text:
import {Annotation, AnnotationPropertySpec, AnnotationType, annotationTypeHandlers, getPropertyOffsets} from 'neuroglancer/annotation';
import {AnnotationLayer} from 'neuroglancer/annotation/renderlayer';
import {PerspectiveViewRenderContext} from 'neuroglancer/perspective_view/render_layer';
import {ChunkDisplayTransformParameters} from 'neuroglancer/render_coordinate_transform';
import {SliceViewPanelRenderContext} from 'neuroglancer/sliceview/renderlayer';
import {WatchableValueInterface} from 'neuroglancer/trackable_value';
import {RefCounted} from 'neuroglancer/util/disposable';
import {mat4} from 'neuroglancer/util/geom';
import {Buffer} from 'neuroglancer/webgl/buffer';
import {GL} from 'neuroglancer/webgl/context';
import {ParameterizedContextDependentShaderGetter, parameterizedEmitterDependentShaderGetter, shaderCodeWithLineDirective, WatchableShaderError} from 'neuroglancer/webgl/dynamic_shader';
import {ShaderBuilder, ShaderModule, ShaderProgram} from 'neuroglancer/webgl/shader';
import {addControlsToBuilder, setControlsInShader, ShaderControlsBuilderState, ShaderControlState} from 'neuroglancer/webgl/shader_ui_controls';

export type AnnotationShaderGetter =
    ParameterizedContextDependentShaderGetter<ShaderModule, ShaderControlsBuilderState>;

export interface AnnotationRenderContext {
  buffer: Buffer;
  annotationLayer: AnnotationLayer;
  renderContext: SliceViewPanelRenderContext|PerspectiveViewRenderContext;
  bufferOffset: number;
  count: number;
  basePickId: number;
  selectedIndex: number;
  modelViewProjectionMatrix: mat4;
  subspaceMatrix: Float32Array;
  renderSubspaceModelMatrix: mat4;
  renderSubspaceInvModelMatrix: mat4;
  modelClipBounds: Float32Array;
  chunkDisplayTransform: ChunkDisplayTransformParameters;
}

interface AnnotationPropertyTypeRenderHandler {
  defineShader(builder: ShaderBuilder, identifier: string, rank: number): void;
}

function makeSimplePropertyRenderHandler(
    shaderType: string,
    bind: (gl: WebGL2RenderingContext, location: number, stride: number, offset: number) => void) {
  return {
    defineShader(builder: ShaderBuilder, identifier: string) {
      const propName = `prop_${identifier}`;
      const aName = `a_${propName}`;
      builder.addAttribute(`${shaderType}`, aName);
      builder.addVertexCode(`${shaderType} ${propName}() { return ${aName}; }`);
      builder.addInitializer(shader => {
        const location = shader.attribute(aName);
        const {gl} = shader;
        shader.vertexShaderInputBinders[propName] = location === -1 ?
            {
              enable() {},
              disable() {},
              bind() {},
            } :
            {
              enable(divisor: number) {
                gl.enableVertexAttribArray(location);
                gl.vertexAttribDivisor(location, divisor);
              },
              disable() {
                gl.vertexAttribDivisor(location, 0);
                gl.disableVertexAttribArray(location);
              },
              bind(stride: number, offset: number) {
                bind(gl, location, stride, offset);
              },
            };
      });
    },
  };
}

function makeFloatPropertyRenderHandler(
    shaderType: string, numComponents: number, attributeType: number, normalized: boolean) {
  return makeSimplePropertyRenderHandler(shaderType, (gl, location, stride, offset) => {
    gl.vertexAttribPointer(
        location, /*size=*/ numComponents, /*type=*/ attributeType,
        /*normalized=*/ normalized, stride, offset);
  });
}

function makeIntegerPropertyRenderHandler(
    shaderType: string, numComponents: number, attributeType: number) {
  return makeSimplePropertyRenderHandler(shaderType, (gl, location, stride, offset) => {
    gl.vertexAttribIPointer(
        location, /*size=*/ numComponents, /*type=*/ attributeType, stride, offset);
  });
}

const annotationPropertyTypeRenderHandlers:
    {[K in AnnotationPropertySpec['type']]: AnnotationPropertyTypeRenderHandler} = {
      'rgb': makeFloatPropertyRenderHandler(
          'highp vec3', 3, WebGL2RenderingContext.UNSIGNED_BYTE, /*normalized=*/ true),
      'rgba': makeFloatPropertyRenderHandler(
          'highp vec4', 4, WebGL2RenderingContext.UNSIGNED_BYTE, /*normalized=*/ true),
      'float32': makeFloatPropertyRenderHandler(
          'highp float', 1, WebGL2RenderingContext.FLOAT, /*normalized=*/ false),
      'uint32':
          makeIntegerPropertyRenderHandler('highp uint', 1, WebGL2RenderingContext.UNSIGNED_INT),
      'int32': makeIntegerPropertyRenderHandler('highp int', 1, WebGL2RenderingContext.INT),
      'uint16':
          makeIntegerPropertyRenderHandler('highp uint', 1, WebGL2RenderingContext.UNSIGNED_SHORT),
      'int16': makeIntegerPropertyRenderHandler('highp int', 1, WebGL2RenderingContext.SHORT),
      'uint8':
          makeIntegerPropertyRenderHandler('highp uint', 1, WebGL2RenderingContext.UNSIGNED_BYTE),
      'int8': makeIntegerPropertyRenderHandler('highp int', 1, WebGL2RenderingContext.BYTE),
    };

export abstract class AnnotationRenderHelper extends RefCounted {
  pickIdsPerInstance: number;
  targetIsSliceView: boolean;
  readonly serializedBytesPerAnnotation: number;
  readonly serializedGeometryBytesPerAnnotation: number;
  readonly propertyOffsets: number[];

  constructor(
      public gl: GL, public annotationType: AnnotationType, public rank: number,
      public properties: readonly Readonly<AnnotationPropertySpec>[],
      public shaderControlState: ShaderControlState,
      public fallbackShaderParameters: WatchableValueInterface<ShaderControlsBuilderState>,
      public shaderError: WatchableShaderError) {
    super();
    const serializedGeometryBytesPerAnnotation = this.serializedGeometryBytesPerAnnotation =
        annotationTypeHandlers[annotationType].serializedBytes(rank);
    const {offsets, serializedBytes: serializedPropertyBytes} =
        getPropertyOffsets(rank, properties);
    this.serializedBytesPerAnnotation =
        serializedPropertyBytes + serializedGeometryBytesPerAnnotation;
    this.propertyOffsets = offsets;
  }

  getDependentShader(memoizeKey: any, defineShader: (builder: ShaderBuilder) => void):
      AnnotationShaderGetter {
    return parameterizedEmitterDependentShaderGetter(this, this.gl, {
      memoizeKey: {
        t: 'annotation',
        targetIsSliceView: this.targetIsSliceView,
        type: this.annotationType,
        subType: memoizeKey,
        properties: this.properties,
        rank: this.rank,
      },
      fallbackParameters: this.fallbackShaderParameters,
      parameters: this.shaderControlState.builderState,
      shaderError: this.shaderError,
      defineShader: (builder: ShaderBuilder, parameters: ShaderControlsBuilderState) => {
        const {rank, properties} = this;
        for (const property of properties) {
          const handler = annotationPropertyTypeRenderHandlers[property.type];
          handler.defineShader(builder, property.identifier, rank);
        }
        const {propertyOffsets} = this;
        builder.addInitializer(shader => {
          const binders = this.properties.map(
              property => shader.vertexShaderInputBinders[`prop_${property.identifier}`]);
          const numProperties = binders.length;
          shader.vertexShaderInputBinders['properties'] = {
            enable(divisor: number) {
              for (let i = 0; i < numProperties; ++i) {
                binders[i].enable(divisor);
              }
            },
            bind(stride: number, offset: number) {
              for (let i = 0; i < numProperties; ++i) {
                binders[i].bind(stride, offset + propertyOffsets[i]);
              }
            },
            disable() {
              for (let i = 0; i < numProperties; ++i) {
                binders[i].disable();
              }
            },
          };
        });
        builder.addUniform('highp vec3', 'uColor');
        builder.addUniform('highp uint', 'uSelectedIndex');
        builder.addVarying('highp vec4', 'vColor');
        // Transform from model coordinates to the rendered subspace.
        builder.addUniform('highp vec3', 'uSubspaceMatrix', rank);
        // Transform from the rendered subspace of the model coordinate space to clip coordinates.
        builder.addUniform('highp mat4', 'uModelViewProjection');

        // Specifies center vector and per-dimension scale in model coordinates used for
        // clipping.
        builder.addUniform('highp float', 'uModelClipBounds', rank * 2);
        builder.addUniform('highp uint', 'uPickID');
        builder.addVarying('highp uint', 'vPickID', 'flat');
        builder.addVertexCode(`
vec3 defaultColor() { return uColor; }
highp uint getPickBaseOffset() { return uint(gl_InstanceID) * ${this.pickIdsPerInstance}u; }
`);

        builder.addFragmentCode(`
void emitAnnotation(vec4 color) {
  emit(color, vPickID);
}
`);

        const glsl_getSubspaceClipCoefficient = `
float getSubspaceClipCoefficient(float modelPoint[${this.rank}]) {
  float coefficient = 1.0;
  for (int i = 0; i < ${rank}; ++i) {
    float d = abs(modelPoint[i] - uModelClipBounds[i]) * uModelClipBounds[${rank} + i];
    coefficient *= max(0.0, 1.0 - d);
  }
  return coefficient;
}
`;
        builder.addVertexCode(glsl_getSubspaceClipCoefficient);
        builder.addFragmentCode(glsl_getSubspaceClipCoefficient);
        builder.addVertexCode(`
vec3 projectModelVectorToSubspace(float modelPoint[${this.rank}]) {
  vec3 result = vec3(0.0, 0.0, 0.0);
  for (int i = 0; i < ${rank}; ++i) {
    result += uSubspaceMatrix[i] * modelPoint[i];
  }
  return result;
}

float getMaxEndpointSubspaceClipCoefficient(float modelPointA[${this.rank}],  float modelPointB[${
            this.rank}]) {
  float coefficient = 1.0;
  for (int i = 0; i < ${rank}; ++i) {
    float dA = abs(modelPointA[i] - uModelClipBounds[i]) * uModelClipBounds[${rank} + i];
    float dB = abs(modelPointB[i] - uModelClipBounds[i]) * uModelClipBounds[${rank} + i];
    coefficient *= max(0.0, 1.0 - min(dA, dB));
  }
  return coefficient;
}

float getMaxSubspaceClipCoefficient(float modelPointA[${this.rank}],  float modelPointB[${
            this.rank}]) {
  float coefficient = 1.0;
  for (int i = 0; i < ${rank}; ++i) {
    float a = modelPointA[i];
    float b = modelPointB[i];
    float c = uModelClipBounds[i];
    float x = clamp(c, min(a, b), max(a, b));
    float d = abs(x - c) * uModelClipBounds[${rank} + i];
    coefficient *= max(0.0, 1.0 - d);
  }
  return coefficient;
}

`);
        addControlsToBuilder(parameters, builder);
        builder.addVertexCode(`
const bool PROJECTION_VIEW = ${!this.targetIsSliceView};
bool ng_discardValue;
#define discard ng_discard()
void ng_discard() {
  ng_discardValue = true;
}
void setLineColor(vec4 startColor, vec4 endColor);
void setLineWidth(float width);

void setEndpointMarkerColor(vec4 startColor, vec4 endColor);
void setEndpointMarkerBorderColor(vec4 startColor, vec4 endColor);
void setEndpointMarkerSize(float startSize, float endSize);
void setEndpointMarkerBorderWidth(float startSize, float endSize);

void setPointMarkerColor(vec4 color);
void setPointMarkerBorderColor(vec4 color);
void setPointMarkerSize(float size);
void setPointMarkerBorderWidth(float size);
void setPointMarkerBorderColor(vec3 color) { setPointMarkerBorderColor(vec4(color, 1.0)); }

void setEllipsoidFillColor(vec4 color);

void setBoundingBoxBorderColor(vec4 color);
void setBoundingBoxBorderWidth(float size);
void setBoundingBoxFillColor(vec4 color);

void setEndpointMarkerColor(vec3 startColor, vec3 endColor) {
  setEndpointMarkerColor(vec4(startColor, 1.0), vec4(endColor, 1.0));
}
void setEndpointMarkerBorderColor(vec3 startColor, vec3 endColor) {
  setEndpointMarkerBorderColor(vec4(startColor, 1.0), vec4(endColor, 1.0));
}
void setEndpointMarkerColor(vec3 color) { setEndpointMarkerColor(color, color); }
void setEndpointMarkerColor(vec4 color) { setEndpointMarkerColor(color, color); }
void setEndpointMarkerBorderColor(vec3 color) { setEndpointMarkerBorderColor(color, color); }
void setEndpointMarkerBorderColor(vec4 color) { setEndpointMarkerBorderColor(color, color); }
void setEndpointMarkerSize(float size) { setEndpointMarkerSize(size, size); }
void setEndpointMarkerBorderWidth(float size) { setEndpointMarkerBorderWidth(size, size); }
void setLineColor(vec4 color) { setLineColor(color, color); }
void setLineColor(vec3 color) { setLineColor(vec4(color, 1.0)); }
void setLineColor(vec3 startColor, vec3 endColor) { setLineColor(vec4(startColor, 1.0), vec4(endColor, 1.0)); }
void setColor(vec4 color) {
  setPointMarkerColor(color);
  setLineColor(color);
  setEndpointMarkerColor(color);
  setBoundingBoxBorderColor(color);
  setEllipsoidFillColor(vec4(color.rgb, color.a * (PROJECTION_VIEW ? 1.0 : 0.5)));
}
void setEllipsoidFillColor(vec3 color) { setEllipsoidFillColor(vec4(color, 1.0)); }

void setBoundingBoxFillColor(vec3 color) { setBoundingBoxFillColor(vec4(color, 1.0)); }
void setBoundingBoxBorderColor(vec3 color) { setBoundingBoxBorderColor(vec4(color, 1.0)); }

void setColor(vec3 color) { setColor(vec4(color, 1.0)); }
void userMain();
`);
        for (const [annotationType, renderHandler] of annotationTypeRenderHandlers) {
          if (annotationType === this.annotationType) continue;
          renderHandler.defineShaderNoOpSetters(builder);
        }
        defineShader(builder);
        builder.addVertexCode(
            `\n#define main userMain\n` + shaderCodeWithLineDirective(parameters.parseResult.code) +
            `\n#undef main\n`);
      },
    });
  }

  setPartIndex(builder: ShaderBuilder, ...partIndexExpressions: string[]) {
    let s = `
void setPartIndex(${partIndexExpressions.map((_, i) => `highp uint partIndex${i}`).join()}) {
  highp uint pickID = uPickID;
  highp uint pickBaseOffset = getPickBaseOffset();
${
        partIndexExpressions
            .map((_, i) => `highp uint pickOffset${i} = pickBaseOffset + partIndex${i};`)
            .join('\n')}
`;
    if (partIndexExpressions.length === 0) {
      s += `
  highp uint pickOffset0 = pickBaseOffset;
`;
    }
    s += `
  vPickID = pickID + pickOffset0;
  highp uint selectedIndex = uSelectedIndex;
if (selectedIndex == pickBaseOffset${
        partIndexExpressions.map((_, i) => ` || selectedIndex == pickOffset${i}`).join('')}) {
    vColor = vec4(mix(vColor.rgb, vec3(1.0, 1.0, 1.0), 0.75), vColor.a);
  }
}
`;
    builder.addVertexCode(s);
    return `setPartIndex(${partIndexExpressions.join()})`;
  }

  get invokeUserMain() {
    return `
ng_discardValue = false;
userMain();
if (ng_discardValue) {
  gl_Position = vec4(2.0, 0.0, 0.0, 1.0);
  return;
}
`;
  }

  getCrossSectionFadeFactor() {
    if (this.targetIsSliceView) {
      return `(clamp(1.0 - 2.0 * abs(0.5 - gl_FragCoord.z), 0.0, 1.0))`;
    } else {
      return `(1.0)`;
    }
  }

  enable(
      shaderGetter: AnnotationShaderGetter, context: AnnotationRenderContext,
      callback: (shader: ShaderProgram) => void) {
    const {shader, parameters} = shaderGetter(context.renderContext.emitter);
    if (shader === null) return;
    shader.bind();
    const {gl} = this;
    const {renderContext} = context;
    const {annotationLayer} = context;
    setControlsInShader(gl, shader, this.shaderControlState, parameters.parseResult.controls);
    gl.uniform3fv(shader.uniform('uSubspaceMatrix'), context.subspaceMatrix);
    gl.uniform1fv(shader.uniform('uModelClipBounds'), context.modelClipBounds);
    gl.uniformMatrix4fv(
        shader.uniform('uModelViewProjection'), false, context.modelViewProjectionMatrix);
    if (renderContext.emitPickID) {
      gl.uniform1ui(shader.uniform('uPickID'), context.basePickId);
    }
    if (renderContext.emitColor) {
      const color = annotationLayer.state.displayState.color.value;
      gl.uniform3f(shader.uniform('uColor'), color[0], color[1], color[2]);
      gl.uniform1ui(shader.uniform('uSelectedIndex'), context.selectedIndex);
    }

    const binder = shader.vertexShaderInputBinders['properties'];
    binder.enable(1);
    gl.bindBuffer(WebGL2RenderingContext.ARRAY_BUFFER, context.buffer.buffer);
    binder.bind(
        this.serializedBytesPerAnnotation,
        context.bufferOffset + this.serializedGeometryBytesPerAnnotation);
    callback(shader);
    binder.disable();
  }

  abstract draw(context: AnnotationRenderContext): void;
}

interface AnnotationRenderHelperConstructor {
  new(gl: GL, annotationType: AnnotationType, rank: number,
      properties: readonly Readonly<AnnotationPropertySpec>[],
      shaderControlState: ShaderControlState,
      fallbackShaderParameters: WatchableValueInterface<ShaderControlsBuilderState>,
      shaderError: WatchableShaderError): AnnotationRenderHelper;
}

interface AnnotationTypeRenderHandler<T extends Annotation> {
  defineShaderNoOpSetters: (builder: ShaderBuilder) => void;
  perspectiveViewRenderHelper: AnnotationRenderHelperConstructor;
  sliceViewRenderHelper: AnnotationRenderHelperConstructor;
  pickIdsPerInstance: number;
  getRepresentativePoint(out: Float32Array, annotation: T, partIndex: number): void;
  updateViaRepresentativePoint(oldAnnotation: T, position: Float32Array, partIndex: number): T;
  snapPosition(position: Float32Array, data: ArrayBuffer, offset: number, partIndex: number): void;
}

const annotationTypeRenderHandlers =
    new Map<AnnotationType, AnnotationTypeRenderHandler<Annotation>>();

export function registerAnnotationTypeRenderHandler<T extends Annotation>(
    type: AnnotationType, handler: AnnotationTypeRenderHandler<T>) {
  annotationTypeRenderHandlers.set(type, handler);
}

export function getAnnotationTypeRenderHandler(type: AnnotationType):
    AnnotationTypeRenderHandler<Annotation> {
  return annotationTypeRenderHandlers.get(type)!;
}

redpajama_set_name: RedPajamaGithub


The skull base is the interface between the neck and the cranial cavity and the brain.
Neural structures and major blood vessels traverse this interface, and can be a very difficult area to treat pathology.
This requires a multidisciplinary approach, with the department of Otolaryngology, Head and Neck, and Skull Base Surgery possessing vast experience in this area.


text:
package util

import scala.concurrent.Future
import scala.concurrent.ExecutionContext.Implicits.global
import akka.actor.Actor
import com.github.nscala_time.time.Imports._

/**
 *
 * @author ponkotuy
 * Date: 14/05/12.
 */
case class Cron(minutes: Int, hour: Int, day: Int, month: Int, dayOfWeek: Int) {
  import Cron._
  def in(x: Cron): Boolean = {
    (x.minutes == aster || minutes == x.minutes) &&
      (x.hour == aster || hour == x.hour) &&
      (x.day == aster || day == x.day) &&
      (x.month == aster || month == x.month) &&
      (x.dayOfWeek == aster || dayOfWeek == x.dayOfWeek)
  }
}

object Cron {
  val aster = -1

  def fromLong(millis: Long = System.currentTimeMillis()): Cron = {
    val time = new DateTime(millis)
    fromDateTime(time)
  }

  def fromDateTime(time: DateTime): Cron = {
    Cron(
      time.minuteOfHour().get(),
      time.hourOfDay().get(),
      time.dayOfMonth().get(),
      time.monthOfYear().get(),
      time.dayOfWeek().get()
    )
  }

  def now: Cron = fromDateTime(DateTime.now)
}

case class CronSchedule(cron: Cron, f: Cron => Unit) {
  def exec(now: Cron): Unit = {
    if(now.in(cron)) f(now)
  }
}

/** 設定されたCronを実行するScheduler
  *
  * 重複実行は許容されるが、取り零しが発生する可能性があるので、1分より短かめの間隔で"minutes"を送信する必要がある
  */
class CronScheduler extends Actor {
  var schedules: List[CronSchedule] = Nil
  var lastExec: Long = 0 // Original Minutes (SystemTime / (60 * 1000))

  override def receive = {
    case s: CronSchedule => schedules = s :: schedules
    case "minutes" =>
      val now = System.currentTimeMillis()
      val minutes = now / (60 * 1000)
      if(lastExec < minutes) {
        val cron = Cron.fromLong(now)
        schedules.foreach { it =>
          Future { it.exec(cron) }
        }
        lastExec = minutes
      }
    case x => println("Not Received: " + x)
  }
}


text:
package org.apache.axis2.saaj;

import javax.xml.soap.SOAPElement;
import javax.xml.soap.Text;

import org.w3c.dom.Comment;

public class CommentImpl extends TextImplEx implements Comment {

    public CommentImpl(String data, SOAPElement parent) {
        super(data, parent);
    }

    public CommentImpl(String data, SOAPElement parent,
                       org.w3c.dom.Node prevSibling, org.w3c.dom.Node nextSibling) {
        super(data, parent, prevSibling, nextSibling);
    }

    public boolean isComment() {
        return true;
    }

    public String getNodeName() {
        return "#comment";
    }

    public short getNodeType() {
        return Text.COMMENT_NODE;
    }
}


As ROK CUP USA ventures to the Midwest for the first time, The series has decided to offer a complete engine rental program to help new interested drivers to take part of the championship races that will be held at Pitt Race July 1st – 3rd and Newcastle August 26th - 28th.
This program will work only for drivers that will register and participate in one or both races and if a driver registers for both events, the series guarantees the use of the same engine for both weekends. In addition, if the driver decides to purchase it, rental fees will be applied towards the final engine price. This program will work directly with authorized VORTEX Dealers, complete engine prices go around $2,400.00 USD for ROK GP and $3,400.00 USD for SHIFTER ROK. All engines include carburetor, air box, radiator, water pump, harness and battery. Rental engines will be delivered on Thursday of the week of the event.
*Shipping is not included on rental price.


Since I literally grew up in this industry and overall it's been good to me and allowed me to make a pretty damn good living and take care of my wife and kids, I'm at the point in my life where I'd like to think that maybe I have something to finally give back.
3) My realistic goal and the lowest hanging fruit on the tree is that I just want to practice being a better writer, period. I spend all my time writing in contract and specification speak, and I want to actually be, you know, creative with words: so if no one ever reads this, oh well, that's a very likely outcome but at least it's something I can say I'm putting my best effort into and committing to, to better myself.
I am the first to profess that I am the furthest thing from a professional writer, so I'm going to start small and write this blog.
1) My amazing wife, Dawn who has the ignomious task of actually living with me and having to sacrifice many "be home in an hour" nights and supports the long hours that I invariably put in and now operating as my primary sounding board and editor-at-large.
2) George Tucker aka TuckerTues who I'm probably going to blatantly emulate from time to time until I get a better feel and find my own voice for my attempts at sharing my thoughts.
"Be excellent to each other"


text:
package equellatests.sections.wizard

import equellatests.browserpage.WaitingBrowserPage
import org.openqa.selenium.{By, WebDriver, WebElement}

trait WizardControl extends WaitingBrowserPage {
  def ctx = page.ctx
  def page: WizardPageTab
  def driver: WebDriver
  def ctrlNum: Int
  def ctrlId                                 = s"p${page.pageNum}c$ctrlNum"
  def idFor(postfix: String): String         = ctrlId + postfix
  def byForId(postfix: String): By           = By.id(idFor(postfix))
  def elemForId(postfix: String): WebElement = driver.findElement(byForId(postfix))
}


text:
Home/ENTERTAINMENT/Burna Boy Gets 2nd Grammy Nomination
Burna Boy Gets 2nd Grammy Nomination
Chidera Send an email November 24, 2020
Burna Boy's album 'Twice As Tall' has been nominated for a Grammy award in the Best Global Music category.
This will be Burna Boy's second nomination in this category. Earlier in 2020, Burna Boy's album, African Giant lost the category to Anqelique Kidjo.
A few weeks ago, the Recording Academy announced the category formerly known as 'Best World Music Album' would become 'Best Global Music Album.' Burna Boy lost to Kidjo when the category was known as 'Best World Music Album.'
If Burna Boy wins, he will become Nigeria's first Grammy winner since Sikiru Adepoju won with Planet Drum over 10 years ago. Beyonce's video for 'Brown Skin Girl' got a nod for Best Music Video, but it's unclear if that concerns Wizkid who is a featured act on the song alongside Blue Ivy Carter, Beyonce's daughter and Saint jHN.
"I'm like MTN in Ghana; I hear all you say about me" – Shatta Wale calls out Burna Boy (Video)
Timaya Claims Davido And Burna Boy Are Going To Be Best Of Friends
Real reason Davido and Burna Boy fought like kids in Ghana (details)
Burna Boy Grammy nominations Twice As Tall
So Sad!!! 17-year-old girl who got 7 A1s in WAEC dies
'I am tired of making money' – Davido Reveals

redpajama_set_name: RedPajamaCommonCrawl


1758 REgulations Manual Exercise – British Drill Manual. The first set of regulations procuded after the French and Indian War. The small booklet includes basic loading and firing, instructions for setting up camp, and instructions for forming a square. 18 pages, including 4 plates.


text:
Q: How to sort an instantiated custom arraylist in javafx I am trying to learn programming and started using javafx.
I am now facing a problem which is probably caused by my gaps of knowledge and understanding of java
So far I have created a class as shown below
public class Sheet {

    private String material;
    private int DimX,DimY;
    private double quantity;;

    public Sheet(String _material,int _DimX,int _DimY,double _quantity){
        material = _material;
        DimX =_DimX;
        DimY =_DimY;
        quantity = _quantity ;
    }

    public String getMaterial(){return material;}
    public void setMaterial(String _material) {material = _material;}

    public int getDimX(){return DimX;}
    public void setDimX(int _DimX){DimX = _DimX;}

    public int getDimY(){return DimY;}
    public void setDimY(int _DimY){DimY = _DimY;}

    public double getQuantity(){return quantity;}
    public void setQuantity(double _quantity) {quantity = _quantity;}

}

The arraylist is created using
List<Sheet> Sheet_list= new ArrayList<>();

Through a bit complicated ui the user enters some data which I take parts of, do some calculations and instantiate new entries to an arraylist of the object (sheet)above using the code similar to the linebelow
Sheet_list.add(new Sheet(string_i, int_x, int_y,double_e));

What I need is to sort this arraylist but I am receiving an error that the class is not abstract and does not override abstract method.
Is there any way to sort an arraylist formed from instantiated user data and not programmatically inserted?
Thank you in advance

A: List interface provides convenient sort() method  taking a Comparator. Thus you can either make the Sheet class implement Comparable, then add all your sheet objects to the list, and call Collections.sort(list) on the list object, or use sort(Comparator) version to sort your list.
If you expect that holing your Sheets in some kind of order will be used often, I would go with the first approach.
By the way, I would go with @jewelsea remark and start with basics, then go to JavaFX and more complicated stuff.

redpajama_set_name: RedPajamaStackExchange


text:
General Soap Operas
Soap Night: Are You Looking Forward To the Daytime Emmys?
By Alina Adams 4 years ago
Daytime Emmys
The 46th Annual Daytime Emmys are scheduled for May 5, 2019. It will not be airing on TV but is expected to be live-streamed.
Stay tuned for more information but, in the meantime, we asked: Are you excited for the Daytime Emmys?
It's always fun to see the best of the best on daytime outside their natural element, 72% of you cheer. You're used to seeing them every day on your screens, sobbing and suffering, so it's a treat to watch them smiling and strutting.
Plus, it's nice to see what their peers think of your favorites performances — do they match up with yours? Well, tastes do differ. Some like the dramatic scenes, some like light comedy.
Everyone has their own idea of what good writing is, and no one will ever agree absolutely on what the best show of the year was. But debating can be even more invigorating than agreeing. That's what they build the internet for, no?
Vast Wasteland
With only four soaps left on the air, 27% of fans don't see the Daytime Emmys as much of a contest – and you never cared about the talk and game shows they share the stage with every year.
Back in the day, it made sense to complain when a single show swept the awards, or when the same actors — like Justin Deas or Erika Slezak — won year after year. But now, there are so few contenders, every category feels predictable and rerun-ish.
There's also the fact that the show won't be airing on one of the major networks, and you're not sure if you'll even be able to find where it's streaming. That takes the fun out of it.
Just mail the winners their trophies. Or forget the whole thing until we have more soaps to choose from again.
35th Annual Daytime Emmy Awards
Video Credit: The Emmy Awards
50 Years of Soaps Salutes Villains
Video Credit: kerster22
General Soap Operas news Days of our Lives General Hospital The Young and the Restless
Alina Adams
Alina Adams is the NYT best-selling author of As the World Turns tie-ins "Oakdale Confidential" and "The Man From Oakdale," and co-author of Guiding Light's "Jonathan's Story." She was the Creative Content Director for Procter & Gamble Productions, where she produced the official websites for ATWT and GL, and pioneered "Another World Today." Her romance novels include "When a Man Loves a Woman," "Annie's Wild Ride," "Thieves at Heart" and "The Fictitious Marquis." Her latest book is "Soap Opera 451: A Time Capsule of Daytime Drama's Greatest Stories," featuring exclusive interviews with the actors, writers, and producers who created the scenes fans voted best of all time. Learn more at: www.AlinaAdams.com.


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SUNDAY LIFESTYLE
FOOD AND LEISURE
YSTYLE
(The Philippine Star) - October 17, 2015 - 10:00am
Someone told me that "when prayers go up, blessings come down." That's the mystery of faith.
To have faith is to have a relationship with the unseen God. Faith is about knowing and believing that God is with you even if stillness is the order of the moment.
Faith is what the devotees of St. Padre Pio display every time they whisper a prayer at the National Shrine of St. Padre Pio in San Pedro, Sto. Tomas, Batangas. Every day, the wall-less church of the shrine welcomes pilgrims from all parts of the country, some come from other parts of the world. On Sundays, there are 25,000 to 35,000 devotees who flock to the 4.1-hectare vicinity of the shrine. Their lips mumble prayers as they open their hearts, the vessels that will catch the blessings. They leave the shrine with happiness. It's quite electrifying to see thousands of people leaving the shrine with happy faces.
"It's people's faith in God and in the intercession of St. Padre Pio," explains Fr. Joselin "Jojo" Gonda, 56, parish priest and shrine rector, why pilgrims flock to the church. "And they feel blessed. They receive graces from God through their devotion to St. Padre Pio."
Fr. Jojo says prayers whispered at the shrine that were answered by God through the intercession of St. Padre Pio include the healing of devotees with cancer. "Even my sister got healed of her colon and lung cancer because of her devotion to St. Padre Pio," Fr. Jojo says, adding that medical intervention is also needed for total healing. "But how do you explain devotees getting healed of terminal illness, stage 4 cancer?" These are people who only need a miracle, to quote a doctor friend, to survive. And to live a meaningful life again.
St. Padre Pio (Francesco Forgione, OFM Cap.) was born on May 25, 1887 in Pietrelcina, Italy. He became a priest on Aug. 10, 1910 and received the gift of stigmata on Sept. 20, 1918. He died on Sept. 23, 1968. After his beatification in 1999, Pope John Paul II, who is also now a saint, canonized St. Padre Pio on June 16, 2002. His devotees began to spread around the world after his canonization as a result of many miracles attributed to his sainthood.
"Padre Pio was very holy until he died. His holiness was not only shown through praying but by being intimate with God," says Fr. Jojo, whose devotion to the saint started when he was in grade school.
"He was very close to Christ to the point that he got the stigmata, the five wounds in his hands, feet and side. He prayed to God: 'I know how you have been suffering in the cross. Let me share in your suffering.' After praying, he collapsed. When he woke up, he had the stigmata."
Aside from being intimate with Christ, Padre Pio also loved celebrating the Mass, according to Fr. Jojo. He says that it was always the intention of Padre Pio to bring closer to God the prayers of the faithful. "So he took the confession of the sinners very seriously. He was very gentle with the sinners. He wanted them converted. Also, he had an extreme devotion to Mama Mary."
Fr. Jojo says, "Padre Pio's life did not stop in the monastery. He built a home for the relief of the sick and suffering. It's a free first-class hospital, with all the top-of-the-line hospital facilities donated by people from all over the world."
He adds, "Padre Pio had a habit of bringing cookies. Mula sa kaniyang bulsa, inaabutan niya ng cookies ang mga tao. What's special about him, he had a strong faith that his prayer could be converted into reality. May cancer ang isang tao, pag nagpapadasal sa kaniya, gumagaling. He lived a life filled with deep prayers. He was very simple as a priest. He loved making sacrifices. He would share his food with others."
The other human side of Padre Pio that Fr. Jojo read about was the former's temper.
"Sabi nila meron siyang temper, especially when he's treated like a celebrity. He did not like being photographed and being the focus of people's attention. It was clear to Padre Pio that he was the intercessor. God should still be the focus."
The shrine was initially established as a parish in San Pedro, Sto. Tomas, Batangas in 2003 by Archbishop Gaudencio Cardinal Rosales with Fr. Dale Anthony Barretto-Ko as its first parish priest. The following year, residents of the area Ernesto and Adelaida Gonzaga donated 1.6 hectares of land where the church now stands. In 2008, Lipa Archbishop Ramon Arguelles declared the existing church structure, made from bamboo and nipa, as the Archdiocesan Shrine of St. Padre Pio of Pietrelcina.
When Fr. Jojo was appointed as the parish priest in 2009, the construction of the main church began. In the succeeding years, adjacent lots were acquired to make the total land area 4.1 hectares where the Blessed Sacrament Chapel, Chapel of the Saints, the belfry, the Parish Rectory, the Sanctuary of the True Cross of Christ, the St. John Marie Vianney Chapel of Reconciliation among other structures were erected.
On July 11, 2015, the Catholic Bishops' Conference of the Philippines voted unanimously to declare it the National Shrine of St. Padre Pio. The solemn declaration was held on Sept. 14 this year.
Fr. Jojo says the construction of the shrine is a miracle in itself. "The parish only had P10,000 when we decided to have the church constructed. I prayed for the intercession of St. Padre Pio. And donations poured in."
In appearance, the church is one big salakot. Even the other structures around the church bear salakot in their roofs. "Salakot is used by farmers and fishermen around the Philippines. It symbolizes God's protection on His children," says Fr. Jojo, whose Filipiniana design was the basis of Batangueño architect Julius Pio Raña to build the church. Engineers Jaime Cancio and Willie Carpio helped in turning Fr. Jojo's design ideas into reality.
The devotion of people to St. Padre Pio reminds Fr. Jojo, a diocesan priest for 30 years, of the book written by Henri Nouwen, a Dutch-born Catholic priest and writer, on the importance of going back to one's goodness.
"Ang naturelesa ng tao ay ang gumawa ng kabutihan. That's absolute. We were created good. Mabuti ang ginawa ng Diyos. We were born clean; as we grow older, nadumihan tayo nang nadumihan," he says.
But it is always the birthright of man to go back to God. To go back to his original goodness.
"The purpose of man is not only to be alone. It is to share himself with others in love and goodness. Not only in marriage. Loving people, serving people, offering yourself to promote goodness to the world — those are ways to go back to man's original goodness," he adds.
In his homily, he always espouses selflessness, other-orientedness, being altruistic, being generous to others, having the capacity to change lives, impacting change and giving others directions.
"Sa halip na bumibigat ang pakiramdam ng tao sa iyong presensya, dapat ay gumagaan ang pakiramdam ng taong nasa harapan mo," explains Fr. Jojo.
At the end of the day, it is faith that sustains man to continue his life, to believe that another glorious day awaits at the end of a long night.
(For your new beginnings, please e-mail me at bumbaki@yahoo.com. I'm also on Instagram @bumtenorio. Have a blessed Sunday!)
ACIRC CHURCH COM GOD JOJO PADRE PADRE PIO PIO QUOT SHRINE ST. PADRE PIO
Philstar
Style resolutions for 2020
By Luis Espiritu Jr. | 3 days ago
In fashion, New Year means new resolutions. The new decade marks a more forward-thinking take on personal style and non-gender...
By Johnny Litton | 3 days ago
"Beauty and femininity are ageless and can't be contrived." — Marilyn Monroe
Philippine tourism's bright spot
By Babe Romualdez | 3 days ago
'They think because she's nice and feminine, she's this soft, fragile lady. They don't realize that...
#BangonBatangueño
By Büm D. Tenorio Jr. | 3 days ago
They are known to be barako strong, fearless individuals, both men and women.
Classic Blue & other makeup trends for 2020
By Joanne Zapanta-Andrada | 10 days ago
2020 ushers in a new era and with it a fresh set of looks.
When love sparkles like a diamond
By Johnny Litton | 10 days ago
"Love grows more tremendously full, swift, poignant, as the years, multiply." — Zane Grey
Coast Guard says it's best to move forward from 'isolated cases' of Chinese harassment in West Philippine Sea
For the Philippine Coast Guard, sitting down with its Chinese counterpart is the best solution to resolve the maritime d...
CHINA COAST GUARDJOEL GARCIAPHILIPPINE COAST GUARD
Philippines asks China Coast Guard to stop harassing fishermen in West Philippine Sea
The Philippine Coast Guard will push for a mechanism that will protect the safety of Filipino fishermen in the West Philippine...
CHINA COAST GUARDPHILIPPINE COAST GUARDPHILIPPINES-CHINA TIES
Philippines, China discuss possible joint maritime drill
The Philippine and Chinese coast guards will be discussing the possibility of conducting joint exercises on maritime sec...
PHILIPPINES-CHINA TIESSOUTH CHINA SEAWEST PHILIPPINE SEA
Chinese Coast Guard to visit Philippine next week
There will be no discussion of the sensitive South China Sea issue with the Chinese Coast Guard chief who is scheduled to...
CHINESE COAST GUARD
For the Philippine Coast Guard, sitting down with its Chinese counterpart is the best solution to resolve the maritime dispute.
CHINA COAST GUARD JOEL GARCIA PHILIPPINE COAST GUARD
The Philippine Coast Guard will push for a mechanism that will protect the safety of Filipino fishermen in the West Philippine Sea as they hold bilateral talks with their Chinese counterparts.
CHINA COAST GUARD PHILIPPINE COAST GUARD PHILIPPINES-CHINA TIES
The Philippine and Chinese coast guards will be discussing the possibility of conducting joint exercises on maritime security.
PHILIPPINES-CHINA TIES SOUTH CHINA SEA WEST PHILIPPINE SEA
There will be no discussion of the sensitive South China Sea issue with the Chinese Coast Guard chief who is scheduled to arrive in Manila tomorrow.


The Fruitcake Lady appeared on The Tonight Show with Jay Leno.
bro ralp posadas of Gospel Life Ministry & Love of God International Fellowship with Bro. Eddie Villanueva, Philippine Presidential Candidate 2010 - Jesus Is Lord Movement.
An old video of my mother singing before she passed away.
acoustic played by Jay...my Bro.!
13 days, 8 borders, 8 National Parks, a Vegas and 5000 miles with my daughter... Priceless!


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text:
Overiew
London Members' Library
Tomorrow's FOIL
Tomorrow's FOIL Structure
President's Charity
Michael Corrigan
Corrigan & Corrigan
Michael is a Partner in Corrigan & Corrigan. He has over 29 years continuous and in-depth involvement and experience in every aspect of insurance related litigation and dispute resolution, in particular:
Property claims – material damage
Drafting and interpretation of insurance policies
Indemnity disputes coverage issues
Independent arbitrator/adjudicator – litigation
Handling public liability, employers liability, product liability claims, in particular psychiatric injury, bullying and stress related litigation
Professional indemnity claims
Anne Staunton
I specialise in advising insurers and corporate policyholders in respect of employer, public and motor liability injury, Material damage claims, Regulatory matters, Policy and coverage issues.
I have specialised in highly intricate personal injury litigation for 30 years with particular focus on high value injury claims involving significant claims for loss of earnings and medical/ancillary expenses.
I develop a good working relationship with experts in this field including Senior Counsel, Medical Advisers, Accountants, Vocational Rehabilitation Consultants and Actuaries.
Prior to joining BLM, I was instrumental in establishing and managing the legal department of one of the UK's largest Insurers. I have also worked in several other in-house legal departments throughout my career and I am well known in the insurance market.
I have been awarded a Diploma in European Law in addition to a Diploma in Arbitration from University College Dublin.
Daniel Scanlon
Daniel is a partner in the Insurance Group at DWF (Dublin) and is an experienced advisor to insurance companies with over 18 years' qualified experience. Daniel qualified in England & Wales in 2002 having trained there at a leading international firm and he qualified in Ireland in 2006. He was worked at leading firms in London, Hong Kong and Dublin including Mayer Brown, Matheson and Simmons & Simmons. Daniel was previously a Partner at Kennedys.
Daniel handles a broad range of disputes on behalf of insurers and their insureds with a particular emphasis on professional indemnity claims against a broad range of professionals but with a particular interest in the construction sector. Daniel also advises on property claims, workplace fatalities, defamation, environmental claims and D&O disputes.
Daniel also advises on policy wording and coverage matters.
Daniel is recommended as a Leading Practitioner for Insurance in The Legal 500 EMEA 2017, 2018, and 2019 editions.
Cormac O'Hanlon
J W O'Donovan
Cormac has practised throughout his career in the fields of commercial law, litigation and dispute resolution. He is former chairman of the Business Law Committee of the Law Society and a former President of the Southern Law Association. Cormac is a CEDR Accredited Mediator and a member of the New York Bar Association
Noel Devins
Kennedys
Mary Purtill
Ronan Daly Jermyn
Mary has 27 years' experience, in both public and private practice, in all aspects of defence litigation, at all court levels, across all court circuits. She previously worked worked in a leading Dublin Defence Litigation firm. This Firm did an extensive amount of work for the London Market/Lloyds Syndicates, which involved attending provincial Circuit and High Court venues on all of the Circuits. During her time with them she built strong working relationships with colleagues, counsel and expert witnesses on these circuits and a strong understanding of the form of sitting Judges, opposing colleagues and counsel. She had a similar role whilst working in house with CIE Solicitors, which she built on, on her move to private practice and which she continues to work on.
Mary has extensive experience in the provision of in-house services and in dealing with insurance. companies and self-insured entities in Ireland and the UK. She worked in house with CIE solicitors department from January 1996 to August 1999. For approximately two years of that time she was acting Head of the Defence Litigation Department, whilst Mr. Colm Costello was on secondment to the Luas Project.
Mary takes an active involvement in the management of client relationships. She is a "people" and relationship person, who conducts regular face to face meetings with clients and always makes herself easily accessible to them. Mary is also admitted as a solicitor in England, Wales and New York.
Specialist knowledge highlights includes advising:
•	in High and Circuit Court cases concerning complex and serious injuries arising out of construction, RTA, EL, PL and Property Damage claims and Bullying and Harassment and Defamation claims;
•	the Medical Defence Union (MDU) in relation to clinical negligence claims and general medical legal issues and given similar advices to Marketform in relation to claims arising out of Alternative Medicine medical procedures and Cosmetic Injury claims; and
•	in relation to and attending a number of inquests and defending the subsequent civil fatal injuries claims and HSA prosecution.


The Knockout Pressed Powder Face Duo contains a beautiful dirty peach blush, Excuse My French and a peach highlighter with a subtle duochrome flip of gold called Like to Watch. I was terrified about getting this ONLY because of my experience with the ColourPop x Alexis Ren Pressed Powder Face Duo. If you remember, the bronzer part of my Alexis Ren palette came with a bubble, which has since burst causing a HUGE mess and a waste of a lot of product, so seeing this in PERFECT condition made me happy that they have definitely corrected that issue.
Wearing this on my cheeks in all face pictures along with the Super Shock Cheek in Drop of a Hat.
Without further ado, this is my first post featuring the pressed powder shadows ON my eyes. I have yet to update the ColourPop Love Collection with photos of me wearing them and will slowly but surely add them as I wear them. I have a few posts coming soon about some of the other individual shades, so always stayed tuned! The Blow Me Away Pressed Powder Shadow Palette is a sugary sweet peachy palette that goes BEAUTIFUL together. I used all 4 shades: Take a Break, Issues, Centerfold, and Slim Fit (also sold separately) on my eyes. Two other shadows were sold additionally (not part of Blow Me Away) in Sauvage and Cut-Outs. These are wonderful, and although they will NOT take the spot of my beloved Super Shock Shadows, these go on great (with minimal fall out solved by a tap of the brush) and last for hours without creasing.
Take a Break was used on the entire lid. Centerfold was added to the inner crease, while Slim Fit was given the job to define my outer crease and contour the eyes. Issues was used to highlight the brow bone.
The 3 Ultra Satin Lips in this collection are Likely, Exaggerated, and Jacquard, a variety of nectar-shaded liquid lipsticks. The Ultra Satin Lips are known for their comfortable wear albeit transferable formula.
The Twirl is the only Ultra Matte Lip in the collection, and it's a peach-toned pink.
There are 2 Lippie Stix and matching pencils in Oversized and Faded. I grabbed the lip pencils after a very long time to see how the formula has changed or stayed the same. The formula is still creamy and can be worn solo or with the matching Lippie Stix over the top, so I am going to show both so you can see whether or not you need the pencil or not. For the creme formula (which is SUPER buttery and rich, I would recommend it to avoid bleeding, feathering, and long-wear).
ColourPop has promised that the Super Shock Shadows are NOT going anywhere! Thank goodness because I love the formula of these cream-to-powder shadows. They blend well, last a long time without creasing, and are super pigmented. The Super Shock Shadows included in the Nectar Collection are One by One, Flipper, and Going Rogue.
And, finally, the last piece of the Nectar Collection – Super Shock Cheek in Drop of a Hat in my favorite formula, Pearlized, because it can double up as a highlighter and blush combo.
Who's ready for Phase II of the Monochromatic Collections?! Phase II is PINK! So, stay tuned, as it should be arriving here soon!
The pigmentation in the palette "blows me away" haha, play on words. 🙂 I'm loving these shades – they are perfect for spring!
I was debating some Colorpop stuff just last night. I just cant seem to pull the trigger.
I really love the shades in the eyeshadow quad. Peachy perfect.
Monochromatic looks are so much fun! Your Colourpop looks are always so good.
This is absolutely stunning. I am loving the way these shades look on you. They are so pigmented. Super gorgeous girl!
I could use a nice peachy blush like that!
Whoa there's so much going on here! There's definitely a shade of peach for every skin tone.
Pearlized is my favorite formula too!
I don't really go for peach tones because my face is normally pretty red but I always always ALWAYS love seeing your lip swatches! You make everything look amazing!


I just love this fabric! It is Whimsy by Pillow and Maxfield for Michael Miller Fabrics. I think the blue, green and white reminds me of pretty Mediterranean tiles near the water. I was originally just going to sew all the giant 9" squares together as a patchwork quilt, but then I bought a jelly roll of white and once I put it in between the "tiles", it just made all the colors pop out! I am so in love with this quilt so far! I only have a couple of rows done, but I am so excited to see the finished product!
I'm preparing for 3 more quilts that I'm going to make for May, June, and July. One of them, I can't show you because it is going to be a surprise for a certain someone who occasionally reads my blog. These other two are going to be gifts. The first set of cut squares is using Moda's "Love U" line of fabric. I will also be using the panel that goes with it, and probably just some simple patchwork around the panel. My sister requested one for her friend who is expecting. The second set of cut rectangles is for my sister, who kind of got to choose her fabric. I pretty much saw this fabric (Moda's Blush by Basic Grey), and thought of her. She loves brown with blues and pink. I'm planning on making a garden brick wall style quilt with this fabric.
...and I finally finished this one for my hubby. Boy am I sick of looking at this thing! He loves it, of course, even though it is a bit "girly". It keeps him warm when he sleeps, and that's what matters. He requested a fleece backing because he doesn't like the feel of plain cotton fabric on his skin. Picky, picky... :) So, I didn't use batting with this one. It would have been way too thick for him... and my sewing machine! It was pretty easy to finish. I just used a simple chocolate color fleece.
Can you believe I'm working on 5 quilts at the same time?! Am I crazy or what? I'm also working on something else for some very special kids. Will post about it soon! Have a great week, everyone!
You are amazing! Glad you are back in business and feeling well.


This paper describes a novel application of cognitive science methods and approaches to the analysis of creativity and to the development of a machine-readable ontology of creativity. As a complex, ambiguous and multi-faceted concept, creativity has proved resistant to satisfactory and comprehensive definition, despite numerous attempts to provide one. Using techniques from the field of statistical natural language processing and cognitive modelling techniques, this paper describes the construction of a representation of creativity on the Semantic Web, built through an analysis of what is considered important when talking about creativity. Words were identified which appeared significantly often in connection with discussions of the concept. Using a measure of lexical similarity to cluster these words, a number of distinct themes emerged, which collectively contribute to a comprehensive and multi-perspective representation of creativity. The components provide an ontology of creativity in the form of a set of building blocks that collectively make this subjective concept more tractable, increasing semantic clarity and depth of information available on the concept while accommodating different instantiations of creative activity. The ontology has application to research into the nature of creativity in general and to the evaluation of creative practice, in particular. The provision of a machine readable conceptualisation of creativity also provides a small but significant step towards addressing the problem of automated evaluation, 'the Achilles' heel of AI research on creativity'. From a broader perspective, building the creativity ontology illustrates how adoption of cognitive science methods enables the modelling and representation of highly subjective, semantically contestable concepts on the Semantic Web: a significant step forward for Semantic Web research.
This paper proposes a conceptualization for the term creativity in form of ontological knowledge. The authors use natural language processing and, in particular, corpus-based methods in order to find a multi-dimensional and interdisciplinary analysis of creativity in terms of key components. Section 1 (Introduction) sketches, first, the general goals of the paper and second, attempts to show that creativity is a complicated and not well-defined concept in psychology, cognitive science, and computer science. The authors discuss lengthy various proposals for definitions in Subsection 1.1 in order to conclude that none of these attempts to define creativity suffices. They continue in Subsection 1.2 to discuss the very possibility of the semantics of subjective concepts by reference to philosophers such as Wittgenstein and Waismann. Subsection 1.3 puts the subjective aspects into a semantic web perspective. Then, they conclude in Subsection 1.4 that a possibility to gain a clearer understanding of creativity could be the construction of an ontology for the term in question through an empirical study of natural language. Section 2 (Identifying the key components of creativity) describes the strategy to build the ontology for creativity and mentions the methods used in the construction. First, the authors explain the corpus (Subsection 2.1) and then they mention some natural language processing methods, such as lemmatization or POS tagging (Subsection 2.2). In Subsection 2.3, the authors explain their method to find words in the corpus that are associated with creativity. In particular, they use the log-likelihood ratio to compute candidates. Subsection 2.4 introduces the method to compute the distributional similarity of two words using grammatical relations as major factor in order to form clusters as key components. Section 3 (Results: an ontology of creativity) discusses the computed key components in Subsection 3.1 and continues with describing the implementation of the ontology. Section 4 (Critical evaluation and discussion) roughly sketches some experiments related to the evaluation of the components and concludes the paper.
In general, I think this is an interesting paper. The problem of how to define creativity, and in particular, of how to define computational creativity, is in fact an open problem with many disputes and competing views. The authors propose to evaluate the usage of words in articles that deal with creativity and the co-occurrence of words related to creativity in order to abstract an ontology of creativity. I think this is an interesting approach in general. Clearly, a crucial issue is the choice of the underlying corpus, in particular, the balance of texts from different disciplines (in the current corpus there is a clear dominance of psychological papers).
I do not understand to which extent the paper is related to cognitive science. As far as I can see this, the whole business of computing the ontology uses more or less standard techniques of corpus linguistics, semantic web technologies, and statistical data analysis. The few, not very precise, and perhaps preliminary remarks in Subsection 4.1 concerning experimental studies with subjects are the only hint where proper cognitive (or perhaps psychological) aspects are mentioned. I am not sure whether this suffices to count as a proper candidate in a special issue of Cognitive Science and the Semantic Web.
It should be noted that the paper does not contain any new methods or techniques. All methods are well-known and taken from the literature. Therefore, the theoretical significance concerning technical content is rather low. The practical aspect concerns the construction of an ontology for creativity, in particular the specification of key components of creativity. To which extent these key components result in a better understanding of creativity is less clear to me. In order to understand creativity better, I think more structure and relations between the clusters need to be added, simply because they describe creative acts on rather different levels: "Originality" is a property of the result of a creative process, whereas "emotional involvement" describes a property of the creator. Or to mention another example: "Domain competence" and "general intellectual ability" are prerequisites or necessary abilities of the creator, whereas "value" is a judgment of others about the usefulness of the result of a creative act. In other words, I fear that the connections, dependencies, and interactions between the clusters would be of interest and necessary to understand creativity better. Unfortunately, I cannot see such aspects in the paper.
An issue that is related to the need for more structure: I do not fully understand why the collection of clusters pointing to the concept "creativity" is called "ontology". Ignoring for a moment that the term ontology is perhaps similarly unclear as the term creativity, I do think that ontological knowledge presupposes a hierarchical structure of concepts and specified relations between individuals of certain concepts. The resulting "ontology" in Fig. 4 has a very limited degree of hierarchical structure and not many illuminating relations between individuals. Therefore, I have problems to see the ontology in the graph simply because of the lack of more structure. Connecting this point with the remarks above, I would say that more structure would probably yield a better understanding.
Although, the first section gives a nice introduction to the overall problem, namely how to define and how to understand creativity, I am not sure whether a shorter introduction would also suffice to provide the necessary background to the reader. The saved space could be used to better explain the rather informal evaluation of the components in Subsection 4.1.
Page 2: "Currently, no one definition..." -> Probably: "Currently, not one definition..."
Page 6: "... defines various terms to do with bibliographic records..." -> Probably: "... defines various terms having to do with bibliographic records..."
Page 8: "...factors that are persistent persist across different..." -> Probably: "...factors that are persistent across different..."
Page 11, caption Fig. 2: "Each word i a node in the graph..." -> Probably: "Each word is a node in the graph..."
Page 12: Fig. 3 could be increased in size. In the current version it is hard to read on a printout.
Page 15: "Feedback so far has shown..." -> Something seems to be wrong with this sentence.
Page 18: Formatting problems in reference .
All in all, I think that the paper could be potentially of interest. Nevertheless, I see some shortcomings and problems of the paper. The relation to cognitive science is not clear to me, there are no new technical insights, the resulting ontology is only to a minimal degree structured, and whether this ontology yields a better understanding of creativity is unclear. Insofar, I am not completely sure what I have learned after reading the paper, although the topic seems to be of interest to me.
This is a very well written paper on a fascinating question, applying an interesting method. But it is not a paper for the Semantic Web Journal.
The authors have built a (very small) "corpus" of scientific papers describing creativity and one of papers NOT describing creativity. From these, they extract terms related and not related to creativity. This allows them to identify and then cluster terms that occur with more than the expected frequencies in research on creativity.
The question of what creativity is, what its components are, how it can be assessed and evaluated is obviously interesting and important. There are some areas where answers matter a lot, such as intellectual property or scientometrics. However, the authors do not state a real problem to solve. They argue at length that there is no clear and agreed upon definition, let alone a formalization of creativity. Yet, they do not make a convincing case that such a definition is needed and how it would be used in specific reasoning tasks. The many quoted claims of others are mainly hand waving and fail to convince me. There are many core topics of science that do not have a standard definition, consider "life" or "interoperability" (not to mention concepts in the humanities and social sciences). While one can argue that this is detrimental for certain goals and tasks, one does need to make this case specifically. The authors do not give us any use case for their work, much less one for a semantic web ontology (as opposed to a broader conceptual analysis, which is what they have done, though limited to textual and scientific sources).
The authors seem to imply that ontology (or ontologies in the semantic web) are capturing generally accepted definitions. This is a common misconception, even held by some prominent figures in the field. Semantic web ontologies can only constrain interpretations of terms, so that these terms get used and interpreted by machines in ways that *some* identified information communities use them. These ways are often far from "standard" or "general" and reflect particular terminological conventions.
One could ask what communities use the concept of creativity (or various aspects of it, as identified in the paper) for what tasks, and how one could support them through the semantic web. The paper does not raise this question in any specific way and remains at a rather general level of "we believe ontologies are a good tool to clarify terms".
The title of the paper is the first hint that no clear problem has been addressed. The distinction, early in the paper, of "objective" vs "subjective" concepts is not clear and probably not very useful. Almost all concepts are neither strictly objective (what ever that would mean) nor subjective (to whom?).
I expected some interesting insights from the 14 component concepts that were identified by clustering creativity-related terms. However, the clustering (and the vagueness of creativity-related discourses) has produced component concepts that appear to be even less clearly definable than creativity. Also, the claim that they are "building blocks" appears not justified to me.
The paper offers an insight that was less clear to me before: creativity, like beauty, is probably mainly in the eye of the beholder (in this case, the eyes of both, the creative agent and the one who finds something creative, possibly in different ways). Fortunately or unfortunately, this kind of concept is just not one we are ready to encode in OWL and let machines reason about it.
How could the research be presented differently? Having made all these critical remarks, I do like the fact that an empirical, text-based method was followed and the results are available for inspection and improvements. The method (if properly documented and made available as a workflow for ontologies from corpora, with associated tools) could be a valuable contribution, even to this journal. It will have nothing to do with creativity as such, which might just serve as an application, though more useful and convincing ones would need to be presented. If such a path should be taken by the authors, I suggest they consider whether a limitation of text sources to the very small samples they took (with rather non-transparent criteria) is really necessary and admissible.
Permalink Submitted by anna jordanous on 01/10/2013 - 15:43.
Permalink Submitted by Pascal Hitzler on 01/10/2013 - 15:49.


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Q: After set "include " property in tsconfig.json, i get error I add include in my tsconfig.json.tsconfig.js, this is my .d.ts typing file,
this is my directory structure directory structure, i had add declare module '*.less'; in my file, but i also can get a error in vscode in file src/pages/index.tsx file

A: You can't import a .less file with TypeScript. You need a bundler like wepback to handle importing styles, images, e.t.c.


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Chavo – "Chavo's World 2" review
legendswillneverdie LWND Reviews, New reviews August 13, 2021 August 12, 2021 1 Minute
This is the sophomore album from Atlanta raper Chavo. Breaking out a few years ago as a protege of Pi'erre Bourne, he would go on to become a flagship artist on the South Carolina superstar's Interscope Records imprint Sosshouse Records. His first 2 mixtapes Hood Luva & Mixed Emotions both received positive feedback amongst listeners, but Chavo's profile began to increase when his Pi'erre-produced full-length debut Chavo's World came out last fall. And with a little over a month left with summer, he & his mentor are reuniting for the sequel Chavo's World 2.
"Tweets" is an uptempo opener about putting a bitch in the air like a pterodactyl whereas "Packs" works in some heavy bass to get confrontational. His sister Coi LeRay tags along to say they ain't the same no more for the luxurious piano ballad "American Deli" just before spaciously comparing his gun to that of a "Rari".
Meanwhile on "Hennessy", we get a psychedelic party stater leading into Pi'erre jumping on the mic with Chavo for the moody "Ryuk" talking about a woman living her best life as a youth. The "Had a Feeling" remix is pretty much the same as the OG except it has a new Pi'erre verse, but then "Paris" has a cloudier vibe talking about wanting to go back to the titular city in France.
"Messy" serves as a euphoric lust tune & much like the "Had a Feeling" remix, the "Michigan" remix is the same as the OG except Babyface Ray pops up to spit a new verse. The penultimate track "That's It" brings in some keys saying he wants to help everyone but he's not Superman, but then the closer "Mission Impossible" futuristically keeps it playa.
Even though I personally prefer the original Chavo's World, this isn't too far off for a sequel album. I like how he brought in some features to break up the monotony of the predecessor & his MC/producer chemistry with Pi'erre is like no other.
Chavo's World 2
Pi'erre Bourne
SossHouse Records
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SME Focus
HomeEconomyNigeria's Communication Minister Isa Pantami, rolls out new 5-year National Broadband Plan
Nigeria's Communication Minister Isa Pantami, rolls out new 5-year National Broadband Plan
Adeeko Ademola
Posted in EconomyNews
The need to boost broadband penetration from its present coverage of 37.8 percent to over 70 percent in the next five years is the pedestal for the new National Broadband Plan (NBP):2020-2025, according to Minister of Communications and Digital Economy, Dr. Isa Ali Pantami.
Besides this, the Minister said, pervasive broadband penetration will certainly make Nigeria a truly digital economy. He spoke yesterday at the inauguration of a 25- member committee in Abuja.
The new NBP 2020-2025 is sequel to the first NBP 2013-2018. The new NBP Committee has Ms. Funke Opeke, Managing Director/CEO of Main One Cable Company Limited, as Chairperson with Dr. Bashir Gwandu as Co-Chairman. Engr. Ubale Maska, the Executive Commissioner, Technical Services, Nigerian Communications Commission (NCC) as the Secretary to the Committee. Maska will be supported by four staff of the Ministry in the secretariat.
The Committee is to develop a new National Broadband Plan that will be the guiding template for the development of this very important area of telecommunications. The Committee is to take a critical look at where the country is after painstaking review of the 2013-2018 phase and the status of penetration now. The members are enjoined to also examine the challenges with a view to proffering solutions thereto. They should also look at the position of growing and emerging technologies among others. The new NBP has the collaboration and support of the United Kingdom (UK) Government.
The inauguration of the new Committee was a follow-up to the launch of the National Policy for Digital Economy and Strategy by President Muhammadu Buhari, in November 2019. The Policy has eight pillars among which are Developmental Regulation, Digital Literacy and Skills, Solid Infrastructure, Service Infrastructure, Digital Services Development and Production, Digital Society, Emerging Technologies and Indigenous Content Development.
The Minister told the Committee members to lay emphasis on the third pillar of the National Policy which accommodates broadband and data centre, key components for economic growth and promotion of digital economy. The Committee's work, he explained, will address significantly one of the eight pillars and the remaining seven will also run as one of this all-important pillar.
"The work of this Committee will go a very long way in supporting the national digital economic policy and strategy for the Federal Government because digital economy is strategically dominating the world economy today." According to Pantami, members of the Committee were selected based on their competence, integrity and professionalism. "In all these, Nigeria comes first."
Ms. Opeke, who responded on behalf of the committee thanked the Minister for the opportunity to serve and said the target of the committee is to achieve, at least, 65-70 percent broadband penetration across Nigeria in the next five years, adding that the objective is technology neutrality for the right purpose.
"The Minister has set the goal and I am sure the NCC is in agreement," Ms. Opeke added, saying "we will look at the work of the last Committee and what was done, the prospects, the challenges that are still there in order to come up with a plan to achieve the set objectives."
"I believe the objective is achievable with sincerity of purpose and with hard work for these are critical services and infrastructure that we need to bring to all Nigerians and we're optimistic that we can accomplish that goal. There is work to be done on fixed infrastructure but the reality is mobile technologies are also progressing quite fast to deliver very capable services to people."
"We see what is going on with 5G all over the world, so we will address both at the Committee but I believe our objective is not to favour one technology over another but to figure out how we can get those critical services to many more Nigerians. So, we'll be a mix of technologies but the objective is not to favour one technology over another or to be prescriptive but the right technology for the right purpose, the most competitive technology that enables us to deliver services to all Nigerians," Opeke said.
Earlier in his goodwill message, the Executive Vice Chairman of NCC, Prof. Umar Garba Danbatta, said broadband infrastructure remains one of the top priorities of the International Telecommunications Union (ITU) to ensure people around the world have access to equitable and affordable broadband, wherever they are and whatever the circumstances they are in. With adequate broadband infrastructure in place, Danbatta assured that everything else will fall into place.
"The ability to deliver healthcare, best quality education even to generations unborn, ability to streamline transportation, meet up with Sustainable Development Goals (SDGs) and the ability to transform the economy into a digital one," he said, pledging the commitment of the Board and Management of NCC, especially in the area of driving the infrastructure that will ensure that critical mass of ICT adoption in use will in time increase the level of broadband penetration in the country.
Besides Ms. Opeke, Gwandu and Maska, the 25-member Committee also has representatives from the academia, NCC, Galaxy Backbone, MTN, Google, Nigeria Internet Registration Association (NiRA), Defence Space Administration, National Financial Intelligence Unit (NFIU), National Information Technology Development Agency (NITDA), Nigerian Communications Satellite (NIGCOMSAT) Limited, Association of Telecom Companies of Nigeria (ATCON), Nigeria Computer Society (NCS), GSM Association, among others.
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