Family Theater presents Dan Dureyay, Robert Alda, and Ona Munson. And with Family Theater brings you Robert Alda and Ona Munson in Robert Louis Stevenson's classic, Lodging for the Night. To introduce the drama, your host and narrator, Dan Dureyay. Thank you, Gene Baker. Tonight Family Theater tells a story by Robert Louis Stevenson called Lodging for the Night. It concerns a man who was a baffling mixture of good and bad. Of the admirable and the infamous. He was a brilliant student and a common thief. He was a great poet whose verses are still loved today. And a rogue who was constantly in trouble with the police. This man was Francois Villon. And our story this evening is about one night in his life, a winter night. For the poor people of 15th century Paris, a night cold beyond belief. In the streets of Paris, wolves joined their howls with the quimpering of dogs. And the whistling of the wind. Within Villon's apartment, a bear attic ironically next to the gallows on Saundanee Road. Two of the Thebish crew, with whom he consorted, were passing time by rolling dice. While the poet himself, paper and quill pen in hand, stared out the window with the macabre shadows dangling from the gallows' ropes. While lords of war dined in state. Villon, close that window before we preach to death. Listen, Montini, the wind rattling the gibbets. It's got them dancing the devil's jig up there on the gallows. Dancing without a floor. Will you close that window? Dance, my gallants, dance. You'll be none the warmer. Then I'll close it myself, Villon. But, Montini, I thought you were fond of dancing. I've had enough of your jokes, Villon. It's no joke, I assure you. One day both of us will cut a caper on the road Saundanee. Some of us may not live that long.  Montini, we'd rather argue with the poet than continue our game, I'm leaving. Oh, you don't, that with my money. Double or quits? Double or quits. The best of firecrows. You can't win tonight, Montini. The blank dog's on your back. While lords of war dined in state. Eating their meat off silver plates. Francois, Francois, we're in trouble. Yes, so we are. I cannot find a rhyme. Francois, you've got to get out of here. No. Oh, the landlord again, eh? Don't worry, Tabari. I'll talk him out of it. No, it's too late. He's gone for the police. Police? Did you have to write a poem to his wife? I thought it might make a reduce the rent has due. Well, it's done now. Perhaps Montini can lend you another... No, not Montini. He's been losing to Theven in all night. Then go to the tavern of the Green bottle. I'll find money somewhere. I'll meet you. But I must finish this ballot. Francois, the landlord is insane with jealousy. This time he... No, I haven't helped us. You've killed him. He was cheating. No one cheats Montini. Magnificent. Double or quits. Quiet, Vignon. Hanging job for every one of us. Hmm. Not a bad haul. We'll divide it equally. Yes. Double for us and quits for Thevenin. Stop that laughing. Get hold of yourself, Francois. I always said he was soft. Well, here's your share, Tabari. Come on, skip. I'll take care of the poet. But I can't leave him here with... This knife says you can. Don't forget, Francois. I'll meet you at the Green bottle. On your way, Tabari. I'll bolt the door after you. Now, Vignon. It's not death or dying that frightens me. Only the look on that face. An empty layer at a blank ceiling. Is that what a man lives for?  Only one life is important to a man. His own. Not laughing now, are you? With this knife at your throat.  And then slit your own throat. We'll see who cuts a caper on Sandinis. Who is it? Hey, shall we dance? Help me, Vignon. You're clever. Send them away and save me. I'll give you everything. Well, that would be old woman. Vignon, please. I beg you. Use the window, Montini. I made handholds outside for just such an emergency. Landlord, you're disturbing my sleep. I'm dreaming of a new ballad.  It's not much, I beg you. But it's like heaven in one respect. It's thread-free. Francois Vignon was sought by the police. This time for a crime of which he was innocent. Once again, the poet was fleeing through the streets of Paris. Cold, hungry, penniless. Cautiously, he made his way toward the Green Bottle tavern. To see Tabari, the only underworld friend he trusted, Tabari would get money somehow. But as he started out of an alley way across the street from the Green Bottle, he stopped abruptly and pressed back into the shadows. Two figures stood in front of the tavern, and both spelled danger to Vignon. Montini and the police. That's an odd combination. He's up to something tricky, no doubt of it. I wonder if I dare get closer. How could Vignon always look like a character? Heaven knows I'm no saint myself. Police know that also, Montini hears. But when I saw Vignon stab that fellow over a handful of pennies, I said to myself, I said, Montini, the poet's gone mad. You'd better turn him over to the police. Rest easy, Montini. Please, you'll take care of him. Of course. Sweet, lovable Montini. Fitting my neck for his rope. A trifle, sir, a satin. So you want some money, do you lad? Only enough to buy our bakers roll, sir. Well, you shall have it. May the angels bless you. But you shall have to earn it first. That tavern across the street. There's a man inside. Scar on his right cheek. Name of Tabari. Do you have that? Yes, sir. Get him over here to me, without the police spotting him. You'll have earned yourself a nice reward. For the police, huh? Well, this is my business. You just keep that reward warm. What was his name? He'll tell you himself. He's right in there, in the doorway. Tabari. The police has stolen from the cafe. They took him the back way. Nice work, lad. I'll take my reward. In a moment. Let me finish with my friend first. Did you get your hands on any money, Tabari? Not this, sir. What about Montini? He said he would take care of you. He did. He has the police after me for Thevenin's murder. What? Look over there. In front of the tavern. What?  We'll have to teach him. If I like now, Tabari, I have a more pressing problem. A place to hide. And for that, I'll need money. But everybody in Paris knows beyond the poet, no public place would be safe. And where, then? Well, some friend, Thevenin, perhaps some girl who loves you. There was one once. Then go to her. That was some time ago. It's dead. Bring it to life, Thevenin, if only for tonight. You give me too much credit.  Go to her, Francois. Then, perhaps by tomorrow, I'll have some money. Yeah, I cannot wait all night. What of my reward? Well, here it is, my lad, in the form of a priceless couplet by Francois Villeun. A man afraid has no conscience.  What? What's all this? Where is my money? Explain things to the lad, will you, Tabari? I'm off to try to bring the dead to life. No, no, you don't. I want my... Go, go, go, Francois. I'll manage him until tomorrow. Until tomorrow, Tabari. Leave! Come that alleyway. Don't worry, Montini, we'll get him. Surround the area. We'll search it house for house. Gallows is hungry tonight, Francois. We had better be most persuasive with M'lady Catherine. M'lady looks lovely asleep. I'd almost forgotten how lovely you were. Catherine de la salle. Catherine, open your eyes. It's Francois. Let me sleep. Let me... Francois. My Francois. Yes, yes, your Francois who needs your help but deserves only your hatred. No Francois, no. I never did. I don't know. No, you know that. Catherine, Catherine, I know I have no right to ask anything from you, but... But I... But you're in trouble. Where else would you come? It's wrong for me to burn you. Tell me. I... I'm wanted for murder. It was not my doing. You must believe me. Oh, my frantic Francois. Always in some scrape. I knew that someday, well, I didn't know how or why to come back to me. But you're half-rozen. Let me get you a robe. In a way, you never left me. Whenever a new poem of yours was printed, I ran out to fetch the first copy. And when I read your ballots, I knew exactly what you were doing and how you were feeling and thinking.  I do see. I've always seen. Here, my darling, put this robe around you. Yes, that is better.  Not easy, but better for you. You sound like my father. My daughter, the noble Catherine de La Celle, was not throw away her life on a scape-race poet. All the same, it's true. Oh, it is not true. Listen to me. Just yesterday, father flew into a rage. He called me obstinate, silly, romantic. And to soothe him, I permitted the announcement of my betrothal to the Prince de Gamantes. So you did relent. For a moment, I was weak. Oh, I thought I'd make another kind of life for the Prince. Until you came back tonight. Now I know that nothing can take you away again. No, Catherine, no. I never should have come here. Francois, it was meant to be this way. I'll hide you here for the night, and then in the morning we'll slip away together. Past the danger, past all... Your father is right.  And a happy one. Wake up, Catherine. You really think I'm here because I needed your help. I came to amuse myself, to pass a vacant hour. Francois, you're lying. Am I? Why do you think I left you two years ago?  Oh, Francois, what you're saying, it can't be true. How gullible you are, my dear. I am no more wanted for murder than St. Oliver.  Go away. Go away. Goodbye, Catherine. And thank you for an amusing evening. You give the Prince de Gamantes my condolences. Dear Francois, could you not have chosen a better time to be gullant? Come come, this is hardly the moment for a soliloquy the police are still about. Perhaps if I can reach that alleyway without being seen.  A continuous succession of perhaps and mishaps. Might be a ballad in that. Or later, Francois, later. Right now you've a neck to save. And by odd coincidence it's your own. A few more steps now, and I'll be... There he is, beyond! The devil! Again the chase began. He was in a cross-private gardens. Down dark, deserted streets and over stone fences. And what its melancholy end would be, the yaw knew well. Unless he found refuge. He was one man. His pursuers many. He could stay ahead of them for a while. But eventually, and then he saw a street-level window slightly ajar. It was a chance. Heaven only knew what was inside, but it was his only chance. There is only one way to go now, Francois. Forward. Into the apartment. Whoever it is that the tenant is rich. With luck perhaps a wealthy widow who would... There I am again. Perhaps. Anyway, it's quite evident that this is a man's apartment. And I'm about to meet the man. There's a light behind that drape. Let your knife be, sir. Do me no harm and I'll do you none. I have more reason. You are the trespasser. Only by necessity. You are alone? I was. I happen to be in some difficulty. Should that concern me? Well, of course. You see, I'm the greatest poet in France. Indeed. No, I'm the greatest poet in all the world. And you, sir? I am the greatest general in... Well, I'm afraid I can only claim France. After what the English did to me it all, eh? I forgive you. Ah, I see you have a fire. May I ask, poet, is it your habit to visit strangers in the middle of the night and through their windows? I am wanted by the police for a murder I did not commit. I haven't a son team in my pocket. Nowhere to hide. I hope you have as good a reason for not being in bed. I leave it to you.  Within the hour, I must decide whether France is to have war or peace. Is that reason enough? I suppose it is. The king's messenger is coming here for my answer. Here? Oh, come, come.  And the police? Do you intend calling them? Let us wait and see. I may try to summon the police and you may try to murder me. That seems fair enough, I'd say. Oh, by the way, I am Angra de la Fécilée Signor de Bristoux and His Majesty's chief of staff. Ah, young man, who may you be? I am called Francois Villon, the poor master of the arts at the University of Paris. I know a little of Latin and a great deal about lockpicking. And by the way, I am very fond of wine. May I? My thanks. Some for you? Ah, thank you. I think I could almost do without the necessities of life if I could have the luxuries.  Ah, no servant of mine, my guest for this evening and no more. It's rude for you to stare, my lord. Do you find something odd about me? A brief moment, Villon. I thought perhaps your arrival tonight was a well-timed blessing. That from you I could obtain an idea of the people's feelings about war or peace. Ah, but no. You were not representative of the good people of France. You're mistaken. Not about me, but about yourself. You don't want to know the people's feelings. You were merely glad of a chance to delay making your inevitable decision.  As to how the people do fear. They're cold and hungry and miserable. And war would worsen a lot. It always has. And now that I've told you, my lord, does it make any difference to you? Oh, to you, Mr. Lockpicker. What the pious is about the people with me? You a thief? Yes, a thief. But in war, you soldiers call it foraging. And you make a virtue of it. That English bow on the wall, for example. All these foreign goblets. Golden, no less. I'm sure you call them trophies. But if they were found on me, they'd be called stolen goods. I took these goblets in the course of battle. Exactly what I meant. The wars are the field of honor. I told you, to a brigand, personally, I don't know. But I'm sure the farmer prefers the thief who silently steals a couple of his mutton chops to the army which arrives blowing gloriously on a trumpet and takes away the whole sheep. I'm sorry for you, young man. I hope you may still repent and change. There are few people more given to repentance than François Villon. As for change, my lord, let someone change my circumstances. A man must continue to eat if it were only that he may continue to repent.  Now listen to me. The devil is only a very weak spirit before God's truths and his subtleties vanish at a word of true honor like darkness at morning. I learned long ago that a gentleman should live gallantly and lovingly to God and the king and his lady.  It is why you are wretched. You have no values, no sense of honor. And may God have mercy on your soul. So you think I have no sense of honor? I'm poor enough, heaven knows. But I don't go about the world making any sense of honor. But I don't go about the world making wars for golden goblets. I don't murder tens of thousands for some piece of land that belongs to others and then parade around as if I had done a great thing for my country. Oh no, no, you'll hear me out, my lord. Yes, at the expense of your sermonizing you'll hear me out. I'm a thief. I would have you know I have a sense of honor of my own better than yours. I don't pray about it as if it were a miracle to have any. Look at your gold goblets and see this knife in my belt. What did I have to do but jerk my elbow and hear you would have been with cold steel in your middle. And there would have been I skipping in the streets with an armful of gold cups. But I scorned the action. There are your goblets as safe as in a church. And there you are with your heart ticking as good as ever. And here am I ready to go out as poor as I came in. And you think I have no sense of honor.  A contemptible, useless, black-hearted rogue. You are a... Who's that? Enter. The door is open. Tell me. Are you going to turn me in? Captain Geetery of the Guard, sir, reporting to carry a message to the king. Yes, yes. Tell His Majesty I have divided the night between planning a brilliant campaign with these toy soldiers and contemplating the misery of our ruined country. And that finally we have decided for peace. Yes, my general. That is all. Oh, Captain. My lord. That vagabond over by the fire. Do you know who he is? No, sir. I do not. Well, I'll tell you. His... He's the greatest poet in the world. Well, I'll never mind his name.   The king is waiting. Yes, sir.  Thank you anyway, my lord. But tell me, if I should ask what made you decide for peace... You would better go now. I suppose so. Oh, I doubt it very much, vion. I pray that somehow tonight may have enriched your meager soul. Be encouraged, general. My thanks for the wine.  So, vion went back into the streets. The cold night was ending. The police hunt slowly dissipating. And for the moment, vion was safe. Safe for more ballads. And for more impudent villainies. Morning found him waiting in a doorway across from the green bottle. His cape still wrapped around him as when he left the general's apartment. Please, sir. Have mercy. A triforce. A someteam. Oh, thank you, sir. Here, lad. Oh, thank you, sir. Oh, it's you. Please! Easy, easy, my boy. I've come back to give you your reward. Here, see what I have inside my cape for you. A handsome goblet. Naturally.  No, no, no. It's a trophy. Take it honorably on the field of battle. Take it along, lad. It'll bring you a nice price at the pawn shop. And though I doubt it very much, I pray that somehow it will enrich your meager soul. What vion most needed in his desperate search for refuge? In fact, in his very life was not a place of hiding but the security of a home. For all of us, there's no security like the security of a happy home. And what's the chief source of that security? It's prayer. Daily family prayer. Prayer that supplies a foundation for all the relationships within the home that brings peace and love and understanding to the family circle that makes the homes of our day strong against all the forces that threaten to disrupt them. Prayer which welcomes God into the home and acknowledges the dependence of all its members upon him. That is the mortar and the timber and nails that make a house, a home. That is security. Again, we remind you that the family that prays together stays together.  Family Theatre has brought you Robert Alder and Honamundson in Lodging for the Night, with Dan Durrier as your host and editor. Others in our cast were Tyler McVeigh, Charles Russell, Robert Griffin, Ed Holden, Robert Bruce, Jeff Silver and Raymond Burr. This adaptation of Robert Louis Stevenson's familiar classic was written by Andrew Michaels, with music composed and conducted by Henry Mancini and was directed for Family Theatre by Jaime Del Valle. These Family Theatre broadcasts are made possible by the thousands of you who felt the need for this type of program, by the mutual network which has responded to this need and by the hundreds of stars of stage, screen and radio who have so unselfishly given of their time and talent to appear on our Family Theatre stage.  This is Gene Baker expressing the wishes of Family Theatre that the blessings of God may be upon you and your home. And inviting you to join us next week at this time when your Family Theatre will present Lloyd Nolan, Betty Lin and John Howard in another of Stevenson's classics, The Black Arrow. Join us, won't you? This is the world's largest network, the Mutual Broadcasting System.


In this last section, I want to walk through some of the advanced visualization stuff that's built into Rapture, because at this point you can build a pretty functional tool, but we haven't really done much with the output. We've looked at curves, we've looked at histograms, there's a lot more that you can do on the output side. Suppose that your program produces a molecule, you simulate and part of the thing that it generates is a molecule, maybe you're doing molecular dynamics calculations, there's a way to do that in Rapture, there's an element called structure, and again this isn't built into the builder yet, so I'm again showing you advanced stuff that you can't just drag and drop really easily. But if you can create XML in the output section that looks like this, then you can get a molecule in Rapture, either as an input or as an output, usually I guess it could be either in this case. So all you need to do is make the right XML, you start with something that's like a structure and it has a current and components and then molecule and then inside there basically atoms that have a symbol and an XYZ coordinate, another atom with a symbol and an XYZ coordinate and so forth. So if you can generate that XML in your program, you've got a molecule and Rapture automatically knows how to draw molecules, it automatically connects to a rendering server, talks to a program called PyMol written in Python that does molecular visualization and it'll take your molecule and render it in 3D. There's another way too, after we created that a lot of people said there's this PDB, protein data bank format, I don't know if you guys know anything about that but it's a real popular file format. There's a protein data bank site where you can download all of these molecules. If you want the molecular configuration of aspirin, you can find it in the protein data bank along with lots of other things. And there's a PDB file format and a lot of people said, well, I don't want to have to convert from PDB into Rapture. So we made a way that you can say structure, current, components, molecule, and then you can just say PDB and inside the PDB section, you can put something from the protein data bank in there and Rapture knows how to plot that too. So if you get something from the protein data bank, shove it in there, boom, you've got a molecule. So how do you do that? In your program, and now again we're, this is what your run.xml file would look like if you're successful and this is how you actually generate it. And suppose we have a Fortran program, I'm assuming Fortran. We've seen these calls already, the builder does this. The builder adds calls for like RPlib put string and all that. There's an RPlib put file command that you can use. And you pass in, as the first argument, the thing that Rapture loads at the beginning. Could be called driver, could be called IO. It's the thing in your program. If we look at an example program, you guys are looking perplexed at me. I think it's the end of the day. So let me show you my example program. So in my Fortran program, if I look at what Rapture generated, the in my example program, it was called IO in this program. See, just like the builder says RPlib put string and it automatically generated this text IO, and then you put in a path. And then you put in what you want to save at that path. The same kind of thing here. And it's called IO because somewhere near the top of your file, see this is RPlib command here that generates that name IO. All right. So if you wanted to do a molecule right here in your program in the output section, we could add like an RPlib put file command. And we could add in a path output dot. Let me stop the example at this point and flip back to my slides. Okay, so in that Fortran program, this is what I would have typed. Call RPlib put file, that same name IO, output dot mall dot current components molecule dot PDB. Again, that's the way I reference things. It's in the output section. I'm creating this structure called mall. In the current section, under components, under molecule, I want to tag PDB and I want to put all my data there. The RPlib put file looks for a file, in this case called data dot PDB. It reads the contents of that file and stuffs it in, in your output.  And Rapture will read that file and stuff it in right where the PDB tag is. So if I looked at that file on disk, I'd see all that atom 1C, blah, blah, blah, all that atom stuff that you see up there. That's what's in my file. My program generated that. And when I call RPlib put file, and I give it the name of the file, it's going to read that file and stick it in, just like you see it up there. If I look in the run dot XML, that's what it looks like after I'm all done. So that's the kind of Fortran code that you'd write to stick some protein data bank stuff in your tool. The one here means compress the data, and the zero means overwrite, as opposed to append. I guess if we set compress, it wouldn't look exactly like that.  But if I made this zero, so that I didn't compress the data, then you'd see it looking like that up there. All right? So just remember, if you ever run across a case where you need to produce a molecule, and if you've got that molecule in the protein data bank file format, just remember, yeah, there's a slide. I can go back and I'll grab that off the slide and put it in my program. All right, moving on to show you another thing. Another thing that's possible, you can create surface plots like this in your program. A lot of times you'll have a program that generates a bunch of data that you want to see as a mountain plot or a surface plot. And the way you do that, depending on what your data is, your data is usually composed of two things, a mesh and then a bunch of values that sit on the mesh. And a lot of times a mesh might be uniform and rectangular, just because it's easy to generate a mesh that way. So Rapture has a thing called the Unirec 2D. It's a two-dimensional uniform rectangular mesh. Uniform in X or Y, but it doesn't have to be uniform everywhere. It's just each axis is uniformly spaced. So this Unirec 2D means that I'm on a rectangular mesh and you can specify the sizes and everything in the mesh. And then at each point on the mesh, you have a value, a field value. And then if you give Rapture those two things, the field and the mesh, then it will generate the surface, the mountain plot as an output. Let me show you how you do that. Again, if you were looking in your tool dot, or I'm sorry, if you're going to look in your run file at the end of your program, in the run file, if you looked in the output section, you'd see something like what I'm showing here. You'd see, for example, this Unirec 2D with some name, my grid, or whatever. It's got a label, energy grid. It's got an x-axis section and a y-axis section. The x-axis and the y-axis describe the two dimensions of your mesh. The x-axis has a label and a mean value. It goes from 0 to 1, max value 1, and it has 50 points. So imagine it starts at 0, it ends at 1, and you divide it into 50 points. Similarly, the y-axis goes from 0 to 1, and it's also got 50 points. Doesn't have to, but it could. I mean, might have 20 points or might have 70 points, but it's going from, in this case, 0 to 1 with 50 points in x and in y. And I have a label, Fermi-Drak factor, and another label, energy, and all that. So if I put that information in there, in the output section, then you'll see at least a uniform rectangular mesh. I haven't gotten to the field yet, but that defines the mesh. Now, again, you can hard code this information in your tool.xml. If you know ahead of time everything about your mesh. If you know your mesh is going to always go from 0 to 1, and it's always going to have 50 points, and it's always going to have this label and all that, all of this information that you see here, you can hard code into your tool.xml. But you may say, well, I don't know how many points I'm going to have. If I simulate, in one case, I might have 100 points. If I simulate in another case, I might have 1,000 points, right? I don't know how many points I'm going to have. So you can put a lot of the information in the tool.xml, and then you can change it in your program. This is how I would change it in a Python program. I would do the usual Python put command, and I would say, in the output section, look for a Unirec 2D with the name Migrid. Look in the x-axis section for a parameter called max, and give it a value 1.0. So for this run of the program, I leave 0 alone, but it's going to go to 1.0. Actually, it didn't change, but anyway. So I'm overwriting the value here, pen no. I'm also going into the output section in the Unirec 2D, in the x-axis, and setting num points to 50, for example, and append equals no. So I can hard code that information in the tool.xml, and I can overwrite it in my program. Have my program put in the latest values for max and num points or whatever. So there's kind of a duality between the tool.xml and these program statements that create things in the tool.xml. We saw that in one of the, not the last, but the one before, the lab exercise before, we saw how you could create brand new things in the XML just by putting information in there. And that's what we're doing here. You could start with most of that information defined and then overwrite selectively whatever values you want. Or you could create every single bit of one of those information. You could set the about label, you could set the x-axis label, the y-axis label, you could have all kinds of commands here to set all those different labels and set all the various values. And that would create that structure. So that's how you define things in the XML like a Unirec 2D. In order to see the field plotted, you also have to define a field. And this is what the field looks like. The field has an about label, the field has component section. And the component has a mesh and values. The mesh that you see here, this mesh right here, this statement in red, this defines that mesh that we were looking at a second ago. When you define a field, you have to say which mesh it belongs to. This field goes to this mesh. And the mesh says where all the points are in space, right? So inside the component section you have a mesh output Unirec 2D parentheses migrate, okay, now I know where all the points are in space. And then you specify all the values. At the first mesh point, it's this value. At the next mesh point, it's this value. You can kind of see here, this is sort of how the values are laid out. V11, V12, V13, and so forth for X and Y. And again, the way that you would do that, if you want to put program field values in, you might hard code a lot of this in your tool.xml. In your tool.xml, you might have a field statement with about and label and component and mesh. You probably don't have the values though. The values are something that get generated at run time, right? So most of that information can be in your tool.xml. But then your program has to do this.  There's a reshape command. I took a matrix Z in MATLAB. Z tick is the transpose of it. The reshape kind of reshapes it. And then the vales makes it so that it's a big long list of numbers. So I'm basically taking my MATLAB matrix and I'm converting it into a big long list of numbers. And then I'm stuffing it in using the call rplibputstring in the output section. Look for the field named Z. See, field ID equals Z right there. And then in the component.value section, stick all those values. So this call in MATLAB takes my Z matrix and makes a bunch of different numbers. And then I put those into the values section to generate the code. So getting a little complicated, you have to kind of work for it. If you want to do all the advanced graphics, it's not easy. You gotta work for it. But this is how you do it. You define a lot of the stuff in the tool.xml and then you override things in your program to set the values and kind of tweak it. There's also a way of handling an irregular mesh. Sometimes the world isn't so easy. Not everything's on a rectangular mesh.  And there's something called a cloud mesh in Rapture, where you can just specify all the different x, y points. So for the cloud mesh, again, all these things have an about section with a label. So you can talk, you can say what that thing is. This is a 2D mesh. A cloud mesh also has units, I said microns. Hide yes, that means I don't want to see the mesh. Usually I just want to see the field. And then you can specify the points. x, y, new line, x, y, new line, x, y, new line. So these are all the points on the mesh. Each point here, each x and y value corresponds to one point on the mesh. So this first line is probably this point and this next line is like this point and so forth. So you just specify all the points on the mesh and then Rapture will read all those points and it'll connect them all together and make triangles out of them. So if you have an irregular mesh that looks like this, then you do that in Rapture. And again, how would I do that? Well, in Python here, if I had an x vector and a y vector, there's a zip function that puts them together. And for each x, y in x and y vector, it's going to go through and create a string that's x and y and the new line. So using x and y substituting in, and then I stick those things in. In the output.cloud points section, I'm going to put in the x and the y and the new line and append equals yes. Which means each time I'm going through this loop, it's adding another x, y, x, y, x, y. So I'm converting x, vex and y, vex into a list of points that show up in the points section. That's what I'm doing. All right, and if I've defined that cloud mesh, I might have a field that goes with the cloud mesh. Just like the field we saw a minute ago, except this one's using a different mesh. So there's a mesh line here that says mesh output.cloudM2D. That's the cloud that we defined right up here. I've got a cloud named M2D. So I set the mesh down here to output.cloudM2D, and then I give all the values. And the values are just in order with the mesh points. This is the first mesh point, this is the value for the mesh point. This is the next mesh point, this is the value for that mesh point. Next mesh point, value for that mesh point, so forth. So if you're doing finite element simulation, this stuff probably seems really familiar to you.  Anyway, that's how you do fancy plots like the one that's shown up here. You notice it's really regular because wherever I have points, you can kinda see the triangles here. But over here I don't have any points, so there's nothing plotted. All right, there's another thing, completely different thing that you can do. There's a thing in Rapture called a sequence. And you can use a sequence to create something like a movie. The sequence you can use with a sequence of images and you get something like a movie. You can create a sequence of curves and you get something like a plot that acts like an animated plot. You can also create a sequence of molecules. And again, you get a molecule, for example, with molecular dynamics that may be jiggling around and doing different things. So a sequence has some kind of Rapture object as a function of time or index or something like that. And here's how you do it. Again, if you can create this XML in your program, then you're good to go. At the end of the day, if your run.xml file looks like this, you can load it up in Rapture and it'll show you a sequence. The way the sequence works, the sequence has an about label. That's the label that shows up at the top above the plot. It has an index. The index is, in this case, it says parameter A. So down here, there'll be a little movie control and it'll say parameter A for the movie control. You can actually move around on this movie control and set whatever frame you want. Or you can press the play button and it'll play through all the frames. And as it's doing it, it'll show you parameter A equals each of these indexes. You notice for each element, there's like index one and index two and all of that. So you'll see parameter A equals one, parameter A equals two. You can use those however you want. This may be a time point, it may be at one microsecond, at two microseconds, at three microseconds, or 1.7 microseconds, 1.8 microseconds. So in general, that index that you're using doesn't have to be an integer. Could be anything, could be time, could be day of the week, could be whatever you want. So whatever index you label here and whatever index value you show here, Rapture will label it that way. And then for each element that you create, you can stick in a curve like this or an image or anything that we've created so far in Rapture, molecule and all of that. So the sequences are pretty powerful. I don't know if they support every possible combination of Rapture objects, but the basic things like curves and images and stuff you can do inside of sequences. So if you look in your run.xml, that's what you'd see. And you just have to use commands like this kind of stuff, these put commands to kind of generate that stuff. All right, one last example, it's kind of neat. Suppose you have MATLAB and there's a really great picture that you can generate out of MATLAB. MATLAB can do all kinds of neat visualizations, 3D surfaces and crazy looking plots. And here's a little bit of MATLAB or Octave code, for example. I set up a Bessel function and then I went ahead and surface plotted it with some shading. So you can type that code into MATLAB or Octave and it'll generate a plot that looks like that. And you might say, ooh, ooh, I want that plot in Rapture. And I actually like that plot better than the other one that Rapture does. I want that in Rapture, how do I get that? You can take any image that you can generate from any other program and you can always save it as an image in Rapture. Now you won't be able to interact with the plot. You won't be able to rotate the plot, zoom in and all of that. It's just an image. But anything that you can generate as an image, you can put into your program if you want to as output. So let me show you how to do that. Here's my little main program and here's my MATLAB or Octave code. I'm generating a Bessel function and I'm doing all those commands that I showed you just a second ago to generate the surface plot, right? So this is just my straight up MATLAB code. I can also tell MATLAB to draw it and I can also tell MATLAB to save the output into a file called output.png. So all of that stuff tells MATLAB to very quietly in the background, generate a drawing and save the result in a file called output.png. Now if I can get output.png into Rapture, I'm done. And the way I do that is with my friend, putfile, remember we saw putfile a couple of slides ago. Putfile will take any file, read the contents and stuff it in wherever you say to stuff it. So in this case, we say rplibputfile in the output section, look for an image called snapshot and set its current value to the contents of that file. And by the way, the one says compress the image and the zero says overwrite. Don't append. So that'll take that output image, load it up, compress it, and put it in as the current value for that image. So voila, now I have an image in Rapture. I could use the same thing for the sequence thing that I showed you a minute ago, I might have a sequence of images. And I'd go through in a loop and for each output image in the sequence, I'd do a putfile, take that image and put it into the sequence. Take that image and put it into the sequence. You can build really complicated things like that if your program has generated a bunch of images. All right, and there's examples too, a lot of example code. And I should mention that, let me do that right now. If we go into Rapture and we've shown you the documentation for all this stuff, when you're looking in the documentation and you go into the GUI XML elements and you're trying to figure out, how do I do a Unirec 2D? At least you know it's there now. You can look at the documentation and see all the stuff in there. And you can look at some of the examples and what's described here in terms of how it works, and it'll show you what it looks like and all that. There's also examples in the code for Rapture. If you go into the code for Rapture, there's an examples directory. And the examples directory has a zoo of examples. And you'll find this on Nano Hub too. I think there's even a menu entry to help you copy the examples. So for any one of these things, if you wanted to see, I want to see what an example of Unirec 2D looks like or something. Every one of these has a tool.xml file and then it has a little program that generates a mesh and all of that. So as you're doing more and more complicated things with Rapture, take a look at the zoo of examples. You can try out, you just run an example and see what it does. And then if it does something kind of neat, you say, I wonder how they did that? You can go into the code and kind of look at it and figure out how it works. So there's a lot of different examples there in the zoo and there's the app Fermi stuff that I showed you before, all the different languages and so forth. So a lot of different good examples there to poke around with. So if you have any energy left in the day, this is the last thing that we can try to do today. Maybe it's the first thing we'll finish up tomorrow morning. What you can do is play around with this function in MATLAB. If you get into Octave or MATLAB in your workspace and you type these commands, you'll be able to generate like a Bessel function. And then the question is, can you make a program where you can prompt the user for the max order, the max x and the number of grid points, which is these parameters here, end points, new max, x max. Basically, I want to prompt the user for these values. I want to generate the Bessel function and I want to spit it out to Rapture as a Unirec 2D in a field. In order to do this, the way I'm showing it here, you have to do it as a field and Unirec 2D. So you look back through the notes and you'd be looking at kind of this stuff right here, figuring out how do you generate a Unirec 2D in the output section that looks like that, and how do I generate a field that looks like that. And I want to take the values from MATLAB and kind of get them stuck in my XML, kind of like that. So if you're curious and you want to mess around, you could also try this route too. If you want to bag it with the field in the Unirec 2D, you could also try this route too where you're actually generating the image in MATLAB and then just doing a put file on the image in MATLAB to try it out. That's another way to do it too. So if you want to mess around a little bit with some of the advanced visualization, get started with this example and we'll pick it up in the morning and I'll go through the solution. Okay, so here's the solution that you've got for this lab assignment. We wanted to take this little bit of octave code and kind of wrap it into a Rapture interface. Like that, so first thing, I can run the Rapture Builder. And I can at least get part of my interface going. Rapture Builder doesn't have some things like the Unirec 2D and all of that field and stuff like that. But at least I can get a number and an integer and a number. And if you wanted to have an image on the output side, you can get that far. So you can use the Builder to do as much as you can and then save out the tool.xml. Let me open the tool.xml, I'm not gonna save that. Let me open the one that I generated. Now again, the Builder loads as much as it can understand. So again, it's got my definition for new max and xmax and num points and it's got the image there and all that. So that all looks good. I've got the tool set to octave, that all looks good. Got some nice explanations in for each of my parameters. But you notice on the output side, the Builder is not showing the Unirec 2D or the field and I'm not gonna save this. If I save this right now, it'll save exactly what you see here. It won't save anything else. What I did was I built my tool.xml as much as I could and then I went in and edited some stuff, added some stuff. So this is the stuff the Builder added and then I went in and added some extra stuff into the tool.xml right here. I added the stuff that the Builder doesn't know about by hand. So I define myself a Unirec 2D named grid. It's got an x-axis with a label and a min value and a y-axis with a label and a min value. There's a max value and num points too, but I'll set those later in my program. Cuz you could set them here, it wouldn't hurt. But you need to set them later inside your program for sure.  So that's my Unirec 2D, basically defining the x-axis and the y-axis as best I know it. And then I have this field here. And the field, by the way, you should always have a label on things so that Rapture can show them. But anyway, I've got a field here that I want Rapture to show, best of function surface. And I've got a component with a mesh. And for the mesh, I at least want to say what mesh it belongs to. I set output.Unirec2DGrid. That means look up there to the Unirec2D, that's my grid. Some people were getting errors about, didn't know the dimensionality of your field. And that happens when there's no grid. There's no grid and Rapture doesn't know what dimensionality, what you're trying to plot. So again, in my tool.xml, none of this stuff is ever gonna change. So I set all of this in the tool.xml. And then in my program, I can add the stuff that is gonna change. The number of points, the min and the max values for the grid, and then also the values for the component. Obviously the field values are the most important thing here that I need to add. I'm also gonna add in, I've got this image here, that I'm gonna show you how to do that part too with putting the image in. And I didn't have any specific current value for the image. That comes later again in my program. But at least I've got the label there. If you ever forget about the label like this, if you create an image, but you don't give it a label, it won't show up as an output. So you wanna make sure, maybe that's a bug or a feature, I don't know. But the idea is if you don't label stuff, then Rapture figures, you don't wanna look at it. So if you're saving an image like this, make sure you at least give it a label. And the builder will do that if when you're using the builder, it'll at least give it a label. All right, so I've got that tool.xml. Now, I've got my octave program and I can run my test script. My test script didn't look like it did very much. It basically ran these functions and it did this plotting thing. And it saves out an output.png and then it quits. So it didn't look very spectacular. But if I Xload image now this output.png, you can see that's what my test script did. So what I wanna do now is take that test script and integrate it into some kind of skeleton. Maybe I generated a skeleton out of the builder for my main program. So here's my main program coming from the builder with my kind of skeleton code. And then I stick my code in here for my MATLAB script. So those are the three lines, basically, that I needed to generate two vectors for new and X and then the Bessel function, Z. Everything else now just becomes a matter. I mean, all the computation is happening right here. Everything else now is just figuring out how to get the values and put them back out into Rapture. So let me show you that part. All right, so, I wanna save in the output section. I've got a thing called Unirec2D. And as I told you before, I need to update the x-axis num points and the y-axis num points. And I do that according to the number of points, end points here that we've got. If I try to pass end points in there, then MATLAB or Octave is gonna get mad because the function is wrong. It wants a string. It doesn't want an integer or a double or something like that. It wants a string value. So there's this handy function here. There's int to stir or num to stir that I can use to take an integer or a number and convert it into a string. So that's what I did here. I called int to stir to take my num points value and convert it into a string called num. And then I use that string value there. So I'm setting the x-axis num points and the y-axis num points according to this variable end points. It's just kind of converting to a string. Also on the grid, I wanna set the x-axis max and the y-axis max. And here I did it more in line. I set x-axis max to num to stir x max and y-axis max num to stir new max. So call the function in line and these are doubles. So I use num to stir instead of int to stir. And then finally, I wanna save out all the values. And to save all the values, I copied this stuff out of the notes. But just to explain, what I wanted to do, I wanted to go in the output section of my field and I wanted to set the component values. And whenever I do that, I'm supposed to set that to a big string. I suppose I could have set it point by point and done a pen to pen to pen. But in this case, I just wanted to generate one gigantic string with all the values in it. So how do I generate one gigantic string with all the values? There's a trick in MATLAB, the sprintf function. If you give it a vector of values, if I have a vector of 2500 values, sprintf will take all of the 2500 values, substitute them into whatever format string I've got and generate me a gigantic string of all the results. And my format string here says percent 12g. That means some kind of double precision number that's about 12 digits y. So double precision number followed by a new line. If any of you looked in your run.xml, you would have seen that, right? When you look in the field values section, you see a number and a new line. And a number, number, number, they're put down like that on different lines, right? That's because right here, we put the percent 12g blackslash n for the new line and we stuck in the vector of values that's 2500 long. And so it gives you 2500 lines of output. Now, where did I get that 2500 wide vector? Because wait a minute, I've got a matrix up here. This gives me a matrix of 50 by 50. And I wanted a vector with 2500 points. So this is what that function does. The reshape function takes my vector, my matrix, z. And it reshapes it into a vector that is n points times n points long and one row tall. So it turns it into a vector of 2500 points, basically. 2500 long and one tall, or however many good points I have, right? And then one last wrinkle. When you do all of this and you look carefully at your results, you might notice, wait a minute, everything looks flipped. It looks wrong. My x-axis is my new axis and vice versa. And so in order to fix that problem, Matlab versus Rapture, what I really need to do is use z transpose. Z transpose flips my matrix so that it matches the way Rapture expects the data. And then I convert it to a vector of 2500 points. And then I convert it to a string, and then I put it out. So it's all a bunch of headaches, but basically I'm just trying to take the z matrix and get it out as a list of 2500 points in the right order. All right, so that's the code. And if you do that, if you set the stuff in the tool.xml, and then what this does is it fills in the values that are changing dynamically, then you get a nice interactive plot. There's one other thing here. If we, I'll show you the other solution. The other solution was to have Matlab generate the plot. And so this is the code that we had in the notes that tells Matlab to draw a surface plot, to do the shading, draw it, and then save the output as a PNG file. And it does it all without popping up on the screen. The visible off makes it so it doesn't pop up on the screen while it's writing. So all of that generates a file called output.png. I just need to take that image and stuff it in the output. And I do that with this line. This line, rplib putfile this time, putfile instead of putstring. The putfile thing is similar. It finds a path output.image called static.current. But instead of putting that string in there as the contents, it treats that string as a file name. It loads up the file and takes the contents of the file and puts that in. So it's going to open output.png, get the contents of that file, and stuff it in as the current value for the image. And by the way, images are big and binary and all of that. So I set a flag for compression. So it'll compress the image and put it in. And then 0 again always means overwrite the value. So this is the way I take the file output.png and stuff it in as the value of the current image. So I've got both outputs now. And then like any other program, I finish up with rplib result and quit. So if I run this now, it asks me for some values and I can simulate. And it gives me a nice plot. And I can also look at the image. That's one generated by MATLAB. The difference is that this one I can actually rotate and interact with. There's buttons over here to zoom in. I can move around on the plot like that. There's also other things I can do. Let me reset the view. I can fiddle with the contour lines, turn them on and off. I can make it a wireframe or not. I can turn the grid off. So there's all kinds of weird things that I can do with this interactive version of the plot. And I can't do any of that with the image that I got from MATLAB. Because MATLAB's not running anymore, it's done. So the only thing I can do with the image from MATLAB is I can zoom in on the image. And when I zoom in, I can see the axis a little bit better. So I can zoom in and zoom out. But that's it. The image, if I try to drag on it, it doesn't rotate. It doesn't change. So this one's slightly better because it's a little more interactive. And if I like that picture, I can always download it to my desktop. And now I can copy and paste and put it in my document or whatever. So that lets me kind of maybe I want to zoom in on this peak. And I'm trying to write a, maybe I'm writing a paper that talks about this particular peak. And then I can download that and grab that image and put it into my report. That's what's a little nicer about it because I can fiddle with the image. One other thing, just to mention real quick, if we fiddle with the values, say I set that to 5 and 5 and run it again, so now let me turn my grid back on and everything sort of back to the way it was, not wireframe. So some people looked at that and thought, wow, that looks like really weird. Why is it so weird? My original plot looked like that. And my new plot looks like that. Why is it so weird? Actually, it's doing the right thing because the original plot was all the way from 0 to 20 and 0 to 10 in the new and the X axis. So the original plot covered that whole space. Whereas the plot that I just did goes from 0 to 5. And if you look, it actually is doing that, right? It's going from 0 to 5 in one axis and from 0 to 5 on the other axis. So this new plot is much smaller than the original plot. And that's what this is showing you. Rapture, when you have two results in Rapture, it always puts them on the same axis so that you can compare them. And that's useful here because otherwise, you might not realize when you're flipping back and forth between results, you're actually zooming in on the axes. If it didn't do this, you might have thought at first it was OK, but it would've fooled you later because this is actually covering a much smaller space than the original function. So that's good to know. Rapture keeps everything on consistent axes when you're plotting so that you can compare things when you're looking at them.


Does capitalism equal equality? Does capitalism equal work? Does capitalism equal democracy? Does capitalism equal protecting the planet? Capitalism will destroy capitalism.


ಽಾನಿದ್ಕಿತಾಯರ ಮ ಶರಿಟ್ತೆಯಾಯರಿ ಇಲಿಳಿಋಗೆಯನ ಹಿರಿಸಿ ಕಾರಿನಿೆಯನಿಷಿ ಪರಿಕಿಸಿಟೆ ಎಾರ ಎದಶರಿ ಕಂರಿ ಗಾಳಾವರಿನಿ ಎದಿಳಾಯಾವರರಿ ನಾರಿಯರಿದ್ರ ಕಿವರನ್ ರಿ� ಕಿಗೆರವಿ ಸೇಂ ವಾದ್ನಾನು ಮಿಕಾರಸ್ತುಲೆ್ಯ ರಿಲಾವದೆಮಾಂದಿ ಸಿ ಸಾಲೆವಿ ಕರಿ ವಾಡೆಶಿ ಕಟಿಸಿ ಪಾರೆಲಿ ಹುತಿ ಕುರಸ್ನಗಿ ಅದುರಿರೆತು ಸಿ ಸಿಹುರಗ್ ನಗೆರಸ್ ಮಿನಿ ಸಾರ� for refer muddy, phone muddy, then govratha kaliskotra. So, we felt that there was something going wrong and a bit sinister. So, we did all the work up including the blood test, imaging, biopsy and the PET scan. Unfortunately, we found that we had a tumour in the proximal aspect of the femobone, which is the upper end, just adjacent to the hip joint. This was cause of his pain. We got a cold, we had a cold, my arm was stuck, I was going to see the pain in my arm. Doctor BS Riemann, we had a second opinion, and we had another opinion, he was sitting there and talking to a family member, we advised him to operate this, and he decided to do it. Further, he showed that he had a tumour extending up to nearly 9 centimetres from the hip joint. And considering his age and requirement and the location of the bone in the bone, अवर नन बाग्या नन्गे अंता दाक्त्सिक्रित्तकं तद नहीं एक एदुपरे वर्सत्तिंद नन तुम्भा सुख्वागी संथोस्तिंद हिदेने दो सप्सिक्वेंट रिसल्ट was that he was walking by the second day of the surgery on his own feet and his infectious enthusiasm has also transferred to us in a way that he's gone back to his old routine teaching kids helping them out and also getting back to his social activities


Instead of spending hours and hours aimlessly browsing through TikTok, God says, I want you to go hours and hours through the Gospel or through the book of Revelation or through the book of Romans. You're like, it's boring. So is TV if you don't turn it on. So is the TikTok if you don't log on to it. So is everything else if we don't turn it on. God wants to replace what used to possess you and control you. Not just remove it, replace it.


Well, in our countries, there's so much we need to learn, how to use ICTs. We know that ICTs are linked to development, but we don't know how to use them, how to apply them to achieve the development that we need.


Dr. Herman Oberth, who pioneered rocket design during World War II, once cryptically stated, quote, we cannot take the credit for our record advancement in certain scientific fields. We have been helped. When asked by whom, he replied, the people of other worlds. Additionally, according to Above Top Secret by Timothy Goode in William Morrow, Oberth's fellow space pioneer Werner von Braun echoed this mysterious reference, even including the existence of extraterrestrials, when he stated in 1959, quote, we find ourselves faced by powers which are far stronger than hitherto assumed, and whose base is at present unknown to us. More I cannot say at present. We are now engaged in entering into closer contact with those powers, and within six or nine months time, it may be possible to speak with more precision on the matter, end quote. Just who were the people of other worlds that Dr. Oberth spoke of, or indeed these entities that von Braun referred to? With only Oberth's quotations, one could presume a possible reverse engineering of alien craft. However, with von Braun's more detailed expose, this possibility seems to be excluded in favor of pertained actual assistance and contact with advanced beings. Many people also believe that an encounter with these beings, along with Third Reich craft built with their technology, was once encountered in an operation known as Operation High Jump. According to certain independent researchers, Richard E. Byrd, admiral of this operation, possibly encountered a hostile, formidable opponent, who he has claimed to have described as, fighters that were able to fly from one pole to another with incredible speed. In reality, however, whatever Byrd's expedition experienced may never be fully publicly disclosed, as all reports, including Byrd's personal log entries, remain mysteriously classified. But the connections between these curious quotations, and indeed the rumored encounters by this classified operation, are certainly intriguing. Furthermore, Operation High Jump was originally organized by Secretary of the Navy James Forrestall. Interestingly, in 1949, Forrestall was sent to recover from a supposed nervous breakdown at Bethesda Naval Hospital. However, after allegedly ranting to staff about the Antarctic, UFOs, and an underground Nazi city, Forrestall was denied all visitors. Shortly after, he mysteriously died in a fall from his hospital room window. What did Forrestall know? Were his perceived delusional rants based upon reality? According to the legend of the German Vril Society, a secret remote viewing was held in 1919 at an old hunting lodge near Brextegaden. During this event, Maria Arsik, a self-proclaimed medium, presented her supposed telepathic messages, which she claimed to have received from an extraterrestrial civilization existing in the constellation of Taurus. It is reported that these messages contained instructions for building a circular flight machine. It is interesting to note that German Oriental scholars and occultists alike regarded such mystic teachings with complete seriousness, with well-documented, well-funded diligent efforts put forth to discover and such individually proclaimed powers and their messages therein into viable technological realities. What happened in the Antarctic? Who were these people from other worlds that von Braun and Oberth spoke of? Did the Third Reich make contact with an alien, or possible highly advanced once ancient civilization, allowing them to engineer mystifying technologies? We find such claims, rumors, and fragments of evidence to support such possible realities highly compelling. More than two years ago, a team of explorers led by scientist Vladimir Melikov were on an expedition within the Russian caves on Mount Bolshoi, when they made a miraculous discovery. Reports from Russian newspapers at the time indicated that a briefcase and two alien-like skulls were discovered in the cave systems of the Kakakis region. What is amazing about the briefcase is the insignia which can be found upon its front. It is the emblem of the Anenrbi, once the Nazi's most secretive institutions. Founded by Heinrich Himmler in 1935, their mission was to find evidence that the Aryan race had once ruled the entire world. But they also branched into occultism, paranormal research, pseudoscience, and the study of UFOs and weapons development, all due to Himmler's obsession with such things. The strange appearance of the skulls has led to speculation that the Nazis were in contact with aliens. Mr. Melikov was reported as saying the creature is unlike anything known to man. He said among the most mysterious features of the skulls is the absence of a cranial vault or jaws. The eye sockets are also unusually large. He added, even when compared with the skull of a bear, it is hard to think that you do not have in your hands the remains of an alien creature. Scientologists in Moscow were shown pictures of the skulls. They reportedly dismissed the skulls, saying they could have been exposed to sand for long periods of time, which could have altered their shape. Russian newspaper reports have also recorded other German discoveries in the area, including last summer when Elbrus Hunters found his second suitcase with the Anenrbi logo. It is thought to have belonged to the Huntsman of the German division, Edelweiss, and was found along with a ring showing a soldier in a mountain cap and a Nazi uniform. The Edelweiss was an emblem of the German mountain troops during World War II. Also in 2014, reports said locals in the same area found the burial site of German infantry, believed to have been killed in an avalanche years earlier. What do you think about the finds? Are these skulls proof that the Nazis knew of the existence of aliens? Or maybe that they were even in contact with such entities? The skulls in briefcase are now said to be stored at an archaeological complex in Belovod, a site which stores many historical artifacts. Further studies are desperately needed before they vanish from public view. The Lady of Elche, a limestone bust that was first discovered in 1897. It was found at an archaeological site on a private estate, 2 km south of Elche, within Spain. Currently exhibited at the National Archaeological Museum in Madrid, the artistic influences involved in creating her are a heavily debated topic. This undoubtedly due to her unusual appearance, and the fact that no one seems to be able to pinpoint her origins. According to the Encyclopedia of Religion, the Lady of Elche is believed to have a direct association with Tannit, the goddess of Carthage, who was once worshipped by the Punic Iberians. Though at best this could be perceived as a guess based on vague similarity. Clearly the most striking and intriguing detail surrounding the Lady of Elche is her mysterious and possibly advanced technological appendages. Positioned around her head and flowing down the bust, the original function for these strange decorations is unknown. The current academically accepted view is that the originally polychromed bust is thought to have represented a woman wearing a complex headdress, with large wheel-like coils known similar to Rodetes on each side of the face.  While some scholars suggest that the sculpture is Iberian and associated with Tannit, the goddess of Carthage, others have proposed the work reflects a long lost Atlantean goddess. The unusual features of the sculpture, such as the quietly kept detail that she had an elongated head, along with a curious yet clearly complex spools on her head, has led many independent researchers to suspect the spools were not part of a unique headdress, but was a type of lost technology, reflecting the highly advanced nature of the lost and forgotten Atlantean civilization. Art historian John F. Moffat, along with most of academia, agree that the shape of the lady's eyes, nose, and other features were too delicate to have been carved in pre-Christian Spain. Therefore, predictably, instead of suspecting that an unknown highly advanced civilization could have possibly created it, many academics have simply concluded it to be an elaborate hopes, regardless of the compelling evidence upon the statue which displays its true antiquity. And also of the fact that in 1997, the mayor of Elche fought to have the bust of the Lady of Elche return from the National Archaeological Museum of Spain in Madrid to the city of Elche to be on display during celebrations of the city's 2,000th year. It was to be a special exhibit, but the petition to have the bust returned was denied. The government commission that denied the request asserted that the bust was too fragile to survive the 250-mile journey from Madrid to Elche. However, others believe that this denial was based on political motivations. The director of Elche's Archaeological Museum, Rafael Ramos, argued that it was preposterous to say that the statue could not survive the journey, noting that more delicate pieces are transported around the world regularly. Do these sound like the actions of a group of people who suspect the artifact to be a fake, or does it sound more like the actions of a group of conspiring individuals, with an aim of retaining a valuable, yet largely unknown, relic? Is the statue of the Lady of Elche a long lost Atlantean bust, or maybe a leader of a group of beings whom once visited Earth? Questions surrounding the Lady of Elche largely remain unanswered. How did she end up in a farmer's field in Spain? The disputes and specialist theories surrounding the Lady of Elche clearly illustrate the secret importance of the bust. Just who was the Lady of Elche? An ancient queen? Perhaps an ancient alien? When a piece is clearly treasured by the same group who can test it as a fake, we always find such objects highly compelling. We previously covered what is undoubtedly one of the most peculiar ancient statues ever unearthed. Now known as the Lady of Elche, she mysteriously turned up in 1897 on a private estate 2 km south of Elche, Spain. Her unusual headdress is obviously her most baffling characteristic, and a subject of heated debate to this day. Some claim that it is nothing but a mere fashion item, although their links to other ancient examples are reaching at best. Other theories pertain to them depicting some form of ancient advanced headphones, an antenna, or even that she was actually an ancient alien. An additional enigma surrounding the Lady of Elche is the cavity within her back, empty when discovered. The question is, why was the statue made in such a way? What was once placed within the statue? The information known about her is understandably extremely limited. She was long thought to be one of a kind, and as such easily dismissed by academics as a mere one-off. However, it seems the Lady wasn't actually unique. Additionally, she may have actually been a rather well-known figure to a civilization we are possibly yet to understand. Although the statue was found in Spain in 1969, in Richfield, Utah, another as yet unexplained object was found. Discovered at a depth of six feet, within soil that contained no other evidence of past disturbance, what some now think was once a buckle, adorned with what clearly was an image of the Lady of Elche. The question is, who was the Lady of Elche? Why is an ancient medallion, presumed belt buckle, found within an empty field in Utah adorned with her image? Furthermore, upon the observance of the buckle, along with the bust of the Lady of Elche, is perhaps the most compelling clue pertaining to her identity discovered yet. Many people suggested that, due to the Lady of Elche's unusual existence and the claimed location of the discovery of the buckle, it was claimed that the Utah Lady was in fact a fake. However, after extensive research, the inscription upon the averse was found to actually be authentic ancient Assyrian, translated as The Assyrian. Was this the original name for the Lady of Elche? Who were these particular-looking Assyrians? Was she a member of the civilization modern academia have permitted such extensive study of? If so, why are we not aware of such a clearly famous yet visually unique character? Were the Assyrians actually another lost advanced ancient civilization? Perhaps the inspiration for the name of the Assyrian culture we are so aware of. Are the real Assyrians being obscured by a claimed more recent imposter by academia? Or were they merely a weird fashion item? For now, her identity is still up for debate. However, such finds undoubtedly strengthened some highly compelling possibilities.


Hello and welcome to the session on TCP's congestion control. At the end of this session, students will be able to uniquely identify the congestion control in TCP. Congestion control in TCP is based on both open loop and closed loop mechanisms. TCP uses congestion window and congestion policy that avoid congestion and detect and elevate congestion after it has occurred. In the previous session, we talked about the flow control and tried to discuss the solutions when the receiver is overflow with data. The sender window size is determined by the available buffer space in the receiver. In other words, it is only the receiver that can dictate to the sender the size of the sender's window. Here, we totally ignored another entity, the network. If the network cannot deliver the data as fast as it is created by the sender, it must tell the sender to slow down. In other words, in addition to the receiver, the network is the second entity that determines the size of the sender's window. The sender has two pieces of information. The receiver advertises window size and the congestion window size. The actual size of the window is the minimum of these two, that is, the minimum of receiver window and congestion window. TCP's general policy for handling congestion is based on three phases. Slow start, congestion avoidance, and congestion detection. In the slow start phase, the sender starts with a slow rate of transmission but increases the rate rapidly to reach the threshold. When the threshold is reached, the rate of increase is reduced. Finally, if ever congestion is detected, the sender goes back to the slow start or congestion avoidance phase based on how the congestion is detected. The slow start algorithm is based on the idea that the size of the congestion window starts with one maximum segment size, that is, MSS. The MSS is determined during connection establishment using an option of the same name. The size of the window increases one MSS each time one acknowledgement arrives. As the name implies, algorithm starts slowly but grows exponentially. Here look at the figure. The receiver window is much longer than congestion window so that the sender window size always equals to congestion window. For simplicity, here ignore the delayed acknowledgement policy and assume that each segment is acknowledged individually. The sender starts with congestion window equal to one MSS. This means that the sender can send only one segment. After the first acknowledgement receives, the size of the congestion window is increased by one which means that the congestion window is now two. Now two more segments can be sent. When the two more ACKs are received, the size of the window is increased by one MSS for each ACK which means congestion window is now four. When four ACK arrives, the size of the window increased by four which means that the congestion window is now eight. If we look at the size of the congestion window in terms of round trip times that is RTT, we find that the growth rate is exponential. That is when it starts, the congestion window size is one. After one RTT, the congestion window size is two. After second RTT, the congestion window size is four. And after third RTT, the congestion window size is eight. Here pause the video and think. However, the slow start strategy is lower in case of delayed acknowledgements. Remember for each ACK, the congestion window is decreased by only one MSS. Hence, if three segments are acknowledged accumulatively, the size of the congestion window increases by only one MSS not three MSS. The growth is still exponential but it is not a power of two. With one ACK for every two segments, the power is closer to 1.5. Slow start cannot continue indefinitely. There must be a threshold to stop this phase. The sender keeps the track of a variable named slow start threshold that is SS threshold. When the size of the window invites reaches this threshold, slow start stops and the next phase starts. If we start with the slow start algorithm, the size of the congestion window increases exponentially. To avoid congestion before it happens, one must slow down this exponential growth. When the size of the congestion window reaches the slow start threshold, the slow start phase stops and the additive phase begins. In this algorithm, each time the whole window of segments is acknowledged. The size of the congestion window is increased by one. A window is the number of segments transmitted during RTT. The increase is based on RTT, not on the number of arrived ACKs. Here, this algorithm is the same scenario as slow start. In this case, after the sender has received acknowledgments for a complete window size of segments, the size of the window is increased by one. If we look at the size of the congestion window in terms of round trip time, we find that the rate is additive. Means that when it starts, the congestion window is equal to i. After one RTT, congestion window is equal to i plus one. After second RTT, the congestion window is equal to i plus two. Likewise, the additive increases. If congestion occurs, the congestion window size must be decreased. The only way a sender can guess that the congestion has occurred is the need of retransmit of a segment. This is a major assumption made by TCP. The retransmission is needed to recover a missing packet, which is assumed to have been dropped by a router that had so many incoming packets that had to drop the missing segment by the router or network which become overloaded or congested. However, retransmission can occur in one of two cases when the RTO timers out of or when the three duplicate ACKs are received. In both the cases, the size of the threshold is dropped to half i.e. multiplicative decrease. Most of the TCP implementations have two reactions. First one, if a timeout occurs, there is a stronger possibility of congestion. A segment has probably been dropped in the network and there is no news about the following sent segment. In this case, TCP reacts strongly. It sets the value of the threshold to half of the current window size. It reduces the congestion window back to one segment. It starts the slow start phase again. In second reaction, if three duplicate ACKs are received, there is a weaker possibility of congestion. A segment may have been dropped but some segments after that have arrived safely since three duplicate ACKs are received. This is called a fast retransmission and fast recovery. In this case, TCP has a weaker reaction like it sets the value of the threshold to half of the current window size. It sets congestion window to the value of the threshold. It starts the congestion avoidance phase. Here in this figure, you can see the congestion policy of TCP and the relationships between the three phases. Now the congestion example. Here we assume that the maximum window size is initially 32 segments. The threshold is initially set to 16 segments, half of the initial maximum size window. In the slow start phase, the window size starts from 1 and grows exponentially until it reaches the threshold. After reaching the threshold, the congestion avoidance that is additive increase procedure allows the window size to increase linearly until a timeout occurs or the maximum window size is reached. In this figure, the timeout occurs when the window size is 20. At this moment, the multiplicative decrease procedure or algorithm takes over and reduces the threshold to half of the window size. The window size was 20 when the timeout happened, so the new threshold is now 10. TCP moves to slow start and starts with a window size of 1 and moves to additive increase when the new threshold is reached. When the window size is 12, three ACKs event happen. The multiplicative decrease procedure takes over again. The threshold and window size set to 6 and TCP enters the additive increase phase this time. TCP remains in this phase until another timeout or another timeout. Here are the references. Thank you.


The purpose of this research is to deepen the understanding of DEI training and show how scholars across the nation incorporated DEI leadership into academic roles with experiential experience in diversity, equity, and inclusion playing a role in the success or failure of DEI training. The study used an online survey followed by an in-depth phone interview to assess participants' roles as leaders in academic nursing, challenges faced by scholars in addressing DEI, and perceived values of undertaking DEI activities. Major themes emerged from the findings, including the personal and professional risks associated with championing for DEI, greater success when DEI was supported by leadership and included in institutional strategic planning, and the importance of commitment from all levels of leadership, faculty, and strategic planning initiatives. The study concludes that DEI is important and necessitates commitment from all levels of leadership, faculty, and strategic planning initiatives, with DEI training playing an important role in subsidizing leadership effectiveness as it relates to DEI. This article was authored by Versi Johnson-Allard, Randy Jones, Maren Kaufman, and others. We are article.tv, links in the description below.


What's up everybody? Jason from jasperjasecasebreak.com last break of the night 1920 or sorry 2021 Panini National Treasures basketball hobby four box case break picker teams number 15 And we had a couple R&Bs we needed to do but thank you all for the customers that bought in straight up the majority of them I think it was only like 18s. We had an R&B First one was Atlanta Cleveland Brooklyn Denver and the Clippers Lacey and the second one was for the Lakers and Orlando match And everybody else of course bought in straight up and here's our case It was our last case in stock, so we won't have any more NT at least for tomorrow Now of course, we're always getting you things in every day But what tomorrow being Sunday, we're closed and the post office and UPS don't really deliver to us on Sunday so Whatever we have in stock, of course, Nick will repost up and Put some new breaks up. I'm sure tonight early tomorrow morning whenever the case may be but Let's have some fun first one is Kemba Walker so 49 Celtics going to Matthew And our first pretty plate then Simmons little one-on-one there For the 76ers that's going to David First relic is RJ Barrett 18 out of 99 CJ McCullum to 99 Poland Trailblazers is Andrew Martin Kevin Love biography materials for Cleveland That's 18 out of 99 That's Cleveland first R&B team 18 When a Paul Norton lost my motor we have Danny of Dija nice jumbo patch right there 17 out of 25 Washington Wizards going to our real Brandon Clark 4 to 25 Memphis Grizzlies Sean Maddock We have drew holiday See something Jersey autograph Dmitri Eagle Jim We have Vernon Kerry Jr. Apprentice Inc tonight and I Charlotte Hornets When a Sean hopefully a lot more than that It's a picker team. So All the picker teams combined. I have no idea and definitive ink gold tray young for the Atlanta Hawks Nick Benningfield with the Hawks R&B Spot zero Most of these boxes are about forty five hundred dollars now So I assume in around that range. So you times it by four So like over sixteen thousand probably So gold is out of ten and Atlanta off it there. There you go. Very nice. I should be on card as well There you go first box in the book next box Devon Booker tonight 49 to sort us off in the second box Well, there's some very affordable picker teams this on Not every single team is super out of price But if you're chasing of course the middle of ball, then yeah, you're probably gonna have to pay up for the picker teams but Some teams are pretty affordable and I think a great price For a couple hundred dollars and some of the RP's go for thousands Kyrie Irving for the Nets So Devon Booker sons Gretchen Kyrie Irving Nets, that's R&B one Maddie Shearer, there you go Stephen Adams tonight, you know Pelicans going to Paul Nord No one for the Pelicans Kira Lewis, Jr Triple a relic RJ Hampton tonight, you know nuggets R&B 7 Sean Mattick and a one-of-one of De'Arian Fox Little laundry tag a little chip on this corner, but again a lot of these NT cards are really really tough to Have perfect Very nice in for the Sacramento Kings. I've been with that one 101 laundry tag Jason Terry for the Hawks 75 out of 99 spot 5 win to Matthew fat lever For the Denver Nuggets part of the R&B spot 3 Shane Thornton MPJ Michael Ford and Jr. 98 out of 99 Spot a going to Paul Norton. Last one is also another redemption No, that was straight up just the Kyrie 101 print and play was R&B rookie patch autographs horizontal bronze Part number 131 Killian Hayes for the Detroit Pistons going to Eric K. Very nice People are high on killing a's and bronze should be out of 49. I believe all right two more boxes guys Devon bugger again. I feel like you've got a lot of them burgers at the top so far We got a one-on-one KPJ yeah, KPJ. Whoa that right there. Good Lord There is a printing plate, so I guess these can always come up a little dinged and scratched up They're smashed All right calves. That is 101 R&B Gonna mad to share Josh Richardson in 99 Dallas Mavericks Gonna Demetri Dennis Schroeder 19 out of 99 for the Lakers. That's R&B Lakers 9 going to Sean Maddock Lamello 36 out of 99 little patches right there Charlotte Horn is going to Sean Maddock Jordan Clarkson patch for the Utah Jazz So out of 25 Utah Jazz David Mark Aguirre for the Dallas Mavericks. Thank you, man. Appreciate it. No one for the Dallas Mavericks Indometrius We got Chris Cayman. Wow Chris Cayman 42 out of 99 spot to go into Matthew. It's clever the dishing Chris Cayman Redemption CJ LB Little rookie patch autographs. That's gonna Portland Pdx Andrew a little true RPA right there and a true RPA again Desmond Bain Nice patch right there 53 out of 99. He's actually a really good player I'm an Xavier Tillman Memphis grows going to Sean Maddock. All right last box guys Oh sorry I got two cards Jamal Murray for the Nuggets and a printing plate there. That's for Houston Ralph Samson Samson Houston Rockets, that's mojo. There you go mojo And Denver Nuggets Jamal Murray is one We got a Nick Collison retro right there for the Thunder You got Robert Covington for the Blazers tonight and I know that's why I say it anytime I hear Samson Samson Talk to Samson Paul Pierce to 99 for the Boston Celtics Matthew that one And we're not drug dealers. All right. We're fundraisers Luca Dauntridge 43 out of 99 piece of the Jersey Dallas Marra was going to Demetrius Such a classic movie Thomas Bryant out of 99 for the Washington Wizards Abba Zaba my only good friend Uh, are you coming? The Andre Hunter, we're gonna get some autographs out through this right now Good luck guys Atlanta Homs R&B 41, but I'm happy for spot one is killing it 28 out of 49 Robert Parrish Is that all he's like is that all and Lamello ball clutch factor nine out of 49 He's a funions man. Yeah This horse is a diabetic There you go nine out of 49 Lamello ball clutch factor Going to Sean Maddock. There you go, man.  We got a couple of them Nice little RP there the clutch factor one. They get a one-of-one Darian Fox. Desmond Bain was really nice as well Which also went out to you Shaw CJ I'll be there Killing Hayes as well. Nice as a redemption And I think you also got where's that a mellow swatch? Oh, I put it over here I also got in the middle swatch as well There you go guys.  Unfortunately always Usually the way it goes But I appreciate you guys will hopefully have some more soon and we can redeem yourself and get you got something else Something very nice in the next case that we post up. I really appreciate it I am glad though that the R&B's did hit because you know, sometimes the R&B's really don't and There were quite a few hits for the five teams over here There you go And we did end up getting one hit for the Lakers or land around a number block with your shoulder But that was pretty much it So again, appreciate you guys Jaspies case breaks