Time Series

Searching the call stack for the exception handler

根据自己的年龄，可以依据上表的计算结果估计第一年需要的定投量。比如67岁退休，而现在是30岁，退休前还可以定投37年。那么想要退休时拥有百万欧元的资产，第一年要定投6500欧元，相当于每月投入542欧元。当然股市是有波动的，假如在定投的最后几年赶上了超级熊市，可能资产并不能在退休时达到100万欧元，但是只要再等等，总会等到牛市的。

Our diagrams and charts make it easy to see where every dollar of your hard-earned money is flowing, so you can track your spending patterns at a glance.

Publish completed designs to Zeplin's platform while you iterate on designs in your design tool.

I'm not sure that isolating design is something I'd prefer. I'd rather have an issue tagged (labeled) as such, and then attach design artifacts. I start a design in the same way I start frontend, with a list of requirements and acceptance criteria in mind, the design is just an artifact, a deliverable, an asset.

I feel that the current design area should be a key part of the workflow on any work item, not just type of designs. As a PM I don't schedule designs independently. It's odd to open and close a design issue when it doesn't deliver value to the customer.

(Weight W1) (Rope Rp) (Rope Rq) (Pulley Pa) (hangs W1 from Rp) (pulley-system Rp Pa Rq) (Weight W2) (hangs W2 from Rq) (Rope Rx) (Pulley Pb) (Rope Ry) (Pulley Pc) (Rope Rz) (Rope Rt) (Rope Rs) (Ceiling c) (hangs Pa from Rx) (pulley-system Rx Pb Ry) (pulley-system Ry Pc Rz) (hangs Pb from Rt) (hangs Rt from c) (hangs Rx from c) (hangs Rs from Pc) (hangs W2 from Rs) (value W1 1) (b) P1. P2. P3. P4. .. Single-string support. (weight < Wx>) (rope <Ry >) (value <Wx> <n>) (hangs <Wx> <Ry>) -(hangs <Wx> <Rx>) - (value <Ry> <W-number>) Ropes over pulley. (pulley <P>) (rope <R1>) (rope <R2>) (pulley-system <R1 > <P> <R2>) (value <R1> <nl>) - (value <R2> <nl>) Rope hangs from or supports pulley. (pulley <R1>) (rope <R1>) (rope R2>) (pulley-system <R1> <P> <R2>) { (hangs <R3> from <P>) or (hangs <P> from <R3>) } (value <R1> <nl>) (value <R2> <n2>) - (value <R3> <nl + <n2>) Weight and multiple supporting ropes. (weight <W1 >) (rope <R1 >) (rope R2>) (hangs <W1> <Rl>) (hangs <W1> <R2>) -(hangs <W1> <R3>) (value <R1> <nl>) (value <R2> <n2>) - (value <W1> <nl> + <n2>) P2. Ropes over pulley. If a pulley system < P> has two ropes < RI > and < R2> over it, and the value (tension) associated with < RZ > is < nl > , then < nl > is also the value associated with rope < RZ > . P3. Rope hangs from or supports pulley. If there is a pulley system with ropes < RZ > and < R2> over it, and the pulley system hangs from a rope < R3 > , and c R1> and < R2 > have the values (tensions) < nl > and < n2 > associated with them, then the value (tension) associated with < R3 > is the sum of < nl > plus <n2>.

what about the visual field itself? Can it reveal anything about its being seen by an eye? Yes. Why, because there is a structure of a vanishing point and vanishing lights, 00:06:14 converging towards the vanishing point. The vanishing point is the expression in the visual field of it being seen from somewhere. Namely, from an eye.

In order to enable MPP, users must have Apple devices, configure their email account to use Apple Mail applications, update their operating system to the latest version, and opt into MPP. 

It is difficult to see interdependencies This is especially true in the context of learning something complex, say economics. We can’t read about economics in a silo without understanding psychology, sociology and politics, at the very least. But we treat each subject as though they are independent of each other.

09:36 - From his early youth, he loved to collect stamps,09:42 and he said if all the images which are around us09:47 would have been lost,09:47 an album of stamps would help us to understand the world.

Although Virgil, MM and others like them certainly possess a rudimentary form of vision, decades of visual deprivation may never be completely redeemable. The human brain has an amazing capacity for plasticity, but there are some things that it cannot do. MM will likely never see the way that we see.

MM's visual capacities continue to improve, but he also remains somewhat uncomfortable with his new sense. As a blind person, MM became extremely proficient at skiing, with the help of a guide to give him oral directions. After his eyesight was restored, skiing frightened him. The trees, snow, slopes, people -- everything whizzed by him, chaotic and uninterpretable. After much practice, he is now a moderate sighted skiier -- but when he really wants to go fast and feel confident, he closes his eyes.

There is a window of opportunity in youth, often called a critical period, during which the brain can best form neural connections that correspond both to retinal images and to practical experience. During the critical period for the visual cortex, normal visual input is required to wire everything correctly. If input is missing during this period, the brain's links will probably not be built correctly. In fact, brain tissue ordinarily used in visual processing might even be taken over by other systems, perhaps tactile or olfactory systems. Some of MM's visual abilities lend further support to the theory that he missed a critical period of visual development. He is quite good at visual tasks that involve motion. Tasks that stumped him at first often became solvable if motion was incorporated into them. He became able to detect the circular patterns in random noise if the patterns were moving. And he began to see the "square with lines" as a cube if the lines moved, and the cube appeared to be rotating. At the end of their evaluations, the researchers saw some patterns emerging in MM's visual abilities and deficiencies. His ability to detect and identify simple form, color, and motion is essentially normal. His ability to detect and identify complex, three-dimensional forms, objects, and faces is severely impaired. The researchers have a tentative explanation for these variations in visual skill. Motion processing develops very early in infancy compared with form processing. By the time MM lost his eyesight in the accident, the motion centers in his brain were probably nearly complete. So when he regained some eyesight in his forties, those connections in the brain were ready to go. The parts of the brain that process complex shapes, however, do not develop until later in childhood, so MM's brain likely missed its chance to establish those particular brain connections. The authors also propose that our brains may retain the ability to modify and refine complex form identifications throughout life, not just throughout childhood. New objects and faces are continually encountered throughout life, and our visual processing centers must be able to adapt and learn to see new shapes and forms. MM's brain never had the chance to learn.

By far the most difficult tasks for MM involve three-dimensional interpretation of his environment. When an image is projected onto the retina, it is two dimensional, because the retina is essentially flat. When we are very young, our brains learn to use depth cues, such as shadows and line perspective, to see the three-dimensional world. Eventually, incorporating these cues into a coherent picture of the world becomes involuntary. Our ability to judge size correctly is one example of the brain's reinterpretation of two-dimensonal images. When a person walks away from us, the image of her becomes smaller and smaller on our retina. We know that people do not actually shrink as they move away, however. The brain combines the shrinking retinal image with perspective and depth cues from the surroundings, and we "decide" that the person is moving away. When MM lost his sight when he was three years old, his brain probably had not yet constructed the connections that incorporate separate perceptions into one combined perception. When a person walks away from MM, he has to remind himself that the person is not actually shrinking in size!

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the illusion of subject object duality 01:21:14 because the moment i think of myself as a self then i think that there's me a subject and then there's my objects there's the i and there's its visual field and they're totally different from one 01:21:26 another and that the basic structure of experience is there's me the subject who's always a subject and never an object and then all of those objects and i take that to be primordially given to 01:21:39 be the way experience just is instead of being a construction or superimposition so that's one illusion

now i want to talk about that serpent and really focus um firmly on what the 01:18:05 self illusion is this will be the last part of this little section that self is supposed to be something that stands outside of the world not something embedded in the world 01:18:17 it's the wittgenstein um the austrian philosopher of the first half of the 20th century um expressed this beautifully in his book the trektatus he said that the self stands to the world 01:18:30 like the eye stands to the visual field we don't see the eye but the fact that we have a visual field lets us know that there is an eye behind it but not in the field 01:18:42 the self he said is just like that we see a world we experience a world we act on a world and that tells us that there has to be a subject that stands outside of that world and experiences it just like the 01:18:56 eye stands outside of the visual field that's one of the worst things about the self-illusion is the illusion that we're not even in the world that we're totally transcendent to it that's really weird right i mean when you realize that 01:19:09 that's what you believe in your gut um that is it's like the eye and the visual field um that the self is continuous it doesn't stop as hume said talking about descartes 01:19:22 that it's always present to us that it's conscious it's the thing that's aware of everything else that it's free from causation that we can act freely on our motives without being caused so when you go to the 01:19:34 notary public to have a document notarized and she asks you those beautiful questions is this your free act and deed and if you said no i'm being caused to 01:19:46 do this she wouldn't notarize it would you so you say yes this is my free act indeed and i always just have my fingers crossed behind my back i don't believe in free acts and deeds but 01:19:59 we do take have this ideology about ourselves that we're with our free actions aren't cause we just do them as can't put it spontaneously that we are independent not 01:20:11 interdependent that when your mom tells you you've got to learn to stand on your own two feet that somehow that makes sense that ourselves can stand on our own two feet as independent objects 01:20:24 and mostly the self is what i am i am not my body my body is constantly changing my body was once young and fast now it's old and has a new knee um i'm 01:20:36 not my mind my mind was once sharp now it's dulled and beaten into submission by years of overwork but that i the jay who was once young is still here in this old man's body 01:20:49 so when we think about that self-illusion the self-illusion is partly bad because it's only a root illusion that leads to a whole cascade 01:21:01 of terrible illusions so now i want to really dump on the self-illusion by showing you just how dangerous it is

ranslated by zalas as part of al|together 2005, io[ChristmasEve] is a novel game made in the KiriKiri engine. The game received an update a year after the release of the translation patch which caused the patched game to crash immediately after starting, so my friend at the group Re*define has made a fix for it, making the game playable from start to finish. The fix consists of removing malfunctioning lines calling for an apparently nonexistent object called options2Menu. The XP3 archive was worked on with insani's xp3tools-20060708 available at http://insani.org/tools/. The fix has been tested on Windows XP and Windows 10.

Creating video tutorials has been hard when things are so in flux. We've been reluctant to invest time - and especially volunteer time - in producing videos while our hybrid content and delivery strategy is still changing and developing. The past two years have been a time of experimentation and iteration. We're still prototyping!

Tanabe Meito is a psychology student in the “World of Light”, a completely ordered world were people don’t have a shadow. He’s not entirely satisfied, though; and when he meets a girl with a shadow called Shimon he ends going with her to the “World of Shadow”, a rural village where the people are shadows, and Shimon is the only one with both body and shadow. Right after that they meet two other persons with body and shadow: a girl with no memories, who they finally name Sou, and a woman also with no memories but who recalls being called Riri. Then they start living together in Shimon’s house, and have mostly slice-of-life happenings while they investigate a mysterious voice Meito heard just before going to the World of Shadow, and Meito gets used to the shadow people. And while that’s happening you have scenes of a boy who lives with his mother, who eats him, until he discover eating is love, eats her, and goes out into the outer world. Then things get real trippy, and nothing else makes any sense, until the very end, or ever.

Rules formulated with openVALIDATION are thus at the same time a formal, machine-processable specification, but also a documentation that is easy for people to understand.

Posted byu/piloteris16 hours agoCreative output examples .t3_xdrb0k._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; } I am curious about examples, if any, of how an anti net can be useful for creative or artistic output, as opposed to more strictly intellectual articles, writing, etc. Does anyone here use an antinet as input for the “creative well” ? I’d love examples of the types of cards, etc

the thing is about vision, same with the ear, you can only see a few at a time in detail, but you can be aware of 100 things at once. So one of the things we're really bad about is, because of our eyes, you can't get the visual point of view we want. Our eyes have a visual point of view of like 160 degrees. But what I've got here is about 25, and on a cellphone it's pathetic. So this is completely wrong. 100% wrong. Wrong in a really big way. If you look at the first description that Engelbart ever wrote about what he wanted, it was a display that was three feet on its side, built into a desk, because what is it that you design on? If anybody's ever looked at a drafting table, which they may not have for a long time, you need room to design, because there's all this bullshit that you do wrong, right?

Mermaid allows even non-programmers to easily create detailed and diagrams through the Mermaid Live Editor.

Some digital notes apps allow you to displayonly the images saved in your notes, which is a powerful way ofactivating the more intuitive, visual parts of your brain.

"The idea is that over long periods of time, traces of memory for visual objects are being built up slowly in the neocortex," Clerkin said. "When a word is spoken at a specific moment and the memory trace is also reactivated close in time to the name, this mechanism allows the infants to make a connection rapidly." The researchers said their work also has significant implications for machine learning researchers who are designing and building artificial intelligence to recognize object categories. That work, which focuses on how names teach categories, requires massive amounts of training for machine learning systems to even approach human object recognition. The implication of the infant pathway in this study suggests a new approach to machine learning, in which training is structured more like the natural environment, and object categories are learned first without labels, after which they are linked to labels.

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I put some visual noise on the big screen if I’m not using it for work, usually an art film or a landscape documentary, muted.

Another visual-mapping tool is Open Knowledge Maps, a service offered by a Vienna-based not-for-profit organization of the same name. It was founded in 2015 by Peter Kraker, a former scholarly-communication researcher at Graz University of Technology in Austria.

I tried mapping out the different flow of information for the two different contexts:

What Iam alluding to here is well drawn out in Walter Benjamin’s reflectionin his Moscow Diary on how we ‘grasp’ a visual image. ‘One does notin any way enter into its space’, he writes. Rather, ‘It opens up to usin corners and angles in which we believe we can localise crucialexperiences of the past; there is something inexplicably familiarabout these spots’ (Benjamin, 1985: 42).

systematize

Evaluations of the platform show that users who follow the avatar inmaking a gesture achieve more lasting learning than those who simply hear theword. Gesturing students also learn more than those who observe the gesture butdon’t enact it themselves.

Kerry Ann Dickson, an associate professor of anatomy and cell biology atVictoria University in Australia, makes use of all three of these hooks when sheteaches. Instead of memorizing dry lists of body parts and systems, her studentspractice pretending to cry (the gesture that corresponds to the lacrimal gland/tearproduction), placing their hands behind their ears (cochlea/hearing), and swayingtheir bodies (vestibular system/balance). They feign the act of chewing(mandibular muscles/mastication), as well as spitting (salivary glands/salivaproduction). They act as if they were inserting a contact lens, as if they werepicking their nose, and as if they were engaging in “tongue-kissing” (motionsthat represent the mucous membranes of the eye, nose, and mouth, respectively).Dickson reports that students’ test scores in anatomy are 42 percent higher whenthey are taught with gestures than when taught the terms on their own.

proprioceptive cue may be the mostpowerful of the three: research shows that making gestures enhances our abilityto think even when our gesturing hands are hidden from our view.

In a study carried out by Susan Goldin-Meadow and colleagues at theUniversity of Chicago, a group of adults was recruited to watch video recordingsof children solving conservation problems, like the water-pouring task weencountered earlier. They were then offered some basic information aboutgesture: that gestures often convey important information not found in speech,and that they could attend not only to what people say with their words but alsoto what they “say” with their hands. It was suggested that they could payparticular attention to the shape of a hand gesture, to the motion of a handgesture, and to the placement of a hand gesture. After receiving these simpleinstructions, study subjects watched the videos once more. Before the briefgesture training, the observing adults identified only around 30 to 40 percent ofinstances when children displayed emerging knowledge in their gestures; afterreceiving the training, their hit rate shot up to about 70 percent.

Research demonstrates that gesture can enhance our memory by reinforcing thespoken word with visual and motor cues.

sing Obsidian for thematic analysis .t3_t3bjuw ._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; } I am planning to do this. Just wondering if others have been down this path or have suggestions.I am going to be doing a fair bit of thematic analysis of literature (journal articles) and interview transcripts. Essentially - read, find interesting themes, and discuss. I have used Nvivo to do this before. But Nvivo is (a) proprietary (b) slow as a tortoise on immodium

A High-Density EEG Study Showing Advantages of Drawing Over Typing for Learning

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as of February 2021, Europeana comprises 59%images and 38% text objects, but only 1% sound objects and 2% video objects.3 DPLA iscomposed of 25% images and 54% text, with only 0.3% sound objects, and 0.6% videoobjects.4Another reason, beyond cost, that audiovisual recordings are not widely accessible is the lack ofsufficiently granular metadata to support identification, discovery, and use, or to supportinformed rights determination and access control and permissions decisions on the part ofcollections staff and users.

What I'm interested in is doing this with visual artefacts as source material. What does visual pkm look like? Journaling, scrapbooking, collecting and the like. The most obvious tool is the sketchbook. How does a sketchbook work?

Moving mental contents out of our heads and onto the space of a sketch pad or whiteboard allows us to inspect it with our senses, a cognitive bonus that the psychologist Daniel Reisberg calls “the detachment gain.”

Tailwind automatically removes all unused CSS when building for production

What?

I’m going to represent tests as sequence diagrams (handily created via plantuml) rather than actually coding them out. For me the diagrams make it easier to talk about what the tests do without getting bogged down by how they do it.

I’m going to add the API Server as an actor to my first test sequence to give some granularity as to what I’m actually testing.

Wilson next exploresAd Herennium’stechnique of visual homophony, such as remembering a man named Wingfeelde by picturing“thewing of a birde, and a greene feelde to walke in.”

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The players plot to get the cards to yellow on player G's turn so he can lay down some Double Draw cards...

Academy Games has always prided itself in the quality of its rules. Most of our rules are taught in stages, allowing you to start playing as soon as possible without needing to read everything. We are very careful about the order we teach rules and rely heavily on graphics and pictures to facilitate understanding. We also include a large number of detailed picture examples, often with 3D renders, that help you understand the context of the rules.

It’s a visual novel, there’s a dialogue box with a nameplate on to indicate who is talking, why the hell do we need the constant ‘she ordered’, ‘he says’, ‘he exclaims’ etc? The box already identifies the speaker. The art is supposed to convey the emotion, the authority or surprise etc. What we have here is a novel where the various parts that make it a visual novel don’t work in tandem with each other, which is the ultimate sin for a visual novel in my opinion. That could be salvaged by storytelling, and indeed, there’s an interesting, if basic sci-fi story here, but the method of telling it is far too amateur, breaking every rule in the rulebook of storytelling, including telling rather than showing. One to avoid.

Design SHOGI pieces have been redesigned with new iconography to indicate the piece’s movement.

To implement such an activity, we only need to rewire the second step’s failure output to a new terminus.

Visualized, our new composed structure would look as follows.