Is your child in the right type of Car Seat?
Choosing your child's / children's car seats can feel like a minefield. There so are many brands, qualities, models, sizes and features. A key element that may also impede your choice of which car seat to go for is what the rules are.
This is an international standard which makes attaching your child's car seat more straight forward. Instead of the car seat being strapped in with a seat belt, there are ISOFIX connectors or anchor points built into both the child's car seat and the car's passenger seats. All cars made from 2006 onwards are fitted with an ISOFIX system.
In the UK there is a plethora of front facing car seats to choose from. Always ensure that the harness or seat belt is not loose or twisted.
i-Size car seats are based on your child's height, rather than their weight and is a European standard which aims to make buying a car seat easier and are fitted into a car using the ISOFIX system, reducing the risk of car seats not being fitted properly.
Here is a guide of suitable car seats depending on your child's weight and age range.
Unless the front passenger seat airbags have been deactivated, it is illegal for a child to sit in a rear-facing car seat in the front passenger seat. Apart from that, infants and children car seats can be placed in a front passenger seat. However, according to Child Car Seats it is safer to put them in the rear of the car. Also bear in mind that your child will also be more protected in the back seats, in case of an accident.
Of course, always check with your car manufacturer to make sure any car seat you plan to get fits your car before you buy.


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Comparative Pasture Growth And Soil Profile Dryness Of A&...
Comparative pasture growth and soil profile dryness of a lucerne and an annual legume pasture
R.A. Latta1 and L.J. Blacklow2
1Agriculture Western Australia, Katanning, W.A. 6317
2University of Western Australia, Katanning, W.A. 6317
The pasture growth and soil profile dryness of a lucerne and an annual legume pasture were measured at 2 sites in the Great Southern wheat-belt of Western Australia. The lucerne produced more biomass and achieved a drier soil profile than the annual pasture.
Key words: Pastures, lucerne, water-use, biomass
A dryland lucerne (Medicago sativa) production system is being evaluated in the wheat-belt of Western Australia as an alternative to annual pasture leys. This is supported by the need to increase water-use to arrest rising water tables and associated land salinisation.
Historically, sowing lucerne in Western Australia has been restricted by the acidic soils and the Mediterranean climate. However, the identification of more effective rhizobial inoculants has improved lucerne productivity and persistence on acidic soils (2).
The experiments were conducted at Borden on a sand over gravel with pH 5.0 (CaCl2) and at Pingrup on a grey clay soil with pH 5.8 (CaCl2). The experiments were sown to lucerne and subclover (Borden) and lucerne and annual medic (Pingrup) in June 1995. Plots were randomised in 6 blocks.
Commencing on 22 July 1996 comparative pasture growth rates were measured each 6 weeks. Plots were then mowed to 2 cm height. Plots were not grazed for the duration of study. Soil water assessments, with a neutron moisture meter, were collected each month, from September 1996 to January 1997 at both sites. The volumetric content of free water was calculated using soil bulk density and gravimetric soil water measure-ments.
Annual rain at Borden and Pingrup was approximate-ly 10% below long-term averages. Significant rain did not fall before May at either site.
Mean plant densities at Borden were 32 plants/ m2 of lucerne with 50 subclover plants/m2 in the lucerne treat-ment and 515 subclover plants/m2 in the annual pasture treatment. Both treatments had less than 100 plants/m2 of volunteer annual grass. At Pingrup there were 55 lucerne plants/m2 in the lucerne treatment and 50 Medicago polymorpha plants/m2 plus 200 plants/m2 of volunteer annual grass in both treatments. The proportion of lucerne as a percentage of the total pasture biomass was 61% at Borden and 20% at Pingrup on 26 September.
At both sites over 1 growing season the lucerne treat-ment increased the biomass production (Fig.1a and b) and reduced water stored in the 0-150 cm soil profile (Fig. 2a and b) at the completion of the season.
Victorian studies including: Clifton and Schroder (1) and Whitfield et al.(4) found that lucerne reduced soil water content by extending the growing season into the late spring and summer. Crawford and Macfarlane (2) also found that lucerne rotationally grazed at a high stocking rate, increased pasture production. These comparisons were made with an annual pasture.
The preliminary results from this study suggest similar agronomic and environmental benefits may be achievable in Western Australia.
The Grains Research and Development Corporation generously provided financial support.
1. Clifton, C. and Schroder, P.M. 1997. Grassland Soc. Vic. 38th Ann. Conf. and Trade Fair. pp. 41-53.
2. Crawford, M.C and Macfarlane, M.R. 1995. Aust .J. Exp. Agric., 35,171-180.
3. Evans, P.M. and Howieson, J.G. 1992. Proc. 6th. Aust. Agron. Conf., Armidale. p.552.
4. Whitfield, D.M., Newton, P.J. and Mantell, A. 1992. Proc. 6th. Aust. Agron. Conf., Armidale. pp.262-265.

redpajama_set_name: RedPajamaCommonCrawl


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Il governatorato di al-Fayyūm (, scritto anche Faiyum, Fayum o, francesizzato, Fayoum, ) è un governatorato dell'Egitto situato al centro del paese. Prende il nome dal suo capoluogo, Fayyum.

Geografia fisica

Nel governatorato si trova l'oasi omonima che con una superficie di 1270 km² è la più grande delle oasi del deserto occidentale ed occupa quasi il 70% del territorio del governatorato stesso.
I suoi campi sono irrigati da un canale derivato dal Nilo detto Bahr Yussef  che scorre in una depressione posta ad occidente della valle del Nilo che raggiunge in alcuni punti i 44 metri sotto il livello del mare.
Il canale attraversa i siti archeologici di Lahun e Gurob, irriga le terre del bacino del Fayyum per poi terminare nel lago Qarun, che nei tempi antichi era di acqua dolce ed era noto come lago Meride, ma ora si è notevolmente ristretto e presenta una elevata salinità.

La capitale del governatorato Fayyum si trova a 130 km a sud-ovest del Cairo.

Nella regione si trovano numerosi siti archeologici di periodi che vanno dalla fine del Paleolitico (8000 a.C.)al periodo tardo romano e cristiano (641 d.C.). Fra questi particolarmente importanti sono:
 il sito di Karanis risalente al periodo tolemaico;
 il sito di Hawara con la sua piramide;
 il sito di el-Lahun.

Storia
Il Fayyum era noto nell'antichità come il ventunesimo distretto dell'Alto Egitto, Atef Pehu (Sicomoro del Nord). Il suo capoluogo era Shedet il cui nome greco  fu Crocodilopolis/Arsinoe.
Il lago vero e proprio era conosciuto durante l'Antico regno come sh (lago) o come sh-rsy (lago del sud).
La principale divinità egizia venerata nella regione fu il dio-coccodrillo Sobek.
Il Fayyum ricevette particolare attenzione da parte dei sovrani della XII dinastia che furono i promotori di ampi lavori di canalizzazione e bonifica della regione che divenne uno dei centri agricoli di maggior importanza dell'Egitto del Medio Regno.
Il lago del Fayyum, grazie ai lavori di canalizzazione, divenne un bacino di riserva, e regolazione, delle acque del Nilo.
Grazie alla venuta alla luce, sulle rive del lago Moeris, di oggetti risalenti al paleolitico e al neolitico si può notificare e studiare la presenza e lo stile di vita di gruppi umani viventi in quei periodi storici e preistorici.
Se dell'Antico Regno restano tracce di un tempio localizzato presso Dime, durante il Medio Regno vennero iniziati i lavori di bonifica del lago, intrapresi da Amenemhat I e la costruzione della città di Ithet-taui. Successivamente Sesostri I costruì un obelisco-stele presso Medinet el-Fayyum ed il suo successore Sesostri II una piramide presso el-Lahum; in questo sito verrà rinvenuto il centro abitato dagli operai della piramide. In seguito Amenemhat III eresse la sua piramide presso Hawara e intraprese la costruzione di dighe e canali. Durante il Nuovo Regno la zona verrà prescelta dai faraoni come luogo di villeggiatura grazie alla fertilità delle terre.
Nel corso del I millennio si ebbe un abbandono progressivo degli insediamenti, e dei terreni coltivabili, situati sulle rive del bacino interno.
Sotto la dominazione romana si diffuse la monocultura del grano e durante il periodo cristiano vennero eretti alcuni monasteri
dei quali non resta però traccia.
Il periodo di dominazione arabo si contraddistinse per l'incremento dell'attività agricola.
Le grandi spedizioni archeologiche ebbero inizio nel 1798 con quella napoleonica e portarono alla luce un notevole numero di resti, sia di insediamenti sia di papiri, risalenti soprattutto al periodo tolemaico-romano.

I ritratti del Fayyum

Alla fine del I millennio a.C. il Fayyum - territorio ormai popolato prevalentemente da coloni, soprattutto soldati greci - era passato, con l'Egitto, sotto il dominio romano.

È a questo periodo - tra il I secolo a.C. e il II o III d.C. - che risale una notissima serie di circa 600 ritratti funebri che costituiscono un singolare mix culturale, nel quale la tradizione egiziana dell'imbalsamazione dei defunti si unisce a quella della ritrattistica romana.

Le mummie, che dovevano appartenere alla classe dirigente dei villaggi visto l'alto costo di onori funebri così complessi, sono caratterizzate appunto dalla riproduzione naturalistica e straordinariamente espressiva del volto del defunto, su tavola, sulle bende di lino che coprivano il volto, su pannelli. I soggetti effigiati, a tempera o ad encausto,  sono caratterizzati da giovane età (raramente compaiono volti che mostrino più di 35 anni) e grande pluralità di tratti somatici: compaiono visi caucasici nordafricani, vicino-orientali, meticci.

Lo spopolamento dell'oasi e la secchezza del clima hanno permesso la conservazione di un vasto numero di questi manufatti funebri, anche cristiani.

Questo tipo di ritrattistica funebre - considerata il diretto antecedente della pittura copta - non è tuttavia esclusiva dell'area del Fayyum.
Altri analoghi ritrovamenti sono stati fatti lungo tutto il corso del Nilo, dall'Alto Egitto alla costa del Mediterraneo.

Note

Bibliografia
Fayum. Misteriosi volti dall'Egitto, a cura di Susan Walker e Morris Bierbrier, Electa 1997 (catalogo della mostra della Fondazione Memmo del 1997-98)

Voci correlate
Bakchias

Altri progetti

Collegamenti esterni

Siti archeologici egizi

redpajama_set_name: RedPajamaWikipedia


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Here are 5 Love Languages of Shreveport-Bossier
Brandon Michael Published: February 17, 2022
Photo by Chris Graythen/Getty Images, ALDodson, DWalker44
Valentine's Day may officially be over, but keeping your relationship healthy takes way more work than just going over the top to prove your love once a year. That takes a day-in-day-out type of dedication to the job. Experts say that there a handful of key areas that couples need to focus on in order to make sure they are both getting what they need from the relationship.
Happy couple driving in their car with arms in the air
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The "5 Languages of Love" Concept Was Born in 1992
Back in 1992, Gary Chapman wrote The 5 Love Languages: The Secret to Love That Lasts. Since then, his book has been referenced thousands of times by relationship experts, marriage counselors, and even individuals trying to strengthen their own relationships. It's really simple: Everyone has a "love language," and once you learn what it is - it becomes very easy to show that person just how much you care.
Heart book page - vintage effect style pictures
Pirotehnik
Do You Know What The 5 Love Languages Are And How They Are Used?
The 5 Love Languages as outlined by Chapman's book are as follows:
Acts of service
Physical touch
For those whose love language is "Words of Affirmation," they way to ensure that everyone is on the same page is to simply tell them how you feel often enough that they have no doubt. For "Quality Time," folks - it's the act of carving out a chunk of your schedule for them that really shows you care. Once you identify your partner's language, you respond to them in a way that compliments it. It's really a genius way to look at the way we communicate with our loved ones.
attachment-RS32622_Texas Street Bridge
Let's Make The 5 Languages Of Love Perfect for Shreveport-Bossier
While it may be a fantastic general rule when it comes to your relationship, I don't think it's specific enough for residents of the Shreveport-Bossier City area. That's why I put together the following list of 5 Love Languages of Shreveport-Bossier.
The 5 Love Languages of Shreveport-Bossier
Love can be difficult at times, but have no fear - the 5 Love Languages of Shreveport-Bossier is here! Based on the best-selling book from Gary Chapman, Ph.D. - The 5 Love Languages: The Secret to Love That Lasts - these are the ways in which you can solidify the longevity of your relationship in the SBC!
25 Ways to Say You're From Shreveport Without Saying You're From Shreveport
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Source: Here are 5 Love Languages of Shreveport-Bossier
Filed Under: Shreveport
Categories: Featured, Mardi Gras, Shreveport/Bossier City News
Watch: Powerful Prayer to Save Shreveport-Bossier City, LA
Shreveport Shooting Suspect Arrested
From Angola to America's Got Talent- Archie Williams to Compete in AGT All Stars


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Photo: Gerber Ghoststrike
The 10 Best Boot Knives For Discreet Everyday Carry
Pockets are one of the most ingenious and convenient inventions of all time. And the pocket knife isn't that much further behind. However, there are times when your pockets are either full or the activities you are partaking in are not exactly friendly to folding pocket carry, especially when it comes to bladed tools. Thankfully, there are other options out there, like traditional fixed blades, neck knives, and — in the case of this particular article — boot knives.
As their name suggests, boot knives are designed to be worn around the ankle and offer a discreet manner of carrying a fixed blade that might not be easily managed with other types of knives. They can also be turned to as your primary blade or as a backup, the latter of which being great for emergencies. So whether you're a fan of tactical- and military-inspired gear, you're a biker or outdoorsman, or some other combination of factors has brought you here, you'll find a concealable blade that will suit you beautifully. These are the 10 best boot knives.
Kershaw Secret Agent Boot Knife
While its name is a touch cheeky (although not entirely off base), Kershaw's Secret Agent is no less a spectacular boot knife, especially for those with budgetary restrictions. Its 4.4″ dagger-style blade is crafted from serviceable 8Cr13MoV steel and it's connected to a polymer handle with a grippy rubber overmold so it won't slip even in inclement weather. Better still, it also comes with a black oxide coating for added style points and some extra durability, and the whole package comes complete with its own versatile sheath (meaning you don't have to use it exclusively as a boot knife).
Steel: 8Cr13MoV
Handle: Synthetic Polymer With Rubber Overmold
Cold Steel Counter TAC Series Boot Knife
If you're a fan of somewhat aggressive styling, you can't go wrong with Cold Steel's budget-friendly Counter TAC Series Boot Knife you see here. Of course, if you are more concerned with the specs, this one has a solid array — especially for its super-low price. That includes a reliable AUS-8A stainless steel dagger blade, a sturdy and grippy Kray-Ex handle, and one of the brand's proprietary Secure-Ex sheaths — which comes with its own removable boot/belt clip.
Blade Length: 3.375″
Steel: AUS-8A
Handle: Kray-Ex
SOG Instinct Boot Knife
For anyone looking for an especially discreet boot knife — the kind you could feasibly hide from prying eyes in any situation — you can't go wrong with the SOG Instinct Boot Knife you see here. That's because this knife is a grand total of 5.9″ from tip to tail, making it one of the smallest options on the market. Of course, if that's still too big, there's also a mini version that measures up at a paltry 4.8″ in total. Either way, you're still getting the same 5Cr15MoV full-tang steel blade, FRN handle scales, and a handy and versatile sheath — which makes this boot knife double as a neck knife, or you could even wear it on your belt or attach it to a tactical pack.
Case Cutlery TEC X Boot Knife
It's fitting that Case, one of the best American knifemaking companies, designed this boot knife for Harley-Davidson, as boot knives are especially well-suited to biker usage. Of course, even without that connection, this would be a blade worth considering. It features a textured and grippy G10 handle mated to a 440 stainless steel dagger-shaped blade suitable for a variety of cutting tasks. It's not fancy or overly showy, but it'll get the job done right.
Steel: 440
Handle: GRN
ESEE Candiru Fixed Blade
Put simply, ESEE makes some of the best fixed blades around, especially in the outdoor realm and when compact and discreet carry are concerned. And while they offer a massive range of exceptional fixed blades, we're confident that the Candiru you see here is perhaps the brand's best boot-style knife. This is due partially to its single-piece, skeletonized 1095 steel construction, which is as lightweight as it is tough and serviceable. But it's also because the knife measures up at a total length of 5.125″ — making it exceptionally easy to stash out of the way. It's a hardworking cutting tool perfect for those limited on space.
Handle: 1095 Steel
CRKT Shrill Fixed Blade Knife
Of all the boot knives on our list, this CRKT might be the most aggressive in its styling, marked by a needle-tipped dagger-style 8Cr13MoV full-tang blade mated to handsome resin handle scales. For those keeping track, that means this knife is much more than just looks; it was made to work. Designed by Matthew Lerch in Sussex, Wisconsin, this knife also comes with a handsome leather sheath and is slapped with a lifetime warranty.
Handle: Resin
Gerber Gear Ghoststrike Fixed Blade Knife
While it would be asinine to try and pick out Gerber's "best" knife — the catalog is too deep and offers too many highlights to properly choose — we'd comfortably call the Ghoststrike the brand's best boot knife. Along with its exceptional styling, this knife features a skeletonized 420HC steel construction, a rubber-coated handle, and it comes complete with a versatile and durable sheath. Furthermore, its 6.9″ length is both manageable (meaning its useful for hardworking tasks) and concealable.
Steel: Ceramic-Coated 420HC
Handle: 420HC Steel With Rubber Overmold
Buck Knives 616 Boot Knife
While Buck Knives is probably most associated with classic knives, like the brand's legendary 110 Hunter, they do trade in some highly modern cutting tools. The 616 Boot Knife is one such blade, with its semi-aggressive silhouette (courtesy, in part, of that tanto-shaped blade), 154CM stainless steel construction, and G10 handle scales. And while it looks big and mean, it's actually quite compact — with a total length of 6.25″. That means you could, if you wanted to, even wear it as a neck knife, should the boot-style wear not suit you.
Steel: 154CM
Boker Applegate-Fairbairn Boot Knife
Colonel Rex Applegate and William E. Fairbairn worked together to design this exceptional boot knife and the military inspiration should be clear at the first glance. And while we love the styling, especially that brass cross-guard, it's the 440C dagger blade and durable-yet-lightweight FRP handle that will have us coming back for more and more with this boot knife. Balanced, sized perfectly, and with a retro-military design, you can't go wrong here.
Steel: 440C
Handle: FRP
Klotzli Swiss Border Guard Knife
All of the knives on this list are special for their own reasons, but none of their stories quite hold a candle to the one held by the Klotzli Swiss Border Guard Knife. As its name suggests, this is the actual standard-issue boot knife given to the Swiss Border Guard. That alone is enough to make it worth your consideration. But the ultra-high-end full-tang Böhler N690 steel construction and paracord wrap — which makes for a superb emergency contingency tool — help it stand out even further. If only the best will do and you're not constrained by a tight budget, this is the boot knife for you.
Steel: Teflon-Coated Böhler N690
Handle: Böhler N690 With Paracord Wrap
The 20 Best Fixed Blade Knives
For those who want a purpose-built blade that's not necessarily one that can be worn around the ankle, there are tons of other options out there. But to help you find the top options out there, we've put together a guide to the best fixed blade knives that are currently available for purchase.


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<?php
namespace pdt256\article\tests\Helper\Entity;

use pdt256\article\Common\Entity\IdTrait;

class EntityUsingId
{
    use IdTrait;
}

redpajama_set_name: RedPajamaGithub


The 350 billion yuan currency swap deal between the People's Bank of China (PBoC) and the European Central Bank carries both practical and symbolic importance. The size of the swap, the third-biggest after those with Hong Kong and Malaysia, is expected to foster rising bilateral trade and investment between the world's second-largest economy and the eurozone. China is the European Union's second-largest export market after the United States. The 28-nation bloc exported 71.4 billion euros of goods to China in the first six months of this year, with imports reaching 133.6 billion euros. Symbolically, the agreement reflects Chinese policy makers' pledge to expand cross-border use of the renminbi, further facilitating the internationalization of the Chinese currency. The renminbi, by assuming a bigger role in global financial markets, will grow in importance and attractiveness as a reserve currency for global central banks. Taiwan's central bank was the latest to include the currency in its foreign reserves. According to an industry group, the renminbi was the world's eighth most-traded currency in August, up from 11th in January 2012.
New economic target: China's policymakers are expected to set a 7 percent growth target for the country's gross domestic product for 2014 in the upcoming Central Economic Work Conference. That compares with an official 7.5 percent goal set for this year. Top leaders including President Xi Jinping and Premier Li Keqiang have said more than once that slower economic growth is expected after double-digit expansion in the past decade and the result of their plan to restructure the country's economy. It is clear that Xi's administration is trying to buy more time by slowing the development pace to resolve escalating risks seen from growing local government debts, industrial overcapacity and environmental pollution. The conference is expected to be held in December, right after the third plenary session of the Communist Party in November. The People's Bank of China will also set its fiscal and monetary policy stance for next year.


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Abstract – Ayinde
Artificial Intelligence for "Battle Line"
Love Ayinde '23
Student: Love Ayinde '23
Research Mentor: Sean McCulloch (OWU Department of Mathematics and Computer Science)
This summer, Dr. McCulloch and I worked on understanding and advancing the use of Artificial Intelligence (AI) in a card game called Battle Line. At the start of the summer, the program already played a strong game against its human opponents, but it mostly "gave up" when it had a nearly 0% chance of winning a flag, making it easier for the opponent to win. We added into the AI strategy a concept known as the "You-curve" which helped remove that deficiency. With the new improvement, my mentor and I played the game using both the old and new strategies 20 times each, and we found that our work made the game more challenging, improving the 5%-win rate of the original program to 35%.
This summer, Dr. McCulloch and I worked on understanding and advancing the use of Artificial Intelligence (AI) in a card game called Battle Line. This game has similarities to Poker and Solitaire. The game program was constructed using Java by my predecessor students. The game program allows us to play against the computer and also against another person. At the start of the summer, the program already played a strong game against both new players and former world champions. We worked to improve the game strategy of the computer program in order to improve its win rate. We figured out that the existing game strategy mostly "gave up" when it had a nearly 0% chance of winning a flag, making it easier for the opponent to win. Therefore, we decided to add into the strategy a concept known as the "You-curve," which helped remove that deficiency. The "You- curve" makes decisions by adjusting the probability of winning a flag using a quadratic equation. The curve gives a higher value when the final probability is very close to 0 and 1 and gives very low value when the final probability is around 0.4 to 0.6. With the new improvement, we tested both the old and new strategies 20 times each, which improved the 5%-win rate of the original program to 35%. We also started modifying the program to allow the computer strategy to play against itself or another computer strategy. We hope this modification can be completed in a future summer.


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Theatre for All
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Past Production Seasons
Program Archive
Take a look back at the productions from our 73rd season. There were 12 total productions offered between September 2001 and May 2002. To view production details simply click on the show logo.
You're doin' fine, Oklahoma! This joyous celebration of the American spirit bursts onto the Civic Mainstage and fills the Western skies with soaring melodies. Set in Indian territory just after the turn of the last century, the high-spirited rivalry between the local farmers and cowboys
You won't want to miss this compelling new drama. Winner of the Pulitzer Prize, the Drama Desk Award, the Drama Critics Circle Award, and the Drama League Award, this riveting play focuses on Vivian Bearing, Ph.D., and her courageous battle with ovarian cancer.
What do you think of when you hear the warning, "You'll shoot your eye out!"? It very likely brings to mind Ralphie Parker and his quest to find a geniune Red Ryder BB gun under the Christmas tree.
Nicky Christano is a single, Italian-American guy from New Jersey, whose parents have moved to Florida. But that doesn't mean that all of his family has left Jersey. In fact, he spends every Sunday with both sets of grandparents. These weekly visits are governed by the three F's -- family, faith and food.
January 18 - February 2
Given the name Isabella at birth sometime in 1797, Sojourner Truth was the second youngest of twelve siblings. For the first twenty-eight years of her life, she was a slave. This beautiful play traces her remarkable life
Enter the mind - and the world - of Don Quixote as he pursues his quest for the Impossible Dream. Against all odds, he is a man who sees good and innocence in a world filled with darkness and despair. One of the most celebrated of all Broadway musicals,
"They told me to take a streetcar named Desire and then transfer to one called Cemetery and ride six blocks and then get off at Elysian Fields." So says Blanche DuBois, a delicate, but fading southern beauty who is fleeing the ugly reality of her past.
The piglet Babe is won by Farmer Hogget at the village fair and an extraordinary friendship begins - one that will change the whole farm. With the help of his new "mother," the old dog Fly, Babe fast learns the herding instinct, and it's not long before this most polite of pigs wins over the most suspicious of sheep.
Mr. Green, an elderly, retired dry cleaner wanders into traffic on New York's Upper West Side and is almost hit by a car driven by Ross Gardiner, a 29 year old corporate executive.
"We are what we are, and what we are is an illusion." And so it is at La Cage Aux Folles - the pride of St. Tropez, the jewel of the Riviera. If you've seen the movie The Birdcage, you know the basic plot of this highly entertaining, Tony Award-winning show.
May 3 - May 11
When Dr. VanHelsing, a specialist in obscure maladies, discovers that beautiful Lucy Westenra is the victim of a vampire, suspicion falls on a mysterious neighbor, Count Dracula and his frighteningly beautiful wives.
One of Shakespeare's earliest plays, The Comedy of Errors, is a side splitting farce, which chronicles the mistakes in identity of twin-born children. Shakespeare's source for the improbable comedy is Plautus' Menaechmi,
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Discussion in 'Lights - Store Bought and Home Made' started by kwiksmart, Jan 26, 2012.
If I want to cut a set of Big W LEDs in half, what type of wire do I use for the second half to make the extention back to the controller? Also on the first half should you leave the connectors on?
Some people use 7/020 4 core security cable. Here's an example from Altronics (seems to be on special right now), but there are other places that sell a thinner jacket (insulation) version.
The string set only has three wires, so what do you do with the fourth wire?
Make it sit in the corner. Nah. just pick one to snip off at either end.
For those arches, you might be better off just getting them from mysolarled.com with the connectors and cable length you want.
Have been reading up on what people ordered from mysolarled, and was wondering why the lights are only 2 wires. Don't you need the common wire like on the big w lights.
You can get LED strings with varying number of channels. Usually, the number of wires coming out the end is the number of channels + 1. So a 2 channel string (like Big W type where every 2nd LED is on a different channel) will have 3 wires. The my-solar ones you saw were 1 channel (all on together) I'd say so are 2 wire. Make sense?


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For many years our company has done its part in keeping this important universal language alive. We are gladly putting all our efforts and creativity into this issue. Our aim is that our customers - may they be amateurs or professionals - successfully work with our software and thus enrich their musical work.
As far as functions and features are concerned, you will find that, on paper at least, there is very little difference between the different notation programs. Of course there is a wide range of notation software to choose from. Maybe you are asking yourself why to choose our offer?
Our programs get along very well with each other. Nowhere else you will find a product family with notation program, scanning program, studio software, learning programs and a large number of scores. Reasonable interfaces make everything fit. There is no laborious conversion which makes your work professional and efficient.
From advice to support: You are dealing with experienced musicians who know what you are talking about. We pay a great deal of attention to detail and use our in-depth knowledge of users' requirements and preferences. Our software authors have set new standards in the range of legitimate music software worldwide.
capella-software has been on the market for more than 25 years. In the German-speaking area, capella is the most common notation software. Our software is currently improved. In this process we are considering customers' ideas and feature requests to a great extent. We are paying particular attention to developing user-friendly software.
We are proud to offer high-quality programs which we are of course applying ourselves in our various musical projects.
In 2011, capella-software GmbH (formerly whc Musiksoftware) was transformed into a stock company by the shareholders to enable an employee and author participation. Authors and employees hold shares of the company.


What is a Modern Vintage? The modern vintage (MV) is a watch that is built using old techniques that are uncommon nowadays. Often this includes case shaping by hand, soldering joints, the type of processes that are not usually found on watches today.
This section shows how to personalize a 3646 type watch and build a Modern Vintage with a lot of attention on how to build a very personalized dial.
This build will start by using the 3646 California Dial Case. This type of case is very sleek about 47mm in diameter and very comfortable to wear.
Dial: The focal point of this watch will be the dial and below you will see how to take the artwork, then print using a standard computer and finally to place the transparent print onto a dial.
All that is required is a simple computer printer, normal white paper, clear acrylic varnish (spray) and some clear resin.
Lets start by making the dial. Below is a 37mm diameter Brass Plate thats 1mm thick. The centre hole has been drilled for the Hour and Minute Hands and also a second hole has been drilled that will sit below 12 o'clock and act as a marker.
The Dial Feet: The holes for the dial feet were made by placing the Brass Backing Plate onto the movement the marking and drilling 1mm holes, these must be precise.
Copper Dial Feet: 1mm copper wire was used to make the dial feet, push through the hole then solder and file to shape. Finally test the fit if you look at the last image there is a small gap between the Brass Dial Plate and the Bezel. This gap is important as the thickness of the dial is about to increase.
Polish the Brass backing Plate: I want a gold coloured dial finish so below I have polished the Brass Backing Plate to a high shine, most of this plate will be visible on the finished dial.
Textured Finish: Brush acrylic varnish and apply "plenty so that its thickly covered". Then add the image you have made. Thick acrylic will cause the image transfer to wrinkle, it will texture the surface as it drys. Only do this if you want a textured finish.
Adding the Lume Marker: Below I have mixed some luminous powder with 2 part epoxy glue, then added a little colour. This mixture is placed in the hole that I drilled so that it will be below 12 o'clock.
Textured Dial: Here we see that the surface of the dial is textured which is caused by too much acrylic varnish being applied to the dial (this is what I want).
Light Texturing: Pop the wrinkles with a pin and allow the air to escape then press the wrinkles flat. I will use this method on the dial I am making.
Adding The Resin: add a small amount of thin tape to the edge of the dial so that when the resin is poured onto the dial it doesn't run off and instead leaves a thick coat about 1mm thick. Mix good quality clear acrylic resin (available online) and pour.
The Meniscus Problem: This is the curved upper surface that forms around the edge of the resin. It means the dial surface isn't totally flat. Below you can see the edges shown in the red arrows curve upwards.
Method B) Rub the dial on a flat sheet of P400 wet and dry paper until flat, then polish the dial using "Displex" (google it, its available online) this is the method I used .
Adding the Hands: I have used Blue hands and applied a Beige Lume so that it blends with the dial (white lume was too bold).
Close-up of the dial: Below you can see the textured surface of the dial. If you look very carefully I have left behind a very small amount of paper when I made the acrylic transfer on the dial. This has created another unique texture, its very fine (almost totally transparent) and its a lovely texture to add. But remember it needs to be super fine to work properly. To do this you need to check to see if any paper is left on your transfer, fine amounts of paper are only visible when the transfer is dry and may not be visible when wet.
Also I haven't tried to make the dial flawless, artwork often has some of the artist's own flaws within, its what makes his/her work personal. I didn't want to make this dial appear to be a factory dial. Sometimes flaws can add to the overall finish of the work. The best way to leave any flaws are on the transfer, the resin should always be flawless.
Another feature that I left was the small copper dial feet, I decided not to hide these tiny dots by covering them with the transfer and instead to leave them visible on the dial, they are not easy to see but there are two 1mm copper dots at 1 o'clock and 7 o'clock.


When the Bus Stops Coming . . . then what?
It's spring and it's the magical time of year when many of us have IEP meetings. Even if an annual IEP isn't scheduled, many times there are spring meetings to plan for the next school year. Most of us focus on the IEP goals and objectives at these meetings, but what about all those other sections? Are they as important?


text:
Agnese Nelms Haury Program in Environment & Social Justice
in	Agnese Nelms Haury Program in Environment & Social Justice / Border / Borderlands Earth Care Youth Institute / Field Studies in Writing Southwest / rderlands Habitat Network	 October 18, 2017 0	comments
WRITING IN RELATION: THE SOUTHWEST FIELD STUDIES IN WRITING PROGRAM
By Susan Briante
In an article published in Esquire magazine in 1974 poet Muriel Rukeyser recounts her experiences as witness to the dawn of the Spanish Civil War. Towards the article's conclusion she remembers a conversation she had on a ship fleeing Barcelona. A passenger asks her, "And in all this—where is the place for poetry?" Rukeyser responds, "I know some of it now, but it will take me a lifetime to find it." Across a lifetime of countless poems and essays—even a posthumously published novel—Rukeyser proved that literature could incorporate testimony and document, could correct the historical record and be a place to advocate for a better future.
Rukeyser's words and example were very much with me over this summer when I served as faculty liaison and educational facilitator for the inaugural Southwest Field Studies in Writing program sponsored by the Agnese Nelms Haury Program. This initiative sent three graduate students in creative writing from the University of Arizona, Abby Dockter, Gabe Dozal and Raquel Gutiérrez, to Patagonia, AZ, to work with local environment and social justice groups on writing projects that reflected the issues unique to the border region.
Over the course of a 10-day residency, these writers became researchers and witnesses. In the offices of the Kino Border Initiative, a bi-national migrant advocacy organization, they listened to anecdotes, statistics and testimony that described an immigration and deportation crisis. In and around Patagonia, they collected stories from southern Arizona ranchers, scientists and activists. In a migrant woman's shelter in Nogales, they heard agonizing accounts of death threats and economic imperatives from a quartet of women in the process of considering asylum, migration, or a return to their place of origin. On an eight-hour drive through the desert near Arivaca to replenish water stations left for migrants with volunteers from Humane Borders, they came face to face with the deadly conditions migrants face on their arduous journey north.
The inaugural participants in the Southwest Field Studies program produced writing that clarified, contextualized, and imagined new possibilities from what they witnessed.
Dockter, a recent graduate in creative nonfiction, gave voice to ranchers who want to monitor their bottom line as well as broad environmental and social concerns. Dozal, a poet from El Paso, found a metaphor for a hybrid border identity in the vinegaroon, an arachnid that looks like a cross between a tarantula and a scorpion with pincers and whip-like tail. Gutiérrez, a poet, essayist and editor, contemplated the dramatic and deadly consequences of changing immigration policies comparing her parents own migration history to the conditions faced by contemporary migrants.
In addition to their own writing and research, Dockter, Dozal, and Gutiérrez spent four days over the course of their residency with the Borderlands Earth Care Youth Institute. This program, sponsored by the Borderlands Habitat Network, engages marginalized youth in hands-on restoration work of the local ecosystem while providing leadership and educational opportunities. With the high school students, Dozal, Dockter and Gutiérrez worked on land restoration projects: planting trees one day and making adobe bricks another. Then, they used creative writing to give the students an opportunity to reflect on their labor. The high school students presented their written reflections as part of the BECY graduation ceremony in front of their families and the Patagonia community. "I am way stronger than I thought," student Eden Lattanzio explained standing before a photograph of herself welding a chainsaw.
Creative writing offers a place to reflect on who we are and how we exist in relation to others and to the world we share. In the remote stretches of desert near Arivaca, a series of simply painted crosses, erected by the artist Alvaro Enciso, stand as monuments to migrants who died on their journey. Writing about Enciso's crosses, Gutiérrez provided an apt description of the power of creative writing, a description that would have made Rukeyser proud: "It is these kinds of artistic representations that operate as both homage and reminder that we need each other to get by," Gutiérrez writes. "We need each other to remember. We need each other to witness."
Susan Briante is the author of three books of poetry, The Market Wonders (AhsahtaPress 2016, Utopia Minus (2011), and Pioneers in the Study of Motion (2007). She is Associate Professor on Creative Writing at the University of Arizona.
in	Agnese Nelms Haury Program in Environment & Social Justice / Uncategorized	 July 23, 2017 July 23, 2017 1	comments
GUEST POST BY CLAIRE MCLANE
Before arriving on Grand Manan for the 2017 Summer Field Studies Program, I had been thinking about landscape and how it shapes people's livelihoods, from what we eat and how we cultivate or harvest our food, to how we communicate to each through time via myths, legends, and folklore. Medicine in both physical and spiritual form passed down through how people speak to each other across generations of knowing an environment intimately. And by intimately, I mean how the land and the water can give and take everything from someone. Food, shelter, joy, death, heartache, anger, and wonder along with the many other complicated emotions such a long and nuanced relationship to the natural world and its cycles can have.
Looking out at an old herring weir from Hole in the Wall
Grand Manan is indeed a special place, and our time here has been blessed in many ways. Our conversations with Islanders and with people "from away" who have lived on Grand Manan for many years, have given us a glimpse into the life and history of a relatively small island rich in the life of the sea and the fishing industry.
Dark Harbour at sunset looking from the pond to the sea wall and dulse camps
Being on Grand Manan focused my attention in conscious and subconscious ways (my dreams on Grand Manan have been filled with the sea) to the rhythm of time and routine. The ferry coming and going, the fog arriving, and the subsequent steady hoo-oot of the fog horn from the Swallowtail Lighthouse, the tides (some of the most extreme found on the planet) rising and falling, the activity in the harbor, boats going out, boats coming in, tourists arriving and departing, the sun and moon rising and setting. The constant hum of work, and the shift from one task to another. This strong sense of routine and rhythm sparked my interest in learning more about daily life and the experience of raising families on Grand Manan.
Katie and I had the great pleasure of spending a couple of hours speaking with Carole Guptill. Carole has a wealth of knowledge about Grand Manan, and shared many stories with us from her experiences raising a family and being a nurse on the island. One blog post can in no way do justice to Carole's stories that ranged from historic storms, funny anecdotes about raising children near the water, herring smoke houses, island ghosts, and babies being born mid-air while mothers were being flown to the mainland.
Carole, Claire, and Katie
Carole has a warm smile and her eyes twinkle as she talks. We sat in her cozy light-filled living room while the sea glittered down across a freshly cropped lawn dotted with a few tall Spruce trees. There were jars of sea glass atop the coffee table and side tables around the room collected over the years from Grand Manan beaches. Carole excitedly showed us the latest addition to her collection, a small perfectly smoothed piece of brilliantly red sea glass – a rare and remarkable find that she happened upon just when she was about to give up looking that day. A fine ruby slipper among the more common green, blue, and white pieces.
Carole makes lovely little hanging mobiles from drift wood and sea glass. A few of these hung in the windows bringing little points of bright color to our peripheral vision. While Carole told us tales, showed us her collection of vintage Grand Manan postcards, and beautifully recited a few of her poems from memory, I couldn't help but think how the sea had shaped these little shards of glass, taking them sharp and pointed, and wave after wave smoothing them into little pebble jewels for beachcombers to delight in finding. Much as the stories of Grand Manan have been shaped and kept by island life and the ever-constant tides. People keep the stories in their pockets, they turn them over in their memory. Some of the edges may get smoothed out or change shape a little, but the stories get passed down over and over again.
One of Carole's sea glass mobiles for sale at the Grand Manan Museum
I'm from the Sonoran Desert, a place with expansive bright skies, extremes in temperature, shifts in light that give nod to the time when the area was all sea. When I hike to high points in the dry mountains on sunny days I look out across vast valleys and swear I can see the glitter and sheen of water, feel the fossils of long dead sea creatures lodged in the rocks beneath me. While Grand Manan is nearly the opposite of the Sonoran Desert in many ways, with its cooler temps, frequent fog, and emerald robe of green trees and vegetation, I couldn't help but meditate on what the similarities could be between a desert and an island. Both environments are extreme in their own ways, the desert with its dry heat, and the sea with moody rip currents and storms. One's eye is constantly trained to the horizon in the desert as it is to the sea. Without a deep ingrained knowledge and a discipline for preparedness, they can both be deadly rather quickly. There is a sense of isolation and contemplation in both environments, as well as people who tend to be resilient and independent. Does a landscape that requires these traits of its people, also foster a fierce sense of community? In Grand Manan I think it does. So many of Carole's stories revolved around the communities built within family and neighbors, which quickly rippled out to the island as a whole.
On our last night we went to a talk about Kent island at the Grand Manan Museum. I was standing near Russell Ingalls who, when someone asked teasingly if he had been present at the time the 1930's film we were watching had been made showing logging activity in Seal Cove, simply replied to the question: "No I wasn't, but I've been told." This was such a strong statement to me, and speaks to the strong oral tradition of many islanders and their deep ties to Grand Manan, the sea, and to fishing. To their sense of community and their knowledge of how to read their natural surroundings.
Gannet Rock Lighthouse
As I write this, Katie and Josh are making cookies in the sweet little Compass Rose B&B Flagg House kitchen that has been our home for the past two weeks. They are talking to each other through a series of communications about dough density, questions about egg cracking techniques, and chocolate chip ratio preferences. They are negotiating dough ball sizing, and joking with each other. Their hands are covered in sugar, flour and oats and they make frequent eye contact while mixing the sweet ingredients. They alternate between talking about the cookies and talking about the whales we saw yesterday. I sit typing away on my laptop listening to their cheerful chatter orbit the kitchen island, and I'm thinking about community, about the strong community that forms on islands in particular, and about the relationship the community members have not only with each other but with the natural world and the stories they tell. These stories get told while the cooking gets done, when the long light of afternoon is drifting through windows and people are sitting around and visiting with each other.
So many of my experiences on Grand Manan have had to do with precisely this relationship between people and nature. From watching the full moon rise over Long Island, to research students banding tiny Savannah Sparrow chicks, to watching Russell Ingalls watch the water as he maneuvered his boat skillfully into the basin at Kent Island. And for the pack of 10-12-year-old island boys kindly and curiously checking out the Harbor Seal pup resting on top of the lobster car at the North Head wharf, to seeing a field of hand-harvested dulse drying on huge round sunbaked rocks.
Harbour Seal pup on North Head Wharf
How grateful I am to have spent time in this special place and talked to so many wonderful people about their experience of Grand Manan, the island they call home.


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B.R. Chopra
also known as Baldev Raj Chopra
Director, Producer, Screenplay
Born: Apr 22, 1914, Ludhiana, Punjab, India
Baldev Raj Chopra, popularly known as B. R. Chopra, was an Indian director and producer of Bollywood movies and television shows. He is best known for directing movies like Naya Daur (1957), Sadhna (1958), Kanoon (1961), Gumrah (1963), and Humraz (1967) and producing one of the most popular mythological shows of India -Mahabharat. In 1944, B.R Chopra started his career as a film journalist at Lahore for three years. After the partition, he shifted to Delhi and later moved to Mumbai. In 1951, Chopra gained much-needed fame right after his second directorial film Afsana that stars Ashok Kumar. Four years later, he made his production house B.R Films and delivered back to back blockbusters. He later produced several Bollywood hits like The Burning Train (1980), Aaj Ki Awaaz (1984), Mazdoor (1983), Baghban (2003), Baabul (2006) while Bhootnath (2008) being the last film of his career as a producer. He was the recipient of prestigious awards like the Dadasaheb Phalke Award and Padma Bhushan.
Banda Yeh Bindaas Hai
Bhoothnath
Baghban
Kal Ki Awaz
Born: Jun 06, 1929
I. S. Johar
Born: Feb 16, 1920
Ramanand Sagar
Born: Dec 29, 1917


Happy Halloween! In today's episode we were joined by our friend Matt Vardjan, a bearded homebrewer and "Mo-Bro". Matt chatted with us about Movember, a charity for men's health, and helped us cover a few news stories, play a special Halloween edition of Happy Fun Time Games, get beerducated on what happens when a beer is skunked, and sample some delicious brews.
We used some background music in this episode, courtesy http://www.purple-planet.com.


text:
Q: Multi Salves at the same time using CanOpen of CanFestival I decided to connect my can device using serial port.
I want to know could I use multiple salves with only one object dictionary in master at the same time or I have to use an object dictionary for each of them in master?
I'll be grateful for your responses.

A: Strictly speaking, each node on a CANopen network will have its own Object Dictionary, in order to be compliant with the standard. But sometimes it is not feasible to implement a full-blown CANopen stack for each node, in which case it is common to implement non-compliant slaves that only have the bare minimum of functionality. See this.
As for master/slave, please note that CANopen is a de-centralized protocol and master/slave has nothing to do with data transmission, nor with the presence of an Object Dictionary. A NMT (network management) master in CANopen is simply a node with the task of supervising other nodes. It sends the NMT start remote node message to put other nodes in operational, and it acts as Heartbeat consumer etc.

redpajama_set_name: RedPajamaStackExchange


Asterousia Mountains are the southernmost range in Greece, located on the south side of Heraklion Prefecture. It is a narrow range, shaped between Messara plain and the Libyan Sea. Starting on the east at Tsoutsouras, it ends in the tip of Messara.
Jiouchtas is located west of Archanes, about 10km south of Heraklion. It's a small mountain with a maximum height of 811m, but it occupies a special position in the heart of the Cretans and that's why we mention it here.
Mount Kedros is located southwest of Psiloritis Range, with the valley of Amari shaped between them. The highest peak reaches 1777m. From afar it seems to have a conical shape (kentri), after which it takes its name.


Have you ever been a GM on any other server?
Yes i have, i am very well known after 2 weeks of playing a server.
Have you ever made your own private server?
Why do you want to become a GM on this server?
I would ad and make it stand out to all the people on the internet. Make a JOIN MAPLESYRUP a Maplestory private server! Ad pop up everywhere. I could ad on other peoples servers (Lolz).
What will you make happen if you become a GM?
Host events and make changes to the gameplay.
i would help every one!
From what I read here, I do not believe you have made those private servers.
Firstly, your app is way too short, but that's my opinion.


text:
Q: Why isn't there any consequence of Kirk's actions in "The Enterprise Incident"? In the episode "The Enterprise Incident" the Enterprise crosses the neutral zone into Romulan space to confront the Romulans and allow Kirk to steal their cloaking device while being disguised as a Romulan.
Why are there no consequences?
They broke the treaties by not only entering the neutral zone but also the enemy territory, spied, wore enemy uniforms, stole the cloaking device and abducted several enemy personnel and nothing happens?
The first point alone is cited often enough as reason for war.
Finally, they now have the cloaking device, how come they don't use it in other episodes?
Am I missing something here?
I think what bugs me most about this is, that they don't even try to explain it away. It would have sufficed if Kirk said something like

Hah, and they can't do anything about it since they would have to admit they broke the treaty themselves when they used Klingon ship designs.

I would totally have bought that but their acting as if escaping was enough to avoid any consequences just makes no sense.
Update
While I am mostly interested in an in-universe answer, I have nothing against hearing about the story writer's thinking as well. I remember having searched for some explanation and reading about the writer being unsatisfied with this episode because there are so many logic gaps and the "romance" between Spock and the Romulan Commander feels to clunky. However, the latter is one of my least concerns with this episode.

A: IMHO most episodes of highly episodic and non serialized TV series like TOS happen in alternate universes of their own.  Some episodes are sequels to other episodes but most episodes happen in alternate universes different from the alternate universes of every other episode.
Think of the creators of an episodic series searching thousand and millions and billions of alternate universes and selecting the most suitable events from them to make into episodes.
We may note that "The Enterprise Incident" may not be a sequel to "Balance of Terror".  It is not certain whether the surprising Romulan cloaking device is  surprising since it has been improved since "balance of Terror" or surprising because the Romulans never used a cloaking device before.
In the latter case "Balance of Terror" would have never happened.  Since it is already known in "The Enterprise Incident" that Romulans and Vulcans are related, we might suppose that "The Enterprise Incident" happens in an alternate universe where the Romulan leaders decided not to attack the Neutral Zone outposts but instead perfect the cloaking device and in the meantime open up normal relations with the Federation and sign the Nimbus III treaty from Star Trek V: the Final Frontier.  No doubt settlers from Romulan subject races on Nimbus III would tell everyone that Romulans looked like Vulcans.
We could think that it doesn't matter if Kirk & Co. were correct to assume there would be no disastrous consequences of their actions in "The Enterprise Incident" because probably no later episode was a sequel to "The Enterprise Incident" and thus we don't get to see what may have happened as a result of "The Enterprise Incident".
As for why the Enterprise crew didn't worry about the risks of interstellar war or being disavowed by the Federation before crossing into Romulan Space, only Kirk and Spock knew about it beforehand and they were under orders from Starfleet Command.  Kirk and Spock probably protested their orders when given and probably worried a lot abut what could happen.  That probably helped Kirk to act like he was stressed out and incompetent before giving the order to cross into the Neutral zone because he would have been very stressed out.
Considering how foolish the plan seems and how unlikely to succeed, it seems probable that Kirk and Spock would have been more likely to disobey the admiral who gave them their orders and arrest him for giving illegal orders than to obey him.  Unless there were some other factors not mentioned in the episode that made them more willing to take the risk.
Perhaps Kirk and Spock were informed that one or more persons in that particular Romulan fleet was a Federation agent, thus making the plan much more likely to succeed, for example.
Perhaps they were shown proof that the Romulans were planning war and that stealing a cloaking device was the only way to deter them.
Perhaps they were told that the Romulan Peace Party had suggested the mission to capture a cloaking device and discredit the Romulan war Faction.
But the other officers weren't told ahead of time and so the other officers and crew didn't know or worry about it until Kirk ordered them to cross into the Neutral Zone.  And after the Romulan ships appeared the others were probably worried more about staying alive and escaping from the Romulans than the political and career implications and didn't talk much or any on screen about the long range fallout from the situation.


text:
Q: (Opencart) How to reload a view of another controller which uses ajax to render response to this view? The core Product/Category controller uses setOutput to render back the result of a view (that lacks $.ajax) to some view (which seemingly has $.ajax inside). I need to be able to refresh the product list from a custom controller. How can I do it?
I tried adding a function inside the Product/Category controller and setting up ajax communication with it, but that doesn't work (I think that it could be the way, I just don't know what to do here). I can only get a response from this ocmod function to the custom module's twig where my $.ajax request originates, but I need to be able to change the view of the Product/Catalog controller (the product list).
The custom function (inside core Product/Catalog controller) is as follows:
public function start_refresh() {

        if ($this->request->post['refresh_needed']) {

            $data = array();
            $data['test_data'] = $this->request->post['test_data'];
            $this->response->setOutput(
                $this->load->view('product/category_session', $data)
            );

        };

    }

EDIT: In the above custom function which is inside the core Product/Category, I tried creating the loading of the Product/Category controller as shown below, but I am getting a 404 error, even though in the console the category.php file has has the right html rendering with "This category is empty of products."
$data = array();
$this->load->controller('product/category', $data);
$this->response->setOutput(
     $this->load->view('product/category', $data)
);
return $this->response->getOutput();

A: I managed to it the following way after reading the answer from How to get products in JSON format from OpenCart using phonegap/jQueryMobile.
From the ajax I called the products/category directly and not my custom function inside of the product/category controller as in the question, and when I got reponse back containing the html output of the view, I reloaded a div I made in the product/category.twig with that html using jQuery. The ajax was
    $(document).ready(function(){
    $.ajax({
        url: 'index.php?route=product/category&path=18&json',
        type: 'get',
        beforeSend: function() {
        },
        complete: function() {
        },
        success: function(data) {
            console.log('success');
            if (data.length > 0) {
                console.log(data);
                $('#mydiv').html(data);
            }
        }
    });
    });

and the code I added to product/category.php was
    if(isset($this->request->get['json'])) {
        $this->response->setOutput($this->load->view('product/view_for_mydiv', $data));
    } else {
        $this->response->setOutput($this->load->view('product/category', $data));
    }

As you may notice I added a div inside product/category.twig called mydiv, which I placed exactly where I wanted the html to go and then I created a twig called view_for_mydiv.twig inside default/product/category/ folder, the html of which the product/category controller would send back instead of its general twig when it saw that an ajax call had been made to it. The #mydiv div located inside category.twig wraps the html that is the same html that gets produced when view_for_mydiv.twig is used to render product/category.


text:
Z Nation is an American horror-comedy-drama/post-apocalyptic television series that airs on Syfy, created by Karl Schaefer and Craig Engler, and produced by The Asylum. The first season of 13 episodes premiered on September 12, 2014.

On December 15, 2017, Syfy renewed the series for a fifth season, which premiered on October 5, 2018. On December 22, 2018, Syfy canceled the series after five seasons. The 68th and ultimate episode aired on December 28, 2018, concluding the five-season series.

Series overview

Episodes

Season 1 (2014)

Season 2 (2015)

Season 3 (2016)

Season 4 (2017)

Season 5 (2018)

Ratings

References

External links

Lists of American horror-supernatural television series episodes
Lists of American comedy-drama television series episodes


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Le braille () est un système d'écriture tactile à points saillants, à l'usage des personnes aveugles ou fortement malvoyantes. Le système porte le nom de son inventeur, le Français Louis Braille (1809-1852) qui avait perdu la vue à la suite d'un accident. Élève à l'Institution royale des jeunes aveugles, il modifie et perfectionne le code Barbier. En 1829 paraît le premier exposé de sa méthode.

Un document qui n'est pas écrit en braille et qui n'est donc pas lisible par un aveugle est dit « en noir » ou « noir » (un livre en noir, par exemple).

Histoire

La lecture pour les aveugles avant Louis Braille
Au , le juriste musulman irakien Zayn Ud Dîn Al Âmidî qui était lui-même aveugle, imagina également un système pour que les aveugles puissent avoir accès aux livres à travers un mode de lecture particulier basé sur les noyaux de fruits.

Au , le jésuite italien Francesco Lana de Terzi imagina divers systèmes d'écriture codée pour aveugles. Il conçut notamment le système Lana, un procédé d'impression en relief sur du papier épais ainsi qu'un « système permettant aux aveugles d'écrire couramment en traçant seulement des lignes et en faisant des points ».

Valentin Haüy, homme de lettres pratiquant outre le latin, le grec et l'hébreu, une dizaine de langues vivantes, s'intéresse d'abord en curieux au sort des personnes aveugles et, à la suite de Diderot, à leur « psychologie ». En 1771, choqué à la vue d'un triste spectacle mettant en scène des aveugles à la Foire Saint-Ovide, il se passionne pour l'éducation des aveugles et ambitionne de leur apprendre à lire. Dans cette intention, il fait réaliser des caractères spéciaux en relief et mobiles et, en 1784, entreprend avec succès d'instruire un jeune homme aveugle. C'est cette méthode, appelée « relief linéaire » qu'il fera appliquer dans l'institution des enfants aveugles, première école destinée aux aveugles.

En 1808-1809, Charles Barbier de La Serre, ancien officier d'artillerie, invente un système appelé « écriture nocturne » destiné à permettre aux officiers de rédiger ou de lire, dans l'obscurité, des messages codés. Le principe de ce système connu également sous le nom de sonographie est de transcrire des sons (36) à l'aide de points en relief placés sur une grille de 2 × 6 points. Ce n'est qu'en 1819 que Barbier s'avise des avantages que les aveugles pourraient tirer de son système. Il conçoit alors un nouveau système à l'usage des aveugles qu'il présente en 1821 à l'Institution Royale des Jeunes Aveugles. Les élèves, dont Louis Braille alors âgé de 12 ans, se montrent immédiatement très intéressés par le système. Cependant, Louis Braille relève aussitôt les limites du système, notamment son incapacité à prendre en compte l'orthographe compte tenu de sa nature phonétique, et propose à Barbier d'apporter des améliorations. Barbier ne donne pas suite à cette proposition venant d'un enfant de 12 ans.

Louis Braille

Louis Braille n'est pas né aveugle, il l'est devenu à l'âge de trois ans. Après un début de scolarité dans son village de Coupvray, il est admis en 1819 à l'Institut Royal des Aveugles.
Deux ans plus tard, en 1821, il assiste à la présentation de la sonographie faite par Barbier. Barbier n'ayant pas suivi sa proposition d'améliorer son système, Louis Braille entreprend seul ce travail. Il garde les bases du système de Barbier, notamment le principe d'un codage et l'utilisation de points saillants. Les principales caractéristiques du système élaboré par Braille sont :
 réduction de 12 à 6 du nombre de points utilisés ;
 codage de signes typographiques latins (lettres, ponctuation, notes de musique, etc.) plutôt que de sons.
L'essentiel du système est élaboré en 1825 (Braille a alors 16 ans) et Braille publie son premier traité en 1829.

Le code braille

En braille standard, un caractère est représenté dans une matrice de six points sur deux colonnes, chaque caractère étant formé par un à six points en relief. Ces points sont conventionnellement numérotés de haut en bas et de gauche à droite, selon le schéma suivant :

Par exemple, la lettre c se représente par les deux points supérieurs, soit la combinaison 1,4. Ce système permet de représenter jusqu'à 63 caractères (2-1), une matrice sans aucun point représentant un espace.

La signification de chaque symbole dépend de la langue utilisée, ce qui explique pourquoi les braille japonais, coréen, cyrillique et autres diffèrent du braille français. Les langues utilisant l'alphabet latin emploient le plus souvent le même codage pour les lettres de base, mais les lettres accentuées, d'autres symboles et, parfois, les signes de ponctuation diffèrent.

Lettres

Cette représentation se comprend en répartissant les lettres en lignes de dix lettres dans l'ordre alphabétique, sauf la lettre W qui n'était pas encore pleinement reconnue dans l'alphabet français à l'époque de Louis Braille :

 a b c d e f g h i j : utilisent les quatre points supérieurs
 k l m n o p q r s t : ajout du point 3 (en bas à gauche) aux lettres de la première ligne
 u v x y z : ajout des points 3 et 6 (en bas à droite) aux cinq premières lettres de la première ligne
 w : ajout du point 6 à la lettre J

Lettres diacritées propres au français

L'alphabet braille français se comprend donc en répartissant les lettres en quatre lignes de dix lettres :

Lettres diacritées et ligatures propres à diverses langues étrangères

En utilisant les principes de codification à l'aide de la matrice à six points saillants, il est possible de représenter les lettres diacritées et ligatures propres à chaque langue étrangère.

Chiffres

Il existe deux systèmes pour représenter les chiffres en braille français : le système dit « Louis Braille », ou « littéraire », et le système « Antoine ».

Chiffres « Louis Braille »

C'est le système le plus ancien. Il est encore couramment utilisé dans les ouvrages de type littéraire (non mathématiques) et est la norme dans de nombreux pays (y compris au Québec).

Un chiffre est représenté par deux symboles. Le premier est le préfixe numérique constitué des points 3-4-5-6 .

Le second est une lettre de la première série de a à j : a vaut 1, b vaut 2 et ainsi de suite; i vaut 9 et j vaut 0.

Chiffres « Antoine »

Ce système fut introduit par Louis Antoine dans le cadre de la notation braille mathématique. C'est maintenant le système recommandé en France, même en dehors des expressions mathématiques, pour tous les ouvrages scolaires ou techniques.

Un chiffre est représenté par deux symboles. Le premier est le préfixe mathématique constitué du point 6 .

Le second est une lettre de la quatrième série de â à œ, dérivée de la première série en y ajoutant le point 6: â vaut 1, ê vaut 2 et ainsi de suite jusqu'à œ valant 9. 0 est représenté par le préfixe numérique Louis Braille.

En résumé, les deux systèmes se présentent comme suit:

Dans les deux cas lorsqu'il y a plusieurs chiffres en succession, le préfixe n'est indiqué qu'une fois : tous les symboles qui suivent sont interprétés comme des chiffres, jusqu'à rencontrer un espace.

Ponctuation
Onze signes de ponctuation sont obtenus en décalant d'un cran vers le bas les lettres a à j, sauf le i (utilisé pour l'astérisque, comme indiqué plus loin), et en décalant de deux crans vers le bas les lettres  a et c.

Autres symboles
Indicateurs et modificateurs propres au braille :

Symboles typographiques simples :

Symboles typographiques multiples ou symétriques:

Symboles utilisant le modificateur 1 (devises, lettres grecques...) :

Symboles utilisant le modificateur 2 :

Symboles rencontrés en notation mathématique:

Dérivés du braille

Braille abrégé
Les caractères braille sont plus larges que leurs équivalents « noirs », et les pages plus épaisses. Cela a pour conséquence une augmentation importante du volume d'un document braille, de 30 à 50 fois celui du même document « noir ». Aussi a-t-on créé une forme contractée : le braille abrégé. Grâce à l'utilisation de la totalité des 63 signes possibles en braille 6 points et à la réaffectation de ceux d'occurrence rare (comme le ü), il permet un gain de place estimé de 30% à 40%.

C'est en 1880 que Maurice de La Sizeranne constitua l'Abrégé Orthographique Français, qui fut depuis complété par de nombreux partenaires.

La norme actuellement en vigueur est l'Abrégé orthographique étendu de 1955.

Dans un texte en braille abrégé, on trouve trois types de mots :
 des mots contenant une ou plusieurs contractions, appelées « assemblages »,
 des mots ayant une abréviations d'un ou plusieurs signes, appelées « symboles »,
 des mots écrits en intégral (braille classique).

Par exemple:
 dans le mot (re)(pr)és(en)té(es), les groupes de lettres entre parenthèses sont contractés par un signe propre: ,
 la lettre ê employée seule est le symbole de « même », les lettres am le symbole de  « amour », et amx le symbole de « amoureux » (exemple de symbole dérivé).

Un même caractère peut, suivant son contexte (employé dans un mot, en début, milieu ou fin, devant une voyelle ou une consonne ou encore seul), avoir plusieurs significations différentes.

Ainsi, le signe î  peut correspondre, en plus de sa valeur numérique
« 3 » en notation Antoine :
 au symbole du mot « cet » lorsqu'il est employé seul,
 à la contraction des lettres « cl » devant une voyelle,
 à la contraction de la finale « ait » en terminaison de mot,
 à sa valeur de base « î » seulement dans les cas restants (c'est-à-dire devant consonne).

Les mots écrits en braille intégral (dans un texte en braille abrégé) sont soit :
 des mots n'ayant pas de symbole ou n'ayant pas de contraction entrant dans leur composition,
 des noms propres (jamais abrégés sauf en cas de noms de peuples),
 des noms que l'utilisation d'une contraction rendrait confus ou incompréhensibles.

Assemblages et symboles d'un seul signe

Dans chaque cellule du tableau ci-dessous est consigné, dans l'ordre « alphabétique » braille :
 le signe braille,
 sa valeur de base,
 le symbole associé en gras (mot représenté par le signe employé seul),
 les assemblages associés.

{| class="wikitable"  style="text-align: center;white-space:nowrap;"
|-
|  a   a
|   b   bien
|   c    ce
|   d   de
|   e   -
|   f    faire
|   g    qui
|   h    sur
|   i   il
|   j    je
|-
|   k  au  au
|   l   le
|   m  me
|   n   ne
|   o   nous
|   p   par
|   q   que (qu') qu... -que
|   r    rien
|   s   se
|   t   te
|-
|   u   un
|   v   vous
|   x   maisex (+C)
|   y    y
|   z elle   -ez
|   ç  pour   our
|   é   quoi
|   à à   ch
|   è sans   (V+) ss (+V)
|   ù et   oi
|-
|   â  tout fr (+V)  -ation
|   ê  même   fl (+V)  -ent
|   î  cet cl (+V) -ait
|   ô  dans dr (+V) -ant
|   û est es-  -es
|   ë  plus pl (+V)
|   ï grand   gr (+V)
|   ü ou   ou
|   œ son   im- (+BPM)-ition
|   w tous   om  (V+) tt (+V)
|-
|   ,  - an...
|   ;  -   br (+V)  ui (+C)
|  :  - cr (+V) con (+C)
|   .   dès dis- (+C)  ...ien
|   ? en en
|   !  puis pr (+V)  pro (+C)
|   " été   ...gn...
|   ( du  ...er
|   * son si  in
|   ) sous tr (+V)  trans- (+C)
|-
|  '  la re-
|  /   ai  ai
|   @, æ   les gl (+V)  em (+C)
|   num.  lui ion
|    on on
|   —   celui com- (+C)
|-
|  exp.   - ar
|   mod. 1  -   bl... -able
|   ital.   - (V+) ll (+V)  -elle
|   maj.  - eur
|   mod. 2  - eu
|   ivb.   -...or
|   math.  - ieu
|}

Les assemblages sont soumis à des contraintes de position et de contexte, représentées comme suit:
 XX :  indique qu'aucune contrainte ne s'applique à l'assemblage, qui peut apparaître en toute position (dans le respect des principes généraux énoncés ci-après).
 -XX :  indique un assemblage utilisé en fin de mot seulement.
 XX- : indique un assemblage utilisé en début de mot seulement.
 XX... ou ...XX : indique la présence nécessaire de lettre(s) avant ou après l'assemblage.
 XX (+C) : indique que l'assemblage doit être suivi d'une consonne.
 XX (+BPM) : indique le l'assemblage doit être suivi de « b », « p » ou « m » uniquement.
 XX (+V) : indique que l'assemblage doit être suivi d'une voyelle.
 (V+) XX (+V) : indique que l'assemblage doit apparaître entre deux voyelles.

Les assemblages et les symboles d'un caractères obéissent aux principes généraux suivants:
 Les lettres que représente un assemblage doivent appartenir à une même syllabe. Par conséquent, les assemblages finissant en voyelle+consonne (an, on, ion, ien, ar, er, eur, or, our, om, im, es, con...) doivent toujours être suivis d'une consonne lorsqu'ils sont utilisés à l'intérieur d'un mot. Il existe deux exceptions :
 in en début de mot peut s'employer devant voyelle, sauf devant lui-même. Par ex.: (in)(on)d(er) mais in(in)'''t(er)r(om)pu.
 les assemblages représentant une consonne double (ll, ss, tt) qui se trouvent à cheval sur deux syllabes par définition.
 Les signes de ponctuations ou certains indicateurs (comme celui de valeur de base, noté « ivb. » dans le tableau) empêche l'utilisation des assemblages qu'ils représentent en début et/ou fin de mot. Par ex.: er ne peut s'employer en début de mot (parenthèse ouvrante) et an ne peut s'employer en fin de mot (virgule).
 Deux exceptions : en et ien peuvent apparaître en finale même s'ils s'y confondent avec les signes de ponctuation « ? » et « . », mais sauf s'ils sont suivi de ces mêmes signes de ponctuation. Ex: « moyen » → moy(en) , mais « moyen ? » → moyen?  et non pas .
 Certains assemblages ne sont pas explicitement interdit en initiale ou finale, mais aucun mot français ne les utilisent donc il n'y a pas ambiguïté (par ex., eur en début de mot, qui pourrait se confondre avec l'indicateur de majuscule).
 Les quatre préfixes dis-, com-, trans-, es- qui ne s'emploient qu'en début de mots peuvent toutefois être précédés des préfixes re- et in-. Par ex.: (re)(trans)(cr)ire, (in)(es)péré.
 Les finales (-ation, -ait, -ant...) et les symboles qui s'y prêtent (« me », « ce », « rien », « son », « été »...) peuvent toutefois prendre le « s » du pluriel. Par ex.: « nations » → n(ation)s, « ces » → cs. Exception : « les » est abrégé par le symbole .
 Seule l'orthographe compte et non pas la prononciation ou le sens. Par ex.: er dans (ch)(er)(ch)(er), ent dans (ch)(an)t(ent) et par(ent), ien dans v(ien)t et (cl)(ien)t; les homographes des symboles pour « été », « puis », « son », « sous » ; le symbole pour « est »  utilisé à la fois pour le verbe et le nom, de prononciations différentes.
 Si aucune contrainte n'est satisfaite, c'est la valeur de base qui doit être utilisée.

L'abrègement de mots entiers obéissent aux contraintes supplémentaires suivantes:
 Les signes n'utilisant que les points 4-5-6 (à droite de la cellule) n'ont pas de symboles associés car ils se distinguent mal. Pour cette même raison, un mot ne peut pas consister de seulement ces signes. Par ex: « bleu » → bl(eu) et non pas (bl)(eu)  , qui se distingue mal de b(an) .
 Un mot ne peut consister de signes inférieurs seulement (signes utilisant les points 2356). Par ex.: « entrer » → en(tr)(er) et non pas (en)(tr)(er) .
 Un symbole inférieur précédé ou suivi d'un signe de ponctuation ne doit pas être utilisé. Par ex.: « été » → , mais « été, » → .
 Il existe de nombreuses règles qui régissent le choix des assemblages lorsque plusieurs combinaisons sont possibles. Par ex.: (es)saim mais me(ss)e, v(ien)t mais (ou)(bl)i(ent), ma(in) et non pas m(ai)n, r(en)d et non pas (re)nd mais (re)ste...
 Il est interdit d'utiliser le même signe deux fois de suite avec des valeurs différentes. Par ex.: « drôle » → drôle   et non pas (dr)ôle .

Finales à plusieurs signes

Elles sont au nombre de 7:

Ces finales ne peuvent pas créer d'assemblage avec les lettres précédentes. Par ex:  « battement » → battm, et non pas ba(tt)m en utilisant l'assemblage tt.

Elles peuvent prendre un « s » au pluriel.

Symboles à plusieurs signes

Il existe 399 symboles de base, de deux signes rarement trois.

Parmi ces symboles, 185 peuvent produire des dérivés par l'adjonction d'un ou plusieurs suffixes parmi une liste de 18 (m « -ment », c « -ance/ence », f « -if », (bl) « -able »...), créant 420 symboles supplémentaires.

Les signes employés dans les symboles peuvent être des signes de base ou des assemblages. Dans ce dernier cas, les contraintes positionnelles ne s'appliquent pas.

Quelques exemples:
 symboles sans dérivés: ai « ainsi », cm « comme », jm « jamais », pè « père », a(pr) « après », (au)(pr) « auprès », (en)(dr) « endroit », aff « affaire»...
 symboles avec dérivés: am « amour », amx « amoureux », amsm « amoureusement » ; (pr)d « produit », (pr)df « productif », (pr)d(eur) « producteur », (pr)d(ion) « production » ; (dis)t « distant », (dis)tc « distance »...

Le pluriel peut être obtenu par l'ajout d'un s ou d' un x, ou par la substitution du l final par un x. Par exemple: pe « petit » / pes « petits », gn « général » / gnx « généraux », (tr)l « travail » / (tr)x « travaux », gvl « gouvernemental » / gvx « gouvernementaux».

Le féminin peut être obtenu par ajout d'un « e », par la substitution du suffixe f par v pour les adjectifs en « -if », de x par se pour les adjectifs en « -eux », de l par ll (et non pas par l'assemblage (ll) = « -elle ») pour les adjectifs en « -el », mais est souvent irrégulier et doit être appris par cœur :
 régulier : pe « petit » / pee « petite », (pr)df « productif » / (pr)dv « productive », amx « amoureux » / amse « amoureuse », ntl « naturel » / ntll « naturelle »,
 irrégulier : (au)c « aucun » / (au)n « aucune », (pr)m « premier » / (pr)r « première », dn « dernier » / dr « derniere »...

Pour les symboles qui s'y prêtent, on peut ajouter un e, s ou (es) pour former des formes conjuguées. Par exemple, du symbole rg « regard », on peut former rge, rg(es) pour  « (je) regarde, (tu) regardes ». On ne peut cependant pas utiliser les assemblages er, ez, ent, ait, ant, pour former « regarder, regardez, regardent, regardait, regardant ».

Comme à la section précédente, seule l'orthographe compte et non la prononciation ou le sens. Par exemple: fs « fils » ( « enfant mâle » ou pluriel de « fil »), so « sorte » (« espèce » ou subjonctif de « sortir »), s(om)s (« nous sommes » ou pluriel de « somme »).

On ne peut pas créer de nouveaux symboles de base ou dérivés. Par exemple, le symbole q(ion) « question » existe, mais pas le symbole dérivé *q(ion)m « questionnement », alors que les symboles f(ion) « fonction »  / f(ion)m « fonctionnement » existent. On ne peut pas utiliser les 18 suffixes ailleurs que dans les 420 symboles dérivés listés. Par exemple, on ne peut pas abréger « visage » en *visg comme « outrage » peut l'être en (ou)(tr)g.

Il est par contre possible de faire précéder les symboles d'autres signes, abrégeant des mots plus longs. Par exemple: dm « demain » / l(en)dm « lendemain », m(ion) « mission » / ém(ion) « émission » / (re)(trans)m(ion) « retransmission». Mais le sens ne doit pas s'en écarter. Par exemple, on ne peut pas construire « espère » sur le symbole pè « père ».

Locutions

Il existe enfin 43 locutions abrégées. Une locution est un groupe de plusieurs mots représenté par deux ou plusieurs signes reliés entre eux. Si la locution comporte une apostrophe ou un trait d'union, ces signes sont conservés. Si c'est un espace, c'est le signe  (l'indicateur de mise en italique) qui est employé. Les signes peuvent être des signes de base ou des assemblages.

Par exemple : à|c  « à cause », (au)'h  « aujourd'hui », (au)-d  « au-dessus », (au)-(ou)  « au-dessous », c'e-à-d  « c'est-à-dire »...

Ambiguïtés
Le code abrégé comporte de nombreuses ambiguïtés, qui nuisent à l'opération d'abrègement et de désabregement automatisés. Souvent, seule la connaissance des mots acceptables en français permet de lever l'ambiguïté. Par exemple :
 assemblage vs valeur de base :  = « diktat » parce que le mot « diautat » n'existe pas.
 assemblage vs ponctuation :  = « moyen » parce que « moy ? » n'existe pas.
 assemblage vs symbole : « des » ne s'abrège pas en d(es)  (qui est en fait le mot « dû »), mais en le symbole de deux signes ds .
 assemblage vs assemblage : les deux mots « crête » et « conflit » commencent par les deux mêmes signes: (cr)ête  et (con)(fl)it . Ici la désambiguation opère de droite à gauche: c'est la présence d'une consonne ou d'une voyelle en troisième place qui permet de déterminer la valeur du second signe, qui ensuite permet de déterminer celle du premier, en respectant alternativement les contraintes (+C) ou (+V) assorties à chaque valeur.

Il existe cependant des ambiguïtés que seul le contexte permet de lever. Par exemple :
 assemblage vs valeur de base : riz = « riz » et « riez », coq = « coq » et « coque », a(ll)ô = « allô » et « allant ».
 assemblage vs ponctuation :  Paris. = « Paris. » et « Parisien ».
 assemblage vs locution :  p|s  peut être soit l'assemblage « pelles » ou la locution « par suite ».

Pour lever une ambiguïté, il est possible d'utiliser l'indicateur de valeur de base (points 5-6) en début de mot, qui permet de passer en intégral pour ce mot. Par ex:  « allô », et non pas « allant ».

Braille informatique
Le braille standard, avec ses six points, ne permet que 64 combinaisons pour coder les caractères, ce qui est relativement peu. Certains caractères, comme les majuscules ou les chiffres ont été codés sur deux caractères braille afin de contourner cette limitation. Malheureusement, ce type de codage s'avère mal adapté à l'informatisation. Aussi pour l'informatique utilise-t-on un braille à huit points au lieu de six.

Les deux points supplémentaires sont placés en dessous de la cellule braille classique. Le point 7 sous le point 3 et le point 8 sous le point 6.

Ainsi, le braille informatique permet 256 combinaisons (2 puissance 8), soit une correspondance exacte avec la table ASCII utilisée en informatique.
En particulier, les lettres minuscules et majuscules peuvent être différenciées grâce au point 7.

  La lettre a minuscule : point 1
  La lettre A Majuscule : point 1-7
  La lettre b minuscule : point 1-2
  La lettre B majuscule : point 1-2-7
  …

Cependant, il n'est pas toujours bien adapté à la lecture. Louis Braille avait en effet travaillé sur la taille de la cellule braille à six points afin qu'elle soit repérable tactilement par la pulpe de l'index sans avoir à le déplacer sur la feuille.
Or, avec deux points en plus, cette cellule devient trop haute pour une identification rapide par l'index. De plus, la lettre l minuscule (points 1-2-3) et la lettre L majuscule (points 1-2-3-7) provoquent des confusions car il devient difficile de repérer s'il y a trois ou quatre points en hauteur.

Braille mathématique
La notation mathématique utilise une représentation spatiale de l'information. En braille, l'information est toujours linéarisée, aussi a-t-on besoin d'une codification spécifique.

Ce code a varié dans le temps. Depuis le , c'est la notation mathématique approuvée par la Commission pour l'Évolution du Braille Français lors de sa réunion plénière du  qui est applicable.

De la même façon que sur une calculatrice scientifique standard, le braille mathématique codifie de façon linaire toutes formules mathématiques. Il arrive donc fréquemment qu'une formule visuellement simple devienne très complexe en braille.

Ainsi,

donne en notation linéaire :

Très vite, de nombreuses parenthèses apparaissent et compliquent fortement la formule. C'est pour cela que les parenthèses braille ont été mises en place : une parenthèse braille permet de lever les ambiguïtés dues à la linéarisation, et indique qu'un voyant n'aurait pas besoin de ces parenthèses pour comprendre l'expression.

Dans l'exemple précédent, la transcription en Braille serait donc:

Avec [ en parenthèse braille ouvrante (codée normalement p56 soit "⠰") et ] en parenthèse braille fermante (codée normalement p23 soit "⠆").

Comme spécifié plus haut, le braille ne compte que 63 symboles possibles. Il n'est donc pas possible de coder en braille tous les symboles mathématiques. Ces symboles, (opérateurs, ensembles, fonctions…) vont donc être traduits par des assemblages de caractères braille de façon à différencier chaque symbole tout en gardant les formules les plus courtes possible.
Les fonctions usuelles comme le sinus, ou la racine carrée sont traduites par un seul signe. Le cosinus ou encore le symbole inclus par deux signes…

Toutefois, il reste très difficile de manipuler des calculs complexes en braille. Dans le premier exemple, il n'est pas évident pour un aveugle de repérer la simplification par 2.

Pour les matrices et tableaux de variation de fonction, afin de faciliter la lecture et quand cela est compatible avec la longueur de la ligne braille, il est possible de représenter ces structures en deux dimensions.

Les opérations arithmétiques peuvent être manipulées à l'aide d'un cubarithme.

Braille musical
Comme pour les mathématiques, la notation musicale « noire » utilise une représentation spatiale de l'information.

Notes
Elles sont écrites en suivant l'alphabet, avec, pour équivalence, d = do, e = ré, etc.

Ainsi :

Rythme
Sans signe de rythme spécifique, les notes seront considérées comme des croches.
Si l'on veut écrire une noire (qui dure deux croches) on doit ajouter le point 6 à la note :

Pour indiquer une blanche (quatre croches), on ajoute le point 3 :

Pour les rondes (huit croches), on ajoute les points 3 et 6 :

Cependant les nombreux autres rythmes demandent une notation particulière et difficile.

Autres signes
Les signes de clé n'ont pas autant d'importance sur une partition en braille qu'en « noir ». En revanche, on doit toujours faire précéder les notes d'un signe d'octave. Les octaves sont comptées à partir du bas et indiquées par les points 4, 5 et 6.

Ainsi :

Le signe d'octave n'est pas répété tant que cela ne prête pas à équivoque.

Production du braille

Sur papier
Il existe plusieurs outils permettant d'écrire en braille. Chacun des outils qui sont mentionnés ci-dessous nécessitent l'utilisation d'un papier épais afin que les aspérités soient bien marquées et ne réduisent pas dès qu'elles sont soumises à des pressions extérieures (un livre en braille doit pouvoir être refermé et rangé dans un sac ou une étagère et rester lisible).

L'outil le plus simple est formé d'une tablette munie de guides normalisés (avec des lignes de six points) et d'un poinçon. Le poinçon permet de déformer le papier en s'aidant du guide. Cependant, cet outil nécessite une adaptation particulière. En effet, le poinçon creuse le papier alors que la personne aveugle lit les bosses formées. Il faut donc complètement inverser le sens d'écriture : commencer la ligne à droite et les signes (en miroir).

Ainsi, le mot « Braille » qui se lit :

Devra être écrit à l'envers :

(en
miroir)

Cet outil est le plus ancien et le meilleur marché. Des pics permettent de maintenir la feuille afin que celle-ci ne se déplace pas pendant l'écriture.

Une évolution temporelle et pratique a donné naissance à la machine à écrire Perkins, sorte de machine à écrire. Composée de sept touches (une pour chaque point de la matrice de six et une pour l'espace), elle a grandement facilité l'écriture puisqu'elle évite la transcription en miroir nécessaire à la tablette décrite précédemment.

Enfin, est apparue l'embosseuse ; c'est une imprimante qui transcrit le texte d'un fichier informatique en caractères braille sur papier. Elle imprime donc en volume et non pas avec de l'encre. Comme pour les imprimantes classiques, il existe divers modèles d'embosseuses se différenciant notamment par leurs performances. Toutefois à vitesse d'« impression » équivalente, une embosseuse est beaucoup plus encombrante, chère et bruyante qu'une imprimante « en noir ». Les réglages préalables doivent être effectués avec précision afin que le marquage du papier soit assez fort.

Unicode (informatique)

Le monostandard Unicode définit des caractères correspondant aux 256 combinaisons du braille informatique à 8 points, dans la plage 2800-28FF. Comme une combinaison de points peut représenter un symbole différent dans différentes langues, le nom et le code d'un caractère braille Unicode dérivent uniquement des points qui le composent et non de sa signification. Par exemple, le caractère comportant un seul point en haut à gauche s'appelle COMBINAISON BRAILLE POINTS-1 bien qu'il représente en braille français la lettre a.

Un caractère braille Unicode/UTF-16 possède un code sur deux octets. Le premier a la valeur constante 28 en hexadécimal. Les huit bits du second octet correspondent aux huit points du caractère braille, le point 1 étant le bit de poids faible et le point 8 le bit de poids fort.

Exemple : la lettre h est représentée en braille par les points 1-2-5. Le second octet du caractère Unicode correspondant est donc 0001 0011 en binaire, soit 13 en hexadécimal. Le caractère Unicode correspondant au h braille français, appelé COMBINAISON BRAILLE POINTS-125, a donc pour code U+2813 (⠓).

Autre exemple : un H majuscule s'écrit, en braille classique, en deux caractères : 4-6, 1-2-5 soit en Unicode U+2828 U+2813 (⠨⠓). En braille informatique, il est représenté par un seul caractère avec les points 1-2-5-7 (0101 0011 en binaire, 53 en hexadécimal) soit le caractère Unicode U+2853 (⡓).

Les nouveaux outils
Les nouvelles technologies ont créé de nombreux outils qui permettent aux personnes malvoyantes ou non-voyantes de « lire » des textes en écriture romaine.

Transcripteurs automatiques en braille
Ce sont des logiciels capables de transcrire automatiquement un document « noir » en texte braille.

Le texte produit peut ensuite être embossé, c'est-à-dire imprimé en braille à l'aide d'une imprimante spécifique, appelée embosseuse.

Les principaux transcripteurs braille sont DBT (braille intégral et abrégé, très bonne qualité), NAT braille (libre, brailles intégral et abrégé, mathématique; musique en développement), winbraille (gratuit, intégral et abrégé), dancing dots (musique).

Le système brltty (libre) permet également, outre l'affichage dynamique sur plage braille, de réaliser des affichages en intégral et abrégé.

D'autres projets ou réalisations informatiques permettent d'accéder à des documents transcrits en braille, comme la bibliothèque Hélène.

Synthèse vocale, plage tactile, reconnaissance de caractères
Les progrès technologiques se font aussi sentir dans le domaine de la synthèse vocale. Il y a encore quelques années, les personnes aveugles étaient les seules à comprendre les phrases prononcées. Actuellement celles-ci sont compréhensibles par tous. La ponctuation est bien ressentie pendant l'écoute.

Les lecteurs d'écran sont des logiciels permettant de transformer un écran visuel en une page en braille ou en un texte parlé.

Restent encore les plages tactiles, plaque sur laquelle se trouve une bande de petits picots se levant ou s'abaissant afin de composer les caractères. Ainsi une ligne de texte apparaissant à l'écran est traduite sur la plage tactile en braille. La plage tactile est aussi appelée plage braille.

Lorsqu'une personne non-voyante souhaite lire le texte présent sur l'écran de l'ordinateur, elle a le choix entre deux possibilités de défilement du texte sur la plage tactile : soit elle appuie sur un bouton dès qu'elle a fini de lire chaque ligne pour avoir la suite du texte, soit le texte défile à un certain rythme et elle lit au fur et à mesure. Les personnes qui lisent le braille utilisent souvent la combinaison d'une plage braille et d'une synthèse vocale, afin de faciliter la restitution de l'information.

Une interface informatique dite Hyperbraille devrait bientôt permettre aux aveugles de consulter des graphiques.

La reconnaissance de caractères à partir d'un document scanné a permis à de nombreuses personnes mal ou non-voyantes de lire des textes auxquels elles n'avaient pas accès. Elles numérisent leurs documents et les lisent avec les deux moyens énoncés ci-dessus.

Les personnes aveugles peuvent maintenant naviguer sur Internet grâce aux plages tactiles et aux synthèses vocales.

Notes et références

Voir aussi

Bibliographie

Articles connexes

Liens externes

 Actes du colloque international « Braille 1809-2009 - L'écriture à 6 points et son avenir » (UNESCO 5 au 8 janvier 2009)
 Code braille français uniformisé (CBFU,  édition, septembre 2008) + Notation mathématique ( édition, janvier 2007) + Notation braille dans le domaine de la chimie ( édition, juin 2008) + Table braille informatique française (TBFR2007,  édition, septembre 2007)
 Site du CERTAM (Centre d'Évaluation et de Recherche sur les Technologies pour les Aveugles et les Malvoyants)
 Éole, bibliothèque numérique de l'Association Valentin Haüy prête des livres en braille numérique (accessibles gratuitement par téléchargement)
 S'initier au Braille pour aider un enfant aveugle, dans sa scolarité notamment.

Aide pour aveugles ou malvoyants

Invention française
Nom dérivé d'un anthroponyme