Conduct Information Security Assessment against EY Methodology and leading practice frameworks and common standards.
Conduct attack and penetration on infrastructure, network, web application and source code review.
Assist client in managing their Information Security Programs.
Assist client in managing their Business continuity and disaster recovery.
Assist client in managing their information protection and data privacy.
Evaluate and analyse threat, vulnerability, impact and risk to security issues discovered from security assessments.
Advise clients on the IT security issues, including the explanation of the technical details and how they can remediate the vulnerabilities in the systems.
Consistently deliver quality client services and manage expectations of client service delivery.
Drive high-quality work products within expected timeframes and on the budget.
Demonstrate technical capabilities and professional knowledge.
Possess in depth business acumen and demonstrate the ability to quickly assimilate to new knowledge.
A recognised university degree in Computer Science, Computer/Electrical Engineering, Information Technology or a related major (such as accounting, finance, economics).
The successful candidate must be willing to pursue related professional certifications such as the CISSP, CISM, and/or CISA.
Strong interest in the field of information security.
Creative, independent with good problem-solving skills.
Good analytical, interpersonal, communication and writing skills.
Willingness to travel on assignments as the need arises.
Good written and verbal communication skills and presentation skills.
The freedom and flexibility to handle your role.


Fill out the form with the requested information. The items which appear with * (asterisk) signal must be completed.
Inform a telephone number that you can be reached easily. It can be your home number, work number or a cell phone number. Please, inform the country code for international calls.


text:
Home/Nestack
Nestack
NestackJune 24, 2022
Impact of Internet of Things on Mobile App Development
Internet of Things has seen a significant advancement in technology recently. The technology is anticipated to set new standards. In…
Everything You Need to Know About Android 12
The Android Open Source Project (AOSP) already has the final version available, although the freshly announced Pixel 6 and Pixel…
Top Android Libraries for 2022
Libraries play a significant role in the development process, even though frameworks are crucial because they are essential in creating…
Top 5 iOS Testing Frameworks
With the increasing number of iOS devices on the market year after year, the bar for iOS success is higher…
All About Swift- Shaping Future iOS
When Apple CEO Tim Cook first announced Swift in 2014, he predicted that it would be the "next great programming…
The Evolution of iOS: From iOS 1 to iOS 16
Over the years, Apple has offered the world – which includes millions of iPhone and iPad users as well as…
NestackJune 4, 2022
Using Java Programming in Blockchain
There isn't a day that passes by when blockchain isn't mentioned in the technology or financial news. But what's the…
Most Popular Java Frameworks in 2022
One of the most widely used computer programming languages is Java, and it's also a platform. A platform is a…
NestackMay 30, 2022
Java vs Kotlin : All You Need to Know
For app developers, deciding between multiple programming languages is a daunting task. Java should be your first choice for creating…
All About Java 18
Java 18 was released by Oracle in March 2022. Users will be able to better their software development techniques with…

redpajama_set_name: RedPajamaCommonCrawl


Constructed of 65/35 poly/cotton twill. Button fly, belt loops, cuffless legs. Top stiched waistband. Two front & two back pockets.
GCI Traffic Paint Regular & Fast Dry Now Available!
Shelving Sale Assembled & Ready to Use!
Last Chance Warehouse Clearance Sale!
Log In to Create Shopping Cart.
Official Business Website of Georgia Correctional Industries. Copyright © 2015 All rights reserved.


A loyalty program that helps your customers improve their lives.
Better relationships means better business. Engage, understand and segment your existing customers for profitable retention and growth through up- and cross-sales.
Life.io is a digital engagement and loyalty platform. Through a beautiful, fun and personalized user experience, we help you become a partner to your customers, supporting each of them as they navigate important life events and work to achieve their goals.
From transactions to relations. Transform your relationship with customers by engaging with them meaningfully, every day.
Life.io partnered with world-renowned experts in behavioral economics, gaming, positive psychology, finance and health to create a beautiful experience.
You're unique, so that's how you're treated. Each user's journey is crafted around the most important events going on in their lives - be it health, financial or lifestyle.


Sólveig Matthildur is the solo project of the synth performer in Kælan Mikla from Iceland and the co-founder of MYRKFÆLNI magazine about the Icelandic underground music scene.
She self-released her debut album, Unexplained miseries & the acceptance of sorrow, in August 2017 which recently recieved the Kraumur awards. Working primarily with synthesizers, strings and voices circling around 40 hz sine waves that eventually start beating with your heart. Taking you on a journey, through unexplained miseries to the acceptance of sorrow.


text:
My Opinion > Consular access to Jadhav was nothing less than a sham
Consular access to Jadhav was nothing less than a sham
Rajat Sharma | September 03, 2019
After lots of dilly-dallying and a protracted legal battle before the International Court of Justice, Pakistan was directed by the ICJ to provide consular access to Kulbhushan Jadhav, the Indian national who has been given death sentence by a Pakistani military court.
On Monday, the Indian Charge d'Affaires Gaurav Ahluwalia was allowed to meet Jadhav in a 'sub-jail' near Islamabad, in the presence of Pakistani officials. "It was clear that Jadhav appeared to be under extreme pressure to parrot a false narrative to bolster Pakistan's untenable claims", said our External Affairs Ministry spokesperson.
This was the first meeting with an Indian official since Jadhav was arrested by the Pakistani army in March, 2016. According to our MEA spokesperson, Jadhav looked clearly harried and he repeated the "confession" that he had already made. That confession was clearly made under extreme duress.
In his meeting with his mother and wife in 2017 too, Jadhav had made remarks which were clearly tutored and meant to support Pakistan's claims that he was an Indian Navy officer sent to carry out terrorist attacks in Balochistan.
After Monday's consular access, India has said that it would "continue to work towards ensuring that Jadhav receives justice at the earliest and returns safely to India".
In response to a query as to why India accepted Pakistan's offer after having earlier rejected it because of pre-conditions, the spokesperson said that the meeting was important to gauge the health and well-being of Jadhav. There is a possibility that India may ask again for consular access. This time, Pakistan had cited jail manual to deny permission to the Indian diplomatic to speak to Jadhav in private.
Until and unless Jadhav can speak fearlessly to Indian officials about the circumstances in which he was arrested and then allegedly tortured to give a "confession", any such consular access with be nothing less than a sham. The International Court of Justice should take note of this in the light of the Vienna Convention.
Click Here to Watch Full Video | Get connected on Twitter, Instagram & Facebook
Tweets by @RajatSharmaLive


Hello! My name is Mrs. Corn, and I am so thrilled to be your child's teacher! It is going to be a fun year full of lots of learning and new adventures. I can't wait to see what the year has in store for us! I want to know all about you and your child, but first I'm going to tell you a few things about me.
I love teaching kindergarten and all the exploring, learning, and fun we get to have! I can't wait to help your child become a reader. This is my 13th year teaching kindergarten, and I have a Master's degree in Education.
My husband and I live in Ottawa, and we love it there. We have a son that is six years old named Hayden. So there is never a dull moment at our house! Hayden is a Sunset Hill Eagle too!
I love to shop for: shoes, purses, jewelry and school supplies!


text:
Paola Ricciardi
Dr Paola Ricciardi
Dr Paola Ricciardi is the Fitzwilliam Museum's Senior Research Scientist. She is responsible for the scientific aspects of the MINIARE research project, which uses a cross-disciplinary approach to study medieval and Renaissance illuminated manuscripts. She is also engaged in research on other types of objects such as medieval polychrome wood sculptures, early Modern portrait miniatures, and 18th century ceramics and glass. Paola has co-authored over 30 refereed papers and book chapters, and recently finished co-editing the two-volume proceedings of the 'Manuscripts in the Making: Art and Science' conference (Cambridge, 2016). She has lectured widely at scholarly conferences and study days, and given numerous public talks for general audiences in Cambridge. She holds a PhD in Cultural Heritage Science from the University of Florence (2008) and a Master's Degree in Physics from the University of Rome (2003). Before joining the Fitzwilliam Museum in October 2011, she spent three years at the National Gallery of Art in Washington DC as the Samuel H. Kress post-doctoral Fellow in Imaging Science. She is a member of ICOM (International Council of Museums), ICON (The Institute of Conservation) and AIAr (Italian Association for Archaeometry), and regularly acts as reviewer for several scientific publications.
Paola's main research interests include the technical analysis of cultural heritage objects, particularly with non-invasive analytical methods; the study of artists' materials and techniques; and the transfer of knowledge between artists and craftsmen working in different media. She is keen to find new ways to communicate her scholarly activities to ever broader audiences; in 2014, she co-wrote and produced a short film for the 'Cambridge Shorts' initiative ('The Colourful Page'). She also helped design and produce content for the online research resource 'ILLUMINATED: Manuscripts in the Making', launched in July 2016.
Recent/Major Publications
Edited volumes
- S. Panayotova and P. Ricciardi (eds.), Manuscripts in the Making: Art and Science, 2 vols., Harvey Miller/Brepols, London and Turnhout, 2017-2018
Refereed papers in primary journals
- L. Nodari and P. Ricciardi, Non-invasive identification of paint binders in illuminated manuscripts by ER-FTIR spectroscopy: a systematic study of the influence of different pigments on the binders' characteristic spectral features, Heritage Science 7 (2019), forthcoming
- S. Panayotova and P. Ricciardi, Painting the Trinity Hrabanus: Materials, Techniques and Methods of Production, Transactions of the Cambridge Bibliographical Society Vol. XVI/part 2, vol. 1, 2017 (published 2018), 227-261
- S. Legrand, P. Ricciardi, L. Nodari, K. Janssens, Non-invasive analysis of a 15th century illuminated manuscript fragment: point-based vs imaging spectroscopy, Microchemical Journal 138 (2018), 162-172, dx.doi.org/10.1016/j.microc.2018.01.001
- L. Calatroni, M. d'Autume, R. Hocking, S. Panayotova, S. Parisotto, P. Ricciardi and C.-B. Schönlieb, Unveiling the invisible: mathematical methods for restoring and interpreting illuminated manuscripts, Heritage Science 6 (2018), p. 56 (with additional images available online at https://doi.org/10.6084/m9.figshare.c.4242968.v1)
- J. K. Delaney, P. Ricciardi, L. Glinsman, M. Palmer, J. Burke, Use of near infrared reflectance imaging spectroscopy to map wool and silk fibres in historic tapestries, Analytical Methods 8 (2016), 7886-7890, dx.doi.org/10.1039/c6ay02066f
- P. Ricciardi, S. Legrand, G. Bertolotti, K. Janssens, Macro X-ray fluorescence (MA-XRF) scanning of illuminated manuscript fragments: potentialities and challenges, Microchemical Journal 124 (2016), 785-791, dx.doi.org/10.1016/j.microc.2015.10.020
- A. Pallipurath, J. M. Skelton, P. Ricciardi, S. R. Elliott, Estimation of semiconductor-like pigment concentrations in paint mixtures and their differentiation from paint layers using first-derivative reflectance spectra, Talanta 154 (2016), 63-72, dx.doi.org/10.1016/j.talanta.2016.03.052
- J. K. Delaney, M. Thoury, J. G. Zeibel, P. Ricciardi, K. M. Morales, K. A. Dooley, Visible and infrared imaging spectroscopy of paintings and improved reflectography, Heritage Science 4 (2016), 6, dx.doi.org/10.1186/s40494-016-0075-4
- C. Anselmi, P. Ricciardi, D. Buti, A. Romani, P. Moretti, K. Rose Beers, B. G. Brunetti, C. Miliani, A. Sgamellotti, MOLAB® meets Persia: non-invasive study of a sixteenth-century illuminated manuscript, Studies in Conservation 60/S1 (2015), S185-S192, dx.doi.org/10.1179/0039363015Z.000000000223
- J. K. Delaney, P. Ricciardi, L. D. Glinsman, M. Facini, M. Thoury, M. Palmer, E. R. de la Rie, Use of imaging spectroscopy, fibre optic reflectance spectroscopy and X-ray fluorescence to map and identify pigments in illuminated manuscripts, Stud. Conserv. 59(2) (2014), dx.doi.org/10.1179/2047058412Y.0000000078
- M. Aceto, A. Agostino, G. Fenoglio, A. Idone, M. Gulmini, M. Picollo, P. Ricciardi, J. K. Delaney, Characterisation of colourants on illuminated manuscripts by portable fibre optic UV-visible-NIR reflectance spectrophotometry, Anal. Methods 6 (2014), 1488-1500, dx.doi.org/10.1039/C3AY41904E
- P. Ricciardi, A. Pallipurath, K. Rose, 'It's not easy being green': a spectroscopic study of green pigments used in illuminated manuscripts, Anal. Methods 5 (2013), 3819-3824, dx.doi.org/10.1039/C3AY40530C
- P. Ricciardi, J. K. Delaney, M. Facini, L. Glinsman, Use of imaging spectroscopy and in situ analytical methods for the characterization of the materials and techniques of 15th century illuminated manuscripts, J. Am. Inst. Conserv. 52(1) (2013), 13-29
- K. Dooley, S. Lomax, J. Zeibel, C. Miliani, P. Ricciardi, A. Hoenigswald, M. Loew, J. K. Delaney, Mapping of Egg Yolk and Animal Skin Glue Paint Binders in Early Renaissance Paintings Using Near Infrared Reflectance Imaging Spectroscopy, Analyst 138 (2013), 4838-4848, dx.doi.org/10.1039/C3AN00926B
- P. Ricciardi, J. K. Delaney, M. Facini, J. G. Zeibel, M. Picollo, S. Lomax, M. Loew, Near infrared reflectance imaging spectroscopy to map paint binders in situ on illuminated manuscripts, Angew. Chem. Int. Ed. 51 (2012), 5607-5610, dx.doi.org/10.1002/anie.201200840
- P. Ricciardi, Ph. Colomban, A. Tournié, V. Milande, Non-destructive on-site identification of ancient glasses: genuine artefacts, embellished pieces or forgeries?, J. Raman Spectrosc. 40 (2009), 604-617, dx.doi.org/10.1002/jrs.2165
- P. Ricciardi, Ph. Colomban, A. Tournié, M. Macchiarola, N. Ayed, A non-invasive study of Roman Age mosaic glass tesserae by means of Raman spectroscopy, J. Arch. Sci. 36 (2009), 2551-2559, dx.doi.org/10.1016/j.jas.2009.07.008
- P. Ricciardi, Ph. Colomban, V. Milande, Non-destructive Raman characterization of Capodimonte and Buen Retiro porcelain, J. Raman Spectrosc. 39 (2008), 1113-1119, dx.doi.org/10.1002/jrs.1918
- P. Ricciardi, L. Nodari, S. Gualtieri, D. De Simone, B. Fabbri, U. Russo, Firing techniques of black slipped pottery from Nepal (12th-3rd century B.C.): the role of Mössbauer spectroscopy, J. Cult. Herit. 9 (2008), 261-268, dx.doi.org/10.1016/j.culher.2007.12.003
- G. E. Gigante, S. Ridolfi, P. Ricciardi, Areas and limits of employment of portable EDXRF equipment for in situ investigations, ArcheoSciences – Revue d'Archeometrie 29 (2005), 51-60 (available online)
Contributions to symposia and compiled volumes (refereed* or otherwise)
- S. Panayotova and P. Ricciardi, The Artists, in The Breslau Psalter. MS 36-1950, Cambridge, The Fitzwilliam Museum. Commentary to the Facsimile Edition, Quaternio Verlag Luzern, 2018, 255-268
- P. Ricciardi, Appendix II. Technical Analyses, in The Breslau Psalter. MS 36-1950, Cambridge, The Fitzwilliam Museum. Commentary to the Facsimile Edition, Quaternio Verlag Luzern, 2018, 291-293
- G. Bertolotti and P. Ricciardi, The Use of Copper Sulphates in Sixteenth-Century Flemish Illumination: Simon Bening as a Case Study, in S. Panayotova and P. Ricciardi (eds.), Manuscripts in the Making: Art and Science vol. 2, Harvey Miller/Brepols, London and Turnhout, 2018, 118-131
- S. Legrand, P. Ricciardi and K. Janssens, The Benefits of Scanning Illuminated Manuscripts with MA-XRF and MA-rFTIR, in S. Panayotova and P. Ricciardi (eds.), Manuscripts in the Making: Art and Science vol. 2, Harvey Miller/Brepols, London and Turnhout, 2018, 169-181
- S. Panayotova, L. Pereira Pardo and P. Ricciardi, Illuminators' materials and techniques in fourteenth-century English manuscripts, in S. Panayotova and P. Ricciardi (eds.), Manuscripts in the Making: Art and Science vol. 1, Harvey Miller/Brepols, London and Turnhout, 2017, 46-63
- P. Ricciardi and S. Panayotova, Painting materials in the Fitzwilliam Book of Hours: new discoveries, in S. Panayotova and P. Ricciardi (eds.), Manuscripts in the Making: Art and Science vol. 1, Harvey Miller/Brepols, London and Turnhout, 2017, 144-155
- *P. Ricciardi and S. Panayotova, A holistic, noninvasive approach to the technical study of manuscripts. The case of the Breslau Psalter, in A. Nevin and T. Doherty (eds.), The noninvasive analysis of painted surfaces: scientific impact and conservation practice, Smithsonian Institution Scholarly Press, Washington DC, 2016, 25-36
- S. Panayotova (ed.). COLOUR. The art and science of illuminated manuscripts, Harvey Miller/Brepols, London, 2016, wrote technical appendix and co-authored two essays and twenty-four entries for the printed catalogue: essays 2 and 7, cat. nos. 1, 4-8, 11, 13, 15, 19, 26-30, 33-36, 90, 96, 97, 102, 105.
- P. Ricciardi and A. Pallipurath, The five colours of art: non-invasive analysis of pigments in Tibetan prints and manuscripts, in H. Diemberger, F.-K. Ehrhard and P. Kornicki (eds.), Tibetan Printing: Comparison, Continuities and Change, Brill, Leiden and Boston, 2016, 485-500
- P. Ricciardi and A. Pallipurath, Colours, in M. Elliott, H. Diemberger and M. Clemente (eds.), Buddha's Word: The Life of Books in Tibet and Beyond, Museum of Archaeology and Anthropology, Cambridge, 2014, 103-104
- *P. Ricciardi, M. Facini, J. K. Delaney, Painting and illumination in early Renaissance Florence: the techniques of Lorenzo Monaco and his workshop, in D. Saunders, M. Spring and A. Meek (eds.), The Renaissance Workshop, Archetype Publications, London, 2013, ISBN: 9781904982937, 1-9
- *P. Ricciardi and Ph. Colomban, Raman spectroscopy of ceramics and glasses, in J. M. Chalmers, H. G. M. Edwards and M. D. Hargreaves (eds.), Infrared and Raman Spectroscopy in Forensic Science, John Wiley & Sons Inc., 2012, ISBN: 9780470749067, 417-426, dx.doi.org/10.1002/9781119962328.ch8c
- *P. Ricciardi, F. Amato, Ph. Colomban, Raman spectroscopy as a tool for the non-destructive characterization of slips and glazes of a "sgraffito" Renaissance production, in K. T. Biró, V. Szilagyi and A. Kreiter (eds.), Vessels: Inside and Outside, Proceedings of EMAC'07, Hungarian National Museum, Budapest, 2009, 217-222, ISBN 9789637061677
- *P. Ricciardi, L. Nodari, B. Fabbri, S. Gualtieri, U. Russo, Contribution for a mineralogical thermometer to be applied to low fired and/or non-carbonate ceramics, in S. Y. Waksman (ed.), Archaeometric and Archaeological Approaches to Ceramics, Proceedings of EMAC'05, Archaeopress, London, 2007, 13-18, ISBN 9781407301297
- *G. E. Gigante, S. Ridolfi, M. Colapietro, P. Ricciardi, Quantitative analysis of ancient metal artefacts by means of FP-EDXRF spectrometers: a critical review, in R Van Grieken and K. Janssens (eds.), Cultural Heritage Conservation and Environmental Impact Assessment by Non-Destructive Testing and Micro-Analysis, 2005, Taylor & Francis Group, London, 1-10, ISBN 9789058096814
- P. Ricciardi and J.K. Delaney, Multispectral and hyperspectral imaging of artworks, in S.L. López Varela (ed.), The Encyclopedia of Archaeological Sciences, Wiley Online Library, 2018, dx.doi.org/10.1002/9781119188230.saseas0394
- C. Slottved Kimbriel and P. Ricciardi, A closer look at the cabinet miniature of Lord Herbert of Cherbury, National Trust Collections website, 29 May 2018, http://www.nationaltrustcollections.org.uk/article/a-closer-look-at-the-cabinet-miniature-of-lord-herbert-of-cherbury
- ILLUMINATED: manuscripts in the making, research and teaching resource co-authored with S. Panayotova and D. Jackson, 2016, www.fitzmuseum.cam.ac.uk/illuminated


Lohmann, pioneer in adhesive bonding, today offers adhesive high-tech solutions around the globe.
On October 8th, Lohmann´s new production site in Gebze (province of Kocaeli), on the outskirts of Istanbul, was inaugurated with many guests..
In February 2011 Lohmann opened a sales office in Istanbul. Seven years later, it proves to have been the right decision: Lohmann has built a new production site. On approx. 3.100m², different state-of-the-art converting machines now produce adhesive high-end products primarily for the local customers. Altogether, the team in Turkey successfully developed customer relationships, expanded business with existing customers and attracted new ones in the home appliance, furniture, profile manufacturing and automotive sectors. Long-term Lohmann distribution-partner "Matis Matbaa" in Izmir is also in the loop. Together with the Lohmann team they have successfully developed the market in the graphics sector, which is a focus market for Lohmann.
With this new presence in Turkey, Lohmann is able to provide better service directly to local customers. Furthermore, the company wants to expand alongside other international companies who are using Turkey's strategically strong position as hub for the Middle East.


text:
Speeches and Remarks
President Áder: It is not too late to save Earth
To mark World Water Day, President János Áder said it is not too late to save Earth, but people must change their everyday habits in order to protect the environment.
János Áder
According to MTI, the president said the importance of water should not be forgotten even during times of war. Environmental challenges will not ease, and food and energy supplies could become strained unless changes are made in the near future, he added. President Áder said that despite the pandemic coming to an end, the price of electricity, gas, oil and coal have been rapidly increasing, with inflation hitting a thirty-year record worldwide. There has been a surge in starvation, and despite the narrowing of resources, global consumption exceeded the Earth's resources by 1.7 times, he added. The significant drop in grain production resulting from the Russia-Ukraine conflict could have a serious effect already in the short term, with the United Nations having purchased 85 percent of grains supplied to refugees from these two countries in the past, he said. Decision-makers must fulfil their promises, but even ordinary people can contribute to change by avoiding unnecessary purchases, cutting back on food waste and reducing consumption which burdens the environment, President Áder said.
Photo credit: MTI
Minister: Europe's very existence is dependent on its citizens
Tibor Navracsics, the minister of regional development, said Europe's very existence is dependent on its citizens, so EU policymaking must better represent the European people as well as reflect the agendas of its institutions.
President Novák holds talks with Italian counterpart in Rome
"We agreed that by starting the war, Vladimir Putin has crossed the Rubicon. Our common goal is to stop the war as soon as possible and have peace," the president said on Facebook.
PM Orbán holds talks with Turkish Foreign Minister in Budapest
The prime minister said Hungary is committed to further strengthening economic ties with Turkey and is working to increase trade volume to an annual 6 billion dollars.
Copyright © 2023. All rights reserved. •Impressum


Sit on the floor, bend your knees and place your feet up against the wall. (If you have a partner, sit facing each other and place the bottom of your feet against each other—see image.) Keeping your abdominals tight, take the medicine ball and bounce off the wall above your feet, and catch the ball as it returns. (Or throw to partner and partner returns throw immediately.) It may take some time to master the balance and the bounce/catch, but this is what makes these moves work! Repeat the bounce/catch 12 times while maintaining your position. Rest for 30 to 60 seconds and repeat. Work your way up to three sets of 12 to 15 bounce/catch reps.
Tip: This move is great for core strength and tight, defined abs.
Get into a modified push up position, and balance yourself using the medicine ball. Keeping your abdominals tight and back straight, bend your elbows outward and lower yourself down to touch the medicine ball. Straighten back up to starting position. Perform 10 to 12 reps, depending on fitness level. Rest for 30 to 60 seconds and repeat. Work up to three sets.
Tip: This move concentrates on the chest, triceps and shoulders, and strengthens core.
Sit on the floor with knees bent and slightly lifted off floor. With medicine ball in both hands, lean back and keep abdominals tight. Twist with ball to left side and then to the right side. Repeat twist to each side for 12 to 15 reps, depending on fitness level. Rest for 30 to 60 seconds and repeat. Work up to three sets.
Tip: This move works all areas of the abdominals, while also hitting the shoulders and back.


Course Description The course "Economics and Computation" provides mathematical and algorithmic tools to deal with strategic-interaction situations. It mainly includes two classes of problems: algorithmic game theory and algorithmic mechanism design. Algorithmic game theory studies algorithmic tools to solve non-cooperative games. The course focuses on some solution concepts (maxmin, Nash, Stackelberg equilibrium) and provides, for every solution concept, the appropriate algorithms to solve real-world problems. Algorithmic mechanism design studies algorithms to design economic mechanisms (e.g., auctions). The course focuses on different set of properties a mechanism can satisfy, and for every set it provides the appropriate algorithmic mechanism.


text:
与William Craig Rice就人文学科的学习进行的可选式访谈
学会如何学习:帮助你掌握复杂学科的强大智力工具(Learning How to Learn)
本课程将介绍各领域专家所使用的学习方法,他们包括艺术家、文学家、数学家、科学家、运动员和很多其他领域专家。我们将学习如何使用两种不同的大脑模式,以及大脑如何封装("chunks")信息。我们还将介绍能力错觉(illusions of learning),记忆技巧,对付拖延症的方法,以及研究表明能帮助我们掌握困难科目的方法。 无论您在所学领域是专家还是菜鸟,您都可以使用这些方法,改变自己的思维模式,重塑自己的人生。如果您是所学领域的专家,通过学习大脑认知的底层知识,您可以进一步提高自己的学习能力,您将了解反直觉的考试技巧和见解,从而能够更高效地完成作业和习题。如果您在学习中遇到困难,系统有效的学习技巧将帮助您将走上正轨。无论您希望学习什么内容,这门课程都可以作为您的指南。
A really amzing course which helps me a lot improve in other subjects. I encourage everyone should take this couse before taking any other course.\n\nBy the way, thanks for the lecturers and coursera.
A very useful and inspiring course make me understand myself more on how to progress on learning. The teachers taught the course in a very easy-to-access way for students, and also very interesting.
复兴式学习与释放你的潜力
本单元我们将更多地探讨提升学习能力的重要理念与技巧。你还将了解怎样与其他学员更有效地互动、怎样认识到自己的优势、怎样避免"冒充者综合征"。战斗机飞行员与外科医生利用清单来帮助自己理清重要的任务,你也可使用类似的清单帮助自己备战测验。最后你还将更多地了解在学习中充实自我的乐趣。
可选项:第1部分:怎样才能不参加测验,与Richard Felder博士和Rebecca Brent博士的访谈11:03
可选项:第2部分:学习新事物、与Richard Felder博士和Rebecca Brent博士的访谈9:05
可选项:第3部分:冒充者综合征和治疗拖延症,与Richard Felder博士和Rebecca Brent博士的访谈9:55
可选项:作家John Maguire(readablewriting.com)谈论在自己的写作中添加对象的重要性20:16
与William Craig Rice就人文学科的学习进行的可选式访谈40:48
Hong Chee Joo
Seleccionar un idiomaAlemán (German)BengalíChino (simplificado)Chino (tradicional)Español (Spanish)EstonioFrancés (French)GriegoHebreoInglés (English)PersaPolacoPortugués (de Brasil)Portugués (europeo)RumanoRuso (Russian)SerbioVietnamitaÁrabe (Arabic)
>> William Craig Rice is the Director of the Division of Education Programs
at the National Endowment for the Humanities, which sponsors seminars for
college and school teachers on subjects as diverse as Shakespeare's plays,
Mayan civilization and the Civil Rights Movement.
Bill's remarks today don't represent the views of the National Endowment for
the Humanities, but are simply his as a teacher, writer and scholar.
Bill previously served as the 12th president of Shimer College,
the Great Books college of Chicago and he taught writing seminars for
many years at Harvard University.
He's the author of public discourse and academic inquiry and
of essays and verse in cultural periodicals.
He was recently given a life time achievement award for
contributions to the humanities by Utah Valley University.
It's a pleasure to speak here today with Bill Rice.
Bill, I've seen you in action, reading difficult material.
For example, Adam Smith's Rhetorical Discourses.
You seem to be able to synthesize and
chunk the essential ideas in difficult reading material like that very easily.
Do you have any suggestions for
us mere mortals about how we can do something a little similar.
>> I don't know that I'm any better at this than another reader would be,
because what I start with is just noticing.
I was taught this a long time ago that you don't need to be ready to analyze or
make an argument or otherwise elaborate.
Just read and when you notice something, mark it.
Just noticing is a neutral act,
it's giving your own mind credit for being alive.
That's really important and I mark with a little vertical sign on the margin.
Other people could use other methods, but I think that's the starting point.
Once you do that, you may notice that you're noticing the same thing over and
over again.
In which case, I call it a pattern an original idea, but you look for patterns.
And that's related to the idea of chunks, except that I guess
chunks can also be sections of, of argument that you begin to detect.
I find too is something that's potentially really dry, like rhetoric and written.
Basically, what we were reading was lecture notes taken by someone else of
a man who's mainly famous for other things,
namely inventing the modern science of economy, but also as a philosopher.
So, I found that the best thing to do was to notice and watch for patterns.
>> Well, probably early on here, we should define what do we really mean.
What, what are the humanities?
Don't people get confused about this?
>> Well, they do.
People think it means humanitarian as in humanitarian aid.
They think it means humanity as in some great cause for
saving the world from ourselves.
And actually, the humanities are a number of academic disciplines.
Philosophy, the study of religion, literature, history, art history.
To some extent, anthropology when it's most
concerned with should we say, the human nature.
Those are the fields and there, there are others that creep in,
classics certainly, archeology.
They're actually called the humanities,
because what happened was when the fields were being divided,
you had the natural sciences, like physics and astronomy and chemistry.
And then you had the social sciences, the hard kind of social sciences,
like psychology, sociology.
And when they were done with those that,
everything that was left was called the humanities.
So, it was a process of elimination and they got left on the table.
They're, it, that's the definition, but it's strange, because people don't get it.
Similarly, people often don't understand the term liberal arts.
They are, some people, I remember one fellow saying to me.
Well, what about conservative arts?
And, you know, with liberal education, what about conservative education?
You get, people understand the basic, ter, misunderstand the basic terms.
Perhaps, because thy haven't been taught them.
It's not deliberate.
But we're saddled with terms that are unfortunate in a way,
because people don't understand them.
>> Well, good approaches to learning, often involve transfer from one field,
for example, mathematics to another field, like music or language.
But each field has its own special challenges.
Are there approaches that you reco, would recommend that are applicable,
particularly applicable for the humanities?
>> Yes. One broad point is that in chemistry.
Although in the theoretical realm, there are lots of ambiguities and
uncertainties among those who are doing pioneering work.
For the, for a large part, for those of us who are studying at a relatively
introductory or intermediate level there are answers to be arrived at
through methods that are, will help illuminate how a field works.
This will be true in chemistry or astronomy.
There are measurements to be taken.
There are all kinds of re, reasonably objective,
repeatable exercises that determine what knowledge is.
And this isn't, I don't mean to over simplify the sciences, but
that's broadly true and it's not broadly true in the humanities,
which are are concerned with questions more than with answers.
You have to be interested and tolerant of at least ambiguity
the idea that a question remains unsolved for
pretty much the entirety of human history or at least of recent human history.
So, it's important to understand that controversies aren't settled in
the humanities.
They're more likely simply to be raised and explored.
That's the, those are the broad brush the broad brush need you have in the,
in humanities when you're approaching it particularly at the beginning.
That you're not striving for direct compete, final answer.
This is hard for students who have been trained to take exams and get, you know,
get to the right answers by whatever, by whatever means they can.
Instead in the humanities, what you admire in in the work of someone who's
just figuring things out, it's a kind of openness to contrary evidence.
That seems to me broadly, the way to go.
As to the specific fields there are lots of sub-que, sub,
sub-questions or, or second order problems to explore.
But broadly speaking in the humanities, it's about tolerance of ambiguity.
And at a certain point, a real love of ambiguity, which can of course,
become quite frustrating for people.
[LAUGH] Because you never feel like you're getting an answer from this guy at
the front of the class or wherever.
>> That's true.
That I think that's so true and it's such a different way of looking at things
than we, for example, in engineering and how we look at things.
But I think actually, both approaches can be so interesting and useful.
And I think for, for engineers and for those in humanities,
sort of getting an understanding and
a tolerance of both of our perspectives is probably worth while.
Students in the humanities, sometimes complain that they're expected to make
arguments, but they don't have anything to say.
>> Mm-hm.
>> So, it's not that they don't care, they do the reading.
They actually participate in all the discussions.
>> They wanna be involved, it's just they can't come up with a position to defend.
So what advice would you give in this circumstance?
>> Well, [LAUGH] I was in that position myself for many years.
I thought it was borderline preposterous to call on me to have anything to say or
to ask me to write a, an eight or ten or twelve or twenty page papers
when I really hadn't read enough to have anything legitimate to say.
I was I found this to be one of the problems in classroom education and
perhaps one of the ways in which online education could begin
to untangle a problem of the, the given time in a semester.
So I remember, again and again, feeling like the best thing I could do would be
was to read and to take notes, which I think is absolutely essential, by the way.
If you, you have to read and be content with being alone.
We talk a lot about group work, but a lot of it's solo.
Reading and taking notes.
In any case, back to the question.
I found that I was in again and
again faced with a problem of finding something to say.
So what I, the advice I give is ask for, if you don't find,
conflicting interpretations of the thing you're studying.
It might be two scholars who disagree on what Machiavelli meant when he said,
the prince should be more concerned about being feared than about being loved.
People different, differ on that and authorities differ.
If you can, if you don't find that in the materials that you're assigned
as it were seek them out.
What are the, what are the flash points?
Where are the major points of contention?
And instead of thinking, well, I agree with this side or the other side,
instead say gee.
How is this argument a stronger argument than another?
Not whether it's right or not, but whether it's stronger.
It's who has the better evidence.
Who is pointing to evidence that is harder to understand?
Who's taking on the more difficult questions?
That's the first thing that I would recommend is, is looking for
conflicting interpretations.
Another is to look at,
particularly when you're studying what we call a primary source.
I would cite Mary Wollstonecraft's work on,
on the in the late 18th century on the education of women or
Thomas Jefferson's statute for religious freedom in Virginia.
Reading that, you feel a real rhetorical power.
These people are making an argument.
What are they arguing against?
It's not often clear in the given text what the argument is.
Who, who, who and what they're aiming at?
And if you can read carefully, sometimes you can make a, what we ca, inference.
Because Jefferson is so concerned about the government giving
special treatment to members of the Anglican Church.
What we, well, why was that an issue?
It prompts one to want to know more.
So, if you have the rhetorical flashpoints in view,
you can then ask questions of an objective nature.
What was it that got Wollstonecraft or Jefferson or anyone else worked up?
What was it that got Machiavelli worked up?
Those are, those are what questions and
they send you back into historical information.
So those are some of the ways I would approach the problem of having
nothing to say.
But in the end, I wish we had a system of education that was described
to me by young woman I knew who had gone to an English University, Cambridge.
And she, I said, how did you get to be so knowledgeable and such a good writer?
And so careful in your, in your thinking.
As you said, well, all the way through four years as an undergraduate,
I was told I had to write summaries.
Summary, given an article, write a summary.
One page, one page, one page.
Pracies, they called them over there.
That was hugely helpful to her.
She wasn't asked to come up with something of her own to say, she was asked
to explain what other people had said and that was a real revelation to me.
And then from then on, when I was in the classroom I would assign summaries.
Because It wasn't, it was something you could do differently,
not all summaries had to be the same, but you would learn the material that way
without having to be invested in whether you had an argument to make.
Understanding other's thinking actually can open up one's own thinking and
my Dr. Vater Richard Marius the director of writing at Harvard
used to say, encourage your students not so much to be in, you know,
original thinkers, but to find their thinking in the thinking of others.
That's okay.
That's what, really what scholarship and learning and humanity is, is about.
It's about standing on the shoulders of others in order to understand,
perhaps a little bit better.
I know that when I'm doing writing, I often,
I think of writing as something I do to help me better understand my own thoughts.
>> Mm-hm. >> And
when I'm beginning to write something, I'm looking at the thoughts of others.
But it's, it's what I start trying to struggle with putting words in the paper
myself that I start to understand my own words.
But then observation of the woman that you knew about writing summaries,
that's such an exquisite approach to learning.
Because it, it helps neurally in code in a small chunk.
>> Mm-hm. >> What the main ideas are and
that actually does really help you to better understand your own thoughts.
And another thing I just have to bring up is that I,
I very much admire your, your thought in relation to it,
it is important to work alone sometimes.
>> Yeah. >> And we do have this enormous emphasis.
I mean, there's,
there are trends in education, in fads- >> Mm-hm.
>> So forth and they go in and out.
One of the current fads is to do a lot of group work.
>> Right. Mm-hm.
>> and I, I emphasize that myself and I think there's value in it.
But also too much group work and you start to think like other people,
instead of- >> Mm-hm.
>> Thinking independently.
>> Yeah. >> And part of what I
think we value in western society, in modern society is this idea to think
more independently as well as to understand the opinions of others.
>> So, anyway, with that,
what hinders students most from learning in the humanities?
>> Well, you know,
I think it gets back to this problem of being comfortable with ambiguity.
A feeling that there is some way of understanding that, that,
that they haven't got yet.
And that the teacher has and is in a very frustrating way,
insisting they find for themselves.
That I think is, is, is a psychological level and
at a level of interaction certainly in a classroom though, less so
online where one is working primarily in the solo context.
The another problem, though is that what we call discipline-specific learning.
It's not the same to play chess and play baseball to to,
to do many different things in life.
To cook well.
To To make furniture.
Not all skills are really transferable.
It's, there's discipline specific understanding.
And, in a,
it, there's a certain kind of reasoning that takes place with historians.
They go into archives, they find the a rare set of letters between a,
an early Nobel Prize winner and his editor and they look into that and
they find all kinds of issues of the day were boiling right beneath.
These letters have, have remarks on the outbreak of World War I
that are very hard to understand and that to a historian is fascinating.
Something distant, archival.
It takes a certain kind of thinking, what was it that was bothering people?
What, what were the arguments that are not being made?
What inferences can we make from a,
an old source that nobody's looked at in a long time?
That's what historical reasoning is partly about.
It's about other things as well.
In in, in other fields, say, take art history,
you have the notion of building on, on achievements.
The discovery of ways of accurately depicting
perspective which occurred in the 15th century.
That builds, that then builds to other achievements some achievements in the arts
were really, really advanced in the classical era, in sculpture the depiction,
accurate depiction of the human body is recovered later on in the renaissance.
So there's a notion of building on, on previous achievements.
That's a, a way of understanding that is particularly common in our history.
Where it's breakthrough, after breakthrough, after breakthrough.
Getting up finally to the influence of African sculpture on on European artists,
in, in the, at the turn of the last century.
And, and with Cubism.
So, these are ways of understanding that are specific to the disciplines.
Anthropologists look at topics like marriage or,
exchange, or or food prohibitions in very different
from the ways that a that, that, that we typically look at.
So they have a broad view of all kinds of human variations, and literary scholars
are probably those who are most pursuant who pursued the ambiguities of,
of, of, of language most energetically because poetry and
novels depend on multiple meanings, multiple layers of interpretation.
And, none of them ab, absolutely certain.
Some of them probably wrong but that's been an issue in the field for some time.
So, it's, I would say the disciplines have their own ways and
those are frustrating because people want to understand
a given field coming in with what they already have from another field.
In your materials which I thought were so helpful, the eye of Einstellung.
You come in to a problem with mental equipment that solved
the last problem that you solved and it doesn't work.
For example, you could look at history.
Partly eh,
almost any historical phenomenon from the point of view of competition.
But if you take the,
the lens of competition to other subjects it doesn't work.
You can take chronology and it doesn't always work.
There, so, it seems to me those are some of the things that stand between a person
studying humanities for, for the first time, or for the first time in a while.
And, and a feeling of accomplishment.
So one thing that, that surprises me sometimes,
is I so love people who come with a, a background in the humanities
because of their tolerance of ambiguity, except for one thing.
They often are intolerant of lack of ambiguity.
>> Hm.
>> And they can think that people with a scientific training or
an engineering training, are simplistic because things are so straightforward.
And of course that's, that sort of putting their own lens in their own
stereotypes on what's going on in those fields because often there's much more
ambiguity and divergence of approaches, that might be a imagined.
But also, I think sometimes lack of ambiguity is okay.
If something is clear, if 2 plus 2 actually does equal 4.
You know, that's not necessarily a bad thing to have that lack of, ambiguity.
So, anyway, the, there's just such differences.
>> Well, I, that's actually, particularly a problem, that the frustration is a,
is a very understandable one.
I think it's most, most felt in the field of the study of literature.
They're trends that have affected teaching for the last 30, 40 years.
That, say an effect that, or at least that are understood, whether correctly or
not, to say that you are, that an interpretation can, is, that all
interpretations have some validity because they occurred in an individual mind.
Well, sometimes things are flat out wrong.
And, we, in the Humanities, we have not been
sufficiently attentive to the, the idea of validity.
>> Uh-huh.
>> Of, of implausibility, of being wrong about a given thing.
There are sometimes interpretations that are mounted, that are flat out just wrong.
And claims made that are indefensible that wind up falling
apart including some great thinkers.
Sigmund Freud was caught out in his interpretation of Leonardo da Vinci.
He relied on the mistranslation of the key word in the text, and his entire
interpretation was built on that, on that one flaw, and once that flaw was revealed.
The, the, it was a house of cards.
Similarly, I understand, though I don't know this case as well,
that, Martin Heidegger was called out on a misinterpretation of
a painting by Van Gogh of, shoes.
And in both cases the man who called them out was an art historian
who knew the material a lot better.
So, humanists tend to get into a lot of trouble when they try to be
interdisciplinary.
Sometimes they do it and do it brilliantly.
But, one thing about scientists that I so admire, is that they
have tremendous respect for the limitations of their own understanding.
This, this is built into lab work.
To the careful pursuit of conclusions, some of which don't work out.
In fact, a lot of which don't work out.
Very comfortable with that.
Because when you find out you're wrong, in a,
in an experiment in a, in sequencing DNA that is knowledge.
That's a contribution.
That this avenue doesn't go anywhere.
That it leads to an, you know, that it was unproductive.
I haven't seen that kind of recognition in the humanities very much.
>> Right. Well, one thing I sometimes notice is that
there is this tendency for moral relativism that can arise and
The way that is found out of that is sort of, there's a happy medium to everything.
>> Mm-hm. >> And so I always,
I kinda think sometimes.
Well is there a happy medium then to genocide?
I mean if, you know, if no genocide and
then there's genocide does that mean that there's a happy medium in where, you know?
>> Yeah. >> Which is, I,
I think all of these things, sometimes an engineering approach or
a more scientific approach to these kinds of issues where,
where you are able to make a decision as to whether something is right or wrong.
It can be helpful.
>> Well, absolutely.
And I'll even go one better, which is that it's not the case that creativity and
imagination are the primary primarily owned by the humanities.
I don't believe that for a minute.
The, a scientist is testing implausible ideas and really testing them.
And there, the creativity that's gone into computer science,
into modern physics, just to take the most staggering example.
There, there's tremendous energy and
imagination coupled with discipline in the sciences.
So, when people, and when people talk about philoso,
the humanities taking on the moral dimensions of existence.
Scientists and others do this all the time as well.
I, I think it's very unhelpful for humanists to claim that
they have some special access to a, a moral high ground.
This is probably not true, and certainly unhelpful in advancing the cause and
making people want to study literature or history or philosophy or,
or comparative religion which is something we really need now.
>> Right. >> We need to understand other religions,
because we're mixing up in ways we never did before.
>> Right, right.
>> And, and that's the most pressing of our needs, it seems to me.
And it's it's one thing the humanities scholars and
the humanities texts and so forth can really help people do.
>> Let me ask you this.
So, what about the use of online resources like Wikipedia?
Do you have any sorts of advice for us there?
>> Well the jury is still out on all of that, but it's, what I understand is that
in classes, whether online or in person people are often discouraged
from using those sources, unless they go through some kind of vetting.
On the one hand, if you look up a Wikipedia entry for something that is
fairly remote, and not very controversial, or not controversial at all.
Such as navigable rivers in Africa or
the history of a given plant,
its migration across across the globe, historically.
Which has happened, is one of the interesting things is botany.
There you might get a pretty reliable case in the, in the Wikipedia entry.
But if you look up something like the Kennedy assassination, or
the Reagan administration policy in Central America.
Or any number of other subjects of great controversy.
Then the Wikipedia entry is a kind, is a battleground.
And that may be interesting to look at, but if you're looking for information you,
you're in, you get into trouble.
It used to be that you could say if any site has a .edu after it,
that that was a good sign, but th, that seems to me not,
not something you'd wanna take to the bank.
In many cases a .edu is a good sign, but there are some subjects on which,
there are, you know, fringe elements, within academia that present
as objective ideas or information that, that others would challenge.
Main thing is to, that I happen to know that certain things are controversial,
and you happen to know that.
But a person starting out, or kind of midway through the study of a given
subject, can't be expected to know what's controversial.
So you're really out at sea with online resources.
This was true of print resources in the past as well.
Things like comments on online sources sometimes can reveal
a controversy embedded.
If you have an, an entry in, in a blog with 264 comments
following it, you can bet that something in there ticked people off.
And that there's something at, in dispute.
So I, those are, those are, I think the problem is not, is not resolved yet.
We don't have a Good Housekeeping seal.
And we have some mater, some sites from learned societies that
are probably more reliable than others, but many of them are restricted access.
So you don't really know.
You have to be a paid up member
in order to get access to what other scholars have vetted.
In, and in that case you know,
that's not much help to a person out there trying to learn on his or her own.
I wish I could give a more, a more encouraging answer.
I think things are just working out.
The great news on online resources is that if you're interested in a,
well, I, I read a lot of poetry, and I think of a particular author and
I hear about a poem, I look, and there it is online.
Now, I will say though, typos slip in.
The additions of different poets sometimes are at variance and
sometimes it really matters.
Even a comma in a Robert Frost poem can be a matter of considerable
contention among those who are devoted to Robert Frost.
And which edition of Leaves of Grass by Walt Whitman you're looking at can
be a matter of great concern.
So, even there, there's a sloppiness to a lot of what's online.
And an inattentiveness to things like accidentals, and, and formatting.
And in a lot of cases really quite hideous formatting that are hard on the eyes,
and doesn't make one want to read.
So there are many, many issues at stake.
Again, I wish I could say something more emphatically encouraging, but
it's what we have.
It's all, in many ways, all to the good, because things are available now that were
just required a trip to a major library in the past.
>> Well, I think one thing that's of interest for people is, Daniel Kahneman,
the Nobel Prize winning psychologist has, he has made the point that
there's our fast thinking system and our slow thinking system.
And our fast thinking is emotionally based, and so
things like empathy and sympathy for others that, that's very fast.
>> And logical thinking is slow, much slower.
>> Hm. >> So often what very intelligent people
can do is they can leap to conclusions based on their fast thinking systems.
And once they have leapt to those kinds of conclusions, Einstellung kicks in.
They already think they have the answer, and so
they're not gonna think about more rational considerations.
>> Hm. >> So it,
my own research area involves how altruism, well meaning efforts,
can go awry, and actually end up harming people.
>> Mm-hm. >> So sometimes, I think,
in these Wikipedia articles people will go in, and they'll edit, and
they'll They'll rewrite directly counter to what is known in the facts.
But they do that because they really think they're helping others.
Those fast systems have kicked in and you overwritten everything else,
and so, facts kind of can go out the wayside.
>> Mmhm.
>> And I find that whole circumstance very interesting.
But the one really interesting thing about that is you can have a really smart person
who jumps to conclusions.
They think they've got the right answer for helping people.
And then other people can jump on board and
you can think hey look there's a large group of people.
They must all be right >> Mmhm.
>> There couldn't be that many people that're being wrong.
But actually that herd can go right along
doing things that can be very harmful for people.
And, we saw that with national socialism in in Nazi Germany.
>> Right. >> We saw that in Communist Russia with
Stalin.
We, we've, so large groups of people can become involved in these kinds of things.
Well, I have to ask you though.
You are probably one of the most wide-read just interested in new
things people I've ever met.
>> Oh.
>> So what kinds of things do you, do you do and what could you say to our viewers
about how to kind of keep interested and, and keep your love of learning alive.
Any, any final thoughts on that.
>> Thank you, I don't, I don't think of myself as having that much of a range but
I, I, I do read what I feel like reading.
And, for better or worse, I seem to have continued to do it.
It hasn't always been professionally to my advantage but
I did it anyway because I just felt that to do anything else would have
bored me or turned me into something I didn't want to be.
You create your own world.
And if you get to choose what's in it, you have a,
only yourself to blame if things don't work out, but you also have your,
you have some self, sense of self awareness that comes from, making choices.
I think people should trust what interests them.
I don't mean just follow your dreams but, but to be disciplined about the dream.
To choose books or ideas, particularly those that aren't,
don't represent too deep a commitment.
Try something short before try, trying something long.
Guess that's why I'm attracted to poetry, you can come back and re-read and
re-read but it's not, they're not that long, most poems.
Artwork's the same thing, you can keep coming back to look at something or
a particular event if it's recorded on YouTube or on a, or, or
a speech, something that's, that's, in effect,
not quite memorizable, but easy to commit in a lot of detail to memory.
Stock your memory.
Because when you're bored if you're waiting in line to get on an airplane or
you're waiting for your car to be fixed and
you have a flat tire and, you know, or whatever.
If you have your mind well stocked with fairly specific, and
tight, and coherent things, it makes life a lot easier to get through.
And is a source of enter, you know, entertainment, or even of passion.
I think reading is the main way to, where I happen to have gotten.
But it wasn't always voluminous,
but rather selective according to my interests.
A lot of people in America, thanks to technology,
have a great commitment and love of music.
It wasn't possible a, a hundred years ago.
You, you didn't have phonograph, well, you had phonographs just be coming out and,
you know, the recorded sound technology was making some progress.
But a hundred years before that you, you had to listen to music being played.
It had a great power in human life back then, but now it's everywhere.
It's annoyingly everywhere, actually.
But we, if you get to choose it, again, if you choose your music you can.
You can choose other things in life.
And it's all really readily available thanks again to the magnificent
opportunities.
The wealth of what's on the web.
But with music you take that and I happen to be very important to me and so I think
one of the good things that's happened is we have lots of good biographies.
Identify ideas and history and
other things that concern you with the lives and achievements of individuals.
Goes against something of the grain and where we think, that, that, you know,
in some academic circles the individual has been demoted and
that what we're really just dealing with is social forces.
And there are social forces behind the music of Johann Sebastian Bach or
of Ludwig von Beethoven or Friedrich Chopin, those happen to be my mainstays.
There are certainly social forces behind the Beatles.
Or between, behind the early Joan Baez or Bob Dylan,
others that are important to me, personally.
Those are, so there you have biographies available.
You get curious about the individuals who made history.
It, there, there are you know,
the lives of individuals can inspire us, can warn us,
can give us, permission to seek.
I, that for me is the great thing about the humanities,
is that, that we do get biography.
We also get biographies of great scientists.
I think of Walter Isaacson's biographies of great scientists and
those are, those are wonderful humanistic texts that he created for us.
>> Absolutely.
>> And they're many others that are out there.
John Elliot Gardiner has a new biography of Bach.
There always seems to be another book about Beethoven every year.
And so whatever it is that inspires you.
Even tragic figures like Van Gogh.
Or William Blake, or many others.
People who've, who led less than happy lives are wonderful to read,
and, and to know.
I think getting to know people in history is a wonderful experience.
>> I just, not long ago, read,
read Sam Gwynne's Empire of the Summer Moon, about the Comanches.
Now, I'm, so that made me a fan of Sam Gwynne and
now I'm reading his Stonewall Jackson and.
>> Wow.
>> I just love, I'm a biography junkie.
>> Yeah. >> And I'm always surprised at how I can
be inspired by both the triumphs and the mistakes of people in history.
I think it lends great examples for all of us.
>> On the matter of biography, if I could just add a little squib here.
Autobiography is another great source.
And, I, for me,
one of the most important books I ever read was the first thing that was assigned
to me in my first college course was The Confessions of Jean-Jacques Rousseau.
And he talked a little bit about teaching and music.
He was a music teacher.
>> And he said he didn't really know anything about music but
he knew he could stay one lesson ahead of his students.
And I thought now, that's inspired, maybe I should be a teacher.
There was my, my invitation.
And I think reading autobiography can encourage students and
people ta, in classes and, and people doing online courses.
>> In writing their own.
Write a memoir.
What was it about that person that who just died who was important in your life.
Write about him.
What about the person who's, who's, whom you know has, had troubles in life and
seems to be making, making, making things go well.
What is it.
It can be private.
But I think that, that autobiography leads to memoir and this can be again for
personal private consumption and it can turn into more than that.
So that's another, again,
something that of course scientists have written autobiographies.
Again nothing special about the humanities here except it
seems to have landed in our territory.
>> [LAUGH] Yes.
>> [LAUGH] >> Well thank you so much again.


The Jones Strand Metal Ball wooden curtain pole kit is available with an oak or wenge (black) finish. The metal ball is a really popular finial design chosen for its modern design which works well in both contemporary and traditional settings.
The metal ball finial style in this stunning Jones Interiors Strand range is available in a choice of four fashionable colours on either a light oak or wenge stained 35mm hardwood pole.


text:
Georgia Headline USA
Queen 'is preparing a special secret to honour Kate' to mark 10 years of marriage to Prince William
January 23, 2021 admin 0 Comments #marriage, dailymail, femail, honour, Kate Middleton, preparing, Queen, Royals, Secret, special, years
Queen and Kate Middleton have a 'fantastic relationship' and monarch is is 'preparing a surprise' to honour Duchess on 10th wedding anniversary in April, royal expert claims
Queen 'likely planning something' for Kate and Prince William's 10th anniversary
In 2019, Queen made Kate a Dame Grand Cross of the Royal Victorian Order
Royal expert said Duchess of Cambridge and Queen have excellent relationship
He added it was believed that Kate taught Her Majesty how to use video calls
By Georgia Simcox For Mailonline
It's almost 10 years since they walked down the aisle at Westminster Abbey, and the Queen is reportedly planning a new honour for Kate Middleton to mark a decade of marriage to the future King.
On the couple's eighth anniversary in 2019, the Queen bestowed her highest seal of approval, making the Duchess of Cambridge, 39, a Dame Grand Cross of the Royal Victorian Order.
Awards under the Royal Victorian Order are made personally by the Queen for services to the sovereign, and the Queen is said to be considering another prestigious honour for April, in recognition of Kate's work as a member of the monarchy
Royal expert Duncan Larcombe told OK! magazine: 'It's highly likely she'll be planning a special secret something to honour Kate's 10 years in the royal family – something she can do to mark it.
The Queen is likely planning something to honour Kate Middleton as she and Prince William prepare to celebrate their 10th anniversary in April
'Kate and the Queen have a fantastic relationship.
Kate strikes that balance between bowing to her as head of the royal family in public but being able to check in with her as the great-grandmother to her children.'
He added that, despite the ongoing pandemic, the Queen and Kate have remained close with the Duchess having a direct line to speak to Her Majesty.
Kate checks in on her and gives her updates on her and Prince William's children – George, seven, Charlotte, five, and Louis, two.
On the couple's eighth anniversary in 2019, the Queen bestowed her highest seal of approval, making the Duchess of Cambridge, 39, a Dame Grand Cross of the Royal Victorian Order
The Duke and Duchess of Cambridge married on 29 April 2011 and share three children – George, seven, Charlotte, five, and Louis, two
Duncan also said that it is believed Kate taught the Queen how to use video calls, so that she could see her great-grandchildren while they were unable to visit each other.
Through her royal work, the Duchess of Cambridge has supported her own causes such as early years development of children.
She has also travelled to the Commonwealth on behalf of the monarch and helped to raise awareness about mental health alongside her husband and Prince Harry, Duke of Sussex.
Kate recently thanked NHS staff for 'going the extra mile' after hearing how a nurse played Bon Jovi as he held the hand of a dying patient.
She spoke to nurses from the University Hospitals Coventry and Warwickshire NHS Trust via video link to hear about their work and thank them for their efforts during the pandemic.
He added that, despite the ongoing pandemic, the Queen and Kate have remained close with the Duchess having a direct line to speak to Her Majesty and is 'believed Kate taught the Queen how to use Zoom, so that she could see her great-grandchildren via video call'
During the call, Kate heard the touching story of a senior nurse who held the hand of a dying patient and played his favourite band Bon Jovi after his wife could not make it to his bedside.
Kate praised Vasu Lingappa for going the 'extra mile' and shared a lighter moment with the NHS worker who joked the patient's wife had wanted him to sing the rock group's hits – but he declined because of his strong Asian accent.
She made the call from the Queen's Sandringham estate on Tuesday, after the monarch loaned her and Prince William the residence to use as their working base during lockdown.
Through her royal work, the Duchess of Cambridge has supported her own causes such as early years development of children and helped to raise awareness about mental health alongside her husband and Prince Harry, Duke of Sussex
← Is Kent Covid variant REALLY deadlier? Confusion mounts as studies differ
Twitter suspends Antifa accounts, linked to violent protests after Biden's inauguration | The State →
How much money does Gloria Estefan have? | The NY Journal
Portland commissioner who wants an $18m cut to the police department called 911 on her Lyft driver
Mystery Over Recruit Killed During Police Training In New Jersey | The State
December 4, 2020 admin 0


Took-off from Dobbins AFB, Georgia on a planned cross country ferry flight to Edwards AFB, California. Shortly after take-off and during rendezvous with two chase F-15s at 1335 hours the F-22 ingested a 8.5 pound Loon in its right engine. Surprisingly even though a lot of damage to the engine, the engine continued to operate normally.
Damage to the aircraft was to the intake and the engine itself. The engine could not be repaired.


text:
PLEASE NOTE: This course was retired on 14 Feb 2019. This means it is no longer being updated or maintained, so information within the course may no longer be accurate. FutureLearn accepts no liability for any loss or damage arising as a result of use or reliance on this information.
0:08Skip to 0 minutes and 8 secondsLAURA JAMES: Once you've found your missing man, you may want to know more about the action that claimed his life. One of the ways you can do this is by looking at the war diary of the unit where he served. Every single military unit, the headquarters of the AIF, and all medical and support battalions were asked to record their daily location, a summary of activities and operations, any orders, instructions, or messages received, as well as an assessment of the strength of the unit. Sometimes unit diaries also included maps, photographs, and sketches to accompany the entries. However, these diaries are all different in the amount of information that they share.
0:47Skip to 0 minutes and 47 secondsSome of this is due to the type of unit recording the entries. Casualty Clearing Stations and ambulances are obviously a lot different to battalions, or the Light Horse regiment. But these diaries also vary, depending on the interest of the officer recording the experiences themselves. Some of them are extremely detailed and provide a wealth of information for researchers. Others are sporadic and limited in their communications. Unit diaries can also be somewhat difficult to explore, as you need to know both the military unit that you're wanting to search and the precise date of the event that you're looking for. The database of First World War unit diaries is presented as a list of military subclasses.
1:32Skip to 1 minute and 32 secondsIf you are looking for a Battalion diary, you will need to select AWM, subclass 23, to find an infantry battalion. If you are searching for a Light Horse regiment, you will need to select AWM, subclass 10, Light Horse Units. Today we'll be looking at the war diaries of the Number 1, First Australian Casualty Clearing Station. So I have selected to view the unit diaries relating to the medical, dental, and nursing units. After selecting the military class you wish to browse, the database will take you through to a list of units. Again, I'm searching for the Number 1, First Australian Casualty Clearing Station.
2:11Skip to 2 minutes and 11 secondsOnce I have found and selected the unit I'm looking for, I can see a chronological list of that unit's war diary entries. I'm searching for the unit diary from July 1917 for this exercise. This is the front page of the diary of the Number 1 First Australian Casualty Clearing Station from July 1917. By using the navigation tools, I can move my way through the diary, zoom in and out of the entries, or view a PDF of the document as a whole. This entry records the events and activities occurring at the Number 1 First Australian Casualty Clearing Station in the few first days of July 1917.
2:52Skip to 2 minutes and 52 secondsIt records the station's location at Bailleul France, and most specifically, for my research today, on the injury of Staff Sister Rachael Pratt on the 4th of July. It reads, "An enemy airplane dropped a bomb in our tent
3:07Skip to 3 minutes and 7 secondsat 3:40 AM. Sister R. Pratt, AANS, was wounded in the right shoulder and right lung. Rachael Pratt was a nurse from Country Victoria. After tending to Turkish prisoners and Australian soldiers invalided from Gallipoli on the Greek island of Lemnos, Rachel worked in Egypt and England before arriving in France in 1917. It was here in July that she suffered severe shrapnel wounds to the back and shoulder, which penetrated through to her lung. Rachael continued to nurse her patients until collapsing herself. She was awarded a Military Medal for her bravery and courage, one of only seven Australian nurses to be recognised in such a way.
3:54Skip to 3 minutes and 54 secondsAfter a period of convalescence, she returned to France before being invalided home to Melbourne in 1917, suffering chronic bronchitis. In later years, due to her experiences, Rachael Pratt also suffered psychological trauma as a result of her war experiences, eventually becoming permanently and completely incapacitated and confined to a mental asylum. Rachael is one of the stories we have featured this week. And we'll return to her story again at the end of this course when we consider repatriation records. Unit diaries are a great comparison tool for researchers, providing context and additional details on an event that a person's service file may not going into. However, these diaries are all different in the information that they share.
4:40Skip to 4 minutes and 40 secondsSome are extremely detailed and provide a wealth of information. Others are sporadic and limited in their communication. Rachael Pratt's service file notes that she was wounded in action in France. But the unit of the First Australian Casualty Clearing Station, where she was also working as a nurse, is able to provide us with the exact time, location, and a description of how Rachael was wounded. Although not every wound or death of an Australian service personnel of the First World War is reported in the unit diaries, they are worth checking, if only for context.
How to access war diaries
Watch Laura James guide you through the process of accessing war diaries on the Australian War Memorial website.
Note: Websites referred to in this presentation were accessed in early 2015 and there may have been minor modifications to some of the sites since then.
© Monash University 2018. CRICOS No. 00008C
2.22video
How to access Red Cross Wounded and Missing Files
How to access the Roll of Honour
How to find the location of war memorials
How to access digitised diaries
How to access war artwork
Introduction and exploration of historical artefacts
How to access books and images on Trove
How to access newspaper articles on Trove
How to access film archives
How to access Repatriation Files
Hadrian's Wall: Life on the Roman Frontier
Explore the archaeology of the most heavily fortified frontier in the Roman Empire, its people and their lives.
How to Read a Novel
Get underneath the skin of a novel by understanding some of the main building blocks of modern fiction.
Learning Online: Researching Your Project
Discover how to conduct online research effectively by exploring tools and strategies to help you with your research project.
Browse more in History


It makes sense to start off this series of talks with Bubble Bobble Old & New. Just look at the site name! It's also the last game I gave a 9.0 rating to. Yes people, it's been two years since a game received that high a score from me. That should tell you how bloody fantastic this is.
BBO&N proved to be not only one of the rarest GBA games ever made, but also one of the most sought after. It goes for about twenty bucks used, which is pretty pricey for a GBA game, especially one that only cost 19.99 new and MIB! Not only did it pack the original 100 level Bubble Bobble that remains near video game perfection since the days of yore, but it also gave us an updated version of the game with new graphics, remixed music, and even some new enemies. Most remakes/sequels never live up to the promise of the original. Even the DS's Bubble Bobble Revolution is proof of that. But the "New" version of Bubble Bobble stayed very close to the original, almost to where the new version is just the original with some botox and a face lift.
If you're not familiar with Bubble Bobble, then more's the pity. The game is simple and cute. Two kids, Bub and Bob have their girlfriends kidnapped by a big bad and are turned into Dragons that breathe bubbles instead of fire. To rescure their lady loves, they must journey into the Cave of Monsters. Spooky! Well, not really, because the monsters are as cute as your playable dino buddies.
Half puzzle game, half action game, a gamer must be as quick with their head as they are with their fingers. Speed is also of importance for if you don't clear the level in a certain amount of time, the monsters get faster and angier. If you STILL can't clear it after yet another predetermined interval, an un-killable Bub/Bob seeking ghost will come for you.
Bubble Bobble Old & New takes you back to when games were still highly original and challenging as hell. To be honest, level 71 is still insanely difficult for me and I generally can only beat it in two player co-op mode. Of course, the preferred way to beat the game is in two-player mode. That's the only way one can see the real ending to the game. Of course, if you do beat it on your own, you're treating to what this website is named after. It's rare to find a game that rewards you for playing it with your friends, complete with a special ending. But then, Bubble Bobble is one of those few games who excels in greatness in all ways.
The original Bubble Bobble in the arcade and on my NES still remains to this day one of my top twenty favorite games of all time, regardless of genre or system. It's no wonder that when this game was released in Europe six months before it hit stateside, I imported it and had it within the same week it was originally released. Although the GBA version is still hard to find, you can easily pick up Taito Legends for the Xbox or Bubble Bobble Revolution for the DS and see why a twenty year old game continues to be re-released with each passing generation.


PlayStation 4 update 4.5 will be arriving pretty soon, and Sony is looking for beta-testers before it's released.
Sony writes that it's "nearly time" for the new PS4 software update, which will offer several new features and improvements. Those interested in testing the new firmware ahead of its release can sign up for the software beta program starting today. The beta kicks off next month, and users must be 18 years or older to participate.
More info on the upcoming new PlayStation 4 update will be shared soon. As always, we will keep you updated.


Have you ever come across an event registration form link and didn't fill it up because it was too lengthy? Or maybe the efforts were too much in comparison to the event benefits? We all have been through this at some point of time, haven't we? And so have your prospective registrants.
Event planning is a thrill in itself. Back in graduation days, while planning conferences for college, I remember how much time and energy it used to take in convincing people to register at the event. In spite of good marketing tactics, we didn't reach our goal.
The reason being our registrations forms were repealing. And hence I realised that not only the marketing is essential but design and aesthetics plays a crucial part as well. We were making the mistake of not considering the power of good and organised form but you DON'T.
Therefore, in this article, I am going to discuss what it takes to design the registration form which is efficient in converting your website visitors into potential attendees.
Understanding the psychology behind the registration form design can significantly increase your event registration process and data collection while creating a smooth experience for the registrants as well. Learning this will help you collect the exact data you need quickly without confusing or distracting attendees.
Form fatigue is a term coined for what happens when an attendee feels that the energy to be spend on filling out the form is not worth the benefits it is going to reap.
Here are a few tips to improve your event registration form.
#1 Ask only what you need: Nobody likes seeing a long list of questions as soon as they hit the 'Register' button. Simplicity should be your primary aim when it comes to designing the event registration forms.
Don't ask for the information twice like 'confirm password.' That extra data might be useful for the future endeavors but is it really worth loosing a potential attendee presently? No. Hence, short is sweet.
#2 Be clear and concise: This one is very obvious. When you keep your labels short, precise and up to the point, it gives breathing space to the eyes as well as registrant. It won't be commendable if you' be opting for large and unambiguous labels.
Don't make your attendees think too much. By asking complex questions, you're not only making them think but also having them work upon interpreting these questions.
#3 Leverage Gestalt Principle: Gestalt Principle states that when things are organised or grouped in a certain manner, our brains tends to assume that they are interrelated.
Hence, place specific and related questions (like name, username, password, company, country, etc) in their own specific group to make it easier to see and interpret. This cuts down on time as well as makes the form look cleaner and smarter for attendees.
#4 Save energy with defaults: Save your and your attendees' time by making the format of certain information as default like time and date. This will automatically reduce the amount of errors made while filling out the form.
For example, if the label says Date of Birth,h then the field itself should have an example of how the user is supposed to be entering the data like: DD/MM/YYYY.
#5 Provide progressive disclosure: According to a psychological research, people like it when they have control over how much information they see at a time. Also, they want simplicity so that they don't get overwhelmed by too much information. This is where progressive disclosure enters!
On a simple note, use progressive disclosure to reveal specific part of form upon certain actions or conditions. For example, if you want a text reply when an attendee selects the 'other' option, then don't make it visible unless he/she chooses that option.
#6 Take time to test: Even if you follow all these tips, the biggest error you'd be making is not checking its usability. Testing the form will acknowledge what sort of errors are likely to occur and hence amend them. This will result in increasing the likelihood of your attendees actually completing the registration form.
A good registration form isn't the only one which can get you a good amount of data but will also leave a positive impact on your attendees.
Mistakes to refrain in your Event Registration Form.
Checklist for designing an event registration form.
☐ Field labels: Traditional labels work best. This isn't the place to show your creativity. Don't frustrate your user by making them stop to read.
☐ Minimise text: If you need to repeat a certain instruction, group all those questions under one column and put the instruction only once.
☐ Field width: Keep width and breadth of the text boxes in a column. It makes it easier on the eye.
☐ Field alignment: If you have more than a couple of fields, you should consider the idea of a 2 column alignment to keep the form shorter and precise in appearance.
☐ Label position: Placing the fields labels on the top of the entry box is much easier to use. Watch for word wraps and if necessary reword so that the labels fit nicely.
☐ Font style: Have you keep all of your fonts bold? Bolds are tempting and there is a natural tendency to overdo them. But don't do it. Scripts and italics are hard to read so keep it simple.
☐ White space: Keep consistent and reasonable amount of white space between and at the side of the form. Seeing the text touching the edge of the screen is a sure sign of a rush job.
☐ Optimise images: Use quality and properly sized images including logos. Bad images make your work look shabby.
☐ Mobile friendliness: If your audience is on the go, so should your registration form. If you're not available where your potential attendees are, you're missing out on many things.
Did you find it useful? Want to know how Hubilo can help you in creating the perfect event registration form?


Blessed Haven's mission is to create a stable "forever network" for youth and young adults transitioning out of foster care.
Provide life skills training, counseling, and resources that will assist youth in becoming successful adults. We hope to prepare and expose them to a more stable, cultured and progressive life style; thus propelling them into a successful adulthood.
Blessed Haven, Inc. All Rights Reserved.


This collection is full of beautiful accessory designs for all the family, they are pieces that have the stunning details and patterning that could only be Sublime. These are designs that are a sheer joy to wear, they turn everyday pieces into something truly luxurious. Whether you make these pieces as a gift or as a treat for yourself we just know you will take great pleasure in creating them, from selecting your design and picking your colours, to relishing in your finished item.


Falak-ol-Aflak Castle (in Persian: دژ شاپورخواست Dež-e Shāpūr-Khwāst, in ancient times known as Dežbār as well as Shāpūr-Khwāst) is a castle situated on the top of a large hill with the same name within the city of Khorramabad, the regional capital of Lorestan province, Iran. This gigantic structure was built during the Sassanid era (226–651).The Khoramabad River runs past the eastern and south-western side of the Falak-ol-Aflak hill providing the fortress with an element of natural protection. Today, the western and northern sides of the hill are bordered by the residential districts of Khorramabad.


text:
import Ember from 'ember';
import gridLayout from '../utils/grid-layout';

const UNIT = (units) => {
  return `${ units.share}% - (${ units.gutter } * ${ units.gutterShare})`;
};

const POSITION = (positions) => {
  return `calc((${positions.unit} + ${positions.gutter }) * ${positions.offset})`;
};

const DIMENSION = (dimensions) => {
  return `calc((${dimensions.unit}) * ${dimensions.span} + (${dimensions.span} - 1) * ${dimensions.gutter })`;
};

const MEDIA = (mediaName) => {
  return ((mediaName.charAt(0) !== '(') ? (`(${mediaName})`) : mediaName);
};

export default Ember.Component.extend({
  tagName: 'md-grid-list',

  constants: Ember.inject.service(),

  layoutInvalidated: false,
  tilesInvalidated: false,
  lastLayoutProps: {},
  tiles: Ember.computed(function() {
    return Ember.A();
  }),

  _invalidateLayoutListener: Ember.computed(function() {
    return Ember.run.bind(this, () => {
      this.send('invalidateLayout');
    });
  }),

  didInsertElement() {
    this._super(...arguments);
    this._watchMedia();
    this._watchResponsiveAttributes(['md-cols', 'md-row-height', 'md-gutter'], Ember.run.bind(this, this.layoutIfMediaMatch));

  },

  willDestroyElement() {
    this._super(...arguments);
    this._unwatchMedia();
  },

  registerGridTile(gridTile) {
    this.get('tiles').addObject(gridTile);
  },

  layout() {
    try {
      let tilesInvalidated = this.get('tilesInvalidated');
      this._layoutDelegate(tilesInvalidated);
    } finally {
      this.setProperties({
        'layoutInvalidated': false,
        'tilesInvalidated': false
      });
    }
  },

  layoutIfMediaMatch(mediaName) {
    if (mediaName == null) {
      this.send('invalidateLayout');
    } else if (window.matchMedia(mediaName)) {
      this.send('invalidateLayout');
    }
  },

  _watchMedia() {

    let invalidateLayoutListener = this.get('_invalidateLayoutListener');

    for (let mediaName in this.get('constants.MEDIA')) {
      let query = this.get('constants.MEDIA')[mediaName] || MEDIA(mediaName);
      window.matchMedia(query).addListener(invalidateLayoutListener);
    }
  },

  _watchResponsiveAttributes(attrNames, watchFn) {
    let checkObserverValues = (sender, key, mediaName) => {
      let oldValue = sender.get(`old${key}`);
      let newValue = sender.get(key);

      if (oldValue !== newValue) {
        watchFn(mediaName);
      }

    };

    attrNames.forEach((attrName) => {
      if (Ember.get(this, attrName)) {
        this.set(`old${attrName}`, Ember.get(this, attrName));

        let customObserver = Ember.run.bind(this, checkObserverValues, this, attrName);

        this.addObserver(attrName, customObserver);
      }

      for (let mediaName in this.get('constants.MEDIA')) {
        let normalizedName = `${attrName}-${mediaName}`;
        if (Ember.get(this, normalizedName)) {
          let customObserverNormalized = Ember.run.bind(this, checkObserverValues, this, normalizedName, mediaName);
          this.addObserver(normalizedName, customObserverNormalized);
        }
      }

    });
  },

  _unwatchMedia() {
    let invalidateLayoutListener = this.get('_invalidateLayoutListener');
    for (let mediaName in this.get('constants.MEDIA')) {
      let query = this.get('constants.MEDIA')[mediaName] || MEDIA(mediaName);
      window.matchMedia(query).removeListener(invalidateLayoutListener);
    }
  },

  _getResponsiveAttribute(component, attrName) {
    let mediaPriorities = this.get('constants.MEDIA_PRIORITY');
    for (let i = 0; i < mediaPriorities.length; i++) {
      let mediaName = mediaPriorities[i];
      let query = this.get('constants.MEDIA')[mediaName] || MEDIA(mediaName);

      if (!window.matchMedia(query).matches) {
        continue;
      }

      let normalizedName = `${attrName}-${mediaName}`;
      if (Ember.get(component, normalizedName)) {
        return Ember.get(component, normalizedName);
      }
    }

    // fallback on unprefixed
    return Ember.get(component, attrName);
  },

  _getTileStyle(position, spans, colCount, rowCount, gutter, rowMode, rowHeight) {

    // Percent of the available horizontal space that one column takes up.
    let hShare = (1 / colCount) * 100;

    // Fraction of the gutter size that each column takes up.
    let hGutterShare = (colCount - 1) / colCount;

    // Base horizontal size of a column.
    let hUnit = UNIT({ share: hShare, gutterShare: hGutterShare, gutter });

    // The width and horizontal position of each tile is always calculated the same way, but the
    // height and vertical position depends on the rowMode.
    let style = {
      left: POSITION({ unit: hUnit, offset: position.col, gutter }),
      width: DIMENSION({ unit: hUnit, span: spans.col, gutter }),
      // resets
      paddingTop: '',
      marginTop: '',
      top: '',
      height: ''
    };

    let vShare;
    let vUnit;

    switch (rowMode) {
      case 'fixed':
        // In fixed mode, simply use the given rowHeight.
        style.top = POSITION({ unit: rowHeight, offset: position.row, gutter });
        style.height = DIMENSION({ unit: rowHeight, span: spans.row, gutter });
        break;

      case 'ratio':
        // Percent of the available vertical space that one row takes up. Here, rowHeight holds
        // the ratio value. For example, if the width:height ratio is 4:3, rowHeight = 1.333.
        vShare = hShare / rowHeight;

        // Base veritcal size of a row.
        vUnit = UNIT({ share: vShare, gutterShare: hGutterShare, gutter });

        // padidngTop and marginTop are used to maintain the given aspect ratio, as
        // a percentage-based value for these properties is applied to the *width* of the
        // containing block. See http://www.w3.org/TR/CSS2/box.html#margin-properties
        style.paddingTop = DIMENSION({ unit: vUnit, span: spans.row, gutter });
        style.marginTop = POSITION({ unit: vUnit, offset: position.row, gutter });
        break;

      case 'fit':
        // Fraction of the gutter size that each column takes up.
        let vGutterShare = (rowCount - 1) / rowCount;

        // Percent of the available vertical space that one row takes up.
        vShare = (1 / rowCount) * 100;

        // Base vertical size of a row.
        vUnit = UNIT({ share: vShare, gutterShare: vGutterShare, gutter });

        style.top = POSITION({ unit: vUnit, offset: position.row, gutter });
        style.height = DIMENSION({ unit: vUnit, span: spans.row, gutter });
        break;
    }

    return style;

  },

  _getGridStyle(colCount, rowCount, gutter, rowMode, rowHeight) {
    let style = {};

    switch (rowMode) {
      case 'fixed':
        style.height = DIMENSION({ unit: rowHeight, span: rowCount, gutter });
        style.paddingBottom = '';
        break;
      case 'ratio':
        // rowHeight is width / height
        let hGutterShare = colCount === 1 ? 0 : (colCount - 1) / colCount;
        let hShare = (1 / colCount) * 100;
        let vShare = hShare * (1 / rowHeight);
        let vUnit = UNIT({ share: vShare, gutterShare: hGutterShare, gutter });

        style.height = '';
        style.paddingBottom = DIMENSION({ unit: vUnit, span: rowCount, gutter });
        break;
      case 'fit':
        // noop, as the height is user set
        break;
    }

    return style;
  },

  _getTileSpans(tileElements) {
    return [].map.call(tileElements, (ele) => {
      return {
        row: parseInt(this._getResponsiveAttribute(ele, 'md-rowspan'), 10) || 1,
        col: parseInt(this._getResponsiveAttribute(ele, 'md-colspan'), 10) || 1
      };
    });
  },

  _getColumnCount() {
    let colCount = parseInt(this._getResponsiveAttribute(this, 'md-cols'), 10);
    if (isNaN(colCount)) {
      throw 'md-grid-list: md-cols attribute was not found, or contained a non-numeric value';
    }
    return colCount;
  },

  _getGutter() {
    return this._applyDefaultUnit(this._getResponsiveAttribute(this, 'md-gutter') || 1);
  },

  _getRowHeight() {
    let rowHeight = this._getResponsiveAttribute(this, 'md-row-height');
    switch (this._getRowMode()) {
      case 'fixed':
        return this._applyDefaultUnit(rowHeight);
      case 'ratio':
        let whRatio = rowHeight.split(':');
        return parseFloat(whRatio[0]) / parseFloat(whRatio[1]);
      case 'fit':
        return 0;
    }
  },

  _getRowMode() {
    let rowHeight = this._getResponsiveAttribute(this, 'md-row-height');
    if (rowHeight === 'fit') {
      return 'fit';
    } else if (rowHeight.indexOf(':') !== -1) {
      return 'ratio';
    } else {
      return 'fixed';
    }
  },

  _layoutDelegate(tilesInvalidated) {
    let tiles = this.get('tiles');
    let props = {
      tileSpans: this._getTileSpans(tiles),
      colCount: this._getColumnCount(),
      rowMode: this._getRowMode(),
      rowHeight: this._getRowHeight(),
      gutter: this._getGutter()
    };

    if (!tilesInvalidated && Ember.isEqual(props, this.get('lastLayoutProps'))) {
      return;
    }

    gridLayout(props.colCount, props.tileSpans, tiles)
      .map((tilePositions, rowCount) => {
        return {
          grid: {
            element: this.$(),
            style: this._getGridStyle(props.colCount, rowCount, props.gutter, props.rowMode, props.rowHeight)
          },
          tiles: tilePositions.map((ps, i) => {
            return {
              element: tiles[i].$(),
              style: this._getTileStyle(ps.position, ps.spans, props.colCount, rowCount, props.gutter, props.rowMode, props.rowHeight)
            };
          })
        };
      })
      .reflow();

    this.set('lastLayoutProps', props);

  },

  _applyDefaultUnit(val) {
    return /\D$/.test(val) ? val : `${val}px`;
  },

  actions: {
    invalidateTiles() {
      this.set('tilesInvalidated', true);
      this.send('invalidateLayout');
    },

    invalidateLayout() {
      if (this.get('layoutInvalidated') || this.get('isDestroyed') || this.get('isDestroying')) {
        return;
      }
      this.set('layoutInvalidated', true);
      Ember.run.next(this, this.layout);
    }
  }
});

redpajama_set_name: RedPajamaGithub


All our doors are hand crafted using Australian steel, ensuring the highest quality across all our projects.
Each door is unique to the client and can be customised to suit any opening.
Some common designs include single, double, bi-fold, pivot and sliding doors.
If you have something different in mind, don't hesitate to call or email us to discuss your project.
© Steel Window Design 2017. Images are protected under copyright law. Please email us to request usage for any purposes.