text:
package com.cjw.zhiyue.ui.fragment.detailFra;

import java.util.List;

import org.xutils.x;
import org.xutils.view.annotation.Event;
import org.xutils.view.annotation.ViewInject;

import com.cjw.zhiyue.R;
import com.cjw.zhiyue.db.Dao.PlayListDao;
import com.cjw.zhiyue.domain.PlaySongInfo;
import com.cjw.zhiyue.domain.RankInfo;
import com.cjw.zhiyue.domain.RankInfo.SongInfo;
import com.cjw.zhiyue.global.GlobalConstant;
import com.cjw.zhiyue.http.VolleyHelper;
import com.cjw.zhiyue.http.protocol.PlaySongProtocol;
import com.cjw.zhiyue.http.protocol.RankProtocol;
import com.cjw.zhiyue.ui.adapter.MyBaseAdapter;
import com.cjw.zhiyue.ui.adapter.MyBaseAdapter.OnItemClickListener;
import com.cjw.zhiyue.ui.fragment.BaseFragment;
import com.cjw.zhiyue.ui.holder.BaseHolder;
import com.cjw.zhiyue.ui.holder.music.RankDetailHolder;
import com.cjw.zhiyue.ui.view.PagerState.ResultState;
import com.cjw.zhiyue.utils.UIUtils;

import android.content.Intent;
import android.support.v4.widget.DrawerLayout;
import android.support.v4.widget.SwipeRefreshLayout;
import android.support.v4.widget.SwipeRefreshLayout.OnRefreshListener;
import android.support.v7.widget.LinearLayoutManager;
import android.support.v7.widget.RecyclerView;
import android.view.LayoutInflater;
import android.view.View;
import android.view.ViewGroup;
import android.widget.FrameLayout;
import android.widget.ImageButton;
import android.widget.ImageView;
import android.widget.TextView;
import android.widget.Toast;

public class RankDetailFragment extends BaseFragment {

	protected static final int GET_SUCCESS = 0;

	private static final int TYPE_HEADER_ITEM = 2;//头布局类型

	@ViewInject(R.id.recyclerview)
	private RecyclerView mRecyclerView;
	@ViewInject(R.id.swiperefresh)
	private SwipeRefreshLayout mSwipereFresh;

	private DrawerLayout mDrawerLayout;

	private RankInfo rankInfo;

	private RankDetailAdapter mRankDetailAdapter;

	public RankDetailFragment(){}
	public RankDetailFragment(DrawerLayout mDrawerLayout, RankInfo rankInfo) {
		this.mDrawerLayout=mDrawerLayout;
		this.rankInfo=rankInfo;
	}

	@Override
	public View onCreateSuccessView() {
		View view = View.inflate(getActivity(), R.layout.layout_fra_rank_detail, null);
		x.view().inject(this, view);

		if(rankInfo!=null){
			initRecyclerView();// 初始化,设置垂直布局,填充数据
			initSwipereFresh();// 设置下拉刷新事件
		}
		return view;
	}

	@Override
	public void onLoadHttp() {
		mPagerState.changCurrentState(ResultState.STATE_SUCCESS);
	}

	/**
	 *  初始化,设置垂直布局,填充数据
	 */
	private void initRecyclerView() {
		LinearLayoutManager layoutManager = new LinearLayoutManager(UIUtils.getContext());
		layoutManager.setOrientation(LinearLayoutManager.VERTICAL);
		mRecyclerView.setLayoutManager(layoutManager);
		mRankDetailAdapter = new RankDetailAdapter(rankInfo.song_list);
		mRecyclerView.setAdapter(mRankDetailAdapter);

		mRankDetailAdapter.setOnItemClickListener(new OnItemClickListener<RankInfo.SongInfo>() {
			@Override
			public void onItemClick(View view, int position, SongInfo songInfo) {
				//请求网络,拿到播放地址
				requestSongProtocol(songInfo);
				//存储歌曲,显示在歌曲播放列表
				PlayListDao.getPlayListDao().insert(songInfo.song_id, songInfo.title, songInfo.artist_name);
			}
		});
	}

	private class RankDetailAdapter extends MyBaseAdapter<SongInfo>{

		public RankDetailAdapter(List<SongInfo> data) {
			super(data);
		}

		@Override
		public void onLoadMore() {
			RankProtocol rankProtocol = new RankProtocol() {
				@Override
				public String getParams() {
					return "&type=" + rankInfo.billboard.billboard_type + "&size=10";
				}
				@Override
				public RankInfo parseData(String result) {
					RankInfo bankInfo = super.parseData(result);// 走父类的解析方法,得到解析的数据,如集合

					updateMoreData(bankInfo.song_list);//集合添加更多数据
					return bankInfo;
				}
			};
			rankProtocol.getDataFromCache("&offset="+data.size());// 从缓存中拿数据,拿不到就请求网络
		}

		@Override
		public int getInnerType(int position) {
			if(position==0){
				return TYPE_HEADER_ITEM;//返回头的布局类型
			}else
			return super.getInnerType(position);
		}

		@Override
		public View initHolderView(ViewGroup parent,int viewType) {
			if(viewType==TYPE_HEADER_ITEM){
				View itemView = LayoutInflater.from(UIUtils.getContext()).inflate(R.layout.item_header_rank_detail, parent, false);
				return itemView;
			}else{
				View itemView = LayoutInflater.from(UIUtils.getContext()).inflate(R.layout.item_detail_rank_song, parent, false);
				return itemView;
			}
		}

		@Override
		public BaseHolder<SongInfo> getHolder(View initHolderView,
				OnItemClickListener<SongInfo> itemClickListener,int viewType) {
			if(viewType==TYPE_HEADER_ITEM){
				return new InnerHeaderHolder(initHolderView);
			}else
				return new RankDetailHolder(initHolderView,itemClickListener,mDrawerLayout);
		}

	}

	/**
	 * 设置下拉刷新事件
	 */
	private void initSwipereFresh() {
		mSwipereFresh.setColorSchemeColors(0xFF16A8FF);//设置加载内圈颜色
		mSwipereFresh.setOnRefreshListener(new OnRefreshListener() {
			@Override
			public void onRefresh() {
				mSwipereFresh.postDelayed(new Runnable() {
					@Override
					public void run() {

						mRankDetailAdapter.notifyDataSetChanged();// 通知更新
						mSwipereFresh.setRefreshing(false);// 关闭刷新progressbar
					}
				}, 500);// 2秒后刷新数据
			}
		});
	}

	/**
	 * 请求网络,拿到播放地址
	 */
	protected void requestSongProtocol(SongInfo songInfo) {

		final Intent intent = new Intent(GlobalConstant.REQUEST_PLAY_SONG_ACTION);

		PlaySongProtocol playSongProtocol = new PlaySongProtocol(){
			@Override
			public PlaySongInfo parseData(String result) {
				//重写解析方法,网络请求成功后,去开始服务播放音乐
				PlaySongInfo playSongInfo = super.parseData(result);

				//发送广播
				intent.putExtra("result", GET_SUCCESS);
				intent.putExtra("playSongInfo", playSongInfo);
				UIUtils.getContext().sendBroadcast(intent);

				return playSongInfo;
			}

			@Override
			public void requestHttpFail() {
				//请求播放地址失败
				Toast.makeText(UIUtils.getContext(), "请检查网络连接", Toast.LENGTH_SHORT).show();
			}

		};
		playSongProtocol.getDataFromCache("&songid="+songInfo.song_id);
	}

	private class InnerHeaderHolder extends BaseHolder<SongInfo>{

		@ViewInject(R.id.iv_detail_img)
		private ImageView iv_detail_img;
		@ViewInject(R.id.ib_detail_back)
		private ImageButton ib_detail_back;
		@ViewInject(R.id.tv_detail_date)
		private TextView tv_detail_date;

		public InnerHeaderHolder(View itemView) {
			super(itemView);
			x.view().inject(this, itemView);
		}

		@Override
		public void refreshData(SongInfo info) {
			VolleyHelper.imageLoader(rankInfo.billboard.pic_s444, iv_detail_img);
			tv_detail_date.setText("更新日期: "+rankInfo.billboard.update_date);
		}

		@Event(value=R.id.ib_detail_back)
		private void onBackClick(View v){//点击按钮关闭mDrawerLayout
			FrameLayout fl_draw_content = (FrameLayout) mDrawerLayout.findViewById(R.id.fl_draw_content);
			mDrawerLayout.closeDrawer(fl_draw_content);
		}
	}
}

redpajama_set_name: RedPajamaGithub


Answer 1: The MIDI Drawbar unit does not work with the Micro B or the Micro B II (at least not the drawbars).
Answer 2: The Micro B does not respond to MIDI volume and always has release key click.
Answer 3: The Micro B II does respond to MIDI volume and you can eliminate the release key click.
Answer 4: The Micro B II allows for chorus and rotating speaker effect simultaneously.
Answer 5: The percussion on your B-3 (C-3, RT-3, A100, M-3, or L-100) does not re-trigger if you're already holding down a note.
Answer 6: An organ with a 122 Leslie interface will not work properly with a 145, 44W, 45, 147, 47, 251 Leslie. It'll hum and you won't be able to switch speeds.
Answer 7: An organ with a 147 Leslie interface will not work properly with a 122, 21H, 31H, 142 Leslie. It may cause a fire.
Answer 8: Never plug a 5-pin Leslie cable into a 6-pin socket even if you can make it fit.
Answer 9: The contrast control is on the back.
Answer 10: It's OK to use an AC adaptor with a higher current rating (mA) but not a higher voltage rating.
Answer 11: It's not OK to use an AC adaptor with a lower current rating (mA). You'll burn out the adaptor not the module.
Answer 12: Fully polyphonic means "your arms ain't that long."


If you had sung that song as many times as I did, you'd have written "How many roads must a man walk down?" too.
Wow. What a great and rambly read.
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text:
Home News Dominion in Georgia: What Happened?
Dominion in Georgia: What Happened?
by Anne-Christine Hoff
Sidney Powell made waves last weekend when she said that the lawsuit being filed on behalf of Trump in Georgia would be "biblical." Frankly, this entire election has had a biblical quality to it. When speaking about it, pastors reference the Book of Daniel, King Nebuchadnezzar, the times of Jeremiah, and other prophetic books. If I were to cast a real-life character as the biblical figure of Judas, that man would definitely be Georgia's Secretary of State Brad Raffensperger, who calls himself a "passionate Trump supporter" but whose actions prove otherwise.
There is an explosive investigation in the Atlanta Journal-Constitution (AJC) regarding the Dominion Voting Machines (DVM) and Brad Raffensperger's role in easing the security surrounding those machines. According to the AJC, in October the Secretary of State's office was responsible for weakening the system's defenses, disabling password protections on a key component that controls who is allowed to vote.
Continue Reading at AmericanThinker.com…

redpajama_set_name: RedPajamaCommonCrawl


The classic, Jazz Pizzicato, which audiences have loved for 80 years is now here for bass ensemble (sextet). Bass V & VI are easily playable by younger or developing players so your students can join in on the fun.
Tchaikovsky's holiday classic is now here for your bass quartet in this charming arrangement. Parts 1 & 2 are fairly advanced, covering most of the range of the bass, while parts 3 & 4 are very accessible to the intermediate player. This makes it perfect for teachers wanting to include students in their quartet. The tempo is flexible and is up to the performers. I suggest a tempo slower than the original. Feel free to make adjustments and changes as needed to suit the performers. Have fun with it! It is sure to surprise and delight the listeners.
An arrangement of Bottesini's Elegy for bass and string orchestra. As an orchestra teacher I rarely have access to an accompanist. But I see a string orchestra every day. And I'm sure there are bassists out there are looking for something lighter than a concerto to perform with an ensemble. And thus began this arrangment of Bottesini's popular Elegy for string orchestra. It will also work well with a chamber group or quartet.


CBM India selected 10 students from the Department of Rural Management, XISS for internship for two months starting April 15th 2013. I was among the lucky ones. The organization, CBM is an international funding agency that works for the development and rehabilitation of PWDs ( Persons With Disabilities). The project manager at CBM India office had come to college on 12th March and cleared our doubts regarding the internship, stipend, lodging and food arrangements etc. We were to be sent to 4 different organisations in India who received funds from CBM for work in the field of disability. I was selected to go to Blind People's Association (BPA), Ahmedabad with Abhinandan, my colleague. I am from Ranchi itself and Abhinandan is from Patna.
We reached Ahmedabad on 14th of April, one day before the beginning of our internship and contacted Mr. Jyotish Choudhary who took us to the guest house of a hostel which was apparently for those women with disabilities who either worked at BPA or were pursuing some voluntary training courses. We were assigned our separate rooms which were small but comfortable with a cupboard, a table and a chair. I liked the ambiance and had a quiet and peaceful first night.
The next day we reached the BPA campus sharp at 9:30 am as directed by Jyotish Sir. We were given a tour of the organization's main campus and we learnt that BPA works not only for the education of blind people, but also deals with various other types of disabilities and puts effort for a secured livelihood opportunities for the people with disabilities. While going through the campus I saw people with all kinds of disabilities and felt pity for them. It was not very usual for me to see PWDs everyday in Ranchi so I felt really uneasy initially. Every time I saw a little blind boy or girl my heart would go out for them and out of instinct I would start praying for their better lives ahead.
Both of us underwent a week long training regarding various types of disabilities and their causes, effects and cures. We were given presentations on different types of disabilities and CBR (Community Based Rehabilitation) by specialists in their fields. Blindness simulation was one of the most sensitive part of the training. We were blindfolded and were asked to go to the front gate of the campus and come back with the help of a person who would be instructing us all the time. I still remember that tears had welled up in my eyes when I finally returned back to the training hall not because of the bumps and tiny scratches I got during the procedure but because that day I felt the pain of a blind person. Even when I was being guided I kept bumping here and there and reached the destination with huge difficulty and that too when I had already visited the whole campus before. It was difficult for me to imagine how the blind people did it without ever seeing the place and most importantly without a guiding person.
After the training we met with Mrs. Nandini Rawal, Project Director at BPA and she asked us to observe the kids who came there to study and find our field of interest. I spent the week meeting various teachers and students and interacting with them. I met Kavina Ma'am who takes care of children with visual impairment and additional disabilities, Ushma Ma'am who deals with children with mental retardation, Krupa ma'am who takes care of development of children who are deaf and blind, Deepa ma'am who takes care of autistic children, Suman di and Dipti di, teachers at deaf and blind unit and the children under their guidance. I befriended Dhawan, a seven year old deaf and blind kid, who plays very the tabla beautifully and has a very good sense of music. We also attended the parents-teachers meet. Though most of the event was in Gujarati but still I could see the happiness and satisfaction of the parents who brought their children to BPA. When Hari Om's grandfather, a visibly strong gentleman, broke down to tears sharing the progress of his grandchild who was multiply disabled, the whole crowd, me included, could not resist their tears as well.
Nandini Ma'am assigned me to Vimal Thawani ma'am who was going to be my guide during the internship. Vimal ma'am discussed the probable topics of study as I was to work with parents of children with disabilities. Finally I decided to do my research on the topic 'social inclusion of children with disabilities and attitude of their parents'. Under the very helpful guidance of Vimal ma'am I completed the questionnaire for the research survey within 3 days.
Vimal ma'am taught me not to pity the PWDs. A look of pity is the one thing they hate the most. Rather she told me that we must be compassionate towards them and treat them as our equal. Social inclusion is possible only when people have a broad outlook towards persons with disabilities. She also told me that while speaking and addressing we always keep the person first rather than the problem he/she is facing ('persons with disabilities' should be used rather than 'disabled persons').
Frankly I did not think that interviewing a parent would be tough until I interviewed Naliniben. There were some questions in the questionnaire that were quite difficult to answer for a parent of child with special needs. Naliniben broke down in the middle of the interview and I myself could not control my emotions and tears welled up in my eyes as well. So the first interview was a tough experience on my part but Vimal ma'am told me that we should never be sympathetic towards the children with disabilities rather show them empathy. This will keep us from getting emotional as emotions cloud our judgment over logic. I also learnt that while interviewing one should not have a preconception of the situation and circumstances. Judgmental attitude hampers pure data and we listen only what we want to listen not what the other tells us. I was learning rapidly.
It took me one month to collect the data as it was summer vacation for the students at BPA and it was difficult to meet children because most of them had gone to some or the other places to enjoy the vacations. Meanwhile I went around Ahmedabad with Abhinandan, watched movies, ate Gujarati thaali and really had the time of our life. We went to Sabarmati Ashram as well.
My internship ended on 15th June 2013 after we both had submitted our respective reports of study to Nandini Ma'am and left for Ranchi on the 16th. We received Rs 8000 as stipend from which I bought a saari for my mother and a watch for my dad. I had to get a few jeans and tops for my little sister as well 'If you want to stay alive' as she had warned. I gave the remaining amount to my mom when I returned home.
The internship at BPA Ahmedabad was a great learning opportunity for me as I got to understand the huge difference between the mindsets of PWDs with respect to others. People WITHOUT disabilities take things for granted. They don't appreciate the value of what has been given to them. Two eyes to look at the beautiful world, two ears to listen to the morning chirping of the birds, two hands to works, two legs to walk and a completely sensible brain to understand and comprehend messages vocal, visual or written. Instead they complain about the amount of work they have to do, the responsibilities on them, the hectic lifestyle they live and many more. And here at BPA every day I watched a deaf and blind kid, happily dancing and playing tabla with an unmatched zeal; I saw Harshadbhai, a mentally retarded person, happily making the best tea I have ever tasted outside home; Ishaan, mentally challenged, enjoying the pre-vocational training and happily making the necklaces and beautiful earrings. All this has made me think the who are we to teach them, we should be the ones learning from them the art of living happily. I am moved by the effort BPA puts in to empower the people with disabilities.
I have decided that I will work for the persons with disabilities in future and find my career in this field only. I have also found out an NGO in Ranchi which works in the same field and right now I am trying to gain as much knowledge about this field as I can. I sincerely thank CBM for giving me this opportunity and helping me decide the course of my life.
Was this interesting? If yes, please hit the 'Like' button below and help Pratham become the winner of the month and win the prize (Rs. 5,000/-) that he truly deserves!


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TROLLEY AND AUTO SMASH TOGETHER.
Warwick, R. I., July 4. -- (AP) -- His view cut off by dense bushes growing on both sides of the crossing, GUSTAV MENSEL, of Riverside drove his automobile directly in front of a trolley car this afternoon and as a result three of the occupants of the automobile are dead and MENSEL and the fifth occupant are badly injured.
MRS. EVA HARTLEY, 50 years old of Providence.
MISS MILLIE J. HARTLEY, 18, Mrs. Hartley's daughter.
MISS ELLA M. BIDWELL, 25, of Providence.
RAYMOND HARTLEY, 10 year old son of Mrs. Hartley was badly bruised.
All the injured persons were alive when the trolley car was stopped. MISS HARTLEY died on the way to a hospital and MISS BIDWELL and MRS. HARTLEY a few minutes later.
MRS. GEORGE CRUITT, will lose an eye.
VIOLA, nine year old daughter of E. E. METTLER, leg broken.
Infant Daughter of FRANK SUNDERMAN, are broken.
Son of NATHAN ENGLAND, age 12, both legs and arms badly burned.
J. N. BINCKLEY, hands burned.
MRS. FANNIE SHELLENBERGER, leg broken.
The victims all live in Lancaster.


BWX Technologies subsidiary BWXT Canada Ltd is to manufacture and deliver eight steam generators for Bruce B unit 6 under a CDN 130 million ($100 million) contract with Bruce Power.
The contract, announced yesterday, is the first to follow a memorandum of understanding signed by the two companies in December 2015 after the government of Ontario announced that an incremental operating period extension would go ahead at Bruce. Under that memorandum, BWXT will design and manufacture all 32 steam generators needed for the eventual refurbishment of six Candu reactors at the Bruce site.
The steam generators will be manufactured by Cambridge, Ontario-based BWXT Canada and shipped to the Bruce site in 2020, when unit 6 will go off line for refurbishment.
BWXT Canada has supplied all the steam generators installed at the Bruce nuclear power station since it went online in 1977 and Kevin Kelly, Bruce Power's chief financial officer and acting president, said the two companies shared a long history. "The steam generator replacement program is integral to our refurbishment … I look forward to continued success as we work together to enhance Ontario's energy infrastructure," he said.
The Bruce nuclear power plant comprises eight Candu units - Bruce A units 1-4 and Bruce B units 5-8. Units 3-8 are to be refurbished in an incremental project starting in 2020 and spanning 13 years, costing an estimated CDN 8 billion. An additional CDN 5 billion will be spent on related work from 2016 to 2053. Bruce B unit 6 will be the first to undergo refurbishment, starting in January 2020. Bruce A units 1 and 2 have already undergone refurbishment, completed in 2012.
The multi-year investment program is underpinned by a December 2015 agreement between Bruce Power and Ontario's Independent Electricity System Operator to secure 6300 MW of electrical capacity at the Bruce site.


text:
Haptic technology
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A 1980s era head-mounted display and wired gloves at the NASA Ames Research Center
Haptic technology, also known as kinaesthetic communication or 3D touch,[1] refers to any technology that can create an experience of touch by applying forces, vibrations, or motions to the user.[2] These technologies can be used to create virtual objects in a computer simulation, to control virtual objects, and to enhance remote control of machines and devices (telerobotics). Haptic devices may incorporate tactile sensors that measure forces exerted by the user on the interface. The word haptic, from the Greek: ἁπτικός (haptikos), means "pertaining to the sense of touch". Simple haptic devices are common in the form of game controllers, joysticks, and steering wheels.
Haptic technology facilitates investigation of how the human sense of touch works by allowing the creation of controlled haptic virtual objects. Most researchers distinguish three sensory systems related to sense of touch in humans: cutaneous, kinaesthetic and haptic.[3][4] All perceptions mediated by cutaneous and kinaesthetic sensibility are referred to as tactual perception. The sense of touch may be classified as passive and active,[5] and the term "haptic" is often associated with active touch to communicate or recognize objects.[6]
One of the earliest applications of haptic technology was in large aircraft that use servomechanism systems to operate control surfaces.[7] In lighter aircraft without servo systems, as the aircraft approached a stall, the aerodynamic buffeting (vibrations) was felt in the pilot's controls. This was a useful warning of a dangerous flight condition. Servo systems tend to be "one-way," meaning external forces applied aerodynamically to the control surfaces are not perceived at the controls, resulting in the lack of this important sensory cue. To address this, the missing normal forces are simulated with springs and weights. The angle of attack is measured, and when it approaches the critical stall point a stick shaker is engaged which simulates the response of a simpler control system. Alternatively, the servo force may be measured and the signal directed to a servo system on the control, also known as force feedback. Force feedback has been implemented experimentally in some excavators and is useful when excavating mixed material such as large rocks embedded in silt or clay. It allows the operator to "feel" and work around unseen obstacles, enabling significant increases in productivity and less risk of damage to the machine.
The first US patent for a tactile telephone was granted to Thomas D. Shannon in 1973.[8] An early tactile man-machine communication system was constructed by A. Michael Noll at Bell Telephone Laboratories, Inc. in the early 1970s[9] and a patent was issued for his invention in 1975.[10]
Aura Interactor vest
In 1994, the Aura Interactor vest was developed.[11] The vest is a wearable force-feedback device that monitors an audio signal and uses electromagnetic actuator technology to convert bass sound waves into vibrations that can represent such actions as a punch or kick. The vest plugs into the audio output of a stereo, TV, or VCR and the audio signal is reproduced through a speaker embedded in the vest. Aura subsequently developed th Interactor Cushion, a device which operates like the Vest but is placed against a seat back for the user to lean against instead of being worn.
Jensen's Tap-in device
In 1995, Norwegian Geir Jensen described a wristwatch haptic device with a skin tap mechanism, termed Tap-in. It would connect to a mobile phone via Bluetooth. Tapping-frequency patterns would identify callers to a mobile and enable the wearer to respond by selected short messages. It was submitted for a governmental innovation contest and received no award. It was not pursued or published until recovered in 2015.[12] The Tap-in device by Jensen was devised facing the user to avoid twisting of the wrist (see image). It would adapt to all mobile phone and watch brands. In 2015, Apple started to sell a wrist watch which included skin tap sensing of notifications and alerts to the mobile phone of the watch wearer.
ImplementationEdit
VibrationEdit
The majority of electronics offering haptic feedback use vibrations, and most use a type of eccentric rotating mass (ERM) actuator, consisting of an unbalanced weight attached to a motor shaft. As the shaft rotates, the spinning of this irregular mass causes the actuator, and in turn, the attached device, to shake.
Some newer devices, such as Apple's MacBooks and iPhones featuring the "Taptic Engine", accomplish their vibrations with a linear resonant actuator (LRA), which moves a mass in a reciprocal manner by means of a magnetic voice coil, similar to how speaker technology translates AC electrical signals into motion of its speaker cone. LRAs are capable of quicker response times than ERMs, and thus can transmit more accurate haptic imagery.
Piezoelectric actuators are also employed to produce vibrations, and offer even more precise motion with less noise and in a smaller platform, but require higher voltages than the ERM and LRA implementations, and may be more fragile.
Force feedbackEdit
Some devices use motors to manipulate the movement of a peripheral held by the user. A common use is in automobile driving video games and simulators, which turn the steering wheel to simulate forces found when cornering a real vehicle. In 2007, Novint released the Falcon, the first consumer 3D touch device with high resolution three-dimensional force feedback. This allowed the haptic simulation of objects, textures, recoil, momentum, and the physical presence of objects in games.[13][14]
Non-contact haptic technologyEdit
Non-contact, or mid-air, haptic technology utilises the sense of touch without any physical contact of a device. This type of feedback involves interactions with a system that is in a 3D space around the user. Thus, the user can perform actions on a system in the absence of holding a physical input device.
Air vortex ringsEdit
Air vortex rings are donut-shaped air pockets made up of concentrated gusts of air. Focused air vortices can have the force to blow out a candle or disturb papers from a few yards away. Two specific companies have done research using air vortices as a source for non-contact haptic feedback.[citation needed]
Disney researchEdit
In 2013, Disney worked on a technology they called AIREAL. This system delivered non-contact haptic feedback through the use of air vortex rings. According to Disney, AIREAL helps users experience textures and "touch" virtual 3D objects in free space. This is all without the need for a glove or any other type of physical haptic feedback. Disney took on this research because they believed that technology is advancing towards more virtual or augmented reality applications. According to Disney, the missing piece in this emerging computer-augmented world is the absence of a physical feeling of virtual objects. Disney's main intention for this research was to encourage other research regarding new applications of non-contact haptic feedback.[15]
MicrosoftEdit
In 2013, Microsoft explored the same area as Disney. They used air vortex rings to try and provide haptic feedback for an at-a-distance interaction. Microsoft focused on the study of vortex formation theory and parameters that will provide the most effective air vortex ring in imparting haptic feedback onto the user. Microsoft concluded that to get the best experience from the air vortex rings, the aperture size that produces the rings does not constrain the design. However, the L/D Ratio is the most useful measurement. The optimal L/D ratio for an air vortex ring generator is between 5 and 6.[16]
UltrasoundEdit
Ultrasound is a form of sound wave that has a high frequency. The most popular use of ultrasound is the visualization of a baby in the mother's womb. Generally, these sound waves are not harmful to the human body and can be focused easily.
UltrahapticsEdit
Founded in 2013, Ultrahaptics has focused on providing users haptic feedback in free space using ultrasound technology. They use multiple ultrasound speakers to make changes in the air pressure around the user. This provides the user with the ability to feel the pockets of pressurized air focused in the environment which in turn gives the user tactile cues for gestures, invisible interfaces, textures, and virtual objects. The company launched its evaluation program in 2014. This program includes a device that rests on the table. The various ultrasound speakers are laid out in a grid, which can focus the ultrasound waves directly above it.[17] This type of technology is currently intended for use with computer interfaces involving hand gestures.[18]
Commercial applicationsEdit
Tactile electronic displaysEdit
A tactile electronic display is a kind of display device that presents information in tactile form.
Teleoperators and simulatorsEdit
Teleoperators are remote controlled robotic tools—when contact forces are reproduced to the operator, it is called haptic teleoperation. The first electrically actuated teleoperators were built in the 1950s at the Argonne National Laboratory by Raymond Goertz to remotely handle radioactive substances. Since then, the use of force feedback has become more widespread in other kinds of teleoperators, such as remote-controlled underwater exploration devices.
When such devices are simulated using a computer (as they are in operator training devices) it is useful to provide the force feedback that would be felt in actual operations. Since the objects being manipulated do not exist in a physical sense, the forces are generated using haptic (force generating) operator controls. Data representing touch sensations may be saved or played back using such haptic technologies. Haptic simulators are used in medical simulators and flight simulators for pilot training. It is very critical to exert proper force magnitude to the user. It requires considering human force sensitivity.[19]
Video gamesEdit
Rumble packs for controllers, such as this Dreamcast Jump Pack, provide haptic feedback through users' hands
Haptic feedback is commonly used in arcade games, especially racing video games. In 1976, Sega's motorbike game Moto-Cross,[20] also known as Fonz,[21] was the first game to use haptic feedback which caused the handlebars to vibrate during a collision with another vehicle.[22] Tatsumi's TX-1 introduced force feedback to car driving games in 1983.[23] The game Earthshaker! was the first pinball machine with haptic feedback in 1989.[24]
Simple haptic devices are common in the form of game controllers, joysticks, and steering wheels. Early implementations were provided through optional components, such as the Nintendo 64 controller's Rumble Pak in 1997. In the same year, the Microsoft SideWinder Force Feedback Pro with built-in feedback from Immersion Corporation was released.[25] Many newer generation console controllers and joysticks feature built in feedback devices too, including Sony's DualShock technology and Microsoft's Impulse Trigger technology. Some automobile steering wheel controllers, for example, are programmed to provide a "feel" of the road. As the user makes a turn or accelerates, the steering wheel responds by resisting turns or slipping out of control.
In 2013, Valve announced a line of Steam Machines microconsoles, including a new Steam Controller unit that uses weighted electromagnets capable of delivering a wide range of haptic feedback via the unit's trackpads.[26] These controllers' feedback systems are open to the user, which allows the user to configure the feedback to occur in nearly limitless ways and situations. Also, due to the community orientation of the controller, the possibilities to have games interact with the controller's feedback system are only limited to the game's design.
In 2014, the researchers in LG Electronics, led by Youngjun Cho, showed a new technique to automatically generate haptic effects on a haptic cushion in interacting with multimedia contents at ACTUATOR 2014 in Bremen, Germany.[27]
In 2015, Valve released the Steam Controller with HD Haptics, with haptic force actuators on both sides of the controller deliver precise, high fidelity vibrations measured in microseconds, can emulate the spin of a virtual trackball, the click of a scroll wheel, or the shot of a rifle. Every input, from the triggers to the trackpads, can offer haptic feedback to fingertips, delivering vital, high-bandwidth, tactile feedback about speed, boundaries, thresholds, textures, or actions.
In 2017, the Nintendo Switch's Joy-Con introduced the HD Rumble feature (similar to Valve HD Haptics). It has a high level of precision, allowing it to simulate the feel of holding, moving, and using objects. 1-2-Switch has a number of minigames demonstrating this feature. It can even be as detailed as to create music, as experienced in Super Mario Party, notifying a player of their turn. [28]
In 2018, Razer Inc. announced the Razer Nari Ultimate, a pair of headphones using a pair of Intelligent Haptics created by Lofelt. Featuring THX Spatial Audio, it was built to add immersion to games with true-to-life vibrations.[29]
Personal computersEdit
In 2008, Apple's MacBook and MacBook Pro started incorporating a "Tactile Touchpad" design[30][31] with button functionality and haptic feedback incorporated into the tracking surface.[32] Products such as the Synaptics ClickPad[33] followed thereafter.
In 2015, Apple introduced "Force Touch" trackpads onto the 2015 MacBook Pro which simulates clicks with a "Taptic Engine" (which provides haptic feedback).[34][35]
Mobile devicesEdit
Vibramotor of LG Optimus L7 II
Tactile haptic feedback is common in cellular devices. Handset manufacturers such Nokia, LG and Motorola have included different types of haptic technologies in their devices; in most cases, this takes the form of vibration response to touch. Alpine Electronics uses a haptic feedback technology named PulseTouch on many of their touch-screen car navigation and stereo units.[36] The Nexus One features haptic feedback, according to their specifications.[37] Samsung first launched a phone with haptics in 2007.[38]
Surface haptics refers to the production of variable forces on a user's finger as it interacts with a surface, such as a touchscreen. Tanvas[39] uses an electrostatic technology[40] to control the in-plane forces experienced by a fingertip, as a programmable function of the finger's motion. The TPaD Tablet Project[41] uses an ultrasonic technology to modulate the slipperiness of a glass touchscreen as if a user's finger is floating on a cushion of air.
In February 2013, Apple Inc. was awarded the patent for a more accurate haptic feedback system that is suitable for multitouch surfaces. Apple's U.S. Patent for a "Method and apparatus for localization of haptic feedback"[42] describes a system where at least two actuators are positioned beneath a multitouch input device to provide vibratory feedback when a user makes contact with the unit. More specifically, the patent provides for one actuator to induce a feedback vibration, while at least one other actuator creates a second vibration to suppress the first from propagating to unwanted regions of the device, thereby "localizing" the haptic experience. While the patent gives the example of a "virtual keyboard," the language specifically notes the invention can be applied to any multitouch interface.[43]
Virtual realityEdit
Haptics are gaining widespread acceptance as a key part of virtual reality systems, adding the sense of touch to previously visual-only interfaces. Most of these use stylus-based haptic rendering, where the user interfaces to the virtual world via a tool or stylus, giving a form of interaction that is computationally realistic on today's hardware. Systems are being developed to use haptic interfaces for 3D modeling and design that are intended to give artists a virtual experience of real interactive modeling. Researchers from the University of Tokyo have developed 3D holograms that can be "touched" through haptic feedback using "acoustic radiation" to create a pressure sensation on a user's hands (see future section). The researchers, led by Hiroyuki Shinoda, had the technology on display at SIGGRAPH 2009 in New Orleans.[44] Several companies are making full-body or torso haptic vests or haptic suits for use in immersive virtual reality so that explosions and bullet impacts can be felt.
ResearchEdit
There has been research into simulating taction using high-speed vibrations or other stimuli. One device of this type uses a pad array of pins which vibrate to simulate a surface being touched. While this does not have a realistic feel, it does provide useful feedback, allowing discrimination between various shapes, textures, and resiliencies. Several haptics APIs have been developed for research applications, such as Chai3D, OpenHaptics, and the Open Source H3DAPI.
MedicineEdit
Haptic interfaces for medical simulation may prove especially useful for training in minimally invasive procedures such as laparoscopy and interventional radiology,[45] as well as for performing remote surgery.[46] A particular advantage of this type of work is that surgeons can perform more operations of a similar type with less fatigue. A Virtual Haptic Back (VHB) was successfully integrated in the curriculum at the Ohio University College of Osteopathic Medicine.[47]
RoboticsEdit
The Shadow Hand uses the sense of touch, pressure, and position to reproduce the strength, delicacy, and complexity of the human grip.[48] The SDRH was developed by Richard Greenhill and his team of engineers in London as part of The Shadow Project, now known as the Shadow Robot Company, an ongoing research and development program whose goal is to complete the first convincing artificial humanoid. An early prototype can be seen in NASA's collection of humanoid robots, or robonauts.[49] The Shadow Hand has haptic sensors embedded in every joint and finger pad, which relay information to a central computer for processing and analysis. Carnegie Mellon University in Pennsylvania and Bielefeld University in Germany found The Shadow Hand to be an invaluable tool in advancing the understanding of haptic awareness, and in 2006 they were involved in related research.[citation needed] The first PHANTOM, which allows one to interact with objects in virtual reality through touch, was developed by Thomas Massie while a student of Ken Salisbury at MIT.[50]
Arts, design, and handwritingEdit
Touch is not just limited to feeling but also allows for interactivity in real-time with virtual objects. Thus, haptics are used in virtual arts, such as sound synthesis or graphic design and animation.[citation needed] The haptic device allows the artist to have direct contact with a virtual instrument that produces real-time sound or images. For instance, the simulation of a violin string produces real-time vibrations of this string under the pressure and expressiveness of the bow (haptic device) held by the artist. This can be done with physical modeling synthesis.
Designers and modellers may use high-degree-of-freedom input devices that give touch feedback relating to the "surface" they are sculpting or creating, allowing faster and more natural workflow than traditional methods.[51] Artists working with haptic technology such as vibrotactile effectors are Christa Sommerer, Laurent Mignonneau, and Stahl Stenslie.[52] Digital drawing or handwriting tasks can be enhanced to produce better outputs with a more realistic feedback which is designed to enable artists or writers to feel as if they are drawing or writing with a traditional writing/drawing tool (marker pen, ballpoint pen, etc.). The first method to realise this was proposed in RealPen Project.[53][54]
Future applicationsEdit
Future applications of haptic technology cover a wide spectrum of human interaction with technology. Current (from 2013) research focuses on the mastery of tactile interaction with holograms and distant objects, which if successful may result in applications and advancements in gaming, movies, manufacturing, medical, and other industries.[citation needed] The medical industry stands to gain from virtual and telepresence surgeries, which provide new options for medical care. The clothing retail industry could gain from haptic technology by allowing users to "feel" the texture of clothes for sale on the internet.[55] Future advancements in haptic technology may create new industries that were previously neither feasible nor realistic.
Holographic interactionEdit
Researchers at the University of Tokyo are working on adding haptic feedback to holographic projections.[56][57][58] The feedback allows the user to interact with a hologram and receive tactile responses as if the holographic object were real. The research uses ultrasound waves to create acoustic radiation pressure, which provides tactile feedback as users interact with the holographic object. The haptic technology does not affect the hologram, or the interaction with it, only the tactile response that the user perceives. The researchers posted a video displaying what they call the Airborne Ultrasound Tactile Display.[44] As of 2008[update], the technology was not ready for mass production or mainstream application in industry but was quickly progressing, and industrial companies showed a positive response to the technology. This example of possible future application is the first in which the user does not have to be outfitted with a special glove or use a special control—they can "just walk up and use [it]".[59]
Future medical applicationsEdit
One currently developing (from 2014) medical innovation is a central workstation used by surgeons to perform operations remotely. Local nursing staff set up the machine and prepare the patient, and rather than travel to an operating room, the surgeon becomes a telepresence.[60] This allows expert surgeons to operate from across the country, increasing availability of expert medical care. Haptic technology provides tactile and resistance feedback to surgeons as they operate the robotic device. As the surgeon makes an incision, they feel ligaments as if working directly on the patient.[61]
As of 2003[update], researchers at Stanford University were developing technology to simulate surgery for training purposes. Simulated operations allow surgeons and surgical students to practice and train more. Haptic technology aids in the simulation by creating a realistic environment of touch. Much like telepresence surgery, surgeons feel simulated ligaments, or the pressure of a virtual incision as if it were real. The researchers, led by J. Kenneth Salisbury Jr., professor of computer science and surgery, hope to be able to create realistic internal organs for the simulated surgeries, but Salisbury stated that the task would be difficult. The idea behind the research is that "just as commercial pilots train in flight simulators before they're unleashed on real passengers, surgeons will be able to practice their first incisions without actually cutting anyone." [55]
According to a Boston University paper published in The Lancet, "Noise-based devices, such as randomly vibrating insoles, could also ameliorate age-related impairments in balance control."[62] If effective, affordable haptic insoles were available, perhaps many injuries from falls in old age or due to illness-related balance-impairment could be avoided.
In 2013, an inventor in the United States built a "spider-sense" bodysuit, equipped with ultrasonic sensors and haptic feedback systems, which alerts the wearer of incoming threats; allowing them to respond to attackers even when blindfolded.[63]
Laparoscopic tactile imaging probe (design concept)
During laparoscopic surgery, the video camera becomes a surgeon's eyes, since the surgeon uses the image from the video camera positioned inside the patient's body to perform the procedure. Visual feedback is either similar or often superior to open procedures. The greatest limitation to these minimally invasive approaches is the impairment (in the case of traditional laparoscopy) or complete lack of tactile sensation (in the case of robotic laparoscopy) normally used to assist in surgical dissection and decision making. Despite multiple attempts, no tactile imaging device or probe is currently commercially available for laparoscopic surgery.[64][65][66][67] Figure on the right presents one of the proposed devices, which is in the development phase.[68]
List of PC games with force feedback support
Organic user interface
Stylus (computing)
Tactile imaging
Wired glove
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Haptic technology at HowStuffWorks
Retrieved from "https://en.wikipedia.org/w/index.php?title=Haptic_technology&oldid=906969830"


It's almost time for the second annual Adoption at the Movies Awards! On Tuesday, February 17, Adoption at the Movies will celebrate the films that succeeded at being entertaining while also portraying adoption positively. We want you to help choose the winners! On Thursday, February 12 Adoption at the Movies will be sending e-mail ballots to every Adoption at the Movies e-mail subscriber. If you've already subscribed, just sit tight, and the ballots will show up. Want to vote, but haven't subscribed yet? Sign up now as an email subscriber. It's free, it's quick, and it's an easy way to make sure you never miss an adoption movie review. Plus, you'll have a say in deciding which movies get honored this year.
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The Impact of Branding on Low-Income Adolescents: A Vicious Cycle?
Katja Jezkova Isaksen, Stuart Roper
This study examines the impact of consumerism and consumer culture on low-income British adolescents. Specifically, it investigates the effects of branding and advertising on the formation of self-concept clarity (SCC) and consumer susceptibility to interpersonal influence (CSII). A comparative study was conducted between two groups, low- and high-income teenagers, assessing SCC and CSII by means of quantitative scales. It was found that low-income teenagers are less clear in their self-concept and are more susceptible to interpersonal influence than their high-income counterparts. A significant negative correlation between the two scales revealed that the less clear one's self-concept is, the more susceptible one is to interpersonal influence. It is proposed that an inability to "keep up" with the latest fashion trends (due to restricted consumption opportunities) may result in a damaged self-concept among low-income teenagers, which leads to heightened susceptibility to consumption pressures and hence heightens the negative socio-psychological impacts of living in poverty. The results of the study are reviewed in terms of branding, advertising, and consumer behavior and a proposed conceptual model of branding's impact on low-income teenagers is presented as a "vicious cycle."
Psychology and Marketing
https://doi.org/10.1002/mar.20254
10.1002/mar.20254Licence: Unspecified
Dive into the research topics of 'The Impact of Branding on Low-Income Adolescents: A Vicious Cycle?'. Together they form a unique fingerprint.
Self-concept Business & Economics 100%
Interpersonal Influence Business & Economics 88%
Teenagers Business & Economics 83%
self-concept Social Sciences 77%
Branding Business & Economics 76%
Low Income Business & Economics 72%
Income Medicine & Life Sciences 66%
low income Social Sciences 64%
Isaksen, K. J., & Roper, S. (2008). The Impact of Branding on Low-Income Adolescents: A Vicious Cycle? Psychology and Marketing, 25(11), 1063-1087. https://doi.org/10.1002/mar.20254
Isaksen, Katja Jezkova ; Roper, Stuart. / The Impact of Branding on Low-Income Adolescents : A Vicious Cycle?. In: Psychology and Marketing. 2008 ; Vol. 25, No. 11. pp. 1063-1087.
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title = "The Impact of Branding on Low-Income Adolescents: A Vicious Cycle?",
abstract = "This study examines the impact of consumerism and consumer culture on low-income British adolescents. Specifically, it investigates the effects of branding and advertising on the formation of self-concept clarity (SCC) and consumer susceptibility to interpersonal influence (CSII). A comparative study was conducted between two groups, low- and high-income teenagers, assessing SCC and CSII by means of quantitative scales. It was found that low-income teenagers are less clear in their self-concept and are more susceptible to interpersonal influence than their high-income counterparts. A significant negative correlation between the two scales revealed that the less clear one's self-concept is, the more susceptible one is to interpersonal influence. It is proposed that an inability to {"}keep up{"} with the latest fashion trends (due to restricted consumption opportunities) may result in a damaged self-concept among low-income teenagers, which leads to heightened susceptibility to consumption pressures and hence heightens the negative socio-psychological impacts of living in poverty. The results of the study are reviewed in terms of branding, advertising, and consumer behavior and a proposed conceptual model of branding's impact on low-income teenagers is presented as a {"}vicious cycle.{"}",
keywords = "Clothing, Competitiveness, Dress Codes, Low-income adolescents, Impact of branding",
author = "Isaksen, {Katja Jezkova} and Stuart Roper",
doi = "10.1002/mar.20254",
journal = "Psychology and Marketing",
publisher = "Wiley-Liss Inc.",
Isaksen, KJ & Roper, S 2008, 'The Impact of Branding on Low-Income Adolescents: A Vicious Cycle?', Psychology and Marketing, vol. 25, no. 11, pp. 1063-1087. https://doi.org/10.1002/mar.20254
The Impact of Branding on Low-Income Adolescents : A Vicious Cycle? / Isaksen, Katja Jezkova; Roper, Stuart.
In: Psychology and Marketing, Vol. 25, No. 11, 01.11.2008, p. 1063-1087.
T1 - The Impact of Branding on Low-Income Adolescents
T2 - A Vicious Cycle?
AU - Isaksen, Katja Jezkova
AU - Roper, Stuart
N2 - This study examines the impact of consumerism and consumer culture on low-income British adolescents. Specifically, it investigates the effects of branding and advertising on the formation of self-concept clarity (SCC) and consumer susceptibility to interpersonal influence (CSII). A comparative study was conducted between two groups, low- and high-income teenagers, assessing SCC and CSII by means of quantitative scales. It was found that low-income teenagers are less clear in their self-concept and are more susceptible to interpersonal influence than their high-income counterparts. A significant negative correlation between the two scales revealed that the less clear one's self-concept is, the more susceptible one is to interpersonal influence. It is proposed that an inability to "keep up" with the latest fashion trends (due to restricted consumption opportunities) may result in a damaged self-concept among low-income teenagers, which leads to heightened susceptibility to consumption pressures and hence heightens the negative socio-psychological impacts of living in poverty. The results of the study are reviewed in terms of branding, advertising, and consumer behavior and a proposed conceptual model of branding's impact on low-income teenagers is presented as a "vicious cycle."
AB - This study examines the impact of consumerism and consumer culture on low-income British adolescents. Specifically, it investigates the effects of branding and advertising on the formation of self-concept clarity (SCC) and consumer susceptibility to interpersonal influence (CSII). A comparative study was conducted between two groups, low- and high-income teenagers, assessing SCC and CSII by means of quantitative scales. It was found that low-income teenagers are less clear in their self-concept and are more susceptible to interpersonal influence than their high-income counterparts. A significant negative correlation between the two scales revealed that the less clear one's self-concept is, the more susceptible one is to interpersonal influence. It is proposed that an inability to "keep up" with the latest fashion trends (due to restricted consumption opportunities) may result in a damaged self-concept among low-income teenagers, which leads to heightened susceptibility to consumption pressures and hence heightens the negative socio-psychological impacts of living in poverty. The results of the study are reviewed in terms of branding, advertising, and consumer behavior and a proposed conceptual model of branding's impact on low-income teenagers is presented as a "vicious cycle."
KW - Clothing
KW - Competitiveness
KW - Dress Codes
KW - Low-income adolescents
KW - Impact of branding
U2 - 10.1002/mar.20254
DO - 10.1002/mar.20254
JO - Psychology and Marketing
JF - Psychology and Marketing
Isaksen KJ, Roper S. The Impact of Branding on Low-Income Adolescents: A Vicious Cycle? Psychology and Marketing. 2008 Nov 1;25(11):1063-1087. https://doi.org/10.1002/mar.20254


Since 1976, the deafening roar of women on motorcycles has served as the prelude to the San Francisco Pride Parade. Dykes on Bikes® holds a mythic place both at the forefront of the annual SF Pride Parade, and in the hearts of millions of people all over the world, as an inspirational symbol of queer pride and lesbian power. The Gay, Lesbian, Bisexual Transgender Historical Society will host an exhibit chronicling the last 30 years of Dykes on Bikes. Join us for "30 Years of a Ride," a discussion exploring the major mile markers of this landmark group.


text:
Q: Heroku App Crashing with NoClassDefFoundError: org/eclipse/jetty/server/Handler I am trying to run an app on Heroku. I am doing CI on Travis and deploying from it. My code is at https://github.com/santoshkt/cdetsd123
When I went through the logs in heroku, I see following
2014-03-10T03:14:08.180220+00:00 heroku[web.1]: Starting process with command `j
ava $JAVA_OPTS -cp target/classes:target/dependency/* mytest.Main`
2014-03-10T03:14:10.692378+00:00 app[web.1]: Picked up JAVA_TOOL_OPTIONS:  -Djav
a.rmi.server.useCodebaseOnly=true -Djava.rmi.server.useCodebaseOnly=true
2014-03-10T03:14:11.217814+00:00 app[web.1]: Exception in thread "main" java.lan
g.NoClassDefFoundError: org/eclipse/jetty/server/Handler
2014-03-10T03:14:11.286992+00:00 app[web.1]: Caused by: java.lang.ClassNotFoundE
xception: org.eclipse.jetty.server.Handler
2014-03-10T03:14:11.287150+00:00 app[web.1]:    at java.net.URLClassLoader$1.run
(URLClassLoader.java:217)
2014-03-10T03:14:11.287380+00:00 app[web.1]:    at java.net.URLClassLoader.findC
lass(URLClassLoader.java:205)
2014-03-10T03:14:11.287271+00:00 app[web.1]:    at java.security.AccessControlle
r.doPrivileged(Native Method)
2014-03-10T03:14:11.287380+00:00 app[web.1]:    at java.lang.ClassLoader.loadCla
ss(ClassLoader.java:321)
2014-03-10T03:14:11.287380+00:00 app[web.1]:    at sun.misc.Launcher$AppClassLoa
der.loadClass(Launcher.java:294)
2014-03-10T03:14:11.287645+00:00 app[web.1]:    at java.lang.ClassLoader.loadCla
ss(ClassLoader.java:266)
2014-03-10T03:14:11.296871+00:00 app[web.1]: Could not find the main class: myte
st.Main. Program will exit.

To run this software locally, I use mvn jetty:run command and everything works fine. BTW I'm using maven + jetty in this application. I'm trying to debug this for last 6 hours with no clues. Any help is appreciated.

A: Instead of using a Main method to start the server, I solved this by changing the Procfile of Heroku using below.
web:    java $JAVA_OPTS -jar target/dependency/jetty-runner.jar --port $PORT target/*.war

Hope this helps anyone facing same issue.

redpajama_set_name: RedPajamaStackExchange


text:
Loose canonEuropean Union
The Levellers and the Diggers were the original Eurosceptics
Giles Fraser
Democracy requires an intimate link between people and power. The EU has severed that link and turned itself into a club for big business
The late Tony Benn at the Levellers parade in Burford, Oxfordshire. 'Steeped in the history of 17th-century radicalism, Benn knew that democracy was about the power of the people.' Photograph: Tim Graham/Getty Images Photograph: Tim Graham/Getty Images
Thu 11 Feb 2016 11.06 EST
I can still picture Billy Bragg standing on that stage, giving it full-throated fire and moral defiance. You probably know the lyrics (by Leon Rosselson). "In 1649, to St George's Hill, a ragged band they called the Diggers came to show the people's will. They defied the landlords. They defied the laws. They were the dispossessed reclaiming what was theirs."
What most people know about the Diggers and their leader Gerard Winstanley was that they were religious socialists who wanted to turn the land into a common treasury. What they often don't know is that they were also Eurosceptics. So Winstanley begins his book The True Levellers Standard Advanced, also written in 1649: "O what mighty Delusion, do you, who are the powers of England live in! That while you pretend to throw down that Norman yoke, and Babylonish power, and have promised to make the groaning people of England a Free People; yet you still lift up that Norman yoke, and slavish Tyranny, and holds the People as much in bondage, as the Bastard Conquerour himself, and his Councel of War."
I am no great fan of nationalism. And I want us to welcome far more refugees into this country, not less – they are fleeing a slavish Tyranny and Councel of War, after all. But, nonetheless, I believe in people's democracy and so I will be voting for us to leave the European Union. For Winstanley, the Norman yoke went back to the invasion of 1066 and William the Conqueror, who set his French nobleman over the English peasantry, thus generating centuries of resentment against foreign rule. The kings and nobles may have learned to speak English over time, but they were still an alien power imposed without popular consent. This is why the Levellers, who met in my old church in Putney, first demanded democracy as a way to curb the imposition of heteronomous power, power imposed from without, from a distance.
In the popular imagination, the English Reformation was a Brexit
In the 16th century, Henry VIII had broken with Rome and established home rule for the church. As article 37 of the 39 articles puts it: "The bishop of Rome hath no jurisdiction in this realm of England." The Bible was to be written in English and not in a foreign language that ordinary people could not understand. In the 17th century, the monarchy itself was deposed, Charles I being regularly depicted as a reincarnation of "the Bastard Conquerour himself". In the popular imagination, the English Reformation was a Brexit.
All of which is why someone like Tony Benn was such a prominent Eurosceptic. Steeped in the history of 17th-century radicalism, Benn knew that democracy was about the power of the people. "It's not for members of parliament to give away the powers that were lent to them because they don't belong to members of parliament, they belong to the electorate," argued Benn, yet "we live in a continent where increasingly power has gone to a group of people who are not elected, cannot be removed and don't have to listen to us". The point is not that we don't want to be beholden to foreigners but that power must stay close to the people from which it flows. The more distant the power, the more faceless and bureaucratic, the less its legitimacy. We now cast more votes for Big Brother than we do for the Europe's politicians.
No, the bastard conqueror isn't the European Union – we freely gave the powers away. But the EU has meekly become his servant. The bastard conqueror is international finance that ignores borders, locates itself offshore to pay no tax, and has the EU in its pocket. Look at how the EU dealt with Greece, imposing crippling austerity on its people. Look at the Transatlantic Trade and Investment Partnership, the massive trade deal that the EU has been negotiating – mostly in secret – with the US. Under the terms of this deal, large companies will be able to sue nation states if they introduce policies that curb its profits. I'd vote against TTIP if I could. But because of the way the EU is negotiating the deal, I have no say in the matter. And nor do you. The EU has become a neoliberal club, and I will not worship the God they serve.
"Was the Earth made to preserve a few covetous, proud men to live at ease, and for them to bag and barn up the treasures of the Earth from others, that these may beg and starve in a fruitful land; or was it make to preserve all her children?" said Winstanley. Now that would be a common agricultural policy worth voting for.
@giles_fraser
Loose canon


Our Wine Boutique would not be complete without the inclusion of Riedel Stemware. That's because each Riedel wineglass is designed specifically to enhance the taste and bouquet of its intended grape varietal. And when it comes to enhancing the wine drinking experience, no one does it better. In addition to being technically perfect, Riedel's shapes are aesthetically pleasing with their fluid lines and delicate feel.
All of the wines in this collection carry the Riedel trademark on the foot and are packaged in Riedel's distinctive gift box.


Ultramarines is a 70-minute sci-fi thriller that will use CGI and state-of-the-art animation production techniques. Games Workshop is delighted to be working with UK-based production company Codex Pictures, who have the momentous task of bringing the Warhammer 40,000 universe to the screen.
News of the production of a movie was unveiled at UK Games Day, the biggest event in the Games Workshop calendar, on Sunday, September 27 2009.
le sommaire de l'Imperial Armour 8 : Orks contre Ravenguard !
un transporteur volant pour les paras Elyséens.


To schedule an appointment with John Raymond Daley, please call 507-292-7170 .
General Cardiology care with an interest in acute and chronic ischemic heart disease, valvular heart disease, rhythm disturbances hypertensive heart disease and preventive care.
My personal interests include art, landscape painting, exercise / running, literature, nature, fly fishing, landscape and trout stream restoration.


Fatuma's Voice Forum is on a Mission to Question Status Quo by using Debate, Open Dialogue, and other Creative Tools to encourage expression and seek answers as well as solutions to social issues.
We picture an inclusive and politically conscious Africa, with a voice that will dismantle false narratives and involve every community member in the process of social change.
Fatuma's Voice drives for community-based social change by encouraging creative expression and sparking conversations about social issues.
Since we launched on 12 July 2013, we have held 142 themed community forums and hosted 1,420 artistic performers and brought together 15,000 community members.
So, How Can You Plug In?
We've been facilitating community forums in Nairobi, and Mombasa, and Nakuru, within Kenya. We're now seeking to partner with individuals, organizations, and communities across the continent to build an African movement that drives sustainable social change.
The first Fatuma's Voice forum happened on Friday, 12 July 2013. It began as an open forum and has since grown into a themed and structured event that happens each week ever since. This has had a lasting impression on the individuals and organizations that have had the privilege of attending.
Consequently, they have also had an opportunity to interact and share with creative's from other cities and countries.
Each session has a theme and a featured guest who is proficient in the day's topic.
Our forum encourages expression through art, poetry, and music. This has created an avenue for creative's to use their talents for a positive course.
Thus, we strongly believe that art can be used to create unity in diversity. As a result, we have been gathering artists from different ethnic groups and have encouraged them to work together to create a national art identity.
Besides the art, Fatuma's Voice also doubles up as a supplementary education source. Therefore, we have taken the challenge of influencing and encouraging youth to grow their talents; and become value-adding agents to the society.


I'm VAT registered and I have just bought a second-hand vehicle for the business. Is there any VAT I can reclaim on this purchase?
If the vehicle you have purchased is a car, it is extremely unlikely you will be able to reclaim VAT on it. This is because cars, whether purchased new or second-hand, are specifically excluded from the normal VAT reclaim procedure. The only exception is if the car is to be used exclusively for business. Being available for private use, even if not actually used for this, will fail this test. As a result, a car will usually need to be unsuitable for private use to qualify. This would include taxis and cars used for driving instruction.
Commercial vehicles, such as vans and trucks, can have VAT reclaimed on them in the same way as any other business purchase. Usually the distinction between a car and a commercial vehicle will be obvious. However, care should be taken when a vehicle exhibits some of the traits of both. Vehicles such as double-cab pickups, which have two sets of seats, can be defined as cars under these rules. If in doubt, seek professional advice before purchasing a vehicle.
In either case, you will still need a purchase invoice showing the VAT you are seeking to reclaim. If no VAT is shown on the purchase invoice you receive, then no VAT reclaim will be possible. There are two main reasons for a dealer not to show VAT on their invoices. A small dealer may have a turnover below the registration limit and hence not be registered at all. Alternatively, VAT registered second-hand vehicle dealers are able to operate a special VAT scheme called the Margin Scheme. If this is the case, the purchase invoice should state the sale is under that scheme and there is no VAT to be reclaimed.
it was due. What penalties am I facing?
The confirmation statement (formerly the annual return) is a yearly report to Companies House. This provides basic information about the company, such as the names of the officers, its registered office address, and details of who controls the company. By default, the date of the report itself is the anniversary of incorporation. Companies have 14 days from that date to file the confirmation statement.
The good news is that, unlike accounts, there are no financial penalties for filing your confirmation statement late. This does not mean that you should simply ignore this requirement. Companies House can bring criminal proceedings against company officers for failure to fulfil their duties. This can lead to personal fines being levied on those directors. Companies House can also move to strike the company from the register. If the company is struck off, all its assets become property of the Crown. Since a company's filing history is visible to the public, a history of late filing could also affect its reputation with its trading partners.
It is possible to file a confirmation statement at a date other than the anniversary. This can be done either to update the public record earlier, or to change the date to a less busy time of year. Confirmation statements cannot be filed more than 12 months apart, so any such filing has to be at an earlier date.


Is there a way to email a Brix Chix?
We can all be reached at "name"@brixchicks.com. THanks for your interest!
Ethiopian food, how I miss it! Reading your post made me a little bit nostalgic for The Red Sea restaurant in my old stomping ground of Wash. DC. I'd really love to try that riesling. Great write up! Cheers!
Riesling rocked! Hopefullyh you are planning on taking an extra day for WBC and making the trek to murphys!


The EL-MOTE-TH is a wireless temperature and humidity monitoring system enabling you to stream, view and record temperature and humidity readings continuously via the Cloud, 24/7, using any web browser, smart phone or tablet. Set alarms for temperature and humidity levels and receive instant notification via email alerts or via the Cloud interface when a breach is made. The device is suitable for indoor and outdoor use.
The EL-MOTE-TH+ is a wireless, high accuracy temperature and humidity monitoring system enabling you to stream, view and record temperature and humidity readings continuously via the Cloud, 24/7, using any web browser, smart phone or tablet. Set alarms for temperature and humidity levels and receive instant notification via email alerts or via the Cloud interface when a breach is made. The device is suitable for indoor and outdoor use.


FULHAM'S woes continued as they were held to a draw by League One strugglers Sheffield United in the FA Cup.
A waterlogged pitch meant the game was only deemed safe enough to play on an hour before kick-off, but despite the conditions, United's fans were in a buoyant mood.
The Blades sit in the League One relegation zone, but there were no signs of lethargy from Nigel Clough's men.
Starting the game brightly, Sheffield had Fulham on the backfoot a number of times before the breakthrough that ensured the Blades a replay.
Chris Porter darted in front of the robotic Philippe Senderos in the 30th minute to fire the ball past David Stockdale and send the home fans into raptures.
Five minutes later Hugo Rodallega went down in the Blades box after being clipped by George Long, but ref Andre Marriner was not interested in the Colombian's frantic penalty appeals.
Sheffield continued to deal effectively with the Cottagers up to half time, holding their positions on the field and restricting Rene Meulensteen's men to an ineffective passing game.
The Blades started the second half with fire in their bellies, and were so lively that skipper Michael Doyle was shown a straight red in the 52nd minute for an off-the-ball kick at Muamer Tankovic.
Fulham had another penalty appeal on the hour mark, Patjim Kasami the Cottager taking a tumble, but again it was dismissed by Marriner.
In the 70th minute the home fans felt they had claims for a spot-kick, but Marriner made it a hat-trick of rejections and played on.
The ten men of Sheffield were starting to tire, and although not showing many signs of potency, Fulham took advantage in the 74th minute.
Rodallega turned and fired a cracker past George Long for his fourth goal of the season, lifting the travelling Fulham fans and even the placid Meulensteen.
Fulham started to gather steam and after a few attacks Senderos hit the woodwork with a powerful header.
Darren Bent should have sealed the win for Fulham in the 87th minute but somehow managed to miss the target despite being clear in front of the Sheffield net.
Rodallega summed up Fulham's day in the 90th minute when he attempted a shot, only to miss the ball completely and fall on his backside.
Adel Taarabt fired off a powerful effort that whizzed by the post in the final minute, but Sheffield held on for a well-deserved replay at Craven Cottage.
Sheffield Utd: Long, Brayford, Maguire (Harris 47), Hill, Flynn, Doyle, Porter (Scougall 45), Baxter (McGinn 84), Collins, Coady, Murphy. Subs: Howard, Miller, Kennedy, De Girolamo. Goal: Porter (30). Sent off: Doyle (52).
Fulham: Stockdale; Passley, Hughes, Senderos, Riise (Plumain 9, Taarabt 66), Duff, David (Bent 56), Karagounis, Kasami, Tankovic, Rodallega. Subs: Stekelenburg, Pritchard, Christensen, Kacaniklic. Goal: Rodallega (74). Booked: Passley (75), Kasami (80).


text:
FOUNDATION_EXPORT NSString* const TNSInspectorRunLoopMode;

@interface TNSRuntimeInspector : NSObject

+ (BOOL)logsToSystemConsole;
+ (void)setLogsToSystemConsole:(BOOL)shouldLog;

- (void)dispatchMessage:(NSString*)message;

- (void)reportFatalError:(JSValueRef)error __attribute__((noreturn));

@end

typedef void (^TNSRuntimeInspectorMessageHandler)(NSString* message);

@interface TNSRuntime (Inspector)

- (TNSRuntimeInspector*)attachInspectorWithHandler:(TNSRuntimeInspectorMessageHandler)messageHandler;

@end