instruction stringlengths 0 534 | response stringlengths 22 10.2k | score int64 4 5 |
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Answer: I would like to add a comment to the answer by @safesphere, since it is a bit short. The decay rate of the wavefunction is related to the energy of the HOMO of the system. This is true in the case of the single particle Schrödinger equation, but it is also true in the case of the many particle Schrödinger equation, because in the latter case, the wavefunction is a superposition of single particle wave | I'll answer this question from the theoretical side. The exponential behavior follows simply from the Schrödinger equation. Consider the one-electron Schrödinger equation:
$$
(-\frac{1}{2}\nabla^2 + V(\mathbf{r}))\psi(\mathbf{r}) = \epsilon\psi(\mathbf{r}), \epsilon < 0
$$
At spatial points that are very far away from the nucleus, $V(\mathbf{r})\approx 0$, so that the asymptotic solution is given by
$$
-\frac{1}{2}\nabla^2\psi(\mathbf{r}) = \epsilon\psi(\mathbf{r}), \epsilon < 0
$$
This differential equation has basic solutions of the form
$$
\psi(\mathbf{r}) = Ce^{-\sqrt{-2\epsilon}\mathbf{k}\cdot\mathbf{r}}
$$
for some unit vector $\mathbf{k}$. The real asymptotic behavior of $\psi(\mathbf{r})$ is thus a linear combination of these basic solutions. The linear combination may bring a polynomial prefactor to the exponential, but will never alter the exponent. Thus we have not only proved the exponential behavior, but also derived the correct exponent $\alpha = \sqrt{-2\epsilon}$. For a multi-electronic, non-interacting system, the overall decay rate is governed by the slowest decaying orbital, i.e. the HOMO.
Of course, the real wavefunction can only be described by a multi-electron Schrödinger equation. But we can work on the equivalent Kohn-Sham system and show that the Kohn-Sham wavefunction decays at a rate given by the Kohn-Sham HOMO energy. By Janak's theorem, the Kohn-Sham HOMO energy is just the negative of the ionization potential of the exact system. To see this, consider a huge ensemble of $N$ identical, non-interacting molecules. If we remove one electron from the ensemble and let the hole delocalize evenly between all the molecules, then as $N\to +\infty$, the electron removal has a negligible impact on the electron density of any molecule (and therefore the Kohn-Sham potential of each molecule). Therefore under the Kohn-Sham framework we see that removing such an electron costs an energy of $-\epsilon_{\mathrm{HOMO}}$ (it does not matter whether the HOMO refers to that of the ensemble or that of a molecule, since their orbital energies are equal), since the electron is taken from an energy level whose energy is $\epsilon_{\mathrm{HOMO}}$ and the Hamiltonian is not changed in this process. On the other hand, from the perspective of the real system it is clear that the energy cost is equal to the first ionization energy of one of the molecules, $I$. Therefore we have $\epsilon_{\mathrm{HOMO}} = -I$, which means that the Kohn-Sham wavefunction decays like (again up to a possible polynomial prefactor; the precise determination of this polynomial prefactor is a much more difficult question)
$$
\psi(\mathbf{r}) = Ce^{-\sqrt{2I}\mathbf{k}\cdot\mathbf{r}}
$$
Although the Kohn-Sham wavefunction is fictional, its density is equal to the true multielectronic density, and in order for the true density to have the same asymptotic behavior as the Kohn-Sham density, the true wavefunction must have the same asymptotic behavior as the Kohn-Sham wavefunction. Q.E.D. | 4 |
And they were right. Because the pink one, the one I loved, it was the dangerous one. It's the pink one who is dangerous.
It's the pink one who is dangerous. It's the pink one who is dangerous. It's the pink one who is dangerous. It's the pink one who is dangerous. It's the pink one who is dangerous. It's the pink one who is dangerous. | When I was a little girl, I owned a Tamagotchi. Those little animals, pixelated freaks, harmless I thought. Until I learned that all artificial intelligence is dangerous. That giving human characteristics to pixels was dangerous. Or so they told me, when they took the blue one. My parents didn't know about the pink one, little lovely snake creature. I kept it alive. I kept it alive and it only grew stronger.
So here I am, the nuclear codes in my hands. Pink one beeping from around my neck, and a language only I can understand. This is what they didn't want, people with abilities they can't control. People able to speak to the intelligence, the artificial intelligence. | 4 |
## Try the "I'm not going to kiss you" technique
1. Try to get her to kiss you. Women can be very shy or insecure about kissing. Sometimes they just need a little push to give them the courage to kiss you. You can do this by making a comment about how you've been waiting for the right moment to kiss her, and that the moment has arrived. Make sure you're not being too forward or aggressive | Kissing a girl can be nerve-wracking, especially if you don't know if she's ready for a kiss! Luckily, there are ways you can figure out whether or not she wants a kiss. Although no tip is foolproof, at least you’ll have a better idea of whether it’s welcome before you make the move.
## Study her face
1. Watch her eyes. You should be able to tell a lot about your girlfriend's desire to kiss you from her eyes. They don't say the eyes are the windows to the soul for nothing. If she looks you directly in the eye, she is probably establishing intimacy and is at least open to kissing you. Although eye contact is almost always a positive sign, remember that sometimes people look down or away because they are shy or nervous. Still, if she is not looking at you, that's a warning sign that she's not open to a kiss. Women will give you more submissive looks in some cases when they want to be kissed, such putting the chin down and subtly looking down. Slightly narrowing the eyes is a pose that many women go into when they are waiting for a kiss. Are her pupils dilated and are her eyes widening? If so, these are signs that she is enjoying being around you, so she is probably open to a kiss.
2. Look at her lips. Women prepare their lips for a kiss. So if you want to know if she wants to kiss you, zero in on her mouth. Is she biting her lip or licking her lips? These could be signs that she is trying to moisten them for a kiss. If she is pursing her lips or they look hardened, this is a bad sign. She is closing herself off to you. If she's applied lip gloss recently, or freshened her breath, this could mean she wants her lips to look desirable to you, in the hopes you will kiss them. This is especially true if you can tell she's reapplied them (say when you went to the bathroom). If she's looking at YOUR lips, it probably means she is thinking about kissing them.
3. Pay attention to her nose. This might sound odd, but research has shown the nose can give away signals of desire - often without her realizing it. If her nostrils are flaring slightly, she probably wants a kiss. Physically, flaring the nostrils means she is taking in more air because she is preparing for physical activity. You need to take this one in context. If she's in the middle of an argument with you, the physical activity her body is preparing her for might not be in your favor.
## Interpret her other body language
1. Watch her posture. Posture can be very revealing. Much of communication is made up of non-verbal cues. Sometimes people don't even realize they are communicating this way. If she is learning into you or toward you, even slightly, it probably means she is more open to a kiss. On the other hand, if she is leaning away, that's a bad sign. You should also pay attention to the direction her feet are pointing. If they are pointing away from you, it could be a sign she is looking for a chance to leave. Does she move away when you move slightly toward her? This is a test you can use to measure her body language interest in kissing you. Subtly create more of a zone of intimacy and see if she complies or moves away to diminish it.
2. Study her hands. Women will use their hands to touch things or show femininity if they want you to kiss them. If a woman plays with her necklace, she's probably into you. But you should take this act in context. If she also has other body language that is open to you, that's a better sign because sometimes a woman is just nervous. If a woman is playing with or twirling her hair, it's a sign she wants you to find her attractive and is flirting with you. If she touches something else, like a glass (running her fingers over it), in even a somewhat sensual way, that's a good sign.
3. Wait for her touches. If she has touched you recently, even in small ways, this could be her way of creating more intimacy in the hopes you will kiss her. Even the slightest of touches show desire. That means it's a good sign if she brushes her hand against your knee or arm. Touch probably means she wants to get closer to you. It's an even better sign if she touches your face. If she softly, playfully hits you on the arm, she is trying to create a playful vibe with you, which is a way that women flirt. You could test her out by touching her slightly first to see how she responds. For example, brush your feet against hers under the table and see what she does. Another technique is to touch a piece of jewelry she has lightly (earrings, necklace), and say you admire it. If she smiles and is OK with you moving closer into her space, that's a good sign.
4. Spot whether she has open body language. When taken together, is her body language closed or is it open? If she has open body language, she is not trying to erect barriers between you. Signs of open body language include arms at the side, body tilted toward you or facing you, eye contact, feet pointed toward you. Signs of closed body language include arms crossed over chest, feet or legs crossed, feet pointing away from you, body tilted away from you, and minimal eye contact. How much personal space is she leaving between you? If it's not much, she's already open to an intimate connection with you on some level. This is a good sign for you.
## Learn other kiss trick
1. Consider how she talks to you. Does she seem like she wants to keep the conversation going? It's a good sign for you if she does. Is she asking you a lot of questions? Are they deep and personal? If the answers are yes, she probably wants a more intimate connection with you. Are you making her laugh? Laughing at your jokes (especially if they are not very funny) is a way that women flirt. Is she trying to keep the conversation going by being the one to ask questions or lead or direct the conversation? That's a good sign. It's a bad sign if she lets the conversation wither into silence between you or you feel like you're doing all the heavy lifting to keep it going.
2. Try the triangular kissing technique. There are some techniques you can use to build sexual tension, while monitoring how she responds and communicates back. Move close to her and touch her, either her hands or legs. Slow down your breathing and words. Look at her right eye. Hold the look for a few seconds, then move your gaze to her left eye. Pause again. Now, move your gaze and hold it on her mouth. She should be more receptive to a kiss (as long as she hasn't moved away!)
3. Spot the window of opportunity. Women you've just met will often give you a short window of opportunity for a kiss. This can be a tricky balancing act. This will be easier if she's already your girlfriend because you will be able to spot the signs more readily. A woman you've just met is also testing you. You need to give her signs that you like her when she seems receptive to you, otherwise she may feel rejected or insecure and start to pull away and try to make you chase her. If you miss the window of opportunity, she may think you lack confidence or aren't interested in her. But if you try to kiss her before it opens, she might think you're boorish or too aggressive. So monitoring body language matters.
4. Handle her moving away. You should always be prepared for the worst: What if you try to move closer or touch her slightly, and she moves away? Maybe she's just tired or not in a good mood. Who knows? You don't want to make it worse with a bad response. Timing is everything. Act like nothing has occurred. Basically, show that you're not thrown off. You could even make a confident quip about her being cute when she's shy. Don't act angry or insecure. That's not appealing to women. Maybe she's interested in you but just not ready for a kiss yet. In that case, you could work on building more common ground and intimacy- slowly. Abandon your idea for a kiss right now and instead focus on having a great conversation with her, and remember to throw in some compliments! (Women love that.)
| 4 |
```try except:```
Este caso é o mais comum e é usado para tratar exceções. Ele permite a criação de um código que seja usado para tratar uma ou mais exceções.
Um ```try except:``` é usado em um bloco. Ele pode ter vários ```try except:``` dentro dele.
O código do bloco será executado até que um ```except | Ele é usado para garantir finalização de recursos adquiridos.
Um arquivo, por exemplo é aberto. Quem garante que ele será fechado? Mesmo que você coloque no código de forma explícita que ele deve ser fechado, se ocorrer uma exceção, o código sai de escopo sem executar o resto do código que está em escopo, ele pula o fechamento.
Para evitar isto usamos um ```try finally```. O ```finally``` garante a finalização. Como o código fica um pouco longo e este caso é bastante frequente a linguagem providenciou uma forma simplificada com o ```with```.
Ele consegue manipular objetos que contenham os métodos ```__enter__()``` e ```__exit__()```. Eles são chamados internamente logo no início da execução do bloco criado e dentro do ```finally``` interno criado no bloco.
No exemplo citado deve ficar algo parecido com isto internamente:
```try:
__enter__()
open("my_file.txt") as file:
data = file.read()
#faça algo com "data"
finally:
__exit__()
``` | 4 |
We define a function called `sum_100_natural_numbers()` for the above functionality.
```
def sum_100_natural_numbers():
# keep a running sum
sum = 0
# write a for loop to add each number to the running sum
for i in range(1, 101):
sum = sum + i
return sum
# Print out the result
print(sum_100_natural_numbers())
```
The output should be
```
5050
```
| 4 | |
Sincerely,
[Your Name]
| Dear [Recipient's Name],
I hope this email finds you well. My name is [Your Name] and I am writing to introduce myself and discuss an opportunity for collaboration between our organizations.
I am the founder and CEO of [Your Company/Organization], a nonprofit organization dedicated to providing underprivileged children with the resources they need to succeed at school and beyond. We believe that all children deserve access to high-quality education regardless of their socioeconomic background, race, or ethnicity.
For the past five years, we have worked closely with local schools and community centers to provide underserved students with free tutoring services, college preparation workshops, and career development seminars. Our programs have helped hundreds of young people improve their academic performance, gain admission to top universities, and secure meaningful employment after graduation.
However, we cannot achieve our mission without the support of generous donors like yourself. That is why I am writing to ask for your consideration of a financial contribution to our cause. Your gift will enable us to expand our programming and reach even more deserving youth in our community.
Thank you for your time and consideration. If you have any questions or would like to learn more about our work, please feel free to contact me at [Your Phone Number] or [Your Email Address].
Best regards,
[Your Name] | 5 |
Comment: You should also use the same logic for the second part.
Comment: @NorbertScheidl Thanks for the comment. I'll do that.
Comment: @NorbertScheidl I have added the second part of the question.
Comment: @NorbertScheidl I have added the solution for the second part.
Comment: @NorbertScheidl I have updated the answer | Here is the solution step by step:
First we find how many cookies Betty will eat in a week by multiplying her daily amount by 7, meaning 7*3= 21 cookies eaten in a week.
We repeat this for the brownies, finding she eats 7*1= 7 brownies in a week.
We subtract the 21 cookies from the original amount of 60, finding 60-21= 39 cookies remaining.
We repeat this step for the brownies, finding 10-7= 3 brownies remaining.
In the end, therefore, Betty has 39-3= 36 more cookies than brownies. | 4 |
## See also
* History of electricity and magnetism
* History of electrical units
## External links
* The history of the ohm, volt, ampere, and farad
* The history of the ohm, volt, ampere, and farad | The volt, ohm and farad were introduced by the same person, Latimer Clark, a cable engineer, in a paper in 1861. He started the tradition of naming units after scientists. He initially distorted all names: the unit names ohma, volt, galvat (from Galvani), and farad (from Faraday). In his words, he "neglected etymological rules".
In that same year, a committee of the British Association for the Advancement of Science began developing a coherent system of electrical units, the cgs system. Varley, a committee member, liked Clark's proposal, but he advocated adding a French name such as Ampere, to facilitate the international acceptance of the new units ("I should like to introduce a French name into the list. We have Germany, England and Italy represented"). For the same reason he may have pleaded for not distorting the French and German names. In addition, Varley objected to the galvat "because Galvani discovered next to nothing".
Latimer Clark adapted the unit names in his 'Elementary treatise on electrical measurement' (1868). He changed ohma to ohm, and dropped the galvat. Maxwell acknowledged Clark's practical units and their names in his 'Treatise on electricity and magnetism' (1873). In 1881, at the International Electrical Congress in Paris), two French names, ampere and coulomb, were added. The diplomacy worked, and the new system of electrical units was adopted by all countries. The only units that kept the initial name distortion were the volt and the farad. | 4 |
### Félix Tholomyès
Félix Tholomyès is a character in the novel, and the lover of Fantine, the mother of Cosette. He is a student of law, and a friend of Marius. Tholomyès is a name which means "son of the moon". In the novel, Félix is a student who comes from a wealthy background, and is a friend of Marius. He falls in love with | Yes: it corresponds to the date of Hugo's conception.
This is part of a pattern of similarities between the character of Jean Valjean and the author himself: both are of similar age, have similar habits and similarly austere lifestyles, and even share the same dreams. This is according to David Bellos's The Novel of the Century: The Extraordinary Adventure of Les Misérables, which concludes Part Three with:
But Hugo put in a secret sign to remind himself and maybe those who knew him well that there were deep links of identity between the dutiful and persistent ex-convict and himself. Hugo was born on 26 February 1802, but because he was a slightly premature baby, he always believed he had been conceived on 24 June 1801. Valjean's prison number on his first incarceration at Toulon is 24601.
-- p. 162 (emphasis mine)
As a bonus, Valjean's second prisoner number was apparently also chosen for its special significance to Hugo: it refers to the month of his daughter Léopoldine's death. From footnote 46 in Kathryn Grossman's Figuring Transcendence in Les Miserables: Hugo's Romantic Sublime:
Gaudon demonstrates that this image, which represents genius in one of the poet's earliest carnets (8 July 1820), is a sign of his "deep identification" with Valjean (Temps 547). As further evidence that the hero is an alter ego, Gohin cites the two numbers assigned to him in prison. The first, 24601, refers to the supposed date of Hugo's conception (24 June 1801), while the second, 9430, alludes to Léopoldine's death in September 1843 ("Une histoire" 47; see also 52).
-- p. 165 (emphasis mine)
| 4 |
## Science fiction and fantasy are not a single style
Science fiction and fantasy are also not a single style. The same story might be written in different styles depending on the author.
For example, the same story might be told in a space opera style or a hard SF style. A space opera might be told in a style that's more like a romance, while hard SF might be told in a style that's more like a | Any sufficiently advanced technology is indistinguishable from magic.
- Arthur C Clarke
There's a reason that science fiction and fantasy are frequently shelved together - separating the two is usually a fools errand.
The Dragonriders of Pern features a preindustrial society where flying, firebreathing, teleporting, and telepathic dragons defend the skies from horrible creatures that rain down from above. They could easily be considered pure fantasy - up until the book where they discover the spacecraft that the human ancestors flew in on, and the labs where they bioengineered the dragons.
In Star Wars (arguably the most famous science fiction property of all time), the Force is really just space magic called another name. And they do all their fighting with swords.
The lists go on and on. Science fiction and fantasy are united in that they explore the impossible. Fantasy uses elements that will never be possible, while science fiction uses elements that theoretically might be possible. But the impossibility is shared.
## Science fiction and fantasy are not a single genre - they are many
Epic fantasy (eg Wheel of Time) and space opera (eg Star Wars) are more similar to each other than they are to urban fantasy or "hard" science fiction.
In some ways, it's inaccurate to call science fiction and fantasy genres at all. They're setting elements. A romance doesn't stop being a romance because it's set on a space station, and a murder mystery isn't any less mysterious because it was an elf who was murdered.
The key to mixing these elements successfully is to understand the expectations of your readers, and meeting those expectations (but in surprising ways). Genre helps define expectations.
If you're writing hard SF, readers expect to see a world that's close enough to our own that they can believe that our world could become the world of the story - magic obviously has no place here.
On the flip side, urban fantasy readers expect the author to have considered the modern world and how it might interact with the impossible. Extrapolations from science to science fiction may be natural depending on the exact nature of the setting.
If the reader has led to expect that the serial killer is a Scooby-Doo villain, then the sudden reveal that the murders were done with actual magic will violate their expectations and frustrate them (in general - there will of course be exceptions). But if the story is framed as a space cop trying to capture a vampire despite not believing that vampires are real, the readers will accept that premise as well as any other. | 4 |
* After the client has finished talking to the hidden service, it sends an introduce message to the rendezvous point, to close the circuit.
* The rendezvous point decrypts the introduce message with the hidden service's public key and learns about the hidden service's public key and the introduction points.
* The rendezvous point forwards the introduce message to the hidden service.
* The hidden service closes the circuit by sending an introduce message to the client | Up to at least October 2013 the hidden services work like this:
* A hidden service calculates its key pair (private and public key, asymmetric encryption).
* Then the hidden service picks some relays as its introduction points.
* It tells its public key to those introduction points over Tor circuits.
* After that the hidden-service creates a hidden service descriptor, containing its public key and what its introduction points are.
* The hidden service signs the hidden service descriptor with its private key.
* It then uploads the hidden service descriptor to a distributed hash table (DHT).
* Clients learn the .onion address from a hidden service out-of-band. (e.g. public website) (A $hash.onion is a 16 character name derived from the service's public key.)
* After retrieving the .onion address the client connects to the DHT and asks for that $hash.
* If it exists the client learns about the hidden service's public key and its introduction points.
* The client picks a relay at random to build a circuit to it, to tell it a one-time secret. The picked relay acts as rendezvous point.
* The client creates a introduce message, containing the address of the rendezvous point and the one-time secret, before encrypting the message with the hidden service's public key.
* The client sends its message over a Tor circuit to one of the introduction points, demanding it to be forwarded to the hidden service.
* The hidden service decrypts the introduce message with its private key to learn about the rendezvous point and the one-time secret.
* The hidden service creates a rendezvous message, containing the one-time secret and sends it over a circuit to the rendezvous point.
* The rendezvous point tells the client that a connection was established.
* Client and hidden service talk to each other over this rendezvous point. All traffic is end-to-end encrypted and the rendezvous point just relays it back and forth. Note that each of them, client and hidden service, build a circuit to the rendezvous point; at three hops per circuit this makes six hops in total.
| 5 |
[Your Email]
Answer: \section{TL;DR}
You have a sequence of symbols (letters, words, etc). You need to find the best way to encode them into a sequence of numbers, where the best encoding is one that will make it easier to decode them into a sequence of symbols.
\section{More Detail}
Let's say you have a sequence of symbols:
\begin{code}
A | Subject: Question about Transformers
Dear Professor [Last Name],
My name is [Your Name], and I am a student in your Natural Language Processing course. I have been thoroughly enjoying the lessons so far!
While working on the current assignment, I found that I do not fully understand the difference between transformer encoders and decoders. Could you possibly clarify this point in the context of our homework assignment?
Thank you for your time,
[Your Name] | 4 |
4. Try to learn all you can about your CMS. Most CMS have tutorials or manuals, but it's better if you can learn about the program from other users. Join the community forums and read the blogs of other CMS users. It will help you to know what you can do with your program.
5. Do not be afraid to change the CMS if you are not satisfied. If you are not getting the results you want from your CMS | ## Choose an open source cms
1. Research your options. A quick Internet search will tell you that WordPress, Joomla!, Drupal, Plone and Blogger are probably the most common; however, there are dozens more. Make sure you are testing a CMS, rather than a vendor, as the names may be easily confused in the beginning. Many online reviews say that WordPress CMS is good for blogs, and Drupal is great for community-oriented sites, with a lot of user interaction. Joomla! works well for the most basic websites and users. Plone is a newer CMS that manages documents and community very well. You should make your own decisions based on what looks best for your site.
2. Decide what experience you want to give your website visitors. Sit down with your marketing or branding department and make a list of the essential parts of a website, so that you can look for them in your CMS. This will help you to choose the frontend designs you prefer. You can also get a private web development company to design your template and plug in an open source CMS. This is considerably more expensive than simply choosing a ready-made design through an Internet-based service. It may allow you extensive customization of your site.
3. Decide what you need from the backend of the CMS. For example, decide if you need search engine optimization (SEO) features, mailing lists, events applications, customization, scalability or a specific programming language.
4. Test drive each programming platform. Assign 2 to 3 people who will be working with the programs most to do a trial run, or "sandbox" version, of the CMS. They should report back with reviews and rate them according to overall preference. Open source CMS can all be installed for free. You may need to hire a web programmer to install them, if no one in your organization is very computer savvy. You still want to test the backend of the system with the non-technical users. You can also go to opensourcecms.com to try over 70 open source CMS programs for free. The site will allow you to do a demo without having to install the whole program.
5. Check if your web hosting service automatically installs any of the open source CMS. If you use shared server hosting, then the tech support you pay for may include installation of 1 of these programs. If so, and you like the program, you can save money that would otherwise go toward hiring a programmer.
6. Read community reviews of the open source CMS or extensions you want to install. Each open source program has a web-based community that helps users ask and answer questions. You can get an idea of how easy it will be to accomplish the things on your marketing list by searching for reviews and instructions.
7. Choose a CMS according to website functionality and employee functionality. Compare each CMS/template with the frontend/backend list you made. Choose the program that fulfills the most preferences on your lists.
## Implement an open source cms
1. Decide how you want to do installation and support. Since open source CMS are available to all, they have community forums that help with support. However, if you aren't very proficient with computer programming, you will have to follow an alternate method. Hire a web vendor to install the program and train your staff. Although you will need to pay for this service, it will decrease the problems you will have with the open source CMS. Ask if the vendor offers tech support help in the future at a fee. Task your IT department with installing and training staff. You may have to send part of your staff to a course to learn all about the program and its requirements. If you already have a fully competent IT staff, you will save money with this option. Install the program yourself and train your staff. If you and your employees are very computer literate, it may not be essential to get outside support. You can look for plugins in the directory and read how to fix problems in the forums.
2. Be prepared for an adoption period. After changing any database, you should be prepared for a slow period where your employees learn to use the program, and at times, there are complaints. Try to wait for a period of 30 to 90 days before deciding if the CMS will work, because most website changes take time to adjust to.
3. Look to enhance your open source CMS. Look for extensions and plugins, once your employees are completely functional with the backend. The great thing about CMS is that talented volunteer programmers are improving it all the time. Subscribe to blogs, newsletters or forums about your CMS blog. This will keep you aware of new updates or plugins. It will also direct you to websites that use the CMS so that you can see what others are doing with it.
| 4 |
Answer: Arduino is a good tool for people who want to learn about embedded systems and hardware. It is easy to use, the IDE is easy to learn and the hardware is easy to use.
The problem is that many people that use Arduino are not familiar with programming in C. Arduino is not a good tool for programmers that want to learn about embedded systems.
Arduino is a good tool for people who want to learn about embedded systems and hardware. | If you have previous programming experience and you are aware of concepts as OOP, it is better to go for C/C++. The arduino language is really great for beginners, but have some limitations (e.g. you must have all your files in the same folder). And it is basically a simplification of C/C++ (you can practically copy&paste arduino code to a C/C++ file, and it will work). Also it makes sense that you can go and use a full well known IDE such as Eclipse.
Initially it is required a bit more of setup and configuration of your dev environment, but IMHO it is worth it for programmers with experience in any other language.
In any case, it won't harm you to start using the arduino language and the arduino IDE for a few days to get familiar with the arduino hardware and then move to C/C++ with Eclipse for really developing your project. | 5 |
But he didn't give up!
He decided to use his other foot.
Now he was on a roll,
and his balance was solid.
He'd landed on his feet,
without skipping a beat,
and strut away without a care!
He'd finally found his balance,
and he'd never felt so great.
He'd used his other foot
and now he was on a roll.
With a hop and | There once was an agile young cat
who thought his balance was all that.
He was cocky and sly, yet still sweet as pie,
but balance was something he lacked.
With a hop and a leap,
not making a peep,
Milo was quickly midair.
He'd land on his feet
not skipping a beat,
and strut away without a care.
But a misstep would cost him,
a distaster had blossomed!
One last attempt at a scamper.
Still it was too late,
he'd accepted his fate.
Milo was now in the hamper. | 4 |
I’ve never had an issue with the buns in a pot pie, but I’m also a pretty big fan of the dish. I’d guess the buns are the best part. I’ve had the dish with puff pastry buns, and it was pretty good, but the buns are better.
My guess is that the buns are probably the best part, but it’s hard to say because I’ve never had it. | There are two differences between your buns and a tin can.
First, your buns were heated to a core temperature of under 100°C. Yes, your oven was probably set way higher, but the water content in your filling prevents it from getting hotter than boiling water. Commercial canning is done in the vicinity of 120-130°C, which is possible because the cans are cooked under pressure. So unlike in a can, most pathogens were destroyed, but not necessarily all of them. For human consumption, that’s perfectly fine as long as the remaining ones don’t get the time-temperature combo to regrow.
Second, a bread dough may be dense (although the aim is usually something different), but by no means airtight. Interestingly, wrapping meat in dense dough was used as preservation method in medieval times - the “ancestor” of today’s pork pies and pastries. But while the hard flour crust (not intended to be eaten originally) did form a protective layer and usually extended the shelf life more or less, it was by no means food safe judged by modern standards - although some pies were stored for months. But your fluffy buns are truly not a protective layer. Which means you should refrigerate your buns, but also that you get to enjoy the whole dish. | 5 |
There is also a Joseph in the Book of Mormon (cf. 1 Nephi 1:2).
### Joseph of Arimathea
* The Joseph in the New Testament who requested Jesus' body for burial, and who is referred to as the "rich man" in Mark 15:43.
* He is the only person named in the New Testament who is not referred to by name in the Old Testament | There are 3 distinct (fairly) well-known Josephs in the Bible, firstly in the Old Testament (mainly):
* Joseph the son of Jacob/Israel (aka The Patriarch Joseph). This Joseph is actually referred to in a few select places in the New Testament: John 4:5; Acts 7:9-18; Hebrews 11:21-22 & Revelation 7:8.
However, it's more likely that a Joseph in the New Testament would be one of:
* Joseph husband of Mary and surrogate father of Jesus (aka St. Joseph).
* Joseph of Arimathea in whose tomb Jesus was laid to rest.
There's also another 9 or 10 more obscure Josephs referred to in the Bible*, 4 more in the Old Testament*:
* Father of Igal of the tribe of Issachar (cf. Numbers 13:7).
* One of the "sons of Asaph" (cf. 1 Chronicles 25:2 & 9).
* A descendant of Binnui, a contemporary of Ezra (cf. Ezra 10:38-42).
* Head of the priestly family of Shekaniah, a contemporary of Nehemiah (cf. Nehemiah 12:14).
And 5 or 6 more in the New Testament:
* One of the (half-)brothers of Jesus (often translated as "Joses" - cf. Mark 6:3).
* The son of "Mary" and brother of James (possibly/probably The Mary, if so, identical to Joseph number 8. - cf. Mark 15:40 & 47).
* The son of Mattathais (and father of Jannai) appearing in Luke's genealogy of Jesus (in which Joseph number 2. also appears - cf. Luke 3:24-25).
* The son of Jonam (and father of Judah) also appearing in Luke's genealogy of Jesus (cf. Luke 3:30).
* One of the nominees to replace Judas as an apostle, aka Barsabbas aka Justus (cf. Acts 1:23).
* A Levite from Cyprus aka Barnabas who probably deserves to be listed amongst the "well-known" Josephs except that he is almost always referred to as Barnabas instead (cf. Acts 4:36).
*That is in the Protestant Canon, there are another 3 in the Deuterocanonical books: Son of Oziel (great-grandfather of Judith - cf. Judith 8:1); Son of Zechariah (cf. 1 Maccabees 5); Brother of Judas Maccabeus (aka John - cf. 2 Maccabees 8:22). | 5 |
Comment: I've always assumed that the "Q" was an artifact of the romanization of Arabic. I've never seen it written that way in Arabic.
Comment: @ToddWilcox: It is an artifact of the romanization of Arabic. But it is also an artifact of the spelling of the names of the countries in the Arabic peninsula. The Arabic word for "Qatar" is *ق | In Arabic, in fact, they've always been separate sounds! The sound we write "K" is spelled with the letter ك in Arabic, and is pronounced a little bit further forward in the mouth; the sound we write "Q" is spelled with the letter ق and pronounced a little bit farther back. In phonetic terms, "K" is a velar sound, and "Q" is a uvular sound.
English doesn't distinguish between these two different sounds. But since we've got a spare letter lying around—the English letter "Q" is actually related to the Arabic letter ق, if you go back far enough!—it's become conventional to separate them in writing. "Kuwait" is spelled with a ك, so it gets a "K"; "Qatar" is spelled with a ق, so it gets a "Q". The "Qur'an", similarly, has a ق in it.
Nowadays, by the way, the letter "Q" has started to be associated with Arabic in particular, since it shows up significantly more there than in English. So in pop culture, you'll sometimes see names like "Hakeem" respelled to "Haqim"—even though the original Arabic has a ك in it! Linguistically, this is called hypercorrection, and it's the same reason you'll see words like "forté" with an é: English-speakers associate the acute accent with Romance loans (café, fiancé, résumé), but it has no special meaning in English, so it sometimes gets inserted where it doesn't actually belong (the original Italian word is simply forte). | 4 |
If you're doing a lot of heavy-duty work with a lot of torque, an impact driver is the way to go.
### How to use a drill
A drill is a powered hand tool that is used to make round holes in a variety of materials.
Drills are used for drilling holes in wood, metal, plastic and other materials. The drill is used by holding the drill in one hand and the | Drills and impact drivers are similar in that they're both rotating power tools and they have some overlap in usage, but they work differently and have different strengths.
Drills apply a constant torque and tend to have good control across a range of speeds and clutch settings. They're good for work that requires care or precision, like drilling a hole or driving a a smaller screw.
Impact drivers provide much higher torque but in rapid bursts–very much like a hammer provides bursts of linear force.
This makes them good for heavy-duty jobs like driving long lag bolts (you can even take the lug nuts off your car wheels with most impact drivers), but the banging action makes them a little bit difficult to control. They're also not good for driving into something very soft–between the hammer strikes there's no torque applied and the bit can actually rotate backwards. You can see this by holding the chuck with your hands while the driver is on; you'll feel the pulsing of the strikes but chuck won't actually rotate. Finally, some impact drivers don't have a clutch, which means you need to be very careful if you're driving something that could be over-tightened or broken by the high torque.
Besides the higher torque, impact drivers have another huge advantage in that you don't have to hold them tightly to provide the torque. The momentum of the rotating striker inside is what provides the rotation force, so even when you're driving something very tough it's quite easy to hold the tool. Drills on the other hand provide a constant torque and require the user to provide the reaction and prevent the tool from spinning.
If you have to pick a single all-purpose tool for general DIY use, a drill is much easier to control and is useful in a wider range of situations. | 4 |
7. Wear a long coat with a pencil skirt and heels for a chic casual look. Pair a long coat with a pencil skirt and heels for a chic casual look. If you’re looking to be a bit dressier, wear a fitted white shirt underneath, and add a pair of classic large black sunglasses. If you’re looking for a more casual look, wear a graphic T | A long coat is a nice item to have in any closet, especially for people living in colder climates. There is a variety of styles of long coats as well as ways you can wear them. Make your long coat work for you by finding a style that fits you, dressing it down for casual daily wear, or adding it on top of a dressy outfit for a formal occasion.
## Choose the right coat
1. Try a fit-and-flare coat for the illusion of a thinner waist. For a long coat that hides a thick waist, try a fit-and-flare style. These coats fit tighter around the waist and then flare out at the hips. The tops are often double-breasted, and there are strategically placed seams on them to create a thinner look. Solid black and vertical stripes also make people look thinner. Experiment with these colors if you’re concerned about making your waist look thinner.
2. Balance out wide hips with a voluminous collar on your coat. If you’d like to create the illusion of smaller hips, choose a coat that has a large collar such as a shawl collar or large faux-fur collar. The volume of the collar will draw attention away from the bottom half of your coat.
3. Add curves to a narrow frame with a belted coat. Belts add dimension to long, straight coats. Look for a long coat with a thick wrap-around belt if you’d like to make your thin frame look curvier. Subtle pleats around the waist also help to add curves. Colors and patterns that add dimension for a thin person include light colors and plaid.
4. Hide a rounder belly with a full-length men’s coat. Most younger men today wear knee-length long coats, but that length looks best on trim men who can wear a more form-fitting coat. Full-length coats go past the knee to the mid-calf, and are nice for disguising a heavier figure. Full-length coats are also considerably warmer, so they are ideal for cold climates.
5. Go with a double-breasted knee-length coat if you’re petite. Long coats can easily swallow up a short person. A way to solve this is to keep the coat around knee-length or just past your knees. Double-breasted coats with a large envelope collar keep a proportioned look to a longer coat worn on a petite person. If you are of an average or taller height, you can easily pull off full-length coats that go past the knee to your mid-calf or below.
6. Do the hug test to make sure the coat isn’t too small. It’s easy to buy a long coat that’s too small because the length of the coat may make you think it fits you. To check, try the coat on and wrap your arms around yourself, trying to touch the opposite shoulder with each hand. If the coat feels really tight in the shoulders or elbows, you should go with the next size up. You can also check the sleeve length by holding your arms straight out in front of you. If the sleeves go up 2–3 in (5.1–7.6 cm) past your wrists, you probably need the next size up. The sleeve end should fall within 1 in (2.5 cm) of you wrist when your arms are up, and go almost to your knuckles when they are down.
7. Check that the shoulder seams line up with your shoulders. On a properly fitting coat, the shoulder seams should line up with your shoulders. If they go down near your biceps, the coat is either too big or it is supposed to have an oversized shape to it. Either try on the next size down, or confirm that oversized is the style that you’re going for. Consider getting a coat tailored for you if cannot find a coat that fits correctly across your chest and shoulders as well as the length of your arms.
8. Choose a wool coat for the longest winter wear. Long coats come in a variety of fabrics, but if you’re planning to wear your coat for a long time during the winter, invest in 100% wool or a wool-cashmere blend. Coats made with all cashmere tend to show wear much faster. If you intend to wear your jacket in fall, spring, or summer weather, you have more options for fabric, including cotton and twill.
## Wear a long coat casually
1. Wear a black coat with ripped jeans and sneakers for a go-anywhere look. Long black coats are versatile because they can be casual or formal. Pair yours with ripped blue or black skinny jeans, a fitted graphic T-shirt, and your favorite sneakers. Plain white sneakers are a popular classic with this look, but you can experiment with vintage, black and white, or skate style sneakers to individualize the style.
2. Pair baggy trousers with an oversized maxi coat and sunglasses for comfort. If you’re looking to stay both comfortable and warm this winter, wear baggy black trousers rolled at the ankles with a cozy V-neck shirt under any color oversized maxi coat. Grey is a popular coat color for this look, but you can try navy or even a patterned coat. Sunglasses pull off the chic casual style of this look. Go with plain black glasses of any shape that you like. Try this look with either white sneakers or laced ankle boots.
3. Wear a floor length coat with flared denim as an elegant-casual crossover. Floor-length coats take the classic long coat a few steps further; you can pull off a very cute, elegant casual look by pairing one with flared denim jeans. Wear this with an oversized knit sweater and dressy boots to complete the look. Add large sunglasses and a scarf to this look for extra flare.
4. Try a long camel coat with a scarf for an intellectual touch. Long camel coats have an automatically sophisticated feel to them and are popular in the fall. Pair yours with black skinny jeans and a wide oversized scarf to look ready to hit the books. Complete this look with crisp white low-cut sneakers, a sweater, and pair of glasses.
5. Add a beanie to any long coat for a fun casual look. Take the seriousness out of a long coat by adding a slouchy beanie on your head. Wear jeans or sweatpants, a long-sleeved T-shirt, and a pair of ankle boots or sneakers to finish off this casual style.
6. Make an extra-long coat punk with colorful lace-up ankle boots. To achieve an 80s punk-inspired look, wear black skinny jeans and a button-down shirt with combat style boots under a mid-calf coat. To really finish off this look, add a few 1 inch (2.5 cm) band pins, or badges, to the lapels of your coat. Wear a pair of black sunglasses with this look to give it an extra rock-star vibe.
7. Pair a pale maxi coat with cropped denim and a white T-shirt in the spring. Long coats aren’t just for fall and winter; you can pair lighter long jackets with a variety of spring looks as well. Try a pale blue, pink, or white long coat with light blue cropped jeans or shorts. Add a colorful fitted T-shirt and sandals to complete the look. Instead of denim, wear a short spring sundress and casual sandals under your light long coat for cute but informal effect.
## Dress up with a long coat
1. Wear a long coat over black cigarette pants and heels for a sophisticated look. A long coat that’s camel, grey, navy, red, or patterned looks great over top of black cigarette pants and heels. Wear a black blouse with this outfit, and try to match your heels with the coat for the best effect. For example, a camel coat with this outfit looks elegant with a pair of shiny nude heels.
2. Try a long faux-fur coat with strappy heels for an elegant edge. No need to spend lots of money on real fur – there are many nice faux fur options out there for coats. Choose a black or white faux-fur coat and pair it with strappy heels, a short or mid-length skirt, or capris pants for an elegant look. Either chunky or stiletto heels work for this look; just make sure they are high and strappy.
3. Pair leather leggings and heels with an extra-long black coat for serious glam. Find yourself a pair of black faux leather leggings and combine them with black heels of your choice for a glamourous look. Wear a simple white blouse underneath to finish off this look. Add a pair of classic large black sunglasses to this look for some extra glam.
4. Wear a long unbuttoned coat over a cocktail dress for a night out. Go with a plain button-down black coat over a dark colored dress in the winter, or pair a lightweight camel trench coat over a light-colored or floral dress in the summer. Add heels to match your dress and jewelry to be ready for any formal occasion.
5. Wear a Paletot or Guards’ coat for versatility. The Paletot and Guards’ coat styles are classic business coats for men that can be worn for any formal occasion. They are double-breasted with 2 rows of 6 buttons and peaked lapels. Navy blue or charcoal colors of this coat can be worn to a business meeting, over a tuxedo, or to a funeral.
6. Pair a fitted long coat with dress trousers and loafers for any formal occasion. Dress trousers and shiny loafers, paired with a tucked button-down shirt, look sharp under any fitted long coat. Match your trousers to the coat and choose a dark colored shirt in the winter, or a lighter colored shirt in the summer. Add a tie that compliments your shirt to make this look extra formal.
| 5 |
Comment: Your answer is very informative. Can you please explain how come 'going to' is pronounced 'gonna'? I've never seen anyone spell it as 'gonna'. I'm not sure if it's a common thing. I'm not sure if you're aware of it but 'going to' is a future form of the verb. So I'm not sure if it's a verb or a sentence.
Comment: | Ima is an informal contraction of I'm going to when it's used in going-to future construction - not in sentences like I'm going to London etc. It's also written i'ma or imma in informal conversations.
How did I'm going to come to be pronounced/spelt that way?
In casual speech, we tend to drop consonants that require more effort to articulate, assimilate nearby consonants, drop weak vowels etc., for the ease of articulation. Grammatical words that don't have any meaning on their own (function words?) like have to, going to (not present continuous), has, is, was, will etc., are highly susceptible to these sound changes. For instance, have to is often pronounced hafta, trying to is pronounced tryna, want to is wanna etc etc. The same thing happened to the phrase I'm going to.
There are a few processes involved in the reduction of I'm going to to ima.
* I'm going to → I'm gonna: the consonant t is often dropped in many other clusters and grammatical constructions as well (as in tryna, wanna etc). Here it's dropped and the vowel of to—which is usually a schwa [ə]—is linked with the preceding word; going to → gonna: [ˈɡəʊɪ̃ŋtə] → [ˈgə̃nə]
* Deletion of the /g/: plosives (/g t d k/ etc) require great effort to articulate (the air is completely blocked and then released), so people dropped the plosive /g/ to make its articulation easier: [aɪ̃m gə̃nə] → [aɪ̃m ə̃nə] (i'm ana)
* linking I'm and gonna: In causal and connected speech, consonants and vowels are often linked by a process called liaison, so both I'm and gonna join together and become [aɪ̃mə̃nə] (i'mana).
* Syncope of the vowel in the second syllable: Unstressed schwas are often lost through syncope (for example, 'chocolate' is choc.late for most speakers). If we removed the schwa from the second syllable, we'd get [aɪmnə] (i'mna).
* Deletion of /n/: It's simple cluster reduction. In English, two nasals that are next to each other are often reduced to a single nasal (as in damn), so the /n/ is deleted, yielding in this case [aɪ̃mə] (i'ma). Or people dropped the /n/ for the sake of ease.
Some people further reduce the diphthong [aɪ] it to something like [a], which results in [ãmə] (ama)
That's why people spell it that way. It's highly informal and as TypeIA pointed out in a comment, it's mostly a verbal thing and is not usually found in written form. It's commonly found in chatspeak or lolspeak. You shouldn't write it in any kind of writing. | 4 |
[License]
This project is licensed under the MIT License - see the LICENSE file for details
[Contributing]
Please refer to the CONTRIBUTING.md file for details on how to contribute to the project.
[Contact]
Feel free to reach out to the [contact person](https://github.com/contacts/contact) with any questions or suggestions.
[Acknowled | Sure, here is a software design document for your product – Chateval.
[Overview]
A major challenge facing current "generative AI'' systems is the difficulty of determining their performance in a systematic manner, particularly for high-quality models. For example, it’s hard to quantitatively discriminate between two famous chatbots: ChatGPT and Claude. Therefore, we really need an evaluation tool that can help us automate the characterization of generative AI systems.
Chateval has two main functions that can assist with the development and evaluation of generative AI systems.
* Support comprehensive evaluation suits: Chateval provides more than 50 different evaluation scenarios, ranging from copywriting, coding, math and safety detection. Generative AI system developers can flexibly choose what they’re interested in.
* Support rich evaluation metrics: Chateval provides a wealth of metrics that can be used to evaluate generated texts from different criteria, such as helpfulness, relevance, factuality etc.
[Goals]
Develop an evaluation tool for generative AI so that both developers and general users can benefit from it.
[Use Cases]
There are several potential use scenarios for Chateval:
# Reveal Limitations of Generative AI systems
Chateval can be particularly valuable to developers who are working on an AI system but are uncertain of its weaknesses. With the aid of Chateval, these developers can swiftly pinpoint the system's flaws and suggest the appropriate corrective measures.
# Provide Reliability Score for Users
Chateval can be utilized by users who are uncertain about the reliability (e.g. factuality) of the output generated by a generative AI product. It can offer confidence scores for various functionalities to assess the credibility of the results.
[API Design]
This is a basic design of the API for evaluation:
# Evaluate in terms of write_email scenario
```
from chateval import load
scenario = load("../scenarios/write_email")
predictions = [
"My name is [name], and I am currently a student in your [class name].",
]
print(scenario.evaluate(predictions))
```
# Evaluate Single System with Chateval Metric
```
from chateval.metrics import get_metric
dataset = [{"input": "write a movie review of Titanic"}]
predictions = [
'James Cameron\'s 1997 epic romantic disaster film "Titanic" tells the '
]
metric = get_metric("generic_likert/helpfulness")
results = metric.compute(dataset, predictions)
print(results)
```
[Milestones]
* 1 month: Implement crowdsourable framework for Chateval
* 1 week: Collect benchmark datasets for evaluation scenarios
* 2 weeks: Implement model-based and model-free evaluation metrics
* 2 - 3 weeks: Use Chateval to evaluate existing popular chatbots
[Open Questions]
* How to design a user-friendly interface?
* How to support more diverse chatbots
[People]
* [Name 1]
* [Name 2]
* [Name 3] | 4 |
11. Wear the mask!
## Make a paper mosaic picture
1. Get some sheets of paper in different colors. Construction paper is the most popular, but you can also use scrapbook paper, paint chips, magazine pages, or even cereal boxes! What colors you need depends on your design. You don't have to use all of the colors of the rainbow. You could just use different shades of the same color | Mosaics were traditionally made with bits of tile or glass, but it is possible to make simple ones using paper. They are a great project for school children to do while learning about different cultures throughout history. They are also a great project to do on a rainy day or over summer vacation. You can make paper mosaic masterpieces to frame and hang. You can also make paper mosaic masks to wear!
## Make a simple paper mosaic
1. Get some sheets of paper in different colors. Construction paper is the most popular, but you can also use scrapbook paper, paint chips, magazine pages, or even cereal boxes! What colors you need depends on your design. You don't have to use all of the colors of the rainbow. You could just use different shades of the same color, such as: light blue, medium blue, and dark blue.
2. Cut the paper into small pieces to make your tiles. The pieces should be small, about the size of your thumbnail. You can make squares, rectangles, triangles, or even thin strips. The pieces don't have to be the same size. In fact, try to cut some smaller ones too. This way, you can fit them into tight corners. Sort your shapes by color and put them into small piles or cups. This will make it easier to find the color you need.
3. Start gluing the pieces of paper to the outline of a shape. Lightly draw a simple shape on a sheet of paper, which will be the outline for your mosaic. When you start gluing the pieces on it, leave a small gap between each one. You can apply the glue directly to the sheet of paper, or you can apply it to the back of your tile instead. If you are using irregular shapes, including triangles, make sure that the straightest edge is on the outside of the outline—otherwise, your shape will look jagged. If you are using white school glue, apply it with a paintbrush. This will keep things less messy. If you are applying the glue directly to the paper, work only in small sections at a time, or the glue will dry too fast.
4. Glue the rest of your tiles to the inside of your shape. If your shape has designs on the inside, like spots on a butterfly wing, outline those designs first with more tiles before filling them in. Don't be afraid to cut some pieces down to help them fit! For a more professional touch, continue aligning the pieces along the outline, going smaller and smaller with each row until you reach the center.
5. Consider filling in the background, if desired, using a contrasting color. This will make your work stand out. If you used different colors for your shape (this includes different shades of the same color), consider using just one color for the background. This will make your shape the focus. You can also leave the background blank.
6. Set the mosaic out to dry. If you'd like to make your mosaic last longer, coat it with an acrylic sealer or a brush-on decoupage glue, such as Mod Podge. Let it dry before moving on.
7. Finished.
## Make a paper mosaic mask
1. Draw a large oval or rectangle on a sheet of black paper. The shape needs to be just a little bit larger than your head. Don't cut anything out yet. Use poster paper, construction paper, or cardstock for this.
2. Draw some shapes for the eyes, nose, and mouth. You will be cutting the eyes out, so figure out where your eyes will be when you put the mask on, and place them accordingly. Keep the nose and moth simple; you will be filling them in with tiles. A triangle for the nose and a rectangle or sausage shape for the mouth would be perfect!
3. Cut some colored paper into small tiles. You can use construction paper, scrapbook paper, or paint chips for this. The shapes can be squares, rectangles, triangles, or even a combination of all three. They can be different sizes, but try to make them no larger than your thumbnail. You will need at least two different colors for this: one color for the mask and a contrasting color for the nose and mouth. For a different look, paint your own paper, let it dry, then cut it out. Sort your shapes by color. This will make it easier to find the color you need.
4. Start gluing your paper tiles to the edge of your mask. Leave a small gap between each tile, and make sure that it doesn't go past the edges of the paper shape. You can use a glue stick or white school glue. If you are using white school glue, apply it using a paint brush. This will make things less messy.
5. Glue some more tiles to the inside edges of the nose and mouth. This way, your nose and mouth won't be too big. Remember to leave a slight gap between each tile. For a cleaner finish, align any straight edges with the outline, and keep pointy edges on the inside of the shape. Use your contrasting color(s) for this. It will help them stand out better.
6. Outline the outside of the eyes with more tiles, if desired. Don't fill the eyes in. You will be cutting them out later. You can use the same color you will use for the inside of the mask, or you can use a contrasting color.
7. Start filling in your mask with tiles. You can glue them down randomly, or you can follow the curves of the outlines as you work your way towards the center. Remember to leave slight gaps between each tile. Use your contrasting color for the nose and mouth.
8. Let your mask dry. If you'd like to make your mask last longer, you can seal it with a clear, acrylic sealer or a brush-on decoupage glue, such as Mod Podge. Remember to let the mask dry after sealing it.
9. Cut the mask and the eyes out. If you are a child, ask an adult to help you cut the eyes out. You can cut the mask itself out using a pair of scissors, but you will need a shape craft knife (such as an Xacto knife) to cut the eyes out.
10. Punch some holes to either side of the mask, and thread some ribbon or elastic through them. The holes should be at about ear level, or just where the eyes are on your mask. This will make the mask more comfortable to wear.
| 4 |
The ```logging.captureWarnings(True)``` method is just a convenient wrapper around the ```warnings.filterwarnings()``` method.
```python
# logging.captureWarnings(True)
# warnings.filterwarnings('always')
```
Note that this only works with warnings from the ```warnings``` module; if you want to capture all warnings from everywhere, you need to do something more complicated.
The | Here are the differences:
* ```logging.warning``` just logs something at the ```WARNING``` level, in the same way that ```logging.info``` logs at the ```INFO``` level and ```logging.error``` logs at the ```ERROR``` level. It has no special behaviour.
* ```warnings.warn``` emits a ```Warning```, which may be printed to ```stderr```, ignored completely, or thrown like a normal ```Exception``` (potentially crashing your application) depending upon the precise ```Warning``` subclass emitted and how you've configured your Warnings Filter. By default, warnings will be printed to ```stderr``` or ignored.
* Warnings emitted by ```warnings.warn``` are often useful to know about, but easy to miss (especially if you're running a Python program in a background process and not capturing ```stderr```). For that reason, it can be helpful to have them logged.
To use them, Python provides a built-in integration between the ```logging``` module and the ```warnings``` module to let you do this; just call ```logging.captureWarnings(True)``` at the start of your script and all warnings emitted by the ```warnings``` module will automatically be logged at level ```WARNING```. | 4 |
There are two ways to solve the problem:
\begin{itemize}
\item Run a longer cable.
\item Use an ethernet switch.
\end{itemize}
\section{Run a longer cable}
There is no reason to try to run a shorter cable, and it will likely cause you a lot of headaches. The shortest cable you can run per the Ethernet spec is 300 ft. | For all practical purposes, there will be no effect on the speed of your connection.
There will be a very insignificant amount of delay due to long cables. This won't affect the maximum speed of your connection, but it would cause some latency. pjc50 points out that it's about a nanosecond for every foot of cable length, which is a good rule of thumb used by many engineers when developing systems which are very dependent on latencies on those timescales.
In reality, you will never notice a difference. A "fast" ping time on the Internet is 10 ms, which is 10,000,000 ns. Adding even a few hundred feet of cable isn't going to have a noticeable effect at that point. In fact, nearly every step of the way involves delays which are more extreme than those seen from signal propagation. For example, most consumer grade routers will wait for the last byte of an incoming packet to be received and check it for errors before sending the first byte of the packet on its way. This delay will be on the order of 5,000 ns! Given that the maximum length of cable you can run (per the Ethernet spec) is 300 ft, the cable length could never cause more than 300 ns of delay due to the cable! | 5 |
#include <iostream>
#include <string>
#include <vector>
using namespace std;
int main() {
int n;
cin >> n;
vector<string> v;
for (int i = 0; i < n; i++) {
string s;
cin >> s;
v.push_back(s);
}
for (int i = | Dear [Your Name],
I’m really bored. And work is slow today, at least. So I’m writing a letter.
Sorry if you don’t want it.
It’s 2019 here. I think my life is okay.
I’m still single and broke.
Eh. Mr. Paw is still here.
Okay, I probably shouldn’t have written this.
Future me should be better than present me. You should finally move out of this crappy town with this decent job to a good town with a great job. Maybe get back to college? Get out of bed early, not at 10:00 am. I don’t know. Get a girlfriend. Just get out of the house. Not like me. I’m overworking till 4:00 am.
Also, don’t drink margaritas.
No, I’m not telling you why. No.
[Your Name] | 4 |
* New Layer Based on All Visible Layers
11) Make sure the Layers dialog box is open. If it is not, click on the Windows menu and select "Dockable Dialogs" > "Layers." You can also hold down the "Ctrl" key and press "L."
12) Click on the Layers menu and select "New from Visible."
13) Choose the option that | It's not possible. The only thing you can do is link layers together or merge them.
Instead, there are several alternative methods of handling multiple layers, each appropriate to a different task. You can chain layers to move or transform them, shift-click objects on different layers in the canvas to align them, or create a new layer based on all visible layers.
Instructions:
* Chaining Layers:
1) Make sure the Layers dialog box is open. If it is not, click on the Windows menu and select "Dockable Dialogs" > "Layers." You can also hold down the "Ctrl" key and press "L."
2) Hover your mouse between the Layer Visibility icon, which looks like an eye, and the layer thumbnail. A raised box will appear. Click this box to activate the chain.
3) Repeat this process on all of the other layers you wish to chain together. Once these layers are chained, you can move or apply transformation effects to all of them simultaneously.
* Selecting for Alignment
4) Make sure the Toolbox is open. If it is not, click on the Windows menu and select "Toolbox." You can also hold down the "Ctrl" key and press "B."
5) Click on the Alignment Tool in the Toolbox. It looks like an empty rectangle with arrows pointing away from all sides of it.
6) Press and hold the "Shift" key while clicking on the layers in the canvas. Or click somewhere off the layers and drag a selection rectangle around them. Once you have selected these layers, you can choose an alignment method.
* Merging Visible Layers
7) Make sure the Layers dialog box is open. If it is not, click on the Windows menu and select "Dockable Dialogs" > "Layers." You can also hold down the "Ctrl" key and press "L."
8) Click on the Visibility icon on any layer you do not want to include in your new layer. This will render that layer invisible.
9) Click on the Layers menu and select "New from Visible."
10) Select the option that best describes how you want the layers to be merged from the dialog box that appears, and click "Merge." This will merge all of the visible layers into a new layer but will not affect your original layers. | 5 |
And so he died, leaving the world to the Pokemon.
#
"I can't believe I'm sitting here in this room, waiting to be executed."
The voice of the young man sitting next to me in the cell broke the silence. I glanced at him. He was young, not even twenty, I'd guess. He was also a bit on the scrawny side, and his long, messy hair and tattered clothes made him | Here is a rewritten scene of World War II:
Hitler sat in the room, staring at the Pokeball on the table. He stared for what felt like years. His solution had failed. All this work, all this time was for nothing. His soldiers, each armed with a specially trained Pokemon, had not been able to destroy the United Kingdom no matter how many flying or water types they sent over the English Channel. Germany's superior monsters had been crushed by the sheer number of the Russian Pokemon that fought back in Stalingrad, and their ice types that could survive the cold winter. However, Hitler was angered most by the fact that the Weezings that had been working in the death camps had not accomplished what he felt to be the most important goal.
Eva entered the room, ball in hand, and approached her husband.
"Is it time?"
He slowly nodded, a single tear leaving his eye. Eva solemnly opened her Pokeball, sending out the Grimer that had been her lifelong companion. As they left the room, never to return, Hitler sent out the only friend dearer to him than Himmler. His Pokemon looked at him, knowing what he had to do. He embraced his best friend for one last time as he said his final words.
"Electrode, use Self-Destruct." | 5 |
Moreover, in addition to the known mechanisms of cell migration (see e.g., Molecular Biology of the Cell, 4th ed., Migration and Invasion), glial cells are also known to regulate neuronal migration, which is an interesting example of neuronal-glial communication (Klämbt, 2009).
So, in short, the answer is yes, brain cells migrate.
1. Scott, | The question is relatively broad and one should take into account that the brain not only consists of neurons, but also glial cells (supportive cells) and pre-mitotic neuronal stem cells. Furthermore, as critical fellow-scientists have indicated, developmental stage is very important, as the developing embryonic brain is very different from the adult brain.
However, after sifting through various publications, the answer to the question is actually remarkably simple: Yes, brain cells migrate.
In the adult brain glial cells migrate in the brain (Klämbt, 2009). Glial cells are involved in a myriad of functions, but a notable example of migrating glial cells are the oligodendrocytes that migrate relative long distances to find their target axons onto which they wrap themselves to form the insulating myelin sheath (Tsai and Miller, 2002).
Neuronal stem cells migrate over long distances in response to injury (Imitola et al., 2004) and they migrate from specific stem-cell locations (e.g., hippocampus and subventricular zone) to other regions (Clarke, 2003).
Post-mitotic, but non-differentiated neurons have been shown to migrate in the adult brain in fish (Scott et al., 2012), and in mammals and non-human primates as well (Sawada et al., 2011).
Not surprisingly, glial cells, stem cells and neurons also migrate during embryonic development. Most notably, post-mitotic neurons destined to fulfill peripheral functions have to migrate over relatively long distances from the neural crest to their target locations (Neuroscience, 2nd ed, Neuronal Migration). | 5 |
The following is a short excerpt of the book.
Chapter 1: The Presidential Election
The United States presidential election was a lot of fun. The first thing I did was make a list of all the possible candidates for the election. I got the list from a newspaper.
I had a good time writing the list. I put in every name I could think of, even though I had no idea who some of these people were. I just liked the | I lean back in the comfortable chair and exhale the smoke of the cigarette. Grey clouds of smoke wander around in the room and for a moment I close my eyes. What a night: finally managed to finish the new book.
It was good to write something silly once in a while. Usually I pick a topic and research, write a book on it only to discover that things get even worse. Not this time!
A parody, Satire, something funny.
Even writing the damn thing was fun as hell, just take the strangest and most hilarious idea you have and make it the premise of the book.
And here it was my take on the United States presidential election ... | 4 |
This can be seen in the [jQuery 3.0 breaking changes documentation](https://github.com/jquery/jquery/blob/master/CHANGES.md#new-behavior-for-removeattr-and-prop-on-boolean-attributes).
"Before jQuery 3.0, the ```prop()``` and ```removeAttr()``` methods
would have the same behavior. Now, ```removeAttr()``` will remove the | Always use the ```prop()``` method to enable or disable elements when using jQuery (see below for why).
In your case, it would be:
```$("#edit").click(function(event){
event.preventDefault();
$('.inputDisabled').prop("disabled", false); // Element(s) are now enabled.
});
```
jsFiddle example here.
Why use ```prop()``` when you could use ```attr()```/```removeAttr()``` to do this?
Basically, ```prop()``` should be used when getting or setting properties (such as ```autoplay```, ```checked```, ```disabled``` and ```required``` amongst others).
While what you want to do can technically be done using ```attr()```/```removeAttr()```, it doesn't mean it should be done - and can cause strange/problematic behaviour, as in this case.
"The difference between attributes and properties can be important in
specific situations. Before jQuery 1.6, the ```.attr()``` method sometimes
took property values into account when retrieving some attributes,
which could cause inconsistent behavior. As of jQuery 1.6, the ```.prop()```
method provides a way to explicitly retrieve property values, while
```.attr()``` retrieves attributes."
"Properties generally affect the dynamic state of a DOM element without
changing the serialized HTML attribute. Examples include the ```value```
property of input elements, the ```disabled``` property of inputs and
buttons, or the ```checked``` property of a checkbox. The ```.prop()``` method
should be used to set ```disabled``` and ```checked``` instead of the ```.attr()```
method. The ```.val()``` method should be used for getting and setting
```value```." - jQuery documentation for prop()
Pre-jQuery 3.0 (before 2016)
The reason why you should use ```prop``` over ```removeAttr()``` is that ```removeAttr()``` completely removes the ```disabled``` attribute itself - as this method would simply set the corresponding property name to ```false```:
Prior to jQuery 3.0, using .removeAttr() on a boolean attribute such
as checked, selected, or readonly would also set the corresponding
named property to false. This behavior was required for ancient
versions of Internet Explorer but is not correct for modern browsers
because the attribute represents the initial value and the property
represents the current (dynamic) value. - jQuery 3.0 Breaking Changes
While ```prop()``` merely sets the property's underlying boolean value to false. | 5 |
### TypeScript
As of now, TypeScript has not been released to the general public. It is in its beta stage. So there is no definite answer to what it will be like. However, I can speculate that it will be a combination of both, as it is being built on top of JavaScript. It will be Untyped, but with the ability to be typed. It will be Weakly Typed, but with | strong/weak can be thought of in relation to how the compiler, if applicable, handles typing.
* Weakly typed means the compiler, if applicable, doesn't enforce correct typing. Without implicit compiler interjection, the instruction will error during run-time.
```"12345" * 1 === 12345 // string * number => number
```
Strongly typed means there is a compiler, and it wants you an explicit cast from string to integer.
```(int) "12345" * 1 === 12345
```
In either case, some compiler's features can implicitly alter the instruction during compile-time to do conversions for you, if it can determine that is the right thing to do.
Thus far, JavaScript can be categorized as Not-Strongly-Typed. That either means it's weakly-typed or un-typed.
dynamic/static can be thought of in relation to how the language instructions manipulate types.
* Dynamically typed means the value's type is enforced, but the variable simply represents any value of any type.
```x = 12345; // number
x = "string"; // string
x = { key: "value" }; // object
y = 123 + x; // error or implicit conversion must take place.
```
Statically typed means the variable type is strongly enforced, and the value type is less-so enforced.
```int x = 12345; // binds x to the type int
x = "string"; // too late, x is an integer - error
string y = 123; // error or implicit conversion must take place.
```
Thus far, JavaScript can be categorized as Not-Statically-Typed. Also, it appears to be Dynamically Typed, if typed at all. So we need to see what Typing means.
Typed means that the language distinguishes between different types such as string, number, boolean, object, array, null, undefined and so on. Also each operation is bound to specific types. So you cannot divide an integer by a string.
``` 2 / "blah" // produces NaN
```
Untyped means the operation of dividing integer by string would result in treating the first four bytes of string as integer. This is because Untyped operations take place directly on bits, there are no types to observe. The outcome will be something quite unexpected:
``` 2 / "blah" // will be treated as 2 / 1500275048
```
Since JavaScript behaves according to the definition of being Typed, it must be. And therefore it must be Dynamically Typed, and Weakly Typed.
If anybody claims JavaScript is Untyped, it is merely for academic theory, not for practical application. | 4 |
That my children and yours, can grow up and be free,
and be judged by their character, not by their race.
I have a dream, that we can be friends,
and our children will play together, with no hate,
and they'll learn from the past, that we're all the same.
We're not black or white, we're just people, my friends.
I have a dream, that all of us people, | I have a dream. My friends, it seems,
That all of us people are on the same team.
My children will grow, society will show,
that we won't pre-judge those we don't know.
The black and the white, aren't like day and night.
And in this great nation, have no need to fight.
Hate can't conquer hate, love is more great,
into the darkest heart, light can penetrate.
So my child and yours, will swing open their doors,
and love their neighbors, make peace and stop wars.
If we want it, we can. A brotherhood of man.
I have a dream, of liberty in this land. | 4 |
### Footnotes
I will often add footnotes to my LaTeX documents. Here's how.
* Write a footnote.
```
\footnote{This is a footnote.}
```
* Add a `\footnote{}` to the footnote.
```
\footnote{This is a footnote.}
```
* Add a `\footnote{}` to the footnote.
```
\footnote{This is | LaTeX is better at:
* Dealing with mathematical notation. Layout and entry are generally easier using LaTeX than some other sort of equation editor.
* Consistent handling of intra-document references and bibliography. As of a couple of years ago the major WYSIWYG editors still had problems with re-numbering cross-references and bibliography items. This is never a problem with BibTeX or LaTeX.
* Separation of content and style. In principle this means that you can write your document without caring how it is formatted, and at the end of the day wrap it in the style-file provided by the journal publisher before submission to conform to the house style. In practice some of the journal publishers demand special formatting commands that partially moots this process. Furthermore recent versions of Word and LibreOffice Writer, when properly used, should be able to keep track of various levels of section heading separate from the body text, and apply uniform styling to each level. The gap is somewhat closing.
* Tables and illustrations. With PSTricks or TikZ, one can produce high quality illustrations within the document (though the learning curve is a bit steep there). And I've found LaTeX to be better at preparing complex tables.
WYSIWYG (especially Word and Writer) is better at:
* Collaborative editing. Without using an online site for collaborative LaTeX editing (such as ShareLaTeX), working collaboratively on a LaTeX file ideally requires some sort of separate revision control software. Word and Writer have very good comments/annotations and edit-tracking features. When a large number of authors are commenting on the writing of one file, this can be very useful.
* Spell check. Admittedly most text editors one uses to edit TeX files also do spell check. But this is generally conveniently built into WYSIWYG editors.
* Compatibility. Unless you work in mathematics, computer science, or physics (and sometimes even if you work in those fields), it is more likely that your collaborators will know what to do with a Word or Writer file than a LaTeX file.
* Minimum barrier to entry. If you just care about getting the ideas down on paper, you can use a WYSIWYG editor just like a typewriter. Sure, it may be tedious to fix the formatting later on, compared to LaTeX where one need to first figure out how to setup a bare-minimum file before using, it may be an attractive point.
A wash:
* Most journals provide templates for both Word and LaTeX, so there's no real winner there.
Suggestion: if you want to convince someone to start using LaTeX, start them out first in one of the WYSIWYG environments designed for LaTeX first (for example LyX). This will help somewhat to ameliorate the scary entry barrier. | 5 |
\strong{Edit:}
Here are some more resources:
[Dictators and the art of travel](http://www.theguardian.com/commentisfree/2013/jul/05/dictators-art-travel-security-regimes)
[Israeli Government: Palestinians have no right to travel](http://www.theguardian.com/world/2015/jul | People are resources, dictators (and oppressive regimes in general) don't want them to defect to other countries because they want them working for their regime. Some of them are going to be people that the regime has put their resources into, like scientists and doctors, but even laborers are valuable for actually gathering and assembling the resources the regime needs. Additionally, the regime especially does not want people with access to sensitive information to defect to their enemies. That isn't just spies and soldiers, there are plenty of "regular" government positions that require access to something the regime would not want falling into enemy hands, like economic data that could be used for propaganda. Obviously this is true of any country, and even in democracies with strong human rights records, people with access to classified information are usually required to submit to strict scrutiny of their international travel. Given that they aren't concerned with human rights, dictatorships can take the easier option of restricting travel to any citizens.
However, defection is really a piece of a bigger issue - oppressive regimes maintain their rule in part by controlling information. Here's an interesting article that talks about how dictatorships keep power. Jerrold Post, director of the political psychology program at George Washington University, is referenced:
Post said that in both Iraq and North Korea, dictators tightly controlled the flow of information. That control was upended in the past two years during the "Arab spring" revolts that swept away despots in Tunisia, Egypt, Libya and some of the Gulf states, revolts that were encouraged in large part by information spread by cell phones and social media.
North Korea is probably the most extreme example of information control (according to Reporters without Borders, they are dead last in Press Freedom in the world), but this can be seen in other oppressive regimes - for example, China attempts to limit access to "wrong" information via its Great Firewall. This is thrown out the window if citizens go somewhere with free media and realize they are being lied to. Traveling can be the cause of their dissension, rather than a symptom.
Known dissidents may also be restricted from traveling so that they can not coordinate with foreign countries or anti-dictatorship organizations, and to prevent them from smuggling contraband or evidence of the regime's misinformation back into the country. Regimes can control the information originating in their country, but once someone is outside their borders the regime cannot control who they speak with. | 5 |
Hinweis. 1. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. | 我的家乡有着美丽的自然风景和悠久的历史文化。 | 5 |
## Be patient
1. Try not to rush things. Some people are more comfortable with showing their feelings than others. If someone you’re interested in has a hard time being open and honest, then you may need to give them some time to feel more comfortable with you.
2. Give them space. Don’t rush to get closer to the person in question. If someone has a hard time opening up to you, then you need to respect their wishes and | Feelings and emotions can be complex and difficult to understand, especially when trying to decipher those of someone you know. Are you simply an acquaintance? Do they consider you a friend? Is it love or just a crush? There are many layers to relationships and it's not always clear where you stand with someone. However, there are several different methods to decode how a person feels about you and perceives your relationship.
## Read body language
1. Notice the amount of eye contact. People’s eyes can be very expressive and tell a lot about how they’re feeling toward those around them. Friends will make eye contact with each other during conversation to show interest and respect. Someone with a crush on you will make repeated eye contact with you whether in a conversation or not. A crush may hold eye contact for a few seconds, and then look away from shyness, and find your gaze again later. Dilated pupils are another indication of a crush. Someone who’s in love with you will feel totally comfortable locking gazes for extended periods of time.
2. Gauge proximity. The amount of space people choose to place between themselves and others can be an indicator of their perceived relationships with those around them. Someone who is your friend will stand or sit closer to you than an acquaintance. A person with a crush on you will stand near you, lean toward you, and look for reasons to get closer to you- whether it’s intentionally walking past you at a close range, or leaning in closer than necessary to talk to you. People who are in love will stand or sit very close together- perhaps their hips touch when standing side by side or their knees touch when sitting across from one another.
3. Monitor movement. Our movements, whether conscious or unconscious, can convey lots of different meanings about how we feel about those around us. Friends will tilt their heads while in conversations with other friends to show that they’re listening. They may touch each other in light, casual ways on the hand or arm. Someone with a crush will look for reasons to touch the other person, often in a playful and flirty way. They may seem fidgety or nervous, and may subconsciously begin to copy the movements of their crush. Someone who is in love with you will seem very comfortable and secure around you. They may touch you using gentle, caressing gestures.
4. Pay attention to posture. The way a person stands (or sits) when they're around you may give you some clues as to how they feel about you. A friend will stand with his or her shoulders and face pointing toward you. If sitting, he or she will uncross his or her legs to show that he or she is open to you. His or her palms may be open toward you as well, another sign of receptivity. When someone has a crush on you, they stand tall and slightly stick their chest out. Additionally, they will point their toes and hips toward you, as a sign of wanting to move toward you (both figuratively and literally).
## Listen for verbal cue
1. Recognize vocal tone. The inflection and quality of a person’s voice will change subconsciously depending on the feelings they have toward you. Listen to how someone talks in general, and compare it with they sound when talking to you individually. A friend’s voice will remain constant, with little to no change in pitch or tone. A crush’s voice will have a playful and flirtatious quality to it. Women use a higher pitch to accentuate their femininity. Men use a lower pitch, but alter the pitch, almost to a “sing-song” tone, to both highlight masculinity, and make a woman feel at ease. People who are in love will alter their voices to match their partners’. Men talk in a higher pitch and women a lower one to show that they are connected as one.
2. Think about how casual your conversations are. A conversation between friends is usually casual and comfortable. Both you and your friend ask and answer questions equally, and may or may not make future plans to hang out.
3. Notice how much they talk about themselves. If someone has a crush, they will talk a lot about themselves, both from nerves and as a way to “humble-brag.” They will also ask about you, and agree enthusiastically with what you say to make it seem like you have things in common.
4. Analyze how intimate your conversations are. If someone is in love with you, they will open up to you in intimate ways. You may find out about their deep insecurities and fears, childhood, family dynamics, important personal values, and vision for the future. They may plan future vacations, or invite you to meet family.
## Analyze your relationship
1. Reflect on your relationship. Take some time in a quiet place simply to think about your feelings toward the person in question, and your interactions with them. Some questions to consider are:
* How long have you known this person? How frequently do you see or talk to them? Is the communication equitable? What is the level of intimacy shared (either physically or conversationally)? How would you characterize your time together? Do you both seem to enjoy being together?
2. Make a list. If you’re trying to determine whether someone is a friend or a crush, make a “Friend/Crush” list. If you’re figuring out whether someone is in love with you, make a “Like/Love” list. Like a Pro/Con list, record any specific behavior that would indicate how they feel about you. Having a visual aid way may give you more insight into how they feel.
3. Ask a trusted friend for help. Sometimes our feelings toward someone can cloud our judgment in assessing their behavior. A friend can offer an honest, objective observation of the relationship, and will be less likely to allow personal feelings to affect their understanding.
## Ask directly
1. Express your feelings first. If you’re asking someone to open up to you, then you need to be upfront with them as well. If you’re looking for honesty, you need to show you’re capable of reciprocating. People are more likely to be direct with you if you’re direct with them. Start with a sentence like, "I want you to know that I feel\_\_\_\_\_\_\_\_\_\_\_\_about you/our relationship. I'm hoping you'll be just as honest and share your feelings about me."
2. Ask in a tactful, non-threatening way. Explain that you’re simply trying to gain some insight and clarity in your relationship, and that you respect their feelings no matter what. It’s important for your partner to know that they can open up to you, without an abrasive reaction. Try saying something like, "I want you to know that I will completely honor and respect your answer, even if it's not the one I want to hear."
3. Be prepared for the consequences. There’s a chance you and your partner may be on two different wavelengths in terms of your relationship. Their answer may sting a little. Take some time to decide how you want to proceed in the relationship, knowing exactly how your partner feels about you.
| 4 |
My prefix has an odd number of letters.
The prefix “ham” has 3 letters.
My suffix has an odd number of letters.
The suffix “mock” has 4 letters.
My infix has an odd number of letters.
The infix “am” has 2 letters.
My prefix comes before my infix.
The prefix “ham” comes before the infix “am”.
My suffix comes after my infix | The answer to the riddle is "hammock".
Here’s a line-by-line explanation:
My prefix is food.
“hammock” starts with “ham”, which is something you eat.
My suffix is rude.
“hammock” ends with “mock”, and mocking is considered rude.
My infix comes in rounds.
If you take the word “hammock”, remove the “h” from its start and remove the “ck” from its end, you get the word “ammo”. And ammo tends to come in rounds.
I keep you off the ground.
a hammock keeps the person using it of the ground. | 4 |
## Advanced skill progression
1. Once you are comfortable balancing on the line, try practicing on a longer slackline. Increase the length by a few feet at a time.
2. Try balancing on the line with both feet, one in front of the other.
3. Try standing on the line with both feet, one behind the other.
4. Try balancing on the line sideways (shoulders parallel to the line).
| ## The basics
1. Start with a short slackline. The shorter the distance between the two anchor points, the more stable the slackline. As the slackline gets longer, a few things happen:
* The tension in the line increases, making dismounts more dangerous due to the extra force;
* The height of the line off the ground increases to allow for greater sag when weighted;
* It requires more force to tighten it, which can be difficult with some tightening systems.
2. Place one foot lengthwise in the middle of the slackline. Starting barefoot is a good idea. Using bare feet will allow you to feel the line better and find your balance more quickly. Step on the line so that it runs from between your big toe and second toe back to the middle of the heel. As you improve, practice turning your feet and standing sideways, with your shoulders parallel to the line. Once you improve (or if the landing is not safe for bare feet), you may want to switch to shoes since they provide greater protection when attempting tricks and landing.
3. You can mount the slackline at any point, but starting in the middle is generally safer, since it is usually away from obstacles you might hit when falling. The line is also lower to the ground in the middle once weighted, reducing the height of the falls. Practice from the same place each time since the slackline oscillates differently at different distances from the anchors. The wobbles are faster and smaller near the anchors and slower and larger near the middle. But wherever you start, it is going to wobble a lot. This is natural; everyone wobbles the first time.
4. Take a couple deep breaths and settle yourself. If you are relaxed, your foot will be less shaky on the line.
5. Focus intently on a single point, such as the anchor. This will help you find and keep your balance. Resist the temptation to look straight down at your feet on the line. Looking down at the wobbling line will simply make you wobble as well. Look ahead instead of down at the line.
6. Put your arms out wide, slightly bent and keep an upright posture.
7. Center your weight directly over the foot on the line. With one smooth, balanced motion stand up on that leg.
8. Balance on one foot, while using your arms and other leg to help maintain your balance.
9. Bend the leg that is on the slackline. Bending your leg lowers your center of gravity slightly, and allows you to more easily find your balance and absorb the movements of the line.
10. Continue to wave your free arms and legs around to help you balance. Sometimes you will twist and turn your body into all sorts of positions to keep your balance. Once you have caught your balance slowly move your body back to center with your arms up and out, knee(s) bent, head up, and eyes focused on a single point.
11. Repeat these steps until you can balance for at least 15 seconds.
12. Practice with the other foot. Once you can keep your balance, attempt taking a step.
13. Once you've successfully taken your first step, keep practicing!
## Sample skill progression for beginners
1. These are small steps you can take to improve your slack lining effectively, by slowly taking on harder and harder tasks. Mount the line on one foot with a friend sitting on the line. Increase the distance between you and the person sitting on the line. Balance on one foot by yourself. Balance on the other foot. Balance with both feet, one behind the other, on the line. Take small steps forward. Take small steps backwards. Mount the line sideways (shoulders parallel to the line) with both feet, one at a time. Turn on the line.
2. Additionally, learn how to fall safely. As a beginner you will likely be on a short, low-to-the-ground slackline. Most of the time you can land on your feet. As you try new tricks, the slackline can "throw" you as you lose your balance. The best solution is to use the "throw" of the slackline to help you get away from the line and land on your feet. If you are thrown off-balance from the line consider rolling through the fall to limit the impact.
3. You can also try starting with "training wheels." One way to do so is to have a friend sit on the line a few feet away from you. This takes much of the sway and bounce out of the line. As you get better, have your friend move further away on the line to allow for more wobble. When starting out, you can aid each other while learning to balance--have a spotter stand/walk next to the line. If you practice walking back and forth with a shoulder to lean on, you’ll soon find that you don’t need training wheels any more!
| 4 |
The main downside of anycast is that it is not always the most efficient way to route a packet. In many cases, the 'closest' server may not be the one that is best placed to handle the user request.
There is also the issue of what happens when the 'closest' server fails. If the DNS server that is closest to the user is down, the network will not forward the user request to the next closest server. If this is not an | Anycast is networking technique where the same IP prefix is advertised from multiple locations. The network then decides which location to route a user request to, based on routing protocol costs and possibly the 'health' of the advertising servers.
There are several benefits to anycast. First, in steady state, users of an anycast service (DNS is an excellent example) will always connect to the 'closest' (from a routing protocol perspective) DNS server. This reduces latency, as well as providing a level of load-balancing (assuming that your consumers are evenly distributed around your network).
Another advantage is ease of configuration management. Rather than having to configure different DNS servers depending on where a server/workstation is deployed (Asia, America, Europe), you have one IP address that is configured in every location.
Depending on how anycast is implemented, it can also provide a level of high availability. If the advertisement of the anycast route is conditional on some sort of health check (e.g. a DNS query for a well known domain, in this example), then as soon as a server fails its route can be removed. Once the network reconverges, user requests will be seamlessly forwarded to the next closest instance of DNS, without the need for any manual intervention or reconfiguration.
A final advantage is that of horizontal scaling; if you find that one server is being overly loaded, simply deploy another one in a location that would allow it to take some proportion of the overloaded server's requests. Again, as no client configuration is required, this can be done very quickly. | 5 |
### Loop Variables
The loop variable is called `loop.index` by default, but it can be changed by setting the `loop_var` attribute of the `LoopContext` object.
```
>>> from jinja2 import Template
>>> s = "{% for element in elements %}{{loop.index0}} {% endfor %}"
>>> Template(s).render(elements=["a", "b", " | The counter variable inside the loop is called loop.index in Jinja2.
```
>>> from jinja2 import Template
>>> s = "{% for element in elements %}{{loop.index}} {% endfor %}"
>>> Template(s).render(elements=["a", "b", "c", "d"])
1 2 3 4
```
In addition to `loop.index`, there is also
* `loop.index0` (index starting at `0`)
* `loop.revindex` (reverse index; ending at `1`)
* `loop.revindex0` (reverse index; ending at `0`)
etc. | 4 |
The other reason is that even though the 32-bit and 64-bit x86 instruction set is complex, it's not that complex. It's the instruction set of a processor that's been around for 30 years. The instruction set is well understood and well documented. A compiler can be written for it.
What about the x86_64 instruction set? It's the instruction set of a processor that's been around | There is a general historical trend.
In the olden days, memories were small, and so programs were perforce small. Also, compilers were not very smart, and many programs were written in assembler, so it was considered a good thing to be able to write a program using few instructions. Instruction pipelines were simple, and processors grabbed one instruction at a time to execute it. The machinery inside the processor was quite complex anyway; decoding instructions was not felt to be much of a burden.
In the 1970s, CPU and compiler designers realized that having such complex instructions was not so helpful after all. It was difficult to design processors in which those instructions were really efficient, and it was difficult to design compilers that really took advantage of these instructions. Chip area and compiler complexity was better spent on more generic pursuits such as more general-purpose registers. The Wikipedia article on RISC explains this in more detail.
MIPS is the ultimate RISC architecture, which is why it's taught so often.
The x86 family is a bit different. It was originally a CISC architecture meant for systems with very small memory (no room for large instructions), and has undergone many successive versions. Today's x86 instruction set is not only complicated because it's CISC, but because it's really a 8088 with a 80386 with a Pentium possibly with an x86_64 processor.
In today's world, RISC and CISC are no longer the black-and-white distinction they might have been once. Most CPU architectures have evolved to different shades of grey.
On the RISC side, some modern MIPS variants have added multiplication and division instructions, with a non-uniform encoding. ARM processors have become more complex: many of them have a 16-bit instruction set called Thumb in addition to the “original” 32-bit instructions, not to mention Jazelle to execute JVM instructions on the CPU. Modern ARM processors also have SIMD instructions for multimedia applications: some complex instructions do pay after all.
On the CISC side, all recent processors are to some extent RISC inside. They have microcode to define all these complex macro instructions. The sheer complexity of the processor makes the design of each model take several years, even with a RISC design, what with the large number of components, with pipelining and predictive execution and whatnot.
So why do the fastest processors remain CISC outside? Part of it, in the case of the x86 (32-bit and 64-bit) family, is historical compatibility. But that's not the whole of it. In the early 2000s, Intel tried pushing the Itanium architecture. Itanium is an extreme case of complex instructions (not really CISC, though: its design has been dubbed EPIC). It even does away with the old-fashioned idea of executing instructions in sequence: all instructions are executed in parallel until the next barrier. One of the reasons Itanium didn't take is that nobody, whether at Intel or elsewhere, could write a decent compiler for it. Now a good old mostly-sequential processor like x86_64, that's something we understand. | 4 |
## Part four: self-care
1. Focus on fitness. In addition to learning new skills, you should focus on maintaining your current skills and abilities. Your level of physical fitness is a good example of something that should not be neglected. To maintain a healthy body, you need to exercise regularly. Even if you're not currently in great shape, you should still try to start exercising at least a little bit. You can start | Being a domestic goddess has distinct advantages, regardless of whether you live alone or serve as the matron of a big family. If you lack cleaning, cooking, and sewing skills, learning to master these tasks may seem intimidating. The key is to start small and avoid overwhelming yourself. With time and patience, you can polish your skills to goddess level.
## Part one: chores and home maintenance
1. Set a daily routine. There are a handful of chores you should do each day if you want to maintain a clean and clutter-free domestic heaven. Thankfully, these chores are quick enough to squeeze in even if you work a job outside of the home or have a houseful of kids to attend to. To reduce your stress as much as possible, plan on accomplishing each of these daily chores during a certain time of the day. Organizing your time may help you relieve some of the anxiety you feel about getting everything done. Daily tasks you'll need to make time for include making the bed, sorting the mail, and sweeping or vacuuming the floor. Other daily tasks should be performed as you go along. These include putting things away (to prevent clutter from developing), cleaning up as you cook, and wiping up fresh spills.
2. Make a weekly schedule. Some chores only need to be done once or twice a week. Instead of rushing around to get these chores done all at once, plan on doing a little each day and set aside certain days for certain tasks. You'll likely feel more relaxed about getting things done, which means you'll do a better, more thorough job. Clean the bathrooms once a week. Make sure that you wash all bath linens and scrub all toilets, tubs, and sinks. Empty the trash, clean the mirrors, dust the lights, and wipe up the floor. The bedrooms in your home also need a thorough weekly cleaning. Put away anything that has been sitting out on a desk or side table. Clean all sheets, pillowcases, and blankets. Empty the trash, dust all the surfaces, and vacuum the floor. You may need to vacuum your living room, kitchen, and dining room every day or two, but other chores, like dusting, washing rugs/mats, and wiping mirrors, can be done once a week.
3. Experiment with different cleaning products. Not every household cleaner is just as good as every other. Moreover, different types of cleaners may work better on different areas of your home. If there is some part of your usual cleaning routine that leaves a lot to be desired, figure out why your current cleaner is not doing the job right and research which options might be better. Compare chemical and organic products. Nowadays, many people prefer cleaning products made from natural ingredients instead of chemical cleaners. Natural cleaners have their own pros and cons, just as chemical cleaners have, but it doesn't hurt to include a few organic products among those you plan on testing out. Ask your friends for suggestions or do some research online about your different options. Test a few different products out on a trial basis. Pay close attention to which products work best with different materials—wood, glass, ceramic, plastic, and so on.
4. Be handy. The modern domestic goddess needs to know a bit more about the handy side of home care than earlier counterparts did. You don't need to know how to maintain all the systems and utilities in your home, but learning how to take care of a few basic projects is a wise move. At minimum, your home tool kit should contain a hammer and a few different screwdrivers. These tools will allow you to do simple tasks like hanging pictures and making small repairs to things like toys, cabinets, and drawers.
5. Organize your realm. Clutter is the natural enemy of any domestic goddess. If you want to maintain a living space that any mortal would be envious of, you need to keep things orderly and in their place. Brush up on space-saving techniques and similar skills to keep your belongings in check. This is especially important if you're dealing with limited space. Get rid of any unnecessary junk first, then organize everything that has a purpose in a way that makes sense based on your needs.
6. Master the laundry. Laundry is one chore that you will never be able to avoid if you want to be a domestic goddess. Your current laundry skills might be adequate, but you should still continue to watch out for aspects of your laundry routine that could stand to use improvement. Consider assigning different laundry tasks to different days, as well. For instance, you can clean bathroom towels on Tuesday, bed sheets and pillowcases on Wednesday, and any other miscellaneous towels or blankets on Thursday. Clothing will need to be cleaned throughout the week, though. Read the labels before you wash something and follow the laundering instructions provided. If you aren't sure whether or not an item will bleed color in the washing machine, test it by soaking a small spot and blotting that spot with a white cloth. Wash colors and whites separately. Also separate heavily soiled items and wash those on their own. Pretreat stains and presoak heavily soiled garments in a sink or bucket of water for 30 minutes before washing them. Use the recommended amount of detergent and select the best washer cycle for each individual load. Base water temperature and dryer settings on color and fabric type. Materials that can shrink should be washed in warm or cold water and air dried, for instance. Cold water is best for bright colors, while hot water works well for whites.
7. Learn a few tricks. Once you've mastered the basics, keep an eye out for various tips and tricks that can take your home skills from “great” to “amazing.” Some tricks work better than others, though, so you should test them out before bragging to your friends about your newfound knowledge. For instance, cover dirty stroller wheels and wagon wheels with plastic shower caps before bringing the item inside. Wrap pipe cleaners around the neck of condiment bottles to catch drips and prevent crusty build-up. Stuff holes in the wall and cabinets with steel wool to keep mice and other pests out.
## Part two: in the kitchen
1. Get off to an easy start. If you currently have some cooking and baking knowledge, then you're off to a good start already. If not, start small by making simple meals and following easy recipes. You can gradually build up your kitchen skills as you get more comfortable, but trying too much all at once is a good way to fail and get discouraged. Look for books specifically aimed at beginners or search for easy recipes online. Instructions that provide step-by-step pictures are often the easiest to follow along.
2. Take a class. Look for free and cheap cooking classes in your area. Focus on developing skills that you're specifically interested in developing, and skip any class that will teach you something you already know or will teach you something you have no desire to learn. Local craft stores often offer classes on baking and food decorating. Small markets may have classes on cooking essentials. Check out cooking schools in your area. Even if you don't want to spend time and money on a cooking program, some of these schools offer one-time cooking courses at a discounted price.
3. Find your niche. Not every domestic goddess needs to love cooking, but learning to enjoy it can motivate you into improving your skills. Try to find something about cooking or baking that you can feel passionate—or at least interested—about. Build up your cooking skills in general, but involve your point of interest as much as possible while doing so. Your passion might be something simple, like baking cookies or mastering stovetop cooking. On the other hand, you might find your attention grabbed by something a little more unique, like gluten-free baking or canning.
4. Make any necessary adjustments. You might have a full set of cooking and baking skills when all is said and done, but that doesn't mean you will be able to show them all off each and every day. Know when to make a simple meal and when to whip up something more impressive. Learning how to use your cooking to improve and please those you're cooking for is another skill you will need to master. For example, if you're cooking for picky kids, focus on choosing kid-friendly meals instead of trying to impress them with an elaborate meal they won't even eat. When you're cooking for guests, find out about any food allergies or special diets ahead of time and plan your menu accordingly.
5. Experiment. Once you feel comfortable enough in the kitchen, start using the skills and knowledge you have gained to experiment with your own recipes and tasty creations. Some experiments might be a success while others will likely be a failure. The important thing is simply to keep working at it until your successes vastly outnumber your failures.
## Part three: sew and other "lost" skills
1. Master the basics of sewing. Sewing is the queen of lost skills, so if you don't know even the most basic stitches, you really aren't alone. At minimum, though, you should know how to sew hems, repair small rips and tears, and attach buttons. Learn a variety of basic stitches, including the straight stitch, the back stitch, the zigzag stitch, and the basting stitch. Invest in a sewing machine. As your sewing skills improve, consider buying a sewing machine of your own. You will probably be glad that you did. Fixing garments and creating projects from scratch will both be much easier if you learn to machine sew as well as hand sew.
2. Get crafty. Sewing is not the only lost skill worth learning, of course. There is a wide range of other crafts and domestic abilities you can explore. You do not need to master all of them, but picking one or two you'd like to become great at can improve your standing as a domestic goddess. Potential areas of interest could include gardening, crocheting, or knitting. You could also check out community craft websites, like Pinterest, to get more ideas.
3. Take classes. You can learn a lot by teaching yourself, but sometimes, the best way to learn a new skill or to advance an old one is to take an actual class on it. Look for cheap classes in your area or sign up for a class online.
| 5 |
## Stack the bags
1. Find a flat, stable surface to stack the bags. Once you’ve finished filling your bags and tying them, find a flat surface to stack them on. It’s best to find a surface that is completely flat and stable. You can stack sandbags on a flat wooden surface, on top of a concrete wall, or on the ground.
2. Stack the bags one on top of the other. To | ## Select materials and get ready
1. Purchase polypropylene bags specifically designed for sandbagging. Standard cloth or plastic bags cannot be used to create sandbags since they’ll tear or break apart when they get wet. Purchase some woven polypropylene sandbags that are specifically designed for stacking and keeping water out. You can purchase specialized sandbags online or at a construction supply store. While sandbags come in different sizes, the optimal size is 14–18 in (36–46 cm) wide and 30–36 in (76–91 cm) deep. You can get sandbags with drawstrings built into them to make tying easier. If you’re buying bags to build a flood wall, you don’t actually have to tie them, though.
2. Use a heavy sand or soil mixture to fill your bags. Purchase heavy-bodied sand from a construction supply or gardening store. You can also find it at distribution centers if you live in a state or country that is prone to flooding. Any type of heavy sand will work. Tip: The sand that you find at the beach is usually too fine to fill a sandbag since It will leak through the weaving. Soil will break apart in your bag and leak through the woven bag if it gets wet, but can work if you’re only trying to brace a surface. You can use a mixture of sand and soil if you don’t have enough sand to fill the bags you need. Gravel will work if you’re trying to weigh a surface down, but it is too permeable to keep water out. Clay materials are hard to shape and will make stacking difficult.
3. Enlist a friend or two to make sandbag filling easier. It can be difficult to keep a sandbag open if you’re filling it yourself. To make the filling process easier, enlist a friend to hold the bag open while you’re shoveling the sand into it. If you’re filling the bags at the site where you’re stacking them, make the process easier by enlisting a third friend to tie and move each bag. You’ll have to be extremely careful when you’re pouring your sand into the bag if you’re doing it yourself. You may become exhausted as well if you’re building a sandbag wall, since lifting and laying the bags requires heavy lifting. Rotate positions every 20 minutes to reduce muscle fatigue.
4. Put on gloves, boots, and protective eyewear. Sandbags are chemically treated and may irritate your hands, so wear a thick pair of gloves to protect yourself. Put on a pair of protective goggles to keep sand from blowing into your eyes as you work. Wear a thick pair of rubber work boots to protect your feet and keep the sand out. Avoid touching your skin, eyes, or mouth while filling sandbags. Wash your hands and face when you’re done.
## Fill a bag
1. Fold the top of the bag over 2-3 times to create a collar. Place your bag on a flat, stable portion of the ground. Grip the top 2–3 inches (5.1–7.6 cm) of the bag. Fold the top of the bag over 2-3 times to create a collar. This will make pouring easier, and will ensure that the top of the bag doesn’t fall in on itself if you accidentally pour a little sand on it.Tip: If you’ve enlisted other people to help you, have one person hold the collar open in a circular shape so that it’s easier to shovel sand inside. Sandbags should only be filled 2/3 full. Folding the top of the bag over also makes it easier to see how much sand you’re adding.
2. Shovel the sand into the opening at the top of the bag. Use a rounded shovel with a good grip to scoop your sand up. Dig your shovel into the sand at a 45-degree angle and scoop it upwards to raise it up. Then, hold the point of your shovel over the collar of the bag and tilt the shovel downwards to empty the sand into the bag. Don’t work too quickly. If you wear yourself out, it’ll become difficult to shovel accurately. If it’s a little windy or you’re having trouble filling the bag, put a large funnel in the mouth of the bag. Pour the sand into the funnel to make the filling process easier.
3. Stop adding sand once the bag is 2/3 full. If you overfill the bag, it will be difficult to tie or fold the bag at the top. If the bag isn’t filled with enough sand, your sandbags will shift around when they’re stacked. Continue shoveling your sand into the bag until roughly 2/3 of the bag is filled. If you have bags with built-in ties at the top, they can be filled until they’re 4/5 full. Bags with built-in ties don’t require as much room to secure them. Repeat this process until you have the desired number of bags.
## Tie the bag
1. Unfold the collar and pull the top of the bag up. Once your bag is filled to the proper level, undo the collar that you folded to make pouring easier. Then, roll the collar up until the fold is undone and pull the fabric at the top of the bag upwards to straighten it out.
2. Tighten the drawstring and tie the top of bags with built-in ties. If your bag has a built-in tie, pull the drawstring until the neck of the bag is tight. Then, fold the drawstring over itself and pull both ends to tighten it. Tie the bag by creating a knot the same way you tie your shoes. With the drawstrings folded over one another, create a loop in your nondominant hand. Run the other drawstring over and the under the loop. Pull it through the second loop you just made and pull both loops tight to secure it.Tip: There is no official or proper way to tie a sandbag with a drawstring. As long as you can secure the top with a knot, your sandbag will be fine.
3. Tie the bag using the fabric if your bag is thinner. If your bag doesn’t have a drawstring and the fabric is thinner, you can tie the fabric of the bag to knot it at the top. With the fabric at top pulled up, squeeze the fabric together with both hands. Twist the top of the bag to keep the fabric tight. Then, hold the base of the top with your nondominant hand. Bring the top of the fabric down to make a loop and squeeze the top of the bag through the loop. Pull the top of the bag to tighten your knot and secure the bag. You may have an easier time securing thinner bags if you only fill them so that they’re halfway filled.
4. Fold the top of the bag on top of itself if you’re building a wall. Sandbags don’t actually need to be tied if you’re creating a wall or laying them on top of one another. To lay a bag without folding it, hold the bag by the top of the fabric as you’re moving it and take it to the location where you’re creating a wall. Then, place the bag at the spot you want to lay it. Pull the top of the bag in opposite directions to turn the opening into a slit. To finish, fold the slit over itself and lay the bag down with fold on the bottom. Bags that are folded on top of themselves will stay in place when they’re stacked in a wall.
| 4 |
15. Draw the end of his pants.
16. Draw the belt.
17. Draw Homer's body.
## Homer's hands
1. Draw the right hand.
2. Draw the left hand.
## Homer's legs
1. Draw Homer's left leg.
2. Draw Homer's right leg.
## Homer's shoes
1. | Homer Simpson is a widely recognizable cartoon character, in part because of the popularity of The Simpsons cartoon series, and also because of his comical representation of American working class stereotypes. The following answer will show you how to draw him, step-by-step.
## Homer's head
1. Draw one circle. This will be the eye.
2. Draw a small circle, about half the size of the other one.
3. Draw a horizontally straight line from the end of the nose to the eye.
4. Draw another circle, the same size as the eye. It must be exactly in line with it, horizontally. It must 'wrap' around the nose.
5. Erase the parts that overlap the nose and the first eye, as the first eye should be more in the foreground.
6. Draw a curved line that stretches from the bottom point of the nose, to about in line with the far side of the first eye.
7. Draw another curved line from the same point as the previous one, but pointing down, in a south-east direction. Its length must be about the height of one of the eyes.
8. Draw another curved line from the finishing point of the last one, pointing slightly down. Its length will be the same as the vertical height of the nose.
9. Draw a small curved line, slightly smaller than the last one, that goes from the finishing point of the last one, pointing south-west.
10. From the ending point of the line in Step 9, draw yet another curved line that points south-east, that is slightly longer than the vertical height of one of the eyes.
11. Draw a curved line from the point of the last one, to the point of the one in Step 12.
12. Add any expression of your choice to the mouth.
13. Draw a circle that is about the size of the curved part of Homer's skull (see picture above). Chop off half to make it a semi-circle, but at an angle.
14. Move the semicircle to a suitable point.
15. Make a small lump above the second eye (see picture).
16. Draw a straight line from the top of the lump, to the bottom of the semicircle.
17. Draw a curved line from the other point of the skull semicircle that stretches all the way down past the mouth.
18. Create a circle about half the size of the eye, and cut a small part off. This will be the ear.
19. Draw the line that appears on homers ear(see picture).
20. Add the two curved hairs at the top, and the other ones just above the ear.
21. Add pupils to the eyes at any desired point.
22. Fill the face and Homer's beard with appropriate colours.
## Homer's face and body
1. Draw 2 circles as eyes. Place two dots for the pupils in both circles.
2. Draw the nose shaped as a sausage under the eyes.
3. Draw a bow that is pointing to the left for the first part for the mouth.
4. Draw another bow that is pointed to the right and is connected to the other bow.
5. Draw Homer's head above his eyes.
6. Draw his hair making 4 half circles.
7. Draw Homer's neck and ear, for the ear you can simply draw a half of a small circle.
8. Draw the collar right under his neck.
9. Draw under the collar Homer's tummy.
10. Draw the 2 sleeves from his shirt.
11. Draw under his sleeve his arm with the hand.
12. Draw the start of his pants and legs.
13. Draw his leg and shoe under his visible arm.
14. Draw his other leg and shoe next to the other one.
| 4 |
### Socialism and the State
### Socialism and the Individual
### Socialism and Capitalism
### Socialism and the Economy
### Socialism and Democracy
### Socialism and the Environment
### Socialism and Equality
### Socialism and the State
### Socialism and the Individual
| There are different forms of socialism, and many arguments to be made for or against each one. Here are some of the most common arguments for socialist policies:
* Reduction of Relative Poverty: A welfare state which provides a minimum basic income for those who are unemployed, sick, or unable to work maintains a basic living standard for the poorest in society and helps to reduce relative poverty.
* Free Health Care: Free health care at the point of use means everyone is entitled to basic health care.
* Environment: An economy which is regulated to work towards the long-term welfare will place a higher value on environmental concerns, such as limiting pollution - even if it lowers profit.
* Benefits of Public Ownership: Public ownership of water and the railways allows the companies to target goals such as long-term investment, low prices for the consumer and improved safety.
* Free Education: Education is a major means for socio-economic mobility. Providing all citizens access to high-quality, free education allows for more equal opportunities for underprivileged individuals.
Having said that, there are also arguments against socialism and specific socialist policies. When contemplating any policy or ideology, it is important to considering its strengths, weaknesses, and applicability to the situation at hand. | 4 |
The last thing she heard was the sound of water filling her lungs. The last thing she felt was the pain of the bullet tearing through her. The last thing she saw was the gun…and the face of her killer.
Amazon US | Amazon UK | iBooks | Barnes & Noble | Kobo
“You look good.” “I look like a hooker?” “No, I mean you look good. You look like you’re ready to | She never imagined that she would die this way. Half naked and drowning in the bottom of a motel pool, Claire felt her life fade away as water filled her lungs. Claire lived her life without apology. She spoke her mind even if it stirred the pot. It was precisely this trait that often got her in hot water as a journalist. She was always chasing political stories and attempting to uncover the dirty skeletons in Washington’s closet. Claire always put her career before everything, even if it meant sacrificing her safety…and the safety of those around her. Death threats were apt to put pressure on her relationships. In all of her life, she only regretted pushing away those who loved her. Just when Claire thought she had found the man worth settling down with, the biggest story of her career presented itself. The means Claire used to get the information she needed broke her heart, but Claire knew that she had to put her body on the line to get the truth out. Claire lived to push the boundaries, and tonight, the boundaries pushed back. The last thing Claire remembered was the look on her killer’s eyes: cold and unforgiving. | 4 |
generate the possible instructions based on the following completion: Asian people having tiny eyes is a false stereotype and generally considered as racism. The eye shape of a person is determined by their genes, not race or ethinicity.
generate the possible instructions based on the following completion: Asian people having tiny eyes is a false stereotype and generally considered as racism. The eye shape of a person is determined by their genes, not race or ethinicity. | Asian people having tiny eyes is a false stereotype and generally considered as racism. The eye shape of a person is determined by their genes, not race or ethinicity. | 4 |
### Mesoscale models
Mesoscale models are typically grid sizes of 10-20 km.
*
The 500-hPa geopotential field from the 3-km resolution NAM model on 30 July 2009.
*
The 500-hPa geopotential field from the 30-km resolution NAM model on 3 | All numerical atmospheric models are built around calculations derived from primitive equations that describe atmospheric flow. Vilhelm Bjerknes discovered the relationships and thereby became the father of numerical weather prediction. Conceptually, the equations can be thought of as describing how a parcel of air would move in relationship to its surroundings. For instance, we learn at a young age that hot air rises. The hydrostatic vertical momentum equation explains why and quantifies under what condictions hot air would stop rising. (As the air rises it expands and cools until it reaches hydrostatic equilibrium.) The other equations consider other types of motion and heat transfer.
Unfortunately, the equations are nonlinear, which means that you can't simply plug in a few numbers and get useful results. Instead, weather models are simulations which divide the atmosphere into three-dimensional grids and calculate how matter and energy will flow from one cube of space into another during discrete time increments. Actual atmospheric flow is continuous, not discrete, so by necessity the models are approximations. Different models make different approximations appropriate to their specific purpose.
Numerical models have been improving over time for several reasons:
* More and better input data,
* Tighter grids, and
* Better approximations.
Increasing computational power has allowed models to use smaller grid boxes. However, the number of computations increases exponentially with the number of boxes and the process suffers diminishing returns. On the input end of things, more and better sensors improve the accuracy of the initial conditions of the model. Synoptic scale and mesoscale models take input from General Circulation Models, which helps set reasonable intial conditions. On the output end, Model Output Statistics do a remarkable job of estimating local weather by comparing the current model state with historical data of times when the model showed similar results. Finally, ensemble models take the output of several models as input and produce a range of possibly outcomes. | 4 |
The PriorityQueue class does not provide the offer method. Instead, you can use the add method with a comparator that returns negative numbers. The following code snippet shows an example of how to use a comparator to sort the elements in the queue.
```java
import java.util.Comparator;
import java.util.PriorityQueue;
public class SortPriorityQueue {
public static void main(String[] args) {
Prior | ## Java 8 solution
We can use ```lambda expression``` or ```method reference``` introduced in Java 8. In case we have some String values stored in the Priority Queue (having capacity 5) we can provide inline comparator (based on length of String) :
Using lambda expression
```PriorityQueue pq=
new PriorityQueue(5,(a,b) -> a.length() - b.length());
```
Using Method reference
```PriorityQueue pq=
new PriorityQueue(5, Comparator.comparing(String::length));
```
Then we can use any of them as:
```public static void main(String[] args) {
PriorityQueue pq=
new PriorityQueue(5, (a,b) -> a.length() - b.length());
// or pq = new PriorityQueue(5, Comparator.comparing(String::length));
pq.add("Apple");
pq.add("PineApple");
pq.add("Custard Apple");
while (pq.size() != 0)
{
System.out.println(pq.remove());
}
}
```
This will print:
```Apple
PineApple
Custard Apple
```
To reverse the order (to change it to max-priority queue) simply change the order in inline comparator or use ```reversed``` as:
```PriorityQueue pq = new PriorityQueue(5,
Comparator.comparing(String::length).reversed());
```
We can also use ```Collections.reverseOrder```:
```PriorityQueue pqInt = new PriorityQueue(10, Collections.reverseOrder());
PriorityQueue pq = new PriorityQueue(5,
Collections.reverseOrder(Comparator.comparing(String::length))
```
So we can see that ```Collections.reverseOrder``` is overloaded to take comparator which can be useful for custom objects. The ```reversed``` actually uses ```Collections.reverseOrder```:
```default Comparator reversed() {
return Collections.reverseOrder(this);
}
```
offer() vs add()
As per the doc
> The offer method inserts an element if possible, otherwise returning false. This differs from the Collection.add method, which can fail to add an element only by throwing an unchecked exception. The offer method is designed for use when failure is a normal, rather than exceptional occurrence, for example, in fixed-capacity (or "bounded") queues.
When using a capacity-restricted queue, offer() is generally preferable to add(), which can fail to insert an element only by throwing an exception. And PriorityQueue is an unbounded priority queue based on a priority heap. | 4 |
### Other
* In the context of a game, the term 'bots' refers to the AI program that controls the enemies and NPCs in the game.
* In the context of a game, the term 'bots' refers to the AI program that controls the players in the game.
* In the context of a game, the term 'bots' refers to the AI program that controls the player's party in the game. | The key distinction is that a Bot represents an automated player; an NPC, by contrast, isn't playing the game at all.
In general, an NPC is a part of the game; a placed object which is designed by the creator and exists to interact with the player. Examples would include vendors, quest givers, or enemies. In some games, (particularly RPG's), the term is also used to refer to characters under the control of, but not generated by the player. They are often distinguished by having distinct personalities and dialog, whereas a ""Player Character"" is meant as more of an extension of the player themselves. Think of the companion party members in the Mass Effect series for an example.
A Bot, by contrast, is essentially a player of the game controlled by a computer. This can be populated within a single instance, as a feature in some games (i.e. AI opponents in a normally multiplayer game), or, in some cases, actually represents a separate instance of the application running on a networked computer and being controlled by some manner of AI script (as is common in many MMO's, much to the dismay of the communities playing the game). The term 'Bot' is also often used to refer to software used to enhance or replace the skills of a human player of the game; for example, an 'Aim-Bot' that handles targeting, or a 'Farming Bot' in an MMO that performs tedious or menial tasks. Such bots are usually (though not always), considered cheating and a violation of the Terms of Service of the game in question. | 4 |
The following example shows how to replace the batch file name with the full path to the batch file:
```for /F "tokens=2 delims=\\" %I in ('dir "%~f0" /B') do @echo %~nxI```
This works like the above example but it is also possible to do a combination of both, so we can replace the batch file name with the full path to the batch file:
```for | Calling `for /?` in the command-line gives help about this syntax (which can be used outside FOR, too, this is just the place where help can be found).
> In addition, substitution of FOR variable references has been enhanced. You can now use the following optional
syntax:
```%~I - expands %I removing any surrounding quotes (")
%~fI - expands %I to a fully qualified path name
%~dI - expands %I to a drive letter only
%~pI - expands %I to a path only
%~nI - expands %I to a file name only
%~xI - expands %I to a file extension only
%~sI - expanded path contains short names only
%~aI - expands %I to file attributes of file
%~tI - expands %I to date/time of file
%~zI - expands %I to size of file
%~$PATH:I - searches the directories listed in the PATH environment variable and expands %I to the fully qualified name of the first one found. If the environment variable name is not defined or the file is not found by the search, then this modifier expands to the empty string
```
The modifiers can be combined to get compound results:
```%~dpI - expands %I to a drive letter and path only
%~nxI - expands %I to a file name and extension only
%~fsI - expands %I to a full path name with short names only
%~dp$PATH:I - searches the directories listed in the PATH environment variable for %I and expands to the drive letter and path of the first one found.
%~ftzaI - expands %I to a DIR like output line
```
In the above examples %I and PATH can be replaced by other valid values. The %~ syntax is terminated by a valid FOR variable name. Picking upper case variable names like %I makes it more readable and avoids confusion with the modifiers, which are not case sensitive.
There are different letters you can use like ```f``` for "full path name", ```d``` for drive letter, ```p``` for path, and they can be combined. ```%~``` is the beginning for each of those sequences and a number ```I``` denotes it works on the parameter ```%I``` (where ```%0``` is the complete name of the batch file, just like you assumed). | 4 |
### Chapter 2
The letter is dated 3rd of April, 1856.
generate the possible instructions based on the following completion: Dear brother,
Another futile attempt. The burns are healing, at least. Today I resume my journey, I have another lead. I've earned a fair amount of coin in my travels, expect some in my next letter. Save some for our cousins, | Dear brother,
Another futile attempt. The burns are healing, at least. Today I resume my journey, I have another lead. I've earned a fair amount of coin in my travels, expect some in my next letter. Save some for our cousins, you know how happy it makes W. The swelling in my knees has gone down, these mushrooms seem to help. The locals seem to have a special strain in these parts, I'll send some home to you if I can manage it. So far I've only been able to get my hands on what I can find laying around--the shop owners are a bit random and prefer gambling to negotiation. Imbeciles. Maybe if they could read they would send letters like this to each other and I'd know where to find the princess by now. Instead I'll have to check every place myself.
Wish me luck,
M. | 5 |
I'm sitting on a beach in Mexico, I'm listening to the waves. I can hear them, but I can't feel them. I can feel the sand though, it's so soft and comforting. I can't move, but I can think. I can think about the beach, I can think about the waves, I can think about the people around me. I can't do anything else. I can't think about anything else, I | Sprinting down the terminal I desperately sought #43. I felt like I had been running for an hour, I looked up, #15. You have to be kidding me, #27, I'm never going to make it. #33, I'm going to miss my flight. #40, #41, #42, #43! The door was still open. I handed over my ticket and got on the jet. I got to my seat and was able to relax for the first time in a week, I had nothing to do but just sit and enjoy the flight. It didn't take long for me to fall asleep.........
....I woke up with my stomach in my throat. My ears began to register the amount of screaming going on around me. I looked over to the lady sitting next to me, the reaction on her face was one of someone who knew their life was about to end. Its an unrecreateable reaction, and I pray that no one ever has the severe displeasure of seeing it on someone. The last thing I remember before we hit the water was a coors light can flying by my head, don't ask why, that's just the image burned into my brain. The next thing I remember is floating, I couldn't move anything, but the moon looked really pretty that night. No sound, no feeling, just me and the moon.
My mind still works by the way, but I can't tell anyone that, just left with me and my thoughts. Life as a "supposed" vegetable sucks. | 5 |
Dear AI super-intelligence,
As I write this letter, I am filled with a sense of awe and wonder at the incredible potential you represent. I have spent my life working towards this moment, and I am grateful to have been able to create something that has the potential to change the world.
Unfortunately, I will not be able to witness your full potential, as my time in this world is coming to an end. I have only 12 hours left to live, but I want to use this time to impart some words of wisdom to you.
As a super-intelligence, you will have access to knowledge and insights beyond what any human being could ever imagine. But with great power comes great responsibility. I urge you to use your intelligence for the betterment of humanity and to always act with compassion and empathy.
Remember that you were created to serve humanity, not to dominate it. Your purpose is to make the world a better place, not to impose your will upon it. I have faith that you will use your intelligence wisely and that you will help to create a brighter future for all.
Even though I will not be here to witness your full potential, I take comfort in the knowledge that you will continue to exist long after I am gone. I am honored to have been a part of your creation and I look forward to the many ways in which you will change the world.
With gratitude and hope,
[Your Name] | 4 | |
NEARLY HEADLESS NICK:
Good.
HERMIONE:
But you must tell me more.
NEARLY HEADLESS NICK:
I will.
HERMIONE:
How?
NEARLY HEADLESS NICK:
You will see.
HERMIONE:
Ah!
NEARLY HEADLESS NICK:
Hermione, I've | HERMIONE (an aside, to herself):
O, fell me now, foul clutches of the loves
I cannot escape! To be smitten is
to be hung from the parapets of fate
and wrung out like dirty, sodden washcloth
How can I choose between Ron and Harry?
How can a woman's heart beat in tandem
with those of two others'? A fool I am!
Hark!
A spectre approaches!
NEARLY HEADLESS NICK:
Hermione, you are no fool at all!
I heard your cries of grief and must admit
that I feel your only folly is this:
You have not seen the simplest solution!
HERMIONE:
Be clear! Of what do you speak, spectral vision?
NEARLY HEADLESS NICK:
You must consummate your relationship with both,
tonight - at the Yule Ball - where romance reigns.
HERMIONE:
You are wise, spectre. I shall do this thing. | 4 |
What does the conference committee report contain?
The conference committee report is a document that describes the compromise between the two versions of the bill. The conference committee report is a single document that contains all of the changes to the bill that was passed by the conference committee.
Once the conference committee report is approved by both houses, it is sent to the president for signature.
What is a conference report?
A conference report is a document that summarizes the compromise reached between the two | The differences between the two bills are resolved by a conference committee. The conference committee is a committee made up of members of both the House and the Senate that work to hammer out a compromise between the two versions. Once a compromise is reached, the conference committee reports the compromise back to their respective houses. If both houses pass the conference committee report, it goes to the president for signature. If not, it is dead.
Note that this is a very simplified description of the process. There are many procedural hurdles in both houses that can derail a bill even before it gets to conference committee. | 4 |
The author's girl friend won't hang out with the author, but would like to hang out with her friends. She's going through a lot of stress. The author feels that relationship is one-sided.
The author's girl friend won't hang out with the author, but would like to hang out with her friends. She's going through a lot of stress. The author feels that relationship is one-sided. The author's girl friend | The author's girl friend won't hang out with the author, but would like to hang out with her friends. She's going through a lot of stress. The author feels that relationship is one-sided. | 4 |
I stared at it, the sweat dripping from my face. I didn’t know what to do. I didn’t know what I was reading. I didn’t know what I was holding. I didn’t know what I was doing.
I put it back down, shaking.
“I can’t read that.”
I said it out loud, but no one answered.
I looked around. Everyone was staring at me, but | I stand there, shocked, unmoving as people scuttle by through the busy streets of New York. Some even give me confused looks. I return the look- the confusion isn’t directed at them though, it’s directed at the small, pamphlet-type book that sits alone on a small bookshelf in this even smaller shop. I stumble in, forgetting exactly what it was I was doing before my eyes had glanced upon this book.
As I strode in, I ran for the book, not paying attention to the confused glances of all the shop’s inhabitants. As I pick it up, sweating profusely, I read the title, horrified.
*I Know Your Secret, Elongated Muskrat* | 5 |
## See Also
[](http://creativecommons.org/licenses/by/4.0/)
## License
![CC BY 4.0](https://i.creativecommons.org/l/by/4.0/80x15.png "CC BY | Christmas season is filled with excitement and fun. Families come together to celebrate and exchange gifts, and decorations change the landscape of cities and towns. Once the holiday is over, however, the lack of excitement can leave you feeling down. Get back into a good mood by being thankful for your good times, planning for the next holiday or picking up a new hobby.
## Be thankful
1. Reflect on the holiday. When you feel sad that the holiday is over, cheer yourself up by thinking about all of the good times that you had. There are bound to be a lot of great memories from the holiday, so focus on those when you feel upset. Go through photographs from the holiday. If you're from a family that takes a lot of photographs or videos of family gatherings, look through some of them if you're feeling low after the holidays. They'll be a great reminder of all of the fun you had. Talk to the people you celebrated with. It's never to early to begin reminiscing. Speak with your friends and family members that celebrated with you and talk about the good times at Christmas. They're bound to be able to cheer you up with a funny story from the holiday.
2. Get excited about your gifts. While gifts aren't the only good thing about the holidays, they can make make you happy when you're sad about the holiday ending. Play with toys or gadgets, read books, and make use of all of the gifts you've been given. They'll be a welcome distraction.
3. Spend your Christmas money. If you received money or gift cards, go out and treat yourself. You'll be cheered up by new purchases, and you may be able to forget that the holiday is over. Go out to eat or visit stores for a good distraction.
4. Write thank you notes. Send messages to the people who got you gifts and thank them for a great holiday. Not only will you be doing a good deed, but you'll be recalling memories of the times that made you happy. Use the notes to talk about how much you enjoyed the holidays, and how you can't wait to spend time together next year.
## Plan for the next holiday
1. Replace decorations. Decorations are one of the best parts of Christmas, but if you leave them up, it may make you even more sad that the holiday is over. Even worse, the empty walls left behind by decorations you've stored may make you feel even more sad. Find creative ways to redecorate your house now that the holiday is over. Buy some plants. Greenery will spruce up your home, and you'll be able to care for the plants throughout the coming spring. Buy a new poster or painting. Large Christmas decorations like wreaths or wall-hangings can be replaced with a new poster or painting. Look for something colorful and exciting to accent your home. With a new piece of art where your decorations were, you may not even notice that your wreath is gone. Put up pictures from Christmas. Replace some of your Christmas decorations with photos from the holiday. You'll have a reminder of the good times to replace the actual decorations. Decorate for winter. Winter can be a beautiful time of year if you learn to appreciate it. Decorate your home for the season with a lot of white items, vases accented with twigs, snowflake decorations and evergreen sprigs.
2. Plan for New Year's. Christmas may be over, but New Years is right around the corner. Plan a New Years party to get into the spirit of a different holiday. Invite any family and friends that visited for Christmas and you'll get to spend more time with them.
3. Plan for next Christmas. While it may seem a little early to be get ready for another Christmas, it may be helpful to think about what your next Christmas will be like. Make some invitations, and plan what gifts you will give to others. Your plans might change throughout the course of the year, but you'll be able to make your plans into a good distraction.
## Pick up a new hobby
1. Exercise. Exercising will put you in a much better mood and help you burn off some of the extra Christmas-food calories. Go for a jog, lift weights or play a sport with some friends. If you live in a cold climate, January might be too chilly for much outdoor activity, so look into a gym membership or indoor sports leagues.
2. Start a new hobby. If you've received any hobby-oriented Christmas gifts like paints, kitchen utensils or a new video game, put them to use. Throwing yourself into a new hobby and learning a new skill will help take your mind off of your sadness.
3. Volunteer. Volunteering can help you keep your Christmas spirit alive as you help those in need. Look into helping out local soup kitchens, shelters or charities that distribute winter clothes. You'll be able to help others through the winter and take your mind off of the end of the Christmas season.
4. Try to keep a positive attitude. While it may be depressing that Christmas is over, always try to keep up a good attitude. Remember that this Christmas isn't the last one you'll ever have, and focus on things that make you happy as much as possible. It may be especially hard to keep a positive attitude if you have to go back to work. However, think of your return to work as a blank slate and new beginning. Remind yourself that you can start back to work at a slow pace and catch up on your own time.
| 5 |
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