qid int64 1 74.7M | question stringlengths 12 33.8k | date stringlengths 10 10 | metadata list | response_j stringlengths 0 115k | response_k stringlengths 2 98.3k |
|---|---|---|---|---|---|
24,963 | I am currently learning OLAP & MDX after many years of relational database development.
Any tips on getting started in MDX? What are the best books and resources to learn MDX? | 2008/08/24 | [
"https://Stackoverflow.com/questions/24963",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1073/"
] | I found the Spoffard book not very helpful. MDX is such an oddity compared to other languages you'll learn, it's so hard to grasp from a dry book. I really would recommend a training course, otherwise you will flounder for ages. A course will really jump-start you, and it provides access to an expert when you have questions which don't seem to have online answers.
The worst trap to fall into, is to continually compare it with SQL! It uses some of the same keywords, but they mean something totally different, which makes the mental jump annoyingly harder.
I think the most efficient way to learn either OLAP or MDX would be to find someone who knows it, and get them to show you around, begin with some small changes, or some very simple queries. | You should also try and get hold of [MDX Studio](http://www.mdxstudio.com/), a free MDX query tool written by Mosha Pasumansky (one of the original creators of MDX). It has similar MDX functionality to SQL Management Studio, but also allows you to parse and format queries, which can be very handy when trying to decipher them. |
24,963 | I am currently learning OLAP & MDX after many years of relational database development.
Any tips on getting started in MDX? What are the best books and resources to learn MDX? | 2008/08/24 | [
"https://Stackoverflow.com/questions/24963",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1073/"
] | A classic, albeit a bit dated, book is [Fast Track to MDX](https://rads.stackoverflow.com/amzn/click/com/1846281741). It's a great overview and a quick read, though it doesn't cover the new MDX features of SQL Server 2005.
The Spofford book [MDX Solutions](https://rads.stackoverflow.com/amzn/click/com/0471748080) is more up date and a little deeper, but a bit harder to get through.
I also highly recommend the blogs of [Mosha Pasumansky](https://web.archive.org/web/20180325203953/http://sqlblog.com:80/blogs/mosha/default.aspx), [Chris Webb](https://blog.crossjoin.co.uk/), and [Darren Gosbell](https://web.archive.org/web/20210211164051/http://www.geekswithblogs.net/darrengosbell/Default.aspx). | Here is an [MDX gentle introduction](http://www.iccube.com/support/documentation/mdx_tutorial/gentle_introduction.html). |
24,963 | I am currently learning OLAP & MDX after many years of relational database development.
Any tips on getting started in MDX? What are the best books and resources to learn MDX? | 2008/08/24 | [
"https://Stackoverflow.com/questions/24963",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1073/"
] | I found the Spoffard book not very helpful. MDX is such an oddity compared to other languages you'll learn, it's so hard to grasp from a dry book. I really would recommend a training course, otherwise you will flounder for ages. A course will really jump-start you, and it provides access to an expert when you have questions which don't seem to have online answers.
The worst trap to fall into, is to continually compare it with SQL! It uses some of the same keywords, but they mean something totally different, which makes the mental jump annoyingly harder.
I think the most efficient way to learn either OLAP or MDX would be to find someone who knows it, and get them to show you around, begin with some small changes, or some very simple queries. | If you create a Pivot Table that uses a cube (in Excel), you can see the query that is being sent using this (towards the bottom of the page)
<http://www.codeplex.com/OlapPivotTableExtend>
That might be a good way of getting a feel for the simpler stuff.
N.B. This is only in Excel2007, not sure about earlier versions |
24,963 | I am currently learning OLAP & MDX after many years of relational database development.
Any tips on getting started in MDX? What are the best books and resources to learn MDX? | 2008/08/24 | [
"https://Stackoverflow.com/questions/24963",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1073/"
] | Here is an [MDX gentle introduction](http://www.iccube.com/support/documentation/mdx_tutorial/gentle_introduction.html). | I prefer dragging and dropping fields around in MS Excel, and then using SQL Server profiler to capture trace against SSAS. This way, you get an awesome frontend for building queries, and then you can get the queries that Excel is using through the profiler. |
24,963 | I am currently learning OLAP & MDX after many years of relational database development.
Any tips on getting started in MDX? What are the best books and resources to learn MDX? | 2008/08/24 | [
"https://Stackoverflow.com/questions/24963",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1073/"
] | A classic, albeit a bit dated, book is [Fast Track to MDX](https://rads.stackoverflow.com/amzn/click/com/1846281741). It's a great overview and a quick read, though it doesn't cover the new MDX features of SQL Server 2005.
The Spofford book [MDX Solutions](https://rads.stackoverflow.com/amzn/click/com/0471748080) is more up date and a little deeper, but a bit harder to get through.
I also highly recommend the blogs of [Mosha Pasumansky](https://web.archive.org/web/20180325203953/http://sqlblog.com:80/blogs/mosha/default.aspx), [Chris Webb](https://blog.crossjoin.co.uk/), and [Darren Gosbell](https://web.archive.org/web/20210211164051/http://www.geekswithblogs.net/darrengosbell/Default.aspx). | If you create a Pivot Table that uses a cube (in Excel), you can see the query that is being sent using this (towards the bottom of the page)
<http://www.codeplex.com/OlapPivotTableExtend>
That might be a good way of getting a feel for the simpler stuff.
N.B. This is only in Excel2007, not sure about earlier versions |
123,406 | What happens when the immolator's burning brand misses (6-)? The GM gets to make a move, sure, but does the immolator get their weapon, even if it's without the extra tags (+1 or not dangerous, etc)?
And without such a weapon, can the immolator deal damage? | 2018/05/28 | [
"https://rpg.stackexchange.com/questions/123406",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/43336/"
] | It's entirely up to the GM whether or not a weapon appears, and what tags it does, or does not, have.
Remember from the basic rules:
>
> Most moves won’t say what happens on a 6-, that’s up to the GM but you also always mark XP.
>
>
>
That means your GM might say:
>
> A massive, flaming weapon appears. It's +1, messy, dangerous and it appears to be unstable and drawing in fire from around it, growing more powerful with each passing second. Also, the entire Inn is now on fire. Mark XP. Fightgar, your buddy just summoned a flaming weapon and now the entire room is on fire; what do you do?
>
>
>
And if so, you did summon a sword (but you're not happy about it).
He might also say
>
> You draw in the flame, but nothing seems to happen. The Goblins around you point and laugh, before closing the circle around you, boxing you in. Mark XP
>
>
>
And then you don't have a sword. (and you're not happy about it)
The only thing you know for sure, is that you're not going to enjoy what is about to happen; it's up to the GM how that manifests.
As for dealing damage without a weapon; anyone can deal damage without a weapon. Your damage die (which is a d8 for an Immolator) is always available. Whenever you deal damage in the fiction, that's how much damage you do. It does not matter if you use your Burning Brand, a weapon you bought/stole/found, a rock you picked up from the ground, or your bare fists: if you deal damage to something in fiction, you roll a d8.
(The specific weapon you use *does* decide whether or not you actually deal damage; a punch is unlikely to damage a Dragon, but your Burning Brand probably will. But if you fictionally stab the Dragon in the eyeball with your thumb, that'll probably deal a d8 as well.) | I think the answer to this question is pretty simply stated in the [Move](https://www.dungeonworldsrd.com/classes/immolator/#Burning_Brand):
>
> The weapon always begins with the fiery, touch, dangerous, and 3 uses tags.
>
>
>
So on a 6- the weapon still always begins with those tags. |
12,198 | In a horror themed campaign with a Lovecraftian feeling, a big part of the game is a constant feeling of threat, but without any visual stimuli other than glimpses, or sounds vaguely heard of things seething in darkness, and with investigation a big part of the game, contrary to fighting.
Having read *Heroes of Horror*, I am searching for ideas on how to actually motivate players to assume the role of investigator rather than executioner, and how to instil the horror of the unknown, of something that threatens but is not substantial, that cannot be seen or heard, but is there, and has malevolent intent.
I am thinking of D&D 3.5 as a system, but I am interested in answers that cover any system (Call of Cthulhu is unfortunately out of the question), more as role-playing and storytelling techniques rather than mechanical ones. | 2012/01/29 | [
"https://rpg.stackexchange.com/questions/12198",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/2895/"
] | The biggest ally in the bid to creep the players out is their own imagination. The biggest obstacle to that is your own. When running these types of campaigns, less is always more. It's just about finding out what 'less' should include.
1. Descriptions should hinge around one detail- the players' imaginations should do the rest. It's not about gore, nor about ultra-detailed descriptions, it's about triggering the players' mind to go overtime. Hint at the unknown rather than assaulting the player with it.
2. Engage all of the players' senses. In fact, engage other senses more than sight; reducing the applicability of sight to the description helps to engage the imagination, i.e the strange coppery smell, or the vision obscuring smoke that smells/tastes faintly of burning meat.
3. Building upon the details with small incremental revelations helps to lead the players' to where you want them to be. The realization that something is missing, or that something has been lost after an encounter with the unknown makes it that much more disturbing.
4. Repetition helps to inure the players to what you're doing- especially if that repetition is rhythmic or predictable. Even if not predictable, there is definitely a short shelf-life for when it will no longer be effective.
5. It is said that the best lies blend a kernel of the truth. It is also true that the best horror blends elements of the every day or of innocence. Take something that is safe and everyday/innocent and twist it for an effective factor of creepiness, i.e. the evil prophesy delivered in a child's singsong.
There are gimmicky techniques that can be blended with these to make them more effective, i.e. the soundtrack that comes on at an unexpected time, turning the lights down/off, sending notes to players in a way that others can see, but forbidding the player to talk about what's on the note... but these are just gimmicks and are not necessary to invoke that feeling of horror. Engaging the players' imagination is the key. | **Take their security blanket away**
A horror story usually starts with a build-up phase. As the PCs progressively discover their environment, give them small clues that won't lead to a fight, but hint at an ominous secret.
During this period, give the players reasons to feel safe. Maybe they have weapons. Maybe they escorted by a powerful authority figure. Or maybe the spaceship they're in has "failsafe" security measures.
Then, once the setting is established and the evil shows up, take the weapons away, have the players find the mentor's dismembered corpse after he said he'd "take care" of the crisis, and have the spaceship AI start counting down to a "critical meltdown".
**tl;dr:** give the players as many hints as you can that they're in danger and in over their heads, in a way that relies on minimalist narration instead of dice and numbers. |
12,198 | In a horror themed campaign with a Lovecraftian feeling, a big part of the game is a constant feeling of threat, but without any visual stimuli other than glimpses, or sounds vaguely heard of things seething in darkness, and with investigation a big part of the game, contrary to fighting.
Having read *Heroes of Horror*, I am searching for ideas on how to actually motivate players to assume the role of investigator rather than executioner, and how to instil the horror of the unknown, of something that threatens but is not substantial, that cannot be seen or heard, but is there, and has malevolent intent.
I am thinking of D&D 3.5 as a system, but I am interested in answers that cover any system (Call of Cthulhu is unfortunately out of the question), more as role-playing and storytelling techniques rather than mechanical ones. | 2012/01/29 | [
"https://rpg.stackexchange.com/questions/12198",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/2895/"
] | Horror often comes from feelings of **alienation**, **isolation** and **powerlessness**.
**Alienation** has to do with lack of knowledge, understanding and empathy. There should be no logic, no way to reach an understanding or compromise. How do you fight something you do not understand? How to you oppose something those goals are unfathomable but includes eating your brains? The more you understand it, the more you use magic (say), the less like normal people you are. First animals run away from you, then people start moving away from you. You fail to see emotions, you are losing yourself. All your NPCs speak in a bland and toneless tone... They are not really doing it: the PC just cannot tell the difference between joy and sadness, calm and anger, pleasure and pain. You are alone.
Thus **isolation** which has to do with lonelessness and lovelessness. You are isolated form those around you. No one trust you, nor can you trust them -- after all, they are going to eat you given the right time. More so, the easiest way to deal with this one is physical isolation. Fear is greater if you are alone rather than if there are hundreds of armoured troops with ranks and guns around you. The lone cabin in the woods is a better setting than a New York flat. Or is it? There are noises at the locked and barricaded door, but you know it's closed. IT cannot get in. You bring some light towards the door. The clawing stops, followed just by dripping sounds of wet viscous liquid pooling. The door is still locked. The claw marks on the inside. IT's in here, with you.
Which bring me neatly to **powerlessness**. Weapons are ineffective, it's too big, too strong, too fast, too oozing, too many tentacles. Spells are useless, all they do is attract more servants to it or worst, just power it up. That "bind" spell was a lie, all the minions that were fighting for you are now IT's minions. Kiss your arse goodbye. Time to flee. No matter what you do, you have no hope. No hope for yourself, no hope for mankind, no hope at all. Not even a quick (or a long and painful) death will release you.
As a final note, you as the referee, are the players interface to the world. You can mess with their perception of it as much as you like. Make the players not sure what they characters are seeing and you're going to combine a lot of powerlessness feeling due to isolation.
If you are truly evil, find out what the player (yes **player**) is afraid of and use that. Girl/boy friend, friends, siblings, may all help you there. However, be careful not to cross the line between fun scary and "Whoops, he just passed out better call 999". | One of the big keys of maintaining pressure is use of pacing and establishing a good baseline of tension and then amp up and ease off at the right points.
These videos are about video game storytelling, but can easily be applied to Table Top:
[Extra Credits: Pacing](http://penny-arcade.com/patv/episode/episode-07-pacing)
[Extra Credits: Where did the survival horror go?](http://penny-arcade.com/patv/episode/where-did-survival-horror-go) |
12,198 | In a horror themed campaign with a Lovecraftian feeling, a big part of the game is a constant feeling of threat, but without any visual stimuli other than glimpses, or sounds vaguely heard of things seething in darkness, and with investigation a big part of the game, contrary to fighting.
Having read *Heroes of Horror*, I am searching for ideas on how to actually motivate players to assume the role of investigator rather than executioner, and how to instil the horror of the unknown, of something that threatens but is not substantial, that cannot be seen or heard, but is there, and has malevolent intent.
I am thinking of D&D 3.5 as a system, but I am interested in answers that cover any system (Call of Cthulhu is unfortunately out of the question), more as role-playing and storytelling techniques rather than mechanical ones. | 2012/01/29 | [
"https://rpg.stackexchange.com/questions/12198",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/2895/"
] | The biggest ally in the bid to creep the players out is their own imagination. The biggest obstacle to that is your own. When running these types of campaigns, less is always more. It's just about finding out what 'less' should include.
1. Descriptions should hinge around one detail- the players' imaginations should do the rest. It's not about gore, nor about ultra-detailed descriptions, it's about triggering the players' mind to go overtime. Hint at the unknown rather than assaulting the player with it.
2. Engage all of the players' senses. In fact, engage other senses more than sight; reducing the applicability of sight to the description helps to engage the imagination, i.e the strange coppery smell, or the vision obscuring smoke that smells/tastes faintly of burning meat.
3. Building upon the details with small incremental revelations helps to lead the players' to where you want them to be. The realization that something is missing, or that something has been lost after an encounter with the unknown makes it that much more disturbing.
4. Repetition helps to inure the players to what you're doing- especially if that repetition is rhythmic or predictable. Even if not predictable, there is definitely a short shelf-life for when it will no longer be effective.
5. It is said that the best lies blend a kernel of the truth. It is also true that the best horror blends elements of the every day or of innocence. Take something that is safe and everyday/innocent and twist it for an effective factor of creepiness, i.e. the evil prophesy delivered in a child's singsong.
There are gimmicky techniques that can be blended with these to make them more effective, i.e. the soundtrack that comes on at an unexpected time, turning the lights down/off, sending notes to players in a way that others can see, but forbidding the player to talk about what's on the note... but these are just gimmicks and are not necessary to invoke that feeling of horror. Engaging the players' imagination is the key. | It's a horrifying feeling for PCs when they get to what they think is the end of the trail, the cause of all the distress and pain and suffering, the root of all evil, and then there's a small reveal that tells them they are just beginning to scratch the surface of something much more profound.
The demented, inbred freak held captive in a basement inside the old mansion can drive PCs insane, control them with its mind, and send its minions against them in waves. The triumph of finally overcoming this foul villain becomes something else entirely when its last words are, "Finally, I am released. Finally I am free of it. If only the rest were so fortunate!" The PCs now know this adventure, which taxed them mightily, is nothing but the prelude to a much bigger battle against a tremendously powerful enemy with resources beyond imagining.
After bashing their heads against the minions of this unseen force, the PCs will start to realize the only way they have even a sliver of hope of surviving is to stop attacking its limbs, its proxies, and start trying to find its heart and its head. Once they're in that mode, it's easier to start introducing more bits of paranoia, because they'll be trying to fit the pieces together. Pretty soon everything will start to look to them like it's part of a bigger pattern. |
12,198 | In a horror themed campaign with a Lovecraftian feeling, a big part of the game is a constant feeling of threat, but without any visual stimuli other than glimpses, or sounds vaguely heard of things seething in darkness, and with investigation a big part of the game, contrary to fighting.
Having read *Heroes of Horror*, I am searching for ideas on how to actually motivate players to assume the role of investigator rather than executioner, and how to instil the horror of the unknown, of something that threatens but is not substantial, that cannot be seen or heard, but is there, and has malevolent intent.
I am thinking of D&D 3.5 as a system, but I am interested in answers that cover any system (Call of Cthulhu is unfortunately out of the question), more as role-playing and storytelling techniques rather than mechanical ones. | 2012/01/29 | [
"https://rpg.stackexchange.com/questions/12198",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/2895/"
] | **Cthonic entities always have a bigger hammer**
The essence of a D&D game nominally goes: "Kill things to get loot to kill things to get better loot to get levels to kill things." Part of this philosophy is that the heroes will be going up against things that they have a chance of killing.
Remember the ancient quote: "Cthulhu, driving 1d4 investigators per round insane." In a horror game, the enemy has an overwhelmingly bigger hammer. Direct confrontation, even in the most epic fights, will lead to player death and high odds of a total party kill. Make it quite clear to your players that you won't be pulling punches.
The second thing to do is to play in "Theatre of the Mind" (taken from Monte Cook talking about D&D Next of all things). Battlemaps give concrete control of the world over to an objective reality. While this is good for tactical games, giving players this kind of knowledge gives them the impression that they'll be able to succeed in a combat. If you play mostly in theatre of the mind, you'll be far better off when combat does happen.
For that matter: never ever describe the ultimate BBEGs. The unknown is always scarier than the known. Players should engage with its cultists and hints of the BBEG, rather than the thing itself. (Contrast: Lovecraft with Ringo's Princess of Wands.)
By making it clear that the players need to engage guile and subtlety because they lack a bigger hammer and by letting most of the game be imagination-driven (have props if you want, mind. A nice leatherbound tome is a fantastic player-trap. Anyone who is silly enough to read the book has his character driven insane.
Hints, allusion, and cowering like roaches against unknown entities who may accidentally step on them. Your players are roaches who are unable to understand the sentences acting for their own ends. Players can strike against their cultists, not the entities themselves. At the same time, make it clear that the players can be hugely effective against the cultists... if only they know where to strike. Combats are easy, finding the targets is hard.
The threat is simple. Unfortunate coincidences are the act of conspiracy. Cultists love conspiracies and are working to achieve their own ends. When their objectives intersect the players, the players may suspect that there are ulterior motives at work. Otherwise... well, stuff just keeps getting worse as the cults get closer to their win state: "May I be eaten first" | Horror often comes from feelings of **alienation**, **isolation** and **powerlessness**.
**Alienation** has to do with lack of knowledge, understanding and empathy. There should be no logic, no way to reach an understanding or compromise. How do you fight something you do not understand? How to you oppose something those goals are unfathomable but includes eating your brains? The more you understand it, the more you use magic (say), the less like normal people you are. First animals run away from you, then people start moving away from you. You fail to see emotions, you are losing yourself. All your NPCs speak in a bland and toneless tone... They are not really doing it: the PC just cannot tell the difference between joy and sadness, calm and anger, pleasure and pain. You are alone.
Thus **isolation** which has to do with lonelessness and lovelessness. You are isolated form those around you. No one trust you, nor can you trust them -- after all, they are going to eat you given the right time. More so, the easiest way to deal with this one is physical isolation. Fear is greater if you are alone rather than if there are hundreds of armoured troops with ranks and guns around you. The lone cabin in the woods is a better setting than a New York flat. Or is it? There are noises at the locked and barricaded door, but you know it's closed. IT cannot get in. You bring some light towards the door. The clawing stops, followed just by dripping sounds of wet viscous liquid pooling. The door is still locked. The claw marks on the inside. IT's in here, with you.
Which bring me neatly to **powerlessness**. Weapons are ineffective, it's too big, too strong, too fast, too oozing, too many tentacles. Spells are useless, all they do is attract more servants to it or worst, just power it up. That "bind" spell was a lie, all the minions that were fighting for you are now IT's minions. Kiss your arse goodbye. Time to flee. No matter what you do, you have no hope. No hope for yourself, no hope for mankind, no hope at all. Not even a quick (or a long and painful) death will release you.
As a final note, you as the referee, are the players interface to the world. You can mess with their perception of it as much as you like. Make the players not sure what they characters are seeing and you're going to combine a lot of powerlessness feeling due to isolation.
If you are truly evil, find out what the player (yes **player**) is afraid of and use that. Girl/boy friend, friends, siblings, may all help you there. However, be careful not to cross the line between fun scary and "Whoops, he just passed out better call 999". |
12,198 | In a horror themed campaign with a Lovecraftian feeling, a big part of the game is a constant feeling of threat, but without any visual stimuli other than glimpses, or sounds vaguely heard of things seething in darkness, and with investigation a big part of the game, contrary to fighting.
Having read *Heroes of Horror*, I am searching for ideas on how to actually motivate players to assume the role of investigator rather than executioner, and how to instil the horror of the unknown, of something that threatens but is not substantial, that cannot be seen or heard, but is there, and has malevolent intent.
I am thinking of D&D 3.5 as a system, but I am interested in answers that cover any system (Call of Cthulhu is unfortunately out of the question), more as role-playing and storytelling techniques rather than mechanical ones. | 2012/01/29 | [
"https://rpg.stackexchange.com/questions/12198",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/2895/"
] | **Cthonic entities always have a bigger hammer**
The essence of a D&D game nominally goes: "Kill things to get loot to kill things to get better loot to get levels to kill things." Part of this philosophy is that the heroes will be going up against things that they have a chance of killing.
Remember the ancient quote: "Cthulhu, driving 1d4 investigators per round insane." In a horror game, the enemy has an overwhelmingly bigger hammer. Direct confrontation, even in the most epic fights, will lead to player death and high odds of a total party kill. Make it quite clear to your players that you won't be pulling punches.
The second thing to do is to play in "Theatre of the Mind" (taken from Monte Cook talking about D&D Next of all things). Battlemaps give concrete control of the world over to an objective reality. While this is good for tactical games, giving players this kind of knowledge gives them the impression that they'll be able to succeed in a combat. If you play mostly in theatre of the mind, you'll be far better off when combat does happen.
For that matter: never ever describe the ultimate BBEGs. The unknown is always scarier than the known. Players should engage with its cultists and hints of the BBEG, rather than the thing itself. (Contrast: Lovecraft with Ringo's Princess of Wands.)
By making it clear that the players need to engage guile and subtlety because they lack a bigger hammer and by letting most of the game be imagination-driven (have props if you want, mind. A nice leatherbound tome is a fantastic player-trap. Anyone who is silly enough to read the book has his character driven insane.
Hints, allusion, and cowering like roaches against unknown entities who may accidentally step on them. Your players are roaches who are unable to understand the sentences acting for their own ends. Players can strike against their cultists, not the entities themselves. At the same time, make it clear that the players can be hugely effective against the cultists... if only they know where to strike. Combats are easy, finding the targets is hard.
The threat is simple. Unfortunate coincidences are the act of conspiracy. Cultists love conspiracies and are working to achieve their own ends. When their objectives intersect the players, the players may suspect that there are ulterior motives at work. Otherwise... well, stuff just keeps getting worse as the cults get closer to their win state: "May I be eaten first" | It's a horrifying feeling for PCs when they get to what they think is the end of the trail, the cause of all the distress and pain and suffering, the root of all evil, and then there's a small reveal that tells them they are just beginning to scratch the surface of something much more profound.
The demented, inbred freak held captive in a basement inside the old mansion can drive PCs insane, control them with its mind, and send its minions against them in waves. The triumph of finally overcoming this foul villain becomes something else entirely when its last words are, "Finally, I am released. Finally I am free of it. If only the rest were so fortunate!" The PCs now know this adventure, which taxed them mightily, is nothing but the prelude to a much bigger battle against a tremendously powerful enemy with resources beyond imagining.
After bashing their heads against the minions of this unseen force, the PCs will start to realize the only way they have even a sliver of hope of surviving is to stop attacking its limbs, its proxies, and start trying to find its heart and its head. Once they're in that mode, it's easier to start introducing more bits of paranoia, because they'll be trying to fit the pieces together. Pretty soon everything will start to look to them like it's part of a bigger pattern. |
12,198 | In a horror themed campaign with a Lovecraftian feeling, a big part of the game is a constant feeling of threat, but without any visual stimuli other than glimpses, or sounds vaguely heard of things seething in darkness, and with investigation a big part of the game, contrary to fighting.
Having read *Heroes of Horror*, I am searching for ideas on how to actually motivate players to assume the role of investigator rather than executioner, and how to instil the horror of the unknown, of something that threatens but is not substantial, that cannot be seen or heard, but is there, and has malevolent intent.
I am thinking of D&D 3.5 as a system, but I am interested in answers that cover any system (Call of Cthulhu is unfortunately out of the question), more as role-playing and storytelling techniques rather than mechanical ones. | 2012/01/29 | [
"https://rpg.stackexchange.com/questions/12198",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/2895/"
] | **Cthonic entities always have a bigger hammer**
The essence of a D&D game nominally goes: "Kill things to get loot to kill things to get better loot to get levels to kill things." Part of this philosophy is that the heroes will be going up against things that they have a chance of killing.
Remember the ancient quote: "Cthulhu, driving 1d4 investigators per round insane." In a horror game, the enemy has an overwhelmingly bigger hammer. Direct confrontation, even in the most epic fights, will lead to player death and high odds of a total party kill. Make it quite clear to your players that you won't be pulling punches.
The second thing to do is to play in "Theatre of the Mind" (taken from Monte Cook talking about D&D Next of all things). Battlemaps give concrete control of the world over to an objective reality. While this is good for tactical games, giving players this kind of knowledge gives them the impression that they'll be able to succeed in a combat. If you play mostly in theatre of the mind, you'll be far better off when combat does happen.
For that matter: never ever describe the ultimate BBEGs. The unknown is always scarier than the known. Players should engage with its cultists and hints of the BBEG, rather than the thing itself. (Contrast: Lovecraft with Ringo's Princess of Wands.)
By making it clear that the players need to engage guile and subtlety because they lack a bigger hammer and by letting most of the game be imagination-driven (have props if you want, mind. A nice leatherbound tome is a fantastic player-trap. Anyone who is silly enough to read the book has his character driven insane.
Hints, allusion, and cowering like roaches against unknown entities who may accidentally step on them. Your players are roaches who are unable to understand the sentences acting for their own ends. Players can strike against their cultists, not the entities themselves. At the same time, make it clear that the players can be hugely effective against the cultists... if only they know where to strike. Combats are easy, finding the targets is hard.
The threat is simple. Unfortunate coincidences are the act of conspiracy. Cultists love conspiracies and are working to achieve their own ends. When their objectives intersect the players, the players may suspect that there are ulterior motives at work. Otherwise... well, stuff just keeps getting worse as the cults get closer to their win state: "May I be eaten first" | **Take their security blanket away**
A horror story usually starts with a build-up phase. As the PCs progressively discover their environment, give them small clues that won't lead to a fight, but hint at an ominous secret.
During this period, give the players reasons to feel safe. Maybe they have weapons. Maybe they escorted by a powerful authority figure. Or maybe the spaceship they're in has "failsafe" security measures.
Then, once the setting is established and the evil shows up, take the weapons away, have the players find the mentor's dismembered corpse after he said he'd "take care" of the crisis, and have the spaceship AI start counting down to a "critical meltdown".
**tl;dr:** give the players as many hints as you can that they're in danger and in over their heads, in a way that relies on minimalist narration instead of dice and numbers. |
12,198 | In a horror themed campaign with a Lovecraftian feeling, a big part of the game is a constant feeling of threat, but without any visual stimuli other than glimpses, or sounds vaguely heard of things seething in darkness, and with investigation a big part of the game, contrary to fighting.
Having read *Heroes of Horror*, I am searching for ideas on how to actually motivate players to assume the role of investigator rather than executioner, and how to instil the horror of the unknown, of something that threatens but is not substantial, that cannot be seen or heard, but is there, and has malevolent intent.
I am thinking of D&D 3.5 as a system, but I am interested in answers that cover any system (Call of Cthulhu is unfortunately out of the question), more as role-playing and storytelling techniques rather than mechanical ones. | 2012/01/29 | [
"https://rpg.stackexchange.com/questions/12198",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/2895/"
] | The biggest ally in the bid to creep the players out is their own imagination. The biggest obstacle to that is your own. When running these types of campaigns, less is always more. It's just about finding out what 'less' should include.
1. Descriptions should hinge around one detail- the players' imaginations should do the rest. It's not about gore, nor about ultra-detailed descriptions, it's about triggering the players' mind to go overtime. Hint at the unknown rather than assaulting the player with it.
2. Engage all of the players' senses. In fact, engage other senses more than sight; reducing the applicability of sight to the description helps to engage the imagination, i.e the strange coppery smell, or the vision obscuring smoke that smells/tastes faintly of burning meat.
3. Building upon the details with small incremental revelations helps to lead the players' to where you want them to be. The realization that something is missing, or that something has been lost after an encounter with the unknown makes it that much more disturbing.
4. Repetition helps to inure the players to what you're doing- especially if that repetition is rhythmic or predictable. Even if not predictable, there is definitely a short shelf-life for when it will no longer be effective.
5. It is said that the best lies blend a kernel of the truth. It is also true that the best horror blends elements of the every day or of innocence. Take something that is safe and everyday/innocent and twist it for an effective factor of creepiness, i.e. the evil prophesy delivered in a child's singsong.
There are gimmicky techniques that can be blended with these to make them more effective, i.e. the soundtrack that comes on at an unexpected time, turning the lights down/off, sending notes to players in a way that others can see, but forbidding the player to talk about what's on the note... but these are just gimmicks and are not necessary to invoke that feeling of horror. Engaging the players' imagination is the key. | Horror often comes from feelings of **alienation**, **isolation** and **powerlessness**.
**Alienation** has to do with lack of knowledge, understanding and empathy. There should be no logic, no way to reach an understanding or compromise. How do you fight something you do not understand? How to you oppose something those goals are unfathomable but includes eating your brains? The more you understand it, the more you use magic (say), the less like normal people you are. First animals run away from you, then people start moving away from you. You fail to see emotions, you are losing yourself. All your NPCs speak in a bland and toneless tone... They are not really doing it: the PC just cannot tell the difference between joy and sadness, calm and anger, pleasure and pain. You are alone.
Thus **isolation** which has to do with lonelessness and lovelessness. You are isolated form those around you. No one trust you, nor can you trust them -- after all, they are going to eat you given the right time. More so, the easiest way to deal with this one is physical isolation. Fear is greater if you are alone rather than if there are hundreds of armoured troops with ranks and guns around you. The lone cabin in the woods is a better setting than a New York flat. Or is it? There are noises at the locked and barricaded door, but you know it's closed. IT cannot get in. You bring some light towards the door. The clawing stops, followed just by dripping sounds of wet viscous liquid pooling. The door is still locked. The claw marks on the inside. IT's in here, with you.
Which bring me neatly to **powerlessness**. Weapons are ineffective, it's too big, too strong, too fast, too oozing, too many tentacles. Spells are useless, all they do is attract more servants to it or worst, just power it up. That "bind" spell was a lie, all the minions that were fighting for you are now IT's minions. Kiss your arse goodbye. Time to flee. No matter what you do, you have no hope. No hope for yourself, no hope for mankind, no hope at all. Not even a quick (or a long and painful) death will release you.
As a final note, you as the referee, are the players interface to the world. You can mess with their perception of it as much as you like. Make the players not sure what they characters are seeing and you're going to combine a lot of powerlessness feeling due to isolation.
If you are truly evil, find out what the player (yes **player**) is afraid of and use that. Girl/boy friend, friends, siblings, may all help you there. However, be careful not to cross the line between fun scary and "Whoops, he just passed out better call 999". |
12,198 | In a horror themed campaign with a Lovecraftian feeling, a big part of the game is a constant feeling of threat, but without any visual stimuli other than glimpses, or sounds vaguely heard of things seething in darkness, and with investigation a big part of the game, contrary to fighting.
Having read *Heroes of Horror*, I am searching for ideas on how to actually motivate players to assume the role of investigator rather than executioner, and how to instil the horror of the unknown, of something that threatens but is not substantial, that cannot be seen or heard, but is there, and has malevolent intent.
I am thinking of D&D 3.5 as a system, but I am interested in answers that cover any system (Call of Cthulhu is unfortunately out of the question), more as role-playing and storytelling techniques rather than mechanical ones. | 2012/01/29 | [
"https://rpg.stackexchange.com/questions/12198",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/2895/"
] | It's a horrifying feeling for PCs when they get to what they think is the end of the trail, the cause of all the distress and pain and suffering, the root of all evil, and then there's a small reveal that tells them they are just beginning to scratch the surface of something much more profound.
The demented, inbred freak held captive in a basement inside the old mansion can drive PCs insane, control them with its mind, and send its minions against them in waves. The triumph of finally overcoming this foul villain becomes something else entirely when its last words are, "Finally, I am released. Finally I am free of it. If only the rest were so fortunate!" The PCs now know this adventure, which taxed them mightily, is nothing but the prelude to a much bigger battle against a tremendously powerful enemy with resources beyond imagining.
After bashing their heads against the minions of this unseen force, the PCs will start to realize the only way they have even a sliver of hope of surviving is to stop attacking its limbs, its proxies, and start trying to find its heart and its head. Once they're in that mode, it's easier to start introducing more bits of paranoia, because they'll be trying to fit the pieces together. Pretty soon everything will start to look to them like it's part of a bigger pattern. | One of the big keys of maintaining pressure is use of pacing and establishing a good baseline of tension and then amp up and ease off at the right points.
These videos are about video game storytelling, but can easily be applied to Table Top:
[Extra Credits: Pacing](http://penny-arcade.com/patv/episode/episode-07-pacing)
[Extra Credits: Where did the survival horror go?](http://penny-arcade.com/patv/episode/where-did-survival-horror-go) |
12,198 | In a horror themed campaign with a Lovecraftian feeling, a big part of the game is a constant feeling of threat, but without any visual stimuli other than glimpses, or sounds vaguely heard of things seething in darkness, and with investigation a big part of the game, contrary to fighting.
Having read *Heroes of Horror*, I am searching for ideas on how to actually motivate players to assume the role of investigator rather than executioner, and how to instil the horror of the unknown, of something that threatens but is not substantial, that cannot be seen or heard, but is there, and has malevolent intent.
I am thinking of D&D 3.5 as a system, but I am interested in answers that cover any system (Call of Cthulhu is unfortunately out of the question), more as role-playing and storytelling techniques rather than mechanical ones. | 2012/01/29 | [
"https://rpg.stackexchange.com/questions/12198",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/2895/"
] | The biggest ally in the bid to creep the players out is their own imagination. The biggest obstacle to that is your own. When running these types of campaigns, less is always more. It's just about finding out what 'less' should include.
1. Descriptions should hinge around one detail- the players' imaginations should do the rest. It's not about gore, nor about ultra-detailed descriptions, it's about triggering the players' mind to go overtime. Hint at the unknown rather than assaulting the player with it.
2. Engage all of the players' senses. In fact, engage other senses more than sight; reducing the applicability of sight to the description helps to engage the imagination, i.e the strange coppery smell, or the vision obscuring smoke that smells/tastes faintly of burning meat.
3. Building upon the details with small incremental revelations helps to lead the players' to where you want them to be. The realization that something is missing, or that something has been lost after an encounter with the unknown makes it that much more disturbing.
4. Repetition helps to inure the players to what you're doing- especially if that repetition is rhythmic or predictable. Even if not predictable, there is definitely a short shelf-life for when it will no longer be effective.
5. It is said that the best lies blend a kernel of the truth. It is also true that the best horror blends elements of the every day or of innocence. Take something that is safe and everyday/innocent and twist it for an effective factor of creepiness, i.e. the evil prophesy delivered in a child's singsong.
There are gimmicky techniques that can be blended with these to make them more effective, i.e. the soundtrack that comes on at an unexpected time, turning the lights down/off, sending notes to players in a way that others can see, but forbidding the player to talk about what's on the note... but these are just gimmicks and are not necessary to invoke that feeling of horror. Engaging the players' imagination is the key. | **Cthonic entities always have a bigger hammer**
The essence of a D&D game nominally goes: "Kill things to get loot to kill things to get better loot to get levels to kill things." Part of this philosophy is that the heroes will be going up against things that they have a chance of killing.
Remember the ancient quote: "Cthulhu, driving 1d4 investigators per round insane." In a horror game, the enemy has an overwhelmingly bigger hammer. Direct confrontation, even in the most epic fights, will lead to player death and high odds of a total party kill. Make it quite clear to your players that you won't be pulling punches.
The second thing to do is to play in "Theatre of the Mind" (taken from Monte Cook talking about D&D Next of all things). Battlemaps give concrete control of the world over to an objective reality. While this is good for tactical games, giving players this kind of knowledge gives them the impression that they'll be able to succeed in a combat. If you play mostly in theatre of the mind, you'll be far better off when combat does happen.
For that matter: never ever describe the ultimate BBEGs. The unknown is always scarier than the known. Players should engage with its cultists and hints of the BBEG, rather than the thing itself. (Contrast: Lovecraft with Ringo's Princess of Wands.)
By making it clear that the players need to engage guile and subtlety because they lack a bigger hammer and by letting most of the game be imagination-driven (have props if you want, mind. A nice leatherbound tome is a fantastic player-trap. Anyone who is silly enough to read the book has his character driven insane.
Hints, allusion, and cowering like roaches against unknown entities who may accidentally step on them. Your players are roaches who are unable to understand the sentences acting for their own ends. Players can strike against their cultists, not the entities themselves. At the same time, make it clear that the players can be hugely effective against the cultists... if only they know where to strike. Combats are easy, finding the targets is hard.
The threat is simple. Unfortunate coincidences are the act of conspiracy. Cultists love conspiracies and are working to achieve their own ends. When their objectives intersect the players, the players may suspect that there are ulterior motives at work. Otherwise... well, stuff just keeps getting worse as the cults get closer to their win state: "May I be eaten first" |
12,198 | In a horror themed campaign with a Lovecraftian feeling, a big part of the game is a constant feeling of threat, but without any visual stimuli other than glimpses, or sounds vaguely heard of things seething in darkness, and with investigation a big part of the game, contrary to fighting.
Having read *Heroes of Horror*, I am searching for ideas on how to actually motivate players to assume the role of investigator rather than executioner, and how to instil the horror of the unknown, of something that threatens but is not substantial, that cannot be seen or heard, but is there, and has malevolent intent.
I am thinking of D&D 3.5 as a system, but I am interested in answers that cover any system (Call of Cthulhu is unfortunately out of the question), more as role-playing and storytelling techniques rather than mechanical ones. | 2012/01/29 | [
"https://rpg.stackexchange.com/questions/12198",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/2895/"
] | **Cthonic entities always have a bigger hammer**
The essence of a D&D game nominally goes: "Kill things to get loot to kill things to get better loot to get levels to kill things." Part of this philosophy is that the heroes will be going up against things that they have a chance of killing.
Remember the ancient quote: "Cthulhu, driving 1d4 investigators per round insane." In a horror game, the enemy has an overwhelmingly bigger hammer. Direct confrontation, even in the most epic fights, will lead to player death and high odds of a total party kill. Make it quite clear to your players that you won't be pulling punches.
The second thing to do is to play in "Theatre of the Mind" (taken from Monte Cook talking about D&D Next of all things). Battlemaps give concrete control of the world over to an objective reality. While this is good for tactical games, giving players this kind of knowledge gives them the impression that they'll be able to succeed in a combat. If you play mostly in theatre of the mind, you'll be far better off when combat does happen.
For that matter: never ever describe the ultimate BBEGs. The unknown is always scarier than the known. Players should engage with its cultists and hints of the BBEG, rather than the thing itself. (Contrast: Lovecraft with Ringo's Princess of Wands.)
By making it clear that the players need to engage guile and subtlety because they lack a bigger hammer and by letting most of the game be imagination-driven (have props if you want, mind. A nice leatherbound tome is a fantastic player-trap. Anyone who is silly enough to read the book has his character driven insane.
Hints, allusion, and cowering like roaches against unknown entities who may accidentally step on them. Your players are roaches who are unable to understand the sentences acting for their own ends. Players can strike against their cultists, not the entities themselves. At the same time, make it clear that the players can be hugely effective against the cultists... if only they know where to strike. Combats are easy, finding the targets is hard.
The threat is simple. Unfortunate coincidences are the act of conspiracy. Cultists love conspiracies and are working to achieve their own ends. When their objectives intersect the players, the players may suspect that there are ulterior motives at work. Otherwise... well, stuff just keeps getting worse as the cults get closer to their win state: "May I be eaten first" | One of the big keys of maintaining pressure is use of pacing and establishing a good baseline of tension and then amp up and ease off at the right points.
These videos are about video game storytelling, but can easily be applied to Table Top:
[Extra Credits: Pacing](http://penny-arcade.com/patv/episode/episode-07-pacing)
[Extra Credits: Where did the survival horror go?](http://penny-arcade.com/patv/episode/where-did-survival-horror-go) |
16,836,385 | Hi i have stored some files(pdf, html,doc) in alfresco cms, my requirement is to classify these files using metadata "content-type" filed in the alfresco cms, is it possible to do it by using only alfrensco or do i need to integrate any other crawlers(tika, nutch, lucene) with alfresco to get it. please suggest me a way to do it | 2013/05/30 | [
"https://Stackoverflow.com/questions/16836385",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/2319457/"
] | Hi This is a simple Rule to move an HTML file to another folder.
If you need more flexibility and just 1 rule instead of a rule for each type, you'll need to write some JavaScript and check on the mime-type field.
 | The "content-type" metadata are based on the extension of filename put in Alfresco (.pdf, .doc). Files with un-recognized extensions have no valid content-type.
You can simply use "Rules" in Alfresco to organize your files. |
172,724 | I've been playing the Dawnguard dlc and I'm at the quest Toucking the Sky (Dawnguard side), and Serana is following me around in addition to my other follower (Cicero). If I complete the quest line, will she continue to follow me around or will I only have Cicero? | 2014/06/15 | [
"https://gaming.stackexchange.com/questions/172724",
"https://gaming.stackexchange.com",
"https://gaming.stackexchange.com/users/52570/"
] | From what it looks like from [the USEP Wiki](http://www.uesp.net/wiki/Skyrim:Serana), she stops following you after the main questline. However it looks like you can enlist her to follow you again at a later point. From the wiki:
>
> Her main location during gameplay depends on which faction you ally yourself with—if siding with the Dawnguard, she can be found at Fort Dawnguard; if siding with the Volkihar vampires, she can be found at Volkihar Keep. After completing the Dawnguard main questline, she can normally be found at these same two locations, although you will occasionally randomly encounter her in the wilds of Skyrim, where she can be recruited to follow you again.
>
>
> | She will become a normal follower. You can part ways and enlist her again. |
172,724 | I've been playing the Dawnguard dlc and I'm at the quest Toucking the Sky (Dawnguard side), and Serana is following me around in addition to my other follower (Cicero). If I complete the quest line, will she continue to follow me around or will I only have Cicero? | 2014/06/15 | [
"https://gaming.stackexchange.com/questions/172724",
"https://gaming.stackexchange.com",
"https://gaming.stackexchange.com/users/52570/"
] | From what it looks like from [the USEP Wiki](http://www.uesp.net/wiki/Skyrim:Serana), she stops following you after the main questline. However it looks like you can enlist her to follow you again at a later point. From the wiki:
>
> Her main location during gameplay depends on which faction you ally yourself with—if siding with the Dawnguard, she can be found at Fort Dawnguard; if siding with the Volkihar vampires, she can be found at Volkihar Keep. After completing the Dawnguard main questline, she can normally be found at these same two locations, although you will occasionally randomly encounter her in the wilds of Skyrim, where she can be recruited to follow you again.
>
>
> | Serana is a little buggy as a follower. This can be used to your advantage, however, if you would like more than one NPC follower.
There are points during the Dawnguard quest line where she stops following you, and others where she starts following again. If you pick up another follower while she isn't following, you can keep them when she starts following again. You can have Serana continue to follow you once the quest line is over, and you will have 2 followers. You can even dismiss the second follower and pick up another instead while Serana continues to follow. Just never dismiss Serana and you can do this.
Probably the best point to do this is after you have defeated Arch Curate Vyrthur and before talking to Knight Paladin Gelebor so you can be given Auriel's Bow. During this brief window, Serana will stop following you. You can fast travel away and pick up someone else(Lydia and J'Zargo are just two examples) and take them with you back to the Forgotten Vale. After you talk to Gelebor, Serana will start following again but you'll retain the services of whoever you traveled away to get.
If you dismiss Serana after the Dawnguard quest line is over, you may run into a bug where you can never have her as a follower again in the same play through.
I have personally had Serana and another follower(mainly my wife Lydia) following me simultaneously for a while after the DG quest line on a few occasions, but Serana's penchant for necromancy and careless use of chain lightning have caused fights between the two(easily fixed with a dual cast of Pacify from a dragonborn with 100 illusion skill and most of the perks).
Serana can make for an interesting follower, but I find that the pros of such an arrangement are generally outweighed by the cons. Usually I don't need a follower because of highly perked weapon skills with well tempered(and enchanted) weapons and armor in addition to heaps of stamina, a combo of Extra Pockets and the Steed Stone, and a number of powerful custom fortify carry weight enchants I can switch to when I start running kind of heavy( mostly happens when going through a dwemer ruin or nordic ruin). |
37,683 | >
> KJV Rom 10:4 For Christ is the end of the law for righteousness to every one that believeth.
>
>
>
Is this scripture in regards to righteousness? Is this speaking of Christ as the limit, end or total perfection?
>
> End is G5056
>
>
> Original: τέλος
> Transliteration: telos
> Phonetic: tel'-os
> Thayer Definition:
> end
> termination, the limit at which a thing ceases to be (always of the end of some act or state, but not of the end of a period of time)
> the end
> the last in any succession or series
> eternal
> that by which a thing is finished, its close, issue
> the end to which all things relate, the aim, purpose
> toll, custom (i.e. indirect tax on goods)
> Origin: from a primary tello (to set out for a definite point or goal)
> TDNT entry: 08:49,1
> Part(s) of speech: Noun Neuter
> Strong's Definition: From a primary word τέλλω tellō (to set out for a definite point or goal); properly the point aimed at as a limit,
>
>
> | 2018/12/19 | [
"https://hermeneutics.stackexchange.com/questions/37683",
"https://hermeneutics.stackexchange.com",
"https://hermeneutics.stackexchange.com/users/27584/"
] | In light of the race imagery encountered in Romans 9:30–33,1 it is likely that the apostle Paul uses τέλος in Romans 10:4 in the sense of the finish line and/or prize in a race.2
[](https://i.stack.imgur.com/mvSbX.png)
In the race, the Israelites ran after (διώκω)3 the goal or prize: righteousness (δικαιοσύνη). The Gentiles are those who neither willed nor ran.4 Despite this, the Gentiles attained (καταλαμβάνω)5 the prize: righteousness.
The apostle Paul explains that the Israelites ran after the prize (righteousness) by doing the works of the Law.6 By doing so, they tried to obtain their own righteousness.7 Since the righteousness of the Law demands perfect obedience, the Israelites did not attain the prize.
On the other hand, the Gentiles believed in Jesus Christ, the righteous one,8 and by doing so, they attained the prize of righteousness—“the righteousness of God which is by the faith of Jesus Christ to all and upon all those who believe.”9
Douglas J. Moo wrote,10
>
> Perhaps the best way to answer this question is to go back to the race imagery that Paul has been using in this context. We might picture the law as the race itself. Christ is the finish line. As Israel runs the race of the law, they should always, of course, have their eyes fixed on the finish line. Instead, Paul has been suggesting, Israel concentrated so exclusively on the race that they forgot about the finish line. With the coming of Christ, that finish line has been reached, but Israel does not recognize it.
>
>
>
In Romans 10:4, it is written,
>
> 4 For the **finish line and prize** of the Law is Christ for righteousness to all who believe.
>
>
> Δʹ **τέλος** γὰρ νόμου Χριστὸς εἰς δικαιοσύνην παντὶ τῷ πιστεύοντι. NA28, ©2012
>
>
>
For those who do not believe (i.e., have faith) in Christ, he is to them a stumbling-block which prevents them from finishing the race and attaining the prize of righteousness, the righteousness from faith.
---
### Footnotes
1 LSJ, p. 1773, τέλος, III., 2., b.
2 On the race imagery, see Schreiner, p. [121](https://books.google.com/books?id=f6UoDAAAQBAJ&pg=PG121#v=onepage&f=true):
>
> “Racing imagery is employed in Romans 9:30–33.”
>
>
>
Meyer, p. [391](https://books.google.com/books?id=N_s2AAAAMAAJ&pg=PG391#v=onepage&q&f=true):
>
> On the figurative διώκειν, borrowed from the running for the prize in the racecourse, as also on the correlate καταλαμβάνειν, comp. Philippians 3:12-14; 1 Corinthians 9:24; 1 Timothy 6:11-12; Sirach 11:10; Sirach 27:8.
>
>
>
3 BDAG, p. 254, διώκω, 1.
>
> to move rapidly and decisively toward an objective, hasten, run, press on (Il. 23, 344; Aeschyl., Sept. 91; X., An. 6, 5, 25; Hg 1:9; Is 13:14; Philo, Virt. 30 διώκουσι καὶ ἐπιτρέχουσιν) κατὰ σκοπόν toward the goal Phil 3:14; cp. vs. 12 (on the combination w. καταλαμβάνω cp. Hdt. 9, 58, 4; Lucian, Herm. 77; Sir 11:10; La 1:3 v.l.).
>
>
>
4 Rom. 9:16
5 BDAG, p. 519, 1.
>
> to make someth. one’s own, win, attain...abs. of the winning of a prize 1 Cor 9:24.
>
>
>
>
6 Rom. 9:32
7 Rom. 10:3
8 Acts 7:52
9 Rom. 3:22
10 Moo, p. 215
### References
Liddell, Henry George; Scott, Robert; et al. *A Greek-English Lexicon.* 9th ed. Oxford: Clarendon, 1940.
Meyer, Heinrich August Wilhelm. [*Critical and Exegetical Handbook to the Epistle to the Romans.*](https://books.google.com/books?id=N_s2AAAAMAAJ) Trans. Moore, John C.; Johnson, Edwin. Ed. Dickson, William P. New York: Funk, 1884.
Moo, Douglas J. [*Encountering the Book of Romans: A Theological Survey.*](https://books.google.com/books?id=9cDGAwAAQBAJ) 2nd ed. Ada: Baker Academic, 2014.
Schreiner, Thomas R. [*Paul, Apostle of God’s Glory in Christ: A Pauline Theology.*](https://books.google.com/books?id=f6UoDAAAQBAJ) Downers Grove: InterVarsity Press, 2001. | The end result; the end point or reason for; the culmination of. Our faith in Christ results in righteousness, and is the only way we stand righteous before our Father in heaven.
Dan. 9:24, "...to bring in everlasting righteousness,...." (KJV)
was referring to the reason for Christ's sacrifice for our sins.
Excerpt from Barnes' Notes on Rom. 10:4:
>
> "Is the end of the law - The word translated "end" means what completes a thing, or renders it perfect; also the boundary, issue, or termination of anything, as the end of life, the result of a prophecy, etc.; John 13:1; Luke 22:37. It also means the design or object which is had in view; the principal purpose for which it was undertaken; 1 Timothy 1:5," The end of the commandment is charity;" the main design or purpose of the command is to produce love; 1 Peter 1:9, "The end of your faith, the salvation of your souls;" the main design or purpose of faith is to secure salvation; Romans 14:9, "To this end Christ both died," etc. For this design or purpose. This is doubtless its meaning here. "The main design or object which the perfect obedience of the Law would accomplish, is accomplished by faith in Christ." That is, perfect obedience to the Law would accomplish justification before God, secure his favor and eternal life. The same end is now accomplished by faith in Christ. The great design of both is the same; and the same great end is finally gained. This was the subject of discussion between the apostle and the Jews; and this is all that is necessary to understand in the case. Some have supposed that the word "end" refers to the ceremonial law; that Christ fulfilled it, and brought it to an end. Others, that he perfectly fulfilled the moral law. And others, that the Law in the end leads us to Christ, or that its design is to point us to him. All this is true, but not the truth taught in this passage. That is simple and plain, that by faith in Christ the same end is accomplished in regard to our justification, that would be by perfect obedience to the moral law." Source: [Biblehub](https://biblehub.com/commentaries/romans/10-4.htm)
>
>
> |
37,683 | >
> KJV Rom 10:4 For Christ is the end of the law for righteousness to every one that believeth.
>
>
>
Is this scripture in regards to righteousness? Is this speaking of Christ as the limit, end or total perfection?
>
> End is G5056
>
>
> Original: τέλος
> Transliteration: telos
> Phonetic: tel'-os
> Thayer Definition:
> end
> termination, the limit at which a thing ceases to be (always of the end of some act or state, but not of the end of a period of time)
> the end
> the last in any succession or series
> eternal
> that by which a thing is finished, its close, issue
> the end to which all things relate, the aim, purpose
> toll, custom (i.e. indirect tax on goods)
> Origin: from a primary tello (to set out for a definite point or goal)
> TDNT entry: 08:49,1
> Part(s) of speech: Noun Neuter
> Strong's Definition: From a primary word τέλλω tellō (to set out for a definite point or goal); properly the point aimed at as a limit,
>
>
> | 2018/12/19 | [
"https://hermeneutics.stackexchange.com/questions/37683",
"https://hermeneutics.stackexchange.com",
"https://hermeneutics.stackexchange.com/users/27584/"
] | The end result; the end point or reason for; the culmination of. Our faith in Christ results in righteousness, and is the only way we stand righteous before our Father in heaven.
Dan. 9:24, "...to bring in everlasting righteousness,...." (KJV)
was referring to the reason for Christ's sacrifice for our sins.
Excerpt from Barnes' Notes on Rom. 10:4:
>
> "Is the end of the law - The word translated "end" means what completes a thing, or renders it perfect; also the boundary, issue, or termination of anything, as the end of life, the result of a prophecy, etc.; John 13:1; Luke 22:37. It also means the design or object which is had in view; the principal purpose for which it was undertaken; 1 Timothy 1:5," The end of the commandment is charity;" the main design or purpose of the command is to produce love; 1 Peter 1:9, "The end of your faith, the salvation of your souls;" the main design or purpose of faith is to secure salvation; Romans 14:9, "To this end Christ both died," etc. For this design or purpose. This is doubtless its meaning here. "The main design or object which the perfect obedience of the Law would accomplish, is accomplished by faith in Christ." That is, perfect obedience to the Law would accomplish justification before God, secure his favor and eternal life. The same end is now accomplished by faith in Christ. The great design of both is the same; and the same great end is finally gained. This was the subject of discussion between the apostle and the Jews; and this is all that is necessary to understand in the case. Some have supposed that the word "end" refers to the ceremonial law; that Christ fulfilled it, and brought it to an end. Others, that he perfectly fulfilled the moral law. And others, that the Law in the end leads us to Christ, or that its design is to point us to him. All this is true, but not the truth taught in this passage. That is simple and plain, that by faith in Christ the same end is accomplished in regard to our justification, that would be by perfect obedience to the moral law." Source: [Biblehub](https://biblehub.com/commentaries/romans/10-4.htm)
>
>
> | The answer to this question is actually just a few verses further along in Rom 10:8-13 -
>
> But what does it say? “The word is near you; it is in your mouth and
> in your heart,” that is, the word of faith we are proclaiming: that
> if you confess with your mouth, “Jesus is Lord,” and believe in your
> heart that God raised Him from the dead, you will be saved. For with
> your heart you believe and are justified, and with your mouth you
> confess and are saved.
>
>
> It is just as the Scripture says: “Anyone who believes in Him will
> never be put to shame.” For there is no difference between Jew and
> Greek: The same Lord is Lord of all, and gives richly to all who call
> on Him, for, “Everyone who calls on the name of the Lord will be
> saved.”
>
>
>
I suggest that Rom 10:4, "For the end of Law is Christ, unto righteousness to everyone believing." should be understood in three ways:
**1.** Attempts to obtain righteousness by doing works of the law is (humanly speaking) utterly futile and an attempt at the impossible. See Rom 3:20-22 -
>
> Therefore no one will be justified in His sight by works of the law.
> For the law merely brings awareness of sin. But now, apart from the
> law, the righteousness of God has been revealed, as attested by the
> Law and the Prophets. And this righteousness from God comes through
> faith in Jesus Christ to all who believe.
>
>
>
When Jesus comes along and we believe in Him, all attempts at righteousness via works COME TO AN END. Thus, for the believer, Jesus becomes the end of the legalism and the start of righteousness by faith. See 2 Cor 5:14 -
>
> For Christ’s love compels us, because we are convinced that One died
> for all, therefore all died.
>
>
>
This is not to suggest that Christians should not be law-keepers - they should; BUT, Christ is the end of keeping the law as a means of salvation. It is "Christ in us, the hope of glory" (Col 1:27).
**2.** Christ is not only the end, but the beginning and middle of our faith and salvation. Note the following:
* Heb 12:2 - Let us fix our eyes on Jesus, the author and perfecter [same word as in Rom 10:4] of our faith
* Acts 4:12 - Salvation exists in no one else, for there is no other name under heaven given to men by which we must be saved.”
* John 15:5 - apart from Me you can do nothing.
Thus, we are completely and totally dependent on Christ for all good things, including good works [= "righteousness"], as per Eph 2:8-10 -
>
> For it is by grace you have been saved through faith, and this not
> from yourselves; it is the gift of God, not by works, so that no one
> can boast. For we are God’s workmanship, created in Christ Jesus to do
> good works, which God prepared in advance as our way of life.
>
>
>
**3.** Christ is end, meaning Christ is the goal of our development. We must be imitators of Christ.
* Love as Jesus loved. John 13:34, 35, 15:12, 1 John 4:8, 11, 19, Eph 5:1, 2.
* Lay down life for friends. John 15:13, Eph 5:2.
* Jesus’ suffering leaves us an example. John 16:33, 1 Cor 7:28, 2 Tim 1:4, Heb 13:12, 13, 1 Peter 2:21.
* Because Jesus was persecuted, so are His followers. John 15:20, 21.
* Conformed to the likeness of the Son. Rom 8:29.
* Forgive as Jesus forgave. Matt 6:12, 14, 15, 18:35, Eph 4:32, Col 3:13.
* Be holy as Jesus is holy. Lev 11:44, 45, 1 Peter 1:15, 16.
* Be pure as He is pure. 1 John 3:3.
* Partakers of the divine nature. 2 Peter 1:4.
* We are being changed into Christ’s glory (= reputation). 2 Cor 3:18.
* Pray as Jesus prayed. Luke 11:1.
* We are to have the mind of Christ. Phil 2:5, 1 Cor 2:16.
* Be kind because God is kind. Luke 6:34, 35.
* Be servants to others as Jesus was. John 13:15-17, 1 Peter 4:11b, Matt 20:24-28.
* Be patient as Jesus was patient. 1 Tim 1:16.
* Talk/speak as Jesus speaks. 1 Peter 4:11a. |
37,683 | >
> KJV Rom 10:4 For Christ is the end of the law for righteousness to every one that believeth.
>
>
>
Is this scripture in regards to righteousness? Is this speaking of Christ as the limit, end or total perfection?
>
> End is G5056
>
>
> Original: τέλος
> Transliteration: telos
> Phonetic: tel'-os
> Thayer Definition:
> end
> termination, the limit at which a thing ceases to be (always of the end of some act or state, but not of the end of a period of time)
> the end
> the last in any succession or series
> eternal
> that by which a thing is finished, its close, issue
> the end to which all things relate, the aim, purpose
> toll, custom (i.e. indirect tax on goods)
> Origin: from a primary tello (to set out for a definite point or goal)
> TDNT entry: 08:49,1
> Part(s) of speech: Noun Neuter
> Strong's Definition: From a primary word τέλλω tellō (to set out for a definite point or goal); properly the point aimed at as a limit,
>
>
> | 2018/12/19 | [
"https://hermeneutics.stackexchange.com/questions/37683",
"https://hermeneutics.stackexchange.com",
"https://hermeneutics.stackexchange.com/users/27584/"
] | The end result; the end point or reason for; the culmination of. Our faith in Christ results in righteousness, and is the only way we stand righteous before our Father in heaven.
Dan. 9:24, "...to bring in everlasting righteousness,...." (KJV)
was referring to the reason for Christ's sacrifice for our sins.
Excerpt from Barnes' Notes on Rom. 10:4:
>
> "Is the end of the law - The word translated "end" means what completes a thing, or renders it perfect; also the boundary, issue, or termination of anything, as the end of life, the result of a prophecy, etc.; John 13:1; Luke 22:37. It also means the design or object which is had in view; the principal purpose for which it was undertaken; 1 Timothy 1:5," The end of the commandment is charity;" the main design or purpose of the command is to produce love; 1 Peter 1:9, "The end of your faith, the salvation of your souls;" the main design or purpose of faith is to secure salvation; Romans 14:9, "To this end Christ both died," etc. For this design or purpose. This is doubtless its meaning here. "The main design or object which the perfect obedience of the Law would accomplish, is accomplished by faith in Christ." That is, perfect obedience to the Law would accomplish justification before God, secure his favor and eternal life. The same end is now accomplished by faith in Christ. The great design of both is the same; and the same great end is finally gained. This was the subject of discussion between the apostle and the Jews; and this is all that is necessary to understand in the case. Some have supposed that the word "end" refers to the ceremonial law; that Christ fulfilled it, and brought it to an end. Others, that he perfectly fulfilled the moral law. And others, that the Law in the end leads us to Christ, or that its design is to point us to him. All this is true, but not the truth taught in this passage. That is simple and plain, that by faith in Christ the same end is accomplished in regard to our justification, that would be by perfect obedience to the moral law." Source: [Biblehub](https://biblehub.com/commentaries/romans/10-4.htm)
>
>
> | Christ as *telos nomos*
-----------------------
>
> «For Christ is the end of the law»
>
>
>
In other words, Christ as ***telos nomos***. That's one of the most dramatic statements of the Romans.
There's no doubt the [*nomos*](https://www.blueletterbible.org/lang/lexicon/lexicon.cfm?Strongs=G3551&t=KJV) represents the mosaic law. So the potential confusion is in the word *telos*.
[*telos*](https://www.blueletterbible.org/lang/lexicon/lexicon.cfm?Strongs=G5056&t=KJV) can mean two different things that lead to different visions. In particular, it can mean
1. End.
2. Goal.
Which one is the most correct meaning?
--------------------------------------
Adapted from Fitzmyer, J (1993), *Romans: A New Translation with Introduction and Commentary*, the goal (meaning 2) of the law is preferred because of the relationship of Romans 10:4 to Romans 9:31-33, where the "pursuit" of righteousness by Gentiles implies a "goal" to be achieved. Christ is the goal of the law because through Him humanity can achieve what was the goal of the law, namely, righteousness in God's eyes. The cherished status of righteousness before God is now available to all through faith.
So, the Messiah did not abolish the law, as there is still a permanent need to condemn sin through the testimony of the law. Instead, Christ is the solution provided by the law. |
37,683 | >
> KJV Rom 10:4 For Christ is the end of the law for righteousness to every one that believeth.
>
>
>
Is this scripture in regards to righteousness? Is this speaking of Christ as the limit, end or total perfection?
>
> End is G5056
>
>
> Original: τέλος
> Transliteration: telos
> Phonetic: tel'-os
> Thayer Definition:
> end
> termination, the limit at which a thing ceases to be (always of the end of some act or state, but not of the end of a period of time)
> the end
> the last in any succession or series
> eternal
> that by which a thing is finished, its close, issue
> the end to which all things relate, the aim, purpose
> toll, custom (i.e. indirect tax on goods)
> Origin: from a primary tello (to set out for a definite point or goal)
> TDNT entry: 08:49,1
> Part(s) of speech: Noun Neuter
> Strong's Definition: From a primary word τέλλω tellō (to set out for a definite point or goal); properly the point aimed at as a limit,
>
>
> | 2018/12/19 | [
"https://hermeneutics.stackexchange.com/questions/37683",
"https://hermeneutics.stackexchange.com",
"https://hermeneutics.stackexchange.com/users/27584/"
] | In light of the race imagery encountered in Romans 9:30–33,1 it is likely that the apostle Paul uses τέλος in Romans 10:4 in the sense of the finish line and/or prize in a race.2
[](https://i.stack.imgur.com/mvSbX.png)
In the race, the Israelites ran after (διώκω)3 the goal or prize: righteousness (δικαιοσύνη). The Gentiles are those who neither willed nor ran.4 Despite this, the Gentiles attained (καταλαμβάνω)5 the prize: righteousness.
The apostle Paul explains that the Israelites ran after the prize (righteousness) by doing the works of the Law.6 By doing so, they tried to obtain their own righteousness.7 Since the righteousness of the Law demands perfect obedience, the Israelites did not attain the prize.
On the other hand, the Gentiles believed in Jesus Christ, the righteous one,8 and by doing so, they attained the prize of righteousness—“the righteousness of God which is by the faith of Jesus Christ to all and upon all those who believe.”9
Douglas J. Moo wrote,10
>
> Perhaps the best way to answer this question is to go back to the race imagery that Paul has been using in this context. We might picture the law as the race itself. Christ is the finish line. As Israel runs the race of the law, they should always, of course, have their eyes fixed on the finish line. Instead, Paul has been suggesting, Israel concentrated so exclusively on the race that they forgot about the finish line. With the coming of Christ, that finish line has been reached, but Israel does not recognize it.
>
>
>
In Romans 10:4, it is written,
>
> 4 For the **finish line and prize** of the Law is Christ for righteousness to all who believe.
>
>
> Δʹ **τέλος** γὰρ νόμου Χριστὸς εἰς δικαιοσύνην παντὶ τῷ πιστεύοντι. NA28, ©2012
>
>
>
For those who do not believe (i.e., have faith) in Christ, he is to them a stumbling-block which prevents them from finishing the race and attaining the prize of righteousness, the righteousness from faith.
---
### Footnotes
1 LSJ, p. 1773, τέλος, III., 2., b.
2 On the race imagery, see Schreiner, p. [121](https://books.google.com/books?id=f6UoDAAAQBAJ&pg=PG121#v=onepage&f=true):
>
> “Racing imagery is employed in Romans 9:30–33.”
>
>
>
Meyer, p. [391](https://books.google.com/books?id=N_s2AAAAMAAJ&pg=PG391#v=onepage&q&f=true):
>
> On the figurative διώκειν, borrowed from the running for the prize in the racecourse, as also on the correlate καταλαμβάνειν, comp. Philippians 3:12-14; 1 Corinthians 9:24; 1 Timothy 6:11-12; Sirach 11:10; Sirach 27:8.
>
>
>
3 BDAG, p. 254, διώκω, 1.
>
> to move rapidly and decisively toward an objective, hasten, run, press on (Il. 23, 344; Aeschyl., Sept. 91; X., An. 6, 5, 25; Hg 1:9; Is 13:14; Philo, Virt. 30 διώκουσι καὶ ἐπιτρέχουσιν) κατὰ σκοπόν toward the goal Phil 3:14; cp. vs. 12 (on the combination w. καταλαμβάνω cp. Hdt. 9, 58, 4; Lucian, Herm. 77; Sir 11:10; La 1:3 v.l.).
>
>
>
4 Rom. 9:16
5 BDAG, p. 519, 1.
>
> to make someth. one’s own, win, attain...abs. of the winning of a prize 1 Cor 9:24.
>
>
>
>
6 Rom. 9:32
7 Rom. 10:3
8 Acts 7:52
9 Rom. 3:22
10 Moo, p. 215
### References
Liddell, Henry George; Scott, Robert; et al. *A Greek-English Lexicon.* 9th ed. Oxford: Clarendon, 1940.
Meyer, Heinrich August Wilhelm. [*Critical and Exegetical Handbook to the Epistle to the Romans.*](https://books.google.com/books?id=N_s2AAAAMAAJ) Trans. Moore, John C.; Johnson, Edwin. Ed. Dickson, William P. New York: Funk, 1884.
Moo, Douglas J. [*Encountering the Book of Romans: A Theological Survey.*](https://books.google.com/books?id=9cDGAwAAQBAJ) 2nd ed. Ada: Baker Academic, 2014.
Schreiner, Thomas R. [*Paul, Apostle of God’s Glory in Christ: A Pauline Theology.*](https://books.google.com/books?id=f6UoDAAAQBAJ) Downers Grove: InterVarsity Press, 2001. | The answer to this question is actually just a few verses further along in Rom 10:8-13 -
>
> But what does it say? “The word is near you; it is in your mouth and
> in your heart,” that is, the word of faith we are proclaiming: that
> if you confess with your mouth, “Jesus is Lord,” and believe in your
> heart that God raised Him from the dead, you will be saved. For with
> your heart you believe and are justified, and with your mouth you
> confess and are saved.
>
>
> It is just as the Scripture says: “Anyone who believes in Him will
> never be put to shame.” For there is no difference between Jew and
> Greek: The same Lord is Lord of all, and gives richly to all who call
> on Him, for, “Everyone who calls on the name of the Lord will be
> saved.”
>
>
>
I suggest that Rom 10:4, "For the end of Law is Christ, unto righteousness to everyone believing." should be understood in three ways:
**1.** Attempts to obtain righteousness by doing works of the law is (humanly speaking) utterly futile and an attempt at the impossible. See Rom 3:20-22 -
>
> Therefore no one will be justified in His sight by works of the law.
> For the law merely brings awareness of sin. But now, apart from the
> law, the righteousness of God has been revealed, as attested by the
> Law and the Prophets. And this righteousness from God comes through
> faith in Jesus Christ to all who believe.
>
>
>
When Jesus comes along and we believe in Him, all attempts at righteousness via works COME TO AN END. Thus, for the believer, Jesus becomes the end of the legalism and the start of righteousness by faith. See 2 Cor 5:14 -
>
> For Christ’s love compels us, because we are convinced that One died
> for all, therefore all died.
>
>
>
This is not to suggest that Christians should not be law-keepers - they should; BUT, Christ is the end of keeping the law as a means of salvation. It is "Christ in us, the hope of glory" (Col 1:27).
**2.** Christ is not only the end, but the beginning and middle of our faith and salvation. Note the following:
* Heb 12:2 - Let us fix our eyes on Jesus, the author and perfecter [same word as in Rom 10:4] of our faith
* Acts 4:12 - Salvation exists in no one else, for there is no other name under heaven given to men by which we must be saved.”
* John 15:5 - apart from Me you can do nothing.
Thus, we are completely and totally dependent on Christ for all good things, including good works [= "righteousness"], as per Eph 2:8-10 -
>
> For it is by grace you have been saved through faith, and this not
> from yourselves; it is the gift of God, not by works, so that no one
> can boast. For we are God’s workmanship, created in Christ Jesus to do
> good works, which God prepared in advance as our way of life.
>
>
>
**3.** Christ is end, meaning Christ is the goal of our development. We must be imitators of Christ.
* Love as Jesus loved. John 13:34, 35, 15:12, 1 John 4:8, 11, 19, Eph 5:1, 2.
* Lay down life for friends. John 15:13, Eph 5:2.
* Jesus’ suffering leaves us an example. John 16:33, 1 Cor 7:28, 2 Tim 1:4, Heb 13:12, 13, 1 Peter 2:21.
* Because Jesus was persecuted, so are His followers. John 15:20, 21.
* Conformed to the likeness of the Son. Rom 8:29.
* Forgive as Jesus forgave. Matt 6:12, 14, 15, 18:35, Eph 4:32, Col 3:13.
* Be holy as Jesus is holy. Lev 11:44, 45, 1 Peter 1:15, 16.
* Be pure as He is pure. 1 John 3:3.
* Partakers of the divine nature. 2 Peter 1:4.
* We are being changed into Christ’s glory (= reputation). 2 Cor 3:18.
* Pray as Jesus prayed. Luke 11:1.
* We are to have the mind of Christ. Phil 2:5, 1 Cor 2:16.
* Be kind because God is kind. Luke 6:34, 35.
* Be servants to others as Jesus was. John 13:15-17, 1 Peter 4:11b, Matt 20:24-28.
* Be patient as Jesus was patient. 1 Tim 1:16.
* Talk/speak as Jesus speaks. 1 Peter 4:11a. |
37,683 | >
> KJV Rom 10:4 For Christ is the end of the law for righteousness to every one that believeth.
>
>
>
Is this scripture in regards to righteousness? Is this speaking of Christ as the limit, end or total perfection?
>
> End is G5056
>
>
> Original: τέλος
> Transliteration: telos
> Phonetic: tel'-os
> Thayer Definition:
> end
> termination, the limit at which a thing ceases to be (always of the end of some act or state, but not of the end of a period of time)
> the end
> the last in any succession or series
> eternal
> that by which a thing is finished, its close, issue
> the end to which all things relate, the aim, purpose
> toll, custom (i.e. indirect tax on goods)
> Origin: from a primary tello (to set out for a definite point or goal)
> TDNT entry: 08:49,1
> Part(s) of speech: Noun Neuter
> Strong's Definition: From a primary word τέλλω tellō (to set out for a definite point or goal); properly the point aimed at as a limit,
>
>
> | 2018/12/19 | [
"https://hermeneutics.stackexchange.com/questions/37683",
"https://hermeneutics.stackexchange.com",
"https://hermeneutics.stackexchange.com/users/27584/"
] | In light of the race imagery encountered in Romans 9:30–33,1 it is likely that the apostle Paul uses τέλος in Romans 10:4 in the sense of the finish line and/or prize in a race.2
[](https://i.stack.imgur.com/mvSbX.png)
In the race, the Israelites ran after (διώκω)3 the goal or prize: righteousness (δικαιοσύνη). The Gentiles are those who neither willed nor ran.4 Despite this, the Gentiles attained (καταλαμβάνω)5 the prize: righteousness.
The apostle Paul explains that the Israelites ran after the prize (righteousness) by doing the works of the Law.6 By doing so, they tried to obtain their own righteousness.7 Since the righteousness of the Law demands perfect obedience, the Israelites did not attain the prize.
On the other hand, the Gentiles believed in Jesus Christ, the righteous one,8 and by doing so, they attained the prize of righteousness—“the righteousness of God which is by the faith of Jesus Christ to all and upon all those who believe.”9
Douglas J. Moo wrote,10
>
> Perhaps the best way to answer this question is to go back to the race imagery that Paul has been using in this context. We might picture the law as the race itself. Christ is the finish line. As Israel runs the race of the law, they should always, of course, have their eyes fixed on the finish line. Instead, Paul has been suggesting, Israel concentrated so exclusively on the race that they forgot about the finish line. With the coming of Christ, that finish line has been reached, but Israel does not recognize it.
>
>
>
In Romans 10:4, it is written,
>
> 4 For the **finish line and prize** of the Law is Christ for righteousness to all who believe.
>
>
> Δʹ **τέλος** γὰρ νόμου Χριστὸς εἰς δικαιοσύνην παντὶ τῷ πιστεύοντι. NA28, ©2012
>
>
>
For those who do not believe (i.e., have faith) in Christ, he is to them a stumbling-block which prevents them from finishing the race and attaining the prize of righteousness, the righteousness from faith.
---
### Footnotes
1 LSJ, p. 1773, τέλος, III., 2., b.
2 On the race imagery, see Schreiner, p. [121](https://books.google.com/books?id=f6UoDAAAQBAJ&pg=PG121#v=onepage&f=true):
>
> “Racing imagery is employed in Romans 9:30–33.”
>
>
>
Meyer, p. [391](https://books.google.com/books?id=N_s2AAAAMAAJ&pg=PG391#v=onepage&q&f=true):
>
> On the figurative διώκειν, borrowed from the running for the prize in the racecourse, as also on the correlate καταλαμβάνειν, comp. Philippians 3:12-14; 1 Corinthians 9:24; 1 Timothy 6:11-12; Sirach 11:10; Sirach 27:8.
>
>
>
3 BDAG, p. 254, διώκω, 1.
>
> to move rapidly and decisively toward an objective, hasten, run, press on (Il. 23, 344; Aeschyl., Sept. 91; X., An. 6, 5, 25; Hg 1:9; Is 13:14; Philo, Virt. 30 διώκουσι καὶ ἐπιτρέχουσιν) κατὰ σκοπόν toward the goal Phil 3:14; cp. vs. 12 (on the combination w. καταλαμβάνω cp. Hdt. 9, 58, 4; Lucian, Herm. 77; Sir 11:10; La 1:3 v.l.).
>
>
>
4 Rom. 9:16
5 BDAG, p. 519, 1.
>
> to make someth. one’s own, win, attain...abs. of the winning of a prize 1 Cor 9:24.
>
>
>
>
6 Rom. 9:32
7 Rom. 10:3
8 Acts 7:52
9 Rom. 3:22
10 Moo, p. 215
### References
Liddell, Henry George; Scott, Robert; et al. *A Greek-English Lexicon.* 9th ed. Oxford: Clarendon, 1940.
Meyer, Heinrich August Wilhelm. [*Critical and Exegetical Handbook to the Epistle to the Romans.*](https://books.google.com/books?id=N_s2AAAAMAAJ) Trans. Moore, John C.; Johnson, Edwin. Ed. Dickson, William P. New York: Funk, 1884.
Moo, Douglas J. [*Encountering the Book of Romans: A Theological Survey.*](https://books.google.com/books?id=9cDGAwAAQBAJ) 2nd ed. Ada: Baker Academic, 2014.
Schreiner, Thomas R. [*Paul, Apostle of God’s Glory in Christ: A Pauline Theology.*](https://books.google.com/books?id=f6UoDAAAQBAJ) Downers Grove: InterVarsity Press, 2001. | Christ as *telos nomos*
-----------------------
>
> «For Christ is the end of the law»
>
>
>
In other words, Christ as ***telos nomos***. That's one of the most dramatic statements of the Romans.
There's no doubt the [*nomos*](https://www.blueletterbible.org/lang/lexicon/lexicon.cfm?Strongs=G3551&t=KJV) represents the mosaic law. So the potential confusion is in the word *telos*.
[*telos*](https://www.blueletterbible.org/lang/lexicon/lexicon.cfm?Strongs=G5056&t=KJV) can mean two different things that lead to different visions. In particular, it can mean
1. End.
2. Goal.
Which one is the most correct meaning?
--------------------------------------
Adapted from Fitzmyer, J (1993), *Romans: A New Translation with Introduction and Commentary*, the goal (meaning 2) of the law is preferred because of the relationship of Romans 10:4 to Romans 9:31-33, where the "pursuit" of righteousness by Gentiles implies a "goal" to be achieved. Christ is the goal of the law because through Him humanity can achieve what was the goal of the law, namely, righteousness in God's eyes. The cherished status of righteousness before God is now available to all through faith.
So, the Messiah did not abolish the law, as there is still a permanent need to condemn sin through the testimony of the law. Instead, Christ is the solution provided by the law. |
2,228 | This is a report about a problem which occurred in the comments to [Double Integrals](https://math.stackexchange.com/questions/40520/double-integrals/40524#40524). user6312's comment contained some latex code. I guess he forgot to type a single $ sign with the effect that everything non latex got latexfied and the other way round. (To see the problem in action take a look at the comments following this question)
The end effect (at least in firefox 4) is a comment which does not stay within the allocated column (in fact also the other comments to the questions get screwed up). It is virtually impossible to enlarge the window to such an extend that one gets access to the delete button.
Is it possible to get the comments formatted in the allocated column (that a single long line does not make all the other lines long)?
An alternative would be to put the signature (and thereby the delete button) on a new line such that it will be always visible. | 2011/05/22 | [
"https://math.meta.stackexchange.com/questions/2228",
"https://math.meta.stackexchange.com",
"https://math.meta.stackexchange.com/users/7266/"
] | In most cases, you can just click on the offending line and highlight it towards the right to scroll to the right. I don't think that it would be good to break long formulas arbitrarily.
So taking into account Theo's comment, I fully support the request for the shift of the delete sign to the next line. | The comment display needs to be compact, so adding another line to every single comment to address this rare user input error case -- that applies only to sites with MathJax enabled to boot -- is untenable.
Simple solution: when you see this happen, simply click 'edit' and correct the error, or flag it for moderator attention. While users can only edit comments for 5 minutes after posting, moderators can edit any comments at any time.
edit: perhaps a better solution would be to detect and close any unclosed `$$` pairs in comments? |
2,228 | This is a report about a problem which occurred in the comments to [Double Integrals](https://math.stackexchange.com/questions/40520/double-integrals/40524#40524). user6312's comment contained some latex code. I guess he forgot to type a single $ sign with the effect that everything non latex got latexfied and the other way round. (To see the problem in action take a look at the comments following this question)
The end effect (at least in firefox 4) is a comment which does not stay within the allocated column (in fact also the other comments to the questions get screwed up). It is virtually impossible to enlarge the window to such an extend that one gets access to the delete button.
Is it possible to get the comments formatted in the allocated column (that a single long line does not make all the other lines long)?
An alternative would be to put the signature (and thereby the delete button) on a new line such that it will be always visible. | 2011/05/22 | [
"https://math.meta.stackexchange.com/questions/2228",
"https://math.meta.stackexchange.com",
"https://math.meta.stackexchange.com/users/7266/"
] | As mentioned by Theo and Hendrik in the comments, the problem is that sometimes the edit and delete buttons get hidden behind other elements on the displayed page, making them inaccessible.
I describe a slightly convoluted, but often working [way to again access those buttons in this answer](http://meta.math.stackexchange.com/questions/2652/comments-layout-break-if-math-expression-is-too-long/2818#2818). | The comment display needs to be compact, so adding another line to every single comment to address this rare user input error case -- that applies only to sites with MathJax enabled to boot -- is untenable.
Simple solution: when you see this happen, simply click 'edit' and correct the error, or flag it for moderator attention. While users can only edit comments for 5 minutes after posting, moderators can edit any comments at any time.
edit: perhaps a better solution would be to detect and close any unclosed `$$` pairs in comments? |
5,822,673 | I am working on a product which has its own SQL like language to query the database. We call it **Reporting language**. Now, I want to have a text editor which does highlighting specific to my language .i.e I can specify the keywords (purple-colour), datatypes(red colour), comments green colour, and everything else black colour and so on.
Is there an existing tool whom I can give these specifications as input and output is a text editor which does this language specific highlighting.
Please do not hesitate replying any information even if its too basic.
Thanks in advance. | 2011/04/28 | [
"https://Stackoverflow.com/questions/5822673",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/578989/"
] | [Emacs](http://en.wikipedia.org/wiki/Emacs) is the world's most configurable and extensible editor.
It is possible to define "modes" for emacs, which support editing documents that conform to a particular format. For example, there are existing emacs "modes" for
* C/C++
* Java
* C#
* VB.NET
* perl
* Powershell
* SQL
* .htaccess
* html
* css
* javascript
* xml
* and many others
"Modes" can be something as simple as syntax highlighting (or as emacs calls it, *fontification*). Most modes, though, provide other features like autocompletion, syntax checking, template insertion, and compilation helpers. You define an emacs mode in elisp, which is a variant of LISP.
If your requirements are relatively simple, then you could produce an emacs mode in less than an hour. Most modes are open-source, so you can start with an existing mode, and change it to your purposes, or simply learn from it.
Also see [A 'hello world' example for a major mode in Emacs?](https://stackoverflow.com/questions/1063115/a-hello-world-example-for-a-major-mode-in-emacs)
Emacs is free, and open source, and runs on any platform. | Syntax highlighting is just a tiny part of writing a text editor. You're going to have much more trouble writing a general text editor than making it do syntax highlighting. A "syntax highlighting editor generator" is too narrow an application to have a tool for it as far as I can tell.
Also, I don't expect my customers to switch editors just to edit a certain file format. You're much better of writing a mode for a popular (cross platform) editor like Emacs, vim or eclipse.
If you just want to display your language with syntax highlighting, use [pygments](http://pygments.org/) which you can embed into (python) applications (e.g. <https://gist.github.com/773300>) or [SyntaxHighlighter](http://alexgorbatchev.com/SyntaxHighlighter/) for web presentation. |
34,237 | Working on a website redesign. We have documentation from workshops that give us insight into the pain points of the existing site from the clients and their business requirements. How useful would conducting a heuristic evaluation on the existing site be if we are planning to redesign the whole site? I was thinking initially the learnings from the existing site would help me design the new site but I'm questioning how valuable doing a heuristic is? | 2013/02/06 | [
"https://ux.stackexchange.com/questions/34237",
"https://ux.stackexchange.com",
"https://ux.stackexchange.com/users/25316/"
] | In this case it would probably depend on how deep you want to go into the existing issues with the website.
Sometimes clients and businesses' requirements are not enough, as they might refer to some particular problems, but not to the underlying structure.
Having said this, I would probably invest my time/resources on the new version instead. You could do some tests before the relaunch, making sure everything is easy to understand and interact with. | I would restate the question slightly: do you learn enough about what improvements to make, as well as what you're currently doing well and should continue doing, such that it's worth the opportunity cost of doing it?
I would say that it depends on what you already know from these workshops and whether you feel like you have some open questions or an insufficient understanding of the strengths and weaknesses of the website. One quick way to answer this is to do a very fast heuristic evaluation: in 20 minutes, go through the existing site and see what you learn. If you don't come across anything that you didn't already know from the existing documentation, you can probably stop; if you uncover new issues that weren't already known, then you should continue. A 20-minute investment is small enough that it probably won't have a negative impact on the time that you would spend working on the new version. |
22,767,021 | I came across a curious question today, asked by my boss. Is it possible to track the clicks to pages inside an interactive PDF without it being embedded in a web page?
The client wants the user to download a PDF from his/her website and track what pages the user is clicking on inside the downloaded PDF.
After searching around on google for a while all I kept getting was links to pages telling you how to track PDF downloads.
Anyone who can shed some light on this or offer me a definitive yes or no to this question would be greatly appreciated. | 2014/03/31 | [
"https://Stackoverflow.com/questions/22767021",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/2413722/"
] | Aha! Shift+F11 does not work on some versions of Ubuntu. Use Alt+V to bring up the view menu, use the down arrow to move down to the Full Screen option and press the space bar. | Try **shift+F11**. It works for me. |
22,767,021 | I came across a curious question today, asked by my boss. Is it possible to track the clicks to pages inside an interactive PDF without it being embedded in a web page?
The client wants the user to download a PDF from his/her website and track what pages the user is clicking on inside the downloaded PDF.
After searching around on google for a while all I kept getting was links to pages telling you how to track PDF downloads.
Anyone who can shed some light on this or offer me a definitive yes or no to this question would be greatly appreciated. | 2014/03/31 | [
"https://Stackoverflow.com/questions/22767021",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/2413722/"
] | Aha! Shift+F11 does not work on some versions of Ubuntu. Use Alt+V to bring up the view menu, use the down arrow to move down to the Full Screen option and press the space bar. | `Alt`+`M` will do it. I have tested it. |
120,914 | I want my WPF application to be skinnable, by applying a certain XAML template, and the changes to be application wide, even for dynamic controls or controls that aren't even in the visual/logical tree.
What can I use to accomplish this type of functionality? Are there any good resources or tutorials that show how this specific task can be done? | 2008/09/23 | [
"https://Stackoverflow.com/questions/120914",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/4685/"
] | The basic approach to take is using resources all through your application and dynamically replacing the resources at runtime.
See <http://www.nablasoft.com/alkampfer/index.php/2008/05/22/simple-skinnable-and-theme-management-in-wpf-user-interface/> for the basic approach | The replacing of resource will work but I found "structural skinning" to be more powerfull! Read more about it on CodeProject...
<http://www.codeproject.com/KB/WPF/podder1.aspx> |
49,053 | My friend has a circa 2006 A1212 Macbook Pro 17inch. It has issues starting up but when it boots everything works fine but the screen is all pixelated, flashes randomly, and some parts have a red tint.
I think the video card is dying and that was the general consensus on the internet (note: external monitor has same effects).
Is there a way to salvage this machine or get it in a better working condition without replacing the logic board? | 2012/04/18 | [
"https://apple.stackexchange.com/questions/49053",
"https://apple.stackexchange.com",
"https://apple.stackexchange.com/users/21801/"
] | The GPU and CPU are all soldered to the logic board, so in theory someone with enough skill and tools could repair the logic board itself, but in practice replacing the board or the computer is more cost effective in almost all cases. | I had a similar problem with my A1212 Macbook Pro 17inch. This is what worked for me:
<http://www.youtube.com/watch?v=outHBB4AlB4>
And here is instruction how to remove logic board:
<http://www.ifixit.com/Guide/MacBook-Pro-17-Inch-Models-A1151-A1212-A1229-and-A1261-Logic-Board-Replacement/325/1> |
2,135,116 | I have a video file recorded from the front of a moving vehicle. I am going to use OpenCV for object detection and recognition but I'm stuck on one aspect. How can I determine the distance from a recognized object.
I can know my current speed and real-world GPS position but that is all. I can't make any assumptions about the object I'm tracking. I am planning to use this to track and follow objects without colliding with them. Ideally I would like to use this data to derive the object's real-world position, which I could do if I could determine the distance from the camera to the object. | 2010/01/25 | [
"https://Stackoverflow.com/questions/2135116",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/135021/"
] | first, you should calibrate your camera so you can get the relation between the objects positions in the camera plan and their positions in the real world plan, if you are using a single camera you can use the "optical flow technic"
if you are using two cameras you can use the triangulation method to find the real position (it will be easy to find the distance of the objects) but the probem with the second method is the matching, which means how can you find the position of an object 'x' in camera 2 if you already know its position in camera 1, and here you can use the 'SIFT' algorithme.
i just gave you some keywords wish it could help you. | Put and object of known size in the cameras field of view. That way you can have a more objective metric to measure angular distances. Without a second viewpoint/camera you'll be limited to estimating size/distance but at least it won't be a complete guess. |
2,135,116 | I have a video file recorded from the front of a moving vehicle. I am going to use OpenCV for object detection and recognition but I'm stuck on one aspect. How can I determine the distance from a recognized object.
I can know my current speed and real-world GPS position but that is all. I can't make any assumptions about the object I'm tracking. I am planning to use this to track and follow objects without colliding with them. Ideally I would like to use this data to derive the object's real-world position, which I could do if I could determine the distance from the camera to the object. | 2010/01/25 | [
"https://Stackoverflow.com/questions/2135116",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/135021/"
] | You need to identify the same points in the same object on two different frames taken a known distance apart. Since you know the location of the camera in each frame, you have a baseline ( the vector between the two camera positions. Construct a triangle from the known baseline and the angles to the identified points. Trigonometry gives you the length of the unknown sides of the traingles for the known length of the baseline and the known angles between the baseline and the unknown sides.
You can use two cameras, or one camera taking successive shots. So, if your vehicle is moving a 1 m/s and you take fames every second, then successibe frames will gibe you a 1m baseline which should be good to measure the distance of objects up to, say, 5m away. If you need to range objects further away than the frames used need to be further apart - however more distant objects will in view for longer.
Observer at F1 sees target at T with angle a1 to velocity vector. Observer moves distance b to F2. Sees target at T with angle a2.
Required to find r1, range from target at F1
The trigonometric identity for cosine gives
Cos( 90 – a1 ) = x / r1 = c1
Cos( 90 - a2 ) = x / r2 = c2
Cos( a1 ) = (b + z) / r1 = c3
Cos( a2 ) = z / r2 = c4
x is distance to target orthogonal to observer’s velocity vector
z is distance from F2 to intersection with x
Solving for r1
r1 = b / ( c3 – c1 . c4 / c2 ) | Put and object of known size in the cameras field of view. That way you can have a more objective metric to measure angular distances. Without a second viewpoint/camera you'll be limited to estimating size/distance but at least it won't be a complete guess. |
2,135,116 | I have a video file recorded from the front of a moving vehicle. I am going to use OpenCV for object detection and recognition but I'm stuck on one aspect. How can I determine the distance from a recognized object.
I can know my current speed and real-world GPS position but that is all. I can't make any assumptions about the object I'm tracking. I am planning to use this to track and follow objects without colliding with them. Ideally I would like to use this data to derive the object's real-world position, which I could do if I could determine the distance from the camera to the object. | 2010/01/25 | [
"https://Stackoverflow.com/questions/2135116",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/135021/"
] | Your problem's quite standard in the field.
Firstly,
--------
you need to calibrate your camera. This can be done [offline](http://www.vision.caltech.edu/bouguetj/calib_doc/) (makes life **much** simpler) or [online](http://ieeexplore.ieee.org/xpl/freeabs_all.jsp?arnumber=1217942) through self-calibration.
[Calibrate it offline](http://opencv.willowgarage.com/documentation/cpp/camera_calibration_and_3d_reconstruction.html) - please.
Secondly,
---------
Once you have the calibration matrix of the camera *K*, determine the projection matrix of the camera in a successive scene (you need to use parallax as mentioned by others). This is described well in this [OpenCV tutorial](http://opencv.willowgarage.com/documentation/cpp/camera_calibration_and_3d_reconstruction.html).
You'll have to use the GPS information to find the relative orientation between the cameras in the successive scenes (that might be problematic due to noise inherent in most GPS units), i.e. the *R* and *t* mentioned in the tutorial or the rotation and translation between the two cameras.
Once you've resolved all that, you'll have two projection matrices --- representations of the cameras at those successive scenes. Using one of these so-called camera matrices, you can "project" a 3D point *M* on the scene to the 2D image of the camera on to pixel coordinate *m* (as in the tutorial).
We will use this to triangulate the real 3D point from 2D points found in your video.
Thirdly,
--------
use an interest point detector to track the same point in your video which lies on the object of interest. There are several detectors available, I recommend [SURF](http://opencv.willowgarage.com/documentation/cpp/feature_detection.html#surf) since you have OpenCV which also has several other detectors like [Shi-Tomasi corners](http://opencv.willowgarage.com/documentation/cpp/feature_detection.html#goodfeaturestotrack), [Harris](http://opencv.willowgarage.com/documentation/cpp/feature_detection.html#cornerharris), [etc](http://opencv.willowgarage.com/documentation/cpp/feature_detection.html).
Fourthly,
---------
Once you've tracked points of your object across the sequence and obtained the corresponding 2D pixel coordinates you must [triangulate](http://en.wikipedia.org/wiki/Triangulation_(computer_vision)) for the best fitting 3D point given your projection matrix and 2D points.
The above image nicely captures the uncertainty and how a best fitting 3D point is computed. Of course in your case, the cameras are probably in front of each other!
Finally,
--------
Once you've obtained the 3D points on the object, you can easily compute the Euclidean distance between the camera center (which is the origin in most cases) and the point.
### Note
This is obviously not easy stuff but it's not that hard either. I recommend Hartley and Zisserman's excellent book [Multiple View Geometry](http://www.robots.ox.ac.uk/%7Evgg/hzbook/) which has described everything above in explicit detail with MATLAB code to boot.
Have fun and keep asking questions! | Someone please correct me if I'm wrong, but it seems to me that if you're going to simply use a single camera and simply relying on a software solution, any processing you might do would be prone to false positives. I highly doubt that there is any processing that could tell the difference between objects that really are at the perceived distance and those which only appear to be at that distance (like the "forced perspective") in movies.
Any chance you could add an ultrasonic sensor? |
2,135,116 | I have a video file recorded from the front of a moving vehicle. I am going to use OpenCV for object detection and recognition but I'm stuck on one aspect. How can I determine the distance from a recognized object.
I can know my current speed and real-world GPS position but that is all. I can't make any assumptions about the object I'm tracking. I am planning to use this to track and follow objects without colliding with them. Ideally I would like to use this data to derive the object's real-world position, which I could do if I could determine the distance from the camera to the object. | 2010/01/25 | [
"https://Stackoverflow.com/questions/2135116",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/135021/"
] | You need to identify the same points in the same object on two different frames taken a known distance apart. Since you know the location of the camera in each frame, you have a baseline ( the vector between the two camera positions. Construct a triangle from the known baseline and the angles to the identified points. Trigonometry gives you the length of the unknown sides of the traingles for the known length of the baseline and the known angles between the baseline and the unknown sides.
You can use two cameras, or one camera taking successive shots. So, if your vehicle is moving a 1 m/s and you take fames every second, then successibe frames will gibe you a 1m baseline which should be good to measure the distance of objects up to, say, 5m away. If you need to range objects further away than the frames used need to be further apart - however more distant objects will in view for longer.
Observer at F1 sees target at T with angle a1 to velocity vector. Observer moves distance b to F2. Sees target at T with angle a2.
Required to find r1, range from target at F1
The trigonometric identity for cosine gives
Cos( 90 – a1 ) = x / r1 = c1
Cos( 90 - a2 ) = x / r2 = c2
Cos( a1 ) = (b + z) / r1 = c3
Cos( a2 ) = z / r2 = c4
x is distance to target orthogonal to observer’s velocity vector
z is distance from F2 to intersection with x
Solving for r1
r1 = b / ( c3 – c1 . c4 / c2 ) | use stereo disparity maps. lots of implementations are afloat, here are some links:
<http://homepages.inf.ed.ac.uk/rbf/CVonline/LOCAL_COPIES/OWENS/LECT11/node4.html>
<http://www.ece.ucsb.edu/~manj/ece181bS04/L14(morestereo).pdf>
In you case you don't have stereo camera, but depth can be evaluated using video
<http://www.springerlink.com/content/g0n11713444148l2/>
I think the above will be what might help you the most.
research has progressed so far that depth can be evaluated ( though not to a satisfactory extend) from a single monocular image
<http://www.cs.cornell.edu/~asaxena/learningdepth/> |
2,135,116 | I have a video file recorded from the front of a moving vehicle. I am going to use OpenCV for object detection and recognition but I'm stuck on one aspect. How can I determine the distance from a recognized object.
I can know my current speed and real-world GPS position but that is all. I can't make any assumptions about the object I'm tracking. I am planning to use this to track and follow objects without colliding with them. Ideally I would like to use this data to derive the object's real-world position, which I could do if I could determine the distance from the camera to the object. | 2010/01/25 | [
"https://Stackoverflow.com/questions/2135116",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/135021/"
] | Your problem's quite standard in the field.
Firstly,
--------
you need to calibrate your camera. This can be done [offline](http://www.vision.caltech.edu/bouguetj/calib_doc/) (makes life **much** simpler) or [online](http://ieeexplore.ieee.org/xpl/freeabs_all.jsp?arnumber=1217942) through self-calibration.
[Calibrate it offline](http://opencv.willowgarage.com/documentation/cpp/camera_calibration_and_3d_reconstruction.html) - please.
Secondly,
---------
Once you have the calibration matrix of the camera *K*, determine the projection matrix of the camera in a successive scene (you need to use parallax as mentioned by others). This is described well in this [OpenCV tutorial](http://opencv.willowgarage.com/documentation/cpp/camera_calibration_and_3d_reconstruction.html).
You'll have to use the GPS information to find the relative orientation between the cameras in the successive scenes (that might be problematic due to noise inherent in most GPS units), i.e. the *R* and *t* mentioned in the tutorial or the rotation and translation between the two cameras.
Once you've resolved all that, you'll have two projection matrices --- representations of the cameras at those successive scenes. Using one of these so-called camera matrices, you can "project" a 3D point *M* on the scene to the 2D image of the camera on to pixel coordinate *m* (as in the tutorial).
We will use this to triangulate the real 3D point from 2D points found in your video.
Thirdly,
--------
use an interest point detector to track the same point in your video which lies on the object of interest. There are several detectors available, I recommend [SURF](http://opencv.willowgarage.com/documentation/cpp/feature_detection.html#surf) since you have OpenCV which also has several other detectors like [Shi-Tomasi corners](http://opencv.willowgarage.com/documentation/cpp/feature_detection.html#goodfeaturestotrack), [Harris](http://opencv.willowgarage.com/documentation/cpp/feature_detection.html#cornerharris), [etc](http://opencv.willowgarage.com/documentation/cpp/feature_detection.html).
Fourthly,
---------
Once you've tracked points of your object across the sequence and obtained the corresponding 2D pixel coordinates you must [triangulate](http://en.wikipedia.org/wiki/Triangulation_(computer_vision)) for the best fitting 3D point given your projection matrix and 2D points.
The above image nicely captures the uncertainty and how a best fitting 3D point is computed. Of course in your case, the cameras are probably in front of each other!
Finally,
--------
Once you've obtained the 3D points on the object, you can easily compute the Euclidean distance between the camera center (which is the origin in most cases) and the point.
### Note
This is obviously not easy stuff but it's not that hard either. I recommend Hartley and Zisserman's excellent book [Multiple View Geometry](http://www.robots.ox.ac.uk/%7Evgg/hzbook/) which has described everything above in explicit detail with MATLAB code to boot.
Have fun and keep asking questions! | Two cameras so you can detect parallax. It's what humans do.
*edit*
Please see ravenspoint's answer for more detail. Also, keep in mind that a single camera with a splitter would probably suffice. |
2,135,116 | I have a video file recorded from the front of a moving vehicle. I am going to use OpenCV for object detection and recognition but I'm stuck on one aspect. How can I determine the distance from a recognized object.
I can know my current speed and real-world GPS position but that is all. I can't make any assumptions about the object I'm tracking. I am planning to use this to track and follow objects without colliding with them. Ideally I would like to use this data to derive the object's real-world position, which I could do if I could determine the distance from the camera to the object. | 2010/01/25 | [
"https://Stackoverflow.com/questions/2135116",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/135021/"
] | When you have moving video, you can **use temporal parallax** to determine the relative distance of objects. Parallax: ([definition](http://en.wikipedia.org/wiki/Parallax)).
The effect would be the same we get with our eyes which which can gain depth perception by looking at the same object from slightly different angles. Since you are moving, you can use two successive video frames to get your slightly different angle.
Using parallax calculations, you can determine the *relative* size and distance of objects (relative to one another). But, if you want the *absolute* size and distance, you will need a known point of reference.
You will also need to know the speed and direction being traveled (as well as the video frame rate) in order to do the calculations. You *might* be able to derive the speed of the vehicle using the visual data but that adds another dimension of complexity.
The technology already exists. Satellites determine [topographic prominence](http://en.wikipedia.org/wiki/Topographic_prominence) (height) by comparing multiple images taken over a short period of time. We use parallax to determine the distance of stars by taking photos of night sky at different points in earth's orbit around the sun. I was able to create 3-D images out of an airplane window by taking two photographs within short succession.
The exact technology and calculations (even if I knew them off the top of my head) are *way* outside the scope of discussing here. If I can find a decent reference, I will post it here. | You need to identify the same points in the same object on two different frames taken a known distance apart. Since you know the location of the camera in each frame, you have a baseline ( the vector between the two camera positions. Construct a triangle from the known baseline and the angles to the identified points. Trigonometry gives you the length of the unknown sides of the traingles for the known length of the baseline and the known angles between the baseline and the unknown sides.
You can use two cameras, or one camera taking successive shots. So, if your vehicle is moving a 1 m/s and you take fames every second, then successibe frames will gibe you a 1m baseline which should be good to measure the distance of objects up to, say, 5m away. If you need to range objects further away than the frames used need to be further apart - however more distant objects will in view for longer.
Observer at F1 sees target at T with angle a1 to velocity vector. Observer moves distance b to F2. Sees target at T with angle a2.
Required to find r1, range from target at F1
The trigonometric identity for cosine gives
Cos( 90 – a1 ) = x / r1 = c1
Cos( 90 - a2 ) = x / r2 = c2
Cos( a1 ) = (b + z) / r1 = c3
Cos( a2 ) = z / r2 = c4
x is distance to target orthogonal to observer’s velocity vector
z is distance from F2 to intersection with x
Solving for r1
r1 = b / ( c3 – c1 . c4 / c2 ) |
2,135,116 | I have a video file recorded from the front of a moving vehicle. I am going to use OpenCV for object detection and recognition but I'm stuck on one aspect. How can I determine the distance from a recognized object.
I can know my current speed and real-world GPS position but that is all. I can't make any assumptions about the object I'm tracking. I am planning to use this to track and follow objects without colliding with them. Ideally I would like to use this data to derive the object's real-world position, which I could do if I could determine the distance from the camera to the object. | 2010/01/25 | [
"https://Stackoverflow.com/questions/2135116",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/135021/"
] | Your problem's quite standard in the field.
Firstly,
--------
you need to calibrate your camera. This can be done [offline](http://www.vision.caltech.edu/bouguetj/calib_doc/) (makes life **much** simpler) or [online](http://ieeexplore.ieee.org/xpl/freeabs_all.jsp?arnumber=1217942) through self-calibration.
[Calibrate it offline](http://opencv.willowgarage.com/documentation/cpp/camera_calibration_and_3d_reconstruction.html) - please.
Secondly,
---------
Once you have the calibration matrix of the camera *K*, determine the projection matrix of the camera in a successive scene (you need to use parallax as mentioned by others). This is described well in this [OpenCV tutorial](http://opencv.willowgarage.com/documentation/cpp/camera_calibration_and_3d_reconstruction.html).
You'll have to use the GPS information to find the relative orientation between the cameras in the successive scenes (that might be problematic due to noise inherent in most GPS units), i.e. the *R* and *t* mentioned in the tutorial or the rotation and translation between the two cameras.
Once you've resolved all that, you'll have two projection matrices --- representations of the cameras at those successive scenes. Using one of these so-called camera matrices, you can "project" a 3D point *M* on the scene to the 2D image of the camera on to pixel coordinate *m* (as in the tutorial).
We will use this to triangulate the real 3D point from 2D points found in your video.
Thirdly,
--------
use an interest point detector to track the same point in your video which lies on the object of interest. There are several detectors available, I recommend [SURF](http://opencv.willowgarage.com/documentation/cpp/feature_detection.html#surf) since you have OpenCV which also has several other detectors like [Shi-Tomasi corners](http://opencv.willowgarage.com/documentation/cpp/feature_detection.html#goodfeaturestotrack), [Harris](http://opencv.willowgarage.com/documentation/cpp/feature_detection.html#cornerharris), [etc](http://opencv.willowgarage.com/documentation/cpp/feature_detection.html).
Fourthly,
---------
Once you've tracked points of your object across the sequence and obtained the corresponding 2D pixel coordinates you must [triangulate](http://en.wikipedia.org/wiki/Triangulation_(computer_vision)) for the best fitting 3D point given your projection matrix and 2D points.
The above image nicely captures the uncertainty and how a best fitting 3D point is computed. Of course in your case, the cameras are probably in front of each other!
Finally,
--------
Once you've obtained the 3D points on the object, you can easily compute the Euclidean distance between the camera center (which is the origin in most cases) and the point.
### Note
This is obviously not easy stuff but it's not that hard either. I recommend Hartley and Zisserman's excellent book [Multiple View Geometry](http://www.robots.ox.ac.uk/%7Evgg/hzbook/) which has described everything above in explicit detail with MATLAB code to boot.
Have fun and keep asking questions! | use stereo disparity maps. lots of implementations are afloat, here are some links:
<http://homepages.inf.ed.ac.uk/rbf/CVonline/LOCAL_COPIES/OWENS/LECT11/node4.html>
<http://www.ece.ucsb.edu/~manj/ece181bS04/L14(morestereo).pdf>
In you case you don't have stereo camera, but depth can be evaluated using video
<http://www.springerlink.com/content/g0n11713444148l2/>
I think the above will be what might help you the most.
research has progressed so far that depth can be evaluated ( though not to a satisfactory extend) from a single monocular image
<http://www.cs.cornell.edu/~asaxena/learningdepth/> |
2,135,116 | I have a video file recorded from the front of a moving vehicle. I am going to use OpenCV for object detection and recognition but I'm stuck on one aspect. How can I determine the distance from a recognized object.
I can know my current speed and real-world GPS position but that is all. I can't make any assumptions about the object I'm tracking. I am planning to use this to track and follow objects without colliding with them. Ideally I would like to use this data to derive the object's real-world position, which I could do if I could determine the distance from the camera to the object. | 2010/01/25 | [
"https://Stackoverflow.com/questions/2135116",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/135021/"
] | Someone please correct me if I'm wrong, but it seems to me that if you're going to simply use a single camera and simply relying on a software solution, any processing you might do would be prone to false positives. I highly doubt that there is any processing that could tell the difference between objects that really are at the perceived distance and those which only appear to be at that distance (like the "forced perspective") in movies.
Any chance you could add an ultrasonic sensor? | Put and object of known size in the cameras field of view. That way you can have a more objective metric to measure angular distances. Without a second viewpoint/camera you'll be limited to estimating size/distance but at least it won't be a complete guess. |
2,135,116 | I have a video file recorded from the front of a moving vehicle. I am going to use OpenCV for object detection and recognition but I'm stuck on one aspect. How can I determine the distance from a recognized object.
I can know my current speed and real-world GPS position but that is all. I can't make any assumptions about the object I'm tracking. I am planning to use this to track and follow objects without colliding with them. Ideally I would like to use this data to derive the object's real-world position, which I could do if I could determine the distance from the camera to the object. | 2010/01/25 | [
"https://Stackoverflow.com/questions/2135116",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/135021/"
] | You need to identify the same points in the same object on two different frames taken a known distance apart. Since you know the location of the camera in each frame, you have a baseline ( the vector between the two camera positions. Construct a triangle from the known baseline and the angles to the identified points. Trigonometry gives you the length of the unknown sides of the traingles for the known length of the baseline and the known angles between the baseline and the unknown sides.
You can use two cameras, or one camera taking successive shots. So, if your vehicle is moving a 1 m/s and you take fames every second, then successibe frames will gibe you a 1m baseline which should be good to measure the distance of objects up to, say, 5m away. If you need to range objects further away than the frames used need to be further apart - however more distant objects will in view for longer.
Observer at F1 sees target at T with angle a1 to velocity vector. Observer moves distance b to F2. Sees target at T with angle a2.
Required to find r1, range from target at F1
The trigonometric identity for cosine gives
Cos( 90 – a1 ) = x / r1 = c1
Cos( 90 - a2 ) = x / r2 = c2
Cos( a1 ) = (b + z) / r1 = c3
Cos( a2 ) = z / r2 = c4
x is distance to target orthogonal to observer’s velocity vector
z is distance from F2 to intersection with x
Solving for r1
r1 = b / ( c3 – c1 . c4 / c2 ) | Two cameras so you can detect parallax. It's what humans do.
*edit*
Please see ravenspoint's answer for more detail. Also, keep in mind that a single camera with a splitter would probably suffice. |
2,135,116 | I have a video file recorded from the front of a moving vehicle. I am going to use OpenCV for object detection and recognition but I'm stuck on one aspect. How can I determine the distance from a recognized object.
I can know my current speed and real-world GPS position but that is all. I can't make any assumptions about the object I'm tracking. I am planning to use this to track and follow objects without colliding with them. Ideally I would like to use this data to derive the object's real-world position, which I could do if I could determine the distance from the camera to the object. | 2010/01/25 | [
"https://Stackoverflow.com/questions/2135116",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/135021/"
] | When you have moving video, you can **use temporal parallax** to determine the relative distance of objects. Parallax: ([definition](http://en.wikipedia.org/wiki/Parallax)).
The effect would be the same we get with our eyes which which can gain depth perception by looking at the same object from slightly different angles. Since you are moving, you can use two successive video frames to get your slightly different angle.
Using parallax calculations, you can determine the *relative* size and distance of objects (relative to one another). But, if you want the *absolute* size and distance, you will need a known point of reference.
You will also need to know the speed and direction being traveled (as well as the video frame rate) in order to do the calculations. You *might* be able to derive the speed of the vehicle using the visual data but that adds another dimension of complexity.
The technology already exists. Satellites determine [topographic prominence](http://en.wikipedia.org/wiki/Topographic_prominence) (height) by comparing multiple images taken over a short period of time. We use parallax to determine the distance of stars by taking photos of night sky at different points in earth's orbit around the sun. I was able to create 3-D images out of an airplane window by taking two photographs within short succession.
The exact technology and calculations (even if I knew them off the top of my head) are *way* outside the scope of discussing here. If I can find a decent reference, I will post it here. | use stereo disparity maps. lots of implementations are afloat, here are some links:
<http://homepages.inf.ed.ac.uk/rbf/CVonline/LOCAL_COPIES/OWENS/LECT11/node4.html>
<http://www.ece.ucsb.edu/~manj/ece181bS04/L14(morestereo).pdf>
In you case you don't have stereo camera, but depth can be evaluated using video
<http://www.springerlink.com/content/g0n11713444148l2/>
I think the above will be what might help you the most.
research has progressed so far that depth can be evaluated ( though not to a satisfactory extend) from a single monocular image
<http://www.cs.cornell.edu/~asaxena/learningdepth/> |
7,927 | First let me assure everyone that I did look for a similar question and did not find any. So I apologize if my search was insufficient.
I am a big fan of martinis, dry in particular. My buddies and I are partial to Leyden Dry Gin. If you have never tried it and have access to it, I highly recommend it. As a friend puts it, it provides better living through chemistry. It is from Holland, which, in case you did not know, is the birthplace of gin.
So my question, finally, is **at what point does a dry martini become simply a glass of cold gin?** | 2019/12/22 | [
"https://beer.stackexchange.com/questions/7927",
"https://beer.stackexchange.com",
"https://beer.stackexchange.com/users/9989/"
] | Dry Martini can sometimes become a very philisophical topic.
As Eric Shain already pointed out, the classic martini consists of gin and vermouth 6:1. You should not forget the water, that is melted while stirring it. This is quite an important part of making a good Martini. You should stirr it for several minutes.
More puristic people go to a ratio of 10:1 or even 15:1. To get to a more extreme combination, you put vermouth into your ice cubes, stirr it for a short while, and then pour the vermouth away, so that only the ice cubes for stirring your gin are thinly layered with vermouth.
There are even recipes where you would simply put a bottle of gin in the freezer, put vermouth in an atomizer, then pour gin in a frozen martini glass, pfff vermouth once with the atomizer and voila - your martini. This is already very close to your suggestion of just drinking cold gin.
The famous Winston Churchill once said: "The best Martini is a bottle of gin, that stood in the shadow of a bottle of vermouth."
So there it is ;-) | I'm not an expert in this, but here is my take. A martini is a mixed drink. This suggests at least two ingredients. The typical dry martini is made from 5 parts gin and 1 part dry vermouth. Less dry vermouth is considered "drier". You can substitute vodka for gin. As far as I'm concerned, a dry martini becomes just gin when you stop including vermouth. |
17,140,511 | What are the risks of doing this? I understand the documentation says not to do it, but I have password protected all the pages. | 2013/06/17 | [
"https://Stackoverflow.com/questions/17140511",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/2104778/"
] | The point is that your "password protection" is useless if a hacker can simply bypass that and read your database directly. We don't know if they can, but - as the docs say - the dev server has undergone *no* security testing whatsoever, so they might well be able to.
Plus, the server is single-threaded. It will only ever be able to serve one request at a time. That makes for a very slow experience for your users.
Seriously, there is *no reason* to do this. Setting up Apache + mod\_wsgi, or whatever your preferred hosting environment is, is a five-minute process if you follow the very detailed instructions. | If you mean, you want to deploy your Django project, you should use something like NGINX etc.
If you just want to tell, what if a development server is public, you have the same risks with any another project written in any platform. |
417,882 | Why is the verb when paying for a service *subscribe*, but the noun form is *subscription*?
Is there a rule that changes "b" to "p"? | 2017/11/10 | [
"https://english.stackexchange.com/questions/417882",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/155643/"
] | The "rule" goes right back to Latin (and probably to pre-Latin) where suffixes starting with an unvoiced consonant, such as "-tu" (earlier "-to") and "-si" caused a final voiced consonant on the root to be devoiced. Examples:
>
> scrib-o 'I write' -> scrip-si 'I have written', scrip-tum 'written'
>
>
> dirig-o 'I steer' -> direxi (direk-si) 'I have steered', direc-tum 'steered'
>
>
>
So you see there are other similar pairs in English (eg "dirigible" and "direct" - though "dirigible" is not a very common word, it's true)
Unfortunately, rules like this that go all the way back to Latin, are not very useful to learners of English, because they don't always apply to every case that might appear similar. So although most English words that end in "-ibe" are derived from "scribo", and have nouns in "-iption" (subscription, inscription, description, ascription), "imbibe" is an exception: There is no noun "\*imbiption". And conversely, there are nouns in "-ruption" (disruption, corruption, interruption) but their corresponding verbs end in "-rupt", not "-rube" as you might have guessed. | This is not about spelling, but about pronunciation. The simple answer to your question is: *the spelling is different because the pronunciation is different*.
The phenomenon seems to fall under **obstruent devoicing**.
The article [Voicing and devoicing in English, German, and Dutch;
evidence for domain-specific identity constraints by
Janet Grijzenhout](http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.141.5510&rep=rep1&type=pdf) goes into this in some more detail and mentions some more examples like *scribe*/*scripture*.
See chapter two for a bit more detailed description of this phenomenon in different languages:
>
> The phenomenon to be considered in this paper is the voicing alternation that obstruents
> display in different phonological environments.
>
>
> |
438,615 | I cannot understand the morphology of the word retroviral.
>
> is "re" the prefix?
>
>
>
* I think the prefix might be retro, is that true?
>
> is "al the suffix?
>
>
>
* I am assuming that "viral" is the root, is that true | 2018/03/27 | [
"https://english.stackexchange.com/questions/438615",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/289167/"
] | **retrovirus (noun) retroviral (adjective)**
The prefix **"retro-"** has been added to **"virus"** because of the retrograde mechanism used for replication.
>
> * "Once inside the host cell cytoplasm, the virus uses its own reverse transcriptase enzyme to produce DNA from its RNA genome, the reverse of the usual pattern, thus retro (backwards)." - from [Wikipedia](https://en.wikipedia.org/wiki/Retrovirus)
>
>
>
[retrograde](https://www.merriam-webster.com/dictionary/retrograde) - "moving, occurring, or performed in a backward direction"
[retro](https://medical-dictionary.thefreedictionary.com/retro-) (pref.) "contrary to a usual or natural course or direction: retrograde." | As also stated in the other answer I see at the moment of writing here, the word retro in Latin means a movement backwards or a backward position, both in time and place. A quote from the Gospel is "Vade retro Satana" (Back away, Devil!), spoken by Jesus in the desert to the Devil who wanted to tempt him.
>
> Go back, Satan!
> An exhortation for Satan to be gone, often used in response to temptation. From a popular Medieval Catholic exorcismformula, based on a rebuke by Jesus to Peter in the Vulgate, Mark 8:33: vade retro me Satana |"step back from me, Satan!"|. The older phrase vade retro |"go back!"| can be found in Terence's Formio I, 4, 203.
> <https://glosbe.com/la/en/vade%20retro%20Satana>
>
>
> |
821,527 | I am using putty for remote login in Linux in Ubuntu. The font size of terminal is very small. How can I increase it's font size. | 2016/09/06 | [
"https://askubuntu.com/questions/821527",
"https://askubuntu.com",
"https://askubuntu.com/users/479002/"
] | * Putty configuration
* Window
* Appearance
* Font Settings
* Font
* Change
* Size: pick the smallest one possible, which is 8 for me
* Go back to "Sessions", select a "saved session" and click "Save". Terrible interface design!
+ <https://serverfault.com/questions/12295/how-to-make-putty-settings-persistent>
+ <https://serverfault.com/questions/52068/is-there-a-way-to-permanently-set-the-font-and-window-size-in-putty>
I wish I could go even smaller a bit, but it is already a huge improvement.
Also consider using MobaXterm instead of Putty: [Can I access Ubuntu from Windows remotely?](https://askubuntu.com/questions/592537/can-i-access-ubuntu-from-windows-remotely/954989#954989) It is almost inevitable.
Tested on Putty 0.70, Windows 10 local, Ubuntu 16.04 remote. | The setup is somewhat different if you using Putty on Ubuntu.
Go to **Fonts** under **Window**, and change the **Font used for ordinary text**. Usually it's set to a default font by the server.
[](https://i.stack.imgur.com/Lq8DL.png)
Here, you can select a font you want and update the preferred font size.
[](https://i.stack.imgur.com/zlOxT.png) |
34,170,094 | I am an absolute beginner with this. I installed Wowza and wanted to play VOD. The test works, the sample.mp4 plays. However when I try what looks like the same URL shown in the test player, which in my case is:
<http://192.168.5.76:1935/voddec8/mp4:sample.mp4/manifest.f4m>
I get the contents of the manifest. When I try to remove the manifest.f4m so that the URL is just:
<http://192.168.5.76:1935/voddec8/mp4:sample.mp4>
EDIT: Could it be that I need to be in a player, not a browser?
I just get info about the Wowza server:
Wowza Streaming Engine 4 Trial Edition (Expires: Jun 07, 2016) 4.3.0 build16025
What am I doing wrong? | 2015/12/09 | [
"https://Stackoverflow.com/questions/34170094",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1621584/"
] | Wowza does not support progressive download (meaning basic http download), you can do that with any web server. Then you could open something like this in the browser <http://192.168.5.76:1935/voddec8/sample.mp4>
If you want to play an HLS stream (playlist.m3u8) or HDS (manifest.f4m) you need to call it through a player that supports those protocols, like Jwplayer, Flowplayer,... or an application like VLC. Mobile devices (iphones, and moder Android should open HLS stream directly though.
You can also open the stream using rtmp, but you need a player (flash based) using an url like this rtmp://192.168.5.76:1935/voddec8/mp4:sample.mp4
You need to check what is the protocol best suited for you. | If you have installed wowza on local system, the URL pattern will be your IP address. You can switch wowza to listen on any port (should be open port).
Ex: rtmp://10.136.15.1:1935/vod/mp4:bunny.mp4
Instead of running it under 1935, you can switch it to listen on port:80.
You can try running your vod video in VLC player, as highlighted below.
[](https://i.stack.imgur.com/cvoGD.png)
Once this is running, you can embed it in your application using open source media player (strobe player) : <http://matbury.com/strobe/> |
34,170,094 | I am an absolute beginner with this. I installed Wowza and wanted to play VOD. The test works, the sample.mp4 plays. However when I try what looks like the same URL shown in the test player, which in my case is:
<http://192.168.5.76:1935/voddec8/mp4:sample.mp4/manifest.f4m>
I get the contents of the manifest. When I try to remove the manifest.f4m so that the URL is just:
<http://192.168.5.76:1935/voddec8/mp4:sample.mp4>
EDIT: Could it be that I need to be in a player, not a browser?
I just get info about the Wowza server:
Wowza Streaming Engine 4 Trial Edition (Expires: Jun 07, 2016) 4.3.0 build16025
What am I doing wrong? | 2015/12/09 | [
"https://Stackoverflow.com/questions/34170094",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1621584/"
] | if you want to deliver the vod as progressive method , you can try nimble streamer (wmspanel.com)
which will gives you additional security for progressive delivery method, and if this is for web delivery i prefer to deliver using hls method (.m3u8) which is the best method to avoid your sever bandwidth also. | If you have installed wowza on local system, the URL pattern will be your IP address. You can switch wowza to listen on any port (should be open port).
Ex: rtmp://10.136.15.1:1935/vod/mp4:bunny.mp4
Instead of running it under 1935, you can switch it to listen on port:80.
You can try running your vod video in VLC player, as highlighted below.
[](https://i.stack.imgur.com/cvoGD.png)
Once this is running, you can embed it in your application using open source media player (strobe player) : <http://matbury.com/strobe/> |
121,057 | [](https://i.stack.imgur.com/CMehB.png)
I am trying to play the accompaniement of a song but the last two bars seems impossible to me. I can reach an octave with each hand and no more. I don't think I should maintain the pedal either because otherwise the quarter notes get too long. What should I do?
Thanks in advance! | 2022/02/01 | [
"https://music.stackexchange.com/questions/121057",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/54171/"
] | You have two options: ignore the quarter notes being too long and use the pedal, or don't use the pedal and let the octave Gs stop sounding immediately. Of course, there's actually a third option, which is to release the pedal sometime after the second beat, and this is probably what you'll do.
Whether you hold the pedal past the third beat will depend on your piano and probably to some extent on your soloist and the room in which you are playing. Decide when to release the pedal after experimenting enough that you can form an opinion about *what sounds best.* | Pedal, or middle pedal if you have one or half pedal to hold the bass and take the alto into the left hand. The pedal is not that problematic, as these notes are legato anyway. |
121,057 | [](https://i.stack.imgur.com/CMehB.png)
I am trying to play the accompaniement of a song but the last two bars seems impossible to me. I can reach an octave with each hand and no more. I don't think I should maintain the pedal either because otherwise the quarter notes get too long. What should I do?
Thanks in advance! | 2022/02/01 | [
"https://music.stackexchange.com/questions/121057",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/54171/"
] | You have two options: ignore the quarter notes being too long and use the pedal, or don't use the pedal and let the octave Gs stop sounding immediately. Of course, there's actually a third option, which is to release the pedal sometime after the second beat, and this is probably what you'll do.
Whether you hold the pedal past the third beat will depend on your piano and probably to some extent on your soloist and the room in which you are playing. Decide when to release the pedal after experimenting enough that you can form an opinion about *what sounds best.* | This is where use of the **sostenuto** pedal comes to the fore. On a lot of pianos, there is a middle pedal - in Europe, it's often the *practice* pedal, which won't help, but in U.S. it's more likely to be a sophisticated damper control.
Rather like the sustain pedal found on just about every acoustic piano, it moves the dampers away from the strings, allowing them to continue sounding when the fingers are lifted. Except - it applies this *only* to any notes being played at the time of pedal press.
This means you can hold the dotted minim with the sos. pedal, and all other notes will get their own values.
Failing the existence of the sostenuto pedal, it won't really hurt to use the damper pedal (on the right) to hold those dotted minims anyway. Easier than getting an other hand(s) to hold them down for you! |
57 | I have a large plantar wart (a wart on the bottom of my foot). It's been resistant to freezing and acid. My dermatologist said I just need to wait until my immune system is ready to get rid of it, and I could try placebo treatments like putting a banana peel on it if I wanted.
I thought he was joking until I recently found out that the [banana peel cure is considered a real home remedy.](http://umm.edu/health/medical/altmed/condition/warts) Is there any scientific evidence that it works? | 2015/03/31 | [
"https://health.stackexchange.com/questions/57",
"https://health.stackexchange.com",
"https://health.stackexchange.com/users/62/"
] | Based on my medical knowledge and a literature search, I cannot find evidence to suggest that banana peels are a superior treatment for warts. I saw only one nearly 40-year-old study on PubMed, Warzawer-Schwarcz L. "Treatment of plantar warts with banana skin." Plast Reconstr Surg. 1981 Dec;68(6):975-6. <http://journals.lww.com/plasreconsurg/Citation/1981/12000/Treatment_of_Plantar_Warts_With_Banana_Skin.35.aspx>
This study involved taping fresh banana peel every day to the wart using surgical tape, and then scraping chunks out of the softened wart repeatedly. It seems like the primary function of the banana peel was to make the skin damp and soft for scraping. I actually think using just duct tape instead could accomplish a similar function (keeping skin damp), with the advantage that the tape can naturally pull off chunks of wart when you rip it off. Another study found that duct tape actually can be effective for wart removal; researchers theorize this is because the duct tape may be stimulating the immune system (see here: <https://www.webmd.com/men/news/20021015/duct-tape-gets-rid-of-warts>). Also, personal story, when I was a kid I got rid of a wart on my hand using the duct tape method.
My main recommendation, though, would be to try freezing it off again, or getting it cut out. I don't know how many times you've tried freezing it, but warts can be fairly determined and may require multiple freezings to disappear. You may also want to try a different dermatologist - perhaps your current dermatologist doesn't have good freezing technique. You can also have the wart cut out, though that will have longer recovery time.
I think you've got a lot of options - don't give up! Sometimes a combination of therapies can be effective. For example, I once also got rid of a wart on my foot using drug store salicylic acid stickers, repeated scraping to remove dead skin and dead wart tissue, followed by freezing.
Additional information: Warts are caused by human papillomavirus (HPV). HPV16 and HPV18 cause cervical cancer; HPV6 and HPV11 cause genital warts and laryngeal papillomatosis; but there are also many types of HPV that are not sexually transmitted and merely cause skin warts (see the Wikipedia article <https://en.wikipedia.org/wiki/Human_papillomavirus_infection>). | It seems you're expecting yes or no answer, but it's not possible as different warts are caused by different factors (e.g. often by [HPV](http://en.wikipedia.org/wiki/Human_papillomavirus) and 35 other which can result in potassium deficiency) and it also should be not confused with moles which can look similar or some warts can turn into cancerous tumors.
Wart removal rarely involves anything more complicated than an at-home remedy and usually over-the-counter medicines can help (liquid, cream, or bandage forms) by applying them directly to the wart. Other traditional methods include freezing or placing a small piece of duct tape.
Though a potassium deficiency is not directly responsible for causing warts, it can be a contributing factor to outbreaks. So warts are the effects of being low in potassium, so it's likely that banana peels would help in this case as it's rich in potassium (as well as potato peels and Apple Cider Vinegar). And increasing your intake of potassium will limit the chances of your warts coming back. Bananas are considered safe to use as there are no side effects.
So I'd say it's worth to try.
See also:
* [Warts at Natural Remedies](http://www.naturalremedies.org/warts/)
* [Natural Cures for Warts - More Than Home Remedies](http://lacetoleather.com/warts.html)
* [Warts & Moles](http://www.herballegacy.com/Warts_&_Moles.html) at Herbal Legacy
>
> Warts and moles are usually the result of a nutritional deficiency and they should be treated internally, as well as externally.
>
>
> Potassium Deficiency for Warts and Moles: When cysts or tumors grow in places where they can be seen outside the body, often we react by having them cut out. This defeats healing by working on the effect instead of the cause. You can cut cysts out, tumors off, and burn warts off (which are also a potassium deficiency), or get rid of as many moles as you wish, but unless you go to the cause, they will grow back again, and you may end up with as many or more cysts, tumors, moles as before. Different signs of potassium deficiency will keep popping out on the body because the condition that needs correcting is on the inside. You have to go into the cause, Dr. Christopher always insisted, which is the way we have been eating. [EWH p.125] Potassium sources: There are several ways to receive your potassium. Dr. Bernard Jensen sells a potassium broth made from dehydrated vegetables. Dr. Bronner makes a similar, excellent product. You can also make your own potassium broth by simmering equal parts of red potatoes, celery, carrots, onions, and herbs to taste. Raw vegetable and fruit juices also flood the system with potassium. [EWH p.125]
>
>
>
* Tips, Tips and More Tips by Anne J.B. Skinner (p. 103, 113)
There are very few studies that directly tie diet and mineral deficiencies to immune system function. So it's likely there is no scientific evidence that banana peels or [vinegar](http://articles.mercola.com/sites/articles/archive/2009/06/02/apple-cider-vinegar-hype.aspx) (ACV) is an effective treatment for wart removal.
Here is one which I've found close enough: [Evaluation of Topical Potassium Hydroxide Solution for Treatment of Plane Warts](http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3312655/) and the conclusion was:
>
> Topical [KOH](http://en.wikipedia.org/wiki/Potassium_hydroxide) solution is proved to be an effective and safe treatment of plane warts in both concentrations (5% and 10%) with no important side effects.
>
>
> |
3,565 | I made a cold frame out of $5.00 worth of lumber and some saran wrap. I don't know if it necessarily deserves the title "cold frame", but I want to use it as a place that is protected from the elements where I can sprout and keep seedlings during the day.
I know that one usually uses a cold frame to raise early lettuce and other things in, but is a cold frame an acceptable alternative for a greenhouse? | 2012/03/08 | [
"https://gardening.stackexchange.com/questions/3565",
"https://gardening.stackexchange.com",
"https://gardening.stackexchange.com/users/10/"
] | It's all genetic. Here is a list of the taxonomies of several common curcurbits:
Watermelon:
* **Kingdom:** Plantae
* **Phylum:** Magnoliophyta
* **Class:** Magnoliopsida
* **Order:** Violales
* **Family:** Curcurbitaceae
* **Genus:** Citrullus
* **Species:** *lanatus*
Squash:
* **Kingdom:** Plantae
* **Phylum:** Magnoliophyta
* **Class::** Magnoliopsida
* **Order:** Violales
* **Family:** Curcurbitaceae
* **Genus:** Curcurbita
* **Species:** Pumpkin: *maxima*, Butternut type: *moschata*, Summer type: *pepo*
Cucumber + Melon:
* **Kingdom:** Plantae
* **Phylum:** Magnoliophyta
* **Class:** Magnoliopsida
* **Order:** Violales
* **Family:** Curcurbitaceae
* **Genus:** Cucumis
* **Species:** Cucumber: *sativus*, Melon: *melo*
As you can see, the watermelon, squash, and melon are in the same family, But each has it's own Genus. Of course, every species of plant has its own set of characteristics. Watermelon vines are thinner and longer than squash vines, and the leaves are deeply lobed, compared with the squashes wide, flat leaves.
The fruit looks very similar when young, but when they are matured the watermelons have a dramatic decrease in starch content, and have low density flesh with extremely high moisture content, and a high level of fructose. The cucumber genus is lower in water content, but also store the energy supply as fructose rather than starch. The melons have more sugar than the cucumbers.
Notice that the ones with the higher starch ripen latest in the season, when animals need starch to build up fat for winter. The more sugary juicier fruits are ripened a little earlier, when the animals need quick energy. | The above answer is accurate. The simple gist of it is this:
There are two sensation categories involved: Flavor and Sweetness
There are two substance categories involved: Starch and Water
Listed below are the three fruits in question, by each of the above four items in the order of their volume from most to least:
1. **Cucumber**: water, starch, sugar, flavor.
2. **Squash**: starch, flavor, or flavor, starch, sugar, water.
3. **Melon**: Flavor, water, or water, flavor, sugar but no starch |
94,208 | Consider this carbocation:
[](https://i.stack.imgur.com/vPKrQ.png)
We know that this carbocation would immediately rearrange - by a methyl shift - to form the more stable carbocation.
Now, notice that the migration will produce a **chiral** center at carbon **1**. Assuming that the leaving group was a chloride, will the configuration at **1** - after the methyl shift - be retained, inverted, or racemized?
Interestingly, assuming the nucleophile is $\ce{EtOH}$, in the final product - 2-d-3-ethoxy-3-methylpentane, carbon **2** is also a chiral center. I assume that it will be racemized, as in usual SN1 reactions, but I am not sure. Am I correct?
At a very detailed level, I was also taught that in SN1 reactions, 100% racemization does **not** occur. The inverted product is slightly more than the retained product. This is because - while the leaving group is still leaving - backside attack is preferred. So, does this phenomenon also have an effect on the molecule above?
**To conclude**, I wish to know the stereochemistry at both chiral carbon **1** and **2**. Are they retained, inverted, or racemized? If racemized, then is the racemization 100%, or is the inverted product formed more than the retained one? | 2018/03/28 | [
"https://chemistry.stackexchange.com/questions/94208",
"https://chemistry.stackexchange.com",
"https://chemistry.stackexchange.com/users/5026/"
] | Okay so here is the situation: You have two subsitutions, methyl and 1-methylpropyl as the two substituents here. You wish to know in which order the substituents must be written in the name. You knew that substituents are arranged alphabetically, and both methyl and 1-methylpropyl start with the same letter *m*.
Consider a dictionary. It has over thousands of words that start with the letter C. But we can still arrange the words in order by looking at the second, third, fourth, fifth, *etc.* letters of the names. Similarly, if the first letters are the same, look at the second, third and fourth letters.
Here's where we arrive at the conclusion. methylpropyl will be ranked below methyl as per dictionary order. Thus the name of the compound would, in fact, be 2,2,7-trimethyl-4-(1-methyl-propyl)-nonane and the other name is not accepted.
I believe you can continue from here to name the second compound.
**Important notes:**
1. The inclusion of di, tri in the name must only be applied for complex subsituents such as in the case of 5-(dimethylethyl)decane. In cases such as 4-ethyl-5,5-dimethyldecane, **do not** use *d* as the starting letter. This is becase *d* is not the part of the name of the subsitituent (methyl) and only indicates how many times this subsitituent occurs in the compound.
2. Do not add hyphens between methyl and decane such as "methyl-decane". Use "methyldecane" Hyphens must only be used between numbers and subsituents for which the number represents its position in the name. | Substituents are always written in alphabetical order (without considering the numerical prefixes such as di, tri, etc). Also, in case of trimethyl and methyl propyl, having same first alphabet (i.e. m), generally the substituent with shotter name is written first. But as per my knowledge, there is no such official rule. So the name that you have suggested for the first case is acceptable. But your second name is incorrect as alphabetical order is not considered. |
235,112 | Let's say I am staing at a hostel and there is only one electric kettle. I need to to boil some water to cook a meal. So I take it fill it up and turn it on. To cook a meal I need all the water. It boils, but then another person comes up and take the kettle not knowing that I am the person who filled it up and that I need all the water. So does the use of *occupy* sound natural in the following sentence?
>
> I am sorry, but I **occupied** the kettle first.
>
>
>
I am almost sure that the sentence doesn't sound natural, but I have no clue what a native English speaker would say to communicate the meaning. | 2020/01/14 | [
"https://ell.stackexchange.com/questions/235112",
"https://ell.stackexchange.com",
"https://ell.stackexchange.com/users/60696/"
] | You're correct, a fluent speaker would not use "occupy" here.
The most natural thing to say would be, "Excuse me, I'm using that." Depending on how forceful or polite you want to be and what rights you have to the kettle versus the other person, it might be, "Hey, that's my kettle! Get your hands off!", or at the opposite end, "Excuse me, I just boiled that water, I need that. I'll start another pot for you." Etc. | I would simply say:
>
> Oh, sorry, that's my water[ - I need it all].
>
>
>
If someone challenges your "ownership" of it, you could then say something like:
>
> I [just] boiled it.
>
>
>
Or, more forcefully, for emphasis:
>
> I'm the one who boiled it.
>
>
>
The above is maybe a bit aggressive though - in almost all cases (i.e. in polite society) you'd be fine with just my first suggestion. |
111,056 | Is it ok to use an "in" before "*in vitro*", or other Latin-derived phrases that start with "in"?
For example, could you say "there's been a lot of advances in *in vitro* fertilization lately"? | 2013/04/11 | [
"https://english.stackexchange.com/questions/111056",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/1420/"
] | English has compound words that have an space where one might otherwise see a hyphen. Since *in vitro* is a loanword which behaves as a single lexeme, use it as such.
For purposes of euphony and clarity, I'd probably word it "advances within [the field of] *in vitro* fertilization". | It offends no principles of grammar or good usage that I am aware of, but if it discomfits you, try saying instead "in fertilization *in vitro*". |
5,404,898 | Hey, I'm trying to make a basic hockey style game.
I have the basic physics working with the pitch, a player, an opponent, and a ball.
I'm struggling to figure out how I can allow the ball to travel into the goal
while keeping the player and opponent from going into the goal.
Basically the opponent follows the ball, and the player is controlled by user input.
so there are two restrictions I need.
I need to create a shape that only the ball can go through... is this even possible?
Maybe I can sleep the opponent if the ball passes the goal line?
Am I going about it the right way?
Player1 can only move around in the red box
Player2 can only move around in the green box
The ball can move around in the outer blue box
 | 2011/03/23 | [
"https://Stackoverflow.com/questions/5404898",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/149615/"
] | why don't you use simple collision detection?
if the object that moves over your hockey field is of type player and his position/hitbox collides with the goal, you change his position back to the line, so he possibly can't intersect with the goal.
if the type of object is not a player you simple let the object pass | Well, you don't allow the player to leave the playing field to the left or right do you? So You just need to do that same logic for the goal area for players. |
5,404,898 | Hey, I'm trying to make a basic hockey style game.
I have the basic physics working with the pitch, a player, an opponent, and a ball.
I'm struggling to figure out how I can allow the ball to travel into the goal
while keeping the player and opponent from going into the goal.
Basically the opponent follows the ball, and the player is controlled by user input.
so there are two restrictions I need.
I need to create a shape that only the ball can go through... is this even possible?
Maybe I can sleep the opponent if the ball passes the goal line?
Am I going about it the right way?
Player1 can only move around in the red box
Player2 can only move around in the green box
The ball can move around in the outer blue box
 | 2011/03/23 | [
"https://Stackoverflow.com/questions/5404898",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/149615/"
] | If you're using Box2D, you probably want to look into **Sensors**.
Taken from the [Box2D Manual](http://www.box2d.org/manual.html):
>
> Sometimes game logic needs to know when two fixtures overlap yet there should be no collision response. This is done by using sensors. A sensor is a fixture that detects collision but does not produce a response.
>
>
> You can flag any fixture as being a sensor. Sensors may be static or dynamic. Remember that you may have multiple fixtures per body and you can have any mix of sensors and solid fixtures.
>
>
> Sensors do not generate contact points. There are two ways to get the state of a sensor:
>
>
> 1. b2Contact::IsTouching
> 2. b2ContactListener::BeginContact and EndContact
>
>
> | why don't you use simple collision detection?
if the object that moves over your hockey field is of type player and his position/hitbox collides with the goal, you change his position back to the line, so he possibly can't intersect with the goal.
if the type of object is not a player you simple let the object pass |
5,404,898 | Hey, I'm trying to make a basic hockey style game.
I have the basic physics working with the pitch, a player, an opponent, and a ball.
I'm struggling to figure out how I can allow the ball to travel into the goal
while keeping the player and opponent from going into the goal.
Basically the opponent follows the ball, and the player is controlled by user input.
so there are two restrictions I need.
I need to create a shape that only the ball can go through... is this even possible?
Maybe I can sleep the opponent if the ball passes the goal line?
Am I going about it the right way?
Player1 can only move around in the red box
Player2 can only move around in the green box
The ball can move around in the outer blue box
 | 2011/03/23 | [
"https://Stackoverflow.com/questions/5404898",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/149615/"
] | If you're using Box2D, you probably want to look into **Sensors**.
Taken from the [Box2D Manual](http://www.box2d.org/manual.html):
>
> Sometimes game logic needs to know when two fixtures overlap yet there should be no collision response. This is done by using sensors. A sensor is a fixture that detects collision but does not produce a response.
>
>
> You can flag any fixture as being a sensor. Sensors may be static or dynamic. Remember that you may have multiple fixtures per body and you can have any mix of sensors and solid fixtures.
>
>
> Sensors do not generate contact points. There are two ways to get the state of a sensor:
>
>
> 1. b2Contact::IsTouching
> 2. b2ContactListener::BeginContact and EndContact
>
>
> | Well, you don't allow the player to leave the playing field to the left or right do you? So You just need to do that same logic for the goal area for players. |
36,249,463 | I am new to Big data technologies, I have a question on how hbase is integrated with hadoop. What does it mean by "Hbase sits on top of HDFS"? . My understanding is HDFS is a collection of structured and unstructured data distributed across multiple nodes and HBase is structured data.
How is Hbase integrated with Hadoop to provide real time access to the underlying data. Do we have to write special jobs to build indexes and such? In other words is there an additional layer between Hbase and hdfs that has data in the structure HBase understands | 2016/03/27 | [
"https://Stackoverflow.com/questions/36249463",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/5245786/"
] | **HDFS** is a distributed *filesystem*; One can do most regular FS operations on it such as listing files in a directory, writing a regular file, reading a part of the file, etc. Its not simply "a collection of structured or unstructured data" anymore than your **EXT4** or **NTFS** filesystems are.
**HBase** is a in-memory Key-Value store which may *persist* to **HDFS** (it isn't a hard-requirement, you can run HBase on any distributed-filesystem). For any read key request asked of HBase, it will first check its runtime memory caches to see if it has a value cached, and otherwise visit its stored files on HDFS to seek and read out the specific value. There are various configurations in HBase offered to control the way the cache is utilised, but HBase's speed comes from a combination of caching and indexed persistence (faster, seek-ed file reads).
HBase's file-based persistence on HDFS does the key indexing automatically when it writes, so there is no manual indexing need by its users. These files are regular HDFS files, but specialised in format for HBase's usage, known as HFiles.
These articles are slightly dated, but are still very reflective of the architecture HBase uses: <http://blog.cloudera.com/blog/2012/06/hbase-write-path/> and <http://blog.cloudera.com/blog/2012/06/hbase-io-hfile-input-output/>, and should help if you want to dig deeper. | [HDFS](https://wiki.apache.org/hadoop/HDFS) is a distributed file system, and [HBase](https://hbase.apache.org/) is a [NoSQL](https://en.wikipedia.org/wiki/NoSQL) database that depends on the HDFS filesystem to store it's data.
You should read up on these technologies, since your structured/unstructured comparison is not correct.
**Update**
You should check out the Google File System, MapReduce, and Bigtable papers if you are interested in the origins of these technologies.
* Ghemawat, Sanjay, Howard Gobioff, and Shun-Tak Leung. "The Google
file system." ACM SIGOPS operating systems review. Vol. 37. No. 5.
ACM, 2003.
* Dean, Jeffrey, and Sanjay Ghemawat. "MapReduce: simplified data processing on large clusters." Communications of the ACM 51.1 (2008): 107-113.
* Chang, Fay, et al. "Bigtable: A distributed storage system for
structured data." ACM Transactions on Computer Systems (TOCS) 26.2
(2008): 4. |
36,249,463 | I am new to Big data technologies, I have a question on how hbase is integrated with hadoop. What does it mean by "Hbase sits on top of HDFS"? . My understanding is HDFS is a collection of structured and unstructured data distributed across multiple nodes and HBase is structured data.
How is Hbase integrated with Hadoop to provide real time access to the underlying data. Do we have to write special jobs to build indexes and such? In other words is there an additional layer between Hbase and hdfs that has data in the structure HBase understands | 2016/03/27 | [
"https://Stackoverflow.com/questions/36249463",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/5245786/"
] | **HDFS** is a distributed *filesystem*; One can do most regular FS operations on it such as listing files in a directory, writing a regular file, reading a part of the file, etc. Its not simply "a collection of structured or unstructured data" anymore than your **EXT4** or **NTFS** filesystems are.
**HBase** is a in-memory Key-Value store which may *persist* to **HDFS** (it isn't a hard-requirement, you can run HBase on any distributed-filesystem). For any read key request asked of HBase, it will first check its runtime memory caches to see if it has a value cached, and otherwise visit its stored files on HDFS to seek and read out the specific value. There are various configurations in HBase offered to control the way the cache is utilised, but HBase's speed comes from a combination of caching and indexed persistence (faster, seek-ed file reads).
HBase's file-based persistence on HDFS does the key indexing automatically when it writes, so there is no manual indexing need by its users. These files are regular HDFS files, but specialised in format for HBase's usage, known as HFiles.
These articles are slightly dated, but are still very reflective of the architecture HBase uses: <http://blog.cloudera.com/blog/2012/06/hbase-write-path/> and <http://blog.cloudera.com/blog/2012/06/hbase-io-hfile-input-output/>, and should help if you want to dig deeper. | It's easy to understand:
HDFS is a distributed filesytem and provides write and read through an apped model.
Hbase is a NOSQL database that builds on the HDFS filesystem and must depend on it.
This can be read about here: [Apache hbase document](https://hbase.apache.org/) |
10,801,158 | How stable is s3fs to mount an Amazon S3 bucket as a local directory in linux? Is it recommended/stable for high demand production environments?
Are there any better/similar solutions?
**Update:** Would it be better to use EBS and to mount it via NFS to all other AMIs? | 2012/05/29 | [
"https://Stackoverflow.com/questions/10801158",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/220949/"
] | [There's a good article on s3fs here](http://www.turnkeylinux.org/blog/exploring-s3-based-filesystems-s3fs-and-s3backer), which after reading I resorted to an EBS Share.
It highlights a few important considerations when using s3fs, namely related to the inherent limitations of S3:
* no file can be over 5GB
* you can't partially update a file so changing a single byte will re-upload the entire file.
* operation on many small files are very efficient (each is a separate S3 object after all) but large files are very inefficient
* Though S3 supports partial/chunked downloads, s3fs doesn't take advantage of this so if you want to read just one byte of a 1GB file, you'll have to download the entire GB.
It therefore depends on what you are storing whether s3fs is a feasible option. If you're storing say, photos, where you want to write an entire file or read an entire file never incrementally change a file, then its fine, although one may ask, if you're doing this, then why not just use S3's API Directly?
If you're talking about appliation data, (say database files, logging files) where you want to make small incremental change then its a definite no - S3 Just doesn't work that way you can't incrementally change a file.
The article mentioned above does talk about a similar application - [s3backer](https://code.google.com/p/s3backer/) - which gets around the performance issues by implementing a virtual filesystem over S3. This gets around the performance issues but itself has a few issues of its own:
* High risk for data corruption, due to the delayed writes
* too small block sizes (e.g., the 4K default) can add significant
extra costs (e.g., $130 for 50GB with 4K blocks worth of storage)
* too large block sizes can add significant data transfer and storage
fees.
* memory usage can be prohibitive: by default it caches 1000 blocks.
With the default 4K block size that's not an issue but most users
will probably want to increase block size.
I resorted to EBS Mounted Drived shared from an EC2 instance. But you should know that although the most performant option it has one big problem
An EBS Mounted NFS Share has its own problems - a single point of failure; if the machine that's sharing the EBS Volume goes down then you lose access on all machines which access the share.
This is a risk I was able to live with and was the option I chose in the end. I hope this helps. | This is an old question so I'll share my experience over the past year with S3FS.
Initially, it had a number of bugs and memory leaks (I had a cron-job to restart it every 2 hours) but with the latest release 1.73 it's been very stable.
The best thing about S3FS is you have one less things to worry about and get some performance benefits for free.
Most of your S3 requests are going to be PUT (~5%) and GET (~95%). If you don't need any post-processing (thumbnail generation for example). If you don't need any post-processing, you shouldn't be hitting your web server in the first place and uploading directly to S3 (using CORS).
Assuming you are hitting the server probably means you need to do some post-processing on images. With an S3 API you'll be uploading to the server, then uploading to S3. If the user wants to crop, you'll need to download again from S3, then re-upload to server, crop and then upload to S3. With S3FS and local caching turned on this orchestration is taken care of for you and saves downloading files from S3.
On caching, if you are caching to an ephemeral drive on EC2, you get a the performance benefits that come with out and can purge your cache without having to worry about anything. Unless you run out of disk space, you should have no reason to purge your cache. This makes traversing operations like searching and filtering much easier.
The one thing I do wish it has was full sync with S3 (RSync style). That would make it an enterprise version of DropBox or Google Drive for S3 but without having to contend with the quotas and fees that come with it. |
51,184,060 | I am new in Alexa skill kit development
I have already read Tutorials on Alexa Skill Kit
I have to implement Alexa Skill , In which I need to manually send command and want Alexa to speak it.
i.e When user login in system I can fire API as Alexa request and I want Alexa device to Speak that for example "Welcome Have a great day"
Is it Possible ? Or Any other alternatives. ? | 2018/07/05 | [
"https://Stackoverflow.com/questions/51184060",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/10035166/"
] | Notifications for Alexa skill are in still in beta. You can apply for the access to it by filling up this form here : <https://alexa.au1.qualtrics.com/jfe/form/SV_72lplGGegxNZ9Ln> | If **Push Notifications** is what you're looking for, then the answer is ***YES***.
Since in the comments you said, *"You are not asking for HOW TO DO IT"*, so I'll just let this link here for your reference. <https://developer.amazon.com/docs/alexa-voice-service/notifications-overview.html> |
51,184,060 | I am new in Alexa skill kit development
I have already read Tutorials on Alexa Skill Kit
I have to implement Alexa Skill , In which I need to manually send command and want Alexa to speak it.
i.e When user login in system I can fire API as Alexa request and I want Alexa device to Speak that for example "Welcome Have a great day"
Is it Possible ? Or Any other alternatives. ? | 2018/07/05 | [
"https://Stackoverflow.com/questions/51184060",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/10035166/"
] | Notifications for Alexa skill are in still in beta. You can apply for the access to it by filling up this form here : <https://alexa.au1.qualtrics.com/jfe/form/SV_72lplGGegxNZ9Ln> | I think you may want to use proactive events for your skill. They are now commercially available. You will be able to send a notification to your skill and the Amazon device will blink (yellow). However you will still need to say "Alexa check my notifications" to retrieve the actual message
<https://developer.amazon.com/docs/smapi/proactive-events-api.html>
Another idea would be to use "progressive response" feature: <https://developer.amazon.com/docs/custom-skills/send-the-user-a-progressive-response.html>
You can fire the interaction to alexa when your API is invoked and send a progressive response. Not really a notification but it might serve you. This way you will not need to ask to check the notifications to Alexa but directly get the voice message in the progressive responses |
120,947 | Example:
* Assume that a folder F1 has ABC app icons (shortcuts) in it.
* Another folder F2 has XYZ app icons in it.
* The default launcher in COS12 doesn't allow inclusion of more than 16 icons in a single folder.
* Neither it provides the option to include one folder (F2) into another one (F1) so that the included folder (F2) would show up as a normal icon in F1 amongst other ABC icons, but when touched, would show its XYZ icons, hence achieving the proper nesting.
**How do I achieve this folder nesting in Lollipop?**
I've found that [Folder Organizer](https://play.google.com/store/apps/details?id=com.abcOrganizer.lite) can do the job but it hasn't been ported to Lollipop's Material design. Result, your host folder looks in sync with rest of the UI (white background, smooth font) but the nested folder gives you a somewhat black background with not so smooth or crisp font. It also doesn't respect the current theme in place. Pretty much a *weird* combination in hand.
I believe [Tasker](https://play.google.com/store/apps/details?id=net.dinglisch.android.taskerm)'s scenes can do this but I would like to have consistency between folders when it comes to their appearance.
---
I've a OnePlus One running rooted Cyanogen OS 12 with Xposed Framework installed. | 2015/09/01 | [
"https://android.stackexchange.com/questions/120947",
"https://android.stackexchange.com",
"https://android.stackexchange.com/users/96277/"
] | I've created a [Scene](http://tasker.dinglisch.net/userguide/en/scenes.html) in [Tasker](https://play.google.com/store/apps/details?id=net.dinglisch.android.taskerm), loaded it using a task and created a shortcut using **Task Shortcut** widget to launch the scene.
* First image is showing a normal folder with some app shortcuts. See the folder icon titled "Nest". It is a task shortcut for the Scene.
* Second image is the Scene created in Tasker which is launched from a shortcut .
(Click image to enlarge)
[](https://i.stack.imgur.com/hvpVm.jpg)
[](https://i.stack.imgur.com/Imoa8.jpg)
* To maintain consistency in appearance I took the background from [Material Palette](http://www.materialpalette.com/grey/blue-grey), cropped the color I wanted and loaded it into the Scene as background image.
* All the app icons are loaded using Image element in the Scene.
* Because it isn't a folder, so there is no drag and drop in it.
As for how to create this scene, you can see YoutTube videos or search [Tasker sub-reddit](https://www.reddit.com/r/Tasker) or the numerous websites filled with cool tutorials. You may consider my answer [here](https://android.stackexchange.com/a/120405/96277) to get a rough idea of how to create a Scene in Tasker and how to use it then. | An alternative would be to use a third-party launcher app. I had SlimROMS installed already and I noticed that its [SlimLauncher](https://plus.google.com/communities/104509876514579429216/stream/2f4fe780-9c2f-4535-bc56-217cf72647a1) doesn't [lag when Tasker is enabled](https://android.stackexchange.com/questions/106660/home-launcher-in-cm12-lags-due-to-taskers-accessibility-feature). I grabbed it from that ROM and installed it on COS12. It feels like Trebuchet in terms of aesthetics, but much smoother and faster.
Anyhow, the point is, it doesn't restrict you to 16 icons per folder. You can have as many icons in your folder as much as you've in your app drawer.
[Nova Launcher](https://play.google.com/store/apps/details?id=com.teslacoilsw.launcher) also allows you to add as many icons in a folder you want, so the need of nesting can be put on hold for a while.
(Click image to enlarge; First two images are for SlimLauncher and the last one is for Nova Launcher.)
[](https://i.stack.imgur.com/RuUrp.png)
[](https://i.stack.imgur.com/ZeJjJ.png)
[](https://i.stack.imgur.com/OX2XI.png) |
34,784 | I was looking around for a voltage regulator when I thought of this, so it might be completely crazy. And I'm sorry if it is.
BUT...
Could I use a PWM speed controller as a voltage regulator if I were to use a cap to "smooth" out the voltage, and a simple four diode full wave rectifier to make sure the voltage never goes negative?
And I apologize if this is a ridiculous question. I don't know much about PWM or voltage regulators. | 2012/06/29 | [
"https://electronics.stackexchange.com/questions/34784",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/10423/"
] | No you can't. You need an inductor, which 'reduces' your idea to the well-known concept of a switched regulator.
The problem with your idea is that there is some resistance in the path between your power source and the capacitor, and this resistance will dissipate the heat that would otheriwse be dissipated by the linear element (pass transistor or the like). Switching does not help. An indiductor does help, because it stores the energy (and lateron releases it) instead of dissipating it.
Just in case you wonder (as I did long long ago): reducing the resistance does not help. You can prove mathematically that as the resistance approaches 0 the problem stays the same. An no, you can not get it to be zero, which is just as well, because then the current would become infinte, which (at the very least) would give 'interesting' magnetic effects.
Using PWM to deliver a 'reduced' power or as an Digital-to-Analog converter works only when you either
* smooth the PWM output with a filter (you can use a simple firts-order RC if dissipation and bandwith are no issues), or
* the thing you deliver the PWM to does not need a smooth supply (motors, lamps, heaters, etc all fall in this category). | A PWM may be used to produce a reference voltage, but cannot very well be used to directly regulate a supply voltage, since the voltage resulting from any particular PWM level will vary with load. One may attempt to use a PWM to switch a supply on and off, and use output feedback to adjust the PWM as necessary to deal with changing load conditions, but in practice it's generally better to use circuitry which was designed for voltage regulation. |
17,772,714 | I have a problem with validation on form actually sub-form.
In my website I have some kind of table and "Add row" button (BlockingAjaxSubmitLink).
When I try add let say 2 rows, I get validation error (because row in this table has Required=True parameter) and I can't add another row. I tried use simple AjaxLink but it doesn't have reference to form in onClick method and when I complete some rows and click "Add row" this data get lost.
I want to enable validation only after "save" button click.
Any idea how to deal with this problem? | 2013/07/21 | [
"https://Stackoverflow.com/questions/17772714",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1348305/"
] | Another alternative is to create a set of custom map tiles that replace or overlay the standard map tiles for your development area, see
<https://developers.google.com/maps/documentation/javascript/maptypes#CustomMapTypes>
You might even be able to create custom streetview images to create a virtual drive though of the development and the inside of the buildings, see <https://developers.google.com/maps/documentation/javascript/streetview#CustomStreetView> | Is Google Map Maker <https://www.google.co.uk/mapmaker> enabled for your area?
This would allow you to add all the roads, buildings parks in your development.
Note: You would need to check the terms of use to ensure that adding planned but not yet built developments was permitted, but I do see that you can set the construction status of a road to Planned so I assume it is OK.
You can also do similar editing with Open Street map <https://www.openstreetmap.org> |
163,531 | How do I keep players from accessing certain commands?
I'm making a server and these kind of things are thing i need to know | 2014/04/09 | [
"https://gaming.stackexchange.com/questions/163531",
"https://gaming.stackexchange.com",
"https://gaming.stackexchange.com/users/73901/"
] | Adding on to @Unionhawk's answer you could aternatively just use a permissions plugin such as [Group Manager](http://wiki.ess3.net/wiki/Downloads) or [PermissionsEX](http://dev.bukkit.org/bukkit-plugins/permissionsex/) with Bukkit along with the [Essentials plugins](http://dev.bukkit.org/bukkit-plugins/essentials/). I'd definitely recommend reading some guides on running a Minecraft server, [this not the best guide](http://www.wikihow.com/Run-a-Successful-Minecraft-Server) but a guide nonetheless and should point you in the right direction. Just google around to try find a guide that will suit you best in your objective. | there are 3 steps-
1. In order for players to be able to break blocks near spawn, (spawn protection) they must be OP. So OP them.
2. close the server, and open the server.properties file .
3. change the OP permission level to 1. this will restrict all OPs, so they no longer have commands. But, they can still break blocks around spawn.
If you want to run commands, you must run them out of the server console. |
6,226,074 | Is there any way in Minizip to extract files directly from a buffer? Normally you would use a `unzFile` instance, but that's not an option for me (I get the zipped data directly in a buffer, I don't read it from disk). | 2011/06/03 | [
"https://Stackoverflow.com/questions/6226074",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/627005/"
] | From [the authors page](http://www.winimage.com/zLibDll/minizip.html):
>
> Justin Fletcher wrote a very simple implementation of a memory access method for the ioapi code ([ioapi\_mem\_c.zip](http://www.winimage.com/zLibDll/ioapi_mem_c.zip)).
>
>
> | You could instead use libarchive which is capable of this. |
75,067 | Listen From 00:56
[](https://i.stack.imgur.com/X68RF.jpg)
The [E] part is in C Major key
and I can't understand the C#m7-5 chord at bar 3
what is this chord ?
Where did it come from? and what is its function ? | 2018/10/01 | [
"https://music.stackexchange.com/questions/75067",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/47848/"
] | They could be the same, could be different. It can depend where they are in a bar, and what the time signature is. A lot of us still prefer to see 4/4 bars that split (to the reader) into two equal halves. The top version would, if it shows beats 2 and 3, not align to that ideal. But the bottom version would. If, in 4/4, the top version was on beats 1 and 2, or 3 and 4, it would work fine.
It can also be indicative of phrasing, although slurs do a much better job. | I would read them both the same way. This is just differences in publishing style. My guess is that the first one is an older style. |
75,067 | Listen From 00:56
[](https://i.stack.imgur.com/X68RF.jpg)
The [E] part is in C Major key
and I can't understand the C#m7-5 chord at bar 3
what is this chord ?
Where did it come from? and what is its function ? | 2018/10/01 | [
"https://music.stackexchange.com/questions/75067",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/47848/"
] | Depends on the Time Signature.
==============================
The first grouping would be ideal in Time Signature with minim beats, the beats are upheld but the subdivision of the beat aids in the reading of notes.
The second grouping is correct when you have crotchet beats because there is a grouping rule that says you subdivide the beats when you have semi-quavers in Time Signatures with crotchet or dotted crotchet beats. | I would read them both the same way. This is just differences in publishing style. My guess is that the first one is an older style. |
75,067 | Listen From 00:56
[](https://i.stack.imgur.com/X68RF.jpg)
The [E] part is in C Major key
and I can't understand the C#m7-5 chord at bar 3
what is this chord ?
Where did it come from? and what is its function ? | 2018/10/01 | [
"https://music.stackexchange.com/questions/75067",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/47848/"
] | I would read them both the same way. This is just differences in publishing style. My guess is that the first one is an older style. | A performer would play both versions the same way (you wouldn't accent the first note of every group or anything like that!). The differences are more for ease of reading / comprehension rather than performance instructions.
The top example (Hanon) might be grouped as 8-note sets to show where the finger pattern repeats (you use 1234 5432 / 5432 1234 over and over again, just starting on a different note).
The second example makes it a bit easier to see where the crotchet beats are. (4 per bar). You could group them like the first example, but it might be slightly harder to read that way. |
75,067 | Listen From 00:56
[](https://i.stack.imgur.com/X68RF.jpg)
The [E] part is in C Major key
and I can't understand the C#m7-5 chord at bar 3
what is this chord ?
Where did it come from? and what is its function ? | 2018/10/01 | [
"https://music.stackexchange.com/questions/75067",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/47848/"
] | They could be the same, could be different. It can depend where they are in a bar, and what the time signature is. A lot of us still prefer to see 4/4 bars that split (to the reader) into two equal halves. The top version would, if it shows beats 2 and 3, not align to that ideal. But the bottom version would. If, in 4/4, the top version was on beats 1 and 2, or 3 and 4, it would work fine.
It can also be indicative of phrasing, although slurs do a much better job. | A performer would play both versions the same way (you wouldn't accent the first note of every group or anything like that!). The differences are more for ease of reading / comprehension rather than performance instructions.
The top example (Hanon) might be grouped as 8-note sets to show where the finger pattern repeats (you use 1234 5432 / 5432 1234 over and over again, just starting on a different note).
The second example makes it a bit easier to see where the crotchet beats are. (4 per bar). You could group them like the first example, but it might be slightly harder to read that way. |
75,067 | Listen From 00:56
[](https://i.stack.imgur.com/X68RF.jpg)
The [E] part is in C Major key
and I can't understand the C#m7-5 chord at bar 3
what is this chord ?
Where did it come from? and what is its function ? | 2018/10/01 | [
"https://music.stackexchange.com/questions/75067",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/47848/"
] | Depends on the Time Signature.
==============================
The first grouping would be ideal in Time Signature with minim beats, the beats are upheld but the subdivision of the beat aids in the reading of notes.
The second grouping is correct when you have crotchet beats because there is a grouping rule that says you subdivide the beats when you have semi-quavers in Time Signatures with crotchet or dotted crotchet beats. | A performer would play both versions the same way (you wouldn't accent the first note of every group or anything like that!). The differences are more for ease of reading / comprehension rather than performance instructions.
The top example (Hanon) might be grouped as 8-note sets to show where the finger pattern repeats (you use 1234 5432 / 5432 1234 over and over again, just starting on a different note).
The second example makes it a bit easier to see where the crotchet beats are. (4 per bar). You could group them like the first example, but it might be slightly harder to read that way. |
15,843,324 | Is there a minified version of jQueryUI hosted in the script hosting websites?
I want to use jQueryUI in my website, its about 425KB and as the internet speed is an issue for my users I want to use a minified version of it. the uncompressed version is hosted on jquery.com:
<http://code.jquery.com/ui/1.10.2/jquery-ui.js>
but I need the minified version. and I don't want to host it in my own website. because I compressed it and it is still about 280KB. | 2013/04/05 | [
"https://Stackoverflow.com/questions/15843324",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1079221/"
] | Have you looked at the hosted libraries that google has?
<https://developers.google.com/speed/libraries/devguide>
here is the current version of JqueryUI:
<http://ajax.googleapis.com/ajax/libs/jqueryui/1.10.2/jquery-ui.min.js> | It's on google's hosted libraries: <https://developers.google.com/speed/libraries/devguide#jquery-ui> |
157,849 | As they say, "politics is the exercise of power", and "power is the ability to make things happen in an organisation".
I am working on a project which has some overlap and is partially in competition with other projects. Managers at all levels have different ideas about what should happen. I am trying to understand who is supporting whom, what are the networks I should be aware of, to have a clear idea of where support for our idea might come from.
My line manager doesn't want me to think about politics at all. Other people told me not to be political. But I think these people might have their own agendas - like everybody else. I have seen what happens when you work hard on a project, ignore the politics, and then get backstabbed by some unforeseen person or project.
I do believe that "ignore politics" is bullshit advice: whether you manage people or build things, politics will determine the allocation of resources to your team or project, but I might be wrong.
So, let's ask it this way: **"what are the circumstances when ignoring company politics is good advice?"** | 2020/05/05 | [
"https://workplace.stackexchange.com/questions/157849",
"https://workplace.stackexchange.com",
"https://workplace.stackexchange.com/users/-1/"
] | Lots of good answers already, but I want to address one point in particular:
>
> My line manager doesn't want me to think about politics at all. Other people told me not to be political.
>
>
>
By this, they might just mean: "Stop talking to me about company politics. Leave me out of it." In the case of your line manager, it probably also means: "You spend too much time worrying about company politics; I want you to spend that time doing regular work instead."
A lot of people don't enjoy playing the company politics game and/or don't want to get involved in it. They hear you speculating about who is supporting whom, asking about networks, etc., and they just don't want to participate, for whatever reasons.
Play the game, if you want, but don't gossip, don't let it interfere with the work you are paid to do, and don't brag about it. | There is no general answer to this and a good amount depends on your job role / you team' job role.
My professional work experience has been in audit / accountancy / compliance and recently, cybersecurity. These roles are considered to be conservative and generally risk averse where following regulations are important as not doing so can have serious consequences such as significant fines, regulatory penalties, etc. In these roles , the importance of company policies is generally less important. **Its has been my experience that the more conservative the organization and your role, the less importance of participation in company politics.**
I agree with the others who say to **understand the business climate of the company and who your allies are in the company.** Company politics can be played in positive ways and not have to be negatively applied to put down colleagues. For example in my current role as the team lead on our cybersecurity operations team, I frequently stress the value of our work and try to ensure management is continually aware of how what we are doing is value add for company mission. (security controls engineering, proactive cybersecurity risk management etc.) **I am participating in politics but strictly in a beneficial way. I am not tearing down colleagues , but supporting them and strengthening relationships.** |
157,849 | As they say, "politics is the exercise of power", and "power is the ability to make things happen in an organisation".
I am working on a project which has some overlap and is partially in competition with other projects. Managers at all levels have different ideas about what should happen. I am trying to understand who is supporting whom, what are the networks I should be aware of, to have a clear idea of where support for our idea might come from.
My line manager doesn't want me to think about politics at all. Other people told me not to be political. But I think these people might have their own agendas - like everybody else. I have seen what happens when you work hard on a project, ignore the politics, and then get backstabbed by some unforeseen person or project.
I do believe that "ignore politics" is bullshit advice: whether you manage people or build things, politics will determine the allocation of resources to your team or project, but I might be wrong.
So, let's ask it this way: **"what are the circumstances when ignoring company politics is good advice?"** | 2020/05/05 | [
"https://workplace.stackexchange.com/questions/157849",
"https://workplace.stackexchange.com",
"https://workplace.stackexchange.com/users/-1/"
] | Suppose you have an idea to optimize production.
>
> what are the circumstances when ignoring company politics is good advice?"
>
>
>
You should ignore the the politics when they are just politics, with no substance behind them. You should ignore them when people are hostile. Another way to put this is "stick with the facts."
>
> I am trying to understand who is supporting whom, what are the networks I should be aware of, to have a clear idea of where support for our idea might come from.
>
>
>
This is a good approach. You would want to identify who is hostile to any new ideas so that you present it to them last. You would want to know who would agree with those people no matter what the idea, and present it to them before the hostile person before they are biased. You want to know who is open but skeptical and present it to them almost immediately, so that you can get their feedback and improve your idea. You want to know who else has been championing ideas like it and ask them what objections you can anticipate.
What you don't want to do is introduce new politics or amplify existing politics by: not including someone; waiting until they are on vacation; implementing the idea without getting buy-in; presenting it to someone's manager before presenting it to them. Don't treat anyone differently when the time comes to present it.
From one perspective, this is playing politics. From another perspective, this is acknowledging they exist already and fitting into the world around you to maximize your chance of success. | There is no general answer to this and a good amount depends on your job role / you team' job role.
My professional work experience has been in audit / accountancy / compliance and recently, cybersecurity. These roles are considered to be conservative and generally risk averse where following regulations are important as not doing so can have serious consequences such as significant fines, regulatory penalties, etc. In these roles , the importance of company policies is generally less important. **Its has been my experience that the more conservative the organization and your role, the less importance of participation in company politics.**
I agree with the others who say to **understand the business climate of the company and who your allies are in the company.** Company politics can be played in positive ways and not have to be negatively applied to put down colleagues. For example in my current role as the team lead on our cybersecurity operations team, I frequently stress the value of our work and try to ensure management is continually aware of how what we are doing is value add for company mission. (security controls engineering, proactive cybersecurity risk management etc.) **I am participating in politics but strictly in a beneficial way. I am not tearing down colleagues , but supporting them and strengthening relationships.** |
157,849 | As they say, "politics is the exercise of power", and "power is the ability to make things happen in an organisation".
I am working on a project which has some overlap and is partially in competition with other projects. Managers at all levels have different ideas about what should happen. I am trying to understand who is supporting whom, what are the networks I should be aware of, to have a clear idea of where support for our idea might come from.
My line manager doesn't want me to think about politics at all. Other people told me not to be political. But I think these people might have their own agendas - like everybody else. I have seen what happens when you work hard on a project, ignore the politics, and then get backstabbed by some unforeseen person or project.
I do believe that "ignore politics" is bullshit advice: whether you manage people or build things, politics will determine the allocation of resources to your team or project, but I might be wrong.
So, let's ask it this way: **"what are the circumstances when ignoring company politics is good advice?"** | 2020/05/05 | [
"https://workplace.stackexchange.com/questions/157849",
"https://workplace.stackexchange.com",
"https://workplace.stackexchange.com/users/-1/"
] | Lots of good answers already, but I want to address one point in particular:
>
> My line manager doesn't want me to think about politics at all. Other people told me not to be political.
>
>
>
By this, they might just mean: "Stop talking to me about company politics. Leave me out of it." In the case of your line manager, it probably also means: "You spend too much time worrying about company politics; I want you to spend that time doing regular work instead."
A lot of people don't enjoy playing the company politics game and/or don't want to get involved in it. They hear you speculating about who is supporting whom, asking about networks, etc., and they just don't want to participate, for whatever reasons.
Play the game, if you want, but don't gossip, don't let it interfere with the work you are paid to do, and don't brag about it. | The specific answer
===================
Your line manager knows the situation better and wants you to stay back and stay safe, "ignore politics" is just a phase they use. As a non-manager your advices are appreciated but you shouldn't get tangled up because there are understandings among participants that you might not get.
The generic answer
==================
"Ignoring politics" is a inherently a political decision. You want to go this route if you value your workplace stability over the value of your work. You wouldn't get into workplace politics at a summer job, you may not want to get into workplace politics shortly before retiring.
You need to ignore office politics nevertheless when you would rather leave your job than go with one of the proposed solutions, especially if it is illegal and would be incriminating to you (e.g. "Should we outsource medical data processing to a company with a questionable reputation?" "Should we pay dividend before announcing bankruptcy?" or "Should we save on untreated waste disposal?"). |
157,849 | As they say, "politics is the exercise of power", and "power is the ability to make things happen in an organisation".
I am working on a project which has some overlap and is partially in competition with other projects. Managers at all levels have different ideas about what should happen. I am trying to understand who is supporting whom, what are the networks I should be aware of, to have a clear idea of where support for our idea might come from.
My line manager doesn't want me to think about politics at all. Other people told me not to be political. But I think these people might have their own agendas - like everybody else. I have seen what happens when you work hard on a project, ignore the politics, and then get backstabbed by some unforeseen person or project.
I do believe that "ignore politics" is bullshit advice: whether you manage people or build things, politics will determine the allocation of resources to your team or project, but I might be wrong.
So, let's ask it this way: **"what are the circumstances when ignoring company politics is good advice?"** | 2020/05/05 | [
"https://workplace.stackexchange.com/questions/157849",
"https://workplace.stackexchange.com",
"https://workplace.stackexchange.com/users/-1/"
] | "Ignore company politics" can have two meanings depending on context. Walking into situations oblivious of the politics is a terrible idea. You are creating a situation where you are way too likely to shoot yourself in the foot.
When someone says "ignore company politics" it can also mean don't put active effort into leveraging politics. Knowing the lay of the land and actively manipulating the situation to take advantage of it are two different things. Ignoring politics is good advice in organizations where the processes and culture are reasonably efficient and there isn't much competition for resources. If an idea will stand on its own merits and doesn't need a powerful ally to proceed then putting effort into gathering allies to support your idea is a waste of time. In the organization I'm in right now this is mostly the case. I've seen pet projects shut down hard and I've seen projects that nobody was excited about make it through.
The big part of this advice that you may be ignoring is if you are seen actively pursuing goals which appear political you impact your image and your credibility. You really don't want people to question your hidden agenda when you need something from them. This is especially large risk for people who openly talk about workplace politics. | The specific answer
===================
Your line manager knows the situation better and wants you to stay back and stay safe, "ignore politics" is just a phase they use. As a non-manager your advices are appreciated but you shouldn't get tangled up because there are understandings among participants that you might not get.
The generic answer
==================
"Ignoring politics" is a inherently a political decision. You want to go this route if you value your workplace stability over the value of your work. You wouldn't get into workplace politics at a summer job, you may not want to get into workplace politics shortly before retiring.
You need to ignore office politics nevertheless when you would rather leave your job than go with one of the proposed solutions, especially if it is illegal and would be incriminating to you (e.g. "Should we outsource medical data processing to a company with a questionable reputation?" "Should we pay dividend before announcing bankruptcy?" or "Should we save on untreated waste disposal?"). |
157,849 | As they say, "politics is the exercise of power", and "power is the ability to make things happen in an organisation".
I am working on a project which has some overlap and is partially in competition with other projects. Managers at all levels have different ideas about what should happen. I am trying to understand who is supporting whom, what are the networks I should be aware of, to have a clear idea of where support for our idea might come from.
My line manager doesn't want me to think about politics at all. Other people told me not to be political. But I think these people might have their own agendas - like everybody else. I have seen what happens when you work hard on a project, ignore the politics, and then get backstabbed by some unforeseen person or project.
I do believe that "ignore politics" is bullshit advice: whether you manage people or build things, politics will determine the allocation of resources to your team or project, but I might be wrong.
So, let's ask it this way: **"what are the circumstances when ignoring company politics is good advice?"** | 2020/05/05 | [
"https://workplace.stackexchange.com/questions/157849",
"https://workplace.stackexchange.com",
"https://workplace.stackexchange.com/users/-1/"
] | *Not paying attention* to company politics is always bad advise. If you do not understand the human factor in the decisions which are being made around you, then you are constantly going to run into walls and have no idea why.
But the question is if you should *actively* engage in workspace politics yourself. Successfully engaging in politics can help you to [gain more visibility in the workplace](https://workplace.stackexchange.com/questions/11816/why-is-it-important-to-gain-visibility-in-the-workplace), influence decisions so they are made in ways which benefit your career and to grow your personal network within the company. But unsuccessful engagement achieves nothing but making yourself enemies. So make sure to pick your fights wisely. People who tell you to "ignore politics" might be trying to protect you from wasting time with fighting battles you can not win. Or perhaps they try to prevent you from interfering with their own political goals. Or a mix of both. Anyway, it might be a hint that you should better stand down on this particular matter.
Also, time you spend on company politics is either work-time where you don't do any productive work or your spare-time. The job you are being paid to do is *doing your job*, not engaging in company politics. And spending more than 40 hours a week with thinking about work can be bad for your mental health. So make sure your priorities are in order. | "Ignore company politics" can have two meanings depending on context. Walking into situations oblivious of the politics is a terrible idea. You are creating a situation where you are way too likely to shoot yourself in the foot.
When someone says "ignore company politics" it can also mean don't put active effort into leveraging politics. Knowing the lay of the land and actively manipulating the situation to take advantage of it are two different things. Ignoring politics is good advice in organizations where the processes and culture are reasonably efficient and there isn't much competition for resources. If an idea will stand on its own merits and doesn't need a powerful ally to proceed then putting effort into gathering allies to support your idea is a waste of time. In the organization I'm in right now this is mostly the case. I've seen pet projects shut down hard and I've seen projects that nobody was excited about make it through.
The big part of this advice that you may be ignoring is if you are seen actively pursuing goals which appear political you impact your image and your credibility. You really don't want people to question your hidden agenda when you need something from them. This is especially large risk for people who openly talk about workplace politics. |
157,849 | As they say, "politics is the exercise of power", and "power is the ability to make things happen in an organisation".
I am working on a project which has some overlap and is partially in competition with other projects. Managers at all levels have different ideas about what should happen. I am trying to understand who is supporting whom, what are the networks I should be aware of, to have a clear idea of where support for our idea might come from.
My line manager doesn't want me to think about politics at all. Other people told me not to be political. But I think these people might have their own agendas - like everybody else. I have seen what happens when you work hard on a project, ignore the politics, and then get backstabbed by some unforeseen person or project.
I do believe that "ignore politics" is bullshit advice: whether you manage people or build things, politics will determine the allocation of resources to your team or project, but I might be wrong.
So, let's ask it this way: **"what are the circumstances when ignoring company politics is good advice?"** | 2020/05/05 | [
"https://workplace.stackexchange.com/questions/157849",
"https://workplace.stackexchange.com",
"https://workplace.stackexchange.com/users/-1/"
] | Even as an outside contractor or consultant, I have to agree broadly with Philipp that it is rarely a good idea to ignore politics.
That isn't to say you should spend your time "stirring the pot", or getting into debates and complex discussions. But, I think your premise is right - you need to be aware of what is going on, who the decision-makers are, what controversies there are and so on.
Additionally, you always owe it to yourself to protect yourself. This means ensuring you are credited for your work, ensuring that people are aware of your contribution and ensuring you don't get blamed for others mistakes.
To that end, I don't think any professional who is looking to progress their career can "ignore politics" | There is no general answer to this and a good amount depends on your job role / you team' job role.
My professional work experience has been in audit / accountancy / compliance and recently, cybersecurity. These roles are considered to be conservative and generally risk averse where following regulations are important as not doing so can have serious consequences such as significant fines, regulatory penalties, etc. In these roles , the importance of company policies is generally less important. **Its has been my experience that the more conservative the organization and your role, the less importance of participation in company politics.**
I agree with the others who say to **understand the business climate of the company and who your allies are in the company.** Company politics can be played in positive ways and not have to be negatively applied to put down colleagues. For example in my current role as the team lead on our cybersecurity operations team, I frequently stress the value of our work and try to ensure management is continually aware of how what we are doing is value add for company mission. (security controls engineering, proactive cybersecurity risk management etc.) **I am participating in politics but strictly in a beneficial way. I am not tearing down colleagues , but supporting them and strengthening relationships.** |
157,849 | As they say, "politics is the exercise of power", and "power is the ability to make things happen in an organisation".
I am working on a project which has some overlap and is partially in competition with other projects. Managers at all levels have different ideas about what should happen. I am trying to understand who is supporting whom, what are the networks I should be aware of, to have a clear idea of where support for our idea might come from.
My line manager doesn't want me to think about politics at all. Other people told me not to be political. But I think these people might have their own agendas - like everybody else. I have seen what happens when you work hard on a project, ignore the politics, and then get backstabbed by some unforeseen person or project.
I do believe that "ignore politics" is bullshit advice: whether you manage people or build things, politics will determine the allocation of resources to your team or project, but I might be wrong.
So, let's ask it this way: **"what are the circumstances when ignoring company politics is good advice?"** | 2020/05/05 | [
"https://workplace.stackexchange.com/questions/157849",
"https://workplace.stackexchange.com",
"https://workplace.stackexchange.com/users/-1/"
] | The specific answer
===================
Your line manager knows the situation better and wants you to stay back and stay safe, "ignore politics" is just a phase they use. As a non-manager your advices are appreciated but you shouldn't get tangled up because there are understandings among participants that you might not get.
The generic answer
==================
"Ignoring politics" is a inherently a political decision. You want to go this route if you value your workplace stability over the value of your work. You wouldn't get into workplace politics at a summer job, you may not want to get into workplace politics shortly before retiring.
You need to ignore office politics nevertheless when you would rather leave your job than go with one of the proposed solutions, especially if it is illegal and would be incriminating to you (e.g. "Should we outsource medical data processing to a company with a questionable reputation?" "Should we pay dividend before announcing bankruptcy?" or "Should we save on untreated waste disposal?"). | But also: *what is* **your** *job?!"*
"Politics" obviously surrounds "every single human activity." So – is this *actually* "a battle that you have to fight," in order to fulfill your business obligations to the company?
"If it isn't – *butt out!"* Do your job. Earn your salary. Dazzle your [internal?] customers first, and your managers second. Don't worry about the rest. *"It's above your pay grade ..."* |
157,849 | As they say, "politics is the exercise of power", and "power is the ability to make things happen in an organisation".
I am working on a project which has some overlap and is partially in competition with other projects. Managers at all levels have different ideas about what should happen. I am trying to understand who is supporting whom, what are the networks I should be aware of, to have a clear idea of where support for our idea might come from.
My line manager doesn't want me to think about politics at all. Other people told me not to be political. But I think these people might have their own agendas - like everybody else. I have seen what happens when you work hard on a project, ignore the politics, and then get backstabbed by some unforeseen person or project.
I do believe that "ignore politics" is bullshit advice: whether you manage people or build things, politics will determine the allocation of resources to your team or project, but I might be wrong.
So, let's ask it this way: **"what are the circumstances when ignoring company politics is good advice?"** | 2020/05/05 | [
"https://workplace.stackexchange.com/questions/157849",
"https://workplace.stackexchange.com",
"https://workplace.stackexchange.com/users/-1/"
] | But also: *what is* **your** *job?!"*
"Politics" obviously surrounds "every single human activity." So – is this *actually* "a battle that you have to fight," in order to fulfill your business obligations to the company?
"If it isn't – *butt out!"* Do your job. Earn your salary. Dazzle your [internal?] customers first, and your managers second. Don't worry about the rest. *"It's above your pay grade ..."* | Your manager telling you to not think about politics is a political act. Which means he's told you not to think about that advice. You can't follow advice without thinking about it.
Nonsense is never good advice. Ignore this particular advice but don't be obvious about it. |
157,849 | As they say, "politics is the exercise of power", and "power is the ability to make things happen in an organisation".
I am working on a project which has some overlap and is partially in competition with other projects. Managers at all levels have different ideas about what should happen. I am trying to understand who is supporting whom, what are the networks I should be aware of, to have a clear idea of where support for our idea might come from.
My line manager doesn't want me to think about politics at all. Other people told me not to be political. But I think these people might have their own agendas - like everybody else. I have seen what happens when you work hard on a project, ignore the politics, and then get backstabbed by some unforeseen person or project.
I do believe that "ignore politics" is bullshit advice: whether you manage people or build things, politics will determine the allocation of resources to your team or project, but I might be wrong.
So, let's ask it this way: **"what are the circumstances when ignoring company politics is good advice?"** | 2020/05/05 | [
"https://workplace.stackexchange.com/questions/157849",
"https://workplace.stackexchange.com",
"https://workplace.stackexchange.com/users/-1/"
] | Even as an outside contractor or consultant, I have to agree broadly with Philipp that it is rarely a good idea to ignore politics.
That isn't to say you should spend your time "stirring the pot", or getting into debates and complex discussions. But, I think your premise is right - you need to be aware of what is going on, who the decision-makers are, what controversies there are and so on.
Additionally, you always owe it to yourself to protect yourself. This means ensuring you are credited for your work, ensuring that people are aware of your contribution and ensuring you don't get blamed for others mistakes.
To that end, I don't think any professional who is looking to progress their career can "ignore politics" | Your manager telling you to not think about politics is a political act. Which means he's told you not to think about that advice. You can't follow advice without thinking about it.
Nonsense is never good advice. Ignore this particular advice but don't be obvious about it. |
157,849 | As they say, "politics is the exercise of power", and "power is the ability to make things happen in an organisation".
I am working on a project which has some overlap and is partially in competition with other projects. Managers at all levels have different ideas about what should happen. I am trying to understand who is supporting whom, what are the networks I should be aware of, to have a clear idea of where support for our idea might come from.
My line manager doesn't want me to think about politics at all. Other people told me not to be political. But I think these people might have their own agendas - like everybody else. I have seen what happens when you work hard on a project, ignore the politics, and then get backstabbed by some unforeseen person or project.
I do believe that "ignore politics" is bullshit advice: whether you manage people or build things, politics will determine the allocation of resources to your team or project, but I might be wrong.
So, let's ask it this way: **"what are the circumstances when ignoring company politics is good advice?"** | 2020/05/05 | [
"https://workplace.stackexchange.com/questions/157849",
"https://workplace.stackexchange.com",
"https://workplace.stackexchange.com/users/-1/"
] | Technically "office politics" *could* mean **important info about who runs the company and how**, as you are interpreting it.
But usually, when people say "ignore office politics", what they mean is to ignore **irrelevant gossip, petty arguments, childish grudges, empty posturing, and such**, that have nothing to do with doing your job (the actual work you are all there to do) and importantly, *can't really affect you unless you participate*.
Any boss is correct in encouraging any employee to ignore this stuff and focus on their actual work. | Your manager telling you to not think about politics is a political act. Which means he's told you not to think about that advice. You can't follow advice without thinking about it.
Nonsense is never good advice. Ignore this particular advice but don't be obvious about it. |
226,552 | When a witch or wizard transforms into an animal, we know they can still think and listen, like Pettigrew did when living as a pet. But according to Sirius it can alter one's emotional state. Could the simplicity of an animal's emotions be a benefit to someone trying to defend against Legilimecy?
In PoA, Sirius Black explains he was able to escape the dementors by transforming into a dog.
>
> "They feel their way toward people by sensing their emotions... They
> could tell that my feelings were less human, less complex when I was a
> dog...
>
>
> I slipped past them as a dog... It's so much harder for them to sense
> animal emotions that they were confused."
>
>
>
This implies a lack of emotional complexity might be used as a defensive measure against certain magical creatures. In OotP Harry learns from Snape that Occlumency is the ability to close oneself off from certain emotions and that it protects against Legilimency.
>
> "[Legilimency] is the ability to extract feelings and memories from another
> person's mind...
>
>
> ...The Dark Lord, for instance, almost always knows when somebody is lying to him. Only those skilled at Occlumency are able to shut down those feelings and memories which contradict the lie."
>
>
>
He implies that being in a state of high emotion makes someone an easier target for Legilimency. During these lessons, Snape seems to expect that Harry's defensive Occlumency will mostly consist of mental and emotional control, and the extent to which magic is necessary for this is unclear. Since an Animagus likely can't cast spells while transformed, would they be an easier to 'read' via Legilimency? Or does the simplicity of an animal's emotional state make them harder to examine?
I realize there isn't a definite answer in canon so I am looking for a plausible answer with support from canon. | 2020/01/26 | [
"https://scifi.stackexchange.com/questions/226552",
"https://scifi.stackexchange.com",
"https://scifi.stackexchange.com/users/125003/"
] | It's not specifically established how targeting works with Legilimency. All the instances I've found involved line-of-sight contact with the target, with the exception of Voldemort and Harry being the only remote-targeting instances.
I would guess that an Animagus when transformed would be unlikely to be targeted, unless the Legilimen suspects the animal to be a transformed wizard; it's good camouflage. If a transformed Animagus was targeted, I would think that while current thoughts and emotions may be harder to read, memories would still be intact and available.
In the case of Harry and Voldemort, they were connected and able to read each other from afar. I don't think if Harry would have become an Animagus it would have made any difference. | It would probably be easier, as when the wizard turns into an animal they become more like the animal, and since animals aren't as intelligent as humans their mind would be less powerful, like the animal. Now, I'm not saying that animaguses turn into that animal when transforming but according to sirius black it does change the state of their brain. |
36,958,331 | I am trying to connect SQL Server from local machine.
Following inbound security rule is not working with the fix source port. But it works with \* for source port.
What is wrong with this setup?
[](https://i.stack.imgur.com/i91kE.png) | 2016/04/30 | [
"https://Stackoverflow.com/questions/36958331",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1731855/"
] | In SQL, 1433 is the port on the server, not necessarily the port on the client. Depending on the client being used, you may have any random high order port in use to make the SQL connection. Only use 1433 as the source if you know that the app/client you are using uses 1433 only. | Azure SQL Server firewall prevents all access to your database server until you specify which machine or computer have permission to access your database externally, by **[Allowing IP Address](https://azure.microsoft.com/en-in/documentation/articles/sql-database-configure-firewall-settings/)** to your Azure SQL SERVER. The firewall grants access based on the originating IP address of your each request. |
73,453 | Getting clear user feedback is great. But what do you do with the feedback when different people, or groups of people, want different things?
I have encountered this situation a few times recently.
One example, while testing a new product release: Some users liked the new separate input boxes for x and y coordinates, as the previous version of the software had a single box, with a comma separator. Now they didn't have to type the comma in.
But other users disliked the move to the dual boxes, because it increased the amount of work involved in copying/pasting co-ordinates between boxes.
I'm not asking for a design solution to this single box vs. dual boxes problem :) I'm asking, more generally, what methodology do you employ to arrive at solutions, where there are two or more opposing feature requests with seemingly equal merit? | 2015/02/11 | [
"https://ux.stackexchange.com/questions/73453",
"https://ux.stackexchange.com",
"https://ux.stackexchange.com/users/13180/"
] | Try to distinguish between *what* users want and *how* they want it done.
Taking your example above, users wanting one vs. two input boxes is all about the *how*. The *what* is being able to paste comma-separated coordinate pairs vs. not having to press comma. (Or, for some users, being able to simply press comma rather than having to click a second input box.)
In the above example you could resolve that in the following way:
* Implement two separate boxes.
* When a comma is entered in the first box, transfer focus to the second box
* Implement copy and paste buttons that will copy the two values to the Clipboard (as comma-separated values) and paste a comma-separated pair from the clipboard, splitting it correctly between both boxes.
Implementations will, of course, vary heavily depending on the situation you're facing. However, many apparent conflicts between requirements will go away when you look at the what/why rather than the how. | Accommodate both! In this case, your users told you exactly what they were missing in the old version (in this example, easy copy/paste). So create a new way that meets both sets of requirements.
Generally speaking, say the old way offered Features A and B, and the new way still supported Feature B, lost feature A, but added feature C. Users said they like C but missed A. So design a widget that offers A, B, and C!
In this example, when the user pastes a comma-separated value, you could automatically transfer the part after the comma to the second box. Also, if they are typing in the first box and type a comma, automatically transfer focus to the second box as they continue typing. You can see this behavior in a lot of phone number entries on forms. Perhaps this would satisfy all your users. |
73,453 | Getting clear user feedback is great. But what do you do with the feedback when different people, or groups of people, want different things?
I have encountered this situation a few times recently.
One example, while testing a new product release: Some users liked the new separate input boxes for x and y coordinates, as the previous version of the software had a single box, with a comma separator. Now they didn't have to type the comma in.
But other users disliked the move to the dual boxes, because it increased the amount of work involved in copying/pasting co-ordinates between boxes.
I'm not asking for a design solution to this single box vs. dual boxes problem :) I'm asking, more generally, what methodology do you employ to arrive at solutions, where there are two or more opposing feature requests with seemingly equal merit? | 2015/02/11 | [
"https://ux.stackexchange.com/questions/73453",
"https://ux.stackexchange.com",
"https://ux.stackexchange.com/users/13180/"
] | You can't please everyone
-------------------------
Most changes or additions will leave some people behind. They may catch up later, they may hate you forever. Shoot for net gain in the experience. If you avoid negative feedback, you avoid progress.
It helps to keep a destination in your sights. Focus on an established list of goals for the long term vision of the product and the tactical changes of a sprint or release. Using something like [the HEART framework](http://bit.ly/16TKfSD) is a good way to keep your UX on track.
Don't ignore the complainers
----------------------------
Take your inevitable complaints seriously and evaluate them for opportunities. Mapping complaints back to your goals will help you decide if you've missed the mark or just need to help bring a subset of users along to the new way.
When you see opportunities in feedback, do a little research. I've found that most complainers love to be heard: follow up with them and do an interview. If you find potential, develop a job story around it and add it to the backlog. When that item fits the goals of a design sprint, you'll roll it in and show that user that you're listening -- as long as you don't take too long ;)
Account for roles and personas when possible
--------------------------------------------
You may notice clear distinctions in the responses that point to persona or role groups. If you can provide an altered view for this group, you may open up a whole new territory for your product. With the flexibility of software and power of hardware today, faceted UX isn't as prohibitive as it used to be. | Accommodate both! In this case, your users told you exactly what they were missing in the old version (in this example, easy copy/paste). So create a new way that meets both sets of requirements.
Generally speaking, say the old way offered Features A and B, and the new way still supported Feature B, lost feature A, but added feature C. Users said they like C but missed A. So design a widget that offers A, B, and C!
In this example, when the user pastes a comma-separated value, you could automatically transfer the part after the comma to the second box. Also, if they are typing in the first box and type a comma, automatically transfer focus to the second box as they continue typing. You can see this behavior in a lot of phone number entries on forms. Perhaps this would satisfy all your users. |
73,453 | Getting clear user feedback is great. But what do you do with the feedback when different people, or groups of people, want different things?
I have encountered this situation a few times recently.
One example, while testing a new product release: Some users liked the new separate input boxes for x and y coordinates, as the previous version of the software had a single box, with a comma separator. Now they didn't have to type the comma in.
But other users disliked the move to the dual boxes, because it increased the amount of work involved in copying/pasting co-ordinates between boxes.
I'm not asking for a design solution to this single box vs. dual boxes problem :) I'm asking, more generally, what methodology do you employ to arrive at solutions, where there are two or more opposing feature requests with seemingly equal merit? | 2015/02/11 | [
"https://ux.stackexchange.com/questions/73453",
"https://ux.stackexchange.com",
"https://ux.stackexchange.com/users/13180/"
] | Accommodate both! In this case, your users told you exactly what they were missing in the old version (in this example, easy copy/paste). So create a new way that meets both sets of requirements.
Generally speaking, say the old way offered Features A and B, and the new way still supported Feature B, lost feature A, but added feature C. Users said they like C but missed A. So design a widget that offers A, B, and C!
In this example, when the user pastes a comma-separated value, you could automatically transfer the part after the comma to the second box. Also, if they are typing in the first box and type a comma, automatically transfer focus to the second box as they continue typing. You can see this behavior in a lot of phone number entries on forms. Perhaps this would satisfy all your users. | User Experience isn't about taking exclusive decisions, is about make the overall experience for the majority of users, the best as possible. I will use your use case as an example.
**Previous version**
Single text field, coordinates separated by comma.
**Advantages:** copy/paste is smooth
**Disadvantages:** readability
**New version**
Two text fields, one per coordinate.
**Advantages:** Easy to read, UI cleaner
**Disadvantages:** copy/paste is trivial and duplicate steps
**What is the solution?**
The union of the advantages and the exclusion of the disadvantages. You keep two fields, on each field you intercept the JavaScript event "copy" and "paste" and whenever it happens, you "tweak it".
For example, let's call the fields, "field X" and "field Y", if someone select field X and copy it, with JavaScript you create a string that join the value of
"field X" and "field Y" and put that in the clipboard, so when user paste it, it would be pasted the coordinates X,Y rather than the single one.
For paste the same, if he paste on X, you split the string if contains an comma and accommodate. So in this case everybody wins.
I could think in more use cases and this could grow, but my point is that you should not focus in solutions as one way, you should focus in have something that satisfied most of the common cases. |
73,453 | Getting clear user feedback is great. But what do you do with the feedback when different people, or groups of people, want different things?
I have encountered this situation a few times recently.
One example, while testing a new product release: Some users liked the new separate input boxes for x and y coordinates, as the previous version of the software had a single box, with a comma separator. Now they didn't have to type the comma in.
But other users disliked the move to the dual boxes, because it increased the amount of work involved in copying/pasting co-ordinates between boxes.
I'm not asking for a design solution to this single box vs. dual boxes problem :) I'm asking, more generally, what methodology do you employ to arrive at solutions, where there are two or more opposing feature requests with seemingly equal merit? | 2015/02/11 | [
"https://ux.stackexchange.com/questions/73453",
"https://ux.stackexchange.com",
"https://ux.stackexchange.com/users/13180/"
] | Accommodate both! In this case, your users told you exactly what they were missing in the old version (in this example, easy copy/paste). So create a new way that meets both sets of requirements.
Generally speaking, say the old way offered Features A and B, and the new way still supported Feature B, lost feature A, but added feature C. Users said they like C but missed A. So design a widget that offers A, B, and C!
In this example, when the user pastes a comma-separated value, you could automatically transfer the part after the comma to the second box. Also, if they are typing in the first box and type a comma, automatically transfer focus to the second box as they continue typing. You can see this behavior in a lot of phone number entries on forms. Perhaps this would satisfy all your users. | I am programmer learning a bit of UX so I may get beat up by UX purest but I capture metrics on user productivity. If a top performing user asks for a tweak I will take that over a low performing user. I am in an environment where contract data entry use more than one product. Too often a low performing user will state the (my) product is the problem. I will show the customer paying the bill that the top 1/4 users are doing over 1/2 work (and they always are) and those are not the people complaining. I am not saying don't accommodate the low end users. But don't sacrifice the high end users. A user that has performed a task twice is going to have in uninformed opinion. Yes make it more intuitive. But the top performer that says it saves me a key stroke is who wins in my book (as that is what the people footing the bill care about with my product). |
73,453 | Getting clear user feedback is great. But what do you do with the feedback when different people, or groups of people, want different things?
I have encountered this situation a few times recently.
One example, while testing a new product release: Some users liked the new separate input boxes for x and y coordinates, as the previous version of the software had a single box, with a comma separator. Now they didn't have to type the comma in.
But other users disliked the move to the dual boxes, because it increased the amount of work involved in copying/pasting co-ordinates between boxes.
I'm not asking for a design solution to this single box vs. dual boxes problem :) I'm asking, more generally, what methodology do you employ to arrive at solutions, where there are two or more opposing feature requests with seemingly equal merit? | 2015/02/11 | [
"https://ux.stackexchange.com/questions/73453",
"https://ux.stackexchange.com",
"https://ux.stackexchange.com/users/13180/"
] | You can't please everyone
-------------------------
Most changes or additions will leave some people behind. They may catch up later, they may hate you forever. Shoot for net gain in the experience. If you avoid negative feedback, you avoid progress.
It helps to keep a destination in your sights. Focus on an established list of goals for the long term vision of the product and the tactical changes of a sprint or release. Using something like [the HEART framework](http://bit.ly/16TKfSD) is a good way to keep your UX on track.
Don't ignore the complainers
----------------------------
Take your inevitable complaints seriously and evaluate them for opportunities. Mapping complaints back to your goals will help you decide if you've missed the mark or just need to help bring a subset of users along to the new way.
When you see opportunities in feedback, do a little research. I've found that most complainers love to be heard: follow up with them and do an interview. If you find potential, develop a job story around it and add it to the backlog. When that item fits the goals of a design sprint, you'll roll it in and show that user that you're listening -- as long as you don't take too long ;)
Account for roles and personas when possible
--------------------------------------------
You may notice clear distinctions in the responses that point to persona or role groups. If you can provide an altered view for this group, you may open up a whole new territory for your product. With the flexibility of software and power of hardware today, faceted UX isn't as prohibitive as it used to be. | Try to distinguish between *what* users want and *how* they want it done.
Taking your example above, users wanting one vs. two input boxes is all about the *how*. The *what* is being able to paste comma-separated coordinate pairs vs. not having to press comma. (Or, for some users, being able to simply press comma rather than having to click a second input box.)
In the above example you could resolve that in the following way:
* Implement two separate boxes.
* When a comma is entered in the first box, transfer focus to the second box
* Implement copy and paste buttons that will copy the two values to the Clipboard (as comma-separated values) and paste a comma-separated pair from the clipboard, splitting it correctly between both boxes.
Implementations will, of course, vary heavily depending on the situation you're facing. However, many apparent conflicts between requirements will go away when you look at the what/why rather than the how. |
73,453 | Getting clear user feedback is great. But what do you do with the feedback when different people, or groups of people, want different things?
I have encountered this situation a few times recently.
One example, while testing a new product release: Some users liked the new separate input boxes for x and y coordinates, as the previous version of the software had a single box, with a comma separator. Now they didn't have to type the comma in.
But other users disliked the move to the dual boxes, because it increased the amount of work involved in copying/pasting co-ordinates between boxes.
I'm not asking for a design solution to this single box vs. dual boxes problem :) I'm asking, more generally, what methodology do you employ to arrive at solutions, where there are two or more opposing feature requests with seemingly equal merit? | 2015/02/11 | [
"https://ux.stackexchange.com/questions/73453",
"https://ux.stackexchange.com",
"https://ux.stackexchange.com/users/13180/"
] | Try to distinguish between *what* users want and *how* they want it done.
Taking your example above, users wanting one vs. two input boxes is all about the *how*. The *what* is being able to paste comma-separated coordinate pairs vs. not having to press comma. (Or, for some users, being able to simply press comma rather than having to click a second input box.)
In the above example you could resolve that in the following way:
* Implement two separate boxes.
* When a comma is entered in the first box, transfer focus to the second box
* Implement copy and paste buttons that will copy the two values to the Clipboard (as comma-separated values) and paste a comma-separated pair from the clipboard, splitting it correctly between both boxes.
Implementations will, of course, vary heavily depending on the situation you're facing. However, many apparent conflicts between requirements will go away when you look at the what/why rather than the how. | User Experience isn't about taking exclusive decisions, is about make the overall experience for the majority of users, the best as possible. I will use your use case as an example.
**Previous version**
Single text field, coordinates separated by comma.
**Advantages:** copy/paste is smooth
**Disadvantages:** readability
**New version**
Two text fields, one per coordinate.
**Advantages:** Easy to read, UI cleaner
**Disadvantages:** copy/paste is trivial and duplicate steps
**What is the solution?**
The union of the advantages and the exclusion of the disadvantages. You keep two fields, on each field you intercept the JavaScript event "copy" and "paste" and whenever it happens, you "tweak it".
For example, let's call the fields, "field X" and "field Y", if someone select field X and copy it, with JavaScript you create a string that join the value of
"field X" and "field Y" and put that in the clipboard, so when user paste it, it would be pasted the coordinates X,Y rather than the single one.
For paste the same, if he paste on X, you split the string if contains an comma and accommodate. So in this case everybody wins.
I could think in more use cases and this could grow, but my point is that you should not focus in solutions as one way, you should focus in have something that satisfied most of the common cases. |
73,453 | Getting clear user feedback is great. But what do you do with the feedback when different people, or groups of people, want different things?
I have encountered this situation a few times recently.
One example, while testing a new product release: Some users liked the new separate input boxes for x and y coordinates, as the previous version of the software had a single box, with a comma separator. Now they didn't have to type the comma in.
But other users disliked the move to the dual boxes, because it increased the amount of work involved in copying/pasting co-ordinates between boxes.
I'm not asking for a design solution to this single box vs. dual boxes problem :) I'm asking, more generally, what methodology do you employ to arrive at solutions, where there are two or more opposing feature requests with seemingly equal merit? | 2015/02/11 | [
"https://ux.stackexchange.com/questions/73453",
"https://ux.stackexchange.com",
"https://ux.stackexchange.com/users/13180/"
] | Try to distinguish between *what* users want and *how* they want it done.
Taking your example above, users wanting one vs. two input boxes is all about the *how*. The *what* is being able to paste comma-separated coordinate pairs vs. not having to press comma. (Or, for some users, being able to simply press comma rather than having to click a second input box.)
In the above example you could resolve that in the following way:
* Implement two separate boxes.
* When a comma is entered in the first box, transfer focus to the second box
* Implement copy and paste buttons that will copy the two values to the Clipboard (as comma-separated values) and paste a comma-separated pair from the clipboard, splitting it correctly between both boxes.
Implementations will, of course, vary heavily depending on the situation you're facing. However, many apparent conflicts between requirements will go away when you look at the what/why rather than the how. | I am programmer learning a bit of UX so I may get beat up by UX purest but I capture metrics on user productivity. If a top performing user asks for a tweak I will take that over a low performing user. I am in an environment where contract data entry use more than one product. Too often a low performing user will state the (my) product is the problem. I will show the customer paying the bill that the top 1/4 users are doing over 1/2 work (and they always are) and those are not the people complaining. I am not saying don't accommodate the low end users. But don't sacrifice the high end users. A user that has performed a task twice is going to have in uninformed opinion. Yes make it more intuitive. But the top performer that says it saves me a key stroke is who wins in my book (as that is what the people footing the bill care about with my product). |
73,453 | Getting clear user feedback is great. But what do you do with the feedback when different people, or groups of people, want different things?
I have encountered this situation a few times recently.
One example, while testing a new product release: Some users liked the new separate input boxes for x and y coordinates, as the previous version of the software had a single box, with a comma separator. Now they didn't have to type the comma in.
But other users disliked the move to the dual boxes, because it increased the amount of work involved in copying/pasting co-ordinates between boxes.
I'm not asking for a design solution to this single box vs. dual boxes problem :) I'm asking, more generally, what methodology do you employ to arrive at solutions, where there are two or more opposing feature requests with seemingly equal merit? | 2015/02/11 | [
"https://ux.stackexchange.com/questions/73453",
"https://ux.stackexchange.com",
"https://ux.stackexchange.com/users/13180/"
] | You can't please everyone
-------------------------
Most changes or additions will leave some people behind. They may catch up later, they may hate you forever. Shoot for net gain in the experience. If you avoid negative feedback, you avoid progress.
It helps to keep a destination in your sights. Focus on an established list of goals for the long term vision of the product and the tactical changes of a sprint or release. Using something like [the HEART framework](http://bit.ly/16TKfSD) is a good way to keep your UX on track.
Don't ignore the complainers
----------------------------
Take your inevitable complaints seriously and evaluate them for opportunities. Mapping complaints back to your goals will help you decide if you've missed the mark or just need to help bring a subset of users along to the new way.
When you see opportunities in feedback, do a little research. I've found that most complainers love to be heard: follow up with them and do an interview. If you find potential, develop a job story around it and add it to the backlog. When that item fits the goals of a design sprint, you'll roll it in and show that user that you're listening -- as long as you don't take too long ;)
Account for roles and personas when possible
--------------------------------------------
You may notice clear distinctions in the responses that point to persona or role groups. If you can provide an altered view for this group, you may open up a whole new territory for your product. With the flexibility of software and power of hardware today, faceted UX isn't as prohibitive as it used to be. | User Experience isn't about taking exclusive decisions, is about make the overall experience for the majority of users, the best as possible. I will use your use case as an example.
**Previous version**
Single text field, coordinates separated by comma.
**Advantages:** copy/paste is smooth
**Disadvantages:** readability
**New version**
Two text fields, one per coordinate.
**Advantages:** Easy to read, UI cleaner
**Disadvantages:** copy/paste is trivial and duplicate steps
**What is the solution?**
The union of the advantages and the exclusion of the disadvantages. You keep two fields, on each field you intercept the JavaScript event "copy" and "paste" and whenever it happens, you "tweak it".
For example, let's call the fields, "field X" and "field Y", if someone select field X and copy it, with JavaScript you create a string that join the value of
"field X" and "field Y" and put that in the clipboard, so when user paste it, it would be pasted the coordinates X,Y rather than the single one.
For paste the same, if he paste on X, you split the string if contains an comma and accommodate. So in this case everybody wins.
I could think in more use cases and this could grow, but my point is that you should not focus in solutions as one way, you should focus in have something that satisfied most of the common cases. |
73,453 | Getting clear user feedback is great. But what do you do with the feedback when different people, or groups of people, want different things?
I have encountered this situation a few times recently.
One example, while testing a new product release: Some users liked the new separate input boxes for x and y coordinates, as the previous version of the software had a single box, with a comma separator. Now they didn't have to type the comma in.
But other users disliked the move to the dual boxes, because it increased the amount of work involved in copying/pasting co-ordinates between boxes.
I'm not asking for a design solution to this single box vs. dual boxes problem :) I'm asking, more generally, what methodology do you employ to arrive at solutions, where there are two or more opposing feature requests with seemingly equal merit? | 2015/02/11 | [
"https://ux.stackexchange.com/questions/73453",
"https://ux.stackexchange.com",
"https://ux.stackexchange.com/users/13180/"
] | You can't please everyone
-------------------------
Most changes or additions will leave some people behind. They may catch up later, they may hate you forever. Shoot for net gain in the experience. If you avoid negative feedback, you avoid progress.
It helps to keep a destination in your sights. Focus on an established list of goals for the long term vision of the product and the tactical changes of a sprint or release. Using something like [the HEART framework](http://bit.ly/16TKfSD) is a good way to keep your UX on track.
Don't ignore the complainers
----------------------------
Take your inevitable complaints seriously and evaluate them for opportunities. Mapping complaints back to your goals will help you decide if you've missed the mark or just need to help bring a subset of users along to the new way.
When you see opportunities in feedback, do a little research. I've found that most complainers love to be heard: follow up with them and do an interview. If you find potential, develop a job story around it and add it to the backlog. When that item fits the goals of a design sprint, you'll roll it in and show that user that you're listening -- as long as you don't take too long ;)
Account for roles and personas when possible
--------------------------------------------
You may notice clear distinctions in the responses that point to persona or role groups. If you can provide an altered view for this group, you may open up a whole new territory for your product. With the flexibility of software and power of hardware today, faceted UX isn't as prohibitive as it used to be. | I am programmer learning a bit of UX so I may get beat up by UX purest but I capture metrics on user productivity. If a top performing user asks for a tweak I will take that over a low performing user. I am in an environment where contract data entry use more than one product. Too often a low performing user will state the (my) product is the problem. I will show the customer paying the bill that the top 1/4 users are doing over 1/2 work (and they always are) and those are not the people complaining. I am not saying don't accommodate the low end users. But don't sacrifice the high end users. A user that has performed a task twice is going to have in uninformed opinion. Yes make it more intuitive. But the top performer that says it saves me a key stroke is who wins in my book (as that is what the people footing the bill care about with my product). |
73,453 | Getting clear user feedback is great. But what do you do with the feedback when different people, or groups of people, want different things?
I have encountered this situation a few times recently.
One example, while testing a new product release: Some users liked the new separate input boxes for x and y coordinates, as the previous version of the software had a single box, with a comma separator. Now they didn't have to type the comma in.
But other users disliked the move to the dual boxes, because it increased the amount of work involved in copying/pasting co-ordinates between boxes.
I'm not asking for a design solution to this single box vs. dual boxes problem :) I'm asking, more generally, what methodology do you employ to arrive at solutions, where there are two or more opposing feature requests with seemingly equal merit? | 2015/02/11 | [
"https://ux.stackexchange.com/questions/73453",
"https://ux.stackexchange.com",
"https://ux.stackexchange.com/users/13180/"
] | I am programmer learning a bit of UX so I may get beat up by UX purest but I capture metrics on user productivity. If a top performing user asks for a tweak I will take that over a low performing user. I am in an environment where contract data entry use more than one product. Too often a low performing user will state the (my) product is the problem. I will show the customer paying the bill that the top 1/4 users are doing over 1/2 work (and they always are) and those are not the people complaining. I am not saying don't accommodate the low end users. But don't sacrifice the high end users. A user that has performed a task twice is going to have in uninformed opinion. Yes make it more intuitive. But the top performer that says it saves me a key stroke is who wins in my book (as that is what the people footing the bill care about with my product). | User Experience isn't about taking exclusive decisions, is about make the overall experience for the majority of users, the best as possible. I will use your use case as an example.
**Previous version**
Single text field, coordinates separated by comma.
**Advantages:** copy/paste is smooth
**Disadvantages:** readability
**New version**
Two text fields, one per coordinate.
**Advantages:** Easy to read, UI cleaner
**Disadvantages:** copy/paste is trivial and duplicate steps
**What is the solution?**
The union of the advantages and the exclusion of the disadvantages. You keep two fields, on each field you intercept the JavaScript event "copy" and "paste" and whenever it happens, you "tweak it".
For example, let's call the fields, "field X" and "field Y", if someone select field X and copy it, with JavaScript you create a string that join the value of
"field X" and "field Y" and put that in the clipboard, so when user paste it, it would be pasted the coordinates X,Y rather than the single one.
For paste the same, if he paste on X, you split the string if contains an comma and accommodate. So in this case everybody wins.
I could think in more use cases and this could grow, but my point is that you should not focus in solutions as one way, you should focus in have something that satisfied most of the common cases. |
171,727 | How do i delete all the tables in the schema on Apache Derby DB using JDBC? | 2008/10/05 | [
"https://Stackoverflow.com/questions/171727",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/15100/"
] | For actual code that does this, check [CleanDatabaseTestSetup.java](http://svn.apache.org/viewvc/db/derby/code/trunk/java/org.apache.derby.tests/org/apache/derbyTesting/junit/CleanDatabaseTestSetup.java?view=markup) in the Derby test suite section of the Derby distribution. | Download Squirrel SQL from <http://squirrel-sql.sourceforge.net/>
Connect to the database.
Expand the TABLE node.
Select the tables that you want to drop.
Right click and select -> Scripts -> Drop table scripts
Run the generated queries
You can even select delete records to empty the selected tables. |
171,727 | How do i delete all the tables in the schema on Apache Derby DB using JDBC? | 2008/10/05 | [
"https://Stackoverflow.com/questions/171727",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/15100/"
] | For actual code that does this, check [CleanDatabaseTestSetup.java](http://svn.apache.org/viewvc/db/derby/code/trunk/java/org.apache.derby.tests/org/apache/derbyTesting/junit/CleanDatabaseTestSetup.java?view=markup) in the Derby test suite section of the Derby distribution. | JDBC allows you to solve your task in a database agnostic way:
1. Open the connection
2. Grab the DatabaseMetaData
3. Use it to list all tables in your database [JavaDoc](http://java.sun.com/j2se/1.4.2/docs/api/java/sql/DatabaseMetaData.html#getTables(java.lang.String,%20java.lang.String,%20java.lang.String,%20java.lang.String[]))
4. Iterate over the resultset and fire the DROP TABLE for each table |
171,727 | How do i delete all the tables in the schema on Apache Derby DB using JDBC? | 2008/10/05 | [
"https://Stackoverflow.com/questions/171727",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/15100/"
] | I think most db providers don't allow DROP TABLE \* (or similar).
I think the best way would be to SHOW TABLES and then go through each deleting in a loop via a resultset.
HTH. | Download Squirrel SQL from <http://squirrel-sql.sourceforge.net/>
Connect to the database.
Expand the TABLE node.
Select the tables that you want to drop.
Right click and select -> Scripts -> Drop table scripts
Run the generated queries
You can even select delete records to empty the selected tables. |
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