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GEOPRESS|360
Out of Sinaloa
Guanajuato City
San Miguel Allende
Ahome
El Fuerte
Navolato
Altata
Villa Angel Flores
Cosalá
El Cerro de la Mascara Archaeological Site
5 August, 2017 12 November, 2018 Miguel Angel Victoria
The Cerro de la Máscara (or Hill of the Mask in English) archaeological site is the most important petroglyphs site in northern Sinaloa. Its more than three hundred petroglyphs distributed in a mountain range.
In a beautiful natural environment flanked by the old river Zuaque, it is neighbor to the Magic Town of El Fuerte. A must stop for the Chepe Railroad which crosses the Tarahumaran mountain range of the port of Topolobampo to the city of Chihuahua.
They have made the site a focus of visits of thousands of visitors both domestic and foreign. Visitors who also visit other places like the Sacred Heart of Jesus Temple, the Municipal Palace building, the Barracks Square, the El Fuerte Museum, finding a first class service in restaurants and hotels in the city. One of the many that stand out is the Hotel Posada del Hidalgo, located at the foot of Fuerte de Montes Claros Hill.
The archaeological site also represents one of the most important places in the history of northern Mexico. For it jealously keeps the memory of the worldview of the ancient Yoremes (Mayos), inhabitants of this region. The archaeological site is located on the banks of the Fuerte River, within the Mexican northwest.
In the northeastern portion of the state of Sinaloa, very close to the border with the neighboring state of Sonora. It is located 70km (approximately 43 miles) from the city of Los Mochis and 270km (approx. 167 miles) from the city of Culiacán.
Cerro de la Máscara stands along a small spur of rhyolitic stone.
It is submerged in a thorny forest, at the foot of the Sierra Madre Occidental (or Western mountain range).
The closest population to the site is Ejido La Galera, pertaining to the also very close municipal head of El Fuerte, located on the opposite bank of the river.
This municipality borders to the west with Ahome, to the east with Choix, to the north with Alamos, Sonora, and to the south with the municipality of Sinaloa.
The archaeological site is geographically framed in a transition zone between the Western Mountain Range and the coastal plain of the Sea of Cortez, in a space known as the Valley of the Fuerte River.
The archaeological site is geographically framed in a transition zone between the Western Mountain Range and the coastal plain of the Sea of Cortez, in a space known as the Valley of the Fuerte River. Physiographically, it corresponds to the Western Mountain Range Province, which begins at the border with the United States and expands from northwest to southeast to its limits in the south of the province of the Neovolcanic Axis, covering some portions of the states of Sonora, Chihuahua, Sinaloa, Durango, Zacatecas, Aguascalientes and Jalisco.
Cerro de la Máscara is made up of several sets of petroglyphs, a set of mounds constructed with boulders, as well as some circular stone alignments, all distributed over 17 hectares (42 acres).
The limits of the site are defined by the Guásimas stream, which runs to the north and west of it, and an abrupt slope of the ground which goes down to the second fluvial terrace of the Fuerte River, to the east (Carpenter et al, 2006).
Based on the researches practiced on the site, we know that it is made up of 300 engravings, distributed in 15 sets located mainly in the eastern portion of the site and associated with concentrations of archaeological materials.
The petroglyphs are in rhyolite blocks of variable size with mainly geographic, anthropomorphic, zoomorphic, and phytomorphic designs, manufactured with techniques which include percussion, abrasion and incision.
Some engravings with designs of human faces or masks give the name of the site.
Of the 15 sets of petroglyphs, which make up the site, seven are the most frequented by visitors, which have been named by the local oral tradition with nicknames that refer to some formal characteristic. Either one of the designs that make it up or its location or possible functionality: The Observatory, The Mask, The Flanked Stone, The Butterfly, The Queen, The Fox or The Scorpion.
These sets are distributed primarily along the main pike, which makes up the site.
The set of mounds is located in the northern section of the site and is made up of four concentrations of stone and dirt. Its height does not exceed 1.5m and the area is approximately 10m2. They are oval in shape and are surrounded by a high amount of archaeological material. Based on the explorations practiced as part of the Cerro de la Máscara Archaeological Project, it was determined that, in fact, these mounds were the nucleus of a plinth, on which, possibly, some kind of structure constructed with perishable materials was found, which, due to the strong erosion of the ground, did not conserve no more evidence on the surface.
Between 1987 and 1990, Francisco Mendiola carried out a brief surface survey in the municipalities of Ahome, El Fuerte and Choix, only recording the sites with graphic-rock manifestations.
History of research
Between 1987 and 1990, Francisco Mendiola carried out a brief surface survey in the municipalities of Ahome, El Fuerte and Choix, only recording the sites with graphic-rock manifestations. In the municipality of El Fuerte, he recorded 18 sites (Mendiola 1994:197).
Based on the detailed analysis of the designed recorded on the sites, Mendiola was able to identify two main styles: the central sierra-Barobampo style and the Fuerte River style. The first one, located in the mountain range between the Fuerte River and El Carrizo Valley, consisting of rectilinear designs with zoomorphic and phytomorphic representations (Mendiola 1994:493); the second, named Fuerte River style, is distributed along the Fuerte River, from San Miguel Zapotitlán to the Miguel Hidalgo Dam, consisting of curvilinear designs with anthropomorphic representations (Mendiola 1994:493-496).
It should be mentioned that through this study, Mendiola recognized the existence of physiographic-regional variables. In his conclusions, Mendiola affiliated to the Nahuas the manufacture of petroglyphs during their passage through Sinaloa, as part of the Aztecan pilgrimage, a passage commonly reproduced without scientific foundation in the history of these lands. The memory of this research was embodied in his thesis for his Bachelor of Arts: "Petroglyphs and Rock Paintings in the North of Sinaloa".
Huites Archaeological Project
During 1993, Rebeca Yoma carried out archaeological rescue researches, as part of the construction of the Luis Donaldo Colosio Dam, near the town of Huites. Together with that work, Yoma carried out the recording of some petroglyphs in Cerro de la Máscara. She made decals and cutout drawings of various sets. However, her work never had as main objective the exhaustive record of all the graphic-rock manifestations of the site. The conclusions of this work focused in establishing the cultural development of the south and center of Sinaloa; without touching the petroglyphs site, or the region where it is located.
North of Sinaloa Archaeological Research Project
During 2004, John Carpenter and Guadalupe Sánchez carried out a tour and surface recognition, covering most of the northeast portion of Sinaloa, within the municipalities of Choix and El Fuerte.
The registry was mainly focused in sites with archeological components which had the potential to represent habitable places (Carpenter & Sanchez, 2004:23), living aside the sites with graphic-rock manifestations, since of these, they pointed out, there is an existing body of information. The results of the research brought the registration of 77 sites, of which, 58 have a pre-Hispanic affiliation, seven are historical sites, five have mixed components and seven indeterminate; most of them belonging to the ceramic period, approximately between 100 B.C. and 1500 A.D. (Carpenter & Sánchez, 2004:93,94). In the neighboring area of Cerro de la Máscara they reported three sites: Rancho Lugo, Atanasio Félix and the Petroglyphs of Ocolome, which, they said, must be studied to understand the cultural complex of Cerro de la Máscara. Of the three sites, the Petroglyphs of Ocolome site stands out, which has a great amount of metals and mortars in mother rock associated to the petroglyphs. The site, it seems, was a place where specific activities were carried out, more related to domestic activities (Carpenter & Sánchez, 2004).
Between June 2006 and March 2007, as part of an ambitious project of the municipality of El Fuerte to enable the Cerro de la Máscara archaeological site, John Carpenter, Guadalupe Sánchez and Julio Vicente, carried out archaeological researches.
Archaeological Research Project for the Management Plan of the Cerro de la Máscara Archaeological Site
Between June 2006 and March 2007, as part of an ambitious project of the municipality of El Fuerte to enable the Cerro de la Máscara archaeological site, John Carpenter, Guadalupe Sanchez and Julio Vicente, carried out archaeological researches, as a preliminary step to the work for the habilitation and tourist adaptation that the municipal council planned to carry out.
The works included an intense systematic survey of the site
and extensive excavations in all sites with deposits, as well
as the registration and cataloging of every one of the site's
petroglyphs; but above all, the development of a management plan for the site visits (Carpenter et al, 2008).
The results determined that the archaeological site covered an area of 17,000m2 in total, with 300 petroglyphs distributed among 15 localities.
In addition to the petroglyphs, they indicated the presence of a component not previously reported, which consisted of three mounds built with boulders and dirt; as well as an alignment of circular shaped rocks, practicing excavations in these elements. The project included the systematic registration of all the engravings of the site, performing photographic surveys, the production of decals with chalk and fabric of each one of them, as well as the filling of registration certificates elaborated specifically for this project. The results obtained after the registration, digitalization and systematization of the information, indicated that the most commonly recorded representations consisted of simple geometric designs, such as: circles, squares, rectangles, spirals and dots; as well as compound geometric designs, such as: concentric circles, double spirals, square and rectangle elements with geometric designs in their interiors. For their part, the anthropomorphic elements consisted of handprints, footprints, and face prints; in general, stylized representations of human figures. Less frequently, zoomorphic elements (possible representations of canines, felines, butterflies, and other forms of unidentified animals) were found. Other graphic elements present consisted of astronomical motives including suns and quincunxes, possibly, alluding to the planet Venus. Others included alignments of dots identified as possible astronomical markers. The representations of masks, weapons and shields were tentatively classified in the category "fetishes". Representations of botanical graphic elements were rare and included cacti and what appeared to represent some unidentified fruits.
Regarding the archaeological materials recovered in the excavations, although they observed a slight superficial distribution of artifacts, mainly ceramic fragments and carved stone debris, there was no evidence indicating the presence of a significant residential occupation in Cerro de la Máscara. Excavations on the small mound revealed a notable absence of artifacts or cultural elements associated with domestic activities, like hands and metates, stones used for grinding (Carpenter et al, 2008).
The general results of the explorations allowed them to establish that the Cerro de la Máscara archaeological site's petroglyphs can be attributed to the Cahitas group, and more specifically to the Tehueco groups, perhaps, the Sinaloas, who began to inhabit this region at least 2000 years ago. The authors pointed out that it is a serious mistake to propose possible relations linked to some mythical migration of the Aztecs, since there is no evidence in the regional archaeological record indicating such a possibility (Carpenter et al, 2008).
The documentation of several different techniques used in the elaboration of petroglyphs, in addition to several graphic styles present, as well as the great variability observed in the formation of patina on the rocks surface, seems to confirm evidences indicative of a wide and varied time range of the site's occupation. Likewise, ceramic materials also confirmed this fact, suggesting a broad range between 200 A.D. and 1450 A.D., approximately. The ceramic types identified corresponded to the Serrana and Huatabampo traditions, with Batacosa, Cuchujaqui, Piedras Verdes, Guasave and Huatabampo types. The few non-local shards found, were indicatives of exchange between the coastal region and the Culiacan region, including the Aguaruto insert and Aztatlán red on bay, as well as dishes from the Guasave tradition (Carpenter et al, 2008).
The absolute absence of historical types indicated that the Cerro de la Máscara Archaeological site was actually a ritual site, probably secretive and with restricted access, whose location never revealed to the Spaniards.
The absolute absence of historical types indicated that the Cerro de la Máscara archaeological site was actually a ritual site, probably secretive and with restricted access, whose location was never revealed to the Spaniards. Perhaps the site, abandoned before 1564, when Francisco de Ibarra arrived to the region (Carpenter et al, 2008).
On the other hand, the presence of graphic elements shared in an extensive geographic region expanding from Nayarit to the southeast of the U.S.A., indicates the existence of an extensive sphere of pre-Hispanic cultural interaction. Probably associated with the diffusion of ideologies, a
"northwestern tradition of rock art" (Santos, 2006 & 2013), during the socio-economic relations between groups, which, extended the cultural boundaries between the cultural traditions of northern Mexico, southwest of U.S.A. and the west of Mexico, approximately between 1200 and 1400 A.D. (Carpenter et al, 2008).
North of Sinaloa Archaeological Project: Cerro de la Máscara II
In July 2011, John Carpenter and his team of researchers presented the catalog of the systematic record of the site's petroglyphs. This catalog included the petroglyphs proper of Cerro de la Máscara, registered during the project of 2006-2007, as well as the petroglyphs from the site of Ocolome, located exactly on the margin opposite of Cerro de la Máscara, in the Fuerte River.
Although the information presented on the catalog does not differ much from the one presented in the 2006-2007 report, there is new information that clarifies the cultural historic panorama of the site. In this regard, they pointed out that the diversity of designs shared and distributed in the north of Mexico and southwest of the U.S.A., indicates the existence of an extensive sphere of pre-Hispanic cultural interaction, probably associated to the diffusion of ideology during the socio-economic relations between groups (Carpenter et al, 2011).
Final report of the Project of Systematic Record of Petroglyphs Cerro de la Máscara Between 2010 and 2011, the archaeologists María de los Ángeles Heredia Zavala (then delegate of the INAH-Sinaloa Center) and José Alberto Durán Iniesta, carried out some work in Cerro de la Máscara. The main objective of this project was the survey of the site, seeking to expand the data provided by John Carpenter and his team in 2006- 2007. Therefore, they carried out systematic tours to the interior of the site, as well as in some surrounding spaces. Their contributions, in addition to confirming what was reported by John Carpenter, Guadalupe Sánchez and Julio Vicente, was the localization of some scattered blocks with petroglyphs, as well as some remains of possible stone alignments.
The results obtained were focused on trying to compare the data presented by John Carpenter and his team, mainly questioning the concept of semi-isolation and the exclusively ritual use of site by the Sinaloas and Tehuevos groups; however, they did not provide any data to refute the idea. Moreover, they did not present a site chronology proposal, nor tried to interpret it within the regional social dynamic or in its meaning, like the most representative Cahíta ritual site of the region.
Since 2016, the Cerro de la Máscara Archaeological Project is directed by the researchers Victor Joel Santos Ramírez and Julio César Vicente López.
Texto: Mtro. Victor Joel Santos Ramírez
Profesor de Investigación Científica y Docencia del INAH. Titular C.
Dirección: Zona Arqueológica Las Labradas, San Ignacio, Sinaloa
Sitio Web: https://inah.academia.edu/JoelSantos
Tel. Cel. (667) 9968450
Twitter: @joelsants
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How this Virtual Tour was made
The equipment used to perform virtual tour are the following:
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In portrait photographs if the lighting completed frontally, we manage to conceal some skin imperfections, since we "fill with light" small scars, wrinkles, in the case of adults, and some other marks. On the contrary, if the lighting is done laterally, even to 90 degrees, we will emphasize more the details of these imperfections.
The lighting of Cerro de la Máscara prepared so that the engravings on the stone could be more noticed. That is why, I used a Led Lenser model T7 flashlight in a lateral way and the result was very good.
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One comment on "El Cerro de la Mascara Archaeological Site"
José Luis Leyva Iriarte says:
Excelentes imágenes de estos petrograbados del Cerro de La Máscara,localizado en El Fuerte, Sinaloa.Tuve el honor de acompañar al investigador Dr. Francisco Mendiola Galván, en su investigaciόn durante los años 1997-1988, a este sitio y muchos otros en el norte de Sinaloa. Es realmente impresionante la cantidad de sitios (más de 30) con petrograbados y pinturas rupestres que se han registrado en esta regiόn, solamente tomando como eje central el Río Fuerte y la sierra de Barobampo. Felicitciones por esta difusiόn.
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Land of Hope and Glory
Paul Noble – Bandmusicpdf.net · Land of Hope and Glory
The Pomp and Circumstance Marches (full title Pomp and Circumstance Military Marches), Op. 39, are a series of six marches for orchestra composed by Sir Edward Elgar. The first four were published between 1901 and 1907, when Elgar was in his forties; the fifth was published in 1930, a few years before his death; and the sixth, compiled posthumously from sketches, was published in 2005–2006. They include some of Elgar's best-known compositions.
The best known of the six marches, Pomp And Circumstance March No. 1 had its premiere in Liverpool on 19 October 1901. Elgar and his wife attended, and it was a "frantic" success. It was performed two days later in the Queen's Hall London. The conductor remembered that the audience "…rose and yelled… the one and only time in the history of the Promenade concerts that an orchestral item was accorded a double encore."
The Trio contains the tune known as "Land of Hope and Glory", and the result has become a fixture at the Last Night of the Proms, and an English sporting anthem and general patriotic song.
In Canada, the Philippines and the United States, the Trio section "Land of Hope and Glory" of March No. 1 is often known simply as "Pomp and Circumstance" or as "The Graduation March" and is played as the processional tune at virtually all high school and some college graduation ceremonies. It was first played at such a ceremony on 28 June 1905, at Yale University, where the Professor of Music Samuel Sanford had invited his friend Elgar to attend commencement and receive an honorary doctorate of music. Elgar accepted, and Sanford made certain he was the star of the proceedings. As the graduates and officials marched out, "Pomp and Circumstance" March No. 1 began its legacy of becoming the most famous of Elgar's music, and became a lasting tradition for all graduation ceremonies to adopt. This arrangement includes a new introduction and flourish at the end, both of which are optional in performance.
Cityscapes 3. Flower of Cities All
Paul Noble – Bandmusicpdf.net · CITYSCAPES 3. Flower Of Cities All – John Rutter; arr. by Paul Noble
"Xylophones ahoy! John Rutter's 'Partita' of 1976, now 'Cityscapes', is not a piece you might necessarily have expected from the renowned composer of some of the classics of contemporary sacred choral music." Yet this is a giant of a piece that allows everyone in the ensemble to truly shine, and one which surely will become a significant addition to the repertoire of the Concert Band. With hints of Gershwin, and filled with joy, majesty, wonder, and power, it will excite your ensemble and capture your audience. The original orchestra composition was written for, and dedicated to, the London Junior Orchestra.
The band arrangement is available as a complete set of three movements, and also available with each movement separately. Movement titles are: 1. Big Apple; 2. Lost City; 3. Flower of Cities All.
Pomp and Circumstance, March No. 5
Paul Noble – Bandmusicpdf.net · Pomp And Circumstance, March No. 5
March No. 5 is perhaps the only work he wrote after the First World War which recaptures the splendour and orchestral opulence of the earlier orchestral works. The time-signature imparts to the march a rhythmic swagger that never falters, although again the Trio theme adds a typical Elgarian tinge of mellow nostalgia to this glittering score.
THE WAND OF YOUTH, No. 1 – 7th Movement
Paul Noble – Bandmusicpdf.net · THE WAND OF YOUTH, No. 1 – 7th mvmt., Fairies and Giants – Edward Elgar; arr. by Paul Noble
The Wand of Youth suites, subtitled "Music to a Child's Play", were written in 1869 when Elgar was only twelve years old, music written for a play and acted by the Elgar children for a private family theatrical production. He noted the tunes down in a sketchbook and in 1907, forty years later, he rearranged with only minor changes and orchestrated them as the two suites titled The Wand of Youth, Suite Nos. 1 and 2. Although The Wand of Youth suites date from Elgar's mature years, he insisted on calling it Opus 1, because he wrote these pieces originally for piano many years earlier. Suite No. 1 includes seven movements:
1. Overture; 2. Serenade; 3. Minuet (Old Style); 4. Sun Dance; 5. Fairy Pipers; 6. Slumber Scene; and 7. Fairies and Giants.
Paul Noble – Bandmusicpdf.net · THE WAND OF YOUTH No. 1 – Slumber Scene
Paul Noble – Bandmusicpdf.net · THE WAND OF YOUTH, Suite No. 1 – 5th mvmt.
THE WAND OF YOUTH, No. 1 – 3rd Movement
Paul Noble – Bandmusicpdf.net · THE WAND OF YOUTH, Suite No. 1 – 3rd mvmt.


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The beautiful rooftop space grows a large selection of herbs, produce and edible flowers. Heat-loving plants, that can withstand the summer temperatures in St. Louis, thrive using an irrigation system that ensures the plants receive water throughout the long hot summer. The aim is for a balanced eco-system with plants that attract pollinators and insects. Sustainability is a key component to the design of the garden. Modular milk crates that can be reconfigured at any time provide an easy and clever solution to the urban space.
"Sally's Rooftop Garden & Terrace is the Foundation's latest effort to grow and expand arts infrastructure in St. Louis. The Terrace provides a stunning outdoor event space in the heart of the city, utilizing food grown on site and directly supports our resident arts organizations. It's the perfect ecosystem," said Chris Hansen, Kranzberg Arts Foundation Executive Director.
Sally's is available to hire for arts events and parties for up to 150 people. The panoramic views of downtown and the arch make for an unforgettable setting.


text:
Q: Websocket freezes if disconnected abnormally I've created a simple websocket that publishes a JSON stream. I't works fine most of the time except for few cases where I think while looping through the clients to send them message, it gets hung up on a client that is being disconnected abnormally. What measure can I add to this code to mitigate it?
Client.go
import (
    "github.com/gorilla/websocket"
)

type client struct {
    socket *websocket.Conn

    send chan *Message
}

func (c *client) read() {
    defer c.socket.Close()
    for {
        _, _, err := c.socket.ReadMessage()
        if err != nil {
            log.Info("Websocket: %s", err)
            break
        }
    }
}

func (c *client) write() {
    defer c.socket.Close()
    for msg := range c.send {
        err := c.socket.WriteJSON(msg)
        if err != nil {
            break
        }
    }
}

Stream.go
import (
    "net/http"

    "github.com/gorilla/websocket"
)

const (
    socketBufferSize  = 1024
    messageBufferSize = 256
)

var upgrader = &websocket.Upgrader{
    ReadBufferSize:  socketBufferSize,
    WriteBufferSize: socketBufferSize,
}

type Stream struct {
    Send chan *Message

    join chan *client

    leave chan *client

    clients map[*client]bool
}

func (s *Stream) Run() {
    for {
        select {
        case client := <-s.join: // joining
            s.clients[client] = true
        case client := <-s.leave: // leaving
            delete(s.clients, client)
            close(client.send)
        case msg := <-s.Send: // send message to all clients
            for client := range s.clients {
                client.send <- msg
            }
        }
    }
}

func (s *Stream) ServeHTTP(w http.ResponseWriter, res *http.Request) {
    socket, err := upgrader.Upgrade(w, res, nil)
    if err != nil {
        log.Error(err)
        return
    }

    defer func() {
        socket.Close()
    }()

    client := &client{
        socket: socket,
        send:   make(chan *Message, messageBufferSize),
    }

    s.join <- client
    defer func() { s.leave <- client }()

    go client.write()
    client.read()
}

A: See the Gorilla Chat Application for an example of how to avoid blocking on a client.
The key parts are:

*

*Use a buffered channel for sending to the client. Your application is already doing this.

*Send to the client using select/default to avoid blocking. Assume that the client is blocked on write when the client cannot immediately receive a message. Close the client's channel in this situation to cause the client's write loop to exit.

*Write with a deadline.

redpajama_set_name: RedPajamaStackExchange


I took a photo of Ouray as I left town. Ouray has special significance in a well-known novel by Ayn Rand (Atlas Shrugged) although not named in the novel. The conference I attended in Telluride had its focus around the philosophy (called 'Objectivism') of this novelist and it was now 50 years since her novel was published. The town is really nestled in between huge mountains and the road south was very difficult to build, from what I have read.
Now, since I did not get back to Telluride the day before, I had a chance of getting even further east up to a few more spectacular passes, I thought. So I asked (wisely enough this time) at the hotel which of the 4WD pass-roads east would be easiest to get up with the mtb. I had thought to get up to Engineer Pass, but was advised to get up to Corkscrew Pass (3726m) instead. I later understood that this was good advice. So, I had to climb back up the hardest part of the Red Mountain Pass to Ironton Park (a flat higher valley floor). From here I took a gravel road up the Corkscrew Gulch to the pass. This jeep road was somewhat decent, but the problem was that it was often too steep to cycle – at least at higher altitude, partly because of the altitude and a steepness much above 10%. Lower down I managed to cycle a lot and could cycle most of the way back down.
I did not dare to try another road back down as I could end up having to stay the next night in Ouray also. It also took quite some time to get up and back down again. The views from Corkscrew Pass was really great though, so I cannot say I regretted getting up there! It was steep, as I said, and even a trial motorcyclist fell on his way down (not too badly), so care was needed in the descent!
I was down in Ouray a little before 3 pm and thought it would be easy getting back to Telluride over the Imogene Pass (3997m) before the end of the day. –Only one pass, I thought, should not need to take longer than around 3 hours to climb at most and 2 hours to get down. Even though it is not even 2000 height metres to climb, it is still more than one expects. It turned out to be an even worse road than I could imagine from descriptions. It starts out just fine with a little wobbly, but wide and well maintained gravel road in nice scenery.
I only had a coffee and milkshake in Ouray before starting on this climb. The road has some steeper parts, but is generally not too difficult up until where you turn off the road and go over the Sneffels Creek. I managed to fall once on the easy road and started to walk some a bit before this turn-off as it was getting steeper and harder for me given the altitude (I am sure many others could easily ride these stretches though and I would have had no problem if it was not for the altitude).
After you cross the river the road becomes really bad and goes downhill or flatly for quite some time until you reach the point above the Camp Bird Mine that you saw lower down (one is not allowed to go through Camp Bird Mine). You will have to get over huge boulders on the road and through deep waters here. Further up, the road gets more stony and is practically impossible for most of the time to bicycle uphill (I thought so anyway or maybe it is only me … ). I met someone running down from the pass, maybe just to prove what a weakling I was! They actually have a running event here over this pass every September. I also met one other mountainbiker on the bad previous section, where we both happened to be on our bicycles.
Further up one has to ford the Imogene Creek and you cannot get across there dry! At the next crossing of the creek one could use a bad little bridge nearby. Then the stony and mostly steep road continues. I could only occasionally cycle, but every now and then I was back to walking again and even walking became hard.
I was very happy to reach the pass summit while the sun was still up, but I had to hurry down in order to be able to cycle down as much as possible before I could not see the road and maybe would have to walk down like the day before. The views from the top were impressive and the first serpentines down to the Tomboy Mine were also impressively steep and narrow. Believe it or not, but I managed to bicycle down the steep parts! (I guess it is no problem for experienced riders.) But then in the Tomboy area the roads were quite bad again and I could not always cycle.
I came down to Telluride at 10:30 pm and managed to have a pizza at the only pub open to serve something to eat at this time. It thus took me over 7 hours from Ouray to Telluride! (In a brochure I picked up at the hotel in Ouray, they say it takes 3-4 hour with a jeep.) I felt like mountain-biking was not for me! I were happy to leave back my bicycle the next morning!


text:
Calvin Harris records song with Taylor Swift's long-time rival Katy Perry
ENEMIES: Calvin Harris announced he had recorded a song with Katy Perry
Last week Taylor's ex Calvin Harris announced he had recorded a song with her long-time rival Katy Perry.
Now I can reveal that same track features another guest who had a beef with the Shake It Off Star, Nicki Minaj.
The trio will unveil the single, titled Soft Lips, after Sunday's Billboard Music Awards in the US.
An insider told me: "Nicki and Katy Perry have already been teasing Soft Lips on social media. Although lyrically the song is not obviously about Taylor, it's no coincidence that these three artists have come together.
"They have all had high-profile run-ins in with Taylor and it won't have gone unnoticed by her."
FEUD: Taylor's fall-out with KP is of course legendary
"Nicki and Katy Perry have already been teasing Soft Lips on social media"
All they need now is a guest rap from Kanye West to make it the ultimate diss track.
Soft Lips will undoubtedly be seen as revenge for past bust-ups.
Taylor's fall-out with KP is of course legendary and rumoured to have inspired her diss-song Bad Blood.
Then last year Calvin was none too pleased when she ended their relationship, revealed secrets about a song they made and got together with Tom Hiddleston.
Minaj's beef with the country pop star dates back to 2015 when they got into a Twitter spat over the MTV nominations not including black artists.
Celebrity SPATS
Tuesday, 9th August 2016
Since the dawn of social media, Twitter has become an outlet for celebrities to promote projects, connect with fans, and feud with other celebrities
Getty Images for EJAF
Kelly Osbourne v Lady (had a twitter spat after Gaga brought Kelly's mum a cake)
Mid spat, the rapper blew Katy Perry a supportive kiss suggesting she was on Team KP.
More recently they were thought to have made up but then Minaj appeared to mock Taylor when she amassed more Billboard hits than her.
Taylor is doing a good job of rising above the melodrama.
She is currently keeping a low profile while recording her new album in Nashville, and is expected to be launching a comeback in the autumn.
Katy Perry hottest pictures
Wednesday, 10th May 2017
Katy Perry the pop princess got many pulses racing in 2008 with the release of the hot single 'I Kissed a Girl" and she is still hotter than ever. Check out her sexist pictures here.
Katy Perry seductively poses on stage in Northern Island
Irish belle Una Healy blames Ed Sheeran for making Galway a crazy place to be now.
The Saturdays star turned solo artist can't escape Sheeran's hit Galway Girl, saying: "It's really big over in Ireland.
"My dad is from Galway actually, and lots of my cousins, so there's a lot of weddings with first dances to Galway Girl and a lot of Galway girls being serenaded with Ed's song. It's done so well but it's totally in his nature, with his grandparents being Irish."
Una has shot a new video for her song Battlelines at London's Bush Hall.
She told me: "It's a song about the ups and downs of a relationship, the fights and making up."
Harry Styles is getting his very own edition of Carpool Karaoke.
Fans will get to hear just how good he is at singing 1D classics without the other boys later this week.
And they will also witness another dodgy shirt! It's all part of a weeklong residency on James Corden's US TV show where, as usual, Harry gave nothing away.
Harry Styles in pictures
Monday, 1st February 2016
Here are the best, er 'styles' of Mr Harry Styles
He coughed and looked away when Corden grilled him about his on-off relationship with Kendall Jenner.
Meanwhile, poor old Kendall fell flat on her face during a casual bike ride.
Sister Khloe filmed the model going ass-over-t*t.
Harry's still refusing to admit their love affair must have hit her hard…
STAR: Harry Styles is getting his very own edition of Carpool Karaoke
Lorde secretly wants to be Stevie Nicks – the Kiwi is such a fan of the Fleetwood Mac star she hunts for clothes "Nicks would wear".
She quipped: "She wraps my heart in soft fabric. Isn't she just beautiful?" Lorde revealed she was afraid new album Melodrama would not live up to her debut.
She explained: "There was a real hit of, like: 'I just don't have another one. It could never be good enough.'"
Luis Fonsi is shocked Justin Bieber rapped in Spanish on his song.
The Puerto Rican said: "I didn't even know he was doing it. There was a line in English but he sang in Spanish instead – so now everyone can learn Spanish!"
Luis says his album drops in November with some big collabs: "My dream would be Stevie Wonder."
ARTIST: Luis Fonsi is shocked Justin Bieber rapped in Spanish on his song
After a few pop duds is Lady Gaga already preparing for a new career as a mechanic?
The star stepped out in a pair of workmen overalls, customised to suit her unique taste.
Your local Kwik Fit fitters wouldn't be seen dead with the off-the-shoulder look.
Mother Monster was enjoying a break from shooting her new movie A Star is Born.
Maybe she could change the oil in my car while she's at it.
Lady Gaga's wildest moments
Friday, 3rd February 2017
Lady Gaga shows off her figure in skimpy outfits.
Getty Images for Victoria's Secr
Alessandra Ambrosio and Lady Gaga dance backstage prior to the Victoria's Secret Fashion Show
Gone are the nipple pasties and in comes the double denim for Miley Cyrus.
The Malibu star rocks her new look and blames daddy Billy Ray Cyrus for her bad-girl past.
The former child actress said: "I didn't get a school escape like most people. I went to work with my dad – that was really hard, every day from like 11 to 18. Which is why, when I turned 18, I had to break free."
Rocker Brian Johnson is Back In Black.
The AC/DC singer, who quit touring because of hearing issues, joined Paul Rodgers on stage in Oxford this week.
Johnson covered Barrett Strong's Money (That's What I Want) with Led Zeppelin legend Robert Plant.
The Geordie was told to stop performing following a "series of examinations by leading physicians in the field of hearing loss".
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text:
Q: bash 4.x assoc array loses keys in receiving function I am trying to pass an associative array from one function to another, and am losing named index keys (e.g., filepath, search in example below) though the array passed in can access its elements correctly using indexes 0, 1. I must be doing something slightly wrong with bash syntax, but can't quite figure out where. Any help appreciated.
Using GNU bash, version 4.3.8 from Ubuntu 14.04
Just below is bash code example, and at bottom is output
#! /bin/bash

function test_function {

    func_data=("${@}")
    # without brackets above cannot access func_data[1]

    # local ${!func_data}
    # the above local statement does not seem to help either way

    echo ""
    for K in "${!func_data[@]}"; do echo $K; done

    echo ""
    echo "func_data           : ${func_data}"
    echo "func_data[filepath] : ${func_data[filepath]}"
    echo "func_data[search]   : ${func_data[search]}"
    # all three echos above output first element of array,
    # which is 'style "default" {' during first loop

    # Can access array elements 0, 1 but no longer via filepath, search
    echo "func_data[0]        : ${func_data[0]}"
    echo "func_data[1]        : ${func_data[1]}"

    echo "!func_data[@]       : ${!func_data[@]}"
    # echo above outputs '0 1' so indexes now are now zero based?
    echo "func_data[@]        : ${func_data[@]}"
    # echo above outputs all array elements 'style "default" { ~/.gtkrc-2.0'
}

# In BASH, local variable scope is the current function and every
# child function called from it, so provide a function main to
# make it possible to utilize variable scope to fix issues

function main {

    echo ""
    declare -A gtkrc2=()
    gtkrc2[filepath]="~/.gtkrc-2.0"
    gtkrc2[search]="style \"default\" {"
    echo "gtkrc2 filepath : ${gtkrc2[filepath]}"
    echo "gtkrc2 search   : ${gtkrc2[search]}"
    test_function "${gtkrc2[@]}"

    echo ""
    declare -A gtkcss=()
    gtkcss[filepath]="~/.config/gtk-3.0/gtk.css"
    gtkcss[search]=".scrollbar {"
    echo "gtkcss filepath : ${gtkcss[filepath]}"
    echo "gtkcss search   : ${gtkcss[search]}"
    test_function "${gtkcss[@]}"
}

main

----------  OUTPUT  ----------
gtkrc2 filepath : ~/.gtkrc-2.0
gtkrc2 search   : style "default" {

func_data           : style "default" {
func_data[filepath] : style "default" {
func_data[search]   : style "default" {
func_data[0]        : style "default" {
func_data[1]        : ~/.gtkrc-2.0
!func_data[@]       : 0 1
func_data[@]        : style "default" { ~/.gtkrc-2.0

gtkcss filepath : ~/.config/gtk-3.0/gtk.css
gtkcss search   : .scrollbar {

func_data           : .scrollbar {
func_data[filepath] : .scrollbar {
func_data[search]   : .scrollbar {
func_data[0]        : .scrollbar {
func_data[1]        : ~/.config/gtk-3.0/gtk.css
!func_data[@]       : 0 1
func_data[@]        : .scrollbar { ~/.config/gtk-3.0/gtk.css

A: This may or may not be the "correct" way to do this but this is the best I can figure out.  Any suggestions from others are welcome:
function test_function {
    arrname=$1
    idxlist="$2"

    echo ""
    echo "Array passed=$arrname"
    for idx in $idxlist; do
        elemname=$arrname[$idx]
        echo "idx=$idx, elem=${!elemname}"

    done
}

# In BASH, local variable scope is the current function and every
# child function called from it, so provide a function main to
# make it possible to utilize variable scope to fix issues

function main {

    echo ""
    declare -A gtkrc2=()
    gtkrc2[filepath]="~/.gtkrc-2.0"
    gtkrc2[search]="style \"default\" {"
    echo "gtkrc2 filepath : ${gtkrc2[filepath]}"
    echo "gtkrc2 search   : ${gtkrc2[search]}"
    test_function gtkrc2 "${!gtkrc2[*]}"

    echo ""
    declare -A gtkcss=()
    gtkcss[filepath]="~/.config/gtk-3.0/gtk.css"
    gtkcss[search]=".scrollbar {"
    echo "gtkcss filepath : ${gtkcss[filepath]}"
    echo "gtkcss search   : ${gtkcss[search]}"
    test_function gtkcss "${!gtkcss[*]}"
}

main

In particular:

*

*To pass each associative array to the function, we pass both the name of the array, and its list of indices

*Inside the function, the array name and index list are taken from the positional parameters

*We may then loop over the list of indices and obtain the corresponding value of each element.  This is done by first generating the name of the element, and then using the ! indirection modifier to get the actual value.

This technique of indirection of arrays is described in this question, but only addresses indexed arrays, and not associative arrays; passing the index list is one way I can think of to get this to work for associative arrays.


text:
Pharmaceutical aerosols for the treatment and prevention of tuberculosis.
Front Cell Infect Microbiol. 2012; 2:118.FC
Historically, pharmaceutical aerosols have been employed for the treatment of obstructive airway diseases, such as asthma and chronic obstructive pulmonary disease, but in the past decades their use has been expanded to treat lung infections associated with cystic fibrosis and other respiratory diseases. Tuberculosis (TB) is acquired after inhalation of aerosol droplets containing the bacilli from the cough of infected individuals. Even though TB affects other organs, the lungs are the primary site of infection, which makes the pulmonary route an ideal alternative route to administer vaccines or drug treatments. Optimization of formulations and delivery systems for anti-TB vaccines and drugs, as well as the proper selection of the animal model to evaluate those is of paramount importance if novel vaccines or drug treatments are to be successful. Pharmaceutical aerosols for patient use are generated from metered dose inhalers, nebulizers, and dry powder inhalers (DPIs). In addition to the advantages of providing more efficient delivery of the drug, low cost, and portability, pharmaceutical dry powder aerosols are more stable than inhalable liquid dosage forms and do not require refrigeration. Methods to manufacture dry powders in respirable sizes include micronization, spray drying, and other proprietary technologies. Inhalable dry powders are characterized in terms of their drug content, particle size, and dispersibility to ensure deposition in the appropriate lung region and effective aerosolization from the device. These methods will be illustrated as they were applied for the manufacture and characterization of powders containing anti-tubercular agents and vaccines for pulmonary administration. The influence of formulation, selection of animal model, method of aerosol generation, and administration on the efficacy demonstrated in a given study will be illustrated by the evaluation of pharmaceutical aerosols of anti-TB drugs and vaccines in guinea pigs by our group.
PMC Free PDF
Hanif SN
Department of Pharmaceutical Sciences, Collage of Pharmacy, University of Oklahoma Health Sciences Center Oklahoma City, OK, USA.
Garcia-Contreras L
Administration, InhalationAerosolsAnimalsAntitubercular AgentsDisease Models, AnimalGuinea PigsTechnology, PharmaceuticalTreatment OutcomeTuberculosisTuberculosis Vaccines
Hanif, Shumaila N M., and Lucila Garcia-Contreras. "Pharmaceutical Aerosols for the Treatment and Prevention of Tuberculosis." Frontiers in Cellular and Infection Microbiology, vol. 2, 2012, p. 118.
Hanif SN, Garcia-Contreras L. Pharmaceutical aerosols for the treatment and prevention of tuberculosis. Front Cell Infect Microbiol. 2012;2:118.
Hanif, S. N., & Garcia-Contreras, L. (2012). Pharmaceutical aerosols for the treatment and prevention of tuberculosis. Frontiers in Cellular and Infection Microbiology, 2, 118. https://doi.org/10.3389/fcimb.2012.00118
Hanif SN, Garcia-Contreras L. Pharmaceutical Aerosols for the Treatment and Prevention of Tuberculosis. Front Cell Infect Microbiol. 2012;2:118. PubMed PMID: 22973562.
TY - JOUR T1 - Pharmaceutical aerosols for the treatment and prevention of tuberculosis. AU - Hanif,Shumaila N M, AU - Garcia-Contreras,Lucila, Y1 - 2012/09/07/ PY - 2012/05/15/received PY - 2012/08/23/accepted PY - 2012/9/14/entrez PY - 2012/9/14/pubmed PY - 2012/9/14/medline KW - Tuberculosis KW - aerosols KW - inhaled vaccines KW - treatment SP - 118 EP - 118 JF - Frontiers in cellular and infection microbiology JO - Front Cell Infect Microbiol VL - 2 N2 - Historically, pharmaceutical aerosols have been employed for the treatment of obstructive airway diseases, such as asthma and chronic obstructive pulmonary disease, but in the past decades their use has been expanded to treat lung infections associated with cystic fibrosis and other respiratory diseases. Tuberculosis (TB) is acquired after inhalation of aerosol droplets containing the bacilli from the cough of infected individuals. Even though TB affects other organs, the lungs are the primary site of infection, which makes the pulmonary route an ideal alternative route to administer vaccines or drug treatments. Optimization of formulations and delivery systems for anti-TB vaccines and drugs, as well as the proper selection of the animal model to evaluate those is of paramount importance if novel vaccines or drug treatments are to be successful. Pharmaceutical aerosols for patient use are generated from metered dose inhalers, nebulizers, and dry powder inhalers (DPIs). In addition to the advantages of providing more efficient delivery of the drug, low cost, and portability, pharmaceutical dry powder aerosols are more stable than inhalable liquid dosage forms and do not require refrigeration. Methods to manufacture dry powders in respirable sizes include micronization, spray drying, and other proprietary technologies. Inhalable dry powders are characterized in terms of their drug content, particle size, and dispersibility to ensure deposition in the appropriate lung region and effective aerosolization from the device. These methods will be illustrated as they were applied for the manufacture and characterization of powders containing anti-tubercular agents and vaccines for pulmonary administration. The influence of formulation, selection of animal model, method of aerosol generation, and administration on the efficacy demonstrated in a given study will be illustrated by the evaluation of pharmaceutical aerosols of anti-TB drugs and vaccines in guinea pigs by our group. SN - 2235-2988 UR - https://www.unboundmedicine.com/medline/citation/22973562/Pharmaceutical_aerosols_for_the_treatment_and_prevention_of_tuberculosis_ L2 - https://doi.org/10.3389/fcimb.2012.00118 DB - PRIME DP - Unbound Medicine ER -
Grapherence [↓2 ↑76]
Administration, Inhalation
Antitubercular Agents
Technology, Pharmaceutical
Tuberculosis Vaccines
Dry powder inhalable formulations for anti-tubercular therapy.
Dry powder PA-824 aerosols for treatment of tuberculosis in guinea pigs.
Inhaled dry powder formulations for treating tuberculosis.
Computationally efficient analysis of particle transport and deposition in a human whole-lung-airway model. Part II: Dry powder inhaler application.
Physicochemical characterization and aerosol dispersion performance of organic solution advanced spray-dried microparticulate/nanoparticulate antibiotic dry powders of tobramycin and azithromycin for pulmonary inhalation aerosol delivery.
Design, characterization, and aerosol dispersion performance modeling of advanced spray-dried microparticulate/nanoparticulate mannitol powders for targeted pulmonary delivery as dry powder inhalers.
Advanced spray-dried design, physicochemical characterization, and aerosol dispersion performance of vancomycin and clarithromycin multifunctional controlled release particles for targeted respiratory delivery as dry powder inhalation aerosols.
Phospholipid-based pyrazinamide spray-dried inhalable powders for treating tuberculosis.
Inhalable spray-dried formulation of D-LAK antimicrobial peptides targeting tuberculosis.
The role of particle properties in pharmaceutical powder inhalation formulations.


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text:
Yōsuke Etō (, Etõ Yõsuke), né le  à Iiyama, est un sauteur à ski et coureur japonais du combiné nordique.

Biographie
Il représente l'Université Meiji en compétition.
Il a participé aux Championnats du monde en 1958 et 1962. À Lahti en 1958, il s'est classé  lors de l'épreuve du combiné et  (sur 54 participants) en saut. À Zakopane en 1962, il a été classé  lors du saut sur grand tremplin.

Lors des Jeux olympiques de Squaw Valley en 1960, il s'est classé  en combiné et  en saut spécial. Aux Jeux de 1964, il se classe  sur tremplin normal à Seefeld et  (sur 52 participants) sur grand tremplin à Innsbruck. Lors de l'épreuve internationale de saut à ski sur le Fageråsbakken de Mo I Rana, le , il fait une mauvaise chute qui lui valut de passer quelque temps au Sanitetsforeningens, l'hôpital de Mo, avec le champion du monde Toralf Engan et le finlandais Paavo Lukkariniemi.

En 1962, avec un saut de , il a réalisé le record du tremplin de Holmenkollen à Oslo. À cette époque, il a participé à de nombreuses compétitions de saut à ski en Norvège et en Suède, et est devenu très populaire.

Sources
 Rana Blad 1. .
 Sports De Référence: Yosuke Eto
 Jens Jahn, Egon Theiner: Enzyklopädie des Skispringens. AGON Sportverlag, Kassel, 2004. , plusieurs pages
 Les résultats des Championnats du Monde à Lahti: 1926, 1938, 1958, 1978, 1989
 Tout: les Enregistrements de la Tour

Notes et références

Liens externes

Naissance en mai 1934
Naissance dans la préfecture de Nagano
Sauteur à ski aux Jeux olympiques d'hiver de 1964
Sauteur à ski aux Jeux olympiques d'hiver de 1960
Coureur du combiné nordique aux Jeux olympiques d'hiver de 1960
Sauteur à ski japonais
Coureur japonais du combiné nordique

redpajama_set_name: RedPajamaWikipedia


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text:
# Testen

Wenn möglich, nutzen wir das Prinzip des Test Driven Development. D.h. Tests werden vorab bzw. zeitgleich mit
den zu erstellenden Klassen geschrieben. Details zu diesem Ansatz finden sich in [4] in Kapitel 9. Dies hat viele
Vorteile:
- Es werden nur die Anforderungen umgesetzt, die auch wirklich nötig sind (YAGNI: You ain't gonna need it,
KISS: Keep it simple, stupid!).
- Das Softwaredesign orientiert sich an der Nutzung von Klassen, da die Tests die ersten "Anwender" des API sind.
- Testfälle dokumentieren eine Klasse (und ergänzen somit die Spezifikation).
- Testbarkeit eines Programms ist per Definition garantiert und zudem erhalten wir automatisch eine hohe Testabdeckung.

## Konventionen beim Schreiben von Modultests

Wir nutzen für Modultests (d.h. Unittests) die [JUnit](http://junit.org/) Bibliothek. Alle Modultests einer Klasse `Foo`
legen wir in der zugehörigen Klasse `FooTest` ab. Die Tests werden im Verzeichnis *src/test/java* abgelegt, damit
sie separat von den eigentlichen Klassen liegen (diese liegen unter  *src/main/java*).

Ein Modultest besteht immer aus drei Schritten, die ggf. zusammenfallen können:

1. **Given**: Das zu testende Objekt wird erzeugt (Subject Under Test: SUT). Sind dazu weitere Objekte nötig,
so werden diese in diesem Schritt ebenso erzeugt.
2. **When**: Die zu überprüfende Funktionalität wird aufgerufen. Sind dazu weitere Objekte nötig (z.B. als Methodenparameter),
sollten diese bereits in Schritt 1.) erzeugt werden.
3. **Then**: Es wird überprüft, ob die im letzten Schritt aufgerufene Funktionalität korrekt ist. Dazu kann z.B. der
Rückgabewert einer Methode oder der innere Zustand einer Klasse herangezogen werden. Zum Prüfen verwenden wir Assertions
des JUnit Frameworks [AssertJ](http://joel-costigliola.github.io/assertj/assertj-core-features-highlight.html)

Die Benennung der drei Schritte in **Given-When-Then** stammt aus dem
[Behavior-Driven-Development](http://dannorth.net/introducing-bdd/) und ist in einem
[Artikel von Martin Fowler](http://martinfowler.com/bliki/GivenWhenThen.html) gut beschrieben.

Damit im Fehlerfall schnell die Ursache gefunden wird, benennen wir eine Testmethode mit einem sinnvollen (und langen) Namen
und ergänzen im JavaDoc in einem knappen Satz das Ziel des Tests. Testmethoden sollten i.A. immer mit dem Präfix *should* beginnen.

An einem Beispiel lassen sich diese Konventionen am besten erkennen:
```java
import org.junit.Test;
import static org.assertj.core.api.Assertions.*;

/**
 * Tests the class {@link MathUtils}.
 *
 * @author Ullrich Hafner
 */
public class MathUtilsTest {
    /** Verifies that {@link MathUtils#max} works with positive and negative values. */
    @Test
    public void testMaxWithPositiveAndNegativeValues() {
        // Given
        MathUtils utils = new MathUtils();
        int[] inputValues = {1, -2, 0};
        // When
        int actual = utils.max(inputValues);

        // Then
        assertThat(actual).isEqualTo(1);
    }
}
```

## Eigenschaften von Modultests

Gut geschriebene Modultests lassen sich nach dem [FIRST](https://pragprog.com/magazines/2012-01/unit-tests-are-first)
Prinzip charakterisieren, das sich folgendermaßen zusammenfassen lässt:
- Sie sind unabhängig und können in beliebiger Reihenfolgen laufen.
- Sie sind konsistent und liefern immer das gleiche Resultat.
- Sie können schnell und automatisiert ausgeführt werden.
- Sie sind verständlich und wartungsfreundlich.

## Tipps und Tricks

Hier noch einige Anregungen bei der Gestaltung von Modultests:
- Eine Testmethode sollte nur einen Aspekt testen: d.h. wir testen ein bestimmtes Verhalten und nur indirekt eine Methode.
- Eine Testmethoden sollten ca. 5-15 Zeilen umfassen.
- Modultests greifen nie auf Datenbank, Dateisystem oder Web Services zu.
- Test Klassen sollten keine Objektvariablen besitzen.
Benötigte Objekte sollten immer neu mit passenden *create* Methoden erzeugt werden. Eine Verwendung eines allgemeingültigen Testsetup  Häufig verwendete Eingangsparameter
sollten als Konstanten definiert werden.
- Tests nutzen die selben Kodierungsrichtlinien wie normale Klassen.

## Testfall Anzahl

Die Anzahl der erforderlichen Tests für eine Klasse lässt sich schwer herleiten. Daher sollten folgende Kriterien
herangezogen werden:
- Jede nicht-triviale public Methode einer Klasse mit mindestens einem Testfall überprüfen
  - Randwerte (0, -1, 1, etc.) verwenden
  - Eingabeparameter mit unerwarteten Werten (null, {}, etc.) belegen
- Äquivalenzklassen bilden: minimale Anzahl Tests für maximale Variation der Testdaten
- Zu jedem entdeckten Fehler (z.B. durch einen Bug Report) einen passenden Testfall erstellen

Sinnvollerweise nutzt man die [Coverage Übersicht](https://www.jetbrains.com/idea/help/code-coverage.html)
der Entwicklungsumgebung, um zu überprüfen, welcher Teil des Quelltextes bereits getestet wurde.

## State Based vs. Interaction Based Testing

Prinzipiell gibt es 2 Varianten des Testings. Beim **State Based Testing** wird das Testobjekt nach Aufruf der zu
testenden Methoden durch Abfrage seines internen Zustands verifiziert. Analog dazu kann natürlich auch der Zustand
der im Test verwendeten Parameter bzw. Rückgabewerte analysiert werden. Alle bisher beschriebenen Tests laufen nach diesem
Muster ab und können folgendermaßen formuliert werden:

```java
/** [Kurze Beschreibung: was genau macht der Test] */
@Test
public void should[restlicher Methodenname der den Test fachliche beschreibt]() {
    // Given
    [Test Setup: Erzeugung der Parameter, die das SUT zum Erzeugen bzw. beim Aufruf benötigt]
    [Erzeugung des SUT]
    // When
    [Aufruf der zu testenden Methoden]
    // Then
    [Verifikation des Zustands des SUT bzw. von Parametern oder Rückgabewerten mittels AssertJ]
}
```

Im Gegensatz dazu wird beim **Interaction Based Testing** nicht der Zustand des SUT analysiert. Statt dessen werden die
Aufrufe aller am Test beteiligten Objekte mit einem Mocking Framework wie [Mockito](http://site.mockito.org/) überprüft.
D.h. hier steht nicht der Zustand des Testobjekts im Vordergrund, sondern die Interaktion mit beteiligten Objekten. Ein
typischer Testfall nach dem Interaction Based Testing ist folgendermaßen aufgebaut:

```java
/** [Kurze Beschreibung: was genau macht der Test] */
@Test
public void should[restlicher Methodenname der den Test fachliche beschreibt]() {
    // Given
    [Test Setup: Erzeugung der Mocks, die zur Verifikation benötigt werden]
    [Erzeugung des SUT]
    // When
    [Aufruf der zu testenden Methoden]
    // Then
    [Verifikation des Zustands der Mocks]
}
```

Details zu diesem Vorgehen werden in einem separaten Abschnitt beschrieben.

redpajama_set_name: RedPajamaGithub


Moscow, Russia (BBN)-Russia has strengthened its anti-aircraft defences in Syria by moving a cruiser towards the coast and deploying new missiles at its main base.
The Moskva cruiser's long-range air defence system will provide cover for Russian aircraft, as will the S-400 missiles which arrived on Thursday, reports BBC.
The row over Turkey's downing of a Russian combat jet on Tuesday rages on.
Turkish President Recep Tayyip Erdogan has warned Russia not to "play with fire" with its operations in Syria.
Russia has suspended its visa-free arrangement with Turkey and is planning to introduce a wide range of economic sanctions.
President Vladimir Putin wants an apology from Turkey before he will speak to Erdogan.
Moscow rejected Turkey's assertion that its SU-24 fighter jet had flown into Turkish air space for 17 seconds after ignoring repeated warnings to change course.
A senior Russian commander said the jet had in fact been "ambushed" by two Turkish F-16s patrolling the area for more than an hour beforehand.
He said Russian and Syrian radar data proved that a Turkish jet had fired a missile from 2km (1.2 miles) inside Syria. Turkey did not respond to the allegation.
The long-range S-400 system was delivered to Russia's Hmeimim air base just 50km from the border with Turkey.
Russian aircraft have been using the base to attack opponents of Syrian President Bashar al-Assad since 30 September.
Turkey, which is a member of Nato and of a US-led coalition in the region, insists Assad must step down before any political solution to the Syrian conflict is found.
Both countries say they are trying to rid the region of the so-called Islamic State (IS) group, which claimed the recent attacks on Paris and also on a Russian airliner.
In a televised speech, Erdogan warned Russia it was "playing with fire to attack the Syrian opposition, who have international legitimacy, under the pretext of fighting against Daesh [another name for IS]".
He accused Moscow of seeking to use the downing of the jet as an "excuse to make unacceptable accusations against us", and accused Russians of "mistreating" Turkish citizens who were in the country for a trade fair.
Erdogan said he hoped to meet Putin face to face on the sidelines of the climate summit in Paris next week "to bring the issue to a reasonable point. We are disturbed that the issue has been escalated".
While he has refused to apologise, Erdogan did say on Thursday that had Turkey known the plane was Russian, "maybe we would have warned it differently".
But Putin has firmly rejected any suggestion Turkey did not recognise the plane as Russian.
He said it was easily identifiable and its co-ordinates had been passed on to Turkey's ally, the US.
President Putin's foreign affairs adviser, Yuri Ushakov, said the Kremlin had received Erdogan's request for a meeting but he would not say whether such a meeting was possible.
"We have seen that the Turkish side hasn't been ready to offer an elementary apology over the plane incident," he said.
Announcing the suspension of a visa-free travel regime with Turkey from 1 January, Russian Foreign Minister Sergei Lavrov said he believed the Turkish leadership had "crossed the line of what is acceptable".
Russia on Thursday said it was drafting a wide-ranging list of economic sanctions against Turkey that would hit food imports and joint investment projects among other things.
Turkey and Russia have important economic links.
Russia is Turkey's second-largest trading partner, while more than three million Russian tourists visited Turkey last year.