text:
Q: How to get OAuth2 access token with Google API PHP client? I'm trying to get an OAuth access token to import some data into the fusion table. I'm trying to use the Google API PHP client. I have created a service account for that purpose, and am using the code, mostly from the serviceAccount example:
function access_token()
{
    $client = new Google_Client();
    $client->setAuthClass ('Google_OAuth2');
    // ^ Don't know if this line is required,
    // ^ but it fails just as well without it.
    $client->setApplicationName ('Mysite.dom.ain');
    $client->setAssertionCredentials (new Google_AssertionCredentials
        (   'MANY-NUMBERS-LETTERS-DASHES@developer.gserviceaccount.com',
            array ('https://www.googleapis.com/auth/fusiontables'),
            file_get_contents ('path/to/my/privatekey.p12') ));
    $client->setClientId ('NUMBERS-LETTERS-DASHES.apps.googleusercontent.com');
    $client->authenticate();
    // ^ Also fails equally good with and without this line.
    return $client->getAccessToken();
}

A little debug output shows that $client->authenticate() returns true, but $client->getAcessToken() returns null. No exceptions are thrown. I have the feeling I'm doing something fundamentally wrong. If so, please forgive my stupidity and point me in the right direction.

A: You don't need the authenticate() call, but you'll need to call refreshTokenWithAssertion() to refresh the underlying access token. If you are using the client library to make signed requests, it will lazily make this call for you if underlying access token has expired.
The API requests to refresh the access_token are expensive, and have a low quota, so you'll want to cache the access_token.
// Set your client id, service account name, and the path to your private key.
// For more information about obtaining these keys, visit:
// https://developers.google.com/console/help/#service_accounts
const CLIENT_ID = 'INSERT_YOUR_CLIENT_ID';
const SERVICE_ACCOUNT_NAME = 'INSERT_YOUR_SERVICE_ACCOUNT_NAME';

// Make sure you keep your key.p12 file in a secure location, and isn't
// readable by others.
const KEY_FILE = '/super/secret/path/to/key.p12';

$client = new Google_Client();
$client->setApplicationName("Google FusionTable Sample");

// Set your cached access token. Remember to store the token in a real database instead of $_SESSION.
session_start();
if (isset($_SESSION['token'])) {
 $client->setAccessToken($_SESSION['token']);
}

$key = file_get_contents(KEY_FILE);
$client->setAssertionCredentials(new Google_AssertionCredentials(
    SERVICE_ACCOUNT_NAME,
    array('https://www.googleapis.com/auth/fusiontables'),
    $key)
);

$client->setClientId(CLIENT_ID);

if ($client->getAuth()->isAccessTokenExpired()) {
  $client->getAuth()->refreshTokenWithAssertion();
}

// Get the json encoded access token.
$token = $client->getAccessToken();

A: I think all you did was correct, now you have two options left:

*

*Use your $client to make a service call with something like that

    $service = new Google_FusiontablesService($client);
    $selectQuery = "select * from 1AwxQ46kfmPoYoq38e5CopJOWkCo_9GUU_ucD6zI";
    $service->query->sql($selectQuery)

*

*Or call the internal function refreshTokenWithAssertion() in order to get your token:

    $client::$auth->refreshTokenWithAssertion();
    $token = $client->getAccessToken(); //this should work now

For both cases I have examples in my GitHub Repo.

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Engagement, Leadership, Motivation – "The Employee Whisperer"
How Do You Show GRATITUDE to Your Customers?
We have been focusing on showing gratitude to our team members, but have you ever thought of your customers as an extension of your team? Every business needs customers to survive. Wouldn't it been prudent then to treat your customers as well as we treat our team members (or vice versa - in some cases… Continue reading How Do You Show GRATITUDE to Your Customers?
Are You Killing Corporate Culture With Budget Cuts?
Every company has a budget, we get it. Businesses can't run properly without one. And each year, the budget gets reviewed and cuts are made to keep spending in control. But are the right cuts being made or the wrong ones? Often it's the wrong ones… Companies will host picnics in the summer for families to bring their kids… Continue reading Are You Killing Corporate Culture With Budget Cuts?


text:
Jet Black Alley Cat Virtual Show | Review
Jet Black Alley Cat presented by Music City Bandwidth
Jet Black Alley Cat is a band that I've been a fan of since sometime in 2018, after finding out they were playing a show near me and checking out the record that they released a year prior. The band recently put on a virtual concert, and I finally got to see a performance of theirs for the first time.
The show began with an instrumental intro as the band walked on stage and prepared to perform, and they followed that up with one of their most recent tracks, "Ex Lover Syndrome." This song is off of their brand new EP "The Black Era," which came out earlier this year. They also played three more songs off of this EP throughout the rest of their set – "Fight XVIII," "Rewind," and an interlude called "Unrealistic Love/Us." The rest of the setlist consisted of a mixture of songs from both of their albums. They played almost the entirety of their 2017 debut "Part One" (except for the interlude and introductory track), which includes some of my favorite songs of theirs – "Poison," "She's Alright," and the track that got me into their music in the first place, "Roxy." They also played their debut single "Pretty Girl" early on in their set, as well as a few songs from their 2018 album "Motel" ("Nightlife," "Foolish," "Miami Baby," and another interlude called "Pretty Magic").
The vocalist put on a captivating performance throughout the entire set (and the vocal harmonies added more emotion and emphasis to the performance), the instrumentalists brought so much energy, and the entire band just brought so much charisma to the stage and were really engaging performers. This was technically my first time watching a live performance of theirs and it did not disappoint.
1. Intro 2. Ex Lover Syndrome 3. Golden
4. Nightlife 5. Electric Raazors 6. Pretty Girl
7. Unrealistic Love/Us (Interlude) 8. Memphis Blues 9. Fight XVIII
10. Roxy 11. High Class Women 12. Pretty Magic (Interlude)
13. Foolish 14. Miami Baby 15. Rewind
16. She's Alright 17. Poison
The show was streamed at The End in Nashville, Tennessee, and was hosted by Music City Bandwidth. For more information on their virtual live shows and how you can support The End and other local Nashville venues, go to www.musiccitybandwidth.com.
Filed under news, Reviews Tagged with Jet Black Alley Cat, Megan Langley, Megan Langley Photography, The Camera Affect, TheCameraAffect, virtual concert, virtual music, virtual performance, virtual show
Free Throw Virtual Show | Review
October 25th, 2020 presented by Music City Bandwidth
Due to the ongoing COVID-19 pandemic, in-person concerts haven't been going on for the large majority of this year. However, virtual shows are becoming more and more popular, and in recent months, more and more bands and artists have started to put on shows in this particular format. A few weeks ago, a handful of local venues in Nashville, Tennessee – known as "Music City" – began hosting a series of free virtual shows with local bands and musicians, and one of the bands performing was emo quartet Free Throw.
I saw this band perform in Denver, Colorado last September, and over the past year, I've become a bigger fan of them, so I decided to watch this virtual performance.
They opened up their set with one of my favorite songs of theirs, "The Corner's Dilemma." This is arguably one of the most popular songs off of their latest full-length, last year's "What's Past Is Prologue," and they played a couple of other songs off of this record as well: "You Don't Say That," "Tail Whip, Struggle," and "Cerulean City." To follow up that release, the band also dropped two new singles earlier this year, and they played one of those two songs – "Motorcycle, Motor?."
While the band incorporated some of their most recent hits into their setlist, they also played a lot of older material. In addition to playing some of their more popular songs from their first couple of albums ("Tongue Tied," "Pallet Town," "Two Beers In," "Randy, I Am The Liquor," and "Better Have Burn Heal"), they also played some underrated tracks that haven't been in their setlists as much ("An Hour Pissed," "Weight On My Chest," "Andy And I, Uh," and "Hope Spot"). Similarly to the last tour I saw them on, their setlist spanned across all three of their LPs, and I liked the fact that they put so much variety into this sixteen-song, hour-long setlist.
One thing that I love about this band's music is the amount of emotion that they put into it, and I think that in a live setting like this, that raw emotion gets to shine through even more. Musically, I really like the dynamics and intricate instrumentation found within their songs, and those aspects of these tracks really stood out during the performance as well.
I thought that Free Throw put on a really good live show when I saw them for the first time last fall, and I can definitely say the same for this virtual show as well. This performance incorporated everything I love about the band's music and live shows, and overall, it was an entertaining one to watch.
Filed under news, Reviews Tagged with corona virus, covid 19, Megan Langley, Megan Langley Photography, music, pandemic, The Camera Affect, TheCameraAffect, virtual concert, virtual music, virtual performance, virtual show

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text:
Odell Beckham doesn't retaliate after Washington's Josh Norman draws unnecessary roughness flag
By Seth Walder
LANDOVER, MD. — Josh Norman wanted to set off some New Year's fireworks Sunday, but Odell Beckham Jr. wasn't biting. In the end, Ben McAdoo pulled the plug on Norman vs. Beckham III before tensions could boil over in the Giants' 19-10 win Sunday, after the Washington cornerback earned two penalties to Beckham's zero.
Beckham may not have been perfect, but he was well-behaved relative to Norman, or compared to his own meltdown a year ago.
"He's growing up. He's finally taking my advice. He's finally putting it to use out there," Victor Cruz said, half-joking. "Nah, but it's good to see him just grow up and just be a kid that we all know he is. The bright, smiley young kid that he is. And he knows he's a guy that's going to try to get under his skin and do things to him and he rose above that today."
Things started getting testy between the two rivals in the second quarter. After Beckham caught a pass and ran out of bounds, Norman tried to knock the ball away from him, to Beckham's displeasure. Beckham appeared to say something to Norman but walked away while the Washington cornerback was left looking for more.
A few plays later, Beckham caught an eight-yard reception and stiff-armed Norman in the face while in the field of play. When Beckham stepped out of bounds, Norman punched at the receiver's midsection, drawing a flag.
At the beginning of the third quarter, the chippiness continued. Norman took exception to a physical block delivered by Beckham, and the cornerback hit at the receiver's head and drew his second penalty.
At the end of that drive, McAdoo elected to yank Beckham from the ball game.
Both McAdoo and Beckham said that decision had nothing to do with Norman, though that seems somewhat unlikely because the star receiver was the only healthy starter whom the Giants pulled from the game (Janoris Jenkins also left part way through but was recovering from a back injury).
"Nah, I don't know what it was," Beckham said. "I wasn't necessarily ready to come out of the game, but just understanding and trusting Coach and knowing he made a decision for a reason."
Washington cornerback Josh Norman is unable to rattle Odell Beckham in the first half. (Alex Brandon/AP)
"I decided to go with the coach's decision," McAdoo said.
Beckham sidestepped questions on if he felt like Norman was trying to bait him.
"I personally feel like it's been dead for a long time," Beckham said. "Feel like I put that to bed... I felt like today, did a good job of just coming out and playing football. And trusting coach and his decision."
Asked what happened with his penalties, Norman said, "I don't know man. I have no idea."
Beckham and Norman's history stems from their meeting roughly a year ago, when the receiver and the then-Panthers' cornerback sparred in a Week 15 Giants' loss. Beckham ended up getting suspended for his on-field violence, costing Big Blue in the middle of a playoff race. The stakes were higher Sunday, with a huge wild-card game on the horizon for the Giants.
Norman and Beckham met earlier this year but it was mostly without incident.
Beckham finished the day with five receptions for 44 yards. That total got Beckham to 101 receptions on the season, making him the second Giants receiver ever to amass 100 receptions in a season (107 by Steve Smith in 2009).
washington nfl team
josh norman
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Giants safety Kamrin Moore charged with assault after knocking woman out: report


text:
Ride, Kelly, Ride is a 1941 American drama film directed by Norman Foster and written by William Conselman Jr. and Irving Cummings Jr.. The film stars Eugene Pallette, Marvin Stephens, Rita Quigley, Mary Healy, Richard Lane and Charles D. Brown. The film was released on February 7, 1941, by 20th Century Fox.

Plot

An owner of racehorses, Dan Thomas, and his trainer Duke Martin discover a young fellow called "Corn Cob" Kelly on their way west. He has a natural way with horses, so they quickly teach him to become a jockey.

As his career begins, Corn Cob befriends a fellow rider, Skeeziks O'Day, and antagonizes another, Tuffy Graves, whose rough tactics cause Corn Cob to fall from a mount and suffer a broken shoulder. While recuperating, he gets word that Dan has conspired with gangsters to fix a race. Knowing that honest trainer Bob Martin and daughter Ellen have all their money riding on the race, Corn Cob decides to ride their horse, injured shoulder notwithstanding. He wins the race, putting Dan in hot water with the crooks.

Cast
Eugene Pallette as Duke Martin
Marvin Stephens as Corn Cob Kelly
Rita Quigley as Ellen Martin
Mary Healy as Entertainer
Richard Lane as Dan Thomas
Charles D. Brown as Bob Martin
Chick Chandler as Knuckles
Dorothy Peterson as Mrs. Martin
Lee Murray as Tuffy Graves
Frankie Burke as Skeeziks O'Day
Cy Kendall as Louis Becker
Hamilton MacFadden as Race Track Steward
Spec O'Donnell as Kalinski
Ernie Adams as Sandy
Edwin Stanley as Steward
Edward Earle as Judge Pine

References

External links

1941 films
20th Century Fox films
American drama films
1941 drama films
Films directed by Norman Foster
American black-and-white films
1940s English-language films
1940s American films

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Katja Luhtala is an Alternative indie rock singer / songwriter / multi-instrumentalist from Helsinki in Finland.
The music of Katja Luhtala slides like a warming triple vodka into the bloodstream. A dark and brooding vocal immediately captures the attention whilst the metronomic musical tempos thrum into the head like a mystical spell and the listener remains captivated in the web of music which tells of stories injustices needing to be set right.
Musical influences including Patti Smith and Bob Dylan and authors such as Marguerite Duras with her powerful use of the never explicitly said and William Blake with his prophetic poetry are set to a melting pot of emotional constructs. Aside from that how could I not be interested in an outfit with an LP called Safe European Home – sharing the same name as the opening track of Give 'em Enough Rope by The Clash.
Slightly muted breathy vocal wraps around the brain and the synapses spark in time to the beats as Katja Luhtala prowls around the room like a stalking tiger. A plethora of musical influences tempt the ears as the compositions play subliminally on the cortex leaving a dark and brooding print which lingers long after the speakers are turned off.
The power of the compositions lies within their apparent understatement which permit the listener to float in a bath of imagery. Katja does work with other players as and when appropriate, particularly on live performance which enables her to deliver the full impact of the message.
Join the Indie Bands Blog on Facebook for the best emerging bands from across the globe.


text:
\section{Introduction}\label{sec:intro}

Several systems that manipulate programs, so-called \emph{meta-programming} systems, have emerged
over the years, ranging from generic specification languages, where the goal is to derive
implementations from formal specifications of the program language semantics, all the way to tools
that support specific aspects of program execution or compiler generation.

One direction has been to combine \emph{higher order rewriting}~\cite{Jouannaud:klop2005} with
\emph{higher order abstract syntax} (HOAS) \cite{PfenningElliot:pldi1988}. This approach is used by
\text{CRSX}\xspace (Combinatory Reduction Systems with eXtensions)~\cite{Rose:1996}, developed for writing
industrial compilers at IBM Research~\cite{Rose:rta2011}, and the derived systems \text{H\kern-.1em A\kern-.1em C\kern-.05em S}\xspace (Higher-order
Attribute Contration Schemes)~\cite{Rose:ts2015}, developed to teach compiler construction at
NYU~\cite{RoseRose:cims2015}, and \textsf{TransScript} \cite{}, developed to support industrial
strength fully automatic compiler generation.  The implementation of the full \text{CRSX}\xspace
language~\cite{crsx} turned out to be quite complex, and over time we have developed notions of what
the ``core'' elements of such languages should be.

ħ is our attempt at providing such an extended foundation.  ħ is specifically based on Aczel's
\emph{Contraction Schemes}~\cite{Aczel:1978} (where the restriction we shall see of only permitting
abstractions as constructor arguments is first found) with the substitution notion from Klop's CRSs,
\emph{Combinatory Reduction Systems}~\cite{Klop+:tcs1993} and imposing a typing discipline similar
to the the second-order limitation of Blanqui's \emph{Inductive Data Type
  Systems}~\cite{BlanquiJouannaudOkada:tcs2002}. The extension of ħ is the mechanism used to add
first class \emph{environments} and \emph{free variables} in a formal way, and integrate those with
the type discipline and pattern matching; these features are derived from the \text{CRSX}\xspace
system~\cite{Rose:rta2011}, where they were never provided a formal foundation.

\begin{example}[$βη$]
  The canonical higher order rewriting example, λ-calculus with β and η rewrite rules over closed
  terms, is expressed as follows in~ħ:
  \begin{hacs}
  L scheme Lam([L]L);
  L scheme Ap(L,L);
  L rule Ap(Lam([x]#M(x)), #N) →  #M(#N);
  L rule Lam([x]Ap(#M(), x)) →  #M();
  \end{hacs}
  The example shows CRS-style higher order matching, where patterns match all occurrences of bound
  variables, allowing rules to do \emph{substitution} of bound variables.
  In the first rule, "#M(x)" in the left-hand side matches a term containing the bound variable
  x, while in the right-hand side "#M(#N)" achieves the substitution ``"#M[#N/x]"'' of the usual β
  rule. CRS notably also makes it possible to test for the \emph{absence} of binder arguments to
  meta-variables: in the last rule, "#M()" is not the same as "#M(x)", and expresses that "x" can
  \emph{not} occur in subterms matching "#M".
\end{example}

\begin{example}
  Here is a traditional ``call-by-value'' λ calculus evaluator, using HOAS and an environment.
  \begin{hacs}[numbers=right]
  L data Lam([L]L);
  L data Ap(L, L);
  L variable;

  L scheme Eval(L, {L:L});
  L rule Eval(Lam([x]#B(x)), {#env})
    → Lam([x]#B(x));
  L rule Eval(Ap(#F, #A), {#env})
    → Apply(Eval(#F, {#env}),
              Eval(#A, {#env}), {#env});
  L rule Eval(x, {#env; x : #V}) → #V;

  L scheme Apply(L, L, {L:L});
  L rule Apply(Lam([x]#B(x)), #V, {#env})
    → Eval(#B(z), {#env, z : #V});
  \end{hacs}
  The "variable" declaration ensures that variables in the "L" sort are syntactic, so they can be
  matched in line 11 (free) and line 13 (bound), where we in the latter substitute it with a fresh
  variable, "z" in line 14, in the term and environment.
\end{example}

\section{The Calculus}
\label{sec:overview}

\begin{definition}[ħ syntax]\label{def:syntax}

  The ħ syntax is summarized as follows (with overbars denoting vectors):

  \begin{align*}
    \tag{ħ{}Script}
    H &::= \ov{D}
    \\
    \tag{Declaration}
    D &::= S~\kw{data}~d\,\kw(\,\ov{F}\,\kw)\,\kw;\\*[-1pt]
    &~\bigm| S~\kw{scheme}~f\,\kw(\,\ov{F}\,\kw)\,\kw;\\*[-1pt]
    &~\bigm| S~\kw{variable}\,\kw;\\*[-1pt]
    &~\bigm| S~\kw{rule}~T~\kw{$→$}~T\,\kw;
    \\
    \tag{Form}
    F &::= \kw[\,\ov{S}\,\kw]\,S
    \bigm| \kwm\{\, S:S \,\kwm\}
    \\
    \tag{Sort}
    S &::= s\,\kwm{⟨}\,\ov{S}\,\kwm{⟩}
    \bigm| α
    \\[\jot]
    \tag{Term}
    T &::= c\,\kw(\,\ov{P}\,\kw)
    \bigm| v
    \bigm| m\,\kw(\,\ov{T}\,\kw)
    \\
    \tag{Piece}
    P &::= \kw[\,\ov{v}\,\kw]\,T
    \bigm| \kwm\{\, \ov{A} \,\kwm\}
    \\
    \tag{Association}
    A &::= v\,\kw:\,T
    \bigm| \kw{$¬$}\,v\kw:
    \bigm| \kw\,m\,\kw(\,\ov{v}\,\kw)
  \end{align*}

  The top level of a ħ script is $H$ and the grammar assumes that we have three categories of
  identifier terminals defined (with representative exemplars from the examples):

  \begin{itemize}
  \item $c,s,d,f ∈ \mathcal{C}$ stand for \emph{constructor} terminals ("Lam", "Ap").
  \item $v,α ∈ \mathcal{V}$ stand for \emph{variable} terminals ("x", "z").
  \item $m ∈ \mathcal{M}$ stands for \emph{meta-variable} terminals ("#M", "#env").
  \end{itemize}

\end{definition}

The ħ formalism includes traditional ``constructor'' term rewriting systems, where there is a
distinction between \emph{defined} "scheme" symbols and "data" symbols. However, unlike functional
programming, ħ allows for normal forms that include (incompletely) defined symbols.

\section{Sorting}
\label{sec:sorting}

In this Section we define ħ script formation formally by restricting the terms of the grammar in
Definition~\ref{def:syntax} further to only allow well-formed ``sortable'' scripts. Informally,
sorting ensures that
\begin{itemize}
\item pattern and contraction restrictions are obeyed;
\item our special ``syntactic variables'' are used correctly;
\item binders are used in the shape declared for constructors;
\item subterms (including variable and meta-variable occurrences) have the right sort;
\item association keys and values have the proper sorts.
\end{itemize}

\begin{definition}

  A \emph{global sort environment} $Γ$ is a structure that combines

  $Γ_{\op{rank}}\colon \mathcal{C} → \mathcal{N}$: the rank of each sort
  constructor (all sorts must be fully applied, there are no higher kinds);

  $Γ_{\op{hasvar}}$: a set of sort names (the sorts that allow variables);

  $Γ_{\op{con}}\colon \mathcal{C} → S×F^*$: a map from constructor names to pairs of a sort and a list
  of forms (the pair consists of the construction's sort and the shape of the arguments); and

  $Γ_{\op{fun}}$: a set of constructor names (those declared with "scheme").

\end{definition}

\begin{definition}

  A \emph{rule environment} $Δ$ is a structure that combines

  $Δ_{\op{var}}\colon \mathcal{V} → S$: a mapping from variable names to sorts (the sort assigned
  to each variable for the rule) and

  $Δ_{\op{meta}}\colon \mathcal{M} → MF$: a mapping from meta-variable names to ``meta-forms''
  defined by

  \begin{equation}
    MF ::= \ov{S}⇒S \mid \ov{S}⇒\{S{:}S\} \tag{MetaForm}
  \end{equation}

  $MF$ captures the difference between regular meta-variables and ``catch-all'' ones:

  The shape $\ov{S}⇒S$ is used for meta-variables that need to be meta-applied to arguments with the
  sorts $\ov{S}$ to then form a term of the sort~$S$.

  The shape $\ov{S}⇒\{S_1{:}S_2\}$ is used for meta-variables that catch all the associations in an
  association list from $S_1$ to~$S_2$.

\end{definition}

\begin{definition}

  A ħ script $H$ is \emph{well formed} if we can prove $⊢H$ with the rule

  \begin{align}
    &
    \dfrac
    { Γ ⊢ D_1 ~~\cdots~~ Γ ⊢ D_n }
    { ⊢ D_1…D_n }
    \qquad\qquad (∃Γ)
    \tag{SH}

  \end{align}

  using the rules below for sorting each declaration.

\end{definition}

Thus sorting relies on a sort environment ``witness'' to establish that a script is well sorted. In
practice, $Γ$ will be assembled from the constraints of the component declarations. Because all top
level symbols are explicitly sorted, sort assignment is not problematic.

\begin{definition}

  A ħ declaration $D$ is well-sorted for a sort environment $Γ$ if we can prove $Γ⊢D$ with the
  SD-* rules:

  \begin{align}
    %
    &\dfrac
    { Γ ⊢ s⟨\ov{α}⟩ }
    { Γ ⊢ s⟨\ov{α}⟩~\kw{data}~d\kw( \ov{F} \kw)\,\kw; }
    \quad Γ_{\op{con}}(d) = \left⟨ s⟨\ov{α}⟩, \ov{F} \right⟩,~d∉Γ_{\op{fun}}
    \tag{SD-Data}
    %
    \\[1ex]
    %
    &\dfrac
    { Γ ⊢ S }
    { Γ ⊢ S~\kw{scheme}~f\kw( \ov{F} \kw)\,\kw; }
    \quad Γ_{\op{con}}(f) = \left⟨ S, \ov{F} \right⟩,~f∈Γ_{\op{fun}}
    \tag{SD-Fun}
    %
    \\[1ex]
    %
    &\dfrac
    { Γ ⊢ s⟨\ov{α}⟩ }
    { Γ ⊢ s⟨\ov{α}⟩~\kw{variable}\,\kw; }
    \quad s ∈ Γ_{\op{hasvar}}
    \tag{SD-Var}
    %
    \\[1ex]
    %
    &\dfrac
    { Γ ⊢ S \quad Γ,Δ,V,\op{Pat},ε ⊢ T_1 : S  \quad Γ,Δ,V,\op{Con},ε ⊢ T_2 : S }
    { Γ ⊢ S~\kw{rule}~T_1~\kw{→}~T_2\,\kw; }
    \notag
    \\*
    &\qquad\qquad\qquad\qquad\Cases{
      (∃Δ) \\
      V_i = \op{NonAssocVars(T_i)}
    }
    \tag{SD-Rule}
    %
  \end{align}

  Rules \thetag{SD-Data,SD-Fun} express that constructors are recorded correct in the environment;
  note that data constructors must belong to a unique named sort. \thetag{SD-Var} records sorts with
  syntactic varables, and \thetag{SD-Rule} checks the sorts and well-formedness of the terms in
  rules; the ``NonAssocVars'' function returns all variables in a term that are \emph{not} inside an
  association.

\end{definition}

\begin{definition}

  A sort denotation $S$ is well-sorted for a sort environment $Γ$ if we can prove $Γ⊢S$ with the
  SS-* rules:

  \begin{align}

    %
    &\dfrac
    { Γ ⊢ S_1 ~~\cdots~~ Γ ⊢ S_n }
    { Γ ⊢ s⟨S_1,…,S_n⟩ }
    && Γ_{\op{rank}}(s) = n
    \tag{SS-Cons}
    %
    \\[1ex]
    %
    &\dfrac
    {}
    { Γ ⊢ α }
    \tag{SS-Var}
    %
  \end{align}

  Essentially, sorts are well-formed when they have consistent rank.
\end{definition}

\begin{figure*}[p]\small
  \vspace*{-3em}
  \begin{align}
    \intertext{\shoveright{Sorting of Term\hfil\smash{\fbox{$ Γ,Δ,V,TC,\ov{\mathcal{V}} ⊢ T : S $}}}}
    %
    &\dfrac
    { Γ,Δ,V,\op{InPat},\ov{v} ⊢ P_1 : F_1 ~~\cdots~~ Γ,Δ,V,\op{InPat},\ov{v} ⊢ P_n : F_n }
    { Γ,Δ,V,\op{Pat},\ov{v} ⊢ f\,\kw(\,P_1\kw,…\kw,P_n\,\kw) : S }
    &&\Cases{
      f∈Γ_{\op{fun}}\\
      Γ_{\op{con}}(f) = \left⟨ S, (F_1\kw,…\kw,F_n) \right⟩
    }
    \tag{SMP-Fun}

    \\[1ex]
    %
    &\dfrac
    { Γ,Δ,V,\op{InPat},\ov{v} ⊢ P_1 : F_1 ~~\cdots~~ Γ,Δ,V,\op{InPat},\ov{v} ⊢ P_n : F_n }
    { Γ,Δ,V,\op{InPat},\ov{v} ⊢ d\,\kw(\,P_1\kw,…\kw,P_n\,\kw) : S }
    &&\Cases{
      d∉Γ_{\op{fun}}\\
      Γ_{\op{con}}(d) = \left⟨ S, (F_1\kw,…\kw,F_n) \right⟩
    }
    \tag{SMP-Data}

    \\[1ex]
    %
    &\dfrac
    { }
    { Γ,Δ,V,\op{InPat},\ov{v} ⊢ m\,\kw(\,w_1\kw,…\kw,w_n\,\kw) : S }
    &&\Cases{
      Δ_{\op{meta}}(m) = \left( (S_1,…,S_n)⇒S \right) \\
      ∀i\colon w_i∈\ov{v} \\
      ∀i\colon Δ_{\op{var}}(w_i) = S_i \\
      \text{All the $w_i$ are different}
    }
    \tag{SMP-Meta}

    \\[1ex]
    %
    &\dfrac
    { }
    { Γ,Δ,V,\op{InPat},\ov{v} ⊢ w : s⟨\ov{S}⟩ }
    &&\Cases{
      Δ_{\op{var}}(w) = s⟨\ov{S}⟩ \\
      s ∈ Γ_{\op{hasvar}}
    }
    \tag{SMP-Var}
    %
    \\[1em]
    %
    &\dfrac
    { Γ,Δ,V,\op{Con},\ov{v} ⊢ P_1 : F_1 ~~\cdots~~ Γ,Δ,V,\op{Con},\ov{v} ⊢ P_n : F_n }
    { Γ,Δ,V,\op{Con},\ov{v} ⊢ c\,\kw(\,P_1\kw,…\kw,P_n\,\kw) : S }
    && Γ_{\op{con}}(c) = \left⟨ S, (F_1\kw,…\kw,F_n) \right⟩
    \tag{SMC-Cons}

    \\[1ex]
    %
    &\dfrac
    { Γ,Δ,V,\op{Sub},\ov{v} ⊢ T_1 : S_1 ~~\cdots~~  Γ,Δ,V,\op{Sub},\ov{v} ⊢ T_n : S_n }
    { Γ,Δ,V,\op{Con},\ov{v} ⊢ m\,\kw(\,T_1\kw,…\kw,T_n\,\kw) : S }
    && Δ_{\op{meta}}(m) = \left( (S_1,…,S_n)⇒S \right)
    \tag{SMC-Meta}
    %
    \\[1ex]
    %
    &\dfrac
    { }
    { Γ,Δ,V,\op{Con},\ov{v} ⊢ w : s⟨\ov{S}⟩ }
    &&\Cases{
      Δ_{\op{var}}(w) = s⟨\ov{S}⟩ \\
      s ∈ Γ_{\op{hasvar}}
    }
    \tag{SMC-Var}
    %
    \\[1em]
    %
    &\dfrac
    { Γ,Δ,V,\op{Con},\ov{v} ⊢ c\,\kw(\,P_1\kw,…\kw,P_n\,\kw) : s⟨\ov{S}⟩ }
    { Γ,Δ,V,\op{Sub},\ov{v} ⊢ c\,\kw(\,P_1\kw,…\kw,P_n\,\kw) : s⟨\ov{S}⟩ }
    && s ∉ Γ_{\op{hasvar}}
    \tag{SMS-Cons}

    \\[1ex]
    %
    &\dfrac
    { Γ,Δ,V,\op{Con},\ov{v} ⊢ m\,\kw(\,T_1\kw,…\kw,T_n\,\kw) : s⟨\ov{S}⟩ }
    { Γ,Δ,V,\op{Sub},\ov{v} ⊢ m\,\kw(\,T_1\kw,…\kw,T_n\,\kw) : s⟨\ov{S}⟩ }
    && s ∉ Γ_{\op{hasvar}}
    \tag{SMS-Meta}
    %
    \\[1ex]
    %
    &\dfrac
    { }
    { Γ,Δ,V,\op{Sub},\ov{v} ⊢ w : S }
    && Δ_{\op{var}}(w) = S
    \tag{SMS-Var}
    %
    \\[1ex]
    \intertext{\shoveright{Sorting of Piece\hfil\smash{\fbox{$ Γ,Δ,V,TC,\ov{\mathcal{V}} ⊢ P : F $}}}}
    %
    &\dfrac
    { Γ,Δ∪Δ',V,TC,(\ov{v}\,\ov{w}) ⊢ T : S }
    { Γ,Δ,V,TC,\ov{v} ⊢ \kw[\,\ov{w}\,\kw]\,T : [\ov{S}]S }
    && (∃Δ'), Δ'_{\op{var}}(\ov{w}) = \ov{S}
    \tag{SP-Bind}
    %
    \\[1ex]
    %
    &\dfrac
    { Γ,Δ,V,TC,\ov{v} ⊢ A_1 : \{S{:}S'\} ~~\cdots~~ Γ,Δ,V,TC,\ov{v} ⊢ A_n : \{S{:}S'\} }
    { Γ,Δ,V,TC,\ov{v} ⊢ \kwm\{\,A_1\kw,…\kw,A_n\,\kwm\} : \{S{:}S'\} }
    \tag{SP-Assoc}
    %
    \\[1ex]
    \intertext{\shoveright{Sorting of Association\hfil\smash{\fbox{$ Γ,Δ,V,TC,\ov{\mathcal{V}} ⊢ A : \{S{:}S\} $}}}}
    %
    &\dfrac
    { Γ,Δ,V,TC,\ov{v} ⊢ w : S \quad Γ,Δ,V∪V',TC,\ov{v} ⊢ T' : S' }
    { Γ,Δ,V,TC,\ov{v} ⊢ w\kw:T' : \{S{:}S'\} }
    \tag{SA-Map}
    &&\Cases{
      w ∈ V \\
      V' = \op{NonAssocVars}(T')
    }
    \\[1ex]
    %
    &\dfrac
    { Γ,Δ,V,\op{InPat},\ov{v} ⊢ w : S }
    { Γ,Δ,V,\op{InPat},\ov{v} ⊢ {\kwm{¬}w\kw{:}} : \{S{:}S'\} }
    \tag{SAP-Not}

    \\[1ex]
    %
    &\dfrac
    { }
    { Γ,Δ,V,\op{InPat},\ov{v} ⊢ m\,\kw(\,w_1\kw,…\kw,w_n\,\kw) : \{S{:}S'\} }
    &&\Cases{
      Δ_{\op{meta}}(m) = \left( (S_1,…,S_n)⇒\{S{:}S'\} \right) \\
      ∀i\colon w_i∈\ov{v} \\
      ∀i\colon Δ_{\op{var}}(w_i) = S_i
    }
    \tag{SAP-All}

    \\[1ex]
    %
    &\dfrac
    { Γ,Δ,V,\op{Sub},\ov{v} ⊢ T_1 : S_1 ~~\cdots~~  Γ,Δ,V,\op{Sub},\ov{v} ⊢ T_n : S_n }
    { Γ,Δ,V,\op{Con},\ov{v} ⊢ m\,\kw(\,T_1\kw,…\kw,T_n\,\kw) : \{S{:}S'\} }
    && Δ_{\op{meta}}(m) = \left( (S_1,…,S_n)⇒\{S{:}S'\} \right)
    \tag{SAC-All}
    %
  \end{align}
  \vspace*{-1em}
  \caption{ħ term sorting rules.}
  \label{fig:termsortrules}
\end{figure*}

\begin{definition}

  Given a sort environment $Γ$, a rule environment $Δ$, and a variable set~$V$. A term $T$ is
  \emph{well-formed of sort $S$} in term context $TC$ with

  \begin{equation}
    TC ::= \op{Pat} \mid \op{InPat} \mid \op{Con} \mid \op{Sub} \tag{TermContext}
  \end{equation}

  and bound variables $\ov{v}$ if we can prove

  \begin{equation*}
    Γ,Δ,V,TC,\ov{v} ⊢ T : S
  \end{equation*}

  using the rules in Figure~\ref{fig:termsortrules}.

\end{definition}

The rules in Figure~\ref{fig:termsortrules} give the primary term rules per term context $TC$, which
indicates the context of our term fragment:
\begin{itemize}
\item ``Pat'' indicates the pattern (left side) of a rule, at the outermost level.
\item ``InPat'' is used inside a piece of the pattern of a rule, not the outermost level.
\item ``Con'' denotes any location in the contraction (right side) of a rule except a substitution.
\item ``Sub'' denotes a substitution location (an immediate child of a meta-application) in the
  contraction (right side) of a rule.
\end{itemize}
The \thetag{SMP-*} rules handle patterns. The first rule \thetag{SMP-Fun} is the entry rule
for patterns, with $TC=\op{Pat}$, which must be function constructions, and have pieces that are
well-sorted. Fragments of patterns are then handled by the three following rules,
\thetag{SMP-Data,SMP-Meta,SMP-Var}, with $TC=\op{InPat}$, which capture the sort propagation as
well as the special constraints for patterns:
\thetag{SMP-Data} sort checks that only data constructors are allowed;
\thetag{SMP-Meta} verifies that pattern meta-application arguments are restricted to distinct bound
variables;
\thetag{SMP-Var} verifies that other instances of variables only occur where a \kw{variable}
declaration explicitly permits it.

The \thetag{SMC-*} rules handle contraction terms.
\thetag{SMC-Cons} verifies that each construction (function or data) is well sorted.
\thetag{SMC-Meta} verifies that every meta-application is sorted consistently with the rule
environment, and checks that the implied substitutions are well formed.
\thetag{SMC-Var} checks that variables are used at the right sort, and are permitted (by a
\kw{variable} declaration for the sort).

The \thetag{SMS-*} rules handle contraction substitution arguments. They really just wrap the
corresponding \thetag{SMC-*} rules except that \thetag{SMS-Cons,SMS-Meta} checks that the
non-trivial substitution is permitted by the sort \emph{not} having a \kw{variable} declaration,
and \thetag{SMS-Var} just checks the sort of the replacement variable \emph{without} any
constraints on whether the sort has a \kw{variable} declaration.

The \thetag{SP-*} rules handle ``pieces,'' \textit{i.e.}\xspace, parameters of constructions (which at the
outermost level have a different structure than other subterms). Note that these do \emph{not}
depend on the term context, which is merely passed to the premises. (From the other rules we can
see that the term context will always be \op{InPat} or \op{Con}.)
\thetag{SP-Bind} handles scopes. It creates a \emph{locally extended} version of the rule
environment, $Δ'$, which extends the variable bindings part of $Δ$ with the binders in the scope;
the sorts of these are fixed by the parent construction.
\thetag{SP-Assoc} handles collections of associations. These are checked by separate individual
rules for association, below.

The \thetag{SA*} rules handle associations. These are categorized in a slightly different ways
than the others above, as associations have different rules in patterns and contractions.
\thetag{SA-Map} gives the rule for a simple mappings. The only unusual requirement is the side
condition that the variable, $w$, must also occur elsewhere in the term as a non-key, a requirement
that ensures that matching is deterministic (in essence avoiding the ``axiom of choice'' for the set
of keys).
The two \thetag{SAP-*} rules express the constraints on the other two forms that can occur in
patterns, and \thetag{SAC-All} that environment copy is unconstrained in cntractions.

\section{Implementation}
\label{sec:imp}

The \ensuremath{\hslash}\xspace language has been implemented in the \text{CRSX}\xspace project from scratch, and is available from
\url{http://github.com/crsx/core/plank}. At the time of writing, it still has errors, but these are
all minor and we expect to root them out by the time of the workshop.

\section{Conclusion}
\label{sec:conc}

With ħ, we have presented a rather small calculus that can serve as the underlying formalism for
reasoning about, as well as implementing, serious compiler generation languages that support native
higher-order abstract syntax. We have a full implementation.

\paragraph*{Related work.}

We would like to give credit to SIS~\cite{Mosses:daimi1979}, which shares with ħ the use of
\emph{simplification} using a λ-calculus based formalism.

The most prominent system that supports implementation of compilers in formal (rewriting and
attribute grammar) form is ASF+SDF~\cite{Brand+:toplas2002}, which is based on first order
rewriting. While modules have been added for symbol table management, these lack the full
integration and easy way to handle scoped intermediate languages. The successor,
Rascal~\cite{Bos+:eptcs2011} adds a module for HOAS, but Rascal specifications operate in a world of
side effects, which we find hard to reconcile with higher-order term structures (with scopes).

The notion of ``higher-order'' used by ħ is similar to but not quite the same as in higher-order
attribute grammars (HAG)~\cite{VogtSwierstraKuiper:pldi1989}. Like HAGs, ħ specifications permit
constructing and passing of abstract syntax fragments in attributes but the ``higher order'' aspect
of ħ also covers the rewriting side, where we can build parameterized abstractions over any part
of a specification, including with attributes. Indeed, one can use substitution inside attributes,
and have absence of attributes and substitution block rewriting.

\paragraph*{Future work.}

For the full version of this work, we plan to complete the implementation by porting the old \text{CRSX}\xspace
pattern matching compiler and possibly looking to integrate with the TransScript ANTLR-based parser
frontend. On the theory side we still owe the world a proper formal development of the properties of
matching in \ensuremath{\hslash}\xspace.

\paragraph*{Acknowledgements.}

The authors are grateful to Lionel Villard, Maria Schett, and Julian Nagele, for continuous valuable
discussions in the \text{CRSX}\xspace project during the development of this work.
The project is supported by the Marie Sk{\l}odowska-Curie action ``HORIP'', program
H2020-MSCA-IF-2014, 658162.

redpajama_set_name: RedPajamaArXiv


Links Corner Forum :: View topic - Where are the .mop files located?
Make your views count - make sure you vote in the Player's Choice polls.
Posted: Wed May 09, 2018 2:28 pm Post subject: Where are the .mop files located?
looking to add a .mop file but not sure where to add it.
Posted: Wed May 09, 2018 2:48 pm Post subject: Found It!!


text:
New Pizza Restaurant Coming to Rosslyn
Ethan Rothstein June 3, 2014 at 3:30pm
A new restaurant that boasts serving pizzas "freshly-baked in 90 seconds" appears to be moving to Rosslyn at 1501 Wilson Blvd, next door to Roti.
Spinfire Pizza is planning on opening one of its first two locations in Rosslyn — the other is expected to open in Ashburn, Va. — but there's no indication of when the restaurant will open its doors.
The signage on the restaurants window indicate that the pizzas will be Neopolitan-style, made-to-order, and customers will be able to choose from 50 toppings. It appears Spinfire will also offer salads, beer and wine.
A virtual tour online of the concept gives the restaurant the look of a "fast casual," assembly line-style of eatery, which is burgeoning in Rosslyn with Roti, Chipotle, Chop't and Tom Yum District.
new restaurant pizza Rosslyn
A recent mini-rash of student deaths is part of deepening mental health crisis among local youth
Jo DeVoe January 26, 2023 at 3:30pm
There has been a mini-spate of deaths and reported suicide attempts among Arlington Public Schools students in the last month, ARLnow has learned. A middle schooler died after Christmas and…
Ask Adam: Should I Buy a Second Parking Space?Help Wanted: Reporter/Editor for New D.C. Publication


text:
Original and Charming | Blog Tour: The DNA of You and Me by Andrea Rothman
The DNA of You and Me has been on my radar since its initial publication last year. Naturally, I was beyond ecstatic to be invited to participate in the blog tour in honor of the novel now being available in paperback! So, how did this romance live up to my expectations?
The DNA of You and Me
by Andrea Rothman
Publisher: William Morrow (March 12, 2019)
"Refreshing…. Asks urgent questions about female ambition. Fans of Lab Girl have found a worthy successor."—Real Simple
A powerful debut novel—a wonderfully engaging infusion of Lab Girl, The Assistants, and Eleanor Oliphant Is Completely Fine—that pits the ambition of scientific discovery against the siren call of love.
Emily Apell arrives in Justin McKinnon's renowned research lab with the single-minded goal of making a breakthrough discovery. But a colleague in the lab, Aeden Doherty, has been working on a similar topic, and his findings threaten to compete with her research.
To Emily's surprise, her rational mind is unsettled by Aeden, and when they end up working together their animosity turns to physical passion, followed by love. Emily eventually allows herself to envision a future with Aeden, but when he decides to leave the lab it becomes clear to her that she must make a choice. It is only years later, when she is about to receive a prestigious award for the work they did together, that Emily is able to unravel everything that happened between them.
A sharp, relevant novel that speaks to the ambitions and desires of modern women, The DNA of You and Me explores the evergreen question of career versus family, the irrational sensibility of love, and whether one can be a loner without a diagnostic label.
Rating: ★★★☆☆
My feelings about The DNA of You and Me are a bit complex. On one hand, I positively adored the concept and Andrea Rothman's prose. On the other hand, I struggled with it from time to time in a way that made it drag on for me. It feels as though this book was a case of 'right book, wrong time' for me and was more dependent on my mood rather than the content.
Although there were times when my focus drifted from the storyline, there was still plenty to be admired within The DNA of You and Me. And ultimately, this is what made the novel work for me... even when I didn't necessarily click with it.
The DNA of You and Me starts of solidly and fairly unique. The characters and relationships at the center of the novel are intriguing. Although, in the case of the male love interest, I wouldn't call everyone likable. Which is fine. For me, it adds a bit of a disconnect, but it doesn't define the story in an overly negative way.
Rothman has other ways that make The DNA of You and Me shine. Like all good books, this isn't wholly one thing. The combination of both science and romance makes for compelling storytelling. While the characters, and the central relationship, can get messy and lead to complications in their lives, The DNA of You and Me never feels messy.
What I liked most about The DNA of You and Me was that it instantly felt like something I'd never read before, while simultaneously feeling like something I should have read before.
Setting it within STEM, of course, makes the story all the more captivating. It's no secret that, in terms of literary exploration, there aren't enough books out there that showcase women in STEM. (I loved, too, that the author herself is a scientist as well.) And providing this representation leads us into something real and necessary.
My mind doesn't fare well when it comes to comprehending science and the like, so this made me quite nervous when it came to the book. Fortunately, The DNA of You and Me takes on the field--and the research at hand--in a way that translates smoothly into the narration and the romance. It doesn't oversimplify or understate itself in any capacity, and while it likely won't be for everyone, I think we can all agree that Andrea Rothman has a voice to look out for.
About Andrea Rothman
Andrea Rothman was born in Brooklyn NY and raised in Caracas, Venezuela. Her debut novel, THE DNA OF YOU AND ME, was published by William Morrow-HarperCollins in March of 2019. The novel has received starred reviews from Publisher's Weekly and Library Journal, and won an award for Best Popular Fiction in English at the 21st International Latino Book Awards in Los Angeles.
Prior to being a fiction writer, Rothman was a research scientist at the Rockefeller University in New York, where she studied the sense of smell. She holds an MFA in writing from Vermont College of Fine Arts and was a fiction editor for the VCFA journal of the arts-Hunger Mountain.
Her essays and short stories have appeared in print and online journals such as Literary Hub, Lablit, Cleaver Magazine, and Litro Magazine among others, and can be viewed here.
Rothman lives with her husband and two children in Long Island, New York. She is at work on a second novel.
Connect with Rothman on Instagram, Twitter, and Facebook.
Instagram Features
Tuesday, March 31st: Instagram: @beritaudiokilledthebookmark
Wednesday, April 1st: Instagram: @babygotbooks13
Thursday, April 2nd: Instagram: @laceybooklovers
Thursday, April 2nd: Instagram: @reallyintothis
Friday, April 3rd: Instagram: @orangecountyreads
Wednesday, April 8th: Instagram: @shelovesthepages
Monday, April 6th: Instagram: @allthebooksandchocolate
Tuesday, April 7th: Instagram: @sarahandherbookshelves
Review Stops
Tuesday, March 31st: 100 Pages a Day…Stephanie's Book Reviews
Wednesday, April 1st: Booked J
Thursday, April 2nd: Laura's Reviews
Friday, April 3rd: A Chick Who Reads
Monday, April 6th: BookNAround
Tuesday, April 7th: Reading Girl Reviews
Wednesday, April 8th: PhDiva
Thursday, April 9th: Instagram: @tbretc
Friday, April 10th: A Bookish Affair
Monday, April 13th: Instagram: @sarahandherbookshelves
Tuesday, April 14th: Welcome to Nurse Bookie
Wednesday, April 15th: Openly Bookish
Tags: andrea rothman, archive: 2020, blog tour, genre: fiction, review, the dna of you and me


What a difference a few days make. After battling to gain all three points against a good Handsworth Parramore side last Tuesday, Bridlington Town sunk to the depths with an inept performance against a moderate Nostell Miners' Welfare.
Heavy Bank Holiday traffic on the A64 caused Nostell to arrive late and caused the kick to be delayed by 25 minutes.
The game was held up further in the early stages while visiting goalkeeper Ben Saynor received lengthy treatment for a hand injury.
Skipper Tom Fleming and Ombeni Ruhanduka were suspended for this game and striker Lewis Clarkson was not risked because of an injury. However, new signing Robbie Hawkes made ths starting 11.
Craig Hogg, who was injured during the first period, was withdrawn at half-time but by then the damage had been done.
Following their late arrival, the Nostell players were slow off the mark and early on Will Waudby had an effort deflected, with Saynor sustaining his injury as he challenged for the loose ball with Joel Sutton.
Saynor battled on but after letting a corner slip through his fingers Blaine Kellet came to the rescue by heading off the line.
The former Bridlington keeper aggravated his injury further and was eventually replaced by substitute defender Wayne Ball in the 16th minute.
Jamie Reeson wasted an opportunity for Town by opting for a shot that was way off target instead of playing the ball inside to Sutton.
Will Waudby also failed when he collected a poor kick by Ball but sent his effort straight to the stand-in goalkeeper.
Using a flat back four to protect Ball, the visitors improved with the midfield pushing up in support when needed and Simon Poole should have done better than firing wide with only James Hitchcock to beat.
However, they hit the hosts with three goals in a 13-minute spell. In the 25th minute the ball was played to Lee Turner after Town failed to clear and he got beyond James Whittingham to drive it past Hitchcock.
Town were labouring and nine minutes later Turner led a counter attack down the left before playing the ball to Tom Robinson who netted from inside the six-yard area.
Four minutes on and Robinson was sent free and he rounded Hitchcock before notching his second.
With the first half into two minutes of added time, Sutton won the ball midway in the Nostell half and threaded a pass through to Ash Allanson who hit a swerving shot just inside Ball's left hand post to reduce the deficit.
Chris Jenkinson replaced the injured Craig Hogg at half time and after creating two early chances, Town returned to the mediocrity of the first half and were unable to string any decent moves together as they seemed to ignore their normal passing game.
The closest the Seasiders' came to reducing the arrears further came when Allanson lifted the ball over the defence for substitute Tom Waudby, only for his lobbed attempt to clear both Ball and the crossbar.
Jenkinson met a Will Waudby corner to head the ball downwards but it bounced up and rebounded back into play off the bar.
Tom Waudby had another sight of goal but shot straight at Ball who was not really tested by an off-colour Town.
Bridlington Town: Hitchcock, Heseltine, Whittingham, Allanson (c), Nicholls, Hogg (Jenkinson 46), Hawkes (Tom Waudby 57), Knaggs, Reeson, Sutton, Will Waudby.
Unused substitutes: Brunton, Coverdale, Clarkson.


I had the honor of being asked to photograph the brand new remodel of the wedding pavilion at Hilton Buena Vista Palace this summer! It was actually my first time visiting the venue, and I was blown away by the hotel. We decided to take the entire team for our annual retreat, and spent a few days lounging in the lazy river, enjoying poolside cocktails and dining in their delicious restaurants!
We were also just a (very) short walk from Disney Springs, where we spent the evening shopping and hanging out!
On the day of the shoot, we were greeted by the banquet staff and catering manager to tour the wedding areas. It is really beautiful and has so many great options for outdoor space – for both a ceremony and reception! I brought along some of my clients to model so we could look at the photo options for brides and grooms, too.
I was also in LOVE with the giant food display by the chef! If this is just a preview for what their clients receive, I can imagine this will be an amazing choice for couples!


When fixing these tickets: TRUNK-2103 and this one TRUNK-1375 the display order of encounters on the personFormEntry portlet changed from the default (desc encounterDatetime?) to ordering on patient name. The limiting of the encounters seems to be done before the sorting, so its getting the first encounters (asc encounterDatetime).


I came across this beer from Prohibition Brewing a few months back, while stocking up on products for a weekend in Kelowna. After all, one has to cleanse the palate after days spent visiting Okanagan Valley wineries!
The fall seasonal is available in bomber-sized bottles, if you can find it. Given the company hasn't updated their website or Facebook and Twitter accounts since late 2014/early 2015, who knows how this brew came into my possession.
Prohibition used to have a tasting room located mere blocks away from the Sip Advisor headquarters, but unfortunately it was a slightly hidden spot and it closed a few years back. Mrs. Sip and I did visit on a couple occasions and enjoyed our tasting flights.


text:
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70s Rewind: BITE THE BULLET, Gene Hackman As a True Western Hero
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Gene Hackman is a treasure of American cinema. His role in Bite the Bullet is a good example of a less-heralded performance that nonetheless sheds light on his brilliance.
Born in 1930, Hackman served in the U.S. Marines shortly after the conclusion of World War II and then labored at various jobs before trying his hand at acting, both on stage and in various TV shows. His stage work led to his film debut in Lilith (1964), starring Warren Beatty, and that led to Bonnie and Clyde (1967) and his Academy Award nomination as Best Supporting Actor.
My first screen memory of Hackman dates back, I think, to seeing him when The Gypsy Moths or Marooned (both 1969) played on TV. He stood out visually with his face; he looked like he'd bitten something sour, which reminded me of some of my relatives. The command and weight and tone of his voice cut through any argument.
Picking out a few favorites from the first half of the 1970s -- The French Connection, of course; Prime Cut; Scarecrow; The Conversation, of course; Young Frankenstein, of course -- makes me realize how busy he was during those years. In 1975 alone, he could be seen in four new films: French Connection II (May) and Night Moves (June), which both feature extraordinary performances, as well as Lucky Lady (December), which I haven't seen yet.
In late June 1975, when Bite the Bullet was released, I was completely absorbed by Jaws-mania, which was cresting at the time. I was overjoyed to be able to see Jaws in a local theater, thanks to my older brother, and it was an incredibly satisfying film for my young self.
As for Bite the Bullet, it didn't have the same appeal for me as Jaws, The Return of the Pink Panther or Love and Death, all movies I saw in theaters that summer. (Of course, summer was pretty considered a dead time for movies in that era, which is part of what made Jaws so unexpectedly great.) I don't remember being particularly interested in Westerns at the time, or in any of the stars. (That would come later.)
How wrong I was. The film itself is oddly paced; the characterizations are, at times, truly bewildering; and the tone veers unpredictably from one sequence to the next. [That may be explained by the report that production began before the script was completed.) It's more of an ensemble adventure than I had anticipated, following a cross-country horse race in 1906 that attracts a cross-generational group of riders. Yet Hackman's performance, especially, raises it above the noise.
Inspiring by a real-life race, Richard Brooks wrote the original screenplay, produced and directed. Born in 1912, Brooks began writing for newspapers, radio stations, and then films (the latter in the early 1940s) before serving in the U.S. Marines for a couple of years during World War II. His directorial debut came in 1950's Crisis, and he enjoyed great success for years, right up through his independently-made Western The Professionals (1966) and In Cold Blood (1967).
His follow up, The Happy Ending (1970), earned two Academy Award nominations, but as I recall, $ (1971) was a bit of a mess, as were Looking for Mr. Goodbar (1977) and Wrong Is Right (1980), despite their other virtues. So I suppose I shouldn't be surprised about Bite the Bullet.
Like his other, later films, Bite the Bullet features certain sequences that are strongly compelling, mixed with scenes that feel slipshod and unscrewed. In view of Brooks' many years of experience, it may be that he wanted to shake off audience expectations. In this case, we have a much more dramatic and adventurous cross-country race than, say, Blake Edwards' purely comic The Great Race (1965).
Hackman arrives to the race after the other leading contestants, namely, James Coburn (as an desperate old friend and fellow Rough Rider under Teddy Roosevelt), Candice Bergen (a woman with an unsavory past and mysterious motives), Ben Johnson (an old-timer), Ian Bannen (a Brit who just wants to have a good time), and Jan-Michael Vincent (a young, arrogant kid). Hackman is positioned as the favorite to win the race but, in perfect 70s throwaway style, he never seems to evince any desire to win.
Instead, he just keeps helping the other contestants, even if it appears to hinder his own chances at victory. And this where Hackman shines: he's not playing an anti hero or an intense protagonist driven by inner demons, he's portraying a good guy! With no ulterior motives! Bursting with kindness!
Of course, this is Hackman, working from a script by Brooks, and so the character is not a stereotypical "good guy," but someone whose deepest motivations remain hidden throughout. Is he sincere in wanting to help others? What is it that truly drives him? What made him into the man he is in the film? We'll never know.
His calm, reserved positive spirit spills over whenever he appears on screen, and when he's not present, I found myself wondering, 'Well, what's he doing now?' It all leads up to an ending I did not expect.
The limited-edition Blu-ray release of Bite the Bullet appears to have gone out of print, unfortunately, but it features a fine transfer, showcasing awesome photography by Harry Stradling Jr. and an Academy Award-nominated musical score by Alex North. In the accompanying print booklet, Julie Kirgo notes Brooks' claim that the script wasn't completed before production; instead, he "wrote feverishly" during production!
I'm glad to have caught up with Bite the Bullet, especially so that I could allow Gene Hackman's performance to fully sink in. He may be retired from acting, but the characters he brought to life remain vividly memorable and worthy of careful study.
70s Rewind is a biweekly column that allows the writer to explore his favorite film decade.
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70s RewindGene HackmanJames CoburnRichard BrooksTwilight TimeWestern
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PITTSBURGH--Joe Main, health and safety administrator for the United Mine Workers of America (UMWA), has called for a public inquiry into the July 24 Quecreek mine disaster. Eighteen miners narrowly escaped with their lives after 50 million to 60 million gallons of water flooded the mine in Somerset, Pennsylvania. One nine-person crew was trapped for 78 hours before being rescued through the efforts of fellow workers.
Main said such an inquiry is the best way to ensure a full accounting of the events. It would give Mine Safety and Health Administration (MSHA) investigators the power to subpoena documents and witnesses. Main explained that "each year for the last three years, the number of miners killed on the job has increased. This year started out worse than last year and we came as close as you can to another disaster at Quecreek. It has to raise questions about what's going on in coal mine safety in this country."
Main's call for a public inquiry was joined by J. Davitt McAteer, who headed MSHA for seven years under the Clinton administration.
At the state level there have been calls for a grand jury to investigate the disaster. A grand jury would be able to file charges of criminal misconduct against state and company officials. These calls came after it was made public that state and company officials knew of unmapped mine voids and water in test wells when a permit for the mine was issued in 1999. An examination of the safety record of Quecreek's parent company, PBS Coals, revealed other flooding incidents, and above-average accident and violation rates. Pennsylvania's Department of Environmental Protection (DEP) did not order further tests before issuing the permit.
Pennsylvania attorney general and 2002 Republican gubernatorial candidate Michael Fisher has not commented on the call for a grand jury. The Pittsburgh Tribune Review reported that Fisher did not respond to repeated telephone calls.
MSHA chief David Laurisksi rejected the calls for a public hearing, stating that such an inquiry would not yield anything more than the investigations conducted by MSHA. He added that the number of injuries and fatal accidents in mines across the United States reached a low in 2001.
While the number of fatalities among all types of mining has been declining, deaths of coal miners have risen the last three years from 29 in 1998 to 42 in 2001.
MSHA does not have a reputation for quickly issuing reports on major accidents. For example, there is yet to be a report on the Brookwood mine explosion last September that claimed the lives of 13 miners. It was the worst U.S. mine disaster in nearly two decades. The UMWA has said MSHA cited the mine's operator for 31 violations, but never followed them up.
A report on the October 2000 slurry spillage at Martin County Coal, a Massey Energy-owned mine in Inez, Kentucky, was released a full year after the disaster. This flooding occurred when 300 million gallons of slurry broke into old workings beneath a massive containment pond, and then poured out into valleys and streams below. Investigations showed that the solid rock barrier between the pond and the mine below was less than the company claimed and that inaccurate mine maps played a major role in the accident. MSHA fines for the spillage totaled $110,000 while Massey's cleanup bill was $40 million.
Penn State professor Raja Ramani, appointed to head a state commission of inquiry into the Quecreek disaster, was interviewed by the Associated Press. Under the headline "United States world leader in mine safety, expert says," Ramani was quoted as applauding mine safety in this country. He said "high productivity rates...have helped ensure that not as many miners are exposed" to the dangers of mining.
In a statement on the successful rescue at Quecreek, Jack Gerard, president of the National Mining Association, spoke of the industry's "innovative and effective safety programs." His statement claimed that there had been "a 42 percent decline in coal mine fatalities in the last decade."
The decline in fatalities pointed to by Gerard ignores the fact that a declining number of coal miners are producing more and more coal. The rate of fatalities for coal miners has not changed over the last 10 years. Between 1990 and the present, this rate has been between three and four miners killed for every 10,000 miners. The only years it dropped below three was in 1997 and 1998. Since then, the rate has been increasing.
In early August two more coal miners lost their lives, bringing to 19 the number killed this year. By this time last year 13 miners had died in mining accidents.
Jason Moore, a 23-year-old contract miner at the Laurel Creek mine in southern West Virginia, was killed August 12 when he was crushed between the boom of a mining machine and the roof of the mine. The mine is owned by Arch Coal, the second largest coal corporation in the country. Moore was employed by Titan Mining, which operated the mine as a contractor for Catenary Coal, one of Arch's nonunion arms. An MSHA study showed that contractors account for 30 percent of all mine fatalities and injuries.
In Pennsylvania, Edward Schall, 66, was killed August 13 at a strip mine in Armstrong County, northeast of Pittsburgh, when he fell 24 feet from a highwall onto rocks below. He was walking through the stripped mine area to his work site in the early morning hours, traversing the highwall to avoid water holes when he fell.
Tony Lane is a member of United Mine Workers of America Local 1248 in southwestern Pennsylvania.


You have searched for "Cabernet Based Blend"
Tantalising Cabernet Tempranillo, now eight years old. This is superb!
A rich, complex 2011 from Spain, a double Gold medal winner too. The finished bottles have been tucked away for a few years due to a sale falling through. Technically it's Gran Reserva, but you wouldn't guess it from the price. Ripe, mellow and long.


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Диэдр — вид многогранника, состоящего из двух многоугольных граней, имеющих общий набор рёбер. В трёхмерном евклидовом пространстве он является вырожденным, если его грани плоские, в то время как в трёхмерном  диэдр с плоскими гранями может рассматриваться как линза, примером которой является фундаментальная область линзового пространства L(p,q) .

Обычно правильный диэдр подразумевается состоящим из двух правильных многоугольников, и это даёт ему символ Шлефли {n,2}. Каждый многоугольник заполняет полусферу с правильным n-угольником на большом круге (экваторе) между ними .

Двойственным многогранником n-угольного диэдра является n-угольный осоэдр, в котором n двуугольных граней имеют две общие вершины.

Как многогранник
Диэдр можно считать вырожденной призмой, состоящей из двух (плоских) n-сторонних многоугольников, соединённых внутренними сторонами, так что результирующий объект имеет нулевую высоту.

Как мозаика на сфере
Как сферическая мозаика диэдр может существовать в невырожденном виде с n-сторонними гранями, покрывающими сферу. Каждая грань этого диэдра является полусферой с вершинами на большом круге. (Грань правильная, если вершины находятся на равном расстоянии друг от друга.)

Правильный многогранник {2,2} самодвойственен и является одновременно осоэдром и диэдром.

Бесконечноугольный диэдр
В пределе диэдр становится  в виде 2-мерной мозаики:

Дитоп
Правильный дитоп — это n-мерный аналог диэдра с символом Шлефли {p, … q, r,2}. Дитоп имеет две (n-1)-мерной грани {p, … q, r}, которые имеют общую (n-12)-мерную грань.

См. также
  Многогранник

Примечания

Литература

Многогранники


text:
The best sandboarding dunes in the world
They're the tallest, longest, and fastest in the world. Discover the best dunes for sandboarding.
Whether you're standing up or lying down on your stomach, a sandboard can be your ticket to one of the most exciting inland sports experiences you'll ever have.
If you're into surfing or snowboarding, sandboarding could be your next favorite outdoor activity.
So, how do you identify the right spot for sand dune riding?
The first you need to make sure is that you're about to go sandboarding in regulated, and non-vegetative areas.
Dunes are essential pieces of local and regional ecosystems. While you're riding a slope, you may be pushing sand down the dune and inadvertently destroying a sensitive ecosystem.
A good spot for sandboarding should also be tall, relatively steep, and provide a long ride.
And, above all, it has to be safe. You don't want to slide down a dune and finish your ride in front of a pile of rocks.
Explore the world's best sandboarding dunes:
Great Sand Dunes National Park & Preserve (Colorado, USA)
Welcome to the tallest sand dunes in North America.
This is the perfect spot for advanced riders. The "Star Dune" is 750 feet high and will offer one of the wildest rides you could ever imagine.
There are many options for all experience levels, and the dunes' patterns and shapes are constantly changing due to the wind.
Oregon Dunes National Recreation Area (Oregon, USA)
Located on the Oregon coast, the area is part of the Siuslaw National Forest. The Oregon Dunes are estimated to be over 100,000 years old.
They're the largest expanse of coastal sand dunes in North America, with some dunes reaching 500 feet (150 meters) above sea level.
From covers forty-two miles from Florence in the north to Coos Bay in the south, you'll find 40 miles of sand to enjoy with your sandboard.
White Sands National Monument (New Mexico, USA)
White Sands National Monument features the largest gypsum dune in the world.
Hit the loop portion of Dunes Drive and enjoy the powder-white dunes of this popular sandboarding spot.
You'll find little or no vegetation and grains of sand that look and feel like snow.
Huacachina (Peru)
Located five hours away from Peru's capital, Lima, Huacachina is a stunning desert oasis surrounded by steep and high sand dunes.
It is widely considered one of the best sandboarding spots on the planet.
Cerro Blanco (Peru)
Located near Nazca, Cerro Blanco features one of the tallest dunes in the world. From the bottom to the top, it is 3,860 feet (1,176 meters) high.
Find and rent a buggy to help you get to the peak.
When you're ready, start descending Duna Grande. It's a 2,600-foot ride that will take you around four minutes at full speed to complete.
Concón (Chile)
Las Dunas de Concón are located in Valparaíso and provide impressive views of the Pacific Ocean.
It takes time to reach the top of the dunes, but it will be worth your time and effort.
The ride down the hill is intense and fast, so make sure to wear goggles and a helmet.
Monte Kaolino (Germany)
Located in Hirschau, Monte Kaolino is one of the oldest sandboarding spots in the world.
Skiers tried it for the first time in 1956. Kaolino is Europe's largest sand hill.
The spot is also home to the Sandboarding World Championships and features a funicular elevator.
Namib Desert (Namibia)
The Namib Desert is a vast arid region, but near Swakopmund, you'll find the ideal spot for sledding down the local dunes.
Start in the "Little Nellie," progress to "Birgit Run" and conclude your experience at "Lizzie," where you can easily reach speeds of 40 miles per hour (65 kilometers per hour).
Always bring a bottle of water with you. The place is dry and hot.
Great Sand Sea (Egypt)
The Great Sand Sea is a sand desert in Sahara located near Siwa, between western Egypt and eastern Libya.
With its steep and smooth dunes reaching heights of 460 feet (140 meters), it offers fantastic views of the surrounding landscape.
The spot has multiple peaks of all sizes and shapes that will suit any riding level.
Tottori Sand Dunes (Japan)
The Tottori Sand Dunes are located near the Japanese coastal city of Tottori.
Prepare to surf down the yellow grains toward the sea.
The sandboarding spot features a 30-degree slope and will not let you down.
Kangaroo Island (Australia)
Ride down the sandy slopes of "Little Sahara," a sand dune system located between Seal Bay and Vivonne Bay that covers 500 acres (200 ha).
The spot rises up to 230 feet (70 meters) and provides stunning views of Kangaroo Island's greenery.
There are multiple peaks for all types of sandboard riding levels.
How to sandboard
What is sandboarding?
Dune du Pilat: surfing the highest dune in Europe
Volcano surfers ride the ashes of Cerro Negro
Digiácomo Dias rides the biggest sand dunes in the world


text:
Henry Schemmer Descendants
Limit generations to 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 Henry Schemmer (Feb 13, 1854 - Oct 14, 1932)
+Kathrin Kramer (Dec 8, 1856 - Jul 13, 1914)
2 Albert Schemmer (Jul 19, 1876 - Jul 16, 1937)
+Katie Richter (Apr 22, 1880 - Jun 3, 1972)
3 Clarence Schemmer (Jan 4, 1902 - Oct 9, 1961)
+Betty Barrows (Mar 29, 1902 - Oct 22, 1982)
4 Jim Schemmer (Jan 29, 1932 - Jun 17, 2016)
+Twila Splain (Nov 14, 1929 - Apr 5, 2007)
5 Living Relative
5 Michael Schemmer (Apr 16, 1959 - Jan 7, 2017)
+Donna Lou Serck (Jan 12, 1934 - May 7, 2015)
4 Mike Schemmer (Feb 11, 1937 - Mar 7, 2005)
+Living Relative
3 Elvira Schemmer (Mar 30, 1904 - May 22, 1981)
+Clarence Keegan (Dec 14, 1901 - Nov 16, 1985)
4 Mary Ellen Keegan (Sep 6, 1929 - Jan 23, 2014)
4 Robert Keegan (May 14, 1931 - Aug 6, 2015)
+Robert Richter (Mar 24, 1932 - Sep 8, 2006)
6 Kris Richter (Aug 6, 1976 - Feb 21, 1994)
+Jim Huffington (Feb 10, 1936 - Oct 30, 2016)
3 Wally Schemmer (Sep 25, 1905 - Dec 1, 1996)
+Inez Maaske (Apr 3, 1906 - Jul 31, 2005)
4 Carmen Schemmer (May 11, 1937 - Nov 2, 2020)
3 Norbert Schemmer (Oct 30, 1907 - Aug 19, 1908)
3 Lunetta Schemmer (Sep 29, 1909 - Oct 31, 1980)
+Clarence Goldsmith (Mar 20, 1904 - Jun 24, 1986)
3 Oliver Schemmer (Oct 21, 1911 - Nov 5, 1911)
3 Evelyn Schemmer (Apr 26, 1913 - Oct 28, 1995)
+Martin Warborg (Aug 30, 1908 - Aug 25, 1942)
5 James Warborg (Nov 2, 1967 - Jul 18, 1992)
5 Jason Warborg (Oct 24, 1968 - May 8, 1984)
+Martin Cullinan (Jun 11, 1902 - Oct 12, 1983)
3 Viola Schemmer (Aug 22, 1914 - Nov 9, 2014)
+Loyd Klein (Oct 21, 1908 - Apr 6, 1964)
+Aljia Wise (Nov 20, 1911 - Sep 19, 1997)
3 Kay Schemmer (Mar 27, 1916 - Nov 14, 2008)
+Floyd Olson (Jul 14, 1920 - May 4, 2000)
3 Margaret Schemmer (Dec 30, 1917 - Feb 12, 2012)
+Harold Otterstrom (Feb 20, 1915 - Dec 3, 2007)
3 Arthur Schemmer (Jan 17, 1920 - Jun 17, 1921)
3 Agnes Schemmer (Jun 12, 1921 - Mar 2, 2014)
+Thomas McIntosh (Oct 18, 1915 - Jul 9, 2004)
2 John Schemmer (Jun 1, 1878 - Jul 9, 1941)
+Kate Aurit (Aug 12, 1880 - Dec 27, 1965)
3 Frances Schemmer (Mar 12, 1909 - Mar 15, 1988)
3 Irene Schemmer (Mar 11, 1918 - Feb 20, 2006)
2 Ben Schemmer (May 3, 1880 - May 16, 1934)
+Mayme Fahey (Feb 3, 1886 - Jan 3, 1977)
3 Bernard Schemmer (Oct 28, 1919 - Sep 1, 1977)
+Marian Earley (Aug 16, 1924 - Aug 24, 2020)
2 Emma Schemmer (Apr 19, 1882 - Feb 4, 1961)
+Charles Dischler (Feb 2, 1879 - Feb 22, 1967)
3 Adeline Dischler (May 7, 1903 - Apr 6, 1986)
+Ernest Bakke (May 26, 1902 - Apr 23, 1983)
4 Donald Bakke (Oct 26, 1932 - Nov 9, 1954)
4 Denise Bakke (Mar 27, 1949 - Nov 23, 2007)
3 Lucille Dischler (May 12, 1905 - Nov 23, 1999)
+John Nolan (Nov 25, 1900 - Aug 24, 1957)
4 John Nolan (Oct 31, 1928 - Aug 29, 2008)
3 Catherine Dischler (Oct 22, 1909 - Jul 29, 1983)
+Albert Reinhard (Aug 22, 1906 - Jun 16, 1984)
3 Gertrude Dischler (Sep 25, 1914 - May 31, 2008)
+Mark Skiver (Oct 20, 1907 - Dec 25, 1987)
3 Bob Dischler (Jul 25, 1918 - Sep 19, 2006)
3 Charles Dischler (Nov 2, 1920 - Dec 29, 1973)
+Helen Holtzman (Jan 20, 1915 - Mar 28, 1971)
2 Catherine Schemmer (Jul 19, 1884 - Feb 17, 1920)
+Michael Streit (Mar 17, 1883 - May 19, 1958)
3 Helen Streit (Feb 19, 1909 - Jun 22, 1998)
+Elmer Davis (Jul 27, 1911 - Oct 27, 1972)
3 Betty Streit (Jun 29, 1911 - Sep 1, 1997)
3 Harold Streit (Jan 12, 1914 - Dec 26, 2007)
3 Kay Streit (Nov 9, 1916 - Nov 4, 2002)
+Bill Healey (Nov 26, 1919 - Nov 16, 1985)
3 John Streit (Jun 20, 1918 - Feb 13, 1967)
3 Marie Streit (Feb 12, 1920 - Mar 10, 1920)
2 Rose Schemmer (Aug 31, 1887 - Feb 18, 1982)
+Thomas McGrath (1881 - 1931)
3 Marvin McGrath (Feb 18, 1916 - Feb 17, 1977)
3 Patricia McGrath (Apr 1, 1917 - Sep 22, 1991)
2 Frank Schemmer (Dec 8, 1890 - Feb 8, 1902)
2 Baby Girl Schemmer (Sep 18, 1893 - )
+Catherine Sandschulte (Jun 23, 1855 - Oct 24, 1921)
29 Grandchildren
58 Great-Grandchildren
109 Great-Great-Grandchildren
17 Great-Great-Great-Grandchildren
221 Descendants Listed


text:
Title: Walt Whitman to Margaret S. Curtis, 4 October 1863
Source: Charles E. Feinberg Collection of the Papers of Walt Whitman, 1839–1919, Library of Congress, Washington, D.C. The transcription presented here is derived from Walt Whitman, The Correspondence, ed. Edwin Haviland Miller (New York: New York University Press, 1961–1977), 1:153-155. For a description of the editorial rationale behind our treatment of the correspondence, see our statement of editorial policy.
Contributors to digital file: Elizabeth Lorang, Kathryn Kruger, Tim Jackson, Vanessa Steinroetter, and Alyssa Olson
Cite this page: "Walt Whitman to Margaret S. Curtis, 4 October 1863." The Walt Whitman Archive. Gen. ed. Matt Cohen, Ed Folsom, and Kenneth M. Price. Accessed 21 January 2022. <http://www.whitmanarchive.org>.
Washington, | Armory Sq Hospital,
Sunday evening Oct 41
Dear Madam,2
Your letter reached me this forenoon with the $30 for my dear boys, for very dear they have become to me, wounded & sick here in the government hospitals—As it happens I find myself rapidly making acknowledgment of your welcome letter & contribution from the midst of those it was sent to aid—& best by a sample of actual hospital life on the spot, & of my own goings around the last two or three hours—As I write I sit in a large pretty well-fill'd ward by the cot of a lad3 of 18 belonging to Company M, 2d N Y cavalry, wounded three weeks ago to-day at Culpepper—hit by fragment of a shell in the leg below the knee—a large part of the calf of the leg is torn away, (it killed his horse)—still no bones broken, but a pretty large ugly wound—I have been writing to his mother at Comac, Suffolk co. N Y—She must have a letter just as if from him, about every three days—it pleases the boy very much—has four sisters—them also I have to write to occasionally—Although so young he has been in many fights & tells me shrewdly about them, but only when I ask him—He is a cheerful good-natured child—has to lie in bed constantly, his leg in a box—I bring him things—he says little or nothing in the way of thanks—is a country boy—always smiles & brightens much when I appear—looks straight in my face & never at what I may have in my hand for him—I mention him for a specimen as he is within reach of my hand & I can see that his eyes have been steadily fixed on me from his cot ever since I began to write this letter.
There are some 25 or 30 wards, barracks, tents, &c in this hospital—This is ward C, has beds for 60 patients, they are mostly full—most of the other principal wards about the same—so you see a U S general hospital here is quite an establishment—this has a regular police, armed sentries at the gates & in the passages &c.—& a great staff of surgeons, cadets, women & men nurses &c &c. I come here pretty regularly because this hospital receives I think the worst cases & is one of the least visited—there is not much hospital visiting here now—it has become an old story—the principal here, Dr Bliss, is a very fine operating surgeon4—sometimes he performs several amputations or other operations of importance in a day—amputations, blood, death are nothing here—you will see a group absorbed [in] playing cards up at the other end of the room.
I visit the sick every day or evening—sometimes I stay far in the night, on special occasions. I believe I have not missed more than two days in past six months. It is quite an art to visit the hospitals to advantage. The amount of sickness, and the number of poor, wounded, dying young men are appalling. One often feels lost, despondent, his labors not even a drop in the bucket—the wretched little he can do in proportion. I believe I mentioned in my letter to Dr Russell5 that I try to distribute something, even if but the merest trifle, all round, without missing any, when I visit a ward, going round rather rapidly—& then devoting myself, more at leisure, to the cases that need special attention. One who is experienced may find in almost any ward at any time one or two patients or more, who are at that time trembling in the balance, the crisis of the wound, recovery uncertain, yet death also uncertain. I will confess to you, madam, that I think I have an instinct & faculty for these cases. Poor young men, how many have I seen, & known—how pitiful it is to see them—one must be calm & cheerful, & not let on how their case really is, must stop much with them, find out their idiosyncrasies—do any thing for them—nourish them, judiciously give the right things to drink—bring in the affections, soothe them, brace them up, kiss them, discard all ceremony, & fight for them, as it were, with all weapons. I need not tell your womanly soul that such work blesses him that works as much as the object of it. I have never been happier than in some of these hospital ministering hours.
It is now between 8 & 9, evening—the atmosphere is rather solemn here to-night—there are some very sick men here—the scene is a curious one—the ward is perhaps 120 or 30 feet long—the cots each have their white musquito curtains—all is quite still—an occasional sigh or groan—up in the middle of the ward the lady nurse sits at a little table with a shaded lamp, reading—the walls, roof, &c are all whitewashed—the light up & down the ward from a few gas-burners about half turned down—It is Sunday evening—to-day I have been in the hospital, one part or another, since 3 o'clock—to a few of the men, pretty sick, or just convalescing & with delicate stomachs or perhaps badly wounded arms, I have fed their suppers—partly peaches pealed, & cut up, with powdered sugar, very cool & refreshing—they like to have me sit by them & peal them, cut them in a glass, & sprinkle on the sugar—(all these little items may-be may interest you).
I have given three of the men, this afternoon, small sums of money—I provide myself with a lot of bright new 10ct & 5ct bills, & when I give little sums of change I give the bright new bills. Every little thing even must be taken advantage of—to give bright fresh 10ct bills, instead of any other, helps break the dullness of hospital life—
1. Endorsed (by Walt Whitman): "Oct 5, '63. | Margarete S Curtis | care Charles P Curtis | Boston | Mass." [back]
2. Margaret S. Curtis, wife of a Boston counselor, and her sister, Hannah E. Stevenson, sent sums of money to Whitman (see also Whitman's letter from October 8, 1863). Mr. and Mrs. Curtis had sent $30 on October 1, 1863. According to the Boston Directory of 1888, Mrs. Curtis died on March 13 of that year. After Whitman gave this letter to Horace Traubel on July 27, 1888, he observed: "My main motive would be to say things: not to say them prettily—not to stun the reader with surprises—with fancy turns of speech—with unusual, unaccustomed words—but to say them—to shoot my gun without a flourish and reach the mark if I can. The days in the hospitals were too serious for that" (Horace Traubel, With Walt Whitman in Camden [New York: Rowman and Littlefield, 1961], 2:51). [back]
3. James S. Stilwell, Second New York Cavalry, was confined in Ward C of Armory Square with a gunshot wound in his left leg; see "Notebook: September–October, 1863" (Charles E. Feinberg Collection) and "Hospital Notes" (Henry E. Huntington Library). He recovered slowly from his injury. About the end of May in the following year he was sent to Mower Hospital, Chestnut Hill, Pennsylvania, where he remained until he was granted a furlough in August 1864. He later returned to Mower Hospital and wrote to Whitman on September 27, 1864, that his wound was "most healed up," and that he expected either to be discharged or to be transferred to New York. See also Stilwell's letters to Whitman from July 5, 1864, and September 2, 1864. He was the brother of Julia and John Stilwell. See also Whitman's letters from October 21, 1863, and November 15, 1863 . [back]
4. Originally Whitman wrote: "the principal surgeon, Dr Bliss, is a capital surgeon, & a pretty good head manager of hospital." [back]
5. See the letter from December 3, 1863 . The letter Whitman referred to, probably written in September, is not extant. [back]


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Turn your ordinary kitchen into a chef's kitchen with the Oster® French Door Oven with Convection cooking technology.
Dimensions: 21.65"W x 19.29" D x 12.91" H, Weight:22.04lb.
Voilà, dinner's done! The Oster® French Door Oven looks elegant, cooks with convection and makes meal prep easier. Unique design opens both doors open with a single pull so you can place dishes in the oven without hassle. Adjustable temperature and cook controls provide ease and convenience to bake, toast, broil, warm and convection cook with simple adjustments. Plus, broiling setting adjusts to broil at any temperature to reduce overcooking or undercooking. There's no reason to turn up the heat with your conventional oven, as the Oster® French Door Oven cooks more efficiently, using up to 50% less energy, plus its extra large interior provides plenty of space to prepare full meals. Set the 60-minute timer to cook foods as long as you need, then the oven shuts off automatically. With a countertop oven this attractive, this efficient and this easy to use, you'll enjoying using it for every meal you prepare!
Extra large interior accommodates two large pizzas.
Adjustable temperature and cook controls provide ease and convenience to bake, toast, broil, warm and convection cook with simple adjustments.
Get the look of a chef's kitchen with the Oster® French Door Oven!
Oster® French Door Oven with Convection, Stainless Steel is rated 3.7 out of 5 by 46.
Rated 5 out of 5 by ikonw8 from Fits perfectly in a corner We just purchased this oven. So far, it is working exactly as expected. However, based upon the dimensions (21" D), we thought it was going to take up much more counter top space. Actually the back of the oven is curved outward, and includes a spacer to keep a safe distance from the wall. Also the dimension includes the depth of the doors when they are OPEN. We found that it fits perfectly in a corner. It would also work placed perpendicular to the wall.
Rated 3 out of 5 by Ruphus from French doors and "16 inch pizza" Bought this at Costco a month ago. Though the size is bigger than most, it does NOT fit a 16" pizza pan [which I had also bought at Costco]! This, for me, is a big deal > one of its selling points. French door spring mechanism too easily disengages in the open position, causing the doors to close as I'm retrieving the food, and thus, incurring a burn mark from the door/s on my forearm. And one more thing, which is my fault for not confirming when I bought it > there's no interior light, as my former ovens all had. I really miss not having a light. I'm thinking of returning this oven. The Costco price was very appealing.
Rated 5 out of 5 by Tielman Test Baker from Test Baking Oven I bought this about 5 months ago - I was thinking of buying a full size oven for "our baking lab" (we use it to "test bake" - Muffin Cups) - but bought this instead (I didn't need to install a 220V line and saved a lot of space). The oven has worked tremendously well - nice even bake - almost better than my Wolf oven at home (where I used to do my test baking!).
Rated 5 out of 5 by susan1960 from Love This Oven I am so happy with this oven, I have had it for about three weeks now and I have used it just about everyday, bakes and cooks awesome. Very easy to use and keep clean. I just wish I had bought it sooner, awesome product.
Rated 5 out of 5 by Ranie from Great features! Cooked a 2 lb. beef roast using the convection in 1hour but could have gone only 50 mins.for med. rare. Oven is easy to use ,and during the hot summers, is light enough to move outside on the deck. Love it!
Rated 5 out of 5 by AnneMcC from It's Better than I Thought it Would be! After using this for a few months now, I have not had any negative with this oven. It's safer, easier to use and so much better than our stove's oven. The crumb catcher is great, but so far we've only had one drip of melting cheese from a pizza cooked on the rack. We've baked homemade brownies, a couple small roast, seafood, fries, and so much more, all to perfection. Also it does not put the heat out like that kitchen appliance I no longer use. Yes I recommend this100%.
Rated 5 out of 5 by Gordie from Great oven ! I love my oven. It works great. The only issue I had was not realizing the bottom of the oven was not a sealed unit and my scalloped potatoes ran over the bottom tray and under the bottom lining of the oven. I cannot figure out how to get it apart to clean under there. Perhaps the operating manual could give a cooking chart with times etc.
Rated 4 out of 5 by harmony from Terrific size This is a perfect oven. The french doors are a nice feature. Since I received it about 1 month ago, I have not used my large oven at all. It does take up a lot of counter space and the fan is very noisy but all in all, it meets our needs perfectly.


text:
Q: non-negative FFT spectrum, subtlety definations
\$x(t)\$ is a function of time. Physically, it can be voltage, displacement, magnetization and so on. It can be real, complex, vectors or more fancy numbers.
\$C(t)\$ is the auto correlation function of \$x(t)\$ , defined as:
$$ C(t)=\langle x(t) x^*(0) \rangle := \lim_{T\rightarrow \infty}\frac{1}{T}\int_0^T x(t'+t) x^*(t') dt' \tag{1} $$
\$I(\omega)\$ is the spectrum of \$x(t)\$, it is the  Fourier transformation of \$C(t)\$, or it is the square  of Fourier transformation of \$x(t)\$. These two definition are equivalent  (apply convolution theorem):
$$ I(\omega)= \int_{-\infty}^{+\infty} C(t) e^{-i\omega t} dt \tag{2} $$
$$
I(\omega)=
\begin{vmatrix}
\int_{-\infty}^{+\infty} x(t) e^{-i\omega t} dt
\end{vmatrix}^2 \tag{3} $$

non-negativity of \$I(\omega)\$
We can show that, spectrum is non-negative:
$$
I(\omega)=
\begin{vmatrix}
\int_{-\infty}^{+\infty} x(t) e^{-i\omega t} dt
\end{vmatrix}^2 \geqslant  0
$$
And physically it makes sense, because \$I(\omega)\$ means the energy density within frequency range  \$[\omega , \omega+d\omega) \$.
Energy density shouldn't be negative.

Question (1): what function \$C(t)\$ makes its Fourier transform \$I(\omega)\$ non-negative?
In practice, definition equation (2) is used rather than equation (3).
\$C(t)\$ is the inverse Fourier tranform of non-negative function \$I(\omega)\$.
I know some basic law like this:
$$
\text{FT}[real,even]=real, even
$$
$$
\text{FT}[real,odd]=imag, odd
$$
I have no idea what should \$C(t)\$ be?
$$
\text{FT}[???]=real, non \ negative
$$
Understand the function class of \$C(t)\$ might help us solve Question (2), because later on, you will see, I'm doing a transformation to \$C(t)\$ (essentially it's a discretization), then perform Fourier transform. This discretization transformation might take \$C(t)\$ out of that class, therefore makes \$I(\omega)\$ no longer non-negative.

subtlety in numerics: \$I(\omega)\$ is no longer non-negative!
In numerical calculations, things become finite and discrete.
Equation (2) is modified to its numeric version:
$$
\int \xrightarrow{\text{numerics }} \sum
$$
$$
\qquad \quad t \xrightarrow{\text{numerics }} t_i \quad i=0,1,2,\cdots,L
$$
$$
\qquad \quad \omega \xrightarrow{\text{numerics }} \omega_n \quad n=0,1,2,\cdots,L
$$
Or, an alternate way to understand numerics is to keep the continues integration, but sample the function \$C(t)\$ discretely and finitely:
$$
C(t) \xrightarrow{numerics} C(t) \times \sum_{i=0}^{L-1} \delta(t-t_i)
$$
Under this change, \$I(\omega)\$ is no longer non-negative.
I did some experiments, those negative value of \$I(\omega)\$ can be as large as 10% of the positive peak value of \$I(\omega)\$. Adding window function makes things better, but still have 0.1% negative spectrum density.
Only in some commensurate case, \$I(\omega)\$ is non-negative.

Question (2): is there any natural way to make \$I(\omega)\$ non-negative, in numerics?
I find adding absolute value might help
$$I(\omega)\rightarrow |I(\omega)|$$
but don't see any reason, such as conservation of energy, so on
So, is there a natural way, to generate non-negative spectrum density, in numerics?


The boundaries of the aforesaid zoning districts are hereby established as shown on the map entitled, "Zoning District Map of the Village of Cassadaga, New York, dated _________________, which map accompanies and is made a part of this Local Law and shall have the same force and effect as if the zoning map, together with all notations, references, and other information shown thereon, were fully set forth and described herein.
A. Where district boundaries are indicated as approximately following the centerlines of streets or highways, street lines, or highway right-of-way lines shall be construed to be such boundaries.
B. Where district boundaries are so indicated that they approximately follow the lot lines, such lot lines shall be construed to be said boundaries.
C. Where district boundaries are so indicated that they are approximately parallel to the center lines or street lines of streets or the center lines or right-of-way lines of highways, such district boundaries shall be construed as being parallel thereto and at such distance as given, such dimension shall be determined by the use of the scale shown on said zoning map.
D. Where the boundary of a district follows a stream, lake or other body of water, said boundary line shall be deemed to be at the limit of jurisdiction of the Municipality unless otherwise indicated.
E. Any flood boundary shown on the zoning map indicates general location only. The precise location of flood plain boundaries shall be established by the Enforcement Officer after consulting with the Chautauqua County Planning Department.
F. Any party aggrieved by an interpretation as to boundaries may appeal to the Zoning Board of Appeals, whose decision will be final. However, all decisions of the Zoning Board of Appeals are subject to court reviews in accordance with applicable laws of the State of New York. The burden of proof shall be on the appellant.


Picture this, Sunday afternoon, here's my mate and his family swimming in the Katherine River at the low level, pleasant spot, nice picnic, enjoyable day, kids had a fun time but now the day is over and everyone is looking forward to going home, time to pack up, where are the car keys, nowhere to be found. And so the drama and the dollars begin. The story involves tired cranky kids, a tilt truck to get the car home, a lift to work next morning and the sorting out of a replacement car key. It kind of put a down on a beaut day out. There are a couple of options for getting a replacement car key.
There are two scenarios to consider here, firstly if you are lucky and have a spare key the steps are relatively easy, however if you do not have a spare key the steps are more complex.
1/ locate a blank key complete with microchip – if you're lucky your local locksmith carries the blank key with microchip for your car, if not you contact the dealer of your make of car.
2/ as you do not have a spare key to cut the new key too, the easiest way to get the key cut to your ignition switch is to remove the driver's side door lock and take this to the locksmith.
3/ take the newly cut key to your Katherine auto electrician who will use their computer/scanner to recode the microchip in the key to the car so it "talks" to your car computer. Note some locksmiths may also be able program the microchip in the key to talk to your computer.
Your local mobile auto electrician can organise a replacement car key on your behalf. Just give him a call he comes to you and can organise a new key complete with microchip, cut & programed and put back into your car, all organised for you while you go about your life.
1/ Take the spare to your local locksmith who keeps blank keys with microchips for the most popular vehicles. The locksmith will be able to cut the blank key to suit your ignition. Some locksmiths can also program the microchip in the key to talk to your computer. If they can't program the microchip this is where you need your local auto electrician.
And yes my mate still goes to the Katherine, Low Level on Sunday afternoons but is much more careful with his keys and makes certain he has a spare locked up securely at home.
If you ever require a mobile auto electrician please visit www.terrysautoelectrical.com.au for contact details.
A similar thing happened to me when I took the kids to the pool. I forgot that I put the keys in my swim trunks pocket and I totally left them in there for a good hour. I had to call a company and get a key replacement from them. Luckily we did have another key at the time, but I needed to get a replacement for the replacement key, should I soak that one in water too.


text:
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