Something must be very wrong with things as they are if it is possible for the public to lose any portions of such a Park. Surely something can be done to prevent this ever-recurring danger of stealing, under one pretense or another, any portion of so valuable a fresh-air space in a great city like this.
The ongoing debate over the financing plan for the new Brooklyn Bridge Park, which calls for the construction of luxury condos and a hotel on six sites within the park's footprint to pay for its upkeep, has divided many in the community. In my posting on the second public meeting on alternatives to housing in Brooklyn Bridge Park, I wondered what Frederick Law Olmsted, the father of American landscape architecture, would have thought of the suggestion of housing in Central Park or Prospect Park. I found the answer in an old article from the New York Times (see above). Apparently, in 1874, Olmsted objected to a proposed building in Central Park by stating: "Will the Park, by the plan proposed, be made more valuable as a substitute to the mass of the people for a visit to the country- as affording the greatest possible healthful change of scene, of air, of mental associations from those to which they are subject under the ordinary conditions of city life?"
In 1912, shortly after Olmsted's death, park proponents had to fight to keep another building out of Central Park. City officials had proposed to reconstruct the Lenox Library near the Arsenal. The library, founded by bibliophile James Lenox in 1871, was originally located on Fifth Avenue between 70th and 71st Streets. It contained not only Lenox's vast private collection of books and documents, but also the first Gutenberg Bible that came to the New World.
In 1906, the ornate building was sold to steel magnate Henry Clay Frick for $2.5 million. Intending to build his own mansion on the spot, he offered to relocate the structure to Central Park. That suggestion, however, resulted in widespread public protest and broadened "into a general movement in favor of a strict Park policy against building encroachments of any kind."
Both the American Institute of Landscape Architects and the Parks And Playground Association were vehemently opposed to the plan and quickly organized to dissuade the Art Commission of New York City, who voted on the matter.
Artist W.B. Van Ingen, who had painted many scenes of Central Park, added his voice to the protest. He wrote: "The Park was created that the people of the city should have ready and inexpensive access to such scenes of nature as may be reached by the wealthy through their opportunities of travel. It was designed to provide means of escape from the sights of buildings, and screens of trees were placed with the avowed intention that such structures might as far as possible be shut from the sight."
Thankfully, the proposal was ultimately defeated and Lenox's collection becoming part of the New York City Public Library on 5th Avenue at 42nd Street.
A hundred years ago, as today, buildings in public parks were viewed as a dangerous precedent and against the interest of the public. For decades, New Yorkers have been able to successfully defend their green oases. Lets hope that Brooklyn Bridge Park will not be the exception that becomes the rule.
Please-NO LUXURY CONDOS in the park for the rich! PERIOD! Why are the affordable housing groups silent? Do they even know? We desperately need housing for our teachers, fireman, and the artists too. They are now priced out and being forced out of all of the neighborhoods near the park. PLEASE TELL YOUR POLITICIANS, Marty Maskowitz and the Mayor who are looking for new locations for the working people to live. AFFORDABLE HOUSING NOW OR NEVER. Put catering halls and party spaces on all the roofs and they will be sold out and have waiting lists at these park locations.


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redpajama_set_name: RedPajamaCommonCrawl


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Chrysler: an automotive legend
There are many American automobile companies. However, not all of them can be considered legendary. The Chrysler car company – can be. His homeland is Detroit – the cradle of not only American, but also the world automotive industry.
Despite the loss of independence (since 2014, 100% of Chrysler shares belong to the Italian concern Fiat), this brand retains its individuality and continues to produce cars, as well as aviation, electronic and space products.
Let's get acquainted with Chrysler closer, because along with the glorious history, the concern also has a brilliant present.
History pages of the Chrysler Corporation
Chrysler, along with General Motors and Ford, had long been part of the Detroit's "Big Three", which included only the leaders of American automobile manufacturing. In fact, Chrysler was made by its founding father Walter Chrysler and based on the three ingredients of success – enthusiasm, energy and hard work. Surprisingly, in his youth, Walter didn't even think about the automotive industry. He was a successful railway manager, and started as a cleaner in a locomotive depot. Chrysler bought his first car, already being the head of the Chicago City Railway Company – his managerial salary allowed him to become the owner of a rather luxurious car, a white Locomotive Phaeton with a red interior. And he saw it by accident, passing by the window of the showroom. Needless to say, Walter just fell in love with the gorgeous four-wheeled horse. He hadn't yet learned to drive, but several times disassembled and assembled the car, trying to understand its design principle. And then, already 35-years-old Walter worked for the Buick company, raising the stock of General Motors, and then went to the Willys corporation and raised the concern Maxwell. Chrysler's achievements as a crisis manager were so significant that he was considered the best American Manager of the automotive business. By 1924, in the commonwealth of Walter and three other equally talented engineers, the first model of Chrysler, the "Six", appeared. Consumers accepted it with a huge success, and in the first year of sales, 32 thousand copies of this car were sold. In the following year, 1925, the company Chrysler, based on Maxwell Motors, appeared. The 4-58 model was changed with the 4-88 (last two digits meant the maximum speed, which were reached by the model). Commercial success was staggering, and, by 1928, there was an opportunity to buy out the auto company that produced dodges. 1933 marked the achievement of the title of the world's largest automaker (even such car giants as General Motors and Ford were behind). And in 1934, the Airflow model was introduced, which received the world's first curved windshield and automatic transmission.
During the Second World War, the automaker switched to the production of military equipment, becoming the largest supplier to the US and British armies. Chrysler produced not only engines for aircraft, but also military trucks, the M4 Sherman light armored tanks, equipment for the attack bomber B-29 and heavy weapons for bombers and fighters. The net profit from military equipment amounted to billions of dollars. Due to financial well-being, in 1945-47, Chrysler bought 11 new plants across the country. However, the founder of the concern didn't see the success of his creation – Walter Chrysler died in 1940.
Post-war achievements of Chrysler
Even before the war, the concern was famous for installing oil filter elements, placing the engine on rubber mounts that removed vibration, installing carburetors with a downward direction of airflow, the invention of a single wraparound windscreen, etc.
Through the efforts of the new leadership of the auto giant, in 1951, the first Chrysler, which received a power steering, was presented at the car market. Later, all models of the company necessarily began to be equipped with an ignition key. In the same year, the Chrysler Hemi V8 powertrain was developed, but the engine was only used to create the next generation of sports motors. The powertrain under the Chrysler 426 Hemi name, with a capacity of 400 horsepower, brought victory to Chrysler cars at many international competitions, and in 1963 it was installed on the Chrysler Turbine Car. As the name suggests, the main feature of the car was a turbocharged engine that developed more than 500 horsepower. However, the development attracted the attention of the US government, all work on the engine was discontinued and transferred to the government, which classified further research.
The company lacked a leading genius of Walter Chrysler, the department of motor production started to make failures, and symptoms of the crisis appeared. Management mistakes affected the car assembly technology, which led to quality problems and caused a decrease in reliability and safety of the brand. Even the fact that in 1972-73 Chrysler was the leader in car sales didn't save the concern from a decline in production by the end of the 1970s. Chrysler was at risk of bankruptcy, but the U.S. government took the side of the automaker and provided substantial subsidies to the main supplier of the army. In 1983, in collaboration with Japanese Mitsubishi, the automaker introduced the first Chrysler minivans. The economic situation of the car giant gradually improved, and, in 1987, a high-profile deal was made to acquire the Italian company Lamborghini, which specializes in manufacturing of sports cars. In the same year, shares of American Motors were bought out, such well-known brands as Eagle and Jeep came under the control of Chrysler. Then various perturbations, merger with Daimler, bankruptcy, merger with Fiat, came. Meanwhile, Plymouth (1928-2001), Eagle (1988-98), Imperial (1955-65), DeSoto (1928-61) existed in different years in the company as structural units.
What does Fiat-Chrysler Corporation offer to the world now?
The alliance with Italian Fiat allowed the legendary brand to "save face". The marketing policy of the company remained thoroughly thought-out, there is enough capacity in the technological base of the concern, the dealer network has gained a worldwide scale, the motivation to create more and more perfect cars remains at a high level. All of the above makes the car giant Chrysler a great example of successful business in the production of cars. At the same time, the concern has several almost autonomous units:
Passenger cars and minivans are produced by Chrysler division, Dodge produces passenger cars, minivans, crossovers and SUVs, Ram Trucks is engaged in the production of pickup trucks and commercial vehicles, Jeep specializes on crossovers, SUVs and off-roaders, SRT is optimized for high-tech versions of a car, MOPAR – for high-class pickups and SUVs versions.
From 2011 to 2014, the company actively produced the Chrysler 200 Convertible. This is a car with 283-horsepower 3.6-liter six-cylinder unit of the Pentasta family.
In 2014, the Chrysler 200 sedan class D entered the market. The Chrysler 200 became longer, wider and taller than its predecessor, although the distance between axles was reduced. All this significantly affected the aerodynamics.
In 2015, the Chrysler 300, E class sedan with a rear or all-wheel drive, was released, – an improved version of its predecessor. A dashboard with a large central display was completely revised. The model is characterized by a new steering wheel design and a redesigned climate control unit.
In 2017, Chrysler introduced an electric car called Portal at the Detroit International Auto Show. The Chrysler Portal concept was positioned as a car for a generation of "millennials" – people born in the late 1980s and early 90s, who, according to most anthropologists, are characterized by the greatest involvement in digital technology. The electric car is equipped with a face and voice recognition system, which is used to automatically apply the settings of some systems. In particular, the car can adjust the preferred temperature for a particular person, the level of interior lighting, as well as turn on his favorite music. Like many modern concepts, the Chrysler Portal carries on board an autonomous control system that is able to exchange information with other similar vehicles, as well as with urban infrastructure. According to official representatives of the company, the fully charged car can travel up to 400 km.
Chrysler cars today require the driver not only the preference of these models, but also the presence of a driver's license (better an international one). If you still don't have such a document, don't worry. We invite you to quickly and easily process an international driver's license on our website. It doesn't take you much time and effort, especially since this document is useful while driving not only Chrysler.
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THE EXPANSIVE EMERGENCY POWER REQUIRES CHECK AND BALANCE BETWEEN AND WITHIN THE ORGANS OF GOVERNMENT
Date : 09 August 2021
Reported by : AREEJ BINTI TORLA
Gombak, 8 August 2021. It is imperative that check and balance is in place in the exercise of the expansive and generous emergency power. Emergency which calls for drastic actions does not necessary mean that the principle of limited government is excluded altogether. To the contrary, it is more pressing for the mechanism of check and balance to be unfolded during emergency considering the extra ordinary power provided to the federal government during emergency.
This is the observation in the round table discussion on check and balance in the exercise of emergency power organised by the Constitution, Administration, Good Governance, Integrity & Human Rights Research Cluster (CANGGIH) of Ahmad Ibrahim Kulliyyah of Laws, International Islamic University Malaysia which is led by Prof Dr Nik Ahmad Kamal Nik Mahmod. The event was moderated by Assoc Prof Dr Khairil Azmin Mokhtar.
According to the first panellist, Prof Farid Sufian Shuaib, emergency situation is accommodated by relaxing some constitutional structure and suspending parts of the constitution. However, the constitution requires continuous respect to rule of law while providing the tools for necessary drastic actions. Since the government at the federal level is given power to promulgate and enact laws contrary to the constitution, even taking over state government, it is necessary to appreciate the significant of check and balance over such expansive power.
For Prof Mohd Azizuddin Mohd Sani while it was worrying for the government to reintroduce provisions similar to the law against fake news under the emergency ordinance, he did not find any instances where the government could be said of using the law to trample dissent. Nevertheless, as a political scientist, he highlighted that many commentators characterised the decisions from the cabinet on the proclamation of emergency from the early years of the independence of Malaysia as political. He also took exception to the suspension of the Parliament which could provide the much needed check and balance during emergency.
It is pertinent, according to Assoc Prof Dato Dr Wan Ahmad Fauzi Wan Husain that the Yang di-Pertuan Agong plays the role as the Head of State to check on the decision and action of the government during emergency. The absence of check and balance will increase the possibility of erroneous decisions which will bring calamities to the nation. Dato Dr Wan Ahmad Fauzi invited participants to look beyond the letters of the constitution and to consider the rich indigenous content of the practice of the Sultanates that constituted the federation of Malaya and later Malaysia to better inform the interpretation of the Federal Constitution.
The panellists agreed that in discussing check and balance, the discourse should not confine only to the principle of constitutional monarchy. The other principles imbued in the Federal Constitution should also be considered such as constitutional democracy, parliamentary democracy and deliberative democracy. In this regard, the responsibility and the right to exercise check and balance is not only confined to the constituent of the three organs of government namely the executive, legislature and judiciary, but also to the people through the mainstream media and the internet including the social media.


Directions: The auction will start ending at 7:00pm on Wednesday, March 20. The first 5 items will end at 7:00pm with 5 items selling every minute. If there are any bids within the last minute, the will be an auto extend bidding time of 3 minutes since the last bid. This will continue until there is no more bidding. If you have any questions, call 320-274-5393. Thank you!


Pablo Barenbaum, PhD student at UBA, visits the University Paris Diderot from 13 October to 14 November 2015. He will be collaborating with Delia Kesner (U. Paris Diderot) and Beniamino Accattoli (INRIA).
Nicolás Álvarez will visit the Université Paris-Diderot from 19 October to 13 November 2015. He will collaborate with Prof. Olivier Carton.
Brigitte Vallée and Valérie Berthé will visit Buenos Aires in October 2015, more precisely from the 14 to the 19 of October. They will collaborate with Eda Cesaratto at the Universidad Nacional de General Sarmiento.


text:
Tasty Thailand
Everything you need to know about Thailand
Culture and Facts
What is the Salary at a Bangkok, Thailand International School?
International School Bangkok (ISB) – the best international school in Thailand, and one of the best in the world.
As have been living in Thailand for more than 15 years, I often get asked by western teachers wanting to come to Thailand what type of salary they can expect at a Bangkok, Thailand international school?
First, before I go any further, let me just say ignore what you read on Thailand forums about this issue, as the comments will usually be from western teachers in Thailand who a) are not qualified teachers and b) make low salaries themselves.
These two reasons are why they often refuse to believe salaries at a Bangkok international school are as high as they are. They are not qualified for them, and they have never been offered them.
Local hires and overseas hires at Bangkok international schools — different salaries
The first thing you should know is there are two types of hiring situations for Bangkok international schools – what are called "local hires" and 'overseas hires". If you are what the international school calls a "local hire", that means you were interviewed and hired from within Thailand.
Because of this you will usually be paid less than a teacher hired from overseas. That's primarily due to international schools being wary about hiring local western teachers because of the low-quality of many, and the fact that they are not always qualified teachers.
Overseas hires, who are usually highly-qualified teachers, on the other hand can expect to be paid a high salary and be given a truly excellent package.
You also need to know there are at least two categories of 'international school' in Bangkok.
The true international schools run to British, American or Australian educational standards, or those mid-tier international schools that are Thai-run and owned, or Malaysian, Indian etc.
While they do often offer a much better quality of education than a typical Thai school, they are not always a true international school.
Screenshot from Harrow International School's website — it is one of the top international schools in Thailand, with an extremely good reputation
Salaries at Bangkok, Thailand International Schools
So, what kinds of salaries are teachers at Bangkok international schools generally paid?
Mid-Tier International Schools
The average salary at one of these schools, (and it doesn't matter if you are local or overseas hire as they pay pretty much the same and do hire most of their staff locally), is between 55,000 and 80,000 baht typically (around $1,775 to $2,580). A good salary in Bangkok where the average English teacher (often unqualified, of course) is paid between 30,000 and 45,000 baht.
Top-Tier International School
These are the schools like International School Bangkok (ISB), Shrewsbury International School, Harrow International School and Bangkok Patana School (BPS).
Salaries for Local Hires
Starting salary for a 'local hire' at many such schools is at least 120,000 baht per month ($3,870). With that you will usually get a 'package' that includes a housing allowance, a return-flight home, all your belongings shipped from home etc.
Related: Which are the best international schools in Bangkok, Thailand?
One of my friends was a 'local' hire at one of the top international schools in Bangkok. His starting salary was 120,000 ($3,870) plus a 25,000 baht ($810) monthly housing allowance, plus his belongings shipped from his home country etc. All told, he was paid 145,000 baht a month ($4,680) in actual salary, plus a number of perks.
Considering the cost of living in Thailand is about one third or less the cost of America, as you can imagine that sets you up for a very nice standard of living in Bangkok.
Salaries for Overseas Hires
Salaries for overseas hires at international schools in Bangkok are usually higher — 150,000 to 18,000 baht ($4,848 to $5,860) per month plus all the perks is the norm. A headmaster or other high-level administrator would, of course, be paid even more.
Another close friend works at one of the top tier schools and is paid 165,000 baht per month. Needless to say, she is never hurting for money.
In other words, if you are a qualified teacher from a western country, and are hired while outside Thailand, you can expect a high salary. Compared to the cost of living, you can expect a salary far higher than you would receive in your own country.
Now watch the video below — Life at International School Bangkok (ISB), so you can see just why these schools pay such high salaries. They really do provide a superb education for their students, and so are willing to pay highly-qualified teachers so they can give them that.
Previous Bangkok Post Comments: Want a Laugh? Read Them
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Paul Albrighton SOLD a property in 5 hours!
#1605 1200 W Georgia St. $399,900. Coal Harbour Vancouver. Property Details - Click here.
What does it take to sell a property so fast?
Our efficient systems and experience in Downtown Vancouver put our clients ahead of the market. When it comes to selling or purchasing a loft or modern condo in Downtown Vancouver, use a specialist - not a generalist.


Take command of the road in the 2005 Dodge Dakota. Top features include a split folding rear seat, front and rear reading lights, variably intermittent wipers, a rear step bumper, front fog lights, power door mirrors, remote keyless entry, and air conditioning. Dodge also prioritized safety and security with features such as: dual front impact airbags, a panic alarm, and ABS brakes. You will have a pleasant shopping experience that is fun, informative, and never high pressured. Stop by our dealership or give us a call for more information.


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Q: SPARQL: Using filter in query I recently started using SPARQL and have an exercise to make a query that will allow me to get song titles that have a singer as their only vocalist? In this case being John Lennon the only singer.
I have a beatles.ttl data file, so far I was able to select all the songs where John Lennon is lead singer, however there are songs where he is lead singer with 2 other band members.
prefix pi:     <http://beatlesExample/ns/playsInstrument/>
prefix rdfs:  <http://www.w3.org/2000/01/rdf-schema#>
prefix m:     <http://beatlesExample/ns/musician/>

SELECT ?songTitle
WHERE {
    ?song pi:vocals m:JohnLennon .
    ?song rdfs:label ?songTitle .
}

Result:

In the query result appears all the songs in which John Lennon is the singer, but the last 2 in addition to him being the singer there's other 2 band members that are too singers in that song.
What I was trying to accomplish is a query in which I obtain every song where John Lennon is the only singer.
Data File (Beatles.ttl)
 @prefix c:     <http://beatlesExample/ns/class/> .
    @prefix t:     <http://beatlesExample/ns/title/> .
    @prefix pi:     <http://beatlesExample/ns/playsInstrument/> .
    @prefix rdfs:  <http://www.w3.org/2000/01/rdf-schema#> .
    @prefix m:     <http://beatlesExample/ns/musician/> .

t:MagicalMysteryTour  a         c:Song ;
        rdfs:label              "Magical Mystery Tour" ;
        pi:acousticrhythmguitar  m:JohnLennon ;
        pi:bass                  m:PaulMcCartney ;
        pi:drums                 m:RingoStarr ;
        pi:leadguitar            m:GeorgeHarrison ;
        pi:percussion            m:RingoStarr , m:NeilAspinall , m:MalEvans , m:GeorgeHarrison , m:JohnLennon ;
        pi:piano                 m:PaulMcCartney ;
        pi:trumpet               m:ElgarHowarth , m:JohnWilbraham , m:DavidMason , m:RoyCopestake ;
        pi:vocals                m:JohnLennon , m:PaulMcCartney , m:GeorgeHarrison .

t:PennyLane  a                  c:Song ;
        rdfs:label              "Penny Lane" ;
        pi:acousticguitar        m:JohnLennon ;
        pi:backingvocals         m:JohnLennon , m:GeorgeHarrison ;
        pi:bassguitar            m:PaulMcCartney ;
        pi:doublebass            m:FrankClarke ;
        pi:drums                 m:RingoStarr ;
        pi:electricguitar        m:JohnLennon ;
        pi:flutesorpiccolos      m:PGoody , m:RaySwinfield , m:MannyWinters , m:DennisWalton ;
        pi:guitar                m:GeorgeHarrison ;
        pi:handclaps             m:GeorgeHarrison , m:JohnLennon , m:PaulMcCartney ;
        pi:harmonium             m:PaulMcCartney ;
        pi:oboesorcoranglais     m:DickMorgan , m:MikeWinfield ;
        pi:piano                 m:JohnLennon , m:PaulMcCartney ;
        pi:tambourine            m:RingoStarr ;
        pi:trumpetsorflugelhorn  m:FreddyClayton , m:LeonCalvert , m:BertCourtley , m:DuncanCampbell , m:DavidMason ;
        pi:tubularbells          m:RingoStarr ;
        pi:vocals                m:PaulMcCartney .

t:NotASecondTime  a             c:Song ;
        rdfs:label              "Not A Second Time" ;
        pi:acousticrhythmguitar  m:JohnLennon ;
        pi:bass                  m:PaulMcCartney ;
        pi:drums                 m:RingoStarr ;
        pi:piano                 m:GeorgeMartin ;
        pi:vocals                m:JohnLennon .

t:Yesterday  a      c:Song ;
        rdfs:label  "Yesterday" ;
        pi:cello     m:FranciscoGabarro ;
        pi:guitar    m:PaulMcCartney ;
        pi:viola     m:KennethEssex ;
        pi:violin    m:TonyGilbert , m:SidneySax ;
        pi:vocals    m:PaulMcCartney .

t:LosParanoias  a         c:Song ;
        rdfs:label        "Los Paranoias" ;
        pi:acousticguitar  m:PaulMcCartney ;
        pi:percussion      m:JohnLennon ;
        pi:shaker          m:RingoStarr ;
        pi:vocals          m:PaulMcCartney .

t:LikeDreamersDo  a     c:Song ;
        rdfs:label      "Like Dreamers Do" ;
        pi:bass          m:PaulMcCartney ;
        pi:drums         m:PeteBest ;
        pi:leadguitar    m:GeorgeHarrison ;
        pi:rhythmguitar  m:JohnLennon ;
        pi:vocals        m:PaulMcCartney .

t:IGotToFindMyBaby  a   c:Song ;
        rdfs:label      "I Got To Find My Baby" ;
        pi:bass          m:PaulMcCartney ;
        pi:drums         m:RingoStarr ;
        pi:harmonica     m:JohnLennon ;
        pi:leadguitar    m:GeorgeHarrison ;
        pi:rhythmguitar  m:JohnLennon ;
        pi:vocals        m:JohnLennon .

t:Revolution1  a          c:Song ;
        rdfs:label        "Revolution 1" ;
        pi:Hammondorgan    m:PaulMcCartney ;
        pi:acousticguitar  m:JohnLennon ;
        pi:backingvocals   m:FrancieSchwartz , m:GeorgeHarrison , m:PaulMcCartney ;
        pi:bass            m:PaulMcCartney ;
        pi:drums           m:RingoStarr ;
        pi:leadguitar      m:GeorgeHarrison , m:JohnLennon ;
        pi:piano           m:PaulMcCartney ;
        pi:trombone        m:JPower , m:DonLang , m:BillPovey , m:RexMorris ;
        pi:trumpet         m:FreddyClayton , m:DerekWatkins ;
        pi:vocals          m:JohnLennon .

t:DizzyMissLizzy  a                  c:Song ;
        rdfs:label                   "Dizzy Miss Lizzy" ;
        pi:Hammondorgan               m:JohnLennon ;
        pi:HohnerPianetelectricpiano  m:PaulMcCartney ;
        pi:bass                       m:PaulMcCartney ;
        pi:cowbell                    m:RingoStarr ;
        pi:double-trackedleadguitar   m:GeorgeHarrison ;
        pi:drums                      m:RingoStarr ;
        pi:rhythmguitar               m:JohnLennon ;
        pi:vocals                     m:JohnLennon .

t:YesItIs  a                    c:Song ;
        rdfs:label              "Yes It Is" ;
        pi:acousticrhythmguitar  m:JohnLennon ;
        pi:bass                  m:PaulMcCartney ;
        pi:drums                 m:RingoStarr ;
        pi:harmonyvocals         m:GeorgeHarrison , m:PaulMcCartney ;
        pi:leadguitar            m:GeorgeHarrison ;
        pi:tambourine            m:RingoStarr ;
        pi:vocals                m:JohnLennon .

t:IWannaBeYourMan  a     c:Song ;
        rdfs:label       "I Wanna Be Your Man" ;
        pi:Hammondorgan   m:GeorgeMartin ;
        pi:backingvocals  m:PaulMcCartney , m:JohnLennon ;
        pi:bass           m:PaulMcCartney ;
        pi:drums          m:RingoStarr ;
        pi:leadguitar     m:GeorgeHarrison ;
        pi:maracas        m:RingoStarr ;
        pi:rhythmguitar   m:JohnLennon ;
        pi:vocals         m:RingoStarr .

t:ThingsWeSaidToday  a          c:Song ;
        rdfs:label              "Things We Said Today" ;
        pi:acousticrhythmguitar  m:JohnLennon ;
        pi:bass                  m:PaulMcCartney ;
        pi:drums                 m:RingoStarr ;
        pi:leadguitar            m:GeorgeHarrison ;
        pi:piano                 m:JohnLennon ;
        pi:tambourine            m:RingoStarr ;
        pi:vocals                m:PaulMcCartney .

t:HallelujahILoveHerSo
        a           c:Song ;
        rdfs:label  "Hallelujah, I Love Her So" ;
        pi:bass      m:StuartSutcliffe ;
        pi:guitar    m:GeorgeHarrison , m:PaulMcCartney , m:JohnLennon ;
        pi:vocals    m:PaulMcCartney .

t:OldBrownShoe  a        c:Song ;
        rdfs:label       "Old Brown Shoe" ;
        pi:backingvocals  m:JohnLennon , m:PaulMcCartney ;
        pi:bass           m:GeorgeHarrison ;
        pi:drums          m:RingoStarr ;
        pi:guitar         m:GeorgeHarrison , m:PaulMcCartney ;
        pi:organ          m:GeorgeHarrison ;
        pi:piano          m:PaulMcCartney ;
        pi:vocals         m:GeorgeHarrison .

t:GoodNight  a           c:Song ;
        rdfs:label       "Good Night" ;
        pi:12violins      m:Uncredited ;
        pi:backingvocals  m:MikeRedway , m:PatWhitmore , m:FredLucas , m:ValStockwell , m:IreneKing , m:IngridThomas , m:KenBarrie , m:RossGilmour ;
        pi:celesta        m:GeorgeMartin ;
        pi:clarinet       m:Uncredited ;
        pi:doublebass     m:Uncredited ;
        pi:harp           m:Uncredited ;
        pi:horn           m:Uncredited ;
        pi:threecellos    m:Uncredited ;
        pi:threeflutes    m:Uncredited ;
        pi:threeviolas    m:Uncredited ;
        pi:vibraphone     m:Uncredited ;
        pi:vocals         m:RingoStarr .

t:MemphisTennessee  a   c:Song ;
        rdfs:label      "Memphis, Tennessee" ;
        pi:bass          m:PaulMcCartney ;
        pi:drums         m:RingoStarr ;
        pi:leadguitar    m:GeorgeHarrison ;
        pi:rhythmguitar  m:JohnLennon ;
        pi:vocals        m:JohnLennon .

t:TicketToRide  a                   c:Song ;
        rdfs:label                  "Ticket To Ride" ;
        pi:bass                      m:PaulMcCartney ;
        pi:double-trackedleadvocals  m:JohnLennon ;
        pi:drums                     m:RingoStarr ;
        pi:handclaps                 m:RingoStarr ;
        pi:harmonyvocals             m:PaulMcCartney ;
        pi:leadguitar                m:PaulMcCartney ;
        pi:rhythmguitar              m:GeorgeHarrison , m:JohnLennon ;
        pi:tambourine                m:RingoStarr .

t:Ob-La-DiOb-La-Da  a      c:Song ;
        rdfs:label         "Ob-La-Di, Ob-La-Da" ;
        pi:acousticguitar   m:GeorgeHarrison ;
        pi:backingvocals    m:JohnLennon , m:GeorgeHarrison ;
        pi:bass             m:PaulMcCartney ;
        pi:bongo            m:RingoStarr ;
        pi:drums            m:RingoStarr ;
        pi:handclaps        m:JohnLennon , m:PaulMcCartney , m:GeorgeHarrison , m:RingoStarr ;
        pi:percussion       m:RingoStarr ;
        pi:piano            m:JohnLennon ;
        pi:threesaxophones  m:Uncredited ;
        pi:vocals           m:PaulMcCartney .

t:LetItBe  a              c:Song ;
        rdfs:label        "Let It Be" ;
        pi:backingvocals   m:JohnLennon , m:LindaMcCartney , m:PaulMcCartney , m:GeorgeHarrison ;
        pi:bassguitar      m:PaulMcCartney ;
        pi:cello           m:Uncredited ;
        pi:drums           m:RingoStarr ;
        pi:electricpiano   m:BillyPreston ;
        pi:leadguitar      m:GeorgeHarrison ;
        pi:maracas         m:PaulMcCartney ;
        pi:organ           m:BillyPreston ;
        pi:piano           m:PaulMcCartney ;
        pi:tenorsaxophone  m:Uncredited ;
        pi:twotrombones    m:Uncredited ;
        pi:twotrumpets     m:Uncredited ;
        pi:vocals          m:PaulMcCartney .

t:IGotAWoman  a         c:Song ;
        rdfs:label      "I Got A Woman" ;
        pi:bass          m:PaulMcCartney ;
        pi:drums         m:RingoStarr ;
        pi:leadguitar    m:GeorgeHarrison ;
        pi:rhythmguitar  m:JohnLennon ;
        pi:vocals        m:JohnLennon .

t:TheSaints  a          c:Song ;
        rdfs:label      "The Saints" ;
        pi:bass          m:PaulMcCartney ;
        pi:drums         m:PeteBest ;
        pi:leadguitar    m:TonySheridan , m:GeorgeHarrison ;
        pi:rhythmguitar  m:JohnLennon ;
        pi:vocals        m:TonySheridan .

t:LendMeYourComb  a     c:Song ;
        rdfs:label      "Lend Me Your Comb" ;
        pi:bass          m:PaulMcCartney ;
        pi:drums         m:RingoStarr ;
        pi:leadguitar    m:GeorgeHarrison ;
        pi:rhythmguitar  m:JohnLennon ;
        pi:vocals        m:GeorgeHarrison , m:PaulMcCartney , m:JohnLennon .

t:BesameMucho  a        c:Song ;
        rdfs:label      "Besame Mucho" ;
        pi:bass          m:PaulMcCartney ;
        pi:drums         m:PeteBest ;
        pi:leadguitar    m:GeorgeHarrison ;
        pi:rhythmguitar  m:JohnLennon ;
        pi:vocals        m:PaulMcCartney .

Beatles2.ttl
@prefix c:     <http://beatlesExample/ns/class/> .
@prefix t:     <http://beatlesExample/ns/title/> .
@prefix pi:     <http://beatlesExample/ns/playsInstrument/> .
@prefix rdfs:  <http://www.w3.org/2000/01/rdf-schema#> .
@prefix m:     <http://beatlesExample/ns/musician/> .

c:Singer rdfs:subClassOf c:Musician.
c:Guitarist rdfs:subClassOf c:Musician.
c:Drummer rdfs:subClassOf c:Musician.
c:Flutist rdfs:subClassOf c:Musician.
c:Trumpeter rdfs:subClassOf c:Musician.
c:Cellist rdfs:subClassOf c:Musician.
c:Percussionist rdfs:subClassOf c:Musician.
c:Harpist rdfs:subClassOf c:Musician.

c:Guitar rdfs:subClassOf c:Instrument.
c:Piano rdfs:subClassOf c:Instrument.
c:Drums rdfs:subClassOf c:Instrument.
c:Vocals rdfs:subClassOf c:Instrument.
c:Violin rdfs:subClassOf c:Instrument.
c:Viola rdfs:subClassOf c:Instrument.
c:Cello rdfs:subClassOf c:Instrument.
c:Trombone rdfs:subClassOf c:Instrument.
c:Trumpet rdfs:subClassOf c:Instrument.
c:Flute rdfs:subClassOf c:Instrument.
c:Vibraphone rdfs:subClassOf c:Instrument.
c:Bell rdfs:subClassOf c:Instrument.
c:Harp rdfs:subClassOf c:Instrument.
c:Shaker rdfs:subClassOf c:Instrument.
c:Hands rdfs:subClassOf c:Instrument.

t:piano  a   c:Instrument ;
        rdfs:label  "piano" .

t:celesta  a   c:Instrument ;
        rdfs:label  "celesta" .

t:celesta
        a c:Piano;
            a   c:Instrument ;
        pi:playedBy c:Pianist .

t:electricpiano  a   c:Instrument ;
        rdfs:label  "electric piano" .

t:electricpiano
        a c:Piano;
            a   c:Instrument ;
        pi:playedBy c:Pianist .

t:Hammondorgan  a   c:Instrument ;
        rdfs:label  "Hammondorgan" .

t:Hammondorgan
        a c:Piano;
            a   c:Instrument ;
        pi:playedBy c:Pianist .

t:harmonium  a   c:Instrument ;
        rdfs:label  "harmonium" .

t:harmonium
        a c:Piano;
            a   c:Instrument ;
        pi:playedBy c:Pianist .

t:guitar  a   c:Instrument ;
        rdfs:label  "guitar" .

t:acousticguitar  a
   c:Instrument ;
        rdfs:label  "acoustic guitar" .

t:acousticguitar
        a c:Guitar;
            a   c:Instrument ;
        pi:playedBy c:Guitarist .

t:bass  a   c:Instrument ;
        rdfs:label  "bass" .

t:bass
        a c:Guitar;
            a   c:Instrument ;
        pi:playedBy c:Guitarist .

t:bassguitar  a   c:Instrument ;
        rdfs:label  "bass guitar" .

t:bassguitar
        a c:Guitar;
            a   c:Instrument ;
        pi:playedBy c:Guitarist .

t:doublebass  a   c:Instrument ;
        rdfs:label  "double bass" .

t:doublebass
        a c:Guitar;
            a   c:Instrument ;
        pi:playedBy c:Guitarist .

t:drums  a   c:Instrument ;
        rdfs:label  "drums" .

t:drums
        a c:Drums;
            a   c:Instrument ;
        pi:playedBy c:Drummer .

t:tambourine  a   c:Instrument ;
        rdfs:label  "tambourine" .

t:tambourine
        a c:Drums;
            a   c:Instrument ;
        pi:playedBy c:Drummer .

t:snaredrum
        a c:Drums;
            a   c:Instrument ;
        pi:playedBy c:Drummer .

t:vibraphone  a   c:Instrument ;
        rdfs:label  "vibraphone" .

t:vibraphone
        a c:Bell;
            a   c:Instrument ;
        pi:playedBy c:Percussionist .

t:tubularbells  a   c:Instrument ;
        rdfs:label  "tubular bells" .

t:tubularbells
        a c:Vibraphone;
            a   c:Instrument ;
        pi:playedBy c:Percussionist .

t:handclaps  a   c:Instrument ;
        rdfs:label  "hand claps" .

t:handclaps
        a c:Hands;
            a   c:Instrument ;
        pi:playedBy c:Percussionist .

t:cello  a   c:Instrument ;
        rdfs:label  "cello" .

t:cello
        a c:Cello;
            a   c:Instrument ;
        pi:playedBy c:Cellist .

t:backingvocals  a   c:Instrument ;
        rdfs:label  "backing vocals" .

t:backingvocals
        a c:Vocals;
            a   c:Instrument ;
        pi:playedBy c:Singer .

t:double-trackedleadvocals  a   c:Instrument ;
        rdfs:label  "doubletracked lead vocals" .

t:double-trackedleadvocals
        a c:Vocals;
            a   c:Instrument ;
        pi:playedBy c:Singer .

t:trumpetsorflugelhorn  a   c:Instrument ;
        rdfs:label  "trumpets or flugelhorn" .

t:trumpetsorflugelhorn
        a c:Trumpet;
            a   c:Instrument ;
        pi:playedBy c:Trumpeter .

t:oboesorcoranglais  a   c:Instrument ;
        rdfs:label  "oboe or coranglais" .

t:oboesorcoranglais
        a c:Flute;
            a   c:Instrument ;
        pi:playedBy c:Flutist .

t:trumpet  a   c:Instrument ;
        rdfs:label  "trumpet" .

t:trumpet
        a c:Trumpet;
            a   c:Instrument ;
        pi:playedBy c:Trumpeter .

t:tenorsaxophone  a   c:Instrument ;
        rdfs:label  "tenor saxophone" .

t:tenorsaxophone
        a c:Trumpet;
            a   c:Instrument ;
        pi:playedBy c:Trumpeter .

t:harp  a   c:Instrument ;
        rdfs:label  "harp" .

t:harp
        a c:Harp;
            a   c:Instrument ;
        pi:playedBy c:Harpist .

t:horn  a   c:Instrument ;
        rdfs:label  "horn" .

t:clarinet
        a c:Trumpet;
            a   c:Instrument ;
        pi:playedBy c:Trumpeter .

t:clarinet  a   c:Instrument ;
        rdfs:label  "clarinet" .

t:clarinet
        a c:Flute;
            a   c:Instrument ;
        pi:playedBy c:Flutist .

t:trombone  a   c:Instrument ;
        rdfs:label  "trombone" .

t:trombone
        a c:Trombone;
            a   c:Instrument ;
        pi:playedBy c:Trumpeter .

t:threecellos  a   c:Instrument ;
        rdfs:label  "three cellos" .

t:threecellos
        a c:Cello;
            a   c:Instrument ;
        pi:playedBy c:Cellist .

t:threeflutes  a   c:Instrument ;
        rdfs:label  "three flutes" .

t:threeflutes
        a c:Flute;
            a   c:Instrument ;
        pi:playedBy c:Flutist .

t:threeviolas  a   c:Instrument ;
        rdfs:label  "three violas" .

t:threeviolas
        a c:Viola;
            a   c:Instrument ;
        pi:playedBy c:Guitarist .

t:12violins  a   c:Instrument ;
        rdfs:label  "12 violins" .

t:12violins
        a c:Violin;
            a   c:Instrument ;
        pi:playedBy c:Cellist .

t:viola  a   c:Instrument ;
        rdfs:label  "viola" .

t:viola
        a c:Viola;
            a   c:Instrument ;
        pi:playedBy c:Guitarist .

t:violin  a   c:Instrument ;
        rdfs:label  "violin" .

t:violin
        a c:Violin;
            a   c:Instrument ;
        pi:playedBy c:Cellist .

t:shaker  a   c:Instrument ;
        rdfs:label  "shaker" .

t:shaker
        a c:Shaker;
            a   c:Instrument ;
        pi:playedBy c:Percussionist .

m:PeteBest a c:Musician;
        rdfs:label  "Pete Best" .

m:TonySheridan a c:Musician;
        rdfs:label  "Tony Sheridan" .

m:LindaMcCartney a c:Musician;
        rdfs:label  "Linda McCartney" .

m:BillyPreston a c:Musician;
        rdfs:label  "Billy Preston" .

m:MikeRedway a c:Musician;
        rdfs:label  "Mike Redway" .

m:PatWhitmore a c:Musician;
        rdfs:label  "Pat Whitmore" .

m:FredLucas a c:Musician;
        rdfs:label  "Fred Lucas" .

m:ValStockwell a c:Musician;
        rdfs:label  "Val Stockwell" .

m:IreneKing a c:Musician;
        rdfs:label  "Irene King" .

m:IngridThomas a c:Musician;
        rdfs:label  "Ingrid Thomas" .

m:KenBarrie a c:Musician;
        rdfs:label  "Ken Barrie" .

m:RossGilmour a c:Musician;
        rdfs:label  "Ross Gilmour" .

m:StuartSutcliffe a c:Musician;
        rdfs:label  "Stuart Sutcliffe" .

m:JPower a c:Musician;
        rdfs:label  "JPower" .

m:FrancieSchwartz a c:Musician;
        rdfs:label  "Francie Schwartz" .

m:DonLang a c:Musician;
        rdfs:label  "Don Lang" .

m:BillPovey a c:Musician;
        rdfs:label  "Bill Povey" .

m:RexMorris a c:Musician;
        rdfs:label  "Rex Morris" .

m:DerekWatkins a c:Musician;
        rdfs:label  "Derek Watkins" .

m:FranciscoGabarro a c:Musician;
        rdfs:label  "Francisco Gabarro" .

m:TonyGilbert a c:Musician;
        rdfs:label  "Tony Gilbert" .

m:SidneySax a c:Musician;
        rdfs:label  "Sidney Sax" .

m:GeorgeMartin a c:Musician;
        rdfs:label  "George Martin" .

m:FrankClarke a c:Musician;
        rdfs:label  "Frank Clarke" .

m:PGoody a c:Musician;
        rdfs:label  "P Goody" .

m:MikeWinfield a c:Musician;
        rdfs:label  "Mike Winfield" .

m:RaySwinfield a c:Musician;
        rdfs:label  "Ray Swinfield" .

m:MannyWinters a c:Musician;
        rdfs:label  "Manny Winters" .

m:DennisWalton a c:Musician;
        rdfs:label  "Dennis Walton" .

m:DickMorgan a c:Musician;
        rdfs:label  "Dick Morgan" .

m:LeonCalvert a c:Musician;
        rdfs:label  "Leon Calvert" .

m:BertCourtley a c:Musician;
        rdfs:label  "Bert Courtley" .

m:DuncanCampbell a c:Musician;
        rdfs:label  "Duncan Campbell" .

m:DavidMason a c:Musician;
        rdfs:label  "David Mason" .

m:MalEvans a c:Musician;
        rdfs:label  "Mal Evans" .

m:RoyCopestake a c:Musician;
        rdfs:label  "Roy Copestake" .

m:JohnWilbraham a c:Musician;
        rdfs:label  "John Wilbraham" .

m:ElgarHowarth a c:Musician;
        rdfs:label  "Elgar Howarth" .

A: The trick is to realize that you can rephrase "John Lennon is the only vocalist" to "none of the vocalists are anyone other than John Lennon". Then you can use FILTER NOT EXISTS, like so:
FILTER NOT EXISTS {
      ?song pi:vocals ?other
      FILTER(?other != m:JohnLennon)
}

redpajama_set_name: RedPajamaStackExchange


When Nate Robinson needed branding for his newly launched woodworking business, he came to NorthIQ.
With a clear vision of what he wanted, and an understanding that he would be committing himself to a lifetime of beard ownership, Brian and Nate sat down and sketched out some ideas. Nate provided a clear direction, and some preliminary ideas, and Brian refined them to a half dozen concepts.
Settling on a bearded, circular brand design, Nate provided a few final refinements, and the Robinson Wood Design brand was created.
Nate didn't want to do a lot of website upkeep, and was looking for something that could easily showcase his work from his curated Instagram feed.
We put together a simple, flat, web page with a feed for Instagram, and a link to his Facebook presence, where Nate regularly updates new pieces and adds his availability.
Fine woodworking is a word of mouth business. Nate needed a simple, but effective business card design that could communicate what he did at a glance, represent the business, and clearly communicate his information.
A simple wood design was chosen for the front, while a two-toned, artistic design was selected for the back.
Vector files were provided to GearHeart Industries, who crafted a custom Aluminum branding Iron for Nate.
This branding iron is applied to every piece that leaves Nate's St. Thomas Ontario shop, and adds a lasting reminder of his workmanship on every piece of wood work that he creates.


text:
Prvočíslo je přirozené číslo větší než 1, které je dělitelné jen dvěma děliteli: jedničkou a samo sebou. Jednička není prvočíslo, neboť nemá dva různé dělitele. Přirozená čísla větší než jedna, která nejsou prvočísly, se nazývají složená čísla. Prvním prvočíslem je číslo 2, které je jediným sudým prvočíslem.

Formální definice
Číslo  je prvočíslem právě když platí:  nebo ekvivalentně .

Příklad
Číslo 13 má při dělení dvěma zbytek 1, při dělení třemi zbytek 1, při dělení pěti zbytek 3 atd. Říkáme, že je těmito čísly nedělitelné. Pouze při dělení 1 a 13 je zbytek 0 (dělitelné). Proto je 13 prvočíslo.

Číslo 24 je dělitelné čísly 1, 2, 3, 4, 6, 8, 12, 24. Není proto prvočíslem, ale složeným číslem.

Prvočíselnost jedničky
Jak říká základní věta aritmetiky, každé přirozené číslo je možno rozložit na právě jeden prvočíselný součin (např. 12 = 2×2×3). Pokud by byla jednička zahrnuta do množiny prvočísel, bylo by takových rozkladů vždy nekonečně mnoho (12 = 2×2×3 = 1×2×2×3 = 1×1×2×2×3 = …). Proto se jednička za prvočíslo nepovažuje, přestože podmínku dělitelnosti pouze sebou samým a jedničkou splňuje. V rámci obecnějších teorií jsou prvočísla takzvanými prvočiniteli, zatímco jednička patří mezi takzvané jednotky.

Vlastnosti
 Pokud je  prvočíslo a  dělí součin čísel  a , pak  dělí  nebo  dělí .
 Každé složené číslo lze jednoznačně vyjádřit jako součin prvočísel. Proces rozkladu čísla na jeho prvočíselné činitele (prvočinitele) se nazývá faktorizace. Např. .
 Okruh  (viz množina zbytkových tříd) je těleso, právě když  je prvočíslo. Jinak vyjádřeno:  je prvočíslo, právě když , kde  je počet invertovatelných prvků v .
 Pokud  je prvočíslo a  je celé číslo, pak  je dělitelné . (Malá Fermatova věta)
 Pokud  je kladné celé číslo větší než jedna, existuje prvočíslo  tak, že . (Bertrandův postulát)
 Číslo  větší než jedna je prvočíslo, právě když . (Wilsonova věta)
 Pokud  je konečná grupa a  je nejvyšší mocnina prvočísla , která dělí řád grupy , má grupa  podgrupu řádu .
 Pokud  je prvočíslo a  je grupa s  prvky, obsahuje  prvek řádu .
 Prvočísel je nekonečně mnoho. (Viz níže.)
 Suma převrácených hodnot prvočísel diverguje.
 Hustota prvočísel je asymptoticky , kde  je přirozený logaritmus n. Přesněji, , kde prvočíselná funkce  vyjadřuje počet prvočísel menších než .
 Největší dnes (prosinec 2018) známé prvočíslo je 282 589 933 − 1, má 24 862 048 dekadických cifer. Je to 51. známé Mersennovo prvočíslo, označované jako M82589933. Bylo nalezeno 7. prosince 2018.

Zkoumáním vlastností prvočísel se zabývá teorie čísel. Zobecněním prvočísel jsou v abstraktní algebře prvočinitelé.

Výskyt prvočísel
Prvočísel je nekonečně mnoho. (Důkaz sporem: Nechť existuje jen konečně mnoho prvočísel. Označme je . Potom číslo  není dělitelné žádným z těchto prvočísel, jelikož při dělení dostaneme vždy zbytek 1. Tím pádem číslo  musí být buď prvočíslo, nebo musí být dělitelné nějakým jiným prvočíslem. To ale znamená, že množina prvočísel z počátku důkazu nebyla úplná, což je spor s předpokladem. Tento důkaz předvedl Eukleidés.)

Podle Bertrandova postulátu lze nalézt vždy alespoň jedno prvočíslo mezi čísly  a  pro . Ve skutečnosti jich však existuje pro vyšší  daleko více. (I z této věty lze dovodit, že prvočísel je nekonečně mnoho.)

Naproti tomu lze nalézt libovolně dlouhé intervaly přirozených čísel, kde se nevyskytuje žádné prvočíslo. Například interval  obsahuje  složených čísel. Tato čísla jsou totiž po řadě dělitelná dvěma, třemi, …, .

Mnoho hypotéz o rozložení prvočísel je dodnes nevyřešených. Jeden otevřený problém je tzv. Riemannova hypotéza, která souvisí s pravidelností rozložení prvočísel a za jejíž důkaz je vypsána odměna milion dolarů.

Speciální prvočísla
Některá prvočísla lze vyjádřit v některé z několika matematicky zajímavých podob. Patří sem například:
 Fermatova čísla: Prvočísly je prvních pět čísel ve formě .
 Mersennova prvočísla: Prvočíslo ve formě , kde  je jiné prvočíslo. Mersennovými prvočísly je mnoho z největších známých prvočísel.
 Některá prvočísla lze vyjádřit ve formě .

Využití
Velký praktický význam mají prvočísla v kryptografii, například v šifrovacích systémech jako je RSA.

Pro vytvoření seznamu prvočísel existují různé algoritmy, např. Eratosthenovo síto.

Testování prvočíselnosti
Otestovat, zda je číslo prvočíslem, tedy testovat prvočíselnost je možné asymptoticky v polynomiálním čase algoritmem AKS, nalezeným roku 2002. Asymptoticky rekordní rychlost ovšem neznamená, že se jedná o algoritmus prakticky nejvýhodnější. V praxi bývá častější použití některého z pravděpodobnostních algoritmů, například Millerova-Rabinova algoritmu.

Testování prvočíselnosti pomocí algoritmu využívajícího vlastností eliptických křivek (ECPP) je nejrychlejší známý algoritmus.

Příklad testovacího algoritmu
Následující jednoduchý algoritmus implementovaný v jazyce C++ zkouší dělit vstup všemi menšími čísly od 2 do jeho odmocniny - pokud nalezne v tomto intervalu dělitele zadaného čísla, je jasné, že zadané číslo není prvočíslo. Testovat stačí pouze do odmocniny, protože pokud n je složené číslo, můžeme psát:  pro . Pokud by nestačilo testovat do odmocniny, znamenalo by to, že  a současně , vynásobíme-li ale tyto dva vztahy, máme , což je spor.
public static bool IsPrvocislo(int num)
{
    if (num == 1)
        return false;

    for (int i = 2; i < num; i++)
    {
        if (num % i == 0)
            return false;
    }

    return true;
}

Prvočísla menší než 1000
2, 3, 5, 7, 11, 13, 17, 19, 23, 29, 31, 37, 41, 43, 47, 53, 59, 61, 67, 71, 73, 79, 83, 89, 97, 101, 103, 107, 109, 113, 127, 131, 137, 139, 149, 151, 157, 163, 167, 173, 179, 181, 191, 193, 197, 199, 211, 223, 227, 229, 233, 239, 241, 251, 257, 263, 269, 271, 277, 281, 283, 293, 307, 311, 313, 317, 331, 337, 347, 349, 353, 359, 367, 373, 379, 383, 389, 397, 401, 409, 419, 421, 431, 433, 439, 443, 449, 457, 461, 463, 467, 479, 487, 491, 499, 503, 509, 521, 523, 541, 547, 557, 563, 569, 571, 577, 587, 593, 599, 601, 607, 613, 617, 619, 631, 641, 643, 647, 653, 659, 661, 673, 677, 683, 691, 701, 709, 719, 727, 733, 739, 743, 751, 757, 761, 769, 773, 787, 797, 809, 811, 821, 823, 827, 829, 839, 853, 857, 859, 863, 877, 881, 883, 887, 907, 911, 919, 929, 937, 941, 947, 953, 967, 971, 977, 983, 991, 997

Největší známé prvočíslo
Největší známé prvočíslo je 282 589 933 − 1. Jedná se o číslo, které má 24 862 048 číslic v desítkové soustavě. Číslo bylo objeveno v rámci projektu GIMPS v prosinci 2018. Jeho přesná podoba je uvedena níže, kde je pro zjednodušení zobrazeno pouze prvních a posledních 120 číslic.148894445742041325547806458472397916603026273992795324185271289425213239361064475310309971132180337174752834401423587560 ...

(mezitím je 24 861 808 dalších číslic)

... 062107557947958297531595208807192693676521782184472526640076912114355308311969487633766457823695074037951210325217902591

Odkazy

Reference

Související články
 Eratosthenovo síto
 Mersennovo prvočíslo
 Emirp
 Prvočíselný rozklad
 Prvočíselná dvojice
 Wieferichovo prvočíslo
 Ulamova spirála
 2147483647
 Ilegální prvočíslo
 Poloprvočíslo

Externí odkazy

  The Primes Pages – přehledové i aktuální informace o výzkumu prvočísel
  www.prime-numbers.org – seznam prvočísel do 10 miliard
  Prvočísla do jednoho bilionu

Čísla

Teorie čísel

redpajama_set_name: RedPajamaWikipedia


text:
Old Times: Theater review by David Cote
The first word spoken in Harold Pinter's gripping 1971 drama about a man, his wife and the wife's visiting friend is "dark." Deeley (Clive Owen) was presumably curious about the hair of soon-to-arrive Anna (Eve Best). But Kate (Kelly Reilly) might as well as be summing up the huge, glowering space that surrounds them at the American Airlines Theatre. Christine Jones's set is undeniably forceful—a back wall covered with a vertiginous vortex that lights up, the "converted farmhouse" specified in Pinter's stage directions rendered as an island of high-gloss black surfaces upon which chic modern furniture floats (close observers will note a turntable moving very slowly). Combined with incidental music by Radiohead's Thom Yorke (industrial and menacing, as you'd expect), the mood is abstract, ghostly, interior. Problem is, the play already does all that: The designers are overdoing it.
We know the British director, Douglas Hodge, more as an actor (he was last seen here in the Roundabout's 2012 Cyrano de Bergerac), so you would expect him to be stronger on acting. And indeed, Owen and Reilly are quite good: He's coiled, boastful and sexy, with an edge of sleaze; she languorously transfers herself from divan to chair as if wafted by a draft, her sloe-eyed, sleepwalker presence belying a savage final attack. As the third wheel, Best, normally a steely presence, seems stranded between her costars' choices: too bland and self-contained when she should be spiky and aggressive. Possibly overcompensating, Owen relishes the seedy and vicious side of Deeley, alternately loathing and lusting after Anna, boiling with anger against the lukewarm Best. If the central conflict of Old Times is a man trying to protect his wife from a predatory stranger (or maybe he's the stranger), it has been diluted by uncertain acting choices.
I say "if": The beauty and power of the 70-minute piece lies in how the idea of recalling one's past is a sort of betrayal, an act of violence against another. The weapons in this battle are memories—overlapping, contradicting, insinuating themselves into the present. Despite overdetermined design and asymmetrical performances, Pinter's precise, lyrical language comes through with crystalized, cutting force. Nothing here feels old; the blood flows freshly from new wounds.
American Airlines Theatre (Broadway). By Harold Pinter. Directed by Douglas Hodge. With Clive Owen, Eve Best, Kelly Reilly. Running time:1hr 10mins. No intermission.
Follow David Cote on Twitter: @davidcote
By: David Cote
Posted: Tuesday October 6 2015
http://roundabouttheatre.org


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text:
Comments/reviews: THE TASHME PROJECT, salt., CANADIAN RAJAH
by Lynn on February 4, 2019
Each of these plays: The Tashme Project: The Living Archives, Salt and Canadian Rajah, deal with individual stories of resilience, endurance, shame and tenacity. Taken together they have a common theme of racism in one form or another. Each is a story that needs to be told and heeded.
The Tashme Project: The Living Archives
At Factory Theatre, Mainspace, Toronto, Ont.
Created and performed by Julie Tamiko Manning and Matt Miwa
Directed by Mike Payette
Video design by George Allister
Sound by Patrick Andrew Boivin
Lighting by David Perreault Ninacs
Set and costumes by James Lavoie
With care and respect the show's creators, Julie Tamiko Manning and Matt Miwa, retell stories of elder Japanese-Canadians' internment in Canada during WWII.
The Stories and the Production. Julie Tamiko Manning and Matt Miwa, the creators and performers of this thoughtful, moving production, wanted to know the hidden, untold stories of internment of their Japanese-Canadian families in Canada. Their experiences in Canada, during WWII of being rounded up; taken out of their homes and put in the Canadian internment camp known as Tashme (an amalgamation of the first part of the last names of the three men who created the place) was not something they readily shared. These people were Canadian citizens and were treated as something else, 'other' because they were of Japanese descent. But Manning and Miwa were desperate to know their families' past—"our legacy" as they write in the program—and so they interviewed family elders, friends of friends and then strangers to find out the stories and pass them along.
The structure of the show is methodical. First the two decided what they needed to do and then they sought out various sources. Unfortunately many of those who experienced the internment camp of Tashme were long dead. Manning and Miwa had to rely on Nisei (second generation Japanese-Canadians and now senior citizens) for the stories of their now dead parents or to share their own experiences.
Initially the interviewees were reluctant to share their experiences they kept buried deep inside for all those years, but then the stories poured out. Julie Tamiko Manning and Matt Miwa then compiled the stories and both present them, each easily shifting from character to character, sometimes playing old men and women, rambunctious children, officials, etc. Julie Tamiko Manning is the more agile and accomplished of the two in conveying the character and the story. Matt Miwa is physically energetic but often talks so fast and swallows his words you can't understand what he is saying. Their commitment is obvious. The director, Mike Payette, keeps the pace brisk but never so rushed that you can't appreciate each story and experience.
The stories cover a whole host of experiences. As young children some of the interviewees talk of having a good time playing. Their parents tell a different story—of humiliation, despair, depression and not giving up. One elder said he never talked about it because nobody asked. That was funny in light of the next generation thinking that it was too painful to be asked and reminded of what they went through. The show does have its humour. But on the whole The Tashme Project: The Living Archives is an important show about a telling the stories of those who were interned and giving them respect and informing the rest of us of this black period in our country's history.
Factory Theatre presents The Tashme Project: The Living Archives produced by Tashme productions:
Opened: Jan. 31, 2019.
Saw it: Feb. 2, 2019.
Closes: Feb. 10, 2019.
Running Time: 90 minutes approx.
www.factorytheatre.ca
This played at the Theatre Centre on Queen Street as part of the Progress Festival, and closed Feb. 2, 2019 when I saw it.
But it transfers to the Toronto Centre for the Arts and plays from Feb. 7-10, 2019. http://www.tocentre.com/events/salt
The Story and performance. Selina Thompson is an astonishing theatre artist, writer, and provocateur. Last year as part of the Progress Festival she brought her 'show' Race Cards to the Theatre Centre. It was an installation of 1000 cards on each of which Thompson wrote a question about race.
This year as part of the Progress Festival she brings salt.
From the press information about salt.:
"A journey to the bottom of the Atlantic Ocean.
In February 2016, two artists got on a cargo ship, and retraced one of the routes of the Transatlantic Slave Triangle – from the UK to Ghana to Jamaica, and back.
Their memories, their questions and their grief took them along the bottom of the Atlantic and through the figurative realm of an imaginary past.
It was a long journey backwards, in order to go forwards.
This show is what they brought back.
salt. is about grief, ancestry, home, forgetting and colonialism.
It's about where colonial history exists in the everyday, the politics of grief and what happens inside Selina's head every time someone asks 'where are you from?' and won't take Birmingham or her mum's uterus for an answer. It's about being part of a diaspora."
salt. is also about racism, overt, subtle, in your face, angry, hopeless and not giving in to it. Selina Thompson is a woman of colour. When people ask where she is from she accurately says, "Birmingham." But then when they ask, "No where are you really from…" suggesting that because of her skin colour she had to have come from somewhere else, she persists, or treats the insensitive question with an answer equal to it.
Because Thompson's birth parents and adoptive parents are from Jamaica, Montserrat, and England she decided to retrace one of the slave ship routes along with another woman of colour (unnamed) a film-maker to create a film/project. They boarded an Italian cargo ship in February 2016 to begin the journey. The Italian captain forbade them to film during the voyage. They could not go up on the deck. They could not wander the ship at will. They had to stay in their windowless cabin. There was no internet. There was no fresh air. They ate with the crew and heard the captain and officers talking in Italian. The repeated use of the 'N' word struck her. In subtle ways the captain tried to intimidate her. When they were at the end of the voyage they were not allowed to leave the ship immediately and were forced to stay for many more hours. She longed to spit in the cruel captain's face, but didn't.
The bitter irony is that Thompson was on a ship retracing a slave ship route while she is in a sense held prisoner on the ship and treated with contempt because of her race. When they do reach land she rejoices in the air, sun, good-will of the people and her relatives in Jamaica.
Selina Thompson is an elegant, poetic, vivid writer and compelling performer. Dawn Walton is her equally gifted director. To make her points about the on-going nature of despair, contempt etc. Thompson hauls out a large, heavy rock of salt. At points in the narrative she puts on safety goggles (and instructs the first few rows of people to do the same) and whacks the rock of salt with an almost equally heavy sledgehammer. Bits break off. She notes the constricting chain of contempt from the captain to his officers, to the Filipino crew, to unions to colonialism to imperialism and on and on. She whacks at the salt chunks with every reference, sweat beading on her face. Energy expended with every strike. Salt, the stuff of life, tears and sweat.
salt. is a powerful, moving journey created by a gifted storyteller who knows how to bring her audience into the experience with respect and care. I loved that at my performance Thompson noted there was a young one in the audience (a mother brought her three young children, one of whom was almost a babe in arms) and so the performance would be deemed 'relaxed' so as not to add pressure to be quiet. If the 'young one' cried out, we would be calm about it. The 'young one' was perfect. At the end Selina Thompson says quietly she will be in the lobby to give us a gift we are to keep safe, a piece of salt. It is a symbol of sweat, tears, despair and hope.
See this! It's at the Toronto Centre for the Arts from Feb. 7-10, 2019.
Selina Thompson Ltd., the Theatre Centre and Why Not Theatre present:
Closed: Feb. 2, 2019.Running Time: 65 minutes.
Canadian Rajah
At Campbell House Museum, Queen St. and University, Toronto, Ont.
Written by Dave Carley
Directed by Sarah Phillips
Costumes by Jennifer Triemstra-Johnston
Cast: Jon de Leon
Barbara Worthy.
Commenting on this one might be a bit improper. Chick Reid was originally cast but was struck with pneumonia and had to withdraw. Barbara Worthy stepped in on Wed. Jan. 30 to take her place. I saw this on Sunday, Feb. 3 and Ms Worthy was 'on book' (she held the script in her hand) but had that character in her finger tips.
By rights I shouldn't 'review' it or comment, but I will in vague terms because the play is fascinating and the production is accomplished.
The Story and Performance. This took place in the grand ballroom in Campbell House Museum, a terrific venue if you have never been and so suitable for the play. Dave Carley has written a fascinating play based on a true story.
It's a two character play involving Ranee Ghita (born Marguerita) the British widow of the (British-born) second Rajah of Sarawak and Esca Brooke the illegitimate son of the Rajah. Sarawak is an important state in modern Malaysia.
Esca Brooke has come from Canada to London, Eng. to 'gently' request her to recognize him as the rightful son of her husband. He has papers that prove it.
Both characters give their stories to us separately. Ranee is played by Barbara Worthy and Esca Brooke is played by Jon de Leon. She is regal, imperious and beautifully turned out in traditional Sarawak garb. She knows that Esca Brooke is waiting to see her. She indicates her contempt for him and keeps him waiting on purpose. He knows it and is ready to leave in disgust but stays. He is beautifully attired in a smart suite and vest. He is a prosperous businessman, but certainly feels the sting of racism by being kept waiting on purpose. When Esca Brooke is finally ushered in to see Ranee she is all tight smiles (Worthy does this beautifully) and treats him with veiled contempt and disregard as she would anyone she feels is inferior.
De Leon has the confident bearing of a smart, hard-working self-made man. But it's a fragile stance when faced with the determined arrogance and racism of a pompous member of the British aristocracy as Ranee is. Both have embarrassing information to reveal to the other; both try to one-up each other. It's a match of wills. She thinks she has the upper hand, but we all know what happened to the mighty British Empire.
It's a fascinating story of Esca Brooke, a man of mixed blood foisted off to strangers to get rid of him as an embarrassment and taken to Canada where his adopted parents emigrated. He's successful; a loving husband and father, but he craves legitimacy and he will have it from this rude, condescending racist snob.
Bravo to Dave Carley for discovering this gem of a story and writing this fascinating play, and bravo to the two actors who faced several challengers to bring it to life.
Produced by the Canadian Rajah Collective presents:
Plays to Feb. 17. 2019.
https://canadianrajah.brownpapertickets.com/


text:
https://www.sfgate.com/sports/article/Balfour-drawing-interest-from-several-teams-4959222.php
Balfour drawing interest from several teams
By Susan Slusser
Updated 7:31 am PST, Wednesday, November 6, 2013
Free-agent closer Grant Balfour, who set an A's team record for consecutive saves last season, is attracting notice from several deep-pocketed potential contenders, including the Tigers and Yankees, according to a major-league source.
Other interested teams include the Rockies, Angels and Balfour's former club, Tampa Bay.
The A's, who are interested in starting pitching depth in the event they cannot re-sign Bartolo Colon, have inquired about several free agents, including, according to the Atlanta Journal-Constitution, onetime A's Big Three member Tim Hudson. Hudson, however, is expected to return to the Braves.
Repeat for Melvin? A's manager Bob Melvin was named a finalist for the AL Manager of the Year award for the second season in a row; Melvin won the award last year. The other finalists are John Farrell of the Red Sox and Terry Francona of the Indians. The winner will be announced Tuesday.
Agent change: Outfielder Billy McKinney, the A's top pick in June, has switched agents from the BBI sports agency to Scott Boras. Boras also represents the A's top 2012 pick, shortstop Addison Russell.
Seattle hires McClendon: Lloyd McClendon was hired as manager of the Mariners on Tuesday, taking over a rebuilding job that Eric Wedge walked away from.
McClendon, 54, becomes the third manager hired by GM Jack Zduriencik. Wedge quit at the end of the Mariners' fourth straight losing season.
Briefly: Investigators have determined that a fire that damaged the Bellevue, Wash., home of Seattle pitcher Felix Hernandez on Monday started in the laundry room. Damage is estimated at $250,000. ... Catcher Geovany Soto and the Rangers have agreed to a $3.05 million, one-year contract. ... Rockies co-owner Charlie Monfort was arrested on suspicion of driving under the influence late Monday in Windsor, Colo., about 60 miles north of Denver.
Report: San Francisco Giants tried to trade Madison Bumgarner...


The Department of Germanic Studies sponsors a monthly, ongoing film series of recent German-language movies. All films are shown in the German original with English subtitles. Receive regular announcements about upcoming KINOTAG screenings by subscribing to our KINOTAG mailing list.
Questions? Please contact Colin Benert.
There will be an opportunity to ask questions and discuss the films after they are screened. Food and refreshments always provided!


text:
Implementing wireless networks without compromising security
Computers in Libraries [Mar 2005]
Breeding, Marshall .
Copyright (c) 2005 Information Today
Abstract: Breeding examines the details underlying each of the basic networking concepts and understanding the security issues involved with wireless networks (Wi-Fi). Among other things, Wi-Fi offers great benefits to which library users increasingly have the interest and the means to take advantage of this technology.
I regularly teach workshops on wireless networks in libraries. It's a technology that almost all libraries are interested in implementing, but many. have avoided it out of concern for security. Though many valid security issues prevail, solutions also abound. Let's take a tour of this technology and explore some of its major security issues.
Wireless networks suffer from a reputation of poor security-a reputation often wellearned by many of its early implementations. Fortunately, the technology has advanced considerably over the last few years and can be deployed without sacrificing the security of your library's network.
The Achilles' heel of security for all Ethernet (IEEE 802.3) networks is eavesdropping. To explain this concern, let's review a few network basics.
Understanding Ethernet, Wi-Fi1, WEP and WPA
The low-level media access rules that govern how Ethernet networks communicate follow the party-line telephone model. These rules, termed Carrier Sense Multiple Access with Collision Detection (CSMA/CD), allow many devices to share a network media, each sending data as needed but checking afterward to be sure that the transmission didn't collide with another device's traffic. When collisions happen, each device waits a random number of milliseconds and retransmits. While this introduces some overhead, CSMA/CD has proven itself a highly efficient communications method.
A fundamental characteristic of Ethernet is the possibility for eavesdropping. As bits of information travel on an Ethernet, they are bundled into packets, each marked with the hardware address of its destination and origin. In an ideal, polite society, no one would ever listen in on someone else's conversation on a party line, but, in the real world, eavesdropping happens. Similarly, on an Ethernet network, the prescribed rules only allow packets to be opened by the device that matches the destination address. Unfortunately, packet analyzers, or sniffers, originally developed for system administrators to perform diagnostics, are now a common part of a hacker's toolkit. A hacker can program a sniffer to open all packets on a network, putting all transmitted information in full view. Because of the capability for others to eavesdrop on an Ethernet, one must assume that any info sent without additional protection can be viewed by an unfriendly third party. This additional protection usually takes the form of encryption, where only the intended recipient has the ability to decrypt the information.
Wireless networks (often called Wi-Fi), as defined by IEEE 802.11, share many of the characteristics of Ethernet networks. However, the media access rules work on the principle of collision avoidance rather than collision detection. The concern for eavesdropping still applies, though, and is exacerbated by the fact that the unfriendly third party does not even have to have a physical connection to the network in order to view information.
Why worry about eavesdropping? Keep in mind that sensitive information (username/password combinations, credit card numbers, Social security numbers, bank accounts, etc.) in the wrong hands could cause a person considerable problems. Such information must never be sent "in the clear"; it must be securely encrypted.
In fact, even the early versions of Wi-Fi included encryption to provide a layer of security. Called Wired Equivalency Privacy, or WEP, this security protocol allows a person to set up a 40-or 128-bit security key that is shared between a mobile device and an access point. The key will encrypt all of the information packets that are transmitted on the network, but it must be entered into the configuration of any device that connects to a wireless network through the access point.
The name Wired Equivalency Privacy implies that WEP can provide users with the same degree of protection from eavesdropping as wired networks. Unfortunately, this isn't true. It turned out that the encryption provided by WEP was fairly easy to crack. Using software such as AirSnort, an open source tool that can capture wireless network transmissions and crack the encryption keys, a hacker can view information as it crosses the airwaves. Recently, a stronger security protocol called Wi-Fi Protected Access, or WPA, was developed and is beginning to see deployment. Further, an entire security architecture for wireless networks that defines multiple layers of protection, called 802.11i, has recently been approved.
To make matters more interesting from a security perspective, many wireless networks operate with WEP, or any other encryption method, disabled. Does this mean that these networks are unsafe to use? In my mind, no, as long as those who use such an open wireless network are aware that their sessions may be exposed and have the good sense not to transmit sensitive information without additional precautions.
Given that many wireless networks are secured by weak WEP or are completely open and exposed, how can libraries make use of this technology? Fortunately, there are lots of good answers.
Open Wireless Networks
Most publicly accessible wireless services do not implement encryption security. One does not expect high security or encryption when connecting to public wireless hotspots. Before connecting to an unsecured wireless network, most computers will issue a message warning users that "any information transmitted over this network may be viewed by others." Such a connection is fine for most informal uses of the Web but not for transactions that involve sensitive data. Before conducting any business that requires credit cards, Social security numbers, or other personal information, one must be sure that the session is encrypted. Web sites that employ SSL (secure sockets layer), for example, offer a layer of encryption that provides adequate security even over an open wireless network.
Virtual Private Network (VPN) technology is especially well-suited for use with open wireless networks. A VPN establishes an end-to-end tunnel of encryption between a user's computer and a remote network. VPNs employ strong encryption that allows sensitive data to travel across the unsecured networks, such as an open WLAN or the Internet, without the possibility of eavesdropping. A business traveler, for example, might have a VPN client loaded on his or her laptop that connects to a company's firewall, allowing secure access to sensitive information on the internal network without risk of exposure on the Internet. With the assistance of VPN technology, open wireless services can be used for even the most sensitive information.
Your Wireless hotspots
Many libraries are (or soon will be) offering Wi-Fi. The largest perceived barriers to providing this service are concerns about security. On one hand, librarians want to ensure that they will not be liable for any harm done to a user's computer while it is connected to the library's WLAN; on the other hand, they must ensure that their own networks and systems are not threatened by activity on the WLAN.
Library Wi-Fi hotspots can be configured in many ways. When it comes to security configurations, the ease of use is indirectly proportional to security. It's possible to set up strong security on the library Wi-Fi hotspot, enabling WEP or WPA, but users would have to obtain the encryption keys from the library before connecting. This introduces some logistical problems for both the library staff and the clientele who want to use the WLAN.
A more convenient, but less secure, approach would be for the library to offer open, non-encrypted Wi-Fi. Such a service is much easier for library staff since they don't have to worry about issuing security credentials, and users like the ability to attach to the hotspot without the complication of entering encryption keys.
Offering open Wi-Fi in the library puts much of the onus for security on the user. But this scenario is no different than the Wi-Fi services available in hotels, coffee shops, or airports. Users of these networks need to be aware of the vulnerabilities and take necessary precautions. Up-to-date virus protection software is a must; personal firewalls are good advice; VPNs are ideal. Libraries that offer an open Wi-Fi network might want to have a Web page that lays out the potential risks of using such a service and then suggests safety measures for users to take.
When creating a Wi-Fi hotspot in a library, the foremost concern is to ensure that the security of the library's existing wired network isn't compromised. You don't want the wireless hotspot to become an entry point for hackers.
The prime rule when deploying Wi-Fi is segregation. It's important to have a clear separation between a public wireless network and the rest of the library's network. A number of devices can be used to achieve proper separation. While a firewall tends to be the most common approach, the VLAN (Virtual Local Area Network) capabilities available on enterprise-level Ethernet switches achieve even better results. With good network segregation, no matter what maliciousness breaks out on the wireless part of the network, the staff side remains impermeable.
This whirlwind tour of wireless security has only surveyed the rough features of the landscape. Many details underlie each of the concepts I mentioned. As your guide, I hope I've instilled both a sense of caution about the security issues involved with Wi-Fi as well as an understanding that these problems are not insurmountable. Wireless networking offers great benefits, and library users increasingly have the interest and the means to take advantage of this technology. Librarians shouldn't let security issues stand in the way of offering this popular service to patrons.
https://librarytechnology.org/document/11385
Computers in Libraries
Publication Info:
Volume 25 Number 3
Systems Librarian
Systems Librarian Column


text:
package com.cgutman.adblib;

import java.io.IOException;
import java.util.HashMap;
import java.util.concurrent.ExecutorService;
import java.util.concurrent.LinkedBlockingQueue;
import java.util.concurrent.SynchronousQueue;
import java.util.concurrent.ThreadPoolExecutor;
import java.util.concurrent.TimeUnit;

public class AdbMessageManager {

    /**
     * A hash map of our open streams indexed by local ID.
     **/
    private HashMap<Integer, AdbStream> openStreams;

    /**
     * 调度任务
     */
    private ExecutorService executorService;

    private AdbConnection conn;

    private LinkedBlockingQueue<AdbProtocol.AdbMessage> msgQueue;

    protected AdbMessageManager(AdbConnection conn) {
        this.openStreams = new HashMap<>();
        this.conn = conn;
        this.msgQueue = new LinkedBlockingQueue<>();

        // 三个线程处理消息
        executorService = new ThreadPoolExecutor(5, Integer.MAX_VALUE,
                0, TimeUnit.MILLISECONDS,
                new SynchronousQueue<Runnable>());
        executorService.execute(getMessageHandler());
        executorService.execute(getMessageHandler());
        executorService.execute(getMessageHandler());
    }

    /**
     * 添加消息
     * @param msg
     */
    protected void pushMessage(AdbProtocol.AdbMessage msg) {
        msgQueue.add(msg);
    }

    private Runnable getMessageHandler() {
        return new Runnable() {
            @Override
            public void run() {
                while (true) {
                    try {
                        AdbProtocol.AdbMessage msg = msgQueue.poll(5000, TimeUnit.MILLISECONDS);

                        if (msg != null) {
                            processAdbMessage(msg);
                        }
                    } catch (InterruptedException e) {
                        e.printStackTrace();
                    }
                }
            }
        };
    }

    /**
     * 添加adb stream
     * @param localId
     * @param stream
     */
    protected void addAdbStream(int localId, AdbStream stream) {
        openStreams.put(localId, stream);
    }

    protected void cleanupStreams() {
        /* Close all streams on this connection */
        for (AdbStream s : openStreams.values()) {
            /* We handle exceptions for each close() call to avoid
             * terminating cleanup for one failed close(). */
            try {
                s.close();
            } catch (IOException e) {}
        }

        /* No open streams anymore */
        openStreams.clear();
    }

    /**
     * 处理ADB消息
     * @param msg
     */
    private void processAdbMessage(AdbProtocol.AdbMessage msg) {
        String cmd = null;

        if (!AdbProtocol.validateMessage(msg))
            return;

        try {
            switch (msg.command) {
                /* Stream-oriented commands */
                case AdbProtocol.CMD_OKAY:
                case AdbProtocol.CMD_WRTE:
                case AdbProtocol.CMD_CLSE:
                    /* We must ignore all packets when not connected */
                    if (!conn.connected)
                        return;

                    /* Get the stream object corresponding to the packet */
                    AdbStream waitingStream = openStreams.get(msg.arg1);
                    if (waitingStream == null)
                        return;

                    synchronized (waitingStream) {
                        if (msg.command == AdbProtocol.CMD_OKAY) {
                            /* We're ready for writes */
                            waitingStream.updateRemoteId(msg.arg0);
                            waitingStream.readyForWrite();

                            /* Unwait an open/write */
                            waitingStream.notify();

                            cmd = "OKAY";
                        } else if (msg.command == AdbProtocol.CMD_WRTE) {
                            /* Got some data from our partner */
                            waitingStream.addPayload(msg.payload);

                            /* Tell it we're ready for more */
                            waitingStream.sendReady();
                            cmd = "WRTE";
                        } else if (msg.command == AdbProtocol.CMD_CLSE) {
                            /* He doesn't like us anymore :-( */
                            openStreams.remove(msg.arg1);

                            /* Notify readers and writers */
                            waitingStream.notifyClose();
                            cmd = "CLSE";
                        }
                    }

                    break;

                case AdbProtocol.CMD_AUTH:

                    byte[] packet;

                    cmd = "AUTH";

                    if (msg.arg0 == AdbProtocol.AUTH_TYPE_TOKEN) {
                        /* This is an authentication challenge */
                        if (conn.sentSignature) {
                            /* We've already tried our signature, so send our public key */
                            packet = AdbProtocol.generateAuth(AdbProtocol.AUTH_TYPE_RSA_PUBLIC,
                                    conn.crypto.getAdbPublicKeyPayload());
                        } else {
                            /* We'll sign the token */
                            packet = AdbProtocol.generateAuth(AdbProtocol.AUTH_TYPE_SIGNATURE,
                                    conn.crypto.signAdbTokenPayload(msg.payload));
                            conn.sentSignature = true;
                        }

                        /* Write the AUTH reply */
                        conn.outputStream.write(packet);
                        conn.outputStream.flush();
                    }
                    break;

                case AdbProtocol.CMD_CNXN:
                    synchronized (conn) {
                        cmd = "CNXN";
                        /* We need to store the max data size */
                        conn.maxData = msg.arg1;

                        /* Mark us as connected and unwait anyone waiting on the connection */
                        conn.connected = true;
                        conn.notifyAll();
                    }
                    break;

                default:
                    cmd = "default";
                    /* Unrecognized packet, just drop it */
                    break;
            }
        } catch (Exception e) {
            conn.stopFlag = true;
        }
    }

}

redpajama_set_name: RedPajamaGithub


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