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 |
|---|---|---|---|---|---|
864,627 | On PC side with windows xp, i have selected 10Mbps full duplex mode in the driver. I connect this Ethernet cable of PC to my development board(DM6446) which has 100Mbps full duplex mode. What happens in this scenario?
Regards | 2015/01/14 | [
"https://superuser.com/questions/864627",
"https://superuser.com",
"https://superuser.com/users/408823/"
] | According to Microsoft, this is typical behavior established by the method the file is opened.
>
> When a source data workbook is linked, the link is established based
> on the way that the workbook was opened. If the workbook was opened
> over a mapped drive, the link is created by using a mapped drive. The
> link remains that way regardless of how the source data workbook is
> opened in the future. If the source data file is opened by a UNC path,
> the link does not revert to a mapped drive, even if a matching drive
> is available. [source](http://support.microsoft.com/kb/328440)
>
>
>
The likely cause is the file being opened differently on the various computers, some using the UNC and the other using a mapped path. | I have had this issue with a few clients. Both were using a mapped drive to access the file. One user would open the file, it would change the links to %appdata%\XLSTART\*corresponding file path to mapped drive\*
I addressed this by making Excel open in the mapped drive for these users. Options, Advanced, General, At Startup, open all files in: (put the network path). |
864,627 | On PC side with windows xp, i have selected 10Mbps full duplex mode in the driver. I connect this Ethernet cable of PC to my development board(DM6446) which has 100Mbps full duplex mode. What happens in this scenario?
Regards | 2015/01/14 | [
"https://superuser.com/questions/864627",
"https://superuser.com",
"https://superuser.com/users/408823/"
] | According to Microsoft, this is typical behavior established by the method the file is opened.
>
> When a source data workbook is linked, the link is established based
> on the way that the workbook was opened. If the workbook was opened
> over a mapped drive, the link is created by using a mapped drive. The
> link remains that way regardless of how the source data workbook is
> opened in the future. If the source data file is opened by a UNC path,
> the link does not revert to a mapped drive, even if a matching drive
> is available. [source](http://support.microsoft.com/kb/328440)
>
>
>
The likely cause is the file being opened differently on the various computers, some using the UNC and the other using a mapped path. | I usually open my files via the Explorer window, and got into this issue when I didn't notice the UNC path in the header bar; it used to be the full regular path. I set my shortcuts to the network folders, but they were all created as as UNC paths.
I opened up a fresh window, navigated to the network drive; all new links would now show up correctly. Killed all old Favorites; new ones now work fine.
Anil |
864,627 | On PC side with windows xp, i have selected 10Mbps full duplex mode in the driver. I connect this Ethernet cable of PC to my development board(DM6446) which has 100Mbps full duplex mode. What happens in this scenario?
Regards | 2015/01/14 | [
"https://superuser.com/questions/864627",
"https://superuser.com",
"https://superuser.com/users/408823/"
] | According to Microsoft, this is typical behavior established by the method the file is opened.
>
> When a source data workbook is linked, the link is established based
> on the way that the workbook was opened. If the workbook was opened
> over a mapped drive, the link is created by using a mapped drive. The
> link remains that way regardless of how the source data workbook is
> opened in the future. If the source data file is opened by a UNC path,
> the link does not revert to a mapped drive, even if a matching drive
> is available. [source](http://support.microsoft.com/kb/328440)
>
>
>
The likely cause is the file being opened differently on the various computers, some using the UNC and the other using a mapped path. | Using a simple macro I tried to refresh the default file path each time before saving.
sub saveme()
Application.DefaultFilePath = "\blabla\blabla$\"
thisworkbook.save
end sub()
This seems to work. |
4,533,749 | I have a database in my sql management studio how can script the database schema to file so that I can put it in another device?
thanks | 2010/12/26 | [
"https://Stackoverflow.com/questions/4533749",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/420292/"
] | Open SQL Management -> Script Database As -> .... I think its the closest to what you mean.
Of course there are 3rd party tools for these kind of works. See [RedGate](http://www.redgate.com/). | SQL Management Studio 2008 can make query to unload Schema and data from database, but older versions if Management studio can't do it. You can use another soft to do it like an EMS SQL Management studio |
4,533,749 | I have a database in my sql management studio how can script the database schema to file so that I can put it in another device?
thanks | 2010/12/26 | [
"https://Stackoverflow.com/questions/4533749",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/420292/"
] | Shutdown SQL Server, copy the MDF and LDF Files to a new server and attach them on that instance by right clicking on Databases and choosing Attach. Specify the location of the files.
Alternatively, you could also backup the database from the source and restore it in the destination.
The above two methods copy all data too. If you want only the schema, Right click on the database and choose Generate SQL Scripts and follow the instructions. | SQL Management Studio 2008 can make query to unload Schema and data from database, but older versions if Management studio can't do it. You can use another soft to do it like an EMS SQL Management studio |
4,533,749 | I have a database in my sql management studio how can script the database schema to file so that I can put it in another device?
thanks | 2010/12/26 | [
"https://Stackoverflow.com/questions/4533749",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/420292/"
] | Open SQL Management -> Script Database As -> .... I think its the closest to what you mean.
Of course there are 3rd party tools for these kind of works. See [RedGate](http://www.redgate.com/). | Shutdown SQL Server, copy the MDF and LDF Files to a new server and attach them on that instance by right clicking on Databases and choosing Attach. Specify the location of the files.
Alternatively, you could also backup the database from the source and restore it in the destination.
The above two methods copy all data too. If you want only the schema, Right click on the database and choose Generate SQL Scripts and follow the instructions. |
1,482,206 | For an application I am working on, I need to display custom raster image tiles (not vector based, probably from satellite imagery), and I need to do so offline. I would like to use the MapView, but I cannot see a way to tell it to use custom, offline map tiles instead of pulling down data from google's servers.
I've seen a few alternatives, but none seem appropriate to my need
MapDroyd Seems to only support vector-based maps. mapdroyd.com/
OSMDroid Appears to use Open Street Maps; I don't see any documentation anywhere stating that you can use custom map tiles. code.google.com/p/osmdroid/
There was a third alternative, but my post got eaten and I can't find it in my history.
Am I going to have to bite the bullet and 'roll my own'? | 2009/09/26 | [
"https://Stackoverflow.com/questions/1482206",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/155392/"
] | I believe that [OpenLayers](http://www.openlayers.org/) has the functionality you require, but I don't know whether it runs under Android.
In particular, see [this OpenLayers wiki page](http://trac.openlayers.org/wiki/UsingCustomTiles) about how to use your own custom tiles. | >
> Am I going to have to bite the bullet
> and 'roll my own'?
>
>
>
Ummm, how do you like the taste of lead? ;-)
Seriously, Google Maps is closed source, and I know of no API to change up the map tiles. I'd be shocked if there is one.
What you might do is try to team up with OSMDroid to make a more generic MapDroid that has pluggable tile sources.
The only other mapping solution I know of for Android, besides the ones you list, is the one from Ericsson Labs, and that is both closed-source *and* vector, which probably makes it useless for you. |
1,482,206 | For an application I am working on, I need to display custom raster image tiles (not vector based, probably from satellite imagery), and I need to do so offline. I would like to use the MapView, but I cannot see a way to tell it to use custom, offline map tiles instead of pulling down data from google's servers.
I've seen a few alternatives, but none seem appropriate to my need
MapDroyd Seems to only support vector-based maps. mapdroyd.com/
OSMDroid Appears to use Open Street Maps; I don't see any documentation anywhere stating that you can use custom map tiles. code.google.com/p/osmdroid/
There was a third alternative, but my post got eaten and I can't find it in my history.
Am I going to have to bite the bullet and 'roll my own'? | 2009/09/26 | [
"https://Stackoverflow.com/questions/1482206",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/155392/"
] | We ended up going with Open Street Maps and customizing source to meet our needs. Unfortunately couldn't easily switch the source of tiles, so we were stuck with the vector based ones. Ended up writing some code to ensure that cached tiles persist on app shut down, so we could access them without connection. | >
> Am I going to have to bite the bullet
> and 'roll my own'?
>
>
>
Ummm, how do you like the taste of lead? ;-)
Seriously, Google Maps is closed source, and I know of no API to change up the map tiles. I'd be shocked if there is one.
What you might do is try to team up with OSMDroid to make a more generic MapDroid that has pluggable tile sources.
The only other mapping solution I know of for Android, besides the ones you list, is the one from Ericsson Labs, and that is both closed-source *and* vector, which probably makes it useless for you. |
1,482,206 | For an application I am working on, I need to display custom raster image tiles (not vector based, probably from satellite imagery), and I need to do so offline. I would like to use the MapView, but I cannot see a way to tell it to use custom, offline map tiles instead of pulling down data from google's servers.
I've seen a few alternatives, but none seem appropriate to my need
MapDroyd Seems to only support vector-based maps. mapdroyd.com/
OSMDroid Appears to use Open Street Maps; I don't see any documentation anywhere stating that you can use custom map tiles. code.google.com/p/osmdroid/
There was a third alternative, but my post got eaten and I can't find it in my history.
Am I going to have to bite the bullet and 'roll my own'? | 2009/09/26 | [
"https://Stackoverflow.com/questions/1482206",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/155392/"
] | I believe that [OpenLayers](http://www.openlayers.org/) has the functionality you require, but I don't know whether it runs under Android.
In particular, see [this OpenLayers wiki page](http://trac.openlayers.org/wiki/UsingCustomTiles) about how to use your own custom tiles. | For custom mobile mapping solutions You could take a look at [maps lib](http://www.nutiteq.com/mgmapslib.html) from Nutiteq |
1,482,206 | For an application I am working on, I need to display custom raster image tiles (not vector based, probably from satellite imagery), and I need to do so offline. I would like to use the MapView, but I cannot see a way to tell it to use custom, offline map tiles instead of pulling down data from google's servers.
I've seen a few alternatives, but none seem appropriate to my need
MapDroyd Seems to only support vector-based maps. mapdroyd.com/
OSMDroid Appears to use Open Street Maps; I don't see any documentation anywhere stating that you can use custom map tiles. code.google.com/p/osmdroid/
There was a third alternative, but my post got eaten and I can't find it in my history.
Am I going to have to bite the bullet and 'roll my own'? | 2009/09/26 | [
"https://Stackoverflow.com/questions/1482206",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/155392/"
] | I believe that [OpenLayers](http://www.openlayers.org/) has the functionality you require, but I don't know whether it runs under Android.
In particular, see [this OpenLayers wiki page](http://trac.openlayers.org/wiki/UsingCustomTiles) about how to use your own custom tiles. | I know this question is a year and a half old but it still comes high up Google searches...
...OsmDroid now supports a number of different map tile sources, if you look in the file below you can see the sources supported - it shouldn't be too hard to make it work from other tile sources and tile servers.
<http://code.google.com/p/osmdroid/source/browse/trunk/osmdroid-android/src/org/osmdroid/tileprovider/tilesource/TileSourceFactory.java> |
1,482,206 | For an application I am working on, I need to display custom raster image tiles (not vector based, probably from satellite imagery), and I need to do so offline. I would like to use the MapView, but I cannot see a way to tell it to use custom, offline map tiles instead of pulling down data from google's servers.
I've seen a few alternatives, but none seem appropriate to my need
MapDroyd Seems to only support vector-based maps. mapdroyd.com/
OSMDroid Appears to use Open Street Maps; I don't see any documentation anywhere stating that you can use custom map tiles. code.google.com/p/osmdroid/
There was a third alternative, but my post got eaten and I can't find it in my history.
Am I going to have to bite the bullet and 'roll my own'? | 2009/09/26 | [
"https://Stackoverflow.com/questions/1482206",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/155392/"
] | We ended up going with Open Street Maps and customizing source to meet our needs. Unfortunately couldn't easily switch the source of tiles, so we were stuck with the vector based ones. Ended up writing some code to ensure that cached tiles persist on app shut down, so we could access them without connection. | For custom mobile mapping solutions You could take a look at [maps lib](http://www.nutiteq.com/mgmapslib.html) from Nutiteq |
1,482,206 | For an application I am working on, I need to display custom raster image tiles (not vector based, probably from satellite imagery), and I need to do so offline. I would like to use the MapView, but I cannot see a way to tell it to use custom, offline map tiles instead of pulling down data from google's servers.
I've seen a few alternatives, but none seem appropriate to my need
MapDroyd Seems to only support vector-based maps. mapdroyd.com/
OSMDroid Appears to use Open Street Maps; I don't see any documentation anywhere stating that you can use custom map tiles. code.google.com/p/osmdroid/
There was a third alternative, but my post got eaten and I can't find it in my history.
Am I going to have to bite the bullet and 'roll my own'? | 2009/09/26 | [
"https://Stackoverflow.com/questions/1482206",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/155392/"
] | We ended up going with Open Street Maps and customizing source to meet our needs. Unfortunately couldn't easily switch the source of tiles, so we were stuck with the vector based ones. Ended up writing some code to ensure that cached tiles persist on app shut down, so we could access them without connection. | I know this question is a year and a half old but it still comes high up Google searches...
...OsmDroid now supports a number of different map tile sources, if you look in the file below you can see the sources supported - it shouldn't be too hard to make it work from other tile sources and tile servers.
<http://code.google.com/p/osmdroid/source/browse/trunk/osmdroid-android/src/org/osmdroid/tileprovider/tilesource/TileSourceFactory.java> |
17,362,320 | In my C# MVC4 ASP.NET code (in a method on a controller) I call a function that I know has the possibility that it may never return. It is a call to a Microsoft object that does not raise and error, does not time out, just hangs (and hangs and hangs).
I think I have found the cause of the specific incidents of why this has happened, but the general problem worries me and I want to guard against it (as it causes general problems on the server, rather than just isolated problems to the individual user). I want to know the most graceful way of handling this sort of problem.
The method I am calling is [LocalReport.Render](http://msdn.microsoft.com/en-US/library/ms252207%28v=vs.90%29.aspx) and this [Google search](https://www.google.com/search?q=LocalReport.Render%20hangs&rlz=1C1CHFX_en-gbGG485GG485&oq=LocalReport.Render%20hangs&aqs=chrome.0.57j0j62.7196j0&sourceid=chrome&ie=UTF-8) shows a number of people with a number of problems where this method never seems to return. | 2013/06/28 | [
"https://Stackoverflow.com/questions/17362320",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/630920/"
] | Maybe try calling the method on a different Thread ? and abort the thread after a timeout ?
Although not a neat solution at all, but not a lot of options available in case there is no misconception about why the method hangs. | Having looked at this answer to a [similar question](https://stackoverflow.com/a/1560567/630920) I think the least worse solution is to wrap the offending call (to LocalReport.Render) into a separate Process and app domain. I will then kill the process if it starts behaving erratically. |
31,579,357 | I wrote a Java program and compiled it to jar file to distribute as a library that others import into their Java program and use it. It is a kind of simple library. The problem is when one imports the jar file into Netbeans to use it in their program, the source code is fully visible. They can open the classes in the jar file and see all the source. Is Netbeans decompiling the source or how is this possible? Is there a way to prevent users from seeing the source in Netbeans or any other IDE? | 2015/07/23 | [
"https://Stackoverflow.com/questions/31579357",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/3804553/"
] | Yes, it's likely that Netbeans comes preloaded with a decompiler plugin, the only thing you can do is obfuscate all the classes in your jar with a tool like [ProGuard](http://proguard.sourceforge.net/).
They will still be able to decompile your classes, but it will be way harder to understand what your code is actually doing (heavily dependant on the complexity of your code). Sadly, you can't simply prevent decompilation. | I found out that this happens when the jar is imported to projects on the same machine on which the jar itself is developed. I took the jar file to another PC and imported it to a project, and alas the code is not visible. It is confusing why it behaving like that. I expect it should not show the code no matter what. Thanks for the replies. |
456,992 | How can I change the screen resolution of several Windows 7 machines from a central point, i.e., a server running Active Directory? | 2012/12/11 | [
"https://serverfault.com/questions/456992",
"https://serverfault.com",
"https://serverfault.com/users/149137/"
] | Use the Exchange Admin Center to create a Receive Connector for whichever services need to send email through your mail server.
1. Open EAC
2. Navigate to **Mail Flow > Receive Connectors**. Click on **Add+**
3. Select **Internal** if it is for internal email.
Configure permissions as needed and specify the IP addresses/range for the sending hosts. | If you need to relay - you need to create a receive connector.
On that connector specify ipaddress/range of the relaying server and choose authentication model. |
66,946 | [](https://i.stack.imgur.com/STPJ4.jpg)
I know in 1993, Adobe software was not available.
How was this effect accomplished? | 2017/01/16 | [
"https://movies.stackexchange.com/questions/66946",
"https://movies.stackexchange.com",
"https://movies.stackexchange.com/users/45675/"
] | As I mentioned in the comments, movie editing software certainly was available in 1993 (see *Jurassic Park* for example). That being said however, I was under the impression that Schindler's List was deliberately filmed by Spielberg on black and white film, in part to prevent a possible future release of the movie in colour (which would have gone against his vision of the story portrayed by the movie).
Apparently this is correct - the movie was shot on black and white film by Janusz Kaminski - a cinematographer who has shot all of Spielberg's films since 1993. However, according to [this article](http://www.vulture.com/2012/11/how-steven-spielberg-cinematographer-janusz-kaminski-got-these-shots.html):
>
> Kaminski shot most of the film on black-and-white emulsion, save for
> the sequences featuring the little girl with the red dress, **which were
> shot in color emulsion and then painstakingly desaturated** in a process
> called rotoscoping, which Kaminski describes as "an old version of
> CGI, except each frame was done by hand."
>
>
>
Rotoscoping is a technique where the area to be preserved is masked off, and the remainder of the image is worked on in some fashion, frame by frame. The technique has been around long before 1993 - it was used to great effect in the music video for A-ha's *Take On Me*, released in 1985, to pick but one example.
[](https://i.stack.imgur.com/dFe26.jpg) | It is called Recoloring.
In the color correction you can "highlight" a color and set everything else black and white (saturation to 0). This is technique for very long time already.
Like [this](https://www.magix.info/mcpool01/10/4D/C1/98/C0/3A/CF/11/E1/A8/7B/03/B1/D5/27/A8/A3/4DC605903ACF11E1A2D464CCD527A8A3.jpg) |
52,878 | I'm learning piano and recently encountered slurs and phrases. I'd like clarification on the following that relate to these two ideas.
1. The book[1] I'm using introduces the idea of phrases, then later introduces slurs:
>
> In vocal music, singing more than one note on one syllable is shown by a slur...
>
>
>
The accompanying example shows pairs of slurred notes *within* existing phrases, along with lyrics. The phrase, including these slurred notes, are all played with the same hand.
**Am I correct in taking these particular slurs to be for vocalist only?** So, a pianist would play all these as a single phrase, ignoring these slurs?
2. Slur is defined much later as:
>
> a curved line over or under a group of two or three notes. Think of it as a very short phrase...
>
>
>
So, **do slurs only really have relevance for piano outside of phrases, as a way of indicating connectedness of notes**, e.g. playing notes legato?
3. The definition in 2 doesn't explicitly mention it, but I've seen it mentioned that slurs connect different notes together, not the same repeated note.[2]
**If you have repeated notes connected by a curved line across more than one bar, will this always represent a tied note, never slurred notes?** (Or maybe a slurred repeated note is still potentially meaningful for piano if you're using the sustain pedal?)
4. It seems you can distinguish tie lines from slurs/phrases. Tie lines go between the notes, whereas slur and phrase markers tend to go "closer", and more over/under the affected notes. **Is there any clear way of telling a slur apart from a phrase by the curved line's appearance alone, or do you always have to look at the number of notes and musical context?**
[1]: The Classic Piano Course, Book 1 by Carol Barratt.
[2]: For piano, maybe, at least. You can have meaningful slurs on the same note [for some instruments](https://music.stackexchange.com/questions/33611/are-there-any-situations-when-one-needs-to-make-a-distinction-between-slurs-and#comment49105_33611). | 2017/02/02 | [
"https://music.stackexchange.com/questions/52878",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/34535/"
] | To answer point 4 first: ties and slurs are completely different things, although the notation looks similar. Ties always join notes at the same pitch, and indicate that the two written notes are played as a single long note. You will eventually see *slurs* over repeated notes at the same pitch, but don't worry about that yet.
The basic reason for writing ties is because some rhythms can't be written any other way. For example, you can't write a single note which starts in one bar, and ends in the middle of the following bar. You have to write two notes of the correct length to fill up the end of the first bar and the start of the second one, and tie them together.
Since you referenced a book for "absolute beginners," the following comments abut slurs are intentionally "the truth, but not the whole truth." The repertoire of the piano includes music written during the last 400 years or so, and during that time the meaning of musical notations has changed significantly. Trying to explain "everything" to a beginner would be confusing and overwhelming, rather than helpful.
Also, as you progress you will discover (or at least, you should discover) that piano music relies very much on creating *illusions* in the listener's mind - as an obvious example, since every note starts to decay in volume as soon as you have played it, playing a slow legato melody is literally impossible, but if you listen to a good performance of say Beethoven's Moonlight sonata (the first movement) that is what you *think* you are hearing, even though one long note of the "tune" may have become completely inaudible before the next note is played!
Slurs have different meanings for different instruments, and for singers. For example, for string instruments (violin, cello, etc) all the notes under a slur are played with one movement of the bow, but in some situations there can still be intentional gaps between the notes! In vocal music, slurs merely indicate that one syllable of the lyrics is sung to more than one note, and nothing more than that.
In piano music, you can make a rough distinction between "short" and "long" slurs.
"Short" slurs over 2 notes up to about 4 notes are the most informative. They mean that the notes should be joined together (legato), except for the last note which is played slightly shorter than its written value.
To be honest, Longer slurs don't mean very much in most piano music, except for a general indication to play legato, and to show the way the notes are grouped into phrases (which are often 4 bars long).
It is fairly common to see a long slur with short slurs "nested" under it. In that case, pay most attention to the short ones.
As you said, using the sustain pedal creates another set of possible options - but most likely your piano course won't introduce using the pedal until you can play fluently with both hands together. Synchronising both hands while they are doing "different things at the same time" is enough of a challenge at the start, without also using your right foot do to something different from either hand! | I think phrases and slurs are not totally consistent in the literature, and indications of articulation can occur within a larger phrase. If a slur line lies in between two notes that are the same pitch, then it is most likely a tie. But ties are not always written this way. Context is always important. |
163,776 | Inspired by [this answer](https://rpg.stackexchange.com/a/163736/60441) and the comment by @jgn, it made me dig deeper into the wording of the [Geas spell](https://www.dndbeyond.com/spells/geas), and how it doesn't seem to tell you if you can only give commands at the beginning, delay the command for another time, or even continue giving additional/new commands. The beginning sentence seems to hint at a single command (emphasis mine on the singular nature of the wording):
>
> You place a magical command on a creature that you can see within range, forcing it to carry out some **service** or refrain from some **action** or course of **activity** as you decide.
>
>
>
And also later:
>
> You can issue any **command** you choose...
>
>
>
But in the middle when explaining what happens when it ignores you:
>
> ...it takes 5d10 psychic damage each time it acts in a manner directly counter to your **instructions**...
>
>
>
which could have easily been made singular if it was a single command.
[this](https://rpg.stackexchange.com/a/90790/60441) answer to a different Geas question seems to say that it's a singular command, but it's not backed up by anything, and doesn't say when you can issue the command.
So my question is: **When do you / can you decide what command(s) the affected creature should follow?** | 2020/01/28 | [
"https://rpg.stackexchange.com/questions/163776",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/60441/"
] | No, *Geas* is a single command
==============================
*[Geas](https://www.dndbeyond.com/spells/geas)* (PHB, 244) uses language based on the singular when discussing the command (emphasis mine):
>
> You place **a magical command** on a creature that you can see within range...
>
>
>
That single command can be to
>
> to carry out some service or refrain from some action or course of activity as you decide.
>
>
>
But what about "instructions"?
------------------------------
The explanation of what service you want or course of action/activity may involve instructions so it's clear what you want, but it's still the single command and single service/action/activity.
As long as the instructions are part of carrying out the single task and not separate tasks in and of themselves. The spell is very clearly about issuing a single command and information needed for it to be successfully executed or for the punishment for non-obeisance to be clear.
'
A single command. Once.
-----------------------
You give your command and any associated instructions to follow it through as you cast the spell, and then it's over. There are no further commands, just a penalty for not following the command.
You can end the spell early, but you can't make changes, addendums, or new commands without recasting the spell.
DM Rulings
----------
As always, a DM is free to interpret your command request in whatever way they think is reasonable. If your instruction string makes sense to them, they can allow it. If it doesn't, they can opt not to and explain why. Generally, I think most DMs would be reasonable in assessing if the instructions seem like trying to game the system, like using *wish* to get more wishes, or if it's a logical and legitimate instruction string for the command. | ### No. You get to issue a single command at the time of casting.
The wording of the *Geas* spell seems pretty definitive that you must issue the command as the spell is cast, and that you only get to issue a single command (though that single command can be complex).
The opening line of the spell states that
>
> You place **a magical command** on a creature that you can see within range, forcing it to carry out some service or refrain from some action or course of activity as you decide.
>
>
>
Emphasis mine. The effect of the spell is not "you gain control of the creature for X time", it is "you place a magical command". *A* command, singular, and the command is put into place upon casting the spell (since that is the spell's only effect, and there are no other timing elements included). |
13,078 | I'm writing a sci-fi/fantasy story and I have quite a number of characters that I want to deploy in the story. However, these characters should each have their own agendas in life, their own internal battles, shortcomings etc. In short, each of my characters should be as real and as human as possible. Memorable personalities which leave a mark upon the reader long after they've put my story down.
My story seems to have a pretty good and solid back story. The main problem I'm facing is the development of characters. To me, they appear shallow and one dimensional. What I want to know is how I take these one dimensional characters and make them real. Make them someone you can connect to and remember long after you've read my story. What techniques can I use to make them more visceral, so to speak? This is also why I am concerned about dialogues between characters. The dialogues seem to be shallow and lacking right now. | 2014/10/11 | [
"https://writers.stackexchange.com/questions/13078",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/10833/"
] | *Give the characters something unique:* It doesn't have to be something mind-blowing or some kind of superpower. It could be something as simple as a toe fetish or not being able to remember dates.
*Give them an unexpected behavior:* The wife of one of them left him and he reacted by ... cleaning the house from morning to night?! What?
*Give them an inexplicable behavior:* Maybe they like to collect canned cocktails or go to the beach during hurricanes.
*Give them complex back stories:* Humans are complex beings. If you want your characters to be more human, enliven them with rich back stories.
*Don't make them cliched:* The mad scientist, the jock, the drunk wife beater, you know them. However, you can also grab a cliched character and turn it into a non-cliched character (e.g. Tom is a jock ... who secretly attends ballet classes at night).
*Don't make them black and white:* I'm not talking about race but to avoid making your characters either completely good or completely bad. These characters are boring, because they are easy to predict.
That being said, I think your characters should be a reflection of your plot. If your **plot** is interesting, your **characters** will be interesting (it also works the other way around). | I feel that I may be simply adding a footnote but here is what I do when the cast on the page grows really quickly.
I have a "bible" of background information which I tend to print off and carry about with me for when I have ideas. I add a list of characters to this. Now because I am adding a lot very quickly I cheat and use a short hand.
I try to add one of each of the following.
**Character Flaw:** Some vice, addiction or mental block that they can't see past. Sometimes this is just an excessive sensitivity based on a past trauma. My favourite character ever was once a walk on part that was utterly messed up from bullying when at school. He was so much fun to write that he got entire stories to himself and I do my best to throw him into the background of every story I write.
**A Quirk:** For really cheap characterization this can be a beard, a pipe they smoke, the over use of a word or phrase or just something equally mundane (like left handed or picks nose). It sounds cheesy but I have a list of quirks that I maintain and I try and pull one or two out for each character I create. It's not the daftness ofthe idea so much as how well you bring it to life that matters.
**Morality indicators:** Sometimes I simply use the DnD lawful to chaotic, evil to good scale but to be honest you should get a lot more exact than that. Supports slavery, is anti-gay, is gay, vegetarian, racist, is an anarchist at heart; etc. etc..
**Loves and hates:** I try to pick a bunch of random stuff (sometime literally random but sometimes better thought out).
**A secret:** This could be something like they are closet gay or they secretly vote right-wing but have lefty friends, they once got away with murder, they have a drug habit (see above lists). Maybe they are cheating on their wife or as someone else suggested they are a jock but they attend a night class in ballet. Are they in debt but too proud to tell anyone, for example (which leads nicely to the big question in a moment).
You can also add other stuff like if their mother and father are still alive and if they have siblings. Are they rich or poor? What job do they have? How do they dress?
There comes a point that for more minor characters there is far more information than you are ever going to show the reader and it is not going to make them any more unique to your mind.
If that still does not seem enough assign them a famous actor. This will give you an idea of voice and bearing that you are familiar with and some of that will come across in your writing. This also works by using people you know as the "actor".
Then we get to the big question that really brings all the fluff to life:
**What Do They Want?**
This is the thing that drives the character forward. In fact if the character is only going to hang about for a chapter or two this question alone makes them unique. What are they doing on your stage and why?
This is where those secrets, morality indicators and odd vices help you come up with consequences and motivators that fit. What crazy, foolish or funny situation is the character in and trying to get out of (or away from)? What are they trying to get? Also is it realistic or are they fooling themselves?
Are they just trying to get the shopping done before the wife gets home or are they trying to save their little sister from a drug habit?
TL;DR: Show me what each character wants by what they say and do and they will very rapidly become unique characters to me as a reader. |
13,078 | I'm writing a sci-fi/fantasy story and I have quite a number of characters that I want to deploy in the story. However, these characters should each have their own agendas in life, their own internal battles, shortcomings etc. In short, each of my characters should be as real and as human as possible. Memorable personalities which leave a mark upon the reader long after they've put my story down.
My story seems to have a pretty good and solid back story. The main problem I'm facing is the development of characters. To me, they appear shallow and one dimensional. What I want to know is how I take these one dimensional characters and make them real. Make them someone you can connect to and remember long after you've read my story. What techniques can I use to make them more visceral, so to speak? This is also why I am concerned about dialogues between characters. The dialogues seem to be shallow and lacking right now. | 2014/10/11 | [
"https://writers.stackexchange.com/questions/13078",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/10833/"
] | *Give the characters something unique:* It doesn't have to be something mind-blowing or some kind of superpower. It could be something as simple as a toe fetish or not being able to remember dates.
*Give them an unexpected behavior:* The wife of one of them left him and he reacted by ... cleaning the house from morning to night?! What?
*Give them an inexplicable behavior:* Maybe they like to collect canned cocktails or go to the beach during hurricanes.
*Give them complex back stories:* Humans are complex beings. If you want your characters to be more human, enliven them with rich back stories.
*Don't make them cliched:* The mad scientist, the jock, the drunk wife beater, you know them. However, you can also grab a cliched character and turn it into a non-cliched character (e.g. Tom is a jock ... who secretly attends ballet classes at night).
*Don't make them black and white:* I'm not talking about race but to avoid making your characters either completely good or completely bad. These characters are boring, because they are easy to predict.
That being said, I think your characters should be a reflection of your plot. If your **plot** is interesting, your **characters** will be interesting (it also works the other way around). | Some of the other answers have done a great job at addressing the topic of good characters in general, so this focuses specifically on the dialogue:
In my opinion, great dialogue is all about subtext. When people talk to each other, what's going on in the words is rarely the whole conversation. Mood, hidden goals and desires, mutual history, personality, sexual tension, competition, aggression and so forth are all part of the subtext. Even a conversation about the weather can hold a wealth of information about the characters --are they real friends, fake friends, secret enemies, bored with each other, flirting?
A good exercise can be to write the subtext out explicitly and then write the dialogue second.
Example:
* Subtext: I'm depressed ::Text: "So glad it's finally spring, I think
I would have killed myself if we had one more grey winter day."
* Subtext: I need to make some smalltalk so I don't have to talk about anything real:: Text: "Hey, how about this sun, right?"
* ST: I hate this guy:: T: "Hot enough for you? You must be burning up in that heavy suit."
* ST: I wish I was somewhere else::T: "Sunny and sixty. But it looks like rain..."
* ST: She's beautiful:: "Wow, it's really warm today. I bet the flowers will be blooming any minute now."
In the examples above, you might make very different choices to express the chosen subtext --that's not the point. The point is that you write the dialogue differently based on what the characters are thinking and feeling, even if the topic is the same. |
13,078 | I'm writing a sci-fi/fantasy story and I have quite a number of characters that I want to deploy in the story. However, these characters should each have their own agendas in life, their own internal battles, shortcomings etc. In short, each of my characters should be as real and as human as possible. Memorable personalities which leave a mark upon the reader long after they've put my story down.
My story seems to have a pretty good and solid back story. The main problem I'm facing is the development of characters. To me, they appear shallow and one dimensional. What I want to know is how I take these one dimensional characters and make them real. Make them someone you can connect to and remember long after you've read my story. What techniques can I use to make them more visceral, so to speak? This is also why I am concerned about dialogues between characters. The dialogues seem to be shallow and lacking right now. | 2014/10/11 | [
"https://writers.stackexchange.com/questions/13078",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/10833/"
] | *Give the characters something unique:* It doesn't have to be something mind-blowing or some kind of superpower. It could be something as simple as a toe fetish or not being able to remember dates.
*Give them an unexpected behavior:* The wife of one of them left him and he reacted by ... cleaning the house from morning to night?! What?
*Give them an inexplicable behavior:* Maybe they like to collect canned cocktails or go to the beach during hurricanes.
*Give them complex back stories:* Humans are complex beings. If you want your characters to be more human, enliven them with rich back stories.
*Don't make them cliched:* The mad scientist, the jock, the drunk wife beater, you know them. However, you can also grab a cliched character and turn it into a non-cliched character (e.g. Tom is a jock ... who secretly attends ballet classes at night).
*Don't make them black and white:* I'm not talking about race but to avoid making your characters either completely good or completely bad. These characters are boring, because they are easy to predict.
That being said, I think your characters should be a reflection of your plot. If your **plot** is interesting, your **characters** will be interesting (it also works the other way around). | Disadvantages.
Coping with them.
That's it. How did they struggle through highschool with having a big nose? How do they date when ugly? How do they work if stupid? Disadvantages! |
13,078 | I'm writing a sci-fi/fantasy story and I have quite a number of characters that I want to deploy in the story. However, these characters should each have their own agendas in life, their own internal battles, shortcomings etc. In short, each of my characters should be as real and as human as possible. Memorable personalities which leave a mark upon the reader long after they've put my story down.
My story seems to have a pretty good and solid back story. The main problem I'm facing is the development of characters. To me, they appear shallow and one dimensional. What I want to know is how I take these one dimensional characters and make them real. Make them someone you can connect to and remember long after you've read my story. What techniques can I use to make them more visceral, so to speak? This is also why I am concerned about dialogues between characters. The dialogues seem to be shallow and lacking right now. | 2014/10/11 | [
"https://writers.stackexchange.com/questions/13078",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/10833/"
] | I believe there is no "recipe" with which to cook up three-dimensional characters. However, since "good" characters - realistic, believable, full of faults, contradictions, anxieties and passions - are what I value above all in a story and what I put most effort in, here is how I develop my characters:
* Start with an idea. What kind of story do you want to tell? What is the message that you want to get across (if there is one at all)? Why is it important to you?
* Which traits does a character have to possess to add tension to the story? Suppose you want to tell a story about a lumber-jack that hunts an evil spirit wolf. What would the lumber-jack need to be like to make a good story out of this idea? Would he be infinitely more clever than the spirit wolf? Would he need to have special abilities to actually carry out the hunt? What are his personal motivations to hunt the wolf? Make a very rough draft of the character that fits your idea. Then, and this is the very heart of my character development:
* **Write a short biography**. In my experience, it takes time to get accustomed to a character and develop the right amount of intuition about him or her. I gain this inutition by writing about him outside of the actual story. I do not structure the biography at all, I simply start off with the sentence "So-and-so was born on this-and-that day to a family of three. His mother was ..." and so on. These stories are not meant to do anything useful in your project. They simply help you to get a grasp on your character. In the case of the lumberjack above, he could be an orphan that was raised in a big city by step parents and yearns to establish some connection to his lost parents. And so on.
* I know that I am done with preparing my character when I do not have to think about his reactions any more. Pick an arbitrary question or choice and answer it on behalf of your character. Imagine a random scene. How would your character behave? If you are able to answer these questions without hesitating, your character is ready to be deployed in your project.
Note that this strategy has a very substantial disadvantages: It makes your characters unbelievably stubborn. I had to abort the work on entire novels because my characters simply refused to play along in the storyline that I had in mind. However, this usually is not that big a problem since I write very character-oriented anyways, i.e.: I tell the stories that my characters "tell me" and stopped pre-developping plots some time ago.
Personally, I also encounter difficulties if I find my characters to be annoying or boring. This, of course, is purely subjective and the only thing you can do about it is to give your characters some traits that you enjoy in others or yourself. For example, I am very impatient with passive characters.
Lastly, I find it very useful to observe the people that I meet on a day-to-day basis. This is not about categorizing and stereotyping. It's about developing your sense about other people and exercise your empathy. Because this is what is at the heart of good novels: Empathy. | I feel that I may be simply adding a footnote but here is what I do when the cast on the page grows really quickly.
I have a "bible" of background information which I tend to print off and carry about with me for when I have ideas. I add a list of characters to this. Now because I am adding a lot very quickly I cheat and use a short hand.
I try to add one of each of the following.
**Character Flaw:** Some vice, addiction or mental block that they can't see past. Sometimes this is just an excessive sensitivity based on a past trauma. My favourite character ever was once a walk on part that was utterly messed up from bullying when at school. He was so much fun to write that he got entire stories to himself and I do my best to throw him into the background of every story I write.
**A Quirk:** For really cheap characterization this can be a beard, a pipe they smoke, the over use of a word or phrase or just something equally mundane (like left handed or picks nose). It sounds cheesy but I have a list of quirks that I maintain and I try and pull one or two out for each character I create. It's not the daftness ofthe idea so much as how well you bring it to life that matters.
**Morality indicators:** Sometimes I simply use the DnD lawful to chaotic, evil to good scale but to be honest you should get a lot more exact than that. Supports slavery, is anti-gay, is gay, vegetarian, racist, is an anarchist at heart; etc. etc..
**Loves and hates:** I try to pick a bunch of random stuff (sometime literally random but sometimes better thought out).
**A secret:** This could be something like they are closet gay or they secretly vote right-wing but have lefty friends, they once got away with murder, they have a drug habit (see above lists). Maybe they are cheating on their wife or as someone else suggested they are a jock but they attend a night class in ballet. Are they in debt but too proud to tell anyone, for example (which leads nicely to the big question in a moment).
You can also add other stuff like if their mother and father are still alive and if they have siblings. Are they rich or poor? What job do they have? How do they dress?
There comes a point that for more minor characters there is far more information than you are ever going to show the reader and it is not going to make them any more unique to your mind.
If that still does not seem enough assign them a famous actor. This will give you an idea of voice and bearing that you are familiar with and some of that will come across in your writing. This also works by using people you know as the "actor".
Then we get to the big question that really brings all the fluff to life:
**What Do They Want?**
This is the thing that drives the character forward. In fact if the character is only going to hang about for a chapter or two this question alone makes them unique. What are they doing on your stage and why?
This is where those secrets, morality indicators and odd vices help you come up with consequences and motivators that fit. What crazy, foolish or funny situation is the character in and trying to get out of (or away from)? What are they trying to get? Also is it realistic or are they fooling themselves?
Are they just trying to get the shopping done before the wife gets home or are they trying to save their little sister from a drug habit?
TL;DR: Show me what each character wants by what they say and do and they will very rapidly become unique characters to me as a reader. |
13,078 | I'm writing a sci-fi/fantasy story and I have quite a number of characters that I want to deploy in the story. However, these characters should each have their own agendas in life, their own internal battles, shortcomings etc. In short, each of my characters should be as real and as human as possible. Memorable personalities which leave a mark upon the reader long after they've put my story down.
My story seems to have a pretty good and solid back story. The main problem I'm facing is the development of characters. To me, they appear shallow and one dimensional. What I want to know is how I take these one dimensional characters and make them real. Make them someone you can connect to and remember long after you've read my story. What techniques can I use to make them more visceral, so to speak? This is also why I am concerned about dialogues between characters. The dialogues seem to be shallow and lacking right now. | 2014/10/11 | [
"https://writers.stackexchange.com/questions/13078",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/10833/"
] | I believe there is no "recipe" with which to cook up three-dimensional characters. However, since "good" characters - realistic, believable, full of faults, contradictions, anxieties and passions - are what I value above all in a story and what I put most effort in, here is how I develop my characters:
* Start with an idea. What kind of story do you want to tell? What is the message that you want to get across (if there is one at all)? Why is it important to you?
* Which traits does a character have to possess to add tension to the story? Suppose you want to tell a story about a lumber-jack that hunts an evil spirit wolf. What would the lumber-jack need to be like to make a good story out of this idea? Would he be infinitely more clever than the spirit wolf? Would he need to have special abilities to actually carry out the hunt? What are his personal motivations to hunt the wolf? Make a very rough draft of the character that fits your idea. Then, and this is the very heart of my character development:
* **Write a short biography**. In my experience, it takes time to get accustomed to a character and develop the right amount of intuition about him or her. I gain this inutition by writing about him outside of the actual story. I do not structure the biography at all, I simply start off with the sentence "So-and-so was born on this-and-that day to a family of three. His mother was ..." and so on. These stories are not meant to do anything useful in your project. They simply help you to get a grasp on your character. In the case of the lumberjack above, he could be an orphan that was raised in a big city by step parents and yearns to establish some connection to his lost parents. And so on.
* I know that I am done with preparing my character when I do not have to think about his reactions any more. Pick an arbitrary question or choice and answer it on behalf of your character. Imagine a random scene. How would your character behave? If you are able to answer these questions without hesitating, your character is ready to be deployed in your project.
Note that this strategy has a very substantial disadvantages: It makes your characters unbelievably stubborn. I had to abort the work on entire novels because my characters simply refused to play along in the storyline that I had in mind. However, this usually is not that big a problem since I write very character-oriented anyways, i.e.: I tell the stories that my characters "tell me" and stopped pre-developping plots some time ago.
Personally, I also encounter difficulties if I find my characters to be annoying or boring. This, of course, is purely subjective and the only thing you can do about it is to give your characters some traits that you enjoy in others or yourself. For example, I am very impatient with passive characters.
Lastly, I find it very useful to observe the people that I meet on a day-to-day basis. This is not about categorizing and stereotyping. It's about developing your sense about other people and exercise your empathy. Because this is what is at the heart of good novels: Empathy. | Some of the other answers have done a great job at addressing the topic of good characters in general, so this focuses specifically on the dialogue:
In my opinion, great dialogue is all about subtext. When people talk to each other, what's going on in the words is rarely the whole conversation. Mood, hidden goals and desires, mutual history, personality, sexual tension, competition, aggression and so forth are all part of the subtext. Even a conversation about the weather can hold a wealth of information about the characters --are they real friends, fake friends, secret enemies, bored with each other, flirting?
A good exercise can be to write the subtext out explicitly and then write the dialogue second.
Example:
* Subtext: I'm depressed ::Text: "So glad it's finally spring, I think
I would have killed myself if we had one more grey winter day."
* Subtext: I need to make some smalltalk so I don't have to talk about anything real:: Text: "Hey, how about this sun, right?"
* ST: I hate this guy:: T: "Hot enough for you? You must be burning up in that heavy suit."
* ST: I wish I was somewhere else::T: "Sunny and sixty. But it looks like rain..."
* ST: She's beautiful:: "Wow, it's really warm today. I bet the flowers will be blooming any minute now."
In the examples above, you might make very different choices to express the chosen subtext --that's not the point. The point is that you write the dialogue differently based on what the characters are thinking and feeling, even if the topic is the same. |
13,078 | I'm writing a sci-fi/fantasy story and I have quite a number of characters that I want to deploy in the story. However, these characters should each have their own agendas in life, their own internal battles, shortcomings etc. In short, each of my characters should be as real and as human as possible. Memorable personalities which leave a mark upon the reader long after they've put my story down.
My story seems to have a pretty good and solid back story. The main problem I'm facing is the development of characters. To me, they appear shallow and one dimensional. What I want to know is how I take these one dimensional characters and make them real. Make them someone you can connect to and remember long after you've read my story. What techniques can I use to make them more visceral, so to speak? This is also why I am concerned about dialogues between characters. The dialogues seem to be shallow and lacking right now. | 2014/10/11 | [
"https://writers.stackexchange.com/questions/13078",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/10833/"
] | I believe there is no "recipe" with which to cook up three-dimensional characters. However, since "good" characters - realistic, believable, full of faults, contradictions, anxieties and passions - are what I value above all in a story and what I put most effort in, here is how I develop my characters:
* Start with an idea. What kind of story do you want to tell? What is the message that you want to get across (if there is one at all)? Why is it important to you?
* Which traits does a character have to possess to add tension to the story? Suppose you want to tell a story about a lumber-jack that hunts an evil spirit wolf. What would the lumber-jack need to be like to make a good story out of this idea? Would he be infinitely more clever than the spirit wolf? Would he need to have special abilities to actually carry out the hunt? What are his personal motivations to hunt the wolf? Make a very rough draft of the character that fits your idea. Then, and this is the very heart of my character development:
* **Write a short biography**. In my experience, it takes time to get accustomed to a character and develop the right amount of intuition about him or her. I gain this inutition by writing about him outside of the actual story. I do not structure the biography at all, I simply start off with the sentence "So-and-so was born on this-and-that day to a family of three. His mother was ..." and so on. These stories are not meant to do anything useful in your project. They simply help you to get a grasp on your character. In the case of the lumberjack above, he could be an orphan that was raised in a big city by step parents and yearns to establish some connection to his lost parents. And so on.
* I know that I am done with preparing my character when I do not have to think about his reactions any more. Pick an arbitrary question or choice and answer it on behalf of your character. Imagine a random scene. How would your character behave? If you are able to answer these questions without hesitating, your character is ready to be deployed in your project.
Note that this strategy has a very substantial disadvantages: It makes your characters unbelievably stubborn. I had to abort the work on entire novels because my characters simply refused to play along in the storyline that I had in mind. However, this usually is not that big a problem since I write very character-oriented anyways, i.e.: I tell the stories that my characters "tell me" and stopped pre-developping plots some time ago.
Personally, I also encounter difficulties if I find my characters to be annoying or boring. This, of course, is purely subjective and the only thing you can do about it is to give your characters some traits that you enjoy in others or yourself. For example, I am very impatient with passive characters.
Lastly, I find it very useful to observe the people that I meet on a day-to-day basis. This is not about categorizing and stereotyping. It's about developing your sense about other people and exercise your empathy. Because this is what is at the heart of good novels: Empathy. | Disadvantages.
Coping with them.
That's it. How did they struggle through highschool with having a big nose? How do they date when ugly? How do they work if stupid? Disadvantages! |
13,078 | I'm writing a sci-fi/fantasy story and I have quite a number of characters that I want to deploy in the story. However, these characters should each have their own agendas in life, their own internal battles, shortcomings etc. In short, each of my characters should be as real and as human as possible. Memorable personalities which leave a mark upon the reader long after they've put my story down.
My story seems to have a pretty good and solid back story. The main problem I'm facing is the development of characters. To me, they appear shallow and one dimensional. What I want to know is how I take these one dimensional characters and make them real. Make them someone you can connect to and remember long after you've read my story. What techniques can I use to make them more visceral, so to speak? This is also why I am concerned about dialogues between characters. The dialogues seem to be shallow and lacking right now. | 2014/10/11 | [
"https://writers.stackexchange.com/questions/13078",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/10833/"
] | I feel that I may be simply adding a footnote but here is what I do when the cast on the page grows really quickly.
I have a "bible" of background information which I tend to print off and carry about with me for when I have ideas. I add a list of characters to this. Now because I am adding a lot very quickly I cheat and use a short hand.
I try to add one of each of the following.
**Character Flaw:** Some vice, addiction or mental block that they can't see past. Sometimes this is just an excessive sensitivity based on a past trauma. My favourite character ever was once a walk on part that was utterly messed up from bullying when at school. He was so much fun to write that he got entire stories to himself and I do my best to throw him into the background of every story I write.
**A Quirk:** For really cheap characterization this can be a beard, a pipe they smoke, the over use of a word or phrase or just something equally mundane (like left handed or picks nose). It sounds cheesy but I have a list of quirks that I maintain and I try and pull one or two out for each character I create. It's not the daftness ofthe idea so much as how well you bring it to life that matters.
**Morality indicators:** Sometimes I simply use the DnD lawful to chaotic, evil to good scale but to be honest you should get a lot more exact than that. Supports slavery, is anti-gay, is gay, vegetarian, racist, is an anarchist at heart; etc. etc..
**Loves and hates:** I try to pick a bunch of random stuff (sometime literally random but sometimes better thought out).
**A secret:** This could be something like they are closet gay or they secretly vote right-wing but have lefty friends, they once got away with murder, they have a drug habit (see above lists). Maybe they are cheating on their wife or as someone else suggested they are a jock but they attend a night class in ballet. Are they in debt but too proud to tell anyone, for example (which leads nicely to the big question in a moment).
You can also add other stuff like if their mother and father are still alive and if they have siblings. Are they rich or poor? What job do they have? How do they dress?
There comes a point that for more minor characters there is far more information than you are ever going to show the reader and it is not going to make them any more unique to your mind.
If that still does not seem enough assign them a famous actor. This will give you an idea of voice and bearing that you are familiar with and some of that will come across in your writing. This also works by using people you know as the "actor".
Then we get to the big question that really brings all the fluff to life:
**What Do They Want?**
This is the thing that drives the character forward. In fact if the character is only going to hang about for a chapter or two this question alone makes them unique. What are they doing on your stage and why?
This is where those secrets, morality indicators and odd vices help you come up with consequences and motivators that fit. What crazy, foolish or funny situation is the character in and trying to get out of (or away from)? What are they trying to get? Also is it realistic or are they fooling themselves?
Are they just trying to get the shopping done before the wife gets home or are they trying to save their little sister from a drug habit?
TL;DR: Show me what each character wants by what they say and do and they will very rapidly become unique characters to me as a reader. | Disadvantages.
Coping with them.
That's it. How did they struggle through highschool with having a big nose? How do they date when ugly? How do they work if stupid? Disadvantages! |
13,078 | I'm writing a sci-fi/fantasy story and I have quite a number of characters that I want to deploy in the story. However, these characters should each have their own agendas in life, their own internal battles, shortcomings etc. In short, each of my characters should be as real and as human as possible. Memorable personalities which leave a mark upon the reader long after they've put my story down.
My story seems to have a pretty good and solid back story. The main problem I'm facing is the development of characters. To me, they appear shallow and one dimensional. What I want to know is how I take these one dimensional characters and make them real. Make them someone you can connect to and remember long after you've read my story. What techniques can I use to make them more visceral, so to speak? This is also why I am concerned about dialogues between characters. The dialogues seem to be shallow and lacking right now. | 2014/10/11 | [
"https://writers.stackexchange.com/questions/13078",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/10833/"
] | Some of the other answers have done a great job at addressing the topic of good characters in general, so this focuses specifically on the dialogue:
In my opinion, great dialogue is all about subtext. When people talk to each other, what's going on in the words is rarely the whole conversation. Mood, hidden goals and desires, mutual history, personality, sexual tension, competition, aggression and so forth are all part of the subtext. Even a conversation about the weather can hold a wealth of information about the characters --are they real friends, fake friends, secret enemies, bored with each other, flirting?
A good exercise can be to write the subtext out explicitly and then write the dialogue second.
Example:
* Subtext: I'm depressed ::Text: "So glad it's finally spring, I think
I would have killed myself if we had one more grey winter day."
* Subtext: I need to make some smalltalk so I don't have to talk about anything real:: Text: "Hey, how about this sun, right?"
* ST: I hate this guy:: T: "Hot enough for you? You must be burning up in that heavy suit."
* ST: I wish I was somewhere else::T: "Sunny and sixty. But it looks like rain..."
* ST: She's beautiful:: "Wow, it's really warm today. I bet the flowers will be blooming any minute now."
In the examples above, you might make very different choices to express the chosen subtext --that's not the point. The point is that you write the dialogue differently based on what the characters are thinking and feeling, even if the topic is the same. | Disadvantages.
Coping with them.
That's it. How did they struggle through highschool with having a big nose? How do they date when ugly? How do they work if stupid? Disadvantages! |
10,736,755 | I want to do server side validation with jquery. but I do not know how to start with this stuff. are there any good tutorials with examples to learn server-side validation with jquery for jsp? | 2012/05/24 | [
"https://Stackoverflow.com/questions/10736755",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1363881/"
] | If u want to do this anyhow,
Then You need to use Ajax framework like DWR(Direct Web REmoting) with jQuery.
By using this Ajax framework U could call ur validator functions (Server side functions written in Java). And then in jQuery callback functions, U could render error messages or whatever logic you want to implement.
These links may help you.
<http://numberformat.wordpress.com/2010/09/21/direct-web-remoting-dwr-hello-world-example/>
[sample program with DWR](https://stackoverflow.com/questions/6623795/sample-program-with-dwr)
<http://directwebremoting.org/dwr/introduction/scripting-dwr.html> | JQuery is browser side Javascript library.
You can only use JQuery to do Client Side validations.
For Server Side validations you need a server side language.
In your case you need to do the validation in Java.
Tell us more about the framework you currently have. |
309,517 | I have a machine running Windows XP SP3 with a RAID 0 (2x 500GB). A few days ago, a message appeared in Windows saying one of the drives had a problem, but it ran a test (with Windows RAID Manager, or something like that) and it said it was fine. I believed it so it worked okay for a few more days.
Yesterday, my computer wouldn't boot, saying there was a disk on the RAID that had failed. My basic knowledge of RAID 0 told me "come on man, you know there's nothing to do", but I tried with a live CD:
On Ubuntu the drive is failing, nothing to do.
WinPE (XP): the same thing.
Windows 7: the RAID is there! The partitions are there, I can see the files (what a lucky guy I am), but I can't copy the files. Whenever I try, it does nothing. I've tried with GetDataBack - it sees the RAID volume, but not the partitions, and when I try to recover, it keeps on saying "Error 2 in HD123: during ReadLba" in every sector.
Do you think the fact that I can actually see the partition on Windows Explorer means there's hope? Anything I should try? | 2011/07/12 | [
"https://superuser.com/questions/309517",
"https://superuser.com",
"https://superuser.com/users/89963/"
] | As above, RAID 0 provides zero redundancy and is meant to simply give you increased performance - you HAVE to use regular backups if the data on the RAID is important, as sooner or later it WILL fail and you WILL lose your data - just like standard disks really but with RAID 0 you have double the chance (as any one of the 2 drives failing has the same effect). | RAID0 (block-level striping) divides data over multiple disks. Data on the working disk is still accessible, so if the critical parts of your partition happen to be on there, it's possible that you can still see your files. NTFS also keeps a backup of this area on a different portion of the logical disk, so you have double the chance of it being available.
Any reasonably large file (depending on the stripe size) however will always be divided over multiple disks, so will won't be able to read the file as a whole.
Unless you get the disk back into working condition, you're in trouble. The practical use of recovering data from the single drive is probably close to zero. |
29,178,738 | I would like to add a data file or a configuration file along with my application (such as sample.conf). This file should be available to user so that he/she can edit the sample configuration to further customize the application.
How can I add such files to my project such that
1. This file becomes part of distributable, and
2. How can I link it in my source documentation, so that its purpose can be doucmented, and
3. This is file is goes into a special directory (such as conf)
Or is there any such predefined task available. | 2015/03/21 | [
"https://Stackoverflow.com/questions/29178738",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1268085/"
] | SBT Native Packager provides support for doing what you want, though you'll have to dig through the docs a bit. The `universal` packager is probably the best approach for you.
<http://www.scala-sbt.org/sbt-native-packager/> | I think what you're looking for is the typesafehub/config <https://github.com/typesafehub/config> project. It uses the HOCON format (Human Optimized Config Object Notation). |
246,985 | If an electron is independent, it is an individual electron, i.e. not in the orbit of the atom. Is it able to emit light or does the orbit have to do with the production of light? | 2016/04/02 | [
"https://physics.stackexchange.com/questions/246985",
"https://physics.stackexchange.com",
"https://physics.stackexchange.com/users/84212/"
] | Accelerating and decelerating charges produce electromagnetic radiation.
[Bremsstrahlung](https://en.wikipedia.org/wiki/Bremsstrahlung) :
>
> Bremsstrahlung (German pronunciation: [ˈbʁɛmsˌʃtʁaːlʊŋ] ( listen), from bremsen "to brake" and Strahlung "radiation", i.e. "braking radiation" or "deceleration radiation") is electromagnetic radiation produced by the deceleration of a charged particle when deflected by another charged particle, typically an electron by an atomic nucleus. The moving particle loses kinetic energy, which is converted into a photon, thus satisfying the law of conservation of energy.
>
>
>
and [synchrotron radiation](https://en.wikipedia.org/wiki/Synchrotron_radiation)
>
> The electromagnetic radiation emitted when charged particles are accelerated radially (a ⊥ v) is called synchrotron radiation. It is produced, for example, in synchrotrons using bending magnets, undulators and/or wigglers
>
>
>
also [cyclotron radiation](https://en.wikipedia.org/wiki/Cyclotron_radiation)
>
> Cyclotron radiation is electromagnetic radiation emitted by accelerating charged particles deflected by a magnetic field
>
>
>
All these radiations have a continuous spectrum, in contrast to the radiation coming from atomic energy level transitions: electrons falling from an excited level to a lower energy level and a photon of specific energy emitted. | Free electrons can produce electromagnetic radiation i.e light, if they are made to oscillate. The oscillating electric field produced by the electron will create a perpendicularly oscillating magnetic field which will combine to produce light with the frequency of vibration of the electron. An electron returning to a lower energy level from an excited state also produces light in order to lose the "extra" energy it had in its excited state. But that is not relevant to the way a vibrating free electron can produce light. |
246,985 | If an electron is independent, it is an individual electron, i.e. not in the orbit of the atom. Is it able to emit light or does the orbit have to do with the production of light? | 2016/04/02 | [
"https://physics.stackexchange.com/questions/246985",
"https://physics.stackexchange.com",
"https://physics.stackexchange.com/users/84212/"
] | Free electrons can produce electromagnetic radiation i.e light, if they are made to oscillate. The oscillating electric field produced by the electron will create a perpendicularly oscillating magnetic field which will combine to produce light with the frequency of vibration of the electron. An electron returning to a lower energy level from an excited state also produces light in order to lose the "extra" energy it had in its excited state. But that is not relevant to the way a vibrating free electron can produce light. | No, it would violate both Conservation of Energy and Conversation of Momentum, this is without using Quantum Theory. A third law is Conversation of Angular Momentum, an electron has spin of 1/2 while a photon has spin of 1.
Electron and positron can annhilate producing 2 photons if their spins cancel, or 3 if they are parallel. In a Centre of Mass frame it is easy to see how energy and momentum are conserved. |
246,985 | If an electron is independent, it is an individual electron, i.e. not in the orbit of the atom. Is it able to emit light or does the orbit have to do with the production of light? | 2016/04/02 | [
"https://physics.stackexchange.com/questions/246985",
"https://physics.stackexchange.com",
"https://physics.stackexchange.com/users/84212/"
] | Accelerating and decelerating charges produce electromagnetic radiation.
[Bremsstrahlung](https://en.wikipedia.org/wiki/Bremsstrahlung) :
>
> Bremsstrahlung (German pronunciation: [ˈbʁɛmsˌʃtʁaːlʊŋ] ( listen), from bremsen "to brake" and Strahlung "radiation", i.e. "braking radiation" or "deceleration radiation") is electromagnetic radiation produced by the deceleration of a charged particle when deflected by another charged particle, typically an electron by an atomic nucleus. The moving particle loses kinetic energy, which is converted into a photon, thus satisfying the law of conservation of energy.
>
>
>
and [synchrotron radiation](https://en.wikipedia.org/wiki/Synchrotron_radiation)
>
> The electromagnetic radiation emitted when charged particles are accelerated radially (a ⊥ v) is called synchrotron radiation. It is produced, for example, in synchrotrons using bending magnets, undulators and/or wigglers
>
>
>
also [cyclotron radiation](https://en.wikipedia.org/wiki/Cyclotron_radiation)
>
> Cyclotron radiation is electromagnetic radiation emitted by accelerating charged particles deflected by a magnetic field
>
>
>
All these radiations have a continuous spectrum, in contrast to the radiation coming from atomic energy level transitions: electrons falling from an excited level to a lower energy level and a photon of specific energy emitted. | No, it would violate both Conservation of Energy and Conversation of Momentum, this is without using Quantum Theory. A third law is Conversation of Angular Momentum, an electron has spin of 1/2 while a photon has spin of 1.
Electron and positron can annhilate producing 2 photons if their spins cancel, or 3 if they are parallel. In a Centre of Mass frame it is easy to see how energy and momentum are conserved. |
18,976 | I am 42 and doing software developer since 20 years.
Since several years I know that talking about a problem helps.
If I can't find a an easy solution myself I talk to a team mate or ask at a site like stackoverflow.
Often it is enough to speak about it (or write the question). If I do this, I often find the solution myself.
I would like to find a matching term (from
psychology or neuroscience) for this.
Question: How do you call this?
If you have links to related studies, please leave a comment. Thank you. | 2018/01/24 | [
"https://cogsci.stackexchange.com/questions/18976",
"https://cogsci.stackexchange.com",
"https://cogsci.stackexchange.com/users/13175/"
] | I can think two reasons why talking about a problem helps :
* **Explaining your knowledge can reveal gaps and bugs**
The following extract is from the book [Smart Thinking](https://books.google.com.cy/books?id=k2CJDQAAQBAJ&dq=smart%20thinking%20art%20markman&hl=en&sa=X&ved=0ahUKEwjKpfjEwPLYAhWCKlAKHeYBDYsQ6AEIJTAA) by Art Markman :
[](https://i.stack.imgur.com/S2HbZ.png)
* **Talking about a problem changes its mental representation**
>
> Our [mental representation](http://sourcesofinsight.com/we-change-when-we-change-our-mental-representation/) is the ideas, concepts, stories, theories,
> and skills that make up how we internalize something in our mind.
> Gardner writes:
>
>
> “Generically, mind change entails the alteration of mental
> representations. All of us develop mental representations quite
> readily from the beginning of life. Many such representations are
> serviceable, some have notable charm, others are misleading or flatly
> wrong. Mental representations have a content: we think of these
> contents as ideas, concepts, skills, stories, or full-fledged theories
> (explanations of the world). These contents can be expressed in words
> — and in a book, that medium is customarily used. However, nearly all
> contents can be expressed in a variety of forms, media, symbol
> systems: these systems can be exhibited publicly as marks on a page
> and can also be internalized in a ‘language of the mind’ or a
> particular ‘intelligence.’”
>
>
>
The mere fact of trying to formulate our thinking into speech, changes its representation ([see this article](http://journals.linguisticsociety.org/proceedings/index.php/BLS/article/download/1826/1598)). | I found this related Wikipedia article:
<https://en.wikipedia.org/wiki/Rubber_duck_debugging>
Rubber duck debugging
>
> In software engineering, rubber duck debugging or rubber ducking is a
> method of debugging code. The name is a reference to a story in the
> book The Pragmatic Programmer in which a programmer would carry around
> a rubber duck and debug their code by forcing themselves to explain
> it, line-by-line, to the duck.[1] Many other terms exist for this
> technique, often involving different inanimate objects.
>
>
> Many programmers have had the experience of explaining a problem to
> someone else, possibly even to someone who knows nothing about
> programming, and then hitting upon the solution in the process of
> explaining the problem. In describing what the code is supposed to do
> and observing what it actually does, any incongruity between these two
> becomes apparent. More generally, teaching a subject forces its
> evaluation from different perspectives and can provide a deeper
> understanding. By using an inanimate object, the programmer can try
> to accomplish this without having to interrupt anyone else.
>
>
> |
18,976 | I am 42 and doing software developer since 20 years.
Since several years I know that talking about a problem helps.
If I can't find a an easy solution myself I talk to a team mate or ask at a site like stackoverflow.
Often it is enough to speak about it (or write the question). If I do this, I often find the solution myself.
I would like to find a matching term (from
psychology or neuroscience) for this.
Question: How do you call this?
If you have links to related studies, please leave a comment. Thank you. | 2018/01/24 | [
"https://cogsci.stackexchange.com/questions/18976",
"https://cogsci.stackexchange.com",
"https://cogsci.stackexchange.com/users/13175/"
] | Well, first of all, let's briefly discuss the process of thinking.
Lone, silent thinking is the internalization of words taught to you at a very young age. Clinical literature suggests that if you miss learning period you cannot learn it anymore. [Feral Child Wikipedia](https://en.wikipedia.org/wiki/Feral_child)
**Speculation:** Based on this, I strongly believe that understanding words and speaking came earlier in our evolutionary process than thinking. This posits the idea that we're better at discussing things in social settings than thinking them internally.
Now, writing obviously came later than understanding words, speaking words and thinking, however, it is a bit different than thinking. When you are writing you externalize something within and actually look at it, which entirely changes the perception of the subject.
Also, to further my point. As I mentioned above, thinking is the internalization of a conversation and it is really hard to think properly because it requires you to activate different parts of your personality that can actually argue/communicate as you would in a normal conversation. Technically speaking in order to think properly you need to create a cognitive dissonance otherwise it is going to be confirmation bias.
It's also useful to bring in terms such as subconscious and conscious. Carl Jung thought that those two exist 'in different dimensions'. You can attribute symbolic and metaphorical aspects of your psyche to the subconscious, while the verbal aspect of your mind is conscious. In other words, there is a difference between unarticulated and articulated knowledge.
Unarticulated knowledge is somewhat subconscious, so you do not have full access to it, however, if you manage to articulate it - you gain full access. Thinking is a quick process and thoughts might slip away while writing is slower and you actually perceive, correct yourself and rectify the issues as you go through. (Same applies to the communication except there are two or more heads instead of one.) | I found this related Wikipedia article:
<https://en.wikipedia.org/wiki/Rubber_duck_debugging>
Rubber duck debugging
>
> In software engineering, rubber duck debugging or rubber ducking is a
> method of debugging code. The name is a reference to a story in the
> book The Pragmatic Programmer in which a programmer would carry around
> a rubber duck and debug their code by forcing themselves to explain
> it, line-by-line, to the duck.[1] Many other terms exist for this
> technique, often involving different inanimate objects.
>
>
> Many programmers have had the experience of explaining a problem to
> someone else, possibly even to someone who knows nothing about
> programming, and then hitting upon the solution in the process of
> explaining the problem. In describing what the code is supposed to do
> and observing what it actually does, any incongruity between these two
> becomes apparent. More generally, teaching a subject forces its
> evaluation from different perspectives and can provide a deeper
> understanding. By using an inanimate object, the programmer can try
> to accomplish this without having to interrupt anyone else.
>
>
> |
66,726,316 | I am doing my development using a Chromebook and wondered if it is possible to develop SPAs using Flutter using an online IDE such as Cloud9 or Codio?
I have managed to install flutter and run it to install dart but am getting stuck as it can't find a Chrome installation.
Is it possible to develop using the cloud IDE and use by local install of Chrome for testing? | 2021/03/20 | [
"https://Stackoverflow.com/questions/66726316",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/303229/"
] | Currently, the only closer web approaches are:
* DartPad
* CodePen
* Codespaces
Codespaces being a full VS Code which is currently on Beta Access which will allow the same coding possibilities as the desktop one.
Link: <https://github.com/features/codespaces> | Alternatively (to CodeSpaces, at least); [GitPod](https://www.gitpod.io/) has a pretty serviceable free tier to build a testing workspace. They actually have a Github template you can fork, then create a workspace from:
<https://www.gitpod.io/docs/quickstart/flutter>
Another nicety is the stack is [open source](https://www.gitpod.io/blog/opensource) as of last year. |
66,726,316 | I am doing my development using a Chromebook and wondered if it is possible to develop SPAs using Flutter using an online IDE such as Cloud9 or Codio?
I have managed to install flutter and run it to install dart but am getting stuck as it can't find a Chrome installation.
Is it possible to develop using the cloud IDE and use by local install of Chrome for testing? | 2021/03/20 | [
"https://Stackoverflow.com/questions/66726316",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/303229/"
] | You can also check flutlab.io. It's working on Chromebook (Flutter IDE and even Figma integration). Proof: <https://www.youtube.com/watch?v=dQ0ATecs7Fo> | Alternatively (to CodeSpaces, at least); [GitPod](https://www.gitpod.io/) has a pretty serviceable free tier to build a testing workspace. They actually have a Github template you can fork, then create a workspace from:
<https://www.gitpod.io/docs/quickstart/flutter>
Another nicety is the stack is [open source](https://www.gitpod.io/blog/opensource) as of last year. |
362,782 | I try to write "clean code" for most of the time. But practically find it very hard, meaning - gradually business requirements changes dramatically or the business requirement which seems like just a condition force to modify existing code.
If we go for "extend" instead of "modify" approach, implementation seems clean. But feels like to much class hierarchy for use cases which seems simple. Moreover, sometime just writing few lines of code with "modify" fix the problem in given "Time" instead of writing few set of classes with "extend" approach.
How to ensure to keep code clean not when it is implanted for first time, but few years down the line. Specifically when time is critical and for business new requirements are "JUST a small change". | 2017/12/21 | [
"https://softwareengineering.stackexchange.com/questions/362782",
"https://softwareengineering.stackexchange.com",
"https://softwareengineering.stackexchange.com/users/47402/"
] | Don't follow the Open/Closed principle (OCP) unless you absolutely have to. In most application development OCP is not appropriate and only leads to overly complex code, as you have already noticed.
OCP is appropriate in scenarios where you have independent, external clients using your code, and you need to evolve the code while preserving backwards compatibility. Take the .net framework: MS cannot just modify the behavior of an existing API in the framework, because that would break all the client depending on the current behavior. They can only extend the API. OCP does not actually lead to clean code - for example the frameworks have multiple deprecated API which can never be removed. But it preserves backwards compatibility.
Another scenario is if you have a "big-ball-of-mud" architecture where each change may have unexpected side effects across the system, and no automated testing to protect against regressions. In that case you may adopt a paranoid mindset, and keep the code "closed" to avoid breaking existing code. But here not to modify the code is only treating the symptoms, and will not in itself improve the quality of the code. If possible, you should prefer to treat the root cause of the problems.
If you are not forced to follow the OCP principle then it is often cleaner and simpler to modify behavior rather than extend it.
Like all programming guidelines, OC is not an universal rule but is only appropriate in specific contexts. | Following the OCP should always be one of the goals of an OOP programmer. Ignoring this principle erodes how useful it is to decompose into objects.
It is exceptionally lazy to think, "Well if they want to react to change they can just rewrite it".
OCP asks you to favor a design that permits change by adding new code rather than changing old code.
The structural mechanisms for this can as complex as a design pattern or as simple as introducing a variable. Abstraction works best when you can't see the details you're using.
The most telling problem is when you see fit to separate one idea from another by putting them in different objects yet one KNOWS exactly which implementation of the other it's talking to. Doing this not only violates OCP but it means you typed up an extra class for no good reason. If you separate ideas into different objects they should not hold each other in a death grip.
However, change is difficult to predict. Yagni teaches us not to create things that might be useful, only things that are useful today.
Rather then predict the future, be conservative when you assume something will be stable. Our high level abstractions, our interfaces, really hurt us when they change. Keep what they assume to be stable to a minimum. Push what you're not sure of down to lower levels. Break them up to keep their vulnerability to change footprint small. Let them serve only one master.
Do this, and following OCP shouldn't be too dramatically different. If, however, you go nuts slapping interfaces on every object and refuse to call anything that isn't polymorphic, well you're giving us OOP coders a bad name.
The best advice you could apply here was actually about when to react to a DRY violation. You are far more likely to decompose correctly the second time you repeat yourself then you are the first time. So maybe don't be so quick to react.
This wisdom should temper how quick you are to predict change. Unit tests help us see how we could change implementation details. While this is a good structural exercise unit tests aren't production code. Be careful thinking they show you how things will change.
But you should feel bad every time you add a feature or fix a bug by changing existing code. Even if you don't actually have independent external clients it is really nice when you can support large swaths of your code as if it were.
Remember, these principles are not going to help you get your code to work any faster. They help you keep your code working once it does. Therefor you wont find out if you're wasting your time putting effort into following them until changes start coming in. If you want to practice applying them then you can't just code to a fixed specification. You have to code to a changing specification that surprises you.
A conservative way to apply these principles is to add complexity in reaction to change rather than in anticipation. When I take this tract I'll forgive myself for having to change existing code in a module once, maybe twice. After that it's time to see about stopping that from happening again.
Otherwise we might as well go back to procedural programming because even it can deal with change if you're willing to rewrite every time. |
48,673 | There are people online who swear these photos of Hitler with kids, dogs and the like are real and were covered up.
<https://donotlink.it/EXJq>
Now I already know that Imperial Japan used [censorship and doctored photos during the war](https://en.m.wikipedia.org/wiki/Censorship_in_the_Empire_of_Japan#Early_Sh%C5%8Dwa_Period_(1926%E2%80%931945)). So I am wondering how bad was it with the Nazis? | 2018/10/12 | [
"https://history.stackexchange.com/questions/48673",
"https://history.stackexchange.com",
"https://history.stackexchange.com/users/13486/"
] | There are a small number of photos featuring Hitler which have been doctored but the practice does not appear to have been as common a propaganda tactic as, for example, staging events, [controlling what people saw / read / heard](https://history.stackexchange.com/questions/40164/what-did-the-average-german-citizen-know-about-the-war) or sometimes suppressing news. Nor does there seem to have been any attempt to make Hitler look physical better.
One example of a probably doctored photo shows Hitler in a crowd, patriotically cheering the outbreak of WWI. The photo (the copies below were first published in 1932) was taken by [Heinrich Hoffmann](https://en.wikipedia.org/wiki/Heinrich_Hoffmann_(photographer)), who was to become Hitler's official photographer and
>
> claimed that he only discovered Hitler in the photograph in 1929,
> after the Nazi leader had visited the photographer's studio.
>
>
>
[](https://i.stack.imgur.com/4DeOA.jpg)
*Source: [A young Hitler cheers the start of World War One, 1914](https://rarehistoricalphotos.com/young-hitler-ww1-1914/)*
[](https://i.stack.imgur.com/988W8.jpg)
*Source: [UC Santa Barbara, Hitler and the Outbreak of World War I: A Forged Photo?](http://www.history.ucsb.edu/faculty/marcuse/projects/hitler/articles/HitlerWW1outbreakPhotoForgery.htm)*
There are [several reasons](http://www.history.ucsb.edu/faculty/marcuse/projects/hitler/articles/HitlerWW1outbreakPhotoForgery.htm) why this photo is most likely a fake. First, it is extremely unlikely that Hitler had the toothbrush moustache at this time. [Hitler](https://www.telegraph.co.uk/news/worldnews/1550768/Hitler-was-ordered-to-trim-his-moustache.html)
>
> was only obeying orders when he shaped his moustache into its
> tightly-clipped style. He was instructed to do so in order that it
> would fit under the respirator masks, introduced in response to
> British mustard gas attacks.
>
>
>
These attacks did not start until [late 1917](https://en.wikipedia.org/wiki/Sulfur_mustard#Use). Also, this from an article on *Rare Historical Photos*
>
> The practice of shaving mustaches down to a “toothbrush” shape seems
> to have been introduced during the war to allow men to wear gas masks
> more comfortably; the fashion was unknown before 1914.
>
>
> If the photograph is correct, then Hitler, almost alone in Europe,
> wore a toothbrush mustache in 1914, grew a big mustache during the
> war, and then went back to a toothbrush style after the war, none of
> which seems very likely.
>
>
>
Below are several photos of Hitler during WWI. Not conclusive proof, but googling shows no sign of a toothbrush moustache in early Hitler photos.
[](https://i.stack.imgur.com/quzcy.jpg)
*Sources (from left to right): [1914](http://histografy.pl/adolf-hitler-wojny-swiatowej/), [1915](http://skepticism.org/timeline/july-history/7285-hitler-awarded-iron-cross-first-class-lieutenant-colonel-michael-freiherr-von-godin.html), [1916](http://www.apimages.com/metadata/Index/Associated-Press-International-News-WWI-CORPORA-/20caa18784e6da11af9f0014c2589dfb), [1916](https://www.pinterest.ph/pin/467670742528486830/)*
Another problem with this photo is that there is no negative even though there *are* negatives of six other photos taken of this crowd, but there are
>
> several prints from it [the image], showing Hitler's drooping forehead
> hair in different positions.
>
>
>
Also, there is a particular motive for publishing this version of the photo [in 1932 as](http://www.history.ucsb.edu/faculty/marcuse/projects/hitler/articles/HitlerWW1outbreakPhotoForgery.htm)
>
> Hitler's patriotism was under fire
> during the Reich presidential election, because he had evaded service
> in the Austrian army.
>
>
>
There are a couple of other doctored photos featuring Hitler. One of these shows a [cross has been removed](https://stream.org/a-doctored-photo-of-hitler-discovered-unraveling-hitlers-religious-deception/) from above Hitler's head as he exits a church. Another from 1937 (shown below), was doctored to remove Joseph Goebbels (it is unclear why this was done).
[](https://i.stack.imgur.com/NxHrx.jpg)
[](https://i.stack.imgur.com/2v0Vi.jpg)
*Source: [Scientific American: Goebbels Doctored out of Hitler’s Nazi Picture](https://www.imediaethics.org/scientific-american/)*. *On Hitler's right is [Leni Riefenstahl](https://en.wikipedia.org/wiki/Leni_Riefenstahl), director of arguably the most effective propaganda film ever made, [Triumph des Willens](https://en.wikipedia.org/wiki/Triumph_of_the_Will) (Triumph of the Will).*
---
For the most part, though, the Nazis resorted to other tactics to make people believe what they wanted them to believe. The Wikipedia articles [Propaganda in Nazi Germany](https://en.wikipedia.org/wiki/Propaganda_in_Nazi_Germany) and [Themes in Nazi propaganda](https://en.wikipedia.org/wiki/Themes_in_Nazi_propaganda) provide a fair amount of information on this. There is also a book by Aristotle A. Kallis, [Nazi Propaganda and the Second World War](https://books.google.com.ph/books/about/Nazi_Propaganda_and_the_Second_World_War.html?id=Mu_cBAAACAAJ&redir_esc=y); this makes no mention of doctoring photographs.
Photographs obviously did play an important role in Nazi propaganda, but this was by careful selection of what to show or not to show. [For example](http://research.calvin.edu/german-propaganda-archive/booklet1.htm), Heinrich Hoffmann
>
> published numerous illustrated books featuring Hitler during the Third
> Reich.
>
>
>
An [example can be seen here](http://research.calvin.edu/german-propaganda-archive/booklet1.htm). There's nothing special about these photos of *Der Fuhrer in den Bergen* (*The fuhrer in the mountains*), a booklet given to people who donated to a Nazi charity, but the accompanying blurb includes the propaganda message:
>
> As the mountains remain eternal despite the passing of millennia, so,
> too, the work the Führer has begun here will live for millennia in the
> history of his people.
>
>
>
Of the staged events, the most obvious are the [Nuremberg Rallies](https://en.wikipedia.org/wiki/Nuremberg_Rally) but there is one other staged event worth mentioning as it demonstrates how **the Nazis faked what was in photos rather than doctored the photos themselves**. The still below is from a Nazi propaganda film *Der Führer schenkt den Juden eine Stadt* (The Führer Gives a City to the Jews) [which is](http://www.jewishfilm.org/Catalogue/films/city_to_the_jews.htm)
>
> the only film known to be made by the Nazis inside an operating
> concentration camp. Germany’s Ministry of Propaganda produced this
> 1944 film about [Theresienstadt](https://en.wikipedia.org/wiki/Theresienstadt_concentration_camp), the “model” ghetto established by the
> Nazis in 1941 in Terezin, a town in the former Czechoslovakia.
>
>
>
[](https://i.stack.imgur.com/GJ5hW.jpg)
The whole thing [was faked](https://encyclopedia.ushmm.org/content/en/article/theresienstadt-red-cross-visit):
>
> Gardens were planted, houses painted, and barracks renovated. The
> Nazis staged social and cultural events for the visiting dignitaries.
> Once the visit was over, the Germans resumed deportations from
> Theresienstadt, which did not end until October 1944.
>
>
>
---
On the issue of covering up mentioned in the link <https://donotlink.it/EXJq>, there is no evidence. Pictures of Hitler with kids, animals etc. are easily found on the internet, though it may be true they were hard to find before googling (as were a lot of other things). The author of the document in your link is a Nazi apologist who, on the basis of a few photos showing Hitler smiling at kids, argues (by Belgian Nazi collaborator [Leon Degrelle](https://en.wikipedia.org/wiki/L%C3%A9on_Degrelle)) that "it was not in his [Hitler's] nature to be cruel". Right... | The answer seems to be very often: <https://www.thelocal.de/20101014/30503>
<https://stream.org/a-doctored-photo-of-hitler-discovered-unraveling-hitlers-religious-deception/>
<https://www.dailymail.co.uk/news/article-4984364/How-Hitler-Mussolini-Lenin-used-photo-editing.html> |
63,512 | Even low mobs seem to drop gold in multiple bits - so probably bosses are likely to drop lots of stuff separately.
Do I always have to click every single item or is there a way to quickly loot everything on the ground? | 2012/04/21 | [
"https://gaming.stackexchange.com/questions/63512",
"https://gaming.stackexchange.com",
"https://gaming.stackexchange.com/users/4459/"
] | Nope, gold and orbs must be run over (within a certain range) to be picked up and, like past Diablo games, items must be clicked on within a certain range to be picked up. You can increase the automatic gold pickup range with magic items that have the range property.
If you're out of range of an item, your character will move to a spot close to the item you clicked and pick it up. | You have to pick up most items manually.
Gold and Health Orbs, however, are picked up automatically, just by passing near enough. |
63,512 | Even low mobs seem to drop gold in multiple bits - so probably bosses are likely to drop lots of stuff separately.
Do I always have to click every single item or is there a way to quickly loot everything on the ground? | 2012/04/21 | [
"https://gaming.stackexchange.com/questions/63512",
"https://gaming.stackexchange.com",
"https://gaming.stackexchange.com/users/4459/"
] | Gold and orbs are picked up automatically when you walk near them,the pickup radius can be increased with certain items that provide that bonus.
Other items need to be clicked on. | You have to pick up most items manually.
Gold and Health Orbs, however, are picked up automatically, just by passing near enough. |
63,512 | Even low mobs seem to drop gold in multiple bits - so probably bosses are likely to drop lots of stuff separately.
Do I always have to click every single item or is there a way to quickly loot everything on the ground? | 2012/04/21 | [
"https://gaming.stackexchange.com/questions/63512",
"https://gaming.stackexchange.com",
"https://gaming.stackexchange.com/users/4459/"
] | Nope, gold and orbs must be run over (within a certain range) to be picked up and, like past Diablo games, items must be clicked on within a certain range to be picked up. You can increase the automatic gold pickup range with magic items that have the range property.
If you're out of range of an item, your character will move to a spot close to the item you clicked and pick it up. | Gold and orbs are picked up automatically when you walk near them,the pickup radius can be increased with certain items that provide that bonus.
Other items need to be clicked on. |
261,360 | I already know that I will hire a plumber to perform this swap/install-- what I'm looking for is feasibility or hidden "gotchas" with the idea before I commit to buying the sink.
What I have is a standard (so I believe) 22x33 dual basin sink, as pictured below (above the sink and in the cabinet below.) Note that the dual basin sink, as one would expect, has two drains. One of them (left) is attached to a garbage disposal. Mostly unseen, to the right, is a dishwasher that gets hooked up to the thing.
What I want is a 22x33 *single basin* sink similar to (or perhaps exactly) the one pictured [here.](https://rads.stackoverflow.com/amzn/click/com/B07N12MC1Q)
Specific things I am concerned about:
* Going from dual drain to single drain, where the new drain location does not match either of the old ones
* Above, especially in the presence of the garbage disposal
* The hookup to the dishwasher
I'm not asking how to do any of those things, per se, only whether a competent, licensed plumber will be able to get things installed and working together correctly.
And also:
* Am I putting the horse before the cart? Meaning, my plan is to buy sink then contract plumber. Should I be doing that in the other order, contracting the plumber and vetting the hardware prior to purchase?
Assume, if it was not already obvious, that I know nothing about plumbing.
PS - I hate that sink. It was here when I bought the house.
[](https://i.stack.imgur.com/THnGL.jpg)
Angled view:
[](https://i.stack.imgur.com/hi7d9.jpg)
Label on sink:
[](https://i.stack.imgur.com/YsgCG.jpg) | 2022/11/27 | [
"https://diy.stackexchange.com/questions/261360",
"https://diy.stackexchange.com",
"https://diy.stackexchange.com/users/81973/"
] | Any competent plumber can make the transition from the double sink in the pic to a single sink.
The garbage disposal (it's not a compactor) will be attached to the single drain and your dishwasher can be hooked up to drain directly into the disposal if you choose to do it that way.
The plumber should have plenty of room under the sink to properly attach and slope the P trap and drain line.
Just make sure the new sink is the same dimensions and mount style (top mount, undermount) as the old one.
Just reviewed the new pictures and info you added. I won't go into the required specs for a P trap but I would suggest that if you decide to go with a deeper sink than the one you have now that you talk with your plumber first. It appears from the pictures that you might be able to go an inch or two deeper but any more than that could be a problem for proper installation of the P trap. | What you described should be an easy job for a plumber.
I like to have the materials in hand prior to scheduling the work. |
261,360 | I already know that I will hire a plumber to perform this swap/install-- what I'm looking for is feasibility or hidden "gotchas" with the idea before I commit to buying the sink.
What I have is a standard (so I believe) 22x33 dual basin sink, as pictured below (above the sink and in the cabinet below.) Note that the dual basin sink, as one would expect, has two drains. One of them (left) is attached to a garbage disposal. Mostly unseen, to the right, is a dishwasher that gets hooked up to the thing.
What I want is a 22x33 *single basin* sink similar to (or perhaps exactly) the one pictured [here.](https://rads.stackoverflow.com/amzn/click/com/B07N12MC1Q)
Specific things I am concerned about:
* Going from dual drain to single drain, where the new drain location does not match either of the old ones
* Above, especially in the presence of the garbage disposal
* The hookup to the dishwasher
I'm not asking how to do any of those things, per se, only whether a competent, licensed plumber will be able to get things installed and working together correctly.
And also:
* Am I putting the horse before the cart? Meaning, my plan is to buy sink then contract plumber. Should I be doing that in the other order, contracting the plumber and vetting the hardware prior to purchase?
Assume, if it was not already obvious, that I know nothing about plumbing.
PS - I hate that sink. It was here when I bought the house.
[](https://i.stack.imgur.com/THnGL.jpg)
Angled view:
[](https://i.stack.imgur.com/hi7d9.jpg)
Label on sink:
[](https://i.stack.imgur.com/YsgCG.jpg) | 2022/11/27 | [
"https://diy.stackexchange.com/questions/261360",
"https://diy.stackexchange.com",
"https://diy.stackexchange.com/users/81973/"
] | Any competent plumber can make the transition from the double sink in the pic to a single sink.
The garbage disposal (it's not a compactor) will be attached to the single drain and your dishwasher can be hooked up to drain directly into the disposal if you choose to do it that way.
The plumber should have plenty of room under the sink to properly attach and slope the P trap and drain line.
Just make sure the new sink is the same dimensions and mount style (top mount, undermount) as the old one.
Just reviewed the new pictures and info you added. I won't go into the required specs for a P trap but I would suggest that if you decide to go with a deeper sink than the one you have now that you talk with your plumber first. It appears from the pictures that you might be able to go an inch or two deeper but any more than that could be a problem for proper installation of the P trap. | Sometimes going to a deeper sink will cause problems hooking up the disposal. Your existing sink looks pretty deep so as long as the new sink is not deeper you should be fine.
Another thing I noticed is this looks like an island. If it is then I don't think your sink is vented properly. Probably not a major issue but something the plumber will want to correct with an air admittance valve. |
261,360 | I already know that I will hire a plumber to perform this swap/install-- what I'm looking for is feasibility or hidden "gotchas" with the idea before I commit to buying the sink.
What I have is a standard (so I believe) 22x33 dual basin sink, as pictured below (above the sink and in the cabinet below.) Note that the dual basin sink, as one would expect, has two drains. One of them (left) is attached to a garbage disposal. Mostly unseen, to the right, is a dishwasher that gets hooked up to the thing.
What I want is a 22x33 *single basin* sink similar to (or perhaps exactly) the one pictured [here.](https://rads.stackoverflow.com/amzn/click/com/B07N12MC1Q)
Specific things I am concerned about:
* Going from dual drain to single drain, where the new drain location does not match either of the old ones
* Above, especially in the presence of the garbage disposal
* The hookup to the dishwasher
I'm not asking how to do any of those things, per se, only whether a competent, licensed plumber will be able to get things installed and working together correctly.
And also:
* Am I putting the horse before the cart? Meaning, my plan is to buy sink then contract plumber. Should I be doing that in the other order, contracting the plumber and vetting the hardware prior to purchase?
Assume, if it was not already obvious, that I know nothing about plumbing.
PS - I hate that sink. It was here when I bought the house.
[](https://i.stack.imgur.com/THnGL.jpg)
Angled view:
[](https://i.stack.imgur.com/hi7d9.jpg)
Label on sink:
[](https://i.stack.imgur.com/YsgCG.jpg) | 2022/11/27 | [
"https://diy.stackexchange.com/questions/261360",
"https://diy.stackexchange.com",
"https://diy.stackexchange.com/users/81973/"
] | You're missing one picture -- the one taken at an angle to show the plumbing behind the vertical center-post in the cabinet doors, connecting the disposal to the wall.
I assume that there is a wye fitting ('Y' fitting) joining the drain from the left and right sinks located there on the right side, just inside the cabinet. What I cannot see is whether the wye is in the rough/schedule-40/glue-joint part of the plumbing (in the wall) or in the finish/cheap "plastic" crap/slip-joint part of the plumbing (from the sink to the adapter).
There are two issues your plumber will face. First, the vertical height between the bottom of your (new) sink and the place where the drain(s) enter the wall. Second, closing any holes in the system left by converting from two drains to just one.
### Vertical drop
The images you provided do not make clear the depth of your sink. I can believe the existing sink is 6" deep or 8" deep. I'd be a little surprised if the existing sink was 10" deep, and shocked if the existing sink was 12" deep.
OTOH, the amazon link claims the new sink will be 10" deep.
So it seems likely the new sink will either be the same as the old sink (10") or 2-4" deeper than the old sink (10" vs 6-8"). I don't know if the garbage disposal drain has 2" to spare. It looks like 4" would be a total show-stopper.
Get you a tape measure or two rulers, and measure from the floor of the cabinet (I assume it's level) to the *bottom* of the disposal drain outlet and the *bottom* of the drain pipe at the wye fitting. The disposal should be higher than the fitting, the question is how much higher. That's the amount of "slack" you have to lower the disposal (lowering the sink will force the disposal lower). If the new sink will be 4" lower than the old sink, you had better have 4.25" of height difference. If the difference is 0" because the new and old sinks are both 10", then you're golden.
### Closing the old drain
If you have two drains in the wall, which I don't believe is the case, or
if your wye fitting is in the rough plumbing -- schedule 40 PVC (white) or ABS (black) pipe in the wall, or even copper or cast iron or galvanized steel -- then the solution will be to plug (if female) or cap (if male) one of the old openings, or to divide the disposal/dishwasher between the two. There are standard fittings to do both, so this will just be a case of buying existing fittings and installing them. These will be "rough plumbing" fittings, and so relatively cheap.
If you have a single drain in the wall, with the wye being made from the thin-walled plastic crap, then your problem disappears when the plastic crap gets yanked out. Cost would be zero. (This is probably not the case.) | What you described should be an easy job for a plumber.
I like to have the materials in hand prior to scheduling the work. |
261,360 | I already know that I will hire a plumber to perform this swap/install-- what I'm looking for is feasibility or hidden "gotchas" with the idea before I commit to buying the sink.
What I have is a standard (so I believe) 22x33 dual basin sink, as pictured below (above the sink and in the cabinet below.) Note that the dual basin sink, as one would expect, has two drains. One of them (left) is attached to a garbage disposal. Mostly unseen, to the right, is a dishwasher that gets hooked up to the thing.
What I want is a 22x33 *single basin* sink similar to (or perhaps exactly) the one pictured [here.](https://rads.stackoverflow.com/amzn/click/com/B07N12MC1Q)
Specific things I am concerned about:
* Going from dual drain to single drain, where the new drain location does not match either of the old ones
* Above, especially in the presence of the garbage disposal
* The hookup to the dishwasher
I'm not asking how to do any of those things, per se, only whether a competent, licensed plumber will be able to get things installed and working together correctly.
And also:
* Am I putting the horse before the cart? Meaning, my plan is to buy sink then contract plumber. Should I be doing that in the other order, contracting the plumber and vetting the hardware prior to purchase?
Assume, if it was not already obvious, that I know nothing about plumbing.
PS - I hate that sink. It was here when I bought the house.
[](https://i.stack.imgur.com/THnGL.jpg)
Angled view:
[](https://i.stack.imgur.com/hi7d9.jpg)
Label on sink:
[](https://i.stack.imgur.com/YsgCG.jpg) | 2022/11/27 | [
"https://diy.stackexchange.com/questions/261360",
"https://diy.stackexchange.com",
"https://diy.stackexchange.com/users/81973/"
] | You're missing one picture -- the one taken at an angle to show the plumbing behind the vertical center-post in the cabinet doors, connecting the disposal to the wall.
I assume that there is a wye fitting ('Y' fitting) joining the drain from the left and right sinks located there on the right side, just inside the cabinet. What I cannot see is whether the wye is in the rough/schedule-40/glue-joint part of the plumbing (in the wall) or in the finish/cheap "plastic" crap/slip-joint part of the plumbing (from the sink to the adapter).
There are two issues your plumber will face. First, the vertical height between the bottom of your (new) sink and the place where the drain(s) enter the wall. Second, closing any holes in the system left by converting from two drains to just one.
### Vertical drop
The images you provided do not make clear the depth of your sink. I can believe the existing sink is 6" deep or 8" deep. I'd be a little surprised if the existing sink was 10" deep, and shocked if the existing sink was 12" deep.
OTOH, the amazon link claims the new sink will be 10" deep.
So it seems likely the new sink will either be the same as the old sink (10") or 2-4" deeper than the old sink (10" vs 6-8"). I don't know if the garbage disposal drain has 2" to spare. It looks like 4" would be a total show-stopper.
Get you a tape measure or two rulers, and measure from the floor of the cabinet (I assume it's level) to the *bottom* of the disposal drain outlet and the *bottom* of the drain pipe at the wye fitting. The disposal should be higher than the fitting, the question is how much higher. That's the amount of "slack" you have to lower the disposal (lowering the sink will force the disposal lower). If the new sink will be 4" lower than the old sink, you had better have 4.25" of height difference. If the difference is 0" because the new and old sinks are both 10", then you're golden.
### Closing the old drain
If you have two drains in the wall, which I don't believe is the case, or
if your wye fitting is in the rough plumbing -- schedule 40 PVC (white) or ABS (black) pipe in the wall, or even copper or cast iron or galvanized steel -- then the solution will be to plug (if female) or cap (if male) one of the old openings, or to divide the disposal/dishwasher between the two. There are standard fittings to do both, so this will just be a case of buying existing fittings and installing them. These will be "rough plumbing" fittings, and so relatively cheap.
If you have a single drain in the wall, with the wye being made from the thin-walled plastic crap, then your problem disappears when the plastic crap gets yanked out. Cost would be zero. (This is probably not the case.) | Sometimes going to a deeper sink will cause problems hooking up the disposal. Your existing sink looks pretty deep so as long as the new sink is not deeper you should be fine.
Another thing I noticed is this looks like an island. If it is then I don't think your sink is vented properly. Probably not a major issue but something the plumber will want to correct with an air admittance valve. |
2,319 | My son is nearly two years old. We have had a solid bedtime routine forever, and we make sure to wind him down before bedtime. Lately though, he doesn't want to go to sleep.
He follows the bedtime routine just fine and without objections, but the moment we leave the room he starts crying until we come back. He doesn't want to get out and play, but he acts as if he's not tired, even though we can tell that he is.
One thing that seems to work (not always) is to stay with him, but we don't want to encourage that because we need those last few hours of the day to ourselves. If we let him direct us, it takes more than an hour.
Suggestions? | 2011/07/18 | [
"https://parenting.stackexchange.com/questions/2319",
"https://parenting.stackexchange.com",
"https://parenting.stackexchange.com/users/109/"
] | I don't like answering my own questions, but the only other answer didn't really apply, so here goes:
"Letting him cry" didn't work for us. We discovered that **the cause was discomfort** rather than defiance, although not in a very obvious way. Our son's bedtime unrest and crying has been increasing recently, and it now turns out that **he didn't want the sleeping sack anymore** so we "upgraded" him to a blanket.
We found out by coincidence really: One evening we didn't put him in his sleeping sack but just covered him with the blanket (it's familiar to him, it has been in his crib for a long time already) and he was fine. The next evening he was restless again but not crying; my wife explained to him plainly that he's a big boy and can sleep with the blanket *but* he has to stay under the blanket and keep his legs and feet under it too. I'm amazed that this simple explanation did the trick, but it did. He just needed operating instructions for the tool we call *blanket*. | >
> If we let him direct us ..
>
>
>
That is the key concept, who is in charge. This isn't about being sleepy, or about the routine, it is about testing, limits, and defiance. This is the age when they begin doing that.
My wife and I didn't care if our daughter actually SLEPT, as long as she left us alone after bedtime. If she wasn't that tired and wanted to play in her room, that was fine as long as she did so in her room without bothering us.
You need to let him cry. If he leaves his room, put him back, telling him that after bedtime he needs to stay in his room. If he gets out again, put him back again, and take his favorite toy with you. Eventually, he may need to be locked in. I flipped the lock on my daughter's bedroom door to allow us to lock her in. If you use corporal punishment, it can be effective in this situation.
Finally, don't allow this drill to become an extended routine. After the first few days, go directly to confining him in the room. He isn't stupid, he should have learned the rule, even if he is choosing not to follow it.
You need to be patient, persistent and consistent, and you need to not yell or act out yourself. Just do what you need to do and get on with your evening. |
2,319 | My son is nearly two years old. We have had a solid bedtime routine forever, and we make sure to wind him down before bedtime. Lately though, he doesn't want to go to sleep.
He follows the bedtime routine just fine and without objections, but the moment we leave the room he starts crying until we come back. He doesn't want to get out and play, but he acts as if he's not tired, even though we can tell that he is.
One thing that seems to work (not always) is to stay with him, but we don't want to encourage that because we need those last few hours of the day to ourselves. If we let him direct us, it takes more than an hour.
Suggestions? | 2011/07/18 | [
"https://parenting.stackexchange.com/questions/2319",
"https://parenting.stackexchange.com",
"https://parenting.stackexchange.com/users/109/"
] | I don't like answering my own questions, but the only other answer didn't really apply, so here goes:
"Letting him cry" didn't work for us. We discovered that **the cause was discomfort** rather than defiance, although not in a very obvious way. Our son's bedtime unrest and crying has been increasing recently, and it now turns out that **he didn't want the sleeping sack anymore** so we "upgraded" him to a blanket.
We found out by coincidence really: One evening we didn't put him in his sleeping sack but just covered him with the blanket (it's familiar to him, it has been in his crib for a long time already) and he was fine. The next evening he was restless again but not crying; my wife explained to him plainly that he's a big boy and can sleep with the blanket *but* he has to stay under the blanket and keep his legs and feet under it too. I'm amazed that this simple explanation did the trick, but it did. He just needed operating instructions for the tool we call *blanket*. | My son is 2 as well, and he also wants me to lay next to him when he falls asleep... I have found that when I lay next to him reading a story tale from the children's bible he sleeps better and more restful the night than when I let him go to sleep on his own. So I'd rather take the 20min and spend the time with him while he falls asleep (it easier, better and more relaxing than having to wake up in the middel of the night for a bad dream or something that wakes him)..... Just my opinion, and he really loves it, gives him peace at night..... |
14,072 | The thing is I have this trendy Mutant Muscle Gainer that advises me to take 4 cups of it in a day when I workout - 2 cups before the workout and 2 cups after. This goes pretty well to me. But the thing is, however, that I feel a little bit ashamed when I don't drink it during the days I'm not exercising - I'm drinking it to gain weight mass, but I'm not drinking it regularly as I'm only going to the gym 3 days a week.
Should I be bothered at all? Or should I drink this thing each and every day? | 2013/09/26 | [
"https://fitness.stackexchange.com/questions/14072",
"https://fitness.stackexchange.com",
"https://fitness.stackexchange.com/users/6838/"
] | Muscle gainers, protein shakes and the like are [*supplements*](http://en.wikipedia.org/wiki/Dietary_supplement). They are meant to ***[supplement](http://en.wiktionary.org/wiki/supplement)*** your diet if it is lacking in certain essential requirements.
If you have investigated what your daily calorie and macro-nutrient requirements are, and you find yoruself falling short of what is neccessary to meet your goals, they yes continue to take them. However, consider that they are, again there to **[supplement](http://en.wikipedia.org/wiki/Bodybuilding_supplement)** your nutrition and where possible the bulk of your food intake should come from food, preferably, unprocessed whole foods to ensure that you are getting a diverse variety of essential vitamins and minerals. | Some things to think about, assuming you "gainer" product is one of the many whey protein (+ creatine?) powder:
1. The manufacturer will always tell you to take too much of it (and sell more of it that way)
2. Supplement taking does not gain muscle, hard work in the gym does
3. Extra protein intake can help maximize result of the *hard work*, and help with recovery, and is usually consumed right after exercise.
4. Too much protein can be [bad for your kidneys](http://www.bbc.co.uk/newsbeat/19449377) especially for people with pre-existing conditions
so if it was me, i would limit my intake to half the recommendation, and only right after workouts. But that's just me. |
14,072 | The thing is I have this trendy Mutant Muscle Gainer that advises me to take 4 cups of it in a day when I workout - 2 cups before the workout and 2 cups after. This goes pretty well to me. But the thing is, however, that I feel a little bit ashamed when I don't drink it during the days I'm not exercising - I'm drinking it to gain weight mass, but I'm not drinking it regularly as I'm only going to the gym 3 days a week.
Should I be bothered at all? Or should I drink this thing each and every day? | 2013/09/26 | [
"https://fitness.stackexchange.com/questions/14072",
"https://fitness.stackexchange.com",
"https://fitness.stackexchange.com/users/6838/"
] | Muscle gainers, protein shakes and the like are [*supplements*](http://en.wikipedia.org/wiki/Dietary_supplement). They are meant to ***[supplement](http://en.wiktionary.org/wiki/supplement)*** your diet if it is lacking in certain essential requirements.
If you have investigated what your daily calorie and macro-nutrient requirements are, and you find yoruself falling short of what is neccessary to meet your goals, they yes continue to take them. However, consider that they are, again there to **[supplement](http://en.wikipedia.org/wiki/Bodybuilding_supplement)** your nutrition and where possible the bulk of your food intake should come from food, preferably, unprocessed whole foods to ensure that you are getting a diverse variety of essential vitamins and minerals. | I think it really depends on the results you're getting.You need to monitor your body daily. If you find that you are adding excess fat/adipose tissue, then you probably only need the excess calories (ie. weight gainer) on the days you train. I don't see the sense in adding extra calories if you are not going to use them. I tend to add extra carbs/calories on the days that I train (especially post workout) and then I cut them back on my off days and stick to proteins,fats, vegetables and berries. Now if you are very lean and underweight, that is a different story. Then you can be more liberal and use the product more often. One caveat, don't forget the importance of real food. Real food will be your biggest ally above all else.
The other variable you need to take into consideration is that these companies want you to finish off their products as quickly as possible so you will buy more. So take what you are reading with a grain of salt.
I hope that helps,
Mike |
14,072 | The thing is I have this trendy Mutant Muscle Gainer that advises me to take 4 cups of it in a day when I workout - 2 cups before the workout and 2 cups after. This goes pretty well to me. But the thing is, however, that I feel a little bit ashamed when I don't drink it during the days I'm not exercising - I'm drinking it to gain weight mass, but I'm not drinking it regularly as I'm only going to the gym 3 days a week.
Should I be bothered at all? Or should I drink this thing each and every day? | 2013/09/26 | [
"https://fitness.stackexchange.com/questions/14072",
"https://fitness.stackexchange.com",
"https://fitness.stackexchange.com/users/6838/"
] | Some things to think about, assuming you "gainer" product is one of the many whey protein (+ creatine?) powder:
1. The manufacturer will always tell you to take too much of it (and sell more of it that way)
2. Supplement taking does not gain muscle, hard work in the gym does
3. Extra protein intake can help maximize result of the *hard work*, and help with recovery, and is usually consumed right after exercise.
4. Too much protein can be [bad for your kidneys](http://www.bbc.co.uk/newsbeat/19449377) especially for people with pre-existing conditions
so if it was me, i would limit my intake to half the recommendation, and only right after workouts. But that's just me. | I think it really depends on the results you're getting.You need to monitor your body daily. If you find that you are adding excess fat/adipose tissue, then you probably only need the excess calories (ie. weight gainer) on the days you train. I don't see the sense in adding extra calories if you are not going to use them. I tend to add extra carbs/calories on the days that I train (especially post workout) and then I cut them back on my off days and stick to proteins,fats, vegetables and berries. Now if you are very lean and underweight, that is a different story. Then you can be more liberal and use the product more often. One caveat, don't forget the importance of real food. Real food will be your biggest ally above all else.
The other variable you need to take into consideration is that these companies want you to finish off their products as quickly as possible so you will buy more. So take what you are reading with a grain of salt.
I hope that helps,
Mike |
9,210 | I'm looking for good software to help me map out routes that I have not done before and create cue sheets and probably also printable maps. I plan to use this for my own rides, planning group rides, and maybe even alleycat routes. Things like elevation profile would be nice too.
Optionally, this would also have a cue sheet viewer app available for my smartphone for reference. It doesn't have to navigate me, just show me a list of turns and notes.
I don't really care if it supports upload of routes from gps units or a mobile app since I'm using it more for future rides than past rides. I rarely do the same ride twice. However, some people find this very useful.
I'm willing to pay money for a good app, so free isn't neccesary, but it's nice. The key thing is it has to be easy to map out a route and generate a cue sheet and add notes. | 2012/04/30 | [
"https://bicycles.stackexchange.com/questions/9210",
"https://bicycles.stackexchange.com",
"https://bicycles.stackexchange.com/users/2997/"
] | I mostly use it for tracking rides after the fact, but [Ride With GPS](http://ridewithgps.com/) has cue sheets and route planning based off of Google maps for their paying members. From the GPS side, it works great, your mileage may vary for pre-planning. | I think [mapmyride.com](http://www.mapmyride.com) is pretty good for mapping out routes. They do allow you to print routes, although I prefer to use the Android app. |
9,210 | I'm looking for good software to help me map out routes that I have not done before and create cue sheets and probably also printable maps. I plan to use this for my own rides, planning group rides, and maybe even alleycat routes. Things like elevation profile would be nice too.
Optionally, this would also have a cue sheet viewer app available for my smartphone for reference. It doesn't have to navigate me, just show me a list of turns and notes.
I don't really care if it supports upload of routes from gps units or a mobile app since I'm using it more for future rides than past rides. I rarely do the same ride twice. However, some people find this very useful.
I'm willing to pay money for a good app, so free isn't neccesary, but it's nice. The key thing is it has to be easy to map out a route and generate a cue sheet and add notes. | 2012/04/30 | [
"https://bicycles.stackexchange.com/questions/9210",
"https://bicycles.stackexchange.com",
"https://bicycles.stackexchange.com/users/2997/"
] | I think [mapmyride.com](http://www.mapmyride.com) is pretty good for mapping out routes. They do allow you to print routes, although I prefer to use the Android app. | [Inkatlas](https://inkatlas.com) lets you create printable maps in several different styles (including topo styles with terrain). The maps include trails from OSM as well as any GPX tracks and waypoints you want to add. Smaller PDFs (6 pages or fewer) are free.
Full disclosure: this is my project. |
9,210 | I'm looking for good software to help me map out routes that I have not done before and create cue sheets and probably also printable maps. I plan to use this for my own rides, planning group rides, and maybe even alleycat routes. Things like elevation profile would be nice too.
Optionally, this would also have a cue sheet viewer app available for my smartphone for reference. It doesn't have to navigate me, just show me a list of turns and notes.
I don't really care if it supports upload of routes from gps units or a mobile app since I'm using it more for future rides than past rides. I rarely do the same ride twice. However, some people find this very useful.
I'm willing to pay money for a good app, so free isn't neccesary, but it's nice. The key thing is it has to be easy to map out a route and generate a cue sheet and add notes. | 2012/04/30 | [
"https://bicycles.stackexchange.com/questions/9210",
"https://bicycles.stackexchange.com",
"https://bicycles.stackexchange.com/users/2997/"
] | I mostly use it for tracking rides after the fact, but [Ride With GPS](http://ridewithgps.com/) has cue sheets and route planning based off of Google maps for their paying members. From the GPS side, it works great, your mileage may vary for pre-planning. | They do not have an app, but I typically use the Course Creator on <http://bikeroutetoaster.com/> to plan new rides. It gives you elevation profile and will allow you to print the cue sheets. You can export the GPX/TCX data to upload to a GPS device for on screen turn by turn cues (depending on your device).
Another good option for finding new routes is to use the segment explorer on <http://strava.com> although the segments do not make a complete ride, I like to see where the popular riding routes are and have found many new locations and climbs by using the segment explorer in a new area I've not ridden before. |
9,210 | I'm looking for good software to help me map out routes that I have not done before and create cue sheets and probably also printable maps. I plan to use this for my own rides, planning group rides, and maybe even alleycat routes. Things like elevation profile would be nice too.
Optionally, this would also have a cue sheet viewer app available for my smartphone for reference. It doesn't have to navigate me, just show me a list of turns and notes.
I don't really care if it supports upload of routes from gps units or a mobile app since I'm using it more for future rides than past rides. I rarely do the same ride twice. However, some people find this very useful.
I'm willing to pay money for a good app, so free isn't neccesary, but it's nice. The key thing is it has to be easy to map out a route and generate a cue sheet and add notes. | 2012/04/30 | [
"https://bicycles.stackexchange.com/questions/9210",
"https://bicycles.stackexchange.com",
"https://bicycles.stackexchange.com/users/2997/"
] | I mostly use it for tracking rides after the fact, but [Ride With GPS](http://ridewithgps.com/) has cue sheets and route planning based off of Google maps for their paying members. From the GPS side, it works great, your mileage may vary for pre-planning. | [Inkatlas](https://inkatlas.com) lets you create printable maps in several different styles (including topo styles with terrain). The maps include trails from OSM as well as any GPX tracks and waypoints you want to add. Smaller PDFs (6 pages or fewer) are free.
Full disclosure: this is my project. |
9,210 | I'm looking for good software to help me map out routes that I have not done before and create cue sheets and probably also printable maps. I plan to use this for my own rides, planning group rides, and maybe even alleycat routes. Things like elevation profile would be nice too.
Optionally, this would also have a cue sheet viewer app available for my smartphone for reference. It doesn't have to navigate me, just show me a list of turns and notes.
I don't really care if it supports upload of routes from gps units or a mobile app since I'm using it more for future rides than past rides. I rarely do the same ride twice. However, some people find this very useful.
I'm willing to pay money for a good app, so free isn't neccesary, but it's nice. The key thing is it has to be easy to map out a route and generate a cue sheet and add notes. | 2012/04/30 | [
"https://bicycles.stackexchange.com/questions/9210",
"https://bicycles.stackexchange.com",
"https://bicycles.stackexchange.com/users/2997/"
] | They do not have an app, but I typically use the Course Creator on <http://bikeroutetoaster.com/> to plan new rides. It gives you elevation profile and will allow you to print the cue sheets. You can export the GPX/TCX data to upload to a GPS device for on screen turn by turn cues (depending on your device).
Another good option for finding new routes is to use the segment explorer on <http://strava.com> although the segments do not make a complete ride, I like to see where the popular riding routes are and have found many new locations and climbs by using the segment explorer in a new area I've not ridden before. | [Inkatlas](https://inkatlas.com) lets you create printable maps in several different styles (including topo styles with terrain). The maps include trails from OSM as well as any GPX tracks and waypoints you want to add. Smaller PDFs (6 pages or fewer) are free.
Full disclosure: this is my project. |
171,004 | Imagine a spaceship entering Earth's atmosphere, it has lost control of its engines and is relying on its reverse thrusters to decelerate before crashing into the Pacific ocean.
So in an attempt to save everyone on board from an impending doom, the pilot turned off all the reverse thrusters located on the top of the ship while diverting all powers to the thrusters located at the bottom.
I was wondering would making the spaceship skips on the ocean surface be much safer than dropping straight into the water as gently as possible?
In many sci-fi blockbuster movies spaceship were seen skipping on solid ground and the pilots emerged out with a smile and often suffered minor superficial cuts.
If skipping increased the survivability then all future spaceship pilots are required to perform this manuver before they are licensed to fly. | 2020/03/11 | [
"https://worldbuilding.stackexchange.com/questions/171004",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/8400/"
] | It doesn't really make sense to talk of "forward engines" and "reverse engines" for a spacecraft. Use maneuvering thrusters to orient the ship, main engines to change orbit. As long as it is not in the atmosphere, the craft can reorient to fly backwards, sideways, or upside down. So the question would be more like this:
**Can the RCS engines be used to control reentry?**
The [Reaction Control System](https://en.wikipedia.org/wiki/Reaction_control_system) in real-world spacecraft is sometimes considered a backup to leave orbit. This would take a *longer* burn since they are individually and collectively less powerful, and there could be problems if the RCS uses different fuel with a lower Isp.
The heroic piloting would not come at the last second before splashdown, it would come in orbit when the pilot calculates the best deorbit burn using limited engines. | **Moses maneuver**
As your ship nears the surface, they open fire with everything they have. The ocean surface is blasted into steam and droplets as the ship plunges in. Weapons blazing they carve a path through the water, turning the water ahead of them into steam and droplets. The ship is slowed by the steam and droplets and frank flames (superheated water vapor) rushing past them but not slowed with a sudden shock as would be the case for an impact with water. The tunnel through the water that they make collapses behind them. By the time they reach the bottom they are barely moving.
Space captains: despite historical gravitas the Moses maneuver remains strictly theoretical. |
171,004 | Imagine a spaceship entering Earth's atmosphere, it has lost control of its engines and is relying on its reverse thrusters to decelerate before crashing into the Pacific ocean.
So in an attempt to save everyone on board from an impending doom, the pilot turned off all the reverse thrusters located on the top of the ship while diverting all powers to the thrusters located at the bottom.
I was wondering would making the spaceship skips on the ocean surface be much safer than dropping straight into the water as gently as possible?
In many sci-fi blockbuster movies spaceship were seen skipping on solid ground and the pilots emerged out with a smile and often suffered minor superficial cuts.
If skipping increased the survivability then all future spaceship pilots are required to perform this manuver before they are licensed to fly. | 2020/03/11 | [
"https://worldbuilding.stackexchange.com/questions/171004",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/8400/"
] | It doesn't really make sense to talk of "forward engines" and "reverse engines" for a spacecraft. Use maneuvering thrusters to orient the ship, main engines to change orbit. As long as it is not in the atmosphere, the craft can reorient to fly backwards, sideways, or upside down. So the question would be more like this:
**Can the RCS engines be used to control reentry?**
The [Reaction Control System](https://en.wikipedia.org/wiki/Reaction_control_system) in real-world spacecraft is sometimes considered a backup to leave orbit. This would take a *longer* burn since they are individually and collectively less powerful, and there could be problems if the RCS uses different fuel with a lower Isp.
The heroic piloting would not come at the last second before splashdown, it would come in orbit when the pilot calculates the best deorbit burn using limited engines. | Train your space pilots on gliders.
First, spacecraft must slow from orbital velocity. This is done either using the atmosphere, or if the atmosphere is too thin such as Mars or the Moon, they must use engines.
Once that's done, most real spacecraft entrusted with human lives land using parachutes. This is simple and safe.
There are a handful of space planes, the space shuttle and X-37. They have wings and landing gear. They land as unpowered gliders on a long runway.
Parachutes. Landing gear. Wings. Runways. All of these are missing or from your typical sci-fi spacecraft. Sci-fi spacecraft are often bricks lacking even basic wings (think Star Trek shuttlecraft) and land vertically under raw power. Yet in an emergency they mysteriously glide.
Since this is tagged science-based, we'll ignore these magical flying bricks. Real flying bricks which can only land safely under raw power would never be rated safe for humans.
---
Let's say you have a sensible space plane which is capable of gliding. Its been slowed by the atmosphere, but finds itself still going way too fast. Power is out. What's the pilot to do?!
Deploy their parachutes.
>
> What if there are no parachutes?
>
>
>
It's a glider, so it can trade velocity for altitude. Keeping the nose up retains altitude while shedding velocity. This gives the pilot more time to declare an emergency and reach a *runway* or highway to land *on its landing gear which has wheels*.
If no suitable runway is available, they look for a flat, open space. This could be a field or water. In a field they may decide to land with their landing gear down, but in water they will land with wheels up.
They will dump any remaining fuel and other flammable material to reduce the chance of fire.
"Skipping" will not help. Sci-fi spacecraft made of unobtanium make great gouges in the landscape as they bounce which would tear a spacecraft apart. Instead, the pilot will endeavour to land gently with as low a sink rate as possible. They will keep the nose up to avoid it digging into the ground and flipping the craft over.
If all goes well, the craft will gently touch the ground. It might bounce a few times. Eventually it will skid to a halt. Hopefully no fires will start as a result. |
171,004 | Imagine a spaceship entering Earth's atmosphere, it has lost control of its engines and is relying on its reverse thrusters to decelerate before crashing into the Pacific ocean.
So in an attempt to save everyone on board from an impending doom, the pilot turned off all the reverse thrusters located on the top of the ship while diverting all powers to the thrusters located at the bottom.
I was wondering would making the spaceship skips on the ocean surface be much safer than dropping straight into the water as gently as possible?
In many sci-fi blockbuster movies spaceship were seen skipping on solid ground and the pilots emerged out with a smile and often suffered minor superficial cuts.
If skipping increased the survivability then all future spaceship pilots are required to perform this manuver before they are licensed to fly. | 2020/03/11 | [
"https://worldbuilding.stackexchange.com/questions/171004",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/8400/"
] | It doesn't really make sense to talk of "forward engines" and "reverse engines" for a spacecraft. Use maneuvering thrusters to orient the ship, main engines to change orbit. As long as it is not in the atmosphere, the craft can reorient to fly backwards, sideways, or upside down. So the question would be more like this:
**Can the RCS engines be used to control reentry?**
The [Reaction Control System](https://en.wikipedia.org/wiki/Reaction_control_system) in real-world spacecraft is sometimes considered a backup to leave orbit. This would take a *longer* burn since they are individually and collectively less powerful, and there could be problems if the RCS uses different fuel with a lower Isp.
The heroic piloting would not come at the last second before splashdown, it would come in orbit when the pilot calculates the best deorbit burn using limited engines. | Short version: skipping turns your crew into paste, simply smashing the water has the best chance of success (not much though).
Just imagine you have a perfect rock to skip across the water. To skip it you have to throw it forwards across the water. Upon skipping it'll decelerate its vertical speed and accelerate upwards again, maintaining its horizontal speed much longer.
Now throw the stone with a lot of vertical velocity as well. You could still skip it but it would require more velocity horizontally as well... which would do nothing to save the crew. In fact it would kill them faster!
If the ship simply smashes the water and sinks deep down it'll decelerate over a longer time than if it smashes the water and skips. Now imagine crashing a space ship at mach something velocities into the water. The ship will take a larger hit if it skips than if it simply drills itself into the water, and that is ignoring the fact that you now need to decelerate a much higher horizontal velocity as well.
Now if you can convert the vertical velocity into horizontal velocity it works, as then you have a much longer time to decelerate the same velocity. I hope you've got wings and the time to change your angle! |
171,004 | Imagine a spaceship entering Earth's atmosphere, it has lost control of its engines and is relying on its reverse thrusters to decelerate before crashing into the Pacific ocean.
So in an attempt to save everyone on board from an impending doom, the pilot turned off all the reverse thrusters located on the top of the ship while diverting all powers to the thrusters located at the bottom.
I was wondering would making the spaceship skips on the ocean surface be much safer than dropping straight into the water as gently as possible?
In many sci-fi blockbuster movies spaceship were seen skipping on solid ground and the pilots emerged out with a smile and often suffered minor superficial cuts.
If skipping increased the survivability then all future spaceship pilots are required to perform this manuver before they are licensed to fly. | 2020/03/11 | [
"https://worldbuilding.stackexchange.com/questions/171004",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/8400/"
] | Horizontal velocity only helps if your craft is aerodynamic. Consider skipping stones across a lake. The best skipping stones are flat and wide, like a wing. They're not round like a ball. Flat stones sink a little into the water, maybe a few millimeters, and because of their shape and velocity, the water applies lift to the stone. It picks up vertical speed and flies back into the air.
The same is gonna be true of your spaceship. If it is relatively flat and wide, it might skip like a stone. And that would help a little. But the problem with this, is that if you don't land perfectly level, your tail will hit first. This will torque your craft's nose down, hard. The faster you're going horizontally, the harder your nose will torque down. It could easily be hard enough to destroy the ship. If one side hits first, you tumble, and again you could easily destroy the ship. If the nose hits first, the aerodynamics actually hurt you. The aerodynamic forces will pull the ship down further rather than bouncing you back up.
In summary, if you can land very nearly perfectly level, it will help a little. If you can't land totally level, you die. Seems to me that keeping a high horizontal speed is more trouble than it's worth. | **Moses maneuver**
As your ship nears the surface, they open fire with everything they have. The ocean surface is blasted into steam and droplets as the ship plunges in. Weapons blazing they carve a path through the water, turning the water ahead of them into steam and droplets. The ship is slowed by the steam and droplets and frank flames (superheated water vapor) rushing past them but not slowed with a sudden shock as would be the case for an impact with water. The tunnel through the water that they make collapses behind them. By the time they reach the bottom they are barely moving.
Space captains: despite historical gravitas the Moses maneuver remains strictly theoretical. |
171,004 | Imagine a spaceship entering Earth's atmosphere, it has lost control of its engines and is relying on its reverse thrusters to decelerate before crashing into the Pacific ocean.
So in an attempt to save everyone on board from an impending doom, the pilot turned off all the reverse thrusters located on the top of the ship while diverting all powers to the thrusters located at the bottom.
I was wondering would making the spaceship skips on the ocean surface be much safer than dropping straight into the water as gently as possible?
In many sci-fi blockbuster movies spaceship were seen skipping on solid ground and the pilots emerged out with a smile and often suffered minor superficial cuts.
If skipping increased the survivability then all future spaceship pilots are required to perform this manuver before they are licensed to fly. | 2020/03/11 | [
"https://worldbuilding.stackexchange.com/questions/171004",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/8400/"
] | Horizontal velocity only helps if your craft is aerodynamic. Consider skipping stones across a lake. The best skipping stones are flat and wide, like a wing. They're not round like a ball. Flat stones sink a little into the water, maybe a few millimeters, and because of their shape and velocity, the water applies lift to the stone. It picks up vertical speed and flies back into the air.
The same is gonna be true of your spaceship. If it is relatively flat and wide, it might skip like a stone. And that would help a little. But the problem with this, is that if you don't land perfectly level, your tail will hit first. This will torque your craft's nose down, hard. The faster you're going horizontally, the harder your nose will torque down. It could easily be hard enough to destroy the ship. If one side hits first, you tumble, and again you could easily destroy the ship. If the nose hits first, the aerodynamics actually hurt you. The aerodynamic forces will pull the ship down further rather than bouncing you back up.
In summary, if you can land very nearly perfectly level, it will help a little. If you can't land totally level, you die. Seems to me that keeping a high horizontal speed is more trouble than it's worth. | Short version: skipping turns your crew into paste, simply smashing the water has the best chance of success (not much though).
Just imagine you have a perfect rock to skip across the water. To skip it you have to throw it forwards across the water. Upon skipping it'll decelerate its vertical speed and accelerate upwards again, maintaining its horizontal speed much longer.
Now throw the stone with a lot of vertical velocity as well. You could still skip it but it would require more velocity horizontally as well... which would do nothing to save the crew. In fact it would kill them faster!
If the ship simply smashes the water and sinks deep down it'll decelerate over a longer time than if it smashes the water and skips. Now imagine crashing a space ship at mach something velocities into the water. The ship will take a larger hit if it skips than if it simply drills itself into the water, and that is ignoring the fact that you now need to decelerate a much higher horizontal velocity as well.
Now if you can convert the vertical velocity into horizontal velocity it works, as then you have a much longer time to decelerate the same velocity. I hope you've got wings and the time to change your angle! |
171,004 | Imagine a spaceship entering Earth's atmosphere, it has lost control of its engines and is relying on its reverse thrusters to decelerate before crashing into the Pacific ocean.
So in an attempt to save everyone on board from an impending doom, the pilot turned off all the reverse thrusters located on the top of the ship while diverting all powers to the thrusters located at the bottom.
I was wondering would making the spaceship skips on the ocean surface be much safer than dropping straight into the water as gently as possible?
In many sci-fi blockbuster movies spaceship were seen skipping on solid ground and the pilots emerged out with a smile and often suffered minor superficial cuts.
If skipping increased the survivability then all future spaceship pilots are required to perform this manuver before they are licensed to fly. | 2020/03/11 | [
"https://worldbuilding.stackexchange.com/questions/171004",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/8400/"
] | Train your space pilots on gliders.
First, spacecraft must slow from orbital velocity. This is done either using the atmosphere, or if the atmosphere is too thin such as Mars or the Moon, they must use engines.
Once that's done, most real spacecraft entrusted with human lives land using parachutes. This is simple and safe.
There are a handful of space planes, the space shuttle and X-37. They have wings and landing gear. They land as unpowered gliders on a long runway.
Parachutes. Landing gear. Wings. Runways. All of these are missing or from your typical sci-fi spacecraft. Sci-fi spacecraft are often bricks lacking even basic wings (think Star Trek shuttlecraft) and land vertically under raw power. Yet in an emergency they mysteriously glide.
Since this is tagged science-based, we'll ignore these magical flying bricks. Real flying bricks which can only land safely under raw power would never be rated safe for humans.
---
Let's say you have a sensible space plane which is capable of gliding. Its been slowed by the atmosphere, but finds itself still going way too fast. Power is out. What's the pilot to do?!
Deploy their parachutes.
>
> What if there are no parachutes?
>
>
>
It's a glider, so it can trade velocity for altitude. Keeping the nose up retains altitude while shedding velocity. This gives the pilot more time to declare an emergency and reach a *runway* or highway to land *on its landing gear which has wheels*.
If no suitable runway is available, they look for a flat, open space. This could be a field or water. In a field they may decide to land with their landing gear down, but in water they will land with wheels up.
They will dump any remaining fuel and other flammable material to reduce the chance of fire.
"Skipping" will not help. Sci-fi spacecraft made of unobtanium make great gouges in the landscape as they bounce which would tear a spacecraft apart. Instead, the pilot will endeavour to land gently with as low a sink rate as possible. They will keep the nose up to avoid it digging into the ground and flipping the craft over.
If all goes well, the craft will gently touch the ground. It might bounce a few times. Eventually it will skid to a halt. Hopefully no fires will start as a result. | Skipping means all the downward impact energy of splashdown is redirected upward. This means MORE stress on your ship causing more damage than it would have taken if it had broken the surface immediately. However it still might be a good idea to add some horizontal speed if you can use it to have more air push your ship up before the impact with water or land, (IE if you have wings to gradually convert downward to horizontal force, or you can add enough horizontal speed that the curvature of the planet drops the ground away from you.)
Another reason to try to skip your ship could be that it's effectively invulnerable, and has inertial dampeners so the extra impact force is less important than not sinking before the crew can get out. |
171,004 | Imagine a spaceship entering Earth's atmosphere, it has lost control of its engines and is relying on its reverse thrusters to decelerate before crashing into the Pacific ocean.
So in an attempt to save everyone on board from an impending doom, the pilot turned off all the reverse thrusters located on the top of the ship while diverting all powers to the thrusters located at the bottom.
I was wondering would making the spaceship skips on the ocean surface be much safer than dropping straight into the water as gently as possible?
In many sci-fi blockbuster movies spaceship were seen skipping on solid ground and the pilots emerged out with a smile and often suffered minor superficial cuts.
If skipping increased the survivability then all future spaceship pilots are required to perform this manuver before they are licensed to fly. | 2020/03/11 | [
"https://worldbuilding.stackexchange.com/questions/171004",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/8400/"
] | If you are in the unfortunate situation that you have to [lithobrake](https://en.wikipedia.org/wiki/Lithobraking) a spacecraft which wasn't designed for that, then you want to make sure you have as little kinetic energy as possible on impact and that you lose that remaining energy as slowly as possible.
First, you want to minimize the speed with which you hit the ground. This can be achieved by entering the atmosphere in a very shallow angle. That means you spend more time in the atmosphere and lose more kinetic energy to atmospheric friction. You also lose that energy in a much more gentle way, so the risk that your spacecraft gets torn apart during atmospheric reentry is reduced.
The planet *does* have an atmosphere allowing you to aerobrake a bit, does it? If not, you are even more screwed. But it doesn't change anything regarding wanting a shallow angle.
When you impact the ground (or the surface of the ocean, which behaves pretty similar at such speeds), you really don't want to lose all your acceleration at once in one big splash. It would create an enormous sudden acceleration force on the ship, which would be pretty destructive for the craft and for any of the unlucky lifeforms in it.
"Skipping" means that each "skip" only loses a small amount of kinetic energy. Dividing one large crash into many smaller crashes means that each of these crashes is far more survivable.
Even better if you can somehow get such a shallow approach that you can "slide". "Sliding" means that you lose your kinetic energy relatively slowly though friction. Also, that friction will be concentrated on the surface you are sliding on, and that force will act parallel to it. Most of the impact energy will be used on shaving off the lower hull and the lower decks of your spacecraft. Your upper decks might survive relatively unscathed...
...might...
Good luck, you are going to need it. | Short version: skipping turns your crew into paste, simply smashing the water has the best chance of success (not much though).
Just imagine you have a perfect rock to skip across the water. To skip it you have to throw it forwards across the water. Upon skipping it'll decelerate its vertical speed and accelerate upwards again, maintaining its horizontal speed much longer.
Now throw the stone with a lot of vertical velocity as well. You could still skip it but it would require more velocity horizontally as well... which would do nothing to save the crew. In fact it would kill them faster!
If the ship simply smashes the water and sinks deep down it'll decelerate over a longer time than if it smashes the water and skips. Now imagine crashing a space ship at mach something velocities into the water. The ship will take a larger hit if it skips than if it simply drills itself into the water, and that is ignoring the fact that you now need to decelerate a much higher horizontal velocity as well.
Now if you can convert the vertical velocity into horizontal velocity it works, as then you have a much longer time to decelerate the same velocity. I hope you've got wings and the time to change your angle! |
171,004 | Imagine a spaceship entering Earth's atmosphere, it has lost control of its engines and is relying on its reverse thrusters to decelerate before crashing into the Pacific ocean.
So in an attempt to save everyone on board from an impending doom, the pilot turned off all the reverse thrusters located on the top of the ship while diverting all powers to the thrusters located at the bottom.
I was wondering would making the spaceship skips on the ocean surface be much safer than dropping straight into the water as gently as possible?
In many sci-fi blockbuster movies spaceship were seen skipping on solid ground and the pilots emerged out with a smile and often suffered minor superficial cuts.
If skipping increased the survivability then all future spaceship pilots are required to perform this manuver before they are licensed to fly. | 2020/03/11 | [
"https://worldbuilding.stackexchange.com/questions/171004",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/8400/"
] | Short version: skipping turns your crew into paste, simply smashing the water has the best chance of success (not much though).
Just imagine you have a perfect rock to skip across the water. To skip it you have to throw it forwards across the water. Upon skipping it'll decelerate its vertical speed and accelerate upwards again, maintaining its horizontal speed much longer.
Now throw the stone with a lot of vertical velocity as well. You could still skip it but it would require more velocity horizontally as well... which would do nothing to save the crew. In fact it would kill them faster!
If the ship simply smashes the water and sinks deep down it'll decelerate over a longer time than if it smashes the water and skips. Now imagine crashing a space ship at mach something velocities into the water. The ship will take a larger hit if it skips than if it simply drills itself into the water, and that is ignoring the fact that you now need to decelerate a much higher horizontal velocity as well.
Now if you can convert the vertical velocity into horizontal velocity it works, as then you have a much longer time to decelerate the same velocity. I hope you've got wings and the time to change your angle! | Skipping means all the downward impact energy of splashdown is redirected upward. This means MORE stress on your ship causing more damage than it would have taken if it had broken the surface immediately. However it still might be a good idea to add some horizontal speed if you can use it to have more air push your ship up before the impact with water or land, (IE if you have wings to gradually convert downward to horizontal force, or you can add enough horizontal speed that the curvature of the planet drops the ground away from you.)
Another reason to try to skip your ship could be that it's effectively invulnerable, and has inertial dampeners so the extra impact force is less important than not sinking before the crew can get out. |
171,004 | Imagine a spaceship entering Earth's atmosphere, it has lost control of its engines and is relying on its reverse thrusters to decelerate before crashing into the Pacific ocean.
So in an attempt to save everyone on board from an impending doom, the pilot turned off all the reverse thrusters located on the top of the ship while diverting all powers to the thrusters located at the bottom.
I was wondering would making the spaceship skips on the ocean surface be much safer than dropping straight into the water as gently as possible?
In many sci-fi blockbuster movies spaceship were seen skipping on solid ground and the pilots emerged out with a smile and often suffered minor superficial cuts.
If skipping increased the survivability then all future spaceship pilots are required to perform this manuver before they are licensed to fly. | 2020/03/11 | [
"https://worldbuilding.stackexchange.com/questions/171004",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/8400/"
] | If you are in the unfortunate situation that you have to [lithobrake](https://en.wikipedia.org/wiki/Lithobraking) a spacecraft which wasn't designed for that, then you want to make sure you have as little kinetic energy as possible on impact and that you lose that remaining energy as slowly as possible.
First, you want to minimize the speed with which you hit the ground. This can be achieved by entering the atmosphere in a very shallow angle. That means you spend more time in the atmosphere and lose more kinetic energy to atmospheric friction. You also lose that energy in a much more gentle way, so the risk that your spacecraft gets torn apart during atmospheric reentry is reduced.
The planet *does* have an atmosphere allowing you to aerobrake a bit, does it? If not, you are even more screwed. But it doesn't change anything regarding wanting a shallow angle.
When you impact the ground (or the surface of the ocean, which behaves pretty similar at such speeds), you really don't want to lose all your acceleration at once in one big splash. It would create an enormous sudden acceleration force on the ship, which would be pretty destructive for the craft and for any of the unlucky lifeforms in it.
"Skipping" means that each "skip" only loses a small amount of kinetic energy. Dividing one large crash into many smaller crashes means that each of these crashes is far more survivable.
Even better if you can somehow get such a shallow approach that you can "slide". "Sliding" means that you lose your kinetic energy relatively slowly though friction. Also, that friction will be concentrated on the surface you are sliding on, and that force will act parallel to it. Most of the impact energy will be used on shaving off the lower hull and the lower decks of your spacecraft. Your upper decks might survive relatively unscathed...
...might...
Good luck, you are going to need it. | I highly doubt that a spaceship would be designed to withstand a touchdown with water and nearly terminal velocity.
Already for airplanes that's not a design consideration/validation.
And skipping on water would be even more harsh on the structure.
If you are extremely lucky the spaceship won't crash on water in the attempt to skip, but I don't think it will be usable after the event without major repairs. |
171,004 | Imagine a spaceship entering Earth's atmosphere, it has lost control of its engines and is relying on its reverse thrusters to decelerate before crashing into the Pacific ocean.
So in an attempt to save everyone on board from an impending doom, the pilot turned off all the reverse thrusters located on the top of the ship while diverting all powers to the thrusters located at the bottom.
I was wondering would making the spaceship skips on the ocean surface be much safer than dropping straight into the water as gently as possible?
In many sci-fi blockbuster movies spaceship were seen skipping on solid ground and the pilots emerged out with a smile and often suffered minor superficial cuts.
If skipping increased the survivability then all future spaceship pilots are required to perform this manuver before they are licensed to fly. | 2020/03/11 | [
"https://worldbuilding.stackexchange.com/questions/171004",
"https://worldbuilding.stackexchange.com",
"https://worldbuilding.stackexchange.com/users/8400/"
] | If you are in the unfortunate situation that you have to [lithobrake](https://en.wikipedia.org/wiki/Lithobraking) a spacecraft which wasn't designed for that, then you want to make sure you have as little kinetic energy as possible on impact and that you lose that remaining energy as slowly as possible.
First, you want to minimize the speed with which you hit the ground. This can be achieved by entering the atmosphere in a very shallow angle. That means you spend more time in the atmosphere and lose more kinetic energy to atmospheric friction. You also lose that energy in a much more gentle way, so the risk that your spacecraft gets torn apart during atmospheric reentry is reduced.
The planet *does* have an atmosphere allowing you to aerobrake a bit, does it? If not, you are even more screwed. But it doesn't change anything regarding wanting a shallow angle.
When you impact the ground (or the surface of the ocean, which behaves pretty similar at such speeds), you really don't want to lose all your acceleration at once in one big splash. It would create an enormous sudden acceleration force on the ship, which would be pretty destructive for the craft and for any of the unlucky lifeforms in it.
"Skipping" means that each "skip" only loses a small amount of kinetic energy. Dividing one large crash into many smaller crashes means that each of these crashes is far more survivable.
Even better if you can somehow get such a shallow approach that you can "slide". "Sliding" means that you lose your kinetic energy relatively slowly though friction. Also, that friction will be concentrated on the surface you are sliding on, and that force will act parallel to it. Most of the impact energy will be used on shaving off the lower hull and the lower decks of your spacecraft. Your upper decks might survive relatively unscathed...
...might...
Good luck, you are going to need it. | Skipping means all the downward impact energy of splashdown is redirected upward. This means MORE stress on your ship causing more damage than it would have taken if it had broken the surface immediately. However it still might be a good idea to add some horizontal speed if you can use it to have more air push your ship up before the impact with water or land, (IE if you have wings to gradually convert downward to horizontal force, or you can add enough horizontal speed that the curvature of the planet drops the ground away from you.)
Another reason to try to skip your ship could be that it's effectively invulnerable, and has inertial dampeners so the extra impact force is less important than not sinking before the crew can get out. |
2,322 | I want to make a quadcopter for my final year project and I am willing to use DC motors as the four rotors of the quadcopter. Can any one guide me about the ratings for proper motor selection for my job. | 2014/01/17 | [
"https://robotics.stackexchange.com/questions/2322",
"https://robotics.stackexchange.com",
"https://robotics.stackexchange.com/users/2629/"
] | You'll need to use brushless (as opposed to brushed) motors for a quadcopter:
see [Why do quadcopters use brushless motors](https://robotics.stackexchange.com/questions/1627/why-do-quadcopters-use-brushless-motors)
The motor goes hand in hand with the propellers, so you have to make sure they are compatible for your application, as you'll need to generate enough thrust to get it to fly (so it will depend on the weight):
see [How to choose the right propeller/motor combination for a quadcopter?](https://robotics.stackexchange.com/questions/25/how-to-choose-the-right-propeller-motor-combination-for-a-quadcopter) | If you want to build a really cheap but great flying quadcopter, check out coreless micro motors: <http://www.rcgroups.com/forums/showthread.php?t=2009496> |
21,919 | I recently noticed my car is making a barely-perceptible, low-pitched, buzzing or droning sound at highway speeds. It kind-of sounds like some cars' exhaust, but it's quiet enough that I seem to be the only one in my family who is hearing it. (It's about on the same volume level as natural "road noise".)
The sound only begins to be noticeable around 45 MPH. Once the car is going fast enough that I can hear it, the sound does not go away until the car has slowed to below the same threshold.
The sound does not follow, nor does it seem at all affected by, the engine's speed. (I've listened during normal usage as gears shift automatically, and also forced up/down shifts and shifted to neutral - none of these cause any change to the noise's pitch or volume.) It also is not uniquely affected by braking - so long as the car continues to travel faster than about 45 MPH, it remains present and at its usual pitch and volume regardless of whether or not the brakes are applied.
I've tried to localize the sound to no avail. It feels a little like it's coming from the front of the car, but the other day I could swear it seemed to be coming a little more from the rear. Since it only happens at 45+ MPH, and is fairly quiet to begin with, listening from outside the car is not an option and it gets drowned out by the wind when the windows are down.
The sound only seems to be slightly affected by vehicle speed. It just barely raises or lowers pitch as the car goes faster or slower, but the volume does not seem to change much.
The car in question:
>
> 2012 Dodge Avenger SXT
>
> 2.4 L inline-4 DOHC engine
>
> 6-speed automatic transmission, FWD
>
>
>
Brief recap of sound characteristics:
* Low pitch, low volume. (Barely noticeable against road noise.)
* Occurs while vehicle speed is >= approx. 45 MPH.
* Unaffected by engine speed, gear selection, or braking.
* Pitch has a slight direct relation to vehicle speed.
Given that the sound seems to be somewhat related to vehicle speed, but independent of engine speed, one of my first suspects was the wheels or tires. However, the tires appear to be in good shape and (recent weather fluctuations aside) don't seem to have problems holding air.
What are likely causes of this type of sound that I should be looking at? | 2015/10/21 | [
"https://mechanics.stackexchange.com/questions/21919",
"https://mechanics.stackexchange.com",
"https://mechanics.stackexchange.com/users/78/"
] | jack the wheels up one by one and spin them by hand. if it makes (sometimes somewhat quiet) metal grating noise the bearing(s) needs to be replaced. | I've had cars that had a hole in the centre exhaust that only created a soft 'booming' noise at certain engine revs (harmonic resonance issue?). The noise must have been coming / going at certain revs (1300 odd revs in a low revving beast of a straight 6), but I only heard it at speed because that was the only time the car was cruising at such low revs. |
371,357 | I was reading the wikipedia article on the twin paradox and came upon the section describing it in terms of the relativistic Doppler shift ([link](https://en.wikipedia.org/wiki/Twin_paradox#What_it_looks_like:_the_relativistic_Doppler_shift)).
The image below illustrates the received signals from Earth to ship (left) and ship to Earth (right).
[](https://i.stack.imgur.com/yYUtt.gif)
The explanation states that on the outward journey the twin on the ship sees the twin on Earth age only 1 year (illustrated by the few red signals in the left image), while on the return journey he sees the twin on Earth age by 9 years (illustrated by the many blue signals).
I understand this from the explanation, but doesn't this conflict with the concept that time seems to run slower for objects moving relative to an observer? This explanation would lead one to believe that the rate at which an observer sees a moving object travel through time depends on whether the object is moving towards or away from the observer. This should not be case according to the time dilation equation which depends on the absolute value of the velocity, not the direction. | 2017/11/28 | [
"https://physics.stackexchange.com/questions/371357",
"https://physics.stackexchange.com",
"https://physics.stackexchange.com/users/100011/"
] | A possible source of confusion comes from the use of the word "see". Frequently when we talk about Special Relativity, we say that one observer "sees" another experiencing time at a certain rate or whatever. What we really mean is that the first observer *calculates* the time of a certain event — usually in the frame of that first observer. On the other hand, those diagrams depict what the observers literally see — as in receiving photons. That distinction is important.
[Lower down](https://en.wikipedia.org/wiki/Twin_paradox#The_distinction_between_what_they_see_and_what_they_calculate) on the wikipedia page, it shows what the first observer will actually calculate, and indeed it is insensitive to the direction of the velocity. | >
> But doesn't this conflict with the concept that time seems to run slower for objects moving relative to an observer? This explanation would lead one to believe that the rate at which an observer sees a moving object travel through time depends on whether the object is moving towards or away from the observer.
>
>
>
Time indeed runs slower for objects moving relative to the observer. Time dilation for outward and inward journey depends only on **relative** velocity. The number of signals received during outward and inward journey differ due to Doppler effect. Doppler effect is about perception whereas time dilation is real. Mike's answer points out this distinction.
Also, if you refer the derivation for relativistic Doppler effect you will see that the formula is derived by applying Doppler shift and time dilation as two independent concepts. |
3,640,470 | I'm coding a program and I have the entire GPLv3 license from <http://www.gnu.org/licenses/gpl-3.0.txt> in a COPYING text file. However, at the end, there's a section on 'How to Apply These Terms to Your New Programs'. Do I keep this in COPYING? Is it part of the GPLv3 or a reminder on how to use it? | 2010/09/04 | [
"https://Stackoverflow.com/questions/3640470",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/292831/"
] | It's part of the GPL. See [the FAQ](http://www.gnu.org/licenses/gpl-faq.html#GPLOmitPreamble). | It is not part of the license terms, but it is part of the license text (if that makes sense). The license itself is a coprighted work, and just like any other copyrighted work, you need to obey *its* license, which in this case basically just says "don't modify anything."
In particular, the GPL *itself* is *not* released under a free license, because that would allow anyone to modify it, which would negate the whole purpose of having a standardized license with a standardized name. In general, standards can never be under a free license, since the whole point of a free license is the ability to modify and the whole point of a standard is that it is the same for everybody. (Note that, of course, the standards *document*, i.e. the *text* that *describes* the standard, may very well be under a free license.) |
120,752 | A book I'm reading **Alfred's Essentials of Music Theory** *Minor Scales* (pg 90-91) says
* Every major key has a RELATIVE MINOR KEY that has the same key signature.
* Each relative minor scale begins on the 6th note of the relative major scale.
* The 6th note is the keynote of the minor scale and the note from which the scale gets its name.
* the NATURAL MINOR scale uses only the tones of the relative major scale.
My question is this: Is there such a thing as a **relative minor scale**?
The book doesn't answer this directly but (to me says) the term **relative minor** requires a major scale to which it refers to. And the scale associated with the relative minor Key is called the **Natural Minor Scale**.
For example, given the key of C major, the relative minor key is A.
Would you ever say,
* **play the relative minor scale A**? Or **play the A relative minor scale**? To me this is ambiguous, because I could treat this as "play the A Natural Minor scale", or "play the scale that is the relative minor scale to A major", which would be the F♯ Natural Minor Scale.
* Or would you instead say **play the relative minor scale of C major**?
* Or is it more common to say **play the A natural minor scale**?
* Or are all of them OK?
So my question is: **Is there a scale called the relative minor scale?**
Hopefully the above example provides context for the question.
Several questions surround this topic but I didn't find one that asked this specifically.
* [The differences between natural, harmonic and melodic minors](https://music.stackexchange.com/questions/9798/the-differences-between-natural-harmonic-and-melodic-minors)
* [What is the purpose of knowing the relative minor of a particular major scale?](https://music.stackexchange.com/questions/58762/what-is-the-purpose-of-knowing-the-relative-minor-of-a-particular-major-scale)
And several others | 2022/01/16 | [
"https://music.stackexchange.com/questions/120752",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/25409/"
] | Intuitively, of your suggestions, only **play the relative minor scale of C major** and **play the A natural minor scale** make any sense - **play the relative minor scale A** and **play the A relative minor scale** do not.
Even then, there are multiple relative minor scales of C major - the A natural minor scale, the A harmonic minor scale, and the A melodic minor scale all fit. | Usually you would get asked, or think about, *what is the relative minor [key]?* I was never asked the four bulleted questions in your question when I was in music school.
(The quote from the Alfred book sounds a bit unusual but people would understand it.)
I suppose you have figured this out, but an easy way to think about the relative minor is to realize that for any major key, there is an associated major scale, which has all the same notes as the major scale / key (with perhaps flats or sharps depending on which one you chose), BUT you would start on the 6th degree and play or sing eight consecutive notes to land once again on the 6th degree.
Note that to *be in a certain key* includes relationships among notes, and expectations. Once the key has been set up in your ear, you feel a strong pull to go from a V chord to a I chord, and there's an even stronger pull to go from the 7th degree ("leading tone") to the 8th degree ("tonic"). There are others -- those are examples.
Also as I suppose you probably know, there's only one version of the scale that goes along with a particular major key, but there are different flavors of minor scales that could go along with a particular minor key. But there's only one "relative minor" associated with a particular major key because when we talk about "relative minor," we are talking about a relationship between two *keys*. See what I mean, that the *scale* aspect isn't really the main thing?
If you are a physical science sort of person, I guess you might draw a very loose analogy with the duality of light being a wave and/or a particle. |
120,752 | A book I'm reading **Alfred's Essentials of Music Theory** *Minor Scales* (pg 90-91) says
* Every major key has a RELATIVE MINOR KEY that has the same key signature.
* Each relative minor scale begins on the 6th note of the relative major scale.
* The 6th note is the keynote of the minor scale and the note from which the scale gets its name.
* the NATURAL MINOR scale uses only the tones of the relative major scale.
My question is this: Is there such a thing as a **relative minor scale**?
The book doesn't answer this directly but (to me says) the term **relative minor** requires a major scale to which it refers to. And the scale associated with the relative minor Key is called the **Natural Minor Scale**.
For example, given the key of C major, the relative minor key is A.
Would you ever say,
* **play the relative minor scale A**? Or **play the A relative minor scale**? To me this is ambiguous, because I could treat this as "play the A Natural Minor scale", or "play the scale that is the relative minor scale to A major", which would be the F♯ Natural Minor Scale.
* Or would you instead say **play the relative minor scale of C major**?
* Or is it more common to say **play the A natural minor scale**?
* Or are all of them OK?
So my question is: **Is there a scale called the relative minor scale?**
Hopefully the above example provides context for the question.
Several questions surround this topic but I didn't find one that asked this specifically.
* [The differences between natural, harmonic and melodic minors](https://music.stackexchange.com/questions/9798/the-differences-between-natural-harmonic-and-melodic-minors)
* [What is the purpose of knowing the relative minor of a particular major scale?](https://music.stackexchange.com/questions/58762/what-is-the-purpose-of-knowing-the-relative-minor-of-a-particular-major-scale)
And several others | 2022/01/16 | [
"https://music.stackexchange.com/questions/120752",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/25409/"
] | ### Is there a scale called *relative minor*?
No, not in the sense of scales called *major*, *minor*, *chromatic*, *dorian*, etc. Those terms are the names of the scales, and they provide a name to associate with the unique sounds of those scales. Major scales all share a certain quality of sound — a certain mood — that is distinct from, say, minor scales.
One can think of major, natural minor, harmonic minor, and other scales as the "proper name" of the scale, just as @Aaron is my name here and @PatS is yours.
**Relative**, and another term, **parallel**, describe relationships between scales. I am a sibling in one context ("relative" to my brother or sister), an employee in another ("relative" to my boss), and "parallel" to other people named "Aaron" (if you'll forgive a tortured attempt at an analogy).
* **Scales are relative when** they share the same pitches (i.e., the same key signature), but have different starting notes. C Major and A (natural) Minor are relative scales. C major is the relative major scale to A minor. A minor is the relative minor scale to C major.
* **Scales are parallel when** they share the same starting note but have different pitches (i.e., different key signatures). C Major and C minor are parallel scale, as are A major and A minor. C major is the parallel major to C minor; A minor is the parallel minor to A major.
### Would you ever say ...?
1. play the relative minor scale A? Or play the A relative minor scale? **No**.
2. play the relative minor scale of C major? **Yes**.
3. play the A natural minor scale? **Yes**.
4. are all of them OK? **Only (2) and (3)**.
If you want someone to play a scale, you'd just name the scale: (3). "Play A natural minor." (Unless it's a test of someone's knowledge of scale relationships.)
You'd most likely use (2) when describing a piece of music. "The piece starts out in major, but then moves to the relative minor before returning to major at the end." | Intuitively, of your suggestions, only **play the relative minor scale of C major** and **play the A natural minor scale** make any sense - **play the relative minor scale A** and **play the A relative minor scale** do not.
Even then, there are multiple relative minor scales of C major - the A natural minor scale, the A harmonic minor scale, and the A melodic minor scale all fit. |
120,752 | A book I'm reading **Alfred's Essentials of Music Theory** *Minor Scales* (pg 90-91) says
* Every major key has a RELATIVE MINOR KEY that has the same key signature.
* Each relative minor scale begins on the 6th note of the relative major scale.
* The 6th note is the keynote of the minor scale and the note from which the scale gets its name.
* the NATURAL MINOR scale uses only the tones of the relative major scale.
My question is this: Is there such a thing as a **relative minor scale**?
The book doesn't answer this directly but (to me says) the term **relative minor** requires a major scale to which it refers to. And the scale associated with the relative minor Key is called the **Natural Minor Scale**.
For example, given the key of C major, the relative minor key is A.
Would you ever say,
* **play the relative minor scale A**? Or **play the A relative minor scale**? To me this is ambiguous, because I could treat this as "play the A Natural Minor scale", or "play the scale that is the relative minor scale to A major", which would be the F♯ Natural Minor Scale.
* Or would you instead say **play the relative minor scale of C major**?
* Or is it more common to say **play the A natural minor scale**?
* Or are all of them OK?
So my question is: **Is there a scale called the relative minor scale?**
Hopefully the above example provides context for the question.
Several questions surround this topic but I didn't find one that asked this specifically.
* [The differences between natural, harmonic and melodic minors](https://music.stackexchange.com/questions/9798/the-differences-between-natural-harmonic-and-melodic-minors)
* [What is the purpose of knowing the relative minor of a particular major scale?](https://music.stackexchange.com/questions/58762/what-is-the-purpose-of-knowing-the-relative-minor-of-a-particular-major-scale)
And several others | 2022/01/16 | [
"https://music.stackexchange.com/questions/120752",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/25409/"
] | ### Is there a scale called *relative minor*?
No, not in the sense of scales called *major*, *minor*, *chromatic*, *dorian*, etc. Those terms are the names of the scales, and they provide a name to associate with the unique sounds of those scales. Major scales all share a certain quality of sound — a certain mood — that is distinct from, say, minor scales.
One can think of major, natural minor, harmonic minor, and other scales as the "proper name" of the scale, just as @Aaron is my name here and @PatS is yours.
**Relative**, and another term, **parallel**, describe relationships between scales. I am a sibling in one context ("relative" to my brother or sister), an employee in another ("relative" to my boss), and "parallel" to other people named "Aaron" (if you'll forgive a tortured attempt at an analogy).
* **Scales are relative when** they share the same pitches (i.e., the same key signature), but have different starting notes. C Major and A (natural) Minor are relative scales. C major is the relative major scale to A minor. A minor is the relative minor scale to C major.
* **Scales are parallel when** they share the same starting note but have different pitches (i.e., different key signatures). C Major and C minor are parallel scale, as are A major and A minor. C major is the parallel major to C minor; A minor is the parallel minor to A major.
### Would you ever say ...?
1. play the relative minor scale A? Or play the A relative minor scale? **No**.
2. play the relative minor scale of C major? **Yes**.
3. play the A natural minor scale? **Yes**.
4. are all of them OK? **Only (2) and (3)**.
If you want someone to play a scale, you'd just name the scale: (3). "Play A natural minor." (Unless it's a test of someone's knowledge of scale relationships.)
You'd most likely use (2) when describing a piece of music. "The piece starts out in major, but then moves to the relative minor before returning to major at the end." | No, 'Relative minor' is not a type of scale any more that 'Next Door' is a type of house.
So you would never 'Play the A relative minor scale'. You might 'play the relative minor scale of C major' though.
Don't assume the 'relative minor' will always be a Natural Minor scale. Yes, the literal transformation of C major - the same notes as C major but feeling A as the tonic - is A Natural Minor. All the white notes, starting on A. But A Harmonic Minor (with G♯ instead of G♮) and A Melodic Minor (with F♯ and G♯ going up, all white notes coming down) are also relative minor scales of C major. |
120,752 | A book I'm reading **Alfred's Essentials of Music Theory** *Minor Scales* (pg 90-91) says
* Every major key has a RELATIVE MINOR KEY that has the same key signature.
* Each relative minor scale begins on the 6th note of the relative major scale.
* The 6th note is the keynote of the minor scale and the note from which the scale gets its name.
* the NATURAL MINOR scale uses only the tones of the relative major scale.
My question is this: Is there such a thing as a **relative minor scale**?
The book doesn't answer this directly but (to me says) the term **relative minor** requires a major scale to which it refers to. And the scale associated with the relative minor Key is called the **Natural Minor Scale**.
For example, given the key of C major, the relative minor key is A.
Would you ever say,
* **play the relative minor scale A**? Or **play the A relative minor scale**? To me this is ambiguous, because I could treat this as "play the A Natural Minor scale", or "play the scale that is the relative minor scale to A major", which would be the F♯ Natural Minor Scale.
* Or would you instead say **play the relative minor scale of C major**?
* Or is it more common to say **play the A natural minor scale**?
* Or are all of them OK?
So my question is: **Is there a scale called the relative minor scale?**
Hopefully the above example provides context for the question.
Several questions surround this topic but I didn't find one that asked this specifically.
* [The differences between natural, harmonic and melodic minors](https://music.stackexchange.com/questions/9798/the-differences-between-natural-harmonic-and-melodic-minors)
* [What is the purpose of knowing the relative minor of a particular major scale?](https://music.stackexchange.com/questions/58762/what-is-the-purpose-of-knowing-the-relative-minor-of-a-particular-major-scale)
And several others | 2022/01/16 | [
"https://music.stackexchange.com/questions/120752",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/25409/"
] | Major and minor are types of scales. Relative minor is an association – the minor key with the same key signature as the relative major. | Usually you would get asked, or think about, *what is the relative minor [key]?* I was never asked the four bulleted questions in your question when I was in music school.
(The quote from the Alfred book sounds a bit unusual but people would understand it.)
I suppose you have figured this out, but an easy way to think about the relative minor is to realize that for any major key, there is an associated major scale, which has all the same notes as the major scale / key (with perhaps flats or sharps depending on which one you chose), BUT you would start on the 6th degree and play or sing eight consecutive notes to land once again on the 6th degree.
Note that to *be in a certain key* includes relationships among notes, and expectations. Once the key has been set up in your ear, you feel a strong pull to go from a V chord to a I chord, and there's an even stronger pull to go from the 7th degree ("leading tone") to the 8th degree ("tonic"). There are others -- those are examples.
Also as I suppose you probably know, there's only one version of the scale that goes along with a particular major key, but there are different flavors of minor scales that could go along with a particular minor key. But there's only one "relative minor" associated with a particular major key because when we talk about "relative minor," we are talking about a relationship between two *keys*. See what I mean, that the *scale* aspect isn't really the main thing?
If you are a physical science sort of person, I guess you might draw a very loose analogy with the duality of light being a wave and/or a particle. |
120,752 | A book I'm reading **Alfred's Essentials of Music Theory** *Minor Scales* (pg 90-91) says
* Every major key has a RELATIVE MINOR KEY that has the same key signature.
* Each relative minor scale begins on the 6th note of the relative major scale.
* The 6th note is the keynote of the minor scale and the note from which the scale gets its name.
* the NATURAL MINOR scale uses only the tones of the relative major scale.
My question is this: Is there such a thing as a **relative minor scale**?
The book doesn't answer this directly but (to me says) the term **relative minor** requires a major scale to which it refers to. And the scale associated with the relative minor Key is called the **Natural Minor Scale**.
For example, given the key of C major, the relative minor key is A.
Would you ever say,
* **play the relative minor scale A**? Or **play the A relative minor scale**? To me this is ambiguous, because I could treat this as "play the A Natural Minor scale", or "play the scale that is the relative minor scale to A major", which would be the F♯ Natural Minor Scale.
* Or would you instead say **play the relative minor scale of C major**?
* Or is it more common to say **play the A natural minor scale**?
* Or are all of them OK?
So my question is: **Is there a scale called the relative minor scale?**
Hopefully the above example provides context for the question.
Several questions surround this topic but I didn't find one that asked this specifically.
* [The differences between natural, harmonic and melodic minors](https://music.stackexchange.com/questions/9798/the-differences-between-natural-harmonic-and-melodic-minors)
* [What is the purpose of knowing the relative minor of a particular major scale?](https://music.stackexchange.com/questions/58762/what-is-the-purpose-of-knowing-the-relative-minor-of-a-particular-major-scale)
And several others | 2022/01/16 | [
"https://music.stackexchange.com/questions/120752",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/25409/"
] | ### Is there a scale called *relative minor*?
No, not in the sense of scales called *major*, *minor*, *chromatic*, *dorian*, etc. Those terms are the names of the scales, and they provide a name to associate with the unique sounds of those scales. Major scales all share a certain quality of sound — a certain mood — that is distinct from, say, minor scales.
One can think of major, natural minor, harmonic minor, and other scales as the "proper name" of the scale, just as @Aaron is my name here and @PatS is yours.
**Relative**, and another term, **parallel**, describe relationships between scales. I am a sibling in one context ("relative" to my brother or sister), an employee in another ("relative" to my boss), and "parallel" to other people named "Aaron" (if you'll forgive a tortured attempt at an analogy).
* **Scales are relative when** they share the same pitches (i.e., the same key signature), but have different starting notes. C Major and A (natural) Minor are relative scales. C major is the relative major scale to A minor. A minor is the relative minor scale to C major.
* **Scales are parallel when** they share the same starting note but have different pitches (i.e., different key signatures). C Major and C minor are parallel scale, as are A major and A minor. C major is the parallel major to C minor; A minor is the parallel minor to A major.
### Would you ever say ...?
1. play the relative minor scale A? Or play the A relative minor scale? **No**.
2. play the relative minor scale of C major? **Yes**.
3. play the A natural minor scale? **Yes**.
4. are all of them OK? **Only (2) and (3)**.
If you want someone to play a scale, you'd just name the scale: (3). "Play A natural minor." (Unless it's a test of someone's knowledge of scale relationships.)
You'd most likely use (2) when describing a piece of music. "The piece starts out in major, but then moves to the relative minor before returning to major at the end." | Usually you would get asked, or think about, *what is the relative minor [key]?* I was never asked the four bulleted questions in your question when I was in music school.
(The quote from the Alfred book sounds a bit unusual but people would understand it.)
I suppose you have figured this out, but an easy way to think about the relative minor is to realize that for any major key, there is an associated major scale, which has all the same notes as the major scale / key (with perhaps flats or sharps depending on which one you chose), BUT you would start on the 6th degree and play or sing eight consecutive notes to land once again on the 6th degree.
Note that to *be in a certain key* includes relationships among notes, and expectations. Once the key has been set up in your ear, you feel a strong pull to go from a V chord to a I chord, and there's an even stronger pull to go from the 7th degree ("leading tone") to the 8th degree ("tonic"). There are others -- those are examples.
Also as I suppose you probably know, there's only one version of the scale that goes along with a particular major key, but there are different flavors of minor scales that could go along with a particular minor key. But there's only one "relative minor" associated with a particular major key because when we talk about "relative minor," we are talking about a relationship between two *keys*. See what I mean, that the *scale* aspect isn't really the main thing?
If you are a physical science sort of person, I guess you might draw a very loose analogy with the duality of light being a wave and/or a particle. |
120,752 | A book I'm reading **Alfred's Essentials of Music Theory** *Minor Scales* (pg 90-91) says
* Every major key has a RELATIVE MINOR KEY that has the same key signature.
* Each relative minor scale begins on the 6th note of the relative major scale.
* The 6th note is the keynote of the minor scale and the note from which the scale gets its name.
* the NATURAL MINOR scale uses only the tones of the relative major scale.
My question is this: Is there such a thing as a **relative minor scale**?
The book doesn't answer this directly but (to me says) the term **relative minor** requires a major scale to which it refers to. And the scale associated with the relative minor Key is called the **Natural Minor Scale**.
For example, given the key of C major, the relative minor key is A.
Would you ever say,
* **play the relative minor scale A**? Or **play the A relative minor scale**? To me this is ambiguous, because I could treat this as "play the A Natural Minor scale", or "play the scale that is the relative minor scale to A major", which would be the F♯ Natural Minor Scale.
* Or would you instead say **play the relative minor scale of C major**?
* Or is it more common to say **play the A natural minor scale**?
* Or are all of them OK?
So my question is: **Is there a scale called the relative minor scale?**
Hopefully the above example provides context for the question.
Several questions surround this topic but I didn't find one that asked this specifically.
* [The differences between natural, harmonic and melodic minors](https://music.stackexchange.com/questions/9798/the-differences-between-natural-harmonic-and-melodic-minors)
* [What is the purpose of knowing the relative minor of a particular major scale?](https://music.stackexchange.com/questions/58762/what-is-the-purpose-of-knowing-the-relative-minor-of-a-particular-major-scale)
And several others | 2022/01/16 | [
"https://music.stackexchange.com/questions/120752",
"https://music.stackexchange.com",
"https://music.stackexchange.com/users/25409/"
] | ### Is there a scale called *relative minor*?
No, not in the sense of scales called *major*, *minor*, *chromatic*, *dorian*, etc. Those terms are the names of the scales, and they provide a name to associate with the unique sounds of those scales. Major scales all share a certain quality of sound — a certain mood — that is distinct from, say, minor scales.
One can think of major, natural minor, harmonic minor, and other scales as the "proper name" of the scale, just as @Aaron is my name here and @PatS is yours.
**Relative**, and another term, **parallel**, describe relationships between scales. I am a sibling in one context ("relative" to my brother or sister), an employee in another ("relative" to my boss), and "parallel" to other people named "Aaron" (if you'll forgive a tortured attempt at an analogy).
* **Scales are relative when** they share the same pitches (i.e., the same key signature), but have different starting notes. C Major and A (natural) Minor are relative scales. C major is the relative major scale to A minor. A minor is the relative minor scale to C major.
* **Scales are parallel when** they share the same starting note but have different pitches (i.e., different key signatures). C Major and C minor are parallel scale, as are A major and A minor. C major is the parallel major to C minor; A minor is the parallel minor to A major.
### Would you ever say ...?
1. play the relative minor scale A? Or play the A relative minor scale? **No**.
2. play the relative minor scale of C major? **Yes**.
3. play the A natural minor scale? **Yes**.
4. are all of them OK? **Only (2) and (3)**.
If you want someone to play a scale, you'd just name the scale: (3). "Play A natural minor." (Unless it's a test of someone's knowledge of scale relationships.)
You'd most likely use (2) when describing a piece of music. "The piece starts out in major, but then moves to the relative minor before returning to major at the end." | Major and minor are types of scales. Relative minor is an association – the minor key with the same key signature as the relative major. |
20,626 | Do departments look at MOOC's certificates favorably during the graduate admissions process? Will it give me any advantage over students who don't have them if I am trying to enter a PhD program? | 2014/05/10 | [
"https://academia.stackexchange.com/questions/20626",
"https://academia.stackexchange.com",
"https://academia.stackexchange.com/users/15117/"
] | You're free to mention the certificate in your application. How much weight to give to it is presumably up to individual committee members. I think unless the certificate pertains to a specific skill that's in demand for the program, you shouldn't expect to get much of a boost from having one. At the moment, people don't have much experience with such certificates, and will be more inclined to look at indicators they know better, like grades and GREs. It's possible this will change a bit in the future, but it will likely move pretty slowly. | If the MOOC certificate is in a closely related field, it will help. If it is in something like "Underwater Basket Weaving", it may not give you an advantage over anyone else, unless of course you are entering a program in Underwater Basket Weaving. Or something similar, such as Underwater Knitting. |
20,626 | Do departments look at MOOC's certificates favorably during the graduate admissions process? Will it give me any advantage over students who don't have them if I am trying to enter a PhD program? | 2014/05/10 | [
"https://academia.stackexchange.com/questions/20626",
"https://academia.stackexchange.com",
"https://academia.stackexchange.com/users/15117/"
] | You're free to mention the certificate in your application. How much weight to give to it is presumably up to individual committee members. I think unless the certificate pertains to a specific skill that's in demand for the program, you shouldn't expect to get much of a boost from having one. At the moment, people don't have much experience with such certificates, and will be more inclined to look at indicators they know better, like grades and GREs. It's possible this will change a bit in the future, but it will likely move pretty slowly. | What sort of advantage do you have in mind? MOOCs could help a little in addressing weaknesses in your application: if there's a standard course you were unable to take, then it could be helpful to be able to say you learned the material by other means, and a MOOC certificate might carry a little more weight than completely independent reading. However, on a scale from saying you read a book to getting a strong letter of recommendation, a MOOC certificate is much closer to saying you read a book.
Beyond that, it can't hurt to list MOOC certificates on your CV, but I doubt they'll make any difference. If you're going to graduate school, you should have spent time on many different sorts of learning: lots of formal classes, extensive discussions with peers, independent reading, and ideally working with a faculty member on something (a senior thesis, undergraduate research, etc.). Adding a few online classes is just not a big deal, especially if people are unsure of what the standards are. Compared with things like letters of recommendation or research experience, MOOCs disappear in the noise. |
20,626 | Do departments look at MOOC's certificates favorably during the graduate admissions process? Will it give me any advantage over students who don't have them if I am trying to enter a PhD program? | 2014/05/10 | [
"https://academia.stackexchange.com/questions/20626",
"https://academia.stackexchange.com",
"https://academia.stackexchange.com/users/15117/"
] | What sort of advantage do you have in mind? MOOCs could help a little in addressing weaknesses in your application: if there's a standard course you were unable to take, then it could be helpful to be able to say you learned the material by other means, and a MOOC certificate might carry a little more weight than completely independent reading. However, on a scale from saying you read a book to getting a strong letter of recommendation, a MOOC certificate is much closer to saying you read a book.
Beyond that, it can't hurt to list MOOC certificates on your CV, but I doubt they'll make any difference. If you're going to graduate school, you should have spent time on many different sorts of learning: lots of formal classes, extensive discussions with peers, independent reading, and ideally working with a faculty member on something (a senior thesis, undergraduate research, etc.). Adding a few online classes is just not a big deal, especially if people are unsure of what the standards are. Compared with things like letters of recommendation or research experience, MOOCs disappear in the noise. | If the MOOC certificate is in a closely related field, it will help. If it is in something like "Underwater Basket Weaving", it may not give you an advantage over anyone else, unless of course you are entering a program in Underwater Basket Weaving. Or something similar, such as Underwater Knitting. |
36,543,702 | I know I cant block other notifications from things like facebook or Twitter etc, but is there anyway to be notified of them, so I can manage my own content and the user doesn't miss critical information that exists on my navigation bar. I think this would be a fair compromise. | 2016/04/11 | [
"https://Stackoverflow.com/questions/36543702",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/4066326/"
] | It is not possible to be notified of notifications from other apps. | * Your app won't get notified, while receiving other app's notification.
* Your server has to send a notification whenever you want to send.
* As per Apple documentation, it is not advisable to use the notification in critical situation. Because the delivery time may vary based on the traffic. But we don't have other options. |
8,805,635 | Is there a browser which supports [CSS shaders](https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html)? | 2012/01/10 | [
"https://Stackoverflow.com/questions/8805635",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1125873/"
] | No modern browser supports CSS Shaders or its later name, CSS Custom Filters.
**Where to search for which browsers support various features:**
[Searching caniuse.com for CSS Custom Filters](http://caniuse.com/#search=css%20custom%20filters) should provide an up-to-date answer to this question.
Can I Use is a great tool that provides compatibility tables for support of HTML5, CSS3, SVG and more in desktop and mobile browsers. | If the browser supports every feature of HTML5 and CSS3. The only one that supports it by now is Chrome I guess. |
8,805,635 | Is there a browser which supports [CSS shaders](https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html)? | 2012/01/10 | [
"https://Stackoverflow.com/questions/8805635",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1125873/"
] | At the time of this writing, CSS Custom Filters, formerly known as CSS Shaders, are not available in any browser. They were an experimental feature available in WebKit Nightly and Chrome (under a flag) for a while, but have since been removed. | If the browser supports every feature of HTML5 and CSS3. The only one that supports it by now is Chrome I guess. |
8,805,635 | Is there a browser which supports [CSS shaders](https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html)? | 2012/01/10 | [
"https://Stackoverflow.com/questions/8805635",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1125873/"
] | No modern browser supports CSS Shaders or its later name, CSS Custom Filters.
**Where to search for which browsers support various features:**
[Searching caniuse.com for CSS Custom Filters](http://caniuse.com/#search=css%20custom%20filters) should provide an up-to-date answer to this question.
Can I Use is a great tool that provides compatibility tables for support of HTML5, CSS3, SVG and more in desktop and mobile browsers. | Webkit appears to start having them: <http://trac.webkit.org/changeset/103170> |
8,805,635 | Is there a browser which supports [CSS shaders](https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html)? | 2012/01/10 | [
"https://Stackoverflow.com/questions/8805635",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1125873/"
] | No modern browser supports CSS Shaders or its later name, CSS Custom Filters.
**Where to search for which browsers support various features:**
[Searching caniuse.com for CSS Custom Filters](http://caniuse.com/#search=css%20custom%20filters) should provide an up-to-date answer to this question.
Can I Use is a great tool that provides compatibility tables for support of HTML5, CSS3, SVG and more in desktop and mobile browsers. | this link is supported for you to know the css supported browser.
<https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html>
<https://bugs.webkit.org/show_bug.cgi?id=73317>
chrome and safari are supported for CSS shaders |
8,805,635 | Is there a browser which supports [CSS shaders](https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html)? | 2012/01/10 | [
"https://Stackoverflow.com/questions/8805635",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1125873/"
] | Support for CSS Shaders was discontinued in Webkit in January 2014.
<https://lists.webkit.org/pipermail/webkit-dev/2014-January/026098.html> | this link is supported for you to know the css supported browser.
<https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html>
<https://bugs.webkit.org/show_bug.cgi?id=73317>
chrome and safari are supported for CSS shaders |
8,805,635 | Is there a browser which supports [CSS shaders](https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html)? | 2012/01/10 | [
"https://Stackoverflow.com/questions/8805635",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1125873/"
] | Support for CSS Shaders was discontinued in Webkit in January 2014.
<https://lists.webkit.org/pipermail/webkit-dev/2014-January/026098.html> | If the browser supports every feature of HTML5 and CSS3. The only one that supports it by now is Chrome I guess. |
8,805,635 | Is there a browser which supports [CSS shaders](https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html)? | 2012/01/10 | [
"https://Stackoverflow.com/questions/8805635",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1125873/"
] | At the time of this writing, CSS Custom Filters, formerly known as CSS Shaders, are not available in any browser. They were an experimental feature available in WebKit Nightly and Chrome (under a flag) for a while, but have since been removed. | this link is supported for you to know the css supported browser.
<https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html>
<https://bugs.webkit.org/show_bug.cgi?id=73317>
chrome and safari are supported for CSS shaders |
8,805,635 | Is there a browser which supports [CSS shaders](https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html)? | 2012/01/10 | [
"https://Stackoverflow.com/questions/8805635",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1125873/"
] | No modern browser supports CSS Shaders or its later name, CSS Custom Filters.
**Where to search for which browsers support various features:**
[Searching caniuse.com for CSS Custom Filters](http://caniuse.com/#search=css%20custom%20filters) should provide an up-to-date answer to this question.
Can I Use is a great tool that provides compatibility tables for support of HTML5, CSS3, SVG and more in desktop and mobile browsers. | Chrome has some support for it and, I think, FF might have some now. I don't have my link for articles in Chrome handy but it's all very new. |
8,805,635 | Is there a browser which supports [CSS shaders](https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html)? | 2012/01/10 | [
"https://Stackoverflow.com/questions/8805635",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1125873/"
] | Support for CSS Shaders was discontinued in Webkit in January 2014.
<https://lists.webkit.org/pipermail/webkit-dev/2014-January/026098.html> | Webkit appears to start having them: <http://trac.webkit.org/changeset/103170> |
8,805,635 | Is there a browser which supports [CSS shaders](https://dvcs.w3.org/hg/FXTF/raw-file/tip/custom/index.html)? | 2012/01/10 | [
"https://Stackoverflow.com/questions/8805635",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1125873/"
] | At the time of this writing, CSS Custom Filters, formerly known as CSS Shaders, are not available in any browser. They were an experimental feature available in WebKit Nightly and Chrome (under a flag) for a while, but have since been removed. | No modern browser supports CSS Shaders or its later name, CSS Custom Filters.
**Where to search for which browsers support various features:**
[Searching caniuse.com for CSS Custom Filters](http://caniuse.com/#search=css%20custom%20filters) should provide an up-to-date answer to this question.
Can I Use is a great tool that provides compatibility tables for support of HTML5, CSS3, SVG and more in desktop and mobile browsers. |
63,723,789 | When I try to make a Classic Report with a Card Template, the Template Is not showing up in the right window. I don’t have Media Lists either for example. But things like Blank with attributes are there.
Does anyone know a solution for this?
Greets | 2020/09/03 | [
"https://Stackoverflow.com/questions/63723789",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/14214988/"
] | There are different templates. Every region has its own template - that is the "Region Template". "Blank with attributes" is one of those templates, by default it will be "Standard".
If your region is of type "Classic Report" you will get the option to select an report template for the report itself. That can be selected in the "Appearance" section of the report attributes. This is where you can find templates like "Card Template".
[](https://i.stack.imgur.com/mqVQp.png) | The way you described it, "solution" is to upgrade your Apex version as it seems that yours doesn't support templates you described. |
52,058 | I'm wondering if is it possible to write a romantic dramatic book, and then write a second book that's a sequel but in a completely different genre, like a horror or psychological horror story? | 2020/07/30 | [
"https://writers.stackexchange.com/questions/52058",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/44982/"
] | Yes, it's possible. While changing genres *during* a story can leave the audience feeling betrayed - they expected one thing but got something else entirely - but changing genres *between* stories gives you a chance to let your audience know in advance, through (depending on the medium) trailers, interviews, the front cover, etc. This will lessen the shock, and give them time to adjust to the idea.
Some fans will invariably be put off by the switch; the more drastic the change, the more fans you're likely to alienate. The trick is to **keep the core aspect of whatever made them like your first novel**. To use your example, while the sequel may be a psychological horror, you can keep some of the romantic aspects by emphasising how the leads from the first book are still very much in love; that love can either help them get through the traumatic events of the story, and/or be exploited by who/whatever your villain is as part of those traumatic events.
A good example of how to do this is *Aliens*. The first *Alien* film was very much horror. *Aliens*, by contrast, was an 80s action movie, but it kept the horror elements from the first film and managed to blend the two together. The Alien Queen appearing from nowhere and graphically tearing Bishop in half? Horror. Ripley showing up in a power loader a few seconds later to fight her? 80s action movie. The fusion worked so well that *Aliens* is considered one of the greatest sequels of all time. | **Possibly, but not without resistance.** Anytime something is successful, both the publisher and the audience will demand more of the same. Your best bet is to do some genre-blending in a way that brings something old and something new at the same time. For instance, if your first book is romantic-drama, your second could be action-drama. People will stick with you if it was the shared elements that brought them to your book in the first place.
*Harry Potter* is a good example. Several of the books have different genre elements --middle-grade mystery in one, action adventure in another, war novel in a third --but **the overall series stays grounded** around YA fantasy. |
43,580,660 | As i am working in MNC company, we need to install maven in my eclipse.but Eclipse MarketPlace & Install New Software is blocked in my Firewall.
And also tried : windows-->Properties-->Advanced System Setting (this also blocked)
Can u please help any one to install maven.
Thanks | 2017/04/24 | [
"https://Stackoverflow.com/questions/43580660",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/5093262/"
] | You cannot simply install maven in offline mode. It has a lot of dependencies and their dependencies. This will become a very tedious task to do manually.
Consider these options:
1. If you can connect to internet through other means, like using a
proxy, try configuring proxy to install maven. See [Configuring a
proxy.](http://maven.apache.org/guides/mini/guide-proxies.html)
2. Better talk with your network IT team, they will sort it out for you by providing some exceptional access on 8080/80 ports | Well you can try it out and set the proxy from your company in eclipse and try again. Maybe you have no network configuration in eclipse so the Firewall blocks everything. |
119,227 | Imagine in a conversation over an important issue, between two people, the other side starts talking about a different topic which differs with the main subject under discussion. This way in an unwanted manner he is misleading the conversation. In other hand you intend to come back to the subject you started to talk to him about it at the beginning. Which one of the following sentences sounds natural in (especially American) English?
>
> 1 - Let's get back to the main subject.
>
>
> 2 - Let's get back to the main matter.
>
>
> 3 - Let's get back to the main topic.
>
>
> 4 - Let's get back on topic.
>
>
>
If no one, then please tell me the most common way to say that.
Added: to clarify the matter in my question I will make two different scenarios:
***case 1)***
>
> **Father:** You have put much more time for your studies. You don't study as hard as you should recently David. I was shocked when I saw your last report card at the end of the previous semester just a couple of days ago.
>
>
> **Son:** I will do that dad. Meanwhile, did you know that tomorrow will be a derby between Manchester City and Manchester United. (Smilingly says the son.)
>
>
> **Father:** Yes. I'm informed about it. But......[the phrase]........
>
>
>
---
***Case 2:***
>
> **Professor:** Today we are going to discuss about the latest discoveries in the field of oncology. But before that I have some small grievances against some students that do not pay attention to me when I teach. Last week, at the end of a session, a student came to me and asked me about a subject that we had discussed about it at least 30 minutes during the last three sessions. ....[The professor asks them to pay more attention to the course topics.]
> Well. ......[the phrase]........
>
>
> | 2017/02/12 | [
"https://ell.stackexchange.com/questions/119227",
"https://ell.stackexchange.com",
"https://ell.stackexchange.com/users/5652/"
] | Your request is to
>
> find out the main idea
>
> *cut to* the heart of the matter
>
> get the gist of the story
>
> [cut to the chase](https://en.wikipedia.org/wiki/Cut_to_the_chase)
>
>
>
of something. Either *heart of the matter* or *gist* can be used. | Instead of *tell*, I would use *get to*.
>
> Please get to the heart of the matter.
>
>
>
(The verbal phrase *get to* in a context like this one urges the listener to get to the matter quickly.)
There is also this idiom:
>
> Please cut to the chase.
>
>
>
[Wikipedia](https://en.wikipedia.org/wiki/Cut_to_the_chase) says this idiom means: *get to the point without wasting time* |
764 | If you are wondering, why this question exists: Four of us had a long and inconclusive discussion about this in chat and taking this to Meta seems the next best thing to do for me.
The central question is:
**When is an answer not an answer (NAA) to the extent that it should be deleted or converted to a comment?**
Here are some examples to feed the discussion. I flagged all of these answers as *not an answer* at some time, and in some cases, this flag was even considered helpful. Note that none of the answerers had the 50 reputation required to post comments when answering:
* [Example 1 (Konjunktiv I in mathematics)](https://german.stackexchange.com/a/16050/2594)
* [Example 2 (Aufgrund des Wetters …)](https://german.stackexchange.com/a/15945/2594) ([for users under 2k rep](https://i.stack.imgur.com/pl8ay.png))
* [Example 3 (Ursprung)](https://german.stackexchange.com/a/11391/2594) ([for users under 2k rep](https://i.stack.imgur.com/ZgbFa.png))
* [Example 4 (wuppen)](https://german.stackexchange.com/a/10951/2594)
* [Example 5 (man denke)](https://german.stackexchange.com/a/9061/2594)
A secondary question would be how we should handle such answers, in particular if we should *not* consider them NAA. | 2014/10/31 | [
"https://german.meta.stackexchange.com/questions/764",
"https://german.meta.stackexchange.com",
"https://german.meta.stackexchange.com/users/2594/"
] | I opt that we should consider an answer to be NAA if it does not even partially try to answer one of the questions asked in the question (in German: Thema verfehlt). In particular this contains answers, which would be valid answers to another (probably non-existant) question. If an answer addresses the problem that has been stated to motivate the question without going into a fully different direction, it may be acceptable (i.e., not NAA). When in doubt, answers should rather be left as answers.
Taken from [here](https://meta.stackexchange.com/q/225370/255554).
My reasons for this are:
* Remarks that do not directly answer the question, however useful they may be, do not belong to answers. This is a main principle and feature of Stack Exchange in general: The focus is on questions and answers – nothing else. Softening this principle would bring us too close to a forum or mailing list. Deviating from this general principle of Stack Exchange as a minor site would also cause confusion to visitors coming from other Stack Exchange sites.
* If such answers are useful, they can usually be converted to a comment or edited into the question and be useful to future visitors as such. If they cannot (e.g., because they are too long), a new, fitting question can be asked to accommodate them.
* Keeping such answers may leave a wrong impression on new visitors as to how our site works. As this is about the key features of our site, this can be very harmful. Moreover, it may make us look disorganised.
* If we should keep such answers, they break the voting system. On one hand, if they are helpful (in the wider sense), they would deserve upvotes, in particular, they would deserve upvotes if they were comments. On the other hand, we certainly do not want them to be the first thing a visitor finds, so we cannot upvote them or should even downvote them, even if they are helpful (in the wider sense). Such answers are also not helpful in the narrower sense of actually solving the askers problem and one might thus consider to downvote them. In general, I consider the upvote–downvote axis to be mostly perpendicular to the NAA-answer axis (and the close-vote–keep axis).
* Partially due to the above, such answers may actually cause some direct harm. One of the strengths of this site is, that we have not yet left a question in the [unanswered tab](https://german.stackexchange.com/unanswered). However, if an answer that does not really answer the question is left as such and manages to get a positive score for some reason, it may suffice to make the system consider the question answered and thus deprive it from the special attention of unanswered questions.
If an answer is NAA, as described above, I thus suggest that we do the following:
* If the answers contain aspects that can be **easily** turned into an answer, edit it. If the minimal edit that solves the NAA status adds more than the existing answer contains or can be considered as totally changing the answer, write a new answer.
* Flag it ([as what seems to be not such an easy question](https://meta.stackexchange.com/q/224449/255554)) and leave a comment as to whether the answer should be a comment or deleted altogether. Since (at least from my observation) most NAAs come from users who lack the 50 reputation required to comment or have misunderstood the system, explain where the problem is and be friendly.
* Do not downvote it for being NAA (downvote it for other reasons deserving a downvote though).
* Do not upvote it.
---
Here is my opinion on the example answers:
* [Example 1 (Konjunktiv I in mathematics)](https://german.stackexchange.com/a/16050/2594) – This might look like a duplicate of Tom Au’s answer at first glance. However, it does not contain the aspect of explaining that the Konjunktiv “has the sense of ‘suppose’ or ‘let’” (which made Tom Au’s answer not an NAA). It does not refer to the Konjunktiv at all but informs about a parallel in the English language. It thus does not attempt to answer the question and is NAA. The information about the English parallel might be considered helpful tangential information which would be fit for a comment, which was probably what it was intended to be anyway.
* [Example 2 (Aufgrund des Wetters …)](https://german.stackexchange.com/a/15945/2594) ([answer](https://i.stack.imgur.com/vAUaw.png)) – This correctly states that the punctuation the asker would use for an example sentence is correct. But the question is clearly not about this sentence, so this answer answers another question and is NAA here. The information added is not useful, so this answer should be deleted.
* [Example 3 (Ursprung)](https://german.stackexchange.com/a/11391/2594) ([answer][2]) – The answer offers a different meaning for *Ursprung,* while the question asked for the etymology. Again, this answers the wrong question and thus is NAA. This may be supplementary to the question, if it is not contained in the Portuguese translation given by the asker, but this seems unlikely to me, as it does not refer to it. Either the answerer did not read the question at all or intended this to be a comment.
* [Example 4 (wuppen)](https://german.stackexchange.com/a/10951/2594) – The tagging and the edit to the question (which preceded the answer by half a year) leave only little doubt that the question is about the origin of the word and not about the reason for its revival. But the latter is what this answer is about. It is thus once more a correct answer to a different question. This is interesting tangential information that is well placed in a comment.
* [Example 5 (man denke)](https://german.stackexchange.com/a/9061/2594) – The question asks about the reason for the subjunctive in a given sentence and offers a translation for this sentence. The answer corrects this translation and clearly states, but does not say anything regarding the subjunctive. This is a textbook example for a comment and probably was intended as such. | Whenever we see an answer we feel it does not answer a post we can take to following actions:
* **Comment** on the post to suggest an improvement. On gaining the privilege to comment we also take some responsibility to help new user to get around with our model.
* **Edit** the post to improve it. Those edits do not necessarily have to be minor. In case they keep the overall intention of a post we can freely add missing details in order to salvage it. This is not a bad thing, it helps to make the site's content better.
* **Downvote** it if you really feel it was unhelpful. It would then be desirable you came back to the post later to remove you downvote or even upvote it in case an edit had improved it.
* **Do not vote** on it if it is a post that just doesn't merit further thinking about it.
**Flags** to indicate a post which is not an answer should be reserved for clear-cut cases where a **deletion** of the post should follow (also see [What posts should be flagged for deletion?](https://german.meta.stackexchange.com/questions/661/what-posts-should-be-flagged-for-deletion)). Keep in mind that a moderator who receives such a flag only has two options: Decline it or accept it. In the latter case the post will **immediately** be deleted (or converted to a comment if applicable). No more improvements or edits will be possible.
Whenever we see such a flag we expect a post to be something like this (adapted from [Meta Stackexchange](https://meta.stackexchange.com/a/224452/210600)):
1. I have a question...
2. @someUser: I think that...
3. I can't comment therefore I answer...
4. I like turtles.
5. aj098243u5in (cat on keyboard)
For a quite nice list of answers that should or should not be flagged see also:
* <https://meta.stackoverflow.com/questions/265552/when-to-flag-an-answer-as-it-is-not-an-answer>
Spam (as defined here: [What are the “spam” and “rude or abusive” (offensive) flags, and how do they work?](https://meta.stackexchange.com/questions/58032/what-are-the-spam-and-offensive-flags-and-how-do-they-work)) should be flagged as such.
---
When looking at the examples given here are my reasons why the flag were declined:
[Example 1](https://german.stackexchange.com/a/16050/23): This post is not wrong *per se* but it adds nothing to the answer posted a year before. But it had an upvote, and no downvote - so at least somebody deemed it helpful. In this case a comment telling that we don't like exact contents to be posted twice may have been an appropriate first action. The post is not a good candidate for a comment. I will always be reluctant to delete posts of newly registered users unless they are clearly bad.
[Example 2:](https://german.stackexchange.com/a/15945/23): The answer is correct but it looks like a copy of the questions's first paragraph with a comment. It was a valid answer but is does not further answer the question. Only poor answers are not what the NAA-flag is meant for. Nevertheless it appears the post was from an unregistered user who never came back - so deleting was not a problem.
[Example 3:](https://german.stackexchange.com/a/11391/23): This would have been a nice answer if the question was read. It could have easily been saved by adding something on why and since when German mathematicians say "Ursprung" but this sadly had not happened. Since the answer was abandoned with the user not coming back deletion was o.k. (but leaving it would have caused not much harm either).
[Example 4:](https://german.stackexchange.com/a/10951/23): This is a valid answer. We can not proof it is correct but at least the popular commercial mentioned here may have contributed to the revival of "wuppen" in colloquial German. The OP of the question did mention he is also interested in the revival of this word, etymology was only mentioned in the tags, so the answer is fine here.
[Example 5:](https://german.stackexchange.com/a/9061/23) This is a valid first answer too. It is not brilliantly elaborated but there is no indication why this post should better be a comment. |
764 | If you are wondering, why this question exists: Four of us had a long and inconclusive discussion about this in chat and taking this to Meta seems the next best thing to do for me.
The central question is:
**When is an answer not an answer (NAA) to the extent that it should be deleted or converted to a comment?**
Here are some examples to feed the discussion. I flagged all of these answers as *not an answer* at some time, and in some cases, this flag was even considered helpful. Note that none of the answerers had the 50 reputation required to post comments when answering:
* [Example 1 (Konjunktiv I in mathematics)](https://german.stackexchange.com/a/16050/2594)
* [Example 2 (Aufgrund des Wetters …)](https://german.stackexchange.com/a/15945/2594) ([for users under 2k rep](https://i.stack.imgur.com/pl8ay.png))
* [Example 3 (Ursprung)](https://german.stackexchange.com/a/11391/2594) ([for users under 2k rep](https://i.stack.imgur.com/ZgbFa.png))
* [Example 4 (wuppen)](https://german.stackexchange.com/a/10951/2594)
* [Example 5 (man denke)](https://german.stackexchange.com/a/9061/2594)
A secondary question would be how we should handle such answers, in particular if we should *not* consider them NAA. | 2014/10/31 | [
"https://german.meta.stackexchange.com/questions/764",
"https://german.meta.stackexchange.com",
"https://german.meta.stackexchange.com/users/2594/"
] | I'd like to emphasize something here, because it seems to be overlooked a lot:
**Comments are not for lackluster answers.**
If you see an answer that clearly attempts to address the asker's problem but doesn't do so rigorously (or arrives at the wrong result), this is *not* something that should be converted to a comment. **It should be downvoted.**
A good comment is one that offers useful but tangential information, assists the author in clarifying his post, or otherwise corrects a problem with the post it is posted to. A bad answer does *not* make a good comment, and should not be converted into one.
By the same token, don't flag partial answers as NAA - they should generally not be converted *or* deleted. When in doubt, downvote - it's fast, takes effect immediately, and requires no one else's assistance.
Regarding your examples: I would likely have declined flags on #1, #4 and #5, and deleted #2 and #3. I would not have converted any of them. I'm not qualified to judge the *accuracy* of the information presented, so I wouldn't have voted either - but that is something all of you can and should be doing. | Whenever we see an answer we feel it does not answer a post we can take to following actions:
* **Comment** on the post to suggest an improvement. On gaining the privilege to comment we also take some responsibility to help new user to get around with our model.
* **Edit** the post to improve it. Those edits do not necessarily have to be minor. In case they keep the overall intention of a post we can freely add missing details in order to salvage it. This is not a bad thing, it helps to make the site's content better.
* **Downvote** it if you really feel it was unhelpful. It would then be desirable you came back to the post later to remove you downvote or even upvote it in case an edit had improved it.
* **Do not vote** on it if it is a post that just doesn't merit further thinking about it.
**Flags** to indicate a post which is not an answer should be reserved for clear-cut cases where a **deletion** of the post should follow (also see [What posts should be flagged for deletion?](https://german.meta.stackexchange.com/questions/661/what-posts-should-be-flagged-for-deletion)). Keep in mind that a moderator who receives such a flag only has two options: Decline it or accept it. In the latter case the post will **immediately** be deleted (or converted to a comment if applicable). No more improvements or edits will be possible.
Whenever we see such a flag we expect a post to be something like this (adapted from [Meta Stackexchange](https://meta.stackexchange.com/a/224452/210600)):
1. I have a question...
2. @someUser: I think that...
3. I can't comment therefore I answer...
4. I like turtles.
5. aj098243u5in (cat on keyboard)
For a quite nice list of answers that should or should not be flagged see also:
* <https://meta.stackoverflow.com/questions/265552/when-to-flag-an-answer-as-it-is-not-an-answer>
Spam (as defined here: [What are the “spam” and “rude or abusive” (offensive) flags, and how do they work?](https://meta.stackexchange.com/questions/58032/what-are-the-spam-and-offensive-flags-and-how-do-they-work)) should be flagged as such.
---
When looking at the examples given here are my reasons why the flag were declined:
[Example 1](https://german.stackexchange.com/a/16050/23): This post is not wrong *per se* but it adds nothing to the answer posted a year before. But it had an upvote, and no downvote - so at least somebody deemed it helpful. In this case a comment telling that we don't like exact contents to be posted twice may have been an appropriate first action. The post is not a good candidate for a comment. I will always be reluctant to delete posts of newly registered users unless they are clearly bad.
[Example 2:](https://german.stackexchange.com/a/15945/23): The answer is correct but it looks like a copy of the questions's first paragraph with a comment. It was a valid answer but is does not further answer the question. Only poor answers are not what the NAA-flag is meant for. Nevertheless it appears the post was from an unregistered user who never came back - so deleting was not a problem.
[Example 3:](https://german.stackexchange.com/a/11391/23): This would have been a nice answer if the question was read. It could have easily been saved by adding something on why and since when German mathematicians say "Ursprung" but this sadly had not happened. Since the answer was abandoned with the user not coming back deletion was o.k. (but leaving it would have caused not much harm either).
[Example 4:](https://german.stackexchange.com/a/10951/23): This is a valid answer. We can not proof it is correct but at least the popular commercial mentioned here may have contributed to the revival of "wuppen" in colloquial German. The OP of the question did mention he is also interested in the revival of this word, etymology was only mentioned in the tags, so the answer is fine here.
[Example 5:](https://german.stackexchange.com/a/9061/23) This is a valid first answer too. It is not brilliantly elaborated but there is no indication why this post should better be a comment. |
764 | If you are wondering, why this question exists: Four of us had a long and inconclusive discussion about this in chat and taking this to Meta seems the next best thing to do for me.
The central question is:
**When is an answer not an answer (NAA) to the extent that it should be deleted or converted to a comment?**
Here are some examples to feed the discussion. I flagged all of these answers as *not an answer* at some time, and in some cases, this flag was even considered helpful. Note that none of the answerers had the 50 reputation required to post comments when answering:
* [Example 1 (Konjunktiv I in mathematics)](https://german.stackexchange.com/a/16050/2594)
* [Example 2 (Aufgrund des Wetters …)](https://german.stackexchange.com/a/15945/2594) ([for users under 2k rep](https://i.stack.imgur.com/pl8ay.png))
* [Example 3 (Ursprung)](https://german.stackexchange.com/a/11391/2594) ([for users under 2k rep](https://i.stack.imgur.com/ZgbFa.png))
* [Example 4 (wuppen)](https://german.stackexchange.com/a/10951/2594)
* [Example 5 (man denke)](https://german.stackexchange.com/a/9061/2594)
A secondary question would be how we should handle such answers, in particular if we should *not* consider them NAA. | 2014/10/31 | [
"https://german.meta.stackexchange.com/questions/764",
"https://german.meta.stackexchange.com",
"https://german.meta.stackexchange.com/users/2594/"
] | While I second Wrzlprmft's position and reasoning, I also acknowledge that it is more difficult than one might think to come to an agreement what a question is all about and whether an answer adresses it at least partially or not. Furthermore, even when we see a 100% clear NAA post we cannot be sure that the poster didn't try to answer the question and just failed without noticing it. Therefore I suggest that we talk about such a post:
Whenever we see an answer that we consider NAA and which cannot be improved easily by an edit, we leave a comment. This comment
* should be an open question *(It is more likely to trigger an action by the poster than a statement.)*
* should summarize how we perceive the question *(The poster and other users might have seen it from a different point of view.)*
* should summarize how we perceive the answer given *(This might not be the same what the poster had in mind when writing it, or what other users read from it.)*
* should make clear that we believe the question hasn't been addressed
* should optionally include a hint that editing and commenting an own answer is possible for all users and is the proper way to react to this comment *(If the answer is by a new user who might not yet know this.)*
This way, we do our best to make the poster improve his/her answer, we can discuss different understandings of both the question and the answer, and we invite other community members to state their point of view either by upvoting our comment or comment themselves.
Only if after taking this action and waiting for a while (a pity we have no technical support for follow-up in SE) the answer still seems to be an undisputed NAA we should flag it.
So for example one could have commented on [example 5 (man denke)](https://german.stackexchange.com/a/9061/23):
>
> I think the question asks about the reason for the subjunctive in the given sentence. Your answer corrects the OP's translation of this sentence and states that the German phrase has an imperative meaning, but does not say anything regarding the subjunctive. So could you please add reasoning on why the German phrase uses the subjunctive? (In case you didn't know: you can edit and comment on your answer.)
>
>
> | Whenever we see an answer we feel it does not answer a post we can take to following actions:
* **Comment** on the post to suggest an improvement. On gaining the privilege to comment we also take some responsibility to help new user to get around with our model.
* **Edit** the post to improve it. Those edits do not necessarily have to be minor. In case they keep the overall intention of a post we can freely add missing details in order to salvage it. This is not a bad thing, it helps to make the site's content better.
* **Downvote** it if you really feel it was unhelpful. It would then be desirable you came back to the post later to remove you downvote or even upvote it in case an edit had improved it.
* **Do not vote** on it if it is a post that just doesn't merit further thinking about it.
**Flags** to indicate a post which is not an answer should be reserved for clear-cut cases where a **deletion** of the post should follow (also see [What posts should be flagged for deletion?](https://german.meta.stackexchange.com/questions/661/what-posts-should-be-flagged-for-deletion)). Keep in mind that a moderator who receives such a flag only has two options: Decline it or accept it. In the latter case the post will **immediately** be deleted (or converted to a comment if applicable). No more improvements or edits will be possible.
Whenever we see such a flag we expect a post to be something like this (adapted from [Meta Stackexchange](https://meta.stackexchange.com/a/224452/210600)):
1. I have a question...
2. @someUser: I think that...
3. I can't comment therefore I answer...
4. I like turtles.
5. aj098243u5in (cat on keyboard)
For a quite nice list of answers that should or should not be flagged see also:
* <https://meta.stackoverflow.com/questions/265552/when-to-flag-an-answer-as-it-is-not-an-answer>
Spam (as defined here: [What are the “spam” and “rude or abusive” (offensive) flags, and how do they work?](https://meta.stackexchange.com/questions/58032/what-are-the-spam-and-offensive-flags-and-how-do-they-work)) should be flagged as such.
---
When looking at the examples given here are my reasons why the flag were declined:
[Example 1](https://german.stackexchange.com/a/16050/23): This post is not wrong *per se* but it adds nothing to the answer posted a year before. But it had an upvote, and no downvote - so at least somebody deemed it helpful. In this case a comment telling that we don't like exact contents to be posted twice may have been an appropriate first action. The post is not a good candidate for a comment. I will always be reluctant to delete posts of newly registered users unless they are clearly bad.
[Example 2:](https://german.stackexchange.com/a/15945/23): The answer is correct but it looks like a copy of the questions's first paragraph with a comment. It was a valid answer but is does not further answer the question. Only poor answers are not what the NAA-flag is meant for. Nevertheless it appears the post was from an unregistered user who never came back - so deleting was not a problem.
[Example 3:](https://german.stackexchange.com/a/11391/23): This would have been a nice answer if the question was read. It could have easily been saved by adding something on why and since when German mathematicians say "Ursprung" but this sadly had not happened. Since the answer was abandoned with the user not coming back deletion was o.k. (but leaving it would have caused not much harm either).
[Example 4:](https://german.stackexchange.com/a/10951/23): This is a valid answer. We can not proof it is correct but at least the popular commercial mentioned here may have contributed to the revival of "wuppen" in colloquial German. The OP of the question did mention he is also interested in the revival of this word, etymology was only mentioned in the tags, so the answer is fine here.
[Example 5:](https://german.stackexchange.com/a/9061/23) This is a valid first answer too. It is not brilliantly elaborated but there is no indication why this post should better be a comment. |
305,970 | About continuous aspect in this site [British council>Continuous aspect](https://learnenglish.britishcouncil.org/grammar/english-grammar-reference/continuous-aspect#:%7E:text=for%20something%20happening%20again%20and%20again%3A), they say that continuous aspect can be used to describe something happening again and again. I don't really understand the example below:
>
> They've been doing that every day this week.
>
>
>
* As far as I know, in sentece above, present perfect continuous is for emphasizing action, and we could use present perfect simple if they want to emphasize the results instead. Am I correct? Do we have to use continuous aspect this sentence? Why?
* Their next 2 example is using continuous aspect to talk about annoying/amusing habits (+always), and future habits (will be + V-ing). Are there any other situations that we use continuous to describe something happening again and again? If yes, what are they? | 2021/12/20 | [
"https://ell.stackexchange.com/questions/305970",
"https://ell.stackexchange.com",
"https://ell.stackexchange.com/users/28176/"
] | The grammatical problem with which you are struggling is known as a dangling or stranded preposition. In order to avoid these in English, we're sometimes forced to use sentence constructions that also seem unnatural to us, such as my first sentence here. "History at Cambridge" is grammatically correct, but when you say "to study history at", Cambridge has been divided from its preposition by the comma because they are now in two different clauses. People's feelings about how objectionable this problem is vary. In the case of your university application, it's probably best avoided. Try to keep your objects directly behind their prepositions when your purpose requires formality. A more correct construction would be "Cambridge, being among the best universities at which to study history", but that is very awkward. Yosef's comment sounds like a great suggestion. <https://en.wikipedia.org/wiki/Preposition_stranding> | If you are worried that your audience considers preposition stranding to be wrong ([not all do](https://en.wikipedia.org/wiki/Preposition_stranding#The_Debate_about_P-stranding)), move it:
>
> *Being among the best universities at which to study history, Cambridge . . .*
>
>
>
Also, I agree with Yosef Baskin’s comment: You might want to let them know that they *are* the best, not *among* the best. |
10,144 | I intend to take raw images using a Canon which gives \*.CRW and DNG format raw images.
I have below question regarding processing of those raw capture
1] What all tools(I am ready to purchase/freeware) would allow me to process these raw images. The Image processing features I am looking to be able to run on these raw images is as follows:-
False Pixel Correction, Green channel noise removal, Black pixel clamping, Debayering, Color Correction,Auto White balance, Color Conversion(to YUV space), Image sharpening filter, Lens distortion correction, Vignetting correction, color fringing removal,Gamma correction, De-noise filter,Contrast enhancement, Deblurring. and allow to store a *.BMP/*.YUV processed output file.
Would Adobe Photoshop CS + Lightroom do most/all of these features?
2] Would a Canon/any other camera, allow to capture in raw video mode? i.e. a Video sequence in raw format?
Any pointers would be useful to me.
thanks,
-AD | 2011/03/25 | [
"https://photo.stackexchange.com/questions/10144",
"https://photo.stackexchange.com",
"https://photo.stackexchange.com/users/2438/"
] | First off, I do not believe there are any Canon cameras that produce a DNG directly. You would need to convert your .CRW/.CR2 files to DNG if thats what you want to store/archive your images.
As for the feature requests:
1. I do not believe there is any single tool that does everything you are asking for. I am a heavy Lightroom + Photoshop user, and as far as I know, those two support the following:
* Noise Removal: Lightroom 3.x has *amazing* noise removal capabilities, far superior to any other product outside of a custom deconvolution algorithm. You can apply judicious luminance noise reduction, and maximum color noise reduction, and get near perfect results. Lightroom 3.x's noise management tools can easily correct for stuck/hot/false pixels, and it usually doesn't need that much correction to eliminate them.
* Lens distortion correction: Lightroom 3.x also brings lens profiles to the table. There is a pretty large out-of-the-box library of profiles for common lenses from Canon. It is also possible to create your own profiles for other lenses. This feature can also remove color fringing, as well as correct for a variety of other optical aberrations.
* Color & Exposure tuning: Both Lightroom and Photoshop w/ ACR offer extensive tools for color correction, white balance (automatic, preset, or selected from pixels in the image), exposure control (exposure, highlight recovery, black level/clamping, and fill light adjustment), contrast/brightness control, as well as vibrancy/saturation control (either overall, or for several key color channels.)
* Vignetting: Lightroom has some very convenient vignette tools that allow you to either correct for mechanical vignetting, or add your own post-crop vignetting for artistic effect.
* Image sharpening: Photoshop has a fairly extensive set of features that can help with image sharpening, including the Unsharp mask, noise-based sharpening, and the ability to use layers and masks to achieve various forms of sharpening or contrast enhancement.
* Debayering: I think you are referring to demosaicing here, in which case when working a RAW file in Lightroom or Photoshop+ACR, this is done automatically for you when you save to a non-RAW format. Generally, RAW editors simply apply your edits in a non-destructive fasion directly over the raw bayer pixel information, and only demosaic upon final output to print or another image format. If you want more control over the demosaicing algorithm, you might look into some OSS programs based on DCRAW. Another tool that offers some useful low-level demosaic tuning is Deep Sky Stacker, an astrophotography stacking tool.
* Color space conversion: Photoshop is an excellent tool for color management. It does not directly support YUV, as far as I know, however it does support editing in L*a*b\* space. I am less familiar with YUV space, however I do know that it is similar to Lab space as both are Limunance/Chrominance color spaces. You can definitely save to .BMP format, as well as .TIFF or even .PSD if you need to store more than just pixel information. You may have to look at custom file format plugins to save to a .YUV file, or look into third party/OSS programs to handle YUV space editing.
2. RAW video capture is a very new concept. I do not believe that any off-the-shelf DSLR cameras support RAW video capture yet. The rumormill has it that the Canon 5D III or Canon 1Ds IV will be the first DSLR to offer full-frame RAW video recording...however it is just rumors at the moment. Canon has supposedly demonstrated prototype full-frame RAW video in Europe somewhere, however I have not seen any real evidence of this yet. | 1.
--
There is no raw image converter/editor I know of which provides all of those features, though you can do all that with a combination of Adobe Camera Raw and Photoshop and some scripting. The only one I'm not sure about is deblurring, depending on what you need it for the smart sharpen might work for you. Oh and you might have to do the hot pixel mapping yourself, don't think there's a filter for that though you might get by with a custom action. I could probably offer a better answer if you could let us know what your ultimate goal is, from the requirements it sounds like you're doing some sort of batch processing of raws to create a [timelapse?] video.
2.
--
There's no way to get raw video from a Canon camera presently, this may be unlocked with a firmware hack at some point but I wouldn't count on it. |
138,733 | In the Aligned Continuity, it was revealed that
>
> when Megatron first began spreading his revolutionary ideas across Cybertron for a just and equal society, Soundwave was chief among his followers, being by his side from the very beginning since before the war for Cybertron even began.
>
> Starscream, however, was an Air Commander who joined the Decepticons only after the war began. During the war, he has already demonstrated a traitorous tendency towards Megatron. According to some literature, he has even alternated between staying neutral or even apparently working in favour of the Autobots at some point.
>
>
>
Clearly, Megatron has had a much longer history with Soundwave than Starscream, and his relationship with Soundwave appears to be quite personal too compared to a purely soldier-to-commander relationship with Starscream - Megatron often speaks of his personal thoughts and plans before Soundwave when they are alone, a demonstration of their special relationship at a level Starscream never enjoyed to the same degree.
As officers of the Decepticons, Soundwave has proven to be immeasurably more loyal to Megatron and reliable on missions than Starscream - two of the top qualities that Megatron values most in a Decepticon, as their one true lord and master. In leadership and skill in strategy and tactics, Soundwave does not appear to be inferior to Starscream either. Even if that is not the case, he definitely makes up for it with the lack of cowardice and tendency to panic that Starscream so often exhibits.
However I look at it, from my interpretation of Megatron's perspective Soundwave just seems more eligible as second-in-command of the Decepticons than Starscream in practically every way I can think of. The only possible reason I could find for why Starscream is made second-in-command is the fact that
>
> Starscream captured Sentinel Prime and delivered him to Megatron instead of escorting him to safety with the Autobots, as an offering when he sought to join the Decepticons.
>
>
>
This act by Starscream impressed Megatron, but surely Megatron would feel that all that has transpired since then would not be worth whatever benefit or advantage he gained from Starscream? So why exactly is Starscream kept around as second-in-command, and Soundwave was apparently never considered for the post? | 2016/08/24 | [
"https://scifi.stackexchange.com/questions/138733",
"https://scifi.stackexchange.com",
"https://scifi.stackexchange.com/users/44906/"
] | Regardless of which continuity I have seen so far (aligned and also a few of its predecessors), Starscream joined the Decepticons while betraying his old allies.
Megatron himself is not dumb though. He knows 2 things. First that Soundwave will always stay loyal even if he is not promoted. Second that Starscream is power hungry and traitorous AND useful (to some extent). So what position is best than 2nd in command for him?
In this position Megatron can watch him, while Starscream feels important. Additionally Soundwave can watch Starscream without the later trying to assassinate him to obtain the 2nd in command position (which Starscream would else do sooner rather than later......he even tried time and again to assassinate Megatron himself to gain even more power). And Soundwave thus is in a position where he can warn Megatron or sabotage Starscreams attempts to undermine/do away with Megatron.
Also for Starscream the feeling important thing is quite important. He has such a strong ego that he needs that, in order to do his duty and ONLY betray his allies when pushed (else he would do so on a whim of a hurt ego even as seen a few times in different continuum episodes).
So all in all the 2nd in command is the best solution Megatron can come up with. As it brings him a capable warrior, someone he can punch and who comes back to still serve him while minimizing the risk of Starscream plans to gain command of the Decepticons. And as soon as Starscream is no longer more of an asset than a liability.....he will go the way of all things that displease Megatron.
What really is a wonder though is that Megatron thinks that Starscreams abilities/plus points outweigh his incompetence/failures. And thus that Starscream still lives (despite him always loosing). With Megatrons tendency to even kill loyal failures.....that is something of a mystery there though (and as far as I know not explained in any way in any continuum).
*Additionally in many of the continuums Megatron somehow seems to be amused by Starscream AND his attempts to ursurp his position (although this is only an observation and interpretation, thus not part of the answertext above).*
*Edit: I found something as to why Starscream is not killed by Megatron and also what adds to his usefulness (and thus in the end why he ends up in the 2nd in command position). As stated in another question from here:
[Why didn't Megatron kill Starscream in G1?](https://scifi.stackexchange.com/questions/49134/why-didnt-megatron-kill-starscream-in-g1?rq=1)
According to an answer there by Wikis Starscream is not as much a failure as I myself always perceived, but instead very good at his job.* | Why is Starscream Second-in-Command?
------------------------------------
**Seniority** - Starscream [traditionally holds the rank of Air Commander](https://transformers-the-games.fandom.com/wiki/Starscream_(Aligned_Continuity)) in the Decepticon power structure. This airborne pre-eminence guarantees him a place in the High Command.
**Confidence and Ambition** - Starscream is one of the few whose arrogance and ego can compare to his leader's. He wields his position in the Decepticon ranks with gusto, never failing to remind his companions of his authority.
**Brutality** - The Decepticon leadership is enforced by violence and fear. Starscream has an appetite for brutality which makes him suitable in this way. He also possesses a formidable array of firepower to back up any threat.
**So that Megatron can keep an eye on him** - Given the former Energon Seeker's history of trying to off his leader, this position is most likely based on the principle of keep your friends close, and your enemies closer.
Why isn't Soundwave Second-in-Command?
--------------------------------------
**He already has an important job** -
Soundwave [is the head intelligence officer of the Decepticons, as well as one of Megatron's most trusted lieutenants](https://transformers-the-games.fandom.com/wiki/Soundwave_(Aligned_Continuity))
**He is more of a follower than a leader** - His loyalty to Megatron is beyond compare, following every order to the letter.
**He represents insurance against Starscream's treacherous tendencies** - Soundwave can monitor Starscream at close quarters and always remains loyal to Megatron. |
16,404,985 | Anyone knows why is Facebook for Android SDK distributed as a Library Project instead of a jar?
I know you "can" compile it as a jar and everything, just wondering if there is any advantage on distribute it like that. | 2013/05/06 | [
"https://Stackoverflow.com/questions/16404985",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1704441/"
] | The primary reason why the Facebook SDK is distributed as a Library Project is probably because it contains resources. This is the most straightforward way to distribute this kind of thing with resources. You can't simply compile it as a jar file. | One advantage is that you can make modifications to the source if you need to. The Facebook SDK is known to be buggy and a real pain to use in general. The ability to fix stuff is incredibly helpful, and it also gives you the option to create pull requests to their project on GitHub. |
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