text:
UMSH
CCIT
USH
UET
UAMD
SCiDEV
ACEEU
USGM
AKKSHI
Aleksandër Moisiu University in Durrës (UAMD) was established on 2005 and is one of 11 public universities in Albania. When the University opened its doors in the 2006-2007 academic year, one thousand of students from across the country started their studies. Today Aleksandër Moisiu University has about nineteen thousand students (19 000) and 6 main units: Faculty of Business, Faculty of Education, Faculty of information Technology, Faculty of Political and Juridical Sciences, Faculty of Professional Studies and Faculty of Integrated Studies with Practice (FASTIP). This institution is based in the best western academic experiences. The students are in the centre of attention in all activities and services provided. Aleksandër Moisiu University brought a new mentality in the whole Albanian higher educational system through a new method of program organization, university life, scientific research activities, links with the local community and academic world. It is designed as a university with innovation in teaching and learning.
For more http://www.uamd.edu.al
USIA Contact at UAMD
Prof. Assoc. Dr. Albana Ndreu
University to Society Innomediaries in Albania: Co-Production of knowledge and research that matters
Qendra Mesdheu - Mediterranean University of Albania Blv. Gjergj Fishta, Tirana, Albania
© 2021 U-SIA. All Rights Reserved.


text:
India's prime minister says Kamala Harris's 'success is a matter of great pride and inspiration'
By Zack Budryk - 11/17/20 02:11 PM EST
Indian Prime Minister Narendra Modi hailed Vice President-elect Kamala Harris Kamala HarrisBiden-Harris team unveils inauguration playlist Trump approval rating relatively unchanged in wake of Capitol rioting: NBC News poll Harris to resign from Senate seat on Monday MORE, the first person of Indian descent elected to the position, as a source of "great pride and inspiration."
"I … conveyed warm congratulations for VP-elect @KamalaHarris," Modi tweeted Tuesday. "Her success is a matter of great pride and inspiration for members of the vibrant Indian-American community, who are a tremendous source of strength for Indo-US relations."
I also conveyed warm congratulations for VP-elect @KamalaHarris. Her success is a matter of great pride and inspiration for members of the vibrant Indian-American community, who are a tremendous source of strength for Indo-US relations.
— Narendra Modi (@narendramodi) November 17, 2020
Modi was one of several world leaders to congratulate President-elect Joe Biden Joe BidenFear of insider attack prompts additional FBI screening of National Guard troops: AP Iran convicts American businessman on spying charge: report DC, state capitals see few issues, heavy security amid protest worries MORE last week, including British Prime Minister Boris Johnson, German Chancellor Angela Merkel, French President Emmanuel Macron Emmanuel Jean-Michel MacronEU launches coronavirus vaccine campaign Macron now symptom-free after testing positive for COVID-19 France slowly allowing passengers, freight from UK to enter MORE, Canadian Prime Minister Justin Trudeau Justin Pierre James TrudeauHow Biden can help Canada do better on climate Pope says the 'movement' of violence at the Capitol must be condemned Trudeau condemns Trump for 'inciting' Capitol riots MORE, Israeli Prime Minister Benjamin Netanyahu Benjamin (Bibi) NetanyahuMORE and New Zealand Prime Minister Jacinda Ardern.
Harris's late mother, biomedical scientist Shyamala Gopalan, was born in what is now the Indian state of Tamil Nadu. A village in the state erected banners hailing Harris's selection in August as Biden's running mate. A survey released in October also indicated about 72 percent of Indian Americans supported the ticket.
Foreign policy analysts told Al Jazeera last week that the Biden administration is more likely than Trump to raise concerns about human rights in Modi's India. Violence against the nation's Muslim minority has increased under Modi, a leading figure in the Hindu nationalist movement. His party last year passed citizenship legislation widely panned as making Muslims second-class citizens.
"These measures are inconsistent with the country's long tradition of secularism and with sustaining a multi-ethnic and multi-religious democracy," the Biden campaign said in a policy paper of the Indian law.
Tags Kamala Harris Narendra Modi French President Emmanuel Macron Benjamin Netanyahu Emmanuel Macron Justin Trudeau Joe Biden India–United States relations Government of India

redpajama_set_name: RedPajamaCommonCrawl


Almost 70 percent of French citizens oppose the law bill prohibiting smacking of children, according to the poll.
MOSCOW (Sputnik) — Almost 70 percent of French citizens oppose the idea of adopting a law prohibiting corporal punishment of children, Le Figaro French newspaper reported, citing results of a new poll.
Seventy-nine percent of the right-wing French National Front Party and 74 percent of the Union for a Popular Movement oppose the proposed law, according to the results of the poll conducted by the IFOP and published by Le Figaro on Friday.
The committee added that France failed to comply with the Article 17 of the European Social Charmer, which protects children from abuse and exploitation.
In France, parents currently have a "right to discipline" children, thus it is not uncommon that French children are slapped or spanked.


text:
var Crafty = require('../core/core.js');

/**@
 * #Draggable
 * @category Controls
 * @kind Component
 * Enable drag and drop of the entity. Listens to events from `MouseDrag` and moves entity accordingly.
 *
 * @see MouseDrag
 */
Crafty.c("Draggable", {
    _origX: null,
    _origY: null,
    _oldX: null,
    _oldY: null,
    _dir: null,

    required: "MouseDrag",
    events: {
        "StartDrag": "_startDrag",
        "Dragging": "_drag"
    },

    /**@
     * #.enableDrag
     * @comp Draggable
     * @kind Method
     *
     * @sign public this .enableDrag(void)
     *
     * Reenable dragging of entity. Use if `.disableDrag` has been called.
     *
     * @see .disableDrag
     */
    enableDrag: function () {
        this.uniqueBind("Dragging", this._drag);
        return this;
    },

    /**@
     * #.disableDrag
     * @comp Draggable
     * @kind Method
     *
     * @sign public this .disableDrag(void)
     *
     * Disables entity dragging. Reenable with `.enableDrag()`.
     *
     * @see .enableDrag
     */
    disableDrag: function () {
        this.unbind("Dragging", this._drag);
        return this;
    },

    /**@
     * #.dragDirection
     * @comp Draggable
     * @kind Method
     *
     * Method used for modifying the drag direction.
     * If direction is set, the entity being dragged will only move along the specified direction.
     * If direction is not set, the entity being dragged will move along any direction.
     *
     * @sign public this .dragDirection()
     * Remove any previously specified direction.
     *
     * @sign public this .dragDirection(vector)
     * @param vector - Of the form of {x: valx, y: valy}, the vector (valx, valy) denotes the move direction.
     *
     * @sign public this .dragDirection(degree)
     * @param degree - A number, the degree (clockwise) of the move direction with respect to the x axis.
     *
     * Specify the dragging direction.
     *
     * @example
     * ~~~
     * this.dragDirection()
     * this.dragDirection({x:1, y:0}) //Horizontal
     * this.dragDirection({x:0, y:1}) //Vertical
     * // Note: because of the orientation of x and y axis,
     * // this is 45 degree clockwise with respect to the x axis.
     * this.dragDirection({x:1, y:1}) //45 degree.
     * this.dragDirection(60) //60 degree.
     * ~~~
     */
    dragDirection: function (dir) {
        if (typeof dir === 'undefined') {
            this._dir = null;
        } else if (+dir === dir) { //dir is a number
            this._dir = {
                x: Math.cos(dir / 180 * Math.PI),
                y: Math.sin(dir / 180 * Math.PI)
            };
        } else {
            if (dir.x === 0 && dir.y === 0) {
                this._dir = { x: 0, y: 0 };
            } else {
                var r = Math.sqrt(dir.x * dir.x + dir.y * dir.y);
                this._dir = {
                    x: dir.x / r,
                    y: dir.y / r
                };
            }
        }
        return this;
    },

    _startDrag: function (e) {
        this._origX = e.realX;
        this._origY = e.realY;
        this._oldX = this._x;
        this._oldY = this._y;
    },

    //Note: the code is not tested with zoom, etc., that may distort the direction between the viewport and the coordinate on the canvas.
    _drag: function(e) {
        if (this._dir) {
            if (this._dir.x !== 0 || this._dir.y !== 0) {
                var len = (e.realX - this._origX) * this._dir.x + (e.realY - this._origY) * this._dir.y;
                this.x = this._oldX + len * this._dir.x;
                this.y = this._oldY + len * this._dir.y;
            }
        } else {
            this.x = this._oldX + (e.realX - this._origX);
            this.y = this._oldY + (e.realY - this._origY);
        }
    }
});

/**@
 * #Controllable
 * @category Controls
 * @kind Component
 *
 * Used to bind methods to generalized input events.
 *
 * Currently supports the events "DirectionalInput", "TriggerInputDown", and "TriggerInputUp".
 *
 */
Crafty.c("Controllable", {
    init: function () {
        this._inputBindings = {
            "DirectionalInput": {},
            "TriggerInputDown": {},
            "TriggerInputUp": {}
        };
    },

    events: {
        // We don't want to use dot notation here for the property names
        /* jshint -W069 */
        "DirectionalInput": function (e) {
            if (this._inputBindings["DirectionalInput"][e.name]) {
                this._inputBindings["DirectionalInput"][e.name].call(this, e);
            }
        },

        "TriggerInputDown": function (e) {
            if (this._inputBindings["TriggerInputDown"][e.name]) {
                this._inputBindings["TriggerInputDown"][e.name].call(this, e);
            }
        },

         "TriggerInputUp": function (e) {
            if (this._inputBindings["TriggerInputUp"][e.name]) {
                this._inputBindings["TriggerInputUp"][e.name].call(this, e);
            }
        }
        /* jshint +W069 */
    },

    /**@
     * #.linkInput
     * @comp Controllable
     * @kind Method
     *
     * @sign public this linkInput(string event, string name, function fn)
     * @param event - the name of the input event
     * @param name - the name of the input
     * @param fn - the function that will be called with the event object
     *
     * Binds the function to the particular named event trigger.
     *
     * Currently supports three types of input events.  Each event will have a `name` property.
     * - `DirectionalInput`: The event will have `x` and `y` properties representing the directional input vector, often normalized to a unit vector.  Triggered when the input changes.
     * - `TriggerInputDown`: Occurs when the input is triggered.
     * - `TriggerInputDown`: Occurs when the trigger is released.  The event will have a `downFor` property, indicating how long it had been active.
     *
     * @example
     * ~~~~
     * // Create a trigger bound to the `b` key
     * Crafty.s("Controls").defineTriggerGroup("BlushTrigger", {keys:['b']});
     * // Create a blue square that turns pink when the trigger is pressed
     * Crafty.e("2D, Canvas, Color, Controllable")
     *   .attr({x:10, y:10, h:10, w:10}).color("blue")
     *   .linkInput("TriggerInputDown", "BlushTrigger", function(){this.color('pink');});
     * ~~~
     *
     * @see .unlinkInput
     */
    linkInput: function(event, name, fn) {
        this._inputBindings[event][name] = fn;
        return this;
    },

    /**@
     * #.unlinkInput
     * @comp Controllable
     * @kind Method
     *
     * @sign public this linkInput(string event, string name)
     * @param event - the name of the input event
     * @param name - the name of the input
     *
     * Removes a binding setup by linkInput
     *
     * @see .linkInput
     */
    unlinkInput: function(event, name) {
        delete this._inputBindings[event][name];
        return this;
    },

    disableControls: false,

    /**@
     * #.enableControl
     * @comp Controllable
     * @kind Method
     *
     * @sign public this .enableControl()
     *
     * Enable the component to listen to input events.
     *
     * @example
     * ~~~
     * this.enableControl();
     * ~~~
     */
    enableControl: function () {
        this.disableControls = false;
        return this;
    },

    /**@
     * #.disableControl
     * @comp Controllable
     * @kind Method
     *
     * @sign public this .disableControl()
     *
     * Disable the component from responding to input events.
     *
     * @example
     * ~~~
     * this.disableControl();
     * ~~~
     */
    disableControl: function () {
        this.disableControls = true;
        return this;
    }
});

/**@
 * #Multiway
 * @category Controls
 * @kind Component
 *
 * Used to bind keys to directions and have the entity move accordingly.
 *
 * Multiway acts by listening to directional events, and then setting the velocity each frame based on the current direction and the current speed.
 *
 * If a speed is not defined for a particular axis (x or y), then the velocity along that axis will not be set.
 *
 * This behavior works in most cases, but can cause undesired behavior if you manipulate velocities by yourself while this component is in effect.
 * If you need to resolve collisions, it's advised to correct the position directly rather than to manipulate the velocity.
 * If you still need to reset the velocity once a collision happens, make sure to re-add the previous velocity once the collision is resolved.
 *
 * Additionally, this component provides the entity with `Motion` methods & events.
 *
 * @see Motion
 */
Crafty.c("Multiway", {
    _speed: null,

    init: function () {
        this.requires("Motion, Controllable");
        this._dpadName = "MultiwayDpad" + this[0];
        this._speed = { x: 150, y: 150 };
        this._direction = {x:0, y:0};
    },

    remove: function() {
        if (!this.disableControls) this.vx = this.vy = 0;
        this.unlinkInput("DirectionalInput", this._dpadName);
        Crafty.s("Controls").destroyDpad(this._dpadName);
    },

    events: {
        "UpdateFrame": function() {
            if (!this.disableControls) {
                if (typeof this._speed.x !== 'undefined' && this._speed.x !== null){
                    this.vx = this._speed.x * this._direction.x;
                }
                if (typeof this._speed.y !== 'undefined' && this._speed.y !== null) {
                    this.vy = this._speed.y * this._direction.y;
                }
            }
        }
    },

   // Rather than update the velocity directly in response to changing input, track the input direction separately
   // That makes it easier to enable/disable control
    _updateDirection: function(e) {
        this._direction.x = e.x;
        this._direction.y = e.y;
    },

    /**@
     * #.multiway
     * @comp Multiway
     * @kind Method
     *
     * @sign public this .multiway([Number speed,] Object keyBindings[, Object options])
     * @param speed - A speed in pixels per second
     * @param keyBindings - What keys should make the entity go in which direction. Direction is specified in degrees
     * @param options - An object with options for `normalize` and `multipleDirectionBehavior`.
     *
     * Constructor to initialize the speed and keyBindings.
     * Component will listen to key events and move the entity appropriately.
     * Can be called while a key is pressed to change direction & speed on the fly.
     *
     * The options parameter controls the behavior of the component, and has the following defaults:
     *
     *  - `"normalize": false`.  When set to true, the directional input always has a magnitude of 1
     *  - `"multipleDirectionBehavior": "all"` How to resolve multiple active directions.
     *     Set to "first" or "last" to allow only one active direction at a time.
     *
     *  @example
     * ~~~
     * this.multiway(150, {UP_ARROW: -90, DOWN_ARROW: 90, RIGHT_ARROW: 0, LEFT_ARROW: 180});
     * this.multiway({x:150,y:75}, {UP_ARROW: -90, DOWN_ARROW: 90, RIGHT_ARROW: 0, LEFT_ARROW: 180});
     * this.multiway({W: -90, S: 90, D: 0, A: 180});
     * ~~~
     *
     * @see Crafty.keys
     */
    multiway: function (speed, keys, options) {
        var inputSystem = Crafty.s("Controls");

        if (keys) {
            this.speed(speed);
        } else {
            keys = speed;
        }
        inputSystem.defineDpad(this._dpadName, keys, options);
        this.linkInput("DirectionalInput", this._dpadName, this._updateDirection);

        return this;
    },

    /**@
     * #.speed
     * @comp Multiway
     * @kind Method
     *
     * @sign public this .speed(Object speed)
     * @param speed - New speed the entity has, for x and y axis.
     *
     * Change the speed that the entity moves with, in units of pixels per second.
     * Can be called while a key is pressed to change speed on the fly.
     *
     * If the passed object has only an x or y property, only the velocity along that axis will be controlled.
     *
     * @example
     * ~~~
     * this.speed({ x: 150, y: 50 });
     * ~~~
     */
    speed: function (speed) {
        if (typeof speed === 'object') {
            this._speed.x = speed.x;
            this._speed.y = speed.y;
        } else {
            this._speed.x = speed;
            this._speed.y = speed;
        }
        return this;
    },

});

/**@
 * #Jumper
 * @category Controls
 * @kind Component
 * @trigger CheckJumping - When entity is about to jump. This event is triggered with the object the entity is about to jump from (if it exists). Third parties can respond to this event and enable the entity to jump.
 *
 * Make the entity jump in response to key events.
 * Simulates jumping and falling when used with the `Gravity` component.
 *
 * Additionally, this component provides the entity with `Supportable`, `Motion` and `Keyboard` methods & events.
 *
 * @see Supportable, Motion, Keyboard, Gravity
 */
Crafty.c("Jumper", {
    _jumpSpeed: 300,

    /**@
     * #.canJump
     * @comp Jumper
     * @kind Method
     *
     * The canJump function determines if the entity is allowed to jump or not (e.g. perhaps the entity should be able to double jump).
     * The Jumper component will trigger a "CheckJumping" event.
     * Interested parties can listen to this event and enable the entity to jump by setting `canJump` to true.
     *
     * @example
     * ~~~
     * var player = Crafty.e("2D, Jumper");
     * player.hasDoubleJumpPowerUp = true; // allow player to double jump by granting him a powerup
     * player.bind("CheckJumping", function(ground) {
     *     if (!ground && player.hasDoubleJumpPowerUp) { // allow player to double jump by using up his double jump powerup
     *         player.canJump = true;
     *         player.hasDoubleJumpPowerUp = false;
     *     }
     * });
     * player.bind("LandedOnGround", function(ground) {
     *     player.hasDoubleJumpPowerUp = true; // give player new double jump powerup upon landing
     * });
     * ~~~
     */
    canJump: true,

    init: function () {
        this.requires("Supportable, Motion, Controllable");
    },

    remove: function() {
        this.unlinkInput("TriggerInputDown", this._jumpTriggerName);
        Crafty.s("Controls").destroyTriggerGroup(this._jumpTriggerName);
    },

    _keydown_jumper: function (e) {
        if (this.disableControls) return;
        this.jump();
    },

    /**@
     * #.jump
     * @comp Jumper
     * @kind Method
     *
     * @sign public this .jump()
     *
     * Directly trigger the entity to jump.
     *
     */
    jump: function() {
        var ground = this.ground;
        this.canJump = !!ground;
        this.trigger("CheckJumping", ground);
        if (this.canJump) {
            this.vy = -this._jumpSpeed;
        }
        return this;
    },

    /**@
     * #.jumper
     * @comp Jumper
     * @kind Method
     *
     * @sign public this .jumper([Number jumpSpeed,] Array jumpKeys)
     * @param jumpSpeed - Vertical jump speed in pixels per second
     * @param jumpKeys - Keys to listen for and make entity jump in response
     *
     * @sign public this .jumper([Number jumpSpeed,] Object jumpInputs)
     * @param jumpSpeed - Vertical jump speed in pixels per second
     * @param jumpInputs - An object with two properties, `keys` and `mouseButtons`.
     *
     * Constructor to initialize the power of jump and keys to listen to.
     * Component will listen for key events and make the entity jump appropriately.
     *
     * If second argument is an object, the properties `keys` and `mouseButtons` will be used as triggers.
     *
     * @example
     * ~~~
     * this.jumper(300, ['UP_ARROW', 'W']);
     * this.jumper(['UP_ARROW', 'W']);
     * ~~~
     *
     * @see Crafty.keys
     */
    jumper: function (jumpSpeed, jumpKeys) {
        if (jumpKeys) {
            this._jumpSpeed = jumpSpeed;
        } else {
            jumpKeys = jumpSpeed;
        }
        this._jumpTriggerName = "JumpTrigger" + this[0];
        if (Array.isArray(jumpKeys)) {
            var keys = [];
            for (var i = 0; i < jumpKeys.length; ++i) {
                var key = jumpKeys[i];
                var keyCode = Crafty.keys[key] || key;
                keys.push(keyCode);
            }
            Crafty.s("Controls")
                .defineTriggerGroup(this._jumpTriggerName, {keys:keys});
        } else {
            Crafty.s("Controls")
                .defineTriggerGroup(this._jumpTriggerName, jumpKeys);
        }

        this.linkInput("TriggerInputDown", this._jumpTriggerName, this._keydown_jumper);

        return this;
    },

    /**@
     * #.jumpSpeed
     * @comp Jumper
     * @kind Method
     *
     * @sign public this .jumpSpeed(Number jumpSpeed)
     * @param jumpSpeed - new vertical jump speed
     *
     * Change the vertical jump speed.
     *
     * @example
     * ~~~
     * this.jumpSpeed(300);
     * ~~~
     */
    jumpSpeed: function (jumpSpeed) {
        this._jumpSpeed = jumpSpeed;
        return this;
    }
});

/**@
 * #Fourway
 * @category Controls
 * @kind Component
 *
 * Move an entity in four directions by using the
 * `Up Arrow`, `Left Arrow`, `Down Arrow`, `Right Arrow` keys or `W`, `A`, `S`, `D`.
 *
 * This component is a thin wrapper around the `Multiway` component and sets the appropriate key bindings.
 * It is a well suited for games with a top-down (birds-eye) perspective.
 *
 * @see Multiway
 * @see Motion
 */
Crafty.c("Fourway", {

    init: function () {
        this.requires("Multiway");
    },

    /**@
     * #.fourway
     * @comp Fourway
     * @kind Method
     *
     * @sign public this .fourway([Number speed[, Object options]])
     * @param speed - The speed of motion in pixels per second.
     * @param options - A dictionary of options passed through to the underlying Multiway component
     *
     * Initialize the component with the given speed and options.  See the Multiway component for available options.
     *
     * @example
     * ~~~
     * Crafty.e("2D, Color, Fourway")
     *    .attr({x: 100, y: 100, w: 50, h:50})
     *    .color("green")
     *    .fourway(100, {normalize:true});
     * ~~~
     * Create a green square controlled by the arrow keys and WASD, with diagonal movement normalized to the given speed.
     *
     * The speed is in units of pixels per second.
     */
    fourway: function (speed, options) {
        this.multiway(speed || this._speed, {
            UP_ARROW: -90,
            DOWN_ARROW: 90,
            RIGHT_ARROW: 0,
            LEFT_ARROW: 180,
            W: -90,
            S: 90,
            D: 0,
            A: 180,
            Z: -90,
            Q: 180
        }, options);

        return this;
    }
});

/**@
 * #Twoway
 * @category Controls
 * @kind Component
 *
 * Move an entity left or right using the `Left Arrow`, `Right Arrow` keys or `D` and `A`
 * and make it jump using `Up Arrow` or `W`.
 * Simulates jumping and falling when used with the `Gravity` component.
 *
 * This component is a thin wrapper around the `Multiway` and `Jumper` components and sets the appropriate key bindings.
 * It is a well suited for side-scrolling platformer type games.
 *
 * @see Multiway, Jumper
 */
Crafty.c("Twoway", {

    init: function () {
        this.requires("Multiway, Jumper");
    },

    /**@
     * #.twoway
     * @comp Twoway
     * @kind Method
     *
     * @sign public this .twoway([Number speed[, Number jumpSpeed]])
     * @param speed - A speed in pixels per second
     * @param jumpSpeed - Vertical jump speed in pixels per second
     *
     * Constructor to initialize the speed and power of jump.
     * Component will listen for key events and move the entity
     * in the respective direction by the speed passed in the argument.
     * Pressing the jump key will cause the entity to jump with the supplied power.
     */
    twoway: function (speed, jumpSpeed) {
        // Set multiway with horizontal speed only
        var hSpeed = speed || this._speed;
        this.multiway({x: hSpeed}, {
            RIGHT_ARROW: 0,
            LEFT_ARROW: 180,
            D: 0,
            A: 180,
            Q: 180
        });

        this.jumper(jumpSpeed || speed * 2 || this._jumpSpeed, [
            Crafty.keys.UP_ARROW,
            Crafty.keys.W,
            Crafty.keys.Z
        ]);

        return this;
    }
});

redpajama_set_name: RedPajamaGithub


Revoluton Arts are keen to recruit volunteers from Luton. We are seeking positive minded individuals who have drive and passion for events.
No two days will be the same, one minute you can be helping us in the office, next you can be out and about telling people about events we have coming up. This is perfect opportunity to learn about events and gain valuable skills which could be useful for your future, plus have fun and meet like minded people at same time.
In the past our volunteers have worked on some amazing events including Rise and Clash of Drums, and have come back to us again and again because they loved it so much.
We will give you support every step of the way so you will never be alone. Sound tempting? Get in touch for further information email furhaad@revolutonarts.com.


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Taskfriend, a UIUC based startup, is a place where you can find people nearby to help you with anything you need and also a place to earn money while helping out your neighbors.
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Libraries play an important role in advancing the institute of education because the library is a place to improve knowledge for the students. In the library of SMPN 12 Kotabumi running processes such as borrowing books, returning books, encode books, the data replace data of members and replace of data administration are still modest. Avoid delays in the system library services SMPN 12 Kotabumi, it is necessary to design an application system library that can help and easier the activities of the circulation of the book. In designing the application system library of SMP N 12 Kotabumi uses prototype method and Unified Modeling Language (UML) as well as for language programmer using the Borland Delphi 7, with a SQL Server database. Application system design library of SMP N 12 Kotabumi is used to support library activities such as record and data processing of member, the data of book, the data borrowed, the data returns, late charges and catalog book.Hopefully with this library application system design it can solve the problems which exist in the library and can help in the development of science students.
Key Words : Borland Delphi 7, Libraries, Prototype, Unified Modeling Language (UML).
Como Te Auxílio A Perder Barriga?
Relato, Dá certo, Emagrece Mesmo?
My Assignment Help Oz, Is Here With Best Assignment Help Services!


Mike Rice under heavy criticism over the way he treats his players.
Footage has been released of Rutgers basketball coach Mike Rice verbally and physically attacking his college players throughout the season in practice.
While his demeanour on the court has been seen as fiery, yet passionate towards his team, the video sheds new light on his personality towards his players.
The calls for his resignation are now growing, as this kind of behaviour is not acceptable for a head coach, particularly when addressing players who are not professional, with the a large majority not even out of their teens.


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Michael H. Ambrose
Michael H. Ambrose was appointed to the Board of Directors in September 2019. He has served as Vice President of Engineering and Technology for Sikorsky Aircraft, a Lockheed Martin Company, since 2017. From 2013 to 2017 he was Vice President of Aircraft Design and Manufacturing Engineering for Sikorsky, and before that held executive positions in International Government Programs and Manufacturing Operations at Sikorsky. Mr. Ambrose has been with Sikorsky since 1984, working in all areas of complex aerospace design and manufacturing operations. He is currently responsible for leading over 3,000 engineers in support of all aspects of design, research & development, manufacturing engineering, and engineering customer support. Mr. Ambrose is also the co-chair of the Sikorsky senior safety board and has responsibility for air worthiness at Sikorsky. He serves on the Board of Governors of the University of New Haven and the Board of Directors of the Vertical Flight Society. Mr. Ambrose holds a Bachelor of Science degree in Mechanical Engineering from the University of New Haven and a Master of Science degree in Engineering Management from the Massachusetts Institute of Technology. Mr. Ambrose's many years of experience in aerospace engineering and manufacturing operations are valuable resources to the Board.
Member of the Audit Committee


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home > Calendar & News > Latest News > Co-Curricular > Crusaders by Frances Poet, performed by WGS Theatre Company
Crusaders by Frances Poet, performed by WGS Theatre Company
10th March 20
Building on our reputation for new and original writing, the Drama Department was delighted to be accepted into The National Theatre's Connection programme in October 2019. The Festival has been an annual event since 1995, with the NT commissioning ten new plays each year. All of the 300 national and international companies made up of youth groups, schools, and theatre clubs perform at their own venue, then move to a professional partner theatre to be part of a local festival so we will be at Norwich Playhouse on Thursday 28 April, and then one inspirational production of each play is invited to perform at the Connections Festival in London in June. Participation in such a prestigious undertaking such as Connections automatically widens our pupils' experience of physical venues, industry-led collaboration, and perhaps most importantly, to experience the transformative effect of standing in someone else's shoes.
Frances Poet, the playwright, was inspired to write this powerful play following her research of the ill-fated medieval Children's (or Innocent's) Crusades, and the energy created by the more recent Youthquake movement. Serendipity, and an increasing urgency for global action on climate change, then made us, as a populace, aware of Greta Thurnberg and youth activism; thus art mirrors reality in poignant relevance.
The challenge of the play is to effectively communicate the epic vision of physical, geographical and emotional distance given in the text. Energy is required from both the company and members of the audience. The structure means that each scene starts in the middle of an episode or a conversation, so the audience needs to catch up. This is not a passive affair, nor is it, unusually, a final offering. From these performances, we shall continue developing and rehearsing with the help of our Communications Director Kash Arshad, in preparation for the next phase in Norwich.
The play takes place over the course of one week: Monday in Wisbech, Tuesday on the American Mexico border, Wednesday on the Gazza Strip, Thursday in the shores of the Mediterranean Sea, Friday in India, and the weekend finishes on Jebel ash Shaykh, referred to in the Bible as Mt Hermon. How these different locations could be presented was an exciting task for the creative team but the essential structure from the playwright was that 'transitions from one scene to another should add nothing than the time that is necessary' therefore set changes, costume alterations, and role-changes had to be minimal. We, as an ensemble company, have tried to harness this energy wave and have used little to suggest a lot. This is also practical considering the necessity to tour the production to Norwich, and we have drawn on our experience of Edinburgh Festival Fringe venues to keep the technical effects as enhancements rather than drivers of the piece.
After the premiere on Monday night, the audience were asked to join in a Question & Answer session with the company and it was wonderful to hear the pupils talking so confidently about the process so far. This is a young company but the short biographies in the programme show just how much experience they are have already achieved. Perhaps the greatest compliment to our collective ambition was a member of the audience who said: "you couldn't really say who had the leading role, there was nothing between them, the whole company made it such a strong piece."


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Your feet have supported you from the day you took your first step until now, but they are not immune to certain conditions and issues. Due to the heavy responsibility they bear, ensuring they are properly supported by foot orthotics is incredibly important and crucial if you want to move pain-free. There are a number of reasons people use orthotics across the country, and they are proven to reduce pain and help people avoid surgeries. This technology helps the foot return to a more normal movement pattern, with the eventual goal of recruiting the right balance of muscles to work together.
Chronic pain is classified as a sharp or dull pain that refuses to diminish after two or more months. For instance, you expect a twisted ankle to hurt for a minimum of two weeks, but it will be considered chronic pain if it continues to hurt long after this time limit. First and foremost, it is important that you have a full assessment done to rule out certain issues. Once serious problems are ruled out, ask your podiatrist about foot orthotics in Kenosha, WI. These techniques work by removing pressure and stress from painful areas. Kenosha foot orthotics help millions of people feel their best each year.
Although foot orthotics cannot correct a fallen arch, they can reposition structures in the foot to improve biomechanical function and lower your risk of an injury. Conditions such as plantar fasciitis, hallux valgus, and arthritis have been found to contribute to or be aggravated by a fallen arch. Therefore, this type of treatment can reduce pain on several fronts, allowing you to walk, run, and move with fewer limitations. Orthotics may not be able to treat the conditions that exacerbate fallen arches, but they can be the difference between spending your days off your feet and getting out into the world. You deserve the chance to feel your best.


The hotel disposes of most the modern technological equipment for congress tourism in Prague. Never in its well over thousand years' history the scenic city above the Vltava River has offered better facilities for global events attracting the most demanding media.
All guest rooms are comfortable and well equipped to give a feeling of relaxed luxury. All the bedrooms feature modern amenities such as satellite TV, individually adjustable air-conditioning, direct-dialling phone, PC connection and in-room safe.
The hotel offers 559 rooms, including 470 standard rooms, 64 executive rooms and 25 luxurious suites.
Brasserie Veduta with 700 seats and Restaurant Gourmet with 100 seats.
Fitness a Wellness Centre with swimming pool, cardio zone with professional trainers, parking places for cars and coaches, shopping Gallery Fenix, reception and concierge 24/7, laundry service, Wi-Fi internet connection free of charge in lobby.
Multifunction spaces of the hotel with 4.000 m2 of conference facilities can seat up to 2500 congress participants.
There are 18 conference rooms with the biggest room for 1 600 participants.


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Summarization of Films and Documentaries Based on Subtitles and Scripts
by Marta Aparício, et al.
Inesc-ID
We assess the performance of generic text summarization algorithms applied to films and documentaries, using the well-known behavior of summarization of news articles as reference. We use three datasets: (i) news articles, (ii) film scripts and subtitles, and (iii) documentary subtitles. Standard ROUGE metrics are used for comparing generated summaries against news abstracts, plot summaries, and synopses. We show that the best performing algorithms are LSA, for news articles and documentaries, and LexRank and Support Sets, for films. Despite the different nature of films and documentaries, their relative behavior is in accordance with that obtained for news articles.
Marta Aparício
Paulo Figueiredo
Francisco Raposo
David Martins de Matos
Luís Marujo
Generating abstractive summaries of Lithuanian news articles using a transformer model
In this work, we train the first monolingual Lithuanian transformer mode...
Lukas Stankevičius, et al. ∙
SAMSum Corpus: A Human-annotated Dialogue Dataset for Abstractive Summarization
This paper introduces the SAMSum Corpus, a new dataset with abstractive ...
Bogdan Gliwa, et al. ∙
BIGPATENT: A Large-Scale Dataset for Abstractive and Coherent Summarization
Most existing text summarization datasets are compiled from the news dom...
Eva Sharma, et al. ∙
Query-Based Abstractive Summarization Using Neural Networks
In this paper, we present a model for generating summaries of text docum...
Johan Hasselqvist, et al. ∙
Topic-Centric Unsupervised Multi-Document Summarization of Scientific and News Articles
Recent advances in natural language processing have enabled automation o...
Amanuel Alambo, et al. ∙
NSTM: Real-Time Query-Driven News Overview Composition at Bloomberg
Millions of news articles from hundreds of thousands of sources around t...
Joshua Bambrick, et al. ∙
What's The Latest? A Question-driven News Chatbot
This work describes an automatic news chatbot that draws content from a ...
Philippe Laban, et al. ∙
Input media for automatic summarization has varied from text (Luhn, 1958; Edmundson, 1969) to speech (Maskey and Hirschberg, 2005; Zhang et al., 2010; Ribeiro and de Matos, 2012) and video (Ajmal et al., 2012) , but the application domain has been, in general, restricted to informative sources: news (Barzilay et al., 2002; Radev et al., 2005; Ribeiro and de Matos, 2007; Hong et al., 2014) , meetings (Murray et al., 2005b; Garg et al., 2009) , or lectures (Fujii et al., 2007) . Nevertheless, application areas within the entertainment industry are gaining attention: e.g. summarization of literary short stories (Kazantseva and Szpakowicz, 2010) , music summarization (Raposo et al., 2015) , summarization of books (Mihalcea and Ceylan, 2007) , or inclusion of character analyses in movie summaries (Sang and Xu, 2010) . We follow this direction, creating extractive, text-driven video summaries for films and documentaries.
Documentaries started as cinematic portrayals of reality (Grant and Sloniowski, 1998) . Today, they continue to portray historical events, argumentation, and research. They are commonly understood as capturing reality and therefore, seen as inherently non-fictional. Films, in contrast, are usually associated with fiction. However, films and documentaries do not fundamentally differ: many of the strategies and narrative structures employed in films are also used in documentaries (Nichols, 1991) .
In the context of our work, films (fictional) tell stories based on fictive events, whereas documentaries (non-fictional) address, mostly, scientific subjects. We study the parallelism between the information carried in subtitles and scripts of both films and documentaries. Extractive summarization methods have been extensively explored for news documents (Lin and Hovy, 2000; McKeown et al., 2005; Spärck Jones, 2007; Radev et al., 2001, 2005; McKeown et al., 2002) . Our main goal is to understand the quality of automatic summaries, produced for films and documentaries, using the well-known behavior of news articles as reference. Generated summaries are evaluated against manual abstracts using ROUGE metrics, which correlate with human judgements (Lin, 2004; Liu and Liu, 2010) .
This article is organized as follows: Section 2 presents the summarization algorithms; Section 3 presents the collected datasets; Section 4 presents the evaluation setup; Section 5 discusses our results; Section 6 presents conclusions and directions for future work.
2 Generic Summarization
Six text-based summarization approaches were used to summarize newspaper articles, subtitles, and scripts. They are described in the following sections.
2.1 Mmr
MMR is a query-based summarization method (Carbonell and Goldstein, 1998) . It iteratively selects sentences via Equation 1 (Q is a query; Sim1 and Sim2 are similarity metrics; Si and Sj are non-selected and previously selected sentences, respectively). λ balances relevance and novelty. MMR can generate generic summaries by considering the input sentences centroid as a query (Murray et al., 2005a; Xie and Liu, 2008) .
argmaxSi[λSim1(Si,Q)−(1−λ)maxSjSim2(Si,Sj)] (1)
2.2 LexRank
LexRank (Erkan and Radev, 2004) is a centrality-based method based on Google's PageRank (Brin and Page, 1998)
. A graph is built using sentences, represented by TF-IDF vectors, as vertexes. Edges are created when the cosine similarity exceeds a threshold. Equation
2 is computed at each vertex until the error rate between two successive iterations is lower than a certain value. In this equation, d is a damping factor to ensure the method's convergence, N is the number of vertexes, and S(Vi) is the score of the ith vertex.
S(Vi)=(1−d)N+d×∑Vj∈adj[Vi]Sim(Vi,Vj)∑Vk∈adj[Vj]Sim(Vj,Vk)S(Vj) (2)
2.3 Lsa
LSA infers contextual usage of text based on word co-occurrence (Landauer and Dutnais, 1997; Landauer et al., 1998) . Important topics are determined without the need for external lexical resources Gong and Liu (2001) : each word's occurrence context provides information concerning its meaning, producing relations between words and sentences that correlate with the way humans make associations. SVD is applied to each document, represented by a t×n term-by-sentences matrix A, resulting in its decomposition UΣVT. Summarization consists of choosing the k
highest singular values from
Σ, giving Σk. U and VT are reduced to Uk and VTk, respectively, approximating A by Ak=UkΣkVTk. The most important sentences are selected from VTk.
2.4 Support Sets
Documents are typically composed by a mixture of subjects, involving a main and various minor themes. Support sets are defined based on this observation (Ribeiro and de Matos, 2011) . Important content is determined by creating a support set for each passage, by comparing it with all others. The most semantically-related passages, determined via geometric proximity, are included in the support set. Summaries are composed by selecting the most relevant passages, i.e., the ones present in the largest number of support sets. For a segmented information source I≜p1,p2,…,pN, support sets Si for each passage pi are defined by Equation 3, where Sim is a similarity function, and ϵi is a threshold. The most important passages are selected by Equation 4.
Si≜{s∈I:Sim(s,pi)>ϵi∧s≠pi} (3)
argmaxs∈Uni=1Si|{Si:s∈Si}| (4)
2.5 KP-Centrality
Ribeiro et al. (2013) proposed an extension of the centrality algorithm described in Section 2.4
, which uses a two-stage important passage retrieval method. The first stage consists of a feature-rich supervised key phrase extraction step, using the MAUI toolkit with additional semantic features: the detection of rhetorical signals, the number of Named Entities, pos tags, and 4 n-gram domain model probabilities
(Marujo et al., 2011, 2012) . The second stage consists of the extraction of the most important passages, where key phrases are considered regular passages.
2.6 Grasshopper
GRASSHOPPER (Zhu et al., 2007) is a re-ranking algorithm that maximizes diversity and minimizes redundancy. It takes a weighted graph W (n×n: n
vertexes representing sentences; weights are defined by a similarity measure), a probability distribution
r (representing a prior ranking), and λ∈[0,1], that balances the relative importance of W and r
. If there is no prior ranking, a uniform distribution can be used. Sentences are ranked by applying the teleporting random walks method in an absorbing Markov chain, based on the
n×n transition matrix ~P (calculated by normalizing the rows of W), i.e., P=λ~P+(1−λ)1r⊤. The first sentence to be scored is the one with the highest stationary probability argmaxni=1πi according to the stationary distribution of P: π=P⊤π. Already selected sentences may never be visited again, by defining Pgg=1 and Pgi=0,∀i≠g. The expected number of visits is given by matrix N=(I−Q)−1 (where Nij is the expected number of visits to the sentence j, if the random walker began at sentence i). We obtain the average of all possible starting sentences to get the expected number of visits to the jth sentence, vj. The sentence to be selected is the one that satisfies argmaxni=|G|+1vi.
We use three datasets: newspaper articles (baseline data), films, and documentaries. Film data consists of subtitles and scripts, containing scene descriptions and dialog. Documentary data consists of subtitles containing mostly monologue. Reference data consists of manual abstracts (for newspaper articles), plot summaries (for films and documentaries), and synopses (for films). Plot summaries are concise descriptions, sufficient for the reader to get a sense of what happens in the film or documentary. Synopses are much longer and may contain important details concerning the turn of events in the story. All datasets were normalized by removing punctuation inside sentences and timestamps from subtitles.
3.1 Newspaper Articles
TeMário (Pardo and Rino, 2003) is composed by 100 newspaper articles in Brazilian Portuguese (Table 1), covering domains such as "world", "politics", and "foreign affairs". Each article has a human-made reference summary (abstract).
#Sentences
#Words
Table 1: TeMário corpus properties.
We collected 100 films, with an average of 4 plot summaries (minimum of 1, maximum of 7) and 1 plot synopsis per film (Table 2). Table 3 presents the properties of the subtitles, scripts, and the concatenation of both. Not all the information present in the scripts was used: dialogs were removed in order to make them more similar to plot summaries.
Plot Summaries
Plot Synopses
Table 2: Properties of plot summaries and synopses.
Script + Subtitles
10460 1592 27800
Table 3: Properties of subtitles and scripts.
3.3 Documentaries
We collected 98 documentaries. Table 4 presents the properties of their subtitles: note that the number of sentences is smaller than in films, influencing ROUGE (recall-based) scores.
Table 4: Properties of documentaries subtitles.
We collected 223 manual plot summaries and divided them into four classes (Table 5): 143 "Informative", 63 "Interrogative", 9 "Inviting", and 8 "Challenge". "Informative" summaries contain factual information about the program; "Interrogative" summaries contain questions that arouse viewer curiosity, e.g. "What is the meaning of life?"; "Inviting" are invitations, e.g. "Got time for a 24 year vacation?"; and, "Challenge" entice viewers on a personal basis, e.g. "are you ready for…?". We chose "Informative" summaries due to their resemblance to the sentences extracted by the summarization algorithms. On average, there are 2 informative plot summaries per documentary (minimum of 1, maximum of 3).
Inviting
Table 5: Properties of the documentary plot summaries.
4 Experimental Setup
For news articles, summaries were generated with the average size of the manual abstracts (≈31% of their size).
For each film, two summaries were generated, by selecting a number of sentences equal to (i) the average length of its manual plot summaries, and (ii) the length of its synopsis. In contrast with news articles and documentaries, three types of input were considered: script, subtitles, script+subtitles.
For each documentary, a summary was generated with the same average number of sentences of its manual plot summaries (≈1% of the documentary's size).
Content quality of summaries is based on word overlap (as defined by ROUGE) between generated summaries and their references. ROUGE-N computes the fraction of selected words that are correctly identified by the summarization algorithms (cf. Equation 5: RS are reference summaries, gramn is the n-gram length, and countmatch(gramn) is the maximum number of n-grams of a candidate summary that co-occur with a set of reference summaries). ROUGE-SU measures the overlap of skip-bigrams (any pair of words in their sentence order, with the addition of unigrams as counting unit). ROUGE-SU4 limits the maximum gap length of skip-bigrams to 4.
ROUGE-N=∑S∈RS∑gramn∈Scountmatch(gramn)∑S∈RS∑gramn∈Scount(gramn) (5)
Subtitles and scripts were evaluated against manual plot summaries and synopses to define an optimal performance reference. The following sections present averaged ROUGE-1, ROUGE-2, and ROUGE-SU4 scores (henceforth R-1, R-2, and R-SU4), and the performance of each summarization algorithm, as a ratio between the score of the generated summaries and this reference (relative performance). Several parametrizations of the algorithms were used (we present only the best results). Concerning MMR, we found that the best λ corresponds to a higher average number of words per summary. Concerning GRASSHOPPER, we used the uniform distribution as prior.
5.1 Newspaper Articles (TeMário)
Table 6 presents the scores for each summarization algorithm. LSA achieved the best scores for R-1, R-2, and R-SU4. Figure 1 shows the relative performance results.
R-SU4
AVG #Words
MMR 0.43 0.15 0.18 195
Support Sets 0.52 0.19 0.23 254
KP 0.54 0.20 0.24 268
LSA 0.56 0.20 0.24 297
GRASSH. 0.54 0.19 0.23 270
LexRank 0.55 0.20 0.24 277
Original Docs 0.75 0.34 0.38 608
Table 6: ROUGE scores for generated summaries and original documents against manual references. For MMR, λ=0.50; Support Sets used Manhattan distance and Support Set Cardinality = 2; KP-Centrality used 10 key phrases.
Figure 1: Relative performance for news articles. For MMR, λ=0.50; Support Sets used Manhattan distance and Support Set Cardinality = 2; KP-Centrality used 10 key phrases.
Table 7 presents the scores for the film data combinations against plot summaries. Overall, Support Sets, LSA, and LexRank, capture the most relevant sentences for plot summaries. It would be expected, for algorithms such as GRASSHOPPER and MMR, that maximize diversity, to perform well in this context, because plot summaries are relatively small and focus on the more important aspects of the film, ideally, without redundant content. However, our results show otherwise. For scripts, LSA and LexRank are the best approaches in terms of R-1 and R-SU4.
R-1 R-2 R-SU4 AVG #Words
MMR Subtitles 0.07 0.01 0.02 52
Script 0.14 0.01 0.03 53
Script + Subtitles 0.12 0.01 0.03 71
Support Sets Subtitles 0.23 0.02 0.06 150
Script 0.25 0.02 0.07 133
Script + Subtitles 0.29 0.03 0.09 195
KP Subtitles 0.22 0.02 0.06 144
LSA Subtitles 0.22 0.02 0.06 167
GRASSH. Subtitles 0.17 0.01 0.04 135
LexRank Subtitles 0.24 0.02 0.06 177
Docs Subtitles 0.77 0.21 0.34 10460
Script 0.74 0.23 0.36 14560
Script + Subtitles 0.83 0.31 0.43 24640
Table 7: ROUGE scores for generated summaries for subtitles, scripts, and scripts concatenated with subtitles, against plot summaries. For MMR, λ=0.50; Support Sets used the cosine distance and threshold = 50%; KP-Centrality used 50 key phrases.
MMR Subtitles 0.08 0.01 0.02 435
Sets Subtitles 0.25 0.04 0.08 1033
Script 0.37 0.07 0.15 1536
Script + Subtitles 0.42 0.08 0.16 1736
LSA Subtitles 0.31 0.06 0.11 1303
GRASSH. Subtitles 0.34 0.06 0.12 1553
LexRank Subtitles 0.34 0.06 0.12 1585
Table 8: ROUGE scores for generated summaries for subtitles, scripts, and scripts+subtitles, against plot synopses. For MMR, λ=0.50; Support Sets used the cosine distance and threshold = 50%; KP-Centrality used 50 key phrases.
Table 8 presents the scores for the film data combinations against plot synopses. The size of synopses is very different from that of plot summaries. Although synopses also focus on the major events of the story, their larger size allows for a more refined description of film events. Additionally, because summaries are created with the same number of sentences of the corresponding synopsis, higher scores are expected. From all algorithms, LexRank clearly stands out with the highest scores for all metrics (except for R-SU4, for scripts).
The script+subtitles combination was used in order to determine whether the inclusion of redundant content would improve the scores, over the separate use of scripts or subtitles. However, in all cases (Figure 4), script+subtitles leads to worse scores, when compared to scripts alone. The same behavior is observed when using subtitles except for Support Sets-based methods (Support Sets and KP-Centrality). For plot synopses, the best scores are achieved by LexRank and GRASSHOPPER, while, for plot summaries, the best scores are achieved by LexRank and LSA. By inspection of the summaries produced by each algorithm, we observed that MMR chooses sentences with fewer words in comparison with all other algorithms (normally, leading to lower scores). Overall, the algorithms behave similarly for both subtitles and scripts.
From all algorithms (Table 9), LSA achieved the best results for R-1 and R-SU4, along with LexRank for R-1. KP-Centrality achieved the best results for R-2. It is important to notice that LSA also produces the summaries with the highest word count (favoring recall). Figure 2 shows the relative performance results: LSA outperformed all other algorithms for R-1 and R-SU4, and KP-Centrality was the best for R-2; Support Sets and KP-Centrality performed closely to LSA for R-SU4; the best MMR results were consistently worse across all metrics (MMR summaries have the lowest word count).
MMR 0.17 0.01 0.04 78
Original Docs 0.83 0.37 0.46 5864
Table 9: ROUGE scores for generated summaries and original subtitles against human-made plot summaries. For MMR, λ=0.75; Support Sets used the cosine distance and threshold = 50%; KP-Centrality used 50 key phrases.
Figure 2: Relative performance for documentaries against plot summaries. For MMR, λ=0.75; Support Sets used cosine distance and threshold=50%; KP-Centrality used 50 key phrases.
News articles intend to answer basic questions about a particular event: who, what, when, where, why, and often, how. Their structure is sometimes referred to as "inverted pyramid", where the most essential information comes first. Typically, the first sentences provide a good overview of the entire article and are more likely to be chosen when composing the final summary. Although documentaries follow a narrative structure similar to films, they can be seen as more closely related to news than films, especially regarding their intrinsic informative nature. In spite of their different natures, however, summaries created by humans produce similar scores for all of them. It is possible to observe this behavior in Figure 3. Note that documentaries achieve higher scores than news articles or films, when using the original subtitles documents against the corresponding manual plot summaries.
Figure 3: ROUGE scores for news articles, films, and documentaries against manual references, plot summaries and synopses, and plot summaries, respectively.
Figure 4 presents an overview of the performance of each summarization algorithm across all domains. The results concerning news articles were the best out of all three datasets for all experiments. However, summaries for this dataset preserve, approximately, 31% of the original articles, in terms of sentences, which is significantly higher than for films and documentaries (which preserve less than 1%), necessarily leading to higher scores. Nonetheless, we can observe the differences in behavior between these domains. Notably, documentaries achieve the best results for plot summaries, in comparison with films, using scripts, subtitles, or the combination of both. The relative scores on the films dataset are influenced by two major aspects: the short sentences found in the films dialogs; and, since the generated summaries are extracts from subtitles and scripts, they are not able to represent the film as a whole, in contrast with what happens with plot summaries or synopses. Additionally, the experiments conducted for script+subtitles for films, in general, do not improve scores above those of scripts alone, except for Support Sets for R-1. Overall, LSA performed consistently better for news articles and documentaries. Similar relatively good behavior had already been observed for meeting recordings, where the best summarizer was also LSA (Murray et al., 2005b) . One possible reason for these results is that LSA tries to capture the relation between words in sentences. By inferring contextual usage of text based on these relations, high scores, apart from R-1, are produced for R-2 and R-SU4. For films, LexRank was the best performing algorithm for subtitles, scripts and the combination of both, using plot synopses, followed by LSA and Support Sets for plot summaries. MMR has the lowest scores for all metrics and all datasets. We observed that sentences closer to the centroid typically contain very few words, thus leading to shorter summaries and the corresponding low scores.
Interestingly, by observing the average of R-1, R-2, and R-SU4, it is possible to notice that it follows very closely the values of R-SU4. These results suggest that R-SU4 adequately reflects the scores of both R-1 and R-2, capturing the concepts derived from both unigrams and bigrams.
Overall, considering plot summaries, documentaries achieved higher results in comparison with films. However, in general, the highest score for these two domains is achieved using films scripts against plot synopses. Note that synopses have a significant difference in terms of sentences in comparison with plot summaries. The average synopsis has 120 sentences, while plot summaries have, on average, 5 sentences for films, and 4 for documentaries. This gives synopses a clear advantage in terms of ROUGE (recall-based) scores, due to the high count of words.
6 Conclusions and Future Work
We analyzed the impact of the six summarization algorithms on three datasets. The newspaper articles dataset was used as a reference. The other two datasets, consisting of films and documentaries, were evaluated against plot summaries, for films and documentaries, and synopses, for films. Despite the different nature of these domains, the abstractive summaries created by humans, used for evaluation, share similar scores across metrics.
The best performing algorithms are LSA, for news and documentaries, and LexRank for films. Moreover, we conducted experiments combining scripts and subtitles for films, in order to assess the performance of generic algorithms by inclusion of redundant content. Our results suggest that this combination is unfavorable. Additionally, it is possible to observe that all algorithms behave similarly for both subtitles and scripts. As previously mentioned, the average of the scores follows closely the values of R-SU4, suggesting that R-SU4 is able to capture concepts derived from both unigrams and bigrams.
We plan to use subtitles as a starting point to perform video summaries of films and documentaries. For films, the results from our experiments using plot summaries show that the summarization of scripts only marginally improved performance, in comparison with subtitles. This suggests that subtitles are a viable approach for text-driven film and documentary summarization. This positive aspect is compounded by their being broadly available, as opposed to scripts.
This work was supported by national funds through Fundação para a Ciência e a Tecnologia (FCT) with reference UID/CEC/50021/2013.
Figure 4: Relative performance for all datasets. For films the relative performance was measured against plot synopses and plot summaries: MMR used λ=0.50; and Support Sets used the cosine distance and threshold = 50%; KP-Centrality used 50 key phrases.
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The judge could weaken abortion rights and bolster support for capital punishment, but top Democrats vow to fight his appointment.
Donald Trump has chosen appeals court judge Brett Kavanaugh as his nominee for the US Supreme Court in a suspense-laden, primetime rollout.
It is a decision that could way out live the president himself. The legacy of his nominee has the potential to influence American society for decades to come.
Brett Kavanaugh is a Yale graduate, and a devout Catholic who clerked for the man he could replace.
If confirmed, he will shift the court substantially to the right - something he promised to do and why many Republicans decided to vote for him.
Judge Kavanaugh's nomination is no great shock.
He was a frontrunner from the beginning and has stellar conservative credentials - a politically connected member of Washington's legal establishment, a federal appeals court judge, a former aide to President George W. Bush and a former investigator of President Bill Clinton.
He also has deep links with Republican groups who have been lobbying hard on getting more conservatives on the federal bench. In many ways, he is the classic DC insider.
Justice Anthony Kennedy, 81, who is retiring, is the man he could replace - a judge who often held the swing vote in many closely divided cases on abortion, gay rights and the death penalty.
Judge Kavanaugh by comparison, recently voiced disagreement with a court decision allowing an undocumented teenage immigrant to have an abortion.
In 2009, he also wrote a law review article arguing that presidents should be shielded from criminal investigations and civil lawsuits while in office. That is something the Supreme Court may have to rule on as a result of Robert Mueller's Russia investigation.
Whatever the issues, there is a powerful permanency about this selection process.
Unlike the revolving doors of the White House, only health and personal plans can determine the future of a Supreme Court judge.
Presidents dream of shaping history with these appointments - few can bank on it.
Yet in just 18 months, Donald Trump has the opportunity to secure another individual to sit in the highest court in the land, with far-reaching implications for America on everything from abortion to guns to immigration.
In a a febrile and partisan climate though, the stage is set for a bruising confirmation battle.
You can expect weeks of political jousting. Democrats will use his lengthy legal opinions as ammunition to challenge him.
Some Republicans are said to be concerned about his Bush connections. But if the Republicans can stick together, the president's choice could be in place by October when the new term starts.
That could secure the conservative majority some have been campaigning 30 years for.


i used an immersion blender to blend my cooked, peeled yukon gold mashed potatoes (w/cream + butter) + they're slimy now! is it possible to fix?!
If the potatoes are gluey, you can try adding another potato that you mash by hand or run through a ricer to lighten it up.
Need a mashed potatoe recipe in the slow cooker that taste like stovetop.


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