Add a splash of color! This can be achieved by making sure you have some blooms in your flower beds, or by adding some potted plants on your stoop/porch.
Moving to the back of your home, it's very important that you showcase any outdoor space that you have. Many people view a patio/deck as an extension of their living space. If you have added points of focus such as a fire pit, swimming pool, hot tub, it's very important that these areas as pristine so they are viewed as a bonus feature – not as a negative, for the potential buyer.
Clearing away clutter makes you rooms feel larger, an easy way to give the perception of more space in your home. Properly staging your home goes beyond simply putting away the stack of magazines and clearing the clutter, it means removing excess and/or unsightly furnishings and accessories. Anything showing its age through normal wear and tear is best to tuck away while your home is on the market.
Ask a friend or relative to help walk your home and ask them to give their honest opinion of what pieces should go/stay to maximize your space; remove anything that is unnecessary. This process is not always easy and ideally will require you removing these extra items to an off-site storage space, however, if cost is a concern, neatly stacking these items in your garage is a cost effective option. To most potential buyers, a garage's purpose is to park cars and store miscellaneous items, so they will understand if you have some furniture pieces being temporarily held in this space, but remember the appearance of organization is key.
Once all clutter is diminished, make sure your home SPARKLES and smells fresh and clean. This is so important for the entire period of time that your home is on the market; make sure your countertops are uncluttered & wiped, stainless steel is free of fingerprints, floors are mopped, carpets shampooed and windows are clean. Do you have pets? If so, it's very important that there is no pet odor in your home; be more diligent than ever to make sure carpets are fresh and floors are mopped. Don't underestimate the impact that a clean, clutter free home can have on potential buyers; it's amazing!
We know that your home is an expression of your personal style, but it's important that potential buyers can visualize THEIR personal style in your home – so make sure yours is toned down. Those bright lime green walls must go. This is not to say that every wall must be white, but a nice, neutral tone of mocha or putty is a great pallet for most buyers.
We know you are proud of your family and the home you have made, however, it is important to minimize the family pictures and works of art that your children have drawn that decorate your fridge. Again, you want your buyer to have a vision of THEIR family living in your home so don't fog that vision with hundreds of pictures of you and your family and the life that you have enjoyed there. You do not need to cleanse the home of every personal picture, just keep in mind that less is more.
Visitors will peek inside your closets, and under your sinks, in your medicine cabinet, etc. These areas can be vital to your potential buyers. It's a great time to clean out & re-organize these spaces; and may even require that some seasonal items be boxed up & stored along with that excess furniture, off-site. Your goal is for each closet to appear to be no more than 75% full; again, your potential buyer is seeking maximum space.
Of course your children still need to live in their home & it's unrealistic to make all of their toys "disappear" while your home is on the market, however, thinning them out and keeping them highly organized will make them less of a focal point. For potential buyers with children of their own, an organized child's space will give them confidence that there's plenty of space for their little ones and for those without children, they will likely be able to look beyond the toys and envision an alternate use of the space.
If you have a spare bedroom with no "real" purpose for your family – now is the perfect time to create a use for the space and stage it accordingly. It's important that each room have a defined role for your buyer. Whether you relocate some of your excess furniture from other areas of the home, rent or borrow things you need to create a special space, it is important to do so. Think about what you feel that a buyer would most value in your home – an extra bedroom, children's playroom, or office and stage accordingly.
Likewise, if you have unusual spaces that perhaps draw negative attention because people may be perplexed about what to do with them, this is your time to get creative and let those areas shine. For example, if you have a little nook in your master bedroom, where nothing really fits; why not incorporate a comfy chair and ottoman? Add a small reading lamp and pretty throw casually tossed over the arm and now you have a cozy ready area. Give it purpose and others will see it's potential.


text:
Q: Online and offline point of sales application I am going to develop a simple Point of Sales system. Mainly all the data will be stored in a central db (mysql server). All the application are going to be winforms. Together each local client will have its db copy stored locally and all the operation will be based on the local db except for one operation that the transfer of stock between outlet. So at certain interval there will be updates from the local db into the central db.
The reason to have the local copy of the db in each client desktop in case there is problem with connectivity with the central server so that business can go on as usual and update once it is online. I need help in deciding the right path to move to solve this solution is my design acceptable or being flaw ?

A: If you go about developing it as a website first and then try to add an offline client, you're just doubling the amount of work you have to do.  You're better off building a C# application as your front-end from the beginning, with a local database (google for SQL Server Compact Edition).  Then synchronize the transactions to the server over web services when available.
You can write the web service (back-end) side in whatever you want (PHP or C#) with a fully-fledged database backend.  I would say you want to use C# just so you can live in the same language all the time.
Take a look at Microsoft Synchronization Services on how to synchronize local and remote databases nicely (don't use that framework, but use it to learn how to do it).  It's a bit of work, but you can make it a lot easier if you make some good choices ahead of time, like using GUID or UUID values for your database keys.
Of course you have to give some thought to security.  Those web services need to authenticate every function call to make sure the client is trustworthy (user and password, and possibly two-factor with some kind of secret file that lives on the client).
I think that's enough to point you in the general direction.  Don't discount how much effort you're talking about.

redpajama_set_name: RedPajamaStackExchange


Gold digging. Digging for gold. What she wanted was simply luxury, but peace. Were they the same thing? What would you give up for gold?
Loves, I tried, but all the stories that I could come up with weren't exactly what I wanted to say. This shoot was so fun, and this outfit has been my go-to for casual entertaining and holiday decorating; and I'm not sure what would do it justice.
In Defense of the Gold Digger about class inequality).
As for fashion: it really has taken me a long time to embrace (fully) athlesure. But, I've latched onto biker shorts and pedal pushers and I'm never letting go. See here and here. Yes, these pieces go great with tees and sweatshirts, but my new favorite way to pair them? With a "going out top", this body suit with a deep v is perfect. Casual, comfy, and creative. You can decorate, run errands, and all the things around the house without batting an eye. You also look pulled together so that if a friend happens to stop by with champagne (or any other holiday festive-ness) you're ready.
Gold Digging? Maybe that's what this is!
Lucky you, no need to dig, I've linked similar pieces to recreate this look below!


Crabs, Shrimp, Snails and more!
We sell "Clean Up Crews", a must have for every marine tank!
DID YOU KNOW... Clean Up Crews need replenishment every 3-6 months. A typical crew for a 90 gallon tank could be 10 hermit crabs, 5 or 6 Turbo Snails, 1 or 2 Emerald Crabs...etc... We will customize the correct group based on your water quality, how many fish / coral you have, water flow and filtration. To get started, fill out ourTank Talk formand simply request a crew for you to pick up during store hours.


text:
Q: Save number of lines output to a variable in a shell script without consuming the output I have a shell script where I have a if statement based off of the number output lines output from another call. (In my case do something there is more that 1 line of output).
LINES=$(function_call | wc -l)
if [ "$LINES" -gt 1 ]
  then
    do_stuff
fi

What I would like however is not to consume the output (ie still have it appear in stdout), but still have the script do the same thing.

A: Use tee (here assuming a system with support for /dev/fd/<n>):
{
  lines=$(function_call 3>&- | tee -a /dev/fd/3 | wc -l)
} 3>&1
if [ "$lines" -gt 1 ];  then
  do_stuff
fi

On Linux that has an odd implementation of /dev/fd/<n>, if stdout is redirected to a file, the output will be inserted at the end of that file even if the current position of stdout in the script in that file is not at the end (in general, that would be OK though as it's rare for stdout to be going inside a file).
Alternatively, you could do
{
  lines=$(function_call 3>&- | sed -ne 'w /dev/fd/3' -e '$=')
} 3>&1

Or:
{
  lines=$(function_call 3>&- | awk '{print > "/dev/fd/3"}; END {print NR}')
} 3>&1

(beware that depending on the sed or awk implementation, it may give one more than wc -l if function_call outputs extra data after the last newline character).


1702 N J Terrace is a well-cared home and was ready to move in when listed. The Treu Group listed this cute home with 3 bedroom, 2 bathroom, great features and amazing upgrades. The expertise of The Treu Group in marketing which involved highlighting the best features of the home helped in getting this home sold.
When you list with Treu Group, your home will have a comprehensive marketing plan so all buyers will see the home. Your Lake Worth home will be featured on Zillow, Trulia, and Realtor.com. We'll share your home on all of our social media channels too!


text:
Beauty Gonzalez Reacts To Her "Lounging Romina" Memes
in: Music
Here Are Some Popular Songs We Used To Sing That Were Actually Dark
SONGS – Depending on the kind or which genre it belongs, music always leaves a certain feeling to the listeners by its tunes and beats.
Photo taken from triplejunearthed.com
For instance, slow jazzy songs leave listeners feeling relaxes, while upbeat songs bring out the feelings of joy. However, there are songs which lyrics depict a different mood or exactly opposite of its tune or beat.
If you're looking for playlist suggestions, consider this list of songs that are perfect for the rainy days.
There were also many songs that were misunderstood by listeners due to its catchy beats. Since the tune of the music sometimes drowns other elements, people tend to neglect the actual lyrics.
There are many upbeat songs out there that are actually sad and depressing.
Here's a list of songs that we used to sing a lot but are actually dark or inappropriate:
POKER FACE BY LADY GAGA
The hit song by the pop music artist Lady Gaga became so popular, people all over the world started singing it. But with in a revelation she shared herself. The song was not in any way about playing with cards. She admitted that the real idea of the song was about love making.
SUMMER OF '69 BY BRYAN ADAMS
The song topped the charts back in 1985 after it was released. It the song, the persona appears to be reminiscing moments of his summer back when he was young. But later in 2009, he admitted that the song was never about the year, he said that the song was about love making in summer.
BARBIE GIRL BY AQUA
Here's a very popular song that everybody used to sing back in the days. The song circulated everywhere back in the days. But it then caused controversy among people. Mattel back them even tried to sue the record inc. for allegedly violation laws and trying to turn Barbie into some kind of object.
These are just some of the songs that were listed in an article from Ranker.
That is all there is to it, at least for now. We'll post updates as soon as we got them.
Tagged as: dark, inappropriate, music, songs, Upbeat
Ausan Beach Front Cottage & Restaurant: A Soothing Palawan Haven

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If you are in El Monte looking for a garage door repair company, and you have not been able to find one recently, you may want to consider searching the online classifieds and search results for one of these companies. The classified ads in your local paper may also have this information. You may also know someone that has recently used one businesses. If you have a garage door spring that is not working properly, you can have a replace by calling a garage door spring repair El Monte company.
What Will These Businesses Be Able To Do For You?
These businesses can come out to evaluate your situation. They can tell you if you are in need of a repair or a replacement. If it needs to be replaced, they will place the order and you will soon have your garage door fully functional once again. It may take a few days for the order to command, and a two hours for them to do the repairs, but you won't have to replace your garage door. It's a simple project that will take them very long to get your garage door working once again.
Saving money with these companies will be possible if you can find promotional codes for them. You can locate garage door repair El Monte companies that will be able to help you out. It's only going to take you a little bit of time to get the repairs done. If you are using a promotional code, or a coupon that they are offering, you can save quite a bit on these repairs. By comparing different companies that do offer this service, you can feel confident that you will find the right company. Start searching for one of these businesses today.


text:
Metal Sucks
a pain in your ass since 2006
Metal Sucks JEW ON XTIAN: VINCE NEILSTEIN INTERVIEWS AVENGED... MARS NEEDS MORE NAKED SHERI MOON ZOMBIE
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JEW ON XTIAN: VINCE NEILSTEIN INTERVIEWS AVENGED SEVENFOLD'S JOHNNY CHRIST
July 26th, 2010 at 5:00pm
Vince Neilstein
With the passing of James "The Rev" Sullivan, it hasn't been an easy year for the members of Avenged Sevenfold. But with their new album Nightmare coming out tomorrow and the band out on tour once again — with fill-in drummer Mike Portnoy of Dream Theater — things are starting to look up for the OC crew. In my quick chat with A7X bassist Johnny Christ last week, the youngest and newest member of Avenged Sevenfold spoke about The Rev's passing, the late drummer's role in writing the record, and working with Portnoy and producer Mike Elizondo. Our chat after the jump.
I guess the easiest way to start off probably is that you guys have a new album coming up. What would you like to say about it?
The new record is something that we're all very proud of. It's definitely an evolution of Avenged Sevenfold, and more importantly, it's a record that we felt necessary to make after losing our brother Jimmy "The Rev" Sullivan. He was there writing the music with us for 9 months or something like that before he passed. He was there for every song and nothing was added. This is very much his record. We felt that we just needed to get it out there and have other people hear the artistic value of what he was capable of doing.
I know he was definitely an important part [of the writing of] the last record. Would you say he was a more of a part of writing on this record than the last one or has he always been an integral writer?
Yeah, he's always had an active role. He's one of the main writers of the band. We all have our places, and he's definitely one of the main writers of the band. Yeah, I'd say maybe a little bit more on this record, but like I said, he's always been a pretty critical part to that. There are some really great songs on the record that he wrote either 100% himself or we all worked on together. It's pretty cool that we actually get to have this gift that he left us with.
At what point was the decision made to bring in Mike Elizondo as the producer?
That was actually made a few months before we were going to go into the studio. We had produced the last record ourselves, but we were definitely not opposed to working with producers. The label had brought us a few names that we went through to see what they had done before. Mike was really the only one that we met with this time around. Instantly after meeting him the first day, we all felt very comfortable with his direction of music and what he wanted to accomplish. We were all pretty much aligned on the same page of what we wanted to accomplish on this record.
A few months before we were going to record, he started coming down once or twice a week to Huntington Beach where we were writing and started helping that process. It was cool to have because we never had that before. We had a producer help out before, but he wasn't really hands on with the writing. It was like we would basically write the record, bring it to him, and he would just do the recording part of it. With Mike, it was the first time we had someone come out in the early stages of the songs and start working things out. Before, it was go to the studio and "now let's work it out." It's not as comfortable as it was this time.
My impression of him from his past work is that he is more of a hands on songs guy as opposed to just . . . well, not just, but as opposed to somebody who specializes more in tones and that kind of production. What made you guys decide to use a producer at all this time around?
Yeah. We weren't dead set on it at all when we met with him. Like I said, we were just kind of open to the idea, but we weren't expecting anything. We were ready and willing to do it ourselves if it was going to come down to that again. After the first meeting, it was a nice fit and he seemed to be a genuine fan and knew what the band was all about before even meeting us which is something that's been pretty rare. We've worked with producers on previous albums and have kind of butted heads on the first meeting because they don't get exactly who we are. That's when you know that you cannot get into the studio with that person because it's just going to impede the process. With Mike, we didn't get that feeling at all. We actually had the opposite effect and felt that he could be the 6th member that could really bring something new that maybe we hadn't thought of, or if we were to think of it, it would take us a lot longer to get there. He was very much a 6th member on a lot of the stuff.
Was there any pressure from the label to use a producer as opposed to self-producing?
No, our label is pretty good about that. We have the control to do pretty much what we want to do. With the success of our last record that we produced ourselves, I don't think that they were too worried. They went out and gave us a few names to choose from. "Here it is if you want it. Maybe you can meet with a couple of them and see how things go." That's basically what happened. There was really no pressure saying that "you need to have a producer" or anything like that.
You guys wrote the record with The Rev, and then he passed and of course everybody is really sad — my condolences. Do you feel like the final, realized version of the album was true to his vision?
Yeah. I really think that it's something that he'd be proud of. For the first 2 or 3 weeks after his passing, we weren't even thinking about the band. It was a thought in our mind, but definitely not at the forefront — something further back. We were more just devastated and in shock and didn't know what we were going to do. As we started to think more and more about the band and that became part of the forefront of our minds, we realized that we have this record. If we didn't have this record already written, I don't know what we'd be doing now. We had this record written that he was so involved in and was so excited about. We wanted to get it out there. So we started thinking about who we could get to play drums. We had a lot of this demoed out — demoed out drum tracks and everything. They were one-takers [drum performances] that he wouldn't have been very proud of. He was always a perfectionist when it came to fills and everything like that. He would have had something worked out, and we knew that that wouldn't have done it justice.
We gave a call to one of his heroes, Mike Portnoy. He had sent his condolences within the first day. He's a really awesome dude. He came out and was very humble. We kind of ran him through a Jimmy 101 thing. If we heard something on the demo that was very classic Rev, we made sure that he would play it. He was very cool about it — someone who has been around the block from Dream Theater and everything to coming in with us to let us use his ability to sound more like an Avenged Sevenfold record. That was really cool.
Did Portnoy at all make any suggestions as far as the creative aspect of it or did he do pretty much exactly what you guys told him to?
He was pretty much very cool with about it. He said "yeah, I'm your vessel. We'll keep going until it's something that you like." That's very much what the process was with the drum tracks. A lot of times we'd give a very vague description of something. "Okay, at this part we want you to do a little cymbal work." That was where he would go "okay, I'll give you a few different things and you choose which one you like best." That was very much the process of going through the drums which I think was very cool.
Looking back on it now, at the time we were still in the very early stages of grieving and stuff. I think making this record was very therapeutic for that — going through the drum tracks and everything, looking back on it and working with Mike Portnoy (who we all grew up listening to) it was a pretty cool thing. It was bittersweet.
Were there other guys that you considered?
Yeah, there are a lot of people who came out to Jimmy's funeral and everything — Vinnie Paul and Brooks Wackerman and stuff like that. They had offered, and we just kind of felt that Mike Portnoy stylistically had a close fit to Jimmy's style. It kind of worked out that way that he was going to be the better fit for this record. It was really cool because there were a lot of other people like Vinnie Paul that came out with "we'll help you out in any way that we can." That was really cool as well.
What lead then to the decision to have Mike Portnoy come out and tour with you as opposed to: a) looking for a permanent replacement or b) just hiring some other fill-in?
We're not ready for any kind of permanent replacement at this time. It's still way too soon, and the thought of it just makes me sick. Going through it while recording the record, he said "I got some time off coming up. I don't know if you guys are planning on touring this record or not, but if you are I would love to get my hands into it and give it a shot live." It was very cool of him to help us with the transition. We're not ready to have a replacement like I said. When we were recording, we weren't even positive that we were ready to tour. We have been taking baby steps every day. It's still very nerve wracking to know in a couple of weeks that we're taking off to start touring.
It's going to be weird and everything. With that, he kind of offered himself up and we're like "okay, we'll think about it." When we decided that we needed to tour to get this record heard by as many people as we can, we asked him if he would like to come out and he said yeah. It all kind of worked out. It was happenstance that he had time off and was willing to do it. It will help us with the transition, I think, and maybe take us to the next step. I don't know.
Yeah. He's a pro. I'm sure he'll roll with the punches and be just fine for you guys for now. So that's good.
Yeah. We got along really well. Right off the bat, he's just a very good guy. He's got a good personality and a good soul.
One of the things that I love about Portnoy is that unlike so many guys in successful bands (especially at his age), he really stays in touch with the current music scene. I know he'd talked about you guys well before any of this happened. He really stays in touch. Even when he's not touring, you can see him just coming out to see bands at shows in New York City which is really cool. It must have felt good to know that he was a fan of you guys and a fan of The Rev.
Yeah, absolutely.
One of the very first things that you said when we started talking was that this record is an evolution. How is it an evolution for you guys musically and however else?
Well when we went into writing this record, we wanted to bring something different like we always do — something heavy. Like I said, something a little heavier than maybe the last couple of records. Something that is kind of going back but forward in a way. We wanted something that was a very dark record but that still has a lot of those progressive melodies and guitar parts that we've had from City of Evil and stuff like that. So we just went for something that had an aggressive, dark feel. I think that the music had very much accomplished that. Then after Jimmy's passing, the lyrics obviously were a very much more emotional thing. I think, not for the first time, but this record captures each of us as individuals playing with a lot of emotion that we hadn't had before because we haven't felt this way before. It was very cool and looking back on the record, I'm very proud of everyone and what they accomplished on the record. It's pretty cool.
-VN
Tags: avenged sevenfold, dream theater, James Owen "The Rev" Sullivan, johnny christ, mike portnoy
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December 26th, 2021 at 10:50am MetalSucks
They'll be putting the finishing touches on their next record.
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text:
Q: Writing a multi-thread code to read a file in C I am self studying threads in c and find it very hard to understand. I found this question from a book. The task is to create three separate threads to read separate lines from text a file. The file has 3 numbers 3 letters and 3 symbols written down.
1
2
3
A
B
C
#
@
!

And it asks to create three threads for reading numbers letters and symbols and print them using pthreads.
Sample output:
Number: 1   Letter:A   Symbol:#
If someone could help me or provide a simple sample/skeleton code that could developed into this that would mean alot.
Thank you for your time and attention. I couldn't find anything similar.

A: From you question is not clear how the threads should behave. One of the issues is that when you read lines from a file, you have no idea what the line contains till you read it. So, spawning separate threads for reading different types of lines is not possible.
What can be done instead is to have a main process to read a line from a file and then spawn a thread which can do something with the read line.
So, your skeleton program might look like this:
 loop (read-line)
     if line is a number --> spawn the thread for numbers
     else if line is a char --> spawn the char thread
     else if line is a punctuation --> spawn the punctuation thread
 end loop
 join all threads.

of course this would spawn as many threads as there are lines in the file. You need to keep their IDs in order to join them one by one at the end. In this case you can probably can get away with no synchronization.
The other way around is to create 3 threads upfront and feed them with the correct data. this is more complicated, but will save resources:
  start 3 threads for different types
  loop (read-line)
     if line is a number --> wake up the thread for numbers
     else if line is a char --> wake up the char thread
     else if line is a punctuation --> wake up the punctuation thread
   end loop
   signal all threads to finish
   join 3 threads

you would need to use conditional variables for this (or other signalling scheme).


Seco has expanded its selection of disc milling inserts and cutter bodies. The company has introduced the 335.14 small-diameter exchangeable head system, 335.16 cutter for T-slot operations and cassette versions of its 335.25 cutter that incorporate round inserts.
Using small-diameter exchangeable carbide heads, the 335.14 offers a versatile, precise cutting profile that is suitable for any type of material. "These cutters are ideal for groove milling, circlip grooves, full radius profiles, threading profiles and chamfering," said a company spokesperson. "Reliable exchangeable head systems control machining costs, and the 335.14 product line comes in a wide variety of cylindrical and integrated collet chuck shanks in diameters from 0.38 inches to 1.37 inches that cut widths from 0.03 inches to 0.207 inches."
"Seco's stable 335.16 cutters incorporate four-edged inserts to economically perform demanding T-slot operations," the spokesperson added. "Modern insert geometries reduce machining forces and noise for optimum tool life. Centralized cooling channels effectively remove chips and provide excellent surface finishes and finished part quality. Cutters come in diameters from 0.97 inches to 1.844 inches based on standardized T-slot dimensions. The expansive selection of insert geometries and grades cut many materials in widths ranging from 0.39" to 0.82"."
The expanded line of 335.25 disc mill cutters now includes new cassettes for 0.63" and 0.79" round insert diameters. These cutters perform in various full side, face or half side and face operations for applications involving corner radii.
"The exchangeable cassettes ensure long, reliable cutter performance, while the large choice of insert geometries and grades provide freer cutting operations and increase cost-efficiency in any type of material," the spokesperson said.
Cutter diameters for these new sizes range from 4" to 12".


text:
Origin and Evolution of Regional Biotas: A Deep-Time Perspective
Mark E. Patzkowsky
Historical processes tens to hundreds of millions of years in the past have shaped not only the trajectory of life through time but also the distribution and composition of life today. Studies aimed at the origin and evolution of regional biotas promise to forge a stronger link among paleobiology, ecology, and evolutionary biology. Improvements in high-resolution stratigraphic interpretation, numerical modeling of the fossil record, and the application of phylogenetic methods to extinct groups will lead to advances in understanding of (a) assembly of regional biotas, (b) the ecology of extinct taxa, (c) the diversification and environmental expansion of major groups, (d) the processes underlying regional ecosystem persistence and pulsed change, and (e) whether or not diversity has limits over geologic time.
Annual Review of Earth and Planetary Sciences
https://doi.org/10.1146/annurev-earth-060115-012317
10.1146/annurev-earth-060115-012317
Dive into the research topics of 'Origin and Evolution of Regional Biotas: A Deep-Time Perspective'. Together they form a unique fingerprint.
ecology Physics & Astronomy 100%
paleobiology Physics & Astronomy 82%
biota Earth & Environmental Sciences 64%
fossils Physics & Astronomy 47%
evolutionary biology Earth & Environmental Sciences 46%
biology Physics & Astronomy 37%
fossil record Earth & Environmental Sciences 35%
persistence Earth & Environmental Sciences 30%
Patzkowsky, M. E. (2017). Origin and Evolution of Regional Biotas: A Deep-Time Perspective. Annual Review of Earth and Planetary Sciences, 45, 471-495. https://doi.org/10.1146/annurev-earth-060115-012317
Patzkowsky, Mark E. / Origin and Evolution of Regional Biotas : A Deep-Time Perspective. In: Annual Review of Earth and Planetary Sciences. 2017 ; Vol. 45. pp. 471-495.
@article{d24745b6c7284c378ce0953adef37987,
title = "Origin and Evolution of Regional Biotas: A Deep-Time Perspective",
abstract = "Historical processes tens to hundreds of millions of years in the past have shaped not only the trajectory of life through time but also the distribution and composition of life today. Studies aimed at the origin and evolution of regional biotas promise to forge a stronger link among paleobiology, ecology, and evolutionary biology. Improvements in high-resolution stratigraphic interpretation, numerical modeling of the fossil record, and the application of phylogenetic methods to extinct groups will lead to advances in understanding of (a) assembly of regional biotas, (b) the ecology of extinct taxa, (c) the diversification and environmental expansion of major groups, (d) the processes underlying regional ecosystem persistence and pulsed change, and (e) whether or not diversity has limits over geologic time.",
author = "Patzkowsky, {Mark E.}",
note = "Funding Information: I thank the National Science Foundation, the National Geographic Society, the NASA Exobiology Program, and the Petroleum Research Fund of the American Chemical Society for supporting research informing this review. The ideas presented herein were formed during discussions with J. Bonelli, M. Christie, C. Congreve, S. Holland, M. Hopkins, A. Krug, J. Lamsdell, J. Sclafani, and J. Sessa. I thank S. Holland for providing data for Figure 5 and M. Christie for help with drawing figures. Publisher Copyright: Copyright {\textcopyright}2017 by Annual Reviews. All rights reserved.",
doi = "10.1146/annurev-earth-060115-012317",
journal = "Annual Review of Earth and Planetary Sciences",
publisher = "Annual Reviews Inc.",
Patzkowsky, ME 2017, 'Origin and Evolution of Regional Biotas: A Deep-Time Perspective', Annual Review of Earth and Planetary Sciences, vol. 45, pp. 471-495. https://doi.org/10.1146/annurev-earth-060115-012317
Origin and Evolution of Regional Biotas : A Deep-Time Perspective. / Patzkowsky, Mark E.
In: Annual Review of Earth and Planetary Sciences, Vol. 45, 30.08.2017, p. 471-495.
T1 - Origin and Evolution of Regional Biotas
T2 - A Deep-Time Perspective
AU - Patzkowsky, Mark E.
N1 - Funding Information: I thank the National Science Foundation, the National Geographic Society, the NASA Exobiology Program, and the Petroleum Research Fund of the American Chemical Society for supporting research informing this review. The ideas presented herein were formed during discussions with J. Bonelli, M. Christie, C. Congreve, S. Holland, M. Hopkins, A. Krug, J. Lamsdell, J. Sclafani, and J. Sessa. I thank S. Holland for providing data for Figure 5 and M. Christie for help with drawing figures. Publisher Copyright: Copyright ©2017 by Annual Reviews. All rights reserved.
N2 - Historical processes tens to hundreds of millions of years in the past have shaped not only the trajectory of life through time but also the distribution and composition of life today. Studies aimed at the origin and evolution of regional biotas promise to forge a stronger link among paleobiology, ecology, and evolutionary biology. Improvements in high-resolution stratigraphic interpretation, numerical modeling of the fossil record, and the application of phylogenetic methods to extinct groups will lead to advances in understanding of (a) assembly of regional biotas, (b) the ecology of extinct taxa, (c) the diversification and environmental expansion of major groups, (d) the processes underlying regional ecosystem persistence and pulsed change, and (e) whether or not diversity has limits over geologic time.
AB - Historical processes tens to hundreds of millions of years in the past have shaped not only the trajectory of life through time but also the distribution and composition of life today. Studies aimed at the origin and evolution of regional biotas promise to forge a stronger link among paleobiology, ecology, and evolutionary biology. Improvements in high-resolution stratigraphic interpretation, numerical modeling of the fossil record, and the application of phylogenetic methods to extinct groups will lead to advances in understanding of (a) assembly of regional biotas, (b) the ecology of extinct taxa, (c) the diversification and environmental expansion of major groups, (d) the processes underlying regional ecosystem persistence and pulsed change, and (e) whether or not diversity has limits over geologic time.
U2 - 10.1146/annurev-earth-060115-012317
DO - 10.1146/annurev-earth-060115-012317
JO - Annual Review of Earth and Planetary Sciences
JF - Annual Review of Earth and Planetary Sciences
Patzkowsky ME. Origin and Evolution of Regional Biotas: A Deep-Time Perspective. Annual Review of Earth and Planetary Sciences. 2017 Aug 30;45:471-495. doi: 10.1146/annurev-earth-060115-012317


text:
Q: parse xml and copy it to new file? I need to parse a big xml file and have my code generate a new xml file with the elements I need from the original file. How would you do this? A lot of the time I will be copying the code, sometimes editing and inserting my own code.  what modules are there to make my life easier? What if I wanted to parse all this stuff, copy to a new file but change the action tag etc, is this stuff easily done in python?
<COMMAND name="interface range"
        help="Apply commands to a range of ports"
        view="configure-range-view"
        viewid="iface-range">
        <PARAM name="interface_method"
           help="Method to get interface information"
           optional="false"
           ptype="SUBCOMMAND"
           mode="switch">
           <PARAM name="FastEthernet"
                  help="FastEthernet IEEE 802.3"
                  ptype="SUBCOMMAND"
                  mode="subcommand">
                  <PARAM name="iface_num"
                         help="FastEthernet interface number"
                         ptype="IFACE_NUM">
                  </PARAM>
           </PARAM>
           <PARAM name="GigabitEthernet"
                  help="GigabitEthernet IEEE 802.3z"
                  ptype="SUBCOMMAND"
                  mode="subcommand">
                  <PARAM name="iface_num"
                         help="GigabitEthernet interface number"
                         ptype="GIGETH_NUM">
                  </PARAM>
           </PARAM>

        </PARAM>

        <ACTION>
        /path/to-scripts/script.py
        </ACTION>
</COMMAND>

This is the page I am using which lists the libraries, wiki.python.org/moin/PythonXml I'm not looking for labour/code etc, I wish to do this myself, I'm looking for peoples experience on the matter, I was wondering perhaps is there a form of standard one that everybody uses, such as ElementTree. I have read other posts on here asking the same question, but they are old.

A: I was facing a similar situation. I used the xml.etree.ElementTree and copy modules to parse and replicate XML. I have used shallow copy by default. You may use deepcopy instead.
import xml.etree.ElementTree as ET
import copy

tree = ET.parse("SourceFile.xml")
root = tree.getroot()

command = ET.Element("COMMAND")

for param in root.iter('COMMAND'):
    condition:
        paramscopy = copy.copy(param)
        command.append(paramscopy)

btree = ET.ElementTree(command)
btree.write("NewFile.xml")


Good Food, Inc., a division of the Zook Molasses Company, is a leading processor of molasses, syrups, and sweetener blends as well as cooking oils and dry mixes. Since 1980, Good Food has manufactured retail and industrial size products under the brand name Golden Barrel as well as more recently carrying on a Philadelphia tradition with our Mrs. Schlorer's product line.
In addition, we specialize in providing our customers with private labeling, custom liquid and dry blending, warehousing, transportation, and our own truck wash. Our sister company, L&S Sweeteners, was started in 1985 to aid in our expanding needs for blending, storage, and transportation as well as provide a rail car trans-loading terminal making for efficient transfer from railcar to truck.
Good Food, Inc. strives to build mutually rewarding relationships with our customers, vendors, and employees while producing quality products with superior service.
Located in Honey Brook, Pennsylvania, Good Food, Inc. was founded in 1980 by Sally and Larry Martin. Already seasoned business entrepreneurs, they sought to expand the family business, Zook Molasses Company, which was founded by Sally's father in 1934. His commitment to quality products and excellent service soon garnered a loyal customer base that continues to this day.
Sally joined Zook Molasses Company in 1964 and Larry followed in 1971, four years after they were married. Nine years later, Larry drew on his food service distribution experience and launched Good Food, Inc. From the humble beginnings of packing table syrup, Good Food has out grown the Zook Molasses Division.
As the company grew, so did the scope of cooking and baking supplies sold under the Golden Barrel label. The company's experience with molasses blending led to almost 200 different liquid blends of various liquid sweeteners and syrups packed in retail, food service and bulk tanker loads. Total liquid storage is 153,000 gal (38 truckloads). We have 17 liquid blenders and 3 inline fill machines for syrups. Dry Sweeteners and Custom dry blending and packaging are also a part of Good Food's services. Funnel cake mix, shoofly pie mix, pancake and waffle mix, and chocolate mixes are some of the dry blending products. We have 8 dry blenders and our dry ingredient silos holds 322,000 Lbs.
Good Food also produces and private labels for Internationally Franchised companies and nationally recognized companies. Good Food has approximately 260,000 sq. ft. of production and warehouse space.
Along with our private labeling, warehousing, and transportation services, Good Food, Inc. also specializes in liquid and dry custom blending. Whether you are in need of a full blending option, pre- or post-blending outsourcing, or even just repackaging of ingredients; search no further than our accomplished and professional staff.
Our facility is third party audited and certified by BRC, kosher certified by the OU, and organic certified by QAI. All production lines follow a strict HACCP plan ensuring a quality product.
If your demand has outgrown your production capacity, why not contact us for an efficient and qualified blending solution.
In addition to our Golden Barrel variety of liquid and dry products, Good Food, Inc. also serves many of our customers with private labeling. Whether you have an existing formula or want to use one of our quality products for bulk or retail, we can help you build your own brand.
With our liquid bottling and dry blend production areas, we are positioned to handle high-volume demand and have often made adjustments to meet our customer's needs. Our knowledgeable staff will blend, package, warehouse, and deliver your product directly to you.
Contact us to find out how to use our quality and experience for your advantage.
We also have a close working relationship with other local carriers. All shipment weights are verified with our own certified truck scale and all tankers are thoroughly washed in our own truck wash.
All of our liquid bulk tanker trailers are OU Kosher certified.
With over 160,000 square feet, our warehousing has nine available truck dock doors and can warehouse a high volume of products. This includes our Golden Barrel retail and industrial products as well as contract warehousing items. We handle bulk liquid containers such as totes or drums as well as palletized dry and liquid products. Our facility also has a temperature controlled area for storage of sensitive products that require refrigeration.
Our warehouse follows the same prerequisite program standards as our food processing areas such as GMP and hygiene practices, pest control, allergen awareness, traceability, etc.
L&S Sweeteners, our sister company, also has warehousing with the unique feature of indoor unloading with nine available truck dock doors. Complimenting its rail service, this makes the transloading of railcars to trucks very easy and efficient.
Feel free to contact us to discuss warehousing options.
All tankers are washed for at least 15 continuous minutes with 180°F water. An inspection certificate is issued for all tanker washes that includes a full inspection of tank interior; all lids, caps, gaskets, valves, fittings, and hoses; pump and tank exterior.
Our truck wash is OU Kosher certified.
Our famous Golden Barrel line has been the brand name for Good Food, Inc. products since 1980.
The retail size products range from dry mixes such as shoo-fly pie mix and funnel cake mix to molasses and cooking oils as well as specialty oils used for soapmaking. The original Zook Molasses Company motto of "service with the best quality molasses" is a key ingredient in keeping the sweet taste of tradition alive today. We invite you to begin your own sweet traditions—with Golden Barrel Baking Products.
In 1907, Amelia Schlorer produced the first commercial mayonnaise by selling it in glass jelly jars with typewritten labels in a Philadelphia department store. The mayonnaise became an instant success with customers and eventually lead to the Schlorer Delicatessan Company. The company produced commercial salad dressings as well as mayonnaise and other products establishing the Mrs. Schlorer's brand name as a popular custom for many family recipes.
Over 100 years later, Good Food, Inc. is carrying on that custom by offering Mrs. Schlorer's Turkey Golden Table Syrup and Mrs. Schlorer's Ham Glaze.
In addition to our retail sizes, we manufacture numerous industrial size liquid and dry products under the Golden Barrel label as well as custom blends and private labels. Many of our molasses, syrups, and cooking oils can be purchased in pails, drums, totes, and tankloads. Please call 1-800-327-4406 for ordering information. Most of our industrial size products and specifications can be found on our Bulk Ingredients page.
Located at the entrance to the Good Food, Inc./Zook Molasses Company facility, our Honey Brook outlet store has all of our Golden Barrel baking products in retail and bulk sizes including molasses, brown sugar, coconut oil, funnel cake mix, shoofly cake mix and many others. In addition, we carry many other local Lancaster county products and treats. Stop in and visit our friendly staff .


text:
Helga Krause (* 1. September 1935 in Dresden; † 17. Januar 1989 in Teltow) war eine deutsche Filmeditorin.

Leben und Werk
Helga Krause war von 1953 bis 1987 als Schnittmeisterin beim DDR-Filmunternehmen DEFA tätig. Zunächst arbeitete sie zwischen 1953 und 1956 an zahlreichen Pioniermonatsschauen, die ähnlich der Wochenschauen als Vorfilm in den Kinos liefen. 1962 montierte sie ihren ersten DEFA-Spielfilm, Freispruch mangels Beweises. Insgesamt war sie in ihrer Karriere bei fast 40 Langfilmen für den Filmschnitt verantwortlich, darunter auch bei einigen Fernsehfilmen des Deutschen Fernsehfunks (DFF).

Zu den bedeutendsten Werken an denen Krause beteiligt war, gehören die Literaturverfilmung Der geteilte Himmel (1964, Regie: Konrad Wolf), sowie die Verbotsfilme Das Kaninchen bin ich (1965, Regie: Kurt Maetzig) und Denk bloß nicht, ich heule (1965, Regie: Frank Vogel). Neben Vogel, mit dem sie vier Langfilme realisierte, arbeitete Helga Krause außerdem mehrfach mit Siegfried Kühn (fünf Filme), Richard Groschopp (drei Filme) und Iris Gusner (drei Filme) zusammen. Auch Gusners Debütfilm, Die Taube auf dem Dach, wurde verboten und bis auf eine Arbeitskopie vernichtet. Erst 1990 erlebte der rekonstruierte Film seine Uraufführung, ein Jahr nachdem Helga Krause gestorben war.

Filmografie

Kino
 1962: Freispruch mangels Beweises – Regie: Richard Groschopp
 1963: Die Glatzkopfbande – Regie: Richard Groschopp
 1963: Julia lebt – Regie: Frank Vogel
 1964: Der geteilte Himmel – Regie: Konrad Wolf
 1965 / 1990: Das Kaninchen bin ich – Regie: Kurt Maetzig
 1965 / 1990: Denk bloß nicht, ich heule – Regie: Frank Vogel
 1967: DEFA 70 (30-min. Experimentalfilm)  – Regie: Werner Bergmann
 1967: Chingachgook, die große Schlange – Regie: Richard Groschopp
 1968: Spur des Falken – Regie: Gottfried Kolditz
 1969: Das siebente Jahr – Regie: Frank Vogel
 1970: Im Spannungsfeld – Regie: Siegfried Kühn
 1971: Zeit der Störche – Regie: Siegfried Kühn
 1972: Sechse kommen durch die Welt – Regie: Rainer Simon
 1973 / 1990: Die Taube auf dem Dach – Regie: Iris Gusner
 1974: Wahlverwandtschaften – Regie: Siegfried Kühn
 1976: Das blaue Licht – Regie: Iris Gusner
 1977: Unterwegs nach Atlantis – Regie: Siegfried Kühn
 1978: Einer muß die Leiche sein – Regie: Iris Gusner
 1979: Zünd an, es kommt die Feuerwehr – Regie: Rainer Simon
 1979: Blauvogel – Regie: Ulrich Weiß
 1980: Don Juan, Karl-Liebknecht-Str. 78 – Regie: Siegfried Kühn
 1983: Schwierig sich zu verloben – Regie: Karl-Heinz Heymann
 1984: Isabel auf der Treppe – Regie: Hannelore Unterberg
 1985: Ab heute erwachsen – Regie: Gunther Scholz
 1986: Der Junge mit dem großen schwarzen Hund – Regie: Hannelore Unterberg
 1987: Liane – Regie: Erwin Stranka
 1987: Der Schwur von Rabenhorst – Regie: Hans Kratzert

Fernsehen
 1962: Die letzte Chance (Spielfilm) – Regie: Hans-Joachim Kasprzik
 1966: Hilmar Thate singt Dessau, Eisler, Hosalla (Dokumentarfilm) – Regie: Ingrid Sander
 1969: Krause und Krupp (fünfteiliger Spielfilm, Teil 5: »Die Zeit der Fundamente«) – zusammen mit Renate Müller / Regie: Horst E. Brandt
 1970: Der Mörder sitzt im Wembley-Stadion (zweiteiliger Spielfilm) – Regie: Gerhard Respondek
 1972: Ein Mann, der sterben muß (Spielfilm) – Regie: Peter Hagen
 1972: Der Mann und das Mädchen (Spielfilm) – Regie: Frank Vogel
 1977: Auftrag für M & S (Spielfilm) – Regie: Peter Deutsch
 1978: Amor holt sich nasse Füße (Fernsehfilm) – Regie: Hans Knötzsch
 1981: Polizeiruf 110: Alptraum (Fernsehreihe) – Regie: Peter Vogel
 1981: Schuleule Paula (mittellanger Kinderfilm) – Regie: Brigitte Natusch
 1983: Alfons Köhler (Spielfilm) – Regie: Peter Vogel

Weblinks

Einzelnachweise

Filmeditor
DDR-Bürger
Deutscher
Geboren 1935
Gestorben 1989
Frau

redpajama_set_name: RedPajamaWikipedia


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text:
\section{Introduction}

Network Motifs, or simply motifs, correspond to small patterns that recurrently appear in a complex network~\cite{barabasi2003linked}.
They can  be considered as the basic building blocks of complex networks and their understanding may be of interest in several areas, such as Bioinformatics \cite{MotifsBio},
Communication \cite{MotifsWeb}, and Software Engineering \cite{MotifsSoftwareLivre}.

Finding network motifs has been a matter of attention mainly after the 2002-seminal paper from Milo \emph{et al}. \cite{MiloShen}, that proposed motifs as a way to uncover the structural design of complex networks. Nowadays, the design of efficient algorithms for network motif discovery is an up-to-date research area. Several surveys about motif detection algorithms were published in recent years \cite{ciriello2008review, Ribeiro:2009, Elisabeth2011}.

Nowadays, the main tools available to network motif search are: Fanmod~\cite{wernicke2006fanmod}, Kavosh~\cite{kashani2009kavosh}, NetMod~\cite{li2012netmode} and acc-Motif~\cite{CBB2014}. Table~\ref{toolsTable} compares these tools, including information about the motif size and the usage of Nauty\footnote{Nauty is an algorithm to isomorphism detection~\cite{mckay2009nauty}}.
All these different methods share some features: uses direct graphs, perform a complete motif search, i.e., check for all possible isomorphic patterns and uses induced subgraphs.
It is also possible to find other tools which can search for only one isomorphic pattern~\cite{gtrie1}, or that deal with non induced subgraphs~\cite{Chen:2006}.

\begin{table*}[h]
\centering
\caption{Main features for the best well known motif search methods.}
\bigskip
\label{toolsTable}
\linespreadCompact
\begin{tabular}{|l|c|l|c|c|}
\hline
\hline
Algorithm & Motif size  & Counting & Parallel &  Uses Nauty\\
\hline
\hline
FanMod & 8 & Exact / Sampling & no  & yes\\
Kavosh & 12 & Exact & no  & yes\\
NetMod  & 6  & Exact & yes  & no\\
acc-Motif & 6 & Exact & yes  & no\\

\hline
\hline
\end{tabular}
\end{table*}

\linespread{1.5} \normalsize

This paper address the following problem (See~\cite{CBB2014}):

\begin{problem}[Motifs-k(G)]
\label{6motif} Given a directed graph $G(V,E)$, the problem Motifs-k consists in counting  the number of connected induced subgraphs of G of size~k grouped by isomorphic distinct subgraphs of size~k. The result is an histogram
$\mathcal{H}_{k}(G)$.
\label{problemDef}
\end{problem}

We deal  with the problem for $k$ (vertices in a subgraph) equal to 3, 4, 5, and 6.
It is important to notice the number of isomorphic distinct subgraphs of size~3,4,5, and 6 is $13$, $199$, $9,364$ and $1,530,842$, respectively.
For $k=7$ there are $880,471,142$ distinct isomorphic patterns.

The algorithms for motif detection can be based into two main approaches: exact counting or heuristic sampling. As these names might suggest, the former approach performs a precise count of the isomorphic pattern frequency. The latter uses statistics to estimate frequency value. Several exact search-based algorithms and tools can be found in the literature, such as acc-Motif~\cite{sitis2012, CBB2014}, NetMode \cite{li2012netmode}, MAVisto~\cite{schreiber2005mavisto}, NeMoFinder~\cite{Chen:2006}, Kavosh~\cite{kashani2009kavosh} and Grochow and Kellis~\cite{Grochow:2007}. Sampling based algorithms examples are MFinder~\cite{Kashtan:2004,Mfinder2002}, Fanmod~\cite{wernicke2006fanmod} and MODA~\cite{Moda2009}.

Exact algorithms to find network motifs are generally extremely costly in terms of CPU time and memory consumption, and present restrictions on the size of motifs \cite{kashani2009kavosh}. According to Cirielo and Guerra \cite{ciriello2008review}, motif algorithms typically consist of three steps: (a) list connected subgraphs of $k$ vertices in the original graph and in a set of randomized graphs;
(b)  group them into isomorphic classes; and
(c) determine the statistical significance of the isomorphic subgraph classes by comparing their frequencies to those of an ensemble of random graphs.
The core of this paper focus in items (a) and (b).

In 2012, we proposed optimized methods for motif detection of size 3, 4 and 5~\cite{sitis2012, CBB2014}. This paper describes an extension for acc-Motif~including motif detection for k=6,
 multithread and a smaller complexity in enumeration algorithm.

\textbf {Contribution:}
We've made an algorithm for detecting motifs faster than the state of the art for motifs of size 3 up to 6.

\section{Notation and definitions}
\label{sec:defs}

This work is an extension of~\cite{accMotifs}. In this way, more attention will be given to the improvements made. The reader can refer to the previous work for more details about the algorithms.

Let $G(V,E)$ be a directed graph with $n=|V(G)|$ vertices and $m=|E(G)|$ edges. Assume that $m \geq n-1$. If $(u,v)\in E(G)$ and $(v,u)\in E(G)$, we say it is a bidirected edge. Alternatively, if only $(u,v)\in E(G)$, we say it is a directed edge.

Given a vertex $v\in V$,  we partitioned the graph in four disjoint sets: $\mathcal{A}(v)$, $\mathcal{B}(v)$, $\mathcal{C}(v)$ and $\mathcal{N}(v)$, as follows:

$$u\in\left \{ \begin{tabular}{ll}
	$\mathcal{A}(v)$,&if $(u,v)\in E(G)$ and $(v,u)\in E(G)$ \\
	$\mathcal{B}(v)$,&if $(v,u)\in E(G)$ and $(u,v)\not\in E(G)$ \\
	$\mathcal{C}(v)$,&if $(u,v)\in E(G)$ and $(v,u)\not\in E(G)$ \\
    $\mathcal{N}(v)$,&if $(u,v)\not\in E(G)$ and $(v,u)\not\in E(G)$ \\
\end{tabular}\right .$$

It means that $\mathcal{A}(v)$ are the vertices with a bidirected edge to $v$.  The vertices with edges directed from $v$ are in $\mathcal{B}(v)$ and the vertices with edges directed to $v$ are in $\mathcal{C}(v)$.
The set $\mathcal{N}(v)$ represent the vertices with no relationship with vertex $v$.

\setlength{\unitlength}{4mm}
\begin{figure}[ht!]
\begin{center}
\includegraphics[width=6cm]{fig1.pdf}
\end{center}
\caption{Four sets definition representing a possible relationship with vertex $v$.
}
\label{defVizOri}
\end{figure}
\setlength{\unitlength}{1mm}

Let us define $\delta(v) = \mathcal{A}(v) \cup \mathcal{B}(v) \cup \mathcal{C}(v)$. We define the adjacency of a set of vertices $\mathcal{X} \subseteq
V$ as $adj(\mathcal{X})=\left\{\cup_{v\in \mathcal{X}} \delta(v)\right\} \setminus \mathcal{X}$.  The induced graph $G[\mathcal{X}]$ is connected in this context.

Let $Part(adj(\mathcal{X}))$ be a partition of $adj(\mathcal{X})$, for $|\mathcal{X}|\leq 4$, defined as follow.
If $\mathcal{X}$ is a single vertex $v\in V$, then $Part(adj(v))=\{\mathcal{A}(v),\mathcal{B}(v),C(v)\}$ as shown in Figure~\ref{defVizOri}. Note that, by definition, $\mathcal{N}(v)$ does not belongs to $adj(v)$.

For each pair of vertices $\{v_1,v_2\}$, the set $adj(v_1,v_2)$ is partitioned in $Part(adj(v_1,v_2))=\{AA,AB,AC,AN,BA,BB,BC,BN,CA,CB,CC,CN,NA,NB,NC\}$, where
$AA=\mathcal{A}(v_1)\cap\mathcal{A}(v_2)$, $AB=\mathcal{A}(v_1)\cap\mathcal{B}(v_2)$ and so on. The size of $|Part(adj(v_1,v_2))|=4^2-1= 15$. Note that
$\mathcal{N}(v_1)\cap\mathcal{N}(v_2)$ is the only possible combination that does not belongs to the set $adj(v_1,v_2)$.
See Table 1 of \cite{accMotifs}.

For sets containing three vertices $\{v_1,v_2,v_3\}$, $Part(adj(v_1,v_2,v_3))=\{AAA,AAB,AAC,$ $AAN,ABA,...,NNB,NNC\}$ where $AAA = \mathcal{A}(v_1)\cap\mathcal{A}(v_2)\cap\mathcal{A}(v_3)$, $AAB=\mathcal{A}(v_1)\cap\mathcal{A}(v_2)\cap\mathcal{B}(v_3)$ and so on. The size of $|Part(adj(v_1,v_2,v_3))|=4^3-1=63$ because the set $\mathcal{N}(v_1)\cap\mathcal{N}(v_2)\cap\mathcal{N}(v_3)$ does not belongs to the adjacency.

For sets $\{v_1,v_2,v_3,v_4\}$, $Part(adj(v_1,v_2,v_3,v_4))=\{AAAA,AAAB,AAAC,AAAN,$ $AABA,...,NNNB,NNNC\}$, where $AAAA = \mathcal{A}(v_1)\cap\mathcal{A}(v_2)\cap\mathcal{A}(v_3)\cap\mathcal{A}(v_4)$,  $AAAB=\mathcal{A}(v_1)\cap\mathcal{A}(v_2)\cap\mathcal{A}(v_3)\cap\mathcal{B}(v_4)$ and so on.  The size $|Part(adj(v_1,v_2,v_3))|$ is $4^4-1=255$, since $\mathcal{N}(v_1)\cap\mathcal{N}(v_2)\cap\mathcal{N}(v_3)\cap\mathcal{N}(v_4)$ dont belong to $adj(v_1,v_2,v_3)$.

Given a graph $G$, a subset of vertices $\mathcal{X}$, with $|\mathcal{X}|\leq 4$, the partition set $Part(adj(\mathcal{X}))$, and two sets $Y,Z\in Part(adj(\mathcal{X}))$.  Suppose there are no edge in $adj(\mathcal{X})$.
 The triple $\mathcal{X},Y,Z$ corresponds to a motif, named  $motif(\mathcal{X},Y,Z)$.
In other words, the subgraph induced $G[\mathcal{X} \cup y \cup z]$  corresponds to same  isomorphic graph of size $|\mathcal{X}|+2$ for any $y\in Y$ and $z\in Z$.  See an example (Figure~\ref{defMotif}).

\setlength{\unitlength}{4mm}
\begin{figure}[ht!]
\begin{center}
\begin{picture}(10,10)(0,0)
\gasset{Nh=1.8,Nw=1.8,Nmr=2}
\node(0)(5,5){$v$}
\gasset{Nh=.7,Nw=.7,Nmr=2}
\node(2)(5,1){}
\nodelabel[ExtNL=y,NLangle=270,NLdist=.3](2){$\mathcal{A}(v)$}

\node(5)(1,5){}
\nodelabel[ExtNL=y,NLangle=180,NLdist=.3](5){$\mathcal{B}(v)$}

\drawedge(0,2){}
\drawedge(2,0){}
\drawedge(0,5){}
\end{picture}
\end{center}
\caption{The $motif(\mathcal{X},Y,Z)$ for $\mathcal{X}=v$, $Y=\mathcal{A}(v)$ e $Z=\mathcal{B}(v)$.}
\label{defMotif}
\end{figure}
\setlength{\unitlength}{1mm}

Let $\mathcal{P}_k$ be the maximal set of distinct isomorphic connected subgraphs size $k$.
For example, $\Pkk{1}=\left\{\bullet\right\}$ has only one vertex,
$\Pkk{2}=\left\{\bullet\rightarrow \bullet,\bullet\leftrightarrow \bullet\right\}$,
$\Pkk{3}$ is a set with 13 subgraphs and so on.

The histogram $\mathcal{H}_{k}$ as described in Problem~\ref{problemDef} is a function $\mathcal{H}_{k}:\mathcal{P}_k\rightarrow \mathbb{N}$ associating the pattern $p\in \mathcal{P}_k$ to the occurrences number in $G(V,E)$.
To a graph $G(V,E)$, $\Lkk{r}(G)$ be the set of all induced connected subgraphs from $G$ with size $r$.
See an example in Figure~\ref{Lkk}.

\setlength{\unitlength}{4mm}
\begin{figure}[ht!]
\begin{center}
\small
\begin{tabular}{cc}
\includegraphics[width=4cm]{fig2.pdf}
&
\begin{tabular}{p{7cm}c|c|}
~\\
$\Lkk{1}=\{G[v_1],G[v_2],G[v_3],G[v_4]\}$\\
$\Lkk{2}=\{G[v_1,v_4],G[v_1,v_2],G[v_2,v_4],G[v_1,v_3]\}$\\
$\Lkk{3}=\{G[v_1,v_2,v_3],G[v_1,v_2,v4],G[v_1,v_3,v_4]\}$\\
~\\
Note that $G[v_2,v_3,v_4]$ is not connected thus, by definition, not belong to $\Lkk{3}$
\end{tabular}
\end{tabular}
\end{center}
\caption{Example of $\Lkk{r}$ for a give graph.}
\label{Lkk}
\end{figure}
\setlength{\unitlength}{1mm}

\section{Computing the Histogram $\mathcal{H}_{k}$}
\label{sec:enumeration}

The work~\cite{accMotifs} solve Motifs-k(G)~using $\mathcal{L}_{k-2}$ as a base. The set $\mathcal{L}_{k-2}$ contains all connected induced  subgraphs with size $k-2$.
The histogram $\mathcal{H}_{k}$ contains  the frequency of elements in $\Lkk{k}$ grouped by isomorphic pattern.
Thus, the algorithm to compute the histogram has complexity $\Omega(|\mathcal{L}_{k-2}|)$, since all  elements in $\mathcal{L}_{k-2}$ are considered.
Furthermore, complexity upper bounded by $o(|\Lkk{k}|)$, due the fact  the algorithm  computes the frequency for several induced subgraph in a constant time.

The diagram in Figure \ref{prog} shows the inputs and outputs in the enumeration procedure for motif of size $k$ in acc-Motif~method.

\begin{figure}[htb!]
\vspace{-0.8cm}
\centerline{
\begin{picture}(40,25)(-35,-33)
  \node[Nadjust=wh,Nadjustdist=3,Nmr=1,Nmarks=r](A)(-15,-22){acc-Motif}
   \node[Nh=2,Nw=2,Nmr=2,linecolor=white](B)(-33,-22){}
   \node[Nh=2,Nw=2,Nmr=2,linecolor=white](C)(2,-22){}
      \node[Nh=2,Nw=2,Nmr=2,linecolor=white](X)(-33,-19){$G(V,E)$}
            \node[Nh=2,Nw=2,Nmr=2,linecolor=white](Y)(-33,-24){$\mathcal{L}_{k-2}$}
                  \node[Nh=2,Nw=2,Nmr=2,linecolor=white](W)(4,-22){$\mathcal{H}_{k}$}
   \drawedge[ATnb=0,AHnb=1](B,A){}
      \drawedge[ATnb=0,AHnb=1](A,C){}
\end{picture}
}
\vspace{.3cm}
\caption{The acc-Motif~algorithm. Input: $G$,~$\mathcal{L}_{k-2}$ and precomputed variables.
 Output:~$\mathcal{H}_{k}$. }
\label{prog}
\end{figure}

Algorithm~\ref{alg:acc} presents the motif counting process. First, it generates all induced subgraph of size $k-2$.
For $k=3$, $\Lkk{3-2}=\{G[v]~|~\forall v\in V\}$. For $k=4$, $\Lkk{4-2}=\{G[u,v]~|~\forall (u,v)\in E\}$. For $k=5$,  the set $\Lkk{5-2}$ was shown in \cite{CBB2014}. For $k=6$, the algorithm to compute
$\Lkk{4}$
is adapted from~\cite{kashani2009kavosh}.
The execution time to compute  $\Lkk{k-2}$  is negligible in relation to the total time.

\linespreadCompact

\begin{algorithm}[!htb]
\footnotesize
\LinesNumbered
\SetAlgoLined
\KwIn{Graph $G(V,E)$ and an integer $k$}
\KwOut{$\mathcal{H}_{k}$, that is the histogram for motifs of size $k$}
Compute $\mathcal{L}_{k-2}$. \\
\ForEach{subgraph $G[\mathcal{X}] \in \mathcal{L}_{k-2}$}
{

    Compute $Part(adj(\mathcal{X}))$\\
    \ForEach{$Y\in Part(adj(\mathcal{X})) $}{
    \ForEach{$Z\in Part(adj(\mathcal{X})) $}{
    \If{Y=Z}{
     Increment in $\mathcal{H}_{k}$ the motif $motif(\mathcal{X},Y,Y)$ with  $\dbinom{|Y|} {2}$ units\\
    }\Else{
         Increment in $\mathcal{H}_{k}$ the motif $motif(\mathcal{X},Y,Z)$ with  $|Y|.|Z|$ units\\
    }

    }
    }

    \ForEach{$(u,v)\in G[ajd(\mathcal{X})]$}{
    	Add one unit to motif $G[\mathcal{X}\cup u\cup v]$\\
		Subtract one unit from $motif(\mathcal{X}, Y, Z)$ such that $u\in Y\in Part(adj(\mathcal{X}))$ and  $v\in Z\in Part(adj(\mathcal{X}))$.
    }

}
\caption{Enumerate all subgraphs of size $k$.}
\label{alg:acc}
\end{algorithm}

\linespread{1.5} \normalsize

The first diffence between the original algorithm~\cite{accMotifs} and this is that, in ~\cite{accMotifs}, each edge $(u,v)\in ajd(\mathcal{X})$ increments once the variable $m_{YZ}$ for all $Y,Z\in Part(adj(\mathcal{X}))$.

In this solution, each edge uses $\mathcal{H}_{k}$ directly, without to create a counter $m_{YZ}$.

Note that for a constant $k$, the size $|Part(adj(\mathcal{X}))|$ and the number of variables $m_{xy}$ are constant, not affecting the complexity of acc-Motif. However, the constants affect the final execution time.

Another differcence is an improved  algorithm to compute the edges in an induced graphs as   described in Section ~\ref{sec:ind}.

\subsection{Computing Induced Subgraph $G[S]$ efficiently}
\label{sec:ind}

Given an oriented graph $G(V,E)$, with $n=|V|$ and $m=|E|$. Given a set of vertices $S$, let $\mathcal{E}_S$ be the set of edges of $G[S]$.
In this section we consider only the induced graph $G[S]$.
This section shows algorithms to obtain $\mathcal{E}_S$ efficiently. For this, it is assumed that the neighbors of $v$, $\delta(v)$, are already precomputed.

Several strategies are combined to produce an efficient algorithm to find the edges $\mathcal{E}_S$.
Let $d(v)=|\delta(v)|$ be the degree of $v$ and $D(S)=\sum_{v\in S}d(v)$ the sum of the degrees of the vertices in $S$.

\linespreadCompact

\bigskip
\hspace{-1.1cm}
\begin{minipage}{0.27\textwidth}
\begin{algorithm}[H]
\ForEach{$u\in S$}{
	\For{$v\in S$}{
 		\If{$(u,v)\in E$}{
 			$\mathcal{E}_S\gets \mathcal{E}_S\cup (u,v)$
 		}
	}
}
\caption{$\theta(|S|^2)$.}
\label{algA}
\end{algorithm}
\end{minipage}
\hspace{-.7cm}
\begin{minipage}{0.27\textwidth}
\begin{algorithm}[H]
\LinesNumbered
\SetAlgoLined
~\\
~\\
\ForEach{$u\in S$}{
	\For{$v\in \delta(u)$}{
 		\If{$v\in S$}{
 			$\mathcal{E}_S\gets \mathcal{E}_S\cup (u,v)$
 		}
	}
}
\caption{$\theta(|S|D(S))$.}
\label{algB}
\end{algorithm}
\end{minipage}
\begin{minipage}{0.27\textwidth}
\begin{algorithm}[H]
\LinesNumbered
\SetAlgoLined
~\\
~\\
~\\
\uIf{$|S|^2<|S|D(S)$}{
	\Return \textbf{Algorithm\ref{algA}}(G,S) }
	\Else{
	\Return \textbf{Algorithm\ref{algB}}(G,S)
	}
\caption{$\theta(\min\{|S|^2,|S|D(S)\})$.}
\label{algC}
\end{algorithm}
\end{minipage}

\linespread{1.5} \normalsize

\bigskip

The first strategy consists of analyzing each $u,v\in S$, resulting in a complexity $|S|^2$.
This strategy is efficient for small $|S|$. If, for example, $|S|$ is a constant, the algorithm will have complexity $O(1)$. The complexity of this algorithm regardless of whether the graph is dense or sparse.

The second strategy consists of analyzing the neighbors of $v$ for all $v\in S$. This strategy is efficient
if the graph is sparse. For example, if each vertex $v\in S$ has degree limited by a constant, the complexity will be $O(|S|)$, even for large $S$.

The third strategy choose the most efficient algorithm between Algorithm \ref{algA} and \ref{algB} according to the values of $|S|$ and $D(S)$. The resulting complexity is the minimum between the two complexity.

The fourth strategy make a partition from $S$ into $S_1$ and $S_2$. The partition is made in such a way that  vertices with smaller degree are in $S_1$ and those of greater degree are in $S_2$ (Algorithm \ref{algD}).

\linespreadCompact

\begin{algorithm}[htb!]
\LinesNumbered
\SetAlgoLined
Sort $S$ in $S'=(s'_1,\dots,s'_k)$ such that the degree is increasing.\\
Let $p$ be the value that minimizes the function $\sum_{i=1}^p d(s_i)+(|S|-p)^2$.\\
Let $S_1=(s'_1,\ldots,s'_p)$ be the $p$ vertices of smaller degree.\\
Let $S_2=(s'_{p+1},\ldots,s'_k)$ be the  $k-p$ vertices of greater degree.\\
\ForEach{$u\in S_2$}{
	\For{$v\in S_2$}{
 		\If{$(u,v)\in E$}{
 			$\mathcal{E}_S\gets \mathcal{E}_S\cup (u,v)$
 		}
	}
}
\ForEach{$u\in S_1$}{
	\For{$v\in \delta(u)$}{
 		\If{$v\in S$}{
 			$\mathcal{E}_S\gets \mathcal{E}_S\cup \{u,v\}$
 		}
	}
}

\caption{ Fourth strategy is $\Theta(\min_p\{(|S|-p)^2+\sum_{i=1}^p d(s_i)\}$ , where $s_i$ is sorted according to vertices degrees.}
\label{algD}
\end{algorithm}

\linespread{1.5} \normalsize

In this strategy, every pair $u,v\in S_2$ is checked, with complexity $O(|S_2|^2)$. For the lowest degree vertices, all neighbors of $d(s)$, for all $s\in S_1$, are checked. Note that the edges in $\delta(S_1, S_2)$ are computed by sweeping the neighbors of $S_1$.

Suppose that $G(V,E)$ is a sparse graph where $Hub \subset V$ such that $v \in Hub$ if and only if $d(v) \not \in O(1)$.
$Hub$ is a set of vertices whose degree is not limited to $O(1)$. Assume that $|Hub| \in O(1)$, thus the number of vertices with degree not limited to $O(1)$ is constant.
Graphs in complex networks tend to respect the above conditions. Let's call this graph class of \textit{celebrities}.

Suppose the execution of a celebrity graph by Algorithm\ref{algD}$(G,S)$.
The vertices in $Hub$ have degree greater than the vertices and $V\setminus Hub$. There is a $p$, not necessarily a minimum, such that $S_1=V \setminus Hub$ and $S_2=Hub$. For this $p$
we have that $(k-p)^2+\sum_{i=1}^p d(s_i)=|Hub|^2+\sum_{s\in V\setminus Hub}^p d(s)=\Theta(S)$.
Thus, the complexity for calculating $G[S]$ for celebrity graphs is $O(|S|)$.

\begin{table}
\linespreadCompact
\center{
\begin{tabular}{|c|p{8cm}|}
\hline
Algorithm & Complexity\\\hline
\textbf{Algorithm\ref{algA}}$(G,S)$ &  $\Theta(k^2)$ with worst case $\Theta(n^2)$\\\hline
\textbf{Algorithm\ref{algB}}$(G,S)$ &  $\Theta(D(S))$ with worst case $\Theta(m)$
\\\hline
\textbf{Algorithm\ref{algC}}$(G,S)$ &  $\Theta(\min\{D(S),k^2\})$ with worst case $\Theta(\min\{m,n^2\})$ \\\hline
\textbf{Algorithm\ref{algD}}$(G,S)$ &  $\Theta(k)$ \\\hline
\end{tabular}
}
\caption{Complexity of the calculation of $G[S]$ for graphs of celebrity $|S|=k$.}
\end{table}

\linespread{1.5} \normalsize

\subsection{Calculating Isomorphism in $O(1)$}

The use of hash to calculate isomorphisms in $ O (1) $ is not new~\cite{accMotifs,li2012netmode}. However, there are challenges to working with motifs of size $6$, due to the large number of different isomorphic patterns.

The main challenge of acc-Motif~for $k=6$ is to compute isomorphism in $O(1)$, it is done by
pre-processing. Given a oriented graph $G(V,E)$ of size $6$, we need to compute the isomorphic pattern  representation in a hash table.
Let $\mathcal{A}_6$ be the set of all adjacency matrix of size 6 of $G$. The size of $\mathcal{A}_6$ is  $2^{30}$ ($\approx$ 1 billion possibilities).
A hash table was generated where the key
is an adjacency matrix $A\in \mathcal{A}_6$ and the value is a number $ID\in\{1,2,\ldots,1530842\}$ where $ID$
represents a motif. In other words, a function
$ISO:\mathcal{A}_6\rightarrow ID$.
After computing this table, it is possible to solve isomorphism
in $O(1)$ for any adjacency matrix.

\section{Results}
\label{resultados}

This section show the results of empirical evaluations. We compare acc-Motif with other tools present in the literature. The graphs evaluated were the same used in~\cite{accMotifs}, Table~\ref{tab:grafos} summarizes the data sets used in the experiments.

All experiments were performed using a processor IBM Power 755, of 3.3 GHz
The first experiment consider only one thread running

In this experiment we compared the performance of acc-Motif to Fanmode~\cite{fanmod}, Kavosh~\cite{kashani2009kavosh} and NetMode~\cite{li2012netmode} by varying $k\in\{3,4,5,6\}$ and using the graphs described in the Table \ref{tab:grafos}. In this experiment we used only one thread and the execution time was reported in milliseconds. The result of this experiment is presented in Table \ref{tab:ExpI}.

\begin{table}[!ht]
\linespreadCompact
\centering
\caption{Summary of the data sets used in the experiments.}
\label{tab:grafos}
\bigskip
\begin{tabular}{lcc}
\hline
\hline
\rowcolor{Gray}
Graph	&	$n$	&	$m$ \\
\hline
\hline
E.coli\cite{AlonDataset}	&	418	&	519\\
\rowcolor{Gray}
Levedura\cite{AlonDataset}	&	688	&	1079\\
CSphd\cite{Pajek2006}	&	1882	&	1740\\
\rowcolor{Gray}
Roget\cite{Pajek2006}	&	1022	&	5074\\
Epa\cite{Pajek2006}	&	4271	&	8965\\
\rowcolor{Gray}
California\cite{Pajek2006}	&	6175	&	16150\\
Facebook\cite{Tore}	&	1899	&	20296\\
\rowcolor{Gray}
ODLIS\cite{Pajek2006}	&	2900	&	18241\\
\hline
\hline
\end{tabular}
\end{table}

\linespread{1.5} \normalsize

\begin{table*}[h]
\linespreadCompact
\centering
\caption{.}
\label{tab:ExpI}
\begin{tabular}{llrrrr}
\hline
\hline
Grafo&$k$&FanMod \cite{wernicke2006fanmod}&Kavosh \cite{kashani2009kavosh}&NetMod \cite{li2012netmode} &acc-Motif\\
\hline
\hline
\rowcolor{Gray}
E.coli&3&22.600&4.940&\textbf{0.298}&0.372\\
&4&319.139&118.416&3.525&\textbf{2.710}\\
\rowcolor{Gray}
&5&7,726.250&3,400.500&206.188&\textbf{82.547}\\
&6&164,993.500&76,107.000&5,072.250&\textbf{1,892.261}\\
\rowcolor{Gray}
Levedura&3&69.420&11.600&\textbf{0.635}&0.742\\
&4&980.733&262.050&8.208&\textbf{4.075}\\
\rowcolor{Gray}
&5&21,336.313&7,278.625&268.625&\textbf{119.602}\\
&6&408,474.250&133,385.000&8,056.500&\textbf{2,646.239}\\
\rowcolor{Gray}
CSphd&3&34.287&8.971&2.463&\textbf{1.727}\\
&4&166.792&53.475&\textbf{2.634}&3.211\\
\rowcolor{Gray}
&5&1,751.313&718.688&160.125&\textbf{43.984}\\
&6&19,705.000&8,225.500&1,102.000&\textbf{1,002.137}\\
\rowcolor{Gray}
Roget&3&164.321&24.774&6.550&\textbf{3.933}\\
&4&1,727.228&380.396&21.406&\textbf{16.509}\\
\rowcolor{Gray}
&5&32,436.375&9,524.438&510.375&\textbf{329.866}\\
&6&647,152.750&215,113.000&28,856.000&\textbf{6,450.374}\\
\rowcolor{Gray}
Epa&3&808.695&193.472&\textbf{10.155}&14.261\\
&4&41,931.931&13,008.337&390.139&\textbf{110.174}\\
\rowcolor{Gray}
&5&2,688,902.875&1,029,417.875&16,457.875&\textbf{6,239.431}\\
&6&151,426,226.500&55,472,966.500&2,548,300.750&\textbf{364,114.721}\\
\rowcolor{Gray}
California&3&1,508.350&300.445&40.313&\textbf{33.707}\\
&4&64,086.535&17,245.257&602.535&\textbf{263.317}\\
\rowcolor{Gray}
&5&4,105,529.375&1,490,712.188&29,181.625&\textbf{9,188.792}\\
&6&259,409,634.500&111,734,296.500&5,743,212.000&\textbf{566,674.477}\\
\rowcolor{Gray}
Facebook&3&3,749.735&471.141&25.506&\textbf{21.001}\\
&4&310,491.881&46,347.327&2,056.158&\textbf{597.636}\\
\rowcolor{Gray}
&5&30,622,129.500&5,300,279.938&180,014.250&\textbf{67,657.011}\\
&6&$>648 \times10^{6}$&604,958,138.500&68,980,139.250&\textbf{9,122,144.244}\\
\rowcolor{Gray}
ODLIS&3&8,674.493&848.033&44.655&\textbf{26.432}\\
&4&1,384,241.099&187,599.673&5,251.980&\textbf{774.438}\\
\rowcolor{Gray}
&5&$>162 \times10^{6}$&54,086,528.125&756,913.375&\textbf{146,503.080}\\
&6&$>648 \times10^{6}$&$>648 \times10^{6}$&454,180,868.500&\textbf{28,835,680.726}\\
\hline
\hline
\end{tabular}
\end{table*}

\linespread{1.5} \normalsize

Figure \ref{fig:variandoK} shows the execution time obtained in Experiment I for the graph California. It is possible to verify that acc-Motif have performed better than the other algorithms. This result highlights the computational gain obtained by acc-Motif in relation to the best algorithms present in the literature.

\begin{figure}[h!t]
\center
\begin{tikzpicture}
\pgfplotsset{every axis legend/.append style={
at={(0.5,1.05)},
anchor=south},
}
\begin{axis}[
width=8cm,
height=8cm,
ymode=log,
legend columns=2,
xmin=2.8,
xmax=6.2,
xtick={3,4,5,6},
ymin=0.01,
ymax=500000,
grid=major,
ylabel style={at={(0.04,0.5)}},
xlabel={$k$},
ylabel={Time in Seconds ($log_{10}$)}
]
\addplot+[
orange!70!white,
mark options={fill=orange!70!white},
line width=2pt,
mark=square*,
mark size=1.5pt
]
table[x=x,y=y] {fanmod.txt};

\addplot+[
red!70!white,
mark options={fill=red!70!white},
line width=2pt,
mark=triangle*,
mark size=2.5pt
]
table[x=x,y=y] {kavosh.txt};
\addplot+[
blue!50!white,
mark options={fill=blue!50!white},
line width=2pt,
mark=*,
mark size=2pt
]
table[x=x,y=y] {netmode.txt};

\addplot+[
violet!50!white,
mark options={fill=violet!50!white},
line width=2pt,
mark=diamond*,
mark size=2.5pt
]
table[x=x,y=y] {accMotifs.txt};

\legend{Fanmode \cite{fanmod}, Kavosh \cite{kashani2009kavosh}, NetMode \cite{li2012netmode},acc-Motifs}
\end{axis}
\end{tikzpicture}
\caption{Comparison between Fanmode, Kavosh, NetMode, acc-Motif by varying $k\in\{3,4,5,6\}$ using the California \cite{Pajek2006} graph.}
\label{fig:variandoK}
\end{figure}

According to the results presented in Table \ref{tab:ExpI}, the acc-Motif algorithm presented a performance inferior to NetMod only for instances whose computational cost is small. For larger instances, acc-Motif was superior to the other algorithms.

 Motifs Detection consists in enumerating the isomorphic patterns of induced subgraphs  in the original graph and in a group of random graphs. It is a paralleling problem, since each induced subgraph can be treated by a separate trhead.
 This version of acc-Motif is multi-threaded.
 See the performance gain in tables~\ref{fig:RogetParallel} and \ref{tab:ExpII}.

\begin{figure*}[h!t]
\center

\begin{tikzpicture}
\pgfplotsset{every axis legend/.append style={
at={(0.5,1.05)},
anchor=south},
}
\pgfplotsset{set layers}
\begin{axis}[
width=8cm,
height=7cm,
ymode=log,
xmode=log,
log basis x=2,
log basis y=2,
legend columns=2,
xmin=0.8,
xmax=40,
xtick={1,2,4,8,16,32,64},
ymin=128,
ymax=40000,
grid=major,
ylabel style={at={(0.06,0.5)}},
xlabel={Number of Threads ($log_{2}$)},
ylabel={Time in Miliseconds ($log_{2}$)}
]
\addplot+[
blue!50!white,
mark options={fill=blue!50!white},
line width=2pt,
mark=*,
mark size=2pt
]
table[x=x,y=y] {netModeTime.txt};
\addplot+[
violet!50!white,
mark options={fill=violet!50!white},
line width=2pt,
mark=diamond*,
mark size=2.5pt
]
table[x=x,y=y] {accMotifTime.txt};
\legend{NetMode \cite{li2012netmode},acc-Motifs}
\end{axis}
\end{tikzpicture}
\caption{Experiment varying the number of threads for $ k = 6 $, with 511 random graphs for the graph Roget~\cite{Pajek2006}.}
\label{fig:RogetParallel}
\end{figure*}

\begin{table*}[h]
\centering
\linespreadCompact
\scriptsize
\caption{Experiment varying the number of threads to $ k = 6 $, with 511 random graphs.}
\label{tab:ExpII}
\begin{tabular}{llrrrrrr}
\hline
\hline
&&\multicolumn{6}{c}{Number of Threads}\\
\cline{3-8}
Grafo&Algoritmo&\multicolumn{1}{c}{1} &\multicolumn{1}{c}{2} &\multicolumn{1}{c}{4} &\multicolumn{1}{c}{8} &\multicolumn{1}{c}{16} &\multicolumn{1}{c}{32} \\
\hline
\hline
\rowcolor{Gray}
E,coli\cite{AlonDataset}&NetMode&4,315.15 (1)&2,171.61 (0.99)&1,120.09 (0.96)&579.34 (0.93)&299.41 (0.90)&201.00 (0.67)\\
&acc-Motif&1,008.80 (1)&509.79 (0.99)&254.90 (0.99)&134.67 (0.94)&76.86 (0.82)&52.90 (0.60)\\
\rowcolor{Gray}
Levedura\cite{AlonDataset}&NetMode&10,954.56 (1)&5,499.05 (1.00)&2,767.48 (0.99)&1,393.56 (0.98)&755.24 (0.91)&463.65 (0.74)\\
&acc-Motif&2,192.09 (1)&1,107.66 (0.99)&557.98 (0.98)&286.24 (0.96)&157.94 (0.87)&102.22 (0.67)\\
\rowcolor{Gray}
CSphd\cite{Pajek2006}&NetMode&651.88 (1)&325.96 (1.00)&169.71 (0.96)&88.89 (0.92)&49.21 (0.83)&32.75 (0.62)\\
&acc-Motif&256.34 (1)&132.00 (0.97)&76.16 (0.84)&41.79 (0.77)&28.04 (0.57)&24.44 (0.33)\\
\rowcolor{Gray}
Roget\cite{Pajek2006}&NetMode&29,396.61 (1)&14,920.73 (0.99)&7,609.44 (0.97)&3,929.97 (0.94)&2,047.88 (0.90)&1,286.86 (0.71)\\
&acc-Motif&5,198.82 (1)&2,627.17 (0.99)&1,330.58 (0.98)&676.05 (0.96)&353.37 (0.92)&226.99 (0.72)\\
\hline
\hline
\end{tabular}
\end{table*}

\linespread{1.5} \normalsize

\section{Conclusion}
\label{conclusion}

In this work we present a tool to detect motifs of size up to 6. Computational experiments show that acc-Motif is the fastest tool compared to algorithms available in the literature.

We have proposed an efficient algorithm for calculating induced subgraphs.
Finally, a multi-threaded version of the program was generated.

\bibliographystyle{plain}

redpajama_set_name: RedPajamaArXiv


Find us on PONNY Facebook. Invitations, news, photos and videos!
Our aunties Veronika Merendová and Soňa Bracková participated in a nationwide MENSA conference aimed at developing talents, education and identification of gifted children. This time more focused on how to motivate children to learn.
The conference is always an opportunity for us to meet enthusiastic teachers and learn about new results in the field of gifted education.
Martina Drtílková shared experience and examples of good practice with regional methodologist of nursery, primary and secondary schools. The aim of the meeting was to evaluate the work with gifted children and an identification of new competencies for the next year.
Auntie Sasha Gottierová participated in the seminar of pedagogical diagnosis which was aimed at deepening the pedagogical skills of teachers at kindergartens in the diagnosis of various types of non-standard child development, to expand knowledge in this area, including terminology, understanding the content of professional examinations and the overall strengthening of expertise and communication skills towards parents and teacher assistants.
Karla Večeřová participated in the conference How does psychosomatic which offered an insight into the area that connects western and eastern medicine, biology, psychology, quantum physics, mathematics and others. It shows how harmony and balance in all areas of life is the greatest disease prevention.
Our aunties Veronika Merendová, Míša Fuková, Soňa Bracková and Markéta Navratilová completed the first part of the NTC training. NTC Learning System is a unique learning that develops child's brain with the help of exercises that have a scientific basis, evidence supporting more effective use of a brain capacity in childhood.
Accept our invitation to Open House Day on 9th and 10th February 2016. If you are interested in more details about our preschool program and experience relax atmosphere, visit us together with your child and ask any questions personally. You will have an opportunity to see the kids working on projects, NTC method etc.
PONNY has become a member of the regional methodologists of the National Institute of Education for the formal education of gifted children for the period 2015-2020.
The aim is to create conditions for potential development with all children, beginning even at preschool age and create a comprehensive system that encourages maximum development in both formal and interest areas. The key step is a cooperation with national and international universities and institutions, sharing experience, fostering creativity and preparation proposals for changes in a school legislation.
PONNY preschool invites all who would like to get involved in a charity run RUN and HELP on behalf of Konto Bariéry.
Each registered participant will run on Kraví hora and for each 1 km will contribute the amount of 100 CZK. We hope all of you can manage 1 km at least.
All the money will be given to a small boy with autism syndrome. His name is Tobias and he lives in Brno. The money will help to arrange assistants and educational tools. Tobias´ parents run as well.
If you are interested in more information, please contact Mrs. Martina Straková (info@ponny-brno.cz).
Thank all of you for supporting this event.
You can take your children. PONNY kids are ready to run as well.
The program is adapted to the weather. We spend a large part of a day outdoors (park Kraví hora, Wilson's forest). We also work with NTC method, symbols, flags and play many games.
full-day teaching of English language, all expenses associated with this action including drinks, snacks, lunch, fare, admission. A healthy diet all the week.
The program takes place from 9.30 am to 4.30 pm.
You can bring your child to PONNY at 7.30 am the earliest and pick him/her up at 6 pm the latest.
The children travel to Africa and meet lots of animals. They get acquainted with an elephant called Abuu who shows the kids rivers, mountains and his friends. Every day is accompanied with drumming, the children release and test their own rhythms. Drumming connects the left and right hemispheres, relaxes the tension and stress.
A week full of movement and sport activities. Every day one discipline is trained after which a competition follows. The kids can win medals for running, jumping, throwing a ball, etc.
A week full of painting, cutting, gluing, and creative activities. Children make beautiful masks, puppets, animals, mugs. They paint in a park and wood and learn to see things in a different way.
The children learn a correct posture and position of their body, improves their agility, try to perceive music and rhythm and develop their talent. The children enhance physical fitness, coordination, and balance. Every day we have lots of fun, dance and games.
Children learn the rules how to behave when walking, how to cross a road, learn traffic signs, etc. They will test their knowledge at the children traffic playground in Lužánky Park.
Accept our invitation to Open House Day on 3rd and 4th February 2015. If you are interested in more details about our preschool program and experience relax atmosphere, visit us together with your child and ask any questions personally. You will have an opportunity to see the kids working on projects, NTC method etc.
for those of you who look for more information about how to develop a talent with your child we bring you interesting insights and information on our new website www.rozvojnadani.cz.


text:
Star Trek – The Next Generation: Intelligence Gathering
Gianluigi Gregorini
David Tipton
Scott Tipton
North American Publisher / ISBN: IDW - 978-1-60010-199-1
Positive minority portrayal?: yes
Categories: Science-Fiction, TV, Film or Video Game tie-in
IDW launched their Star Trek: The Next Generation series with six individual stories revealed to be tied together at the conclusion of The Space Between. This pattern is followed here, but the creative team switches and we only receive five chapters.
The writing combination of Scott and David Tipton (never credited alphabetically) are joined by artist David Messina, who appears to be basing his thick-outlined style on stained glass windows. The differing colours of the crew uniforms, laid in flat, accentuate this effect. It's troublesome, though, restricting the storytelling and leading to some distorted cast likenesses.
Data's positronic brain is key to the first tale in which an intelligence storage device utilising an analogous system begins to malfunction. The writers are good enough to ensure that the plot doesn't head in the obvious direction, but what they do come up with doesn't thrill either, not helped by Messina's locale resembling a 1980s pixelated video game. While Messina remains a hindrance, matters do improve.
The writers ensure their spotlight spreads around the cast, with each of the major series characters represented at least once in the five chapters, and several minor characters are also included. Once again, though, it should be noted that the involvement of the primary female cast is minimal, and largely when controlled by others. It's also the case that the Tiptons vary their plots, so we get five very different stories over the book, and they're very good on the remotely plausible technobabble on which Star Trek thrives: "For all the isolinear storage we've used holodeck technology to construct an extra-dimensional tesseract."
In addition to the material already mentioned, we look in on a colonisation experiment on the Federation's part that's just too plot convenient. Two seemingly incompatible races are forced to live side by side, and troubles inevitably ensue, but at least Captain Kirk's choice of Worf as mediator has a logic appended. The introductory convenience aside, though, it zips along very nicely. There's also an engineer on another ship alienating his crew with an instinctive belief not borne out by evidence.
When the connecting thread bears fruit it's suitably large scale, but the tie-up is extremely brief while addressing what might otherwise be a plot hole.
From the third chapter Gianluigi Gregorini is credited with art assists, although his contribution isn't defined further. Whatever it is, either Messina has grown into the project, or Gregorini is improving the cast likenesses. Overall, this is readable, if unspectacular Star Trek, but will be enjoyed more by those really into the characters.
Star Trek: Khan – Ruling in Hell
Star Trek Year Four: The Enterprise Experiment
Star Trek – The Next Generation: Ghosts
Star Trek Next Generation: Hive