The Sanborn Map Company and its holdings have changed hands since its heyday in the 1930s. The assets, primarily the maps, are currently owned by Environmental Data Resources (EDR), which integrates original Sandborn data with current GIS data to determine potential environmental risks with current-day property. However, their exclusive rights pertain only to maps and data post-1924. The thousands of pages of color-coded maps produced from 1883 through 1923 are in the public domain. As such, these maps are available with no use limitations. You can download, view, and print as you wish thanks to the Indiana Spatial Data Portal (ISDP), a combined effort of federal, state, and local organizations and agencies hosted online by Indiana University. In conjunction with Historical Information Gatherers, Inc., all the original Sandborn maps for Indiana communities were scanned into an ISDP database and are available at the ISDP website.
On the menu at the home page select Dataset Information, then select Sanborn Historic Maps. On the Sanborn Historical Maps page select Single File Interface. Once there you can specify the location you desire. You'll need a PDF viewer on your computer but no other special software is required. In the PDF format you can expand at ease making the small print readily accessible to aging eyes like mine.
For Fort Wayne you'll find full surveys from 1890, 1902, and 1918-19. Unlike the large paper maps you will not find the semi-transparent paste-overs. This is helpful when searching for the earliest land use on record which can be obscured by multiple paste-overs. You'll also find surveys for several other communities in Indiana that you can search from the comfort of your own computer chair.
The Sandborn Maps are but one of many resources available to you on your journey through local history. But, be prepared to walk away with more mysteries to solve than questions answered. If you find your way to the Genealogy Department of the ACPL to peruse the oversized pages of the three volumes of maps please enjoy your trip, consult with the nice people at the Help Desk, and be very, very sure you put your phone on vibrate. Believe me, you'll be glad you did!
Some helpful resources:
Library of Congress: Sandborn Maps
Fire Insurance Maps, Oswald, GC973 0s9fi. ACPL,
A brief history of Fire insurance maps.
Description and Utilization of the Sanborn Map, Sanborn Co.,
GC929 SA539, ACPL, A guide to map use published by the Sanborn Company.
Posted by The History Center at 10:29 AM No comments:
Labels: downtown Fort Wayne IN, Genealogy Center Fort Wayne, Sanborn Maps
Gargoyle on the Old City Hall building
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text:
Q: Raspberry PI 4: Control RPI.GPIO pins through dictionary keys I am trying to control GPIO pins through dictionary pins:
My code:
var gpio = require('onoff').Gpio;
var rpi_board = [{'pin_17_in':new gpio(17,'in')},
                 {'pin_27_in':new gpio(27,'in')},
                 {'pin_19_out':new gpio(19,'out')},
                 {'pin_26_out':new gpio(26,'out')}];

var outputChannels = [
    { physicalPin: rpi_board.pin_19_out, pin:19, location:"EntraceLight", meter: "EntraceLightON", active:true, device_id:2 },
    { physicalPin: rpi_board.pin_26_out, pin:26, location:"BackdoorLight", meter: "BackdoorLightON", active:true, device_id:3 }
];
console.log("Set outputChannels[0] to high: ")
console.log(outputChannels[0].physicalPin.writeSync(1))

Present output:
'Caught exception: TypeError: Cannot read property \'writeSync\' of undefined'
TypeError: Cannot read property 'writeSync' of undefined

A: You wanted to create one dictionary instead of 4 inside an array
var rpi_board = {
  'pin_17_in':new gpio(17,'in'),
  'pin_27_in':new gpio(27,'in'),
  'pin_19_out':new gpio(19,'out'),
  'pin_26_out':new gpio(26,'out')
};


text:
<!DOCTYPE HTML>

    <meta http-equiv="Content-Type" content="text/html; charset=utf-8">
    <title>Werkzeug Documentation</title>
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    <link rel="contents" title="Global table of contents" href="../contents.html">
    <link rel="index" title="Global index" href="../genindex.html">
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    <link rel="top" title="Werkzeug v0.5.1dev documentation" href="../index.html">
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Werkzeug

Overview

« Contributed Modules

Atom Syndication

Sessions »

Atom Syndication¶

This module provides a class called <tt class="xref docutils literal">AtomFeed</tt> which can be
used to generate feeds in the Atom syndication format (see RFC 4287).

Example:

def atom_feed(request):
    feed = AtomFeed("My Blog", feed_url=request.url,
                    url=request.host_url,
                    subtitle="My example blog for a feed test.")
    for post in Post.query.limit(10).all():
        feed.add(post.title, post.body, content_type='html',
                 author=post.author, url=post.url, id=post.uid,
                 updated=post.last_update, published=post.pub_date)
    return feed.get_response()

class <tt class="descclassname">werkzeug.contrib.atom.</tt><tt class="descname">AtomFeed</tt><big>(</big>title=None, entries=None, **kwargs<big>)</big>¶

A helper class that creates Atom feeds.

<col class="field-name" />
<col class="field-body" />

Parameters:

title – the title of the feed. Required.

title_type – the type attribute for the title element.  One of
<tt class="docutils literal">'html'</tt>, <tt class="docutils literal">'text'</tt> or <tt class="docutils literal">'xhtml'</tt>.

url – the url for the feed (not the url of the feed)

id – a globally unique id for the feed.  Must be an URI.  If
not present the feed_url is used, but one of both is
required.

updated – the time the feed was modified the last time.  Must
be a <tt class="xref docutils literal">datetime.datetime</tt> object.  If not
present the latest entry’s updated is used.

feed_url – the URL to the feed.  Should be the URL that was
requested.

author – the author of the feed.  Must be either a string (the
name) or a dict with name (required) and uri or
email (both optional).  Can be a list of (may be
mixed, too) strings and dicts, too, if there are
multiple authors. Required if not every entry has an
author element.

icon – an icon for the feed.

logo – a logo for the feed.

rights – copyright information for the feed.

rights_type – the type attribute for the rights element.  One of
<tt class="docutils literal">'html'</tt>, <tt class="docutils literal">'text'</tt> or <tt class="docutils literal">'xhtml'</tt>.  Default is
<tt class="docutils literal">'text'</tt>.

subtitle – a short description of the feed.

subtitle_type – the type attribute for the subtitle element.
One of <tt class="docutils literal">'text'</tt>, <tt class="docutils literal">'html'</tt>, <tt class="docutils literal">'text'</tt>
or <tt class="docutils literal">'xhtml'</tt>.  Default is <tt class="docutils literal">'text'</tt>.

links – additional links.  Must be a list of dictionaries with
href (required) and rel, type, hreflang, title, length
(all optional)

generator – the software that generated this feed.  This must be
a tuple in the form <tt class="docutils literal">(name, url, version)</tt>.  If
you don’t want to specify one of them, set the item
to None.

entries – a list with the entries for the feed. Entries can also
be added later with <tt class="xref docutils literal">add</tt>.

For more information on the elements see
http://www.atomenabled.org/developers/syndication/

Everywhere where a list is demanded, any iterable can be used.

<tt class="descname">add</tt><big>(</big>*args, **kwargs<big>)</big>¶

Add a new entry to the feed.  This function can either be called
with a <tt class="xref docutils literal">FeedEntry</tt> or some keyword and positional arguments
that are forwarded to the <tt class="xref docutils literal">FeedEntry</tt> constructor.

<tt class="descname">generate</tt><big>(</big><big>)</big>¶

Return a generator that yields pieces of XML.

<tt class="descname">get_response</tt><big>(</big><big>)</big>¶

Return a response object for the feed.

<tt class="descname">to_string</tt><big>(</big><big>)</big>¶

Convert the feed into a string.

class <tt class="descclassname">werkzeug.contrib.atom.</tt><tt class="descname">FeedEntry</tt><big>(</big>title=None, content=None, feed_url=None, **kwargs<big>)</big>¶

Represents a single entry in a feed.

<col class="field-name" />
<col class="field-body" />

Parameters:

title – the title of the entry. Required.

title_type – the type attribute for the title element.  One of
<tt class="docutils literal">'html'</tt>, <tt class="docutils literal">'text'</tt> or <tt class="docutils literal">'xhtml'</tt>.

content – the content of the entry.

content_type – the type attribute for the content element.  One
of <tt class="docutils literal">'html'</tt>, <tt class="docutils literal">'text'</tt> or <tt class="docutils literal">'xhtml'</tt>.

summary – a summary of the entry’s content.

summary_type – the type attribute for the summary element.  One
of <tt class="docutils literal">'html'</tt>, <tt class="docutils literal">'text'</tt> or <tt class="docutils literal">'xhtml'</tt>.

url – the url for the entry.

id – a globally unique id for the entry.  Must be an URI.  If
not present the URL is used, but one of both is required.

updated – the time the entry was modified the last time.  Must
be a <tt class="xref docutils literal">datetime.datetime</tt> object. Required.

author – the author of the feed.  Must be either a string (the
name) or a dict with name (required) and uri or
email (both optional).  Can be a list of (may be
mixed, too) strings and dicts, too, if there are
multiple authors. Required if not every entry has an
author element.

published – the time the entry was initially published.  Must
be a <tt class="xref docutils literal">datetime.datetime</tt> object.

rights – copyright information for the entry.

rights_type – the type attribute for the rights element.  One of
<tt class="docutils literal">'html'</tt>, <tt class="docutils literal">'text'</tt> or <tt class="docutils literal">'xhtml'</tt>.  Default is
<tt class="docutils literal">'text'</tt>.

links – additional links.  Must be a list of dictionaries with
href (required) and rel, type, hreflang, title, length
(all optional)

xml_base – The xml base (url) for this feed item.  If not provided
it will default to the item url.

For more information on the elements see
http://www.atomenabled.org/developers/syndication/

Everywhere where a list is demanded, any iterable can be used.

        © Copyright 2008 by the Pocoo Team,
        documentation generated by Sphinx

redpajama_set_name: RedPajamaGithub


It's tough to find a decent pair of full-size, closed headphones for under US$50. they're generally pretty painful, in terms of both their fit and the sound they produce. The HD 202 are clearly an exception to that rule. Not only do they sound good, but with good padding on the headband and earpieces, they're also fairly comfortable (if a bit bulky for portable use).
I've been sporting a set of sennheiser HD 495's at work for about the past 4 years. They are open ear (because I don't like being startled by people trying to talk to me in the office and the background noise in here isn't that bad anyway), but for your use closed ear sound like the go.
Overall A++ : good sound, very comfortable, not too dear.
The connection to the right side has just started to go (cuts in and out unless there is some strategically placed blu tak), but they have gone the distance pretty well considering I use them almost all day everyday.
I've been a happy owner of the same model for an year or two and am fully and one hundred percent satisfied. I can't really tell what one should expect of really good headphones but these suit me down to the ground (I usually listen to 192kbps ogg files and wouldn't be able to tell the difference between digitilized music and audio one so don't make me a judge here); they completely block external sounds and from time to time co-workers have to wave or poke me even for I can't hear what they say. If you want to feel yourself separated from the surroundings and pay no too much, it's the choice, I'd say.
I bought some HD 202s a few months back after getting tired of a cheapo pair and yearning for a bit of bass. I tried out the HD 202s at JB. Actually, I had my minidisc on my belt and I was able to try them on that and they were great. I'm over 40 and my hearing is not as precise as a young person but these phones were ideal for me. When I got home, my showed them to my son and he immediately decided he wanted a pair and he got some for his birthday. My daughter is now asking for a pair for Christmas.
I have a keyboard/piano in my living room but recently my family started to watch excess amounts of tv. I've found it extremely difficult to learn new songs so i bought the hd 202. They are great; the clarity of the sound from my piano is much better with the headphones and they cancel out all other noise. I especially love to listen to music with them.


COOK AND LET STAND FOR A DAY TO ALLOW DRYING OUT ENOUGH TO CRUMBLE.
SAUTE WITH 1 STICK REAL BUTTER.
In a large pan combine part of the corn bread, onions, celery, 1 raw egg, boiled egg, and some broth. Mix well and continue adding the same ingredients until all is mixed together.
Hint for your turkey: Peanut oil and salt rubbed on the outside will make the turkey brown beautifully.
Join in and write your own page! It's easy to do. How? Simply click here to return to Your favorite Thanksgiving Recipes.


text:
All Quotes with the tag - Participation
" A multi-polar world can not exist without recognising the status and participation of developing countries. "
Li Peng
" Anarchism means all sort of things to different people, but the traditional anarchists' movements assumed that there'd be a highly organized society, just one organized from below with direct participation and so on. "
" And, over the last thirty years we have seen men's participation in both housework and childcare has increased and women's have stayed at about the same. "
James Levine
" An international presence in Serbia's Kosovo province is not a problem. But only a civilian and unarmed mission under U.N. auspices, with Russia's participation, would be acceptable. "
Ivica Dacic
" A platform is essentially a business model that thrives because of the participation and value added from third parties with only incremental effort from the owner of the platform. "
" A robust democracy requires active participation. "
Pete Gallego
" Between my participation in Voyager and my role in Cassini, when comes the time, I will die a happy and gratified woman. "
Carolyn Porco
" Big-government economics breeds crony capitalism. It's corrupt, anything but neutral, and a barrier to broad participation in prosperity. "
" Citizen participation is a device whereby public officials induce nonpublic individuals to act in a way the officials desire. "
" Civic participation over a lifetime, working in neighborhoods and communities and service of all kinds - military and civilian, full-time and part-time, national and international - will strengthen America's civic purpose. "
" Common participation in the Eucharist can only be a final outcome of ecumenic dialogue, not the starting point. "
" Conflict cannot survive without your participation. "
Wayne Dyer
" Even in the Western world, one cannot argue that the ideal has been achieved given the existence of issues like the integration, participation and representation of Muslim citizens, and occasional but lingering anti-Semitism. "
" Falling entry barriers and lower access costs have significantly democratised participation, whether in production or consumption. "
" For insurance solvency, ongoing plan participation is vital. "
" From the time of independences until the end of the Cold War, in spite of the participation of a considerable number of African states in the non-aligned movement, everyone in fact chose to align with one or another of the two major blocks. "
Omar Bongo
" Furthermore, there is absolutely no contradiction between the separate organizations of revolutionary vanguard militants and their participation in the mass organizations of the working class. "
" Harnessing new communications technology offers one promising way to make public participation easier and more effective. "
Peter Roskam
" I envision a future where there'll be 300 million reporters, where anyone from anywhere can report for any reason. It's freedom of participation absolutely realized. "
Matt Drudge
" I even believe in helping an employer function more productively. For then, we will have a claim to higher wages, shorter hours, and greater participation in the benefits of running a smooth industrial machine. "
Sidney Hillman
" I get asked this a lot: Why has soccer not succeeded? My answer is, soccer has succeeded. It is already the fastest growing youth participation sport in the U.S. It has already succeeded at the youth level, no question. "
Lamar Hunt
" I have decided to end my participation in public affairs and to resign my role as premier of Quebec. "
Lucien Bouchard
" I have never been an ambitious person, and my participation in this industry is a fluke, but only male writers can afford to be coy and self-deprecating. "
" I have publicly talked about Mexico's need to open ourselves up to the participation of the private sector in the energy sector, however this doesn't mean privatizing state-run companies. "
Enrique Pena Nieto
" I'm trying to develop an approach to putting out a movie in wide release that makes some kind of economic sense for the filmmakers and the people that have a participation in the movie. "
" Investing for the poor requires participation from the entire community. "
" Iraq may get peace and stability through restoring it's sovereignty under participation of all Iraqi factions and sectarian groups, who must rebuild a new democratic, free and independent Iraq. "
" I think a 'no' vote is giving the victor, whoever that may be, the win without your participation. "
" It is difficult to overstate the importance of media as a tool to encourage civic engagement and participation, and the importance of a diverse and well-informed public. "
Tony Cardenas
" It is our hope that the AP program can serve as an anchor for increasing rigor in our schools. Rigor can be maintained while increasing student participation. "
Gaston Caperton


I'm a Research Associate at ReadOxford. I am interested in how humans,who are the only species that have written scripts, learn and comprehend language. I study what type of sentences we have difficulty understanding, by looking at how much time people and computers spend reading the sentences. Also, at the word level, I investigate what factors in children's reading experience affect their word learning through excavating interesting statistics from large corpora: for example, how often,and under what circumstances, a word appears in children's books. All in all, I hope to understand how humans master this extremely complex and fascinating skill of reading.
Visit my academic page here.
My favorite word not a real word as such. It's "wug". I was fascinated by the Wug Game after learning about it in my language acquisition class. Children are are shown a picture of a made up creature and told "This is a Wug. There is another one. There are two ____"; children spontaneously add -s to the end of a nonsensical noun to make "wugs". This generativity of morphological rules is seen even in very young children. I was so fascinated by how effortless and fast it seems to be for humans to learn all the intricacies in language that I have been trying to find out how the human mind and brain works ever since.
My favourite children's book is called "Everybody Poops" by a Japanese author: Taro Gomi. It describes how every animal, including humans, defecates in a different way. I like that it teaches children that nobody should feel embarrassed about how our body works, because every living being survives by eating, and therefore everyone must poop!


The Mind Corps has set up to deliver sustainable help and support to men, veterans and families dealing with mental health conditions, including PTSD. It is aimed to help improve men's mental and physical health, and wellbeing with an open and trusted approach in a safe environment.
There is a lot of support for women, and females will often talk more openly and look for help as opposed to men. The difference in mindsets between men and women is shown in the statistics around suicide rates, homelessness, domestic abuse and longer prison sentences, etc., particularly amongst veterans.
The Mind Corps is working with Belisama's Retreat, described by the founder, JP as: "A woodland and wildlife project to promote health and well-being for veterans and other groups based on the River Ribble, a safe and welcoming environment for veterans.
The Mind Corps is also working with local businesses to raise the issue of men's health and understanding of ex-military integrating with civvy street.


2019 begins on the road for Cheltenham Town with a trip to Yeovil Town's Huish Park (kick-off: 3pm).
Michael Duff's side march into the New Year with a trip down the M5 to Somerset looking to build on the exciting momentum that has helped the team climb up the Sky Bet League Two table towards the back end of 2018.
Since Duff's appointment in September, steady improvement has seen the Robins climb up to 19th ahead of Tuesday's fixture, ahead of what is two big back-to-back trips to Yeovil and then Crawley – both teams in and around the Robins in the table.
Having overcome high flying MK Dons on Boxing Day, and drawn with Forest Green in the final game of 2018, Duff's squad have shown they have the ability to challenge any team at this level, and will head to Somerset in good spirits, looking to earn a positive result to continue their good run and get the New Year underway in a positive fashion.
Ryan Broom remains sidelined with a hamstring problem, though Jacob Maddox made a welcome return on Saturday as a substitute and is expected to feature again.
Will Boyle misses out after picking up an injury on Boxing Day. Kevin Dawson is likely to be part of the matchday squad on his return to fitness – he is one of four members of the squad who have previously played for Tuesday's opponents.
Without a league win since late October, Yeovil have fallen down the table since a promising start that saw them win four of their opening seven league fixtures.
The Somerset side did earn a good point away at Tranmere on Saturday but haven't recorded a home league victory since the end of August – though they did beat West Ham's under-21s in the Checkatrade Trophy in early November.
Manager Darren Way's squad includes a mixture of experience and youthfulness – from the older heads such as Stuart Nelson and Gary Warren, to the energy provided by the likes of wide men Jordan Green and Alefe Santos, and the defensive minded Tom James.
Yeovil's leading goal scorer is former Motherwell front man Alex Fisher. He's netted seven times this season in all competitions, including a treble at Notts County in the opening month of the campaign.
Their squad features one ex-Cheltenham man in the shape of midfielder Jake Gray. The 23-year-old had a one-month loan in Gloucestershire in January 2015 from Crystal Palace.
The match will be the 15th time the clubs have clashed in the Football League. There have also been previous meetings in the FA Cup and when both sides were in non-league.
Records show that there has been very little between the two teams in those last 14 league games. Yeovil have won five of them, the Robins four, and there have also been four draws.
Cheltenham have won only one Football League fixture at Huish Park – in October 2006 – when JJ Melligan struck on 88 minutes to secure a 1-0 win in a game refereed by Premier League official Phil Dowd.
The last time the two clubs met was on Boxing Day 2017 at the Jonny-Rocks Stadium which saw the Somerset side make the journey back south with all three points courtesy of a 2-0 win.
For fans who have booked onto the supporters coach heading to the game, it departs from the Jonny-Rocks Stadium at 11am.
Keep up to date with all that goes on at Huish Park by following @CTFCofficial on Twitter for team news, match updates and images from the 90 minutes. Keep an eye on Facebook too for team information and goal updates.
You can read the match report and watch the reaction to the result by visiting the club website after full time.
Listen to match commentary via iFollow by visiting ctfc.com/ifollow.


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Enrique Rodríguez Larreta (Buenos Aires, 4 de març de 1873 - 6 de juliol de 1961), conegut com a Enrique Larreta, va ser un escriptor, acadèmic i diplomàtic argentí representant del modernisme en la literatura hispanoamericana. És conegut per la seva novel·la històrica La gloria de don Ramiro.

Biografia
Larreta era membre d'una antiga família de fortuna i va contreure matrimoni amb una filla de la més emblemàtica de les famílies aristocràtiques de l'Argentina, els Anchorena. Va cursar estudis secundaris en el Col·legi Nacional Central. Va estudiar Dret i es va graduar en la Universitat de Buenos Aires; va treballar com a professor d'història. Es va exercir com a ambaixador a França i davant l'Exposició Iberoamericana de Sevilla, en 1929. En 1915-16, va residir a Biarritz, França, i va freqüentar Àvila, a Espanya, on actualment un carrer porta el seu nom. Es va vincular allí amb Miguel de Unamuno, a qui admirava. Va col·laborar en publicacions periodístiques de la seva època i va estudiar minuciosament la història espanyola. Es va nodrir literàriament de l'Antiguitat clàssica i del Segle d'Or espanyol, que l'obsessionava.

En la seva obra autobiogràfica Tiempos iluminados compte així com va néixer la seva primera novel·la publicada:

Obra artística
En 1896 va aparèixer la seva primera obra literària, la nouvelle Artemis, ambientada en la Grècia antiga, influïda per l' Aphrodite de Pierre Louÿs. Es va publicar en la revista La Biblioteca, dirigida per Paul Groussac, qui va ser amic i mestre de Larreta. En 1908, després de quatre anys d'intensa labor, va publicar La glòria de don Ramiro, reconstrucció històrica i literària de l'Espanya del , que va il·lustrar Alejandro Sirio en 1929. La traducció francesa de la novel·la, que va convertir a Larreta en una sort de best seller internacional, va ser obra del prestigiós Remy de Gourmont, editada en 1910 pel Mercure de France, En 1926, va aparèixer Zogoibi, que significa "el desventurat", sobrenom amb què va ser conegut el rei Boabdil després de la pèrdua de Granada, A Zogoibi, Larreta va intentar traslladar la seva visió romàntica a la pampa. També en 1953, el protagonista de Gerardo o la torre de las damas, busca refugi en la plana argentina. Va escriure assajos sobre l'actualitat espanyola, agrupats a Las orillas del Ebro, i el llibre de sonets La calle de la vida y de la muerte, en el qual es percep l'impacte del classicisme espanyol així com la influència del simbolisme francès. Va escriure també les obres de teatre La que buscaba don Juan, El linyera, Santa María del Buen Aire, Pasión de Roma i Las dos fundaciones de Buenos Aires.

Va ser el primer escriptor que va intentar fer cinema argentí en dirigir el film El linyera, segons un guió a partir de la seva obra teatral homònima, que es va estrenar el 12 de setembre de 1933 i que va tenir com a protagonistes a Nedda Francy, Julio Renato, Domingo Sapelli i Mario Soffici.

Va ser membre de la Reial Acadèmia Espanyola, de la Acadèmia Argentina de Lletres, on va ocupar la butaca n. 13: «José Hernández».i va ser nomenat membre de nombre de la Acadèmia Nacional de Belles Arts.
La seva casa d'estil renaixentista espanyol, al barri residencial de Belgrano (Buenos Aires), és actualment el Museu d'Art Espanyol Enrique Larreta. Situada en la qual anés alguna vegada zona de cinquenes d'estiueig, té un jardí d'alcàsser andalús, únic en el seu estil en aquesta capital. Dins poden apreciar-se el mobiliari i les col·leccions d'obres i objectes d'art que testimonien la seva passió per Espanya. Un carrer en la localitat de Sáenz Peña (partit de 3 de Febrer) porta el seu nom. Madrid també li té dedicada carrer.

Notes

Referències

Premis Nacionals de narrativa de les Lletres Espanyoles
Alumnes de la Universitat de Buenos Aires
Alumnes del Colegio Nacional de Buenos Aires
Gran Creu de l'Orde d'Alfons X el Savi
Morts a Buenos Aires
Ambaixadors argentins
Escriptors de Buenos Aires

redpajama_set_name: RedPajamaWikipedia


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Home Government 'Absurd': Russian envoy to NATO ridicules allegations of plans to invade Poland
'Absurd': Russian envoy to NATO ridicules allegations of plans to invade Poland
… from Russia Today, Moscow
It seems Europeans will believe anything said about the "Russian threat"
[ Editor's Note: The theater of the absurd continues with the NATO country leaders acting like Pied Pipers leading their respective flocks to the land of the Big Bad Russian Threat scare. I can sympathize with the Russians, not so much being upset that the European leaders would want to do this, but that their educated populations would just lap it up.
The engine driving some of that attitude is that they are getting a "free defense", so why say no to it if it is needed or not… thinking that it is a no lose deal. But what the dummies don't realize is that the Russians have to counter the threat, all the way up to using tactical nukes, if necessary.
Western media and Master Google, of course, are keeping whatever resistance there is to this idiocy as invisible as possible, so the other sheep will just go with the flow.
It is a shame that, if the doo doo ever hits the fan, the stupid people who supported it can't be the only people who will have died, because then the rest of us would have a better chance to live in peace with the idiots gone.
After having lived through 25 years now of manufactured overseas threats going back to Kuwait and Gulf War, one would think even the dumbest of the dumb would have had time to figure it out. Color me disappointed in my fellow hominid brethren in Poland… Jim W. Dean ]
Russia's NATO envoy – Aleksandr Grushko
– First published … June 07, 2017 –
Russia has no plans whatsoever to attack Poland and any talk about such a scheme is both absurd and dangerous, Russian envoy to NATO Aleksandr Grushko has said.
"During the NATO secretary general's recent visit to Poland, officials in this country [Poland] made statements suggesting that from now on Russia would know that any attack on Poland would mean an attack on NATO as a whole.
This is completely absurd because they are discussing a non-existent problem. There are no plans for any attacks on Poland," the diplomat said in an interview with TV channel Russia-24, adding that certain statements about NATO military exercises in the Baltics were "shockingly blatant."
In the same interview, Grushko emphasized that it was very dangerous for NATO to start carrying out plans based on these false presumptions.
"Their policies dwell in surreal reality and the most dangerous thing is that now they start to implement these policies in the form of military planning and preparations on the territories adjacent to our borders."
READ MORE: NATO needs Russia as major foe to maintain bloc's relevance – Russia's envoy
The diplomat stated that the alleged Russian threat to NATO was nothing but a myth, invented in order to justify NATO's current policies and to bring additional unity to the alliance and the Western political bloc in general.
"All these weird games [and] false suggestions that NATO members have no own armies, they will end sooner or later because it is difficult to constantly live in the fog of an ideological campaign based on nothing," Grushko forecasted.
At the same time, the envoy assured reporters that recently-started NATO exercises in the Baltic region posed no threat to Russia.
"What we see now in the Baltics is nothing but an attempt to push through the military build-up with the very same hostile policy that has been recently conducted by NATO. I would not say that this is any direct danger for the Russian Federation, but it is still obvious that such moves create serious risks, because we see a completely new military reality taking shape along our borders," Grushko said.
READ MORE: 'It can't go unanswered': Russia will respond to NATO buildup near its borders, senior diplomat says
"The developments on NATO's eastern borders will not be left without our military-technical and political response. As everyone knows, Russia can be very effective in securing its safety," he noted.
President Vladimir Putin's press secretary, Dmitry Peskov, also criticized NATO exercises in Europe as a move that does not contribute to security in the region.
"In any case, the war games… certainly do not contribute to the atmosphere of trust and safety on the continent," Peskov told reporters on Tuesday.
The Anaconda-2016 NATO military exercise began in Poland on June 6 with the practical part of the training starting on June 7. Over 31,000 servicemen from 24 nations will take part in the drill, making it the largest in Eastern Europe since the end of the Cold War.
The scenario for the exercises is classified, but NATO commanders earlier claimed that the bloc intended to test its capacity against an enemy more capable and well-trained than the rebel groupings which the US and its allies have fought in Iraq and Afghanistan.
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