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 |
|---|---|---|---|---|---|
377,186 | >
> Caveat - I am not the iOS developer but have been asked to research
> this
>
>
>
We submit our native iOS financial app to the Apple store for review and the person who previously managed the submission process insisted we had to provide Apple with a username and password to be able to login to our app to review the pages
The process to create and provide Apple with a username/password is very time consuming and alerts our security teams as our app holds sensitive data about people
Is it the case that Apple requires to be able to login to review? If so, how do people with financial/banking apps manage this? We cannot really create dummy users as this will skew our stats and as mentioned before, our security team do not like it
Many thanks | 2019/12/10 | [
"https://apple.stackexchange.com/questions/377186",
"https://apple.stackexchange.com",
"https://apple.stackexchange.com/users/109626/"
] | >
> Is it the case that Apple requires to be able to login to review?
>
>
>
Yes. If your app requires a login to access all the functionality, Apple requires you to provide one, so that they can review the app in its entirely. Absence of login information may prevent Apple from reviewing the app in its entirely.
>
> If so, how do people with financial/banking apps manage this?
>
>
>
Ask your software development team with a dummy/demo account with placeholder data. This should let the review team at Apple review the app UI and functionality to make sure they are in compliance with the guidelines.
>
> We cannot really create dummy users as this will skew our stats and as mentioned before, our security team do not like it
>
>
>
Only likely way to move ahead at this point would be to request the IT/security/software development team to set up an exception, so that the review team at Apple can do their job. | [grg's answer](https://apple.stackexchange.com/a/377192/279727) is perfect to show you that you must provide them with a demo login account. However I think I can provide more advice on:
>
> If so, how do people with financial/banking apps manage this?
>
>
>
Provide them an account that either fakes the data exchange in the app, so they can see the UI but the data is dummy from some XML files in the app. Or make it so if that account logs in it connects to test services rather than live services. The ones I hope your dev and test team are using. |
377,186 | >
> Caveat - I am not the iOS developer but have been asked to research
> this
>
>
>
We submit our native iOS financial app to the Apple store for review and the person who previously managed the submission process insisted we had to provide Apple with a username and password to be able to login to our app to review the pages
The process to create and provide Apple with a username/password is very time consuming and alerts our security teams as our app holds sensitive data about people
Is it the case that Apple requires to be able to login to review? If so, how do people with financial/banking apps manage this? We cannot really create dummy users as this will skew our stats and as mentioned before, our security team do not like it
Many thanks | 2019/12/10 | [
"https://apple.stackexchange.com/questions/377186",
"https://apple.stackexchange.com",
"https://apple.stackexchange.com/users/109626/"
] | [App Store Review Guidelines](https://developer.apple.com/app-store/review/guidelines/) necessitates this. You will be rejected if the app requires login and you do not provide credentials.
>
> Before you submit:
>
>
> * Provide an active demo account and login information, plus any other hardware or resources that might be needed to review your app (e.g. login credentials or a sample QR code).
>
>
>
>
> 2.1 App Completeness
>
>
> … Make sure your app has been tested on-device for bugs and stability before you submit it, and include demo account info (and turn on your back-end service!) if your app includes a login. …
>
>
>
Also, how does your security team ensure that your first two users won’t see each other’s data? If adding a third account for Apple breaks your security, you’ve got your research can be concluded with the answer: the back end team is not ready to ship. | [grg's answer](https://apple.stackexchange.com/a/377192/279727) is perfect to show you that you must provide them with a demo login account. However I think I can provide more advice on:
>
> If so, how do people with financial/banking apps manage this?
>
>
>
Provide them an account that either fakes the data exchange in the app, so they can see the UI but the data is dummy from some XML files in the app. Or make it so if that account logs in it connects to test services rather than live services. The ones I hope your dev and test team are using. |
180,329 | I am an undergrad student and I always get/send emails that start with "Respected Sir/Madam", or, "Dear Sir/Madam". But, I always wondered how I can be more gender-inclusive. "To whom it may concern" sounds a little bit old-schooled. So, is there any modern phrase to help me out with this problem? Thank you very much. | 2021/12/19 | [
"https://academia.stackexchange.com/questions/180329",
"https://academia.stackexchange.com",
"https://academia.stackexchange.com/users/151470/"
] | I would suggest either using the person's name if sending to one person and when sending to a group, the group's names i.e Dear Search Committee or Dear Students as appropriate. Anything else looke like you haven't done any research on who you are sending the email to.
Being specific in the name also helps the person reading the email to know why they got it, i.e Dear students of physics 101 . Lets me as a reader know why I got the email ( i.e as a member of that course) | If you're emailing a man and refer to him as such by using
"Sir" or "Mister" there's nothing conceivably wrong with that.
If you don't know who you're emailing, then you can't go wrong with "to whom it may concern" (just because it's dated doesn't mean it's bad, although it's more formal) but since you insisted on other greetings, the following also work:
* "Dear [Last Name]/[Name of group]/[first name]" works very well for first-time correspondence, and works equally well if you're well acquainted with the person(s) you're emailing
* "Hello, I hope this email finds you well" is good when you don't know who you're writing to
* The standard "Good afternoon/morning/..." are good if it's a slightly less formal setting
* "Greetings, [name]" is one that's hard to misuse
I'll also add that, being a young adult, I'm rather flattered when people refer to me as "sir" or "mister." |
178,824 | What does "skin" or "skin in the game" mean in the following sentence?
"make sure that everyone has skin in the game". | 2014/06/19 | [
"https://english.stackexchange.com/questions/178824",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/62956/"
] | The phrase *[skin in the game](http://en.wikipedia.org/wiki/Skin_in_the_game_%28phrase%29)* is an idiom referring to effort, money, or other risk invested in something that could be potentially painful if it goes wrong. It is synonymous with the expression *stake in the game*.
According to [this source](http://www.deliberatelyconsidered.com/2011/06/skin-in-the-game/), *skin* can be interpreted as "a metaphor for being committed to something through emotional, financial, or bodily commitment", or "a synecdoche representing the whole being". | I think you are referring to:
Warren Buffett talked about *"[putting skin in the game](http://www.phrases.org.uk/bulletin_board/55/messages/728.html)" in reference to managers and high officials showing their confidence in the company by putting their own money (their own skin)in*. This, in turn, builds investor confidence. It has become almost a cliché, as Warren Buffett's reputation is itself a confidence builder. |
178,824 | What does "skin" or "skin in the game" mean in the following sentence?
"make sure that everyone has skin in the game". | 2014/06/19 | [
"https://english.stackexchange.com/questions/178824",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/62956/"
] | Consider a pig and a chicken who are contemplating jointly opening a breakfast restaurant, serving primarily bacon and eggs.
The pig complains that the chicken will only be *involved* in the venture, whereas he will be *committed*. The pig, in this case, has *skin in the game*. | I think you are referring to:
Warren Buffett talked about *"[putting skin in the game](http://www.phrases.org.uk/bulletin_board/55/messages/728.html)" in reference to managers and high officials showing their confidence in the company by putting their own money (their own skin)in*. This, in turn, builds investor confidence. It has become almost a cliché, as Warren Buffett's reputation is itself a confidence builder. |
133,485 | Looking at Windows 10's firewall settings, I see dozens of authorized applications, for most of which I can't find a good reason to allow incoming traffic.
For example, I don't want Xbox, Twitter, MSN, Microsoft Edge to receive unknown traffic from the Internet.
I assume that these settings don't include traffic on already established connections (like the ESTABLISHED and RELATED states in Linux's netfilter). Indeed, I disallowed Microsoft Edge in the firewall and I still can browse.
Why does Windows allow so much applications in the firewall by default? Isn't this a security risk (for example, any of these apps could be exploited)? Is it safe to disable them all and block all incoming traffic?
EDIT : to be clear, I am only talking about *inbound connections* that happen without having been previously established by an outbound request. I'm totally fine with allowing all outbound connections, as these are initiated by *my* software. | 2016/08/10 | [
"https://security.stackexchange.com/questions/133485",
"https://security.stackexchange.com",
"https://security.stackexchange.com/users/83600/"
] | "Authorized Applications" does not equal "Open Ports." These applications have authorization to communicate through the firewall...This does not mean that they're listening on ports open through the firewall. In the case of many (if not all) of the application you listed, that means that when you open them and try to use them, they can establish connections to get the data requested. If you don't open Twitter, it isn't listening. If you do open Twitter, it still isn't listening on a port for in-bound connections. The fact that it's an authorized application means that you expect the firewall to allow it to communicate as it is designed to do. In this case, that's primarily going to be reaching out to the Twitter service to retrieve tweets.
So, while you are correct that you don't want services you don't need listening for inbound connections on open ports, that isn't what's happening here. | While your assumption that having more open ports increases security risk is correct, it still depends on a lot of other factors.
Now, let me ask you if you believe that closing most ports through your firewall makes you secure? Again, you cannot have an answer to that as there are way too many factors involved.
While it is advisable to keep only the necessary ports open or closed, the default Windows setup is definitely not optimum, but at least decent. This is also the reason you have access to the firewall settings and people that understand what's going on can make a choice. But to others, it might just be an inconvenience.
For example: You don't want Xbox, Twitter or MSN. But what if I'm a non-technical person that purchased a Windows machine for the sole purpose of using Xbox, Twitter and MSN? If Windows blocked them by default, I wouldn't know what to do. I would be frustrated and think that Microsoft is a bogus company etc etc.
I hope you understand what I mean. If you understand security and think a specific setup makes your computer more secure, by all means - go for it. :)
Hope this helps! |
51,743 | When performing hierarchical clustering, one can use many metrics to measure the distance between clusters. Two such metrics imply calculation of the centroids and means of data points in the clusters.
What is the difference between the mean and the centroid? Aren't these the same point in cluster? | 2013/03/09 | [
"https://stats.stackexchange.com/questions/51743",
"https://stats.stackexchange.com",
"https://stats.stackexchange.com/users/21754/"
] | The above answer may be incorrect see this video: <https://www.youtube.com/watch?v=VMyXc3SiEqs> It seems that average adds up all the combinations of distances between the elements of cluster 1 and cluster 2 - that is n^2 distances added together and then divides by n^2 to the average.
Centroid method first computes the average of each cluster within itself. Then it calculates one distance between those average points. | centroid is average of data points in a cluster, centroid point need not present in the data set whereas medoid is the data point which is closer to centroid,medoid has to be present in the original data |
59,096 | I'm having trouble understanding redistribution in reference to this topology
[](https://i.stack.imgur.com/SjQIz.jpg)
* R1, R2, R3 and R4 have OSPF enabled on all IP interfaces, all in Area 0
* R5 has a default route pointing to the VRRP address between R1 and R2 on Net B
* both R1 and R2 have the exact same static route to Net A via R5
* both R1 and R2 are redistributing static routes into ospf
* R2 is the OSPF DR for Net B
Now, my understanding is, R1 will learn that R2 has a static route to Net A, but it will not place it in its own routing table, as it has the same static route. However, when it comes to redistribution, how does R1 decide whether to redistribute its own static route, or to advertise the one learnt from R2 via OSPF?
Or is my understanding completely off?
Best regards
Mufaddal | 2019/05/13 | [
"https://networkengineering.stackexchange.com/questions/59096",
"https://networkengineering.stackexchange.com",
"https://networkengineering.stackexchange.com/users/3153/"
] | >
> However, when it comes to redistribution, how does R1 decide whether
> to redistribute its own static route, or to advertise the one learnt
> from R2 via OSPF?
>
>
>
One key concept about redistribution: *Redistribution happens from the routing table*, not from the given dynamic routing protocol's "topology database" (different terms for the various protocols).
To redistribute a route learned from one protocol into another routing protocol's "information exchange mechanism", that route first has to make it into the (local) routing table. And and yes, in THIS context, "static" and "connected" are as good as any other routing protocol (even "stronger", see below).
Once redistributed, for example via OSPF, it is then up to the other routers to decide what they make of this information. They'll decide themselves if they want to promote this information to their routing table, or if they have conflicting, more specific or superior information, for example from other routing protocols such as eigrp, bgp, rip, even static or connected. However, all of them will pass on the original information via the given routing protocol to the other routers.
What makes "stronger" routing information is up to the manufacturer or the admin. This information is not passed on via any routing protocol. Cisco calls this metric "administrative distance", and it has a set of default values, which may be overridden by the admin.
And now for the actual answer:
Even if superseded by a "stronger" route (locally on the given router that has both a static AND learned from OSPF), **the information about such a route** (in case of OSPF: an "external route") **is passed on to the other routers** in the Autonomous System. So R1 from your example will do this:
* keep its own static route in its routing table.
* forward (via OSPF) the neighbor's *OSPF External* route (generated/originated on R2, because R2 has "redistribute static") to its other neighbors, so they may learn that this network is reachable via R2. Like this, the information is distributed across the entire AS.
* (if *also* configured to "redistribute static") R1 will generate an additional "OSPF external" route, so other routers in the AS may learn that this network is also reachable via R1, and the neighbors will pass on the information through the AS.
The other routers in the AS will now learn that there are **two** ASBRs (R1 and R2) in their AS announcing the reachability of that possibly same external network. If they have packets to forward towards that network, it is up their discretion (read: how they choose to populate their own routing table, based on the information they learned via OSPF) which path they will choose.
So, in OSPF, the passing-on of information from the topology database is independent of the given router's local routing table. | Redistributing is a one routing protocol distribute routing information with Another Protocol.
When you use Static Route, you don't use any routing Protocol. When you use Dynamic Routing you will use Protocols. Then only you can talk about Redistribution.
In your case, if your router 5 has been configured with Any protocol except OSPF, you can enable redistribution.
However if you enable, route redistribution it will share all information which related to protocol. In your case OSPF Routing Information. |
14,082 | I am frequently hearing of new research finding how bad sit-ups and crunches are ([example](http://www2.macleans.ca/2010/01/19/the-man-who-wants-to-kill-crunches/)). So what are safe ways to exercise the abdominal muscles? For example, are planks proven to be safe? | 2013/09/28 | [
"https://fitness.stackexchange.com/questions/14082",
"https://fitness.stackexchange.com",
"https://fitness.stackexchange.com/users/4900/"
] | Abs can be sufficiently trained via isometric exercise. I believe the safest way to exercise the abdominals is to use them for their intended function (stabilization) under a progressively increasing load or difficulty.
For example:
* The co-contraction of the abdominals with the spinal erectors that is required during heavy squats and deadlifts in order to stabilize the torso (<http://startingstrength.com/articles/abs_rippetoe.pdf>). As your squat and deadlift get heavier, your abs are forced to get stronger.
* Stabilization during pull-ups or chin-ups. These will leave your abs sore.
* In a rehabilitation setting, when trying to correct posture-related back-pain, isometric co-contraction is suggested over concentric abdominal work, as well as emphasizing the stabilizing role of the abdominals (<http://portalsaudebrasil.com/artigospsb/holist006.pdf>):
>
> Exercise involving co-contraction of the abdominal and back muscles is also in line with stabilization.
>
>
> A simultaneous isometric co-contraction of transversus [abdominal] and multifidus [back], while maintaining the spine in a *static neutral position*, should help re-educate the stabilizing role of these muscles.
>
>
>
* Another publication supports the use of isometric abdominal exercises in a therapeutic setting ([http://www.pitt.edu/~neurolab/publications/1997/BeimGM\_1997\_JSportRehab\_Abdominal%20strengthening%20exercise-a%20comparative%20EMG%20study.pdf](http://www.pitt.edu/%7Eneurolab/publications/1997/BeimGM_1997_JSportRehab_Abdominal%20strengthening%20exercise-a%20comparative%20EMG%20study.pdf))
>
> Isometric abdominal exercises [...] have also been found to improve low back pain.
>
>
> | Besides the exercises recommended in the article you cite (planks, bridges, leg-lifts, bird-dogs and "stirring the pot"), full-body exercises that rely on your core muscles are also great ways to improve abdominal fitness, and they often strengthen your back at the same time, thereby helping prevent injury instead of potentially causing it.
Some examples of those are swimming (especially dolphin, butterfly and other strokes that rely on the abdomen -- dolphin-kicking with fins on is one of my favorite ab workouts, possibly just because it's so fun), tai chi (choose a style appropriate to your fitness level), surfing (or skateboarding, or slacklining; anything where you have to balance your body) and rock-climbing (if done properly, focusing on balance and technique rather than just arm-strength). You'll be hard-pressed to find anyone who's a regular at any of those who doesn't have a nice strong stomach.
If you're just looking for one exercise to add to a workout, I'd go with planks. The plank and exercises built on it are incredible stomach-strengtheners -- we use those on my swim-team as daily ab-exercises and they're intense. As with all exercises, form is crucial if you want to avoid injury, so double-check and make sure you're doing it correctly. |
14,082 | I am frequently hearing of new research finding how bad sit-ups and crunches are ([example](http://www2.macleans.ca/2010/01/19/the-man-who-wants-to-kill-crunches/)). So what are safe ways to exercise the abdominal muscles? For example, are planks proven to be safe? | 2013/09/28 | [
"https://fitness.stackexchange.com/questions/14082",
"https://fitness.stackexchange.com",
"https://fitness.stackexchange.com/users/4900/"
] | Abs can be sufficiently trained via isometric exercise. I believe the safest way to exercise the abdominals is to use them for their intended function (stabilization) under a progressively increasing load or difficulty.
For example:
* The co-contraction of the abdominals with the spinal erectors that is required during heavy squats and deadlifts in order to stabilize the torso (<http://startingstrength.com/articles/abs_rippetoe.pdf>). As your squat and deadlift get heavier, your abs are forced to get stronger.
* Stabilization during pull-ups or chin-ups. These will leave your abs sore.
* In a rehabilitation setting, when trying to correct posture-related back-pain, isometric co-contraction is suggested over concentric abdominal work, as well as emphasizing the stabilizing role of the abdominals (<http://portalsaudebrasil.com/artigospsb/holist006.pdf>):
>
> Exercise involving co-contraction of the abdominal and back muscles is also in line with stabilization.
>
>
> A simultaneous isometric co-contraction of transversus [abdominal] and multifidus [back], while maintaining the spine in a *static neutral position*, should help re-educate the stabilizing role of these muscles.
>
>
>
* Another publication supports the use of isometric abdominal exercises in a therapeutic setting ([http://www.pitt.edu/~neurolab/publications/1997/BeimGM\_1997\_JSportRehab\_Abdominal%20strengthening%20exercise-a%20comparative%20EMG%20study.pdf](http://www.pitt.edu/%7Eneurolab/publications/1997/BeimGM_1997_JSportRehab_Abdominal%20strengthening%20exercise-a%20comparative%20EMG%20study.pdf))
>
> Isometric abdominal exercises [...] have also been found to improve low back pain.
>
>
> | Try out hanging ab exercises. Click [here](https://www.youtube.com/watch?v=vmRKFZg9DR0) for a video on the various techniques using the below piece of equipment:
[](https://i.stack.imgur.com/uUxGI.jpg)
The spine doesn't come into contact with any form of spinal compression.
---
By the way, these are very easy to DIY with [load straps](http://rads.stackoverflow.com/amzn/click/B01L9U23FO) and [pool noodles](http://rads.stackoverflow.com/amzn/click/B002JFWDU4). |
14,082 | I am frequently hearing of new research finding how bad sit-ups and crunches are ([example](http://www2.macleans.ca/2010/01/19/the-man-who-wants-to-kill-crunches/)). So what are safe ways to exercise the abdominal muscles? For example, are planks proven to be safe? | 2013/09/28 | [
"https://fitness.stackexchange.com/questions/14082",
"https://fitness.stackexchange.com",
"https://fitness.stackexchange.com/users/4900/"
] | Besides the exercises recommended in the article you cite (planks, bridges, leg-lifts, bird-dogs and "stirring the pot"), full-body exercises that rely on your core muscles are also great ways to improve abdominal fitness, and they often strengthen your back at the same time, thereby helping prevent injury instead of potentially causing it.
Some examples of those are swimming (especially dolphin, butterfly and other strokes that rely on the abdomen -- dolphin-kicking with fins on is one of my favorite ab workouts, possibly just because it's so fun), tai chi (choose a style appropriate to your fitness level), surfing (or skateboarding, or slacklining; anything where you have to balance your body) and rock-climbing (if done properly, focusing on balance and technique rather than just arm-strength). You'll be hard-pressed to find anyone who's a regular at any of those who doesn't have a nice strong stomach.
If you're just looking for one exercise to add to a workout, I'd go with planks. The plank and exercises built on it are incredible stomach-strengtheners -- we use those on my swim-team as daily ab-exercises and they're intense. As with all exercises, form is crucial if you want to avoid injury, so double-check and make sure you're doing it correctly. | Try out hanging ab exercises. Click [here](https://www.youtube.com/watch?v=vmRKFZg9DR0) for a video on the various techniques using the below piece of equipment:
[](https://i.stack.imgur.com/uUxGI.jpg)
The spine doesn't come into contact with any form of spinal compression.
---
By the way, these are very easy to DIY with [load straps](http://rads.stackoverflow.com/amzn/click/B01L9U23FO) and [pool noodles](http://rads.stackoverflow.com/amzn/click/B002JFWDU4). |
74,305 | Some of the web-pages on my site are very slim. I've recently noticed that Google appears to qualify such pages as "Soft 404":
>
> The target URL doesn't exist, but your server is not returning a 404
> (file not found) error. Learn more
>
>
> Your server returns a code other than 404 or 410 for a non-existent
> page (or redirecting users to another page, such as the homepage,
> instead of returning a 404). This creates a poor experience for
> searchers and search engines.
>
>
>
This is incorrect. They should be included in the index.
One such example is <http://ports.su/www/apache-httpd-openbsd>, which as of now appears to have about 2 lines of unique content, probably around 140 characters, especially if you subtract words from the URL from the page itself.
How do I tell Google these short pages are normal? What happened with the concept of each page only having as little information as is necessary? | 2014/12/22 | [
"https://webmasters.stackexchange.com/questions/74305",
"https://webmasters.stackexchange.com",
"https://webmasters.stackexchange.com/users/23133/"
] | Google doesn't want to waste its resource crawling pages that appear to not add values, so when it comes across to a page that look like an error page, Google gives a soft 404 error warning to let you know the page will not be treated like a normal page anymore unless you fix it.
Few examples of when soft 404 happens
1. content on a page is an error page yet it is showing status code 200
2. content on a page is minimal and looks like an error page
3. content on a page is irrelevant to the original page (when a redirect is in place) - especially when do a catch all redirect to the home page
The first thing I notice of the page you gave is that there is no description in the content as to what the page is about.
I am not technical enough to understand the information on the page so if I got to the page for the first time, I would likely either just close the page or hit the back button on the browser.
When I checked on the important SEO elements,
* the title doesn't mean anything to people who are not technical enough to understand
* no meta description
* very little content
Adding more content and description would be the best solution. | I want to point out that a page can be declared as a soft-404 if the text in it suggests that it is an error page regardless of the amount of quality images or template surrounding it. For example, if your page contains text such as:
"The page you are requesting could not be found"
or even:
"The page you are requesting is currently not available"
Then it can send a signal to search engines that the status is a soft-404.
As others have mentioned, you want to create a quality page rich in text that people can understand without using any shady techniques and add some hyperlinks to other sections of your website to make the web page more real and more user friendly.
Try to make any text about the page the least negative as possible. For example, if something is upcoming, you may want to add the following:
"In about (insert time frame here) from now, we will be having (insert future event name here). In the meantime we have info about (insert current event name here). (insert blank lines and description of event here)"
instead of this:
"The page about (insert future event name here) could not be found" |
359,640 | This seems strange to me. I am trying to say that the document was not filled out, not signed, and not dated. Which sentence is correct? P.S. I prefer the Oxford Comma.
1. "The document was not filled out, signed, or dated."
2. "The document was not filled out, not signed, and not dated." | 2016/11/22 | [
"https://english.stackexchange.com/questions/359640",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/195117/"
] | SInce you specifically ask 'should I repeat 'not', the answer is that you don't need to. Your first sentence is fine
>
> "The document was not filled out, signed, or dated"
>
>
>
where 'not' naturally covers all 3 words that follow. Since it is a negative statement as in 'not' you are using 'or' instead of 'and.'
The second construction is (not wrong but) unnecessary. | The short answer is that either is correct.
Here's why:
1. You have a sentence structure of subject ("document") - linking verb ("was") - subject complement(s) ("filled out," "signed," "dated").
2. The word "not" is an adverb in your sentences. Adverbs can modify verbs, adjectives, or other adverbs.
3. In your first sentence, the adverb "not" is modifying the linking verb "was." Therefore, three subject complements ("filled out," "signed," "dated") are being linked to the subject ("document") via the verb phrase ("was not").
4. In your second sentence, you have three adverbs ("not," "not," and "not") that are modifying three different subject complements ("filled out," "signed," "dated"). Remember, adverbs can modify verbs, adjectives, or other adverbs.
5. In other words, in the second sentence, three adverbs are modifying three adjectives.
Either construction is fine. |
6,448,735 | Idea: Create an database that I can integrate with an iPhone app.
As I have never worked very in-depth with online databases, I need advice on what methods are best for creating a database. The database would need to contain a list of usernames and passwords to login.
P.S. - I have my own website server. | 2011/06/23 | [
"https://Stackoverflow.com/questions/6448735",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/-1/"
] | The easiest thing would be to just use MySQL probably. Then you would define web services that expose basic access to the entities in the database. Best to do those with REST. That might be more than you are up for.
The problem with lesser solutions is that you can't have users just connecting directly to a db from the mobile app. So you have to have something talking to the db.
The other option would be to try to implement the whole thing using Game Center, since that has support for players and scores, etc. Not sure if that would be sufficient. I have looked at it but not in a lot of depth and there are changes coming in iOS 5. | If you are still looking for ideas, I learned a lot of what I know of web-based databases from a book called *Head First PHP & MySQL* (ISBN 978-0-596-00630-3). I already knew SQL and C++ (C++ is similar in many ways to PHP), but you really don't need it with book. It will teach you the very basics of both languages and how to tie them together. It will also give you a good frame of reference to Google solutions or ask informed questions. |
6,448,735 | Idea: Create an database that I can integrate with an iPhone app.
As I have never worked very in-depth with online databases, I need advice on what methods are best for creating a database. The database would need to contain a list of usernames and passwords to login.
P.S. - I have my own website server. | 2011/06/23 | [
"https://Stackoverflow.com/questions/6448735",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/-1/"
] | In my opinion there is no need to bother with the iPhone app, just make a mobile version of the website. At the end of the day, you'll have to write the website infrastructure anyway, and with a website there is no need to worry about distribution. You'll even be able to support those using other devices. | If you are still looking for ideas, I learned a lot of what I know of web-based databases from a book called *Head First PHP & MySQL* (ISBN 978-0-596-00630-3). I already knew SQL and C++ (C++ is similar in many ways to PHP), but you really don't need it with book. It will teach you the very basics of both languages and how to tie them together. It will also give you a good frame of reference to Google solutions or ask informed questions. |
223,168 | Sometimes new users ask one question after the other, all of them quite redundant etc.
SO allows to downvote, or close such questions. But closing only punishes the answerers that just happen to prepare an answer. And downvoting very quickly is denied (that is, undone) as it is considered "serial downvoting".
On tag [prolog](/questions/tagged/prolog "show questions tagged 'prolog'") there was [this user](https://stackoverflow.com/search?tab=newest&q=user%3a1833945%20[prolog]%20is%3aquestion) last year, producing 72 questions more or less on a daily basis.
Now, there is [this new user](https://stackoverflow.com/users/3343775/ishrak?tab=questions). My downvotes here were now detected as "serial downvotes". So it would have been better not to do anything.
What is the right way to handle this situation? | 2014/02/26 | [
"https://meta.stackexchange.com/questions/223168",
"https://meta.stackexchange.com",
"https://meta.stackexchange.com/users/174278/"
] | Just mark them as dupes. If they're truly redundant, they'll get closed. You may want to leave a comment, though, because they may not understand how SO works and why redundant questions are frowned upon. | I would hesitate to downvote multiple (similar) questions from a new user. Downvoting without leaving a note wouldn't make it apparent to other users as to why it was done so especially if the question isn't particularly *bad*.
If the previous questions had gathered responses (which is usually the case), I'd prefer [leaving a note](https://stackoverflow.com/questions/21814465/save-the-string-in-reverse#comment33013030_21814465) along the lines:
* What did you learn from your previous question?
* *nth* question for the same problem? Consider visiting the Help Center ...
You could optionally chose to vote-to-close it yourself, but chances are that you'd find many users who'd vote-to-close the question in that event.
It's also nice to leave a note *urging* the user to visit the Help Center and refer to help on how to ask a good question. |
223,168 | Sometimes new users ask one question after the other, all of them quite redundant etc.
SO allows to downvote, or close such questions. But closing only punishes the answerers that just happen to prepare an answer. And downvoting very quickly is denied (that is, undone) as it is considered "serial downvoting".
On tag [prolog](/questions/tagged/prolog "show questions tagged 'prolog'") there was [this user](https://stackoverflow.com/search?tab=newest&q=user%3a1833945%20[prolog]%20is%3aquestion) last year, producing 72 questions more or less on a daily basis.
Now, there is [this new user](https://stackoverflow.com/users/3343775/ishrak?tab=questions). My downvotes here were now detected as "serial downvotes". So it would have been better not to do anything.
What is the right way to handle this situation? | 2014/02/26 | [
"https://meta.stackexchange.com/questions/223168",
"https://meta.stackexchange.com",
"https://meta.stackexchange.com/users/174278/"
] | Close-vote the question:
* if it's a duplicate
* if it is overly broad
* if it is not clear what's being asked etc.
* or if any of the reasons listed as close-reasons are applicable
Downvote the question:
* if *you* think it's not helpful
* if you think it's a bad question
* or for whatever reasons you choose
But don't go about downvoting all the questions of this user. As you've discovered, the serial voting script will detect such activity and reverse it. It's not just your vote -- as time goes by, more people will see the question and vote on it, based on its quality.
If the user asks too many bad quality questions, then they'll get a question ban and will be linked to a document that explains how to resolve the issue. You might also consider posting a link to [Stack Overflow How to Ask Page](https://stackoverflow.com/questions/how-to-ask) -- it's condensed and easy to swallow. The question asker might be new to the site and just doesn't know where to begin or how the community works. | I would hesitate to downvote multiple (similar) questions from a new user. Downvoting without leaving a note wouldn't make it apparent to other users as to why it was done so especially if the question isn't particularly *bad*.
If the previous questions had gathered responses (which is usually the case), I'd prefer [leaving a note](https://stackoverflow.com/questions/21814465/save-the-string-in-reverse#comment33013030_21814465) along the lines:
* What did you learn from your previous question?
* *nth* question for the same problem? Consider visiting the Help Center ...
You could optionally chose to vote-to-close it yourself, but chances are that you'd find many users who'd vote-to-close the question in that event.
It's also nice to leave a note *urging* the user to visit the Help Center and refer to help on how to ask a good question. |
3,282 | Our gaming group has got a lot of experience in playing more mainstream/traditional RPGs; we've played D&D (3.0,3.5,4.0) World of Darkness, Rogue Trader, and even a little L5R. However, after the recent implosion of a WoD campaign, we've decided to try going for a more 'rules light' system, and we're going to try out "Dogs in the Vineyard" (the rules at least; the setting itself is bothering some).
I understand that the game itself has a very different approach to things; what are some of the core 'gotchas' that we should be watching out for? Things that are so different that it'd never occur to us to check how we 'should' be doing it? | 2010/10/07 | [
"https://rpg.stackexchange.com/questions/3282",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/732/"
] | The other answers are great in their detail. I'll just add a more broad gotcha: *Dogs in the Vineyard* isn't just a set of mechanics for determining the success or failure of actions, which is how most roleplaying games you've listed are designed.
If you go into the game thinking that it's just a different "physics" system for doing the same thing as other games, you'll trip over a few stumbling blocks as you learn the game. Nothing show-stopping, but knowing you might hit some snags that are more in your head can help get past them.
Even if you already know that *Dogs* is doing something different, your well-honed gaming reflexes can easily lead you to play as if it were a more traditional game. It might take a few sessions before you can stop reminding yourself.
This is something to watch out for in the other players, too. I've known people who've played *Dogs* and then given it up because they were so focused on the "physics" of how the mechanics modelled, say, gunfights (and finding it wanting) that they never realised that wasn't the point of the game. If someone in your group starts discussing the strategic benefits of particular arrangements of Traits, or start pointing out that the system is "broken" in some way, that's a sign they're missing the forest for the trees. That's your opportunity to intervene and try to show them that what the game is doing and about is different enough that character optimisation actually doesn't matter. | The most strange (and fascinating!) thing I catch reading the examples in the book is the ability of players to take storytelling decisions beyond the actions of their characters. This is very counter-intuitive for traditional role-playing, but it is what novice players often do (and is also what children do when playing roles). We used to call this "*self-DM-ing*" with my group.
If playing something else, let say D&D, a player cannot say *"I opened the chest and there is a magic sword"*. The GM would reply *"OK, you can open the chest, but what is on it is up to myself"*.
**Not in dogs!** The player could do blunt *self-GMing* and the GM could (if a proper dice pool is available) "counter" (or *seeing* and *reverse the blow* in ditv jargon) with *"but the magic sword is cursed"*, and then the player go with *"but I am immune to that sort of curses"*, and so on. At some point the dice pool of a party would be depleted, so someone must consider to give up early. |
3,282 | Our gaming group has got a lot of experience in playing more mainstream/traditional RPGs; we've played D&D (3.0,3.5,4.0) World of Darkness, Rogue Trader, and even a little L5R. However, after the recent implosion of a WoD campaign, we've decided to try going for a more 'rules light' system, and we're going to try out "Dogs in the Vineyard" (the rules at least; the setting itself is bothering some).
I understand that the game itself has a very different approach to things; what are some of the core 'gotchas' that we should be watching out for? Things that are so different that it'd never occur to us to check how we 'should' be doing it? | 2010/10/07 | [
"https://rpg.stackexchange.com/questions/3282",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/732/"
] | Dogs in the Vineyard is a great game. **It really demands that you play it by the rules as written**, which may be a cognitive leap if you are used to fudging things. I think the rules are luminously clear, but they are pretty specific and work great when you do what they say. If you don't the game suffers.
**I would strongly suggest playing it straight the first time.** Adding the burden of hacking things to play Jedi or whatever is only going to make it that much harder to work with. Once everybody "gets it", by all means experiment. A cool way to pitch it: *"Dogs is about these kids who are told to go into their communities and solve serious problems and the tools they are given to solve the community's problems are a book and a gun."*
**As GM, make a town you find compelling and go all the way to hate and murder.** Don't forget to ask the players if they are seeing demonic influence, and add those fat dice to your collection when they do. Don't be afraid to play hard, even really hard. The players have the resources to deal with it. Do not nerf your opposition, make them full of power and danger and strong motivations.
**Leave a few relationships you can directly slot in as important to specific PCs**. Be prepared to say "this guy is your older brother" and "This girl? She's the first girl you ever kissed, which I see you wrote down as a relationship" or whatever is going to resonate with the relationships they have chosen.
**Don't keep secrets.** Seriously, don't! As GM be an open book. It is not only acceptable but required to say stuff like "She shakes her head and denies any knowledge of the theft. And she's totally lying" or "Youpass by, and as soon as you are out of sight all three brothers spit in the tracks you left with contempt". No secrets!
**Understand that even three Dogs acting in unison are generally unstoppable.** Make sure your town has enough moral grey areas to divide them against each other when it comes time to make solutions, or have another town ready to go because they will breeze through the first one. This isn't a terrible thing, but the game is much better when you get some player-level disagreements going. When one guy is like "Hell no, you aren't making *him* Steward!" that is good stuff.
**Really use the initiation conflicts to familiarize yourselves with the way escalation works.** Remember that you can escalate from guns to talking, and that you take harm in relation to the action, not the level of escalation.
**Encourage giving!** This may be the biggest thing I see among people new to the game. In a lot of games, you have to fight to the bitter end. If you do that in Dogs, not only do you lose certain rewards from fallout, but the game can be boring. Give! Set stakes that allow easy giving and encourage it.
Like it says, **Roll the dice or say yes.** If it isn't worth a conflict, let it happen. Pick your battles as GM, and be OK with losing, because you definitely will.
**Don't sweat the dice.** If a guy takes "Gnarled fists 3d10" that is awesome, not problematic. He wants to punch people and be a badass, and he will be. It will not break the game in any way. Similarly, players will come to relish fallout and that is fantastic. Let them get banged up and learn from it and get better. Failure is OK.
**Remember the faith is what the players say it is.** If anyone is weirded out by the setting, make sure they know they can quite literally change it. They are God's representatives on earth. If he tells them polygamy is no longer cool, *it is no longer cool.* That's the stuff of great conflicts. If this is sufficiently clear, it will hopefully remove any discomfort about the setting.
[Here is a thread with even more advice!](http://story-games.com/forums/comments.php?DiscussionID=12353) Good luck and have fun! | The other answers are great in their detail. I'll just add a more broad gotcha: *Dogs in the Vineyard* isn't just a set of mechanics for determining the success or failure of actions, which is how most roleplaying games you've listed are designed.
If you go into the game thinking that it's just a different "physics" system for doing the same thing as other games, you'll trip over a few stumbling blocks as you learn the game. Nothing show-stopping, but knowing you might hit some snags that are more in your head can help get past them.
Even if you already know that *Dogs* is doing something different, your well-honed gaming reflexes can easily lead you to play as if it were a more traditional game. It might take a few sessions before you can stop reminding yourself.
This is something to watch out for in the other players, too. I've known people who've played *Dogs* and then given it up because they were so focused on the "physics" of how the mechanics modelled, say, gunfights (and finding it wanting) that they never realised that wasn't the point of the game. If someone in your group starts discussing the strategic benefits of particular arrangements of Traits, or start pointing out that the system is "broken" in some way, that's a sign they're missing the forest for the trees. That's your opportunity to intervene and try to show them that what the game is doing and about is different enough that character optimisation actually doesn't matter. |
3,282 | Our gaming group has got a lot of experience in playing more mainstream/traditional RPGs; we've played D&D (3.0,3.5,4.0) World of Darkness, Rogue Trader, and even a little L5R. However, after the recent implosion of a WoD campaign, we've decided to try going for a more 'rules light' system, and we're going to try out "Dogs in the Vineyard" (the rules at least; the setting itself is bothering some).
I understand that the game itself has a very different approach to things; what are some of the core 'gotchas' that we should be watching out for? Things that are so different that it'd never occur to us to check how we 'should' be doing it? | 2010/10/07 | [
"https://rpg.stackexchange.com/questions/3282",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/732/"
] | The other answers are great in their detail. I'll just add a more broad gotcha: *Dogs in the Vineyard* isn't just a set of mechanics for determining the success or failure of actions, which is how most roleplaying games you've listed are designed.
If you go into the game thinking that it's just a different "physics" system for doing the same thing as other games, you'll trip over a few stumbling blocks as you learn the game. Nothing show-stopping, but knowing you might hit some snags that are more in your head can help get past them.
Even if you already know that *Dogs* is doing something different, your well-honed gaming reflexes can easily lead you to play as if it were a more traditional game. It might take a few sessions before you can stop reminding yourself.
This is something to watch out for in the other players, too. I've known people who've played *Dogs* and then given it up because they were so focused on the "physics" of how the mechanics modelled, say, gunfights (and finding it wanting) that they never realised that wasn't the point of the game. If someone in your group starts discussing the strategic benefits of particular arrangements of Traits, or start pointing out that the system is "broken" in some way, that's a sign they're missing the forest for the trees. That's your opportunity to intervene and try to show them that what the game is doing and about is different enough that character optimisation actually doesn't matter. | I played DitV with some good friends who are able to roleplay fine, but they were really taken aback by some of the aspects of the game. I was mastering and found myself trapepd into old reflexes. So...
* Don't hesitate to force your players! The rulebook says that it's fair game. If they don't want to be convinced of something that's a conflict. Set the stakes and play it! In my first game, i had a lone player facing the mayor of the town, very agressive, who wanted the pc to obey his every orders. The player was very surprised when i answered his "i'd never do that" with a handful of dice and a "prove it"
* Present the characters with potential conflicts very early. As soon as they arrive in the community, swamp them with demands. Don't play all demands as conflicts but the way your town is written should give you enough hints as to what conflicts could arise
* Don't heistate to change the setting. If your players feel uncomfortable in the Olde West, play prohibition, or mafia, or wherever the players can find a strong community united against the outside.
i'll give only a link to [the forge forum for lumpley games](http://www.indie-rpgs.com/forge/index.php?board=44.0), where you'll find resources, pre-written towns and idea about settings...
---
Edit just to add, the "Don't keep secrets" rule is **essential**. You don't play DitV as another game where the mystery must be uncovered. |
3,282 | Our gaming group has got a lot of experience in playing more mainstream/traditional RPGs; we've played D&D (3.0,3.5,4.0) World of Darkness, Rogue Trader, and even a little L5R. However, after the recent implosion of a WoD campaign, we've decided to try going for a more 'rules light' system, and we're going to try out "Dogs in the Vineyard" (the rules at least; the setting itself is bothering some).
I understand that the game itself has a very different approach to things; what are some of the core 'gotchas' that we should be watching out for? Things that are so different that it'd never occur to us to check how we 'should' be doing it? | 2010/10/07 | [
"https://rpg.stackexchange.com/questions/3282",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/732/"
] | Dogs in the Vineyard is a great game. **It really demands that you play it by the rules as written**, which may be a cognitive leap if you are used to fudging things. I think the rules are luminously clear, but they are pretty specific and work great when you do what they say. If you don't the game suffers.
**I would strongly suggest playing it straight the first time.** Adding the burden of hacking things to play Jedi or whatever is only going to make it that much harder to work with. Once everybody "gets it", by all means experiment. A cool way to pitch it: *"Dogs is about these kids who are told to go into their communities and solve serious problems and the tools they are given to solve the community's problems are a book and a gun."*
**As GM, make a town you find compelling and go all the way to hate and murder.** Don't forget to ask the players if they are seeing demonic influence, and add those fat dice to your collection when they do. Don't be afraid to play hard, even really hard. The players have the resources to deal with it. Do not nerf your opposition, make them full of power and danger and strong motivations.
**Leave a few relationships you can directly slot in as important to specific PCs**. Be prepared to say "this guy is your older brother" and "This girl? She's the first girl you ever kissed, which I see you wrote down as a relationship" or whatever is going to resonate with the relationships they have chosen.
**Don't keep secrets.** Seriously, don't! As GM be an open book. It is not only acceptable but required to say stuff like "She shakes her head and denies any knowledge of the theft. And she's totally lying" or "Youpass by, and as soon as you are out of sight all three brothers spit in the tracks you left with contempt". No secrets!
**Understand that even three Dogs acting in unison are generally unstoppable.** Make sure your town has enough moral grey areas to divide them against each other when it comes time to make solutions, or have another town ready to go because they will breeze through the first one. This isn't a terrible thing, but the game is much better when you get some player-level disagreements going. When one guy is like "Hell no, you aren't making *him* Steward!" that is good stuff.
**Really use the initiation conflicts to familiarize yourselves with the way escalation works.** Remember that you can escalate from guns to talking, and that you take harm in relation to the action, not the level of escalation.
**Encourage giving!** This may be the biggest thing I see among people new to the game. In a lot of games, you have to fight to the bitter end. If you do that in Dogs, not only do you lose certain rewards from fallout, but the game can be boring. Give! Set stakes that allow easy giving and encourage it.
Like it says, **Roll the dice or say yes.** If it isn't worth a conflict, let it happen. Pick your battles as GM, and be OK with losing, because you definitely will.
**Don't sweat the dice.** If a guy takes "Gnarled fists 3d10" that is awesome, not problematic. He wants to punch people and be a badass, and he will be. It will not break the game in any way. Similarly, players will come to relish fallout and that is fantastic. Let them get banged up and learn from it and get better. Failure is OK.
**Remember the faith is what the players say it is.** If anyone is weirded out by the setting, make sure they know they can quite literally change it. They are God's representatives on earth. If he tells them polygamy is no longer cool, *it is no longer cool.* That's the stuff of great conflicts. If this is sufficiently clear, it will hopefully remove any discomfort about the setting.
[Here is a thread with even more advice!](http://story-games.com/forums/comments.php?DiscussionID=12353) Good luck and have fun! | My first experience of playing Dogs in Vineyard made me realize that there was now a system that I could use to build **really** interesting stories, and found that it works best with a group that knows each other and respects each other. Where D&D can bog down into repetitive mayhem, the escalation mechanic in DitV gives nuance and levels to conflict that can be handled mechanically without resulting in a failure condition that blocks the game.
When you are coming up with traits, choose what appeals to you. This game really allows solutions outside of kill them all and let God sort them out, although that can be a really cool solution sometimes (but was the what the demons wanted you to do?)
I agree with all the other advice as well. Once you play it can be a heady experience, the story sometimes allows feelings and attitudes to come out that you never realized were in you or the people you play with. |
3,282 | Our gaming group has got a lot of experience in playing more mainstream/traditional RPGs; we've played D&D (3.0,3.5,4.0) World of Darkness, Rogue Trader, and even a little L5R. However, after the recent implosion of a WoD campaign, we've decided to try going for a more 'rules light' system, and we're going to try out "Dogs in the Vineyard" (the rules at least; the setting itself is bothering some).
I understand that the game itself has a very different approach to things; what are some of the core 'gotchas' that we should be watching out for? Things that are so different that it'd never occur to us to check how we 'should' be doing it? | 2010/10/07 | [
"https://rpg.stackexchange.com/questions/3282",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/732/"
] | Dogs is a great "gateway drug" to indie games. While it's chock full of crazy indie design madness, it also has a lot of things in it that will appeal to traditional gamers. Mind you, these terms "indie" and "traditional" are admittedly pretty slippery, but I won't get into that here. I know what you mean.
Here's some advice for playing Dogs.
1. **Read the rules and play it exactly as written.** Don't assume you know how to do it. Go through the examples and play it just how it says. Vincent (the author) is usually very precise in his text.
2. **Internalize some of the examples,** especially the tricks he uses for conflicts.
3. **As GM, play dirty.** That means doing evil stuff you'd never dream of doing in a traditional game where the GM has tons of power over the characters. Dogs limits the GM's power pretty significantly. Stay within what is granted, but push hard. Play with conflicts like, "So Patience sneaks into your room and slits your throat while you're sleeping." It's totally legal, and it becomes an awesome conflict. Don't overuse it though.
4. **Pressure, pressure, pressure.** As GM, keep applying pressure to the PCs. If they're willing to shoot Horace in the face for drawing a gun, see if they're willing to shoot his wife Patience in the face for drawing a knife. See if they're willing to shoot his five-year-old daughter in the face for drawing a gun. Explore the moral space.
5. **Dogs is not an investigation game.** The rules are pretty clear about this, but it trips up traditional gamers. The GM should not make the game about finding out information. Let the information come out naturally in play. Even tell the players that you're gonna give them all the information that they need, in time. Don't play "gotcha" games with information. Put it all on the table and see what happens. The Town creation rules will give you a meaty situation. Trust in it.
6. **Go all the way to murder.** The Town creation rules have this sin-escalation mechanic, right? Don't think you're making things easier by stopping at the 2nd or 3rd step (injustice or whatever). Don't stop till you have murderous sorcerers and demons and complete social breakdown in the Town. Going all the way will make the situation way more interesting for new players. At this point in the game, they don't need subtle.
7. **Don't skip Initiation.** The initiation step of character generation is intended to introduce the character to the game and introduce a new player to the rules. It's the best way for new Dogs gamers to get their feet wet.
8. **The real force of a Raise is the fictional content, not the dice.** Narrate everything. As new players start fiddling with pairs of dice in their pool, they're going to forget to say what their characters are doing. You can't just push forward 6+7 and not say anything because then whoever has to respond to it doesn't know what they're responding to. It's easy enough to Take the Blow when you're looking at a few d4 or d6 of Fallout. However, when the Raise was "You never were good enough to be a Dog," Taking the Blow means that your character is internalizing those feelings. Do you really want that permanent consequence? (Well, a follow-up conflict might fix it.)
9. **Fallout isn't always bad.** Fallout is the advancement system. Encourage players to take d4 Fallout early in a conflict when people are Just Talking. You can't die, and you'll earn experience.
10. **Don't worry about min-maxers.** If John wants to create a character who is a terrible combat machine with 10d6 of shooting dice and four traits like "Guns solve everything 2d10" and equipment like "huge awesome shotgun d8+d4"... let him. Your job as GM is to look at the character sheet and go, "oh, really?" but do it *in play*. So you're great with a gun. Will you solve all your problems with a gun? What if it's your *brother* who sinned? What if it's your *mom*?
11. **Characters are young virgins.** It's easy to forget this. Dogs are, to the last, inexperienced virgin teenagers. I remind my players to remember what it was like being 14. Now imagine what it's like if your community tells you that God has chosen you and sends you off to Bridal Falls for training, and they give you a gun and a license to judge sinners *however you think is right.*
I hope this helps. | The most strange (and fascinating!) thing I catch reading the examples in the book is the ability of players to take storytelling decisions beyond the actions of their characters. This is very counter-intuitive for traditional role-playing, but it is what novice players often do (and is also what children do when playing roles). We used to call this "*self-DM-ing*" with my group.
If playing something else, let say D&D, a player cannot say *"I opened the chest and there is a magic sword"*. The GM would reply *"OK, you can open the chest, but what is on it is up to myself"*.
**Not in dogs!** The player could do blunt *self-GMing* and the GM could (if a proper dice pool is available) "counter" (or *seeing* and *reverse the blow* in ditv jargon) with *"but the magic sword is cursed"*, and then the player go with *"but I am immune to that sort of curses"*, and so on. At some point the dice pool of a party would be depleted, so someone must consider to give up early. |
3,282 | Our gaming group has got a lot of experience in playing more mainstream/traditional RPGs; we've played D&D (3.0,3.5,4.0) World of Darkness, Rogue Trader, and even a little L5R. However, after the recent implosion of a WoD campaign, we've decided to try going for a more 'rules light' system, and we're going to try out "Dogs in the Vineyard" (the rules at least; the setting itself is bothering some).
I understand that the game itself has a very different approach to things; what are some of the core 'gotchas' that we should be watching out for? Things that are so different that it'd never occur to us to check how we 'should' be doing it? | 2010/10/07 | [
"https://rpg.stackexchange.com/questions/3282",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/732/"
] | Dogs in the Vineyard is a great game. **It really demands that you play it by the rules as written**, which may be a cognitive leap if you are used to fudging things. I think the rules are luminously clear, but they are pretty specific and work great when you do what they say. If you don't the game suffers.
**I would strongly suggest playing it straight the first time.** Adding the burden of hacking things to play Jedi or whatever is only going to make it that much harder to work with. Once everybody "gets it", by all means experiment. A cool way to pitch it: *"Dogs is about these kids who are told to go into their communities and solve serious problems and the tools they are given to solve the community's problems are a book and a gun."*
**As GM, make a town you find compelling and go all the way to hate and murder.** Don't forget to ask the players if they are seeing demonic influence, and add those fat dice to your collection when they do. Don't be afraid to play hard, even really hard. The players have the resources to deal with it. Do not nerf your opposition, make them full of power and danger and strong motivations.
**Leave a few relationships you can directly slot in as important to specific PCs**. Be prepared to say "this guy is your older brother" and "This girl? She's the first girl you ever kissed, which I see you wrote down as a relationship" or whatever is going to resonate with the relationships they have chosen.
**Don't keep secrets.** Seriously, don't! As GM be an open book. It is not only acceptable but required to say stuff like "She shakes her head and denies any knowledge of the theft. And she's totally lying" or "Youpass by, and as soon as you are out of sight all three brothers spit in the tracks you left with contempt". No secrets!
**Understand that even three Dogs acting in unison are generally unstoppable.** Make sure your town has enough moral grey areas to divide them against each other when it comes time to make solutions, or have another town ready to go because they will breeze through the first one. This isn't a terrible thing, but the game is much better when you get some player-level disagreements going. When one guy is like "Hell no, you aren't making *him* Steward!" that is good stuff.
**Really use the initiation conflicts to familiarize yourselves with the way escalation works.** Remember that you can escalate from guns to talking, and that you take harm in relation to the action, not the level of escalation.
**Encourage giving!** This may be the biggest thing I see among people new to the game. In a lot of games, you have to fight to the bitter end. If you do that in Dogs, not only do you lose certain rewards from fallout, but the game can be boring. Give! Set stakes that allow easy giving and encourage it.
Like it says, **Roll the dice or say yes.** If it isn't worth a conflict, let it happen. Pick your battles as GM, and be OK with losing, because you definitely will.
**Don't sweat the dice.** If a guy takes "Gnarled fists 3d10" that is awesome, not problematic. He wants to punch people and be a badass, and he will be. It will not break the game in any way. Similarly, players will come to relish fallout and that is fantastic. Let them get banged up and learn from it and get better. Failure is OK.
**Remember the faith is what the players say it is.** If anyone is weirded out by the setting, make sure they know they can quite literally change it. They are God's representatives on earth. If he tells them polygamy is no longer cool, *it is no longer cool.* That's the stuff of great conflicts. If this is sufficiently clear, it will hopefully remove any discomfort about the setting.
[Here is a thread with even more advice!](http://story-games.com/forums/comments.php?DiscussionID=12353) Good luck and have fun! | Dogs is a great "gateway drug" to indie games. While it's chock full of crazy indie design madness, it also has a lot of things in it that will appeal to traditional gamers. Mind you, these terms "indie" and "traditional" are admittedly pretty slippery, but I won't get into that here. I know what you mean.
Here's some advice for playing Dogs.
1. **Read the rules and play it exactly as written.** Don't assume you know how to do it. Go through the examples and play it just how it says. Vincent (the author) is usually very precise in his text.
2. **Internalize some of the examples,** especially the tricks he uses for conflicts.
3. **As GM, play dirty.** That means doing evil stuff you'd never dream of doing in a traditional game where the GM has tons of power over the characters. Dogs limits the GM's power pretty significantly. Stay within what is granted, but push hard. Play with conflicts like, "So Patience sneaks into your room and slits your throat while you're sleeping." It's totally legal, and it becomes an awesome conflict. Don't overuse it though.
4. **Pressure, pressure, pressure.** As GM, keep applying pressure to the PCs. If they're willing to shoot Horace in the face for drawing a gun, see if they're willing to shoot his wife Patience in the face for drawing a knife. See if they're willing to shoot his five-year-old daughter in the face for drawing a gun. Explore the moral space.
5. **Dogs is not an investigation game.** The rules are pretty clear about this, but it trips up traditional gamers. The GM should not make the game about finding out information. Let the information come out naturally in play. Even tell the players that you're gonna give them all the information that they need, in time. Don't play "gotcha" games with information. Put it all on the table and see what happens. The Town creation rules will give you a meaty situation. Trust in it.
6. **Go all the way to murder.** The Town creation rules have this sin-escalation mechanic, right? Don't think you're making things easier by stopping at the 2nd or 3rd step (injustice or whatever). Don't stop till you have murderous sorcerers and demons and complete social breakdown in the Town. Going all the way will make the situation way more interesting for new players. At this point in the game, they don't need subtle.
7. **Don't skip Initiation.** The initiation step of character generation is intended to introduce the character to the game and introduce a new player to the rules. It's the best way for new Dogs gamers to get their feet wet.
8. **The real force of a Raise is the fictional content, not the dice.** Narrate everything. As new players start fiddling with pairs of dice in their pool, they're going to forget to say what their characters are doing. You can't just push forward 6+7 and not say anything because then whoever has to respond to it doesn't know what they're responding to. It's easy enough to Take the Blow when you're looking at a few d4 or d6 of Fallout. However, when the Raise was "You never were good enough to be a Dog," Taking the Blow means that your character is internalizing those feelings. Do you really want that permanent consequence? (Well, a follow-up conflict might fix it.)
9. **Fallout isn't always bad.** Fallout is the advancement system. Encourage players to take d4 Fallout early in a conflict when people are Just Talking. You can't die, and you'll earn experience.
10. **Don't worry about min-maxers.** If John wants to create a character who is a terrible combat machine with 10d6 of shooting dice and four traits like "Guns solve everything 2d10" and equipment like "huge awesome shotgun d8+d4"... let him. Your job as GM is to look at the character sheet and go, "oh, really?" but do it *in play*. So you're great with a gun. Will you solve all your problems with a gun? What if it's your *brother* who sinned? What if it's your *mom*?
11. **Characters are young virgins.** It's easy to forget this. Dogs are, to the last, inexperienced virgin teenagers. I remind my players to remember what it was like being 14. Now imagine what it's like if your community tells you that God has chosen you and sends you off to Bridal Falls for training, and they give you a gun and a license to judge sinners *however you think is right.*
I hope this helps. |
3,282 | Our gaming group has got a lot of experience in playing more mainstream/traditional RPGs; we've played D&D (3.0,3.5,4.0) World of Darkness, Rogue Trader, and even a little L5R. However, after the recent implosion of a WoD campaign, we've decided to try going for a more 'rules light' system, and we're going to try out "Dogs in the Vineyard" (the rules at least; the setting itself is bothering some).
I understand that the game itself has a very different approach to things; what are some of the core 'gotchas' that we should be watching out for? Things that are so different that it'd never occur to us to check how we 'should' be doing it? | 2010/10/07 | [
"https://rpg.stackexchange.com/questions/3282",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/732/"
] | The other answers are great in their detail. I'll just add a more broad gotcha: *Dogs in the Vineyard* isn't just a set of mechanics for determining the success or failure of actions, which is how most roleplaying games you've listed are designed.
If you go into the game thinking that it's just a different "physics" system for doing the same thing as other games, you'll trip over a few stumbling blocks as you learn the game. Nothing show-stopping, but knowing you might hit some snags that are more in your head can help get past them.
Even if you already know that *Dogs* is doing something different, your well-honed gaming reflexes can easily lead you to play as if it were a more traditional game. It might take a few sessions before you can stop reminding yourself.
This is something to watch out for in the other players, too. I've known people who've played *Dogs* and then given it up because they were so focused on the "physics" of how the mechanics modelled, say, gunfights (and finding it wanting) that they never realised that wasn't the point of the game. If someone in your group starts discussing the strategic benefits of particular arrangements of Traits, or start pointing out that the system is "broken" in some way, that's a sign they're missing the forest for the trees. That's your opportunity to intervene and try to show them that what the game is doing and about is different enough that character optimisation actually doesn't matter. | My first experience of playing Dogs in Vineyard made me realize that there was now a system that I could use to build **really** interesting stories, and found that it works best with a group that knows each other and respects each other. Where D&D can bog down into repetitive mayhem, the escalation mechanic in DitV gives nuance and levels to conflict that can be handled mechanically without resulting in a failure condition that blocks the game.
When you are coming up with traits, choose what appeals to you. This game really allows solutions outside of kill them all and let God sort them out, although that can be a really cool solution sometimes (but was the what the demons wanted you to do?)
I agree with all the other advice as well. Once you play it can be a heady experience, the story sometimes allows feelings and attitudes to come out that you never realized were in you or the people you play with. |
3,282 | Our gaming group has got a lot of experience in playing more mainstream/traditional RPGs; we've played D&D (3.0,3.5,4.0) World of Darkness, Rogue Trader, and even a little L5R. However, after the recent implosion of a WoD campaign, we've decided to try going for a more 'rules light' system, and we're going to try out "Dogs in the Vineyard" (the rules at least; the setting itself is bothering some).
I understand that the game itself has a very different approach to things; what are some of the core 'gotchas' that we should be watching out for? Things that are so different that it'd never occur to us to check how we 'should' be doing it? | 2010/10/07 | [
"https://rpg.stackexchange.com/questions/3282",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/732/"
] | My first experience of playing Dogs in Vineyard made me realize that there was now a system that I could use to build **really** interesting stories, and found that it works best with a group that knows each other and respects each other. Where D&D can bog down into repetitive mayhem, the escalation mechanic in DitV gives nuance and levels to conflict that can be handled mechanically without resulting in a failure condition that blocks the game.
When you are coming up with traits, choose what appeals to you. This game really allows solutions outside of kill them all and let God sort them out, although that can be a really cool solution sometimes (but was the what the demons wanted you to do?)
I agree with all the other advice as well. Once you play it can be a heady experience, the story sometimes allows feelings and attitudes to come out that you never realized were in you or the people you play with. | The most strange (and fascinating!) thing I catch reading the examples in the book is the ability of players to take storytelling decisions beyond the actions of their characters. This is very counter-intuitive for traditional role-playing, but it is what novice players often do (and is also what children do when playing roles). We used to call this "*self-DM-ing*" with my group.
If playing something else, let say D&D, a player cannot say *"I opened the chest and there is a magic sword"*. The GM would reply *"OK, you can open the chest, but what is on it is up to myself"*.
**Not in dogs!** The player could do blunt *self-GMing* and the GM could (if a proper dice pool is available) "counter" (or *seeing* and *reverse the blow* in ditv jargon) with *"but the magic sword is cursed"*, and then the player go with *"but I am immune to that sort of curses"*, and so on. At some point the dice pool of a party would be depleted, so someone must consider to give up early. |
3,282 | Our gaming group has got a lot of experience in playing more mainstream/traditional RPGs; we've played D&D (3.0,3.5,4.0) World of Darkness, Rogue Trader, and even a little L5R. However, after the recent implosion of a WoD campaign, we've decided to try going for a more 'rules light' system, and we're going to try out "Dogs in the Vineyard" (the rules at least; the setting itself is bothering some).
I understand that the game itself has a very different approach to things; what are some of the core 'gotchas' that we should be watching out for? Things that are so different that it'd never occur to us to check how we 'should' be doing it? | 2010/10/07 | [
"https://rpg.stackexchange.com/questions/3282",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/732/"
] | Dogs in the Vineyard is a great game. **It really demands that you play it by the rules as written**, which may be a cognitive leap if you are used to fudging things. I think the rules are luminously clear, but they are pretty specific and work great when you do what they say. If you don't the game suffers.
**I would strongly suggest playing it straight the first time.** Adding the burden of hacking things to play Jedi or whatever is only going to make it that much harder to work with. Once everybody "gets it", by all means experiment. A cool way to pitch it: *"Dogs is about these kids who are told to go into their communities and solve serious problems and the tools they are given to solve the community's problems are a book and a gun."*
**As GM, make a town you find compelling and go all the way to hate and murder.** Don't forget to ask the players if they are seeing demonic influence, and add those fat dice to your collection when they do. Don't be afraid to play hard, even really hard. The players have the resources to deal with it. Do not nerf your opposition, make them full of power and danger and strong motivations.
**Leave a few relationships you can directly slot in as important to specific PCs**. Be prepared to say "this guy is your older brother" and "This girl? She's the first girl you ever kissed, which I see you wrote down as a relationship" or whatever is going to resonate with the relationships they have chosen.
**Don't keep secrets.** Seriously, don't! As GM be an open book. It is not only acceptable but required to say stuff like "She shakes her head and denies any knowledge of the theft. And she's totally lying" or "Youpass by, and as soon as you are out of sight all three brothers spit in the tracks you left with contempt". No secrets!
**Understand that even three Dogs acting in unison are generally unstoppable.** Make sure your town has enough moral grey areas to divide them against each other when it comes time to make solutions, or have another town ready to go because they will breeze through the first one. This isn't a terrible thing, but the game is much better when you get some player-level disagreements going. When one guy is like "Hell no, you aren't making *him* Steward!" that is good stuff.
**Really use the initiation conflicts to familiarize yourselves with the way escalation works.** Remember that you can escalate from guns to talking, and that you take harm in relation to the action, not the level of escalation.
**Encourage giving!** This may be the biggest thing I see among people new to the game. In a lot of games, you have to fight to the bitter end. If you do that in Dogs, not only do you lose certain rewards from fallout, but the game can be boring. Give! Set stakes that allow easy giving and encourage it.
Like it says, **Roll the dice or say yes.** If it isn't worth a conflict, let it happen. Pick your battles as GM, and be OK with losing, because you definitely will.
**Don't sweat the dice.** If a guy takes "Gnarled fists 3d10" that is awesome, not problematic. He wants to punch people and be a badass, and he will be. It will not break the game in any way. Similarly, players will come to relish fallout and that is fantastic. Let them get banged up and learn from it and get better. Failure is OK.
**Remember the faith is what the players say it is.** If anyone is weirded out by the setting, make sure they know they can quite literally change it. They are God's representatives on earth. If he tells them polygamy is no longer cool, *it is no longer cool.* That's the stuff of great conflicts. If this is sufficiently clear, it will hopefully remove any discomfort about the setting.
[Here is a thread with even more advice!](http://story-games.com/forums/comments.php?DiscussionID=12353) Good luck and have fun! | I played DitV with some good friends who are able to roleplay fine, but they were really taken aback by some of the aspects of the game. I was mastering and found myself trapepd into old reflexes. So...
* Don't hesitate to force your players! The rulebook says that it's fair game. If they don't want to be convinced of something that's a conflict. Set the stakes and play it! In my first game, i had a lone player facing the mayor of the town, very agressive, who wanted the pc to obey his every orders. The player was very surprised when i answered his "i'd never do that" with a handful of dice and a "prove it"
* Present the characters with potential conflicts very early. As soon as they arrive in the community, swamp them with demands. Don't play all demands as conflicts but the way your town is written should give you enough hints as to what conflicts could arise
* Don't heistate to change the setting. If your players feel uncomfortable in the Olde West, play prohibition, or mafia, or wherever the players can find a strong community united against the outside.
i'll give only a link to [the forge forum for lumpley games](http://www.indie-rpgs.com/forge/index.php?board=44.0), where you'll find resources, pre-written towns and idea about settings...
---
Edit just to add, the "Don't keep secrets" rule is **essential**. You don't play DitV as another game where the mystery must be uncovered. |
3,282 | Our gaming group has got a lot of experience in playing more mainstream/traditional RPGs; we've played D&D (3.0,3.5,4.0) World of Darkness, Rogue Trader, and even a little L5R. However, after the recent implosion of a WoD campaign, we've decided to try going for a more 'rules light' system, and we're going to try out "Dogs in the Vineyard" (the rules at least; the setting itself is bothering some).
I understand that the game itself has a very different approach to things; what are some of the core 'gotchas' that we should be watching out for? Things that are so different that it'd never occur to us to check how we 'should' be doing it? | 2010/10/07 | [
"https://rpg.stackexchange.com/questions/3282",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/732/"
] | My first experience of playing Dogs in Vineyard made me realize that there was now a system that I could use to build **really** interesting stories, and found that it works best with a group that knows each other and respects each other. Where D&D can bog down into repetitive mayhem, the escalation mechanic in DitV gives nuance and levels to conflict that can be handled mechanically without resulting in a failure condition that blocks the game.
When you are coming up with traits, choose what appeals to you. This game really allows solutions outside of kill them all and let God sort them out, although that can be a really cool solution sometimes (but was the what the demons wanted you to do?)
I agree with all the other advice as well. Once you play it can be a heady experience, the story sometimes allows feelings and attitudes to come out that you never realized were in you or the people you play with. | I played DitV with some good friends who are able to roleplay fine, but they were really taken aback by some of the aspects of the game. I was mastering and found myself trapepd into old reflexes. So...
* Don't hesitate to force your players! The rulebook says that it's fair game. If they don't want to be convinced of something that's a conflict. Set the stakes and play it! In my first game, i had a lone player facing the mayor of the town, very agressive, who wanted the pc to obey his every orders. The player was very surprised when i answered his "i'd never do that" with a handful of dice and a "prove it"
* Present the characters with potential conflicts very early. As soon as they arrive in the community, swamp them with demands. Don't play all demands as conflicts but the way your town is written should give you enough hints as to what conflicts could arise
* Don't heistate to change the setting. If your players feel uncomfortable in the Olde West, play prohibition, or mafia, or wherever the players can find a strong community united against the outside.
i'll give only a link to [the forge forum for lumpley games](http://www.indie-rpgs.com/forge/index.php?board=44.0), where you'll find resources, pre-written towns and idea about settings...
---
Edit just to add, the "Don't keep secrets" rule is **essential**. You don't play DitV as another game where the mystery must be uncovered. |
541,336 | I gather that the phrase "your mileage may vary" basically means your experience may vary. But, in general use, the term "mileage" has two different senses, and both seem to be capable of being the one the phrase means :
1. Mileage as a measure of fuel efficiency -- i.e. how much fuel a vehicle uses for specific number of miles it travels.
2. Mileage as a measure of total miles a vehicle has traveled over its lifetime.
Both can possibly be the intended meaning of the term "mileage" in the phrase "your mileage may vary".
So which one is it ? | 2020/07/20 | [
"https://english.stackexchange.com/questions/541336",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/1705/"
] | *Your mileage may vary* fits your first definition, "Mileage as a measure of fuel efficiency."
In the US, the EPA has a procedure for how to estimate a car's mileage in the city and on the highway. These tests were run under laboratory conditions on a machine called a *dynamometer*.
[Source](https://www.fueleconomy.gov/feg/how_tested.shtml)
In the US, **new** cars are sold with the laboratory results on a sticker.
But the individual who purchases said car will drive in cities and on highways that are different than the laboratory conditions. S/he may also accellerate more quickly than the EPA lab procedure or run the air conditioner. This will change the individual's mileage compared to the lab results. Thus "Your mileage may vary" is a common warning that was voiced over in [1970s **new** car advertisements](https://books.google.co.uk/books?id=T_LCc7x1g_8C&pg=PA21&dq=%22mileage+may+vary%22&hl=en&sa=X&ved=2ahUKEwjW8smG0eDqAhVEUhUIHd3rBUwQ6AEwAHoECAEQAg#v=onepage&q=%22mileage%20may%20vary%22&f=false) and is in the fine print today, and it refers to the fuel efficiency.
(It could not refer to the miles traveled over a lifetime, as it is employed for new cars, which are by definition low in mileage.)
Here is an image from a 2020 Nissan Maxima sales brochure.
[](https://i.stack.imgur.com/vJn70.jpg)
The fine print (about two-thirds of the way through) says:
>
> 2020 EPA Fuel Economy Estimates 20/30/24 (City/Highway/Combined). Actual mileage may vary with driving conditions.
>
>
> | As it turns out, [at least according to Oxford](https://www.lexico.com/en/definition/mileage), **mileage** has another (informal) definition.
>
> mileage, noun
>
>
>
> >
> > Actual or potential benefit from something.
> >
> >
> >
>
>
>
I would say that this is the most accurate definition for this usage. |
541,336 | I gather that the phrase "your mileage may vary" basically means your experience may vary. But, in general use, the term "mileage" has two different senses, and both seem to be capable of being the one the phrase means :
1. Mileage as a measure of fuel efficiency -- i.e. how much fuel a vehicle uses for specific number of miles it travels.
2. Mileage as a measure of total miles a vehicle has traveled over its lifetime.
Both can possibly be the intended meaning of the term "mileage" in the phrase "your mileage may vary".
So which one is it ? | 2020/07/20 | [
"https://english.stackexchange.com/questions/541336",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/1705/"
] | This is mainly an answer to a different question — ”When did the phrase switch from a literal to a figurative meaning?” — but by documenting it I do answer the question, so pause a second before downvoting me.
A [Google Books ngram search for “mileage may vary”](https://books.google.com/ngrams/graph?smoothing=3&year_end=2019&year_start=1800&corpus=26&content=mileage+may+vary&direct_url=t1%3B%2Cmileage%20may%20vary%3B%2Cc0#t1%3B%2Cmileage%20may%20vary%3B%2Cc0) brings up a bimodal graph:
[](https://i.stack.imgur.com/ck7AE.png)
The first portion, starting about 1970, peaking about 1980, and bottoming out in 1990 almost completely consists of literal usage in terms of *miles per gallon*, e.g.:
>
> “Your mileage may vary due to how and where you drive, truck's condition, and optional equipment.” [Popular Science, June 1978](https://books.google.co.uk/books?id=jAAAAAAAMBAJ&pg=PA139&dq=%22mileage+may+vary%22&hl=en&sa=X&ved=2ahUKEwjW8smG0eDqAhVEUhUIHd3rBUwQ6AEwBHoECAMQAg#v=onepage&q=%22mileage%20may%20vary%22&f=false)
>
>
>
In the second, later, peak one finds the term used mainly in the figurative sense mentioned by the poster. The first linked page for the period 1998-2011 includes books on
bed bugs:
>
> “And in dealing with animals, the phrase your mileage may vary must be considered”
>
>
>
childcare:
>
> “As with anything else kid-related, your mileage may vary!”
>
>
>
web programming:
>
> “But your mileage may vary. If you view a Web page…”
>
>
>
and real estate marketing:
>
> “Your mileage may vary, but not by much. If you rely on yourself to send out those letters…”
>
>
>
Shows how useful Google Books ngram can be. But then again, your mileage… | As it turns out, [at least according to Oxford](https://www.lexico.com/en/definition/mileage), **mileage** has another (informal) definition.
>
> mileage, noun
>
>
>
> >
> > Actual or potential benefit from something.
> >
> >
> >
>
>
>
I would say that this is the most accurate definition for this usage. |
541,336 | I gather that the phrase "your mileage may vary" basically means your experience may vary. But, in general use, the term "mileage" has two different senses, and both seem to be capable of being the one the phrase means :
1. Mileage as a measure of fuel efficiency -- i.e. how much fuel a vehicle uses for specific number of miles it travels.
2. Mileage as a measure of total miles a vehicle has traveled over its lifetime.
Both can possibly be the intended meaning of the term "mileage" in the phrase "your mileage may vary".
So which one is it ? | 2020/07/20 | [
"https://english.stackexchange.com/questions/541336",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/1705/"
] | *Your mileage may vary* fits your first definition, "Mileage as a measure of fuel efficiency."
In the US, the EPA has a procedure for how to estimate a car's mileage in the city and on the highway. These tests were run under laboratory conditions on a machine called a *dynamometer*.
[Source](https://www.fueleconomy.gov/feg/how_tested.shtml)
In the US, **new** cars are sold with the laboratory results on a sticker.
But the individual who purchases said car will drive in cities and on highways that are different than the laboratory conditions. S/he may also accellerate more quickly than the EPA lab procedure or run the air conditioner. This will change the individual's mileage compared to the lab results. Thus "Your mileage may vary" is a common warning that was voiced over in [1970s **new** car advertisements](https://books.google.co.uk/books?id=T_LCc7x1g_8C&pg=PA21&dq=%22mileage+may+vary%22&hl=en&sa=X&ved=2ahUKEwjW8smG0eDqAhVEUhUIHd3rBUwQ6AEwAHoECAEQAg#v=onepage&q=%22mileage%20may%20vary%22&f=false) and is in the fine print today, and it refers to the fuel efficiency.
(It could not refer to the miles traveled over a lifetime, as it is employed for new cars, which are by definition low in mileage.)
Here is an image from a 2020 Nissan Maxima sales brochure.
[](https://i.stack.imgur.com/vJn70.jpg)
The fine print (about two-thirds of the way through) says:
>
> 2020 EPA Fuel Economy Estimates 20/30/24 (City/Highway/Combined). Actual mileage may vary with driving conditions.
>
>
> | This is mainly an answer to a different question — ”When did the phrase switch from a literal to a figurative meaning?” — but by documenting it I do answer the question, so pause a second before downvoting me.
A [Google Books ngram search for “mileage may vary”](https://books.google.com/ngrams/graph?smoothing=3&year_end=2019&year_start=1800&corpus=26&content=mileage+may+vary&direct_url=t1%3B%2Cmileage%20may%20vary%3B%2Cc0#t1%3B%2Cmileage%20may%20vary%3B%2Cc0) brings up a bimodal graph:
[](https://i.stack.imgur.com/ck7AE.png)
The first portion, starting about 1970, peaking about 1980, and bottoming out in 1990 almost completely consists of literal usage in terms of *miles per gallon*, e.g.:
>
> “Your mileage may vary due to how and where you drive, truck's condition, and optional equipment.” [Popular Science, June 1978](https://books.google.co.uk/books?id=jAAAAAAAMBAJ&pg=PA139&dq=%22mileage+may+vary%22&hl=en&sa=X&ved=2ahUKEwjW8smG0eDqAhVEUhUIHd3rBUwQ6AEwBHoECAMQAg#v=onepage&q=%22mileage%20may%20vary%22&f=false)
>
>
>
In the second, later, peak one finds the term used mainly in the figurative sense mentioned by the poster. The first linked page for the period 1998-2011 includes books on
bed bugs:
>
> “And in dealing with animals, the phrase your mileage may vary must be considered”
>
>
>
childcare:
>
> “As with anything else kid-related, your mileage may vary!”
>
>
>
web programming:
>
> “But your mileage may vary. If you view a Web page…”
>
>
>
and real estate marketing:
>
> “Your mileage may vary, but not by much. If you rely on yourself to send out those letters…”
>
>
>
Shows how useful Google Books ngram can be. But then again, your mileage… |
332,748 | I have configured my default page to be say "abcd.aspx" and is under ~/View//abcd.aspx and I have my javascripts under ~/Contents/Scripts/.js
For some reason, only "../Content/Scripts/.js" works for including the js file on the page and "~/Contents/Scripts/.js" does not. This works only when i access the page with the full url: http:////controller/action. And since this is also the default page - accessing this via default page tries to load the scripts and the images will be broken as the relative path "../" - means that it would look under <http://server/Contents/Scripts>...
I thought using "~/" for the relative path should fix things, but as i mentioned it doesnt work for the full url and nor for the main default page.
Please let me know how i should be referring to the paths here.
Any help would be much appreciated.
Thanks! | 2008/12/02 | [
"https://Stackoverflow.com/questions/332748",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/-1/"
] | Using /Content/Scripts works, but has issues when you have installed your application under a virtual directory/application. If you are looking for the same type of behavior as in webforms, try using the Url helper:
<%=Url.Content("~/Content/Scripts/jquery-ui.js")%>" | The easiest way would be to use "/Content/Scripts", the "~/" shortcut won't work in a standard script tag and using relative paths will break once the perceived path changes with different routes. |
18,307 | I read one of the related questions here, but what i'm curious to know is how do we deflect imminent collision courses of comets, if we detect them at a later stage? I read somewhere else that there are systems which use powerful lasers (radiation pressure) to deflect them, but honestly, i don't understand why something like radiation pressure will work on something travelling at about 40km/s through space, and still manage to cause a large enough deflection. Are there other methods ? | 2016/09/11 | [
"https://astronomy.stackexchange.com/questions/18307",
"https://astronomy.stackexchange.com",
"https://astronomy.stackexchange.com/users/13414/"
] | Difficulty is hard to say, but the reason a laser might work is because the laser is supposed to melt one side of the comet, which, as it melts, gas particles fly off at relatively high velocity, which redirects the momentum of the comet somewhat. It's not the pressure from the laser, it's the heat from the laser and the fact that comets are made largely from ice, which can be melted or "zapped" into fast moving jets of gas.
The approach wouldn't be a laser on or orbiting Earth shooting comets from a great distance but spacecrafts flying up close to the comet and using lasers to target one side. It would be difficult to fire a laser so pinpoint as to target one side of the comet from earth and create localized heat that would create the necessary directional out-gassing. This [article](http://www.astrobio.net/topic/solar-system/meteoritescomets-and-asteroids/deflecting-asteroids-with-lasers/) proposes spacecraft, perhaps several, flying adjacent to the comet.
A nuclear weapon would be way more effective, however, depending on how fast we'd needed to push it. This [article](http://abcnews.go.com/blogs/politics/2013/05/nasas-actual-plan-to-deflect-an-approaching-asteroid/) mentions a pulse laser landing on the comet or asteroid as well as other methods that might work. | Fortunately it is not something that we have yet had to face.
Diverting the impact of a comet would not be easy, especially if it was a newly discovered comet on a nearly parabolic orbit. We would probably have less than 2 years to prepare.
Remember that the Earth is orbiting the sun at 30 km/s. So if we can delay the comet by three or four minutes, that turns a direct hit into a miss. But most of the plans to divert objects apply to asteroids whose orbit is well known and for which we could have tens of years in which to act. For a new comet there may not be time. |
18,307 | I read one of the related questions here, but what i'm curious to know is how do we deflect imminent collision courses of comets, if we detect them at a later stage? I read somewhere else that there are systems which use powerful lasers (radiation pressure) to deflect them, but honestly, i don't understand why something like radiation pressure will work on something travelling at about 40km/s through space, and still manage to cause a large enough deflection. Are there other methods ? | 2016/09/11 | [
"https://astronomy.stackexchange.com/questions/18307",
"https://astronomy.stackexchange.com",
"https://astronomy.stackexchange.com/users/13414/"
] | Fortunately it is not something that we have yet had to face.
Diverting the impact of a comet would not be easy, especially if it was a newly discovered comet on a nearly parabolic orbit. We would probably have less than 2 years to prepare.
Remember that the Earth is orbiting the sun at 30 km/s. So if we can delay the comet by three or four minutes, that turns a direct hit into a miss. But most of the plans to divert objects apply to asteroids whose orbit is well known and for which we could have tens of years in which to act. For a new comet there may not be time. | Space is really very empty and large. The Earth moves one radius in orbit every 3½ minutes. There are half a million minutes per year. So a pretty tiny push is enough to make the difference between a hit and a miss, given that there are a few years' warning and prompt action. |
18,307 | I read one of the related questions here, but what i'm curious to know is how do we deflect imminent collision courses of comets, if we detect them at a later stage? I read somewhere else that there are systems which use powerful lasers (radiation pressure) to deflect them, but honestly, i don't understand why something like radiation pressure will work on something travelling at about 40km/s through space, and still manage to cause a large enough deflection. Are there other methods ? | 2016/09/11 | [
"https://astronomy.stackexchange.com/questions/18307",
"https://astronomy.stackexchange.com",
"https://astronomy.stackexchange.com/users/13414/"
] | Difficulty is hard to say, but the reason a laser might work is because the laser is supposed to melt one side of the comet, which, as it melts, gas particles fly off at relatively high velocity, which redirects the momentum of the comet somewhat. It's not the pressure from the laser, it's the heat from the laser and the fact that comets are made largely from ice, which can be melted or "zapped" into fast moving jets of gas.
The approach wouldn't be a laser on or orbiting Earth shooting comets from a great distance but spacecrafts flying up close to the comet and using lasers to target one side. It would be difficult to fire a laser so pinpoint as to target one side of the comet from earth and create localized heat that would create the necessary directional out-gassing. This [article](http://www.astrobio.net/topic/solar-system/meteoritescomets-and-asteroids/deflecting-asteroids-with-lasers/) proposes spacecraft, perhaps several, flying adjacent to the comet.
A nuclear weapon would be way more effective, however, depending on how fast we'd needed to push it. This [article](http://abcnews.go.com/blogs/politics/2013/05/nasas-actual-plan-to-deflect-an-approaching-asteroid/) mentions a pulse laser landing on the comet or asteroid as well as other methods that might work. | Space is really very empty and large. The Earth moves one radius in orbit every 3½ minutes. There are half a million minutes per year. So a pretty tiny push is enough to make the difference between a hit and a miss, given that there are a few years' warning and prompt action. |
114,646 | I am printing to the outside of bowls in an industrial setting by transferring an image from a flatbed live paint print station via an silicone pad printing head. The image distorts quite a bit growing outward as it moves down the bowl but compressing cylindrically at the same time.
Because the artwork is constantly changing to new designs but the area on the ware to be decorated remains the same, how do I pre-distort the image no matter what it is, to become the same shape every time? I believe that others must have the same dilemma.
I am using both Photoshop or Illustrator to develop images based on what elements are needed but they seem limited and time consuming to distort every image. There are a lot of the. and they need to be repeatable.
Can someone help? | 2018/09/05 | [
"https://graphicdesign.stackexchange.com/questions/114646",
"https://graphicdesign.stackexchange.com",
"https://graphicdesign.stackexchange.com/users/115857/"
] | This is a layman's answer as I am not sufficiently familiar with Illustrator or related graphic editors, but this may give you a head start on the answer.
Consider to create an image of a grid of lines, or a checkerboard of squares. Apply that image to your print pad and execute a print. Obviously, the previously rectangular image will be distorted. Take a photograph of the distortions on the bowl with the camera as square as possible to the flat surface of the bowl. I believe to minimize distortion, a zoom lens used from some distance away will give the least parallax distortion.
I use Paint Shop Pro and have had to perform "undistortion" features to clean up an image.
I understand that Illustrator (and possibly Photoshop) allow for scripting. I'm aware also that Paint Shop Pro also supports scripting.
Import the photo into your desired software and manually apply the distortion necessary to "square up" the image. Note that this adjustment is the opposite of that which will be required to pre-distort your desired image.
As a test, create a new set of grid lines or checkerboards and apply your inverse adjustments, then perform a test print.
I believe that this process will result in a set of parameters that can then be transferred to a script to automate your goal.
I am envisioning a transfer press which uses a hemispherical application pad and presses in a vertical direction on the item being printed. If the process is more of a linear action, the concept is the same, but the distortions will be biased more in one direction rather than in a radial manner. | I found a useful PDF guide called [Understanding pad printing by Peter Kiddell](https://www.epsvt.com/wp-content/uploads/2017/04/2.Articles_Understanding%20the%20pad%20in%20pad%20printing.pdf)
It lists various methods to limit distortion. Distorting the image itself is described as a "last resort". Here's a quote from the relevant section in the PDF, the last point being applicable to your situation.
>
> Use these guidelines when choosing a pad shape for a particular job:
>
>
> • First, try your standard pads that you think would do the job for
> this particular part. Do a test print to verify that the proposed
> print area is imaged accurately.
>
>
> • If the pad shape you have chosen provides a satisfactory print over
> just a part of the area, look for similar pad shapes that extend the
> prole in a way that will cover the entire image. Distortion at the
> image edges is almost always caused by undersized pads.
>
>
> • If the obvious pads fail, try ones that appear to be unsuitable.
> Maybe the pad has a sharper angle than would seem to be appropriate,
> or is clearly too large for the image. It still may solve the problem.
>
>
> • Irregular ink pickup during the test print usually means that air
> is being trapped between the pad surface and the cliché. Watch
> carefully as the pad is being imaged to be sure that a rolling action
> is occurring.
>
>
> • Whenever possible, ensure that the point or apex of the pad does
> not come into contact with the image area of the cliché. This tends to
> thin the ink at that point, causing an inconsistent ink deposit.
>
>
> • If the pad is "overstressed" (that is, too small for the image) or
> the image is too close to the edge of the pad, distortion is likely to
> occur. Always use as little pressure as possible to pick up and print
> the image. If the machine is running too fast, excessive pad pressure
> can cause distortion as well as poor ink transfer.
>
>
> • If your experimentation doesn't reduce the print distortion to an
> acceptable level, and a custom pad is out of the question, your last
> resort is to distort the image on the cliché to compensate. This is
> often done by printing a grid onto the substrate and measuring the
> distortion of the grid to guide you in the alterations that must be
> made to the original artwork. This will shorten the time it takes you
> in test printing, but it won't eliminate the trial-and-error
> altogether. This method also leads to ongoing problems since
> positioning of the part and the pad (relative to the image on the
> cliché) must be absolutely dead on each time the job is set up to
> avoid distortion. We have heard that computer software packages are
> available that will do this work, but none are known to us.
>
>
> |
437,235 | I'm designing a schematic and board in Eagle 9.4.0. I have couple different power nets: signal 5V, power 5V (for servos) and power 8V (from battery). I'd like the power nets to be wider than others, so I designed specific net class for them. Matching GND nets will also be wider than others.
The problem is that I want all GNDs to connect at some point. However, when I connect nets (for instance, using a net junction), Eagle asks me, whether I want to merge nets and this is not what I want to do, since I'll have to choose one of two net classes for merged net.
How can I merge two nets in Eagle? | 2019/05/06 | [
"https://electronics.stackexchange.com/questions/437235",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/45692/"
] | You rename them into one single name. That's all.
If you want to keep the different names and properties and simply connect them, use a zero-ohms resistor. You can design such an element consisting of two pads and a track yourself. | Janka's suggestion of zero-ohm resistor (or jumper) is a good one.
If, for some reason, you don't want to do that, I've seen people draw a copper rectangle on the PCB which overlaps both nets. This works, but it has a few drawbacks:
1. It doesn't show up on the schematic, so you should make note of it manually.
2. It will cause DRC errors, which you can ignore (or dismiss)
3. You need to use a "rectangle", not a "polygon". A polygon is assigned a net name, and so will pull away from other nets. But a rectangle is unnamed, and can be forced to overlap multiple nets.
Even with these issues, this seems to be a common practice. |
437,235 | I'm designing a schematic and board in Eagle 9.4.0. I have couple different power nets: signal 5V, power 5V (for servos) and power 8V (from battery). I'd like the power nets to be wider than others, so I designed specific net class for them. Matching GND nets will also be wider than others.
The problem is that I want all GNDs to connect at some point. However, when I connect nets (for instance, using a net junction), Eagle asks me, whether I want to merge nets and this is not what I want to do, since I'll have to choose one of two net classes for merged net.
How can I merge two nets in Eagle? | 2019/05/06 | [
"https://electronics.stackexchange.com/questions/437235",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/45692/"
] | You rename them into one single name. That's all.
If you want to keep the different names and properties and simply connect them, use a zero-ohms resistor. You can design such an element consisting of two pads and a track yourself. | "I'll have to choose one of two net classes for merged net"
So what? Unless you are auto-routing, the traces will stay the same if you change the net name(s) after the routing is done. You may get some PCB checking errors for width but you can Accept those. |
437,235 | I'm designing a schematic and board in Eagle 9.4.0. I have couple different power nets: signal 5V, power 5V (for servos) and power 8V (from battery). I'd like the power nets to be wider than others, so I designed specific net class for them. Matching GND nets will also be wider than others.
The problem is that I want all GNDs to connect at some point. However, when I connect nets (for instance, using a net junction), Eagle asks me, whether I want to merge nets and this is not what I want to do, since I'll have to choose one of two net classes for merged net.
How can I merge two nets in Eagle? | 2019/05/06 | [
"https://electronics.stackexchange.com/questions/437235",
"https://electronics.stackexchange.com",
"https://electronics.stackexchange.com/users/45692/"
] | Janka's suggestion of zero-ohm resistor (or jumper) is a good one.
If, for some reason, you don't want to do that, I've seen people draw a copper rectangle on the PCB which overlaps both nets. This works, but it has a few drawbacks:
1. It doesn't show up on the schematic, so you should make note of it manually.
2. It will cause DRC errors, which you can ignore (or dismiss)
3. You need to use a "rectangle", not a "polygon". A polygon is assigned a net name, and so will pull away from other nets. But a rectangle is unnamed, and can be forced to overlap multiple nets.
Even with these issues, this seems to be a common practice. | "I'll have to choose one of two net classes for merged net"
So what? Unless you are auto-routing, the traces will stay the same if you change the net name(s) after the routing is done. You may get some PCB checking errors for width but you can Accept those. |
4,050 | I've noticed that sometimes, when I send Bitcoins from one client to another, the recipient client might not see the transaction, sometimes until it already has one or more confirmations. Both clients are connected to 30-40 nodes. | 2012/06/24 | [
"https://bitcoin.stackexchange.com/questions/4050",
"https://bitcoin.stackexchange.com",
"https://bitcoin.stackexchange.com/users/1513/"
] | Is one of the clients disconnected when you send payment with the other? This often happens to me when I send a transaction to the other OS on a dual-boot system, meaning the receiving client is down when the transaction is broadcast.
I'm guessing this happens because all nodes the client connects to when he comes online have already broadcast the transaction, so they won't send it again to him. He'll only get it as part of a block when it is found. | If the transaction is "spam-like" other nodes won't relay it. This is to help protect the Bitcoin network from too many low priority transactions.
Was the transaction for a tiny amount? (e.g., under 0.01 BTC?) and no fee paid? If so, that's kind of "spam-like". I don't know the exact algorithm, but both of those are factors. |
3,784,115 | I've been trying struggling over the last 2 weeks to find a viable way to configure a Wordpress installation as a membership directory that pulls information from user profiles (custom and default) and displays it in a presentable (possibly sortable) format.
Initially, something along the lines of the Sobi2 plugin for Joomla! was searched for, but to no avail. I stumbled on to a fairly straightforward blog entry on the subject, but it just seemed to list plugins without instructions on how to use them. see below.
<http://www.cagintranet.com/archive/the-new-improved-way-to-turn-wordpress-27-into-a-membership-communit/>
Any suggestions on decent plugins that can achieve what I'm looking for?
I'd like to avoid shelling out $175 for an enterprise plugin like aMember if possible. | 2010/09/24 | [
"https://Stackoverflow.com/questions/3784115",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/380458/"
] | @Nick
You must go with DirectoryPress if cost is not barrier. This is excellent Directory Plugin. Check below link...
<http://directorypress.net/>
If you're looking for Free Plugins then here are few of them...
<http://wordpress.org/extend/plugins/business-directory-plugin/>
<http://wordpress.org/extend/plugins/connections/>
<http://wordpress.org/extend/plugins/wp-easy-business-directory-1/> | check
* <http://wpclassipress.com/demo/> which is similar to Sobi2 |
63,294 | I recently bought a Worcestershire sauce from Costco called Lea & Perrins. They claim to be the authentic version of Worcestershire sauce. However I have read comments online that indicate that it is a knockoff or a fake version of Lea & Perrins Worcestershire sauce from the UK.
Within the comments most people say that the difference between the two is that the US version uses distilled white vinegar as the main ingredient whereas the UK version uses distilled malt vinegar. Is there really a difference between the two? | 2015/11/09 | [
"https://cooking.stackexchange.com/questions/63294",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/13975/"
] | There is *some* difference between the flavor, but seeing as there are so many other predominant flavors in Worcestershire sauce and that fact that you're (hopefully) not drinking it straight, it's fairly insignificant. It's very common for one product produced in different countries to have a range of manufacturing differences, sometimes arbitrary, sometimes to suit the local palate, and sometimes because of costs, hence people calling American Lea & Perrins a "knockoff."
I've had both, and can assure you that once you've mixed it into a casserole or marinade you won't really miss anything. If you're striving for needlessly authentic British flavor you could always add a little malt vinegar to whatever you're cooking! | Worchestershire sauce. Was invented by George Washington Carver. That basic recipe is still used. It is sold as a dry powder today. Shipped in 1 ton box's. to the makers. World wide. Or made there in Country. Once they have it. They may add as they wish to improve the flavor. Still call it Worcherstershire sauce as that is the base. So some different types can be found. Fixed for local taste. But still labeled as such. |
63,294 | I recently bought a Worcestershire sauce from Costco called Lea & Perrins. They claim to be the authentic version of Worcestershire sauce. However I have read comments online that indicate that it is a knockoff or a fake version of Lea & Perrins Worcestershire sauce from the UK.
Within the comments most people say that the difference between the two is that the US version uses distilled white vinegar as the main ingredient whereas the UK version uses distilled malt vinegar. Is there really a difference between the two? | 2015/11/09 | [
"https://cooking.stackexchange.com/questions/63294",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/13975/"
] | There is *some* difference between the flavor, but seeing as there are so many other predominant flavors in Worcestershire sauce and that fact that you're (hopefully) not drinking it straight, it's fairly insignificant. It's very common for one product produced in different countries to have a range of manufacturing differences, sometimes arbitrary, sometimes to suit the local palate, and sometimes because of costs, hence people calling American Lea & Perrins a "knockoff."
I've had both, and can assure you that once you've mixed it into a casserole or marinade you won't really miss anything. If you're striving for needlessly authentic British flavor you could always add a little malt vinegar to whatever you're cooking! | Lea and Perrins in the tan label is the US recipe its not "fake" but its not the same as the UK recipe. It is authorized. |
63,294 | I recently bought a Worcestershire sauce from Costco called Lea & Perrins. They claim to be the authentic version of Worcestershire sauce. However I have read comments online that indicate that it is a knockoff or a fake version of Lea & Perrins Worcestershire sauce from the UK.
Within the comments most people say that the difference between the two is that the US version uses distilled white vinegar as the main ingredient whereas the UK version uses distilled malt vinegar. Is there really a difference between the two? | 2015/11/09 | [
"https://cooking.stackexchange.com/questions/63294",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/13975/"
] | There is *some* difference between the flavor, but seeing as there are so many other predominant flavors in Worcestershire sauce and that fact that you're (hopefully) not drinking it straight, it's fairly insignificant. It's very common for one product produced in different countries to have a range of manufacturing differences, sometimes arbitrary, sometimes to suit the local palate, and sometimes because of costs, hence people calling American Lea & Perrins a "knockoff."
I've had both, and can assure you that once you've mixed it into a casserole or marinade you won't really miss anything. If you're striving for needlessly authentic British flavor you could always add a little malt vinegar to whatever you're cooking! | Worcestershire sauce in the uk and USA are both owned by Heinz. The original sauce was invented in the uk by pharmacists Mr Lea and Mr Perrins. By late 19th Century sales in USA became so large mr Lea and mr perrins decided to manufacture in the USA. The first factory was on Broadway in New York before moving to New Jersey, over the years the recipes have diverged but are essentially the same. |
63,294 | I recently bought a Worcestershire sauce from Costco called Lea & Perrins. They claim to be the authentic version of Worcestershire sauce. However I have read comments online that indicate that it is a knockoff or a fake version of Lea & Perrins Worcestershire sauce from the UK.
Within the comments most people say that the difference between the two is that the US version uses distilled white vinegar as the main ingredient whereas the UK version uses distilled malt vinegar. Is there really a difference between the two? | 2015/11/09 | [
"https://cooking.stackexchange.com/questions/63294",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/13975/"
] | Lea and Perrins in the tan label is the US recipe its not "fake" but its not the same as the UK recipe. It is authorized. | Worchestershire sauce. Was invented by George Washington Carver. That basic recipe is still used. It is sold as a dry powder today. Shipped in 1 ton box's. to the makers. World wide. Or made there in Country. Once they have it. They may add as they wish to improve the flavor. Still call it Worcherstershire sauce as that is the base. So some different types can be found. Fixed for local taste. But still labeled as such. |
63,294 | I recently bought a Worcestershire sauce from Costco called Lea & Perrins. They claim to be the authentic version of Worcestershire sauce. However I have read comments online that indicate that it is a knockoff or a fake version of Lea & Perrins Worcestershire sauce from the UK.
Within the comments most people say that the difference between the two is that the US version uses distilled white vinegar as the main ingredient whereas the UK version uses distilled malt vinegar. Is there really a difference between the two? | 2015/11/09 | [
"https://cooking.stackexchange.com/questions/63294",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/13975/"
] | Worcestershire sauce in the uk and USA are both owned by Heinz. The original sauce was invented in the uk by pharmacists Mr Lea and Mr Perrins. By late 19th Century sales in USA became so large mr Lea and mr perrins decided to manufacture in the USA. The first factory was on Broadway in New York before moving to New Jersey, over the years the recipes have diverged but are essentially the same. | Worchestershire sauce. Was invented by George Washington Carver. That basic recipe is still used. It is sold as a dry powder today. Shipped in 1 ton box's. to the makers. World wide. Or made there in Country. Once they have it. They may add as they wish to improve the flavor. Still call it Worcherstershire sauce as that is the base. So some different types can be found. Fixed for local taste. But still labeled as such. |
63,294 | I recently bought a Worcestershire sauce from Costco called Lea & Perrins. They claim to be the authentic version of Worcestershire sauce. However I have read comments online that indicate that it is a knockoff or a fake version of Lea & Perrins Worcestershire sauce from the UK.
Within the comments most people say that the difference between the two is that the US version uses distilled white vinegar as the main ingredient whereas the UK version uses distilled malt vinegar. Is there really a difference between the two? | 2015/11/09 | [
"https://cooking.stackexchange.com/questions/63294",
"https://cooking.stackexchange.com",
"https://cooking.stackexchange.com/users/13975/"
] | Lea and Perrins in the tan label is the US recipe its not "fake" but its not the same as the UK recipe. It is authorized. | Worcestershire sauce in the uk and USA are both owned by Heinz. The original sauce was invented in the uk by pharmacists Mr Lea and Mr Perrins. By late 19th Century sales in USA became so large mr Lea and mr perrins decided to manufacture in the USA. The first factory was on Broadway in New York before moving to New Jersey, over the years the recipes have diverged but are essentially the same. |
9,863,108 | I would like to find a better algorithm to solve the following problem:
There are *N* starting points (purple) and *N* target points (green) in 2D. I want an algorithm that connects starting points to target points by a line segment (brown) without any of these segments intersecting (red) and while minimizing the cumulative length of all segments.
My first effort in C++ was permuting all possible states, find intersection-free states, and among those the state with minimum total segment length *O(n!)* . But I think there has to be a better way.
Any idea? Or good keywords for search? | 2012/03/25 | [
"https://Stackoverflow.com/questions/9863108",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/952747/"
] | This is [Minimum Euclidean Matching in 2D](http://maven.smith.edu/~orourke/TOPP/P6.html). The link contains a bibliography of what's known about this problem. Given that you want to minimize the total length, the non-intersection constraint is redundant, as the length of any pair of segments that cross can be reduced by uncrossing them. | Looks like a you could use a [BSP-type](http://en.wikipedia.org/wiki/Binary_space_partitioning) algorithm. |
9,863,108 | I would like to find a better algorithm to solve the following problem:
There are *N* starting points (purple) and *N* target points (green) in 2D. I want an algorithm that connects starting points to target points by a line segment (brown) without any of these segments intersecting (red) and while minimizing the cumulative length of all segments.
My first effort in C++ was permuting all possible states, find intersection-free states, and among those the state with minimum total segment length *O(n!)* . But I think there has to be a better way.
Any idea? Or good keywords for search? | 2012/03/25 | [
"https://Stackoverflow.com/questions/9863108",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/952747/"
] | You can select a random connection, then each time delete one cross by changing the connections of its endpoints. This operation reduces the total length (by triangle inequality). Since the number of ways of lines crossing each other is finite, in a finite number of steps we arrive at a noncrossing solution. In practice, it should converge quickly. | Looks like a you could use a [BSP-type](http://en.wikipedia.org/wiki/Binary_space_partitioning) algorithm. |
9,863,108 | I would like to find a better algorithm to solve the following problem:
There are *N* starting points (purple) and *N* target points (green) in 2D. I want an algorithm that connects starting points to target points by a line segment (brown) without any of these segments intersecting (red) and while minimizing the cumulative length of all segments.
My first effort in C++ was permuting all possible states, find intersection-free states, and among those the state with minimum total segment length *O(n!)* . But I think there has to be a better way.
Any idea? Or good keywords for search? | 2012/03/25 | [
"https://Stackoverflow.com/questions/9863108",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/952747/"
] | This is [Minimum Euclidean Matching in 2D](http://maven.smith.edu/~orourke/TOPP/P6.html). The link contains a bibliography of what's known about this problem. Given that you want to minimize the total length, the non-intersection constraint is redundant, as the length of any pair of segments that cross can be reduced by uncrossing them. | You can select a random connection, then each time delete one cross by changing the connections of its endpoints. This operation reduces the total length (by triangle inequality). Since the number of ways of lines crossing each other is finite, in a finite number of steps we arrive at a noncrossing solution. In practice, it should converge quickly. |
9,863,108 | I would like to find a better algorithm to solve the following problem:
There are *N* starting points (purple) and *N* target points (green) in 2D. I want an algorithm that connects starting points to target points by a line segment (brown) without any of these segments intersecting (red) and while minimizing the cumulative length of all segments.
My first effort in C++ was permuting all possible states, find intersection-free states, and among those the state with minimum total segment length *O(n!)* . But I think there has to be a better way.
Any idea? Or good keywords for search? | 2012/03/25 | [
"https://Stackoverflow.com/questions/9863108",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/952747/"
] | This is [Minimum Euclidean Matching in 2D](http://maven.smith.edu/~orourke/TOPP/P6.html). The link contains a bibliography of what's known about this problem. Given that you want to minimize the total length, the non-intersection constraint is redundant, as the length of any pair of segments that cross can be reduced by uncrossing them. | Following qq3's answer which says ***the intersection constraint is redundant,*** there is just one more step. Assigning starting points to end points while minimizing total length. Fortunately there is a polynomial time algorithm for this:
>
> [Hungarian algorithm](http://en.wikipedia.org/wiki/Hungarian_algorithm) is a combinatorial optimization algorithm
> that solves the the assignment problem in polynomial time.
>
>
>
It reduces time order from *O(n!)* to *O(n3)*. |
9,863,108 | I would like to find a better algorithm to solve the following problem:
There are *N* starting points (purple) and *N* target points (green) in 2D. I want an algorithm that connects starting points to target points by a line segment (brown) without any of these segments intersecting (red) and while minimizing the cumulative length of all segments.
My first effort in C++ was permuting all possible states, find intersection-free states, and among those the state with minimum total segment length *O(n!)* . But I think there has to be a better way.
Any idea? Or good keywords for search? | 2012/03/25 | [
"https://Stackoverflow.com/questions/9863108",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/952747/"
] | You can select a random connection, then each time delete one cross by changing the connections of its endpoints. This operation reduces the total length (by triangle inequality). Since the number of ways of lines crossing each other is finite, in a finite number of steps we arrive at a noncrossing solution. In practice, it should converge quickly. | Following qq3's answer which says ***the intersection constraint is redundant,*** there is just one more step. Assigning starting points to end points while minimizing total length. Fortunately there is a polynomial time algorithm for this:
>
> [Hungarian algorithm](http://en.wikipedia.org/wiki/Hungarian_algorithm) is a combinatorial optimization algorithm
> that solves the the assignment problem in polynomial time.
>
>
>
It reduces time order from *O(n!)* to *O(n3)*. |
23,542,651 | ### Currently the detail prints like this:
### I want to break the line in half like this:
### This is what I have; Not what I want
### Notes:
1. This is all in a sub-report if that makes any difference
2. I do not yet grok using formulas, variables, etc. to influence what is printed where, when, or how.
3. I'm working in Visual Studio 2012, I don't know the CR version.
4. I created *Detail a* and *Detail b* sections.
5. I created 2 Group Header Sections: *Group Header 1a* and *Group Header 1b*
6. I moved all the headers into these two groups and suppressed the Report Header Section (but not the Report Footer). Moved report fields into corresponding detail group.
7. Now all the detail is printed after both headers are printed. I expected this but don't know how to do what I need.
8. Totals are printed in the *Report Footer*, no issues here. | 2014/05/08 | [
"https://Stackoverflow.com/questions/23542651",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/463206/"
] | The Mystery is Solved
---------------------
1. Created a 2nd sub report
2. Moved desired headings, details, and totals to the new sub report *ReportHeadr*, *DetailSection*, and *ReportFooterSection* respectively.
3. Put the new sub report directly below the original in the same (main report) section - it just happens to be a *GroupHeaderSection*
4. Changed SubReport Links ... for the new sub report. Set it identically to the original.
**Notes**
The sub report links setting is key to making this work. Otherwise I was getting all the data records every time this new sub report was generated, resulting in hundreds of pages.
Could not use Siva's answer. The sub report happens to be inside a Main Report's *GroupHeaderSection*. The report's structure does not make putting the (sub report) content into new groups and detail sections possible.
I did create multiple groups & detail sections in the sub report itself. This still gives me the undesired results illustrated in the original question posting. | if you need to view the output as you required follow below
1. Take 2 detail sections add two sub reports in main report.
2. In sub report 1 place first 3 columns and in second sub report place other two columns |
5,473,518 | I've been thinking about this problem for a while now and I'm still not sure what is the best approach.
Basically I've got several hundred email addresses stored in a Database, and every week I would like to automatically send these addresses a bulletin of information. I've accomplished this with a Stored Procedure and a Scheduled Job on the DB (Oracle), but I'm sure this could be achieved better with some VB.net solution.
I've read about people writing a Windows Service, or creating a Console Application and using Windows scheduler. I'm swaying to wards the Windows Service approach but I'm not sure how to tell the service to send emails at a specific time every week. Any ideas, or is there a better approach?
Also, what would be best? Send individual emails to the addresses in the emailing list, or send one email with every address added as a BCC?
Thanks | 2011/03/29 | [
"https://Stackoverflow.com/questions/5473518",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/682148/"
] | This type of thing is one of the things that scheduled tasks are designed for. Imagine creating a service that sits there taking up memory doing absolutely nothing for 7 days, only to run for 4 minutes. Then another 7 days of waiting. While it may work, its certainly not what a service is for.
Use a scheduled task. That scheduled task could easily just start a console app which reads the database, sends the emails, and then quits as normal. Nothing wrong with using a scheduled task for something that... performs a task on a scheduled basis.
As for what is "best", there is no "best". Just what works for your situation. Do you want to send out 150 emails, so that each person sees their name on it, or send out one email with 150 BCCs, where no on sees their name on it? Whatever works the way you want it to is "best" | Have you considered using the "scheduled tasks" feature in the control panel? That's what I use for recurring program usage similar to what you've described. |
69,042,417 | I'm trying to limit query results for a specific DocumentChooserBlock inside of a wagtail stream field block.
I already know that you can limit file types for DocumentChooser for a page type by using [hooks](https://docs.wagtail.io/en/stable/reference/hooks.html#construct-document-chooser-queryset), but I would like to avoid limiting possible file types page wide in case I need them for other StreamField blocks.
Are there any possible ways to implement what I am trying to achieve here? | 2021/09/03 | [
"https://Stackoverflow.com/questions/69042417",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/16821708/"
] | MarcoLucidi was right, I was opening too many files at a time. I limited the number of concurrent goroutines and now it works fine. | When reading from external storage, especially over network, it happens that the read can hang. I recommend that when you read files over networked drive, read just one at a time. I understand that this kills parallelization ability, but we cannot pretend same reliability over networked drives as we do about local ones.
**Edit** I proposed above solution because there are many network parameters which affect the performance over networked storage devices like: traffic, transmission speed etc. I remember once that I used a drive over network to store a Unity project. One day Windows Explorer started to crash because Unity was using too many files. I am sure they were not millions. Based on that I supposed that it was unlikely that this was happening due to the high number of goroutines. I proposed processing 1 file at a time taking into consideration the case when it may happen that files are big(over 50 GB) which may crash the communication with the network storage provider. |
8,268 | It is a widespread notion in psychology that there are two dimensions to emotion: valence (aversiveness or attractiveness of some entity) and intensity. However, recent experimental studies in neuropsychology (e.g. those listed below) have given strong evidence for two distinct pathways which process reward and punishment associated with some input. This in turn compellingly suggests that valence is in fact made up of two independent dimensions, and I'm guessing there are behavioral studies reaching similar conclusions (i.e. that persons are able to have "mixed feelings"). How do we reconcile these views? Are we forced to reject one-dimensional valence on the basis of the evidence?
Distinct pathways for reward/punishment:
* Paton, Joseph J., and Kenway Louie. "Reward and punishment illuminated." Nature neuroscience 15.6 (2012): 807.
(<http://www.researchgate.net/publication/225043743_Reward_and_punishment_illuminated/file/e0b495227b6d325c3d.pdf>)
* Fujiwara, Juri, et al. "Segregated and integrated coding of reward and punishment in the cingulate cortex." Journal of Neurophysiology 101.6 (2009): 3284-3293.
* Monosov, Ilya E., and Okihide Hikosaka. "Regionally distinct processing of rewards and punishments by the primate ventromedial prefrontal cortex." The Journal of Neuroscience 32.30 (2012): 10318-10330. | 2014/09/25 | [
"https://cogsci.stackexchange.com/questions/8268",
"https://cogsci.stackexchange.com",
"https://cogsci.stackexchange.com/users/-1/"
] | A meta-analysis of 397 neuroimaging studies was just published looking at this very question ([see here](http://www.unc.edu/~kal29/docs/Lindquist_Satpute_etal_CC_inpress.pdf)).
They tested three hypotheses:
1. **Bipolarity** - negative and positive are on the same continuum
2. **Bivalence** - negative and positive are independent
3. **Affective workspace** - valence is supported by a "flexible set of valence-general regions".
Their analyses are rather complicated, but they didn't find much support for the bipolarity or bivalence hypotheses. Instead, in support of the affective workspace hypothesis, they conclude (emphasis mine):
>
> These findings suggest that, **at the level of regional brain activity, there is no single region or even voxel that uniquely represents positivity or negativity**. Limbic tissue, including the anterior insula, rostral ACC/ventromedial prefrontal cortex, dorsal ACC, amygdala, ventral striatum, as well as several other regions including the thalamus and occipitotemporal cortex, appears to contain cells that are part of the brain’s valence-general affective workspace or “affective neural reference space
>
>
>
But they note that some brain regions have *preferences* for negativity or positivity, meaning that these brain regions may *tend to* represent negativity or positivity over the other.
This meta-analysis isn't definitive, but it's the best we have right now. | I think that we are. But the notion of 'valence' is already problematic, as a variation on mathematical negation, which produces bizarre mathematical artifacts like Russel's Paradox.
It is tempting to follow natural language and find two balancing processes always add up to a sign and a magnitude. But in fact no two processes are ever going to consistently align in perfectly opposite directions, and in the gaps there is still interesting behavior. Something as clean as real negation only ever occurs in language and in theory.
We know from earlier studies of memory that positive or negative memories are the result of separate reactions from the back-brain and the frontal lobe, and that people can actually become attached to negative stimuli like physical pain for the pleasure they produce.
One would expect the same sort of balancing act, if not exactly the same process in a less direct form, to explain the effects of reward and punishment. So there will be places, parallel to the situation of attraction to pain, where reward and punishment do not align as opposites. (Situations of getting attention through punishment, or in its aftermath come to mind.) In such situations, the notion of valence only gets in the way. |
323,272 | When I go to trailhead I have a "Hands-On Orgs" option under my profile picture. How long does an org created through that menu last?
**Screenshot of the menu**
[](https://i.stack.imgur.com/K9mzT.png)
**Screenshot when creating a new playground through the menu**
[](https://i.stack.imgur.com/Y8yuX.png) | 2020/10/13 | [
"https://salesforce.stackexchange.com/questions/323272",
"https://salesforce.stackexchange.com",
"https://salesforce.stackexchange.com/users/28059/"
] | The life span is 6 months if there is no activity, if you working on it then it will not expire. | it not being documented but it last forever until you are not decoupling it from your trailhead orgs. |
81,458 | In Australia and the UK, some folks refer to a newspaper as a *rag*, and I am curious how this term was coined.
Although most people would ask for a newspaper, I have gone around asking "Have you got a copy of today's rag?" today and only one out of twelve people I asked (I asked in coffee shops and the like) didn't know what I meant straight away.
I am trying to make a connection - dirty rag, newspaper commonly used to pack stuff or for cleaning (not a good idea anyhow) but I am stumped as the actual origins of the word. | 2012/09/13 | [
"https://english.stackexchange.com/questions/81458",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/26010/"
] | Definition II 7a in the OED says *rag* is colloquial for:
>
> A newspaper or magazine, esp. one
> regarded as inferior or worthless.
>
>
>
It is often used to refer to tabloid newspapers, which some see as a lower form of journalism. | The paper used to publish newspapers is made from a combination of recycled old rags and wood pulp hence the term rag for newspaper |
81,458 | In Australia and the UK, some folks refer to a newspaper as a *rag*, and I am curious how this term was coined.
Although most people would ask for a newspaper, I have gone around asking "Have you got a copy of today's rag?" today and only one out of twelve people I asked (I asked in coffee shops and the like) didn't know what I meant straight away.
I am trying to make a connection - dirty rag, newspaper commonly used to pack stuff or for cleaning (not a good idea anyhow) but I am stumped as the actual origins of the word. | 2012/09/13 | [
"https://english.stackexchange.com/questions/81458",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/26010/"
] | The paper used to publish newspapers is made from a combination of recycled old rags and wood pulp hence the term rag for newspaper | OED gives evidence that *rag* came to be used figuratively to mean any small worthless scrap. This figurative use was extended metaphorically to describe any object of contempt, not just fabrics and paper but anything: even a person, as early as 1566. Two examples:
>
> that rubbishy rag of a girl *(Ruskin)*
>
>
>
and
>
> you witch, you ragge, you baggage *(Shakespeare)*.
>
>
>
That being said, it is not hard to imagine that when choosing a word to express contempt for a piece of fabric or paper, such as a flag, newspaper, pamphlet, or legal document, *rag* would be an easy choice. In the case of paper, this is partly because of physical resemblance to fabric, and partly because rags were (and sometimes are) used to make paper. |
81,458 | In Australia and the UK, some folks refer to a newspaper as a *rag*, and I am curious how this term was coined.
Although most people would ask for a newspaper, I have gone around asking "Have you got a copy of today's rag?" today and only one out of twelve people I asked (I asked in coffee shops and the like) didn't know what I meant straight away.
I am trying to make a connection - dirty rag, newspaper commonly used to pack stuff or for cleaning (not a good idea anyhow) but I am stumped as the actual origins of the word. | 2012/09/13 | [
"https://english.stackexchange.com/questions/81458",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/26010/"
] | Definition II 7a in the OED says *rag* is colloquial for:
>
> A newspaper or magazine, esp. one
> regarded as inferior or worthless.
>
>
>
It is often used to refer to tabloid newspapers, which some see as a lower form of journalism. | OED gives evidence that *rag* came to be used figuratively to mean any small worthless scrap. This figurative use was extended metaphorically to describe any object of contempt, not just fabrics and paper but anything: even a person, as early as 1566. Two examples:
>
> that rubbishy rag of a girl *(Ruskin)*
>
>
>
and
>
> you witch, you ragge, you baggage *(Shakespeare)*.
>
>
>
That being said, it is not hard to imagine that when choosing a word to express contempt for a piece of fabric or paper, such as a flag, newspaper, pamphlet, or legal document, *rag* would be an easy choice. In the case of paper, this is partly because of physical resemblance to fabric, and partly because rags were (and sometimes are) used to make paper. |
81,458 | In Australia and the UK, some folks refer to a newspaper as a *rag*, and I am curious how this term was coined.
Although most people would ask for a newspaper, I have gone around asking "Have you got a copy of today's rag?" today and only one out of twelve people I asked (I asked in coffee shops and the like) didn't know what I meant straight away.
I am trying to make a connection - dirty rag, newspaper commonly used to pack stuff or for cleaning (not a good idea anyhow) but I am stumped as the actual origins of the word. | 2012/09/13 | [
"https://english.stackexchange.com/questions/81458",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/26010/"
] | Definition II 7a in the OED says *rag* is colloquial for:
>
> A newspaper or magazine, esp. one
> regarded as inferior or worthless.
>
>
>
It is often used to refer to tabloid newspapers, which some see as a lower form of journalism. | In the 13th century in Europe paper was made from pulping rags, a process developed in the Netherlands. This may have had some influence. Think of Rag week. College magazines were often named 'Rag'. |
81,458 | In Australia and the UK, some folks refer to a newspaper as a *rag*, and I am curious how this term was coined.
Although most people would ask for a newspaper, I have gone around asking "Have you got a copy of today's rag?" today and only one out of twelve people I asked (I asked in coffee shops and the like) didn't know what I meant straight away.
I am trying to make a connection - dirty rag, newspaper commonly used to pack stuff or for cleaning (not a good idea anyhow) but I am stumped as the actual origins of the word. | 2012/09/13 | [
"https://english.stackexchange.com/questions/81458",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/26010/"
] | The origin of this use of the word goes back to the seventeenth century. The OED’s entry for it comes under the category *rag* used in ‘Senses relating to something compared to a torn piece of cloth’. It is quite possible that early newspapers bore just such a resemblance. | The paper used to publish newspapers is made from a combination of recycled old rags and wood pulp hence the term rag for newspaper |
81,458 | In Australia and the UK, some folks refer to a newspaper as a *rag*, and I am curious how this term was coined.
Although most people would ask for a newspaper, I have gone around asking "Have you got a copy of today's rag?" today and only one out of twelve people I asked (I asked in coffee shops and the like) didn't know what I meant straight away.
I am trying to make a connection - dirty rag, newspaper commonly used to pack stuff or for cleaning (not a good idea anyhow) but I am stumped as the actual origins of the word. | 2012/09/13 | [
"https://english.stackexchange.com/questions/81458",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/26010/"
] | To supplement Barrie England and MετάEd's answers: Etymonline reports that the pejorative term *rag*, which is used to express or suggest a newspaper's worthlessness, dates back to the 18th century.
>
> **[rag](http://www.etymonline.com/index.php?term=rag)** *(n.)* **scrap of cloth**, early 14c., probably from Old Norse *rögg* "shaggy tuft," earlier *raggw-*, or possibly from Old Danish *rag*, or a back-formation from *ragged*, […] As an insulting term for "**newspaper, magazine**" it dates from **1734**
>
>
>
The first British newspapers were actually called *[gazettes](http://www.etymonline.com/index.php?term=gazette&allowed_in_frame=0)* after the Italian *gazzetta*, which in turn is said to derive from the Italian word for magpie (*la gazza ladra*). And one of the first and oldest surviving British “newspapers” is called *The London Gazette*. It was first printed on 7 November 1665 under the name of *The Oxford Gazette*.
The first general-interest magazine was *[The Gentleman's Magazine](https://en.wikipedia.org/wiki/The_Gentleman%27s_Magazine)*, first published in **1731**, in London. Whether this magazine or subsequent periodicals inspired the epithet *rag* (documented three years later), is not known. It might have been an ironic term used by its own readers, or a gratuitous insult by its opponents, there's no way of knowing for sure.
Poor paper quality not writing
------------------------------
From an article published by the same magazine, in 1823, the following extract supports the theory that the term *rag* was used to refer to the main component of a *newspaper*, and perhaps, initially, to the **substandard quality of the paper** used in printing these journals etc. during the 18th and 19th century.
>
> It is notorious that the great mass of printing papers are now made of *cotton* **rags**; and that to produce a better colour, the pulp undergoes a chemical process, which materially injures its durability —EDIT
>
>
>
A reader writes:
>
> Allow me to call the attention of your readers to the present state of that wretched compound called Paper. Every printer will corroborate my testimony † and I am only astonished that the interesting question **has been so long neglected and forgotten**. It is a duty however of the most imperative description our beautiful Religion our Literature our Science all are threatened.
>
>
> I have seen letters of a recent date already become a *carte blanche*. One letter, which I forwarded by post, fell to pieces by the way, and I have noticed more than once a description of writing-paper, that being bent, snapped like a bit of watch-spring. I have in my possession a large copy of the Bible printed at Oxford, 1816 (never used), and issued by the British and Foreign Bible Society, ***crumbling literally into dust***.
>
>
> […]
>
>
> The causes of destruction are twofold : the *materiel* and the mode of bleaching the **rags**.
>
> The use of *cotton* rags was very happily superseded by those of *linen*, yet I fear some manufacturers are not very scrupulous in the selection.
>
> The application of quicklime to the rags, once prevalent in France, but very properly subsequently interdicted was a serious evil for it actually decomposed the material. Are we entirely guiltless? Such a process must needs disorganize the fibre. […]
>
>
> [Emphasis in **bold** mine]
>
>
>
[The Gentleman's Magazine](https://books.google.it/books?id=uLIUAAAAQAAJ&pg=PA22&dq=%22gentleman%27s%20magazine%22%20rag&hl=en&sa=X&ved=0CE8Q6AEwCWoVChMIy8fx4rz9xgIVRdVyCh0dJQ5I#v=onepage&q=%22gentleman's%20magazine%22%20rag&f=false) From July to December, 1823
Due to the high demand of *white* paper in the 18th century, the processes employed at the time was responsible for the reduced longevity of paper, as confirmed by [BAPH](http://baph.org.uk/ukpaperhistory.html) (British Association of Printing Historians)
>
> Increasing demands for more paper during the late eighteenth and early nineteenth centuries led to shortages of the rags needed to produce the paper. Part of the problem was that no satisfactory method of bleaching pulp had yet been devised, and so **only white rags could be used to produce white paper**. **Chlorine bleaching was being used by the end of the eighteenth century, but excessive use produced papers that were of poor quality and deteriorated quickly.** By 1800 up to 24 million lb of rags were being used annually, to produce 10,000 tons of paper in England and Wales, and 1000 tons in Scotland, the home market being supplemented by imports, mainly from the continent. Experiments in using other materials, such as sawdust, rye straw, cabbage stumps and spruce wood had been conducted in 1765 by Jacob Christian Schäffer.
>
>
> | In the 13th century in Europe paper was made from pulping rags, a process developed in the Netherlands. This may have had some influence. Think of Rag week. College magazines were often named 'Rag'. |
81,458 | In Australia and the UK, some folks refer to a newspaper as a *rag*, and I am curious how this term was coined.
Although most people would ask for a newspaper, I have gone around asking "Have you got a copy of today's rag?" today and only one out of twelve people I asked (I asked in coffee shops and the like) didn't know what I meant straight away.
I am trying to make a connection - dirty rag, newspaper commonly used to pack stuff or for cleaning (not a good idea anyhow) but I am stumped as the actual origins of the word. | 2012/09/13 | [
"https://english.stackexchange.com/questions/81458",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/26010/"
] | To supplement Barrie England and MετάEd's answers: Etymonline reports that the pejorative term *rag*, which is used to express or suggest a newspaper's worthlessness, dates back to the 18th century.
>
> **[rag](http://www.etymonline.com/index.php?term=rag)** *(n.)* **scrap of cloth**, early 14c., probably from Old Norse *rögg* "shaggy tuft," earlier *raggw-*, or possibly from Old Danish *rag*, or a back-formation from *ragged*, […] As an insulting term for "**newspaper, magazine**" it dates from **1734**
>
>
>
The first British newspapers were actually called *[gazettes](http://www.etymonline.com/index.php?term=gazette&allowed_in_frame=0)* after the Italian *gazzetta*, which in turn is said to derive from the Italian word for magpie (*la gazza ladra*). And one of the first and oldest surviving British “newspapers” is called *The London Gazette*. It was first printed on 7 November 1665 under the name of *The Oxford Gazette*.
The first general-interest magazine was *[The Gentleman's Magazine](https://en.wikipedia.org/wiki/The_Gentleman%27s_Magazine)*, first published in **1731**, in London. Whether this magazine or subsequent periodicals inspired the epithet *rag* (documented three years later), is not known. It might have been an ironic term used by its own readers, or a gratuitous insult by its opponents, there's no way of knowing for sure.
Poor paper quality not writing
------------------------------
From an article published by the same magazine, in 1823, the following extract supports the theory that the term *rag* was used to refer to the main component of a *newspaper*, and perhaps, initially, to the **substandard quality of the paper** used in printing these journals etc. during the 18th and 19th century.
>
> It is notorious that the great mass of printing papers are now made of *cotton* **rags**; and that to produce a better colour, the pulp undergoes a chemical process, which materially injures its durability —EDIT
>
>
>
A reader writes:
>
> Allow me to call the attention of your readers to the present state of that wretched compound called Paper. Every printer will corroborate my testimony † and I am only astonished that the interesting question **has been so long neglected and forgotten**. It is a duty however of the most imperative description our beautiful Religion our Literature our Science all are threatened.
>
>
> I have seen letters of a recent date already become a *carte blanche*. One letter, which I forwarded by post, fell to pieces by the way, and I have noticed more than once a description of writing-paper, that being bent, snapped like a bit of watch-spring. I have in my possession a large copy of the Bible printed at Oxford, 1816 (never used), and issued by the British and Foreign Bible Society, ***crumbling literally into dust***.
>
>
> […]
>
>
> The causes of destruction are twofold : the *materiel* and the mode of bleaching the **rags**.
>
> The use of *cotton* rags was very happily superseded by those of *linen*, yet I fear some manufacturers are not very scrupulous in the selection.
>
> The application of quicklime to the rags, once prevalent in France, but very properly subsequently interdicted was a serious evil for it actually decomposed the material. Are we entirely guiltless? Such a process must needs disorganize the fibre. […]
>
>
> [Emphasis in **bold** mine]
>
>
>
[The Gentleman's Magazine](https://books.google.it/books?id=uLIUAAAAQAAJ&pg=PA22&dq=%22gentleman%27s%20magazine%22%20rag&hl=en&sa=X&ved=0CE8Q6AEwCWoVChMIy8fx4rz9xgIVRdVyCh0dJQ5I#v=onepage&q=%22gentleman's%20magazine%22%20rag&f=false) From July to December, 1823
Due to the high demand of *white* paper in the 18th century, the processes employed at the time was responsible for the reduced longevity of paper, as confirmed by [BAPH](http://baph.org.uk/ukpaperhistory.html) (British Association of Printing Historians)
>
> Increasing demands for more paper during the late eighteenth and early nineteenth centuries led to shortages of the rags needed to produce the paper. Part of the problem was that no satisfactory method of bleaching pulp had yet been devised, and so **only white rags could be used to produce white paper**. **Chlorine bleaching was being used by the end of the eighteenth century, but excessive use produced papers that were of poor quality and deteriorated quickly.** By 1800 up to 24 million lb of rags were being used annually, to produce 10,000 tons of paper in England and Wales, and 1000 tons in Scotland, the home market being supplemented by imports, mainly from the continent. Experiments in using other materials, such as sawdust, rye straw, cabbage stumps and spruce wood had been conducted in 1765 by Jacob Christian Schäffer.
>
>
> | OED gives evidence that *rag* came to be used figuratively to mean any small worthless scrap. This figurative use was extended metaphorically to describe any object of contempt, not just fabrics and paper but anything: even a person, as early as 1566. Two examples:
>
> that rubbishy rag of a girl *(Ruskin)*
>
>
>
and
>
> you witch, you ragge, you baggage *(Shakespeare)*.
>
>
>
That being said, it is not hard to imagine that when choosing a word to express contempt for a piece of fabric or paper, such as a flag, newspaper, pamphlet, or legal document, *rag* would be an easy choice. In the case of paper, this is partly because of physical resemblance to fabric, and partly because rags were (and sometimes are) used to make paper. |
81,458 | In Australia and the UK, some folks refer to a newspaper as a *rag*, and I am curious how this term was coined.
Although most people would ask for a newspaper, I have gone around asking "Have you got a copy of today's rag?" today and only one out of twelve people I asked (I asked in coffee shops and the like) didn't know what I meant straight away.
I am trying to make a connection - dirty rag, newspaper commonly used to pack stuff or for cleaning (not a good idea anyhow) but I am stumped as the actual origins of the word. | 2012/09/13 | [
"https://english.stackexchange.com/questions/81458",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/26010/"
] | To supplement Barrie England and MετάEd's answers: Etymonline reports that the pejorative term *rag*, which is used to express or suggest a newspaper's worthlessness, dates back to the 18th century.
>
> **[rag](http://www.etymonline.com/index.php?term=rag)** *(n.)* **scrap of cloth**, early 14c., probably from Old Norse *rögg* "shaggy tuft," earlier *raggw-*, or possibly from Old Danish *rag*, or a back-formation from *ragged*, […] As an insulting term for "**newspaper, magazine**" it dates from **1734**
>
>
>
The first British newspapers were actually called *[gazettes](http://www.etymonline.com/index.php?term=gazette&allowed_in_frame=0)* after the Italian *gazzetta*, which in turn is said to derive from the Italian word for magpie (*la gazza ladra*). And one of the first and oldest surviving British “newspapers” is called *The London Gazette*. It was first printed on 7 November 1665 under the name of *The Oxford Gazette*.
The first general-interest magazine was *[The Gentleman's Magazine](https://en.wikipedia.org/wiki/The_Gentleman%27s_Magazine)*, first published in **1731**, in London. Whether this magazine or subsequent periodicals inspired the epithet *rag* (documented three years later), is not known. It might have been an ironic term used by its own readers, or a gratuitous insult by its opponents, there's no way of knowing for sure.
Poor paper quality not writing
------------------------------
From an article published by the same magazine, in 1823, the following extract supports the theory that the term *rag* was used to refer to the main component of a *newspaper*, and perhaps, initially, to the **substandard quality of the paper** used in printing these journals etc. during the 18th and 19th century.
>
> It is notorious that the great mass of printing papers are now made of *cotton* **rags**; and that to produce a better colour, the pulp undergoes a chemical process, which materially injures its durability —EDIT
>
>
>
A reader writes:
>
> Allow me to call the attention of your readers to the present state of that wretched compound called Paper. Every printer will corroborate my testimony † and I am only astonished that the interesting question **has been so long neglected and forgotten**. It is a duty however of the most imperative description our beautiful Religion our Literature our Science all are threatened.
>
>
> I have seen letters of a recent date already become a *carte blanche*. One letter, which I forwarded by post, fell to pieces by the way, and I have noticed more than once a description of writing-paper, that being bent, snapped like a bit of watch-spring. I have in my possession a large copy of the Bible printed at Oxford, 1816 (never used), and issued by the British and Foreign Bible Society, ***crumbling literally into dust***.
>
>
> […]
>
>
> The causes of destruction are twofold : the *materiel* and the mode of bleaching the **rags**.
>
> The use of *cotton* rags was very happily superseded by those of *linen*, yet I fear some manufacturers are not very scrupulous in the selection.
>
> The application of quicklime to the rags, once prevalent in France, but very properly subsequently interdicted was a serious evil for it actually decomposed the material. Are we entirely guiltless? Such a process must needs disorganize the fibre. […]
>
>
> [Emphasis in **bold** mine]
>
>
>
[The Gentleman's Magazine](https://books.google.it/books?id=uLIUAAAAQAAJ&pg=PA22&dq=%22gentleman%27s%20magazine%22%20rag&hl=en&sa=X&ved=0CE8Q6AEwCWoVChMIy8fx4rz9xgIVRdVyCh0dJQ5I#v=onepage&q=%22gentleman's%20magazine%22%20rag&f=false) From July to December, 1823
Due to the high demand of *white* paper in the 18th century, the processes employed at the time was responsible for the reduced longevity of paper, as confirmed by [BAPH](http://baph.org.uk/ukpaperhistory.html) (British Association of Printing Historians)
>
> Increasing demands for more paper during the late eighteenth and early nineteenth centuries led to shortages of the rags needed to produce the paper. Part of the problem was that no satisfactory method of bleaching pulp had yet been devised, and so **only white rags could be used to produce white paper**. **Chlorine bleaching was being used by the end of the eighteenth century, but excessive use produced papers that were of poor quality and deteriorated quickly.** By 1800 up to 24 million lb of rags were being used annually, to produce 10,000 tons of paper in England and Wales, and 1000 tons in Scotland, the home market being supplemented by imports, mainly from the continent. Experiments in using other materials, such as sawdust, rye straw, cabbage stumps and spruce wood had been conducted in 1765 by Jacob Christian Schäffer.
>
>
> | The paper used to publish newspapers is made from a combination of recycled old rags and wood pulp hence the term rag for newspaper |
81,458 | In Australia and the UK, some folks refer to a newspaper as a *rag*, and I am curious how this term was coined.
Although most people would ask for a newspaper, I have gone around asking "Have you got a copy of today's rag?" today and only one out of twelve people I asked (I asked in coffee shops and the like) didn't know what I meant straight away.
I am trying to make a connection - dirty rag, newspaper commonly used to pack stuff or for cleaning (not a good idea anyhow) but I am stumped as the actual origins of the word. | 2012/09/13 | [
"https://english.stackexchange.com/questions/81458",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/26010/"
] | The paper used to publish newspapers is made from a combination of recycled old rags and wood pulp hence the term rag for newspaper | In the 13th century in Europe paper was made from pulping rags, a process developed in the Netherlands. This may have had some influence. Think of Rag week. College magazines were often named 'Rag'. |
81,458 | In Australia and the UK, some folks refer to a newspaper as a *rag*, and I am curious how this term was coined.
Although most people would ask for a newspaper, I have gone around asking "Have you got a copy of today's rag?" today and only one out of twelve people I asked (I asked in coffee shops and the like) didn't know what I meant straight away.
I am trying to make a connection - dirty rag, newspaper commonly used to pack stuff or for cleaning (not a good idea anyhow) but I am stumped as the actual origins of the word. | 2012/09/13 | [
"https://english.stackexchange.com/questions/81458",
"https://english.stackexchange.com",
"https://english.stackexchange.com/users/26010/"
] | The origin of this use of the word goes back to the seventeenth century. The OED’s entry for it comes under the category *rag* used in ‘Senses relating to something compared to a torn piece of cloth’. It is quite possible that early newspapers bore just such a resemblance. | OED gives evidence that *rag* came to be used figuratively to mean any small worthless scrap. This figurative use was extended metaphorically to describe any object of contempt, not just fabrics and paper but anything: even a person, as early as 1566. Two examples:
>
> that rubbishy rag of a girl *(Ruskin)*
>
>
>
and
>
> you witch, you ragge, you baggage *(Shakespeare)*.
>
>
>
That being said, it is not hard to imagine that when choosing a word to express contempt for a piece of fabric or paper, such as a flag, newspaper, pamphlet, or legal document, *rag* would be an easy choice. In the case of paper, this is partly because of physical resemblance to fabric, and partly because rags were (and sometimes are) used to make paper. |
86,294 | Using two Sniper Rifles using almost the exact same damage, I noticed Head Shots from my Shock rifle on Shielded targets deal significantly less damage than Fire shots to unshielded targets. 110k damage from the Fire sniper, 69k from the Shock weapon.
If damage were calculated only once and applied to damage *and* health, the shock weapon should have dealt more damage; Shock's bonus against Shields is 2.5 (1.0 against Flesh) while Fire's bonus against Flesh is 1.75.
So what's happening here? It seems only enough Shock damage is dealt to take down the shields using the 2.5 calculation, then the remaining damage is dealt as if it was Flesh damage using the 1.0 calculation. Is any damage overkilling the shield, thus losing damage to the Flesh target or is only just barely enough damage dealt as Shield damage?
Is this calculation the same for other elemental types? For example explosive does 0.8 damage against Shields but 1.0 against Flesh; will the 1.0 multiplier be applied to Health "overflow" damage? | 2012/09/30 | [
"https://gaming.stackexchange.com/questions/86294",
"https://gaming.stackexchange.com",
"https://gaming.stackexchange.com/users/11920/"
] | Damage is first calculated from shields, then the remaining damage is calculated by health.
For example you are using shock sniper, your damage with the sniper is 1000 (including all the bonuses and modifiers) but the damage is further multiplied by it's effectiveness on shields x2 on normal and x2.5 on true vault hunter.
Assuming the target has 1000 health and 1000 shields, you only damage the shields, but not the health, since the damage multiplier applies only to the shield damage and not the health damage.
If the target would instead have only 500 shields, the shields would take 2000 or 2500 damage and the remaining 500 points of damage is subtracted from the health (Only 500 points of damage from 1000 is multiplied with the shock bonus, since the target has only 500 units of shields)
This same rule applies to all elemental damage.
The elemental damage [coefficient](http://en.wikipedia.org/wiki/Coefficient) multiplies the adjusted weapon damage following the formula below:
>
> Final Damage = (Base + Skills + BA Rank + Class Mod + Relic) \* (Gun Base) \* (Elemental multiplier)
>
>
> | Shock damage takes more "Life" out of a shield, as explained by the game, where as Fire damage takes more out of the Health of an opponent, assuming they are not armored, which is also explained by the game. Armored people take more damage from Corrosive, like Hyperion Robots, and Slag just makes them take more damage, helpful in Co-Op. |
9,132,369 | I have checked out an application that besides the regulars, needs user management and push notifications. To make it cross platform and also make it available via web browsers, I am planning to build it as a Web Application (as it is called in Android). Is it a good idea? Or is it better to build a completely native application?
I have absolutely no idea of iOS development, but somehow think that a Web Application equivalent will surely be there, so that will reduce the effort required for an iOS application. | 2012/02/03 | [
"https://Stackoverflow.com/questions/9132369",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/238864/"
] | It depends on a lot of factors.
If you have the time and budget (and expertise) a native app for each platform is always going to be the best user experience.
If you are trying to do something that violates Apple App Store terms and conditions, A web app may be the only option.
Web apps are relatively easy to build cross platform, but you'll still need to do a lot of platform-specific tweaking to get it right for each device. It's not the easy option, believe me.
Do not kid yourself that a web app will ever offer the same high quality experience that a native app will do. A web app may be a worthwhile compromise, but it's a compromise nonetheless. A web app cannot access the filesystem, camera, photo library, contacts or calendar, and it doesn't have access to hardware accelerated 3D graphics (one day it will, via WebGL and some of the new HTML5 APIs, but I'm talking about what's possible now).
Web apps are still relatively uncommon so you'll miss out on exposure and "findability" of having your app in the App Store / Android Marketplace if you do go that route.
A better option might be something like [Appcelerator Titanium](http://www.appcelerator.com/) that lets you create cross-platform native apps using JavaScript, without having to learn Objective-C or Java.
Or, if you're determined to use HTML, you should consider using a tool like [PhoneGap](http://phonegap.com/) that lets you package up web apps as native apps for each platform without needing to write any platform-specific code (the app is still a normal web site, but it runs locally on the device, not in a browser, and has access to native hardware functions and contacts, calendar, etc).
You should also look at 3rd party web toolkit libraries like [jQuery Mobile](http://jquerymobile.com/) or [Sencha Touch](http://www.sencha.com/products/touch) to help make your mobile web app look and behave as much like a real native app as possible. | If you can give your users the same functionality, but without forcing them to be tied to a software download and update scheme, I view that as a win for them. Not having to maintain multiple incarnations of code per platform is a win for you.
I'd say if its functional as a web app, go for it. |
9,132,369 | I have checked out an application that besides the regulars, needs user management and push notifications. To make it cross platform and also make it available via web browsers, I am planning to build it as a Web Application (as it is called in Android). Is it a good idea? Or is it better to build a completely native application?
I have absolutely no idea of iOS development, but somehow think that a Web Application equivalent will surely be there, so that will reduce the effort required for an iOS application. | 2012/02/03 | [
"https://Stackoverflow.com/questions/9132369",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/238864/"
] | You can find a neat comparison between
* [Phonegap](http://phonegap.com/)
* [Corona](http://www.anscamobile.com/corona/)
* [Appcelerator](http://www.appcelerator.com/)
Over here : [Comparison between Corona, Phonegap, Titanium](https://stackoverflow.com/questions/1482586/comparison-between-corona-phonegap-titanium)
As such usage of such framworks versus native application development is discussed here : [Using Phonegap for Native Application development](https://stackoverflow.com/questions/5161004/using-phonegap-for-native-application-development)
There is also another interesting C# solution named [Xamarin](http://xamarin.com/monoforandroid)
In my experience, (I have used PhoneGap with JQuery) it has comparatively low performance, low usability, and it lacks advanced control over your hardware. But, for people with good experience in web stuff will find it easy to learn and work with PhoneGap. And as such, the choice of selection merely depends on the application you are targeting to develop. If it is nice simple social app or something, go ahead with a cross platform solution. It can save you a lot of time and money. On the other hand if the target application demands high performance on the available hardware, go native. | If you can give your users the same functionality, but without forcing them to be tied to a software download and update scheme, I view that as a win for them. Not having to maintain multiple incarnations of code per platform is a win for you.
I'd say if its functional as a web app, go for it. |
9,132,369 | I have checked out an application that besides the regulars, needs user management and push notifications. To make it cross platform and also make it available via web browsers, I am planning to build it as a Web Application (as it is called in Android). Is it a good idea? Or is it better to build a completely native application?
I have absolutely no idea of iOS development, but somehow think that a Web Application equivalent will surely be there, so that will reduce the effort required for an iOS application. | 2012/02/03 | [
"https://Stackoverflow.com/questions/9132369",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/238864/"
] | It depends on a lot of factors.
If you have the time and budget (and expertise) a native app for each platform is always going to be the best user experience.
If you are trying to do something that violates Apple App Store terms and conditions, A web app may be the only option.
Web apps are relatively easy to build cross platform, but you'll still need to do a lot of platform-specific tweaking to get it right for each device. It's not the easy option, believe me.
Do not kid yourself that a web app will ever offer the same high quality experience that a native app will do. A web app may be a worthwhile compromise, but it's a compromise nonetheless. A web app cannot access the filesystem, camera, photo library, contacts or calendar, and it doesn't have access to hardware accelerated 3D graphics (one day it will, via WebGL and some of the new HTML5 APIs, but I'm talking about what's possible now).
Web apps are still relatively uncommon so you'll miss out on exposure and "findability" of having your app in the App Store / Android Marketplace if you do go that route.
A better option might be something like [Appcelerator Titanium](http://www.appcelerator.com/) that lets you create cross-platform native apps using JavaScript, without having to learn Objective-C or Java.
Or, if you're determined to use HTML, you should consider using a tool like [PhoneGap](http://phonegap.com/) that lets you package up web apps as native apps for each platform without needing to write any platform-specific code (the app is still a normal web site, but it runs locally on the device, not in a browser, and has access to native hardware functions and contacts, calendar, etc).
You should also look at 3rd party web toolkit libraries like [jQuery Mobile](http://jquerymobile.com/) or [Sencha Touch](http://www.sencha.com/products/touch) to help make your mobile web app look and behave as much like a real native app as possible. | There are tools like [MobiRoller](http://mobiroller.com/en/) for content based multiplatform mobile applications. You can create your application via a web based panel. |
9,132,369 | I have checked out an application that besides the regulars, needs user management and push notifications. To make it cross platform and also make it available via web browsers, I am planning to build it as a Web Application (as it is called in Android). Is it a good idea? Or is it better to build a completely native application?
I have absolutely no idea of iOS development, but somehow think that a Web Application equivalent will surely be there, so that will reduce the effort required for an iOS application. | 2012/02/03 | [
"https://Stackoverflow.com/questions/9132369",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/238864/"
] | You can find a neat comparison between
* [Phonegap](http://phonegap.com/)
* [Corona](http://www.anscamobile.com/corona/)
* [Appcelerator](http://www.appcelerator.com/)
Over here : [Comparison between Corona, Phonegap, Titanium](https://stackoverflow.com/questions/1482586/comparison-between-corona-phonegap-titanium)
As such usage of such framworks versus native application development is discussed here : [Using Phonegap for Native Application development](https://stackoverflow.com/questions/5161004/using-phonegap-for-native-application-development)
There is also another interesting C# solution named [Xamarin](http://xamarin.com/monoforandroid)
In my experience, (I have used PhoneGap with JQuery) it has comparatively low performance, low usability, and it lacks advanced control over your hardware. But, for people with good experience in web stuff will find it easy to learn and work with PhoneGap. And as such, the choice of selection merely depends on the application you are targeting to develop. If it is nice simple social app or something, go ahead with a cross platform solution. It can save you a lot of time and money. On the other hand if the target application demands high performance on the available hardware, go native. | There are tools like [MobiRoller](http://mobiroller.com/en/) for content based multiplatform mobile applications. You can create your application via a web based panel. |
5,694 | I am on Drupal 7.
I have two content types. Content type 1 is called Bulletin and content type 2 is called Bulletin Text. I have a node reference field in Bulletin Text content type that allows me to link it to a certain Bulletin object.
Now, when my user is on a Bulletin Text node I want him/her to:
1. see all the other texts associated with that same Bulletin on a block to the side of the page;
2. remove the current Bulletin Text node from the list of bulletin texts, as it wouldn't make much sense, as the block would be something like "other texts from in this Bulletin".
Is there a pure Views solution for receiving the nodereference value from the current node being displayed on the page (passing that parameter into the Views block) and showing the list of nodes associated with it (also removing the current nid from the list), or do I have to play around with Contexts, Panels or custom code? What do you consider the best approach for me to solve this? | 2011/06/23 | [
"https://drupal.stackexchange.com/questions/5694",
"https://drupal.stackexchange.com",
"https://drupal.stackexchange.com/users/849/"
] | Hook\_menu\_alter is called when the menu is being rebuild so you shouldn't use it for these situations.
Normally you should set the permission on your page view to only allow the roles you want to see that view. The menu system will handle hidding the tab for you when the user doesn't have the right permission.
The one thing that's weird is that you want to restrict on a role and if the user is viewing his own profile. In this case you do want to use hook\_menu\_alter but not to hide the menu tab but instead to replace the access callback with your own.
In your custom access callback you want to do something like <http://api.drupal.org/api/drupal/modules--user--user.module/function/user_view_access/7>
So essentially you want to do the logic on the access callback not on the hook\_menu\_alter.
You're going to run into issues with weights because I'm sure views run last.
To work around this you should implements [hook\_module\_implements\_alter](http://api.drupal.org/api/drupal/modules--system--system.api.php/function/hook_module_implements_alter/7) to designate your module to run after views only for the hook\_menu\_alter hook.
This doesn't required any weight changes and it helps resolve the problem where you might want your module to run before views in certain situations, yet after it in a different situation. | Easiest way is to write custom Access Callback with [Views Access Callback](https://www.drupal.org/project/views_access_callback) module. |
9,272,389 | I'm currently having some trouble trying to copy all the attributes from a bunch of list items into the first list item.
I want to add the first list item (All) to the top of the list and then copy all of the data-filter attributes from the elements below into All, so they appear like data-filter=".ant, .bee, .bug, .moth"
here is alink to my jsfiddle: <http://jsfiddle.net/8e4Kv/1/>
Any suggestions would be greatly appreciated,
Thanks!
Big D | 2012/02/14 | [
"https://Stackoverflow.com/questions/9272389",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/1146670/"
] | If you're on windows there's [Toad for Cloud](http://toadforcloud.com/index.jspa) | Check out [HBaseXplorer](http://sourceforge.net/projects/hbaseexplorer/) & [HBaseXplorer git link](https://github.com/zaharije/hbase-gui-admin).Its a java desktop application for managing and exploring HBase database. |
18,347 | Sometimes when I reply to an SMS, I also want to send that same SMS to another person. On my previous non-android phones this was easy, every SMS was a single message, as opposed to the threads in Android. I could just add another receiver there.
When I answer an SMS in Android, I do not have the option to add another receiver. Is there any workaround?
(Android 2.3 on a Samsung Galaxy Gio) | 2012/01/14 | [
"https://android.stackexchange.com/questions/18347",
"https://android.stackexchange.com",
"https://android.stackexchange.com/users/10857/"
] | You could long-tap the message, select "Copy message text", then paste that into the input field of a thread with the new recipient. | **Works in 2.3.6**
*I have 2.3.6 version (galaxy y). I am not sure if this works in 2.3 alone but this answer could help others as this (text forwarding) is tricky in android which you won't find any menu options directly.*
Even I had trouble forwarding initially but I found the actual answer from Hedgeterimmer's answer.
Long tap the message text (message options menu appears)
Scroll down the menu and look for forward option (button) and that's what you wanted |
79,933 | Three people were driving through the Sahara desert one bright sunny day. The wind was blowing lightly, but the day was clear, and all seemed right with the world, despite their particular predicament.
The oldest who was driving had a compass and some keys, the second oldest, who was in the passenger seat, had a map, a rope, and some duct tape, and the youngest was sitting in the back apparently playing some games on their phone which they reluctantly let him use so he would stop bugging them.
There was also an emergency toolkit which included some miscellaneous tools and emergency supplies sitting on the back seat next to the boy.
Some time down the road, far from civilization, suddenly there was a loud "POP!" -- their car had a flat tire, having run over a nail.
Fortunately, the youth was able to replace the tire while the older two chatted away, for about an hour. He discovered that the battery to the car also was low, so he opened up the hood and charged that up as well while the two continued to chat about old times, although occasionally keeping one eye on the boy while he worked. Fortunately, this was a near miss, so they got back on the road.
After they drove for several hours, hearing a strange clunk clunk noise from the engine but thinking nothing of it, suddenly the engine stalled, and grinded to a halt, and they coasted some ways before coming to a complete stop. The engine would not turn over. Hundreds of miles from civilization on a deserted road, they realized that their only choice was to get out and start walking.
Each grabbed what they needed, and started down the road when suddenly at just that moment a huge sandstorm blew up out of nowhere and completely covered the road, and disoriented them.
They ran into a ditch and waited, but couldn't see anything in any direction during the storm. They were totally disoriented. 30 minutes passed and the sandstorm blew over, but their truck was apparently totally covered, they could not see it anywhere.
As a result, they had no way to know which way the road was, since it was probably totally covered beneath feet of sand. Now, they could not see the path back to civilization, just sand as far as the eye could see. The man looked at the woman as they gathered their wits and realized the boy was gone. They also found their pockets empty, their things must have fallen out in the storm.
Realizing the boy must have been caught in the storm, they continued on their way, and began chatting again about old times, hoping that maybe they'd find the boy, and thinking that maybe they might not.
Then out of nowhere the truck began rolling down the big sand dune behind them. They couldn't hear it coming over the wind, but one of them turned around too late, to see what looked like an empty truck about to plow them over. He jumped to the side but it was too late, the truck squashed their heads like watermelons.
What mysterious things happened this day in the desert? | 2019/02/24 | [
"https://puzzling.stackexchange.com/questions/79933",
"https://puzzling.stackexchange.com",
"https://puzzling.stackexchange.com/users/56835/"
] | Partial answer...
The 3 people
>
> Are not a family. I think they are 2 seasoned archaeologists and their trainee or assistant. That's why they're constantly "chatting about old times". They're discussing history.
>
>
>
Their pockets
>
> Contain a map to something valuable, maybe a pharaoh's tomb or a cave. It must be something unknown to the public or they could have navigated by GPS. The man has the keys to unlock this place. The woman has rope to access the place.
>
>
>
The youth
>
> Was following their path via GPS on the phone. He could also access weather data and forsee the sand storm that hit them later.
>
>
>
The flat tire
>
> Somehow the youth managed to take a nail from the emergency supply kit and pop the tire with it, but I don't know how. His companions let him replace the tire and he pretendet to recharge the battery. In reality he manipulated the engine to make it fail later. He couldn't recharge the battery because he didn't have anything to recharge it *with* and car baterries recharge themselves during prolonged driving.
>
>
>
The sandstorm
>
> No idea if this a natural occurence, but the youth had the chance to know about it. During the chaos and loud noise, he pickpocketed his companions, removed the nail from the engine and drove off with the car. As soon as the sand storm passed and he could see his companions again, he killed them with the car.
>
>
>
Why?
>
> The youth is tired of being the assistant to famous archaeologists and wants to cover himself with the glory of discovering the tomb of the pharaoh.
>
>
> | What happened:
>
> 1. The boy pocketed the nail and used it to mess up the engine in a reversible way while charging the battery (lowered it on a rope so that it can be pulled out later? I don't know enough about the engines to figure out how it can be done).
>
>
> 2. Then during the sandstorm he pick-pocketed the adults and hid in a truck (not sure how he hid it in the sand).
>
>
> 3. After the sandstorm he dug the truck out (again not sure how he did it so quickly) and used it to eliminate the adult supervision to finally play the smartphone to his heart's content!
>
>
>
Why:
>
> Judging from their lack of interest in searching for the boy after the storm, the adults are not the parents of the boy, and judging from the rope and the duct tape, the adults kidnapped the boy.
>
>
> |
15,350 | I'd like to embed a Youtube tutorial video inside a CDF. I'm guessing this is not possible as my search for how to do this has been in vain. I'm imagining an embedded Youtube video like one sees on a blog. | 2012/11/28 | [
"https://mathematica.stackexchange.com/questions/15350",
"https://mathematica.stackexchange.com",
"https://mathematica.stackexchange.com/users/-1/"
] | It is not possible. Embedding a youtube video requires embedding some html into your webpage. CDFs are not constructed with html. | you can call a youtube video from within a notebook if you can access wi-fi where you're showing the notebook. here's an example:
SystemOpen["<https://www.youtube.com/watch?v=IaO69CF5mbY>"]
if you don't have wi-fi where you use the computer, you can download and save a youtube file on your computer and then just double-click on it it to run the video. see
<http://www.computerhope.com/issues/ch001002.htm> |
74,147 | Trying to boot my old compaq presario v2433au laptop.
It has win xp sp3 and ubuntu 9.04 dual boot.
So what happens now when I turn it on i get compaq boot screen
i.e. press f10 to set up , press x to change boot process press f12 network boot.
tried pressing anything at this stage- keyboard appears to not be taking input (nothing happens)
turned off from here, reboot now it goes to compaq boot screen, for 1 sec then, to new screen saying press f2 to continue or f10 to setup.
pressing either does nothing, and it sits at this stage.
this is after, last week, the usb ports all died (suspect maybe shorted or overheated)
it was still booting etc fine after this just no usb
so now im stuck with what to do. usually id just go ubuntu or ubuntu livecd and get my data and start again...but even if i have the livecd in, it doesnt boot. However, I can hear it reading the cd when it gets to the screen i mentioned, where its just f2 to continue or f10 to reboot.
think the old laptops pretty dead but is there anything I can do from here?
not really essential data on there but wouldn/t mind getting it back.
any ideas???
thanking you in advance :) | 2009/11/23 | [
"https://superuser.com/questions/74147",
"https://superuser.com",
"https://superuser.com/users/-1/"
] | Try holding F2 as you're booting it. It might be locking up after it displays that message, maybe if you can get it to recognize the key right away it will let you past that point.
You can also try plugging in another keyboard and see if it recognizes input from that. | remove the hard drive and see if it atleasts gets past that OR into bios. If you can do that. Maybe it might not be too far gone. |
150,961 | In the film *[Blade Runner](http://www.imdb.com/title/tt0083658/)* (1982), Rick Deckard hunts realistic androids called [replicants](https://en.wikipedia.org/wiki/Replicant).
According to [Jordan Cronenweth](http://www.imdb.com/name/nm0005675/), Blade Runner's (genius) director of photography,
>
> One of the identifying characteristics of replicants is a strange glowing quality in their eyes
>
> [source](http://www.theasc.com/magazine/mar99/blade/pg2.htm)
>
>
>
[](https://i.stack.imgur.com/KQJ1E.jpg)
Nevertheless, the plot of **Blade Runner** has Deckard identify the replicants using a **Voight-Kampff machine**, a complex interrogation tool, whose process seems to be quite long and tedious. The machine, [according to Wikipedia](https://en.wikipedia.org/wiki/Blade_Runner#Voight-Kampff_machine), tracks *eye movement* (not the glow) of the "subject" during the test, among other things.
I've wondered if this glow was a narrative trick, that the characters are not themselves aware of within the universe of the film. Or if Deckard knows about this too well, but sticks with procedure for his own sake. But I could never find an answer to this question:
**What is the reason that Deckard doesn't identify Replicants simply by looking for the "*strange glowing quality in their eyes*"?** | 2017/01/24 | [
"https://scifi.stackexchange.com/questions/150961",
"https://scifi.stackexchange.com",
"https://scifi.stackexchange.com/users/27839/"
] | Hmmm.
* Daryl Hannah - no glowing eyes:
[](https://i.stack.imgur.com/YbHgP.jpg)
* Sean Young - no glowing eyes:
[](https://i.stack.imgur.com/tHjiv.jpg)
* Rutger Hauer - no glowing eyes:
[](https://i.stack.imgur.com/05yt2.jpg)
From your [source](http://www.theasc.com/magazine/mar99/blade/pg2.htm):
>
> To achieve this effect, we'd use a two-way mirror — 50 percent transmission, 50 percent reflection — placed in front of the lens at a 45-degree angle. Then we'd project a light into the mirror so that it would be reflected into the eyes of the subject along the optical axis of the lens. We'd sometimes use very subtle gels to add color to the eyes. **Often, we'd photograph a scene with and without this effect, so Ridley would have the option of when he'd use it**
>
>
>
I guess we could reason (in-story) that the replicants have the ability to hide this "glow" at will.
From the filming description above, it also seems likely that creating this "glowing" look would be prohibitively difficult in anything other than relatively stable closeups (although I did choose close-ups for my photos above). I'm guessing that Ridley Scott simply didn't have the time or money to create this look for the entirety of the film (and have explained your question within the plot).
The [Voight-Kampff test](https://en.wikipedia.org/wiki/Blade_Runner#Voight-Kampff_machine) is, of course, a plot device. The film would be radically different without it.
>
> "Oh, there's someone with glowing eyes, I'll just shoot him..."
>
>
>
Doesn't really seem like it'll be much of a movie, does it...? | Humans have glowing eyes at times, for example taking a picture with flash and a [red-eye effect](https://en.wikipedia.org/wiki/Red-eye_effect) appears.
If we had a more detailed description of that glow in the eyes of the replicants perhaps we could have a better answer. |
150,961 | In the film *[Blade Runner](http://www.imdb.com/title/tt0083658/)* (1982), Rick Deckard hunts realistic androids called [replicants](https://en.wikipedia.org/wiki/Replicant).
According to [Jordan Cronenweth](http://www.imdb.com/name/nm0005675/), Blade Runner's (genius) director of photography,
>
> One of the identifying characteristics of replicants is a strange glowing quality in their eyes
>
> [source](http://www.theasc.com/magazine/mar99/blade/pg2.htm)
>
>
>
[](https://i.stack.imgur.com/KQJ1E.jpg)
Nevertheless, the plot of **Blade Runner** has Deckard identify the replicants using a **Voight-Kampff machine**, a complex interrogation tool, whose process seems to be quite long and tedious. The machine, [according to Wikipedia](https://en.wikipedia.org/wiki/Blade_Runner#Voight-Kampff_machine), tracks *eye movement* (not the glow) of the "subject" during the test, among other things.
I've wondered if this glow was a narrative trick, that the characters are not themselves aware of within the universe of the film. Or if Deckard knows about this too well, but sticks with procedure for his own sake. But I could never find an answer to this question:
**What is the reason that Deckard doesn't identify Replicants simply by looking for the "*strange glowing quality in their eyes*"?** | 2017/01/24 | [
"https://scifi.stackexchange.com/questions/150961",
"https://scifi.stackexchange.com",
"https://scifi.stackexchange.com/users/27839/"
] | **Deckard can't see it; it's non-[diegetic](https://en.wikipedia.org/wiki/Diegesis#Film_sound_and_music), intended for the film audience, but not for the film's characters.** Given that we only ever see the 'glowing eyes' effect when the in-universe characters have not acknowledged it, it tells us that this must be a feature that is not apparent to them.
Additionally, according to Paul Sammon:
>
> Ridley Scott maintains that this effect "was strictly a stylistic device, one more bit of detailing, if you like. If the replicant's eyes really did glow like that within the context of the story, then why would you need a VoightKampff machine to sniff them out?"
> -Sammon, Paul M. (2000). "VIII: The Crew". *[Future Noir: THE MAKING OF Blade Runner](http://scribble.com/uwi/br/fn/fn-ch8.html)*.
>
>
>
And of the importance of eyes within the Blade Runner movie is emphasised by Mary Jenkins when she says:
>
> [Ridley] Scott said of the replicants' sometimes glowing eyes: "that kickback you saw from the replicants' retinas was a bit of a design flaw. I was also trying to say that the eye is really the most important organ in the human body. It's like a two-way mirror; the eye doesn't only see a lot, the eye gives away a lot. A glowing human retina seemed one way of stating that".
> -Jenkins, Mary. (1997) *[The Dystopian World of Blade Runner: An Ecofeminist Perspective](http://trumpeter.athabascau.ca/index.php/trumpet/article/view/172/210)*, Cite note 6
>
>
> | Hmmm.
* Daryl Hannah - no glowing eyes:
[](https://i.stack.imgur.com/YbHgP.jpg)
* Sean Young - no glowing eyes:
[](https://i.stack.imgur.com/tHjiv.jpg)
* Rutger Hauer - no glowing eyes:
[](https://i.stack.imgur.com/05yt2.jpg)
From your [source](http://www.theasc.com/magazine/mar99/blade/pg2.htm):
>
> To achieve this effect, we'd use a two-way mirror — 50 percent transmission, 50 percent reflection — placed in front of the lens at a 45-degree angle. Then we'd project a light into the mirror so that it would be reflected into the eyes of the subject along the optical axis of the lens. We'd sometimes use very subtle gels to add color to the eyes. **Often, we'd photograph a scene with and without this effect, so Ridley would have the option of when he'd use it**
>
>
>
I guess we could reason (in-story) that the replicants have the ability to hide this "glow" at will.
From the filming description above, it also seems likely that creating this "glowing" look would be prohibitively difficult in anything other than relatively stable closeups (although I did choose close-ups for my photos above). I'm guessing that Ridley Scott simply didn't have the time or money to create this look for the entirety of the film (and have explained your question within the plot).
The [Voight-Kampff test](https://en.wikipedia.org/wiki/Blade_Runner#Voight-Kampff_machine) is, of course, a plot device. The film would be radically different without it.
>
> "Oh, there's someone with glowing eyes, I'll just shoot him..."
>
>
>
Doesn't really seem like it'll be much of a movie, does it...? |
150,961 | In the film *[Blade Runner](http://www.imdb.com/title/tt0083658/)* (1982), Rick Deckard hunts realistic androids called [replicants](https://en.wikipedia.org/wiki/Replicant).
According to [Jordan Cronenweth](http://www.imdb.com/name/nm0005675/), Blade Runner's (genius) director of photography,
>
> One of the identifying characteristics of replicants is a strange glowing quality in their eyes
>
> [source](http://www.theasc.com/magazine/mar99/blade/pg2.htm)
>
>
>
[](https://i.stack.imgur.com/KQJ1E.jpg)
Nevertheless, the plot of **Blade Runner** has Deckard identify the replicants using a **Voight-Kampff machine**, a complex interrogation tool, whose process seems to be quite long and tedious. The machine, [according to Wikipedia](https://en.wikipedia.org/wiki/Blade_Runner#Voight-Kampff_machine), tracks *eye movement* (not the glow) of the "subject" during the test, among other things.
I've wondered if this glow was a narrative trick, that the characters are not themselves aware of within the universe of the film. Or if Deckard knows about this too well, but sticks with procedure for his own sake. But I could never find an answer to this question:
**What is the reason that Deckard doesn't identify Replicants simply by looking for the "*strange glowing quality in their eyes*"?** | 2017/01/24 | [
"https://scifi.stackexchange.com/questions/150961",
"https://scifi.stackexchange.com",
"https://scifi.stackexchange.com/users/27839/"
] | Hmmm.
* Daryl Hannah - no glowing eyes:
[](https://i.stack.imgur.com/YbHgP.jpg)
* Sean Young - no glowing eyes:
[](https://i.stack.imgur.com/tHjiv.jpg)
* Rutger Hauer - no glowing eyes:
[](https://i.stack.imgur.com/05yt2.jpg)
From your [source](http://www.theasc.com/magazine/mar99/blade/pg2.htm):
>
> To achieve this effect, we'd use a two-way mirror — 50 percent transmission, 50 percent reflection — placed in front of the lens at a 45-degree angle. Then we'd project a light into the mirror so that it would be reflected into the eyes of the subject along the optical axis of the lens. We'd sometimes use very subtle gels to add color to the eyes. **Often, we'd photograph a scene with and without this effect, so Ridley would have the option of when he'd use it**
>
>
>
I guess we could reason (in-story) that the replicants have the ability to hide this "glow" at will.
From the filming description above, it also seems likely that creating this "glowing" look would be prohibitively difficult in anything other than relatively stable closeups (although I did choose close-ups for my photos above). I'm guessing that Ridley Scott simply didn't have the time or money to create this look for the entirety of the film (and have explained your question within the plot).
The [Voight-Kampff test](https://en.wikipedia.org/wiki/Blade_Runner#Voight-Kampff_machine) is, of course, a plot device. The film would be radically different without it.
>
> "Oh, there's someone with glowing eyes, I'll just shoot him..."
>
>
>
Doesn't really seem like it'll be much of a movie, does it...? | Lots of films use visual cues for the audience that isn't part of the universe such as unrealistic lighting, shadows, sounds (especially sounds in space!), etc etc etc. Most are rather subtle--meant more for mood and creating thoughtful environments. It's all part of the dramatism. Naturalism in film is the opposite, where everything must be as realistic as possible (see [Dogme 95](https://en.wikipedia.org/wiki/Dogme_95) for extreme examples of naturalism).
So glowing eyes of replicants is simply a device for the audience to help convey a feeling of un-humanness in those characters. To take it further is expecting too much of your films. |
150,961 | In the film *[Blade Runner](http://www.imdb.com/title/tt0083658/)* (1982), Rick Deckard hunts realistic androids called [replicants](https://en.wikipedia.org/wiki/Replicant).
According to [Jordan Cronenweth](http://www.imdb.com/name/nm0005675/), Blade Runner's (genius) director of photography,
>
> One of the identifying characteristics of replicants is a strange glowing quality in their eyes
>
> [source](http://www.theasc.com/magazine/mar99/blade/pg2.htm)
>
>
>
[](https://i.stack.imgur.com/KQJ1E.jpg)
Nevertheless, the plot of **Blade Runner** has Deckard identify the replicants using a **Voight-Kampff machine**, a complex interrogation tool, whose process seems to be quite long and tedious. The machine, [according to Wikipedia](https://en.wikipedia.org/wiki/Blade_Runner#Voight-Kampff_machine), tracks *eye movement* (not the glow) of the "subject" during the test, among other things.
I've wondered if this glow was a narrative trick, that the characters are not themselves aware of within the universe of the film. Or if Deckard knows about this too well, but sticks with procedure for his own sake. But I could never find an answer to this question:
**What is the reason that Deckard doesn't identify Replicants simply by looking for the "*strange glowing quality in their eyes*"?** | 2017/01/24 | [
"https://scifi.stackexchange.com/questions/150961",
"https://scifi.stackexchange.com",
"https://scifi.stackexchange.com/users/27839/"
] | **Deckard can't see it; it's non-[diegetic](https://en.wikipedia.org/wiki/Diegesis#Film_sound_and_music), intended for the film audience, but not for the film's characters.** Given that we only ever see the 'glowing eyes' effect when the in-universe characters have not acknowledged it, it tells us that this must be a feature that is not apparent to them.
Additionally, according to Paul Sammon:
>
> Ridley Scott maintains that this effect "was strictly a stylistic device, one more bit of detailing, if you like. If the replicant's eyes really did glow like that within the context of the story, then why would you need a VoightKampff machine to sniff them out?"
> -Sammon, Paul M. (2000). "VIII: The Crew". *[Future Noir: THE MAKING OF Blade Runner](http://scribble.com/uwi/br/fn/fn-ch8.html)*.
>
>
>
And of the importance of eyes within the Blade Runner movie is emphasised by Mary Jenkins when she says:
>
> [Ridley] Scott said of the replicants' sometimes glowing eyes: "that kickback you saw from the replicants' retinas was a bit of a design flaw. I was also trying to say that the eye is really the most important organ in the human body. It's like a two-way mirror; the eye doesn't only see a lot, the eye gives away a lot. A glowing human retina seemed one way of stating that".
> -Jenkins, Mary. (1997) *[The Dystopian World of Blade Runner: An Ecofeminist Perspective](http://trumpeter.athabascau.ca/index.php/trumpet/article/view/172/210)*, Cite note 6
>
>
> | Humans have glowing eyes at times, for example taking a picture with flash and a [red-eye effect](https://en.wikipedia.org/wiki/Red-eye_effect) appears.
If we had a more detailed description of that glow in the eyes of the replicants perhaps we could have a better answer. |
150,961 | In the film *[Blade Runner](http://www.imdb.com/title/tt0083658/)* (1982), Rick Deckard hunts realistic androids called [replicants](https://en.wikipedia.org/wiki/Replicant).
According to [Jordan Cronenweth](http://www.imdb.com/name/nm0005675/), Blade Runner's (genius) director of photography,
>
> One of the identifying characteristics of replicants is a strange glowing quality in their eyes
>
> [source](http://www.theasc.com/magazine/mar99/blade/pg2.htm)
>
>
>
[](https://i.stack.imgur.com/KQJ1E.jpg)
Nevertheless, the plot of **Blade Runner** has Deckard identify the replicants using a **Voight-Kampff machine**, a complex interrogation tool, whose process seems to be quite long and tedious. The machine, [according to Wikipedia](https://en.wikipedia.org/wiki/Blade_Runner#Voight-Kampff_machine), tracks *eye movement* (not the glow) of the "subject" during the test, among other things.
I've wondered if this glow was a narrative trick, that the characters are not themselves aware of within the universe of the film. Or if Deckard knows about this too well, but sticks with procedure for his own sake. But I could never find an answer to this question:
**What is the reason that Deckard doesn't identify Replicants simply by looking for the "*strange glowing quality in their eyes*"?** | 2017/01/24 | [
"https://scifi.stackexchange.com/questions/150961",
"https://scifi.stackexchange.com",
"https://scifi.stackexchange.com/users/27839/"
] | Lots of films use visual cues for the audience that isn't part of the universe such as unrealistic lighting, shadows, sounds (especially sounds in space!), etc etc etc. Most are rather subtle--meant more for mood and creating thoughtful environments. It's all part of the dramatism. Naturalism in film is the opposite, where everything must be as realistic as possible (see [Dogme 95](https://en.wikipedia.org/wiki/Dogme_95) for extreme examples of naturalism).
So glowing eyes of replicants is simply a device for the audience to help convey a feeling of un-humanness in those characters. To take it further is expecting too much of your films. | Humans have glowing eyes at times, for example taking a picture with flash and a [red-eye effect](https://en.wikipedia.org/wiki/Red-eye_effect) appears.
If we had a more detailed description of that glow in the eyes of the replicants perhaps we could have a better answer. |
150,961 | In the film *[Blade Runner](http://www.imdb.com/title/tt0083658/)* (1982), Rick Deckard hunts realistic androids called [replicants](https://en.wikipedia.org/wiki/Replicant).
According to [Jordan Cronenweth](http://www.imdb.com/name/nm0005675/), Blade Runner's (genius) director of photography,
>
> One of the identifying characteristics of replicants is a strange glowing quality in their eyes
>
> [source](http://www.theasc.com/magazine/mar99/blade/pg2.htm)
>
>
>
[](https://i.stack.imgur.com/KQJ1E.jpg)
Nevertheless, the plot of **Blade Runner** has Deckard identify the replicants using a **Voight-Kampff machine**, a complex interrogation tool, whose process seems to be quite long and tedious. The machine, [according to Wikipedia](https://en.wikipedia.org/wiki/Blade_Runner#Voight-Kampff_machine), tracks *eye movement* (not the glow) of the "subject" during the test, among other things.
I've wondered if this glow was a narrative trick, that the characters are not themselves aware of within the universe of the film. Or if Deckard knows about this too well, but sticks with procedure for his own sake. But I could never find an answer to this question:
**What is the reason that Deckard doesn't identify Replicants simply by looking for the "*strange glowing quality in their eyes*"?** | 2017/01/24 | [
"https://scifi.stackexchange.com/questions/150961",
"https://scifi.stackexchange.com",
"https://scifi.stackexchange.com/users/27839/"
] | **Deckard can't see it; it's non-[diegetic](https://en.wikipedia.org/wiki/Diegesis#Film_sound_and_music), intended for the film audience, but not for the film's characters.** Given that we only ever see the 'glowing eyes' effect when the in-universe characters have not acknowledged it, it tells us that this must be a feature that is not apparent to them.
Additionally, according to Paul Sammon:
>
> Ridley Scott maintains that this effect "was strictly a stylistic device, one more bit of detailing, if you like. If the replicant's eyes really did glow like that within the context of the story, then why would you need a VoightKampff machine to sniff them out?"
> -Sammon, Paul M. (2000). "VIII: The Crew". *[Future Noir: THE MAKING OF Blade Runner](http://scribble.com/uwi/br/fn/fn-ch8.html)*.
>
>
>
And of the importance of eyes within the Blade Runner movie is emphasised by Mary Jenkins when she says:
>
> [Ridley] Scott said of the replicants' sometimes glowing eyes: "that kickback you saw from the replicants' retinas was a bit of a design flaw. I was also trying to say that the eye is really the most important organ in the human body. It's like a two-way mirror; the eye doesn't only see a lot, the eye gives away a lot. A glowing human retina seemed one way of stating that".
> -Jenkins, Mary. (1997) *[The Dystopian World of Blade Runner: An Ecofeminist Perspective](http://trumpeter.athabascau.ca/index.php/trumpet/article/view/172/210)*, Cite note 6
>
>
> | Lots of films use visual cues for the audience that isn't part of the universe such as unrealistic lighting, shadows, sounds (especially sounds in space!), etc etc etc. Most are rather subtle--meant more for mood and creating thoughtful environments. It's all part of the dramatism. Naturalism in film is the opposite, where everything must be as realistic as possible (see [Dogme 95](https://en.wikipedia.org/wiki/Dogme_95) for extreme examples of naturalism).
So glowing eyes of replicants is simply a device for the audience to help convey a feeling of un-humanness in those characters. To take it further is expecting too much of your films. |
62,087 | I have an ugly bit of code - essentially iteration over some data structures where the meat of the action was changing, but the iteration code stayed same. The iteration constituted the bulk of code, and there were at least four cases of code copying.
So I refactored the code, putting each level of iteration into its own class (I'll probably do another post on it later).The new code is considerably nicer (at least to my eye), with no copy/paste locations. However, due to some infrastructure I had to introduce to refactor nested loops into separate classes, I ended up with 10% larger number of LOCs. If I discount the extra infrastructure, I get about 5% smaller code compared to the original size.
So, the code is more sophisticated, but it is not shorter and may be harder to understand for a less experinced programmer. I may still end up with shorter code in the future if more oppotunities for reuse present themselves.
My question is: do you think it was worth it? Is it a good idea to refactor for "once and only once" if the LOC count goes up? | 2011/03/25 | [
"https://softwareengineering.stackexchange.com/questions/62087",
"https://softwareengineering.stackexchange.com",
"https://softwareengineering.stackexchange.com/users/21194/"
] | Coding style is about communicating intent to people, whether yourself in six months time, or your co-worker on the project, or whoever has your job after your move on.
So if your code is clearer and more understandable, that's a big win. There will be fewer bugs in it, and fewer bugs in code that interacts with it.
I think your point about potential later reuse is a good one as well. | Repeated code is bad because it's easy for the copies to go out of sync when you have to make a change to how they function. Even if you don't forget to update all the copies when you change one, you're still going to need to make four( or however many copies you have) changes every time you make a change.
And at that point you're likely to say "four copies of the same code? I should refactor this." |
62,087 | I have an ugly bit of code - essentially iteration over some data structures where the meat of the action was changing, but the iteration code stayed same. The iteration constituted the bulk of code, and there were at least four cases of code copying.
So I refactored the code, putting each level of iteration into its own class (I'll probably do another post on it later).The new code is considerably nicer (at least to my eye), with no copy/paste locations. However, due to some infrastructure I had to introduce to refactor nested loops into separate classes, I ended up with 10% larger number of LOCs. If I discount the extra infrastructure, I get about 5% smaller code compared to the original size.
So, the code is more sophisticated, but it is not shorter and may be harder to understand for a less experinced programmer. I may still end up with shorter code in the future if more oppotunities for reuse present themselves.
My question is: do you think it was worth it? Is it a good idea to refactor for "once and only once" if the LOC count goes up? | 2011/03/25 | [
"https://softwareengineering.stackexchange.com/questions/62087",
"https://softwareengineering.stackexchange.com",
"https://softwareengineering.stackexchange.com/users/21194/"
] | Lines of code is not a good measure of code complexity. It should only be used as a rough estimate of project size. For example, a 1k LOC program is generally simpler than a 10k LOC program. I'm assuming that that actual number of lines you are talking about stays within the negligible spectrum.
Reducing code repetition is always good because it prevents mistakes later if you need to change something. | As you describe your problem, I don't understand why each level of the iteration needed to go in a separate class. It sounds like you have something like nested collections, and you need to consider all elements in some certain order, but multiple times. That is, you need one procedure, which takes the top level data structure, and and an operation to perform on each element, and then applies the operation on each element in the prescribed order. If you've changed using bare data types into calling into wrapper classes, but your code still repeats nesting, you haven't gained anything. |
62,087 | I have an ugly bit of code - essentially iteration over some data structures where the meat of the action was changing, but the iteration code stayed same. The iteration constituted the bulk of code, and there were at least four cases of code copying.
So I refactored the code, putting each level of iteration into its own class (I'll probably do another post on it later).The new code is considerably nicer (at least to my eye), with no copy/paste locations. However, due to some infrastructure I had to introduce to refactor nested loops into separate classes, I ended up with 10% larger number of LOCs. If I discount the extra infrastructure, I get about 5% smaller code compared to the original size.
So, the code is more sophisticated, but it is not shorter and may be harder to understand for a less experinced programmer. I may still end up with shorter code in the future if more oppotunities for reuse present themselves.
My question is: do you think it was worth it? Is it a good idea to refactor for "once and only once" if the LOC count goes up? | 2011/03/25 | [
"https://softwareengineering.stackexchange.com/questions/62087",
"https://softwareengineering.stackexchange.com",
"https://softwareengineering.stackexchange.com/users/21194/"
] | Repeated code is bad because it's easy for the copies to go out of sync when you have to make a change to how they function. Even if you don't forget to update all the copies when you change one, you're still going to need to make four( or however many copies you have) changes every time you make a change.
And at that point you're likely to say "four copies of the same code? I should refactor this." | As you describe your problem, I don't understand why each level of the iteration needed to go in a separate class. It sounds like you have something like nested collections, and you need to consider all elements in some certain order, but multiple times. That is, you need one procedure, which takes the top level data structure, and and an operation to perform on each element, and then applies the operation on each element in the prescribed order. If you've changed using bare data types into calling into wrapper classes, but your code still repeats nesting, you haven't gained anything. |
62,087 | I have an ugly bit of code - essentially iteration over some data structures where the meat of the action was changing, but the iteration code stayed same. The iteration constituted the bulk of code, and there were at least four cases of code copying.
So I refactored the code, putting each level of iteration into its own class (I'll probably do another post on it later).The new code is considerably nicer (at least to my eye), with no copy/paste locations. However, due to some infrastructure I had to introduce to refactor nested loops into separate classes, I ended up with 10% larger number of LOCs. If I discount the extra infrastructure, I get about 5% smaller code compared to the original size.
So, the code is more sophisticated, but it is not shorter and may be harder to understand for a less experinced programmer. I may still end up with shorter code in the future if more oppotunities for reuse present themselves.
My question is: do you think it was worth it? Is it a good idea to refactor for "once and only once" if the LOC count goes up? | 2011/03/25 | [
"https://softwareengineering.stackexchange.com/questions/62087",
"https://softwareengineering.stackexchange.com",
"https://softwareengineering.stackexchange.com/users/21194/"
] | Lines of code is not a good measure of code complexity. It should only be used as a rough estimate of project size. For example, a 1k LOC program is generally simpler than a 10k LOC program. I'm assuming that that actual number of lines you are talking about stays within the negligible spectrum.
Reducing code repetition is always good because it prevents mistakes later if you need to change something. | Following DRY (“Don’t Repeat Yourself”) has been worth the effort in my experience. I know when I work on my code that things are specified once and only once, and that simplifies understanding and developing the code.
Functional languages can help with this because you can pass a function into a method that applies the function to every element of a collection, for example.
I was screening a code sample from a job applicant for a client recently and I saw two methods that were identical except for the method names, and the names of one of the identifiers. I knew I needed to look no further at the applicant. |
62,087 | I have an ugly bit of code - essentially iteration over some data structures where the meat of the action was changing, but the iteration code stayed same. The iteration constituted the bulk of code, and there were at least four cases of code copying.
So I refactored the code, putting each level of iteration into its own class (I'll probably do another post on it later).The new code is considerably nicer (at least to my eye), with no copy/paste locations. However, due to some infrastructure I had to introduce to refactor nested loops into separate classes, I ended up with 10% larger number of LOCs. If I discount the extra infrastructure, I get about 5% smaller code compared to the original size.
So, the code is more sophisticated, but it is not shorter and may be harder to understand for a less experinced programmer. I may still end up with shorter code in the future if more oppotunities for reuse present themselves.
My question is: do you think it was worth it? Is it a good idea to refactor for "once and only once" if the LOC count goes up? | 2011/03/25 | [
"https://softwareengineering.stackexchange.com/questions/62087",
"https://softwareengineering.stackexchange.com",
"https://softwareengineering.stackexchange.com/users/21194/"
] | Lines of code is not a good measure of code complexity. It should only be used as a rough estimate of project size. For example, a 1k LOC program is generally simpler than a 10k LOC program. I'm assuming that that actual number of lines you are talking about stays within the negligible spectrum.
Reducing code repetition is always good because it prevents mistakes later if you need to change something. | Coding style is about communicating intent to people, whether yourself in six months time, or your co-worker on the project, or whoever has your job after your move on.
So if your code is clearer and more understandable, that's a big win. There will be fewer bugs in it, and fewer bugs in code that interacts with it.
I think your point about potential later reuse is a good one as well. |
62,087 | I have an ugly bit of code - essentially iteration over some data structures where the meat of the action was changing, but the iteration code stayed same. The iteration constituted the bulk of code, and there were at least four cases of code copying.
So I refactored the code, putting each level of iteration into its own class (I'll probably do another post on it later).The new code is considerably nicer (at least to my eye), with no copy/paste locations. However, due to some infrastructure I had to introduce to refactor nested loops into separate classes, I ended up with 10% larger number of LOCs. If I discount the extra infrastructure, I get about 5% smaller code compared to the original size.
So, the code is more sophisticated, but it is not shorter and may be harder to understand for a less experinced programmer. I may still end up with shorter code in the future if more oppotunities for reuse present themselves.
My question is: do you think it was worth it? Is it a good idea to refactor for "once and only once" if the LOC count goes up? | 2011/03/25 | [
"https://softwareengineering.stackexchange.com/questions/62087",
"https://softwareengineering.stackexchange.com",
"https://softwareengineering.stackexchange.com/users/21194/"
] | Hard to say without seeing the code you refactored, but removing code duplication is always a good thing in my mind, even if it ends up increasing the LOC count. | Following DRY (“Don’t Repeat Yourself”) has been worth the effort in my experience. I know when I work on my code that things are specified once and only once, and that simplifies understanding and developing the code.
Functional languages can help with this because you can pass a function into a method that applies the function to every element of a collection, for example.
I was screening a code sample from a job applicant for a client recently and I saw two methods that were identical except for the method names, and the names of one of the identifiers. I knew I needed to look no further at the applicant. |
62,087 | I have an ugly bit of code - essentially iteration over some data structures where the meat of the action was changing, but the iteration code stayed same. The iteration constituted the bulk of code, and there were at least four cases of code copying.
So I refactored the code, putting each level of iteration into its own class (I'll probably do another post on it later).The new code is considerably nicer (at least to my eye), with no copy/paste locations. However, due to some infrastructure I had to introduce to refactor nested loops into separate classes, I ended up with 10% larger number of LOCs. If I discount the extra infrastructure, I get about 5% smaller code compared to the original size.
So, the code is more sophisticated, but it is not shorter and may be harder to understand for a less experinced programmer. I may still end up with shorter code in the future if more oppotunities for reuse present themselves.
My question is: do you think it was worth it? Is it a good idea to refactor for "once and only once" if the LOC count goes up? | 2011/03/25 | [
"https://softwareengineering.stackexchange.com/questions/62087",
"https://softwareengineering.stackexchange.com",
"https://softwareengineering.stackexchange.com/users/21194/"
] | Coding style is about communicating intent to people, whether yourself in six months time, or your co-worker on the project, or whoever has your job after your move on.
So if your code is clearer and more understandable, that's a big win. There will be fewer bugs in it, and fewer bugs in code that interacts with it.
I think your point about potential later reuse is a good one as well. | As you describe your problem, I don't understand why each level of the iteration needed to go in a separate class. It sounds like you have something like nested collections, and you need to consider all elements in some certain order, but multiple times. That is, you need one procedure, which takes the top level data structure, and and an operation to perform on each element, and then applies the operation on each element in the prescribed order. If you've changed using bare data types into calling into wrapper classes, but your code still repeats nesting, you haven't gained anything. |
62,087 | I have an ugly bit of code - essentially iteration over some data structures where the meat of the action was changing, but the iteration code stayed same. The iteration constituted the bulk of code, and there were at least four cases of code copying.
So I refactored the code, putting each level of iteration into its own class (I'll probably do another post on it later).The new code is considerably nicer (at least to my eye), with no copy/paste locations. However, due to some infrastructure I had to introduce to refactor nested loops into separate classes, I ended up with 10% larger number of LOCs. If I discount the extra infrastructure, I get about 5% smaller code compared to the original size.
So, the code is more sophisticated, but it is not shorter and may be harder to understand for a less experinced programmer. I may still end up with shorter code in the future if more oppotunities for reuse present themselves.
My question is: do you think it was worth it? Is it a good idea to refactor for "once and only once" if the LOC count goes up? | 2011/03/25 | [
"https://softwareengineering.stackexchange.com/questions/62087",
"https://softwareengineering.stackexchange.com",
"https://softwareengineering.stackexchange.com/users/21194/"
] | Following DRY (“Don’t Repeat Yourself”) has been worth the effort in my experience. I know when I work on my code that things are specified once and only once, and that simplifies understanding and developing the code.
Functional languages can help with this because you can pass a function into a method that applies the function to every element of a collection, for example.
I was screening a code sample from a job applicant for a client recently and I saw two methods that were identical except for the method names, and the names of one of the identifiers. I knew I needed to look no further at the applicant. | Slightly longer code can be easier to maintain if it means that a policy change can be implemented in a single place. Collecting a complex nested iteration into a class is a good idea, but in my experience most programmers are not familiar with this pattern. |
62,087 | I have an ugly bit of code - essentially iteration over some data structures where the meat of the action was changing, but the iteration code stayed same. The iteration constituted the bulk of code, and there were at least four cases of code copying.
So I refactored the code, putting each level of iteration into its own class (I'll probably do another post on it later).The new code is considerably nicer (at least to my eye), with no copy/paste locations. However, due to some infrastructure I had to introduce to refactor nested loops into separate classes, I ended up with 10% larger number of LOCs. If I discount the extra infrastructure, I get about 5% smaller code compared to the original size.
So, the code is more sophisticated, but it is not shorter and may be harder to understand for a less experinced programmer. I may still end up with shorter code in the future if more oppotunities for reuse present themselves.
My question is: do you think it was worth it? Is it a good idea to refactor for "once and only once" if the LOC count goes up? | 2011/03/25 | [
"https://softwareengineering.stackexchange.com/questions/62087",
"https://softwareengineering.stackexchange.com",
"https://softwareengineering.stackexchange.com/users/21194/"
] | Hard to say without seeing the code you refactored, but removing code duplication is always a good thing in my mind, even if it ends up increasing the LOC count. | Slightly longer code can be easier to maintain if it means that a policy change can be implemented in a single place. Collecting a complex nested iteration into a class is a good idea, but in my experience most programmers are not familiar with this pattern. |
62,087 | I have an ugly bit of code - essentially iteration over some data structures where the meat of the action was changing, but the iteration code stayed same. The iteration constituted the bulk of code, and there were at least four cases of code copying.
So I refactored the code, putting each level of iteration into its own class (I'll probably do another post on it later).The new code is considerably nicer (at least to my eye), with no copy/paste locations. However, due to some infrastructure I had to introduce to refactor nested loops into separate classes, I ended up with 10% larger number of LOCs. If I discount the extra infrastructure, I get about 5% smaller code compared to the original size.
So, the code is more sophisticated, but it is not shorter and may be harder to understand for a less experinced programmer. I may still end up with shorter code in the future if more oppotunities for reuse present themselves.
My question is: do you think it was worth it? Is it a good idea to refactor for "once and only once" if the LOC count goes up? | 2011/03/25 | [
"https://softwareengineering.stackexchange.com/questions/62087",
"https://softwareengineering.stackexchange.com",
"https://softwareengineering.stackexchange.com/users/21194/"
] | Repeated code is bad because it's easy for the copies to go out of sync when you have to make a change to how they function. Even if you don't forget to update all the copies when you change one, you're still going to need to make four( or however many copies you have) changes every time you make a change.
And at that point you're likely to say "four copies of the same code? I should refactor this." | Slightly longer code can be easier to maintain if it means that a policy change can be implemented in a single place. Collecting a complex nested iteration into a class is a good idea, but in my experience most programmers are not familiar with this pattern. |
4,806,043 | Let's say I need to store Apartments in my db. Apartments have several attributes like size, area, is it furnished or not, etc.
What is better: to store each value in a separate column or have several columns with arrays in them? | 2011/01/26 | [
"https://Stackoverflow.com/questions/4806043",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/577121/"
] | You can't answer this question with one singular answer. "it depends" on how many columns we're talking about, and if they can reasonably be decomposed (ie. normalized) into separate entities :-P | I usually look at the data that I'll be storing and see if the data is something I'll need to search by later... For example... If I have an apartment table and I'll probably be searching for apartments with 4 bedrooms (or 1,2,3...) I'll try to put the bedroom count in a separate column... if the bedroom count in in a string of other parameters for the apartment, an index on "bedroom count" can't be used. |
4,806,043 | Let's say I need to store Apartments in my db. Apartments have several attributes like size, area, is it furnished or not, etc.
What is better: to store each value in a separate column or have several columns with arrays in them? | 2011/01/26 | [
"https://Stackoverflow.com/questions/4806043",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/577121/"
] | I agree with Joel that it depends, esp. on how many columns. For what it's worth though, I'd always start the straightforward way, and do one column per 'interesting' attribute. Certainly anything you want to query on, or do math upon ($/sq-ft), is easiest in a column.
Maybe some blocks that are just 'display' can be grouped ... but I wouldn't necessarily start that way. | You can't answer this question with one singular answer. "it depends" on how many columns we're talking about, and if they can reasonably be decomposed (ie. normalized) into separate entities :-P |
4,806,043 | Let's say I need to store Apartments in my db. Apartments have several attributes like size, area, is it furnished or not, etc.
What is better: to store each value in a separate column or have several columns with arrays in them? | 2011/01/26 | [
"https://Stackoverflow.com/questions/4806043",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/577121/"
] | I agree with Joel that it depends, esp. on how many columns. For what it's worth though, I'd always start the straightforward way, and do one column per 'interesting' attribute. Certainly anything you want to query on, or do math upon ($/sq-ft), is easiest in a column.
Maybe some blocks that are just 'display' can be grouped ... but I wouldn't necessarily start that way. | I usually look at the data that I'll be storing and see if the data is something I'll need to search by later... For example... If I have an apartment table and I'll probably be searching for apartments with 4 bedrooms (or 1,2,3...) I'll try to put the bedroom count in a separate column... if the bedroom count in in a string of other parameters for the apartment, an index on "bedroom count" can't be used. |
4,806,043 | Let's say I need to store Apartments in my db. Apartments have several attributes like size, area, is it furnished or not, etc.
What is better: to store each value in a separate column or have several columns with arrays in them? | 2011/01/26 | [
"https://Stackoverflow.com/questions/4806043",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/577121/"
] | If you are talking about relational databases like Oracle, mysql, postgre, then
generally it is best to have one column for each attribute. With this method you can easily search your database for a specific attribute.
Storing multiple values in one column is uncommon and only use for very special performance optimizations.
Have a look at database normalization:
<http://en.wikipedia.org/wiki/Database_normalization> | I usually look at the data that I'll be storing and see if the data is something I'll need to search by later... For example... If I have an apartment table and I'll probably be searching for apartments with 4 bedrooms (or 1,2,3...) I'll try to put the bedroom count in a separate column... if the bedroom count in in a string of other parameters for the apartment, an index on "bedroom count" can't be used. |
4,806,043 | Let's say I need to store Apartments in my db. Apartments have several attributes like size, area, is it furnished or not, etc.
What is better: to store each value in a separate column or have several columns with arrays in them? | 2011/01/26 | [
"https://Stackoverflow.com/questions/4806043",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/577121/"
] | I agree with Joel that it depends, esp. on how many columns. For what it's worth though, I'd always start the straightforward way, and do one column per 'interesting' attribute. Certainly anything you want to query on, or do math upon ($/sq-ft), is easiest in a column.
Maybe some blocks that are just 'display' can be grouped ... but I wouldn't necessarily start that way. | If you are talking about relational databases like Oracle, mysql, postgre, then
generally it is best to have one column for each attribute. With this method you can easily search your database for a specific attribute.
Storing multiple values in one column is uncommon and only use for very special performance optimizations.
Have a look at database normalization:
<http://en.wikipedia.org/wiki/Database_normalization> |
152,522 | The *Player's Handbook* on [Race and Languages](http://dndsrd.net/races.html#race-and-languages) says
>
> All characters know how to speak Common.… A smart character (one who had an Intelligence bonus at 1st level) speaks other languages as well, one extra language per point of Intelligence bonus as a starting character. Select your character’s bonus languages (if any) from the list found in his or her race’s description later in this chapter. (12)
>
>
>
The *Monster Manual* on [Intelligence](http://dndsrd.net/monsters.html#intelligence) says
>
> A creature can speak all the languages mentioned in its description, plus one additional language per point of Intelligence bonus. Any creature with an Intelligence score of 3 or higher understands at least one language (Common, unless noted otherwise). (7)
>
>
>
However, some creatures—usually those to which the game has assigned a Level Adjustment therefore designating them suitable as PCs like the [grimlock](http://dndsrd.net/monstersG.html#grimlock) (140–1), [minotaur](http://dndsrd.net/monstersMtoN.html#minotaur) (188–8), and even the rakshasa (211–12)—possess a list of bonus languages. Others do not.
If the DM is designing an NPC creature by the book, and the creature's description lacks a list of bonus languages, yet the creature possesses an Intelligence score of 12 or higher, does the creature still pick extra languages? If a creature does, can that creature pick *any* languages, including secret languages like druidic and githyanki?
For example, *Book of Vile Darkness* says, "Kythons speak a strange smattering of both Infernal and Abyssal, but only to each other, never to others" (178), and the kython description includes no list of bonus languages, but a slaughterking kython (181) possesses, by default, Intelligence 20. (Seriously! Final-stage xenomorphs are geniuses!) Does a typical slaughterking kython speak only Kython, or does it speak Kython and five extra languages?
---
***Note:*** I know that as the DM I could just rule either way on this, but there are some far-reaching—if relatively minor—campaign ramifications that result from either decision, and I like to be consistent with printed material when I can be (even if the authors sometimes aren't themselves). And although it's been in the back of my brain forever, yes, it was the slaughterking kython for tonight's session that finally inspired this question. So you know, given the chance, the slughterking'll also speak Drow Sign Language, Deadly Dancer, Grell, Neh-thalggu, and semaphore battle signals. Obviously. | 2019/07/26 | [
"https://rpg.stackexchange.com/questions/152522",
"https://rpg.stackexchange.com",
"https://rpg.stackexchange.com/users/8610/"
] | Warforged explicitly have
>
> * Automatic Languages: Common. Bonus Languages: None.
>
>
>
(*Eberron Campaign Setting* pg. 24)
And *Races of Eberron* explicitly describes how this affects their starting languages:
>
> Warforged speak Common, which is the language of their creators and most of their former owners. Unlike most characters, warforged don’t have bonus starting languages due to their race. A wizard, druid, or cleric warforged has bonus starting languages due to class, but few warforged take these classes. Most warforged must spend skill points to learn new languages.
>
>
>
(*Races of Eberron* pg. 20)
It is a little questionable whether we can generalize from warforged to other races, but the wording in *Races of Eberron* to me makes clear that the lack of bonus languages is what causes the problem, not a warforged-specific rule. And *Races of Eberron* is actually not an Eberron-setting book: it’s a book for using Eberron races in non-Eberron campaigns.
And this does match RAW, which says to pick a language off of a particular list: if there are no options (left) in that list, you get nothing. There isn’t any indication that finishing your list should open up other options to you.
So yes, I would say that the slaughtering kythons only speak Kython, barring those that take a class that grants a bonus language (though even those might be dubious for something with RHD; unsure there), or who spend the skill points. | On the *Monster Manual*, the *3.5* revision, and bonus languages
================================================================
The *Third Edition* original *Monster Manual* (2000) includes verbatim the section the question quotes on Intelligence (10), but that *Monster Manual* itself makes no mention of bonus languages. In *Dungeons & Dragons, Third Edition*—prior to the *3.5* revision—bonus languages are a game element exclusive to the *Player's Handbook* (2000). Further, like in *Advanced Dungeons & Dragons, 2nd Edition* and earlier editions, the *Monster Manual* for *Third Edition* isn't designed as a player-facing reference but for the DM. Little truck is given to PC–NPC transparency except insofar NPCs that are of PC-suitable races follow the rules like a PC would; for example, NPC monsters that are advanced by Hit Dice are advanced totally differently from PCs, gaining feats and skill points at rates completely different from PCs' rates.
(To give the reader an idea of how this works, the question's typical slaughterking kython possesses 18 HD and the DM can advance it to up to 36 HD. In *Third Edition*, according to the *Monster Manual*'s proprietary advancement formula for creatures possessing the type aberration (13) that advancement of 18 HD sees the slaughterking kython gain 36 skill points and 4 extra feats. However, after the *3.5* revision there's truer PC–NPC transparency, and the slaughterking kython from advancing that same 18 HD gains 90 skill points and 5 extra feats just as an 18 HD Int 20 PC would were that PC to gain another 18 HD.)
To this reader it appears that the game was originally designed so that an NPC that's of a race that's ill-suited for use as a PC receives extra languages according the NPC's high Intelligence score, and the DM *can* pick any languages for the NPC's extra languages—even secret languages like druidic and githyanki. (This reader imagines the developers discussing this prospect and concluding *If a DM wants some brainy ogre to speak Druidic, it's his campaign.*)
It was only with the *3.5* revision of the *Monster Manual* and its addition of player-facing material that saw those additions possibly *create* an unintentional cascade throughout the system of highly intelligent yet strangely (given how most PCs who aren't warforged function) monolingual or limited-languages-known creatures. (A situation exemplified by [this fine answer](https://rpg.stackexchange.com/a/152542/8610).)
That is, prior to the *3.5* revision, "[c]elestials [like the solar] speak Celestial, Infernal, and Draconic" (31). Likewise, "all devils [including the pit fiend] speak Infernal, Celestial, and Draconic" (50). However, while this is largely unchanged by the *3.5* revision (see *Monster Manual* (2003) 10 and 51, respectively), the lack of a *Bonus Languages* entry for the solar could mean it misses out on six extra languages and the same absence could mean the pit fiend misses out on *eight* extra languages.
(Note that solars possess a continuous effect that's like the *tongues* spell and pit fiends possess the ability to telepathically communicate with any creature that possesses a language that's within 100 ft. of them. However, neither ability allows the creature to *read* a language. A solar could've prepared a *comprehend languages* spell if it expected to need to read Common or whatever, but the typical, straight-from-the-*Monster Manual* (2003) pit fiend that has Intelligence 26 (!), by default, may not even be able to read a to-go menu if it's written in Common!)
What to do?
-----------
This DM is always on the lookout for ways to make monsters more than just loot piñatas, so with all of this in mind this DM recommends a DM give those creatures that are listed as speaking at least one language additional languages according to their high Intelligence scores just like both the *Third Edition* of the *Monster Manual* and the *3.5* revision of the *Monster Manual* say to do **except** in cases wherein the *3.5* revision of the *Monster Manual* provides for a creature a list of bonus languages. In such cases, those creatures are stuck picking bonus languages like PCs.
(The DM should, of course, use good judgment and common sense to pick a creature's extra languages. This DM recommends against these creatures all speaking Clockwork Horror, Druidic, Kython, or similar obscure or secret languages unless the DM has worked up an explanation—or, better yet, a plot!—for the common presence of oddball languages among his high-Intelligence-score, language-capable creatures.)
While this workaround may not *technically* adhere to the rules a reader can extrapolate from the most current *Monster Manual*, giving creatures that lack *Bonus Languages* entries extra languages due to their high Intelligence scores has the advantage of allowing the DM to have more creatures engage PCs in conversation, even if the conversations are—as I'd expect them to be with a slaughterking kython—abrupt, icky, and weirdly and creepily indirect. (I imagine kythons rudely talking to each other about the adventurers while the adventurers are, like, right there no matter what language the kythons are using.)
Finally, this means that if a PC's solar roommate swipes from the communal refrigerated *portable hole* a PC's *clearly labeled* leftover Kara-Tur food, the solar can't anymore claim (in Common, it says, due only to its *tongues* ability) that it's the PC's fault because—duh!—the PC labeled the food *in Common*, and the PC should know that the *3.5* revision means solars can only speak—and, therefore, can only read—Celestial, Draconic, and Infernal. Under these rules, that solar would know 6 extra languages, and if he didn't pick Common as one of them then how'd he read the ad for a roommate?
---
***Note:*** The Wizards-of-the-Coast-licensed Rokugan *for the Oriental Adventures product line includes a rule that sees some creatures that exhaust their bonus languages gain 1 extra skill point at level 1 per bonus language they can't take. For example, a creature that possesses Intelligence 14 yet has a bonus language list of but one language gains 1 extra skill point at level 1. While a little complicated and very niche, this reader has always respected that rule's author's foresight.* |
9,345,699 | I'm actually looking for an opinion here. At work, we were discussing the downfalls of creating some of our applications in silverlight as they will be used via thinclient and since silverlight runs client side, there was concern for performance. Now, these apps aren't going to be rich by any means, mostly data entry forms and account management type stuff; so I'm wondering should there really be any concern for it?
Any thoughts? | 2012/02/19 | [
"https://Stackoverflow.com/questions/9345699",
"https://Stackoverflow.com",
"https://Stackoverflow.com/users/462631/"
] | Personally I would go ASP.Net silverlight does not appear to have a very sure future.
<http://www.zdnet.com/blog/microsoft/will-there-be-a-silverlight-6-and-does-it-matter/11180>
This means that you could have a hard time finding devs to work on it in the future / or it will cost more to hire them.
This also means you could be working in a obsolete technology 6 months into a project. Just my 2 cents. | What's the problem with good ol' html? Maybe a CLI data entry app?
The last thing you want when dealing with "microsoft only" companies is playing along. Do you get extra pay for using a technology? If not, don't add an extra layer to your system, be it Adobe's or Microsoft's or whoever. Also, don't jump into the magical html 5 wagon of joy,it's just no there yet. |
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