text:
The Mirror of Erised
Philosopher's Stone - Chapter 12
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"It's an invisibility cloak. I'm sure it is -- try it on. It is! Look down!"
-- Ron Weasley
Harry, Ron and Hermione start searching the library for facts on Flamel, the school empties for Christmas, Ron teaches Harry wizard chess, Harry gets his father's invisibility cloak for Christmas, tries it out at night and finds the Mirror of Erised, sees his family and is cautioned by Dumbledore.
Calendar and Dates
The action of this chapter takes place from the first snowfall of the season, in mid-December, through the night of 27 December (three nights after Harry's discovery of the Mirror of Erised, on Christmas night).
Interesting facts and notes
When asked whether she had a favourite passage from one of her books, JKR named this chapter, as well as the ending of Goblet of Fire (Sch2).
The Mirror of Erised is one of several great plot devices JKR uses for revealing character, as it shows the deepest desire of whoever looks into it. Other plot devices of this caliber include boggarts (which play on one's deepest fear) and dementors (who force one to relive one's worst memories), both introduced in Prisoner of Azkaban.
...the Weasley twins were punished for bewitching several snowballs so that they followed Quirrell around, bouncing off the back of his turban.
In other words, right off Voldemort's face!
The few owls that managed to battle their way through the stormy sky to deliver mail had to be nursed back to health by Hagrid before they could fly off again.
An instance of Hagrid's gift for Care of Magical Creatures - and his compassion in general. The image of the huge, gruff-looking Hagrid tenderly caring for a wounded owl is quite a delightful one. As the stories progress, Hagrid's character tends to become a bit annoying and even insensitive, which makes moments like this all the more important to remember.
So Malfoy, jealous and angry, had gone back to taunting Harry about having no proper family.
What a pathetic brat. Everything Rowling has said in interviews, culminating in her statements in (WBD), reinforce her depictions of Malfoy as being truly an awful, nasty, repulsive child. Can he be redeemed? Sure. But it ain't happened yet, folks (and no, crying in the bathroom doesn't constitute redemption!). He's abhorrent.
"How many days you got left until yer holidays?" Hagrid asked.
"Just one," said Hermione.
We aren't told exactly which day this is in December, but it seems to be fairly close to Christmas. McGonagall had been around only the week before asking who was planning to stay over the holidays, and we are told before that that it was mid-December. The first part of this chapter appears to be happening during the third week of the month, then. If we use the calendar of 1991 as our guide, the date would be Thursday, December 20, or Friday, December 21.
Unfortunately, you needed a specially signed note from one of the teachers to look in any of the restricted books, and he knew he'd never get one.
Well, not until a certain git by the name of Lockhart took over as Defence Against the Dark Arts teacher, at any rate.
He, Ron, and Hermione had already agreed they'd better not ask Madam Pince where they could find Flamel. They were sure she'd be able to tell them, but they couldn't risk Snape hearing what they were up to.
How sad, if true. Are Harry, Ron, and Hermione correct in thinking that they shouldn't be asking Madam Pince for help? It would seem to me [SVA], being a librarian myself, that asking Madam Pince would be exactly the right thing to do. Is the Hogwarts librarian really as unhelpful as the children think she is? If so, what in the world is she doing in a school library?
They sat by the hour eating anything they could spear on a toasting fork - bread, crumpets, marshmallows - and plotting ways of getting Malfoy expelled, which were fun to talk about even if they wouldn't work.
The U.S. edition replaces "crumpets" with "English muffins".
Ron also started teaching Harry wizard chess. This was exactly like Muggle chess except that the figures were alive, which made it a lot like directing troops in battle. Ron's set was very old and battered.
Notice that in the books, wizard chess sets are not destroyed irreparably during the course of the game, even if the pieces do beat each other up.
He wasn't a very good player yet and they kept shouting different bits of advice at him, which was confusing.
A chess set actually doesn't need any more brain than a laptop computer to be able to understand the moves.
Harry picked up the top parcel. It was wrapped in thick brown paper and scrawled across it was To Harry, from Hagrid. Inside was a roughly cut wooden flute. Hagrid had obviously whittled it himself. Harry blew it -- it sounded a bit like an owl.
This turns out to be very useful, to the point of being life-saving when Harry, Ron, and Hermione need to make a little music to get past Fluffy, about six months from now. Here again we're shown a bit of Hagrid's tender side: he carves a flute, not a crossbow or something like that.
This is an example of the Chekhov's Gun dramatic principle:
"Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there." — Anton Chekhov
We received your message and enclose your Christmas present. From Uncle Vernon and Aunt Petunia.
This is the first mention of Harry sending a message to or receiving one from number four during the school year, and we do not know how he sent it (owl post, which would annoy them greatly, or Muggle post) or what he said.
(Personally, I [MLW] imagine that Harry's message simply notified the Dursleys that he'd signed up to stay at Hogwarts over the holidays, so that they needn't turn up at King's Cross to collect him. I wouldn't be surprised if he added a 'Merry Christmas' to be polite, but I wouldn't hold it against him if he didn't.)
As of book six, we still do not know how Muggle parents and guardians communicate with Hogwarts if they do not have owls. Possibly the Dursleys sent this message by return with Hedwig, if Harry contacted them via owl post; if Harry used Muggle post, of course, they would have used whatever return address was provided.
...written in narrow, loopy writing he had never seen before...
As we learn much later (PS17), Dumbledore sent the cloak, so this would be his handwriting. Harry recognizes this handwriting immediately in book six when he gets a number of handwritten notes from the headmaster inviting Harry to private lessons.
Your father left this in my possession before he died.
The question, of course, is why James Potter would have left his invisibility cloak with Dumbledore rather than keeping it with him. (Of course, if he had retained it, the cloak would have been lost when the house in Godric's Hollow was destroyed, so in terms of story construction that wouldn't work. JKR had to establish right away that the cloak hadn't been in the house on the fatal night.)
In terms of the story, consider the circumstances at the time the Fidelius Charm was to be cast. The Potters were going into hiding. Harry was at the top of Voldemort's hit list, something Dumbledore surely told James and Lily. Knowing that, neither James nor Lily would have been going off on any assignments for the Order of the Phoenix that would have required the use of the cloak. My opinion (unverified as yet by any statement in canon) is that James lent the cloak to Dumbledore so that other members of the Order could put it to good use while the Potters were concerned with protecting their son.
Use it well.
If we don't count the Dursleys' "gift", Harry's Christmas presents consist of various things to eat, a Weasley jumper, Hagrid's flute, and the invisibility cloak. The flute later gets Harry past Fluffy, and the cloak has been an immensely useful tool on many occasions.
It's worth comparing this to the arrival of Father Christmas in C.S. Lewis' The Lion, the Witch, and the Wardrobe, chapter 10 "The Spell Begins to Break" (the White Witch's spell of winter had meant that it was always winter and never Christmas in Narnia). When Father Christmas presents his gifts to Peter, Susan, and Lucy, he begins by saying "These are your presents... and they are tools, not toys. The time to use them is perhaps near at hand. Bear them well." (Emphasis mine.) And after presenting the tangible gifts, Father Christmas made sure to conjure up a little Christmas tea, so food and drink weren't forgotten there, either.
"I hate maroon," Ron moaned halfheartedly as he pulled it over his head.
Ron continually receives maroon clothing from his parents. In OP, his mother folds maroon socks for him. Apparently, Molly has a bit of a mental block about things like this; Ron doesn't like corned beef either, and sure enough, that's the kind of sandwiches he has for the train.
"You haven't got a letter on yours," George observed. "I suppose she thinks you don't forget your name. But we're not stupid - we know we're called Gred and Forge."
Molly has tried to mark the twins to make them easier to tell apart. (The scene back at Kings' Cross indicated that the twins can give even their mother a run for her money in that department.) By introducing these nicknames, however, the twins have quite obviously swapped sweaters to make things more difficult. "Gred" is Fred, who is now wearing the 'G' sweater, and "Forge" is George, who is wearing the 'F' sweater.
Percy nearly broke his teeth on a silver sickle embedded in his slice.
That is, Percy found a silver coin in his slice of Christmas pudding. Traditional Christmas puddings have various small items baked into them like this; finding one in your slice is supposed to be an omen of things to come (that you'll be rich, or travel, or remain a lifelong bachelor, or whatever). The meaning of the omen depends on which item turns up in your slice.
The specific Muggle equivalent to what Percy found is a silver sixpence, of course, rather than a silver sickle.
Harry watched Hagrid getting redder and redder in the face as he called for more wine, finally kissing Professor McGonagall on the cheek, who, to Harry's amazement, giggled and blushed, her top hat lopsided.
Honestly, I can't imagine this scene with the Hagrid and McGonagall we have come to know after six books.
After a meal of turkey sandwiches, crumpets, trifle, and Christmas cake, everyone felt too full and sleepy to do much before bed except sit and watch Percy chase Fred and George all over Gryffindor tower because they'd stolen his prefect badge.
Percy really ought to have gotten a clue after this, but sure enough, when Percy becomes Head Boy the twins will manage to get hold of his badge and taunt him with that, too.
He could go anywhere in this, anywhere, and Filch would never know.
This isn't entirely true, as he learns very quickly. The castle is filled with strange and unexpected things -- such as shrieking books -- and invisibility doesn't make one immune to their effects.
He set off, drawing the invisibility cloak tight around him as he walked.
Can the cloak change size to fit the wearer or wearers? There is evidence as the stories progress that this is the case. Here, Harry "draws" the cloak tight around him. Is this part of the cloak's magic, and is this kind of "drawing" a magical effect similar to that with which Dumbledore and McGonagall "draw" up a chair later?
There was a suit of armor near the kitchens, he knew, but he must be five floors above there.
That is, Harry's current location is at least as high as the fourth floor above ground level - what in the U.S. would be referred to as the 5th floor and in the U.K. would be called the 4th floor. At this point in the stories, Harry hasn't been to the kitchens and says later that he doesn't even know where they are. He must have some idea, however, since here he knows enough of the general vicinity of the kitchens to know that the armor is nearby.
There are actually quite a few suits of armor around the castle, including two standing on either side of the castle door in the entrance hall, which would be nearer and more obvious than anything by the kitchen, so this statement is a bit odd. Rowling apparently hadn't thought the whole armor situation through when she wrote this.
"You asked me to come directly to you, Professor, if anyone was wandering around at night, and somebody's been in the library - Restricted Section."
Yet again we see that Snape apparently gets along fairly well with Filch. This is actually a tidy bit of diversion on Rowling's part. Filch is one of the "bad guys," at least as far as Harry knows, and by associating Snape with the caretaker, Filch's nastiness is associated with Snape. However, we know that Snape is actually using Filch's unique knowledge of the castle and snooping ways to keep an eye on Quirrell.
Harry felt the blood drain out of his face. Wherever he was, Filch must know a short cut, because his soft, greasy voice was getting nearer...
This might be a clue as to the location of one of the secret passages. As the Weasley twins will tell Harry two years from now when they present him with the Maurauder's Map (PA10), there is at least one secret passage with an entrance on the fourth floor (U.K.) - the entrance of that passage is behind a big mirror, and connects to one of the seven tunnels leading from the castle into Hogsmeade. That particular secret passage is one that the twins thought Filch didn't know about, but its existence tells us that there are secret passages connecting to the fourth floor.
It looked like an unused classroom...propped against the wall was something that didn't look as if it belonged there, something that looked as if someone had just put it there to keep it out of the way.
Assuming that Dumbledore has already concealed the Stone in its final hiding place inside the Mirror, take a moment and appreciate the brilliant bluff that's in operation at this point in the story. The Mirror is literally sitting out in plain sight, nowhere near the rather flamboyant traps guarding the third floor corridor. Anyone breaking in there at this point would be wasting his time.
On the other hand, of course, as Harry is about to demonstrate, leaving the Mirror lying around like this is dangerous for anyone who stumbles across it innocently.
Erised stra ehru oyt ube cafru oyt on wohsi.
Deciphering this just requires reading it back to front and ignoring the word breaks. The inscription reads, I show not your face but your heart's desire. Incidentally, this is a form of what's known as "mirror writing".
The tall, thin, black-haired man standing next to her put his arm around her. He wore glasses, and his hair was very untidy. It stuck up at the back, just as Harry's did.
As we will hear again and again in later books, most notably Prisoner of Azkaban and Order of the Phoenix, Harry is almost a double of his father James, who he is seeing here for the first time (remember that the Dursleys don't keep any photographs of Harry's parents). Comparing himself at eleven to his father in James' twenties, however, the resemblance Harry sees at this point in his life is merely striking instead of eerie. As a first year, Harry has been noted as being unusually small for his age, not tall; this may be due to undernourishment with the Dursleys, or that he hasn't hit a growth spurt yet, or just possibly that he inherited his mother's height rather than his father's. However, as a fifth year, he learned that he was within an inch of his father's height at approximately the same age (OP28).
Harry was looking at his family, for the first time in his life.
Dumbledore himself analyzes Harry's vision later on in this chapter.
When asked in BN what she would see in the Mirror, JKR said,
"I would probably see my mother, who died in 1990. So, the same as Harry!"
One point that JKR has not yet brought up in canon is that what one sees in the Mirror would naturally change over the course of one's life. After Prisoner of Azkaban, for example, Harry might well have seen himself living with Sirius as part of his heart's desire.
The Potters smiled and waved at Harry
So all of the people in this image are from his father's side. Is this because only wizards can appear in a magical mirror, rather like the fact that Muggles can't see dementors or the Leaky Cauldron? And if these are all Potters, are all the attributes Harry sees on his relatives, the ones he shares himself, only from that side of the family? Does he share no traits with his Muggle relations? In a few pages, we'll see evidence that there are some Evans family members in the glass too, even though they're Muggles.
The reflections did not fade and he looked and looked until a distant noise brought him back to his senses.
More on this interesting happenstance in a moment, when it happens again...
They passed the ghost of a tall witch gliding in the opposite direction
This is the Gray Lady, the ghost of Ravenclaw. When asked about the Gray Lady in an interview, Rowling revealed that Harry had encountered her in this book.
"Can you see all your family standing around you?"
"No - I'm alone - but I'm different - I look older - and I'm Head Boy!"
"I am - I'm wearing the badge like Bill used to - and I'm holding the house cup and the Quidditch cup - I'm Quidditch captain, too!"
Dumbledore himself analyzes Ron's vision later on in this chapter. As of Order of the Phoenix, Ron's vision has begun to come true: he's been made a prefect, been a major factor in winning the house cup more than once, and been instrumental in winning the Quidditch Cup. Judging from the prefect situation in OP, it seems quite possible that Harry might be passed over for both Head Boy and Quidditch captain in Ron's favour in later years. An ominous note of foreshadowing seems to be struck here, though, in that Ron is shown alone in accomplishing these things. (His star status in the Quidditch final in fifth year, for example, was partly due to the fact that Harry and his own brothers had all been banned from the team.)
A sudden noise outside in the corridor put an end to their discussion. They hadn't realized how loudly they had been talking.
Here we go, the second instance of a sudden sound out in the corridor, shaking them out of their Mirror-induced stupor. Although we can't know for sure, we might guess that the person making this noise, and the last one too, was Dumbledore. As he states in OP37, Dumbledore has been watching Harry more closely than the boy has known, and this may be one of those instances where we, along with Harry, notice Dumbledore's presence.
He was walking so fast he knew he was making more noise than was wise, but he didn't meet anyone.
Is this again evidence of Dumbledore's presence nearby? The Headmaster does turn up in the Mirror room this time, after all.
And there were his mother and father smiling at him again, and one of his grandfathers nodding happily. Harry sank down to sit on the floor in front of the mirror. There was nothing to stop him from staying here all night with his family. Nothing at all.
"One of his grandfathers," so there must be Evans family members here as well.
"Strange how nearsighted being invisible can make you," said Dumbledore...
This is an interesting concept with two explanations. Being invisible makes one feel invincible and invulnerable, presumably. However, being under a cloak would also cut down on one's peripheral vision. Probably Dumbledore is referring more to the first idea than the second. It is also possible that Dumbledore is referring to the fact that Harry used his invisibility to find and lose himself in the mirror -- in other words, he paid no attention to his surroundings because of what he discovered while being invisible.
"I don't need a cloak to become invisible," said Dumbledore gently.
Why is that? Certainly there are invisibility spells one can cast, along with spells like the Disillusionment Charm. Dumbledore is probably referring to something like that, although in the hands of a master wizard like Dumbledore, those charms and spells would be powerful indeed. It's easy to imagine the headmaster able to wander the halls of his school at will, completely unseen or undetected by the other inhabitants. Indeed, he tells Harry later that he's been watching him far more closely than Harry knows.
"One can never have enough socks," said Dumbledore. "Another Christmas has come and gone and I didn't get a single pair. People will insist on giving me books."
Socks are, of course, the ultimate lame Christmas present, especially from the point of view of an eleven-year-old like Harry. (Although, come to think of it, some nice new socks would be a distinct improvement on the so-called presents he's received most of his life at this point.)
If (and this is a big if, as Harry notes afterward) Dumbledore is actually being truthful about his heart's desire here, it would indicate that he's an extremely contented man - or that he's leaving out some highly significant details.
Exceptional character moments
Harry was perfectly prepared to have the best Christmas of his life to date without expecting any presents at all. The food and the fun would have been enough for him.
The Dursleys' so-called "Christmas present" to Harry - a cheap Muggle coin, taped to a letter (not even a Christmas card, not even wishing compliments of the season).
Ron having told his mother that Harry didn't expect any presents.
What Harry saw in the mirror: his heart's desire is to have a loving family around him.
What Ron saw in the mirror: his heart's desire is ambition, to stand out among the crowd of his siblings as the best of all of them.
Dumbledore's comment about socks is reminiscent of his remark to McGonagall back in chapter 1 about earmuffs.
Memorable lines
The Potters smiled and waved at Harry and he stared hungrily back at them, his hands pressed flat against the glass as though he was hoping to fall right through it and reach them. He had a powerful kind of ache inside him, half joy, half terrible sadness.
"However, this mirror will give us neither knowledge nor truth. Men have wasted away before it, entranced by what they have seen, or been driven mad, not knowing if what it shows is real or even possible."
Keen, a bit keen, keener
Other Canon Notes
This chapter connects most closely with the later events of the Trio going through the many obstacles to get to the stone. Harry receives a flute to play Fluffy to sleep, learns Wizard Chess from Ron who turns out to be extraordinarily good at it, and he finds the Mirror of Erised and learns how it works. Not to mention he is also returned his inherited invisibility cloak which he uses to get to the forbidden third floor corridor in the first place. Talk about foreshadowing!
Characters Introduced
The Grey Lady
Irma Pince
Helena Ravenclaw
Mr. Granger
PS 12 — The Mirror of Erised
AuthorJ.K. Rowling
Abbreviation PS12: The Mirror of Erised
Canonicity Primary Canon
Seamus Finnigan
Nicolas Flamel
Arthur Weasley
Vincent Crabbe
Filius Flitwick
Gregory Goyle
Scabbers
Fred Weasley
George Weasley
Percy Weasley
Iolanthe Peverell
Bertie Bott
Dumbledore family
Unused 4th Floor Classroom
Potions classroom
Gryffindor Common Room
Harry's dormitory
Restricted Section
Hogwarts fourth floor
PS17: The Man with Two Faces
PS16: Through the Trapdoor
Invisibility Cloaks
Mirror of Erised
Wizard Chess
Great Wizards of the Twentieth Century
Important Modern Magical Discoveries
Notable Magical Names of Our Time
A Study of Recent Developments in Wizardry
Weasley sweater (Weasley jumper)
Christmas at Hogwarts
Cribbages Wizarding Crackers
Everything You've Always Wanted To Know About Socks
Writing by J K Rowling on WizardingWorld.com (Pottermore): Mirror of Erised
Harry Potter Wiki: Mirror of Erised
WizardingWorld.com (Pottermore) features:
What we learned about Dumbledore from the Mirror
The Importance of Mirrors
Magical objects of the Wizarding World
Tags: excitement family family heirloom family tree gifts longing maroon sneaking/sneak
Editors: Molly Diggory and Steve VanderArk
December 25th, 1991 : Harry receives the Invisibility Cloak
December 25th, 1991 : Harry's first Christmas dinner at Hogwarts
December 25th, 1991 : Trying out the Invisibility Cloak, Harry visits the Restricted Section
December 25th, 1991 : Harry discovers the Mirror of Erised
December 26th, 1991 : Ron visits the Mirror of Erised with Harry
December 27th, 1991 : Harry and Dumbledore discuss the Mirror of Erised
The Harry Potter Canon
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text:
Check out 'Day in the Life' of a Square Enix illustrator
by znbashi 0
'Day in the life' is a series made by the Youtuber Paolo fromTOKYO, where he gives us a perspective of what it feels like working in a specific field or company in Japan.
Previously, we've seen Paolo get an exclusive look inside Nintendo's former headquarters hotel, which officially opened its doors back in April, and what it looks like to work for Bandai Namco as a programmer.
Today, our protagonist is Rumi Asami, an illustrator who worked at Square Enix for 6 years, and she is responsible for a number of projects, including the box art you see in Chocobo's Mystery Dungeon. Check out the video above to see what the Square Enix environment looks like!
[Via NeoGAF (Go_Ly_Dow)]
About znbashi
Just someone who spent most of his childhood playing Smash Bros with my brother, which led me to explore more games. Favorite franchises include Xenoblade and Kirby.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How can i create a file .csv? How i can create a file .csv?, i want to create only a file, because i want to declare outside the main() my File. as well i have a functions, and de main() function.
my is this: https://www.tcpdump.org/sniffex.c i want to write in my file .csv some prints, for example the ip, tcp, etc.
#define APP_NAME        "sniffex"
#define APP_DESC        "Sniffer example using libpcap"
#define APP_COPYRIGHT   "Copyright (c) 2005 The Tcpdump Group"
#define APP_DISCLAIMER  "THERE IS ABSOLUTELY NO WARRANTY FOR THIS PROGRAM."

#include <pcap.h>
#include <stdio.h>
#include <string.h>
#include <stdlib.h>
#include <ctype.h>
#include <errno.h>
#include <sys/types.h>
#include <sys/socket.h>
#include <netinet/in.h>
#include <arpa/inet.h>

/* default snap length (maximum bytes per packet to capture) */
#define SNAP_LEN 1518

/* ethernet headers are always exactly 14 bytes [1] */
#define SIZE_ETHERNET 14

/* Ethernet addresses are 6 bytes */
#define ETHER_ADDR_LEN  6
FILE *f = fopen("test", "w");

/* Ethernet header */
struct sniff_ethernet {
        u_char  ether_dhost[ETHER_ADDR_LEN];    /* destination host address */
        u_char  ether_shost[ETHER_ADDR_LEN];    /* source host address */
        u_short ether_type;                     /* IP? ARP? RARP? etc */
};

/* IP header */
struct sniff_ip {
        u_char  ip_vhl;                 /* version << 4 | header length >> 2 */
        u_char  ip_tos;                 /* type of service */
        u_short ip_len;                 /* total length */
        u_short ip_id;                  /* identification */
        u_short ip_off;                 /* fragment offset field */
        #define IP_RF 0x8000            /* reserved fragment flag */
        #define IP_DF 0x4000            /* dont fragment flag */
        #define IP_MF 0x2000            /* more fragments flag */
        #define IP_OFFMASK 0x1fff       /* mask for fragmenting bits */
        u_char  ip_ttl;                 /* time to live */
        u_char  ip_p;                   /* protocol */
        u_short ip_sum;                 /* checksum */
        struct  in_addr ip_src,ip_dst;  /* source and dest address */
};
#define IP_HL(ip)               (((ip)->ip_vhl) & 0x0f)
#define IP_V(ip)                (((ip)->ip_vhl) >> 4)

/* TCP header */
typedef u_int tcp_seq;

struct sniff_tcp {
        u_short th_sport;               /* source port */
        u_short th_dport;               /* destination port */
        tcp_seq th_seq;                 /* sequence number */
        tcp_seq th_ack;                 /* acknowledgement number */
        u_char  th_offx2;               /* data offset, rsvd */
#define TH_OFF(th)      (((th)->th_offx2 & 0xf0) >> 4)
        u_char  th_flags;
        #define TH_FIN  0x01
        #define TH_SYN  0x02
        #define TH_RST  0x04
        #define TH_PUSH 0x08
        #define TH_ACK  0x10
        #define TH_URG  0x20
        #define TH_ECE  0x40
        #define TH_CWR  0x80
        #define TH_FLAGS        (TH_FIN|TH_SYN|TH_RST|TH_ACK|TH_URG|TH_ECE|TH_CWR)
        u_short th_win;                 /* window */
        u_short th_sum;                 /* checksum */
        u_short th_urp;                 /* urgent pointer */
};

void
got_packet(u_char *args, const struct pcap_pkthdr *header, const u_char *packet);

void
print_payload(const u_char *payload, int len);

void
print_hex_ascii_line(const u_char *payload, int len, int offset);

void
print_app_banner(void);

void
print_app_usage(void);

/*
 * app name/banner
 */
void
print_app_banner(void)
{

    printf("%s - %s\n", APP_NAME, APP_DESC);
    printf("%s\n", APP_COPYRIGHT);
    printf("%s\n", APP_DISCLAIMER);
    printf("\n");

return;
}

/*
 * print help text
 */
void
print_app_usage(void)
{

    printf("Usage: %s [interface]\n", APP_NAME);
    printf("\n");
    printf("Options:\n");
    printf("    interface    Listen on <interface> for packets.\n");
    printf("\n");

return;
}

/*
 * print data in rows of 16 bytes: offset   hex   ascii
 *
 * 00000   47 45 54 20 2f 20 48 54  54 50 2f 31 2e 31 0d 0a   GET / HTTP/1.1..
 */
void
print_hex_ascii_line(const u_char *payload, int len, int offset)
{

    int i;
    int gap;
    const u_char *ch;

    /* offset */
    printf("%05d   ", offset);

    /* hex */
    ch = payload;
    for(i = 0; i < len; i++) {
        printf("%02x ", *ch);
        ch++;
        /* print extra space after 8th byte for visual aid */
        if (i == 7)
            printf(" ");
    }
    /* print space to handle line less than 8 bytes */
    if (len < 8)
        printf(" ");

    /* fill hex gap with spaces if not full line */
    if (len < 16) {
        gap = 16 - len;
        for (i = 0; i < gap; i++) {
            printf("   ");
        }
    }
    printf("   ");

    /* ascii (if printable) */
    ch = payload;
    for(i = 0; i < len; i++) {
        if (isprint(*ch))
            printf("%c", *ch);
        else
            printf(".");
        ch++;
    }

    printf("\n");

return;
}

/*
 * print packet payload data (avoid printing binary data)
 */
void
print_payload(const u_char *payload, int len)
{

    int len_rem = len;
    int line_width = 16;            /* number of bytes per line */
    int line_len;
    int offset = 0;                 /* zero-based offset counter */
    const u_char *ch = payload;

    if (len <= 0)
        return;

    /* data fits on one line */
    if (len <= line_width) {
        print_hex_ascii_line(ch, len, offset);
        return;
    }

    /* data spans multiple lines */
    for ( ;; ) {
        /* compute current line length */
        line_len = line_width % len_rem;
        /* print line */
        print_hex_ascii_line(ch, line_len, offset);
        /* compute total remaining */
        len_rem = len_rem - line_len;
        /* shift pointer to remaining bytes to print */
        ch = ch + line_len;
        /* add offset */
        offset = offset + line_width;
        /* check if we have line width chars or less */
        if (len_rem <= line_width) {
            /* print last line and get out */
            print_hex_ascii_line(ch, len_rem, offset);
            break;
        }
    }

return;
}

/*
 * dissect/print packet
 */
void
got_packet(u_char *args, const struct pcap_pkthdr *header, const u_char *packet)
{

    static int count = 1;                   /* packet counter */

    /* declare pointers to packet headers */
    const struct sniff_ethernet *ethernet;  /* The ethernet header [1] */
    const struct sniff_ip *ip;              /* The IP header */
    const struct sniff_tcp *tcp;            /* The TCP header */
    const char *payload;                    /* Packet payload */

    int size_ip;
    int size_tcp;
    int size_payload;

    printf("\nPacket number %d:\n", count);
    count++;

    /* define ethernet header */
    ethernet = (struct sniff_ethernet*)(packet);

    /* define/compute ip header offset */
    ip = (struct sniff_ip*)(packet + SIZE_ETHERNET);
    size_ip = IP_HL(ip)*4;
    if (size_ip < 20) {
        printf("   * Invalid IP header length: %u bytes\n", size_ip);
        return;
    }

    /* print source and destination IP addresses */
    printf("       From: %s\n", inet_ntoa(ip->ip_src));
    printf("         To: %s\n", inet_ntoa(ip->ip_dst));

    /* determine protocol */
    switch(ip->ip_p) {
        case IPPROTO_TCP:
            printf("   Protocol: TCP\n");
            break;
        case IPPROTO_UDP:
            printf("   Protocol: UDP\n");
            return;
        case IPPROTO_ICMP:
            printf("   Protocol: ICMP\n");
            return;
        case IPPROTO_IP:
            printf("   Protocol: IP\n");
            return;
        default:
            printf("   Protocol: unknown\n");
            return;
    }

    /*
     *  OK, this packet is TCP.
     */

    /* define/compute tcp header offset */
    tcp = (struct sniff_tcp*)(packet + SIZE_ETHERNET + size_ip);
    size_tcp = TH_OFF(tcp)*4;
    if (size_tcp < 20) {
        printf("   * Invalid TCP header length: %u bytes\n", size_tcp);
        return;
    }

    printf("   Src port: %d\n", ntohs(tcp->th_sport));
    printf("   Dst port: %d\n", ntohs(tcp->th_dport));

    /* define/compute tcp payload (segment) offset */
    payload = (u_char *)(packet + SIZE_ETHERNET + size_ip + size_tcp);

    /* compute tcp payload (segment) size */
    size_payload = ntohs(ip->ip_len) - (size_ip + size_tcp);

    /*
     * Print payload data; it might be binary, so don't just
     * treat it as a string.
     */
    if (size_payload > 0) {
        printf("   Payload (%d bytes):\n", size_payload);
        print_payload(payload, size_payload);
    }

return;
}

int main(int argc, char **argv)
{

    char *dev = NULL;           /* capture device name */
    char errbuf[PCAP_ERRBUF_SIZE];      /* error buffer */
    pcap_t *handle;             /* packet capture handle */

    char filter_exp[] = "ip";       /* filter expression [3] */
    struct bpf_program fp;          /* compiled filter program (expression) */
    bpf_u_int32 mask;           /* subnet mask */
    bpf_u_int32 net;            /* ip */
    int num_packets = 10;           /* number of packets to capture */

    print_app_banner();

    /* check for capture device name on command-line */
    if (argc == 2) {
        dev = argv[1];
    }
    else if (argc > 2) {
        fprintf(stderr, "error: unrecognized command-line options\n\n");
        print_app_usage();
        exit(EXIT_FAILURE);
    }
    else {
        /* find a capture device if not specified on command-line */
        dev = pcap_lookupdev(errbuf);
        if (dev == NULL) {
            fprintf(stderr, "Couldn't find default device: %s\n",
                errbuf);
            exit(EXIT_FAILURE);
        }
    }

    /* get network number and mask associated with capture device */
    if (pcap_lookupnet(dev, &net, &mask, errbuf) == -1) {
        fprintf(stderr, "Couldn't get netmask for device %s: %s\n",
            dev, errbuf);
        net = 0;
        mask = 0;
    }

    /* print capture info */
    printf("Device: %s\n", dev);
    printf("Number of packets: %d\n", num_packets);
    printf("Filter expression: %s\n", filter_exp);

    /* open capture device */
    handle = pcap_open_live(dev, SNAP_LEN, 1, 1000, errbuf);
    if (handle == NULL) {
        fprintf(stderr, "Couldn't open device %s: %s\n", dev, errbuf);
        exit(EXIT_FAILURE);
    }

    /* make sure we're capturing on an Ethernet device [2] */
    if (pcap_datalink(handle) != DLT_EN10MB) {
        fprintf(stderr, "%s is not an Ethernet\n", dev);
        exit(EXIT_FAILURE);
    }

    /* compile the filter expression */
    if (pcap_compile(handle, &fp, filter_exp, 0, net) == -1) {
        fprintf(stderr, "Couldn't parse filter %s: %s\n",
            filter_exp, pcap_geterr(handle));
        exit(EXIT_FAILURE);
    }

    /* apply the compiled filter */
    if (pcap_setfilter(handle, &fp) == -1) {
        fprintf(stderr, "Couldn't install filter %s: %s\n",
            filter_exp, pcap_geterr(handle));
        exit(EXIT_FAILURE);
    }

    /* now we can set our callback function */
    pcap_loop(handle, num_packets, got_packet, NULL);

    /* cleanup */
    pcap_freecode(&fp);
    pcap_close(handle);

    printf("\nCapture complete.\n");

return 0;
}

but i got this error:
error: initializer element is not constant
 FILE *f = fopen("test", "w");

A: If you want to write the results in a file, move
FILE *f = fopen("test", "w");

into your main() function (also check return value since the function can fail), if you want the file format to be csv then you should add the extension .csv so that other people know it has that format e.g. "test.csv" instead of "test". pass the file pointer to all the functions where you need to write to the csv-file.
Now to serialize the contents that you have collected and since the format of a csv-file is row based you need to collect the information before you write it (easier that way). So decide on a structure that will contain all the information you want to put in a row in the csv-file and fill that structure, have a linked list of these structures that you create as you are gathering information, then once you are done collecting, go through the list and write one row to the csv-file per structure.
E.g.
typedef struct CsvRow
{
  char ipLocal[32];
  char ipRemote[32];
  ...
  struct csvRow* next;
} Csvrow;

CsvRow* first;
CsvRow* last;

// collecting
CsvRow* newLine =  malloc(sizeof(CsvRow));
newLine->next = NULL;

if (last == NULL)
{
  first = last = newLine;
}
else
{
  last->next = newLine;
  last = newLine;
}

// then when you are gathering information just add that in last

strcpy(last->ipLocal, "someip");
..

// at the end of your main function do

FILE* fp = fopen("test.csv", "w");
if (fp == NULL)
{
  fprintf(stderr, "file access denied");
  abort();
}
for (CsvRow* p = first; p != NULL; p = p->next)
{
  fprintf(fp, "%s,%s\n", p->ipLocal, p->ipRemote);
}
fclose(fp);

// free memory
CsvRow* q = first;
while (q != NULL)
{
   CsvRow* next = q->next;
   free(q);
   q = next;
}

A: You need to split the line into opening the file, and declaring the variable, the declaration can stay where it is:
FILE *f;

The open must occur in your main() function:
main()
{
   f = fopen("test.csv", "w");
   ...

Then you can use that in your code anywwhere:
 fprintf(f,"some stuff");

And remember to close the file when your program finishes (this would be at the end of your main() function...
   fclose(f);

redpajama_set_name: RedPajamaStackExchange


text:
The Manitoban
The official University of Manitoba students' newspaper
Toban Talks
UMSU News
January 12, 2021 | 'Unprecedented' best practices memo for online learning circulated by provost
January 12, 2021 | UMSU board meeting update
December 8, 2020 | U of M senate approves 'compassionate grading' plan
December 8, 2020 | UMSU lobbies provincial, federal governments
December 8, 2020 | UMSU annual general meeting recap
Fighting for a $15 minimum wage in University Centre
Group demands living wage for all workers, better benefits
TOPICS:activism
By Ty Brass
Image by Asha Nelson March 13, 2019
Working students who feel unfairly treated by their workplaces were met with an empowering message in UMSU University Centre this week: they are not alone.
The Fight for $15 and Fairness Manitoba U of M chapter tabled on campus March 5 and 8 to collect signatures on a petition calling for the province to increase the minimum wage to $15 an hour.
The current minimum wage in Manitoba is $11.35 an hour, increased in October from $11.15. The Canadian Centre for Policy Alternatives calculated the living wage in Winnipeg for 2016-17, or the wage a family with two parents working full-time must make to meet their basic needs, to be $14.54 an hour.
The group is part of a larger movement across the U.S. and Canada. Along with pushing for increasing the minimum wage, advocates also call for improved employment standards and stronger benefits for low-wage workers.
Freelance journalist and Fight for $15 and Fairness U of M chapter organizer James Wilt was on campus collecting signatures and speaking with students.
"We're trying to engage with students because this is something that impacts lots of students," he said.
"And I think a lot of people have experienced working minimum-wage or low-wage jobs, and so we're just trying to get the word out there and increase support for it."
Wilt said the goal of the campaign is not to necessarily appeal to the government, but to demand changes to labour laws in a more direct way.
"There's the upcoming provincial election, and the Manitoba PCs are obviously in power, and not very sympathetic to the idea of a higher minimum wage," he said.
"But that's why we see the sort of grassroots nature of this campaign being formed by students and low-wage workers [as being] really powerful, because the objective is not to appeal to a benevolent government that will gift us this, it's really to fight for it."
Wilt called the response from U of M students "amazing."
"It's been great, it's been really good. We've had people who will come and sign, and then they will call their friends over, or tell their friends and then they'll come."
Wilt, who said he joined the group because of his own experiences with minimum wage jobs, called it "near impossible" to work full-time in a minimum wage position and maintain a fair quality of life — and said the Fight for $15 campaign has heard testimonies from working students who say the same.
"We've had people tell us stories about working low wage jobs, and how it's just so difficult to juggle that and having to pay rising tuition costs and all that kind of thing, and rising housing costs," he said.
"I think it's been really good. We have conversations with people who might be skeptical or have questions about it, which is good, so it's an opportunity to answer some of those questions about alleged impacts on jobs or inflation or that kind of thing and to help dispel myths and everything."
Human rights and legal groups critique inquiry process
5 Days to combat youth homelessness
U of M student group helps high school students enjoy their graduation
Myths about Mandela
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text:
Richard Reed Parry Bio (2019)
Music of the spheres: it's a term that refers to the universal harmony generated by celestial bodies in orbit, but it means something different to Arcade Fire's Richard Reed Parry. His musical spheres are floating worlds, 360° embodiments of memory, VR renditions of old family photos. These spheres not only served as metaphorical inspiration for the lyrics of his new project, Quiet River of Dust, but appear throughout the album artwork and, most strikingly, in the films Parry made to be projected in planetarium-style domes to accompany live performances of this music. "It was an idea of a floating world of memory and of a time that only exists insofar as you're able to revisit it in your memory," he explains. "But when you do, it becomes so all-encompassing and immersive that it's like you're stepping into this other world every time." That's as true of his music as it is of any of its visual representations.
The first volume of Quiet River of Dust was released on the autumn equinox of 2018; this second volume, out on the summer solstice of 2019, was created at the same time. (It was supposed to come out on the spring equinox, but got bumped because Parry and designer Tracey Maurice had to wait for salt crystals to grow on the artwork to create wave caps and mountaintops—do not underestimate Parry's attention to detail.) Both volumes bleed into one another, by design. "It feels like a multi-sided window to me," says Parry, "a different view into this prismatic song world." Japanese folk myths, death poems and British folk music are tributaries flowing into a river of late-20th century avant-garde composition and traditional song craft, written and performed by a member of a Grammy-winning rock band. This is a meditative, widescreen musical experience with Beach Boy harmonies and a hypnotic pulse. Layered songs that move in a linear fashion, following a current rather than circular composition.
The genesis of these songs came after Arcade Fire's first tour of Japan in February 2008. Parry stayed on for weeks after the last show, heading to a monastery for some solace in "the biggest silence you've ever heard." One day he was walking alone in a massive, snow-covered cedar forest when he heard distant voices, voices that sounded a lot like his father's folk group back in Toronto, Friends of Fiddlers Green. (Parry was 17 when his father died in 1995.) "There was no reason for something to sound like full-throated, British-Isle folk singing there," he recalls. "I walked and walked but I could never get closer to where the music was coming from." He started writing meditative songs about mortality. On a later trip to Japan, he discovered the "River of Death," a body of water understood in pre-Buddhist Japanese culture to be a liminal space between life and an afterlife.
The two halves of Quiet River of Dust are meant to represent each side of that river. Vol. 2: That Side of the River is more interior, says Parry, dealing with the murky waters of memory and the unconscious mind. The elegiac opener is a soft fanfare featuring his father's former bandmates. That bleeds into "Lost in the Waves," a story about a boy who goes to the ocean with his parents; they fall asleep on the beach, he walks into the ocean "and transforms in some magical, nebulous way," says Parry. "What separates us from dissolving into the experience around us? It's a feeling I've definitely had many times, where the boundaries of self and world are permeable to the point of disorientation. So much of this record is about being this young person in an older people's world of music and song, this folk music community where the torch is passed, and losing my father at a young age, and being completely disoriented by that. This record, the songs are also referencing that nebulous psychic territory when you lose your most familiar world, when the village of your childhood disappears and you try to relocate yourself in a different one."
The music owes debts to that of his father, but Parry didn't want to write in a traditional British Isles folk style. Nor did he want to create the kind of pop songs to which tens of thousands of people could sing along, as he does with Arcade Fire. That band's landmark 2004 debut, Funeral, made a grandiose statement through big, bold gestures; Quiet River of Dust does the same, with vertical layers of sonic architecture, but with the inverse approach: small, soft and gentle, though just as grand. Parry wanted to create a tangible aural garden of rapturous colours that invite exploration, an immersive experience. To do so, Parry invited precious few people into his solo project, including Laurel Sprengelmeyer of Little Scream, Stef Schneider of Bell Orchestre, Dallas Good of the Sadies, Yuka Honda of Cibo Matto, Amedeo Pace from Blonde Redhead, mixer Tchad Blake, composer Nico Muhly and The National's Aaron and Bryce Dessner, who first urged Parry to perform this music live in 2012 at an All Tomorrow's Parties in the U.K.
When it came time to present Vol. 1: This Side of the River live, he booked two weeks worth of shows at the SATosphere in Montreal in November 2018, and set out assembling video footage that could be projected in the dome. They gave him a tiny 360° camera that he could immerse in water, place inside tree stumps, "all the immersive, tiny spaces that you wouldn't be able to see inside, looking out," he says. "It was so beautiful. It made my brain explode with possibilities. When I was a kid I'd get completely enraptured by a melting pool of ice water in the spring, and part of me wished I could be inside of that strange little world. Experimenting with this camera brought me to that kind of place. Bringing it into the dome, you can actually make that image this big, 20-foot, immersive world around you. It's a zen, contemplative way to be inside nature. Filming all this stuff has become one of my greatest artistic joys, one of the most exciting things I've ever done. It's a unique format to play music in, to step outside the codified world of rock shows in a way that really suits me. This is where this music wants to live."
That's where it will live in the next two years: the immersive Quiet River of Dust experience will be returning to Montreal this summer, before travelling to domes in Hamburg, Vancouver, France, South America and Japan. "I'm very curious about who this music is going to find," says Parry.
Maybe even those ghosts in the Japanese forest will hear the result of the journey they inspired.
Bio by Michael Barclay, the author of 'The Never-Ending Present: The Story of Gord Downie and the Tragically Hip'.
Richard Reed Parry's artist page
Tags: richard reed parry, quiet river of dust, that side of the river, bio
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text:
Self Search Pro for Windows
Self Search is a computerized questionnaire for enhancing self-knowledge. It presents 83 multiple-choice questions about your interests and out-look on life, and how you respond in various circumstances.
The program analyzes your answers to determine to what degree you express each of seven qualities of character. It prints a graphic representation of your qualities together with a description of your type. The questionnaire and analysis is based on the spiritual-psychological types of Alice A. Bailey--see list of books below.
The Seven Types
The seven character types (psychological-spiritual types) recognized by Self Search are called "rays." The names of the seven rays or types are: Will, Love, Intelligence, Harmony, Intellect, Idealism, and Order.
Each ray or type corresponds to a pattern of personal characteristics and spiritual potentials. You can think of the ray types as analogous to the types that astrologers define in relation to the signs of the zodiac.
The seven ray types are a way of defining an individual's personal and spiritual style or quality of life. Everyone expresses all rays or qualities in various degrees. Self Search is a tool for discovering how the seven qualities express in the individual. Self Search also suggests ways to enhance the ray qualities, and more fully express the better potentialities of your character.
The seven types, in their many combinations, correlate to all aspects of life. To name a few: choice of profession, thinking style, philosophy, values, and way of communicating.
At a deeper level, the seven types are qualities of soul expression, and relate to the individual's life-purpose and destiny. It is therefore meaningful to ask: What is the type of the personality, and what is the type of the soul, and how are these two related? Self Search is a spiritual-psychological assessment that can help bring an individual a closer to these answers.
Self Search prints about five pages of information that includes lists of your character traits together with suggestions for personal growth and insight. Quotations often illuminate the reading.
Using your answers, the program prints a bar graph showing the relative strength of each of the seven types. The graph is based on a comparison of your answers with group averages.
Self Search was the subject of a doctoral dissertation that compared it to other established personality types tests. It was shown to be a reliable and valid tool for assessment of character types.
A body of literature exists on the seven rays. Here is a list of some of the books published on the subject:
The Seven Human Temperaments, Geoffrey Hodson, The Theosophical Press, Wheaton, Illinois
The Tapestry of the Gods, Dr. Michael Robbins, The Seven Ray Institute, 128 Manhattan Ave., Jersey City Heights, NJ 07307
Psychosynthesis Typology, Roberto Assagioli, M.D. Institute of Psychosynthesis, 1 Cambridge Gate Regents Park London NW1
The Seven Rays of Energy, Michal J. Eastcott Sundial House, Nevill Court, Tunbridge Wells, Kent, England, TN4 8NJ
Esoteric Psychology, A Treatise On The Seven Rays, Alice A. Bailey, Lucis Publishing Co., New York
Copyright © 1998-2003 Halloran Software, Los Angeles, California
http://www.halloran.com/ssearch.htm


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This article intends to investigate the use of a Panorama multi-layer as a hyper document to broaden the understanding the history of the cities. We asume that a Panorama multi-layer, in this opportunity, can convey unusual interpretations with the add of important drawings and pictures made by the travelers wich arrived in Rio de Janjeiro in the beginning of 19th century. This paper aims to demonstrate new possibilities which can be added into the digital and interactive panoramas, and a new way to develop a iconographic hyper document in the central area within the city of Rio de Janeiro.